TRIAD - FALL 2017

THE OFFICIAL PUBLICATION OF THE OHIO MUSIC EDUCATION ASSOCIATION

October/November 2017 Vol. LXXXV, No. 1

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IN THIS ISSUE FROM THE EDITOR...

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Editor of TRIAD - Eric West

FROM THE PRESIDENT...

8

OMEA President - Dr. Michael Crist

FEATURE ARTICLE

14 Roger Hall Awarded the Lowell Mason Award

Editor: Eric West editor_of_triad@omea-ohio.org

OPINION EDITORIAL...

18 The Sounds of Music or the Sound of Silence? - Dr. David Hedgecoth

Design/Production: Amy Annico Director of Media and Publications media_director@omea-ohio.org

MASTERING THE CRAFT 22 26 28 30 32 32 23

BAND - Angela L. Davoll CHORAL - Loren C. Veigel CURRICULUM & ASSESSMENT - Alice Nelson GENERAL MUSIC - Dr. Terri Brown Lenzo JAZZ - Mark Russo STRINGS - Anna Ballmer TEACHER EDUCATION - Dr. Heather A. Russell

Advertising: David N. Adamson Director of Business Advertising/Exhibits business_manager@omea-ohio.org

NEWS & COMMITTEE REPORTS 38 42 45 52 54

Adjudicated Events - News and Updates - Stephanie Smith Adjudicated Events - Instrumental - Pamela Thiel Higher Education News Ohio Alliance for Arts Education Ohio Choral Directors Association

ONLINE PUBLISHING: WRL Advertising

2018 OMEA PDC SPECIAL SECTION 57 64 66 69 71 74

Invitation, Committee Members, Selected Ensembles, Exhibitors Registration & Housing Forms IHCP & Ashland Credit Programs 25-Year Award Nomination Form Graduate Research Roundtable, Call for Proposals, Call for Papers Letter to Administrators for the 2018 OMEA PDC

5 10 78 80

Information Network Corporate/Institutional Partnership Listing OFME Music Education Donor Form & OFME Donor Link TRIAD Publication Schedule & Advertising Index

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 2017

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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 2017

OMEA TRUSTEES Michael Crist President president@omea-ohio.org

OCMEA OFFICERS Wyatt Heinz OCMEA President ocmea_president@omea-ohio.org

Kathleen McGrady President-Elect president_elect@omea-ohio.org

Adelaide Young OCMEA President-Elect ocmea_president_elect@omea-ohio.org

Terry Herschman Immediate Past-President past_president@omea-ohio.org

Mackenzie Payton OCMEA Secretary ocmea_secretary@omea-ohio.org

Daniel Ruckman Secretary secretary@omea-ohio.org

Aly Szczublewski OCMEA Editor ocmea_editor@omea-ohio.org

Eric West Editor of TRIAD editor_of_triad@omea-ohio.org

Colton Thomas OCMEA Treasurer ocmea_treasurer@omea-ohio.org

David Vitale Treasurer treasurer@omea-ohio.org 2017-2018 TRIAD EDITORIAL BOARD EDITOR Eric West

GRAPHIC DESIGN/LAYOUT Amy Annico

Defiance High School

Ohio Music Education Association

PAST EDITOR Marc Parulekar

JAZZ Mark Russo

Pickerington North High School

Parma Community High School

BAND Jeff Gershman

MULTICULTURAL Lisa Wong

Capital University

Wooster College

CHORAL/VOCAL Loren Veigel

ORCHESTRA/STRINGS Michael Smith

Massillon City Schools (retired)

Perrysburg High School

CURRICULUM & ASSESSMENT Nathan Kruse

TEACHER EDUCATION Heather Russell

Case Western Reserve University

Cleveland State University

GENERAL MUSIC Terri Lenzo

TECHNOLOGY Brian Laasko

Ohio Northern University

McKinley High School

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FROM THE EDITOR...

Eric West, OMEA Editor “IF NOT ME, THEN WHO? IF NOT NOW, THEN WHEN?” This quote has stuck with me for most of my teaching career. I never knew it’s true source and a lengthy search attributes it to everyone from Hillel, an ancient Jewish leader to Robert Kennedy to Presidents Reagan and Obama. It has been the foundation of many of the significant choices I have made in my professional life. It perfectly captures the spirit by which I serve my students, cooperate with my co-workers and collaborate with my music colleagues. It is, perhaps, the most concise way of stating my philosophy of education. I chose to serve not because I feel a have to or because of any external pressures but because I believe in service. If I don’t choose to give of my talents and abilities to help others be the best versions of themselves how can I expect anyone else to do the same.

Being at the onset of my term as an OMEA Trustee and the Editor of Triad I have reflected back to how I got to be here. Nineteen years ago I was a first year teacher full of ideas and enthusiasm and not truly knowing the challenges that my chosen career would bring. I was filled with knowledge that my degree demanded I have. I was inspired by the great choral directors under whose direction I was privileged to perform. And I was blissfully oblivious to everything that I still had to learn.

The only thing I really knew about OMEA was that I had to be a member to take my students to contest. It’s what we did in my high school ensembles. It’s how I discovered the confidence as a pianist and vocalist to audition as a music major. In all honesty, that was all I knew about OMEA. I was a 6

member of OCMEA in name only. I performed at state professional development conferences a few times as a member of collegiate ensembles. I was a college student and my priorities were not on professional organizations at that time.

In February of my second year of teaching, I was attending a district honors choir rehearsal at Bowsher High School in Toledo. Karin Giffin and Janine Baughman were the chairs of the two choral honors ensembles. I was in one of the practice rooms of the music wing with the two of them assisting with sorting certificates, participation forms and t-shirts. I remember saying something similar to; “I’d like to learn how to do all of this in future.” To which Janine replied, “Really? Awesome, you can chair next year.” And just like that, I was involved in OMEA. I have often joked that OMEA is like the mafia. Once you’re in….you’re in for life. And though that statement often elicits a laugh when I point it out…It’s so very true. From that simple exchange between Karin, Janine and myself, I became the district honors choir chair for the next several years. That service led to my nomination and election as a district president-elect; a six-year commitment to my district and to the state board.

During the end of my tenure in those offices, I chose to take on the position of co-chair of our district honors festival to which I still serve today.

All in all I have spent the last fifteen years serving OMEA in some capacity. In doing so I have met hundreds of music educators from every education level and in every discipline. I have forged friendships and professional relationships that have had profound impacts on who I am and how I work. I TRIAD

have discovered resources I never knew existed. So, when the call came last spring from Terry Herschman that I had been nominated to run for Editor of Triad, I needed very little deliberation. I discussed with my wife the time commitment it would entail. We both expressed concern about how much we were already committed to other activities both in our careers and in our personal lives. I remember saying to her, “I’d like to do this because I know I CAN do this. And if I don’t do this now, the opportunity may not come again.” She agreed with both statements and gave her blessing.

In the months since that conversation I have been in awe of the amazing support system that OMEA provides at ALL levels. I have already begun forging new relationships with my fellow trustees, the editorial board, the Director of Media and the Business director. It is my hope that Triad is able to reach music educators at all levels of their careers and provide insight, information, strategy and news that all can digest and enjoy.

If you are a music educator in Ohio, get involved with OMEA. You will receive a twice-fold return in your investment. This organization only works

because of the people who serve it. It is only great because those who serve do so with the heart and with a desire to work for something greater than themselves. I look forward to serving you these next two years as Editor of Triad. I look forward to working to bring you the very best content I can. I hope that you become enlightened and inspired to use what you find in these pages to help and serve those in your musical lives. I hope that when the question of whether to serve comes to you that you ask yourself, “If not me, then who? If not now, then when?”

Eric West is the Vocal Music Director for Defiance High School. He has spent the last 19 years teaching choral music in northwest Ohio. He has served OMEA at the district and state level in numerous capacities including District 1 President, District Honors Choir Chair, District Honors Festival Chair, and continues to be an active OMEA adjudicator. He also serves as the IT Coordinator for the Ohio Choral Directors Association. He has a Bachelor of Music Education from Bowling Green State University and lives in Defiance, OH.

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Middle School Honor Band Festival WE WELCOME

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Feb. 17, 2018 Online nomination deadline: Jan. 4, 2018

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Spring Visit Day • for all high school students Friday, April 6, 2018

For admissions and event information visit music.osu.edu

OCTOBER/NOVEMBER 2017

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FROM THE PRESIDENT...

Dr. Michael Crist, OMEA President WHY MUSIC? Do you remember why you chose music as a career, and a way of life? We all have our own stories associated with why. My interest in music started at a young age. On many Saturday nights my siblings and I would visit my grandmother. We would share dinner together and then watch my grandmother’s favorite TV show, the Lawrence Welk Show. I enjoyed the music, but I was visually drawn to the trombone section. The allure of the instrument was not the shine or the sound, it was the slide. I could not figure out how the mechanics of the slide worked.

Fourth grade brought the opportunity to join the music program. I was drawn to the instrumental program by my curiosity about the trombone slide, and when asked which instrument I wanted to play, my reply came quickly. I find it very interesting that after more than 50 years of playing the trombone, I’m still not sure how the slide works. That’s for another story. What is important to remember is that we all have our reason for being drawn to music.

Stop and think about your story.

Once in the music program the trombone became the focal point for my musical voice, but it was the music and the other people that really kept me going.

Making music provides opportunities to interact and engage with some very interesting and enlightening people. Some of these musical interactions can motivate us throughout our lives. Once again, we all have these people who showed us the way. Who was your inspiration?

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Now think about your students. Why do your students choose music? Do they participate in music because it is a requirement, or because it is an interest? Are your students curious about music, and are you curious about their musical interests? How do you motivate your students to learn about music, and what sparks your desire for life long learning in music? Are your students intrinsically or extrinsically inspired to succeed in the music classroom? As we move into the paradigm of providing a “Wellrounded Education” as enumerated in ESSA, the impact of these questions increases.

This past June Terry Herschman, Nancy Ditmer, eight OCMEA members, and I participated in the annual Washington D.C. Hill Day event sponsored

by NAfME. Hill Day provides NAfME members from across the country opportunities to visit with members of Congress and advocate for music education. Most of our conversations revolved around the full funding of ESSA. The discussions with representative staffers helped me understand the complexity associated with funding a law. We are part of a much bigger picture. The Ohio delegation was motivated by the positive feedback we received from our representatives for what we do for students. The lawmakers and staffers in Washington had their own stories about how music, and music teachers impacted their lives.

As music educators we have the opportunity to work with some of the best and brightest in our schools and communities. Many times the impact of your work in the music classroom is not immediate, but manifests itself through future accomplishments TRIAD

of your students. Ohio is very fortunate to have many outstanding music programs where exceptional music achievement takes place each year.

Take the time to reflect on the successes in your program. Enjoy the life stories you are helping your students live each day in your classroom, and remember why you chose music.

I want to take this opportunity to congratulate OMEA Executive Director Roger Hall for being named a Lowell Mason Fellow at the NAfME National Assembly in Washington D.C. this summer.

This is highest recognition awarded by the National Association for Music Education. Roger, thanks for all you do for music education in Ohio!

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

OCTOBER/NOVEMBER 2017

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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2017-2018 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.

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Buddy Roger’s Music

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Music Travel Consultants

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TRIAD

TH E C OLLEGE OF MUSICAL ARTS AT BGSU Degrees Offered In: Jazz Studies Music Composition Music Education Music History and Literature Music Performance World Music Minors Offered In: Jazz Studies Music Music Industry Recording Technology

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Apply by January 15, 2018 for financial aid consideration.

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Audition by February 24, 2018 for talentbased scholarship consideration.

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

TRIAD

LEVEL l - OMEA SPONSOR Ashland University 401 College Avenue Ashland, OH 44805 music@ashland.edu www.ashland.edu/music

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Ohio University School of Music

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Wright State University School of Music 3640 Colonel Glenn Hwy. Dayton, OH 45435 ellizabeth.robbins@wright.edu www.wright.edu/music

OCTOBER/NOVEMBER 2017

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FEATURE ARTICLE OMEA Executive Director Receives National Honor Terry Herschman; OMEA Past-President With great pride, we would like to congratulate OMEA Executive Director, Roger Hall, recipient of the 2017 Lowell Mason Fellow Award, as recognized by the National Association for Music Education, for his contributions to the field of music education. The award was presented officially at the NAfME National Assembly in Tysons Corners, VA, on June 30, 2017.

“Roger Hall has contributed to music education, beginning with his 30 years of devotion to his students and his model for fine teaching and mentorship of his colleagues in Ohio and beyond,” said NAfME President Denese Odegaard.

ROGER WITH MARLYNN LIKENS 14

This honor is one of the highest bestowed upon music educators, music education advocates, political leaders, industry professionals and others whose impact on music education has been significant.

Roger was nominated by a group of past and present OMEA trustees and staff, based upon his remarkable career and service to our organization and members.

Roger has more than 40 years of teaching and administrative experience in public schools and college. His emphasis has been on teaching concert band, marching band, jazz ensemble, music theory and general music education. He is a professional trombonist and brass instrument specialist. Roger’s active participation in professional organizations includes a strong background in administration, program development, implementation and fiscal operations. He has expertise as a consultant, speaker and writer.

Roger earned a B. S. in Music Education from The Ohio State University and M.M. in conducting from Bowling Green State University. His subsequent teaching included positions at Lincoln High School in Canton, University of Akron, Glen Oak High School in Canton, Supervisor of Music and Director of Bands at Perry High School and Pfeiffer Middle School in Massillon, and Instructor in Music Education at Malone University. Roger received the “Outstanding Faculty Award” at Perry HS in 1989, and every year (for 10 years) between 1993 and his retirement in 2002. He was nominated “Teacher of the Year” in 1990 by the Greater Canton Chamber of Commerce and was “Teacher of the Year” at Glen Oak in 1985.

In 2009, Roger was inducted to the Ohio Band DirecTRIAD

tors Conference Hall of Fame. In 2011, he received the OMEA Distinguished Service Award. Most recently, Roger Hall received the 2015 OSU School of Music Distinguished Service Award, one of the highest honors conferred, where “He truly made a difference in their community, in their profession and to their alma mater.” (Richard Blatti) Roger’s bands presented numerous clinics and concerts in and around Ohio. In addition, Roger has been a guest conductor for Bands at OSU, Kent State Stark Band, and Kentucky All-State Collegiate Band and has presented clinic sessions for MENC, Capital University Summer Music Workshop, Kentucky Music Education Association and Ohio Band Directors’ Conference.

PROUD WIFE JENNIE HALL After serving as Fiscal Coordinator for OMEA from 1992-2004, Roger became the Executive Director of OMEA in 2004 to the present time. He also served as the Executive Director for the Ohio Foundation for Music Education from 2006-present. He was the National Chair of Executive Directors for NAfME, 2006-2008. Former trustee, Patricia Meeks has called Roger Hall the “father of OMEA.” She continues, “He has been a constant source of leadership in music education for the past thirty years, and I cannot imagine anyone more deserving to receive the prestigious NAfME Lowell Mason Fellow recognition.”

I would like you to know, as the trustees and staff know, that Roger’s expertise, leadership, guidance and stewardship in all things OMEA and shared at the national level have impacted strong traditions, achievement, respect and love for music and music education. We are proud to know and work with Roger Hall!

OCTOBER/NOVEMBER 2017

DENESE ODEGAARD PRESENTING ROGER WITH THE LOWELL MASON AWARD BIO OF ROGER HALL Roger Hall became the first executive director of the Ohio Music Education Association in 2004, following 14 years as the chief financial officer of the association. He concurrently serves as the executive director of the Ohio Foundation for Music Education.

From 2006 to 2008 he served the National Association for Music Education as the chair of the national Council of Executive Directors.

During a teaching career that spanned 30 years, he was Director of Bands and Supervisor of Music at Perry High School in Massillon (1986-2004), Director of Bands at GlenOak High School in North Canton (1976-1986) and Director of Bands at Lincoln High School in Canton (1974-1976). Mr. Hall served as an adjunct member of the faculties at Malone University (2001-2004) and The University of Akron (1985).

His bands performed at the Midwest Clinic (1991), The National School Board Convention in San Francisco (1980), and the American School Band Directors Association National Band Competition (1985 & 1986). The GlenOak Band ranked 5th overall in this competition in 1986. Additional performances included the Bowling Green State University New Music Clinic (1982, 1991 & 1994), The Ohio State University Conducting Clinic and the Ohio Band Director’s Conference at the University of Akron.

Mr. Hall’s bands performed at MENC Division Conferences throughout the Midwest and for the Ohio Music Education Association Conference eight times.

Mr. Hall was named as an outstanding faculty 15

member at Perry High School every year from 1989 through 2002 and in 1985 was named Teacher of the Year at GlenOak High School. He is a recipient of the Distinguished Service Award from The Ohio State University School of Music (2015), the Ohio Music Education Association Distinguished Service Award (2011) and was inducted into the Ohio Band Directors Hall of Fame in 2010. In 2017, the National Association for Music Education named him a Lowell Mason Fellow.

Mr. Hall served as the music and consulting editor for SMS Publications of Evanston, Illinois from 1988 to 1990. He conceptualized the issue plans, wrote all reviews and authored one article per issue for two magazines: MUSIC PERFORMANCE RESOURCES & YOUR FUTURE IN MUSIC. Roger Hall is a graduate of Bowling Green State University with a Master of Music Degree in Conducting (1984) and The Ohio State University with a Bachelor of Music Education degree (1974).

His principal teachers were Mark S. Kelly, Dr. Donald McGinnis and Professor Jack Evans.

Mr. Hall resides in Massillon with his wife Jennie. He has two children, Jodee and Stacie, and two grandchildren, Benjamin and Kaitlynn.

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TRIAD

OPINION EDITORIAL The Sounds of Music or the Sound of Silence?

David Hedgecoth; The Ohio State University

Editor’s Note: The following article presents an educated viewpoint that is relevant to the national dialogue in regards to charter schools. It is not a statement of position for the Ohio Music Education Association but presents factual information and educated opinion that aligns with our mission statement “that all students should have equal access to high quality music instruction delivered by licensed music teachers through comprehensive school programs in general, instrumental and choral music education.” Triad welcomes the submission of editorial material that seeks to inform and promote constructive debate on issues relevant to the promotion of music education. We will endeavor to provide multiple viewpoints when feasible.

CHARTER SCHOOLS MUST ADDRESS THEIR LACK OF ARTS EDUCATION. Some folks would argue that charter schools serve an important purpose in 21st century American education. I agree. If a school-or an entire districtcannot prepare students for the intellectual, social, economic, and personal challenges of the modern world, then, yes, students and parents should have options for improved educational outcomes. Our children deserve nothing less than the best. While such rhetoric resonates with many, how to define, 18

implement, support, and sustain “the best” is certainly a challenging notion.

Charter schools are founded upon the tenets of academic choice and freedom from educational bureaucracy. Again, at first read, this sounds alluring. Who wouldn’t want less red tape! Sign me up!

Such lingo resonates with American ideals of freedom and liberty. What’s interesting to me, is that when one looks beyond the rhetoric, charter schools sometimes loose their appeal. Operationalizing freedom and choice can be messy – and sometimes disappointing.

Full disclosure: my parents were public school teachers, I am a product of public schools, I was a public school teacher, and my musical pedigree has its foundation in music programs from public schools and state universities. I believe that public education is a critical component of local governance and democratic practice. However, I know that in certain contexts, public schools may not effectively serve the needs of the students in their classrooms. Options and re-visioning are important. Charter schools can be an effective means of providing students with purposeful, meaningful learning opportunities. But what, exactly, are these opportunities?

Choice reigns supreme in charters, but identifying the content and rigor of these choices is difficult.

TRIAD

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More specifically, when one looks beyond improved standardized test scores, what do charters offer our students? If charters are viewed as the future of education, is this education a comprehensive one? Do the arts play a role in the curricular offerings of students in a charter school? Or if a student wants an education in the arts, must they attend a charter that has an arts focus? Toledo and Detroit are prime examples of public school systems that have struggled and charter arts schools present opportunities for arts education. But what about students that do not attend these charter schools? I believe we need to engage charter advocates in a conversation focusing on they way arts education – specifically music - can serve their students.

Here’s the rub. The arts cost money. Charters are appealing because advocates claim that they can offer better results (there’s that word again!) for less money. How is this conversation even tenable? If we believe children deserve the best, then should we not invest in an education - public, charter, or public charter that includes quality arts education? An education that reaches beyond job skill development, and offering “choice” should be one that offers means of learning in multiple contexts? Nurturing cultural citizens has a nice appeal…

Charter advocates are quick to criticize traditional public schools when referring the educational monopoly of district schools (see the Alliance for Public Charter Schools for more on this topic). While such branding can be effective to promote the charter school alternative, there are countless elements of district schools that are to be commended. Arts education is one of these programs. Charters schools provide an

OCTOBER/NOVEMBER 2017

option, but not always answers. Is it possible that in the realm of choice, students actually have fewer learning opportunities? I believe so.

In my studies of charter schools in Oregon and Ohio, I have found that music and arts education exists on levels far below what is found in traditional public schools. Additionally, where music education instruction does exist, charter school music teachers work with fewer resources, less administrative support, and have fewer professional development opportunities than their public school counterparts.

So, what is next? It’s time for a conversation.

State and national arts organizations should engage charter school authorizers and policy proponents on how music and arts education can enhance charter school curriculum. If charter schools are a vision for the 21st century American student, participation in the arts will make this picture more diverse, inclusive, and - complete.

David Hedgecoth is an Assistant Professor of Music Education at The Ohio State University. He holds a bachelor’s and master’s degree in Music Education from Florida State University and a PhD in Music Education from The Ohio State University. He teaches courses in instrumental methods and supervises field experience for instrumental music education majors. Hedgecoth’s research interests include the numerous factors that impact classroom music educators: political influences in education, charter schools as well as public school and charter school curriculum.

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MASTERING THE CRAFT: BAND Handing Them the Keys: Promoting a Student-Centered Culture in the Middle School Performance Ensemble Angela L. Davoll; Hilliard Weaver Middle School

Middle school ensemble directors often struggle with how to provide leadership opportunities for their students while maintaining the necessary control over the classroom environment and curriculum. Using shared decision making as the basis for conversation, directors can allow students to have “voice and choice,” which play a vital part in a successful program.

THERE ARE SIX KEYS THAT MAKE THIS POSSIBLE. 1. BUILD RELATIONSHIPS HOW? The first step is your responsibility. Each encounter with a potential band member is important. Be at all band fittings. Assist with handing out instruments. Seek out opportunities to meet and greet each child and their family, and tell the student to be sure to say “hello” to you any time they see you. Try to learn something new about them each time you come in contact with them.

WHY? Students are not required to take your class. Make them want to be there. Knowing you takes away the fear and replaces it with excitement.

2. DEVELOP A CULTURE/COMMUNITY HOW? Each year, my eighth-grade students are invited to help set up the band classroom for the year. Yes, their work makes my list smaller but, 22

more importantly, it also gives them ownership. Last summer, the students split into groups to divide and conquer. Everyone got to work quickly and was always checking in to be sure they are on the right track. Some students organized Sightreading Books; other students put together new stands. One group was tasked with redefining officer responsibilities; they presented me with a detailed description of each office that went above and beyond my expectations. They even made sure eighth graders would work with seventh graders to develop future leaders.

The outcome of their work strengthens our community.

WHY? If students are invested, they care. If students care, they will work hard. If students work hard, they are unstoppable. And let’s face it, their new ideas might be exactly what you need. They felt valued and gained comradery. The students are already becoming an ensemble.

3. CREATE A PLATFORM OF TRUST HOW? Always be honest. Period. A former student was memorizing marching band music for the first time. She earned a 10% with SmartMusic on Monday. I gave her tips for how to practice memorization, but told her it would take hard work if she wanted to improve. By Thursday, she was up to 58%. She was extremely embarrassed and in tears, TRIAD

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Music Careers Day Wednesday, October 18, 2017 Free, fun, and informative for high school students and parents!

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• Learn about the admissions process, music auditions, scholarships, Honors College, residence halls, Music Living-Learning Community, and financial aid.

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46th Annual Ohio Band Directors Conference (OBDC) Saturday, December 2, 2017

Anthony Wayne High School Symphonic Winds, Canfield Middle School 8th Grade Band and High School Symphonic Band, OBDC Honor Band, and UA’s Symphonic, Concert and University bands.

Guest composer Richard Saucedo, staff writer for the Hal Leonard Corporation. Honor Band Guest conductor and UA alumnus Dustin Seifert, Chair of Department of Music and Director of Bands at Eastern New Mexico University.

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Friday, December 1, 2017 Saturday, February 17, 2018 Monday, February 19, 2018 For more information: 330-972-8301 concerts@uakron.edu

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while I was thrilled. She couldn’t believe I could be proud of her when she still failed. I pointed out how much improvement she had made in a few short days.

WHY? Earning a compliment, earning a grade, earning anything requires grit. My students know they will never hear “Great Job” if I do not believe what they did was great. While I never want to discourage them, I owe it to them to be honest. That honesty is the foundation of the trust we have.

4. DETERMINE EXPECTATIONS HOW BEHAVIORLY? One Word That Will Change Your Life by Jon Gordon, Dan Britton, and Jimmy Page truly has changed mine, both personally and in the classroom. In the book, the authors suggest instead of making a list of goals, you should choose ONE WORD on which to focus for a year. I do not have class rules. In place of rules, each ensemble has seven words. One word each from six groupings of students based on their instrument and one overarching word decided on by the entire band.

Their words. Their class. Ownership in something creates the desire to make it succeed.

HOW MUSICALLY? The day after each concert is “Christmas.” Complete with Santa hats, festive clothing, and “gifts.” Christmas is the way we celebrate our hard work. Students open wrapped boxes containing their music for the next concert…a new challenge, which comes with new goals and higher expectations.

WHY? Discovering what we should expect of ourselves is a process and one of the best skills we can teach our students.

5. ENCOURAGE RISK TAKING HOW? The first step is to embrace your own mistakes. It means admitting you are wrong and being willing to laugh at yourself. It means showing you are human. Be brave. You will be surprised how quickly they will follow your lead.

Also, celebrating mistakes is a great way to encourage your students to “own” their errors.

During a rehearsal, ask the students who missed the

OCTOBER/NOVEMBER 2017

key signature. Acknowledge those willing to raise their hands. It could be as easy as a verbal “thank you.” They will appreciate knowing you want their feedback and how much you value their honesty.

WHY? Students need to trust their director so they can become vulnerable enough to create and experience music. If our students learn to hear and fix their own mistakes, rehearsals get easier. You can begin to rely on them instead of feeling the need to correct every error yourself.

6. SHARE ACCOUNTABILITY HOW? The phrase “we are only as strong as our weakest member” is true. If only we had time to work with each student individually. Because I want my students to advocate for themselves, I created an intervention form where students tell me what they are struggling to accomplish. Section leaders and/or more experienced musicians from their section are then tasked with assisting their colleague. I provide worksheets, instructions, and other ideas to the helper. But in the end, the students are responsible for each other.

WHY? Middle school students have the energy and enthusiasm of elementary students while also craving the responsibility of high school students.

Obviously, we need to hold them accountable but, better yet, we need to encourage them to hold themselves accountable.

Using these six keys has allowed me to create a student-centered culture in my band room. The use of shared decision making has changed my teaching forever because, in my classroom, we are all teachers and learners. And I am better for it.

Angela Davoll is a band director at Weaver Middle School in the Hilliard City School District. She previously held band director positions at Groveport Madison High School in Groveport, OH and Archbishop Carroll High School in Dayton, OH. She holds a Bachelor of Music degree from Capital University and a Master of Music Education degree from The Ohio State University.

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MASTERING THE CRAFT: CHORAL Viewing the World from the Side Roads

Loren C. Veigel

It is a privilege to serve as a member of the TRIAD Editorial Board. My goal will be the submission of practical and inspiring articles dealing with choral music education from a number of authors.

Over the last decade, my lifelong choral education career has taken the exit ramp from the superhighway-whirlwind of the school choral world. Nowadays, I enjoy the view from the slower retirement road – a beautiful view, indeed. It won’t surprise the reader to know the music education off-ramp does not arrive at the end of the road. The roles of adjudicator, clinician, guest conductor, mentor, and tour planner-manager keep me busy and allow a big-picture perspective.

It’s a shocking but a fairly pleasant experience to find oneself approaching the end of the music education journey. Perhaps you’ll allow me to offer a few observations – insights gained over more than forty years of professional life.

The challenges of teaching continue to grow.

Ever-changing mandates demand adjustment, growth, and time. Nonetheless, the joy of providing appropriate tools for young musicians to expand their skills and enabling artistic experiences remain unchanged. I would suggest that, wherever choral music is succeeding, the educator has followed certain principles, some of which are considered here.

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LEARN THE CULTURE OF YOUR SCHOOL AND ITS PLACE WITHIN THE COMMUNITY An understanding of the history, events, and local issues which are important to your students can inform every area of your teaching as you establish the choral program within the school community.

Localities also possess a plethora of cultural icons, events, places, and activities. To “bloom where you’re planted,” you need to assimilate and learn.

Your school’s community and environment can become a wonderful source of programming ideas, as well as providing a guiding set of values.

WORK AS A MEMBER OF THE SCHOOL TEAM Meet and befriend faculty members, administrators, and especially the advisors and coaches of other school activities. Every successful choral program establishes itself as a co-operative and supportive part of the entire school. Competition for student involvement and fervor will appear spontaneously, but it never impacts school programs in a positive manner.

EMBRACE THE OTHER ACTIVITIES IMPORTANT TO YOUR STUDENTS, ESPECIALLY SPORTS We all hope to enhance our students’ love of choral arts, and to expand their desire for self-improvement. However, their lives include numerous other activities valuable to their experience. With regard to TRIAD

time commitments, scheduling, flexibility, and especially personal expressions, accept the value of additional student interests. Support them as often as possible with your own attendance. Jobs, church events, scouting – educate yourself on the demands of community organizations with which your students are involved.

TEACH ONLY MUSIC OF THE HIGHEST LITERARY AND MUSICAL QUALITY, APPROPRIATE TO THE ABILITY LEVEL OF YOUR CHOIR All music educators are struggling to maintain centrality of our work amid the pressures of contemporary curriculum. Our choral arts include more than six hundred years of literature. We must establish our importance by teaching music which represents our history and the essential life lessons expressed in excellent choral literature. Only high-quality music will maintain its value in your library.

ADAMANTLY MAINTAIN AN EQUAL STANDARD OF EXPECTATIONS BETWEEN GENDERS Common sense and educational philosophy demand that boys and girls are held to the same expectations. Nonetheless, it is easy for music teachers to fall prey to the creation of gender inequities.

Grading, evaluation, expectations of musicianship and behavior must be treated equally. Students will quickly discern evidence of an effort to sustain student involvement by diminishing expectations or special privileges. The results of such decisions are never positive in the long run.

ALIGN THE CHORAL PROGRAM BY LEVELS, AND WITH THE INSTRUMENTAL PROGRAM Music educators on every level must examine curriculum, evaluation, and grading policies to assure the consistent growth of every student, as well as a sequential process toward identifiable goals. In addition, staff must guarantee alignment of rules, procedures, and evaluation between choral and instrumental programs within the school.

COMMIT TIME FOR PROFESSIONAL GROWTH The demands upon a music teacher’s time are extraordinary. Nonetheless, one is effective only when professionally healthy. Stay involved in OMEA OCTOBER/NOVEMBER 2017

and other professional organizations. Schedule time for reading, listening, and targeted study. Attend conferences and professional meetings. Pay yourself for your dedication and invest in your professional savings account.

COMMIT TIME FOR PERSONAL BALANCE It is a well-known fact that music teachers are sacrificial. We are all proud to view ourselves among the most giving teachers. But it doesn’t take long for music educators to realize that professional health is possible only with good mental and emotional health.

My advice? Don’t allow your personal time to be part of your sacrifices – schedule time for those things which you value, especially family. Insist that your days, weeks, and months include scheduled time for non-musical activities important to you. Allow nothing to squeeze your personal time out of existence.

MAINTAIN PROFESSIONAL PERSPECTIVE IN TEACHER/STUDENT RELATIONSHIPS Many music educators work with students for more years than any others, including coaches. Often, we spend more hours per day with our performance students than their parents. It falls to the adults – we music educators – to maintain professionalism year after year. Special privileges, close personal relationships, and the jealousy of teacher access always become encumbrances to success with student groups as a whole.

It’s an enjoyable privilege to be cruising along the secondary road of music education, enjoying the larger view, and observing music education from a greater distance. No one appreciates the life-changing value of our profession more than myself. My wish is that everyone will enjoy a successful and exciting school year. Hold your principles close; never lower your standards; share our wonderful art with your students every day.

Loren C. Veigel, Past-President of the Ohio Choral Director’s Association (ACDA), retired after thirty-one years of teaching high school choral music in Ohio. His ensembles at Massillon Washington High School traveled extensively and scored well annually in OMEA adjudicated events.

Veigel remains active as adjudicator, clinician and mentor, as well as Ohio representative for Witte Travel.

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MASTERING THE CRAFT: CURRICULUM & ASSESSMENT Dotting “I’s” and Crossing “T’s”: Helping New Teachers Navigate Curricular Paperwork Alice Nelson

As a new teacher working under the 4-year resident license, paperwork and licensure requirements can seem vast. Research in music education can be an extremely helpful resource in the classroom, although finding research and citing details might feel more arduous than assessing 300+ students in your music program. New teachers (including myself) may wonder where to find the extra time to read research amid all the other work that needs to be done. How do new teachers address important curricular details and include citations in order to complete the requirements for a 4-year residential teaching license? If new teachers understand their expectations, they may find time to read research, cite it within their paperwork, and use it in their classrooms.

EXPECTATIONS IN THE FIRST 4 YEARS Congratulations! We have our first teaching licenses, but the journey has just begun. There are several steps that happen during the first 4 years of teaching. According to the Ohio Department of Education, a resident educator works closely with a mentor within the place of employment (“The Mentoring Years,” 2017). The following 2 years include the Assessment RESA (Resident Educator Summative Assessment) and Exploring Leadership. The Assessment year is exactly that; resident educators 28

take a summative assessment that focuses on four different performance-based tasks that teachers would find in the classroom. More information about these tasks can be found at www.ohioresa. com. Depending on the successful completion of this assessment, resident educators advance to the Exploring Leadership year. This last step consists of different program activities assigned by local resident educator program leaders. Examples of what some of these activities may entail can be found in resident educator’s SAFE account portal under “Learning Management System.” Similar to a student teaching portfolio, teachers are required to submit documentation (e.g., reflections, lesson plans, assessments) in order to demonstrate continued growth as an educator. Even though this outline is specific for Ohio resident educators, these steps often are transferable to other state licenses.

THE RESEARCH Within a teacher’s portfolio, it is beneficial to incorporate research that further enhances teaching methods and materials. For example, some teachers might use a backward design approach to creating units and may want to justify the reasons for using this method. Teachers can start with Google Scholar and search “backward+design+unit+planning” in order to find articles that are specifically geared TRIAD

toward this area. Once the results are populated, teachers can peruse abstracts to determine the articles that are best suited for their portfolio submission. Other valuable and reputable locations include reference sections in music education journals, where teachers can access abstracts of articles that will cater to their needs and interests.

DOTTING “I’S” & CROSSING “T’S” The most important part about using research or ideas other than one’s own is to give credit where credit is due. Properly citing research increases rigor and reduces the possibility of plagiarism. There are plenty of resources available that aid in this process, but two trusted ones are Purdue Owl Writing Lab (https://owl.english.purdue.edu/owl/) and the Publication Manual of the American Psychological Association (6th ed.). These two sources will aid with in-text citations and reference lists. Another tool teachers can use is in Microsoft Word under the “References” tab. This tool helps create a table of contents, footnotes, citations, reference lists/ bibliographies, captions, and other marked entries. Furthermore, users can change the style of citation, such as APA, MLA, or Chicago. When using this program, it is advised to verify with another reference that citations are notated correctly. Citing research adds credibility, responsibility, and accountability for teachers and accountability for teachers, and their students ultimately benefit from such information.

CONCLUSION As newly licensed resident educators about to embark on the next 4-year journey of our careers, there are a few important factors to remember. First, teachers can designate certain parts of the week to work on portfolio submissions, find research, or make appropriate citations. Since teachers have

OCTOBER/NOVEMBER 2017

many responsibilities in and outside the classroom, being able to prioritize and compartmentalize tasks would be beneficial. Second, no one is alone in this process and fellow colleagues are willing to help when possible. For example, teachers can reach out to fellow graduated classmates and create a network for sharing and proofreading portfolio submissions.

There are also many educators who have just completed the process and are more than willing to share their experience and advice. Being able to compartmentalize work and having a network of resources will not only benefit teachers, but our students and curriculum, as well.

References: American Psychological Association. (2010). Publication manual of the American Psychological Association. (6th ed.). Washington, DC: American Psychological Association.

Ohio Department of Education. (2017). The mentoring years. Retrieved from http://education.ohio. gov/Topics/Teaching/Resident-Educator-Program/The-Mentoring-Years Purdue owl writing lab. (2017). Retrieved from https://owl.english.purdue.edu/owl/ resource/560/01/ Alice Nelson is a recent graduate of Case Western Reserve University, earning a Master of Arts in Music Education. She has established a successful career as a private voice and piano instructor, and has had a prominent role as a music director within her community. She earned her B.M. from Baldwin Wallace University, and was awarded high academic acknowledgments in both her undergraduate and graduate career. Current research interests include learning differences and dyslexia, and the role of movement and dance in the K-12 music curriculum.

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MASTERING THE CRAFT: GENERAL MUSIC Music in Context: Culturally Responsive Education and a Pedagogy of Listening Dr. Terri Brown Lenzo; Ohio Northern University

It is early in the school year, and when this issue is published, the second grading period will be about to begin. Teachers have much information to gather at the start of each new session, when becoming acquainted with students, fostering supportive classroom communities, and planning lessons. The purpose of this article is to provide resources that address those processes. Principles of culturally responsive education (CRE) and a listening pedagogy of Campbell (2005) represent a common aim of placing music learning in context. Teachers guide students in the discovery of musical elements and provide information about the music makers and performers, the purposes of music making, and the places where music is made.

The current issue of Contributions to Music Education, the OMEA research journal, contains a literature review by Bond (2017), who has outlined sources pertaining to culturally responsive education (CRE) and has provided suggestions for implementation by PK-12 music teachers, teacher educators, and researchers. Descriptions of culturally relevant pedagogy, culturally responsive teaching, and other examinations of the relationship between the cultures of home and school offer a historical perspective. The term CRE is used to encompass these similar, yet different approaches. Bond found that in most of the sources culture was considered as related 30

to race or ethnicity, while discussions of culture as socioeconomic status and religion were lacking.

Students participate in numerous activities, and use of music within cultures such as gaming, academic or social clubs, and sports teams could also be examined.

Core principles of CRE are gaining knowledge of students’ backgrounds and using that information to bridge the gap between home and school. Bond (2017) stated that “student perspectives and cultural heritage(s) are validated when their music repertoire and musical practices are embraced” (p. 160). This may be accomplished by representing music of students in the curriculum, placing the music in context, and employing culturally authentic teaching practices. Bond encouraged music educators to examine their teaching strategies and curricula in order to develop connections between the cultural identities of their students and the school music program. Studying and making music from a variety of cultures offers students multiple pathways for using their musical skills outside of the school environment (Bond, 2017). This article is accessible through library periodical databases, and subscription information for Contributions to Music Education is available on the OMEA website.

Culturally responsive education represents a set of principles rather than a collection of teaching TRIAD

strategies (Bond, 2017). The listening pedagogy of Campbell (2005) offers a means for implementing these principles. Campbell (2005) describes the pedagogy as an active process of deep listening that is appropriate for students of all ages. Development of sound awareness is a preliminary step—guiding students in discoveries about their own aural cultures and then making comparisons with the music of other people. This awareness could include learning about instruments used and cultural factors regarding performance practices.

Campbell (2005) explains that after students gain an awareness of their own musical cultures, they can be engaged in three phases of activities, which comprise the pedagogy of listening: 1) Attentive Listening: Teachers ask students to listen and define musical structures, elements, or events. Graphs, diagrams, or visual aids may be used as guides. 2) Engaged Listening: Teachers ask students to respond to musical elements by singing, playing instruments, using body percussion, creative movement, folk dance, or other activities. 3) Enactive Listening involves intense listening as students prepare for performing a work in an authentic manner.

Sample activities representing music from Poland, Columbia, Trinidad, North India, Bulgaria, Ireland, and the United States are outlined. This article may be accessed through library periodical databases or at nafme.org.

Only a brief review of these sources could be provided in this space, and I encourage readers to access the complete articles. Principles of culturally responsive education, implemented through use of Campbell’s (2005) listening pedagogy, can be used to present music in its cultural context. This may aid development of the classroom community, while students are also learning about music, themselves, and other people. As an additional resource, I have shared sample activities based on the listening pedagogy, along with a link to the full lesson plan.

SAMPLE ACTIVITIES: MUSICAL DETECTIVES: ASSIGNMENT-NEPAL! The inspiration for this lesson came from a thirdgrade classroom teacher working in an urban district in Ohio. Several of her students recently immigrated to Ohio from Nepal, and she wanted to highlight OCTOBER/NOVEMBER 2017

their culture and music. I consulted Smithsonian Folkways and selected “Nepali Love Song” for this introductory lesson. Selected activities from Campbell’s (2005) listening pedagogy are listed here, and you can also access the full lesson plan.

Summary: Grade 3 (Ohio Music Standards, 2CE, 3CE, 4CE and Ohio Mathematic Standard 3.OA.9): Students will analyze steady beat, instruments used, and the alternating AB form (Math integration-pattern) of “Nepali Love Song.”

• Attentive Listening: Ask students to listen and describe the sounds they heard (voices: men, women, or children, drum, and violin).

• Engaged Listening: “Names of all the performers were listed on the recording, except the drummer, because the other players didn’t think he did a good job.” Ask students to find the beat by tapping their fingers to decide if the drummer kept a steady beat.

• Engaged Listening: “Detectives, let’s see if we can find a pattern in this song.” When you hear the violin or the drum, pretend to play them (Teacher models). When you hear the singers, do this (Teacher models by cupping hands around mouth).

References Bond, V. (2017). Culturally responsive education in music education: A literature review. Contributions to Music Education, 42, 153-180.

Campbell. P. (2005). Deep listening in the musical world. Music Educators Journal, 92(1), 30-36.

Dr. Terri Brown Lenzo is entering her third year as an assistant professor at Ohio Northern University. She teaches courses in music education, history, and appreciation, supervises student teachers, advises senior capstone research projects, and is the adviser for OCMEA. Her current research pertains to the self-directed musical behaviors of preschool children. She has published a chapter in Orff Schulwerk: Reflections and Directions, along with articles in Contributions to Music Education and Perspectives.

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MASTERING THE CRAFT: JAZZ The First Steps to Getting Students to Improvise Mark Russo; Constellation Schools: Parma Community High School

Improvisation can be a daunting and tremendous undertaking for any beginning improviser. Chords like Bmi7(b5), G13(#11), F#7(#9), A7sus(b9)… the nomenclature alone can be overwhelming. But I’ve found in my teachings that you can get students to improvise with out them even knowing it. For now, I’m going to break it down into three parts: Technical, Melodic, and Creative.

As music educators, we are always teaching scales in some shape or form. Whether it’s in the form of ascending/descending diatonic scales, numbered patterns (i.e. 1235, 1324, 1231, etc.), or any form of minor scale they all apply to everyday major or minor scales. Before I go any further, let me throw out disclaimer #1: NO ONE can become a great jazz improviser unless they LISTEN to jazz music. There is so much more that comes from the “listening” aesthetic that we as improvisers get from recordings such as phrasing, time feel, style and nuances that can’t really be “taught” but more “imitated” (consider foreign language: you’ll learn more of the language from being in Spain than Rosetta Stone could ever teach you). But we all have to learn to crawl before we walk. So let me give you a few tips and tricks I’ve used over the years to help get students started.

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MAJOR SCALES We teach these from day one. Two flats, one sharp, all 12 major scales. We can use them to our advantage. How many of you have taught your students major scales by rote, or by using the exact pattern of W-W-H-W-W-W-H? The typical music educator does not have the time to go through all twelve keys. Short term: who’s got time for that through all 12 keys? Long term: it becomes more ingrained (remember being in Spain versus Rosetta Stone). Jazz is a rote form of music by tradition and the more you teach your students by rote, the more they will retain over the long run. Let us take concert Bb as an example. It’s probably the scale band students learn by memory first and you can do a great deal with that scale as a basis for beginning improvisation.

Disclaimer #2: jump right in with your students in the learning process. Just because WE are the educators, doesn’t mean we can’t LEARN as well.

A good place to start is with simple scale patterns.

Have students play scales diatonically ascending and descending. But don’t stop there. Pick a day/week/ month where you do them in thirds (Bb-D-C-Eb-DF-Eb-G-F-A-G-Bb-A-C-Bb and Bb-D-A-C-G-Bb-FA-Eb-G-D-F-C-Eb-Bb) or 1235 patterns (Bb-C-D-F/C-D-Eb-G/D-Eb-F-A/ etc). You can try TRIAD

4ths, 5ths, 6ths and what ever else you can think of.

And don’t always start them ascending. Anything you do out of the norm will challenge them to learn the ins and outs of the scale both musically and technically. Also challenge them with chords built into the major scales. The following is an exercise I have my students do: • Ascending/descending Major scale to the 9th (Bb-C-D-Eb-F-G-A-Bb-C) then ascending/ descending major 9th arpeggio (Bb-D-F-A-C-AF-D-Bb) • Ascending major scale/ descending major 9th arpeggio (Bb-C-D-Eb-F-G-A-Bb-C-A-F-D-Bb) • Descending major scale/ ascending major 9th arpeggio (Bb-A-G-F-Eb-D-C-Bb-D-F-A-C) • Ascending/Descending Major 9th arpeggio, Ascending/Descending Major Scale.

You get the idea. This will give them a great basis for vocabulary and once it’s memorized (again concert Bb seems to be the one they learn first) you can move to other keys like F, C, and perhaps Eb. You know your kids’ limitations so base rigor from that knowldege.

Next, have them play those patterns against a drone of some kind. It can be you playing open 5ths on the piano (Bb-F) or having one section playing the drone. Pick a day and throw it around the band.

Give them something to hear it against for a reference. Now we’re starting to work on the basis of chord/scale relationships, hearing a scale against a given harmony.

From here you can take the next step of going through modes of the major scales.

• Ionian (major) • Dorian (minor) • Phrygian (minor) • Lydian (major) • Mixolydian (major) • Aeolian (natural minor) • Locrian (diminished)

Now that we have somewhat of an “alphabet” we can start making words. A great place to do this is on melodies they may already know. Disclaimer #3: improvising the melody is NEVER wrong. It’s based on the harmonic structure of the song. Pick tunes like “Maryann,” “When the Saints Go Marching In,” “Take Me Out To The Ballgame” or even “Jingle Bells” and have them memorize it. This will take one more thing out of the equation and let them focus on creating music. Have them experiment with changes in rhythm, with the melody, and changes in register if possible. Add parts of the above scale patterns to it. At this point, listening will be detrimental to their development. Hearing how true improvisers interpret a melody will give your students a great deal of knowledge.

Confidence is a huge factor when beginning to improvise. Most students are afraid or embarrassed about how they sound playing alone. Being super exposed when they’re not used to it really kills the creative process. I suggest YOU jump in and improvise along with them to help build their confidence.

If possible, start out with groups of students improvising a melody (maybe it’s written out at this point) and narrow it down to maybe two students who want to give it a try in front of the others. Maybe have students create a drone while one student plays a scale pattern and switch that around the room or between instruments. Reassure them that no two students are alike and there is no wrong answer if you set up the parameters I mentioned above.

Once they build up the confidence by learning the sonorities and listening to the music, they’ll be more comfortable and more creative. Start simple and set small goals. There are many resources out there that will give you more insight on improvisation.

Mark A. Russo is director of bands at Constellation Schools: Parma Community High School. He is also a freelance jazz trumpeter/educator in the greater Cleveland area and has conducted clinics on jazz history and improvisation. www.markrussomusic.com

I highlighted Ionian, Dorian minor and Mixolydian because they are three of the more common sonorities in beginning improvisation and are good to start ingraining into their memory banks.

OCTOBER/NOVEMBER 2017

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MASTERING THE CRAFT: STRINGS Top Four Priorities for Building an Orchestra Program Anna Ballmer; Amherst Exempted Village Schools

I have had a rare opportunity to start an orchestra program from scratch at the Amherst Exempted Village School District. I am fortunate to work with a forward thinking administration who understands the value of developing a string program in their progressive district. This inspired a request to share my experience in this publication.

My first inclination was to outline all the nuts and bolts of putting together a program from the initial proposal, to a five-year projection with everything in between. In retrospect, I thought it would be more far-reaching to touch upon a few priorities that I hope will shape the culture and build the community of my new orchestra program.

BUILD PARTNERSHIPS Creating long-lasting partnerships with your school administration, instrument suppliers, colleagues, community members, and parents is paramount to success. Give them recognition for their efforts and support. All of these relationships combined create, enrich, and foster optimal growing conditions for young musicians. These partnerships support long-range goals to develop an environment of support and opportunity for students to have a lifelong interest and connection to making music.

RECRUITING We all understand the necessity for the annual recruiting season. There is an unspoken pressure that 34

equates success with student numbers. Mr. Barbaro, the Amherst Band Director, and I agree that recruiting together serves the students well. We eliminate competition, and work cohesively as the instrumental department. The recruitment numbers showcase our department as a whole. We both agree students should be free from pressure to select their instruments, so we put together a three-part recruiting event that includes fun demonstrations, an “instrument petting zoo” and a parent informational meeting.

Mr. Barbaro and I agree band and orchestra instruments are not apples to apples. When both band and orchestra instrument options are presented in a non-competitive environment, students gravitate towards the instrument that “calls to them.” An instrument based on breath control or an instrument that uses a bow are just plain different. A student wellsuited for their instrument will find more satisfaction and reward in their musical pursuit.

Amherst Exempted Village 5th Grade Strings TRIAD

RETAINING BEGINNERS Retaining students after the newness of their instrument wears off can be tricky. I created a template for beginners utilizing an enrichment-based approach. I infuse effective teaching techniques that instill proper technical habits along with my course objectives.

I found drawing from my own experience made me aware that my music education background shaped who I am, and set my career path. I have connected to music as a lifelong endeavor. My goal is to help my students connect to music in such a way that it is always part of their life, or in my case, opens doors to a career path. Isn’t that what we as educators aspire to do for our students? Look no further than yourself to identify and build on what worked or did not work for you as a student.

As a former fifth grade beginner, I remember my initial experiences learning the viola. It wasn’t until I took private lessons and had to endure the painful process of re-learning my posture, left and right hand technique, and rhythmic reading skills that I learned my capabilities as a musician. As a music educator, I try to use my own experiences (both effective and ineffective) to teach, model, and reinforce good technique habits by using fun, engaging, sequenced, multisensory approaches that help the student find success. This approach simultaneously builds discipline, focus, effort, and bonding amongst the students.

BUILDING AN ORCHESTRA CULTURE Experience is the best teacher. I receive immeasurable support and success following my annual signature parent night event. While students are involved in sectionals, parents (and administration) take a hands on 45-minute lesson of string fundamentals, which results in a memorable side by side performance with their child. The night concludes with inspiring performances by our guest clinicians.

Parents are your major stakeholders. Creating opportunities for parental involvement result in not only student support but more family connectivity and enthusiasm for the student, which equate to community building.

Whether you are starting a new program, rebuilding one, or enhancing your current program, take OCTOBER/NOVEMBER 2017

time to evaluate and look for inspiration from colleagues, OMEA resources, and mentors. Try not to let the dust settle on your program. Seek to incorporate something new and innovative every year. It will keep you and your students feeling inspired.

Amherst Exempted Village Parents’ Night I would like to take this opportunity to acknowledge and thank the OMEA for the inspirational programming and resources that have been so beneficial to my teaching career. Additionally, I would like to thank my mentors Michael Smith, Perrysburg Schools; Pamela Thiel, Sylvania Schools; Reed Anderson, Toledo Symphony; and Jeremy Davis, Sylvania Northview for their profound impact and continuing influence in my music education.

Anna Ballmer, holds a B.A. in Music Education, with a String Specialty from Bowling Green State University. She is the Orchestra Director for Amherst Exempted Village Schools District, Adjunct faculty member, violin instruction for Lorain County Community College, owner, operator of Main ART-ery, a public arts coordinating service, and maintains a private violin and viola studio.

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MASTERING THE CRAFT: TEACHER EDUCATION Why Haven’t I Heard From the University About My Student Teacher?

Dr. Heather A. Russell; Cleveland State University

Have you been asked to allow a music education major to observe, assist, or complete student teaching in your classroom and you wonder what is next?

Perhaps you have experienced long gaps in communication from the university, leading you to wonder whether you will actually have a student teacher.

Maybe you are an undergraduate music education major waiting for a methods field placement or a student teaching placement. While you anxiously wait to learn where you will be placed and who your cooperating teacher will be, you may wonder why it is taking so long. In this article, I hope to answer these questions by explaining some of the factors involved when colleges and universities place music education students in K-12 schools for methods courses and student teaching internships.

If you have been teaching for a while, perhaps your experience as an undergraduate was similar to mine: my professors would contact local teachers for methods course placements and off we students would go. It was simple. I even arranged my own student teaching placements by contacting teachers in towns where I knew I be able to stay with family members. Times have changed, however, and things are not so simple now. As incidences of school crime have risen, schools have responded with increasingly tightened security measures, measures with which we are now familiar (e.g., everyone entering a 36

school must show identification, sign in/out, and be “buzzed in” through locked entry doors).

Another result of increased school security is that universities now have to follow more complex and strict procedures for finding and arranging field placements for all teacher licensure candidates.

These procedures vary among school districts, and they influence every step in the process: how cooperating teachers can be contacted, by whom they can be contacted, how placements are requested, who approves placements, and the timeline for making requests. University teacher licensure programs usually have a placement office that coordinates all field placements for methods courses and student teaching across all licensure areas, including music.

Sometimes placement requests can only be made in school districts with which the placement office has a written agreement. Many school districts will only accept requests from a university placement office and will not work directly with music education faculty.

In a large university, the placement office may be responsible for arranging placements for hundreds of students each semester. Coordinating that many requests takes a lot of time and effort. If there are multiple requests for a single school district, the placement office may need to put some requests on hold until they can submit all of the requests at once.

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After requests are submitted, school district staff may have several steps to follow before approving them, including contacting various building Principals and waiting for responses. Principals may also talk to requested teachers before approving them.

The process at the school district level extends the amount of time it takes for a student or cooperating teacher to receive confirmation of a placement. If something goes wrong or procedures are not followed, requests could be delayed or even denied.

Sometimes, university placement office staff will work with music faculty to determine which schools and specific teachers to request for music placements; sometimes they are unable or unwilling to accommodate specific requests from music education faculty. Even if the placement office does work with music education faculty, they must still follow whatever procedures are required by the school districts. If you have been contacted by a music education faculty member and tentatively agreed to take a student, then you may have a long gap in communication while the placement office works through the required process with your district.

Some school districts do not want music education faculty to contact their teachers directly until after a request has been approved through their central office. If you receive a request to take a student teacher through your school district rather than a music education professor, this is likely the case. If the placement office works with the music department, music education faculty might have specifically requested you. If you get a request like this out of the blue, you can contact the music education faculty at the university to ask about the student and the placement before responding to the request.

If you have never had a methods student or student teacher in your classroom but you would like to, I recommend you let your Principal know you are interested. It is also a good idea to contact the Coordinator of Music Education at your local college or

OCTOBER/NOVEMBER 2017

university to express interest in having music education students observe, assist, or student teach in your classroom. You should be able to find their contact information on the university music department website. You may also want to invite a music faculty member to your classroom to see you teach and learn about your program. The more they know about you and your program, the easier it is to match you up with a student teacher. By the same token, if you are a music education student, get to know as many of your local music teachers as you can by attending workshops and conferences. Then, when discussing possible field placements with your music education professors, you can request to work with a specific teacher you have met before. Remember, however, that all the rules and procedures for the university and the school district have to be followed behind the scenes before you can find out where you will be placed.

I hope this article has shed some light on the complex process of arranging field placements.

Whether you are a prospective cooperating teacher or a music education major, remember to be patient with the process, follow through with any tasks you need to do to set up a placement, and if you are wondering what is going on or what the rules are for setting up your field placement, don’t be afraid to ask.

Heather A. Russell is the Coordinator of Music Education at Cleveland State University, where she works closely with the Office of Field Services and music education colleagues to place student teachers and methods students in classrooms across Northeast Ohio. Prior to joining the faculty at CSU, Dr. Russell was the Coordinator of Music Education at Southern Illinois University.

She has also been an adjunct faculty member at West Chester University of Pennsylvania, Temple University, and Mansfield University.

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ADJUDICATED EVENTS Adjudicated Events News & Updates

Stephanie Smith; Adjudicated Events Chair

GREETINGS FROM THE OMEA ADJUDICATED EVENTS COMMITTEE. PLEASE SEE BELOW FOR IMPORTANT INFORMATION FOR THE 2017-18 SCHOOL YEAR. LARGE GROUP COMMENT SHEET “PLACEMAT” After much deliberation and the creation of some draft documents, the AE Committee has decided to not update the actual Large Group sheet, but rather in 2018 to have adjudicators begin utilizing a criterion reference “placemat” to help guide their decisions and comments as they are evaluating a performance. This document will be a resource for all directors, especially newer teachers who may find themselves asking: “what exactly are the adjudicators looking for?” This new placement will be available for download soon!

WEBSITE PORTAL UPDATES The OMEA Director of Technology, Greg Taylor has worked tirelessly to redesign the membership portal. All adjudicated event site chairs will now access their information through the membership portal instead of the administrative portal. Greg is currently working to reveal more improvements in the future. Thank you Greg for your outstanding work!

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MARCHING BAND Marching Band Affairs Chair, Jay Wardeska has sent multiple communications regarding a streamlined registration process and the new expectations for music copyright compliance. Please be sure that you have addressed these details so your marching band may perform. State Marching Band Finals sites are Hilliard Darby-October 29, The University of Dayton-October 30, November 5, and Brunswick-November 4-5. (The Hilliard site has been relocated due to construction this year.) Please stay-tuned this fall for more exciting updates regarding Marching Band Adjudicated Events and State Marching Band Finals.

ADJUDICATED EVENTS REGISTRATION All adjudicated event dates and deadlines for registration are listed on the OMEA Member Portal.

Please register early for all adjudicated events to avoid potential last minute issues.

Late registrations will NOT be accepted. If you are having problems contact me or Greg Taylor before the registration deadline. Please be aware of the deadlines for out of district/region requests (made through the member portal) HS District Large Group Band and Choir: January 1, 2018 HS Region Orchestra: January 1, 2018 JH Band, Orchestra and Choir: March 1, 2018 TRIAD

HIGH SCHOOL SOLO AND ENSEMBLE OPEN CLASS SOLOS Thirty students took advantage of the Open Class offering for High Solos in 2017. This class is for performance of a classical piece for a college audition that does not appear on the required list. A reminder: One change for 2018 Open Class: Adjudicators may ask an Open Class performer to perform ANY major scale.

LARGE GROUP REQUIRED LISTS Large group lists for all events have been updated for 2018 and can be found on the OMEA website.

Many thanks to Kathy McIntosh, Jeanne Wohlgamuth, and Pam Theil for their excellent work to organize these committees. We are excited about the addition of High School Orchestra Class AA, and thank Pam Theil and her committee for working to make this request a reality for our membership. Additionally, the orchestra selection committee has completed many revisions for Class A, B and C. Please take time to carefully examine these revisions.

JUNIOR HIGH SOLO AND ENSEMBLE DUETS The AE Committee is pleased to announce that duets will be added state-wide to event offerings for solo and ensemble. Categories will include winds, percussion and vocal performances. Please see additional issues of Triad for more detailed information about this exciting addition.

COMMITTEE MEMBER UPDATE We thank Dara Gillis for her service to the committee as the Creative Events Committee Chair.

Additionally, longtime committee member Gayley Hautzenroeder has stepped down. Gayley worked toward the completion of many committee projects during her twelve years of service including the addition of guitar solos to our solo and ensemble events offerings. Thank you Gayley and Dara! We welcome Elizabeth Hankins to the position of Orchestra Affairs Chair and James Vaughn to the Creative Events Chair.

ORCHESTRA CONCERT November 5

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ADJUDICATED EVENTS Instrumental News & Updates

Pamela Thiel; Adjudicated Events Committee

Greetings from the Instrumental arm of the Adjudications Committee. We hope that you are finding your stride as school gets into full swing, and as you begin to plan for the AE season to come.

Two years ago AE polled our Orchestra membership to float the idea of adding a AA class to our Large Group Adjudicated Event. When the data was gathered and the comments read, the Committee made the decision to proceed with the roll out of a new AA class beginning in 2018. This past summer the Orchestra Large Group List Revision Committee brought this intense revision process to a close.

The result is an Orchestra List that has been revamped from top to bottom. This Committee spent over a year studying scores, adding pieces to our list, and realigning some pieces already on our list. ‘Thank you‘ hardly seems adequate for the hours that these leaders invested in producing this document.

Gayley Hautzenroeder, Andy Hire, Stephanie Jones, Stacy Lemke, Brian Nitschke, John Riegel,

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Angela Santangelo, Lori Wright and Richard Wright worked throughout the year, two full days in July, and hours after that to prepare the list. We hope that our Orchestra Directors are pleased with the fruits of their labors.

A project such as this would simply not have been possible without the help of Dan Clark from Stantons.

Dan is a treasure, and we are so grateful for the hours that he put into this project. The new format of our Required Lists is easy to read and concise. For that we thank our Technology Director Greg Taylor.

Orchestra is alive and well in Ohio. We consistently boast groups that win top honors at national competitions including The National Orchestra Festival, and send students to the NAfME National Honors Orchestra. We are proud to offer a new collection of literature at the highest level for those directors who would like to take advantage of this.

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HIGHER EDUCATION NEWS ASHLAND UNIVERSITY Dr. Rowland Blackley, Professor of Music and Director of Choral Activities, led the Ashland University Choir and Chamber Singers on an eight-day tour of Northern Germany: March 4-11. They sang at St. Thomas Church in Leipzig and the Kaiser Wilhelm Gedächtniskirche in Berlin, and performed at churches in Wittenberg and Eisleben. They visited numerous historical sites, including the Berlin Wall, Castle Church in Wittenberg, Luther’s birthplace, home, and death site, plus numerous other cultural locations throughout that part of Germany. Blackley also: • conducted the Trinity Bach Choir and Orchestra in Cantata No. 47, the Double Concerto in C Minor, and all the choral and orchestral music for a recent vespers service • presented a repertoire session at the annual professional conference of the Ohio Choral Directors Association • published both the SATB and SAB settings of his choral composition, “Flow Gently,” with text by Robert Burns • directed the Ashland University Choir in its decadeslong collaboration with the Ashland Symphony Orchestra in presenting Beethoven’s “Choral Fantasy” this past spring.

CASE WESTERN RESERVE UNIVERSITY The CWRU Music Education Faculty is pleased to introduce Dr. Ryan Scherber. Dr. Scherber joins us as Assistant Professor of Music Education and Director of Bands. Prior to his appointment at CWRU, Scherber taught music for the Southeastern Local District in South Charleston, Ohio. He earned a master’s and Ph.D. in music education from Florida State University, and a bachelor’s degree from the University of Cincinnati, College-Conservatory of Music. Dr. Scherber’s research interests include pitch perception/intonation, teaching in diverse contexts, community music, and teacher effectiveness. His publications have appeared in Research Perspectives in Music Education and the Florida Music Director. Scherber remains an active clinician and spends his summers as Assistant Camp Director for the FSU Summer Music Camps.

Dr. Lisa Huisman Koops, Associate Professor of Music Education and incoming Area Head of Music Education, presented research at the RIME conference in Bath, OCTOBER/NOVEMBER 2017

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England and Mountain Lake Colloquium. Dr. Koops published three articles: “The Enjoyment Cycle” (JRME), “Mama’s Turn” (RSME, co-authors: Dr. Christa Kuebel and Ms. Sarah Smith), and “You Get What You Get?” (General Music Today).

Dr. Matthew Garrett, Director of Choirs and Associate Professor of Music Education recently published “An Examination of LGBTQ-Inclusive Strategies used by Practicing Music Educators” with co-author Dr. Fred Spano in Research Studies in Music Education. He also co-authored an article with Drs. Louis Bergonzi and Bruce Carter, “Establishing Identity, Finding Community, and Embracing Fluidity,” in Bulletin of the Council for Research in Music Education.

CWRU Music Education hosted Dr. Margaret H. Berg of University of Colorado Boulder for a residency.

Dr. Berg led undergraduate and graduate seminars and presented “Comprehensive Musicianship: A Sociocultural-Historical Consideration of a Road Less Traveled” for the Music Department Colloquium.

Congratulations to Dr. Hamed Alfaraj, Dr. Beth Hankins and Dr. Christa Kuebel who successfully defended dissertations this spring.

COLUMBUS STATE COMMUNITY COLLEGE Columbus State Concert Band, under the direction of Thomas Lloyd will present its Fall Semester Concert on November 7, at 8:00 p.m. in the Workforce Development Building. The program will feature local premieres of new works. Donald Grantham’s “Shenandoah” was commissioned by the College Band Directors National Association and a consortium of participants including Columbus State. The band will perform the third movement of Timothy Mahr’s “Symphony No. 1,” commissioned by a consortium in which Columbus State also participated. The first performance of a new work by John Lloyd, “Uppingham Festival March,” will also be on the program. The guest artist is clarinet soloist Gail Zugger performing the finale of von Weber’s Second Concerto.

Rocco Di Pietro performed a concert at the OSU Urban Arts Gallery during summer semester featuring his own compositions as well as the American premiere of African-American composer Julius Eastman’s “Hail Mary.” He also performed a concert at Columbus State called “Still Life Sings” in honor of world peace for Hiroshima Day in August. The works of Toru Takemitsu, Isang Yun, Igor Stravinsky and Di Pietro’s own music were heard.

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Gospel Vocal Ensemble Director Emma Easton recently completed a new work entitled “Tell God Thanks.”

Her ensemble continued its busy performance schedule during the summer.

Yuri Bortz will be publishing new works, including “Set for Oboe and Piano,” “Sonata for Piano,” and “40 Paradigms in Specific-Compounds Harmony.”

KENT STATE UNIVERSITY The Kent State School of Music is pleased to welcome Kristin Coen-Mishlan to our faculty in a one-year appointment teaching courses, online and on-campus, in instrumental music education.

The release of Dr. Craig Resta’s book Valuing Music in Education: A Charles Fowler Reader (Oxford University Press, 2017) coincided with the 50th anniversary of the Tanglewood Symposium. Dr. Chris Venesile, Dr. Patricia Grutzmacher, and Dr. Resta presented a session at the International Society of Music Education conference in Scotland with Dr. Resta also presenting an individual session. Dr. Resta has been Editor of Contributions to Music Education since 2013.

KSU faculty and students presented more than twenty events at the 2017 OMEA conference on topics such as

online education, relationships between research and practice, and technology. Dr. Resta presented sessions individually, with Dr. Grutzmacher and alumnus Dr. John Veneskey, and with former KSU faculty members Dr. William Anderson and Dr. Terry Kuhn. Dr. Venesile and doctoral student Bryan Helsel co-presented a session on research and the choral classroom. Several PhD students presented at both the Research Roundtable and Poster Session. Our Wind Ensemble, directed by Dr. Jesse Leyva, gave an outstanding performance.

Dr. Jay Dorfman also presented a session at OMEA, and a research poster at the Pennsylvania Music Educators Association conference. His writing appeared in the Oxford Handbook of Technology and Music Education, the Journal of Music Theory Pedagog, and will soon appear in the Journal of Popular Music Education, and a book he has co-edited about music education research.

In February, we held a day-long workshop with Dr. Bryan Powell from Little Kids Rock. Music Education students learned to integrate modern band into school music.

Our undergraduate program continues to flourish, as does our growing PhD program and online Master of Music in Music Education program, the largest of its kind.

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Music Talent Scholarships Awarded to majors and non-majors for the 2018-2019 Academic Year!

Undergraduate Degree Programs

BM - Composition - Music Education - Music Therapy - Performance || BA - Music || Minor in Music

Graduate Programs

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

Post Baccalaureate

Licensure Program Music Education - K-12 || Music Therapy Equivalency For m ore information, pleas e visit csuohio.e du /music /.

OCTOBER/NOVEMBER 2017

49

THE OHIO STATE UNIVERSITY

UNIVERSITY OF DAYTON

We are pleased to announce that William L. Ballenger has been appointed to serve as director of the School of Music at The Ohio State University. Ballenger previously served as director of the School of Music at Texas Tech University since 2004. Prior to his appointment there, he served for 12 years as department head of music at Oklahoma State University.

Kristina Caswell MacMullen, choral studies, presented lectures on the topic of choral music and social justice, “The Choral Art: The Human Heart” and “A Voice of Reason: Social Justice, the Greater Good, and Why We Sing,” respectively, at the Hawaii International Conference of the Arts and Humanities and the National Conference of the American Choral Directors Association.

Jayne Wenner, music education, was a presenter at the OAKE (Organization of American Kodály Educators) 2017 National Conference in March. She also served as National Choirs Chair and was presented with the President’s award for her work with the choirs since 1999.

In April, Steven Glaser and the piano faculty hosted Piano Day featuring seven interactive mini-workshops for high school musicians. The Ohio State Youth Summer Music Programs expanded to ten programs for 2017 and welcomed nearly 600 students in June and July.

Two Ohio State ensembles made summer appearances at national conventions. The Clarinet Ensemble, led by Caroline Hartig, performed at the International Clarinet Association Convention in Orlando, Florida in July. The Flute Troupe, led by Katherine Borst Jones, performed at the National Flute Association Convention in Minneapolis in August. Their performance included two NFA premieres

by School of Music alumni, Eighty Six by Zach Koors and Alleluia by Jacob Reed. Borst Jones also performed the premiere of Libby Larsen’s Blinded by the Light.

The University of Dayton welcomes a new Chair of the Department of Music, Dr. Julia Randel, in the Fall of 2017. Formerly a professor and music department chair at Hope College in Holland, MI, Dr. Randel holds degrees in musicology and tuba performance. Her research focuses on the ballet music of Igor Stravinsky and tours of Sergei Diaghilev’s Ballets Russes. Dr. Randel succeeds Dr. Sharon Gratto, who continues on UD’s faculty as the Graul Chair in Arts and Languages.

Also joining the faculty is Dr. Randel’s husband, Dr. Jimmy Leach, who will serve as a Lecturer, teaching jazz brass, classroom courses, and performing in UD’s Faculty Brass Quintet and Faculty Jazztet. Dr. Leach has served on the faculties of Hope College, Dickinson State University, and Grand Valley State University, among others.

Dr. Donna Cox presented a workshop at the Christian Congregational Music Conference in Cuddesdon, England in July and has several upcoming presentations this fall.

Her ensemble, the Ebony Heritage Singers, will perform in the NYC area on their fall tour.

Jim McCutcheon, Artist-in-Residence in Guitar, received the 2017 Ohio Governors Award for the Arts in Arts Education for his extensive work in schools as “The Guitar Man,” which provides educational assemblies and residencies across Ohio featuring the fretted-instrument family as well as programs on the Science of Music for grades K-12. He also hosts a weekly radio program, “The Intimate Guitar” (www.dpr.org) and operates McCutcheon Music, a store with over 50 teachers.

Dr. Patrick Reynolds conducts the Dayton Opera production of Gian-Carlo Menotti’s opera, The Consul, October 20, 22, at the Schuster Center in Dayton. In conjunction with these performances, Dr. Reynolds is hosting a series of community conversations (“Immigration, Human Rights and The Consul”) at the Dayton International Peace Museum, on September 9 and October 4.

50

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Tim Katz; OAAE Executive Director

EVERY STUDENT SUCCEEDS ACT The State Board of Education, on July 11, 2017, approved an amended State Plan for ESSA, produced by the Ohio Department of Education (ODE), which is now to be approved by the governor’s office and then sent to the US Department of Education for review and feedback. The Ohio Alliance for Arts Education (OAAE)’s recommendations were the basis for ODE adding six specific references to a “well-rounded education” for students in the ESSA plan as compared to the original draft plan. The approved plan now includes five mentions of wellrounded in the large Title I section, in the areas of Resource Allocation, Technical Assistance, Online Evidence-Based Clearinghouse, Peer-to-Peer Improvement Network, Early Learning (Supports for Children Ages Birth through Eight), and once in the Title IV section, Student Support and Academic Enrichment Grants. OAAE believes this may lead to opportunities in the future for strengthening student services, and increasing teaching and learning opportunities in subject matter – including arts disciplines of music, dance, theatre, and visual arts - in Ohio schools which are outside of the areas currently subject to state-mandated testing.

Many stakeholder groups, including the OAAE, statewide organizations of teachers, superintendents, school boards, and others, tried unsuccessfully to get 52

ODE to agree to the concept of including various education input measures – including a metric for arts education - as indicators of school quality and student success. The ODE has left the door open to add such measures to the state plan in the future, but did not agree to it for the initial ESSA plan.

To revise Ohio’s state plan for ESSA, Superintendent Paolo DeMaria had divided the components of the draft plan among the State Board of Education’s standing committees, which were assigned the task of further reviewing and considering stakeholder feedback relevant to the various ESSA template sections during the months of May and June.

State Board of Education member Pat Bruns, a former visual arts educator in the Cincinnati area, worked very hard on arts education-related issues, and championed the cause of amending the plan to include a well-rounded education.

STRATEGIC PLAN FOR EDUCATION The State Board of Education is also working on developing a comprehensive five-year strategic plan for Ohio’s education system, which Superintendent DeMaria plans to complete in the fall of 2017. The plan is to include three to five goals and recommendations in the areas of Standards, Accountability and Assessment, Early Learning, Excellent Educators and Staff, Instructional Practices, Student Supports and TRIAD

Operations, and School Climate and Culture.

Superintendent DeMaria has also appointed an advisory committee on assessments to review both state required and local assessments, and develop recommendations. Changing state assessments would eventually require approval by the General Assembly and the governor.

OTES The State Board of Education has approved changes to Ohio’s Teacher Evaluation System (OTES) based on recommendations made by the Ohio Educator Standards Board. Among other things, the Standards

Board recommended that student academic growth no longer be counted as a separate component, but should be incorporated within the OTES rubric, and that “shared attribution” be eliminated as a teacher evaluation measure.

Tim Katz joined the staff of the Ohio Alliance for Arts Education (OAAE) five years ago, and has been the Executive Director since 2014. Before that, he served for 15 years as the Education Director of the Greater Columbus Arts Council.

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

OCTOBER/NOVEMBER 2017

Bachelor of arts Music

Contact us to learn more! music.marietta.edu 740.376.4696 • music@marietta.edu

53

Notes from OCDA Richard Schnipke; OCDA President

I am honored and excited to be beginning my term as President of the Ohio Choral Directors Association. OCDA is not only a wonderful network of choral conductors from across our state, but it is also an affiliate chapter of our national organization, the American Choral Directors Association. “The mission of ACDA is to inspire excellence in choral music through education, performance, composition and advocacy,” (www.acda.org). In the Buckeye State, OCDA provides many programs and resources that align with these national ideals. Some of the highlights of the 2017-2018 academic year include: • Fall, Winter and Spring publications of the OCDA News - Our official state publication contains practical and informational articles written by members of our board. OCDA members also receive ACDA’s national publication, the Choral Journal, and Resound, our regional newsletter. All of these publications are full of insightful articles and valuable professional development tools.

• Three Reading Sessions at the OMEA Professional Development Conference - High quality choral repertoire appropriate for college and university choirs, high school and middle school choirs, and elementary and children’s 54

choirs is featured in these sessions. Session attendees receive complimentary packets filled with selections vetted by our Repertoire and Resources experts.

• Additional Workshops at OMEA - At the OMEA Conference, OCDA also sponsors additional interest sessions focused on choral topics.

• OCDA Summer Conference - Our annual summer conference encompasses three days of incredible learning and networking on the campus of Otterbein University. Dr. Hilary Apfelstadt from the University of Toronto (former ACDA National President and Director of Choral Activities at The Ohio State University) will be one of the event headliners. Additional clinicians, multiple reading sessions, honors choirs, and concerts will round out the event. This conference offers the opportunity to interact and share ideas with a wide range of choral colleagues from across the state as well as the chance to connect individually with some of the leaders in our field. The event is scheduled for June 18-20, 2018.

TRIAD

• ACDA Central Division Conference - This year, our semi-annual divisional conference will be held in Chicago from February 14-17, 2018 and will be held jointly with the ACDA North Central Division.

The Capital University Chapel Choir, the Columbus International Children’s Choir, and the Miami University Men’s Glee Club will represent Ohio in feature performances along with many other outstanding ensembles from across the Midwest. National and international headliner choirs, including the Santa Fe Desert Chorale and the Shenzhen Golden Bell Youth Choir of China, will bring a more global perspective to the event. This combined conference promises to offer incredible performances, reading sessions and clinics, as hundreds of choral colleagues from throughout the Midwest gather in Chicago.

The items listed here provide only a small snapshot of some of everything OCDA and ACDA have to offer. To find out more about these wonderful organizations or to become a member, please visit www.acda.org and www.ohiocda.org. All my best for an incredible year making wonderful music with your students!

Dr. Richard Schnipke serves as Assistant Professor of Conducting at Bowling Green State University where he leads the Collegiate Chorale and Men’s Chorus and teaches graduate and undergraduate courses in choral performance and music education. Previously, Dr. Schnipke was a member of the faculty at Xavier University and The Ohio State University, and was a public school choral director in Ohio for fifteen years. He holds degrees from Bowling Green State University and Ohio State University and has done additional studies at the University of Cincinnati College-Conservatory of Music.

As a vocalist, Dr. Schnipke has sung professionally with Cincinnati’s Vocal Arts Ensemble, the Cincinnati Fusion Ensemble, Cincinnati Opera and Opera Columbus.

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OHIO ORCHESTRA DIRECTORS! You now have the option of taking your

High School String and Full Orchestras in Class AA for Adjudicated Events (the Class A, B, & C lists have changed too) see

www.stantons.com for all the New Literature on the Adjudication List that is available and order from:

STANTON’S SHEET MUSIC 330 South Fourth Street Columbus, OH 43215 1-800-42-MUSIC (1-800-426-8742)

OHIO MUSIC EDUCATION ASSOCIATION

COLUMBUS 2018 CAPITAL CITY

PROFESSIONAL DEVELOPMENT CONFERENCE

AN INVITATION TO THE 2018 OMEA PROFESSIONAL DEVELOPMENT “CAPITAL CITY” CONFERENCE

FEBRUARY 8-10, 2018

As we prepare this invitation in September, can you believe that housing requests and registrations are already pouring in for the 2018 PDC? The central location of the event and the quality of the facilities are sure to make this one of the highest attended conferences in recent years. You and your colleagues know that the 2018 OMEA Professional Development Conference is the place to be! Need help convincing your administrator? Don’t miss the new “Letter to Administrators” (p. 76) that takes a look at the conference through the lens of the standards for the teaching profession.

Columbus offers several unique opportunities for your conference experience. First, everything is connected under one roof. There is no need to venture outside in the chilly air (unless you plan to enjoy some of the city’s great nightlife afterhours). The recently remodeled convention center has given Columbus a secure spot on the national stage. The Hyatt hotel will also have a fresh, new look and the beautiful downtown Hilton will play host to our jazz events and performances. Don’t worry - the ever-popular late night jazz events will still be held at the Big Bar on 2!

The PDC team has carefully selected nearly 300 sessions with a mix of national and homegrown clinicians. Dr. Tim, Larry Livingston, David Rayl, Diana Hawley, LeighAnn Garner, Bob Phillips and William Owens are but a small sample of the great talent we have lined up for you. We have also increased the offerings for our retired members including a drum circle and a session on navigating the digital world of OMEA. The PDC will feature over fifty outstanding ensembles of all shapes and sizes - from Orff to Flute Choir. The additional space in Columbus allows the All-State groups to rehearse on site, providing for improved logistics and the opportunity for you to peek in on rehearsals (during scheduled times, of course). TI:ME technology sessions, All-State concerts and a variety of networking/social opportunities guarantee another “must attend” event for music educators.

The exhibit hall in the Greater Columbus Convention Center will offer the latest and greatest tools and merchandise from our partners in the music industry. Feedback from 2017 indicated that the change in session times was a big hit with attendees. 2018 builds on this success with one-half hour between all sessions! The extra time will allow for more visits to the hall, smoother transitions, and networking.

Make your plans NOW to join us in Columbus, February 8-10 for the 2018 Capital City Conference. Still undecided? Take a tour of the PDC website (www.omeapdc.com) spotlighting more of the outstanding presenters, performing groups, preregistration link, the Instructional-Hour Certificate Program (IHCP), Ashland graduate credit, housing reservations, reception request form (special functions), and more.

2018 PDC Team Mark Hensler, Director of Professional Development pd_director@omea-ohio.org OCTOBER/NOVEMBER 2017

57

OHIO MUSIC EDUCATION ASSOCIATION

2018 PROFESSIONAL DEVELOPMENT COMMITTEE The 2018 OMEA Professional Development Conference

COLUMBUS 2018

Mark Hensler Director of Professional Development

CAPITAL CITY

ALL-STATE CHAIR

PROFESSIONAL DEVELOPMENT CONFERENCE

Keith Hallas

FEBRUARY 8-10, 2018

CONTENT CHAIRS Tim Katz Advocacy

Jeff Gershman Band

Kent Vandock Choral

BethAnn Hepburn General Music

Reid Young Jazz

Elizabeth Hankins Orchestra

Bill Thomas Percussion

Paul Schrameck Small Ensembles

LOGISTICS Kaye Nickoloff Clinician/Presider Check-In

Dale Nawrocki On-Site Registration

Alex Brough James DeFrancesco Properties Co-Chairs

STANDING CHAIRS JD Latorre Adjudicated Events

Melinda Wallace Curriculum & Assessment

Linda Hartley Higher Education

Stephen Lytle OCMEA

Patricia Grutzmacher Research

Kathleen Milford Retired

Lalene Kay Special Learners

Rachael Fleischaker Teacher Evaluation

ALLIED ORGANIZATIONS Myles Bowers JECO

Tim Katz OAAE

Donna Collins OAC

Richard Schnipke OCDA

Trista Emmons OSTA

Lesley Schultz TI:ME

OCTOBER/NOVEMBER 2017

59

2018 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE

SELECTED PERFORMING ENSEMBLES Anderson High School Symphony Orchestra

Northern Hills Bassoon Ensemble

Anthony Wayne Symphonic Winds

Ohio University Jazz Ensemble I

Bexley High School Vocal Ensemble

Original Downhome Jass Band

Boardman High School Jazz Ensemble 1

Otterbein University Concert Choir

Capital Junior Winds

Perrysburg High School Select Strings

Capital University Chapel Choir

The Cardinal Chorale

Chagrin Falls Middle School Orchestra

The College of Wooster Chorus

Dublin Coffman High School Chamber Orchestra

The Ohio State University Flute Troupe

Elysian Trombone Consort

The Ohio State University Wind Symphony

Fairland High School Concert Band

The Ohio State University Women’s Glee Club

Granville High School Chamber Orchestra

The Ohio Trombone Quartet

Granville High School Jazz Band

The University of Akron BassoonaRoo

Grove City High School Symphonic Band

The University of Akron Symphonic Band

The Guardian Angels Jazz Group

Thomas Worthington High School Women’s Chorale

Hilliard Darby Symphonic Choir

Toledo Symphony Youth Orchestra Concert Strings

Hilliard Tharp Tiger Band

University of Mount Union Concert Choir

Jackson Middle School Symphonic Winds

West Elkton Intermediate Arrow Ensemble

Jacob Coy Middle School Una Voce

Winds of Ohio

Kings High School Jazz Band

Wright State University Percussion Ensemble

Lakota East High School Eastside Voices

Wright State University Saxophone Quartet

Lakota East High School Symphonic Winds

Youngstown State University Percussion Ensemble

Lancaster High School Percussion Ensemble

Youngstown State University Wind Ensemble

60

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Music at Otterbein

Stand Out

Building your future... one note at a time

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

Upcoming Audition Dates: Saturday, January 20, 2018 | Saturday, February 17, 2018

Tuesday, February 20, 2018 | Saturday, March 17, 2018 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)

You will be heard.

A

t Muskingum University, music isn’t just for majors.

With nine ensembles, numerous chamber groups, and scholarships for all student musicians, we have a place for everyone.

Our concert and recital series presents more than 50 events on campus each year, while touring ensembles take our music on the road, from Nashville to New York and London to Leipzig.

Learn more at muskingum.edu.

OCTOBER/NOVEMBER 2017

61

Undergraduate Degrees: BACHELOR OF ARTS BACHELOR OF MUSIC BACHELOR OF SCIENCE*

Graduate Degrees: MASTER OF ARTS MASTER OF MUSIC DOCTOR OF PHILOSOPHY

Programs of Study:

Programs of Study:

Composition (B.M.) Contemporary Popular Music* (B.A.) Instrumental Performance (B.M.) Jazz Studies (B.A.) Music (B.A.) Music Education (B.M.) Music Technology (B.S.)* Piano Performance (B.M.) Voice Performance (B.M.) Undergraduate Minors:

Audio Recording* Jazz Studies Music Music Technology* World Music

Conducting Band or Orchestra (M.M.) Choral (M.M.) Ethnomusicology (M.A.) Music Composition (M.A.) Music Education (M.M.) – Entirely Online!

Music Education (Ph.D.) Music Theory (M.A.) Music Theory-Composition (Ph.D.) Performance (M.M.) Performance: Chamber Music (M.M.)

* Offered at Kent State University at Stark

W W W. K E N T. E D U/M U S I C

WE ARE PROUD TO INTRODUCE THREE NEW FACULTY MEMBERS:

MATT HOLM, D.M.A.

ASSISTANT PROFESSOR AND DIRECTOR OF PERCUSSION STUDIES JUNGHO KIM, D.M.A.

ASSISTANT PROFESSOR AND DIRECTOR OF ORCHESTRA AMITAI VARDI, M.M.

ASSISTANT PROFESSOR IN CLARINET

AUDITIONS:

JESSE LEYVA

RECRUITMENT COORDINATOR jleyva@kent.edu 330-672-2172

Kent State University, Kent State and KSU are registered trademarks and may not be used without permission. Kent State University is committed to attaining excellence through the recruitment and retention of a diverse student body and workforce. 17-COTA-00390-030

62

TRIAD

2018 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE February 2018, Columbus, Ohio • Greater Columbus Convention Center Exhibitors as of August 7, 2017 and subject to change.

Acoustica Alfred Music American School Band Directors Association Ashland University Baldwin Wallace University Blue Lake Fine Arts Camp Bluffton University Bob Rogers Travel Bocal Majority Bowling Green State University 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 College of Wooster Columbus Pro Percussion Conn-Selmer, Inc. DeMoulin Brothers & Company EASTMAN Educational Tours, Inc. Festivals of Music/Music in the Parks Fred J. Miller Inc. Getzen Company Great Day! Tours & Charter Bus Service Hal Leonard Heidelberg University School of Music J.W. Pepper Inc.

Jupiter/Mapex/Majestic Kent State University Make Music, Inc. Malone University Marietta College Mattlin-Hyde Piano Co. Mercyhurst University Miami University Music Dept.

Mollard Conducting Batons, Inc. Morehead State University Mount Vernon Nazarene University Music & Arts Music Celebrations International Music First Music for All Music is Elementary 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 QuaverMusic.com Rettig Music, Inc.

Royalton Music Center/ Professional Suite SightReadingFactory.com StageRight Corporation Stanbury Uniforms, Inc. Midwest Band Stanton’s Sheet Music Stoller Fundraising Summit Tour & Travel, Inc. Super Holiday Tours Tiffin University Tone Deaf Comics University of Akron, The University of Cincinnati University of Dayton University of Mount Union University of Toledo, The US Army Bands Wenger Corporation West Music Company Wright State University School of Music Xavier University Yamaha Corporation of America Yankee Candle Fund Raising Youngstown State University Dana School of Music As of August 7, 2017 and subject to change

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

OCTOBER/NOVEMBER 2017

63

PRE-REGISTRATION FORM

2018 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE Columbus, Ohio • February 8-10, 2018 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 19, 2018. Postmarks after this date will not be accepted.

• All refund requests must be made in writing. Refunds after January 19, 2018 will be assessed a $15.00 processing fee.

• No refunds after January 31, 2018.

Online pre-registration is available until midnight, January 26, 2018 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

___ College Faculty

___ Jazz

___ Orchestra

___ College Student ___TI:ME

___ Your school pays any portion of your conference expenses OMEA MEMBER

_______ Pre-Registration - $145 _______ With IHCP - $155 On-Site Registration - $165 With IHCP On-Site Registration - $175

NON-MEMBER

_______ Pre-Registration - $225 _______ With IHCP - $235 On-Site Registration - $250 With IHCP On-Site Registration - $260

SATURDAY ONLY

OHIO MUSIC EDUCATION A S S O CI AT I O N

COLUMBUS 2018 CAPITAL CITY

PROFESSIONAL DEVELOPMENT CONFERENCE FEBRUARY 8-10, 2018

_______ Pre-Registration $50 On-Site $60

*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 web- site) 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.) OMEA does not issue certificates of attendance.

NON-TEACHING FAMILY MEMBER _______ Pre-Registration $40 On-Site $50

Family member: ________________________________________________

OCMEA MEMBER

_______ Pre-Registration $50 On-Site $65

College/University Name: _____________________________________

RETIRED OMEA MEMBER

_______ No Charge

Family member: ________________________________________________

In lieu of a registration fee, retired members are asked to consider a donation to the Ohio Foundation for Music Education in the form of a recognition or memorial. http://www.ohiofoundationformusiceducation.org/Donation/online.html

HOUSING FORM

2018 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE Columbus, Ohio • February 8-10, 2018 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 03/18 and earlier are not valid and will not be processed.

1.) INTERNET: www.omea-ohio.org Do not mail a form after submitting online.

Do not email this form.

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

DEADLINE FOR SPECIAL RATES IS JANUARY 15, 2018.

• • • • • •

No telephone reservations will be accepted by the Housing Bureau.

Photocopy this form if more than one room is required.

Only one room may be requested under each name.

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

Allow up to two weeks for an acknowledgement.

After January 15, 2018, rooms and rates are based on availability.

HOTEL RATES Hotel

Single

Double

Triple

Quad

Hyatt Regency

$179

$189

$199

$209

Hilton

$169

$169

$179

$179

Drury Inn - Standard

$145

$145

$155

$155

Drury Inn - Suite

$155

$155

$165

$165

Hampton Inn

$164

$164

$176

$188

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

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

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

Name: ������������������������������������������������

1. ������������������������������������������������������

Address: ��������������������������������������������������������������

2. ������������������������������������������������������

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Phone: �������������������������������������������������� Email Address: �����������������������������������������

RESERVATION DEPOSIT: 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 March 2018 in order to be considered a proper guarantee.

  

American Express Visa Diner’s Club

 

Master Card Discover

Card #  Expir. 

/ 

Name: �������������������������������������������������������� Credit cards are not charged in advance. You will be asked to present a credit card or method of payment upon arrival.

ROOM TYPE PREFERENCE*:

 Single - (1) guest  Double - (1) bed/2 guests  Double/double - (2) beds/2 guests  Triple - (2) beds/3 guests  Quad - (2) beds/4 guests  Wheelchair accessible * 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 30, 2018 (4:00 p.m. EST) via internet or mail. After January 30, 2018, all new reservations, changes, and cancellations must go through the hotel. Cancellation fees may apply. Do not contact the hotels directly until after January 30, 2018. * Deadline for mail-in forms is January 8, 2018. * Deadline for changes is January 20, 2018.

INSTRUCTIONAL HOUR CERTIFICATE PROGRAM • Are you planning to attend the 2018 PDC in Columbus?

• 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 by January 19th, 2017, or register on site on February 8th , 2018 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 23, 2018. (Required format will be available on the OMEA website.)

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

REMEMBER: 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, OR VISIT THE OMEA PDC FOR DETAILS AT OMEAPDC.COM.

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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?

2018 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE Graduate Credit Option - No fee increase for 2018!

$209 Earn one (1) semester hour of graduate credit by completing the requirements outlined below. This credit is being offered through Ashland University.

• Pre-register for the Professional Development Conference by Jan. 19th or register on site on Feb. 8th , 2018 (visit www.omea-ohio.org for conference link).

• Log on to Ashland University’s online registration system (www.ashland.edu) and enroll in the OMEA PDC course option.

• In the center of the page, select “Academics” and then “Founders School of Continuing Education”.

• On the left, select “Programs”, then select “Professional Development Services”.

• On the right, click on “District Login”.

• User name is Omea, PIN is Omea • Select OMEA PD CONF 2018 and follow prompts.

• For more information, see the “2018 Ashland Registration Instructions” on the OMEA PDC website (omeapdc.com).

1. Attend twelve (12) PDC sessions of your own choosing.

Your selections may include no more than four (4) concerts.

2. Electronically submit a post-conference reflection to the Director of PD by February 23, 2018. The required format and rubric for this reflection will be 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.

Please note: 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.

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

OCTOBER/NOVEMBER 2017

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OHIO MUSIC EDUCATION ASSOCIATION 2018 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 5, 2018.

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 5, 2018 to:

Christy Nawrocki • 4698 Clayburn Dr. E., Grove City, OH 43123 Email: ChristyLNawrocki@yahoo.com 5. Awards will be made at the 2018 OMEA Conference in Columbus, Ohio, on Saturday, February 10, 2018.

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 10, 2018. ______ No, I will not attend the awards Ceremony and Reception Luncheon on Saturday, February 10, 2018.

Ohio Music Education Association EXHIBIT HALL VISITATION HOURS Location: Exhibit Hall A of the Columbus Convention Center Visitation Hours: Thursday, February 8 – 1:00 pm to 6:00 pm Friday, February 9 – 9:00 am to 5:00 pm Saturday, February 10 – 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 8, 2018 10 a.m. – 3:30 p.m.

Hyatt Hotel - Harrison Room

Featured Speaker: Dr. Roberta Lamb Roberta Lamb retired from the Dan School of Drama & Music, Queen’s University, Kingston, Ontario, July 2016. She was cross-appointed to the Faculty of Education and Department of Gender Studies. She remains a docent in Music Education at the Sibelius Academy, Helsinki University of the Arts, Finland, where she advises graduate students in music education. During her tenure at Queen’s (1988-2016), Lamb organized the university faculty union with the help of likeminded colleagues (1995). Her most important contribution to the union was writing an equity article to address hiring and retention of women, LGBTQ, Indigenous, and people of colour; however, she remained active in the union advocating for better working conditions for all. Lamb was a founding member of Gender Research in Music Education, and, according to one of her high school teachers, a feminist before the word existed. In addition to her scholarly writing, she is most proud of her work to establish the Symphony Education Partnership (1993-2015) in Kingston, Ontario and her project for teaching university students how to teach ukulele to grade 6 & 7 students in the Limestone District School Board. Lamb earned her undergraduate (1974) and master’s degrees (1979) from the University of Portland (Oregon) and her doctorate from Teachers College, Columbia University (1987). She taught in the Oregon City Public Schools before moving to New York (1982). When feminism proved too controversial for music education jobs in the U.S., she took a position at Brandon University, Manitoba, Canada (1985). Now Lamb volunteers as the music lady with a local toddler playgroup and with Rural Schools Matter, lobbying governments to keep local schools open. She also teaches meditation classes in Kingston. She and her partner, artist Judy Springer, live in the village of Camden East in an 1845 limestone school house with the original bell in the cupola.

SCHEDULE

9:30 a.m

10:00 a.m.

Continental Breakfast Dr. Roberta Lamb – “My Life, Your Life, Our Life: The Past, Present, and Future of Feminism in Music Education”

Noon Lunch break

1:30-3:30 p.m. Graduate Research Roundtable 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, February 5.

OCTOBER/NOVEMBER 2017

71

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 2018 OMEA Professional Development Conference

CALL FOR PROPOSALS Submission Deadline: November 1, 2017

A graduate research roundtable session will be held at the 2018 OMEA Professional Development Conference on February 8 from 1:30 to 3:30. Six Ohio graduate music education students will be selected to present in-progress dissertations, theses, or other research projects in a conversational setting to Ohio college and university music education faculty and students.

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

The format will be as follows: Presenters will be seated at a round table with their laptop computer (encouraged) and 30 abstracts of their study (limited to two pages). Several chairs will also be at the table for Ohio music education faculty members, other graduate students, and any additional people interested in participating.

Students presenting their research will give an 8- to 10-minute overview of their study, preferably with a PowerPoint presentation on their own battery-driven laptop computer. This will be followed by a 10- to 15-minute discussion among the presenter and the group, facilitated by a faculty member. After the discussion, the group will move to the next table for another student’s presentation and discussion. This process of moving from table to table will continue throughout the 2-hour session.

To apply to present your research-in-progress, 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 November 1, 2017 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, 2017. 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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OHIO NORTHERN UNIVERSITY

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OHIO MUSIC EDUC ATION ASSOCIATION Research Committee R E S E A R C H P O S T E R S E S S I O N F O R U N D E R G R A D UAT E M U S I C M A J O R S

2018 OMEA Professional Development Conference

CALL FOR PAPERS Submission Deadline: November 1, 2017

The Research Committee of the Ohio Music Education Association ANNOUNCES A NEW INITIATIVE.

Undergraduate music majors and recent graduates are invited to submit research reports for review and consideration to be presented as posters during the Research Poster Session at the Ohio Music Education Association Professional Development Conference in Columbus, Ohio February 8-10, 2018.

Research reports in music education or other related music disciplines are welcome. The following kinds of research completed under the supervision of music faculty will be accepted for presentation: (a) honors college theses; (b) music course term papers/projects; (c) senior projects completed during the 2016-2017 school year.

Those who wish to submit a report for consideration should comply with the following guidelines:

1. Submit a copy of the complete paper with a title page, an abstract, and a signed letter from the advisor/ instructor of record supporting the submission and indicating that the paper was accepted in partial fulfillment of course requirements, undergraduate program requirements, or special school-sanctioned initiatives.

The name of the degree-granting institution should appear on the title page, as well as the author’s name, address, and e-mail. These should be sent by e-mail as a .pdf, .rtf, .doc, or .docx file (scanned, in the case of a signature page) to the address below. If all items are submitted, acceptance is assured.

2. 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.

3. Papers presented at conferences, other than previous OMEA state conferences, will be considered if 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, 2017. Only fully completed works will be considered.

Submissions should not have been previously published and should otherwise adhere to the NAfME Research Publication/Presentation Code of Ethics (http://tinyurl.com/NAfME-Ethics). E-mail the materials to Dr. Dr. Terri Lenzo at t-lenzo@onu.edu. OMEA Undergraduate Research Poster Session Chair, with “OMEA Undergraduate 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.

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OHIO MUSIC EDUC ATION ASSOCIATION Research Committee

RESEARCH POSTER SESSION 2018 OMEA Professional Development Conference

CALL FOR PAPERS Submission Deadline: November 1, 2017

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 Professional Development Conference in Columbus, Ohio February 8-10 2018.

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. Those wishing to submit a report for consideration should comply with the following guidelines: 1. To submit completed master’s or doctoral final research documents, it is only necessary to submit a copy of the abstract, a copy of the document’s title page, and a copy of the signature page which indicates that the paper was accepted in partial fulfillment of degree requirements. The name of the degree-granting institution should appear on one of these pages, or must be included with the submission, as well as the author’s name, address, and e-mail. If all of the above-mentioned items are included, the completed thesis or dissertation will be guaranteed acceptance for presentation. These should be sent by e-mail as a .pdf, .rtf, .doc, or .docx file (scanned, in the case of the signature page) to the address below.

2. To submit a report of any other type of original research project, student or faculty researchers may email a copy of the complete paper, including an abstract, in .pdf, .rtf, .doc, or .docx format. The project should demonstrate sound research practices with appropriate writing style, generally following the submission guidelines found at: 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, 2017. Only fully completed works will be considered.

Submissions should not have been previously published and should otherwise adhere to the NAfME Research Publication/Presentation Code of Ethics (http://tinyurl.com/NAfME-Ethics). E-mail the materials to Dr. Paul Louth [omeapostersession2018@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

OCTOBER/NOVEMBER 2017

75

OHIO MUSIC EDUCATION ASSOC IATION

COLUMBUS 2018 CAPITAL CITY

PROFESSIONAL DEVELOPMENT CONFERENCE FEBRUARY 8-10, 2018

Dear School Administrator: As a point of introduction, the Ohio Music Education Association (OMEA) is one of the largest state affiliates of NAfME, the National Association for Music Education. Celebrating its 85th anniversary in 2017, OMEA serves Ohio’s 1.8 million students in schools and universities across the state. Our membership includes over 2800 active music teachers, 900 collegiate members (prospective music teachers) and nearly 500 retired music educators.

The OMEA Professional Development Conference (PDC), held this year in Columbus, will take place on February 8-10 at the Convention Center downtown. The OMEA PDC is the third largest music conference in the United States with nearly 300 sessions presented by nationally recognized master teachers demonstrating research-based, best practices in the field of music education. Sessions often include live demonstrations with students of various ages. In addition, over 40 performing ensembles will present concerts showcasing the talents of Ohio’s students. It is noteworthy that committees comprised of active teachers from across the state choose sessions and performing ensembles and the session’s represent the “best of the best” in teaching pedagogy. The acceptance rate for performing ensembles alone is only 25% of the submissions.

The OMEA PDC partners with the Technology Institute for Music Education to provide every teacher in attendance with access to clinics and demonstrations of the latest music education technology. Included in the registration fee ($145 for members) is access to the largest music trade show east of the Mississippi. Displays and demonstrations by nearly 250 exhibitors from across the United States allow teachers to see the new products available in the music industry.

With a few additional steps, teachers may use their conference experience to earn CEU’s (nominal additional registration expense) and graduate level continuing education credit (additional expense) for their licensure requirements.

Please visit our website, omeapdc.com to see the details of the conference. This website provides information about registration, housing and parking as well as lists of performing ensembles and presenters. To access the conference schedule and review session titles and descriptions, please follow our event on Guidebook, which will be available around December 1.

Providing the opportunity for your music staff to attend this conference will have a direct and meaningful impact on the students in your district. If you or another administrator would like to attend the conference to check out this opportunity first-hand, please contact my office at executive_director@omea-ohio.org. I would be happy to provide you with a pass for any single day of the conference and answer any questions regarding how OMEA can assist your music staff. On the attached page are some metrics from this year’s conference, viewed through the lens of the Ohio Standards for the Teaching Profession.

OHIO MUSIC EDUCATION ASSOC IATION

COLUMBUS 2018 CAPITAL CITY

PROFESSIONAL DEVELOPMENT CONFERENCE FEBRUARY 8-10, 2018

Ohio Standards for the Teaching Profession 1. Teachers understand student learning and development and respect the diversity of the students they teach.

• 7 hours of instruction regarding developmental characteristics of various age groups.

• 4 hours relating to students’ diverse cultures, language skills & experiences • 5 hours of sessions that address students with disabilities and at-risk students 2. Teachers know and understand the content area for which they have instructional responsibility • Band – 31 hours • Choir – 27 hours • Orchestra – 16 hours • Jazz – 9 hours • General Music – 43 hours 3. Teachers understand and use varied assessments to inform instruction, evaluate and ensure student learning.

• 11 hours of instruction on curriculum and assessment 4. Teachers plan and deliver effective instruction that advances the learning of each individual student.

• 7 hours of instruction related to the learning needs of all students • 30 hours of technology sessions, showing teachers how to use resources effectively 5. Teachers create learning environments that promote high levels of learning and achievement for all students.

• 15 hours dedicated to creating learning situations in which students work independently, collaboratively or as a whole class 6. Teachers collaborate and communicate with students, parents, other educators, administrators and the community to support student learning.

• 10 hours of sessions showing teachers how to collaborate effectively with other teachers, administrators and their local community 7. Teachers assume responsibility for professional growth, performance and involvement as an individual and as a member of a learning community.

• In total, nearly 300 hours of instruction are available over the three- day period, giving teachers the opportunity to assume responsibility for engaging in purposeful professional development and positively impact the teaching quality, improvements and student achievement in their school

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

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

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

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

_____OCMEA Member

_____Parent

_____Friend of Music Education

Donation Information: Donation Amount:

$___________________

Donation Category:

_______ Foundation General Fund for Financial Growth

_______ OMEA Memorial Scholarship Fund

(Check area for donation)

_______ Charles H. Benner Leadership Academy _______ This is my Annual Campaign Contribution for calendar year 2017.

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

(Example: John and Jane Smith) _________________________________________________ , or

please do not list my/our names.

This gift is: In Recognition of:______________________________________________________________________

In Memory of:__________________________________________________________________________

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

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

A donation acknowledgment letter will be provided for tax purposes.

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

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

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

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

Attn: David N. Adamson, Development Director

5379 West Mill Drive, Highland Heights, OH 44143-3144 78

TRIAD

We are Wittenberg.

$450,000 in music scholarships available regardless of major Music scholarships awarded up to full tuition

Make music at a university that cares.

More than100 years of music excellence For more information about our music programs and scholarships, visit www.wittenberg.edu/music or contact Daniel Kazez, Professor of Music, Music Audition Coordinator, dkazez@wittenberg.edu, 937-327-7354.

A nationally ranked university for the liberal arts and sciences, Wittenberg is located in Springfield, Ohio.

PUBLICATION SCHEDULE

TRIAD ISSUE October/November 2017 December ‘17/January ‘18 April/May 2018

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

DEADLINE DATE* August 8, 2017 October 3, 2017 February 13, 2018

POSTING DATE** October 3, 2017 December 5, 2017 April 10, 2018

*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: Eric West • editor_of_triad@omea-ohio.org DESIGN/PRODUCTION: Amy Annico • 210-570-OMEA • media_director@omea-ohio.org ADVERTISING: David N. Adamson • 440-552-6983 • business_manager@omea-ohio.org “Writing For TRIAD” guidelines are posted on the OMEA website (www.omea-ohio.org), Advertising/Media section, TRIAD page. Interested new advertisers should click the Menu Bars on the homepage and then click on Advertising Venues and/or contact OMEA Business Manager for assistance.

ADVERTISERS/WEBSITES Akron, The University of. . . . . . . . . . . . . . . http://www.uakron.edu/music. . . . . . . . . 24

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

Blue Lake Fine Arts Camp. . . . . . . . . . . . . . . http://www.bluelake.org. . . . . . . . . . . . . . . . 4

Ohio Northern University. . . . . . . . . . . . . . . http://www.onu.edu/music. . . . . . . . . . . . . 73

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

Otterbein University. . . . . . . . . . . . . . . . . . . http://www.otterbein.edu . . . . . . . . . . . . . 61

Capital University. . . . . . . . . . . . . . . . . . . . . . http://www.music.capital.edu. . . . . . . . . . 39

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

Case Western Reserve University . . . . . . . http://music.case.edu. . . . . . . . . . . . . . . . . . . 20

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

Cleveland State University. . . . . . . . . . . . http://www.csuohio.edu/class/music. . . 49

Soundwaves Recording. . . . . . . . . . . . . . . . http://www.soundwaves.org. . . . . . . . . . . 62

CMS Publications . . . . . . . . . . . . . . . . . . . . . . . http://www.cmspublications.com. . . . . . 55

Stanton’s Sheet Music. . . . . . . . . . . . . . . . . . . http://www.stantons.com. . . . . . . . . . . . . . 56

College of Wooster, The. . . . . . . . . . . . . . . . http://www.wooster.edu/music. . . . . . . . 58

Summit Tour & Travel. . . . . . . . . . . . . . . . . . http://www.summittourtravel.com. . . . . 44

Fiesta-val/Spectrum of Richmond. . . . . http://www.fiestaval.com. . . . . . . . . . . . . . 17

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

Heidelberg University. . . . . . . . . . . . . . . . . http://www.heidelberg.edu. . . . . . . . . . . . 48

University of Dayton. . . . . . . . . . . . . . . . . . . http://academic.udayton.edu/music . . . 47

Kent State University. . . . . . . . . . . . . . . . . . http://www.kent.edu/music. . . . . . . . . . . . 62

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

Malone University. . . . . . . . . . . . . . . . . . . . . http://www.malone.edu/music . . . . . . . . 20

West Music Company. . . . . . . . . . . . . . . . . . . http://www.westmusic.com . . . . . . . . . . . . 46

Marietta College. . . . . . . . . . . . . . . . . . . . . . . http://www.marietta.edu/~musc. . . . . . . 53

Wittenberg University. . . . . . . . . . . . . . . . . . . . https://www.wittenberg.edu/academics/music . . 79

Miami University . . . . . . . . . . . . . . . . . . . . . . http://www.miamioh.edu/music. . . . . . . 19

Wright State University. . . . . . . . . . . . . . . . . http://www.wright.edu/music. . . . . . . . . . . 43

Music & Arts. . . . . . . . . . . . . . . . . . . . . . . . . . . . http://www.musicarts.com. . . . . . . . . . 40,41

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

Musicians Repair Service. . . . . . . . . . . . . . . . http://www.mrsakronohio.com . . . . . . . . 68

Bold signifies a Corporate/Institutional Partner

Music Is Elementary. . . . . . . . . . . . . . . . . . . . . http://musiciselementary.com. . . . . . . . . 51 Muskingum University . . . . . . . . . . . . . . . . . http://www.muskingum.edu/dept/music ..61

80

TRIAD

NEWTotal

Percussion Series Sound. Quality. Design.

At Yamaha, we believe that the first instrument in one's musical journey must provide excellent quality and tuning consistency. With that in mind, the new YX-230 xylophone is designed for the beginning percussion student. Featuring professionally tuned Padauk wood bars, this instrument produces a beautiful Yamaha sound that has been familiar to music educators for over 30 years.

Weighting only 22 lbs. and just over 45" in length, this xylophone offers a 3 octave range (C52-C88) with 1-1/2" wide bars.

A pair of ME-103 mallets are included along with a cover to protect the instrument from dust and scratches.

An optional stand (YGS-70) and soft case (PCS-YX230) are sold separately.

YX-230 Xylophone

Visit 4wrd.it/TotalPercTRI for complete details