THE OFFICIAL PUBLICATION OF THE OHIO MUSIC EDUCATION ASSOCIATION
October/November 2018 Vol. LXXXVl, No. 1
2019 PDC Questions? Look no further.
OMEAPDC.COM See you in Cleveland...
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IN THIS ISSUE FROM THE EDITOR... 6
Editor of TRIAD - Eric West
FROM THE PRESIDENT... 8
OMEA President - Kathleen McGrady
FEATURE ARTICLES
14 Golfers Swing for OFME All-State Scholarships! 16 NAfME’s Professional Development eKit: A Framework for Ohio Music Educators
MASTERING THE CRAFT 20 24 28 30 32
BAND - Benjamin Meisel CHORAL - Daniel Keown GENERAL MUSIC - Dr. Terri Brown Lenzo MULTICULTURAL - Brad Pierson TEACHER EDUCATION - Dr. Heather A. Russell
NEWS & COMMITTEE REPORTS 35 36 37 38 40 43 52 54
Adjudicated Events - Stephanie Smith Jazz Education Connection of Ohio - Nathan Santos Outstanding Awards - Linda Fox-Miller Ohio Arts Council - Jarred Small Tri-M Music Honor Society - Justin Caithaml Higher Education News In Memoriam - Mark “Chief” Kelly In Memoriam - Helen Ruhlen
Editor: Eric West editor_of_triad@omea-ohio.org Design/Production: Amy Annico Director of Media and Publications media_director@omea-ohio.org Advertising: David N. Adamson Director of Business Advertising/Exhibits business_manager@omea-ohio.org ONLINE PUBLISHING: WRL Advertising
2019 OMEA PDC SPECIAL SECTION 57 64 66 69 71 76
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 2019 OMEA PDC
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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.
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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
OMEA TRUSTEES Kathleen McGrady President president@omea-ohio.org
OCMEA OFFICERS Adelaide Young OCMEA President ocmea_president@omea-ohio.org
Anne Usher President-Elect president_elect@omea-ohio.org
Lauren Zetts OCMEA President-Elect ocmea_president_elect@omea-ohio.org
Michael Crist Immediate Past-President past_president@omea-ohio.org
Brianna Potts OCMEA Secretary ocmea_secretary@omea-ohio.org
Daniel Ruckman Secretary secretary@omea-ohio.org
Lydia James 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
Wendi Davis Treasurer treasurer@omea-ohio.org 2018-2019 TRIAD EDITORIAL BOARD
Mark A. Hensler Director of Professional Development 513.240.1572-O pd_director@omea-ohio.org
EDITOR Eric West
GRAPHIC DESIGN/LAYOUT Amy Annico
Defiance High School
Ohio Music Education Association
William K. Guegold Director of Adjudications 330.592.0539-O adjudications_director@omea-ohio.org
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 Brad Pierson
ORCHESTRA/STRINGS Michael Smith
University of Toledo
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
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
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FROM THE EDITOR... Eric West, OMEA Editor “It should be easier than it is.” That has raced through my brain for about a year now. I have reached a career milestone. I have just begun my twentieth year of being a professional music educator. I knew since my sophomore year of high school that I wanted to be a music major. I knew since my senior year of high school that I wanted to be a music teacher. I knew for the first ten years of my career that this is exactly what I wanted to be and what I was supposed to be. But now I’ve found myself filled with some doubt. It’s tough to say it publicly but I think I’m suffering a little bit of burnout. I think writing it down really helps me face the truth of the matter and really evaluate a lot of my frustrations. I’ve always told my ensembles that when something goes wrong, whether it be at a concert or at an adjudicated event, I put the blame on myself. It was their performance, but I was the one responsible for making sure they knew how to do it correctly. In every aspect. It doesn’t matter if it was wrong notes or wrong behavior. It was my job to make sure it went right. So I am going to apply that same philosophy to my anxiety and doubt about where I am in my career. It would be so easy to point to the stereotype excuses as to why music educators get to feeling this way: the kids don’t work as hard as they used to, my administration doesn’t support my program the way that I think it should, athletics seem to get all the glory, legislation and state testing has made teaching darn near impossible. The list can go on and on but ultimately it comes down to me. I am responsible for how I feel. Only I can change it. What is really causing it? 6
“It should be easier than it is.” When I was a younger teacher I was blessed to have access to so many veteran educators that would encourage me, give me advice, and offer the tough criticisms when needed. I think I did more growing not only as an educator but as a person in my first seven to ten years of teaching than at any other time in my life. I had (and still do have) so many brilliant educators that I admired. Whose programs were thriving. They seemed to really know what they were doing. And they made it look easy. I remember thinking that I hoped one day to get to that level. That if I kept working hard at my craft, I too would be a director who had it easy. A program that was self-sufficient where the students joined out of sheer love for the art of music making, a community that flocked to every concert, more parent volunteers than I had jobs for and an administration that would thank me every day for all the hard work that I do to enrich student lives and make them look good at their jobs; that’s what I was working for. And here’s the hard truth: it doesn’t get easier, it gets harder. Yes, I am better at what I do than I was twenty years ago. Yes, I’ve had wonderful successes and I am blessed with almost two decades worth of former students who remember so many things that I’ve half forgotten. But I am also pickier about things than I ever was in my first couple of years. My standards have gotten higher. It never seems good enough when we get close to a concert or a contest. I find myself being meticulous to a fault and bringing my anxiety about upcoming performances home with me. I worry on the weekends and I lose sleep during the week. TRIAD
But the revelation about that hard truth is that although it gets harder, I am much better equipped to handle it than I ever was. And even though I am more skilled, I am also more open to learning new skills. It’s harder than it ever was but I guess to someone younger in the profession, maybe I might make it look easy. Perhaps all of those veterans I looked up to didn’t actually have it easy. The reality is they probably had it pretty hard. They most likely set monstrously high standards for themselves and worried about every aspect of their craft on a daily basis. They might’ve been dealing with student issues and parent issues and administration issues all of the time. But guess what…..they never let me know it. They only told me the stuff that would help me grow and push me to truly love what I do. I came across this Tom Hanks quote from the movie A League of Their Own recently and I think it puts everything that I’ve been trying to figure out completely in focus.
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“It’s supposed to be hard. If it wasn’t hard everyone would do it. The hard is what makes it great.” You young music educators, hang on for the ride of your lives. You’ll be the “old guy” or “old girl” before you’re ready for it. You “old” people. You’re still doing it because you’re still good at doing it. Keep striving to be better because easier doesn’t really exist. But meaningful sure does.
Eric West is the Director of Vocal Music at Defiance High School. He has a Bachelor of Music Education from Bowling Green State University. At Defiance he conducts the A Cappella Choir, Women’s Chorus, Men’s Chorus and Varsity Blues Pop/ Jazz Ensemble. He also teaches classes in Popular Music, Music Theory and Musical Theater. He is the co-chair of the OMEA District 1 Honors Festival and is a regular adjudicator at OMEA adjudicated events.
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FROM THE PRESIDENT... Kathleen McGrady, OMEA President Welcome to our Fall edition of the TRIAD and to another exciting new school year. I hope that you returned recharged and you were ready for those smiling faces who entered your classroom. This year OMEA holds many exciting experiences for our music educators and our music students. At this time, plans are well underway for the 2019 Professional Development Conference to be held in Cleveland as Mark Hensler and his team continue to do an excellent job planning educational and informative series of high quality clinics and concerts. There is no doubt that this is going to be an exciting and busy year for OMEA. I would personally like to thank our outgoing Past-President, Terry Hershman, and President, Michael Crist for their leadership the last two years and their commitment and dedication to our organization. I would also like to extend a heartfelt welcome our two new trustees Ann Usher, President-Elect and Wendi Davis, Treasurer to our outstanding board of trustees. In 2016, when Terry Herschman called to tell me that I had been elected as the new President-Elect for OMEA I was excited and honored to serve an organization that has meant so much to my career, and one that I hold dear to my heart. Terry immediately filled my calendar with OMEA dates and events, one of the first being to attend the NAfME National Assembly held near Washington, D.C. in Tyson Corners. This National Assembly consists of a 4-day series of meetings and informal sessions and is the only time during the year that representatives from every state in the country meet to discuss the 8
state of music education throughout the country. So, in June of 2016, I made my plans to attend the NAfME National Assembly and drove to Detroit Metro to board my flight to Washington, D.C. Once seated on the plane I introduced myself to my seat mate, a college student from the University of Washington in Seattle. He was Saudi Arabian and we had a little language barrier, but for the most part we understood each other. During our conversation he asked me “What do you do?” and I looked at him and hesitated because I was not sure what or how much he would understand. After a few moments of thought I decided that the safe answer was “I am a Music Teacher”. He shook his head no to show he did not understand what I said so I tried “I am a Band Director” and his response was the same. I then pointed to a saxophone that was on the cover of my NBA Journal that I had brought to read on the flight and he shook his head no again and said that he cannot play an instrument. Finally, I thought, “let’s try charades,” thinking that maybe this would help me communicate with him. So, I sat proudly up in my seat and proceeded to conduct while saying “I am a conductor” and he immediately responded “Ah, I get it, you connect FEELINGS”. In awe of what he just said to me I gently turned my head to him and said “Yes, I do connect feelings”. I teared up and thought to myself, this young man from Saudi Arabia just told me what I have been doing the last 35 years of my career. WE connect feelings, connect musical lines, and connect to lives with those who have influenced our TRIAD
paths, mentors and students alike. The guidance of others, past and present that encourage us to become better teachers and who help us become better human beings is what is important. One of my all-time favorite quotes is from Sir Isaac Newton, “If I have seen further it is because I have stood on the shoulders of Giants”. In this issue of TRIAD we remember two of our OMEA giants, Helen Ruhlen (Ohio’s Music In Our Schools Month Chair for many years) and Mark S. Kelly (BGSU Director of Bands, Professor Emeritus). Two wonderful people who made a difference in music education, who were advocates for their art, and who connected feelings with everyone they met. Hail to Helen, OMEA’s “Music in our Schools Month” Lady and Hail, to our “Chief”, Mr. Kelly, whose memory will forever stay in our hearts.
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We all must stand strong to continue to strengthen our programs and continue to be a strong voice for music education for the children of Ohio. Best wishes and good luck to all our music educators for a successful school year and we will see you in Cleveland. Kathleen McGrady is a retired instrumental music educator after 34 years as Director of Bands at Springfield High School in Holland, Ohio and Northwood High School, in Northwood, Ohio where she was honored as “Teacher of the Year”. She currently teaches Music Education courses at Eastern Michigan University and is a conductor/ scholarship representative for the Blue Lake Fine Arts Camp. She has served OMEA at the District, Region, and State levels, and most recently as the 2016 All-State Coordinator. Ms. McGrady is a graduate of Bowling Green State University and holds a master’s degree in Music Education from Vandercook College of Music. She was honored as the Ohio Music Education Association’s 2015 Music Educator of the Year.
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2018-2019 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 9/1/18.
LEVEL lll - PRESIDENT’S CLUB Bluffton University
Bob Rogers Travel
3440 Lacrosse Lane Naperville, IL 60564 info@bobrogerstravel.com www.bobrogerstravel.com
Bowling Green State University College of Musical Arts Moore Musical Arts Center Bowling Green, OH 43403-0292 www.bgsu.edu/music
Buddy Roger’s Music
Conn-Selmer
Festivals of Music
J.W. Pepper
Music & Arts
Music For All
Music Travel Consultants
Noteworthy Tours, Inc.
QuaverMusic.com
Rettig Music, Inc.
Royalton Music Center
Summit Tour & Travel, Inc.
The Ohio State University School of Music
Yamaha Corporation of America
1 University Drive Bluffton, OH 45817 battlec@bluffton.edu www.bluffton.edu/music
6891 Simpson Avenue Cincinnati, OH 45239 bill@buddyrogers.com www.buddyrogers.com
6330 E. 75th St. Suite 122 Indianapolis, IN 46250 indianapolis@jwpepper.com www.jwpepper.com
5348 W. Vermont St. Suite 200 Indianapolis, IN 46224 rick.campbell@musictravel.com www.musictravel.com
510 Clinton St. Defiance, OH 43512 cindy@rettigmusic.com www.rettigmusic.com
110 Weigel Hall 1866 College Road Columbus, OH 43210 music@osu.edu http://music.osu.edu
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P.O. Box 310 Elkhart, IN 46515 marketing@conn-selmer.com www.conn-selmer.com
5295 Westview Drive Frederick, MD 21703 tracy.katz@musicarts.com www.musicarts.com
P.O. Box 1665 Sandusky, OH 44871 travel@noteworthytours.com www.noteworthytours.com
10167 Royalton Rd. Unit A North Royalton, OH 44133 m.malko@royaltonmusic.com www.royaltonmusic.com
1784 West Schulykill Road Douglassville, PA 19518 info@edprog.com www.edprog.com
39 W. Jackson Place Suite 150 Indianapolis, IN 46225 info@musicforall.org www.musicforall.org
1706 Grand Avenue Nashville, TN 37212 info@QuaverMusic.com www.quavermusic.com/preview
P.O. Box 682240 Orlando, FL 32868-2240 kim@summittourtravel.com www.summittourtravel.com
6600 Orangethorpe Avenue Buena Park, CA 90620 www.usa.yamaha.com
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LEVEL ll - OMEA PATRON Akron, The University of
Capital University Conservatory of Music
Case Western Reserve University
One College & Main Columbus, OH 43209 lroseber@capital.edu www.capital.edu/music
10900 Euclid Avenue Cleveland, OH 44106 music@case.edu http://music.case.edu
Cleveland State University
Educational Tours, Inc.
Kent State University
2121 Euclid Avenue MU332 Cleveland, OH 44115 music@csuohio.edu www.csuohio.edu/class/music
P.O. Box 257 Holt, MI 48842 eti@tours-eti.com www.tours-eti.com
1325 Theatre Drive Kent, OH 44242 schoolofmusic@kent.edu www.kent.edu/music
MarchingDotBook.com
Marietta College
Miami University
211 E. Schrock Rd. Westerville, OH 43081 info@marchingdotbook.com www.marchingdotbook.com
215 Fifth Street Marietta, OH 45750 mk001@marietta.edu www.marietta.edu/ music-department
501 S. Patterson Ave, 109 Presser Hall Oxford, OH 45056 music@miamioh.edu www.music.miamioh.edu
Muskingum University
Ohio Northern University
Otterbein University
163 Stormont Street New Concord, OH 43762 music@muskingum.edu www.muskingum.edu/dept/music
525 South Main Street Ada, OH 45810 p-warner@onu.edu www.onu.edu/music
1 South Grove Street Westerville, OH 43081 ddavenport@otterbein.edu cbrock@otterbein.edu www.otterbein.edu/music
Soundwaves Recording
Super Holiday Tours
University of Dayton
4708 Surfside Drive Huron, OH 44839 dan@soundwaves.org www.soundwaves.org
116 Gatlin Ave. Orlando, FL 32806 hskiver@superholiday.com www.superholiday.com
300 College Park Dayton, OH 45469-0290 musadms@udayton.edu go.udayton.edu/music
West Music
Youngstown State University
1212 Fifth Street Coralville, IA 52241 smarchuk@westmusic.com westmusic.com
One University Plaza Youngstown, OH 44555 regoldberg@ysu.edu www.ysu.edu/music
School of Music, Guzzetta Hall 260 Akron, OH 44325-1002 music@uakron.edu www.uakron.edu/music
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LEVEL l - OMEA SPONSOR Ashland University
Baldwin Wallace University
401 College Avenue Ashland, OH 44805 music@ashland.edu www.ashland.edu/music
275 Eastland Rd. Berea, OH 44017 music@bw.edu www.bw.edu
Malone University
Ohio University School of Music
2600 Cleveland Ave. NW Canton, OH 44709 mhaines@malone.edu www.malone.edu/music
University of Toledo 2801 W. Bancroft St. MS605 Toledo, OH 43606 utmusic@utoldeo.edu www.utoledo.edu/al/svpa/music
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440 R. Glidden Hall Athens, OH 45701 kasler@ohio.edu www.finearts.ohio.edu/music
WGI Sport of the Arts
Heidelberg University School of Music & Theatre 310 East Market Street Tiffin, OH 44883-2462 cdusdiek@heidelberg.edu, ppage @heidelberg.edu www.heidelberg.edu
University of Mount Union 1972 Clark Avenue Alliance, OH 44601 andersem@mountunion.edu www.mountunion.edu/music
Wright State University
2404 Crosspointe Drive School of Music Dayton, OH 45342 3640 Colonel Glenn Hwy. office@wgi.org Dayton, OH 45435 www.wgi.org ellizabeth.robbins@wright.edu www.wright.edu/music
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Golfers Swing for OFME All-State Scholarships!
The Inaugural “Strike-A-Chord” Golf Outing benefitting Ohio All-State Student Scholarships was a Swinging Success! The Ohio Foundation for Music Education held its 1st annual “Strike-A-Chord” Golf Outing on Monday, June 18th at the beautiful Chapel Hill Golf Course in Mt Vernon, Ohio as 73 golfers enjoyed a picture-perfect day of golf.
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The OFME Golf Committee is tremendously grateful to our following sponsors who contributed to make this inaugural event a huge success! Blue Lake Fine Arts Camp www.bluelake.org
Pellegrino Music and Lesson Center www.pellegrinomusic.com
Bob Rogers Travel www.bobrogerstravel.com
Raymond James, Inc. Randy McGill, Branch Manager www.raymondjames.com/rjbelden
Clubs Choice Fundraising - Ryan Frankart www.clubschoicefundraising.com Custom Fundraising Solutions www.customfundraisingsolutions.com
Rettig Music www.rettigmusic.com Roger & Jennie Hall
Dave Koehler In memory of Gus Yoder & Ruth Spies
Soundwaves Recording www.soundwaves.org
KHS America, Inc. www.khs-america.com
Summit Tour & Travel www.summittourtravel.com
Mike & Wendy Crist
The Symonds Group www.thesymondsgroup.com
Music & Arts www.musicarts.com Ohio Foundation for Music Education Board of Directors www.ohiofoundationformusiceducation.org OMEA Trustees www.omea-ohio.org
United Heartland Insurance Agencies www.uhins.com Woodsy’s Music www.woodsysmusic.com
Again, it is with much appreciation and gratitude that we give our sincere thanks to our supportive businesses, hole sponsors, donors and volunteers that generously gave of their time, talent and/or resources, all of which ensured a successful golf outing. The Ohio Foundation for Music Education proudly supports and continues to help our Ohio All-State Ensembles. Save the date for next year’s 2nd Annual Golf Outing to be held on Monday, June 10, 2019. OCTOBER/NOVEMBER 2018
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NAfME’s Professional Development eKit: A Framework for Ohio Music Educators Lisa M. Gruenhagen; Bowling Green State University Ed Duling; Kent State University Alden H. Snell II; Eastman School of Music Music teacher professional development (PD) is critical to improving instruction and increasing teacher retention. To disseminate elements of effective PD, members of NAfME’s Society for Music Teacher Education “Professional Development for Experienced Teachers” and “Professional Development for Beginning Teachers” areas for Strategic Planning and Action created a PD eKit, available at HERE. In Figure 1, we present a visual of the eKit you can share with fellow teachers, administrators, and PD providers. The PD eKit is based on seven fundamental principles of professional development. We share each principle, accompanied by a brief description, then offer suggestions for aligning them with PD opportunities specific to Ohio. EFFECTIVE PROFESSIONAL DEVELOPMENT… IS MUSICAL. Music teacher professional development should be content- and context-specific, providing teachers opportunities to improve their own musicianship while learning ways to improve their students’ musicianship. Teachers with an instrumental music background may require support when asked to teach general music or a music technology course. Similarly, a change in grade levels taught could necessitate a refresher in skills and techniques for teaching different age groups. IS NOT “ONE SIZE FITS ALL”— IT DIFFERENTIATES BETWEEN NEEDS OF BEGINNING AND EXPERIENCED TEACHERS. Effective mentoring is important for beginning teachers. Their needs are unique depending on the context of 16
their new position and their teacher preparation experiences. Early- to mid-career teachers need support in making changes to improve student achievement; one way to do this is to study teaching practice. Veteran teachers require ways to organize their wisdom to help newcomers and find ways to stay current with contemporary educational policy and expectations. PLACES TEACHERS IN A SUPPORTIVE COMMUNITY OF LEARNERS. Collaboration with a community of peers is critical to combatting isolation, a common challenge for music educators. Communities can be formed in many ways, including in person at the school, district, county, or state level, or online. Teachers may find it helpful to participate in a community of teachers with the same years of teaching experience or who teach similar content or grade levels. Partnering with universities to host student teachers, promotes collaboration between cooperating teachers, student teachers, and the university, and allows for ongoing dialogue that is rich in experience and open to fostering learning on all sides. IS VOLUNTARY AND FEATURES AUTONOMY AND CHOICE. Teachers learn best when they have input choosing their role. Beginning and early career teachers may benefit from release time to observe other teachers. Mid- to late-career teachers may benefit from facilitating teacher meetings or mentoring student teachers. Providing teachers choice in how PD is delivered (e.g., online, face-to-face, small- or large-group learning) increases teacher engagement in the PD being offered. TRIAD
ATION C U D E PMENT O C I L E S V U E M D SIONAL S E F O R P
eKIT
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ESSENTIAL ELEMENTS OF EFFECTIVE PD EXPERIENCES
1 2 3 4
IS MUSICAL DIFFERENTIATES BETWEEN NEEDS OF BEGINNING AND EXPERIENCED TEACHERS
PLACES TEACHERS WITHIN A SUPPORTIVE COMMUNITY OF LEARNERS
IS VOLUNTARY, FEATURING ELEMENTS OF AUTONOMY AND CHOICE
WHAT IS EFFECTIVE PROFESSIONAL DEVELOPMENT FOR MUSIC TEACHERS?
5 6 7
Read to Succeed: Check out the following resources for your own and others’ professional development: The Musician’s Journey: Crafting Your Career Vision and Plan by Jill Timmons (Oxford University Press, 2013; www.oup.com) The Music Teacher’s First Year by Elizabeth Peterson (Meredith Music Publications, 2011, www.meredithmusic.com) The First Days of School by Harry K. Wong and Rosemary T. Wong (Harry K. Wong Publications, 2009; www.effectiveteaching.com)
STATE AND NATIONAL NAfME CONFERENCES
PROVIDES OPPORTUNITY FOR REFLECTION IN A CYCLE OF INNOVATION, FEEDBACK, AND RECONSIDERATION IS SUSTAINED, WITH AMPLE SITE-SPECIFIC SUPPORT FOR CLASSROOM IMPLEMENTATION
RESULTS IN TEACHER LEARNING AND IMPROVED PRACTICE
EXPANDED EXPLANATIONS OF THE 7 ESSENTIAL ELEMENTS MAY BE ACCESSED AT: HTTP://WWW.NAFME.ORG/MY-CLASSROOM/ PROFESSIONAL-DEVELOPMENT/ PROFESSIONAL-DEVELOPMENT-EKIT/
Travel to learn: Attend your state/regional music educators conferences, as well as national events such as the following, to stay current, network with colleagues, and gain professional development credit for sessions attended: NAfME National In-Service Conference, November 2017, Dallas, TX (This conference features numerous opportunities for subject-based professional development and the chance to observe nationally-known music educators in action).
Some Helpful Professional Development Resources Start where you stand: Your state music education association is a good place to start. See a list of all the Federated State Associations of the National Association for Music Education (NAfME). Know the ropes: If your district has a supervisor of music or fine arts, he or she might be a wonderful source of professional development ideas, as well as the person who knows what’s needed to stay current. Consider online learning: Many colleges and universities are now offering distance learning. Online courses offer convenience and access to many topics. Many classes are free or low-cost, but some are as pricey as on-campus offerings. Check each school’s offerings, and make sure the credits you earn will qualify toward professional development in your jurisdiction. Keep excellent records of what you pay and what you learn; there may be tax credits or professional deductions available to you. Learn to teach guitar: Teaching Guitar Workshops (TGW) are five-day professional development opportunities that help you start or enhance a classroom guitar program. TGW, sponsored by NAfME, GAMA, NAMM and Duquesne University, also provide three graduate credits, a guitar, method books, and guitar accessories to attendees. NAfME members are encouraged to attend one of these weeklong events. For site locations, applications and for more information, visit www.guitaredunet.org. To get your name on the list to take a TGW I, the first level (where participants receive the graduate credit and the instrument), please contact webmaster@guitaredunet.org.
THIS PROFESSIONAL DEVELOPMENT eKIT GIVES TEACHERS, ADMINISTRATORS, AND PD PROVIDERS PRACTICAL IDEAS FOR STRUCTURING PD THAT WORKS.
PROVIDES OPPORTUNITY FOR REFLECTION IN A CYCLE OF INNOVATION, FEEDBACK, AND RECONSIDERATION. A cyclical process of learning is more effective than brief, sporadic attempts at trying new things. Reflection and feedback work best when teachers have support from colleagues who share similar professional concerns and who will encourage them in a nonthreatening manner. Creating shared experiences and understandings through participation in collaborative reflection with colleagues is key to ongoing learning and the implementation of new ideas. Partnerships with local universities provide another opportunity for teachers to reflect and mutually bridge the gap between theory and practice. IS SUSTAINED, WITH AMPLE SITE-SPECIFIC SUPPORT FOR CLASSROOM IMPLEMENTATION. Professional development involves more than single conference presentations or in-service days. More than an hourly requirement, PD is a long-term approach to learning: a semester-, year-, or career-long venture. Taking a course, joining a Professional Learning Community (PLC), or regular attendance at state, regional, or national MEA conferences are all important pieces of comprehensive PD. Each of these can be even more impactful when teachers attend with colleagues with whom they can reflect on these shared experiences and who can offer support in translating new concepts and ideas into their local school site and into each unique classroom context. RESULTS IN TEACHER LEARNING AND IMPROVED PRACTICE. Teachers who engage in sustained efforts to improve their teaching develop a vision and understanding about teaching and learning. Along with this curricular vision, teachers develop dispositions, practices, and tools that support their teaching and enhance student achievement. They report improved job satisfaction and increased feelings of efficacy. Teacher learning usually improves teachers’ methods for supporting their students’ growth and development. FINDING GOOD MODELS FOR PD When looking for models of effective PD, start by reviewing your state’s requirements. The Ohio Department of Education’s (ODE) Professional Development page contains links to many resources including coursework, seminars, and other PD activities that outline educator certificates and licensure requirements HERE. The first link on this page takes you to the Learning Management Sys18
tem for Ohio Education, an online system for teachers and administrators that provides free courses and PD on important state education initiatives. On this page, in a sidebar on the left-hand side, you will find a Quick Link to the Ohio Standards for Professional Development. There are also several links providing detailed information on requirements and resources, including this QUICK REFERENCE GUIDE. The guide also includes ideas on how to use the Ohio Standards for Professional Development, and guiding questions that include discussion topics for stakeholders such as individual educators, school/district leaders, local PD committee members, local colleges and universities, and external vendors. Also included is information on national board certification and becoming a master teacher. Participating in local, state, regional, and national conferences, workshop, and institutes are valuable forms of PD, as is mentoring, college/university coursework, and teacher research. Our state music education journal, TRIAD, the OMEA website, the Ohio Alliance for Arts Education website, along with related social media sites, are excellent resources for learning and finding meaningful PD opportunities. To get started, share the PD eKit with your district and building level administrators and your district music or fine arts supervisor. Relevant PD may be only an “ask” away. If you are interested in participating in shared PD experiences with your colleagues, consider discussing the eKit with them as you design your personal goals and your individual professional development plans. Reference: Conway, C. (2008). Experienced Music Teacher Perceptions of Professional Development Throughout Their Careers. Bulletin of the Council for Research in Music Education, 176 (Spring, 2008), 7–18. Eros, J. (2011). The Career Cycle and the Second Stage of Teaching: Implications for Policy and Professional Development. Arts Education Policy Review, 112(August 2015), 65–70. http://doi.org/10.1080/1063 2913.2011.546683 Gruenhagen, L. M. (2009). Developing professional knowledge about music teaching and learning through collaborative conversations. In L. K. Thompson & M. R. Campbell (Eds.), Research perspectives: Thought and practice in music education (pp. 125–151). Charlotte, NC: Information Age Publishing. Stanley, A. M., Snell, A., Duling, E., Kastner, J. D., Draves, T. J., Floyd, E., Greene, J. L. R., Minear, C., Reynolds, A., & Stringham, D. (2012). Professional development eKit. Retrieved from National AssociaTRIAD
tion for Music Education website: http://www.nafme. org/my-classroom/professional-development/professional-development-ekit/ Note: Alden Snell and Lisa Gruenhagen wrote on behalf of the Professional Development for Experienced Teachers Area of Strategic Planning and Action, part of the NAfME Society for Music Teacher Education. Infographic created by Daniel Abrahams and Peter Hamby, University of Arkansas. Lisa Gruenhagen is associate professor of music education at Bowling Green State University
Lisa Gruenhagen is Associate Professor of Music Education at Bowling Green State University.
Ed Duling is an online adjunct professor for the Kent State University.
Alden Snell II is Assistant Professor of Music Education at the Eastman school of Music.
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MASTERING THE CRAFT: BAND Turn It Down: Assessing Hearing Risks in The Instrumental Classroom Ben Meisel; Mentor Public Schools I love to relive the 2016 Cleveland Cavaliers championship parade day. Two teacher friends and I tried for hours to get downtown using public transportation but were foiled again and again. Our spirits would not be broken. Out of nowhere, an unmarked, blue school bus appeared, like a heavenly chariot to take us to the heart of downtown. The only blemish on that June day was the unbearably loud sound system on the bus… and I had forgotten my ear plugs. As we rode a wave of Cleveland camaraderie and joy downtown, physically, my body was reacting to noise like a threat. For musicians, our ears are our livelihood. A number of ear problems can directly impact our lives, both in and out of the school music setting. There are three forms that are relatively common and relevant to musicians. Noise-induced Hearing Loss (NIHL): This is a broad term for any loss in hearing caused by external stimuli. NIHL comes in different forms, from overall hearing difficulty, to muffled speech reception, to difficulty hearing or clarity in particular ranges: highs, mids, or lows. One can be more susceptible to NIHL if hearing loss runs in the family. Tinnitus: The occasional ringing in your ear can get worse and more frequent with further noise damage. Ringing can be more noticeable in silence or while listening to certain pitch ranges. Hyperacusis: Sound sensitivity can be caused by prolonged exposure to loud noise, and is common in machinists and musicians. This can range from minor annoyance to immediate and involuntarily triggered mood changes. If loud settings are so bad, why not merely avoid them? The Occupational Safety Hazard Association 20
(OSHA) recommends no more than 85dB for 8 hours before ear protection is required, although no such mandate exists for the classroom (Folmer, 2003). With every increase of 3dB, the amount of safe time in a noisy room is halved. This risk is cumulative. For example, a violin player can experience up to 92dB when measured at the left ear, and percussionists can experience up to 105dB without protective ear plugs (Chasin & Chong, 1992). Ten tested Colorado band rooms yielded an average of 90dB during music (Owens, 2004). Given these numbers, it is not uncommon for a music educator or for students to experience noise levels in the higher risk range on a regular basis. RISKS FOR STUDENTS, RISKS FOR YOU What can you do, short of demanding a brand new, noise-reducing music wing? First, assess your situation. Track down a decibel meter for baseline data: where do your ensembles register on the meter when playing a full forte? Examine your seating: how close is the percussion to the back row of winds, or the drum set to bass player? Are the trumpet bells or violins positioned into another musician’s ear? How close are your musicians to you? What can you control, and what does your school’s space necessitate for seating? Examine your physical space: do you have a lot of hard surfaces in the room? Reverberation is not the same as overall decibel level, but you can reduce compound noise by cutting down the reverberation with soft sound tiles, carpet, and heavy curtains. Second, and perhaps more important, educate your students and yourself. Adolescents tend to ignore risk behaviors and can take the stance that hearing loss may only TRIAD
happen to others. Your students deserve education on how to protect their own hearing, and when too loud can be harmful. If you can afford it, provide ear plugs, especially when it comes to higher risk students, like the drumline. Third, protect yourself. You spend the most time in front of musicians. Admittedly, it is difficult to use ear plugs when every instinct will question why you would interfere with your professional sense. In talking with many other Ohio educators about ear plugs, the overwhelming sentiment has been: “I should probably wear them, but I don’t like how they alter my hearing.” These answers are consistent with several studies surveying the attitudes of musicians for ear plugs and a disdain for the occlusion effect (Chasin & Chong, 1992; Zander, Spahn, & Richter, 2008). After trying a number of different types and brands of ear plugs, I found relief in a soft silicon model that does not feel like a “plug” and merely lessens the overall decibel level without blocking out particular hertz ranges. The company boasts of protection without occlusion, and the earplugs are reasonably inconspicuous. I do not wear my plugs all the time, but I carry them in a metal case on my keys, and have them when I want or need them. Every bit helps. You and your students deserve your best hearing.
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Reference: American Speech-Language-Hearing Association. Retrieved from http://asha.org Chasin, M., & Chong, J. (1992). A clinically efficient hearing protection program for musicians. Medical Problems of Performing Artists, 7(2), 40-43. Folmer, R. L. (2003). The importance of hearing conservation instruction. The Journal of School Nursing, 19(3), 140. Occupational Safety and Health Administration. (1983). Occupational noise exposure; hearing conservation amendment; final rule. 29 C.F.R. 1910.95 (48 Fed. Reg. 9738-9785). Owens, D. (2004). Sound pressure levels experienced by the high school band director. Medical Problems of Performing Artists, 19(3), 109-115. Zander, M., Spahn, C., & Richter, B. (2008). Employment and acceptance of hearing protectors in classical symphony and opera orchestras. Noise & Health, 10(38), 14-26.
Ben Meisel is a middle school band director in the Mentor Public Schools district in the Greater Cleveland area, where he also serves as the OMEA District 7 President-Elect. Mr. Meisel is a 2010 graduate of The Ohio State University and is currently a Master of Music Education student at Case Western Reserve University.
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MASTERING THE CRAFT: CHORAL Sound Practice
Daniel J. Keown; Youngstown State University
Sound – it surrounds us every minute of the day. From the outdoors, to grocery stores, to our very own classrooms - sound is a strong contributor in our daily lives. However, how often do we really listen to these sounds that shape our world? Have you ever listened closely to the acoustic properties of every single sound within your environment? Let’s examine the sound around us for a moment. French acoustician and musicologist Pierre Schaeffer (1967) and audiovisual scholar Michel Chion (1994) state that we may use either casual listening to gather information and meaning from a sound or reduced listening by focusing on the traits of the sound, independent from any interpretative meaning. In other words, we perceive a particular melody as pleasant through casual listening. On the other hand, we could identify the sequence of perfect fourths and fifths through the airy quality from a flute’s low register as a product of reduced listening during this particular melody. When we hear thunder in the distance within our soundscape (e.g. sonic landscape), we are more apt to grab our umbrella prior to leaving our home. In this instance we are examining sound through casual or referential listening, according to Chion (2015), because we are deriving meaning immediately that rain is on its way as referenced by the sound of thunder. Through reduced listening, we examine the acoustical traits of a sound, which unleashes a plethora of sonic elements such as the 24
thunder’s frequency, rhythm, tempo, timbre, dynamics, and articulation. Consider going outside for a moment and turning on the engine to one of your vehicles – the older the better. With the hood popped open begin listening to the engine. Do you hear more than one sound emanating from the engine? Isolate one of those sounds. Does the isolated sound have a particular rhythm? What is the timbre quality of the sound? Does it have a distinct pitch? Now transition your ears to one of the other layers of the engine sound. How would you describe the pitch and timbre of the sound? How would you compare the timbre to the first layer? Is the rhythm of this sound different from the other sound? As you progress, you may find yourself hearing a third and fourth layer. We typically don’t pay close attention to these various layers of sound from a car engine. That is, of course, until we are introduced to a new layer to the engine sound, which warns us of the eminent threat that something is wrong with the engine causing us to fret on whether we will break down or quiver at the realization of how much it will cost to fix the engine. The collection of sounds in the environment opens up a wealth of listening opportunities in our classrooms. Since developing students’ perceptive, intentional, and critical listening skills is a component of the curriculum that we value (Abril & Gault, 2005; Campbell, 2004), the examination of everyday sounds TRIAD
through reduced listening practice could be a viable and differentiated practice of developing these skills in a music classroom. After all, everyday sounds and music share many of the same acoustical characteristics (e.g. rhythm, pitch, timbre, articulation). Why not facilitate listening activities that examine an environment’s soundscape as an addition or extension to a music lesson? Composer, acoustical ecologist, and music educator, R. Murray Schafer, best known for his monumental World Soundscape Project in the late 1960’s, published a resource entitled A Sound Education: 100 Exercises in Listening and Sound-Making (1992). Schafer provides a series of activities that students can participate in on their own, in groups, or as a class. One particular activity suggests that students start off at their desks with a blank piece of paper and write down every sound they hear in the room. Next to each sound, they are asked to describe the sound in writing. Maybe the sound has a scratchy quality or a repetitive rhythm. Maybe the sound is actually three sounds layered on top of one another (similar to our car engine example). Try listening to the overhead projector in the classroom. Is it just one sound? There are some projectors that contain several layers of sound. One sound has a steady low pitched hum, the second sound consists of the mechanical actions of the projector’s fan, which produces a fast rhythmic buzz, while the third sound includes the flow of rushed air from the fan hitting the still air in the room. Schafer refers to these activities as “Ear Cleaning Exercises.” Here are a few of the many activities that students have enjoyed: “ACOUSTICAL SHADOWS” Have the students identify changes in the acoustical properties within a corner of a room or passing through a door or open window. By having the students vocally speak during these activities - they will hear how the acoustical properties (acoustical shadows) absorb and reflect the sound of their voice. SOUND JOURNAL Have the students keep a sound journal. Students can contribute sounds they heard throughout the day, or respond to writing prompts such as: “What was the first sound you heard this morning upon waking up?” OCTOBER/NOVEMBER 2018
or “What was one sound that you heard that seemed to confuse you?” or “What was your favorite sound you heard today?” EXAMINING WHAT WE CANNOT SEE Explain to the students that we may not be able to see the origin of all sounds within our sonic environment. Have the students compile a list of sounds that come from “hidden places” or cannot necessarily be seen. Some examples could be wind, squirrels in the attic, water in a drainpipe, or crickets at night. CONTRADICTION OF SIGHT AND SOUND Have students identify unattractive sounds that are produced by attractive visual sources such as a child pounding on the piano, new shoes squeaking, or a balloon popping. SOUND SHAPE MATCHING Provide a diagram of various hand drawn shapes and markings. Have the students match a sound to the shape. Continue the activity by having the students discuss their choices with the class. You may even reverse the process and have students draw or doodle images that represent a specific sound. HUMAN SOUND EFFECTS GENERATOR Have the students imagine what it would sound like if you threw a crumpled up ball of paper against the wall. Next, go through the motions of throwing an imaginary paper ball at the wall while having the class create the sounds of this sonic experience. Debrief with them afterwards to describe their reasoning for the sounds that they made. Obviously, they will most likely address the initial sound of the ball hitting the wall. However, did they consider the motion of your clothing when winding up to throw the ball or the friction of the ball leaving your hand? Did they consider the density of the wall or the sounds of the ball eventually hitting the floor? Continue the demonstration a couple other times to allow students to revise their man-made sound effects for this activity. At the end, throw an actual paper ball at the wall and allow students to compare and contrast their imagined sounds with the actual sounds. It is suggested that these sorts of activities that focus on reduced listening and sensitizes their hearing 25
are transferable skills that could be applied toward the development of musical skills such as music listening and music literacy, or functional skills such as learning, spatial awareness, and communication with others. Consider acquiring Schafer’s A Sound Education: 100 Exercises in Listening and Sound-Making and practice with your students at uncovering the sonic treasures with your ears in the music classroom. Sound on! Reference:
Abril, C., & Gault, B. (2005). Elementary Educators’ Perceptions of Elementary General Music Instructional Goals. Bulletin of the Council for Research in Music Education, 164, 61-70. Campbell, P. S. (2004). Teaching music globally. New York: Oxford University Press. Chion, M. (1994). Audio-vision: sound on screen. Columbia University Press. Chion, M. (2015). Sound: An Acoulogical Treatise. Duke University Press.
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Schafer, R. M. (1992). A sound education: 100 exercises in listening and sound-making. Indian River, Ontario: Arcana Editions. Schaeffer, P. (1967). Traité des objets musicaux. Rev. ed. Paris: Seuil.
Daniel J. Keown serves as Assistant Professor of Vocal Music Education in the Dana School of Music at Youngstown State University where he teaches undergraduate music education courses. His research and creative interests include the psychology of music in multimedia, film music and sound effects design, interdisciplinary approaches in music, music psychology, descriptive and experimental quantitative research, and serving culturally diverse learners in vocal music education. Keown is an active member of the National Association for Music Educators, Technology Institute for Music Educators, Society for Music Perception and Cognition, and College Music Society.
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MASTERING THE CRAFT: GENERAL MUSIC Tips from General Music Mentors: An Educator Survey Dr. Terri Brown Lenzo; Ohio Northern University When our editor requested articles about mentorship last spring, I decided to conduct a survey of general music educators in OMEA District III. I sent requests via their district e-mail newsletter and Facebook page and also contacted some teachers directly. They were asked to “share tips for teaching general music, working with administrators and colleagues, or maintaining work/life balance.” This open-ended request gave participants the flexibility to offer advice on many topics. Teaching experience of participants ranged from one year to over twenty years. Results of this survey can be helpful for music teachers, administrators, and music teacher educators.
of both methods stressed the importance of establishing relationships with classroom teachers. Alice Basinger, general music teacher at Bluffton Elementary School, shared strategies for addressing repeated student questions by helping them engage in self-reflection and critical thinking:
RESULTS A majority of participants (75%) offered teaching tips. Most of the comments pertained to cross-curricular integration. No one shared strategies for leading specific musical activities. Teaching philosophy was addressed by 63% of respondents, and 50% of participants addressed work/life balance.
Student Question: “Where should we go?” Teacher Response: “Why don’t you know?” This encourages students to consider why they are asking. Did they listen to directions the first time they were presented? If not, encourage them to look for the clues.
CURRICULUM AND INSTRUCTION Suggestions about curriculum were focused on two methods of cross-curricular integration. The first type involves integrating information to help students learn more about the music they are performing. This could include cultural traditions, foreign languages, geography, and history. The second type of integration involves using musical activities to help students achieve objectives in other subject areas. Proponents 28
Student Question: “What should we do?” Teacher Response: “Look for the clues.” This encourages students to pay attention to those around them. What are their peers doing? Where are they getting their papers or returning their papers, etc.?
Student Question: “Where should I be?” Teacher Response: “Right here by me.” If they don’t know, you probably need to keep them close to help them learn to look for clues and listen better. Once students improve those skills, they can become more independent. TEACHING PHILOSOPHY This topic received the second highest number of responses, even though it was not specifically menTRIAD
tioned in the survey. Dennis Crites of Waynesfield Goshen Schools advised teachers to “Ask yourself why you are teaching music, and make it your mission statement. For me, I teach kids through music.” Recognizing the overall needs of children before addressing their behavior or musicianship was a philosophy expressed by several people. Ellen Sheldon, teacher at Kenton Elementary School wrote, “I pray for wisdom and for me to bless these kids in some way. . . striving daily to make someone’s day better.” Jennifer Keeler, teacher in the Miller City-New Cleveland School District, stated that it’s important for students to know you care about them. She suggested that teachers ask students “about their lives, talk to them outside of music class, or give them a special job.” WORK/LIFE BALANCE The primary recommendation was for teachers to maintain a boundary between their jobs and their personal lives. Several people stated that they do not take work home with them at the end of the day, even it if means occasionally staying at school for a few extra hours to complete tasks. The importance of self-care was also emphasized. One participant suggested colleagues retain an identity apart from that of a music educator by nurturing unique individual qualities or by pursuing non-musical interests. The following statements represent a summary of comments on this topic: “It’s okay to leave work at work. Take time for yourself to rest and re-energize!” IMPLICATIONS AND RECOMMENDATIONS Aspects of professional practice that emerged as most important were cross-curricular integration, teaching philosophy, and work/life balance. In consideration of these results, music teacher educators and PreK-12 administrators could examine content of current courses and professional development programs. Given the interest in cross-curricular integration, administrators should strive to provide time during the school day for teachers to engage in collaborative planning. It was refreshing to read how participants are balancing personal lives and job responsibilities. This has not traditionally been a focus within the profession, and results of this survey indicate that may be changing. All stakeholders should develop strategies for mentoring and supporting teachers in maintaining work/life OCTOBER/NOVEMBER 2018
balance. Additional research is needed in this area. The emphasis placed on teaching philosophy seems particularly noteworthy. Sixty-three percent of participants described their philosophies, even though this was not part of the survey. Recalling your philosophy of music teaching is helpful when making decisions about curriculum and instruction and can also be an encouragement during challenging times. Developing a personal philosophy of music education is an assignment often included in university methods courses. Pre-service educators might benefit by reading these practical applications of teaching philosophies. Teachers have a wealth of information and experiences to share, and I encourage stakeholders to implement mentorship programs. Social media sites and websites such as aosa.org and nafme.org contain helpful information; yet, face-to-face meetings offer greater possibilities for reciprocal engagement and modeling of lesson activities. This can be accomplished through OMEA activities at the district level. For example, teachers in District III are offered three different opportunities. First, each teacher who is new to the district is paired with a mentor. Second, connections can be made by contacting county representatives listed on the district website. Third, the district includes time for mentorship and professional development at their quarterly meetings. After discussing business items, ensemble directors and general music teachers often participate in separate sessions or workshops. Suggestions submitted by Tabitha McPeeks, teacher at Ada Elementary School, offer a fine conclusion to this article and encouragement to all as we approach the end of the semester: “Be ‘in the moment’ with your students! Don’t ever let the stresses of your day make you forget why you do what you do!”
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. 29
MASTERING THE CRAFT: MULTICULTURAL Singing Scotland: The Poetry of Robert Burns Brad Pierson; University of Toledo Robert Burns (1759-1796) is well known as the national poet of Scotland, and certainly his standing and the beauty of his works are reason enough for choral musicians to hold music featuring his poetry in high regard. While much of his poetry is wellknown to choral musicians, few are aware that he was instrumental in pairing his words with melodies. This combination of a vast output of high quality poetry, attachment to the music, and his undeniable entrenchment in Scots culture demands attention from the choral community. Burns was born in Alloway, Ayrshire, Scotland in 1759. The son of a working class farmer, he had a rather strong education given his station in life. He grew up well versed in both Scots and English, and though he wrote in both, it was his mastery of the Scots language that helped him to achieve national recognition as the Ploughman Poet. It also made him an ideal candidate for contributions to the Scots Musical Museum. The Museum (1787-1803) was created by James Johnson in an effort to collect and preserve traditional melodies of Scotland. With many of these melodies originating as fiddle or other instrumental tunes, Johnson charged Burns with the task of writing poetry to fit the melodies, believing this would ensure their life for posterity. Burns obliged, creating new poetry and reworking older fragments to breathe new life into the songs. This is a rare example of a poet being so intimately tied to the musical 30
settings of his work, and attention to these original settings provides conductors unique insight for interpreting this poetry in modern choral settings. Burns attention as a poet often centered on the pastoral – his To a Mouse is recognized as one his most famous works – and he also wrote often about drinking, politics, and social interaction. It was, however, his love poems that are often not only his most highly praised, and are also the most often set by composers. One need look no further than O My Luve is like a Red, Red Rose for a stunning example of Burns’ work. With settings by no fewer than fifty composers, favorite modern settings include those by Rene Clausen, David Dickau, and James Macmillan. Like many of Burns’ works, this poem was actually made up partly of fragments of older works. It was, however, Burns who was able to elevate the poem to such high regard. The original melody Burns selected was an old strathsprey titled Major Graham. “Burns knew the ‘sweeping, kindling, bauld strathspey’ not only by its music but by its steps, and … he was compelled to put a break on the tempo and conceive it ‘lento, largo, in the play’ to use his own words, when he wished to use it for some of his sentimental and plaintive verses.” One of the most telling features of the music is the stress of the text that is created by the rhythm. The melody of the original setting follows a pattern of “dotted eighth – sixteenth – dotted eighth – sixteenth.” This long-short, or stressed-unstressed, patTRIAD
tern creates a specific text stress that becomes very important in certain passages. One important choice is the placement of “my” on the stressed part of the beat. This helps to communicate Burns’ idea of the poetry. “Burns – in his own personal ecstasy – was voicing ‘my love’ and even repeated the accentuation in another setting of ‘Red, red, rose’ in the Museum.” Looking at the settings previously mentioned we see that MacMillan sets the text with the original strathspey melody, with Dickau and Clausen departing from this tune. While Dickau places “My” on a strong beat, Clausen opts to place an increased emphasis on “Luve.” These simple differences may seem subtle, but will help a modern conductor to make interpretive choices when preparing settings of Burns’ text. Burns Suppers are celebrated around the world on January 25th, commemorating the birth of the Scottish Bard. These events follow a traditional running order, including specific poems, toasts, food and drink. With the poetry as the central feature, musical settings of Burns’ poetry are a welcome addition to any Burns Night. This offers a unique programming opportunity for choral directors at any level, and may be well-worked into a fundraising event or community involvement endeavor. Specific information on how to organize your own Burns Night celebration can be found online (http://www. visitscotland.com). With an exceptional and extended repertoire of poetry and songs, Burns should be a primary consideration for choral musicians seeking new repertoire or programmatic ideas. While O My Luve may be
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among his most famous poems, tunes like Auld Lang Syne and Ae Fond Kiss are also well known. A bevy of other works such as Ay Waukin O, Scots Wha Hae, Ye Banks and Braes, and My Heart is in the Highlands have been favorites of composers since the time they were written and continue to be an important part of the choral music landscape today. His contribution extends beyond beautiful poetry to include melodic settings and musical considerations for many of his poems. This repertoire is undervalued, and deserves just a wee bit more performance. Reference:
The strathsprey is a “Scottish dance, a reel of slower tempo, allowing the use of more elaborate steps both in the setting step and the traveling figure.” Collinson, Francis. “Strathspey.” Grove Music Online. Oxford Music Online. ii Farmer, Henry George. Foreword. The Scots Musical Museum. By James Johnson. Ed. William Stenhouse. Hathboro, PA: Folkore, 1962. iii Johnson, James. The Scots Musical Museum. Ed. William Stenhouse. Hatboro, PA: Folkore, 1962. iv Farmer. i
Brad Pierson is the Director of Choral Activities at the University of Toledo. In 2012 he founded whateverandeveramen, a project based choral ensemble which hosts annual Robert Burns Nights in Seattle and Toledo, including a partnership with James Beard award winning chef Johnathon Sundstrom (Lark, Seattle). In 2019, he is hosting a tour of Scotland which includes performances in distilleries and breweries, where they will sing a collection of Burns’ music along with traditional drinking songs.
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MASTERING THE CRAFT: TEACHER EDUCATION Contemplative Pedagogy in the Music Classroom Dr. Lisa Martin; Bowling Green State University Music educators are familiar with many models of teaching and learning. Two common classroom approaches center upon objectivist and constructivist pedagogies. Objectivism emphasizes students’ knowledge acquisition; teachers strive to efficiently and consistently convey discrete knowledge. In the music classroom, this might translate to ensuring students memorize the circle of fifths. Alternatively, constructivism emphasizes the creation of unique meanings in the learning process. Constructivist pedagogies highlight collaborative, exploratory learning environments. A cooperative composition project could serve as an example of constructivism in the music classroom. Beyond these two approaches, there exists another way of knowing and doing in the classroom. Contemplative pedagogies encompass the “wide range of educational methods that support the development of student attention, emotional balance, empathetic connection, compassion, and altruistic behavior” (Zajonc, 2013, p. 83). The Center for Contemplative Mind in Society outlines several common contemplative practices. Each are rooted in communication, connection, and awareness: 1. Stillness exercises (e.g., meditation or centering) 2. Generative exercises (e.g., visualization or beholding) 3. Creative exercises (e.g., improvisation or journaling) 4. Activist exercises (e.g., volunteering or vigils) 32
5. Relational exercises (e.g., deep listening or storytelling) 6. Movement exercises (e.g., yoga or walking) 7. Ritual exercises (e.g., retreats or ceremonies) (Duerr, n.d.) Contemplative teaching practices have the capacity to cultivate and enhance various dimensions of human experience. Given recent interest in developing music students’ overall wellbeing (Palac, 2008), as well as an increased focus on shaping students’ capacity for attention (O’Donnell, 2015), music teachers can benefit from exploring how contemplative pedagogies might uniquely affect their students’ learning experience. EXAMPLES OF CONTEMPLATIVE TEACHING STRATEGIES IN MUSIC A key area within contemplative pedagogy is developing students’ capacity for focused attention. Much like a muscle, our ability to focus can be exercised and strengthened over time. In some classrooms, this could translate to more common mindfulness practices (e.g., focused breathing exercises in a wind band setting) or directing students’ attention to a single task at a time (e.g., encouraging a first grade general music class to focus only on keeping a steady beat with their feet). Problem-based learning activities are a particularly effective tool for heightening students’ engagement and attention, because they require students to consider an issue or TRIAD
task from multiple perspectives. Applying this in the music classroom, string musicians might collaborate to determine the appropriate bowing throughout a given musical excerpt. As they work through the task, students exercise both logic and exploration. In completing such tasks, Barbezat and Pingree (2012) suggest it is equally important to develop the capacity to allow one’s attention shift away from a concept or approach when it does not appear effective or immediately relevant. In other words, the authors emphasize the importance of “clear, but not rigid attention” (p. 83). This conceptualization of attention could translate to wind musicians’ focus when playing a lyrical passage. For example, a flautist might notice he is both out of tune and out of rhythmic sync with his stand partner; his attention prioritizes achieving rhythmic alignment before focusing upon the intonation issue. Reflective practice represents another dimension of contemplative pedagogy. By engaging in self-exploration and personal inquiry following a learning experience, students can cultivate deeper connections to various learning tasks. Focused opportunities for contemplation and introspection encourage students to consider their own experiences in relation to course material. Follow a listening exercise, teachers might traditionally feel compelled to immediately ask the students what they noticed in a given excerpt. To shift this activity toward contemplative practice, the teacher could instead provide the students several minutes to independently consider the musical excerpt, perhaps relating the recording to a personal experience or emotion. Allowing students to share these personal connections with one another could also cultivate empathy and compassion. This practice can heighten students’ self-awareness, while fostering a richer connection to both the musical work and to each other. Contemplative pedagogies can also deepen students’ musical understanding. In examining Sam Cooke’s A Change is Gonna Come in relation to Ben Sollee’s cover of the same tune, students can consider the importance of context and perspective across varied interpretations of a given musical work. By examining the changes in lyrics and orchestration, students can uncover how and why these two interpretations capture both common and OCTOBER/NOVEMBER 2018
distinctly different emotions, while also considering various groups’ social connectivity to each version. Teachers might guide the students’ exploration with questions such as, “What did you notice about the vocalists’ choices?” or “How did your personal reaction vary from one recording to the next?” Providing open prompts can guide students’ attention toward various dimensions of the music, helping them better understand nuance in musical choice. CREATING CONTEMPLATIVE CLASSROOM CULTURE The examples above capture just a few approaches to contemplative pedagogy. Barbezat and Pingree (2012) suggest that, to successfully integrate contemplative approaches, teachers must first learn to embrace certain contemplative habits of mind. There are many subtleties in contemplative pedagogies that may be difficult to implement without having an understanding of and experience with their design. For example, teachers interested in incorporating mindful breathing in their classroom should first explore mindful breathing on their own. Experimenting with and practicing techniques ahead of incorporating them in the classroom will help yield more meaningful outcomes. The authors also encourage teachers to provide students with background information about contemplative pedagogies. Some students might be resistant to certain contemplative practices because they are unfamiliar. Providing adequate context can help students feel more comfortable and curious about exploring new ways of knowing and doing. It is also important to note that contemplative teaching practices are best implemented as a complement to current curricular practices; certainly, both objectivist and constructivist approaches serve important, necessary functions in music teaching and learning. Contemplative strategies simply provide another dimension of understanding (Barbezat & Pingree, 2012). CONCLUSION Contemplative teaching practices offer both teachers and students an opportunity to connect with learning in unique and meaningful ways. The music classroom is prime environment for exploring these pedagogies as a complement to current practice. In 33
doing so, teachers can enhance students’ attention, compassion, and connectivity in the classroom. Reference:
Barbezat, D., & Pingree, A. (2012). Contemplative pedagogy: The special role of teaching and learning centers. In J.E. Groccia & L. Cruz (Eds.), To improve the academy (83-92). San Francisco, CA: Jossey-Bass. Duerr, M. (n.d.). The tree of contemplative practices. Retrieved from The Center for Contemplative Mind in Society http:// www.contemplativemind.org/practices/tree O’Donnell, A. (2015). Contemplative pedagogy and mindfulness: Developing creative attention in an age of distraction. Journal of Philosophy of Education, 49(2), 187-202;
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Palac, J. (2008). Promoting musical health, enhancing musical performance: Wellness for music students. Music Educators Journal, 94(3), 18-22. Zajonc, A. (2013). Contemplative pedagogy: A quiet revolution in higher education. New Directions for Teachign and Learning, 134, 83094. doi: 10.1002/tl
Dr. Lisa Martin currently serves as Assistant Professor of Music Education at Bowling Green State University, where she teaches undergraduate and graduate music education courses. Prior to her appointment at BGSU, she taught middle school band and orchestra for nine years in Illinois and Colorado. Her research interests include music teacher identity development, assessment practices in music education, and music teacher evaluation.
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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 2018-19 SCHOOL YEAR. WEBSITE RE-DESIGN The OMEA Director of Technology, Greg Taylor has completely re-designed the OMEA Website. Most tasks that need to be completed are now located in the Members Section of the website. Stay tuned for even more improvements. Thank you, Greg for your outstanding work. MARCHING BAND Marching Band Affairs Chair, Jay Wardeska has sent multiple communications regarding the registration process and the 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-October 27, The University of Dayton-October 28, Brunswick-November 3, and the University of Dayton November 4. 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 OCTOBER/NOVEMBER 2018
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: HS District Large Group Band & Choir: January 1, 2019 HS Region Orchestra: January 1, 2019 JH Band, Orchestra and Choir: March 1, 2019 LARGE GROUP REQUIRED LISTS Large group lists for all events have been updated for 2019 and can be found on the OMEA website. Many Thanks to the members of the Selection Committees who volunteered their time to create our required lists.
Stephanie K. Smith is the Director of Instrumental Music at Teays Valley High School in Ashville. She holds degrees from The Ohio State University and Capital University and has been a music educator since 1990. She frequently serves as an OMEA Adjudicator and was presented the 2015 Columbus Symphony Orchestra’s Secondary Music Educator Award. Ms. Smith’s professional affiliations include NAfME, the National Honorary Band Fraternity Phi Beta Mu, the International Women’s Brass Conference and the North American Brass Band Association. 35
Miles Ahead of 2019 Nathan Santos; Tiffin University Bob Dorough may have suggested that “Three Is a Magic Number,” but for educators considering lesson plans for the next school year, the number 9 could be the key to creative and meaningful learning. Although there are many cultural icons worthy of focused classroom study, perhaps we have arrived at the perfect moment to check out Miles Davis, the cosmopolitan trumpet griot of the twentieth century. Davis was born into a middle-class family in St. Louis. He was given his first horn at age 13 in 1939. He progressed rapidly and steadfastly resolved to join his heroes, Charlie Parker and Dizzy Gillespie, in New York as bebop was intoning expressions of the civil rights movement. In 1949, he collaborated with Gil Evans on the Birth of the Cool nonet sessions. This captured the spirit of the West Coast, made bebop accessible, sophisticated, and erudite, and elevated Davis to the top of the jazz world—a position he occupied until his death. What is arguably his most important project, Kind of Blue, occurred in the next “9” year, 1959. His harmonically static, modal approach to the blues in the postwar folk revival era provided inertia toward hip-hop and liberated the voice just as the Rev. Martin Luther King, Jr. would convey only 4 years later in Washington, DC. The day after Woodstock ended, August 19, 1969, Davis went into the studio to record Bitches 36
Brew, sparking yet another revolution by channeling Sly & the Family Stone and Jimi Hendrix, crossing jazz with impunity into the forbidden zone of rock. Using electric instruments and Rock grooves, Davis’s music and album art reflected the ascendant Black Power movement and anticipated the establishment of the first Black History Month in 1970. After a self-imposed respite, Davis reemerged in 1979 to begin discussion of a new studio recording ultimately released in 1981, The Man with the Horn. In this next phase he reinterpreted pop songs by artists like Cyndi Lauper, Michael Jackson, and Scritti Politti. A new sound for jazz developed by bassist/producer Marcus Miller included sampling, drum machines, and other synthetic tools, culminating in his 1989 recording, Amandla, followed by Aura, an album signaling that jazz was now global. For the educator, Davis’s output is a resource for boundless application, discussion, and appreciation as his unique position was to be in front AND on top of contemporary fashion. He established a familiar and accessible voice characteristic of his Midwestern upbringing. As a young artist in the 1950s, he absorbed postmodern ideals that led him to experiment with new technology, interact interracially, and champion individualism. Why not use his career for a yearlong study of culture? Even Christmas music includes his collaboration with Schoolhouse Rock’s Bob Dorough—a 1962 recordTRIAD
ing session called Blue Xmas that first Davis together with tenor saxophonist Shorter. As 2019 approaches, now’s the revisit the milestones of “9” years by this able American pioneer.
brought Wayne time to remark-
Nathan Santos is music faculty with Tiffin University, and previously served as faculty at Indiana University of PA, Pennsylvania State University-Main, University of Pittsburgh-Johnstown, and St. Francis University. He is a vocalist and multi-instrumentalist, educator, and composer who has appeared with such artists as Joe Morello, George Young, Bernadette Peters, Ben Folds, Olivia Newton-John, Chris Standring, Lou Christie, Andy Narell, Dave Samuels, Steve Fidyk, Marvin Stamm, Jonathan Kreisberg and many others.
OUTSTANDING AWARDS Isn’t there someone you know that deserves recognition? Linda Fox-Miller; Outstanding Awards Chair
Here it is: the start of another school year and the OMEA Conference seems light-years away. In reality, it will be here before you know it, as will the deadline for the “Outstanding Awards.” Each of us knows someone that should be recognized for the amazing things they are doing for music education in our schools. Do something about nominating a deserving person or group now; don’t put it off until it’s too late again. The deadline for receiving nominations is November 1, 2018; go to the OMEA website to download the form and requirements. All references and support letters can be emailed directly as they are completed. It is no longer necessary to compile everything and then use “snail-mail” to send the nomination. It is recommended to keep the nomination confidential from the nominee. OCTOBER/NOVEMBER 2018
Think about it…”Outstanding Music Educator,” “Outstanding Administrator,” “Outstanding Young Educator,” and “Outstanding Music Support Group.” Who can you nominate? 2019 OUTSTANDING MUSIC EDUCATOR NOMINATION FORM 2019 OUTSTANDING MUSIC SUPPORT GROUP NOMINATION FORM 2019 OUTSTANDING SCHOOL ADMINISTRATOR NOMINATION FORM 2019 OUTSTANDING YOUNG MUSIC EDUCATOR NOMINATION FORM
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Destination Collaboration: Engaging Students Through the Embedded Teaching Artist Jarred Small; OAC Arts Learning Coordinator The start of autumn is a special time of year for music educators: memories of warm summer days and long, shiftless nights are foggy headlights in the rearview mirror. Perhaps you spent your time working a summer camp, visiting friends and family, or just taking a moment to exhale. The thought of entering another school year can seem daunting, overwhelming, and perhaps just a little uncertain. Lesson plans are coming together and you may have even decided on your music for contests. But what’s different this school year? What plans for engaging your students, administrators, parents, and the wider community do you have? And how will you ensure that your students will be exposed to quality arts experiences that move beyond the typical classroom and rehearsal setting? For 41 public, private, charter, and parochial schools (PreK – 12) across Ohio, fall 2018 means the beginning phases of TeachArtsOhio, the Ohio Arts Council’s (OAC) newest arts learning program bringing schools and community organizations together with teaching artists to share engaging, personal, high-quality arts learning experiences. This is being accomplished through funding to support professional teaching artists who are instructing students in schools and classrooms for up to the full 2018-19 academic year at no cost to school districts. Beginning as a pilot initiative three years ago, TeachArtsOhio has since impacted thousands of 38
students in more than 30 diverse Ohio communities. Take, for example, a TeachArtsOhio project conceived by Justin Caithaml, who currently teaches 7-12 choir at Midview Local Schools. Caithaml collaborated with Cleveland-based music producer and songwriter Brent Kirby to work with Midview High School’s songwriting class, where, for 20 days during the second semester of the school year, Kirby worked with the class on the theory and practice behind writing and recording original compositions. This eventually led to students producing their own professionally recorded CD featuring songs written entirely by themselves. Students were invited to submit recordings of songs to be considered for the CD, with the final selection made by a committee of faculty members. “The TeachArtsOhio program really empowers us as teachers to realize that new ideas are possible, and that they don’t have to stay ideas,” says Caithaml. Now that TeachArtsOhio has been launched as an official program of the OAC for the 2018-19 school year, music educators of all stripes can expand their teacher tool kits in impactful ways. If the idea of collaborating with an experienced professional artist to develop fresh ways of learning for your students excites you, I invite you and your colleagues to read more in the TeachArtsOhio Guidelines at oac.ohio.gov (click on “Grants” and scroll down to “Arts Learning”) and contact me via TRIAD
email (jarred.small@oac.ohio.gov) or phone (614728-4481). Applications for projects occurring during the 2019-20 school year will open in November 2018, and I encourage you to consider what a TeachArtsOhio engagement involving your school community could look like. Together, we look forward to realizing the lasting benefits from long-term, standards-based, and in-person collaboration with professional artists for the benefit of all students.
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Jarred Small serves as arts learning coordinator at the Ohio Arts Council (OAC), a state agency that funds and supports quality arts experiences to strengthen Ohio communities culturally, educationally, and economically. He began his career as a music educator in the public schools of southwest Michigan, where he taught band, choir, and guitar. Jarred holds a Bachelor of Music in Instrumental Music Education from Western Michigan University and a Master of Arts in Arts Policy and Administration from The Ohio State University.
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Justin Caithaml; Tri-M State Advisor
“I think that it’s important that we seek out students who show exceptional talent and work ethic and celebrate their efforts, and then provide them with an opportunity to grow even more—and I think that’s exactly what Tri-M does.” — Kyle Branzel, former President of Chapter 2522
Kyle Branzel now works as a professional actor and musician around the country. In reflecting on his experiences in Tri-M, he said that it provided him with unique and challenging experiences in musical leadership that went above and beyond any curricular experience in the music department. I firmly believe that we have students just like Kyle in our classes each and every day across Ohio. Students who are ready to be challenged. Students who have the talent to become professional musicians. Students who are ready to lead others. But how are we recognizing these students for their work? At the end of the 2017-2018 school year, there were only 46 chapters registered with NAfME in Ohio. To put that number in perspective, there are over 600 public school districts in our state (not including private and charter schools), meaning that less than seven percent of students have access to Tri-M at their school. As your State Tri-M Representative, it is my responsibility to help increase the number of chapters across our state. For this coming year, I would like to offer a few simple tips for advisors who already have a chapter at their school. 1. If you already have a chapter, make sure you renew and activate it for the 2018-2019 using the form at musichonors.com. 40
2. Send the activation form to a colleague (or two) in your OMEA district who does not have a chapter at their school. Take a few minutes to explain the value of Tri-M and have them contact me directly at jcaithaml@midviewk12.org if they have questions about starting a new chapter. If each chapter advisor invited one more colleague to start a chapter at their school, we would reach almost 100 chapters in our state in no time! 3. Share your success stories with your colleagues and via email to me as State Representative so that we can celebrate the work of Tri-M across our state. I hope that the next Tri-M article in TRIAD can feature the work of one or two chapters across the state. Let’s take a few extra minutes to advocate for the great things our students are doing each and every day. In short, if you do not have a Tri-M chapter at your school, it is time to start one! If you do have a chapter, activate it for the 2018-2019 school year today! Remember…a little extra work to recognize our best students can go a long way to advocate for music education! I look forward to celebrating the value of the Tri-M Music Honor Society in Ohio throughout the 2018-2019 school year! Justin Caithaml graduated Magna Cum Laude from Baldwin Wallace University in 2014 with a Bachelor of Music Education degree. He currently teaches 7-12 choir at Midview Local Schools, serves as the state advisor for the Tri-M Music Honor Society, and is fully certified in Orff-Schulwerk. In addition, he serves as Vice President of the Board of Directors at the Ohio Alliance for Arts Education. TRIAD
HIGHER EDUCATION NEWS ASHLAND UNIVERSITY Dr. Rowland Blackley, Professor of Music and Director of Choral Activities, led the University Choir and Chamber Singers on their spring tour to Toronto, Canada. The students sang at several schools and churches and took advantage of several culturally enriching activities throughout the journey. Dr. Blackley had two of his choral compositions published this spring. “Break, Break, Break” for mixed voices, and “Crossing the Bar” for male voices are both based on texts by Tennyson. He also conducted Bach Cantata No. 79, Brandenburg Concerto No. 2, and all the choral and orchestral music for a vespers service in collaboration with Trinity Lutheran Church, served as clinician and guest conductor for an OCDA Elementary/Intermediate Choral Festival, guest conducted the Ashland Symphony Orchestra in concert, prepared one ensemble and coordinated the choral forces for the Ashland Symphony Orchestra’s performance of several choruses from Handel’s Solomon, presented a repertoire session at the annual professional conference of the Ohio Choral Directors Association, and prepared the Ashland Area Chorus for a summer pops concert with the Ashland Symphony Orchestra. CASE WESTERN RESERVE UNIVERSITY The CWRU Music Education Faculty welcomes Dr. Benjamin C. Helton. Dr. Helton is an Assistant Professor of Music Education and Director of the Spartan Marching Band. He earned a B.M.E. and Ph.D. from the University of Illinois, and a master’s from Northern Illinois University. Helton taught instrumental music in Chicago Heights and Mendon, IL. His research interests include evaluation and licensure for music teachers, teaching instrumental music to adult beginners, and cognitive science approaches to beginning instrumental pedagogy. He has published in The Instrumentalist and the Teaching Music Through Performance in Band series. Dr. Helton has presented clinics OCTOBER/NOVEMBER 2018
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for the Midwest Band & Orchestra Clinic, Illinois Music Educators Clinic, and the NAfME Research Conference. Dr. Matthew Garrett, Associate Professor of Music Education, recently presented “A Content Analysis of Gender in State Honor Choir Policies” at the NAfME Research Conference. This spring he was guest conductor of the Jr. High/Middle School Mixed Honor Chorus for the Massachusetts Music Educators Association Eastern District Festival. He also presented “Access Strategies for Creating Inclusive Choral Ensembles,” on the topic of transgender vocal pedagogy, at the ACDA Southern Division Conference. Dr. Nathan Kruse, Associate Professor of Music Education, was named the 2018 Distinguished Alum for the University of New Mexico’s College of Fine Arts (MM, 1999) and gave a graduation address at the spring convocation in Albuquerque in May. He co-authored a study published in the International Journal of Music Education titled “Children’s Clapping Games on the Virtual Playground” and recently became the new North Central Division Representative for SMTE. Dr. Lisa Huisman Koops, Professor of Music Education, published four articles: “Musical Tweens”
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(Music Education Research), “Observations of and perspectives on musical enjoyment in the preschool classroom” (Contributions to Music Education, co-author: Kuebel), “Cultivating teachers of general music methods” (Journal of Music Teacher Education, co-authors: Kuebel and Bond), and “Community Partners and Early Childhood Music” (General Music Today). The faculty welcome Dr. Michael Peters as Acting Director of Choirs. Dr. Peters is an accomplished professional vocalist and conductor. Congratulations to Dr. Elizabeth Tracy (CWRU PhD ’18) who defended her dissertation. COLUMBUS STATE COMMUNITY COLLEGE Music faculty at Columbus State were active during spring semester 2018. Columbus State Concert Band performed twice under the direction of Thomas Lloyd. The Winter Concert on March 20th was a joint performance with Columbus State Jazz Ensemble. For that concert Jazz Ensemble director, Rick Brunetto, completed a new arrangement of “St. Louis Blues March” which was played together by both groups. A new work by Columbus State student Maximillian Morrison, “March of the Spiders,” was performed by the band.
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On the May 1st Spring Concert, the band featured Columbus State faculty Rose Zuber and guest artist Ailene MacKay as piano soloists in a band transcription of the final movement of Mozart’s Double Piano Concerto. MacKay also serves as principal oboist in the Concert Band. The concert included the East Coast premiere of a new work, “Feuilles-Oh!” by Onsby C. Rose. A Concert honoring peace activists was held on July 30 at the Columbus State Workforce Development Building. Faculty member Rocco Di Pietro prepared this “Hiroshima Peace Concert.” The program included new compositions by Di Pietro and visiting composer from Vancouver, Ramsey Sadaka. Faculty member David Tomasacci was tenor soloist. UNIVERSITY OF DAYTON The University of Dayton Department of Music is pleased to announce that it will launch a Master of Music Therapy degree program under the direction of Dr. Susan Gardstrom in Spring, 2019. This blended program is designed for certified music therapists who seek advanced competency in music psychotherapy. UD hosted its inaugural Brass Performance Insti-
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tute in conjunction with its long-running Vocal Performance Institute as part of an expanded Summer Performance Institute. The five-day camp/workshop featured UD brass faculty members and area professionals as instructors. Dr. Minnita Daniel-Cox has received a National Endowment for the Humanities grant based on her research of Paul Laurence Dunbar. This grant will support the development of new curriculum and experiential learning opportunities focused on the life, works and legacy of Paul Laurence Dunbar — a late 19th and early 20th century poet, novelist and playwright who was the first African-American writer to make his living by his pen. Dr. Heather MacLachlan served as Visiting Professor of the Humanities at the Parami Institute of Liberal Arts and Sciences in Yangon, Myanmar. On March 28, 2018, she presented a paper at the Rethinking Sound conference hosted by the Music Research Center of Hanyang University in Seoul, South Korea. Dr. Chad Arnow, Assistant Professor of Trombone, performed at the International Trombone Festival, held in July at the University of Iowa. One of the two recitals, which he performed as a member of the Elysian
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Trombone Consort, featured the premieres of five new works for trombone quartet. Faculty Cellist Shelbi Wagner performed as a member of Trio Istrice at the Accademia Musicale Chigiana for Seize the Music in Siena, Italy this summer. She was also featured as the solo cellist on the soundtrack of the upcoming movie “Angry Men”. KENT STATE UNIVERSITY As a result of our national search, the Hugh A. Glauser School of Music is pleased to welcome Dr. Wendy Matthews to our music education faculty. Dr. Matthews will be teaching music education courses at the graduate and undergraduate levels. Welcome, Dr. Matthews. Dr. Jay Dorfman’s co-edited book Pluralism in American Music Education Research: Essays and Narratives (Springer, 2018) was released in July. Dr. Dorfman was named to the position of Communications Chair for the Society of Music Teacher Education. Dr. Dorfman and Dr. Chris Venesile attended the Little Kids Rock Modern Band Higher Education Fellowship in New Jersey in May at which they engaged in professional development activities in a rock band setting.
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Dr. Craig Resta presented sessions at the International Society of Music Education conference in Baku, Azerbaijan. Faculty member Kristin Coen-Mishlan and doctoral student Kristin Koterba also presented sessions both independently and collaboratively. Coen-Mishlan also published a book review in the Journal of Historical Research in Music Education. Doctoral student Rachael Flesichaker is the co-editor, with Dr. Joanne Kilgour Dowdy, of Text Sets: Multimodal Learning for Multicultural Students (Brill, 2018). Fleischaker and Sarah Mattern published research on the blog smartmusic.com, and Mattern won the 2018 KSU Excellence in Arts Research award. Doctoral students Laura Wiedenfeld participated in Dalcroze Eurhythmics training at the University of St. Thomas, and Bryan Helsel was elected the state Choral Representative for the Pennsylvania Music Educators Association. We welcomed three new doctoral students to our thriving PhD program this fall: BethAnn Hepburn, Eric Bable, and William Klein. Congratulations to Dr. Linda Angotti on her retirement from Kent State University after more than 25 years. We appreciate your dedication and service to Kent State and to the music education community.
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UNIVERSITY OF MOUNT UNION The University of Mount Union announces the appointment of Jeff Neitzke as Director of Bands and Willow DiGiacomo as Assistant Director of Bands and Coordinator of Wind Studies. Widely recognized throughout northeastern Ohio as a percussionist, percussion instructor, and marching band drum-line instructor, Mr. Neitzke assumes the leadership of the University’s marching band, in addition to teaching percussion, Jazz Band, Percussion Ensemble, and Steel Pan Ensemble. Active as a clarinetist and saxophonist, woodwind instructor and conductor, Ms. DiGiacomo assumes the leadership of the University’s Wind Ensemble and Concert Band. Ms. DiGiacomo will also teach instrumental conducting to the University’s music education majors and teach applied clarinet and saxophone. Mount Union also announces the appointment of James Perone as the Chair of the Department of Music for 2018— 2019. Dr. Perone returns to the Department after serving as the University’s Associate Dean of the Faculty for the past 5 years. OCTOBER/NOVEMBER 2018
THE OHIO STATE UNIVERSITY The Ohio State University School of Music is pleased to announce new appointments for the 20182019 academic year. Barry Green joins the faculty as instructor of double bass. An active soloist, recording artist, author and teacher, Green served as principal bassist of the Cincinnati Symphony and more recently for the California Symphony and Sun Valley Idaho Summer Symphony. He is former executive director of the International Society of Bassists and taught at the University of California–Santa Cruz. Dr. John Gruber is principal trombonist of the Youngstown Symphony Orchestra and second trombonist with the Lansing Symphony Orchestra. Gruber most recently served as the low brass instructor at Siena Heights University in Adrian, Michigan and held teaching positions with the Detroit Symphony Orchestra’s Civic Youth Ensembles and Barnesville Exempted Village School District, as Director of Bands. Visiting Professor and interim director of the Ohio State Symphony Orchestra, Dr. Ching-Chun Lai previously held the post of director of orchestras and Asso49
ciate Professor of Music (conducting) at the Crane School of Music, State University of New York at Potsdam. Dr. Daniel Shanahan joins the faculty as Assistant Professor of Theory. Shanahan served most recently at Louisiana State University. Dr. Emily Patronik joins the staff as academic advisor. An alumna of Ohio State, Patronik previously served as Education and Operations Coordinator for ProMusica Chamber Orchestra and as bassoon instructor at Ohio Wesleyan and Heidelberg Universities. She continues her work as a freelance bassoonist as instructor of bassoon at Denison University. The School of Music congratulates Associate Professor Kristina MacMullen, choirs, and Professor Caroline Hong on their recent promotions. And, gratefully acknowledges the many contributions of Professor Emeritus David Tovey, music education and Professor Emeritus Paul Robinson, double bass and wish them both a happy retirement. UNIVERSITY OF TOLEDO Dr. Andrew “Tiger” Rhodes, Assistant Director of Bands and Director of the UT Athletic Bands, again
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hosted a regional Bands of America Championship. The Rocket Marching Band will repeat as an exhibition ensemble at this year’s BOA Grand Nationals in November. Assistant Professor and Director of Choral Activities, Dr. Bradley Pierson, hosted another successful UT Honors Choir with guest composer Ola Gjeilo. New Assistant Professor of Orchestral Studies, Dr. Matthew Forte, completed another successful season on the conducting staff of the Aspen Music Festival. Dr. Lee Heritage, Associate Professor of Theory and Composition, composed two new works premiered by the UT Wind Ensemble, under the direction of Director of Bands, Dr. Jason Stumbo. One of those works, “February Twilight,” has been selected for publication by Imagine Music Publishing. Dr. Denise Ritter-Bernardini, Associate Professor of Voice and Opera, was one of 26 faculty members from across the UT campus who were recognized for outstanding contributions in scholarly or creative activity over the past three years. Dr. Pamela Stover continues an active schedule of publication/presentation, recently presenting teaching and research papers at the International Society for
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Music Education World Congress in Baku, Azerbaijan and at the Early Childhood Commission seminar in Israel. The UT Community Music Program continues to grow. What began as group and private lessons has expanded to include the Glass City Singers, the Greater Toledo International Youth Orchestra, the Youth Jazz Orchestra, and our newest addition – the Children’s Choir of NW Ohio. Under the leadership of artistic director and UT alum Amanda Rasey, the Children’s Choir of NW Ohio is comprised of two auditioned ensembles, including more than 110 singers ages 8-15. YOUNGSTOWN STATE UNIVERSITY William Henry Dana founded the visionary Dana’s Musical Institute in 1869. This unique school flourished in the post-Civil War era and eventually became the Dana School of Music at Youngstown State University. Dana has produced generations of graduates who have had great success as professional musicians and music educators at all levels, as well as individuals who have gone on to non-profit music organizations, the recording industry, and many other music-related fields. In recognition of a proud history, OCTOBER/NOVEMBER 2018
Dana will celebrate its 150th anniversary throughout the 2018-19 academic year with a series of performances, lectures, gala concerts, and guest artists. Events include a Jazz All-Stars concert with Sean Jones, Ralph Lalama, and other notable alumni, a faculty chamber music recital at Carnegie Hall, collaborations with YSU’s Department of Theater and Dance and Ballet Western Reserve, an alumni marching band, and a series of lectures by Dana alumni scholars. Scheduled guest artists include the ACRONYM early music ensemble and David Krakauer’s Ancestral Groove. Dana is also pleased to welcome Dr. Andrew Mitchell, Assistant Professor of Trombone, to our faculty. Dr. Mitchell holds degrees from the University of Michigan (DMA), Florida State University (MM), and Western Michigan University (BM) and a Diploma from the Chicago College of Performing Arts. In addition to his solo and clinical work throughout the United States and Europe, Dr. Mitchell’s performance experience includes service in the Detroit, Ann Arbor, and Tallahassee Symphony Orchestras, Spectrum Brass, and Detroit Chamber Winds and Strings. He is also an instructor at the Bay View Music Festival. 51
IN MEMORIAM MARK “CHIEF” KELLY 1926-2017 I listened, motionless and still, and as I mounted the hill the music in my heart I bore long after I could hear it no more. ~ William Wordsworth With the death of Mark Kelly, we lost a servant leader for our profession; a proud band director who was characterized by essential goodness, strong inner resolve, talent, and an exceptional grasp of musical knowledge. We celebrate the legacy of this trailblazer, hero, and mentor. Many still marvel at Kelly’s ability to stimulate great music-making. We wonder how this treasured skill evolved. Perhaps an imaginary train trip back in time might salve our curiosity. Our journey could include make-believe visits with mentors and colleagues, to delight in remembering their music-making and search keys to Kelly’s impact on us and on our beloved profession. First stop: Warren, Ohio. A large crowd has gathered at the South Lawn Bandshell to enjoy the W. D. Packard Band, led by Bob Fleming. We find the audience clapping in time to the stirring sounds of “The Purple Pageant March” by Karl King. The mutual admiration and respect linking conductor and band reminds us of Mark Kelly: the advocate; dedicated to students, nurturing bonds that last a lifetime, discipline taught by example, esprit de corps personified. Next stop: Columbus, Ohio. The Ohio State University Concert Band is performing for the American Bandmasters Association in Mershon Auditorium. Hindemith’s Symphony in Bb for Band anchors the program conducted by Dr. Donald McGinnis. We marvel at the high level of musical artistry. This is a 52
profound achievement; it makes us think of Mark Kelly: the man of principle and conviction; demanding, committed to excellence, upholding the highest of personal, professional, and musical standards. Bloomington, Indiana is our next destination, where the Indiana University Symphonic Wind Ensemble is rehearsing “A Movement for Rosa” by Mark Camphouse. Conductor Fred Ebbs has “planned the work” and is working the plan to uncover the depths of the composer’s intentions. There is genius in Ebbs’ skill as a rehearsal technician; we are positively influenced by such leadership, because it reminds us of Mark Kelly: the master teacher; energized to stimulate and motivate, challenging, encouraging, “better tomorrow, by far, than today.” We rush to catch the train for our fourth stop: Oak Harbor, Ohio for OMEA Adjudicated Events – High School Bands. Akron’s Bob Jorgensen and BGSU’s Mark Kelly are the adjudicators. There is a band onstage, mid-performance. The performance has been going pretty well, when with an awful noise, a percussion stand fails leaving the snare drum to fall to the floor. It rolls, wobbles, spins like a coin until, at long last, it comes to rest. Though mortified, the performers somehow keep cool and conclude the performance. Kelly, with a glint in his eye and that ornery grin, chuckles “… hmm… my score doesn’t call for a snare drum roll.” This is Mark Kelly: the humorist; enthusiastic, quick-witted and fun-loving, always with an incredible sense of comic timing. All aboard!” Back to the station for our final destination: Kelly’s hometown, Centerville, Iowa. This is where he first began playing the clarinet in the second grade, and where he was a member of the high school band in fifth grade. This is where, as a freshTRIAD
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man, he was selected for the first-ever Iowa All-State Band conducted by William D. Revelli and where he planned and conducted band rehearsals during his junior and senior years due to World War II teacher shortages. Centerville, Iowa is where he enlisted in the U.S. Navy, towards the end of the war, with radio communications his specialty (sending and receiving Morse code messages); from where he matriculated to the University of Iowa. He returned in 1951 to marry his sweetheart, Helen Griffin and to lead the Centerville HS band program. Centerville, Iowa, where students first called him “Chief” … Chief of the “Big Reds” Band (they are his “tigers”). Upon arrival, we learn that Dr. James Neilson is rehearsing Russian Christmas Music by Alfred Reed. “Gentleman Jim’s” artistic conducting reveals the spirit in the music. Kids are creating sounds of goodness, warmth, compassion, innocence, majesty, and love. They are sounds that reveal the transcendent. This is Mark Kelly: the artist musician; inspirational, fearless to plumb spiritual depths, music-making to deepen, strengthen, and restore our common humanity. We arrive back to the future, our inspirational tour OCTOBER/NOVEMBER 2018
of memories is complete. We’ve reached the mountaintop, learning something about the essence of Mark Kelly. The clue to his life, the key to his art and his craft? Lift each other up. Jennifer Higdon (Pulitzer and Grammy award winning composer and BGSU alumnus) has described it this way: “(Kelly) feels a responsibility to give to others… it’s a sense of duty, a generosity of spirit... a fantastic example of how to treat others.” Lift each other up. Students and teachers, mentors and mentees, colleague to colleague: Lift each other up. To honor his memory, we make this our common purpose. May we carry Mark Kelly’s music in our hearts long after we can hear it no more. -Thomas R. Headley, August 1, 2018 Mr. Kelly is survived by his daughters Karen Kelly, Martha Jewell, and Barbara Hayden, and grandchildren Andrew Jewell, Stephen Hayden, Alex Jewell, and Kelly Hayden. Sincere gratitude for insights and perspectives that helped to shape this memorial tribute: Rick Blatti, Rob Cintron, Nancy Ditmer, George Edge, Jack Gray, Wendy Headley, Christopher Heidenreich, Karen Kelly, Catherine Lewis, Ken McFarlan, Kathy McGrady, Dane Newlove, Jeff Shellhammer, Greg Snyder, Bill Thomas, and Gretchen Weaver.
- Written by Thomas R. “Thom” Headley
Thom Headley is the Director of Bands, retired, Bowling Green City Schools, Ohio. A student of Mark Kelly, he was named the 2009 Outstanding Music Educator by the Ohio Music Education Association. He serves as director of the Bowling Green Area Community Bands, and remains active as an OMEA adjudicator and guest conductor. 53
IN MEMORIAM HELEN RUHLEN MAY 29TH, 1942 – MAY 3RD, 2018
Helen Mae Ruhlen, was born on May 29th, 1942 to J.E. and Helen Spitler. She was a 1960 graduate of McComb High School (McComb, Ohio) and received her bachelor’s in music education from Ohio Northern University and master’s degree in music education from Bowling Green State University, with additional studies at Findlay College and Union College (Barberville, KY). She married William H. Ruhlen, of Lima, Ohio, on August 14th, 1966. It was almost part of each Ohio Music Education Association (OMEA) professional conference to see Bill and Helen at the conference information booth, smiling and offering answers to questions and welcoming attendees. They spent 43 years together before he preceded her in death on December 21st, 2009. She is survived by her only child, William “Billy” F. Ruhlen (Jennifer) and two grandsons, Parker J. Ruhlen and Carson J. Ruhlen all of Marysville. Her son Billy commented, “OMEA was everything to her! She loved the kids. That was why she did it for as long as she did. I remember that she ended every elementary program with ‘A Song in Your Heart.’” Richard Eakin, former OMEA trustee and state treasurer stated, “Helen was always busy at OMEA district III high school and middle school solo and ensemble adjudicated events. When her physical condition made it difficult to walk, she was undaunted as she navigated crowds and hallways on her scooter to her students’ events. Her ‘can-do’ spirit was infectious, and influenced students and colleagues alike.” “She was the ‘face of OMEA’ at every profes54
sional conference, welcoming attendees, offering a warm smile and friendly word,” said Marcus Neiman, state historian, “and she had answers to almost every conference question, or knew where that answer could be found. She was passionate about serving OMEA and giving of herself to her friends and colleagues.” In addition to her teaching, she was an avid church organist and accompanist in many of the local churches as well as being a church choir director. Helen served on the OMEA state board as well as serving as a Hospice volunteer and CASA representative for Hancock County. OMEA President Kathleen McGrady, said, “Helen was surely a very special lady! I remember her fondly at OMEA Conferences as she smiled at everyone and reeled them into her circle of music happiness!” OMEA Executive Director Roger Hall said, “Helen served OMEA for many years as the statewide coordinator of Music In Our Schools Month. Her passion for providing music at the elementary level was fundamental to our mission. She will be missed and remembered by many as the “face” of OMEA during the nineties when she served the annual OMEA Professional Development Conference as the “Information Lady.”
- Written by Marcus Neiman, OMEA Historian
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OHIO MUSIC EDUCATION ASSOCI ATI O N
AN INVITATION TO THE 2019 OMEA PROFESSIONAL DEVELOPMENT
CLEVELAND 2019
“NORTH COAST” CONFERENCE
NORTH COAST
CLEVELAND, OHIO
PROFESSIONAL DEVELOPMENT CONFERENCE JANUARY 31 - FEBRUARY 2, 2019
JANUARY 31ST - FEBRUARY 2ND, 2019
The 2018 OMEA PDC was one of the most successful conferences in recent history. The word is out - the OMEA PDC is the place to be! Start planning now to be part of the 2019 PDC anchored in the beautiful Huntington Convention Center of Cleveland. Need help convincing your administrator? Check out the updated “Letter to Administrators” which presents the conference through the lens of the “standards for the teaching profession” (www.omeapdc.com). Cleveland offers several unique opportunities for your conference experience. The Hilton Hotel is connected to the Convention Center and the recently remodeled Marriott Hotel (conference headquarters) is just across the street. The Hilton will play host to jazz events and performances including the ever-popular late night jazz events. We are excited to have the Cleveland-based SAO Big Band joining the Thursday night lineup with a concert at 7:00 PM. The Marriott Headquarter Hotel will be transformed into “General Music World”, hosting GM sessions in the spacious, updated ballrooms. General Music attendees should also make plans to participate in the “Jump Start” sessions on Thursday morning starting at 9:30 AM (included with conference registration). These sessions are a result of attendee data indicating a desire to “hit the ground running” on Thursday AM, before the official opening of the PDC. NEW for 2019 - a “Musical Theatre” track (MT) with targeted sessions each day. These are part of the nearly 300 sessions to be presented by both national and homegrown clinicians. Julie Giroux, Anthony Leach, Scott Rush, Rebecca Macleod, Christopher Selby, Aimee Pfitzner, Jennifer Bailey and Chris Judah-Lauder are but a small sample of the great talent lined up for you. We are excited to welcome the world-renown “Paragon Ragtime Orchestra”! The group is known for it’s authentic interpretation, historical preservation projects and recordings such as “Black Manhattan”. Members of this award-winning group will present sessions throughout the conference and the orchestra will perform a special concert on Friday afternoon. The performance on Friday will also include live accompaniment for classic silent films! Don’t miss it! We are also pleased to host nearly 40 outstanding ensembles of all shapes and sizes - from vocal jazz to brass band to contemporary orchestra. TI:ME technology sessions, All-State concerts and a variety of networking/social opportunities guarantee another “must attend” event for Ohio music educators. The exhibit hall in the Huntington Convention Center of Cleveland will offer the latest and greatest tools and merchandise from our partners in the music industry. The highly popular 30-minute transition time has allowed for improved networking and plenty of time to visit the exhibit hall! Still undecided? Take a tour of the PDC website (www.omeapdc.com) to read clinician spotlights; performing ensemble info; links to preregistration (10/1); Instructional-Hour Certificate Program (IHCP); Ashland graduate credit; housing reservations; special function request form; and more! Housing reservations are available NOW. Online conference registration opens on October 1st.
2019 PDC Team Mark Hensler, Director of Professional Development pd_director@omea-ohio.org
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OHIO MUSIC EDUCATION ASSOCIATION
2019 PROFESSIONAL DEVELOPMENT COMMITTEE The 2019 OMEA Professional Development Conference
CLEVELAND 2019
Mark Hensler Director of Professional Development
ALL-STATE CHAIRS
NORTH COAST
Jason Branch Benjamin Meisel
PROFESSIONAL DEVELOPMENT CONFERENCE JANUARY 31 - FEBRUARY 2, 2019
CONTENT CHAIRS Tim Katz Advocacy
Jason Graham Band
Lisa Wong Choral
BethAnn Hepburn General Music
Reid Young Jazz
Andrew Hire Orchestra
LOGISTICS Kaye Nickoloff Clinician/Presider Check-In
Dale Nawrocki On-Site Registration
Amanda McMurtrie Ben McMurtrie Properties Co-Chairs
STANDING CHAIRS Stephanie Smith Adjudicated Events
Melinda Wallace Curriculum & Assessment
Linda Hartley Higher Education
Jon Waters OCMEA
Patricia Grutzmacher Research
Jesse Leyva Multicultural
Lalene Kay Special Learners
Rachael Fleischaker Teacher Evaluation
ALLIED ORGANIZATIONS Myles Bowers JECO
Tim Katz OAAE
Donna Collins OAC
Richard Schnipke OCDA
James Bates OSTA
Lesley Schultz TI:ME
OCTOBER/NOVEMBER 2018
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2018 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE
SELECTED PERFORMING ENSEMBLES Professional Featured Ensemble
Community Ensembles
String Ensembles
The Brass Band of Columbus Baldwin Wallace Community Women’s Chorus
All-State Orchestra Bowling Green State University Philharmonia Columbus Symphony Youth Orchestras Junior Strings Contemporary Youth Orchestra Dayton Philharmonic Youth Orchestra Gahanna Lincoln High School Chamber Orchestra Westlake High School Chamber Orchestra
Children’s Chorus All-State Children’s Chorus Cleveland Orchestra Children’s Preparatory Chorus
High School & University Choral Ensembles All-State Choir Cleveland Orchestra Youth Chorus Firestone High School Symphonic Choir Hilliard Darby High School Symphonic Choir Baldwin Wallace Treble Choir Bowling Green State University Men’s Chorus Firestone High School Women’s Chorus
Jazz All-State Jazz Ensemble Gahanna Lincoln Jazz Band I Firestone High School Vocal Jazz Ensemble Stanton’s Reading Band University of Dayton Jazz Ensemble Westlake High School Jazz Ensemble I JECO Intercollegiate Jazz Ensemble SAO Big Band 60
High School & University Bands All-State Band Capital University Symphonic Winds Cuyahoga Falls High School Freshman Band Miami University Wind Ensemble Ohio University Wind Symphony Perry High School Symphonic Winds Tusky Valley High School Concert Band William Mason High School Wind Symphony
Other Ensembles Pickerington North Percussion Ensemble The Kent State University Clarinet Choir The University of Akron Horn Choir
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Craig Resta (contributions@omea-ohio.org) Contributions to Music Education: Putting OMEA on the International Stage Did you know that Contributions to Music Education, the research journal of OMEA, has been a recognized publication for 45+ years? Since 1972, hundreds of music teacher researchers have presented their work to the wider national and international profession, and is available in print and electronic format in nearly all 50-states, and more than 100-countries abroad. With more than 400 articles in 43 volumes, CME can help you be a better music teacher. Topics over the years have centered on improving the musical experience for students and teachers.
• Urban and suburban music programs • • • • • • •
Teacher professional identities Listening in music classrooms Band, choral, orchestra, general music Sight-singing attitudes and influences Early childhood music education Programming choices and policies Historical traditions and methods
• • • • • • • •
Best practices in band rooms Beginning musical instruction Instrumental and choral programs Intrinsic and extrinsic motivation Issues of social justice in schools Current music technology practices Innovative ways to teach music And many, many more
Now is your opportunity to support OMEA and CME by becoming a subscriber to this important publication. Consider joining today, and for a minimal contribution, you can add to your library of resources to increase your own expertise. Subscriptions are now available in print and electronic format. NEW FOR OMEA MEMBERS: electronic access for only $10 a year! For further information and subscription details, please visit our comprehensive website: <www.contributions.omea-ohio.org>. We look forward to hearing from you!
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2019 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE January 31 to February 2, 2019, Cleveland, Ohio • Huntington Convention Center of Cleveland Exhibitors as of September 1, 2018 and subject to change. Acoustica Akron, The University of American School Band Directors Association Ashland University Baldwin Wallace University Baroque Violin Shop Beyond the Classroom Tour & Travel Blue Lake Fine Arts Camp Bluffton University Bob Rogers Travel Bocal Majority Bowling Green State University Brightspark Travel Buckeye Brass and Winds Buddy Roger’s Music C&G Tours Capital University Conservatory of Music Case Western Reserve University Cedar Point - Kings Island Century Resources, LLC Cleveland State University Columbus Pro Percussion Conn-Selmer, Inc. Cousin’s Concert Attire Crowne Excellence Daybreak Music DeMoulin Brothers & Company Denison University Dynasty/DEG Music Products EASTMAN Educational Tours, Inc. Elvy Sound Solutions Festivals of Music/Music in the Parks Fred J. Miller Inc. Getzen Company GIA Publications, Inc.
Great Day! Tours & Charter Bus Service Guardian Music and Group Travel Hal Leonard Harmony Bridge Heidelberg University School of Music J.W. Pepper Inc. Jupiter/Mapex/Majestic Kent State University Make Me Dough Make Music, Inc. Malone University MarchingDotBook.com Marietta College Mattlin-Hyde Piano Co. McGraw-Hill Education Mercyhurst University Miami University Music Dept. Mollard Conducting Batons, Inc. Mount St. Joseph University Murphy Robes/Herff Jones Music & Arts Music Filing Solutions Music for All Music is Elementary Music Travel Consultants Musical Gifts and Treasurers by Costume Holiday House Musical Resources Musicians Repair Service Muskingum University National Association for Music Education 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 Pageantry Innovations, LLC. Peak Performance Tours Pearl Corporation Pee-Jay’s Fresh Fruit Pellegrino Music Center Premier Tour and Travel QuaverMusic.com Rettig Music, Inc. Rock & Roll Hall of Fame Royalton Music Center Slippery Rock University Solich Piano and Music Company Soundcheck Audiology StageRight Corporation Stanbury Uniforms, Inc. Stanton’s Sheet Music Summit Choral Society Summit Tour & Travel, Inc. Super Holiday Tours The Midwest Clinic Tiffin University University of Cincinnati University of Dayton University of Mount Union University of Toledo, The US Army Bands Vandoren Wenger Corporation West Music Company Wittenberg University Woodwind & Brasswind Yamaha Corporation of America Yankee Candle Fund Raising Youngstown State University - Dana School of Music
Companies and institutions interested in exhibiting should contact: David Adamson, Director of Business Email: business_manager@omea-ohio.org • Phone: 440-552-6983 • Fax: 440-449-8793 OCTOBER/NOVEMBER 2018
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PRE-REGISTRATION FORM
2019 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE Cleveland, Ohio • January 31 - February 2, 2019 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 11, 2019. Postmarks after this date will not be accepted. • All refund requests must be made in writing. Refunds after January 11, 2019 will be assessed a $15.00 processing fee. • No refunds after January 23, 2019. Online pre-registration is available until midnight, January 18, 2019 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 SSO C I ATI O N
CLEVELAND 2019 NORTH COAST
PROFESSIONAL DEVELOPMENT CONFERENCE JANUARY 31 - FEBRUARY 2, 2019
_______ 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
2019 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE Cleveland, Ohio • January 31 - February 2, 2019 RESERVATIONS CAN BE MADE BY CHOOSING ONE OF THE FOLLOWING OPTIONS: All reservations require a credit card. No checks will be accepted. Credit cards expiring 02/19 and earlier are not valid and will not be processed.
1.) INTERNET: www.omea-ohio.org Do not mail and/or fax after submitting online. 2.) FAX: 844-662-6124 - Do not mail after faxing. 3.) MAIL: Send a completed form (one copy per room) to: Destination Cleveland Housing Bureau Attn: Casey Gwin, CMP 334 Euclid Ave, Cleveland, OH 44114 4.) EMAIL: housing@destinationcle.org
DEADLINE FOR SPECIAL RATES IS JANUARY 8, 2019. • • • • • •
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 8, 2019, rooms and rates are based on availability.
HOTEL RATES Hotel
Single
Double
Triple
Quad
Cleveland Marriott at Key Center
$159
$159
$159
$159
Westin Cleveland
$159
$159
$159
$159
Doubletree by Hilton Cleveland Downtown-Lakeside
$120
$120
$130
$130
Hampton Inn Cleveland Downtown
$124
$124
$124
$124
Hilton Cleveland Downtown
$169
$169
$194
$219
Drury Plaza Hotel Downtown Cleveland
$159
$159
$159
$159
Hyatt Regency at the Arcade
$165
$175
$180
$185
*Rates quoted above are subject to 16.5% tax (Subject to change).
HOTEL PREFERENCE: 1. ����������������������������������������������������� 2. ����������������������������������������������������� 3. �����������������������������������������������������
Confirm reservation to: (Only one acknowledgement will be sent)
Arrival Date: �������������������������������������������
Name: ������������������������������������������������
Departure Date: ���������������������������������������
Address: ��������������������������������������������������������������
List Names of all occupants
City: ���������������������������������������������������
(List all occupants' arrival and departure dates if different.)
State: ������������������������ Zip: ���������������������
��������������������������������������������������������
Phone: ��������������������������������������������������
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Fax: ��������������������������������������������������������������������
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Email Address: �����������������������������������������
��������������������������������������������������������
RESERVATION DEPOSIT:
ROOM TYPE PREFERENCE*:
All hotels require a credit card for guarantee. Requests received without credit card information will not be processed. Please fill out the credit card information entirely. Credit cards must be valid through February 2019 in order to be considered a proper guarantee.
American Express Visa Diner’s Club
Master Card Discover
Card # Expir.
/
Name: �������������������������������������������������������� Signature: �����������������������������������������
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 21, 2019 (4:00 p.m. EST) via internet, fax, email, or mail. After January 21, 2019, all new reservations, changes, and cancellations must go through the hotel. Do not contact the hotels directly until after January 21, 2019.
INSTRUCTIONAL HOUR CERTIFICATE PROGRAM • Are you planning to attend the 2019 PDC in Cleveland? • Are you in need of contact hours or verification of completion for your IPDP or reimbursement purposes? • Why not enroll in OMEA’s Instructional Hour Certificate Program (IHCP)? HERE’S HOW IT WORKS: 1. Pre-register for the Professional Development Conference by posted deadline, or register on site on January 31st, 2019 and choose the IHCP option. 2. Attend six sessions of your own choosing. 3. Attend one concert of your own choosing. 4. Electronically submit a post-conference reflection to the Director of PD by February 22, 2019. (Required format will be available on the OMEA website.) 5. 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 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? LOOK FOR THE ASHLAND CREDIT PAGE IN TRIAD OR ON THE PDC WEBSITE FOR DETAILS.
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ASHLAND GRADUATE CREDIT PROGRAM • • • •
Are you looking for affordable college credit? Do you need credit hours to renew your license or for salary advancement? Would you like to earn graduate credit every year for something you are already doing? Why not take advantage of this special program designed specifically for music educators?
2019 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE Graduate Credit Option
$214 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 posted deadline or register on site January 31st, 2019 (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 2019 and follow prompts. For more information, see the “2019 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 22, 2019. 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.
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Did your instrument get: • dropped from the bleachers • hit by a flying baton, flag, or football • damaged but you don’t know how • stepped on
t e g t i • or did your y b n e t ea dog?
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OHIO MUSIC EDUCATION ASSOCI ATI O N
NORTH COAST 2019 PROFESSIONAL DEVELOPMENT CONFERENCE
OHIO MUSIC EDUCATION ASSOCIATION 2019 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 4, 2019. 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 4, 2019 to:
Christy Nawrocki • 4698 Clayburn Dr. E., Grove City, OH 43123 Email: ChristyLNawrocki@yahoo.com 5. Awards will be made at the 2019 OMEA Conference in Cleveland, Ohio, on Saturday, February 2, 2019. 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 2, 2019. ______ No, I will not attend the awards Ceremony and Reception Luncheon on Saturday, February 2, 2019.
Ohio Music Education Association EXHIBIT HALL VISITATION HOURS Location: Exhibit Hall C of the Huntington Convention Center of Cleveland Visitation Hours: Thursday, January 31 – 1:00 p.m. to 6:00 p.m. Friday, February 1 – 9:00 a.m. to 5:00 p.m. Saturday, February 2 – 9:00 a.m. to 12:30 p.m. 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 THURSDAY, JANUARY 31, 2019 9:30 A.M. – 3:30 P.M. WESTIN - VANDA SOUTH AND VANDA NORTH
FEATURED SPEAKER: DR. REGINA CARLOW Regina Carlow is Professor of Music, Regent’s Lecturer and the Associate Dean of the College of Fine Arts at the University of New Mexico where she teaches graduate courses in Music Education Research, Philosophy, and at the undergraduate level, Choral Methods and Music Education and Diversity. She is the artistic and founding director of the UNM Children’s Chorus, a 100-voice graded choir program for children ages 5-18. Regina moved to New Mexico in 2004 and has been working at the University of New Mexico and continues to work as an active researcher-teacher, a choral conductor, and a Kodály Teacher. Despite her constant toggling between arts administration and music education, Regina identifies culturally responsive pedagogy with a special emphasis on the power of non-auditioned choirs as her central focus in teaching, research, conducting and administrating. She has presented nationally and internationally on changing the paradigm in Choral Music Education including a session on Working with Beginning Singers at the 2017 NAfME conference in Dallas. In the spring of 2018, she commissioned and premiered 11 new works for children’s chorus based on NM Folk Music in a concert titled Bailen Bailen Parajitos: Children Sing The Music of New Mexico and is editor of a new choral series (Pavane) of the same name. In 2012 Regina worked closely with the Santa Fe Opera and internationally renowned composer Stephen Paulus to commission an opera for children based on the New Mexican folk tale “Shoes for the Santo Nino.” Regina is the sole author of Exploring the Connection Between Children’s Literature and Music (Libraries Unlimited, 2010) and her Dissertation Hearing Others’ Voices: An Exploration of the Musical Experiences of Immigrant Girls in High School Choir was published in 2015 (Scholars’ Press)
SCHEDULE 9:30 A.M 10:00 A.M.
CONTINENTAL BREAKFAST DR. REGINA CARLOW – MUSIC EDUCATION, DIVERSITY, EQUITY AND INCLUSION IN 2019: KEEPING OUR DOORS OPEN!
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, January 28, 2019. OCTOBER/NOVEMBER 2018
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OHIO MUSIC EDUC ATION ASSOCIATION RESEARCH COMMITTEE
2019 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE
G R A D UAT E R E S E A R C H R O U N DTA B L E
CALL FOR SUBMISSIONS SUBMISSION DEADLINE: NOVEMBER 15, 2018
A graduate research roundtable session will be held at the 2019 OMEA Professional Development Conference on January 31 from 1:30 to 3:30 p.m.. 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 15, 2018 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, 2018. You may also put forward your roundtable submission for the Research Poster Session (see separate call).
If you have any questions about this process, please contact Dr. Nathan Kruse at nathan.kruse@case.edu or 216-368-0675. 72
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OHIO MUSIC EDUC ATION ASSOCIATION RESEARCH COMMITTEE
2019 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE
RESEARCH POSTER SESSION
CALL FOR PAPERS
SUBMISSION DEADLINE: NOVEMBER 15, 2018 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 Cleveland, Ohio, January 31 - February 2, 2019. The poster session will be held on Friday, February 1, 12:00 p.m. – 1:00 p.m. 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.omeaohio.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 15, 2018. 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 (https://tinyurl.com/ybkmodkh). E-mail the materials to Dr. Paul Louth [omeapostersession2019@ 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. 74
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OHIO MUSIC EDUC ATION ASSOCIATION RESEARCH COMMITTEE
2019 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE 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 U AT E M U S I C M A J O R S
CALL FOR PAPERS
SUBMISSION DEADLINE: NOVEMBER 15, 2018 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 Cleveland, Ohio January 31 - February 2, 2019. The poster session will be held on Friday, February 1, 12:00 p.m. – 1:00 p.m. 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 2017-2018 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 15, 2018. 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. 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. OCTOBER/NOVEMBER 2018
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OHIO MUSIC EDUCATION ASSOCIATION
NORTH COAST 2019 PROFESSIONAL DEVELOPMENT CONFERENCE
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 86th anniversary in 2018, 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 teachers. The 2019 OMEA Professional Development Conference (PDC), held in Cleveland, will take place from January 31 to February 2 at the Huntington Convention Center of Cleveland and nearby hotel properties. 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. In addition, over 40 performing ensembles will present concerts showcasing the talents of Ohio’s students. 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 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 updates and details regarding the conference. This website provides information about registration, housing and parking, contact hours and graduate credit, as well as lists of performing ensembles and presenters. To access the complete conference schedule, 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 checkout 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 last year’s conference, viewed through the lens of the Ohio Standards for the Teaching Profession.
OHIO MUSIC EDUCATION A SSO CI ATI O N
NORTH COAST 2019 PROFESSIONAL DEVELOPMENT CONFERENCE
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 take 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 2018.
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
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PUBLICATION SCHEDULE
TRIAD ISSUE October/November 2018 December ‘18/January ‘19 April/May 2019
*Copy must be in the hands of the editor on schedule.
DEADLINE DATE* August 6, 2018 October 1, 2018 February 11, 2019
POSTING DATE** October 1, 2018 December 3, 2018 April 8, 2019
*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. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22
Ohio Foundation for Music Education.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14
Baldwin Wallace University. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41
Ohio Northern University. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .73
Blue Lake Fine Arts Camp. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Organization of American Kodály Educators. . . . . . . . . . . . . . . . . . . . . . . . . 10
Bowling Green State University . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Otterbein University. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .61
Capital University. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19
Rettig Music, Inc.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IFC
Case Western Reserve University . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34
Royalton Music Center. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21
Cleveland Chamber Music Society. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .49
Smoky Mountain Music Festival. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50
Cleveland State University. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47
Soundcheck Audiology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51
CMS Publications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39
Stanton’s Sheet Music. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55
Contributions to Music Education. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .62
Summit Tour & Travel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .42
DePauw University. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .48
The Ohio State University . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Heidelberg University. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .46
University of Dayton. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45
Kent State University. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .62
University of Mount Union . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23
Malone University. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26
University of Nebraska Lincoln Glenn Korff School of Music. . . . . . . . . . . 56
Marietta College. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13
West Music Company. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44
Miami University . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27
Wittenberg University. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .79
Music & Arts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .58
Wright State University. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .56
Musicians Repair Service. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .68
Yamaha Corporation of America. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IBC
Muskingum University . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 Noteworthy Tours. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
80
* Bold signifies a Corporate/Institutional Partner TRIAD