TRIAD - FALL 2019

ISSUE ONE

TRIAD O CTO B E R / N OV E M B E R 201 9

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NOTE FROM THE D OF M&P Happy Fall, Everyone!

I want to give a warm welcome to our new TRIAD Editor, Terri Brown Lenzo. It has been a pleasure working with her so far, and I know you’re going to love the articles she has in store for you in this issue.

I am also thrilled to bring you some exciting news about TRIAD. Not only do we have a fresh new look, but we are now live on a site called issuu. You can find us by clicking HERE. This site gives you the ability to access our current issue and every TRIAD dating back to the Fall of 2013.

But wait - there’s more! As the year moves forward, I will be uploading the State Marching Band Finals and OMEA PDC programs, too. I absolutely love this site because it allows our OMEA membership access to all of our publications in one place, and you can even share, download, save, and “like” what you read!

Speaking of websites, don’t forget to check out the OMEA Professional Development Conference website HERE for all things PDC. New items/topics are being added daily so keep stopping back to get all of your PDC questions answered.

Again, have a wonderful Autumn, and I look forward to bringing you many more TRIAD’s through our new home at issuu.

SINCERELY,

AMY AMY ANNICO

OMEA DIRECTOR OF MEDIA & PUBLICATIONS OCTOBER/NOV EMBER 2019 | 1

TABLE OF

C O N T E N TS 4 6

FROM THE EDITOR: DR. TERRI BROWN LENZO FROM THE PRESIDENT: KATHLEEN MCGRADY

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IN MEMORIAM DANIEL BAKER: JIM DOWDY PERCY FOSTER HALL: MARCUS NEIMAN

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FEATURE ARTICLE HEALTHY WORK-LIFE BALANCE: THE UNICORN OF MUSIC EDUCATION? - DR. LISA MARTIN

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MASTERING THE CRAFT TEACHER EDUCATION: CHOOSING A MUSIC SCHOOL - DR. HEATHER RUSSELL

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CREATING NEW PATHWAYS TO MUSICIANSHIP FLYING TO THE MOON WITH AN EYE TOWARD HOME: MUSIC EDUCATION RESEARCH AND ITS PRACTICAL APPLICATION FOR THE PK-12 EDUCATOR - SARAH L. DESKINS MODERN BAND IN TWO OHIO MUSIC PROGRAMS - JAY DORFMAN & LESLIEANN BIRD CAVALIER STEEL: FROM THE BEGINNING - AN INTERVIEW WITH DAN RUCKMAN AND DANE NEWLOVE - SARAH WATERS

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ADJUDICATED EVENTS OMEA ADJUDICATED EVENTS COMMITTEE ADOPTS REVISION TO S/E RUDIMENT AND MALLET KEYBOARD SCALE REQUIREMENTS - CHRIS CARMEAN OMEA ADJUDICATED EVENTS COMMITTEE REPORT - JAY WARDESKA

OCMEA 46 ARE YOU A SMART CONSUMER REGARDING YOUR MUSIC EDUCATION? - WENDI BECHTOL-DAVIS 50 OCMEA UPDATES - LAUREN ZETTS TRI-M 52 NEW YEAR, NEW IDEAS: REDEFINING TRI-M IN YOUR MUSIC DEPARTMENT - JUSTIN CAITHAML OAAE 54 JARROD S. HARTZLER SELECTED TO LEAD OHIO ALLIANCE FOR ARTS EDUCATION - BOARD OF OAAE

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OHIO ARTS COUNCIL A FIRST-YEAR REFLECTION OF THE OHIO ARTS COUNCIL’S NEWEST ARTS L EARNING PROGRAM - TEACHARTSOHIO - JARRED SMALL

OCDA 58 OCDA PROFESSIONAL ASSOCIATION REPORT - BRANDON L. MOSS

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HIGHER EDUCATION ASHLAND UNIVERSITY, CASE WESTERN RESERVE UNIVERSITY, COLUMBUS STATE COMMUNITY COLLEGE, KENT STATE UNIVERSITY, OHIO NORTHERN UNIVERSITY, THE OHIO STATE UNIVERSITY SCHOOL OF MUSIC, UNIVERSITY OF DAYTON

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OMEA RESEARCH COMMITTEE OMEA GRADUATE RESEARCH FORUM, RESEARCH ROUNDTABLE CALL FOR PROPOSALS, RESEARCH POSTER SESSION CALL FOR PAPERS, AND RESEARCH POSTER SESSION CALL FOR PAPERS - UNDERGRADUATE OHIO FOUNDATION FOR MUSIC EDUCATION SUPPORT FORM OUTSTANDING AWARDS STRIKE-A-CHORD GOLF OUTING CORPORATE INSTITUTIONAL PARTNERS PUBLICATION SCHEDULE & ADVERTISING INDEX

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INFORMATION

N E T WO R K

EDITOR: Terri Brown Lenzo

editor_of_triad@omea-ohio.org

OMEA OFFICE P.O. BOX 1067 Massillon, OH 44648 330.833.5677 - Office www.omea-ohio.org

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

ADVERTISING: Bill Wittman

Roger A. Hall Executive Director executive_director@omea-ohio.org

Director of Business & Trade Show Operations business_director@omea-ohio.org

Bill Wittman Director of Business & Trade Show Operations business_director@omea-ohio.org

TRIAD VOL. LXXXVII, NO. 1

Amy L. Annico Director of Media & Publications media_director@omea-ohio.org Gregory S. Taylor Director of Technology technology_director@omea-ohio.org Mark A. Hensler Director of Professional Development & Conference Management pd_director@omea-ohio.org William K. Guegold Director of Adjudications adjudications_director@omea-ohio.org Dane Newlove Director of Adjudicated Event Materials and Awards 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

OMEA TRUSTEES Kathleen McGrady President president@omea-ohio.org

TRIAD EDITORIAL BOARD Band - Heather Marsh Choral/Vocal - Brad Pierson Jazz - Mark Russo Multicultural - Lisa Wong Orchestra/Strings - Roberto Iriarte Teacher Education - Heather Russell Technology - Brian Laasko

Ann Usher President-Elect president_elect@omea-ohio.org

OCMEA OFFICERS Lauren Zetts OCMEA President ocmea_president@omea-ohio.org

Michael Crist Immediate Past-President past_president@omea-ohio.org

Viktoria Straka OCMEA President-Elect ocmea_president_elect@omea-ohio.org

Robert Antonucci Secretary secretary@omea-ohio.org

Montana Hollis OCMEA Secretary ocmea_secretary@omea-ohio.org

Terri Brown Lenzo Editor of TRIAD editor_of_triad@omea-ohio.org

Zoe Bruce Membership Chair bruce.38@wright.edu

Wendi Bechtol-Davis Treasurer treasurer@omea-ohio.org

Abby Smith Communications Director smith.2300@wright.edu

TRIAD, the Official Publication of the Ohio Music Education Association, is written for music educators, college students preparing for a career in music education, and others who are interested in music education in both general and specialized areas. TRIAD is now a digital publication that can be found online at www.omea-ohio.org three times a year - with Oct/ Nov, Dec/Jan, and April/May issues. All news releases should be sent to the editor. All news releases received by the editor will be considered on the basis of news, value, and timeliness to the music education profession in the state of Ohio. All advertising space and business inquiries should be directed to the OMEA Director of Business. An Insertion Order or a Space Reservation Form must be submitted for ads to be printed. TRIAD reserves the right to reject any advertisement. The statements of article authors and/or advertisers are not necessarily those of the magazine or association, and the right to refuse any article/advertisement is reserved. OMEA is not responsible for the URL linking in this publication in terms of destinations or operation. All links are tested in advance for validity to intended sources, but potential distortions may occur beyond the control of OMEA and/or the URL link source. OhioMEA Online Publication Policy on Post-Publication Changes - The Ohio Music Education Association places the highest importance in the integrity of our publications posted online. We realize that despite the competent efforts of the editor, authors, contributors, advertisers, and OMEA staff, posted content may have errors or desired alterations identified after the proofing process is completed. Once a publication is posted online, it will be considered as ‘final’ and no further changes, updates, or corrections will be made. The electronic archiving of our publications for official record is taken seriously and all online publications should be considered equitable to print venues, without alterable possibilities once posted for public viewing.

OCTOBER/NOV EMBER 2019 | 3

F RO M THE E D I TO R Welcome to the fall issue! Thank you to members of the TRIAD editorial board and OMEA committees, guest authors, OCMEA contributors, and representatives of affiliated organizations who have provided information on a variety of topics. The theme of this issue is “Creating New Pathways to Musicianship.”

Feature Article Perhaps the most important pathway is the continued pursuit of personal wellness. For that reason, I have selected “Healthy Work-Life Balance: The Unicorn of Music Education?” by Dr. Lisa Martin as the feature article because we must take care of ourselves before we can attend to the needs of others.

Teaching Resources and Philosophies Several authors have provided teaching resources, while also sharing their journeys of instituting new pathways of musicianship for students. Dorfman and Bird have implemented the Modern Band approach in university and elementary school settings, respectively: “Modern Band in Two Ohio Music Programs.” Waters chronicles the path taken by two directors who recently added a steel ensemble to their program: “Cavalier Steel: From the Beginning—An Interview with Dan Ruckman and Dane Newlove.” Deskins discusses the relationship between teaching and research and shares findings that can be applied to general music instruction: “Flying to the Moon with an Eye Toward Home: Music Education Research and its Practical Application for the PK-12 Music Educator.”

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High School Directors, Students, and Parents In “Choosing a Music School,” Dr. Heather Russell offers several considerations for students who are ready to investigate potential pathways to music education licensure.

Directors and teachers might consider sharing the article link with students, parents, and guidance counselors.

State Tri-M Advisor, Justin Caithaml, offers suggestions for current and potential chapter advisors in “New Year, New Ideas: Redefining Tri-M in your Music Department.”

Undergraduate Students and OCMEA Members I encourage you to reflect on “Are You a Smart Consumer—Regarding Your Music Education?” written

by OCMEA State Advisor Wendi Bechtol-Davis. OCMEA President Lauren M. Zetts offers an overview of the purposes of OCMEA and describes benefits she has received as a member of the organization. These articles also contain details about the OCMEA Fall Workshop, which will be held on October 20th and the OCMEA Block Party to be held at the 2020 PDC. News and Deadlines from OMEA Committees Adjudicated Events: The AE Committee Report from Chair Jay Wardeska contains registration deadlines, a fee schedule, news about required lists for large-group events, and information regarding marching band affairs. Chris Carmean, AE committee member, has posted “Revision to S/E Rudiment and Mallet Keyboard Scale Requirements.”

Research Events at the PDC: Chair Dr. Patricia Grutzmacher has issued two calls for proposals:

1. Research Poster Session, and 2. Undergraduate Research Poster Session. Readers will also find information about the Graduate Research Forum and the Graduate Research Roundtable.

Outstanding Awards: Chair Linda Fox-Miller is seeking nominations for Outstanding Music Educator, Outstanding Young Music Educator, Outstanding Administration, and Outstanding Music Support Group. Refer to her announcement for the deadline and for a link to the nomination forms.

Ohio Arts Council TeachArtsOhio Grant Establish a new pathway to musicianship by applying for a TeachArtsOhio grant offered through the Ohio Arts Council (OAC). Jarred Small, arts learning coordinator, describes the program and shares experiences received by students in the Triway Local School District during their collaboration with an expert in African drumming.

Ohio Choral Directors Association (OCDA) Resources and Events The OCDA report by President Brandon L. Moss contains descriptions of several events and resources, including a mentorship program that is available for earlycareer teachers.

In Memoriam We remember and honor Daniel Baker and Percy Foster Hall II for their work as music educators and for their service to OMEA. These master teachers contributed to the musical pathways of thousands of students through direct instruction, through their work as adjudicators and mentors, and in many other ways.

I wish readers an enjoyable semester of exploring traditional musical pathways or of implementing new ones!

Perhaps your 2019-2020 journey might include writing an article for TRIAD. I invite submissions related to all domains of music education, including the theme “Creating New Pathways to Musicianship.” Deadline for the April/ May issue is February 10th.

Terri Brown Lenzo, Ph.D., Editor

Terri Brown Lenzo, Ph.D. is entering her fifth year as an assistant professor at Ohio Northern University. She teaches courses in music education, music appreciation, supervises student teachers, directs capstone research, and is the advisor for OCMEA. Dr. Lenzo has 26 years of experience in PK –12 settings, having worked as a 5-12 band director and as an early childhood general music teacher in Ohio and Arizona. She is currently researching the self-directed musical behaviors of preschool students.

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F RO M T H E P R ES I D E N T

Welcome to our fall edition of TRIAD. Here we go again! The start of a new year has passed, with summer a distant memory. I hope your summer served whatever purpose you wanted, whether it was to relax or to further your musical endeavors.

At the time of this reading, I have just returned from two wonderful weeks at the Blue Lake Fine Arts Camp in Twin Lake, Michigan where I was honored to conduct the third-session concert band and was reminded every day of the importance of music education and how it must continue to be our ongoing mission to make music as available, important, and relevant as we can in our students’ lives.

As I walked through the woods to my rehearsals every day, I was also reminded how sometimes looking from a distance helps you to see things from a fresh perspective. It helps you recognize what you would otherwise not notice— the grandness of a tiny thing or even the beauty of something ordinary. Looking at things from a fresh perspective, you can discover something quite astonishing. In the end, it’s moments like these that count: colorful, spectacular, amazing–much like music itself.

As fall begins and a new school year starts, it can be helpful to look ahead and take a general assessment of the external factors that affect a music program, including the climate for music and the arts, administrative support, and music curriculum. It is an opportunity for all of us to take a look at our educational goals, policies, and practices. It is also a time to re-evaluate what is truly important and to find new and creative ways to ensure the best music education

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possible for our children.

The Ohio Music Education Association also takes a distant look in numerous efforts to support comprehensive, quality music education for all our students in Ohio. In late June, Immediate Past President, Michael Crist and I attended the NAfME National Leadership Assembly in Washington, D.C. Part of this weeklong event includes “Hill Day,” a day for state officers and collegiate members to visit with our senators and congresspeople in their D.C. offices.

The Ohio delegation on Hill Day 2019 was made up of five OCMEA students from Youngstown State University and Ohio University. We visited with Senators Rob Portman and Sherrod Brown and Congressmen Bob Latta (5th District) and Warren Davidson (8th District), sharing information about the importance of music education and information about the ongoing funding requirements and implications for the new federal legislation. The collegiate members literally looked from a distance as they walked around the city of D.C., while developing their abilities by gaining new skills, understanding, and connecting with professionals in the field and stakeholders in the legislative process.

I hope that all of you have taken a moment to put January 30th-February 1st, 2020 in your calendars to attend the OMEA Professional Development Conference (PDC) which will be held in Cincinnati at the Duke Energy Convention Center. 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

T HE CO LLEG E O F M US ICAL ART S AT BG S U

Degrees Offered In: Music Education Music Performance Music Composition Jazz Studies Musical Arts Music History and Literature World Music Minors Offered In: Music Music Industry Jazz Studies Recording Technology

COME VISIT US! We offer honor ensemble opportunities throughout the year for middle and high school musicians. Find out more at bgsu.edu/precollegemusic Schedule a personal tour, information session, and lesson with a faculty member through our admissions office!

Visit bgsu.edu/music to learn how you can

BELONG, STAND OUT, AND GO FAR. musicadmissions@bgsu.edu (419) 372-8577

Audition Days 2019-2020 November 15 (transfer students) January 25 February 8 February 21 (vocalists only) February 22 April 11

Scholarship Deadlines Apply by January 15 for university scholarships and financial aid Audition by January 25 for early consideration for music scholarships Audition by February 22 for final consideration for music scholarships

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music education. In addition, over 40 performing ensembles will present concerts showcasing the talents of Ohio’s students.

A conference of this magnitude and significance would not be possible without the dedicated work of the OMEA Staff. Mark Hensler, Director of Professional Development and Conference Management, and Bill Wittman, Director of Business & Trade Show Operations, have put together an outstanding program with great presenters and exhibitors from all over the country. Amy Annico, Director of Media and Publications, has developed a comprehensive conference website – www.omeapdc.com which centralizes everything that our attendees need in order to enjoy Cincinnati come February. Last, but certainly not least, Greg Taylor, Director of Technology, has created state-of-the-art information systems that coordinate everything and control the workflow for “everything OMEA.” Countless volunteers just like you, who add depth and community to the OMEA “experience,” support this outstanding staff. One such volunteer is Micah Ewing who is serving this conference as the All-State Coordinator. Please take time to thank these people and those others who work to provide services for your association!

This year, OMEA is excited to partner with the Cincinnati Pops Orchestra to provide discounted tickets to their Friday, Jan. 31, 2020 performance. John Morris Russell

and the Pops will be presenting a Gershwin-themed concert featuring the amazing pianist, Marcus Roberts. Additionally, OMEA Conference attendees will have a special ticket offer for the #1 Musical–The Lion King, January 29 – February 2, 2020 at the Aronoff Center. Check out both events at our OMEA website.

Finally, I am honored and humbled by the opportunity to serve as the president of the Ohio Music Education Association. Best wishes for another exciting school year and may it be filled with continued quality music making and relationship building. I look forward to seeing everyone at our 2020 PDC in Cincinnati and thank you for all you do for music education in Ohio.

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.

SCHOOL OF MUSIC Practice Audition Day for high school juniors and seniors Thursday, October 3, 2019

27th Annual Music Celebration Concert A musical extravaganza showcase Tuesday, December 3, 2019

High School Honor Band Weekend January 17–19, 2020 Online nomination deadline: November 1, 2019

noteworthy.

Spring Visit Day for all high school students Friday, April 17, 2020

Audition Days for the 2020-2021 Academic Year Thursday, December 5, 2019 Saturday, January 25, 2020 Saturday, February 8, 2020

For admissions and event information visit music.osu.edu 8 | TRIAD

State and federal dollars through the Ohio Arts Council support artistic resources throughout the state.

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IN MEMORIAM

DA N I E L BA K E R 1 924 - 201 9 JIM DOWDY, OMEA MUSIC EDUCATION ADVOCACY CHAIR Daniel Baker was born before OMEA by a little more than two weeks: May 22 to June 6, 1924. To all of us in music education, Dan seemed to know more about our organization than most anyone.

Born in Cleveland, Dan was very musical and played the trombone in his school’s music program.

He was always proud of the fact that the Cleveland Heights HS Orchestra entered and won National CoChamps at an MENC adjudicated festival in 1941, his senior year.

Dan came south and entered The Ohio State University, but his country had other plans for him.

America entered World War II in December, and Dan was drafted into the US Army. He served stateside performing in an Army Band while stationed in Alabama and resumed his academic studies at OSU when the war ended in 1945.

While Dan was an undergraduate, Ohio State hosted a clinic for Ohio collegiate music education majors, and one of the attending institutions was Wittenberg University from Springfield, Ohio. It was during this weekend that he met Jeanne Worley, also a music education major. Today’s young people would wonder how to maintain a long-distance relationship without cell phones and Facebook, but love worked its magic, and they fell in love and were married.

Upon graduating in 1948, the newlyweds were both hired by the Mansfield City Schools—Dan teaching band at John Simpson MS and Jeanne at Appleseed MS. As they would joke, they were rivals!

After three years, Dan was hired by the Urbana City Schools to be their high school band director, and they moved while Jeanne was expecting their first child. Linda was born the following January.

Dan and Jeanne spent three wonderful years in Urbana, and their twin daughters Nanette and Nancy were born in 1953. They didn’t know Jeanne was carrying two (the doctor only detected one heartbeat), and it wasn’t until their birth that they realized their family had grown larger than expected. Luckily, they

were born June 1, so Dan had several months to help around the house until band camp and a new football season started. An additional note: It’s remarkable to realize that, with Dan as their band director and E. Richard Shoup as their choir director, two future OMEA State Presidents were on the same faculty!

In 1954, the Columbus City School District came calling, and Dan was hired to be the band director at Linden McKinley HS. This would be a position he would hold for twelve years. The list of former students who would become band directors was long, and included Bob Carpenter and Bob Weimer. Alumni proudly remember that during “Mr. Baker’s years” their marching band would sometime be so large that they could successfully spell Script Linden on the football field.

Dan also developed an outstanding jazz program.

Alumnus Bobby Everhart (member of the famous Jazz Arts Group of Columbus) remembers: In 1962, we had a good dance band, and we were asked by the Stan Kenton Band to come and practice for a week in the summer at the Stan Kenton Stage Band Camp at Michigan State University. We went to the camp, and at the end of the week played 1 ½ concerts. It seemed that we needed to show how good this band was, and we did! We were then invited to play a concert at the 1962 World Fair of Music & Sound in Chicago, to demonstrate the quality of the Stan Kenton Camps. Stan Kenton himself directed our band for the concert. It’s a memory I’ll never forget.

Being in Columbus allowed Dan the opportunity to begin playing his trombone again. Bobby’s father (Dr. Robert Everhart) had a big band that rehearsed on Sunday nights and performed regularly at The Valley Dale Ballroom. Dan began playing with that band in the late 50s, as well as the Aladdin Shrine Band. Later, when The Ohio State Marching Band created their alumni band, Dan proudly marched down the field “one more time” many years on Alumni Band Day. In 1966, Columbus opened Northland HS, and OCTOBER/NOV EMBER 2019 | 11

Dan was selected to be their first band director. He composed the new school’s fight song, and alumni fondly remember that they had an original fight song, not lyrics pasted on a published collegiate melody.

In 1968, Columbus City Schools Board of Education asked Dan to assume the role of Supervisor of Instrumental Music, and he would hold that position until his retirement in 1983. During that time, his daughters remember their father participating in the Columbus All-City Music Festival, held annually on the OSU campus in St. John Arena, and starting the All-City HS Marching Band Festival held at Cooper Stadium. His grandson Rob remembers traveling during football season to three games a night so that his grandfather could see the various bands and talk to their band directors.

During his supervisor years, the family remembers Dan and Jeanne hosting an August picnic in the backyard of their Worthington home for the district’s band directors prior to the start of the various band camps. Dan and his colleague, Katherine McGill (Supervisor of General and Vocal Music), would host an annual get-together for other Ohio supervisors of music.

During his Columbus years, Dan served OMEA by holding many positions at the district and state levels, culminating in his years as state president (1978-80). He also was an adjudicator, and his family remembers him being gone many weekends starting in February as he traveled throughout the state to solo and ensemble and large group events. The whole

family was present in 1985 when Dan was presented with DaCapo’s Distinguished Service Award in Cleveland, Dan’s hometown. Additionally, Dan was inducted into Ohio’s chapter of Phi Beta Mu (the international bandmaster’s fraternity) in the 60s and received their prestigious Hall of Fame Award in 2009.

After Dan retired from the Columbus City School District, he worked for a few years as a sales representative for Fruhauf Uniforms. His family remembers their father working the accounts of many of the Columbus high school marching bands, as well as selling uniforms to the Bowling Green State University and The Ohio State marching bands. In fact, they remember their parents converting a spare bedroom to house the various uniform samples and both their parents traveling with scales and tape measures to make sure each marching band member would have a new uniform that fit properly.

During his retirement, Dan stayed keenly active in the development and evolution of OMEA. Many DaCapo members remember Dan’s regular phone calls during their years as state president, always asking how things were going and ready to offer help and advice.

In their later years, Jeanne grew ill and died in 2012. Dan passed on April 30, 2019 in his Worthington home. We gratefully thank the members of Dan and Jeanne’s family who contributed to this tribute: daughters, Linda Miller, Nanette Baker, and Nancy Losee, and grandson Robert Losee.

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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This resource bridges the gap between method books and performance music, preparing students for numerous scenarios by isolating specific ensemble performance skills and providing many exercises to develop them.

The chorales are beautiful, lyrical selections designed to incorporate the isolated skills, promoting critical listening for tone, tuning, balance, rhythm, and more, and are written by many of today’s most performed composers.

Three levels are available for young through advanced band.

The Ensemble Development books have been great in helping us prepare for solo and ensemble festival. My students have grown tremendously with the different skills provided in the exercises.

The wide variety of chorales are a blessing to have, as I’m always looking to expose my group to a better sound. The structure of the book is the best part of it. It makes lesson planning very easy.

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Each book contains over 100 exercises and chorales grouped by key, providing plenty of source material for learning how to balance and create a rich, full sound.

Irone Roussell Director of Bands Scotlandville Magnet High School

Learn more at alfred.com/SI-Band.

P E RCY FOST E R H A L L I I MARCH 6,1928 - MAY 30,2019 MARCUS L. NEIMAN, OMEA HISTORIAN Percy Foster Hall II was born on March 6, 1928 in Beltsville, Maryland and passed from this world on May 30, 2019, in his home, surrounded by his loving family, at the age of 91.

John Hall, one of Percy’s sons, learned from a conversation with his brother Barry, what Percy considered to be his greatest achievement: “Creating arrangements that help students sound better than they actually are!” And, as a former adjudicator who has listened to many students perform many of Percy’s ensembles, I would agree—but would add that students enjoyed playing Percy’s arrangements because they were well-written and fun to play!

Percy had music resounding in his ears from an early age. His father, Reginald Foster Hall, was an Episcopalian minister who also played the piano and sang. His mother, Lily Hambleton Hall, was a church organist, and his maternal grandfather, who worked as a graphite miner, was a country fiddler. Percy was named after his paternal grandfather, also an Episcopalian minister, who emigrated as a teenager in 1879 from northern England to New York City.

Percy and his two brothers were active in music, each playing several instruments and teaching themselves to arrange music, but since their school was quite small, there was no opportunity for them to participate in school music ensembles. This dearth of musical resources inspired Percy’s lifelong mission to enhance the lives of young people by providing meaningful musical opportunities.

Percy attended The University of Maryland for a year before enlisting in the U.S. Army, where he played trumpet in the 2nd Constabulary Regiment Band in the post-WWII Army of Occupation in Germany for two years. “Some of my fellow soldiers planned to come back to the States and become school band directors. I didn’t even know there was such a job,” Percy said, “but I figured if they could do it, so could I!” Having completed his gig with Uncle Sam, he enrolled in Westminster College, where he earned a Bachelor of Music Degree and met Nancy, who would eventually become his wife of 68 years. After marrying, Percy went on to earn a master’s degree in music education from The University of 14 | TRIAD

Michigan, before moving to Mansfield, Ohio in 1952.

Over the next 65 years, Percy served as music director of bands, orchestras and other ensembles at Madison High School, Mansfield Senior High, and eventually served the entire Mansfield City School System as Supervisor of Music. Percy was also Adjunct Professor of Music at Ashland University. In addition, he led and guided many other musical ensembles including the Mansfield Symphony Youth Strings, the Mansfield Symphony Youth Orchestra, the Musicians’ Union Local 159 Concert Band and Jazz Band, the Mid-Ohio Brass Quintet, the Mansfield Symphony Woodwind Trio, and his own dance band, “The Percy Hall Dance Orchestra.”

In his 41st year of teaching, Percy was asked by the Ohio Music Education Association to speak to the group on “How I lasted 40 years in an urban school system.” He informed the audience it wasn’t at all about “lasting.” “It is,” he said, “about treating the kids in a way that they know you care and want them to succeed. No matter where you teach, you don’t change your expectations of the children; you work to change their expectations of themselves. I love music and I love kids, and I show that love and respect to both.”

Percy served OMEA almost exclusively in the adjudications committee. He served as advisor to the committee from 1973 through 1975; band affairs chair (1975 through 1981); chair for the adjudications committee (1981 through 1983), and, immediate past chair of the adjudications committee (1983 through 1985). OMEA recognized Percy with the Outstanding Music Educator Award (1987) and the Distinguished Service Award (1995).

Among the many stories about Percy Hall, several OMEA adjudicators told of listening to students perform a composition by Percy, while noting that the composer was in attendance at the performance. If the performance was successful, it was common for the adjudicator to make note to the students that the composer Percy Hall was in the room. Many adjudicators asked students, “Did you like the composition you just performed?” The response was always a resounded “Yes!” At that, the adjudicator would say, “Well, you can thank the composer; he’s sitting right there (pointing

something to do with their success and happiness.”

Behind Percy’s success was Nancy, his loving wife and partner, who supported Percy and their children through every twist and turn and never missed a beat. Percy and Nancy raised five children: David, John, Marcia, Barry, and Kathy. They have nine grandchildren and one greatgrandson. Percy’s passion for music lives on in his offspring, who are all active in music, some professionally and others for fun. Each of his grandchildren also had the privilege of receiving music instruction from their “Grandpa Hiya.” The family string and brass ensembles are called into action for family weddings and other events, and an annual highlight is the Hall Family Marching Band, participating each summer in the July 4th parade at Lakeside, Ohio, where the Halls have vacationed for

IN MEMORIAM

to Percy)!” The wide-eyed surprise and smiles were worth the price of admission!

Percy was a long-time member of the Mansfield Symphony, for whom his instrumental versatility served him well for over 50 years, playing flute, piccolo, bass clarinet, viola, trumpet, tenor saxophone, and serving as principal percussionist for many years.

When he retired, the Mansfield City School Board honored Percy by naming the Mansfield Senior High music annex the “Percy F. Hall Music Annex”–a fitting name for the building where he spent decades teaching and inspiring countless students.

Percy was the recipient of many awards recognizing his dedication and significant contributions to the field of music education, including the Richland Academy of the Arts Lifetime Achievement Award (1994) and the Westminster College Alumni Citation for Distinguished Accomplishment (1997).

In 1995, Percy was inducted into the Ohio Band Director’s Conference Hall of Fame. He was named “Renaissance Person of the Year” (2009) by the Renaissance Performing Arts Association in Mansfield “for his commitment to improving the quality of life in our community.”

Susan Battistone Lusher, a former student said, “Percy Hall, a man who changed the world one teenager at a time.”

Lusher commented on Percy’s ‘Facebook Fan Website,’ “My husband, John Lusher, studied and played with Mr. Hall in Mansfield. He was not at all surprised when our daughter, who attended Cincinnati’s School for the Creative and Performing Arts, began playing Mr. Hall’s arrangements.

He was surprised, however, when her band and orchestra instructors expressed their awe when John told them he had studied under Mr. Hall. He’s quite the legend!”

A prolific composer and arranger, Percy Hall has over 300 published pieces to his credit, many of which are standard repertoire for school bands, orchestras, and other ensembles. Over time, many other educators and musicians recognized Percy’s incredible talents as a composer and arranger, creating a demand for his music that is still in full swing. Over 200 of his publications are listed on the current edition of the OMEA Solo and Ensemble Adjudicated Event Music as well as on required or recommended lists in other states, including New York, Virginia, Florida, Wisconsin, and Texas.

Percy Hall was passionate about elevating others through music, helping them to tap into and more fully realize their own creativity, inspiration, and potential. John Hall commented, Percy said, “My greatest reward is the joy of seeing the pleasure that young people receive from their participation in music and the feeling that I may have had

over 50 years.

In retirement, Percy and Nancy enjoyed traveling and visited over 40 countries. Some of their expeditions were with performing groups such as the Westminster College Alumni Choir, performing Percy’s choral compositions in legendary spaces such as the Cathedral of Notre Dame in Paris and St. Peter’s Basilica in the Vatican City. Other tours were cultural or educational, such as Elderhostels where they studied art, history, and even marine biology.

Despite his many accolades and awards, Percy was always modest about his accomplishments and never sought attention for himself. To all of us who knew Percy, his deeds and his music will not only enrich our lives, but also the lives of those who knew him or played music he wrote or arranged.

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F E AT U R E A RT I C L E

HEALTHY WORK-LIFE BALANCE: THE UNICORN OF MUSIC EDUCATION? DR. LISA MARTIN, BOWLING GREEN STATE UNIVERSITY By the time this article goes to print, we will be in the throes of the fall semester. Whether you are an early career teacher, a veteran, or a student aspiring toward a career in music education, the concept of work-life balance may feel particularly elusive at this time of year. Is a sustainable worklife balance even possible for music educators?

In this article, I explore common challenges with achieving work-life balance. I also offer several tips for moving toward a healthier relationship with both professional and personal responsibilities.

Work-Life Balance: What We Know Work-life balance has been defined as “balanced involvement and satisfaction across life domains” (Sirgy & Lee, 2018, p. 230). In a study investigating the work-life balance of 347 Ohio music teachers, Bley (2015) found that educators who struggle with work-life balance also experience elevated feelings of guilt, worry, and resignation, often sacrificing to the point of exhaustion. Given these findings, it’s no wonder that those with an unhealthy work-life balance may be at higher risk for burnout or even attrition from the field. Conversely, music educators with a healthier work-life balance tend to set limits in line with their professional and personal priorities, practice better self-care, and seek others’ help when needed.

Certainly, one of the biggest challenges for music educators aspiring toward a healthy work-life balance is establishing a culture of balance in the face of time and workload demands (Bley, 2015; Shaw, 2014). In a field where putting in additional time and energy can often yield various benefits for our students, where do we draw the line?

Unfortunately, there isn’t a clear answer. Learning when to say “no” (and having the courage to do it!) is a critical skill for music teachers across all career stages.

Priorities and Boundaries Finding balance begins with clearly identifying your personal and professional priorities. In listing your priorities, begin with the big non-negotiables.

A popular ideology is to consider your life as a large glass jar. Your most important priorities are represented by golf balls, your moderate priorities are represented by pebbles, and your smaller concerns are represented by sand. If you fill your jar with pebbles and sand first, there is no room for your main priorities. Therefore, it is important to keep the most critical aspects of your personal and professional life at the forefront.

Establishing lasting balance over time involves responding accordingly when these particular priorities are challenged. Most often, these challenges come from limitations on time and energy. Effective boundaries can help protect these limited, precious resources. Some teachers have had success with compartmentalizing, i.e., work stays at work, or setting limits on work time spent outside of school hours (Bley, 2015). While there are inevitably extenuating circumstances that can arise that may force one to compromise some of these boundaries, being clear and consistent with such boundaries over time can have a notable positive effect on work-life balance. Worth noting—even as a veteran teacher, it’s never too late to prioritize that culture of balance!

One area where teachers commonly struggle with establishing boundaries is email communication. When work email is connected to our phones, this issue can be exacerbated. There are several strategies that can address this challenge.

For example, consider designating specific times for checking and responding to email. If colleagues, students, and families know you only read and respond to emails between 7-8am and 4-5pm on weekdays, for example, this can help with OCTOBER/NOV EMBER 2019 | 17

expectations management – both for what others expect of you and what you demand of yourself. For those teachers that link work email to their personal phones, consider removing it—even if just for a few days as an experiment!

Similarly, you might try removing saved passwords from your web browser. When you suddenly have to physically type in an email password every time you check your inbox, you become more conscious of the frequency with which you check your email, which can be enlightening.

Establishing Efficiency We operate at varying speeds at different times of day.

Some may feel particularly focused and energized first thing in the morning, while others may get their boost in the afternoon. In order to manage time more efficiently, consider reserving more complex tasks­—both personal and professional—for times when you are at your best. Tackling a challenge when you are physically or mentally drained

may lead to added frustration. Similarly, save simpler tasks for when you aren’t operating at 100 percent. Matching task demands with our energy and focus levels is an effective strategy for improving overall time management.

Making Habits Stick To instill effective, consistent, and balanced habits, one strategy is to use a three-tiered approach. For example, what is one small thing you can commit to every day that could make an impact on your work-life balance and overall well-being? Maybe that one little thing is doing a quick twominute breathing and mindfulness exercise each morning, which can in turn help your focus, efficiency, and presence throughout the day. Next, think of a medium-sized habit you can commit to once a week. Perhaps this involves creating a list of personal and professional tasks for the week ahead and identifying those that can be reasonably simplified or even delegated to others for support. Finally, consider a

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large-sized commitment to connect with once a month. This could be something like a device-free day or an afternoon of self-care. Addressing habits from multiple levels can create a more comprehensive balance, while also being sustainable.

Conclusion Time and energy are our most precious resources.

Effecting lasting, workable change in how we manage our time and energy requires commitment and consistency but doing so is a worthy investment with immeasurable returns.

References Bley, S. (2015). An examination of the time management behaviors and work-life balance of K-12 music educators (Unpublished master’s thesis). Bowling Green State University, Bowling Green, OH.

EMBRACE YOUR POTENTIAL

Shaw, R.D. (2014). The work-life balance of competitive marching band teachers: A multiple case study.

Bulletin of the Council for Research in Music Education, 200, 62-80.

Sirgy, M.J., and Lee, D.J. (2018). Work-life balance: An integrative review. Applied Research in Quality of Life, 13(1), 229-254.

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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M AST E R I N G T H E C R A F T

T E AC H E R E D U CAT I O N : C H O OS I N G A M US I C SC H OO L DR. HEATHER RUSSELL, CLEVELAND STATE UNIVERSITY You may have one or more seniors in your music program aspiring to a career in music. This year, they will join hundreds of other prospective students auditioning for music programs across Ohio, each student competing for admission to one or more programs. When looking at several programs, it can be confusing to sort them out and to figure out which one is the best. Certainly, each program will have a unique combination of faculty and facilities, but curricula across programs can look largely the same. You are in a position to help your students and their parents answer the question, “Which program is best for me?”

Some characteristics that set programs apart are easy to recognize. For example, cost and financial aid, campus location (urban, suburban, or rural; closer to home or farther away), size of the college or university and the music program, and the prestige of faculty members. All of these characteristics blend with factors that are important to each student such as whether you want or need to live at home while attending college and what opportunities exist in the community in which the school is located (internships, performance opportunities outside of school, job opportunities if you have to work). All these characteristics contribute to something called fit. I encourage you to help your students consider which school will be the best fit for them.

Fit can be hard to pinpoint, but it has to do with how prospective students feel when they are on campus interacting with students, staff, and faculty.

Two programs may appear nearly identical on paper, but they may feel completely different during a campus visit. Likewise, one program may seem like the obvious better choice based on some of the characteristics listed above, but it may not be the one that feels best to a student. You can encourage your students to follow their instincts about which program feels right to them.

You can also help your students’ parents understand fit. In my experience as a college professor, parents often ask questions that speak to fit (What support services does the college offer?

Will my child be with the same students in classes for the entire program?), and they will have their own opinions about what will be the best choice for their children. You can encourage parents and students to talk about all of this, and you can contribute your own understanding of your students to the conversation—after all, you know them pretty well by now!

Here are some questions that you can use to help prospective music majors and their parents compare programs and think about fit: • How large is the music program overall, and how large is the specific track you want to major in (e.g., music education, music therapy, performance, etc.)? You may feel more at home at a larger program in which you will interact for four years primarily with other music majors in your own track, or you may feel more comfortable in a smaller program, interacting with students from many majors in addition to music students.

• How competitive are opportunities within the music program? If you come from a high school program in which you were a star performer, finding yourself in a fiercely competitive program in which you are not a star performer could be disheartening, or it could engage and challenge you. Are you competitive? How do you deal with failure? Do you love to practice and work hard to achieve goals? Do you use failure or rejection as an opportunity to learn and grow? If so, a more competitive school may be right for you.

OCTOBER/NOV EMBER 2019 | 21

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Will you be able to participate in more than one ensemble? If you are both an instrumentalist and a vocalist, can you be in both choir and band? Consider the number of ensembles and the selectivity of those ensembles, as well as the scheduling of rehearsals.

If the instrumental ensemble and choir meet at the same time, you will not be able to do both. If there are many instrumental majors and your primary instrument is voice, you may not be able to play in the band or orchestra.

Likewise, some schools reserve the top ensembles for performance majors only. If you are in music education, therapy or composition, you may not be able to play in these top groups. This is a question you should ask your contact person at the school because not all schools segregate ensembles by track.

If you are interested in musical theater or opera, do undergraduates get to perform in productions? Do they get to try out for major roles? If the school has graduate students, they may receive preference for those activities. If it is a small theater or opera program, do they mount full productions, or do they only perform scenes from opera/theater? Does

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the school partner with community or professional performing organizations that might provide you additional opportunities to perform?

If you are interested in teaching, does the program have a community music school in which you could teach? If so, are students paid to teach lessons or ensembles in the community school? If not, are there employment opportunities in the community for you to teach?

Is financial assistance tied to performing or to your success in classes? For some music scholarships, you may be required to participate in extra ensembles.

For many scholarships, you must maintain a certain grade point average to keep the scholarship. If you have struggled with grades in the past, both of these requirements may be troublesome. Participating in more ensembles means less time for studying and more time practicing. If you must maintain a certain GPA and you start to fall behind or not do as well as you did in high school, the pressure may be overwhelming.

Does the campus feel vibrant? Quiet? Peaceful?

Exciting? Think about how you would feel living on a rural campus where you will spend most of your

•

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time on that campus and would get know many of your fellow students. Conversely, think about how it would feel to wake up to the noise and business of a city campus and have lots of people around you every day that you may not know.

Are the music buildings part of the whole campus or are they separate or removed? You will spend a lot of your time in music buildings. If they are separate from the rest of the campus, your life for the next four years might be all music, all the time.

That might seem exclusive or isolated, or it may be exciting and focused.

Among the most important questions are those related to how you felt when you visited campus.

Did you feel welcome and at home? Did you feel like a number or like you were lost in the crowd? In one program I visited years ago, the faculty in the audition room looked down throughout my audition and said no more than “You may begin.” That made a big impression on me. I was from a small community and personal connection was important.

That experience felt unfriendly and anonymous to me, but another person may have been perfectly fine with it. Paying attention to how you feel while

on campus is important, no matter what type of experiences you have.

As music teachers, you can encourage your seniors to discuss the questions above with their mentors in the community who know them well in addition to you and their parents. Let students know they can always visit campus again if they are able, or to call and ask more questions until they feel as sure as they can about the fit. Finally, remind them that there is no way to know for sure if it is the right place for you until you attend school in the fall. Encourage them to make the best decision they can with the information they have and to trust their instincts.

I hope you find these ideas helpful as you help your students and their parents navigate this important milestone.

Heather A. Russell is the Coordinator of Music Education at Cleveland State University. Prior to joining the faculty at CSU, Dr. Russell was the Coordinator of Music Education at Southern Illinois University. She has also been an adjunct faculty member at West Chester University of Pennsylvania, Temple University, and Mansfield University, and taught P-8 general music for 17 years.

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C R E AT I N G N E W PAT H WAYS TO M U S I C I A N S H I P

FLYING TO THE MOON WITH AN EYE TOWARD HOME: MUSIC EDUCATION RESEARCH AND ITS PRACTICAL APPLICATION FOR THE PK-12 MUSIC EDUCATOR SARAH L. DESKINS, NILES CITY SCHOOLS This past July marked 50 years since the first human landed on the moon. That person was Neil Armstrong, a native Ohioan and NASA astronaut, who once said, “Research here is creating new knowledge,” referring to aeronautical flight exploration (Levine, 2005). It was the foundation of new knowledge that enabled Armstrong’s initial flight to the moon, but it was Armstrong himself who took the first literal steps in a new atmosphere, and with those steps, these now famous words: “That’s one small step for man, one giant leap for mankind.”

The reader may be wondering how this is related to music education. First, music education researchers also explore things they do not fully understand in order to create new knowledge. Additionally, just as research was the basis for the first steps on the moon for Neil Armstrong, so, too, music education research can provide a solid foundation for the steps of everyday heroes in the music classroom—PK12 practitioners. Just like Armstrong, attempting steps into the unknown can be both exciting and disconcerting; however, with solid research supporting the new journey, practitioners can feel confident in attempting these practical applications in their classrooms.

Why Should Research Matter to the Practitioner?

As a practitioner, I have regularly accessed professional development resources through music education publications, such as TRIAD, and looked for ways to implement some of these new ideas in my classroom, just like many of my fellow PK-12 music educators. Apart from these resources, the

idea of music education research seemed out there, metaphorically equivalent to a trip to the moon perhaps, and only truly accessible to those considered living in some other space. What I discovered early in my graduate studies, however, was something quite different, for research was much more accessible and applicable than I had previously supposed. Now, as a graduate student-researcher, I have become increasingly aware of the importance of research in music education to better inform my practice in the classroom, as I utilize music education research publications regularly..

Another way in which my perspective has changed in recent years, is that I have gained a better understanding of the similar desire of both the music education practitioner and the researcher to contribute to the profession in practical ways.

Both seek answers to larger questions that affect daily practices. The relationship of the researcher and the practitioner is ideally one of partnership. For example, the researcher might examine the questions and provide findings from previous studies, and the practitioner may work to implement these results in the music classroom. The joint goal is to improve music education practices, and “help students be better musicians, teachers become finer artisans, and music education a stronger profession” (Resta, 2018, p. 12-13).

Examples of Recent Research & Its Application With the realization that the purpose of music education research is ultimately meant to support the practicing music educator, it is important to consider OCTOBER/NOV EMBER 2019 | 25

recent research and its application to the music classroom. In the 2018 publication of Contributions to Music Education (Vol. 43), a number of studies address issues relevant to practitioners. Several of these focus on younger students and general music. Two of these include: “Observations of and Perspectives on Musical Enjoyment in the Preschool Classroom” (Koops & Kuebel, 2018) and “Why Ask Why? Questions to Elicit Reasoned Intuitive Responses in an Elementary Music Program” (Downton, 2018). What follows is a brief description of each study, in conjunction with selected findings and implications.

Koops & Kuebel (2018) explore issues related to the enjoyment of preschoolers when engaged in musical activities.

Signs and factors of enjoyment, as well its connection to other components of learning and life in the classroom, were clear themes that emerged as a result of this study. The practical application for PK-12 music educators is that enjoyment is an essential part of learning, particularly for young children, and in better understanding what our students enjoy and how this is expressed, we might be more effective in our lesson planning and curriculum choices.

Downton (2018) examines various kinds of questions that draw out more intuitive responses from fourth-grade students engaged in music-making activities using computer software.

The results indicate that the practitioner is key in obtaining quality student responses, and that asking “Why?” is the most fitting way to encourage students to communicate their understanding of knowledge. Practically speaking, this means music teachers should encourage students to talk while they create, offer more open-ended types of questions, and keep in mind that students’ intuitions may be foundational to learning musical concepts, e.g. notation (Downton, 2018).

Though the focus of these two studies is on general music with younger students, research has been conducted in a variety of music classroom settings such as band, choir, orchestra, and additional unique scenarios. The studies listed here are just brief examples of how utilizing research can yield valuable insight for practitioners and be applied to the music classroom.

Joint Efforts of Researcher & Practitioner Personally, I view my role as a practitioner and researcher as two sides of the same coin. There are similarities but also differences. As a researcher, I desire for more practitioners to have easy access to music education research findings and to utilize those regularly. As a practitioner, I am aware that the daily realties and often-busy professional lives of PK12 music educators may indeed leave precious little time to explore these resources. While both perspectives have merit, it 26 | TRIAD

is important for researchers and practitioners to work together in new ways for ongoing improvement of practices in the music classroom. By cultivating a shared respect for the work and views of the other in conjunction with our joint efforts, this will ultimately yield positive results for our students.

Bridging the Gap Through Easy Access to Music Education Research Journals A way to bridge the gap between research and practice is through open conversations with our researcher or practitioner counterparts. This might come about through informal opportunities but may be more likely to occur in formal venues such as the annual OMEA Professional Development Conference. Otherwise, practitioners and researchers can communicate through publications such as TRIAD, in addition to accessing music education journals such as the OMEA publication, Contributions to Music Education: https://www. omea-ohio.org/cme.a5w. Several other journals now have free online access for NAfME members: https://nafme.org/ my-classroom/journals-magazines/. While one practitioner applying research might lead to small steps of progress for music education, a collective effort of many might lead to giant leaps for the profession. May it be so.

References

Downton, M. P. (2018). Why ask why? Questions to elicit reasoned intuitive responses in an elementary music program. Contributions to Music Education, 43, 175–195.

Koops, L. H., & Kuebel, C. R. (2018). Observations of and perspectives on musical enjoyment in the preschool classroom. Contributions to Music Education, 43, 59–76.

Levine, J. (2005). A long-overdue tribute. Retrieved from https://www.nasa.gov/centers/dryden/news/X-Press/ stories/2005/102105_Wings.html Resta, C. (2018). Music education research as creative act. Contributions to Music Education, 43, 11–18.

Sarah L. Deskins is a third-year doctoral student in music education at Kent State University and a K-2 general music teacher for Niles City Schools. She previously taught general music in a K-8 private school setting and also maintained an active piano and voice studio for over twenty years. She holds degrees from West Virginia University (BME) and Kent State University (MME). Her research interests include feminist studies, sociological and historical perspectives, learning theories of motivation and self-regulation, and general music methodologies in music teaching and learning.

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C R E AT I N G N E W PAT H WAYS TO M U S I C I A N S H I P

MODERN BAND IN TWO OHIO MUSIC PROGRAMS JAY DORFMAN, KENT STATE UNIVERSITY LESLIEANNE BIRD, NORTH OLMSTED CITY SCHOOLS Modern Band has emerged over the last decade or so as a new approach to teaching music in the classroom. Attributed largely to the organization Little Kids Rock, Modern Band is a flexible pedagogical process for performing, improvising, and composing. The approach uses voices and virtually any instrument you have in your classroom and is focused on the use of popular music. Modern Band relies heavily on replicating or covering existing songs, and it is a student-centered approach that emphasizes students selecting repertoire. It also includes improvising and songwriting as forms of musical engagement. One of the appealing parts of Modern Band is that it encourages quality musical experiences for children who might not participate in traditional music ensembles. In this article, we will describe two implementations of Modern Band in Ohio—one in an elementary program and one in a university setting.

Modern Band: LeslieAnne Bird, North Olmsted City Schools As a kindergarten through fifth-grade music educator, I use the Modern Band approach in general music classes and in a club setting in the North Olmsted City Schools. Two years ago, I was fortunate to receive a scholarship to acquire instruments and training from Little Kids Rock through the generosity of Moe’s restaurants. At first, I was skeptical. I did not have the skill and knowledge to play many of the Modern Band instruments, and I was concerned about how the model would fit in with my current program. After exploring the Little Kids Rock website and consulting with trusted colleagues, I recognized the level of quality in the resources, the opportunity for student engagement

and empowerment, that Modern Band was a good complement to Orff-inspired teaching, and that we could develop and practice a wide variety of skills and concepts to meet many curricular goals and state standards.

I received the instruments (two electric guitars, three acoustic guitars, two basses, six ukuleles, a drum set, and a few amps) in December of 2017. I used the resources on the Little Kids Rock website to teach one song to my oldest students in general music and to explore possibilities during lunch and recess by jamming with the children who wanted to play. After attending my first Modern Band Summit in the summer of 2018, where I received my training, I was hooked, and so were my students.

I allow the children to assist in the selection of repertoire to use with our Modern Band lessons. I provide a list of pre-approved, school appropriate songs. To create this list, I usually begin with Dr. Jill Reese’s YouTube channel and the Little Kids Rock “Teacher Zone” section of the website. I scroll through and ask for suggestions from the children. I do not play the songs at this time—I just take their suggestions. Next, I check the level of difficulty and the appropriateness of lyrics. After I have made those cuts, I have a list of songs they can choose from. What is appropriate will depend on your age group, the school culture, and your preferences. To be absolutely sure, I provide my principal with a list of songs we are planning to perform.

I do not use Modern Band exclusively; rather, I use it as a portion of our music experience. I focused on using Modern Band mostly with fifthgrade general music classes during the 2018-19 school year, as I am still new to working with the approach. We chose a song to perform and began OCTOBER/NOV EMBER 2019 | 29

by replicating the selection as a class. The children learned to play the melody on Orff xylophones and then worked in groups to learn to play guitar, bass, ukulele, recorder, keyboard, and to sing. I only have one classroom, so they worked in groups around the room. I had headphones for our keyboards, and I was able to have xylophone players in the hallway. Everyone else chose a corner of the room to practice. Having the amps face the wall helped contain the sound, but we were still a bit noisy with everyone on task. I did not add the drum set until late in the process. I have drum set mutes, so we could hear all of the instruments when the band played together.

I allow the children to decide which instruments they want to play and ask them to develop solutions when there are limited resources. In one class, we had two students play kazoos! We took the approach one step further, and not only replicated the songs, but arranged them to personalize the experience for each class. For the coming year, I will be adding more of the components of Modern Band in our fourth-grade lessons such as teaching the children to play the ukulele, guitar, bass, and drum set in mini-lessons, and adding a few popular tunes to our classes throughout the year.

As an Orff practitioner, I find the philosophy of Modern Band partners well with the Orff approach. I can use the Modern Band instruments not only with popular music but with folk songs as well, adding a new twist to familiar songs. Two of our favorites are “Green Sally Up” and “Step Back Baby, Step Back.” Adding electric bass and drum set is a great way to encourage the children to try out new instruments and makes these traditional songs even more exciting to perform in class. I find that the children enjoy figuring out the melodies of favorite songs by ear on the xylophones and keyboards and teaching motives and phrases to each other. To accomplish this, we sing the first motive of the song and determine the starting pitch. The children work with a partner using xylophones and/or keyboards to sound out the motive. When they have it figured out, they raise their hand and teach it to the rest of the class, then we move on to the second motive. The children then work to perform the first phrase by combining the motives. We continue until the class can play the melody.

Last year, we had a before-school Modern Band Club for fourth- and fifth-grade students. The children chose the songs they wanted to perform from our pre-approved list of songs. I offered them six songs to choose from, and the club performed four songs. We performed at the ice cream social event at school. Families, teachers, and friends enjoyed 30 | TRIAD

listening while eating ice cream in the cafeteria, and a good time was had by all (including me)!

Our fifth-grade students were so excited about the Modern Band program that a few garage bands have popped up outside of school, and requests for recommendations for instrument purchases and lessons are frequent. Next year, my colleague and I will be establishing an after-school club for middle school students who want to continue to play, and we will also be expanding our performance opportunities for all children who choose to perform.

Modern Band: Jay Dorfman, Kent State University At Kent State University, we prioritize preparing new and experienced teachers to excel in varied music teaching contexts including Modern Band. To that end, we have implemented Modern Band in two of our courses. At the undergraduate level, we have a new course in our curriculum called Progressive & Vernacular Music Methods. We did so by removing some older requirements from outside of the School of Music that my faculty colleagues and I deemed no longer relevant to successful music teaching, and thus did not expand the credit requirements of our program. Students typically take the course in their junior year at the same time as their traditional Instrumental Methods or Choral Methods classes. All students, regardless of their concentrations, are required to take the class. Modern Band is a significant part of the content. Students learn to play and teach guitar, bass, drum set, ukulele, keyboard, and voice in the styles associated with Modern Band. Importantly, just as they do in traditional methods classes, students focus on developing pedagogical techniques and materials for their future teaching at the K-12 level. They learn to analyze Modern Band songs and guide students in song selection. Lessons in this class also include improvisation on Modern Band instruments and engagement in other creative activities such as songwriting.

We also discuss important areas of teaching philosophy such as student-centeredness and culturally responsive pedagogy.

We have also begun offering a class called Methods in Rock Band Performance & Pedagogy. This class is typically offered as a week-long summer workshop, so it is available to music teachers who are not enrolled in our graduate programs, but it is a credit-bearing elective for both master’s and doctoral students. There are no prerequisites or expectations of rock band experience associated with the course, which we intend to offer next in the summer of 2020.

We spend as much time as possible in this class performing, and we address topics closely related to running a Modern

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Band program in schools. Some of these topics include using live sound equipment, organizing a program, song selection, and gear selection (instruments, amps, etc.). In this graduate class, we also replicate the student-centered environment of Modern Band. While I sometimes provide guidance and support, the people in this class usually form their own bands and select their own songs to perform. As the instructor, my job is to facilitate these processes by doing things such as assigning rehearsal rooms, helping to distribute equipment, setting time limits for rehearsals, and providing assistance as needed. The students typically rehearse about eight to ten songs over the course of the week, and the class ends with a performance of as many of the songs as they feel comfortable playing. This performance is open to the public.

In both the elementary and the university setting, Modern Band has been a valuable approach to music teaching and learning. It promotes flexible musicianship, learning and playing by ear, and using music that students listen to and enjoy outside of school. In the K-12 environment, students who participate in Modern Band take ownership of their learning, and it keeps students who do not elect the traditional ensembles participating in musical experiences.

Students who do participate in ensembles are inspired to expand and refine their musical skills to play multiple instruments or to perform with the Modern Band groups on their primary instruments. At the university level, it is imperative to prepare future teachers to function well in the Modern Band atmosphere because it is a form of music making that students seek and enjoy.

We encourage Ohio music teachers to look for opportunities to learn about Modern Band at the OMEA Professional Development Conference and at other professional learning events. You and your students will certainly have fun exploring popular music and learning to rock out!

LeslieAnne Bird is a music and movement educator in North Olmsted, Ohio. She teaches general music for grades K to five as well as fifth-grade band, orchestra, and choir. She has served as vice president and membership chair for the Greater Cleveland Orff Chapter and is currently serving as the content curator for the Teaching With Orff community. She earned Orff Certification from Baldwin Wallace University in 2014, has completed Music Learning Theory General Music Level One, Level One World Music Drumming training, and has earned the Ohio Master Teacher designation.

Jay Dorfman is Associate Professor and Coordinator of Music Education at Kent State University. His research interests include the uses of technology in music teaching and learning, instrumental music, popular music, and music teacher education. Dr. Dorfman is the author of Theory and Practice of Technology-Based Music Instruction (Oxford University Press, 2013) and the co-editor of Pluralism in American Music Education Research: A Collection of Essays and Narratives (Springer, 2018). He holds BM and MM degrees from the University of Miami (Florida) and the PhD in music education from Northwestern University.

OCTOBER/NOV EMBER 2019 | 33

34 | TRIAD

C R E AT I N G N E W PAT H WAYS TO M U S I C I A N S H I P

CAVALIER STEEL: FROM THE BEGINNING - AN INTERVIEW WITH DAN RUCKMAN AND DANE NEWLOVE SARAH WATERS, OHIO NORTHERN UNIVERSITY Starting a steel band is one way you could bring a different facet of music education to your program. This article will help those interested in starting a steel band and explains how Coldwater High School did it.

Pan in Ohio Steel band has its origin in Trinidad and Tobago starting in the 1930s and 1940s. The colorful history of this instrument is well-documented, and a quick Google search will yield plenty of results. Of particular note is the 2014 documentary, Pan! Our Music Odyssey, which won several awards and is the story of the steel drum. Watching this film with your students, boosters, and administration would be a great way to begin the journey to starting your own band.

Ohio has a strong history of steel bands; there are around 55 college and high school steel bands in Ohio (Dr. Brandon Haskett: https://weteachpan. org/resource/schooldirectory/), and Ohio boasts one of the leading U.S. manufacturers of steel drums.

Ron Kerns and Shelly Irvine established Panyard, Inc. in 1990 in Akron. Panyard is now one of the leading steel drum manufacturing companies in the world. Another excellent resource is Chris Tanner’s The Steel Band Game Plan: Strategies for Starting, Building and Maintaining Your Pan Program.

Tanner (Miami University, Ohio) is the president of the National Society of Steel Band Educators (NSSBE), ), a group dedicated to advancing steel band education in the United States—a terrific group for people just like you!

As music educators, we try to achieve our music standards in creative ways. Participation in steel band will help students to achieve these standards and more!

• perform a varied repertoire of music representing diverse genres and cultures alone and in ensembles (Ohio Music Standard HS I: 1PR).

• perform an appropriate part in an ensemble demonstrating well developed ensemble skills (Ohio Music Standard HS III: 4PR).

• discuss how people differ in their response to musical experiences based upon culture, environment, values and personal experiences (Ohio Music Standard HS IV: 3RE). https://weteachpan.org/

Any student could be taught to play in a steel band—not just percussionists. In addition to these specific standards, many musical and life skills can be taught. For example, in the Wild Steelions, a band I started with students from the Ada and Lima areas, the students have learned how to present themselves in public, perform, set up, and tear down efficiently; to improvise, listen, and groove; to play without a conductor, and to read and arrange music.

OCTOBER/NOV EMBER 2019 | 35

Dan Ruckman, band director at Coldwater High School, stated his reasons for starting a steel band: “I had always wanted to start an ensemble at our school that was not the standard band, orchestra, or choir. Additionally, I liked the fact that this would be a unique sound to our concerts that not many other schools have. This was a selling point to our boosters, community, and administration. I talked to several people for their insight and guidance. To begin, I spent weeks looking for videos on the history of pan, the building of pans, and most importantly, the amazing performances.”

Coldwater Exempted Village School District, located in Mercer County, consists of one K-12 campus divided into three schools: K-4, 5-8, and 9-12 and has a total enrollment of 1,300, with 404 students in the high school. Ruckman is beginning his 23rd year of teaching, which is his 17th at Coldwater. Coldwater uses a modified block schedule.

Preliminary Work What do you need to get started? Money and time; Plan on at least $10,000 and about two years to see it through.

Ruckman explained: “For funding, I put together a multi-year plan to steadily build our ensemble. We budgeted about $10,000 to get our starting set of pans. This covered the instruments, mallets, stands, and cases. We plan to add 1-2 instruments per year until we reach our goal of a 12-16-person ensemble. We estimated a total cost of $20,000-$25,000. With this plan, I was able to secure the commitment of our band boosters and school to purchase the instruments necessary to get started.”

You will also need adequate space. Dane Newlove (retired St. Mary’s band director and now percussion instructor at Coldwater) said, “We were able to dedicate a practice room to rehearse and store our cases in, so we did not have to set up and tear down the instruments each day.”

Ruckman hopes that with “more exposure and growth we can encourage our school to find a more permanent space with enough room for bass pans.”

Finally, there will be ongoing financial costs. It is of utmost importance to find a qualified tuner. Tuning costs can run up to $1,000 per year. Other costs will include proper stands, cases, mallets, and music.

Purchasing the Drums So now that you have funding and have a place for the 36 | TRIAD

drums, the next step is to purchase them. The best course of action would be to contact directors near you (see the NSSBE website). Ask those directors, “Who tunes their bands? Who made their drums? What is their timeline for delivery? Do they offer school packages?” The NSSBE website has a list of steel drum makers: https://weteachpan. org/resource/tuners/.

I recommend starting with three lead pans (melody), two double seconds (harmony and rhythmic strumming), and one cello set (three drums that play harmony and rhythmic strumming). This combination will give you a good balance, and by adding electric bass, auxiliary percussion, and drum set, you will have a full-sounding band. Ruckman recalled his experience: “The final challenge was to find a manufacturer for our instruments. Having not purchased steel pans before, I was at a loss as to where I should purchase them. I spent quite a bit of time researching the different manufacturers. I was shocked to find that almost everyone I looked at had a 12-24 month waiting list! I was disheartened to say the least. Fortunately, Sarah Waters introduced Dane and I to Steve Lawrie, the owner of Pantuner. We visited his shop in Akron and were impressed by his craftsmanship and beautiful sound of his pans.”

I had recommended they contact Steve Lawrie because he is my tuner, builds quality instruments, and tunes the pans he builds. Ruckman was also able to request specific paint colors.

This brings me to some critical insider knowledge: Steel drums are not in stock. They are in high demand and are built by hand. You might find inexpensive and readily available pans on the Internet but BUYER BEWARE! The amount of money you will spend on tuning on a lousy drum could have been spent on a quality instrument.

Implementation To create excitement for steel band, take your students, their parents, and your administrators to see a performance at a nearby college or high school. Directors would welcome you and they might be able to hold a pre- or post-concert demonstration session for you. Ruckman and Newlove could not wait to get the buzz going at Coldwater. Ruckman stated: “While we waited for our pans from Steve to come, we borrowed a couple of lead pans and a double second to at least introduce our audience to what they could expect in the future. . . . the audience

loved it! We had to stick around after the concert for audience members to get a look at the pans.”

Newlove recalled: “Some of my concerns in helping to run the steel band program was a lack of knowledge on my part and proper storage for the instruments. I gained a lot of confidence and first-hand knowledge while playing along with the students and soon realized the similarities between band/percussion ensemble and a steel band are many. Proper sound production, rhythm, dynamics, and balance are similar between the disciplines. Technique and “finding my way” around the pan came quickly and was less of a challenge for the students than for myself, quite frankly.”

This brings up a familiar concern: “How do the kids practice at home?” Using a cardboard circle or a 23” drum head, draw the notes as they appear in your drums. The students can then practice patterns and memorize where the notes are located.

You and your administration will determine when your group can meet: before or after school, during lunch periods, or during the school day. Coldwater uses Period 6, alternating with music theory class.

Newlove stated: “Cavalier Steel meets during the school day as a separate class from the high school band. This ensemble was started as a way to get more students involved in the music program, and this is a real benefit while teaching a life-long appreciation of music. It is our hope to one day start a community group, which will even further the philosophy that music is for a lifetime.”

Cavalier Steel with their new custom painted drums

by Steve Lawrie Dr. Sarah Waters, Associate Professor of Music at Ohio Northern University, has written several articles for Percussive Notes, Music Educators Journal, and TRIAD from her research and performance experiences in Africa, China, South America, Europe, and the Caribbean. Her music is published with C. Alan Publications and Per-Mus Publications. The CD Shreds: Music for Trumpet and Percussion, (Waters and colleague Dr. David Kosmyna) was released through Centaur Records in 2015. She and her husband, Rob have two boys, Donald (16) and Robby (14).

OCTOBER/NOV EMBER 2019 | 37

38 | TRIAD

A DJ U D I CAT E D E V E N TS

OMEA ADJUDICATED EVENTS COMMITTEE ADOPTS REVISION TO S/E RUDIMENT AND MALLET KEYBOARD SCALE REQUIREMENTS CHRIS CARMEAN, AE COMMITTEE MEMBER A survey of junior high and high school students indicated that rudiments cause anxiety for snare/multi solo performers, especially in regard to the number of rudiments required and that they be memorized.

Subsequent conversations with educators revealed that there might be students who avoid participation due to that anxiety. An initial draft revision was developed, and a survey was sent to percussion educators. The survey results revealed that having the revision conversation was welcome, and changes to the draft were made as a result of feedback received.

Subsequent discussion at the 2018 and 2019 OMEA PDC Percussion Adjudicator’s Session and followup survey resulted in the current list, adopted by the AE Committee to take effect in 2020. The previous rudiment requirements were unnecessarily lengthy, redundant, and prohibitive to student participation and success. The goal was to make rudiments less of a barrier to student participation in S&E; this was not an effort to make the requirements easier, rather more accessible and more equivalent to what is required of wind soloists.

3. MS/JH may choose to perform rudiments “Steady Best Tempo” OR Open-Close-Open (Slow-Fast-Slow). a. JH/MS (7/8) students may elect to perform their rudiments “Steady Best Tempo.” The student may choose their own tempo where they feel they can be most successful. The minimum tempo for any rudiment is 70 bpm. Performance length should be at least four repeats of the rudiment as shown. b. Open-Close-Open (OCO) or Slow-Fast-Slow performance is intended to demonstrate the student’s control of each rudiment throughout a wide tempo range. A student should perform each rudiment in OCO style with significant tempo change and minimal dynamic variation.

The rudiment should remain clear and accurate throughout, maintaining consistent note spacing and rhythm, as well as clarity of accents, grace notes, and double strokes. Performance length should fall between 15-30 seconds.

CLICK HERE FOR MS/JH RUDIMENT SHEET

Middle/Junior High The middle school/junior high list includes six rudiments; students will be asked only TWO rudiments, and they may choose to perform them “Steady Best Tempo” OR Open-Close-Open.

High School The high school lists are separate C, B, and A lists, i.e. a performer in Class A will be required to perform three rudiments selected only from the A list, Class B from the B list, and Class C from the C list; these will continue to be performed open-closeopen (slow-fast-slow), and memorization will be required for all performers at all levels. Open class soloists (those preparing for college auditions who perform a piece in Festival Performance without rating) will be asked three rudiments from any of the A, B, and C lists.

MS/JH Rudiment Requirements 1. MS/JH rudiments are to be performed from memory.

2. MS/JH soloists will be asked TWO rudiments from the following: Double Stroke Open Roll, Single Paradiddle, Flam, Drag, 9 Stroke Roll, Flam Tap.

OCTOBER/NOV EMBER 2019 | 39

HS Rudiment Requirements 1. HS rudiments are to be performed from memory.

2. Soloists will be asked three rudiments from the list for the class of solo being performed.

Class C: Double Stroke Open Roll, Single Paradiddle, Flam, Drag, 9-Stroke Roll, Double Paradiddle, Flam Accent, Triple Ratamacue.

CLICK HERE FOR CLASS C REQUIREMENTS Class B: Double Stroke Open Roll, Single Paradiddle, 5-Stroke Roll, 7-Stroke Roll, Paradiddle-diddle, Flamacue, Flam Paradiddle, Double Ratamacue, Double Drag Tap, Drag Paradiddle No. 2.

CLICK HERE FOR CLASS B REQUIREMENTS Class A: Double Stroke Open Roll, Single Paradiddle, 6-Stroke Roll, 10-Stroke Roll, 13-Stroke Roll, Flam Drag, Inverted Flam Tap, Pataflafla, Swiss Army Triplet, Single Ratamacue, Single Drag Tap, Drag Paradiddle No. 1.

CLICK HERE FOR CLASS A REQUIREMENTS Open Class: All from A, B, and C lists.

3. Open-Close-Open (OCO) or Slow-Fast-Slow performance is intended to demonstrate the student’s control of each rudiment throughout a wide tempo range. A student should perform each rudiment in OCO style with significant tempo change and minimal dynamic variation. The rudiment should remain clear and accurate throughout, maintaining consistent note spacing and rhythm, as well as clarity of accents, grace notes, and double strokes. Performance length should fall between 15-30 seconds.

CLICK HERE FOR OPEN CLASS RUDIMENT REQUIREMENTS High School Mallet Keyboard Scale Requirements There is no change to the scales high school mallet soloists must know, but there is a change in format: HS mallet soloists will be required to perform scales in two octaves.

Each tone of the scale should be at a speed of quarter note = 80-120 bpm.

40 | TRIAD

There will be some new resources available for guidance on the new requirements. Each division (MS/JH, C, B, A, Open Class) will have a separate reference list (samples are included with this article), the complete PAS 40 list will still be available for reference, and we are exploring the possibility of creating reference videos.

This revision is not intended to be a comprehensive list of rudiments which are pedagogically valuable and/or critical for a percussionist’s development. The exclusion of a rudiment does not indicate that it has lesser educational or technical value and shouldn’t still be taught. Having such a comprehensive list is antithetical to the effort to streamline the rudiment list to a point where it is not burdensome, redundant, and creates an obstacle to student participation and achievement, but still retains educational and pedagogical value. It is most important to note that this revised list represents a compromise of all the feedback given by educators through the surveys and discussion at conference sessions.

Please join me for “Teaching Rudiments: New Requirements for S&E Soloists” on Thursday, January 30 at 12:30 in CC211 at the 2020 OMEA PDC to learn more, and for guidance on teaching rudiments.

Chris Carmean teaches in the Pickerington Local Schools, and has performed with the Pittsburgh and Columbus Symphonies and the Troopers D&B Corps. He is a percussion adjudicator for SE and MB Adjudicated Events, serves as MB Adjudications Chair on the AE Committee, and is a C. Alan Publications composer.

The Pickerington North Percussion Ensemble has performed at the OMEA PDC three times, and PHSN has had 26 OMEA All-State percussionists.

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42 | TRIAD

A DJ U D I CAT E D E V E N TS

OMEA ADJUDICATED EVENTS COMMITTEE REPORT JAY WARDESKA, AE COMMITTEE CHAIR The OMEA Adjudicated Events Committee is hard at work in the continuing effort to sustain the many opportunities available to directors and students while working to address the needs of our changing times. This spring, the committee initiated a strategic planning process to study the structure of the AE Calendar. More information will be forthcoming as the plan is underway.

Adjudicated Events Registration and Fees All adjudicated event dates and deadlines for registration are listed on the OMEA website. To access the dates and deadlines, login as a member and access “AE Information” in the menu. You will find the dates listed under “Long Range Calendars.”

It is extremely important that you become familiar with these deadlines. Please register early for all adjudicated events to avoid potential last-minute issues. Please be aware that late registrations will NOT be accepted. If you have difficulties in the registration process, please contact me or Greg Taylor before the registration deadline. Below are the deadlines for out of district/region requests.

These are submitted through the member portal.

• HS District Large Group Band and Choir: January 1, 2020 • HS Region Orchestra: January 1, 2020 • JH Band, Orchestra & Choir: March 1, 2020 Updated Entry fees for 2019-2020: HS Solo - $19 HS Ensemble - $24 JH Solo - $16 JH Ensemble - $20 HS Large Group - $220 HS State - $250 JH Large Group - $160

Marching Band Affairs Changes in rules and procedures have been implemented for 2019 as a result of the strategic plan. Minimum performance time requirements were reduced to six minutes. Adjudicator panels are now being assigned by the Director of Adjudications with local chairs having the ability to request up to three adjudicators. An ad hoc committee is currently studying the current scoring system with results anticipated by the OMEA Professional Development Conference.

Large Group Required Lists Large group lists for all events have been updated for 2020 and can be found on the OMEA website. We appreciate the hard work of the members of the music selection committees who volunteered their time to create our required lists.

Revision of Percussion Rudiment and Mallet Keyboard Scale Requirements Committee member Chris Carmean has completed the task of spearheading a revision to the required percussion rudiments list for solo and ensemble participants. Please read his article on pp. 49-50 of this issue, and be sure to visit the OMEA website to become familiar with the new requirements for your students.

2019-2020 AE Committee Chairs You can contact any committee member via the OMEA website. Access can be found under the “Leadership” tab in the menu: AE Chair – Jay Wardeska Immediate Past Chair – Stephanie Smith Instrumental Advisor – Pamela Thiel Vocal Advisor – Scott Eversdyke Continued on next page...

OCTOBER/NOV EMBER 2019 | 43

High School Affairs – Kathy McIntosh Junior High Affairs – James Vaughan Orchestra Affairs – Elizabeth Hankins Vocal Affairs – Jeanne Wohlgamuth Marching Band Affairs – JD Latorre Band Affairs – Brian Stevens Creative Events – Thai Sribanditmongkol Marching Band Adjudications – Chris Carmean Rules and Procedures – Bill Thomas

Jay Wardeska is the Director of Bands and Music Department Chair for the Brunswick City Schools. He holds degrees from Kent State University and Mount Union College and has been a music educator since 1990. He is an active OMEA Adjudicator and has been presented with a number of awards and honors including being named the 2013 National AllAmerican Band Director of the Year by NAfME and the US Army. In addition to OMEA and NAfME, Mr. Wardeska is a member of Phi Beta Mu and the American School Band Directors Association.

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46 | TRIAD

OC M E A N E WS

ARE YOU A SMART CONSUMER REGARDING YOUR MUSIC EDUCATION? WENDI BECHTOL-DAVIS, OCMEA STATE ADVISER Greetings, OCMEA members, and welcome to the 2019-20 school year! My name is Wendi Bechtol-Davis. I am the state treasurer of OMEA and the new state advisor for OCMEA. It is my hope to help you make the most of your collegiate music education experience. I hope to meet many of you at our OCMEA workshop at Licking Heights High School on October 20th and at the annual OMEA Professional Development Conference (PDC).

While at your favorite fast food restaurant, have you ever said, “Thank you for giving me only half the amount of French fries in a regular serving!”

Or when receiving an order from your favorite online store; “I paid for two pairs of jeans, but it’s okay that you only sent one! No worries!” Perhaps while you were at the grocery store, you told the cashier, “I actually prefer paying for a whole loaf of bread and only receiving half a loaf. Less carbs!”

Clearly, these are not statements that an educated consumer would be apt to make. In fact, we are likely to take issue with any of these scenarios and would point out the injustice immediately. Many of us go as far as reading multiple reviews about a product before we make a purchase to ensure its quality. Sometimes, we even search for deals or coupons to be sure that we are getting an item or service at the best possible price.

With all of this being said, I have a pointed and possibly uncomfortable question for you. Are you being the best possible consumer of your music education? You wouldn’t be satisfied with getting shortchanged at a fast food restaurant or store, but are you taking the same care to get every ounce of learning out of your music education program?

Education is one of our most valuable commodities, and I want to urge you not to shortchange yourself.

Here are a few thoughts for you as you consider how to become the best consumer of your music education:

1. Obtain as much knowledge as possible.

Get the most that you can out of every class that you take, period. Your competency as a teacher is dependent upon the amount of knowledge you have picked up along your journey. Although I hope that each one of you will become lifelong learners, in a short time you will be the “giver of information” to a classroom full of students. Have you taken in enough knowledge to be prepared for this?

2. Develop your musicianship by practicing your major voice or instrument. Countless times I have heard collegiate music education majors remark, “I don’t want to sing/play professionally, so why do I have to practice?

I just want to teach.” Your comprehensive package of musicianship is vitally important to the kind of teacher you will become. If you can shape a phrase, you are much more likely to be able to teach your students to do the same. If one of your students is struggling with a technical passage, you will be better equipped to help them if you have gone through the process of breaking it down yourself. If you can model to your student what a good tone sounds like, they are more likely to be able to produce one themselves.

3. Get involved professionally.

• Become an active member of your OCMEA chapter. If your chapter is struggling, BE THE AGENT OF CHANGE! Have monthly meetings.

Invite local members from the OMEA district that your college or university is in to speak on various topics. Most of the time these educators will do this for free!

You just have to ask.

• Attend the OCMEA Workshop at Licking OCTOBER/NOV EMBER 2019 | 47

Heights High School on October 20th, which will be held from 9:45 AM-3 PM. We will have some inspiring speakers for you!

Also, don’t forget about the OMEA PDC on January 30th-February 1st in Cincinnati. There will be a slate of sessions specifically geared toward OCMEA members, as well as a Block Party on Thursday night where you can partake in a buffet of Mexican food (Cost is $10, and reservations for the Block Party are only available by preregistering for the conference. Block Party reservations will not be available for people who register at the convention center. You MUST PRE-REGISTER for the conference in order to reserve your spot at the Block Party.). You will also be able to network with other OCMEA members and see who receives the OMEA Memorial Scholarship for student teaching. OCMEA is the gateway to the most prominent music education network in the state!

In closing, I urge you to take advantage of the wealth of opportunities that are available to you in your music education and specifically in your OCMEA chapter. Don’t

be satisfied with a half-filled bag of French fries when you paid for a full order, and don’t shortchange yourself on the professional networking and resources available in OCMEA/ OMEA.

Wendi Bechtol-Davis is the band director and general music teacher for grades 5-12 in the Cory-Rawson Local School District. Her public school teaching experience includes one year at Vanlue Local Schools and twenty-six in her current position at Cory-Rawson. Under her direction, the Cory-Rawson Band program has developed a long-standing tradition of success at OMEA Large Group and Solo & Ensemble Adjudicated Events. Ms. Bechtol-Davis is a member of ASBDA, MENC, and OMEA, where she serves as a large group and solo & ensemble adjudicator. During her time at BGSU she was the OCMEA state president for two years. In 2006, she was honored as the “Outstanding Educator” for Cory-Rawson Local Schools.

think in sound Undergraduate Programs

BS in Music Education BA in Music Double Major Dual Degree (e.g., with Engineering BS) Minor in Music

Graduate Programs

MA in Music Education with Licensure (MAL) MA in Music Education PhD in Music Education PhD in Musicology MA in Historical Performance Practice (HPP) PhD in Musicology with HPP Concentration DMA in HPP

music.case.edu 48 | TRIAD

p 216.368.2400

Music Education at The College of Wooster

The College of Wooster offers comprehensive studies in Music Education, culminating in a Bachelor of Music Education degree and Ohio teacher licensure. Our students are mentored by expert musicians and educators, and graduate with a solid foundation of performance skills, content knowledge, and practical experience.

• Classroom observations and teacher assistance in your first semester at Wooster • Small class sizes allow for personalized attention • Expert training in instrumental, choral, and general music teaching techniques

Independent Minds, Working Together www.wooster.edu

• Perform each semester in ensembles dedicated to musical excellence • Study in a rich liberal arts environment alongside diverse and supportive peers

Visit: www.wooster.edu Contact Dr. Lisa Wong, Associate Professor of Music at Lwong@wooster.edu

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OC M E A N E WS

OCMEA UPDATES LAUREN M. ZETTS, OCMEA STATE PRESIDENT As we approach the upcoming school year, The Ohio Collegiate Music Education Association (OCMEA) is looking forward to all of the opportunities that are in store. OCMEA plays such an important role in the growth and development of our collegiate members. We are helping to shape the future of The Ohio Music Education Association by providing collegiate members with the opportunity to attend the OCMEA Fall Workshop and the OMEA Professional Development Conference (PDC).

The OCMEA Fall Workshop is planned by the OCMEA State Board in conjunction with the state board advisor, Mrs. Wendi Bechtol-Davis. This year’s conference will be held on October 20th from 9:45AM-3PM at Licking Heights High School.

Collegiate members are able to network with each other as well as learn from guest lecturers on various topics. At the OMEA PDC, collegiate members can attend any of the sessions throughout the event, and those who pre-register for the conference can RSVP for the OCMEA Block Party.

Block Party RSVPs cannot be accepted at the convention center. Collegiate members receive a discounted registration fee for the conference.

Members are also provided the opportunity to become acquainted with leaders in music education at the conference. Leaders can be met during different clinician sessions, at performances, and in the exhibit hall.

Collegiate OCMEA chapters play a special role in personal and professional development.

Through the chapters, students are provided with opportunities to learn about the privileges and responsibilities of the music education profession.

OCMEA chapters hold sessions for their members throughout the academic year that focus on different aspects of music education such as the two Ohio Assessments for Educators (music content assessment and assessment of professional knowledge), instrument repair, and vocal clinics, just to name a few. By investing in our collegiate

members, we are helping to further music education in the state of Ohio.

Personally, OCMEA has helped me to get a jump start on my career by providing me with different tools and opportunities to expand my knowledge within the field of music education.

From being a member of the state board to attending the 2019 NAfME Collegiate Advocacy Summit in Washington D.C., I have been inspired by those whom I have been fortunate to cross paths with.

I have met people that come from as far across the United States as Hawaii. Perhaps the most significant conclusion that I have come to is that regardless of where we come from, music is a facet of life that brings us all together.

Music is something that educators come together to advocate for in order to make an impact on the lives of our students and those around us.

Whether you are just starting your collegiate career or you are ready to student teach, OCMEA provides a network of educational resources for achieving music education standards and affecting the future of music education. This organization is a prominent way to become involved to help better yourself personally and professionally.

Lauren Zetts is a senior music education major at Youngstown State University. During her time as a student, Lauren has performed in the Youngstown State University Wind Ensemble, The Dana Symphony Orchestra, The Youngstown State University Basketball Pep Band, The Youngstown State University Marching Pride, The Dana TubaEuphonium Ensemble, and The Rust Belt Brass Tuba Quartet. She is currently head drum major of the Youngstown State University Marching Pride and treasurer of the Youngstown State University Chapter of the OCMEA. Outside of school, Lauren has been a music teacher and a student assistant with Students Motivated by the Arts since 2018.

OCTOBER/NOV EMBER 2019 | 51

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T R I - M N E WS

NEW YEAR, NEW IDEAS: REDEFINING TRI-M IN YOUR MUSIC DEPARTMENT JUSTIN CAITHAML, STATE TRI-M ADVISOR What is the purpose of a Tri-M Chapter within a school music department? Is it simply to provide recognition to outstanding music students?

Is it to provide meaningful service to the school community? Is it to advocate for the importance of the arts in the overall school culture? Is it to encourage students to develop leadership skills?

All of these questions are true, but I think it is important for current and prospective advisors to answer this question as the school year begins.

What does your music department need from your chapter? This answer will be different at each school, which is why I can’t answer that question definitively in this column. It is all about finding what works for you at your school in your music department!

If you do not currently have a chapter, consider starting one! By the time you read this, the school year will have already started, but it isn’t too late to start a chapter for the current year! Simply visit musichonors.com, go to the “Advisors” menu, click on membership form, and print the linked PDF! Fill it out, have your principal sign it, and mail it in with the $100 activation fee. It’s that simple.

If you do have a chapter, make sure you have renewed for the 2019-2020 school year using the same form. After renewing, I suggest establishing a vision for the year. What will your chapter accomplish? Don’t hesitate to start by asking your

students this question! Chances are they will feel more willing to invest time in the organization if they have a say in what will be accomplished.

Do you have a chapter activity or project that is working well for your chapter? Send me an e-mail at jcaithaml@midviewk12.org with a description of the project, and I will feature it in the next TRIAD Tri-M report. It is my goal to connect Tri-M advisors across OMEA districts and regions so that we can share ideas quickly and easily with one another and begin to mentor advisors who may be starting chapters at their school. Together, we can work to recognize student musicians while providing meaningful service to our school and advocating for the importance of music in our schools.

Justin Caithaml currently teaches 7-12 choir at Midview Local Schools and is completing a Master of Arts in Music and Music Education at Teachers College, Columbia University. He serves as the state advisor for the Tri-M Music Honor Society and is fully certified in Orff-Schulwerk. In addition, he serves as President of the Board of Directors at the Ohio Alliance for Arts Education.

OCTOBER/NOV EMBER 2019 | 53

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O H I O A L L I A N C E FO R A RTS E D U CAT I O N

JARROD S. HARTZLER SELECTED TO LEAD OHIO ALLIANCE FOR ARTS EDUCATION BOARD OF OAAE The Board of Directors of the Ohio Alliance for Arts Education (OAAE) has chosen Jarrod S. Hartzler of Wooster, OH as the organization’s new executive director. Hartzler has served as executive and artistic director of the Tuesday Musical Association in Akron since 2013 and will succeed Tim Katz, who has accepted a seniorlevel position with the United States Peace Corps after five years of service as executive director.

“We are all looking forward to being part of the growth of the Alliance under Jarrod’s leadership,” said OAAE board president Dr. Jacquelyn Quay. “His dedication to the organization as a board member since 2008 demonstrates his extensive knowledge of what makes the organization successful.”

H a r t z l e r ’s e x p e r i e n c e includes extensive work in many communities throughout Ohio and connections to the John F. Kennedy Center for the Performing Arts. Prior to Tuesday Musical, Hartzler served as senior staff for the Ohio community arts centers in Wooster and Delaware.. He was selected and completed an Arts Management Fellowship with the Kennedy Center under the direction of then CEO and President, Michael Kaiser. Hartzler credits the fellowship with helping to position his current successes as a leader of not-for-profit organizations.

“I look forward to leading the Ohio Alliance for Arts Education, taking it to the next level of success with our impressive board of directors, professional staff, and strong partners, and to renewing the organization’s historic stature at the state and national levels,” said Hartzler.

“Jarrod has had a profound impact on arts education in the state of Ohio for many decades.

Many students have been touched by the healing power of the arts thanks to his commitment to fostering meaningful, transformative partnerships.

I look forward to working with Jarrod as he begins his tenure as executive director,” said Justin Caithaml, OAAE board president-elect.

Hartzler serves as the chair of Arts Day for Ohio Citizens for the Arts Foundation, serves on the board of the Ohio Citizens for the Arts; is a panel member for the Ohio Arts Council; a member of the Partners in Education Team in Wooster, a program of The John F. Kennedy Center, and a partner in delivering Poetry Out Loud with the Ohio Arts Council. Hartzler studied art history at the College of Wooster in Wooster, Ohio.

The Ohio Alliance for Arts Education is a statewide arts service organization that works to ensure that the arts are an integral part of the education of every Ohioan: www.oaae.net

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O H I O A RTS CO U N C I L Students from Wooster Township Elementary School (Triway Local School District) play in a drum circle while learning about the music and nation of Ghana.

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A FIRST-YEAR REFLECTION OF THE OHIO ARTS COUNCIL’S NEWEST ARTS LEARNING PROGRAM – TEACHARTSOHIO JARRED SMALL, OAC ARTS LEARNING COORDINATOR If the idea of working with an experienced professional artist to develop stimulating ways of learning for your students excites you, the Ohio Arts Council is pleased to be accepting applications again from schools for grant awards as part of its TeachArtsOhio program.

Over the course of the 2018-19 school year, 41 schools spanning from Marion to Mansfield, Montgomery to Monroe Counties, and diverse places in between became the first schools to receive a grant under the Ohio Arts Council’s (OAC) newest arts learning program, TeachArtsOhio, totaling more than $641,000 in grant awards. Throughout the year, these schools, including Ohio’s public, private, charter, and parochial schools (pre-kindergarten through grade 12), set off on a mission to bring their education communities together with teaching artists to share engaging, personal, and high-quality arts learning experiences, offering students the opportunity to participate in unique creative processes, bridge cultural differences, develop fresh ways of learning, and realize lasting benefits from in-person contact and collaboration with professional artists who are experienced in working with school-age children and youth. This was accomplished through funding from the OAC to support professional artists working collaboratively with arts educators to provide classroom instruction up to the full 2018-19 academic year at no cost to school districts.

Take, for instance, Triway Local School District in Wooster, where each of its school buildings (elementary through high school) collaborated with a local African drumming expert, Thomas Roblee, during the spring of 2019 to introduce students and staff to the sounds, stories, peoples, and cultures of Africa.

The artist worked with various music classes to teach drumming patterns and traditional folk songs from Ghana. Students clapped, danced, echoed, improvised, and performed as part of the artist residency, engaging with the wider world through musical creativity and spontaneity and enhancing learning throughout the curriculum.

Now, as the 2019-20 school year has launched and we find ourselves staring in anticipation and wonder at what might lie ahead, TeachArtsOhio has grown to support 50 schools throughout Ohio, many of them new to the program, working with professional artists to craft unique learning experiences that engage students and learning communities on a deeper and more meaningful level beyond the typical rehearsal/ performance schedule. These projects, supported with more than $880,000 in grant awards from the OAC, are providing collaborative classroom learning opportunities in refreshingly new and innovative learning formats and frameworks.

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 to contact me via email (jarred.small@oac.ohio. gov) or phone (614-728-4481). Applications for projects occurring during the 2020-21 school year will open in November 2019, and I encourage you to consider what a TeachArtsOhio grant award involving your school community and a professional artist could look like. Together, we look forward to realizing the lasting benefits from long-term, standards-based, and in-person collaboration with professional artists all for the benefit of our students.

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.

OCTOBER/NOV EMBER 2019 | 57

O C DA 58 | TRIAD

OCDA PROFESSIONAL ASSOCIATION REPORT BRANDON L. MOSS, OCDA PRESIDENT As I begin my term as president of the Ohio Choral Directors Association (OCDA), I return to the question I am sometimes asked by those who teach choral music throughout the state: “Why should I be a member of OCDA?” As an affiliate chapter of the American Choral Directors Association, OCDA is privy to the many resources our national organization provides, such as Choral Journal, the online publication ChorTeach (geared specifically toward classroom teachers), access to ChoralNet (an online forum for choral directors), and regional and national conferences that inspire with stellar performances and exposure to new repertoire - but OCDA also offers many unique opportunities in-state for its members.

Our annual summer conference features national headliner clinicians, reading sessions packed with dozens of new pieces, performances by some of Ohio’s best choirs, and outstanding networking opportunities. This year’s conference headliners will include Jacob Narverud (composer of “Lunar Lullaby,” “Sisi ni moja,” and “Jambo”). OCDA Summer Conference also provides opportunities for Ohio students through the Children’s Honor Choir and High School Men’s and Women’s Honors Choruses.

In the spring, OCDA joins with many OMEA districts to sponsor an Elementary Choir Festival.

Here, elementary school choirs sing for a clinician who then works with each ensemble. Participating choirs then join together for one or more combined numbers with the clinician conducting. This is still a growing endeavor, but this year, OCDA hopes to offer festivals in the Northeast and Northwest Regions, with the prospect of adding more regions next year.

OCDA publishes three newsletters per year in the form of OCDA News, an online publication that features practical and inspirational articles written by state leaders in the field. Anyone is welcome to submit articles for OCDA News.

Additionally, OCDA offers a mentorship program for young choral directors throughout the state. Those interested are paired with a seasoned director who will observe and then work with them individually on teaching and conducting strategies, as well as offer tips for navigating the professional world of choral directing.

OCDA provides many services to teachers during the year, sponsoring three choral reading sessions at the OMEA Conference, as well as other interest sessions in the choral area. Our Repertoire and Resources chairs are highly experienced in their individual areas and are available to assist other directors. The OCDA website (www.ohiocda.org) has a jobs bulletin for postings in the state and features past years’ repertoire lists from reading sessions at both OMEA and OCDA conferences.

I hope that those who are not members of OCDA will strongly consider becoming one. As a choral director, I find that the resources, experiences, and opportunities the organization provides are ones that allow me to be the best teacher possible for my students and that sustain me on the toughest days of my work. I encourage everyone to explore our website and to reach out to any of our board members if we might be of assistance. I wish everyone a great year of memorable music-making!

Brandon Moss serves as Director of Choirs at Central Crossing High School in Grove City, where he teaches five choirs. He is also Director of Music and Chalice Choir at First Unitarian Universalist Church in Columbus. Moss recently served as President of OMEA District 15 and has twice chaired the Ohio All-State Choir. He holds degrees from Otterbein University and The Ohio State University, where he is completing the Doctor of Musical Arts degree in Conducting.

OCTOBER/NOV EMBER 2019 | 59

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H I G H E R E D U CAT I O N

HIGHER EDUCATION Ashland University Dr. Thomas Reed, Chair of the Music and Theatre Departments, performed as saxophonist with the Cleveland Orchestra in seven performances in summer 2019. He also performed on clarinet with the Akron Symphony and the Ashland Symphony and was clarinet soloist in a new recording by jazz composer Dave Morgan.

Case Western University Congratulations to Dr. Kathleen Horvath on her promotion to Professor of Music Education.

The CWRU Music Education area, in collaboration with the Rock and Roll Hall of Fame, the CWRU Music Department, and the CWRU Center for Popular Music, hosted the conference Enacting Curricular Change in Music Education through Vernacular Music on campus March 2830, 2019. Highlights included a panel discussion with community arts organizers as well as student musical performances at the Rock and Roll Hall of Fame; keynote addresses by Dr. Marilyn Mobley, Dr. Sandra Stauffer, Dr. Michael Largey, and Dr. Constance McKoy; and a rich variety of paper presentations, workshops, and posters related to curricular change and curricular vitality in the profession.

Dr. Lisa Huisman Koops, Area Head, Coordinator of Graduate Studies, and Professor of Music Education, co-authored a chapter, with Dr. Christa Kuebel (CWRU ‘17), entitled “‘They love to dance while I play my violin”: Probing the dynamics of sibling interactions vis-à-vis children’s musical development,” which appeared in Ilari and Young’s 2019 Music in early childhood: Multidisciplinary perspectives and inter-disciplinary exchanges (Springer Publishing). Koops published “Tidying Up Your Early Childhood Repertoire List”

and co-authored “Listening Lessons in the Early Childhood Music Classroom” with Dr. Ken Wendt, Director of Information Technology at CWRU (both pieces appear in General Music Today).

Congratulations to Dr. Nicholas Marzuola (CWRU PhD ’19) who defended his dissertation, An Investigation of Dalcroze-Inspired Embodied Movement within Undergraduate Conducting Coursework.

Columbus State Community College Columbus State Concert Band, under the direction of Thomas Lloyd, continued its celebration of the 20th anniversary of the band with two concerts during spring semester. The winter concert featured the music of African-American composers including James Reese Europe’s “Castle House Rag” and W.C. Handy’s “The Hesitating Blues,” as arranged

by William Grant Still. The program concluded with “Duke Ellington in Concert” performed by the concert band and jazz ensemble. The spring concert included local premieres of three works which Columbus State co-commissioned. The pieces are “Scenes from the Blue Ridge” by Onsby Rose, “Ash” by Jennifer Jolley, and “Reflections”

by Robert Langenfeld. The guest soloist was violinist Olev Viro who performed the “Theme from Schindler’s List.” The Columbus State Woodwind Ensemble also played on the concert.

Columbus State Community College is pleased to announce that Elizabeth Scinto will be the new director of chorus at Columbus State. The choir celebrates its 25th anniversary this year.

Kent State University Kent State University’s Music Education Division is thrilled to welcome Dr. Herbert Marshall to our faculty. A world-renowned OCTOBER/NOV EMBER 2019 | 61

expert in early childhood music, Dr. Marshall will be teaching undergraduate and graduate courses in general music education. This summer we welcomed Dr. Kent McWilliams as the new Director of the Hugh A. Glauser School of Music. Kent State undergraduate and PhD alumnus Dr. Kate Ferguson joined the faculty as Assistant Director of Band/Director of Athletic Bands. Also new to the School of Music faculty are Dr. Andrew Le (piano), and Dr. Joshua Albrecht (music theory).

The music education faculty has remained very busy with presentation and publication of their research and pedagogical work. Dr. Jay Dorfman, Dr. Wendy Matthews, Dr. Craig Resta, and Dr. Chris Venesile presented research about online graduate music education at the SMTE Symposium in Greensboro, North Carolina.

Dr. Dorfman presented a paper on popular music instruction at the Enacting Curricular Change in Music Education through Vernacular Music conference at Case Western Reserve University in March. He also participated in a panel on online arts education at the International Council of Fine Arts Deans conference in Austin, Texas.

Dr. Resta and Dr. Dorfman both presented research posters at the NAfME Eastern Regional Conference in Pittsburgh, Pennsylvania. Dr. Resta received strong reviews of his book Valuing Music Education in several

journals including Arts Education Policy Review and the Journal of Historical Research in Music Education.

Dr. Wendy Matthews recently published research articles in Research Issues in Music Education and the Association of Concert Bands Journal. In February, Dr. Matthews was guest conductor for the American School Band Association Honor Band’s Ohio chapter in Medina.

She has also presented her work at several conferences including CBDNA, TMEA, and OMEA. Dr. Chris Venesile and Mr. Bobby Selvaggio taught Methods in Jazz Performance & Pedagogy during the summer 2019, an on-ground option for students in our online MMME program, which was also open to local teachers.

Ohio Northern University Yamaha Performing Artist Dr. Henning Schröder’s activities include a consortium premiere of Carter Pann’s “Double Concerto” and the world premiere of David Colson’s “Dionysian Mysteries” with the Capitol Quartet at the U. S. Navy Band’s International Saxophone Symposium.

Dr. Terri Brown Lenzo, assistant professor of music education, was elected editor of TRIAD last spring. She presented an application of her research regarding the self-

WE ARE WE ARE building your future...one note at a time.

building your future...one note at a time.

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

2020 Audition Dates Sat., Jan. 18 | Sat., Feb. 8 Tues., Feb. 18 | Sat., March 21 Contact: Claire Brock, 614.823.1504, cbrock@otterbein.edu

Only Otterbein.

62 | TRIAD

otterbein.edu/music Otterbein is an accredited member of the National Association of Schools of Music (NASM)

EXPLORE MUSIC AT MOUNT UNION Bachelor of Arts Bachelor of Music

BE vibrant

Scholarships available for majors, minors, and participants in the band, choir, orchestra, and keyboard areas.

directed musical behaviors of young children at the 2019 Mountain Lake Colloquium: “Revisiting Moorhead and Pond (1941): Implications for the 21st-Century Generalist Music Methods Course.”

Paige Stafford is a senior clarinet performance major who studies with Dr. Georg Klaas. This summer, Paige attended the Kent Blossom Music Festival where she performed in chamber ensembles and orchestras with talented music students from around the world. She received instruction from members of the Cleveland Orchestra and performed side-by-side with the acclaimed orchestra at the Blossom Music Center in July.

The Ohio State University School of Music The Ohio State University recently began construction on the new Arts District, including a four-story addition to Weigel Hall (home of the School of Music) which will feature a new 250-seat recital hall, a large ensemble rehearsal room, several high-tech classrooms, 36 new practice rooms, and dedicated space for research lab projects. A new, complementary building for the Department of Theatre will be constructed next door. The Arts District is a complement to the 15th & High project and will also include a University Square and a new home for WOSU

Scholarship Audition Dates November 2, 2019 January 20, 2020 February 15, 2020 February 17, 2020 February 22, 2020

(800) 992-6682 mountunion.edu/music

Public Media. During construction, the School of Music is excited to have the opportunity to partner with local schools, churches, and colleagues to take performances off-campus and into the community.

The school is pleased to welcome new faculty for the 2019–2020 academic year. Robert Bode, visiting professor and associate director of choral studies; Miriam Burns, visiting professor and director of orchestral studies; Richard Palese, instrumental music education; Jordan Saul, choral music education; Byron Stripling, jazz trumpet; Sterling Tanner, trombone; Colin Wood, jazz theory and composition.

Eugenia Costa-Giomi, music education, received a grant from the Ohio Arts Council in support of Ohio State’s Latin American Music Celebration, honoring National Hispanic Heritage Month. The month-long festival is a collaboration with the Organization of Hispanic/Latino Faculty and Staff and other university units, and will feature guest artists from Universidad Nacional de las Artes, Argentina.

Robert Gillespie, music education, has been selected by the National Board of the American String Teachers Association to receive the Paul Rolland Lifetime Achievement Award. This award is given “to a pedagogue OCTOBER/NOV EMBER 2019 | 63

of renown stature who has made significant contributions during his or her career.” He will receive the award during the 2020 National ASTA Conference in Orlando, FL. The University of Dayton The Department of Music is excited to announce the appointment of Dr. Latasha Thomas-Durrell as Coordinator of Music Education. Dr. Thomas-Durrell’s Ph.D. in Music Education is from Michigan State University. She also holds an MM in Music Performance from the University of Central Arkansas, an MM in Music Education from the University of North Carolina at Greensboro, and a BM in Music Education from the University of Tennessee at Martin. She brings years of experience as an educator, having taught in elementary, middle, and high school settings.

Dr. Patrick Reynolds will conduct the Dayton Opera production of Puccini’s La Bohème on November 15 and 17. This will be Dr. Reynolds’ sixth production as a conductor with Dayton Opera.

Dr. Chad Arnow, Assistant Professor of Trombone, performed at the 2019 International Women’s Brass Conference and the 2019 International Trombone Festival

at

as a member of the Elysian Trombone Consort. The group premiered five new works for trombone quartet composed by women.

Mezzo Soprano and voice faculty member Dr. RyuKyung Kim performed the role of Queen Lili’oukalani in Luna Pearl Woolf’s Better Gods with the Little Opera Theatre of New York.

During July 2019, Dr. Heather MacLachlan presented findings from her research at two international academic conferences: The International Council on Traditional Music 45th World Conference at Chulalongkorn University in Thailand, and the Christian Congregational Music: Local and Global Perspectives at Ripon College Cuddesdon in England.

Music Education senior Caleb Vanden Eynden received a summer research grant to conduct field work on funk music pedagogy in Dayton; his advisor was Dr. Samuel Dorf. Blaise Stephens, a junior Music Performance major, received the College of Arts and Science’s Dean’s Summer Fellowship this summer and worked on a project based on Louis May Alcott’s “Little Women” with faculty advisor Dr. Ryu-Kyung Kim.

MUSIC

Malone University

EnsEmblEs

University Chorale, Chamber Choir, Women’s Concert Choir, Men’s Glee Club, Malone Opera Theatre, Symphonic Band, Marching Band, Jazz Ensemble, Piano Ensemble, Flute Ensemble, Percussion Ensemble, Woodwind Ensemble, Strings Ensemble, Commercial Recording and Performance Ensemble, Music Ministry Experience PROGRAms

B.A. in General Music B.A. in Music Ministry

B.S. in Music Education Certificate in Piano Pedagogy

B.A. in Music Production Certificate in Voice Pedagogy

AUDITIOn DATEs

See a schedule at www.malone.edu/music. sCHOlARsHIPs

Scholarships are available for majors and non-majors.

Malone University is an accredited institutional member of the National Association of Schools of Music.

64 | TRIAD

Canton, Ohio | 330.471.8231 | www.malone.edu/music

we creativity. crave M u s i c P e r f o r M a n c e , c o M P o s i t i o n , a n d e d u c at i o n audition dates:

Music events:

Oct. 27, 2019

OWU Choral Music Festival: October, 27, 2019

Nov. 11, 2019

OWU Brass Day: November 16, 2019

Feb. 13, 2020

OWU MS Honor Band Festival: January 18, 2020

Feb. 17, 2020

OWU High School Honor Band Festival & Band Director’s Bootcamp: February 13-15, 2020

Feb. 29, 2020

for more information, contact OWU’s Music Department at musicd@owu.edu or 740-368-3700, or visit owu.edu/music.

OMEA GRADUATE RESEARCH FORUM THURSDAY, JANUARY 30, 2020 9:30 A.M. – 3:30 P.M. HYATT HOTEL - FINDLAY’S ROOM FEATURED SPEAKER: DR. RUTH BRITTIN, PROFESSOR AND COORDINATOR OF MUSIC EDUCATION AT THE UNIVERSITY OF THE PACIFIC IN STOCKTON, CA

Ruth Brittin is Professor and Coordinator of Music Education at University of the Pacific in Stockton, California. She teaches graduate and undergraduate courses to music education majors and graduate courses to music education and music therapy students. Dr. Brittin moved to Pacific in 1997 after eight years as Chair of Music Education at Syracuse University.

Ruth’s teaching and research interests span instrumental music and elementary general music. Ruth has served on the editorial review board of Journal of Research in Music Education, was editor of Update: Applications of Research in Music Education for 12 years, and editor of International Journal of Music Education for the International Society for Music Education (ISME) for six years. She reviews regularly for journals such as Psychology of Music and Research Studies in Music Education and represents the USA for the ISME Research Commission. Many of Ruth’s studies involve music preference and perception, including topics ranging from cultural perceptions in music to how children can learn about the Holocaust through music education to rehearsal techniques and repertoire choices. She has brought her research expertise and perspective to graduate programs across the country as an invited speaker. She hails from Texas (Texas Tech University), taught in the Dallas metroplex, and received her PhD in Music Education at Florida State University.

Ruth has engaged in a wide array of music education outlets. She has written the teacher manuals for The Yamaha Advantage, a band method book published by Carl Fischer, is an active clinician, adjudicator, and performer with wind ensembles, orchestras, and chamber music, has composed music for band and children’s choirs, has been a Suzuki mom for over 20 years, is engaged in approaches such as The O’Connor Method and Little Kids Rock with her students, and has taught and studied music education settings as diverse as jazz, bluegrass, and El Sistema.

SCHEDULE 9:30 a.m.

10:00 a.m.

Continental Breakfast Dr. Ruth Brittin - Understanding and Exploring a World of Research in Music Education

Researchers in music education are active across the globe, and this session explores issues of reading, conducting, and disseminating research with an international perspective. How is music education similar and different across the world? How do researchers in different countries and cultures focus on music education? Are research priorities and approaches similar or different from those in the USA? What are some of the logistical considerations when collaborating or corresponding with scholars from other places or with divergent perspectives? This session includes examples of productive and inspiring research available through international music education organizations such as ISME. Noon Lunch break 1:30– 3:30 p.m.

Graduate Research Roundtable Welcome to all preK-12 and collegiate educators, 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 contacting Dr. Pat Grutzmacher at pgrutzma@kent.edu by Monday, January 27, 2020.

OCTOBER/NOV EMBER 2019 | 67

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OMEA RESEARCH COMMITTEE 2020 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE GRADUATE RESEARCH ROUNDTABLE CALL FOR PROPOSALS SUBMISSION DEADLINE: NOVEMBER 15, 2019 A graduate research roundtable session will be held at the 2020 OMEA Professional Development Conference on January 30 from 1:30 to 3:30. Six Ohio graduate music education students will be selected to present in-progress dissertations, theses, or other research projects to Ohio college and university music education faculty and students in a conversational setting.

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 in-progress research, 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 (maximum) 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, 2019. All applicants will be notified of the status of their submission by December 4, 2019.

If you have any questions about this process, please contact Dr. Nathan Kruse at: nathan.kruse@case.edu or 216-368-0675.

OCTOBER/NOV EMBER 2019 | 69

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OMEA RESEARCH COMMITTEE 2020 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE RESEARCH POSTER SESSION CALL FOR PAPERS SUBMISSION DEADLINE: NOVEMBER 15, 2019 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 Cincinnati Ohio, January 30 –February 1, 2020. The session will be held on Friday, January 31 from 12:00 noon to 1:00 pm.

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 it must be included with the submission, as well as the author’s name, address, and e-mail. If all 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 e-mail 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 of (https://www.omea-ohio.org/cme.a5w). 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, 2019. 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. E-mail the materials to Dr. Paul Louth [omeapostersession2020@gmail. com], OMEA Research Poster Session Chair, with “OMEA Research Poster Submission” in the subject field.

If accepted for presentation, the primary or listed co-researchers must register for and attend the conference to present the poster.

OCTOBER/NOV EMBER 2019 | 71

School of Music Welcome new faculty Dr. Marc Reed

Director, School of Music, School of Dance, Theatre, and Arts Administration

Dr. James Johnson Assistant Professor, Trumpet

Dr. Kiirsi Maunula Johnson Visiting Assistant Professor, Horn

• Outstanding programs, ensembles and facilities • Numerous performance opportunities • Master classes and residencies by acclaimed guest artists • Affordable tuition and generous scholarships • Internationally renowned faculty-musicians

DEGREE PROGRAMS Bachelor of Music (B.M.) • Music Education • Theory/Composition • Performance • Jazz Studies • Accompanying Bachelor of Arts in Music (B.A. in Music) Master of Music (M.M.) Dr. Marc Reed, Director 330-972-7590 • music@uakron.edu www.uakron.edu/music The University of Akron is an Equal Education and Employment Institution www.uakron.edu/eeo ©2019 The University of Akron

Music Careers Day Monday, Oct. 14, 2019

Free, fun, and informative for high school students and parents!

• Explore academic and career opportunities in music.

• Talk with faculty, students, and alumni.

• Tour campus.

• Rehearse with University ensembles.

• Prepare for college and career success.

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

To register for Music Careers Day, call 330-972-8301, email planasa@uakron.edu, or register online at www.uakron.edu/music.

Collage 2019

Wednesday, Nov. 6, 7:30 p.m.

E.J. Thomas Performing Arts Hall Experience the best of UA’s School of Music in one exciting, non-stop event. Kulas Concert Series: $12 general, $6 non-UA students, free for UA students with Zip Card.

Free morning performance for high schools!

Call 330-972-8301 for details.

48th Annual Ohio Band Directors Conference (OBDC) Saturday, Dec. 7, 2019, Student Union

Strongsville High School Wind Ensemble, Brunswick High School Wind Ensemble, Jackson High School Wind Ensemble, and The University of Akron Wind Symphony, Symphony Band, and Concert Band.

Guest conductor Dr. Leslie Hicken, Director of Bands Emeritus at Furman University. Guest composer Randall Standridge of Grand Mesa Music Publishers.

Deadline for OBDC Honor Band applications is October 18. Call 330-972-7590 or visit www.uakron.edu/bands/obdc/honor-band for details.

40th annual TubaChristmas

Saturday, Dec. 21, noon and 2:30 p.m.

E.J. Thomas Performing Arts Hall

Scholarship Auditions Saturday, January 25, 2020 Saturday, February 8, 2020 Monday, February 17, 2020

For more information: 330-972-8301 music@uakron.edu

The University of Akron

Buchtel College of Arts and Sciences School of Music

OMEA RESEARCH COMMITTEE 2020 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE RESEARCH POSTER SESSION FOR UNDERGRADUATE MUSIC MAJORS CALL FOR PAPERS SUBMISSION DEADLINE: NOVEMBER 15, 2019 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 Cincinnati, Ohio January 30-February 1, 2020. The poster session will be held on Friday, February 1, 12:00 pm – 1:00 pm.

Research reports in music education and other related music disciplines are welcome. It is anticipated that these submissions may be work completed during the previous school year or summer. 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; and (c) senior projects completed during the 2018-2019 school year. Those who wish to submit a report for consideration should comply with the following guidelines: 1. Submit a copy of the completed 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 schoolsanctioned 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 pgrutzma@kent.edu.

2. The project should demonstrate sound research practices with appropriate writing style, generally following the submission guidelines of Contributions to Music Education (https://www.omea-ohio. org/cme.a5w). 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, 2019. 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. E-mail the materials to Dr. Patricia Grutzmacher, pgrutzma@kent.edu, 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/NOV EMBER 2019 | 73

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 2019.

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: Roger Hall

8227 Audubon St. NW

Massillon, Ohio 44646 74 | TRIAD

MUSIC AT MUSKINGUM

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76 | TRIAD

CO M M I T T E E R E PO RT O U TSTA N D I N G AWA R DS

OUTSTANDING AWARDS LINDA J. FOX-MILLER, AWARDS COORDINATOR Isn’t there someone you know who deserves recognition? Here it is, the start of another school year, and the OMEA Professional Development Conference seems light-years away. In reality, the conference 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.

The deadline for receiving nominations is November 1st, and you can access the forms and requirements HERE. 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. All nominations are kept for two years.

Think about it: Outstanding Music Educator, Outstanding Young Music Educator, Outstanding Administration, and Outstanding Music Support Group. Who can you nominate?

SCHOOL OF MUSIC

2020 AUDITION DATES February 1, 8 and 29 or by appointment.

CONTACT INFORMATION music.depauw.edu 765-658-4118 georgepalton@depauw.edu OCTOBER/NOV EMBER 2019 | 77

OFME “Strike –A-Chord” 2019 Golf Outing Special THANKS to the following: DINNER SPONSOR:

Music Travel Consultants LUNCH SPONSOR: Bob Rogers Travel GOLFER GIFT SPONSOR: Buddy Rogers Music HOLE SPONSORS:

Blue Lake Fine Arts Camp

OMEA Trustees

Mike & Wendy Crist

Pellegrino Music Center

Custom Fundraising Quavermusic.com

Educational Tours, Inc.

Raymond James Financial

Roger & Jennie Hall

Rettig Music, Inc.

Terry & Neil Herschman

Soundwaves Recording

Noteworthy Tours

The Symonds Group, Inc.

OFME Board of Directors

United Heartland Insurance

Roger Hall, Executive Director, Ohio Music Education Association David Adamson, Development Director, Ohio Foundation for Music Education OFME Golf Committee: Kathy McGrady, Phil Louden, and Rob Cintron Brian Bridges, Manager at Chapel Hill Golf Course & Staff

78 | TRIAD

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CORPORATE INSTITUTIONAL PARTNERS LEVEL III – PRESIDENT’S CLUB Bluffton University 1 University Drive, Bluffton, OH 45817 battlec@bluffton.edu www.bluffton.edu/music

Noteworthy Tours, Inc. P.O. Box 1665, Sandusky, OH 44871 travel@noteworthytours.com www.noteworthytours.com

Bob Rogers Travel 3440 Lacrosse Lane, Naperville, IL 60564 info@bobrogerstravel.com www.bobrogerstravel.com

Ohio State University School of Music, The 110 Weigel Hall, 1866 College Road Columbus, OH 43210 music@osu.edu music.osu.edu

Bowling Green State University College of Musical Arts - Moore Musical Arts Center Bowling Green, OH 43403-0292 www.bgsu.edu/music

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

Buddy Roger’s Music 6891 Simpson Avenue, Cincinnati, OH 45239 bill@buddyrogers.com www.buddyrogers.com

Rettig Music, Inc. 510 Clinton St., Defiance, OH 43512 cindy@rettigmusic.com www.rettigmusic.com

C.A. House Music 52335 National Road ESt., Clairesville, OH 43950 melissac@cahousemusic.com www.cahousemusic.com

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

Conn-Selmer P.O. Box 310, Elkhart, IN 46515 marketing@conn-selmer.com www.conn-selmer.com

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

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Music & Arts 5295 Westview Drive, Frederick, MD 21703 tracy.katz@musicarts.com www.musicarts.com

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Music Travel Consultants 5348 W. Vermont St. Suite 200, Indianapolis, IN 46224 jennifer.vierling@musictravel.com www.musictravel.com

80 | TRIAD

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CORPORATE INSTITUTIONAL PARTNERS LEVEL II – OMEA PATRON Akron, The University of School of Music, Guzzetta Hall 260, Akron, OH 44325-1002 music@uakron.edu www.uakron.edu/music Ashland University 401 College Avenue, Ashland, OH 44805 music@ashland.edu www.ashland.edu/music Capital University Conservatory of Music One College & Main, Columbus, OH 43209 tzugger@capital.edu www.capital.edu/music Case Western Reserve University 10900 Euclid Avenue, Cleveland, OH 44106 music@case.edu http://music.case.edu Cleveland State University 2121 Euclid Avenue MU332, Cleveland, OH 44115 music@csuohio.edu www.csuohio.edu/class/music Educational Tours, Inc. P.O. Box 257, Holt, MI 48842 eti@tours-eti.com www.tours-eti.com Kent State University 1325 Theatre Drive, Kent, OH 44242 schoolofmusic@kent.edu www.kent.edu/music Marietta College 215 Fifth Street, Marietta, OH 45750 arf005@marietta.edu www.marietta.edu/ music-department

Music is Elementary, Inc 5220 Mayfield Road, Cleveland, OH 44124 rguzzo@musiciselementary.com http://www.musiciselementary.com Muskingum University 163 Stormont Street, New Concord, OH 43762 music@muskingum.edu www.muskingum.edu/dept/music Ohio Northern University 525 South Main Street, Ada, OH 45810 p-warner@onu.edu www.onu.edu/music Ohio Wesleyan University 61 S. Sandusky Street/Music Department Delaware, OH 43015 rdedward@owu.edu music.owu.edu Otterbein University 1 South Grove Street, Westerville, OH 43081 ddavenport@otterbein.edu cbrock@otterbein.edu www.otterbein.edu/music University of Dayton 300 College Park, Dayton, OH 45469-0290 musadms@udayton.edu go.udayton.edu/music West Music 1212 Fifth Street, Coralville, IA 52241 smarchuk@westmusic.com www.westmusic.com Youngstown State University – Dana School of Music One University Plaza, Youngstown, OH 44555 regoldberg@ysu.edu www.ysu.edu/music

Miami University 501 S. Patterson Ave 109 Presser Hall, Oxford, OH 45056 music@miamioh.edu music.miamioh.edu

OCTOBER/NOV EMBER 2019 | 83

CORPORATE INSTITUTIONAL PARTNERS LEVEL I – OMEA SPONSOR Baldwin Wallace University 275 Eastland Rd., Berea, OH 44017 music@bw.edu www.bw.edu

Ohio University School of Music 440 R. Glidden Hall, Athens, OH 45701 kasler@ohio.edu www.finearts.ohio.edu/music

College of Wooster Scheide Music Center, Wooster, OH 44691 lwong@wooster.edu www.wooster.edu/departments/music/

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

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 miskeljp@mountunion.edu www.mountunion.edu/music

J.W. Pepper 6330 E. 75th St. Suite 122, Indianapolis, IN 46250 indianapolis@jwpepper.com www.jwpepper.com

University of Toledo 2801 W. Bancroft St. MS605, Toledo, OH 43606 utmusic@utoldeo.edu www.utoledo.edu/al/svpa/music

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PUBLICATION SCHEDULE

TRIAD ISSUE October/November 2019 December ‘19/January ‘20 April/May 2020

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

DEADLINE DATE* August 5, 2019 October 1, 2019 February 10, 2020

POSTING DATE** October 7, 2019 December 2, 2019 April 6, 2020

*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: Terri Brown Lenzo • editor_of_triad@omea-ohio.org DESIGN/PRODUCTION: Amy Annico • 440-941-4269 • media_director@omea-ohio.org ADVERTISING: Bill Wittman • 740-975-3753 • business_director@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...........................................................................................................................................................................................................72 Alfred Music....................................................................................................................................................................................................................................................................................... 13 Blue Lake Fine Arts Camp............................................................................................................................................................................................................................................................. 79 Bowling Green State University.................................................................................................................................................................................................7 Case Western Reserve University........................................................................................................................................................................................... 48 CMS Publications............................................................................................................................................................................................................................................................................. 84 Contributions to Music Education.............................................................................................................................................................................................................................................. 12 College of Wooster................................................................................................................................................................................................................... 49 DePauw University...........................................................................................................................................................................................................................................................................77 Heidelberg University School of Music & Theatre................................................................................................................................................................19 Kent State University................................................................................................................................................................................................................ 23 Malone University...................................................................................................................................................................................................................... 64 Marietta College........................................................................................................................................................................................................................44 Miami University Music Dept.....................................................................................................................................................................................................31 Musicians Repair Service............................................................................................................................................................................................................................................................. 68 Muskingum University................................................................................................................................................................................................................75 Noteworthy Tours, Inc...............................................................................................................................................................................................................82 Ohio Arts Council...............................................................................................................................................................................................................................................................................9 Ohio Northern University........................................................................................................................................................................................................... 81 Ohio State University School of Music, The............................................................................................................................................................................8 Ohio Wesleyan University......................................................................................................................................................................................................... 66 Ohio Wesleyan University Music Camp.................................................................................................................................................................................. 22 Otterbein University...................................................................................................................................................................................................................62 Rettig Music, Inc.......................................................................................................................................................................................................................IFC Royalton Music Center................................................................................................................................................................................................................41 Stanton’s Sheet Music.....................................................................................................................................................................................................................................................................65 Summit Tour & Travel, Inc........................................................................................................................................................................................................27 University of Dayton................................................................................................................................................................................................................. 45 University of Mount Union.........................................................................................................................................................................................................63 University of Nebraska................................................................................................................................................................................................................................................................... 18 West Music Company.................................................................................................................................................................................................................75 Wittenberg University................................................................................................................................................................................................................................................................... 32 Yamaha Corporation of America..............................................................................................................................................................................................70

* Bold signifies a Corporate/Institutional Partner OCTOBER/NOV EMBER 2019 | 85