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ISSUE ONE

TRIAD O CTO B E R / N OV E M B E R 2020

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TABLE OF

C O N T E N TS 4

FROM THE EDITOR: DR. TERRI BROWN LENZO

FROM THE PRESIDENT: ANN USHER

RESEARCH TO PRACTICE

DIVERSITY, DISCIPLINE, AND DOMINANT CULTURE: IMPLICATIONS FOR MUSIC TEACHERS-Dr. Lisa Martin

MASTERING THE CRAFT

MEASURING GROWTH WITHIN PERFORMANCE ENSEMBLES - Dr. Emily Pence Brown

RESOURCES FOR 2020 - Dr. Lisa Wong

BAND: IMPLEMENTING A MENTORING PROGRAM - Heather Marsh

BOOK REVIEW: SQUEAK BIG! PRACTICAL FUNDAMENTALS FOR THE SUCCESSFUL

CLARINETIST BY DR. PHILIPAGLIALONGA - Dr. Christopher Bowmaster

TECHNOLOGY: TRUSTING STUDENT CAPABILITIES DURING TIMES OF TROUBLE - Bethany Nickel

REPORTS, REVIEWS & UPDATES

2020 FALL VIRTUAL PROFESSIONAL DEVELOPMENT CONFERENCE REVIEW - Mark Hensler

OMEA ADJUDICATED EVENTS COMMITTEE REPORT - JAY WARDESKA

OCMEA FALL 2020 UPDATE - WENDI BECHTOL-DAVIS

OCMEA UPDATES - VIKTORIA STRAKA

OCMEA MEMBERSHIP FOR THE FUTURE - JACOB BUTZIN

OHIO ARTS COUNCIL

CRISIS AND OPPORTUNITY: A HOPEFUL REIMAGINING OF THE ARTS - JARRED SMALL

OCDA 55

OCDA PROFESSIONAL ASSOCIATION REPORT - BRANDON L. MOSS

HIGHER EDUCATION

CASE WESTERN RESERVE UNIVERSITY, COLUMBUS STATE COMMUNITY

COLLEGE, KENT STATE UNIVERSITY, OHIO NORTHERN UNIVERSITY, THE OHIO STATE

UNIVERSITY SCHOOL OF MUSIC

CORPORATE INSTITUTIONAL PARTNERS

OHIO FOUNDATION FOR MUSIC EDUCATION SUPPORT FORM

PUBLICATION SCHEDULE & ADVERTISING INDEX

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

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INFORMATION

N E T WO R K EDITOR: TERRI BROWN LENZO

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

editor_of_triad@omea-ohio.org

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

ROGER A. HALL Executive Director executive_director@omea-ohio.org

ADVERTISING: BILL WITTMAN

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. LXXXVIII, NO. 1

TRIAD EDITORIAL BOARD Immediate Past Editor - Eric West Band - Heather Marsh Culturally Responsive Education - Lisa Wong Orchestra/Strings - Roberto Iriarte Student Assessment - Dr. Lisa Martin Teacher Education - Heather Russell Technology - Brian Laasko

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 THOMAS 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 ANN USHER President president@omea-ohio.org

OCMEA OFFICERS VIKTORIA STRAKA OCMEA President ocmea_president@omea-ohio.org

DANIEL RUCKMAN President-Elect president_elect@omea-ohio.org

RACHEL KRUEGER OCMEA President-Elect ocmea_president_elect@omea-ohio.org

KATHLEEN MCGRADY Immediate Past-President past_president@omea-ohio.org

KATIE JOHNSON OCMEA Secretary ocmea_secretary@omea-ohio.org

ROBERT ANTONUCCI Secretary secretary@omea-ohio.org

JACOB BUTZIN Membership Chair jbutzin12@icloud.com

TERRI BROWN LENZO Editor of TRIAD editor_of_triad@omea-ohio.org

TAI KNOLL Communications Director tlknoll@bgsu.edu

MICHAEL KELLY Treasurer treasurer@omea-ohio.org

OCTOBER/NOV EMBER 2020 | 3

F RO M T H E E D I TO R Dear Readers: Vision 2020: The Housewright Symposium on the Future of Music Education was an initiative of NAfME (then MENC) that took place in 1999. Music educators, students, and other stakeholders gathered to predict the state of affairs that would exist in our field during the year 2020. There are several articles about this event in the current issue of Contributions to Music Education, the OMEA research journal. What the symposium participants could not have envisioned for this year is that the actual context of music education would almost completely change and that most music educators would be feeling like first-year teachers in several areas of their work, regardless of their actual years of experience. However, what likely would have been anticipated, should those topics have arisen, is that music educators would adjust, adapt, and develop quality learning activities for their students despite drastic shifts in educational settings and teaching techniques. Reinvention and forward movement through embracing new technologies has been the manner of our profession practically since its inception. Who remembers the first sessions conducted at the OMEA PDC on using the iPod? We could continue moving backward in technological history: compact discs, cassette tapes, albums, live piano playing. While I can’t be certain, I believe I would almost rather be navigating the current changes than teaching during the 4 | TRIAD

initial introduction of recordings into music education settings. At any rate, it is amazing to consider this history now that we are using multiple technologies to facilitate standards-based music learning. Through all of the changes in 2020 (thus far!), music educators have been creative and resilient. Several of the authors in this issue have commented on these characteristics. Bethany Nickel has written “Trusting Student Capabilities in Times of Trouble” in which she states that “Music teachers are a committed, hard-working bunch.” OMEA President Dr. Ann Usher states in her letter, “Music educators, being the creative and dedicated souls that we are … .” It is remarkable that we are not just persevering—we are innovating. Think of the large and small innovations that you have integrated into your own teaching such as new instructional strategies, use of new technologies or organizational methods, or implementation of greater self-care. As OMEA members, we can celebrate the herculean efforts of the OMEA staff—Amy Annico, Roger Hall, Mark Hensler, Greg Taylor, and Bill Wittman—in researching, organizing, and launching the inaugural virtual professional development conference. Members of the Adjudicated Events Committee also reinvented marching band and solo and ensemble events in just a few months. While there have been some positive changes this year, we should also acknowledge that there may be a

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bit of sadness because we can’t sing, play, dance, teach, or engage our students in the ways we love right now, and it’s tough feeling like a new teacher, whether or not you actually are! This commonality of experiences across the profession offers opportunities for greater understanding of each other and of our different music education domains. Dr. Lisa Wong offers encouragement in “Culturally-Responsive Pedagogy: Resources for 2020” Many have found solace in learning we are not facing the coming year alone; whether in person or online, we have a team of peers standing together, reminding us that we are at our best when we unite for a common goal. Adjudicated Events Committee Chair Jay Wardeska states, “’We’re all in this together’ has become the pop culture phrase of the pandemic. As trite as it may seem, it is truer now than ever.” It is this spirit of teamwork that I am thankful for as editor. Thank you to Amy Annico, OMEA Director of Media and Publications, for her artistic and thoughtful design of this issue. Personally, I have found it quite

challenging to focus on research and writing during this time, so I am grateful to all of the authors in this issue who conquered that challenge. They have offered insightful content applicable to a variety of music education settings. Please contact them, and let them know that you appreciate their work. Vision 2021? We’re going to make it! Terri Brown Lenzo, Ph.D. Editor of TRIAD

Terri Brown Lenzo, Ph.D., is an assistant professor of music education at Ohio Northern University. She holds degrees from The University of Cincinnati College-Conservatory of Music, The University of Iowa, and Kent State University. Dr. Lenzo has 26 years of experience teaching PK –12 students, having worked as a 5-12 band director and as a general music teacher in public and private schools and in entrepreneurial settings. Her research interests include early childhood music education, use of Orff Schulwerk in band settings, and music integration by classroom teachers.

YOUNGSTOWN STATE UNIVERSITY DANA SCHOOL OF MUSIC

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QUESTIONS:

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6 | TRIAD

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

F RO M T H E P R ES I D E N T Welcome to the fall edition of TRIAD. I hope this finds you healthy, happy, and off to a good start for what promises to be an unusual school year, in any format. The global pandemic of the novel coronavirus COVID-19 forced us all to make a sudden shift to online learning last spring. The entire world came to a sudden halt, and we all frantically learned how to Zoom to maintain connections with our students and families as we sheltered in place. We survived the crisis of the final weeks of the 2019-2020 school year with virtual commencement ceremonies, awards left on doorsteps, and the hope that the world would be back to normal by fall. Music educators, being the creative and dedicated souls that we are, spent the summer trying to make plans for every type of contingency for the fall. We had so many questionsâ€“ is it safe to sing or play together? Will we teach face-toface, remotely, or in some kind of hybrid schedule? Who would have ever thought that the very soul-healing act of making music was riskier than math class? We had so many questions and so few answers. OMEA, along with the Ohio Foundation for Music Education, NAfME, and over a hundred other arts organizations, signed on to help sponsor research to answer as many of those questions as possible. Led by the National Federation of State High School Associations (NFHS), the National Association of Music Merchants (NAMM), the College Band Directors National Association (CBDNA), and the Dâ€™Addario Foundation, this ground-breaking study into the aerosol transmission of COVID-19 by wind instrumentalists, vocalists, and even actors, and how 8 | TRIAD

quickly those aerosol rates accumulate in a space has given us preliminary data to help us return safely to the rehearsal room. If you have not thoroughly digested that information, I encourage you to visit the NFHS website at: https://www. nfhs.org/articles/unprecedented-international-coalition-ledby-performing-arts-organizations-to-commission-covid-19study/, along with their FAQ page. OMEA has put together an infographic to help summarize the important risk mitigation strategies, and that can be found on our website as well. Never before in my career have I been so grateful to be a part of OMEA, NAfME, OCDA, ACDA, OAAE, and other professional organizations. These groups have truly stepped up to provide members professional development, support, and opportunities to help navigate this difficult time. Organizations and teachers have been sharing unlike ever before, through webinars, social media support groups, and video conferencing meetings. While we mourn the loss of in-person events like State Marching Band Finals or the 2021 Professional Development Conference in Columbus, we are finding creative ways to meet the needs of our students and teachers. JD Latorre and the AE Committee have put together a Marching Band Virtual Critique to give meaningful educationally minded feedback about marching band performances in any form. Bands can submit recordings between September 28th and October 31st through the OMEA website. The AE Committee, under the leadership of Jay Wardeska, AE chair, and Bill Thomas, director of adjudications, and with the incredible efforts of Technology Director Greg Taylor, are preparing to roll out a virtual

Music Careers Day

Wednesday, Oct. 21, 2020 Free, fun, and informative for high school students and parents – all online live!

School of Music Congratulations to OMEA President Ann Usher! Dr. Usher is Associate Dean for the Buchtel College of Arts and Sciences, Fine Arts and Humanities divisions. She is Coordinator of Music Education, entering her 21st year at the UA School of Music.

• 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 • Performance • Accompanying

• Theory/Composition • Jazz Studies

Bachelor of Arts in Music (B.A. in Music) Bachelor of Arts in Music with Business Cognate Master of Music (M.M.)

The University of Akron School of Music Dr. Marc Reed, Director 330-972-7590 • music@uakron.edu www.uakron.edu/music

• Explore academic and career opportunities in music. • Talk with faculty, students, and alumni. • Listen to performances of UA students. • Prepare for college and career success. • Learn about the admissions process, music auditions, scholarships, Honors College, residence halls, financial aid, and more! To register for Music Careers Day, call 330-972-8301, email music@uakron.edu, or register online at www.uakron.edu/music.

Collage 2020 is going virtual!

Wednesday, Oct. 28 Live streams at 9:30 a.m. and 7:30 p.m. Experience the best of UA’s School of Music in one exciting, non-stop event. Part of the School of Music’s Kulas Concert Series. Visit www.uakron.edu/music for details.

49th Annual Ohio Band Directors Conference (OBDC)

Saturday, Dec. 5, 2020, virtual conference Performances by the UA Bands and master classes by UA applied faculty. Featuring the music of guest composer Brant Karrick, clinic sessions for directors, and the presentation of the 2020 OBDC Hall of Fame Award. Call 330-972-8301 or visit www.uakron.edu/bands for details.

Scholarship Audition Days Monday, February 15, 2021 Saturday, February 20, 2021 Friday, March 5, 2021 Live and virtual options available. Sign up online at www.uakron.edu/music. Click on the “Prospective Students” link for details.

Visit The University of Akron In-person visits, daily virtual admissions information sessions, and self-guided tours available. For more information, visit www.uakron.edu/admissions. For more information: 330-972-8301 music@uakron.edu

The University of Akron

Buchtel College of Arts and Sciences

solo and ensemble opportunity for both HS and MS levels this fall. This is not in place of spring adjudicated events but an additional opportunity to help provide relevance and feedback in whatever environment teachers find themselves for fall. No decisions have been made yet on the format of spring adjudicated events. The 2021 OMEA Professional Development Conference will be held in a virtual format this year and will include live and prerecorded clinic sessions, as well as ensemble performances. Registration is only $49 or free if you already registered and attended the Fall Virtual Professional Development Conference in September. Our heartfelt thanks go to Mark Hensler, Bill Wittman, Amy Annico, Greg Taylor, and Roger Hall for the countless hours they’ve invested into providing much-needed professional development opportunities in these new formats. While we can never replicate the size, scope, and quality of our normal professional development conference or adjudicated events, I hope these virtual opportunities will help you navigate these challenging times and help keep your students engaged. I am tremendously honored to serve as president of this organization over the next two years and appreciate the opportunity to get to know so many dedicated educators. Our new Diversity, Equity, Inclusion, and Access Committee is helping us examine who we are, what we do, and how

we can better serve the needs of students and teachers of color. The district presidents and region chairs have met together virtually a couple times over the summer, and the trustees have been meeting weekly since April. Through the incredible financial stewardship of many years, our Executive Director, Roger Hall, has enabled us to weather these rainy days and positioned us to come out a stronger organization on the other side of this challenge. Even though these are difficult times, our future is still bright and will be filled with the joy of making music and meeting together again, in person. Have a great year! Ann Usher is the associate dean for the Arts and Humanities Divisions of Buchtel College of Arts and Sciences and professor of music at The University of Akron in Akron, OH, where she teaches graduate and undergraduate courses, supervises student teachers, and coordinates the music education program. She has served OMEA in many capacities, including district president, conference co-chair, on the AE Committee from 1999-2013, and as the inaugural director of the All-State Children’s Chorus in 2014. Dr. Usher recently retired after her twentieth season as director of the Cleveland Orchestra Children’s Chorus. Active as a clinician and adjudicator, she holds a bachelor of music education degree from the University of Northern Iowa, as well as a master of music degree in choral conducting and a doctorate in music education from Kent State University.

BRIAN MEYERS, EDITOR (CONTRIBUTIONS@OMEA-OHIO.ORG)

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!

10 | TRIAD

CORPORATE INSTITUTIONAL PARTNERS LEVEL III PRESIDENTâ€™S CLUB In these challenging times the Ohio Music Education Association truly appreciates the support of those organizations, listed below, who have become Corporate or Institutional Partners in our efforts to support Music Education throughout Ohio. The OMEA Corporate/Institution Logo may be displayed for the purpose of identification as an Ohio MEA Corporate Partner.

CLICK ON EACH PARTNER TO VISIT THEIR WEBSITE

Alfred Music

P.O. Box 10003, Van Nuy, CA 91410-0003

Bob Rogers Travel

3440 Lacrosse Lane, Naperville, IL 60564

Bowling Green State University College of Musical Arts Moore Musical Arts Center, Bowling Green, OH 43403

Make Music, Inc.

7007 Winchester Circle #140, Boulder, CO 80301

Noteworthy Tours, Inc.

231 West Washington Row, Sandusky, OH 44870

QuaverMusic.com

1706 Grand Avenue, Nashville, TN 37212

Royalton Music Center

10167 Royalton Road Unit A, North Royalton, OH 44133

Solich Piano and Music Company 1315 Boardman-Canfield Road, Boardman, OH 44512

The Ohio State University School of Music 110 Weigel Hall, 1866 College Rd., Columbus, OH 43210

Wenger Corporation

555 Park Drive, Owatonna, MN 55060 OCTOBER/NOV EMBER 2020 | 11

CORPORATE INSTITUTIONAL PARTNERS LEVEL II OMEA PATRON In these challenging times the Ohio Music Education Association truly appreciates the support of those organizations, listed below, who have become Corporate or Institutional Partners in our efforts to support Music Education throughout Ohio. The OMEA Corporate/Institution Logo may be displayed for the purpose of identification as an Ohio MEA Corporate Partner.

CLICK ON EACH PARTNER TO VISIT THEIR WEBSITE

Akron, The University of

School of Music, Guzzetta Hall 260, Akron, OH 44325-1002

Ashland University

401 College Avenue, Ashland , OH 44805

Bluffton University

1 University Dr., #58, Bluffton, OH 45817

Case Western Reserve University

10900 Euclid Ave., 201 Haydn Hall, Cleveland, OH 44106-7105

Fred J. Miller Inc.

8765 Washington Church Rd., Miamisburg, OH 45342

Kent State University

1325 Theatre Drive, Kent, OH 44242-0001

Miami University Department of Music 501 S. Patterson Ave., 109 Presser Hall, Oxford, OH 45056

Muskingum University

10 College Drive, P.O. Box 1837, New Concord, OH 43762

Ohio Northern University 525 South Main Street, Ada, OH 45810

12 | TRIAD

CLICK ON EACH PARTNER TO VISIT THEIR WEBSITE

Otterbein University Department of Music 1 South Grove St., Westerville, OH 43081

Wittenberg University

632 Woodlawn Ave., Springfield, OH 45504

Youngstown State University Dana School of Music One University Plaza, Youngstown, OH 44555

SCHOOL OF MUSIC Fall Visit & Practice Audition Day

An engaging virtual experience for high school students curious about majoring in music, with a practice audition option for juniors and seniors.

Saturday, October 10, 2020

Spring Visit Day for all high school students

April 2021

noteworthy.

Audition Days for the 2021â€“2022 Academic Year

Saturday, December 5, 2020 Saturday, January 23, 2021 Saturday, February 13, 2021 For admissions and event information, visit music.osu.edu

OCTOBER/NOV EMBER 2020 | 13

CORPORATE INSTITUTIONAL PARTNERS LEVEL I OMEA SPONSOR In these challenging times the Ohio Music Education Association truly appreciates the support of those organizations, listed below, who have become Corporate or Institutional Partners in our efforts to support Music Education throughout Ohio. The OMEA Corporate/Institution Logo may be displayed for the purpose of identification as an Ohio MEA Corporate Partner.

CLICK ON EACH PARTNER TO VISIT THEIR WEBSITE

College of Wooster

Scheide Music Center, Wooster, OH 44691

Heidelberg University School of Music & Theatre 310 East Market Street, Tiffin, OH 44883

J.W. Pepper Inc.

6330 E 75th Street, Suite 122, Indianapolis, IN 46250

Malone University

2600 Cleveland Ave. NW, Canton, OH 44709

University of Mount Union 1972 Clark Avenue, Alliance, OH 44601

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14 | TRIAD

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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 2020.

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 16 | TRIAD

18 | TRIAD

RESEARCH TO PRACTICE

DIVERSITY, DISCIPLINE, AND DOMINANT CULTURE: IMPLICATIONS FOR MUSIC TEACHERS Dr. Lisa Martin Consider the students in your classroom. How many of your students look like you? How many of your students have the same customs and traditions as you? And how might racial and ethnic differences inform and influence your approach to classroom management and related interactions? In our increasingly pluralistic society, classrooms have become more diverse. Classroom interactions are inherently culturally driven; as such, it is important to examine cultural differences to identify opportunities for improved equity in the classroom. Despite our best efforts to be fair and inclusive, assumptions and biases are often evident in how we approach a range of classroom situations. These assumptions and biases can be particularly influential when it comes to classroom discipline. In music education, our workforce and classrooms are overwhelmingly white (Elpus, 2015; Elpus & Abril, 2011), and music classrooms tend to reflect white cultural norms and values. According to Gulati-Partee and Potapchuk (2014), white culture refers to “the dominant, unquestioned standards of behavior and ways of functioning embodied by the vast majority of institutions in the United States” (p. 26). White culture is normalized in U.S. schools, making it difficult to identify, but it privileges certain ways of speaking, ways of thinking, nonverbal communication styles, and specific behaviors, recognizing them as being good or correct while simultaneously depreciating those behaviors that differ (Gulati-Partee & Potapchuk, 2014; Monroe, 2006). Embodied cultural capital references the various social assets (e.g., mannerisms, relational styles, values) individuals hold that establish belongingness in a given environment and promote access to community advantages (Bourdieu, 1986). Students whose cultural capital aligns with

established norms fit more seamlessly into the classroom, while students who lack complementary cultural capital have a different–and oftentimes more challenging–school experience. Cultural mismatch can occur in any classroom, regardless of the dominant culture or background of the teacher; however, considering the overwhelming whiteness in music education, such cultural mismatches often disproportionately affect students of color (McGrady & Reynolds, 2013; Monroe, 2006). Scholar Carla R. Monroe describes cultural mismatches as “a lack of cultural synchronization,” explaining that “many disciplinary sanctions emanate from misinterpretations of student behavior” (2006, p. 165). Monroe describes several studies in which teachers perceived students of color as off-task or disrespectful, when in fact, those students were simply exhibiting behaviors that reflected their cultural background or needs. In the music classroom, such mismatches might manifest in a variety of ways. For example, imagine Mr. Tyson sees an African American student spending what he perceives as an excessive amount of time organizing her sheet music. Mr. Tyson becomes frustrated with the student, seeing her actions as a form of procrastination. However, Monroe (2006) notes that such “stage-setting behaviors” are critical for the success of African American students in the classroom. Monroe goes on to suggest that teachers should “avoid sanctioning culturally based actions that are not intended to be disruptive” (p. 194). Ultimately, music teachers must reflect upon how they perceive and interpret student behavior and why. Misinterpreting student behavior has various consequences. Students whose cultural behaviors fall outside institutional norms, or students whose culture does not align with that of the teacher, are OCTOBER/NOV EMBER 2020 | 19

typically subject to imbalanced selection and sanction when it comes to discipline. In other words, these students are more frequently identified as causing disciplinary issues, and they experience more severe consequences for their actions. This pattern causes strain on the student-teacher relationship, which can adversely affect classroom culture (McGrady & Reynolds, 2013; Monroe, 2006). In a field that continues to work toward diversifying its reach, this reality is especially problematic; music educators are charged with ensuring all students feel safe, are valued, and are treated equitably. MAKING A CHANGE Given the discipline gap that can manifest in the classroom, how might music teachers ensure a more culturally responsive and just approach to interpersonal interactions? Indeed, disrupting institutional norms is a complex task. Monroe (2006) suggests the following: 1. Teachers should understand themselves as cultural beings. By acknowledging that our own behaviors, assumptions, and expectations are learned, we can begin to own how our experiences shape our perceptions in the classroom. When you notice yourself making a judgment or casting an assumption, dig deeper, and ask yourself, “But why do I think this?” Moreover, Monroe points out that because behaviors are learned, they can also be changed. Oftentimes we expect the students to make these changes, but we should also seek opportunities to shift our own mindsets and routines. 2. Teachers should establish strong relationships with parents and other significant adult figures. Building relationships with key others creates a community of support that surrounds each student, while also conveying the value of students’ home cultures in the school experience. Discover ways to regularly, meaningfully connect with home, and be open to learning your students’ stories in the process. 3. Teachers should approach classroom discipline in a culturally responsive manner. Investigate community cultural patterns and authentically adapt your relational style to reflect new understandings. This could involve adjusting both verbal and nonverbal communication. Seek out culturally appropriate management strategies that might cast new light on conceptions of what constitutes good behavior in the classroom. 4. Teachers should assume multiple roles in their students’ lives. Showing interest in students’ lives both in and out of the classroom helps cultivate deeper relationships, 20 | TRIAD

which builds a greater sense of classroom community and shapes stronger mutual regard between student and teacher. Identify opportunities to regularly connect with students beyond the content. Doing so will not only demonstrate care, it helps you understand the background of each student and their worldview in a more nuanced, comprehensive manner. (pp. 164-165) MOVING FORWARD As our profession navigates a uniquely challenging time, establishing positive relationships with our students is more important than ever. Music teachers can use this time of uncertainty and unrest as an opportunity to reflect upon and address a range of assumptions and biases that carry into the classroom. By considering our own backgrounds and valuing those of our students, we can begin to ensure all students are treated equitably and with dignity in the classroom.

REFERENCES

Bourdieu, P. (1986). The forms of capital. In J. Richardson (Ed.), Handbook of Theory and Research for the Sociology of Education, (241-258). New York, Greenwood. Elpus, K. (2015). Music teacher licensure candidates in the United States: A demographic profile and analysis of licensure examination scores. Journal of Research in Music Education, 63(3), 314-335. Elpus, K., & Abril, C. (2011). High school music ensemble students in the United States: A demographic profile. Journal of Research in Music Education, 59(2), 128-145. Gulati-Partee, G., & Potapchuk, M. (2014). Paying attention to white cultural and privilege: A missing link to advancing racial equity. The Foundation Review, 6(1), 25-38. McGrady, P.B., & Reynolds, J.R. (2013). Racial mismatch in the classroom: Beyond black-white differences. Sociology of Education, 86(1), 3-17. Monroe, C.R. (2006). Misbehavior or misinterpretation? Closing the discipline gap through cultural synchronization. Kappa Delta Pi Record, 42(4), 161-165.

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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MASTERING THE CRAFT

ASSESSMENT: MEASURING GROWTH WITHIN PERFORMANCE ENSEMBLES Dr. Emily Pence Brown INTRODUCTION The ensemble classroom: full of warm-ups, sight-reading, repertoire rehearsing and…assessment? Streamlining assessment into a performance-based class can seem daunting, if not impossible. While teaching high school choir, I often thought, “I have a concert to prepare for…I don’t have time for assessment.” The truth is that when assessment is divided into manageable categories, it can easily become part of the daily and/or weekly routine without disrupting rehearsal time. The majority of assessment in the secondary ensemble classroom is based on nonacademic factors such as attendance and behavior instead of academic content (McMillan, 2001). Although this approach allows the teacher to hold students accountable for being present and behaving in an appropriate manner, it can also lead to a lack of content mastery and the dreaded “Easy ‘A’” connotation. Incorporating a strategic assessment plan allows teachers to accurately assess based on academic merit, improve student outcomes, and advocate for the validity and importance of the music program (Payne, Burrack, & Wesolowski, 2019). The difficulty with assessment is that there is no definitive fail-proof system. Formative vs. summative, informal vs. formal, longitudinal data, self-reflections, group projects–how do we decide where to begin? When addressing assessment with my preservice teachers, I encourage them to divide assessment into four categories: MACRO FORMAL

MICRO FORMAL

(WHOLE GROUP – GRADED)

(SMALL GROUPS/ INDIVIDUAL – GRADED)

MACRO INFORMAL

MICRO INFORMAL

(WHOLE GROUP – NOT GRADED)

(SMALL GROUPS/ INDIVIDUAL – NOT GRADED)

When viewed through these assessment lenses, it is possible to place assignments, activities, and objectives into one (sometimes two) of the above categories. MACRO FORMAL (WHOLE GROUP – GRADED) Macro Formal Assessment occurs when the entire group (i.e. ensemble) is given a grade as one entity. The most common occurrences of Macro Formal Assessment are within large group contests or other adjudicated events. This type of grading is summative. According to Fautley and Colwell (2012), summative assessment is “…designed to sum up the attainment of the learner” (pg. 261). Macro Formal Assessment in performance-based classes can provide students and teachers with a quantifiable “grade” by which they can measure areas of growth or weakness, but rarely occur more than once or twice in a school year and may not factor into the student’s grade for the class. Another example of Macro Formal Assessment is when the teacher assigns one grade to all students based on the efforts of the entire group. This usually appears as a participation grade. Depending on the school district’s requirements, a teacher may be expected to enter a daily grade for each student. Assigning a whole class grade based on behavior or participation is a quick way to give everyone a grade each day. There is a risk of having “one bad apple” that ruins the grade for everyone, but when so much of the success of an ensemble relies on being a team, Macro Formal Assessment reinforces that concept and can be a great addition to a student’s term grades. The experience of receiving a Macro Formal Assessment could help students learn how to work as a team and keep the needs of the entire group in perspective, but may not examine the formative components of assessment as accurately as the Macro Informal Assessment. OCTOBER/NOV EMBER 2020 | 23

MACRO INFORMAL (WHOLE GROUP – NOT GRADED) When reflecting on assessment techniques, many teachers would find that they mostly fall into Macro Informal Assessment. Macro Informal Assessment occurs when a teacher listens to the entire group, assesses what they hear, and then gives feedback based on that assessment. This is considered informal assessment because it does not normally include a quantitative grade–it merely functions to give formative feedback in order to continue making improvements on the journey toward the sum (i.e. concert). For example, a typical Macro Informal Assessment might be, “Choir, the rhythms in measures 1-8 were perfect, but you’re making a mistake in measures 9-10.” As opposed to, “Choir, based on your performance, your daily rhythm grade is an 80%.” The entire group is being addressed without necessarily giving them a grade. It is perfectly acceptable to quantify rhythm and pitch accuracy for a grade, but this limits the opportunity to properly assess the accuracy of individual students. MICRO FORMAL (SMALL GROUPS/INDIVIDUAL – GRADED) The format for both Micro Formal and Informal Assessments are identical to Macro. Micro Formal Assessment allows teachers to truly assess the skills and comprehension of individual students while quantifying those efforts with a formal grade. In a performance-based class, this can be achieved through sight reading tests, pass offs, or small group (quartet or octet) part tests. The challenge with Micro Formal Assessment is finding the time to test each student. If part tests are occurring during class, then students not being tested could be disruptive. One way to address this is by having the students record themselves and submit their assignments electronically. This approach allows the students to complete the task on their own time and could eliminate some of the performance anxiety of being graded. Another, perhaps obvious, example of Micro Formal Assessment is testing. Written exams or quizzes on music theory or history provide summative feedback and can help you reinforce the importance of music literacy. Micro Formal Assessment, although time consuming, gives teachers the opportunity to collect longitudinal data for each student in order to measure improvement and accurately provide quantifiable feedback for students. MICRO INFORMAL (SMALL GROUPS/INDIVIDUAL – NOT GRADED) The final category addresses smaller groups (sections or parts) or individual students in order to give feedback 24 | TRIAD

for improvement. Most of this assessment happens when the teacher gives real-time feedback during rehearsal. “Sopranos, you were flat on that high G.” This comment is addressing a small part of the entire choir. The comment was not, “Sopranos, your pitch accuracy assessments occur when a student is working one-on-one with a teacher, receiving an individual lesson, or when they are “standing out” within the group. Much like the Macro Informal Assessment, this category is mostly used in order to make improvements but is not necessarily used for a final grade. CONCLUSION Assessment was always crippling for me as a young teacher. I distinctly remember thinking that I had just dedicated four years as a music education major toward learning how to effectively run an ensemble rehearsal and that adding assessment prohibited me from doing that. My planning time was dedicated to score study, administrative tasks, answering emails, and drinking coffee. When it came time to enter grades, it was easiest and fastest to just put a letter grade for participation–a great disservice to the actual ability level of my students. Once I accepted assessment as a teaching tool and learned how to categorize it, I was able to use it to my advantage and give the students the opportunity to truly learn, grow, and become proficient in the subject area. Participation is great, but growth is long lasting. REFERENCES

Fautley, M., & Colwell, R. (2012). Assessment in the secondary music classroom. In G. McPherson & G. F. Welch (Eds.), The Oxford Handbook of Music Education (Vol. 1, pp. 476-494). Oxford, England: Oxford University Press. McMillan, J. H. (2001). Secondary teachers’ classroom assessment and grading practices. Educational Measurement: Issues and Practice, 20(1), 20-32. doi:10.1111/j.1745-3992.2001.tb00055.x Payne, P. D., Burrack, F., Parkes, K. A., & Wesolowski, B. (2019). An emerging process of assessment in music education. Music Educators Journal, 105(3), 36-44. doi:10.1177/0027432118818880

Dr. Emily Pence Brown is assistant professor of choral music education at Bowling Green State University. She teaches undergraduate and graduate music education courses and directs the Women’s Chorus. She has presented her research at OMEA, FMEA, IMEA, NAfME, and ISME. Dr. Brown’s research on teacher vocal health and jobrelated stress has been published in Journal of Music Teacher Education and Bulletin of the Council for Research in Music Education. Additional publications include Music Educators Journal, and Research Perspectives on Music Education.

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CULTURALLY RESPONSIVE PEDAGOGY

RESOURCES FOR 2020

Dr. Lisa Wong

What a time to be an educator. Whether you are starting your first year or your 20th year, everyone is facing new circumstances, new technology, new parameters, and new expectations. (When did “Zoom” become a verb?) Keeping in mind that students, families, teachers, and administrators are navigating these unchartered waters together should remind us to practice kindness and patience throughout the academic year. No one has been through anything quite like this, and even our most experienced educators may struggle with motivation, planning, and work/life balance. As we forge ahead, take time to be kind to yourself and to one another. Reach out when you need assistance, and make time to mentor those who are new to the profession. I continue to be inspired by the generosity of our fellow musicians—those sharing music, ideas, lesson plans, research—everything from setting up an appropriately-distanced classroom to producing a virtual ensemble to creating the best masks to mitigate aerosols during rehearsal. Many have found solace in learning we are not facing the coming year alone; whether in person or online, we have a team of peers standing together, reminding us that we are at our best when we unite for a common goal. Included in our shared discussions have been a number of sessions on anti-racism, inclusive pedagogy, and diverse programming. I am proud to note that OMEA has a newly formed task force intending to keep all such matters at the forefront of our statewide conversations. I would like to share the following resources that may be useful to you as you begin the new academic year:

CHORAMOR A coalition of conductors, teachers, and singers that provides resources and materials for advocacy, performance, and education

JUSTICE CHOIR Download their free Justice Choir Songbook, a resource intended to promote community singing on the topic of social and environmental justice.

Dr. Lisa Wong is director of choruses for The Cleveland Orchestra and an associate professor of music at The College of Wooster.

BEYOND ELIJAH ROCK An excellent resource for non-idiomatic choral music of Black composers, compiled by Dr. Marques L.A. Garrett DECOLONIZING THE MUSIC ROOM This organization “aim[s] to disrupt the minimization and erasure of non-dominant cultures and identities in the field of music education.” TEACHING CRITICAL RACE CONSCIOUSNESS THROUGH PERFORMANCE IN BAND A literature compendium of underrepresented composers in band, grades 1-5+ FEMALE BAND COMPOSERS Featuring works for wind band, grades 1-4, compiled by composer Jodie Blackshaw DIVERSE COMPOSERS OF WIND BAND MUSIC Compiled by Christian Michael Folk, a database of over 3000 works for wind band written by women, BIPOC composers, and composers of the LGBT+ community.

OCTOBER/NOV EMBER 2020 | 27

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

BAND: IMPLEMENTING A MENTORING PROGRAM Heather Marsh A mentoring program is an opportunity to better your band program through leadership, enhanced teaching opportunities, and an increased amount of guided instruction for young players. I have seen some incredible changes in my program since implementing this simple and fun instructional tool! The benefits of mentoring can be seen for so many different types of students. Your mentors, who will generally be high school students, get a boost in leadership skills, critical thinking, and teamwork, while your mentees get a chance for individualized instruction, confidence, and an opportunity to build a deeper connection to the band program. REASONS TO START A MENTORING PROGRAM In my school district, we start band in 5th grade with a very limited schedule. I have about 30-40 students who start band each year, and I am the only director. In this first year, I get to see each section of the band for about 45 minutes per week. I love that the small-group setting allows for me to really give individual help and to assist with personal aspects of playing like embouchure, body position, and breathing technique. The problem with this schedule is that my students weren’t practicing as much as I wanted, because they were feeling lost as their time with me faded from their memories about mid-week. I decided that my young players really needed a chance to have another playing opportunity during the week to enhance their rehearsal time. The benefit for my younger students was obvious, but what could be the draw for my mentors? Why would my high school students want to help with this? Several of them, who were high academic achievers and good students overall, were having a difficult time making it into National Honor Society due to lack of community service. This seemed like the perfect opportunity for them to gain the service

hours they needed and to strengthen our band program at the same time, and this is exactly how I sold it to them; Why not do something good for someone else and also help strengthen an activity that you love? I got an incredible response. In the last two years of this program, I have had nearly a 1:1 ratio of mentors to mentees. BENEFITS OF MENTORING The benefits of this program have been astounding, and this definitely outweighs the little bit of work that goes into setting things up! My favorite part is seeing the bond between my older and younger students. They all get excited about their time together each week, and it is an awesome experience to see your students sharing their love of music with one another. I have seen my young students come to their next class excited that their mentor helped them work something out that they were struggling with. My high school students have also been excited to tell me about how they helped their “student” achieve something new. It has been a confidence builder for everyone involved. The leadership skills of my high school students have skyrocketed. The confidence of my young players has been so great that I have seen an increase in retention and in general excitement about band. No matter where you teach, young kids love working with older kids. I love the bond it has created within my program. As a side note, depending on how things go with the ongoing Covid-19 outbreak, I hope to be in school long enough to get my mentoring program going this year. I see this as an amazing opportunity during a temporary school closure. I plan to have my mentors set up a weekly Zoom meeting with their mentee(s) to continue the lessons during distance learning. This will allow students to stay connected and engaged, even if we can’t be together. I look forward to this possibility as the year progresses. OCTOBER/NOV EMBER 2020 | 29

HOW TO START YOUR OWN MENTORING PROGRAM Starting a program is relatively simple. Here are the steps that I took: 1. Talk to the administration, and get your ideas approved before you get too far into planning things. It was a pretty easy sell for me, but I can see the challenge right now due to Covid-19. You need to have a plan for how students can stay safe and distanced during their sessions together. Spend time explaining to your administration how your students will benefit from the experience. 2. Sell the idea to your students. I discussed my ideas for the mentoring program with my students very early on in the process. Luckily, they were excited about the opportunity, but you may have to pitch things in a way that makes volunteering enticing to your students. 3. Decide on a schedule that works for your school community. I teach in a district that has K-12 all in the same building. This made scheduling incredibly simple for me. If you are in separate buildings, as most are, this element will be slightly more challenging but still do-able. You will have to work with your students and/or your transportation department to find a way to make things work. For us, we decided to meet one day after school per week for 30 minutes. If your program is larger, you could split it into two days per week. 4. Decide on a curriculum for your program. This can be as basic or as detailed as you’d like. I have a brief meeting with my mentors each week to update them about what we are doing in band class. I give special notes to any mentors who are working with students who need extra attention in a certain area. I try to let them work at their own pace and give them a goal each week that is pretty broad. You can be more detailed if your students need more structure. 5. Create a permission form, mentor application, and build your schedule. Pair mentors and mentees who you know will work well together! I have my mentors fill out the application to affirm that they are willing to commit to the requirements of the program. Once this is done, you’re ready to start! The permission form and mentor application appear after this article. Enjoy the benefits that this simple program can provide! Best of luck, and if you have questions or would like further guidance, feel free to contact me through email: heather_ marsh@arcanum-butler.k12.oh.us Heather Marsh is in her 14th year of teaching, currently serving as the director of bands in the Arcanum-Butler Local School District. She has served OMEA as a district treasurer, vice president, president, member of the OMEA Band Music Selection Committee, and has been an OMEA adjudicator since 2010. 30 | TRIAD

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

BOOK REVIEW: SQUEAK BIG! PRACTICAL FUNDAMENTALS FOR THE SUCCESSFUL CLARINETIST BY DR. PHILIP PAGLIALONGA Dr. Christopher Bowmaster Philip Paglialonga D.M.A., professor of clarinet at the University of North Texas and author of Squeak Big: Practical Fundamentals for the Successful Clarinetist, has written one of the most concise books for clarinet instruction. Music educators and clarinetists of all ages interested in gaining knowledge on achieving a higher level of clarinet instruction should strongly consider adopting this text. The content is outlined in this review. Chapters two, Developing a Beautiful Sound, and four, Finding More Resonance, provide thorough explanations regarding the fundamentals of clarinet playing. Chapters two and four directly relate to each other and intelligibly describe the sound concept concerning a clarinetist’s level of musicianship. The author provides five points of reference to sound concepts that should be implemented by a music educator weekly and by a student as an essential part of their routine daily. The five points are as follows: 1.

ABILITY TO REFLECT THE MUSIC

ABILITY TO PROJECT

RELIABLE INTONATION

CONSISTENT QUALITY

BEAUTY

After mastering these points, the application of chapter four’s concept of resonance should follow. Although Dr. Paglialonga provides an accurate description of a single resonance form, multiple types of resonance may be taken into

consideration when producing the necessary timbres of each style. The author describes these timbres as artful color manipulations of one resonance, but they can also have more than one rate of resonance depending on the style. Chapters three, The Importance of Relaxation, five, Achieving a Homogenous Sound Across Registers, and six, Playing in the Altissimo Register, relate to each in a similar fashion consistent with chapters two and four. In order to produce the desired results concerning chapters five and six, chapter three’s topic is the quintessential ingredient. Relaxation is intrinsically essential when playing the clarinet. If clarinetists are not relaxed, it creates a snowball effect on all other fundamental aspects of clarinet playing. Dr. Paglialonga gives an excellent explanation about the throat and its importance in creating a relaxed foundation. He states, “A relaxed throat allows the air to flow in and out of the lungs with minimal restriction. Conversely, when the throat is tensed the passageway is reduced in size, thus limiting the quantity of air that can easily pass from the lungs, through the throat, and into the clarinet” (Paglialonga, 2020, p. 18). Paglialonga then provides a few innovative techniques to practice providing the brain with a sensation and a visual of how a relaxed throat should feel and look. This feeling and visual, or openness in the throat, then allows the clarinetist to play with a homogenous sound and to successfully play in the altissimo register. Paglialonga (2020) splendidly articulates both chapters five and six, OCTOBER/NOV EMBER 2020 | 33

but there is one statement, in particular, that seems to encapsulate them concretely. He states, “The ability to play with a completely homogenous sound also helps to communicate musical ideas more effectively” (p. 26). The entire purpose of playing the clarinet, or any instrument for that matter, is to communicate musical ideas. Without a homogenous sound in all registers of the clarinet originating from a relaxed throat, these desired musical ideas become unclear. The final chapter contributing to one of the most crucial fundamentals of the clarinet, is 10, Articulation Basics. Nothing separates a good clarinetist from a weak clarinetist more than the quality of articulation they can produce. The one constant between two extremely different articulations, legato and staccato, is the air pressure and its conjunction with the tongue. Paglialonga (2020) thoroughly illustrates the air and tongue relationship with special consideration given to “Huffing.” He states, “‘Huffing’ refers to the act of using impulses of air, or simply stopping the airflow, to

articulate notes and create silence”(p. 50). Huffing is a sure sign that the airflow does not remain consistent when attempting to articulate. Dr. Paglialonga offers a meticulous analysis detailing how to interact with the reed using the tongue properly, including diagrams from his former teacher, Fred Ormand. Cumulatively, Paglialonga (2020) has written one of the most substantial pedagogical books for clarinet instruction. Each chapter offers beautifully descriptive analyses concerning the fundamentals of clarinet playing. Every music educator and clarinetist should consider utilizing the concepts described in Squeak Big: Fundamentals for the Successful Clarinetist.

REFERENCE Paglialonga, P. (2020). Squeak big: Practical fundamentals for the successful clarinetists. Imagine Music Publishing.

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

TECHNOLOGY: TRUSTING STUDENT CAPABILITIES DURING TIMES OF TROUBLE Bethany Nickel Music teachers face many difficulties in responding to coronavirus-era education. Each teaching format, whether remote, faceto-face, or a mixture, represents its own set of challenges. The music teacher can feel overwhelmed by the demands of teaching in multiple formats and trying to engage each student musically, intellectually, and empathetically while keeping the classroom setting as safe as possible. In this article, I share a personal experience with a traumatic event that impacted my school environment in 2016. I hope that these observations of how my students reacted will provide perspective to music teachers about trusting our students during this unusual school year. On Saturday, April 16, 2016, there was a 7.8 magnitude earthquake on the coast of Ecuador. At the time, I was teaching Grade 6-12 band, guitar, and music technology at an American international school in Ecuador’s capital, Quito. The school buildings were left largely intact, though the nerves of the parents, students, and teachers were shaken. The remaining two months of the school year were marked by aftershocks which woke us up at night and caused the students to panic during the school day. I will not downplay the stress and difficulties that face teachers this school year, nor de-emphasize the worries that the teachers in Quito faced then. An earthquake and a global pandemic are not the same. However, the similarities between these circumstances include fear, uncertainty, and changes in school safety procedures. Since the earthquake experience, I am no longer surprised when I see students adapting to trouble better and quicker than I can.

Soon after the main earthquake, two inspiring events occurred. The 7th- and 8thgrade band class formed their own relief drive, and the items they collected traveled in a pickup truck to assist a 7th-grade band student’s family. The second event demonstrated both student kindness and musical initiative. A group of five 6th graders had recently formed a band consisting of four guitar players and one percussionist. Within two weeks, the group composed two original songs and performed them at the school’s earthquake relief festival. To reiterate this accomplishment: These exceptional young people, who had been playing guitar for about a month, collaborated on lyrics and chords, practiced outside of class, made group decisions about musical form and stage presence, and showed no nerves while performing on a raised stage outdoors to a large audience. All I did was tune the guitars and keep the door of the band room open for practicing at lunchtime. Seeing my students in Ecuador pour their energy into helping others during a difficult, emotional time increased my belief that music education can provide multiple venues for students. These venues include servicelearning, creative opportunities, and a place for students to benefit others. We can trust our students to make the most of the situation they find themselves in and to make decisions about how and what they will learn. Here is a list of suggested student-led activities that could be implemented in the music classroom this year. These activities can be adjusted for in-person or remote instruction and for grade level. OCTOBER/NOV EMBER 2020 | 37

SUGGESTED MUSIC CLASSROOM ACTIVITIES 1. COMPOSITION Writing songs, raps, or soundtracks can help students express themselves. Composing can be an individual or group activity and can utilize digital audio workstations (DAWs) or physical instruments. Composition activities can be openended as the students make their own choices about genre, notation, performance, and self-assessment. • Found sounds can be collected by recording sounds made with household objects. Compositions can be constructed from found sounds. • In-house scavenger hunts add interest to found sounds activities. Students can utilize what is around them in their own spaces. 2. FAMILY MUSIC MAKING Projects with parents and siblings might include interviews about musical topics, group listening to favorite bands, constructing YouTube playlists representing different decades, or performing together. Creative projects may arise if students are asked to construct their own family music-making activities. 3. VIRTUAL PERFORMANCES Music students might explore ways to share audio recordings, play on the radio, and share videos of performances on Google Classroom or on apps such as Acapella. Live-streaming of performances is also an option through paid services such as Vimeo Live or Bandcamp, or free social media services such as Facebook Live or YouTube Live. 4. FORMING CONNECTIONS To encourage connections during remote learning, the class can utilize shared Google documents, email, chat, and social media. Feedback on musical performances can be shared virtually, and Flipgrid offers video discussion options. Teachers might also implement a virtual pen pal database or encourage the students to blog about musical topics. Coworking via Google Classroom, Zoom, or Skype with music classrooms in other schools can also encourage connections. 38 | TRIAD

5. SERVICE-LEARNING There is a remote equivalent for many of the activities that music classrooms offer. For example, students might host a virtual music and arts festival. They might organize video chats and performances with local assisted living homes, hospitals, or libraries, or teach virtual private lessons to younger students. Online volunteering for a music archive or online promotion for the local music industry are also intriguing options. 6. GENERAL GUIDELINES FOR STUDENT-LED LEARNING Inviting student input on classroom projects can help music teachers navigate this school year. Teachers can also invite student reflection each step of the way in order to encourage focus and long-term memory. Music teachers are a committed, hard-working bunch. There are music teachers currently pushing themselves to breaking points in order to provide their students with safe in-person instruction and engaging online learning. During COVID-19, the main goal is for music teachers to continue providing the platform for music learning–the equivalent to leaving the classroom door open during lunchtime. Whether online, in-person, on carts, or behind shields, we can ensure that students have access to musical materials and encourage those students to develop their own activities. Music students have impressive capabilities for creativity, technological understanding, and kindness. We can trust our students more during times of trouble.

Bethany Nickel is currently pursuing a PhD in music education at Case Western Reserve University, where she serves as a research and teaching assistant. Prior to CWRU, Bethany taught middle and high school band, guitar, and music technology in Kansas, Colorado, and Ecuador.

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2020 FALL VIRTUAL PROFESSIONAL DEVELOPMENT CONFERENCE REVIEW Mark Hensler, Director of Professional Development & (Virtual) Conference Management Was it perfect? No! Did we have fun and learn a great deal? Yes!! OMEA was pleased to offer the first ever “Virtual PDC” as part of an effort to provide tools and motivation for teachers heading back to school. The event was well attended with over 400 registrants representing 20 U.S. states, the UK and Chile! We were also happy to see a large presence from OCMEA members. Over 50 sessions were presented in a mix of synchronous and asynchronous formats by clinicians from Ohio, Texas, California, Georgia, and more. Topics covered included wellness, virtual ensembles, teaching in the pandemic, social-emotional learning, cultural relevance, and many others. A special thanks to the VPDC team who sprang into action to make this endeavor possible. The team elected to utilize the familiar “guidebook” app and a new feature called “cover page” to create access to videos, clinician bios, handouts, and other resources. Amy Annico, Director of Media and Publications, created a new virtual logo, animated lead-ins for all prerecorded videos, edited video content, and coordinated the placement of sponsor ads. Bill Wittman, Director of Business

and Trade Show Operations, worked with industry sponsors and offered opportunities for advertising, Director of Technology, Greg Taylor, helped to review and select support software and apps, and Roger Hall worked to coordinate the efforts of the team and provide support where needed. We also appreciate the encouragement of the OMEA Trustees, and the many Ohio educators who served as committee chairs and clinicians. It was truly a team effort! Technical problems were anticipated, and they did not disappoint. A live-help room and constant monitoring from the OMEA staff helped to provide solutions in a timely manner. Zoom sessions and links proved to be the greatest challenge. We discovered that school-based email addresses and firewalls often blocked the daily password messages and Vimeo video player. Different web browsers also had an impact on attendee access. It appears that Google Chrome is probably the best choice moving forward but mobile device users do not always have that option. To help alleviate webinar fatigue or “zoom gloom”, many attendees took advantage of the virtual yoga/stretching and breathing videos. The majority of sessions were made available for OCTOBER/NOV EMBER 2020 | 41

on-demand viewing following the event, (through October 10), to help spread out screen time and allow attendees to re-watch some of their favorite presentations. A special price point of $49 was established to make the event more affordable. As an added bonus, this fee also included access to the Winter VPDC! Over 200 people took advantage of the free contact-hour certificate option and 13 educators opted for the graduate credit program through Ashland University. Did you miss out? Don’t worry - you still have another chance! We look forward to welcoming you to the 2021 Winter VPDC, February 4-6, 2021, with additional on-demand viewing following the event. Plans have begun to address attendee suggestions and to make the process more streamlined and user-friendly. Of special interest will be the focus on performing ensembles, se-

lected from those that originally auditioned for the 2021 “Live” event. The goal is to create nightly “concerts” featuring these groups in a variety of formats. Mark your calendar now and plan on joining the VPDC team and hundreds of other music educators for this unique event. Registration is now open on the OMEA HOME PAGE, and the GUIDEBOOK COVER PAGE. For questions and suggestions, please send your message to omeavirtualpdc@gmail.com. Have you learned a new skill or created an inspired solution to a pandemic-based problem? Why not share it with others at are next event? Apply now to be a clinician at the 2021 Winter VPDC. Just click HERE for more information. Applications are due by October 23, and session recordings must be submitted by December 15. Thank you!

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FALL 2020 ADJUDICATED EVENTS COMMITTEE REPORT Jay Wardeska, AE Committee Chair The COVID-19 pandemic has created an array of new challenges for all of us as music educators. The members of the Adjudicated Events Committee have ventured beyond a focus on adjudicated events and have applied their collective experiences and knowledge to provide resources for music teachers. Efforts include assisting in developing music education blueprints to be used in developing return to school plans, developing advocacy initiatives, and addressing the impact of the pandemic on adjudicated events. A number of disappointing decisions had to be made including the cancellation of winter and spring adjudicated events and the cancellation of the state marching band finals. As of this writing, the committee is developing a noncompetitive virtual marching band event to be used by any active marching band this fall. The committee is also in the process of developing a virtual solo and ensemble event that will be available for all music teachers and their students for the fall. The members of the committee have put in many hours to support the members of OMEA in every possible way. WELCOME NEW DIRECTOR OF ADJUDICATIONS! We are pleased to welcome William Thomas as the new director of adjudications. Bill has served the Adjudicated Events Committee in a number of roles including AE committee chair. Bill served as the first director of bands at Lakota East High School from its opening in 1997 until 2012. Prior to his position at Lakota, Bill was the band director for the Minster Local Schools. MARCHING BAND STRATEGIC PLAN IMPLEMENTATION The final phase of the marching band strategic plan implementation was completed this summer with the introduction of a new caption format and a new scoring system. Marching Band Affairs Chair

JD Latorre and Adjudications Chair Chris Carmean worked many hours in conjunction with the caption heads to reimagine the adjudicator summer sessions in a virtual format. The virtual summer sessions were very effective, and the adjudicators were trained in implementing the new system. Thank you to JD, Chris and all of our adjudicators for turning a challenging situation into an exemplary experience. We are all looking forward to 2021 when the new system will truly “take the field.” AE COMMITTEE MEMBER SPOTLIGHT: MRS. PAM THIEL Congratulations to Pam Thiel, 2021 Ohio State Board of Education District 2 Teacher of the Year! Pam is the director of orchestras at Sylvania Northview High School and McCord Junior High School. Pam currently serves OMEA as the instrumental advisor. THE IMPORTANCE OF TEAMWORK “We’re all in this together” has become the pop culture phrase of the pandemic. As trite as it may seem, it is truer now than ever. If you have suggestions or concerns, please do not hesitate to reach out to a committee member and share your thoughts. The committee’s contact information is available on the OMEA website, or please contact Jay Wardeska, AE chair at jaywardeska@me.com. Your ideas are encouraged. We are truly stronger together.

Jay Wardeska 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. Mr. Wardeska is also a member of Phi Beta Mu and the American School Band Directors Association. OCTOBER/NOV EMBER 2020 | 45

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

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FALL 2020 UPDATE Wendi Bechtol-Davis, OCMEA State Advisor Dear OCMEA Members, You are preparing to become a MUSIC EDUCATOR, which, in my perspective, is one of the most noble and inspiring professions! While the world has great uncertainties right now, one thing remains certain— teaching music is vital to the well-being of our young people. The arts are essential in molding our students into the kind of people that have compassion and creativity and in creating productive citizens that will make the world a better place. The global pandemic has caused much uncertainty and adversity in all of our lives. Recently, I came across a parable that I would like to share with you in hopes that it will put this adversity in perspective as you begin a new semester (author unknown). A young woman went to her mother and told her about her life and how things were so hard for her. She did not know how she was going to make it and wanted to give up. She was tired of fighting and struggling. It seemed as one problem was solved, a new one arose. Her mother took her to the kitchen. She filled three pots with water and placed each on a high fire. Soon the pots came to boil. In the first she placed carrots, in the second she placed eggs and in the last she placed ground coffee beans. She let them sit and boil, without saying a word. In about twenty minutes she turned off the burners. She fished the carrots out and placed them in a bowl. She pulled the eggs out and placed them in a bowl. Then she ladled the coffee out and placed it in a bowl. Turning to her daughter, she asked, “Tell me what you see.” “Carrots, eggs, and coffee,” she replied. Her mother brought her closer and asked her to feel the carrots. She did and noted that they were soft. The mother then asked the daughter to take an egg and break it. After pulling off the shell, she observed the hard-boiled egg. Finally, the mother asked the daughter to sip the coffee. The daughter smiled, as she tasted its rich aroma the daughter then asked, “What does it mean, mother?” Her mother explained that each of these objects

had faced the same adversity: boiling water. Each reacted differently. The carrot went in strong, hard and unrelenting. However, after being subjected to the boiling water, it softened and became weak. The egg had been fragile. Its thin outer shell had protected its liquid interior, but after sitting through the boiling water, its insides became hardened. The ground coffee beans were unique, however. After they were in the boiling water, they had changed the water. “Which are you?” she asked her daughter. “When adversity knocks on your door, how do you respond? Are you a carrot, an egg or a coffee bean?” As you approach this semester, there are very likely going to be more questions than answers at times. There will be online classes and lessons that were meant to be in person and ensemble experiences that differ greatly from what you have experienced in the past. Will you be like the carrot and become weak or even give up? Will you be like the egg and become hardened and complain about every circumstance—or will you be like the coffee beans and adapt in all of your new situations and change the world around you? Best of luck to all of you. If the OCMEA state officers or myself can be of assistance to you this year, please do not hesitate to ask. Editor’s note: This letter was adapted with permission from the September 2020 OCMEA Newsletter Fine Tune Teaching.

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. OCTOBER/NOV EMBER 2020 | 47

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OCMEA UPDATES Viktoria Straka, OCMEA State President In these unprecedented times, it can be tough to keep your head held high. There are so many questions and a multitude of things to be concerned about, like how your semester is going to go and what your social life will look like while having to maintain social distancing. This surely is not what anyone would have expected to take place when things were just beginning back in March. It’s times like these, however, that show us just how important our surrounding community is. This doesn’t just involve our own personal circle of friends and family but instead, our neighbors, colleagues, and even those you don’t know. As many of you will begin your semester online, there will be a plethora of new teaching methods and practice techniques that you may have to adapt to and overcome. While this can be intimidating to navigate, we are all being taught an important lesson. Adapting to new situations is something that many of us will become fluent in as we begin our roles as educators. There will be many situations in which you may have to change and adapt such as when classes are shortened due to an assembly and you have to cut your lesson short. Whatever the case may be, it is important that we learn how to navigate these unexpected times and reach out to our colleagues when we need help. This is where having a strong sense of community can be extremely helpful. Oftentimes when we are put in new and unfamiliar situations, it can be easy to feel overwhelmed and begin to shut down. By having a solid group of friends, family, colleagues, and other supporters, these situations can

be so much easier to work through. Being a member of OCMEA means that you can have connections all over the state of Ohio. You are also able to attend the OMEA Professional Development Conference and meet many other educators who can help you with future job searches! While we are all concerned about what the future holds for schooling, jobs, our social lives, the health of our friends and family, and many other pressing issues, it is important that we push forward and continue to be the best we can be. This year, myself and the rest of the OCMEA board have been working diligently to provide resources for students that can help with online schooling and selfcare. We are all students, just like you, so we know firsthand how difficult things are right now. Whether it be that schoolwork is tough for you to do online, or maybe you are still at home missing your friends dearly, there are plenty of resources available to help you through whatever trials you may be facing. This year, we intend to grow as an organization, and connection is key to us. We want all OCMEA chapters throughout Ohio to feel connected and to form friendships with other colleagues. No matter what this year throws at us, we will be doing all we can to help you have a great school year! Keep working hard while adapting to new challenges, and stay healthy! Editor’s note: This letter was adapted with permission from the September 2020 OCMEA Newsletter Fine Tune Teaching.

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MEMBERSHIP FOR THE FUTURE Jacob Butzin, OCMEA Membership Chair Trying to build membership in your OCMEA chapter can be difficult. There are many ways chapters can increase membership. Being a part of OCMEA can give many opportunities to increase knowledge to become a better music educator, whether it is instrumental education, vocal education, or general music education. We are EDUCATORS. Our goal is to give students who love music a way to express themselves through their love of music. OCMEA gives every member a chance to attend the professional development conference, held once a year. This conference has many sessions where you can learn new ways to improve education in your future classroom. Also, it can help many people improve as musicians. OCMEA offers more than just getting to go to a conference. It can bring other college students together to study music and to start making friends. Students studying music education across Ohio go through almost all the same struggles. We are all in this together. We should not go on this journey thinking we are doing it alone. Asking for help along the way will only help in the long run. If people at your school are on the fence about being an OCMEA member, just let them know the opportunities they can receive. Itâ€™s not just going to meetings. In the end, we are here to be educators, so educate. People want to be a part of something that is successful. Educate possible new members about the benefits of OCMEA membership by contacting them in person, through an email, or by sponsoring a get-together event. These are several ways that institutions can increase membership in their chapters.

Going up to another student and getting to know them can be the first step in getting them to join your OCMEA chapter. The more often you do that, the more they will know youâ€™re interested in them joining. People enjoy being a part of something they will seem valued at. The more you value their time and opinions, the more likely they are to want to join. Through an email, you can advertise, and keep sending them a reminder about the values of joining. The more they read it, and the more they see that email, the better off you can be. Make sure to include something that makes it personal about the person you are emailing. By this I mean, do not make it seem like a mass email. Bring up things that might interest that person. Especially if you have spoken to this student in person. Finally, sponsor a get-together event. Schedule a day and time to have active members and students thinking about joining, to come together. This will give an opportunity for the active members to talk to the possible new members about the perks of being in an OCMEA chapter. This is a way to start building friendships between the active members and the possible new members. This can make the start less stressful if the new members decide to be a part of that OCMEA chapter. I hope that this can be a big help to increasing membership in OCMEA chapters across the state. OCMEA is a big help to future educators on increasing their knowledge to become a better educator. The OCMEA state board is working diligently to put out ways to help chapters throughout the state. Do not be afraid to reach out, because we are here to help YOU!

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CRISIS AND OPPORTUNITY: A HOPEFUL REIMAGINING OF THE ARTS Jarred Small, OAC Arts Learning Coordinator There is a popular invocation that the Chinese character for “crisis” includes the character for “opportunity.” So popular, in fact, that John F. Kennedy cited this in his campaign speeches. It was relayed further by former Secretary of State Condoleezza Rice during Middle East peace talks, and it was referenced by former Vice President Al Gore in testimony before the U.S. House of Representatives Energy and Commerce Committee. While Chinese linguists have widely refuted this as wishful thinking and as a fundamental misunderstanding about how terms are formed in Mandarin, the statement bears serious consideration during these unprecedented times. I am writing this article in mid-July, in the midst of a global pandemic, social unrest around the country, and budget cuts for many schools and school districts. It’s anybody’s guess what fall will bring for teachers, parents, and—most importantly—students, as school districts make and revise plans for reopening schools entirely, partially, or not at all. And yet, in the back of our minds, we sense hope. We sense hope in the voices of our colleagues who were tasked over the last two years with revising the Ohio Fine Arts Learning Standards to better serve the wants and needs of Ohio’s educators. We sense hope during the Creative Conversations series for music educators organized by the Ohio Alliance for Arts Education and the Ohio Department of Education in conjunction with OMEA. We sense hope from presenters, organizers, and attendees of recent virtual professional development gatherings on race and racism (Ohio Department of Education) and reimagining and restarting the new academic year (Association for Supervision and Curriculum Development), to name a few. Each of these engagements consisted of arts educators who were readying themselves with the battle armor they require

for what lies ahead. In times of crisis, it is clear that arts educators provide the hope for which our society is so desperately parched at this moment. Arts educators seek opportunities for overcoming the seemingly insurmountable. Back in midMarch, the Ohio Arts Council (OAC) quickly pivoted to supporting the state’s response to the pandemic that affected all its constituents. As part of this response, the OAC provided economic and logistical relief to Ohioans who required flexibility and understanding. This included the agency’s work with schools and arts educators whose plans for the spring semester had been entirely uprooted. If you need a little hope in this moment, I encourage you to check out what the OAC is doing to support Ohio’s arts educators, arts organizations, and artists by visiting oac.ohio.gov. If you’re searching for ways to keep providing hope beyond the current year, consider how the OAC might support artistic opportunities for your students and your communities at oac.ohio.gov/grants. The OAC will continue to do all we can to support Ohio’s arts and cultural stakeholders, including arts educators who have been tasked with maintaining demonstrable progression while balancing the reality of a new normal. Our work continues. Our work must continue to instill hope and opportunity through our collective creative pursuit. 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.

Papers of John F. Kennedy. Pre-Presidential Papers. Senate Files. Series 12. Speeches and the Press. Box 902, Folder: “United Negro College Fund, Indianapolis, Indiana, 12 April 1959.” 2 Kessler, Glenn (January 19, 2007). “Rice Highlights Opportunities After Setbacks On Mideast Trip”. The Washington Post. p. A14. Retrieved September 11, 2020. 3 Transcript of Al Gore testifying at joint meeting of House committees about global climate change (March 21, 2007). C-SPAN.org. Available at: https://www.cspan.org/video/?197233-1/global-climate-change. Retrieved September 11, 2020. 1

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new and used, tubas, sousaphones, euphoniums, marching brass, French horns, and even trombones! We also have cases, gig bags, mouthpieces, and stands!

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OCDA PROFESSIONAL ASSOCIATION REPORT Brandon L. Moss, OCDA President When I sat down to reread the last article I wrote for TRIAD, I could not help but notice how gloriously naïve it was, gushing about OCDA’s plans for its Summer Conference and honor choirs—all of which would be canceled shortly thereafter due to COVID-19. I am proud to report that OCDA rose to the occasion, hosting a widely-attended virtual conference on June 23, which included Hilary Apfelstadt (“Leadership in Challenging Times”); Scott Edgar (“Social Emotional Learning and Music Education: Now More Than Ever”); a panel session on “Choral Music at a Distance” featuring Kelsey Burkett, Britt Cooper, Robyn Lana, and Lisa Wong; roundtable discussions by interest areas; virtual concert sessions of choirs from across Ohio; and a reading session sponsored by J.W. Pepper. For those who missed our virtual conference, many of the presentations and materials can be found on our website (www.ohiocda.org). As we look toward whatever realities lie ahead, OCDA is prepared to be a relevant and evolving resource for its members. At our board meeting on June 22, OCDA approved several initiatives designed to better serve the needs of Ohio’s choral professionals. First, following our national organization, we adopted name changes to some areas of our Repertoire & Resources in order to foster more inclusivity, changing “Ethnic Music” to “World Musics and Cultures,” and adding “SSAA” to “Women’s Choirs” and “TTBB” to “Men’s Choirs.” Next, we established a committee to explore future virtual professional development opportunities, with plans to host regular webinars and panels. Our first event was held in September, with Marci Major and Hannah Knauss presenting “Choral Connections: Prioritizing People and Process,” which included a look beyond performance in the choral classroom. Finally, OCDA also approved a Visioning Committee, which will broadly examine how well the organization

is meeting the needs of its members and potential members, specifically looking at diversity, advocacy, structure, and programming. Committee members will be reaching out to choir directors throughout the state, seeking input on these issues. Nationally, ACDA has been on the forefront of the response to COVID-19, having quickly produced a report with recommendations for a variety of reopening scenarios. Ohio’s own Robyn Lana was a writer for this document, which can be accessed here: https://www.ohiocda.org/resources/DocumentsFiles/ ACDA-COVID-19-Committee-Report.pdf. ACDA has also been sending weekly emails full of resources for choir directors during this time. For those who may not be members of OCDA, now is a great time to join. We are in the midst of the Sing Up Campaign, which will be giving away 20 complimentary memberships to those who are new to the organization by November 15. Also, all college student memberships this year are only $5. I encourage everyone in the choral profession to join OCDA, as we will work hard to be an invaluable resource during this uncertain time and beyond! If you have any questions, please feel free to email me at brandonlmoss@gmail.com.

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 2020 | 55

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

HIGHER EDUCATION CASE WESTERN UNIVERSITY Congratulations to Dr. Benjamin C. Helton, assistant professor of music education, who was awarded a CWRU Glennan Fellowship for his project developing a graduate course regarding arts education advocacy and policy. This course will empower teachers and students to participate in local political activism and to be effective in enacting change in their communities. The course follows recommendations from Dr. Helton’s 2020 publication in Arts Education Policy Review regarding the legitimacy of arts education and how to improve arts educators’ “Policy Dexterity.” CWRU Music Education and the CWRU University Center for Innovation in Teaching and Education (UCITE) hosted Dr. Kelly A. Parkes of Teachers College, Columbia University for a multi-day online residency in March, 2020. Dr. Parkes led university-wide sessions on assessment as well as undergraduate and graduate music educational special interest sessions. Dr. Parkes presented “Assessment as Active Music Pedagogy” for the Music Department Colloquium. Dr. Lisa Huisman Koops, area head, coordinator of graduate studies, and professor of music education, became chair of the Early Childhood Music Special Research Interest Group (SRIG) for NAfME on July 1. She is leading a joint effort with members of the Early Childhood Music SRIG, the Early Childhood Music & Movement Association, and editorial board members of the International Journal of Music in Early Childhood to join together in providing policy guidance, teaching recommendations, and coordinating research efforts on topics related to early childhood music teaching and learning during the time of COVID-19. Learn more here: https:// www.facebook.com/groups/316176012746432/

COLUMBUS STATE COMMUNITY COLLEGE Columbus State’s concert band and jazz ensemble gave their annual joint concert in March. The concert was part of the celebration of 20 years as band director at Columbus State for Thomas Lloyd. The band presented the music of women composers including “The March of the Women” by Ethel Smyth, “Prelude in F Minor” by Nadia Boulanger, and “Hymn to St. Theresa” by contemporary composer Jocelyn Hagen. The jazz ensemble performed under the direction of Kie Watkins in his first year at Columbus State. The ensemble performed some classic jazz works including Duke Ellington’s “Pyramid” and “Flirtibird” as well as Sammy Nestico’s “Peppermint Tree.” The groups concluded their concert by performing together in “Tuning Up” by Toshiko Akiyoshi in a new version authorized by the composer for jazz and concert bands arranged by Thomas Lloyd. KENT STATE UNIVERSITY The Hugh A. Glauser School of Music is thrilled to welcome new faculty member Dr. Darin Olson who joins us as director of the athletic bands and as associate director of bands. Dr. Olson most recently held a similar position at the University of Wisconsin-Madison. We also welcome Dr. Perry Roth as instructor of saxophone, who joins our faculty from The Hartt School of Music at the University of Hartford. Dr. Amanda Bekeny joins us as instructor of trumpet, and Si-Yan Li will be instructor of cello. Congratulations to Dr. Craig Resta on the completion of an extraordinarily successful seven-year term as editor of Contributions to Music Education. The OMEA research journal rose in national recognition and in prominence during this time, and we are all indebted to Dr. OCTOBER/NOV EMBER 2020 | 57

Resta for his work. Dr. Resta also recently published an article about Charles Fowler in the Journal of Historical Research in Music Education. Dr. Wendy Matthews recently completed a chapter on large-group instruction for the forthcoming Handbook of Music Psychology in Education and the Community across the Lifecourse. She also published articles in Arts Education Policy Review and in Visions of Research in Music Education. Dr. Jay Dorfman published an article about professional development in Modern Band in the Journal of Popular Music Education. Dr. Dorfman and Dr. Janine Tiffe recently completed a curriculum development project funded by a grant from the Les Paul Foundation. Dr. Herbert Marshall wrote a chapter on musical theatre for the Oxford Handbook on Preservice Music Teacher Education in the United States. Dr. Marshall has also begun a term as president-elect on the executive board of the Gordon Institute for Music Learning. Doctoral student Laura Wiedenfeld began a position as music teacher at the I Promise School in Akron Public Schools.

OHIO NORTHERN UNIVERSITY Dr. Terri Brown Lenzo and Ms. Maggie Bittner, band director in the Anna Local School District, will present a research session at the upcoming NAfME Music Research and Teacher Education Conference: “We Performed our own Piece!” Composition in Middle School Band through Integration of Orff Schulwerk and Chrome Music Lab Song Maker. Dr. Erin Helgeson Torres was recently appointed visiting assistant professor of music at Ohio Northern University, where she teaches history, technology, and methods courses, as well as maintaining her flute studio. Erin had previously served as adjunct instructor of flute at Ohio Northern, Muskingum, and Ashland Universities. Duoma, a percussion duo of Dr. Sarah Waters and Dr. Renee Keller (OSU-Lima), was invited to perform at the National Association of College Wind and Percussion Instructors originally scheduled for October in Miami, FL. Due to COVID-19, this conference will be held virtually. Duoma is committed to performing original works that include extended techniques and are designed for the emerging percussionist. This performance includes three works written by Waters and Keller.

WE ARE

building your future... one note at a time. PERFORMANCE AREAS: Band Choir Composition Orchestra Piano

2021 Audition Dates

Sat., Jan. 16 Sat., Feb. 13 Tue., Feb. 16 Sat., March 20

Learn more at

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

58 | TRIAD

Only Otterbein.

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.

THE OHIO STATE UNIVERSITY SCHOOL OF MUSIC Construction with the new Ohio State Arts District, including the four-story addition to Weigel Hall, home of the School of Music, continues to progress. Completion is expected in 2022. The school welcomes a new leadership team for the 2020-2021 academic year: Professor Eugenia CostaGiomi, interim director; Associate Professor David Hedgecoth, associate director and chair of undergraduate studies; Professor Danielle Fosler-Lussier, associate director and chair of graduate studies Dr. Juliet White-Smith, viola, was featured in the July 31st episode of The ARTery on WBUR. “Why It Took 80 Years For A Piece By Acclaimed Black Composer Ulysses Kay To Have Its World Premiere” details WhiteSmith’s role in uncovering the work while a student at the Eastman School of Music. The story also appeared in The Boston Globe. Dr. Robert Ward, director of choral studies, presented three sessions at the New Mexico ACDA Summer Workshop in August.

Scholarship Audition Dates Saturday, November 14 Monday, January 18 Saturday February 13 Monday, February 15 Saturday February 20

(800) 992-6682 mountunion.edu/music

Drumming for Wellness, a movement and music-based community program for people living with Parkinson’s disease, was designed by Professor of Music Education, Eugenia Costa-Giomi and Trevor Marcho (PhD 2020, music education) in collaboration with Yune Lee, PhD in the Ohio State Speech, Language and Music lab. A graduate level service-learning class enables the program to partner with the Columbus Parks and Recreation Department. “Infant Vocal Imitation of Music,” a thesis by Lucia Benetti (Ph.D. 2020, music education) was published in the Journal of Research in Music Education and featured in Ohio State News and at neurosciencenews.com. Benetti’s research, in collaboration with the Cognitive and Systematic Musicology Laboratory and the Center for Cognitive and Brain Sciences, focuses on musical development and cognition in infancy. Two books by School of Music faculty have recently been published: Experiencing Mahler: A Listener’s Companion, Dr. Arved Ashby, musicology and Music on the Move, Dr. Danielle Fosler-Lussier, musicology. OCTOBER/NOV EMBER 2020 | 59

PUBLICATION SCHEDULE

TRIAD ISSUE FALL 2020 WINTER 20/21 SPRING 2021

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

DEADLINE DATE* August 21, 2020 October 2, 2020 February 12, 2021

POSTING DATE** October 5, 2020 December 4, 2020 April 9, 2021

*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.

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