The Official Publication of the Ohio Music Education Association
FALL FEATURE: LIVING LEGENDS The Man in the Derby Hat: James Gallagher
October/November 2016 Vol. LXXXlV, No. 1
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Welcome to the 2016-2017 ac ademic year! We here at OMEA are ver y excited about the newest dig ital additions to the TRIAD along with a new online resou rce to get you ready for the 2017 OMEA Professional Development Conference! If you haven’t already, please log on to Facebook and “lik e” our page, “follow” us on Twitter, and check out som e of the fun memes and ideas posted on our Pinterest account. If you have a photo yo u’d like to share with us on Ins tagram, please email it to me at media_director@omea -ohio.org. One of the greatest assets of social media is the connection we feel when we can share in the enjoyment of others’ accomplishments. In the world of music educatio n these accomplishments are endless. Let’s share them! How about the Official OMEA Blog? Are you signed up to rec eive notifications when news has been posted by on e of our committee chairs, bo ard members, or OMEA staff? Sign up HERE so you ne ver miss a post! My most exciting announcem ent is the launch of the OMEA Professional Development Conference website. This resou rce is to provide our members hip with Conference information and documents in one specialized environment - alo ng with links to the official OMEA website for the many other needs of the organiza tion. Please enjoy the Fall TRIAD, and explore OMEA’s online presence, as well. Have a wonderful Autumn!
Sincerely,
Amy Annico Director of Media & Publica tions Ohio Music Education Associa tion
IN THIS ISSUE FROM THE DESK OF... 6 8
Editor of TRIAD - Dr. Marc Parulekar OMEA President - Dr. Michael Crist
FEATURE ARTICLES
14 LIVING LEGENDS - Dr. Michael G. Martin 18 CONTRIBUTIONS TO MUSIC EDUCATION - Dr. Craig Resta
TEACHING TIPS 24 28 30 34 36 38
BAND - Dr. Jeffrey D. Gershman; Capital University CHOIR - Dr. Richard Schnipke; Xavier University ETHNOMUSICOLOGY - Will Kuhn; Lebanon High School JAZZ - Mike Smith: Ohio State University MULTICULTURAL - Dr. Linda B. Walker; Kent State University ORCHESTRA - Mark Sholl; Hilliard City Schools
NEWS & COMMITTEE REPORTS 40 44 49 56
ADJUDICATED EVENTS - JD Latorre CREATIVE EVENTS - Dara Gillis Higher Education News Ohio Choral Directors Association
PROFESSIONAL DEVELOPMENT & ASSESSMENT 59 78 78 80
2017 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 2016
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WHY
“The clinic experience was by far the best part of our festival experience. The hands-on approach really sticks with my students rather than just a bunch of written comments. They get instant feedback and can apply that feedback right then and there instead of waiting until we get back home at our next rehearsal.” — Doug Sydow, Washington High School
“I like the fact that there are three judges and you have the comments from different people. There can always be a variety of opinions but if three people state the same thing then it brings more validity to a matter. You also always have judges who are respected and accomplished in their field.” — Delia Montenegro, Briarcliff High School
“The staff is great, the venues are outstanding and the performances are well organized. I have done many festivals with various companies over the years. I find the online registration, adjusting features, and financial features very good. It makes my job much easier compared to some other festivals I have attended.” —Timothy Keane, Terryville High School
WHERE…
PERFORMANCE DATES ARE AVAILABLE ONLINE AT festivalsofmusic.com | 800.305.7565 | info@festivalsofmusic.com
OMEA INFORMATION NETWORK OMEA OFFICE P.O. BOX 1067 Massillon, OH 44648 330.833.5677 - Office 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 2016
OMEA TRUSTEES Michael Crist President president@omea-ohio.org
OCMEA OFFICERS Luke Grieshop OCMEA President ocmea_president@omea-ohio.org
Kathleen McGrady President-Elect president_elect@omea-ohio.org
Wyatt Heinz OCMEA President-Elect ocmea_president_elect@omea-ohio.org
Terry Herschman Immediate Past-President past_president@omea-ohio.org
Kaitie Welch 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
Emily Damelio OCMEA Treasurer ocmea_treasurer@omea-ohio.org
David Vitale Treasurer treasurer@omea-ohio.org 2016-2017 TRIAD EDITORIAL BOARD EDITOR Marc Parulekar
GRAPHIC DESIGN/LAYOUT Amy Annico
Pickerington North High School
Ohio Music Education Association
PAST EDITOR Matthew Warner
MULTICULTURAL Linda Walker
Cincinnati Hills Christian Academy
Kent State University
BAND Jeff Gershman
ORCHESTRA/STRINGS Mark Sholl
Capital University
Hilliard Davidson High School
CHORAL/VOCAL Rich Schnipke
TEACHER EVALUATION Heather Russell
Xavier University
Cleveland State University
CURRICULUM & ASSESSMENT Nathan Kruse
TECHNOLOGY Brian Laasko
Case Western Reserve University
McKinley High School
JAZZ Mike Smith
WOODWINDS Shawn Reynolds
The Ohio State University
Youngstown State University
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FROM THE DESK OF... Dr. Marc Parulekar, OMEA Editor Thanks to the efforts of our OMEA Staff we are very excited to offer video content in this edition of TRIAD. We hope to continue to expand our multi media offerings to provide relevant content in easily digestible formats. Special thanks to Mark Sholl and Craig Resta for serving as our test subjects and writing articles that incorporate video. We hope to include more video content in future issues and encourage you to consider authoring a multimedia article. Special thanks to our amazing Director of Media and Publications, Amy Annico, for her work in making TRIAD a great resource for music educators. Be sure to check out the OMEA Blog, Facebook Page, Twitter, and other social media accounts for the latest information on OMEA activities 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 link to see the full text. - Our next installment in the Living Legends series explores the life and teaching of Professor James Gallagher. Professor Gallagher continues to be a mentor and strong influence on the thousands of students he taught in the Columbus Public Schools and at The Ohio State University. Mike Martin interviewed Professor Gallagher and shares his life story and teaching tips in “The Man With The Derby Hat�.
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- Contributions to Music Education (CME) is an important music education research journal and an invaluable resource for music educators. Craig Resta explores how articles from CME can inform your teaching and help improve student achievement. - Understanding bowing lanes is fundamental to proper string technique. Using a multi-media approach, Mark Sholl provides some tips to help your students improve their understanding and use of bowing lanes. - This issue also includes important information about the 2017 Professional Development Conference in Cleveland, Ohio. This is going to be an outstanding event with relevant professional development, fantastic performances and great networking opportunities. The 2017 conference will also feature a special focus track with emphasis on Music Education in Urban and Rural Schools. Dr. Parulekar is in his 18th year of teaching and 14th 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, NAfME, KKY, FMA, and an Eagle Scout. He and his wife, Tracie, make their home in Pickerington, Ohio with their ten-year-old son, Andrew, and fouryear-old daughter, Abby. They enjoy watching Ohio State Football and attend the East Side Grace Brethren Church. TRIAD
SCHOOL OF MUSIC Practice Audition Day for High School juniors and seniors Friday, October 7, 2016
High School Honor Band Weekend • New expanded program! January 13-15, 2017 Online nomination deadline: November 18, 2016
Middle School Honor Band Festival February 25, 2017 Online nomination deadline: January 5, 2017
noteworthy.
Spring Visit Day • for all high school students Friday, April 7, 2017
Audition Days for the 2017-18 Academic Year Thursday, December 8, 2016 Friday, January 13, 2017 Saturday, January 28, 2017 Saturday, February 11, 2017
For admissions and event information visit music.osu.edu
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FROM THE DESK OF... Dr. Michael Crist, OMEA President Serving as OMEA President-Elect for the past two years has been an outstanding experience. I’ve made new friends and learned more about the dedicated and talented music educators throughout Ohio. As I transition into the role of President of the Ohio Music Education Association I am both humbled and honored to serve the membership. I look forward to advocating for music education in Ohio and throughout our country. From its beginnings in 1932, OMEA has focused on serving the members and promoting music education in Ohio. What is OMEA? Maybe a better question would be, “Who is OMEA?” When the question is asked from that angle the true purpose of OMEA comes to the fore. You are OMEA! The future of OMEA will be determined by the commitment and engagement of our membership. Each of you, as members of the Ohio Music Education Association, has a responsibility to ensure a bright future for our Association. I’ve met many people who are shaping the future of OMEA through their actions and words. Past and present members of the OMEA Board of Trustees are the decision makers who guide the ship. I have been honored to work with and learn from some outstanding leaders on the Board. Past Treasurer Ben Factor, past Secretary John Veneskey, and past TRIAD Editor Matt Warner improve music in the lives of their students every day. Their service to OMEA is greatly appreciated, and I look forward to working with each of them again in the future. Outgoing Immediate Past President, Patricia Meeks has been a changing force in OMEA for 8
many years. Pat’s commitment to quality and attention to detail have helped to propel OMEA forward. Most recently Pat led the OMEA Leadership Retreat at OSU and the Brenner Leadership Academy at Deer Creek Conference Center and Resort. Both events provided training for emerging leaders at a variety of experience levels. Pat proves to be a great leader and a great teacher! I want to ask each of you to reflect back on the accomplishments of Immediate Past President Terry Herschman. The best way I can summarize her contributions is that Terry brought balance to OMEA. Each OMEA member and their students will be reaping the benefits of Terry’s desire to provide quality opportunities for all musicians in Ohio. Last year The Board welcomed two new members. Dana Hire, Secretary, and Marc Parulekar, TRIAD Editor. Most recently Kathleen McGrady, President-Elect, and David Vitale, Treasurer, joined the Board. These four new leaders in our Association are among the best music educators in our State. They also represent a bright future for OMEA as they share their commitment to quality and excellence with our members. The Ohio Music Education Association is a model for other MEA’s in our country. The main reason for this is our staff. I look forward to a great future working with OMEA staff members; Dave Adamson, Amy Annico, Bill Guegold, Mark Hensler, Dane Newlove, Greg Taylor, and Executive Director, Roger Hall. Our staff members serve as both facilitators and advisors, and each of them are experts in their field with a dedication to the success TRIAD
of our membership, their students, and the many activities and resources provided by OMEA. We are very fortunate to have these great music educators working to meet our needs. Some goals for the future will focus on inclusion, balance, and a continued commitment to excellence that OMEA represents. We will work to provide resources for our rural and urban colleagues, and reach out to our college and university members to increase their involvement in OMEA projects. You will notice an increased list of offerings in those areas at our 2017 Professional Development Conference in Cleveland. We will work to engage those student musicians who live on the periphery of many OMEA events as we open our doors to more diverse musical styles and invite student composers and the “garage band” culture to improve their musical offerings through OMEA. Our organization represents high musical standards and music education for all. Get involved in OMEA at the local level. Host a district or region honors ensemble, take on a leadership role in an adjudicated event in your district, or run for a leadership position at the district, region or state level. As with most things in life, “you will get out of it what you put into it.” OMEA needs you, and you and your students need OMEA. I look forward to the future, and I look forward to meeting each of you as I serve you. Remember, YOU are OMEA!
OCTOBER/NOVEMBER 2016
Michael Crist is Professor Emeritus of the Dana School of Music at Youngstown State University where he was a member of the faculty for more than 33 years. His teaching responsibilities have included; applied trombone, assistant band director, director of Jazz Ensemble II and III, conductor of the Dana Trombone Ensemble, and numerous classes in music education and music technology. Dr. Crist has served as Director of the Dana School of Music, and Interim Dean of the College of Creative Arts and Communication. Prior to coming to Youngstown State University, Dr. Crist taught music in public schools in upstate New York. Dr. Crist’s degrees include a B.M. and B.M.E. form Ithaca College, New York, an M.M. in trombone performance from Youngstown State University, and a Ph.D. in music education from Kent State University. Dr. Crist has studied conducting with Edward Gobrecht, Edward Lisk, Robert Fleming, and Wayne Gorder. His trombone teachers include Frank Brown, William Harris, Bruce Burritt, Charles Dalkert, Allen Ostrander, Vern Kagarice, and James Desano. Dr. Crist served as principal trombone with the Youngstown Symphony for 30 years. He has also performed with the Warren Philharmonic Orchestra, the Tri-Cities Opera, Binghamton Symphony, Broome County (NY) Pops Orchestra, the Cleveland Opera Orchestra, and the Cleveland Jazz Orchestra. Dr. Crist is a member of the International Trombone Association, where he served as a member of the Scholarship Committee, and as Membership Chair for the state of Ohio. Dr. Crist has been published in the International Trombone Association Journal, the O.M.E.A. Triad, Dialogues In Instrumental Music Education, Dissertations Abstracts, Contributions To Music Education, and has served as Editor of Contributions To Music Education. Dr. Crist current has served as Chairperson for Region 5 of the National Association of Schools of Music and has served as chair of the O.M.E.A. Research Committee and as Associate Editor of Contributions to Music Education. Dr. Crist has served as president of the Ohio Association of Music Schools, and is a Visiting Evaluator for the National Association of Schools of Music. Dr. Crist is currently President of the Ohio Music Education Association.
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2016-2017 OHIO MUSIC EDUCATION ASSOCIATION
CORPORATE / INSTITUTIONAL PARTNERSHIP The Ohio Music Education Association offers a partnership program to businesses, corporations, and colleges/universities. These organizations have made a special effort to support the activities of the music education profession in the State of Ohio. The quality of music education is highly valued by these caring partners. Your patronage of these educational advocates is strongly encouraged. All listings as of 8/8/16.
LEVEL lll - PRESIDENT’S CLUB Bluffton University
Bob Rogers Travel
1 University Drive Bluffton, OH 45817 terryp@bluffton.edu www.bluffton.edu
3440 Lacrosse Lane Naperville, IL 60564 info@bobrogerstravel.com www.bobrogerstravel.com
Buddy Roger’s Music
Conn-Selmer
6891 Simpson Avenue Cincinnati, OH 45239 customerserv@buddyrogers.com www.buddyrogers.com
P.O. Box 310 Elkhart, IN 46515 rhanby@conn-selmer.com www.conn-selmer.com
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Bowling Green State University College of Musical Arts Moore Musical Arts Center Bowling Green, OH 43403-0292 musicadmissions@bgsu.edu www.bgsu.edu/music
Festivals of Music/ Music in the Parks 1784 West Schulykill Road Douglassville, PA 19518 info@edprog.com www.educationalprograms.com
Music Travel Consultants
Noteworthy Tours, Inc.
QuaverMusic.com
7920 Georgetown Road Suite 700 Indianapolis, IN 46268 support@music-travel.com www.music-travel.com
P.O. Box 1665 Sandusky, OH 44871 travel@noteworthytours.com www.noteworthytours.com
1706 Grand Avenue Nashville, TN 37212 info@QuaverMusic.com www.quavermusic.com/preview
Rettig Music, Inc.
Royalton Music Center
Summit Tour & Travel, Inc.
510 Clinton St. Defiance, OH 43512 cindy@rettigmusic.com www.rettigmusic.com
10167 Royalton Rd. Unit A North Royalton, OH 44133 m.malko@royaltonmusic.com www.royaltonmusic.com
P.O. Box 682240 Orlando, FL 32868-2240 info@summittourtravel.com www.summittourtravel.com
The Ohio State University School of Music
Wright State University School of Music
Yamaha Corporation of America
110 Weigel Road 1866 College Road Columbus, OH 43210 music@osu.edu http://music.osu.edu
3640 Colonel Glenn Hwy. Dayton, OH 45435 amy.neace@wright.edu www.wright.edu/music
6600 Orangethorpe Avenue Buena Park, CA 90620 usa.yamaha.com www.usa.yamaha.com
TRIAD
SCHOOL OF ART | COLLEGE OF MUSICAL ARTS | CREATIVE WRITING | THEATRE & FILM B
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MUSIC DISCOVERY DAY | OCTOBER 17, 2016 Experience our College of Musical Arts! Visit classes and rehearsals, meet the music faculty, attend clinics on music theory and audition preparation, and take a sample lesson with a faculty member. Register by Tuesday, October 11 at BGSU.edu/musicdiscovery
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AUDITION DAYS | 2016 - 2017 December 3, 2016 January 14, 2017 January 28, 2017 February 24, 2017 (vocalists only)
February 25, 2017 (scholarship deadline) April 22, 2017 (includes Junior Trial Audition Day)
BGSU.edu/musicauditions
Plan Ahead for Success! Widely known as one of the country’s outstanding collegiate music programs, the College of Musical Arts at Bowling Green State University prepares students to be educators, performers and scholars on an international level. Our alumni hold leading positions in the creation, dissemination and performance of music, and our unique contemporary music program has inspired graduates to Pulitzer and Grammy level achievements. 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.
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To learn more, please contact our music admissions office at (419) 372-8577, musicadmissions@bgsu.edu, or visit BGSU.edu/music. Prospective students must apply to BGSU in addition to auditioning for the College of Musical Arts. To our guests with disabilities, please indicate if you need special services, assistance or appropriate modifications to fully participate in this event by contacting Disability Services, dss@bgsu.edu,
L E V E L l l - O M E A PAT R O N Capital University Conservatory of Music
Case Western Reserve University
Cleveland State University
One College & Main Columbus, OH 43209 lroseber@capital.edu www.capital.edu/music
10900 Euclid Avenue Cleveland, OH 44106 music@case.edu http://music.case.edu
The College of Wooster Scheide Music Center
Educational Tours, Inc.
Kent State University
Wooster, OH 44691 nditmer@wooster.edu www.wooster.edu/music
P.O. Box 257 Holt, MI 48842 eti@tours-eti.com www.tours-eti.com
1325 Theatre Drive Kent, OH 44242 schoolofmusic@kent.edu www.kent.edu/music
Marietta College
Muskingum University
Ohio Northern University
215 Fifth Street Marietta, OH 45750 music@marietta.edu http://www.marietta.edu/~musc/
163 Stormont Street New Concord, OH 43762 dturrill@muskingum.edu www.muskingum.edu/dept/music
525 South Main Street Ada, OH 45810 p-warner@onu.edu www.onu.edu/music
Otterbein University
Soundwaves Recording
1 South Grove Street Westerville, OH 43081 ddavenport@otterbein.edu www.otterbein.edu
4708 Surfside Drive Huron, OH 44839 virginia@soundwaves.org www.soundwaves.org
Steinway Piano Gallery Cleveland
Super Holiday Tours
University of Akron
University of Dayton
116 Gatlin Ave. Orlando, FL 32806 info@superholiday.com www.superholiday.com
School of Music, Guzzetta Hall 260 Akron, OH 44325-1002 concerts@uakron.edu www.uakron.edu/music
300 College Park Dayton, OH 45469-0290 musadms@udayton.edu go.udayton.edu/music
2121 Euclid Avenue MU332 Cleveland, OH 44115 m.c.bill@csuohio.edu www.csuohio.edu/class/music
334 East Hines Hill Road Boston Heights, OH 44236 cgood@steinway-ohio.com www.steinway-ohio.com
West Music 1212 Fifth Street Coralville, IA 52241 service@westmusic.com www.westmusic.com
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LEVEL l - OMEA SPONSOR Ashland University 401 College Avenue Ashland, OH 44805 music@ashland.edu www.ashland.edu/music
EPN Travel
Heidelberg University
1784 West Schulykill Road Douglassville, PA 19518 tourinfo@edprog.com www.epntravel.com
310 East Market Street Tiffin, OH 44883-2462 jowen@heidelberg.edu ppage@heidelberg.edu www.heidelberg.edu
J.W. Pepper & Son, Inc.
Malone University
Miami University Music Dept.
5282 E. 65th St. Suite B Indianapolis, IN 46220 Indianapolis@jwpepper.com www.jwpepper.com
2600 Cleveland Ave. NW Canton, OH 44709 mhaines@malone.edu www.malone.edu/music
501 S. Patterson Ave, 109 Presser Hall
Ohio University School of Music
University of Mount Union
440 R. Glidden Hall Athens, OH 45701 kasler@ohio.edu www.finearts.ohio.edu/music
1972 Clark Avenue Alliance, OH 44601 andersem@mountunion.edu www.mountunion.edu/ music-major
Youngstown State University Dana School of Music
OCTOBER/NOVEMBER 2016
Oxford, OH 45056 ledfordcj@miami.edu www.miamioh.edu/sca/ academics/departments/music
One University Plaza Youngstown, OH 44555 clkrummel@ysu.edu www.ysu.edu/dana
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LIVING LEGENDS The Man in the Derby Hat: James Gallagher Dr. Michael G. Martin; Hilliard Darby High School
I first heard of James Gallagher when I was a student at Northland High School, and at the time, he was directing the Whetstone Choirs. Year after year, our Northland choir would participate in OMEA contest. We struggled to receive an excellent rating each time, while the Whetstone Senior High School Choir annually received straight superior ratings. Their choir would file on, clad in their blue robes and white stoles, and sing with the utmost degree of precision and excellence. I continually sat in awe of their musicianship, and I wondered how I could be a part of his choir. I saw James Gallagher later that summer at the grocery store wearing bell-bottom pants and donning an afro while he purchased a bag of potato chips. I almost didn’t recognize him at the time, but no mistake, it was Mr. Gallagher. The next time I saw the man in the derby hat he was on campus at The Ohio State University rehearsing 40 college men in a large and sterile rehearsal room in Weigel Hall. I reluctantly agreed to attend rehearsal just to see what it was about, and as I walked in, there he was, James Gallagher, “THE man.” I stood on the back row with 39 other college guys while we rehearsed Randall Thompson’s ‘The Pasture.” As we sang the last four measures, I found myself welling up with emotion realizing that I was now part of this man’s choir, for which I had always longed to be a part. He never 14
changed or aged over the years; always listening, always caring, always professional and always wearing his signature London Fog trench coat and derby hat. That one rehearsal grew into nearly two decades of learning and collaborating with James Gallagher. He was truly “music” to me. He rallied 40 plus men to sing impactfully everyday, and he built an outstanding choral ensemble that eventually made its imprint on the world and the lives of those who witnessed his artistry. I remember our first exchange concert with Men’s Glee and that state up North. Michigan’s Men’s Glee 98 member ensemble were a force to be reckoned with, and they challenged us to rise up if we were to match or surpass them. We set a steady course to help realize James Gallagher’s musical vision and dream for Ohio State. After accepting this challenge, we recruited, rehearsed tirelessly and achieved a level of comparable quality and choral excellence. As each concert unfolded, we all knew something exciting was happening. Our next exchange concert with Michigan was much different indeed. The countless tours, rehearsals, and concerts helped set the bar for future singers that called The Ohio State University their home. James Gallagher’s journey into choral music had many twists and turns. As a young boy, he began piano lessons. He auditioned and made it into his high TRIAD
school choir as a freshman and became their accompanist. His soon-to-be orchestra teacher, Lois Snyder, asked him to join the orchestra, which led to his taking up the viola. It was during his junior and senior year he decided he wanted to teach music and help young musicians as his highly regarded mentor had done for him. He attended Otterbein University, student taught with Evelyn Ross at North High School, and accepted his first teaching position at Indianola Junior High School from 1963-1967. He then accepted choral positions at South High School (1967-1972), Whetstone High School (1972-1981) and finally The Ohio State University from 1981-2002. In addition, he served as the Columbus Symphony Chorus Director from 1976-1982 with Evan Whallon. James Gallagher taught for a total of 35 years. Not surprising to anyone, while at Whetstone, his choir was selected to perform for an ACDA convention held in Columbus, Ohio in 1976. During his tenure at The Ohio State University, he taught graduate and undergraduate classes in conducting and vocal pedagogy, conducted the Scarlet and Gray Show Choir, Symphonic Choir, Chorale, and Men’s Glee Club. Over the years, his many choirs were selected to perform for numerous OMEA conventions, two national ACDA conventions in 1985 and 1999, and five divisional conventions with the OSU Men’s Glee Club. I had an opportunity to chat with James Gallagher about his life and career in an effort to bring inspiration to our craft.
WHAT IS YOUR FONDEST MUSICAL MEMORY? James Gallagher: “I always seemed to have good rehearsals. I honestly cannot recall ever having a bad rehearsal. If my students were not as focused as they should be on any given day, they always understood that tomorrow had to be better. We had a great rapport with one another and it was always the highlight of my day to rehearse with them.” He added, “I recall many wonderful concerts. The first acceptance to perform for a national ACDA Convention for Men’s Glee was held in Salt Lake City, Utah came during my fourth year at Ohio State. I fondly remember many of our international tours, singing in Ely Cathedral and in Prague, Rome, Wales, Austria, Severance Hall in Cleveland and countless other venues. In 1991, The Ohio State University Men’s Glee Club was named “Choir of the World” at the Eisteddfod Festival in Wales with a unanimous vote by the judges. ON THE EVOLUTION OF THE OHIO STATE MEN’S GLEE CLUB…. James Gallagher: “We started with 35 men, one music major, and students from various fields which were all non-select singers. I remember using students to lead sectionals, which led to eliminating them because they were undoing what we had covered in rehearsal. When the Men’s Glee Club joined with Michigan for an exchange concert with their 98-member chorus. That was really a wake up call and the first time that the guys knew what we were to aspire to musically. That was really a pivotal point for the group.” ARE THERE DIFFERENCES IN CONDUCTORS TODAY COMPARED TO WHEN YOU BEGAN YOUR CAREER? James Gallagher: “I think teachers have it easier today due to numerous online resources in searching for literature. Choral teachers today do not possess the keyboard skills that students had when I began teaching, and I worry that many programs will suffer once the experienced or retired accompanists are not willing or able to play anymore. More teachers need to develop student accompanists.”
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WHAT IS YOUR BIGGEST REGRET? James Gallagher: “My biggest regret in life was having to work many jobs which included a teaching position, a church job and a six year tenure as the Columbus Symphony Chorus conductor to augment the low teaching salaries of that time.” In addition, “I always wanted a have a smaller, select male chorus to allow us to move more quickly and sing more music. When you are a music educator - this is not always possible given that you try to include as many singers that want to sing in your ensembles.”
FROM 1991-1994, THE LATE ROBERT SHAW SERVED AS CONDUCTOR IN RESIDENCE AT OHIO STATE. I ASKED JAMES TO REFLECT ON THAT TIME. WHAT WAS YOUR IMPRESSION OF ROBERT SHAW? “I learned how dedicated he was to score study and how to be true to the score. I also learned how to be more efficient in my rehearsals. I think conductors today talk too much; we need more singing and less talking!” WHAT DEFINED YOUR WORST TEACHING DAY? “My worst days occurred when the students were not grasping the material being rehearsed and I did not adjust my strategy. There were times that it seemed like magic would be the only thing that could solve some unique technical choral problems.” WHAT IS YOUR ADVICE TO RECRUIT AND RETAIN MALE SINGERS? James Gallagher: “Select a couple of easier pieces that will enable a small group of guys to learn quickly and sound vibrant and energetic. Hopefully, they will feel encouraged to recruit several more young men to join them. Slowly keep raising the bar so that they can be successful while growing vocally and musically.”
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WHAT ADVICE WOULD YOU GIVE TODAY’S MUSIC TEACHERS? Be fair and firm so your students know what is expected. Be professional in the classroom. They need to know there is a line at all times that cannot be crossed. Take time to study your scores. High school directors need to cooperate with their feeder programs and be in touch with the music teachers at the elementary and middle school levels. Maintain personal and professional balance in your life.
WHAT DO YOU HOPE TO BE YOUR LEGACY? “I would hope that people respected the work that I did and that I always tried to be respectful and appreciative of their work too. I would have hoped that the students that came through my program had a good musical experience. I would also like to be remembered for producing a vast number of students who are now doing such great work. Now I can retire completely.” In retirement, Jim likes spending time with his five grandchildren, ages 5-12, four boys and one girl. He continues to do clinics and workshops across the country and is still involved with the music ministry at First Congregational Church, Columbus, Ohio. TRIAD
Writing this article was as much an honor for me just as being a part of the countless rehearsals, concerts, tours, lousy pianos, and strong friendships that we all forged during this journey. James Gallagher is the quintessential music educator. Jim’s greatest legacy will be his mark of excellence that he has given his students and colleagues. He has inspired many and his work will live on for future generations. He lives and breathes what he says and leads by example. Upon his retirement, I remember fondly one of our last concerts, in which I surprised him by stopping mid-song and brought in many of his former students, colleagues, friends and family. I presented him with a new piece titled, “When I Hear Music.” It described James Gallagher as an educator, mentor and friend. Composing that piece came easily for me, given my source of inspiration. I am certainly not a lyricist, but the meaning of that piece allowed me to say thank you on behalf of all he has done for his family, former students and music educators. Although he exited Ohio State without much fanfare, his legacy is one of integrity, love, excellence and friendship. The message of that composi-
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tion, which I dedicated to James Gallagher, still evokes the same sentiment. To his friends he is “Jim.” to his former students he is ‘Mr. G,” to me, he will always be that man in the derby hat. Dr. Michael G. Martin is the Director of Choral Activities at Hilliard Darby High School and former assistant conductor and accompanist for The Ohio State Men’s Glee Club for 18 years. mike_martin@hboe.org
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FEATURE ARTICLE There’s an Article for That: How Contributions to Music Education Can Help You Be a Better Teacher Dr. Craig Resta; Kent State University
BECOMING A BETTER MUSIC TEACHER Most music teachers think daily about how to improve their practice. Just as you observe all students and their performance in every rehearsal, you likely reflect on your own teaching to determine how to make it better at each turn. You also utilize many resources to aid in the endeavor – sometimes speaking with colleagues, reading a professional magazine, video or audio recording, talking with students, conversations with administrators, attending a professional conference, reaching out to college mentors, and others. However, what if there was a resource of vast possibility, with literally hundreds of articles and suggestions to make music education better? What if it was produced in your own state, yet recognized internationally? Even better, what if you could access with ease, and engage with hundreds of specialized music education teachers and scholars? Well, this does indeed exist, and is the journal, Contributions to Music Education (CME). With such a resource readily available, why not take advantage and benefit from its wealth of knowledge? Produced by the Ohio Music Education Association (OMEA) since 1972, CME has a rich history of research that taps into more than a century old tradition looking at musical inquiry through a scholarly lens. With more than a dozen respected peer-re18
viewed journals in music education, there is a rich library of research at our fingertips. CME is one of those journals, and this article is presented to inform how it can help you in becoming a better music teacher every day. WHAT IS CONTRIBUTIONS TO MUSIC EDUCATION? Sometime around 1972, the OMEA Research Committee decided it needed a publication that would help disseminate the good work being done by researchers around the state and elsewhere. While not the only state to introduce a published research venue, it was near the first, and today the only one that is recognized as a standard journal in the music education research literature. In the United States, it is one the few that is broad-topic in its scope. So, it does not focus solely on choral or general music, history or philosophy, band or orchestra, and so on. From the original issues of the early 1970s, CME has now produced some 400+ articles, in 41 volumes, with hundreds of authors, topics, editorial board members, and more. One of its important features is adherence to the juried, or peer-review, protocol. This means that when authors submit their manuscripts, they are sent to an editorial board for review, in a completely blind manner. As committee members do not know the authors when they read TRIAD
the work, it is a non-biased way of ensuring the research is of the highest quality. This is the gold standard for all peer-reviewed journals, and CME has followed this protocol since the very beginning. Another note to consider is that the process of preparing a research article is a significant and rigorous task in itself. Just as you might take three to six months (or more) to prepare your ensembles for a performance or a concert tour, researchers often spend the same time, if not two to three times longer in their work. From there, it may take a year or more to produce an issue of 6-10 articles that arrives at your doorstep or local music library. This is one of the benefits of reading research in CME, that you can tap into the results with a simple glance, instead of months of work ahead of time. You likely have often thought of taking on a long term project to help answer a question or two, so why not let the researchers who have already done the work offer some input and save you the effort? Now, before going into some of the articles and topics you can find in CME, here is another overview and perspective, in video format.
LOOKING AT SOME TOPICS AND ARTICLES OF RELEVANCE There are many topics facing music teachers today. Some may be related to band, orchestra, choir, or general music. Others may be management, budget, administration, parents, or community. Still others in score preparation, curriculum planning, assessment, evaluation, repertoire, concert planning, and the like. Further concerns may be recruitment, retention, marketing, discipline, touring, ensembles, and so on. There are issues of socio-cultural importance, exceptionalities, gender, equality, diversity, OCTOBER/NOVEMBER 2016
and pluralism. Many of these topics are addressed in CME, and hopefully can address your questions about musical practice. In order to get you started, I have selected a few articles that might be interesting to you. You will see the title and abstract, which are linked to read the full article itself. These are in no particular order, simply choices that might be a compelling start, and are only a small selection of the 400+ articles published in CME since 1972. They represent major areas of music education, including band, choir, general music, orchestra, musical pedagogy, and socio-cultural aspects. Note that some authors may have changed institutions, but those listed reflect their affiliations at the time of their article publication. As you read, keep in mind how it might influence your perspective, offer a suggestion, offer new knowledge, or overall help your practice in the classroom. Remember that sometimes even the smallest bits of information can be helpful, and while research articles cannot solve all problems, they chip away at helping us figure out our larger concerns. If you are new to research or find some aspects confusing, start by scanning the abstract, introduction, and conclusion, then move on to the remainder of the article. While seeing the full piece in its entirety is optimal, accessing the knowledge is the main factor here. After reading these samples here, perhaps you will be inspired to investigate other music education research articles. EFFECTS OF LEARNING MELODIES BY EAR ON PERFORMANCE SKILLS AND STUDENT ATTITUDES Ann Marie Musco, Georgia State University (CME–V36–2009) This study examined the effects of playing by ear in selected keys on the abilities of musicians (n=28) to play by ear and sight-read in those keys. Middle school band students in the experimental group learned melodies by ear in one familiar and two unfamiliar keys, and did no music reading in the new keys, while students in the contact-control group practiced technical exercises from notation. The experimental group improved significantly in playing by ear in the two new keys, but not in the famil19
iar key, while the contact-control group did not improve in any of the keys. Both groups improved in sight-reading in all keys. Responding to an attitude survey, only students in the experimental group perceived any improvement in performance, specifically in the new keys. The results of the study suggest the potential benefits of playing by ear as preparation for sight-reading in new keys. APPROACHES OF A SECONDARY MUSIC TEACHER IN RESPONSE TO THE SOCIAL AND EMOTIONAL LIVES OF STUDENTS Scott Edgar, Lake Forest College (CME–V40–2015) Music teachers interact regularly with students experiencing social and emotional challenges and are often under-prepared to do so. The purpose of this study was to examine approaches of a secondary general music teacher in responding to the social and emotional challenges of eight students in a music classroom at an alternative high school. A single instrumental case study design was employed to observe Ms. Jane’s music class at Jackie Robinson School. Findings suggested home life, motivation to succeed, violence, abuse, neglect, and difficulty with self-image were challenges these students encountered, as perceived by the teacher. Ms. Jane attempted to lessen the impact these challenges had on her students through musical and interpersonal means. Implications for music teachers include the importance of music teacher/student interaction as related to student challenges and strategies to do so. AN ANALYSIS OF TAPED COMMENTS FROM A HIGH SCHOOL JAZZ BAND FESTIVAL Mark Ellis, Ohio State University (CME–V34–2007) The purpose of this study was to examine comments taped by judges at a competitive festival for high school jazz bands. To accomplish this, comments from 48 tapes were categorized through a series of questions: Was the feedback positive or negative? If negative, was the criticism direct or implied? Was the comment specific or non-specific? What was the focus of the comment? At whom was it 20
directed? Was the comment coupled with a suggestion for improvement? Among the findings: (a) About 15% of all judges’ comments were direct-negative, 49% were implied-negative, and 35% were positive; (b) The number of comments per tape varied significantly among judges; (c) Whereas bands with high numerical scores received negative and positive comments in equal proportions, low- scoring bands received negative and positive comments in a 4:1 ratio; (d) Rhythm sections and soloists attracted disproportionate numbers of negative and positive comments, respectively; and (e) About 23% of negative comments were coupled with suggestions for improvement. THE WAY WE DO THE THINGS WE DO: A SURVEY OF MIDDLE SCHOOL CHORAL EDUCATORS’ SIGHT-SINGING ATTITUDES AND INFLUENCES Bryan Nichols, University of Akron (CME–V39–2013) This study explored the rationale for sight-singing instructional choices of chorus teachers at the middle school level and sought to determine teachers’ commitment to teaching music literacy. Three research questions formed the basis of the study: (1) what is the prevalence of sight-singing instruction in choral music classes, (2) what is the rationale for sight-singing instruction, (3) when do teachers first learn the sight-singing method they use. Members of a state music educators’ association were asked to complete an online questionnaire. The majority of respondents self-reported the inclusion of sight-singing instruction for all their ensembles for a duration of five to fifteen minutes, which is similar to data previously reported in high school classrooms. When asked where they first learned the method they currently use, most teachers said that it was at the middle school level. The prevalence of this response indicates the life-long impression that early music learning may have on future music educators, though few specified their middle school teacher as an influence on their current methods selection. The data indicates that respondents employed a variety of methods, and that movable solfège was the most frequently cited primary method. Teachers’ personal philosophies were determined to be more important TRIAD
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than influences such as curriculum standards, festival requirements or previous methods professors. THE INFLUENCE OF WARM-UPS AND OTHER FACTORS ON THE PERCEIVED PHYSICAL DISCOMFORT OF MIDDLE SCHOOL STRING STUDENTS Joshua Russell, University of Colorado Boulder (CME–V33–2006) The purpose of this study was to explore the influence of warm-up activities and fixed factors on the perceived health of public middle school string players. Participants in this study were 6th, 7th, and 8th grade string players (n=158). Participants rated their discomfort while playing their instrument in a series of 32 items representing left and right sides of the body and encompassing various regions of the body. Descriptive statistics revealed that participants generally did not experience discomfort while playing their instruments. Neither warm-up frequency, type of warm-up activity, or warm-up duration impacted perceived discomfort. Only one fixed factor had a significant impact on overall discomfort. Sixth graders reported higher discomfort than 7th and 8th grade participants. GENDER AND ATTRACTION: PREDICTING MIDDLE SCHOOL PERFORMANCE ENSEMBLE PARTICIPATION Emery C. Warnock, Richmond Hill (GA) Middle School (CME–V36–2009) This study was designed to predict middle school sixth graders’ group membership in band (n=81), chorus (n=45), and as non-participants in music performance ensembles (n=127), as determined by gender and factors on the Attraction Toward School Performance Ensemble (ATSPE) scale (α=.88). Students completed the ATSPE as elementary fifth graders and were classified by group after enrolling into middle school. Six factors on the ATPSE and gender were programmed as predictors in a direct discriminant function analysis. Results show that gender (.898), parental support (.715), and a negative relationship concerning future ambitions in school music (-.633) were the only significant predictors of membership in band and in the group classified as non-participants in music performance ensembles. OCTOBER/NOVEMBER 2016
Findings suggest that the stronger parental support is toward school music, the greater a prediction can be made of middle school sixth graders’ school performance ensemble participation. Now that you have a sense of sample articles and topics that can help your practice, perhaps you are interested in searching for more. You can read abstracts of every article written for CME dating back to 1972 by clicking HERE. You can search by keyword, dates, issues, and other operators. Give it a try, and you might just discover some research that changes your viewpoint or influences your teaching in an unexpected and positive way. It is likely you may know many of these suggestions, and even are putting them into practice already. One perspective of looking at research is that it simply is a way of answering questions about problems in practice. In our case, music teaching and learning, there are plenty of questions and issues to be explored. Take advantage of the resources in CME, and new ways of looking at problem solving in the music classroom. Your practice, and students, will ultimately bear the benefits. We all want to become better music teachers, and Contributions to Music Education is a solid tool to help us achieve this very goal. I think you may be pleasantly surprised at the value that you and CME bring to the music education profession. Now you can add an additional tool to your supply of progressive ideas, and resources, in the music classroom. Craig Resta holds degrees from University of Maryland, Indiana University, and Baylor University. His background is in instrumental and orchestra pedagogy, along with socio-cultural and historical research in music teaching and learning. His teaching focuses on supporting undergraduate, masters, and doctoral students on the path to becoming better music educators. He is presently Associate Professor of Music Education at Kent State University, and Editor of Contributions to Music Education.
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TEACHING TIPS BAND Skimming the Top: Uncovering New Masterworks Dr. Jeffrey D. Gershman; Capital University
There are few things we do as music educators that are more important than the selection of concert repertoire. With everything that we’re asked to do, however, finding the time to review so much new music can feel overwhelming. As an effort to help, here are six evaluative criteria that will help you speed up the process. While all six may not be applicable to every work, these criteria will allow you to quickly and effectively evaluate new music in an effort to find the best new titles available for your ensembles. INSTRUMENTAL INDEPENDENCE Instrumental independence, the idea that all parts have the ability to play independent lines, is a compositional fundamental that is often in short supply in much of the new music that we encounter. If we truly believe in that trusted maxim that nothing makes our students grow more quickly than playing chamber music, then these same principles should also apply to an ensemble setting. While there’s no doubt that block scoring may be easier to teach, hiding our students from exposure to error and diminishing their independent responsibility to the ensemble impedes the progress of those developing students who need it the most.
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MELODIC SHAPE While there are myriad ways a composer can create a memorable melody, so often the melodic content of newer music seems to rely on the generic and formulaic. Our students are certainly sophisticated enough to enjoy a melody that might take them more than one reading to appreciate. I urge you to look for new works in which the melody isn’t shackled into an eight-measure phrase. Look for melodies that explore chromaticism or that aren’t afraid to be angular. If our job is to broaden our students’ music world outside of their own personal tastes, then we need to present them with melodies that don’t underestimate their intellectual and emotional capacities. HARMONIC LANGUAGE Much like melodic shape, there are many different approaches to creating interesting harmonic language. Despite this, several trends seem to be consistent throughout so much new music for band. The first is the use of predictable, overly-simple harmonies and harmonic progressions. While I readily admit that our students, especially those who are less advanced, should have a foundation of traditional major and minor harmonies, so much of today’s music never strays past chords and progressions found in the opening chapters of an elementary theory text. If audiences’ tastes evolved past these TRIAD
same harmonies three hundred years ago, there’s little hope that our students will (or should) be interested in them now. The second trend tends to target music written for developing ensembles. Taking a cue from popular music, many new pieces employ the same elemental chord progressions found in Top 40 music. There seems to be an unfair assumption that, because these students are younger, they need to be fed a diet of diluted harmonic language. The truth is that students at any level can play and appreciate chords with dissonance or added tones. Just as with melodic shape, I urge you to seek out music that challenges and expands our students’ 21st century ears. CREATIVE ORCHESTRATION The band has the potential to be a remarkably colorful and vibrant ensemble, but so often in much of today’s new music, orchestration feels like an afterthought. What should be a pivotal step in the compositional process is often dictated by function instead of inspiration. While this is certainly true of the overreliance on alto saxophone/horn doublings
or unison lines for every low woodwind and brass instrument, it has now also crept into the percussion section—probably the section that offers the greatest variety of colors in the ensemble. So often, our percussionists are relegated to parts that seem to exist as an addendum to the wind parts instead of being skillfully and seamlessly woven into the fabric of the overall ensemble texture. If we are to escape this rut of the generic “band” sound, we need to embrace the music of composers who fully exploit the unique timbres inherent in our ensemble and view their orchestrational choices not as an afterthought, but a vital part of the compositional process. COMPOSITIONAL STRUCTURE Throughout its development, Western classical music has been built on a foundation of musical form. From these large structures spring the melodies, harmonies, compositional techniques, and orchestration that make each composer unique. The best of our wind composers have always been able to build their pieces on the foundation of these structures while seamlessly infusing their music into
elementary, middle, and high school band, choir, and orchestra 2017: April 21-22 April 28-29 May 5-6
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them. Seek out composers who take the time to create works in which the form is a quiet framework on which their can music evolve instead of those who create clunky sectional pieces because of abrupt, easy transitions. COMPOSITIONAL CRAFT Compositional craft is the final criterion for establishing new works of serious artistic merit. It is also, perhaps, the hardest to actually quantify, because it is truly a composite of all of the criteria we’ve discussed. Simply put, the music should demonstrate a certain level of true compositional prowess and craftsmanship. Craftsmanship implies a personal integrity—that the composer respects the process of composition by producing music that is built both on the exacting standards of the best of our repertoire and on the individual stamp of the composer’s training and experience. Yes, these pieces with extraordinary craft are hard to find, but it has been my experience that they are the ones that create the moments that our students will never forget. These pieces may not be their favorites at first, but they will be the ones remembered long after they leave your program. So, in the end, is it really that important to take the time to search for new pieces of significant artistic merit—to skim the very top of the myriad new pieces that are written each year? The answer is a resounding, and impassioned, “yes.” Our concert music is the foundation of our curriculum and it is our responsibility to not only teach our students notes and rhythms, but to shape and elevate their musical tastes. Because of this, our duty must lie in
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educating our students, not in entertaining them. When our students graduate from high school, the vast majority of them will never participate in organized music again. This means that the experiences they have in secondary school band will alone shape their musical tastes outside of popular music for the rest of their lives. These musical tastes will be established solely with the music placed on their stands. For the good of your students, I encourage you to maintain only the highest of standards and to be unwavering in your expectations of our new masterworks. Dr. Jeffrey D. Gershman is the Director of Wind Ensembles and an Associate Professor of Music at the Capital University Conservatory of Music. His responsibilities include conducting the Symphonic Winds, Wind Symphony, and teaching advanced conducting. His past positions include serving as the Associate Director of Bands at the Indiana University Jacobs School of Music, the Director of Instrumental Activities at Texas A&M University-Commerce, and the Co-Director of Instrumental Music at Monroe-Woodbury High School in Central Valley, New York. Dr. Gershman maintains an active guest conducting schedule with both professional ensembles and high school honor bands throughout the country. He has presented lectures at many state and national conventions and is in high demand as adjudicator, having judged band festivals throughout the United States as well as in Singapore and Australia. In addition, Dr. Gershman has published articles on repertoire, programming, and score study which have been hailed as “groundbreaking.” As an arranger, his transcriptions of works by Eric Whitacre, Frank Zappa, and John Corigliano have received critical acclaim, with performances at Carnegie Hall as well as regional and national conventions.
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Welcome new full-time faculty for 2016-2017
www.uakron.edu/music
THE UNIVERSITY OF AKRON
FINE ARTS DIVISION
BUCHTEL COLLEGE OF ARTS AND SCIENCES
Dr. J. Thomas Dukes Interim Director
Dr. Samuel Dwinell Music History and Literature
Mr. Jack Harel Oboe
Music Careers Day Wednesday, October 19, 2016 Free, fun, and informative for high school students and parents! • 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. Mark Maliniak Trumpet
Dr. Christine Russell Music Education
Dr. Daniel Velasco Flute
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.) Dr. J. Thomas Dukes, Interim Director 330-972-7590 • music@uakron.edu www.uakron.edu/music The University of Akron is an Equal Education and Employment Institution ©2016 The University of Akron
45th Annual Ohio Band Directors Conference (OBDC) Saturday, December 3, 2016
University of Akron Bands, Westlake High School Symphonic Band, Lowellville High School and Middle School Concert Bands, and OBDC Honor Band. Guest conductor Michael Golemo, Director of Bands at Iowa State University. World premiere of ILLUMINATIONS, by guest composer Mark Camphouse, in honor and memory of Professor and Director of Bands Emeritus Robert D. Jorgensen. Deadline for OBDC Honor Band applications is October 14. Call 330-972-6919 or visit www.uakron.edu/bands for details.
37th annual TubaChristmas
Saturday, Dec. 10, noon and 2:30 p.m. EJ Thomas Hall
Jingle Jazz
Sunday, Dec. 11, 3 p.m. EJ Thomas Hall
Scholarship Auditions Friday, December 2, 2016 Saturday, February 18, 2017 Monday, February 20, 2017 For more information: 330-972-8301 concerts@uakron.edu
School of Music
TEACHING TIPS CHOIR Not Your Grandparents’ Choral Concert: Creating Engaging Programs for Today’s Singers & Audiences Dr. Richard Schnipke; Xavier University
For decades, choral directors have followed fairly standard concert and programming models. Many of us arrange our choirs on risers in a typical formation and have them sing varied programs of repertoire spanning multiple time/style periods. Many programs work in chronological order, starting with an up-tempo Baroque or Classical piece and move through various selections that demonstrate the choirs’ ability to interpret this music in the most accurate, historically correct, and expressive manner. Programs often then conclude with a spiritual or piece of world music that is rhythmically interesting and energetic. While educationally, this model is very sound, one does wonder if it engages contemporary singers and audiences in a way that is meaningful and relevant. In our current digital world, people are exposed to images and sounds at an unbelievable rate. With this in mind, conductors need to work diligently to create programs that are not only sung beautifully, but also keep our singers and audiences excited about our art. Following are practical ideas to consider when planning your next concert or season. PROGRAM ORDER When something is easily predictable, it is less engaging to people. Think about watching a movie and coming to realize the plot is an iteration of a story you have already seen dozens of times. Attending a 28
traditionally programed concert can feel similar. Breaking this mold takes a bit more planning and creative thinking, but it can be done to great effect. A good place to start is by asking the following questions: 1. Do we always need to end with a spiritual or could it go elsewhere in the program? 2. Can “non-traditional” sets be created that include multiple tempos, time/style periods? 3. If multiple choirs are performing on the same concert, can they all be incorporated throughout the program, instead of having each choir come to the risers, sing a set, and leave? VISUAL INTEREST With the incredible number of images coming in and out of our view, contemporary audiences are becoming increasingly visual. Creating a visually interesting concert experience can help to engage attendees and also enhance the music making, therefore allowing the program to have a greater aesthetic impact. Performances can be enhanced visually in a number of ways. First, consider your venue and how one might utilize the entire space. Singers can be placed in various locations throughout the hall to provide audiences with a variety of visual and sonic experiences during the program. Utilizing, not only the TRIAD
main stage area, but aisles, balconies, a cat walk, the lobby, the back of house, the orchestra pit, etc. can be helpful. Also, having the choir(s) use multiple formations can add a great deal of visual appeal. These varied standing arrangements can also support the choir musically and/or provide a more authentic performance of the selected repertoire. We have all attended concerts when choirs changed from a section formation to a mixed arrangement. Consider ways to make these practical, musical logistics enhance the program by making it more artistic and interesting. Thinking about the historical or cultural context of a piece of music can also provide great inspiration for choral staging. For example, imagine the possibilities when considering the differences in the original performances of a Baroque double choir anthem, an English madrigal, an African folk song, or an Indian raga. Let the music be your guide and let the choirs’ formations help provide the most authentic, expressive performance possible. With the accessibility of technology in most modern performance venues, the option of utilizing digital imagery in our programs is a reality. Collaborating with art, digital media, film, and/or theater programs can not only help your concerts become more visually appealing, but also allow for cross-curricular partnerships. THEMES Designing thematic concerts can help to engage audiences while providing a rewarding creative outlet for conductors. Themes can be based on whatever inspires you. Consider things like composers, nationalities, texts, life events, animals, relationships, etc. Thematic concerts give you the creative flexibility to program seemingly musically disparate pieces together because of a text connection and also to build interesting musical and emotional arcs into the program. Additionally, these types of concerts can help you attract new audience members who may be interested in the specific nature of the concert. TYING IT TOGETHER One of the keys and biggest challenges of creating programs that are artistically and musically engaging is the logistics. Structuring concerts in a way that provides the audience with the feeling that they have just been part of an artistic event (not just a OCTOBER/NOVEMBER 2016
choir concert) is of utmost importance. Very few people enjoy the portions of a traditional concert that have to do with watching people and equipment move around the stage. The challenge we face is minimizing these aspects and/or incorporating them into the overall “flow” of the concert. Considering musical key relationships can allow you move seamlessly from one piece to the next without applause or interruption; incorporating narration between selections or groupings can provide the audience with crucial information while allowing for logistical changes of personnel or equipment; utilizing instrumentalists helps to provide variety in both musical timbre and visual picture; creating instrumental (keyboard, wind, string, or percussion) interludes can offer another opportunity for covering logistical changes or to provide a musical transition that prepares for the key or style of the next choral piece. While rewarding for the audience, musicians, and conductor, putting all of these things together does require a fair amount of planning. Designing concert “flow charts” that give the performers logistical information about performance order, staging directions, and transitions (both musical and logistical) is crucial. Also, making extra time to rehearse all of details is an absolute necessity. While we may have all of these specifics worked out in our minds, it does take time for the students to understand and internalize our vision. During rehearsal students often find solutions or offer suggestions for problems that were not anticipated in the original planning. While creating this type of programming can take time and energy, the effort to provide more artistic, meaningful, and engaging concert experiences for both our students and audiences is a worthy endeavor. Dr. Richard Schnipke serves as Assistant Professor of Music Education and Director of Choral Activities at Xavier University where he conducts the Concert Choir, Edgecliff Vocal Ensemble and Men’s Chorus. He holds degrees from Bowling Green State University and The Ohio State University and has done additional studies at the University of Cincinnati College-Conservatory of Music. Choirs under Dr. Schnipke’s direction have sung for conferences of OMEA, OCDA, and the national association of Intercollegiate Men’s Choruses. He also serves as the tenor section leader for Cincinnati’s Vocal Arts Ensemble, conducted by Grammy Award winner, Craig Hella Johnson. 29
TEACHING TIPS ETHNOMUSICOLOGY Your Kids Know These Genres of Music You Should, Too Will Kuhn; Lebanon High School
Remember when you were into music? I don’t mean teaching music - I mean really into it. Enjoying it. Reading about the artists, following the latest trends. For many music teachers, that interest stops at a certain age, and either fades completely or relies on mainstream sources like the radio to keep up with trends. Unfortunately, pop radio is usually behind the trend curve in America. What’s popular on the radio might reflect music trends from 6-8 months ago. Like many music educators, maybe you’re using the vehicle of popular music to teach your students about music history or in analyzing the elements of music. Many of you may hear about genres of music from your students that you’re honestly not that familiar with. Here is a short guide to some genres my students are talking about. VAPORWAVE Descended from other electronic subgenres like Chillwave and Seapunk, Vaporwave is usually characterized by a Muzak-like sound - slow, “cheesy beats” sometimes embellished by heavier hip-hop style beats. Most songs start by taking a phrase from a 1980s pop melody, or even an advertisement jingle and loop it much slower than the original, pitching it down as if playing it in slow motion. The effect is to put the listener into a nostalgic, retro-futuristic dreamlike state in which the only memories are those of consumer culture and failed corporate messaging. Album covers 30
and artwork accompanying this music show pictures of the bust of Orpheus, palm trees, or vector graphics, which help to visualize the Vaporwave aesthetic. In the 1990s there was a similar style called Trip Hop, although it didn’t lean quite as heavily on samples or have as sharp a political message. Key Vaporwave artists: Vektroid (Macintosh Plus), Blank Banshee, Oneohtrix Point Never, 2814 EDM/HOUSE EDM stands for Electronic Dance Music, which if you think about it can mean anything from Disco to Devo to Deadmau5. It’s a blanket term that makes it easier to describe what’s going on in dance music outside of the many subgenres that could describe the scene. Most EDM is based on House music, a style started in Detroit and Chicago in the 1980s as an evolution of Disco. House music usually has a speed around 125-135 BPM and almost always includes a “four-on-the-floor” kick drum pattern. The kick drum playing on all strong beats drives the music forward powerfully and makes for an easy groove anyone can dance to, and almost any other kinds of melodic material can accompany it. Key EDM artists: Diplo, Skrillex, Deadmau5, Dillon Francis TRIAD
TRAP (STYLE HIP-HOP) If you plot a chart of Rap music by year and BPM (beats per minute), you would see a downward trend over time. Starting in the mid 2000s, Rap has gotten a bit slower each year. Around 2001, producers like David Banner began experimenting with extremely slow (sub-70 BPM) beats. Taking a typical hip-hop kick and snare pattern this slow will result in lots of empty space, so a natural solution was to fill this space in with lots of hi hats – absurd amounts of them. Trap music as a term originates with T.I.’s “Trap Muzik” album from 2009, but as a subgenre really started to flourish in the mid-2010s. Trap can be a production style that accompanies a rapper, or it can be instrumental. You’ve probably heard trap-influenced beats on the radio. When kids ask for trap music, they’re basically asking for slow hip-hop with tons of 32nd note hi-hat patterns. Key Trap artists: Baauer, Flosstradamus, RL Grime, DJ Snake OTHER TRENDS IN HIP HOP Under the big tent term of Hip Hop, other trends you should know include the trifecta of Drake, Future and Kendrick Lamar and the singular phenomenon of Kanye West. The first three rappers are each very stylistically and thematically unique, and have greatly influenced the next generation of hip hop artists. All four artists rely heavily on sampling, a technique of using a portion of an older song (usually an instrumental) and repurposing it with Hip-Hop style drum beats. For example, we’ve all heard “Hotline Bling” by Drake, but have you heard “Why Can’t We Live Together” by Timmy Thomas? Here’s a small cheat sheet in case you don’t have time to research these four artists: Tempos
Production Style
Themes
Drake
Slow
One Sample + Beat
Fame, girl problems
Future
Slower
One Sample + Beat
Drug abuse
Kendrick
Slightly
Lamar
Faster
More than one sample /more complex
Inequality, socioeconomic issues, race
Kanye
Slow
Very complex
Kanye West
West
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Why is Kanye important? His discography is a little like a Hip Hop version of that of The Beatles. Each album is uniquely different and curates a brand new style of music. Some albums go full on soulsampling maximalism (My Beautiful Dark Twisted Fantasy) and others go into full grime/glitch darkness (Yeezus). Frankly, when Kanye releases an album you can be assured the idiom of Hip Hop will be pushed in some really unique directions in terms of its production values. We don’t really look to Kanye for deep lyrical content at this point, and it is perfectly acceptable to just listen to his instrumentals to enjoy his beatmaking gifts. INDIE Children of the ‘90s may remember when “Alternative Rock” became a thing. At first, this meant music that was unique, raw and quirky (REM, Jane’s Addiction, Flaming Lips) and then it came to be a synonym for Grunge and heavier rock. The dream of the ‘90s is still alive in Indie music, where today each band has a pretty unique sound, sings about various topics and basically does their own thing. The term “Indie” originally referred to music made independently of the major music labels, but that’s no longer a qualifying aspect, as many artists form their own labels as a matter of course. (For example, Taylor Swift is technically independent of the major labels, but no one would accuse her of being an “indie” act). Some bands have a clear “back to roots” aesthetic (Mumford & Sons, Mac Demarco) while others have more of a retro ‘80s throwback synthpop sound (CHVRCHES, Grimes) while still others almost sound like psychedelic rock reborn for a new generation (Tame Impala, The GOASTT). Other bands resemble rock bands but have a heavy amount of electronic sounds, making a texture unique to that artist (Miike Snow, Caribou, Washed Out, M83, Neon Indian). The dividing line between Indie music and Pop music is usually in the relative popularity of the artist, and the desire of the artist to cater to a wide or specific audience. “POP MUSIC” IS NOT A GENRE Pop music is a marketing technique. All music has varying degrees of popularity, but the one cohesive thread on Top-40 radio is that the songs 31
are all designed from the ground up to appeal to a wide audience. Think of Pop radio trends as a curation of music trends in general. If you hear a new sound on a Top 100 countdown, you’re probably hearing something that was really created in a more obscure subgenre months or years prior. The sounds developed outside the mainstream evolve, develop and distill into the production techniques you hear in modern pop music. A good example is the “tresillo” or 3+3+2 rhythm pattern (the first half of son clave). Lots of top-40 pop songs feature chord patterns or beats with that rhythm right now. A couple years ago, dancehall reggae and Moombahton were making their way through the underground dance scenes. Some of the producers from that scene made it big (Major Lazer/Diplo) and brought those experiences and trends into the mainstream.
favorites. Give students plenty of opportunities to share their favorites with you and each other and you’ll begin to learn a lot about current music trends and how they trickle through different student demographics. Music websites from trusted curators like Pitchfork and Vice (Noisey) are excellent ways to keep your listening skills sharp and stay well socialized even if you’re outside of the music trends. Many of these organizations also curate playlists on Apple Music and Spotify that are loaded with their top picks or with music featured at various festivals like SXSW. With some patience and perseverance even the most “out of it” teacher can get on board with current trends in music and make their lessons relevant and of the moment!
HOW TO STAY ON TOP OF MUSIC TRENDS After your formative years, you must consciously decide to be aware of and follow trends in music. They will not seek you out as they did when you were 16 years old. Luckily you have some great resources available to you as a music teacher: Your students are a great resource, if they feel comfortable enough sharing their music tastes with you. If you want students to be honest with you about their music tastes, you must not be too judgmental about music styles that are different from your own
Will Kuhn (M.S. Indiana University, B.M. Miami University) is the Department Chair and Music Technology instructor at Lebanon High School in Lebanon, Ohio. In 2006 he designed an innovative Music Tech curriculum focused on amateur music production, which as of this writing involves over 350 students annually. His lab-based courses, as well as the school’s Electronic Music Group, are regularly featured at regional music education events. He teaches workshops at the national level on revitalizing school music programs for the 21st century, and was named 2015’s TI:ME (Technology Institute for Music Educators) Teacher of the Year. For more information visit willkuhn.com
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TEACHING TIPS JAZZ The Big Beat: Addressing Drum Issues in Jazz Band, Part One Mike Smith; The Ohio State University
Everyone in your jazz band is equal, but the drummer is a little bit more equal. The drum set is the most powerful force in your jazz band, even taking into account amplification on other instruments. Drummers affect the way every player in the band interprets the music, which in turn impacts the overall performance of your band. It has been often said: a good drummer can make a mediocre band sound good, whereas a mediocre drummer (or one that can’t play in the correct style) can bring down even the best of bands. The challenge is how to address drum issues. There are a number of things that you can do to help you get the most out of your drummers. Perhaps the biggest challenge for young drummers is playing the many different styles that are necessary in the jazz idiom. Shuffles, bossa novas, sambas, funk, waltzes, and of course straight ahead are just the basic jazz styles. There is so much to know; if you consider just Latin styles, you start to see that there are many diverse rhythms and grooves – cha cha, mambo, 3-2 rhumba clave, cumbia, songo, guanguancó, etc. There is also the Afro-Cuban 12/8, odd meters, popular music style variations, and one of the hardest things to master, brushes. The performance of the drummer is, in most cases, what defines these styles, and these styles can be a mystery to even the most musical of young musicians. 34
The biggest challenge facing young drummers is exposure to jazz and Latin styles. Finding capable drummers is generally an easy task, but finding drummers who listen to a wide variety of styles is more of a challenge. A drum teacher who is well versed in all of the different styles and grooves can be a great asset, but in many situations this is not possible. Usually it falls upon the band director to guide set players through the ins and outs of the drum grooves. Much of the challenge lies in the dexterity of young players. Basic rock, pop, and funk grooves do not, in general, require much in the way of independence of the limbs. This is not a criticism of these styles – sometimes I love nothing more than to lay into a solid funk groove – just an acknowledgment that in most cases these styles have the limbs working together in the same direction. Compare that to a guanguancó, where the bass drum is playing a tumbao rhythm, the high hat is playing off-beat eighth notes, the cross stick snare is playing a 3-2 clave, and the right hand is playing a mambo cowbell rhythm. This can be a significant challenge for those who are not ambidextrous behind the kit. But it is independence in the hands and feet that is critical to smooth performance in all jazz styles. For those of you have followed previous articles on this series, know that I am a strong advocate for TRIAD
learning by listening. There are so many recordings and players that drummers can listen to for inspiration, and most, if not all, are available on YouTube. Here are some suggestions – ODD METER the most obvious recording (and one of the best) is Time Out, by the Dave Brubeck Quartet, with the great Joe Morello on drums. Point out to your drummers how seamlessly Morello plays across the meters in “Take Five,” “Blue Rondo a la Turk,” and other classic tunes. Another musician who worked brilliantly in odd meters was Don Ellis. “Indian Lady,” “Turkish Bath,” “Whiplash” (written by Hank Levy, who specialized in odd time signatures), and “Open Wide” are just a few of Ellis’ classics that feature odd meters. SHUFFLE The ability to play a hard groovin’ shuffle is absolutely crucial in the jazz band, and all of it is on the drummer. One of the masters of the shuffle was Mel Lewis, and there are numerous Thad Jones/Mel Lewis Big Band recordings that feature Lewis’ relentless shuffle – among my favorites are “Don’t Get Sassy” and “The Groove Merchant.” There several Ellington classics: “Things Ain’t What They Used To Be” and “Happy Go Lucky Local,” both of which shuffle along very nicely. Frank Foster’s Basie band classic “Blues in Hoss’ Flat,” is another shuffle standard. There are also small group tunes that shuffle hard. One that is near and dear to my playing is Stanley Turrentine’s “Trouble (No. 2),” featuring the great, unheralded drummer Otis Finch. Released in 1965, it is the tune that taught me how to play a shuffle.
debut album by bossa originator Antonio Carlos Jobim. The samba is another integral style for jazz players – the album Cannonball’s Bossa Nova features Don Um Romão, one of the greatest Brazilian drummer/percussionists of all time. The track “Minha Saudadas” is a textbook example of groovin’ jazz samba, and Romão’s performance throughout the album is flawless! As far as contemporary players are concerned, two stand out in regard to Latin styles; Antonio Sanchez, most notable for his collaborations with Pat Metheny, and Horacio “El Negro” Hernandez, who has played with a who’s who of great Latin jazz players. Not only do both of these players exemplify great Latin drumming, they also exemplify the notion of being well versed in all styles, including straight ahead jazz playing. The suggestions in this article are a great starting point for your students. Encourage your students to listen to great jazz drummers in big bands, combos, and across the spectrum of jazz styles. Remind your students daily that listening is critical to their success as jazz musicians. 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.
LATIN STYLES This is, in many ways, one of the hardest tasks to master as a young drummer, because there are so many Latin styles that are required in jazz playing. The most basic of these is bossa nova, and there are many great examples. A good starting place is the numerous Verve recordings by Stan Getz, starting with 1962’s Jazz Samba, and continuing thru the mid 60s. In fact, Verve records in the 60s released numerous bossa nova classic albums, including the OCTOBER/NOVEMBER 2016
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TEACHING TIPS MULTICULTURAL In Their Own Words: What The Experts Say, Part II Dr. Linda B. Walker; Kent State University
In the last issue of Triad I asked eight expert Jazz performers and educators to talk about the importance of Jazz in teaching. (See http://omeaohio.org/TRIAD/AprilMay2016/HTML/index.html#64/z to read their answers and bios.) The final question: “What is the future of Jazz in American public and private schools, colleges and/or universities?” is continued in conversations below. CHAS BAKER The question for me is: What is the true nature of the music? There is the rub. Few people know the true nature of Jazz music, although many think they know. Can all accomplished and talented college or university faculty name their favorite Joe Henderson or Gil Evans solo? The general population should probably not be expected to know more about Jazz music than college or university faculty. The key to a future in Jazz is education, education, and education. I “do music” because it makes me feel good and is good for my mind and soul. CHRIS COLES This question is much more complicated to answer than the one asked in the last issue of Triad. Jazz and creative art music will soon become extinct in schools if the focus at state and federal education levels does not change. Too few music graduates 36
leave school with the ability to hear necessary components to teach improvised music. Unfortunately, these students—with little to no experience in Jazz, and/or improper training—go on to teach in elementary schools or run a Jazz band program. I don’t have an answer to or solution for this problem. However, improved auditory skills along with increased knowledge of improvisation and how to teach it, is critical to every public school and college/university Jazz educator. If the profession wants to keep Jazz and other creative arts in the curriculum—and I believe so—we must begin instruction in elementary grades. PAT HARRIS I believe that Jazz will live as long as students remain inquisitive and have an ability to challenge the normalcy in music. There are many jazz programs on the college level but not enough in high schools, although music camps and scholarships seem to be abundant. Those schools that provide an entrée of course options tend to attract more diverse students. Music programs must provide mentoring, reach out to urban students who have limited access and exposure, take special performances into the schools, and spark a desire for them to attend college. Moreover, musician unions throughout the country should include an education component for TRIAD
aspiring students. With these kinds of efforts, the rich heritage of Jazz will give way to future generations of musicians such as Duke Ellington, Ella Fitzgerald, and Miles Davis. BOB HOEFLER I believe Jazz is in a good place within many communities. Once taboo, this genre is now part of college and university curricula in the U.S. and other countries; some offering undergraduate and graduate degree programs. The recognition of Jazz as viable to a music education is evidenced by its availability in middle school curricula. America’s Jazz music is one part of our culture that needs to be enjoyed and shared, and will continue to receive more attention at all levels of education. RON MCCURDY If we leave the future of Jazz to only those who perform it as a profession, we are doomed. We must educate the masses by connecting people to the history and culture of Jazz. Public and private education is the place where performance opportunities will exist for thousands of students who will hopefully develop an appreciation for the art form. GREG NEWMAN The future of jazz in Northeast Ohio is strong and growing due to great music educators in the public schools and also at the college level. I think it is important for public schools and universities to continue to offer elective classes that expose non-performers to this great art form and its other connections. Special thanks goes to pioneers who ignite interest in Jazz through performance in a variety of venues and styles, from the Grass Roots Movement to traditional standards across the state of Ohio. BOBBY SELVAGGIO First, we have to question whether or not jazz has ever been truly accepted as part of the academic world. I think not. While we may see acceptance at a conservatory here and there, the nature of music education tends to focus on repertoire driven and not improvisational driven approaches. Ear training, technique, theory, and style are aspects of learning OCTOBER/NOVEMBER 2016
that jazz educators approach differently from those who don’t teach jazz. Becoming the best and most versatile musician should be the first consideration in music education. To help ensure the future of jazz education, music education needs to do a better job of applying this concept of improvisational driven curriculum with real world application to help prepare college music students to become better educators/musicians so they are better prepared to pass on these jazz standards to their future students. EVELYN WRIGHT The future of Jazz is bleak because our system of education does not place this music or any at the top of our curricula. When funding is cut or short, music and other arts are usually the first to be cut from the curriculum. Unfortunately, the future of Jazz depends on funding. Hopefully, this can change if the passion of performing Jazz keeps students and professional artists motivated to keep going. It has been a fulfilling journey for me. In summary, these performers and educators recognize the important roles that music teachers and organizations such as OMEA have in sustaining Jazz education. Teachers must “think pedagogically” about maintaining a curriculum that is inclusive of many genres of music, Jazz included. Let me encourage you to attend sessions on multicultural music at the next OMEA conference. Linda B. Walker teaches undergraduate and graduate music education classes, and directs the KSU Gospel Choir. She formerly served 10 years as coordinator of music education. With focus on diversity, equity and inclusion in music education, her work is published in several journals and books, and she has served the profession on editorial boards of Music Educators Journal, General Music Today, Teaching Music, and formerly MENC Publications Planning Committee. She 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 Bowing Lanes
Mark Sholl; Hilliard City Schools A vast majority of orchestra teachers are well aware of what bowing lanes are. However, challenging our students to think about and maintain bowing lanes in an ensemble setting may not always be at the forefront of priorities. Early in my career, the importance of establishing and maintaining consistent bowing lanes for each section in the orchestra was made evident to me when I invited Dr. Robert Gillespie of The Ohio State University to work with my orchestra. He methodically put each student’s bow in the same lane on their instrument and had them bow a single note. Wow! What an amazing sound. It was as though they’d been supercharged. Up until that point, I’d always understood the concept of the bowing lanes, however I didn’t really monitor it as closely, or work on it as much as I did rhythm, intonation, posture and other musical components. That evening rehearsal with Dr. Gillespie has had a lasting impression on how I monitor and develop bowing lanes an orchestra. Before proceeding, it’s probably a good idea to define the terminology used in bowing lanes. Over the years, it has become apparent to me that from teacher to teacher, and program to program, there is no consistency. One teacher may consider the softest bowing lane out by the fingerboard to be lane one, while another considers that lane five. In essence they are complete opposites. Dr. Kirk Moss and Robert Phillips, in their method book, Sound Innovations use dynamics to describe each lane – Pianissimo, Piano, Mezzo Piano, Mezzo Forte, Forte and Fortissimo starting from the fingerboard and working toward the bridge. For 38
this article however, we will use a numerical system of 1, 2, 3, 4 and 5 starting from the fingerboard and working toward the bridge.
Having established what the bowing lanes are, we’ll review when to use them. As a general rule, lane 3 is the mezzo forte lane. We move toward the bridge for louder, fuller passages, and we move toward the fingerboard for softer more delicate passages.
Identifying and establishing these lanes is simple. TRIAD
Maintaining them throughout a passage is where the difficulty begins. Something I like to do with my orchestra is have them maintain the Forte lane through a simple D major scale. They can focus purely on sound that way. It also gets them using a full, loud sound that can carry through later in the rehearsal. If you’re rehearsing something softer in the rehearsal you might try a softer lane.
The process of getting students to consistently maintain correct bowing lanes is arduous and may seem to demand a proportionally exorbitant amount of time. Ultimately though, it may be the most crucial factor to developing a lush, full, characteristic sound with which all the other musical aspects are built. Mark Sholl has been the director of orchestras at Hilliard Davidson High School and Music Coordinator for the Hilliard City Schools for the past 21 years. He is also the past President of the Ohio Orchestra and String Teachers Association. He is the music director of the Columbus Symphony Cadet Orchestra, one of four levels of youth orchestras associated with the Columbus Symphony Orchestra. He is currently a doctoral candidate in The Ohio State University School of Education Policy and Leadership.
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ADJUDICATED EVENTS Adjudicated Events News & Updates
JD Latorre; Adjudicated Events Chair
This is an exciting time for OMEA Adjudicated Events! I can’t remember a time when the AE committee had so many new projects in the works. Read on for details. LG AND S&E SHEET REVISIONS The AE Committee has begun the process of exploring the revision of our existing Solo and Ensemble and Large Group adjudication sheets. Our starting point on this large task is the fundamental question: how can we improve the sheets to make them better teaching/learning tools for our members and their students, as well as better evaluative documents for our adjudicators, while maintaining the standards and expectations of the Five Rating Plan. This is not a task that we take lightly, and it will be a multi-year process. The soonest we expect to see any new sheets utilized at OMEA events would be the winter of 2018. Look for more detailed information this winter in Triad. NEW OPEN CLASS FOR SOLOS Beginning this winter, directors will have the option to register a student performing a solo at High School S&E in a new Open Class. This is designed for a student who is preparing a classical work for a college audition that does not appear on the OMEA list. Similar to Festival Class at Large Group, the student will receive written comments from the adjudicator, but will NOT earn a rating. 40
DUETS FOR VOCAL, WINDS, AND PERCUSSION AT JUNIOR HIGH S&E In response to requests from the membership we will be piloting the addition of duets at Junior High Solo and Ensemble this year in three Districts: D3, D9, and D10. It is limited to only three Districts so that we can be certain we have sufficient facility space at host sites and adjudicators to serve demand. These sites should provide us with sufficient data to consider the feasibility of adding duets state wide. If you are a member in participating districts, look for more detailed information to come later this year. LARGE GROUP REQUIRED 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 for 2017 and can be found on the OMEA website. Many thanks go to Kathy McIntosh, Jeanne Wohlgamuth, and Pam Theil for their hard work to get these committees together and lists updated for the 2017 Large Group season. Additionally, Orchestra Affairs Chair Pam Theil, in conjunction with a state-wide ad hoc committee, is in the beginning stages of adding a Class AA required TRIAD
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Offering the following degree programs: • Bachelor of Music in Music Education • Bachelor of Music in Music Performance • Bachelor of Arts in Music 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 • Music Minor • Outstanding opportunities for double majors ONU’s
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OHIO UNIVERSITY chool of music
2017 Audition Dates Jan. 28, Feb. 18, Feb. 20, Feb. 25, 2017 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 10, 2016
Honor Band Festival December 1-3, 2016 Honor Choir and Orchestra January 13-15, 2017 Jazz Festival April 7-9, 2017 School of Music 100th Anniversary Celebration April 22, 2017 www.ohio.edu/finearts/music
740.593.4244
Ohio University has been an accredited institutional member of the National Association of Schools of Music since 1946.
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Ohio Summer Music Camp June 11-17, 2017
music list for State Orchestra. This new list and class will debut in 2018. GUITAR AT S&E Last year was our first year for guitar events at solo and ensemble. If you or a colleague teach guitar classes or private students, please consider having your students participate in Solo and Ensemble. If you have any questions, please contact Gayley Hautzenroeder. NEW FEES FOR 2016-17 EVENTS There will be new fees in place for all Adjudicated Events this year, beginning with State Marching Band Finals this fall. This fee increase is part of the established two-year cycle (fees are increased every other year). However, this cycle will last three years, that is to say fees will not be raised again until fall of 2019. HS Large Group:
REGISTERING FOR ADJUDICATED EVENTS As you are looking at performance dates and doing other planning for your ensembles, keep in mind these 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 Specific event registration is closed 30 days before the event.
$210.00 (District), $240.00 (State LG and SMBF)
JH Large Group: $150.00
HS Solo & Ensemble: $18.00 (Solos), $23.00 (Ensembles)
JH Solo & Ensemble: $15.00 (Solos), $19.00 (Ensembles)
THE NEW ADJUDICATOR EVALUATION SYSTEM The AE Committee is very pleased with the how well the AES functioned in its first full year of implementation and we are all excited about its potential for the future. We believe this repre sents a revolutionary change in how a director submits feedback on adjudicators and provides our adjudication corps with a great opportunity to further hone their skills. Just like last year, the AES will be in place for all OMEA Adjudicated Events during the 2016-17 school year. A few reminders: 1. AES is found on the Members Portal 2. An evaluation rating of “5” is the highest, “1” is the lowest 3. A rating of a “1” should be followed by comments and sending the Director of Adjudication a copy of the rating sheet and/or the recording 4. The AE Committee reviews every “1” rating when supporting materials are provided. OCTOBER/NOVEMBER 2016
PLEASE REMEMBER 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. It happens every year that these deadlines are missed by a few directors who needed to request a change of District/Region and subsequently they are unable to perform at an OMEA event. Don’t let this happen to you! Also, 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 member 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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CREATIVE EVENTS Encourage Creativity!
Dara Gillis; OMEA Creative Events Chair
One would think that as music teachers, encouraging creativity in our students would be the very thing we do best. After all, didn’t we go into music at the outset because we are creative people? Well, not necessarily. When we consider it, what is the ratio of hours that we find ourselves making the music created by others compared to that we have composed ourselves? Even those of us who have a gift for composition (I am definitely not one of those), probably push the time for composing to the back burner to be visited only during vacations and on holidays when we have time away from school. The rest of the year is spent preparing the scores of other composers and teaching those to our students. I know this is not true of everyone and I should never make suppositions about how others spend their time. I know that some of you manage to eke out time whenever possible for your own creative outlets. But I ask you this, do we also encourage that same outlet in our students? I would venture a guess that much of our time in the classroom is spent teaching the works of others and perfecting those but perhaps it is not spent encouraging the expression and examination of our students’ creative minds. The most obvious reason as to why this is the case, time. Unless your school allows for a composition class or a music theory class to be taught during the school day, it is very hard to find time to allow 44
kids to compose. By this I mean REALLY compose. It takes time to show them how to properly set up the score, what direction the note heads and stems should go, etc. Even with computer programs for composition, this still takes planning, thought and time. If you are working within the confines of a general music classroom that only meets once or twice each week or a rehearsal setting in which concerts and contests must be prepared for, this can easily be the last thing on the list and understandably so. A second theory is that many of us are not comfortable composing ourselves and we certainly don’t want to steer our students astray. But really, what is there to risk in just encouraging them to try? Pablo Picasso once said “All children are artists. The problem is how to remain an artist once he grows up.” I don’t feel this quote applies only to visual artists. If we observe little children on a playground, so often we hear them singing as they make up their own songs and melodies. How wonderful that is to hear! How fun would it be to help them write it down even with just a piece of side walk chalk? Further, how often do we hear our kids tinkering with a melody in the practice room? What would happen if we opened the door and handed them a piece of staff paper and a pencil? No matter the age, if we can encourage those moments of just “messing around” and assist TRIAD
If your future is Music... your future is Wright State.
Wright State School of Music Audition Dates for Admission in Fall of 2017: • Admission and Scholarship Consideration • Saturday, February 11, 2017 • Saturday, March 11, 2017 • Admission Only • Saturday, April 1, 2017 Graduate Assistantships and Scholarships are available for Fall 2017 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)
in some way to put them down on paper (or side walk!), perhaps that ability will grow as the child grows. If nothing else, the child will know that you are listening and that you believe in them. As we begin a new school year, I encourage you to consider the ways in which you foster the true creativity in your students. In the coming weeks, I hope you will also visit the Creative Events page on the OMEA website HERE. You will find there several submissions by students of various ages whose teachers have fostered and encouraged their creativity and the results are truly wonderful. From the piano composition of a seven-year-old to the concert band submission by a very talented high school student, I think you will see that, with our nurturing and guidance, amazing things can happen!
Dara Gillis received her bachelor’s and master’s degrees from Ohio University in 1993 and 2002. She is currently in her twenty-fourth year as a music educator and in her fifteenth year as director of choirs at Delaware Hayes High School, Delaware, Ohio. Under her direction, the choirs at Hayes have received consistent superior ratings in both district and state level adjudicated events. In addition, the Delaware Hayes High School Symphonic Choir has performed at Carnegie Hall, Lincoln Center, the Cathedral of St. John the Divine and have sung Palm Sunday Mass at the Cathedral of St. Paul the Apostle. In 2014, the ensemble was selected to perform at the Ohio Music Education Association’s State Professional Development Conference. Mrs. Gillis is an active adjudicator for the Ohio Music Education Association and currently serves as Creative Events Chair for the organization. She recently completed her term as President of the Ohio Choral Directors Association and currently serves as Immediate Past President for OCDA.
The Edward E. MacTaggart Department of Music
Scholarship Audition Days
Music Majors Non-music majors for ensemble participation
November 6, 2016 February 11, 2017
February 25, 2017 March 4, 2017
Additional audition dates can be made by appointment.
A MUSICIAN, AN EDUCATOR, A LEADER Bachelor of Music Music Education Vocal Performance
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Bachelor of arts Music
Contact us to learn more! music.marietta.edu 740.376.4696 • music@marietta.edu
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Spring Choral Festival Friday, May 5, 12, & 19, 2017
The fun-filled music festival for choirs at Kings Island. Online Reservation & Information available at www.festivalofmusic.com or call 800-323-0974
HIGHER EDUCATION NEWS ASHLAND UNIVERSITY Dr. Thomas Reed, Professor of Music and Chair of the Departments of Music and Theatre, was clarinet and saxophone soloist with the Clarence (NY) Symphony, playing music of Ellington, Gershwin, and Goodman. This summer he played saxophone in five concerts with the Cleveland Orchestra, and was guest principal clarinet with CityMusic Cleveland in a performance of Greshwin’s “Rhapsody in Blue” at the Cleveland Museum of Art as part of the Cleveland International Piano Competition. Reed also performed with the Akron Symphony, and with the national tour of “Matilda: the Musical” at the State Theatre in Cleveland. COLUMBUS STATE Columbus State Concert Band, under the direction of Thomas Lloyd, will perform their Fall Concert on Tuesday, November 1. The guest artist will be oboist Dr. Ailene Albrecht performing “Storm Dance” by J. Abelardo D. Flores. Also on the program will be the Ohio premiere of a commissioned work by Andrew Boysen, Jr., “Whispering of Fields Unsown” and a new transcription by Thomas Lloyd of William Grant Still’s “Miniature Overture.” A new arrangement of the overture to Donizetti’s “Roberto Devereux” by composer John Lloyd is also scheduled. During spring semester, the band will perform movie music on March 7 in a joint concert with the Columbus State Jazz Ensemble, directed by Rick Brunetto, who is also penning an arrangement for the groups to play together. The April 25 band concert will be A Celtic Festival. Chorus Columbus State, directed by Gordon Franklin, will perform twice at the Columbus Museum of Art. The December 4 concert will feature the music of Vivaldi, Pergolesi, and John Tavener, plus Spanish carols and African American Spirituals. The May 7, 2017 concert will include selections by J. S. Bach and Gabriel Faure with orchestra. Both concerts are at 3:00 p.m. 49
UNIVERSITY OF DAYTON Dr. Sharon Davis Gratto has been appointed to the Graul Chair in Arts and Languages at the University of Dayton (UD). Gratto will carry the title Graul Chair-designate and continue as chair of the Department of Music through the 2016-17 academic year. As Graul Chair-designate, Gratto plans to draw on her international experience, world music expertise, and ties to Dayton-area performing arts organizations to develop new campus and community initiatives in the arts and languages. Dr. Susan Gardstrom and Dr. James Hiller were invited to Seoul, South Korea in early July to give a two-day workshop on music therapy in mental health to members of the National Association of Korean Music Therapists. Gardstrom focused primarily on therapeutic applications of music with women who are addicted to heroin. Workshop attendees—certified music therapists working in health, mental health, and educational settings in South Korea—participated in a variety of instrumental and vocal clinical experiences, including singing songs from Gardstrom’s recent-
ly-published book, Women’s Chants for Unity and Strength (www.barcelonapublishers.com). This collection of 20 chants was developed for music therapy sessions with women in addictions recovery and features compositions by Gardstrom and three UD music therapy students. Dr. Hiller’s chapter “Epistemological Foundations of Objectivist and Interpretivist Research” was recently published in Music Therapy Research, 3rd Edition, edited by Barbara Wheeler and Kathleen Murphy and published by Barcelona Publishers. Guitarist Jim McCutcheon presented a talk at the Guitar Foundation of America International Convention in Denver titled “Post-College Survival - What’s ‘In-Store’ for You,” sharing experiences gained while running his teaching studios and music store. He also served as Guitar Adviser to the National Federation of Music Clubs new Festival Bulletin. This summer, he performed community concerts in Fairborn, Pemberville and Lebanon and a tour of several senior citizens centers.
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school of music & theatre AT HEIDELBERG UNIVERSITY
The Heidelberg Advantage
Auditions
• One of Ohio’s most reasonably priced music and theatre schools in a private college environtment.
• November 4 • February 25
• BA/BS music programs allow double majors in multiple areas of study
Your audition at Heidelberg will include three parts: performance of music you have prepared (you may audition in more than one performance area,) interview with faculty, and an assessment of musical background.
• Performance opportunities for ALL, not just music and theatre majors. • Music and theatre majors and minors receive applied lessons with no added fees - save thousands of dollars! • Ensembles open to all students, come participate no matter your major
• January 16 • March 3
• February 20 • by appt.
Scholarships Over $450,000 in scholarships available for students in all performance areas, both majors and non-majors. For full scholarship consideration, students must audition before March 1, 2017. For more information about scholarships, or to complete an audition form, visit at www.heidelberg.edu/music.
School of Music & Theatre Dr. Carol Dusdieker | cdusdiek@heidelberg.edu | 419.448.2073 310 E. Market St. | Tiffin, OH 44883 | www.heidelberg.edu
DEPARTMENT OF MUSIC
GO.UDAYTON.EDU/MUSIC 937-229-3936
» ANNOUNCING NEW
FACULTY APPOINTMENTS Dr. Andrea Arese-Elias Adjunct Instructor, Piano
Dr. Chad Arnow Assistant Professor, Trombone Bill Dixon Adjunct Instructor, Jazz Brass Eric Knorr Artist in Residence, Trumpet Noah Potvin Lecturer, Music Therapy Susan Raponi Lecturer, Music Education Coordinator Kenneth Will Lecturer, Pride of Dayton Marching Band Dr. Randall Wolfe Artist in Residence, Piano
» NASM-ACCREDITED
DEGREE PROGRAMS BACHELOR OF MUSIC Music Composition Music Education Music Performance Music Therapy
BACHELOR OF ARTS IN MUSIC
Music Studies Concentration Jazz Studies Concentration Ethnomusicology Concentration
» 2016-17 AUDITION DATES December 3 January 21 January 28
KENT STATE UNIVERSITY The Department of Music Education in the Hugh A. Glauser School of Music was well represented at the 32nd conference of the International Society of Music Education in Glasgow, Scotland, summer of 2016. Professor Emeritus Patricia Grutzmacher presented a research poster: “Globalization Among Music Educators Through an Online Environment.” Dr. Craig Resta, Associate Professor of Music Education, presented a session: “Progressive Policy through Artful Image: The Covers of Music Educators Journal from 1965-1971.” Dr. Grutzmacher, Dr. Resta, and Dr. Christopher Venesile, Assistant Professor of Music Education together presented a research poster: “The Next Step Forward: Online Masters Study in Music Education.” The Kent State University African Ensemble gave a successful performance directed by Dr. Janine Tiffe (Department of Musicology) featuring faculty members Dr. Jennifer Johnstone and Tyler Rounds. Dr. Resta also performed with the Bernardus Ensemble throughout the UK and Ireland. The Kent State University Gospel Choir (KSUGC)
was invited to perform at Timken Auditorium as guest choir for Voices of Canton, Inc.. Loren Veigel, artistic director of VOCI and president-elect of the Ohio Choral Directors’ Association, organized a celebration of spiritual and gospel music. Vocalist Pat Harris, VOCI, and KSUGC performed the finale conducted by Dr. Linda Walker, Professor of Music Education and founding director of KSUGC. KSUGC member Rodney Hubbard, undergraduate KSU student and acclaimed singer, songwriter and producer, was awarded Gospel Artist of the Year by the City of Cleveland. Hubbard’s passion for worship and church ministry are among the reasons Dr. Walker asked him to assist her with gospel choir. We are pleased to welcome to the faculty Dr. Jay Dorfman, Associate Professor of Music Education. In addition to serving as Coordinator of Music Education, Dr. Dorfman will teach courses in instrumental and technology-based music. Dr. Dorfman returns to Kent State having served on the faculty of Boston University for eight years.
ENGAGE IN MUSIC-MAKING EXCELLENCE AT CSU YOUNG, URBAN and DYNAMIC since 1964!
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Undergraduate Degree Programs
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Licensure Program Music Education - K-12 || Music Therapy Equivalency For m ore information pleas e visit w w w.csuohio.e du /music.
OCTOBER/NOVEMBER 2016
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THE OHIO STATE UNIVERSITY High school juniors and seniors considering a future in music are invited to attend Practice Audition Day, Friday, October 7. Details and registration 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 2017-18 academic year is Thursday, December 8, 2016. Additional dates are January 13, January 28 and February 11, 2017. Visit music.osu.edu or contact music-ug@osu.edu. Educators are encouraged to visit music.osu.edu/ outreach for opportunities for their students, including Youth Concerts and an expanded High School Honor Band Weekend. The 2016 Youth Summer Music Programs expanded to include the Middle School Concert Band Academy led by Assistant Professor David Hedgecoth. Nine summer programs welcomed more than 450 students from more than 20 states and several countries. In addition, over 90 teachers, from 26 states and 5 countries, attended the 31st Annual Ohio State String Teacher Workshop in July. The April 2016 issue of the Journal of Research in Music Education features an article by Assistant Professor Julia Shaw, titled “The Music I Was Meant to Sing: Adolescent Choral Students’ Perceptions of Culturally Responsive Pedagogy.” The 4th edition of Music! Its Role and Importance in Our Lives by Professor Tim Gerber has been released by Glencoe/McGraw-Hill as the first all-digital high school music textbook that enables students to access music and instructional materials on electronic devices. Phil Day has been named associate director of Marching and Athletic Bands and assistant director of university bands. The School of Music wishes to thank retiring Professor and Director Richard Blatti for his years of dedicated service to the school and welcomes Professor David Bruenger as interim director. Bruenger is also director of the school’s Music, Media, and Enterprise program.
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UNIVERSITY OF AKRON The music education division is pleased to welcome Ann Usher back to the faculty full-time as Coordinator of Music Education after 4 and a half successful years serving as the Director of the School of Music. We are also happy to announce the appointment of Christine Russell (PhD, LSU) to a full-time tenure-track position in instrumental music education. The School of Music adds several new full-time faculty this fall including Mark Maliniak, Professor of Trumpet; Daniel Velasco, Professor of Flute; and Sam Dwinell, Professor of Music History. Professor of Choral Studies, Marie Bucoy-Calavan, has been appointed Chorus Director of the Akron Symphony Chorus. She will prepare the Akron Symphony Chorus for four performances with the Akron Symphony and conduct one stand-alone chorus concert in the 2016-17 Season. Choral highlights of the season include Beethoven’s Symphony No. 9 and Mendelssohn’s Elijah. UA will host the annual Music Careers Day on October 19 to introduce high school musicians to the world of music performing and teaching. Students will learn audition tips and how to prepare for college-level success. The Marching Band begins an exciting season coming off a win at the 2015 Idaho Bowl. They are preparing for the Zips football season at InfoCision Stadium and the annual Zips Marching Band Invitational on October 22. The Ohio Band Directors Conference (OBDC) is scheduled for Dec 3 and will feature performance by the UA concert bands plus Westlake HS and Lowellville MS/HS. Additional highlights of the conference will include a premiere by guest composer Mark Camphouse in memory of Professor Emeritus Robert D. Jorgensen. The OBDC Honor Band will be led by guest conductor Mike Golemo, Director of Bands at Iowa State University.
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XAVIER UNIVERSITY The Xavier University Music Series, procured by Dr. Polina Bespalko, piano, continues this fall with an international roster of artists to appear at the Gallagher Student Center Theater in Cincinnati, Ohio. This coming season’s highlights include Chick Corea Trio, The Bad Plus, and Miriam Batsashvili, first prize winner at the 10th International Franz Liszt Piano Competition. The Department of Music at Xavier University is pleased to welcome new faculty members Bernardo Lopez, jazz, Andrew Peoples, trombone, and Lissa Ray, handbell choir. Dr. Jewel Smith, musicology, Dr. Richard Schnipke, director of choral activities, Thom Dreeze, voice, Matthew Umphreys, collaborative piano, and the Edgecliff Vocal Ensemble will present at the American Musicological Society’s 2016 International Conference in Vancouver on November 3rd-6th. The group will present a 60-minute lecture recital entitled “Beyond an Accomplishment: Vocal Music Studied and Performed at Troy Female Seminary, 1838-1872.” Dr. Richard Schnipke and Dr. Marla Butke, Otterbein University faculty, will present at the ACDA
National Conference in Minneapolis in March. The session, entitled “Enhancing the Choral Art through Dalcroze Eurhythmics,” will provide practical tools for enhancing rehearsals and performances. The XU Men’s Chorus, under the direction of Dr. Richard Schnipke, will perform at the 2017 OMEA Professional Development Conference in Cleveland. The XU Women’s Chorus, under the direction of Robyn Lana, will perform at Carnegie Hall in April 2017. This past April, Dr. Gerard Morris from the University of Puget Sound was in residency at Xavier University for a week of lectures and performances with the Symphonic Wind Ensemble. The week culminated with a conducting symposium featuring Dr. Morris and Xavier’s director of instrumental activities, Dr. Benjamin A. Chamberlain. The 3rd Annual Xavier University Honor Band & Choir Festival will be held on the campus of Xavier University, January 13-14, 2017. Directors from Ohio, Indiana, and Kentucky are invited to nominate students to participate. For more information, visit http:// www.xavier.edu/music-department/honorbandchoir. cfm.
Bachelor of Arts in Music Bachelor of Arts in Music Education Minors in Music & Musical Theatre www.muskingum.edu/dept/music www.youtube.com/MuskingumMusic www.facebook.com/MuskingumMusic
Scholarships available to majors and non-majors
OCTOBER/NOVEMBER 2016
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In the Presence of Greatness Loren C. Veigel; OCDA President
At the end of a long and arduous concert season, nothing is more welcomed than some relaxing time spent sharing thoughts with friends while receiving a professional boost. OCDA’s recent Summer Conference held on the beautiful campus of Otterbein University in Westerville offered the opportunity for choral musicians of every level and professional arena to gain new techniques, share ideas, enjoy pleasant fellowship, and further their professional development. Throughout the conference, participants were in the presence of greatness. Headliner clinicians represent mastery in our field. Rod Eichenberger, Professor Emeritus of Florida State University, is world-renowned as a choral interpreter and conducting teacher. Andrea Ramsey, of The University of Colorado/Boulder, provided insight into her compositional process and tear-producing inspiration as she shared research into singers’ thoughts about belonging in a choir, and their motivation for singing. The greatness of Ohio’s choral musicians was on full display, as participants heard seven concerts, including the incredible talents of Dr. Lynda Hasseler and Frank Bianchi, directing OCDA’s High School Honors Men’s and Women’s choruses, and Fred Meads, conducting the OCDA Children’s Honors Choir. We all enjoyed the great feelings of learning new music 56
during five reading sessions; and it’s great to be able to bring all that music home, too! Truly, greatness is present everywhere at an OCDA Summer Conference. One is surrounded by Ohio’s fabulous choralists, whose greatness is exhibited as they change lives for the better, rehearsal by rehearsal, concert to concert. Every day, our colleagues expose singers aged 2-100 to the finest works of art, teaching them to express themselves while using our own bodies as precious musical instruments. There is power in this act, and value in its accomplishment. Don’t miss the opportunity next summer to join us at OCDA Summer Conference, Otterbein University, June 19-21, 2017. Ohio will welcome Dr. Tim Sharp, Executive Director of ACDA, and Stacey Gibbs, renowned composer and conductor. These headliners will be joined by Ohio clinicians and the program will include reading sessions, exhibitors, concerts, and more as you enjoy the camaraderie of friends and colleagues. It’s a privilege to work in the most wonderful profession in the world, standing in the presence of greatness daily. Keep changing lives for the better! Chorally yours, Loren
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OHIO MUSIC EDUCATION ASSOCIATION
CLEVELAND 2017
AN INVITATION FROM THE DIRECTOR OF PROFESSIONAL DEVELOPMENT MARK HENSLER The 2017 OMEA Professional Development Conference
NORTH COAST
PROFESSIONAL DEVELOPMENT CONFERENCE FEBRUARY 2-4, 2017
We are excited to be returning to the Huntington Convention Center of Cleveland for the 2017 OMEA Professional Development Conference – the “North Coast Conference”. The city of Cleveland has continued to grow and develop new and updated housing and dining options, which I am sure you will enjoy. The 2017 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 to meet your professional development needs. The 2017 PDC will offer the most significant “special focus” track in OMEA history and several new initiatives sparked by member surveys and other data. Notable changes include a restructured session schedule; selected 90-minute session times; several clinic-concert sessions; and more “first time” OMEA presenters. The 2017 special focus sessions are made possible by a generous grant from the Ohio Arts Council. We are grateful for this opportunity and look forward to a continuing partnership with the OAC. Don’t miss your chance to explore such topics as teaching in urban and rural schools; managing resources in low-income communities; improving classroom behavior; non-traditional music education; the impact of the Every Student Succeeds Act; working with special learners and more. The blind-audition process for performing groups has resulted in another program of outstanding ensembles of all shapes and sizes. TI:ME technology sessions, All-State concerts and plentiful networking/social opportunities guarantee another “must attend” event for music educators. The exhibit hall in the Huntington Convention Center of Cleveland will be filled with many familiar faces and a few new ones. Attendees have been asking for more time to visit the exhibits and more time to find a meal without missing so many sessions. The new schedule builds in flextime for attendees to use as they wish - eat, visit vendor booths, network or just get off of your feet for a few minutes! Make your plans NOW to join us in Cleveland, February 2-4 for the 2017 North Coast Conference. Still undecided? Be sure to check out the new PDC website featuring some of the outstanding presenters slated for the 2017 PDC (see list in TRIAD). The “Conference” tab (left side of OMEA homepage) will also host a preregistration link; information on the Instructional-Hour Certificate Program (IHCP); graduate credit options; housing reservations; reception request form and more.
2017 PDC Team Mark Hensler, Director of Professional Development pd_director@omea-ohio.org OCTOBER/NOVEMBER 2016
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THE COLLEGE OF WOOSTER Department of Music Degrees
Programs
Performance Opportunities
Bachelor of Arts Bachelor of Music Bachelor of Music Education
Composition History & Literature Music Education Music Theory Music Therapy Performance
Concert Band Gospel Choir Jazz Ensemble Scot Marching Band Symphonic Band Wooster Chorus Wooster Singers Wooster Symphony Chamber Ensembles Opera Workshop
W www.wooster.edu
Music Scholarship Audition Dates: December 2-3, 2016 January 27-28, 2017
OHIO MUSIC EDUCATION ASSOCIATION
2017 PROFESSIONAL DEVELOPMENT COMMITTEE The 2017 OMEA Professional Development Conference
CLEVELAND 2017
Mark Hensler Director of Professional Development
NORTH COAST
ALL-STATE CHAIR
PROFESSIONAL DEVELOPMENT CONFERENCE
Michael Kelly
FEBRUARY 2-4, 2017
CONTENT CHAIRS Robert Tanis Ryan Smith Band
Kent Vandock Choral
BethAnn Hepburn General Music
Jan Diehl Jazz
Elizabeth Hankins Orchestra
Dale Nawrocki On-Site Registration
Bill Thomas Percussion
Gianna Tyrrell Kristin Koterba Properties Co-Chairs
Paul Schrameck Small Ensembles
STANDING CHAIRS JD Latorre Adjudicated Events
Richard Edwards Higher Education
Ewelina Boczkowska Multi-Cultural
Stephen Lytle OCMEA
Patricia Grutzmacher Research
Lalene Kay Special Learners
Rachael Fleischaker Teacher Evaluation
Melinda Wallace Curriculum & Assessment
ALLIED ORGANIZATIONS Dan Nicora JECO
Tim Katz OAAE
Loren Veigel OCDA
Trista Emmons OSTA
Donna Collins OAC
Lesley Schultz TI:ME
OCTOBER/NOVEMBER 2016
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2017 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE
SELECTED PERFORMING ENSEMBLES Baldwin Wallace Men’s Chorus
Lowellville High School Concert Band
Baldwin Wallace Symphony Orchestra
Muskingum University Concert Choir
Brunswick High School Wind Ensemble
Ohio University Symphony Orchestra
Cincinnati Youth Jazz Orchestra
OPCICA Honors Jazz Ensemble
Cleveland Jazz Orchestra
Patriots Symphonic Band
Cleveland Orchestra Children’s Chorus
Pickerington High School North Percussion Ensemble
Cleveland State University Chorale
Sam Morrison – Beyond the Miles
Cleveland Winds
Scioto Valley Community Chorus
Columbus International Children’s Choir
Stivers School for the Arts Jazz Orchestra
Columbus Symphony Chamber Strings
Strongsville High School Symphony Orchestra
Firestone High School Symphonic Choir
University of Dayton Jazz Ensemble
Greenville Junior High Concert Band
University School Flying Mallets
Hilliard Davidson Chamber Orchestra
Upper Arlington High School Symphonic Choir
Hudson Middle School 8th Grade Orchestra
Wapakoneta Symphonic Band
Kent State University Wind Ensemble
Worthington Kilbourne Wind Ensemble
Kettering Fairmont High School Eleventh Hour Wright State University ETHOS Learwood Middle School Concert Choir
Wright State University Wind Symphony
Liberty Middle School Choir
Xavier University Men’s Chorus
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Music at Otterbein
Stand Out
Building your future... one note at a time
Degrees Offered: • Bachelor of Music Education • Bachelor of Music in Performance • 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
Upcoming Audition Dates: Saturday, January 21, 2017 | Saturday, February 11, 2017
Tuesday, February 21, 2017 | Saturday, March 18, 2017 Contact: Claire Brock, 614-823-1504, cbrock@otterbein.edu www.otterbein.edu/music
Otterbein is an accredited member of the National Association of Schools of Music (NASM)
The Fun-filled Music Festival For Band, Orchestra & Choirs.
Friday, May 12, 19 & 26, 2017
Online Reservation & Information available at
www.festivalofmusic.com or call 800-323-0974 info@edprog.com
ORCHESTRA CONCERT November 6
CONSERVATORY OF MUSIC www.capital.edu/music www.capital.edu/grad-music 614-236-6101
BACHELOR OF MUSIC
BAND READING CLINIC November 18-19
BACHELOR OF ARTS
MUSIC MUSIC EDUCATION PROFESSIONAL STUDIES (Music Technology Emphasis) Dual, Instrumental, Vocal KEYBOARD PEDAGOGY Church, Organ, Piano MUSIC INDUSTRY MASTER OF MUSIC IN MUSIC EDUCATION MUSIC TECHNOLOGY PERFORMANCE INSTRUMENTAL emphasis Jazz Studies JAZZ PEDAGOGY emphasis ‘ emphasis Composition KODALY Instrumental Organ Piano Voice Voice
CHRISTMAS FESTIVAL December 1-4
(Opera/Music Theatre Emphasis)
N HT SI G N GI G SI
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2017 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE February 2017, Cleveland, Ohio • y Center Exhibitors as of August 8, 2016 and subject to change. Acoustica All-Ohio State Fair Youth Choir, The American School Band Directors Association Anchor Audio Antigua Winds Ashland University Baldwin Wallace University Blue Lake Fine Arts Camp Bluffton University Bob Rogers Travel Bocal Majority Bowling Green State University Breezin’ Thru Inc. Brightspark Travel Buddy Roger’s Music Capital University Conservatory of Music Carl Fischer Music Case Western Reserve University Cedar Point - Kings Island Cedarville University Century Resources, LLC Charms Office Assistant CIM K-12 Distance Learning Cleveland State University College of Wooster Columbus Pro Percussion Conn-Selmer, Inc. Costume Holiday House Daybreak Music DeMoulin Brothers & Company Eastman Music Company Educational Tours, Inc. Elvis Presley’s Graceland Enovative Technologies EPN Travel Services Festivals of Music/Music in the Parks
Fox Products Corporation Fred J. Miller Inc. Gemeinhardt Musical Instruments Getzen Company Great Day! Tours & Charter Bus Service Hal Leonard Corporation Heidelberg University School of Music J.W. Pepper Inc. Jazz Education Connection of Ohio Columbus Jazz Arts Group Jupiter/Mapex/Majestic Kent State University Macie Publishing/Ed Sueta Music Publications Make Music, Inc. Marietta College Miami University Music Dept. Mollard Conducting Batons, Inc. Montefiore Foundation Morehead State University Motter’s Music Mount Vernon Nazarene University Music & Arts Music Celebrations International Music Filing Solutions Music for All Music is Elementary Music Settlement, The Music Travel Consultants Musicians Repair Service Muskingum University Dept. of Music National Association for Music Education New Era/Crowne Excellence Noteworthy Tours, Inc. Ohio Foundation for Music Education Ohio Northern University Ohio State University School of Music, The
Ohio University School of Music Otterbein University Pearl Corporation Pee-Jay’s Fresh Fruit Pellegrino Music Center Premier Tour and Travel QuaverMusic.com Rettig Music, Inc. Royalton Music Center/Professional Suite Singing Buckeyes Slippery Rock University StageRight Corporation Stanbury Uniforms, Inc./Midwest Band Stanton’s Sheet Music Stoller Fundraising Straight A Tours & Travel Summit Choral Society Summit Tour & Travel, Inc. Super Holiday Tours Tiffin University University of Akron, The University of Cincinnati University of Dayton University of Mount Union University of Toledo, The US Army Bands VanderCook College of Music Wenger Corporation West Music Company WorldStrides Wright State University School of Music Xavier University 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
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PRE-REGISTRATION FORM
2017 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE Cleveland, Ohio • February 2-4, 2017 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 13, 2017. Postmarks after this date will not be accepted. • All refund requests must be made in writing. Refunds after January 13, 2017 will be assessed a $15.00 processing fee. • No refunds after January 27, 2017. Online pre-registration is available until January 20, 2017 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
CLEVELAND 2017 NORTH COAST
PROFESSIONAL DEVELOPMENT CONFERENCE FEBRUARY 2-4, 2017
*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
2017 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE Cleveland, Ohio • February 2-4, 2017 RESERVATIONS CAN BE MADE BY CHOOSING ONE OF THE FOLLOWING OPTIONS: All reservations require a credit card. No checks will be accepted. Credit cards expiring 02/17 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: 844-662-6124 - Do not mail after faxing. 3.) MAIL: Send a completed form (one copy per room) to: Destination Cleveland Housing Bureau Attn: Casey Gwin, CMP 334 Euclid Ave, Cleveland, OH 44114 4.) EMAIL: housing@destinationcle.org
DEADLINE FOR SPECIAL RATES IS JANUARY 10, 2017. • No telephone reservations will be accepted by the Housing Bureau. • Photocopy this form if more than one room is required. • Only one room may be requested under each name. • Rooms are assigned on a first-come, first-serve basis.
HOTEL RATES Hotel
Single
Double
Triple
Quad
Cleveland Marriott at Key Center
$159
$159
$159
$159
Westin Cleveland
$159
$159
$159
$159
Doubletree by Hilton Cleveland Downtown-Lakeside
$120
$120
$120
$120
Hampton Inn Cleveland Downtown
$119
$119
$119
$119
Hilton Cleveland Downtown
$167
$167
$167
$167
Drury Plaza Hotel Downtown Cleveland
$149
$149
$149
$149
Hyatt Regency at the Arcade
$159
$169
$174
$179
*Rates quoted above are subject to 16.5% tax (Subject to change).
HOTEL PREFERENCE: 1. �����������������������������������������������������
• Allow up to two weeks for an acknowledgement. • After January 10, 2017, rooms and rates are based on availability.
2. �����������������������������������������������������
Confirm reservation to: (Only one acknowledgement will be sent)
Arrival Date: �������������������������������������������
Name: ������������������������������������������������
Departure Date: ���������������������������������������
Address: ��������������������������������������������������������������
List Names of all occupants
City: ���������������������������������������������������
(List all occupants' arrival and departure dates if different.)
State: ������������������������ Zip: ���������������������
��������������������������������������������������������
Phone: ��������������������������������������������������
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Fax: ��������������������������������������������������������������������
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Email Address: �����������������������������������������
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RESERVATION DEPOSIT:
ROOM TYPE PREFERENCE*:
All hotels require a credit card for guarantee. Requests received without credit card information will not be processed. Please fill out the credit card information entirely. Credit cards must be valid through February 2017 in order to be considered a proper guarantee.
American Express Visa Diner’s Club
Master Card Discover
Card # Expir. / Name: �������������������������������������������������������� Signature: �����������������������������������������
3. �����������������������������������������������������
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 * 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 20, 2017 (4:00 p.m. EST) via internet, fax, email, or mail. After January 20, 2017, all new reservations, changes, and cancellations must go through the hotel. Do not contact the hotels directly until after January 20, 2017.
INSTRUCTIONAL HOUR CERTIFICATE PROGRAM • ARE YOU PLANNING TO ATTEND THE 2017 PDC IN CLEVELAND? • 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)?
1. 2. 3. 4. 5.
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 21, 2017. (Required format will be available on the OMEA website.) Satisfactorily complete all requirements and receive an instructional hour certificate (10 hours) from the Ohio Music Education Association.
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. 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 Take part in rural, urban and underserved special focus sessions SEE THE PDC WEBSITE, OMEA WEBSITE, TRIAD, AND SOCIAL MEDIA FOR UPDATES ON PRESENTERS, TOPICS, PERFORMING ENSEMBLES AND SPECIAL EVENTS.
STILL NOT ENOUGH? IN NEED OF GRADUATE CREDIT? CHECK OUT THE NEXT PAGE FOR INFORMATION ON THE ASHLAND CREDIT PROGRAM FOR DETAILS.
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ASHLAND GRADUATE CREDIT PROGRAM • 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?
2017 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE Graduate Credit Option - $209
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 21, 2017. 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.
NEW FOR 2017: Registration for graduate credit will be available throughout the conference (online only). This will allow you to take advantage of this great offer, even if you are unable to preregister. Please contact Mark Hensler at (513) 240-1572 or pd_director@omea-ohio.org for more information. OCTOBER/NOVEMBER 2016
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OHIO MUSIC EDUCATION ASSOCIATION 2017 25-YEAR AWARD FORM
Any music teacher who has taught for 25 years has an opportunity to be recognized for this outstanding achievement. If this is your 25th year of teaching and you meet the other requirements listed on the application form, you are eligible. This is an honor that is bestowed upon our own by OMEA and is a fitting tribute for a job well done. You must, however, fill out the application and send it in. No one will do it for you! Education is receiving a lot of publicity these days. It would be encouraging to have some good news about the teaching profession. Your 25 years of music teaching is good news. Don’t delay! Don’t wait until later! Fill out the form, and send it in now!
25 YEAR APPLICATION FORM — REQUIREMENTS Please fill out the application form and send it in by January 6, 2017. 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. Applicant must fill in the form below and mail/email by January 6, 2017 to:
Christy Nawrocki • 4698 Clayburn Dr. E., Grove City, OH 43123 Email: ChristyLNawrocki@yahoo.com 5. Awards will be made at the 2017 OMEA Conference in Cleveland, Ohio on Saturday, February 4, 2017. NAME: _________________________________________________________________________________________________________________________________ (Please print your name exactly as you would like it to appear on your certificate)
HOME ADDRESS: _______________________________________________________________________________________________________________________ CITY: _____________________________________________________________
STATE: _________________________________
ZIP:____________________________
HOME PHONE: _____________________________________________________ HOME EMAIL: _____________________________________________________ PRESENT SCHOOL: __________________________________________________ POSITION: _________________________________________________________ SCHOOL ADDRESS: _____________________________________________________________________________________________________________________ CITY: ____________________________________________________________
STATE: _________________________________
ZIP: ___________________________
My Most Memorable Moment in Teaching: ______________________________________________________________________________________________ ________________________________________________________________________________________________________________________________________ I have completed __________ (number) Years of Teaching in Music Education. ALL OF MY TEACHING HAS BEEN IN OHIO _______ YES _______ NO If NO, list teaching locations outside of Ohio and number of years at each location. _____________________________________________ ______ Yes, I will attend the awards Ceremony and Reception Luncheon on Saturday, February 4, 2017. ______ No, I will not attend the awards Ceremony and Reception Luncheon on Saturday, February 4, 2017.
Ohio Music Education Association EXHIBIT HALL VISITATION HOURS Location: Exhibit Hall C of the Huntington Convention Center of Cleveland Visitation Hours: Thursday, February 2 – 1:00 pm to 6:00 pm Friday, February 3 – 9:00 am to 5:00 pm Saturday, February 4 – 9:00 am to 12:30 pm Attendees: Patronize Our Exhibitors! Exhibitors make an investment in our conference with no assurance of return, but it is in everyone’s best interest for attendees to interact with this supportive body. It is a win-win! Information for potential exhibitors is located on the OMEA website homepage: www.omea-ohio.org
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OMEA GR ADUATE RESEARCH FORUM
GRADUATE RESEARCH ROU N D T A BL E Thursday, February 2, 2017 10 a.m. – 3:30 p.m. Westin Hotel - Vanda Room
Featured Speaker: Dr. J. Terry Gates J. Terry Gates retired from full-time teaching in summer 2001 after 43 years in elementary, secondary and higher education in Illinois, Ohio, Alabama, and New York. He chaired the SUNY-Buffalo Music Department from 1994-1997, and was Director of the Teacher Education Institute in the Graduate School of Education 1999-2001. He was part of the group that developed New York’s Frameworks for Arts Education, and was a leading figure in developing the Goals 2000 grant for New York State arts assessments His contributions to the international research literature include history and criticism in music teaching and learning, edited books, speeches and workshops, and articles on arts education policy. He is co-founder of The MayDay Group, an international organization of music education theorists. Gates is a former member of the MENC Publications Committee, the J. of Music Teacher Education editorial board and the Executive Committee of the Music Education Research Council. Gates’ doctoral degree is from the University of Illinois at Urbana-Champaign, where he was a student of Charles Leonhard, Richard Colwell and Harry Broudy. He lives in St. Louis, where he maintains his activities as founding president/CEO of The Hoenny Center for Research and Development in Teaching.
SCHEDULE 9:30 a.m 10:00 a.m.
Continental Breakfast Dr. J. Terry Gates– “Unfinished Business: My ‘To-do’ List on the Shoreline of Wonder.”
Noon Lunch break
1:30 p.m.
Graduate Research Roundtable
3:30 p.m.
Graduate Research Roundtable Ends
Welcome to all preK-12 and collegiate educators, and graduate and undergraduate students interested in current music research, educational initiatives, and avenues for implementation into the music classroom. Please indicate your plans to attend the continental breakfast by emailing Dr. Pat Grutzmacher at pgrutzma@kent.edu by Monday, January 30.
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OHIO MUSIC EDUC ATION ASSOCIATION Research Committee
G R A D UAT E R E S E A R C H R O U N DTA B L E 2017 OMEA Professional Development Conference
CALL FOR PROPOSALS Submission Deadline: November 1, 2016
A graduate research roundtable session will be held at the 2017 OMEA Professional Development Conference on February 2, 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 roundtable discussion, 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, send submissions (Word document only) to Dr. Nathan Kruse at nathan.kruse@case.edu, OMEA Graduate Research Roundtable Coordinator, with “GRR Submission” in the subject field. Submissions should include (a) author name, (b) author e-mail address, (c) institution, (d) project title, and (e) a 300-word (max) abstract that includes the need for the study, the purpose statement and research questions, the design/methodology, and the findings/implications (if known at the time of submission). Submissions will be blinded for review and should be received no later than midnight on October 24, 2016. 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 5, 2016. If you have any questions about this process, please contact Dr. Nathan Kruse at nathan.kruse@case.edu or 216-368-0675.
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WE ARE PROUD TO INTRODUCE TWO NEW FACULTY MEMBERS:
JAY DORFMAN, PH.D.,
FOR ADDITIONAL INFORMATION, CONTACT: UNDERGRADUATE DEGREES: BACHELOR OF ARTS BACHELOR OF MUSIC BACHELOR OF SCIENCE*
GRADUATE DEGREES: MASTER OF ARTS MASTER OF MUSIC DOCTOR OF PHILOSOPHY
AUDITIONS:
Programs of Study:
Programs of Study:
UNDERGRADUATE MUSIC SCHOLARSHIPS:
Music (B.A.)
Contemporary Popular Music*
Music Education (B.M.) Instrumental Performance (B.M.) Piano Performance (B.M.) Vocal Performance (B.M.) Composition (B.M.) Music Technology (B.S.)* Undergraduate Minors:
Music Jazz Studies World Music Audio Recording* Music Technology*
* OFFERED AT KENT STATE UNIVERSITY AT STARK
Music Composition (M.A.) Ethnomusicology (M.A.) Music Theory (M.A.) Conducting: (M.M.) Band Orchestra Choral
Music Education (M.M.) – Entirely Online! Performance (M.M.) Performance: Chamber Music (M.M.) Music Education (Ph.D.) Music Theory-Composition (Ph.D.)
JESSE LEYVA
RECRUITMENT COORDINATOR jleyva@kent.edu
DANA BROWN
ASSISTANT TO THE DIRECTOR dabrown@kent.edu GRADUATE ASSISTANTSHIPS:
MICHAEL CHUNN
COORDINATOR OF GRADUATE STUDIES mchunn@kent.edu KENT STATE UNIVERSITY AT STARK:
LAURIE CAMP
ACADEMIC ADVISOR, STARK CAMPUS Lacamp1@kent.edu
WWW.KENT.EDU/MUSIC
Kent State University, Kent State and KSU are registered trademarks and may not be used without permission. Kent State University, an equal opportunity, affirmative action employer, is committed to attaining excellence through the recruitment and retention of a diverse workforce. 16-cota-00223-025
ASSOCIATE PROFESSOR AND COORDINATOR OF MUSIC EDUCATION
MEGHAN NAXER, PH.D.,
ASSISTANT PROFESSOR IN MUSIC THEORY
MEET CHRIS MCKEE
YOUR EPN TRAVEL PROFESSIONAL “I enjoy working with great directors and teachers and helping them provide the best experience possible for their students by customizing value-added trip itineraries that maximize the goals of the group.” KEE MC list S I a CHR r Speci Tou
1784
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PERFORMANCE TOURS CUSTOM CLINICS PARADES BOWL GAMES FESTIVALS DISNEY PERFORMING ARTS
Chris has over 20 years of group travel planning experience. He earned a B.M. in Music Marketing from Clarion University of PA. Chris is the former Director of North American Music Festivals, where he managed the production of adjudication festivals throughout the East Coast. He also served as a Travel Consultant with Educational Travel Experiences, Inc. and The Sound of America Honor Band and Chorus European Concert Tour.
WHAT IS A GREAT STUDENT DESTINATION THAT MANY TEACHERS ARE NOT AWARE OF? Cleveland, Ohio is one of the best kept secrets in student travel. Cleveland has such a rich history. George Washington once said that a great city would stand in the blessed spot where the Cuyahoga River met Lake Erie. Steel and oil barons built a monumental downtown which has grown into a modern-day cultural icon that includes the world-renowned Cleveland Museum of Art and the Cleveland Orchestra. The Rock & Roll Hall of Fame, Cleveland Aquarium and Great Lakes Science Center combined with the Hard Rock Café and Dinner and Sightseeing Cruises on Lake Erie make Cleveland a city that everyone should experience. Cedar Point Amusement Park, the “Rollercoaster Capital of the World” is just a short drive up the coast. Cleveland really has it all!
OHIO MUSIC EDUC ATION ASSOCIATION Research Committee
RESEARCH POSTER SESSION 2017 OMEA Professional Development Conference
CALL FOR PAPERS Submission Deadline: November 1, 2016
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 Cleveland, Ohio February 2-4, 2017. 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 abovementioned 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: www.contributions. omea-ohio.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, 2016. 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/o4768ww]. E-mail the materials to Paul Louth [omeapostersession2017@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 2016
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TRIAD
URBAN, RURAL AND UNDERSERVED S P E C I A L F O C U S S E S S I O N S AT T H E 2 0 1 7 O M E A P R O F E S S I O N A L D E V E LO P M E N T C O N F E R E N C E
Sessions made possible by a generous grant from the Ohio Arts Council.
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SESSION TITLE CLINICIAN Orff In the Urban (or any) Classroom (Primary)
Leslie Anne Bird
Orff in the Urban (or any) Classroom (Intermediate)
Leslie Anne Bird
Using Music as a Vehicle to Enhance One’s Life
Tom Bracy
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Urban Music Panel Discussion Tom Bracy Small School, Big Program, No Problem: Recruitment and Retention in a Small, Rural District.
Joe Carver
Beethoven to Beatbox: Building Thriving Orchestras in Urban Schools
Lois Clark Ramey
What Does “Urban” Music Education Mean: Discussing the Discourse
Dawn Farmer
Inner-City Schools: Keys to Success Dawn Farmer Getting to Know our Students: Building Upon Strengths in Urban and Under-Resourced Schools
Kate Fitzpatrick
Setting Goals and Developing Your Own Definition of Success in Urban and Under-Resourced Settings
Kate Fitzpatrick
Urban Music Education: A Counternarrative Based on Contextually Specific Teaching
Kate Fitzpatrick
The Only Constant is Change: Musings of an Urban Veteran Music Teacher
Rachael Fleischaker
Life, Music, and Social Justice for All
Rachael Fleischaker
Making Music with Today’s Urban students Timothy Fuchtman Building Community through STEAM John Hill Something Out Of Nothing: How to be Successful in an Urban District
Lisa Hirzel
Urban Music Education: A Personal Reflection
Sean Jones
Promoting Healthy Growth and Development in Children and Communities Through Music
Margaret Martin
Building Your Instrumental Music Program in Urban and Rural Schools
Kevin Mixon
Music Without Borders: Making Travel Meaningful and Accessible for Low-Income Families
Felipe Morales-Torres
From Rural to Urban: Building and maintaining a Successful Choral Program
Brian Nabors
The Ur-band Program, Building and Maintaining a Music Program in an Inner Ring Suburb. Our Kids Can! Jennifer Shauf Avoiding Urban Music Education Cuts: A Cautionary Tale
Ryan Shaw
Fostering Social Justice Through Music Education in Urban Communities and Beyond
Julia Shaw
Movement from a Muse: Building Blocks for Character and Creativity in the Underserved Classroom
Laura Stack
Mindful Management: Moving Beyond the Obstacles of the Underserved Classroom
Laura Stack
African-American Folk Songs and Games for Rural and Urban Students.
Pamela Stover
Success in the Small School Vocal Music Program: One Approach to Achieving It
James Vaughn
OCTOBER/NOVEMBER 2016
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PUBLICATION SCHEDULE
TRIAD ISSUE October/November 2016 December ‘16/January ‘17 April/May 2017
*Copy must be in the hands of the editor on schedule.
DEADLINE DATE* August 8, 2016 October 3, 2016 February 13, 2017
POSTING DATE** October 3, 2016 December 5, 2016 April 10, 2017
*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.
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Ohio Northern University. . . . . . . . . . . . . . . http://www.onu.edu/music. . . . . . . . . . . . . 41
Capital University. . . . . . . . . . . . . . . . . . . . . . http://www.music.capital.edu. . . . . . . . . . 64
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Malone University. . . . . . . . . . . . . . . . . . . . . http://www.malone.edu/music . . . . . . . . 22
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Marietta College. . . . . . . . . . . . . . . . . . . . . . . http://www.marietta.edu/~musc. . . . . . . 46
University of Dayton. . . . . . . . . . . . . . . . . . . http://academic.udayton.edu/music . . . 52
Messiah College . . . . . . . . . . . . . . . . . . . . . . . . http://www.messiah.edu/conducting. . . 7
University of Mount Union . . . . . . . . . . . . http://www.mountunion.edu/music . . . 48
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Wright State University. . . . . . . . . . . . . . . . . http://www.wright.edu/music. . . . . . . . . . . 45
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Muskingum University . . . . . . . . . . . . . . . . . http://www.muskingum.edu/dept/music ..55
Bold signifies a Corporate/Institutional Partner
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