Issuu

ISSUE ONE

Triad O CTO B E R / N OV E M B E R 2021

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TA B L E O F C O N T E N T S 5 7

FROM THE EDITOR - Shawn Reynolds FROM THE PRESIDENT - Ann Usher

21 29 33 39

FEATURE ARTICLES #LOVE MUSIC - Dr. Stephen L. Gage NO ONE SITS THE BENCH IN MUSIC - Abby Reynolds OTES 2.0 IS HERE. NOW WHAT? - Rachael Fleischaker WHAT ARE YOU WORKING ON? - Jennifer Mollenkopf

BRASS BUNGALOW BRASS MOUTHPIECES NEED CARE AND ATTENTION TOO! - Heather Sirney

PERCUSSION PARLOR BUILD A STRONGER PERCUSSION SECTION THROUGH STRUCTURE AND ORANIZATION - Tyler Husosky

WOODWIND WINDOW MOUTHPIECE EXERCISES...... NOT JUST FOR BRASS ANYMORE! - Shawn Reynolds

51 53 55 57 58 59

REPORTS & UPDATES OCDA - Doug O’Neal ADJUDICATED EVENTS - Jay Wardeska TI:ME - Lesley Schultz HIGHER EDUCATION OMEA RESEARCH COMMITTEE - Call for Papers OMEA RESEARCH COMMITTEE - Call for Proposals

EDITOR: SHAWN REYNOLDS editor_of_triad@omea-ohio.org

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

ADVERTISING: BILL WITTMAN Director of Business & Trade Show Operations business_director@omea-ohio.org

TRIAD VOL. LXXXIX, NO. 1

SUPPORT 3 OHIO FOUNDATION FOR MUSIC EDUCATION SUPPORT FORM 11 CORPORATE INSTITUTION PARTNERS 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.

1 | TRIAD

I N F O R M AT I O N N E T W O R K OMEA OFFICE

OMEA TRUSTEES

OCMEA OFFICERS

P.O. BOX 1067 Massillon, OH 44648 www.omea-ohio.org

ANN USHER President president@omea-ohio.org

RACHEL KRUEGER OCMEA President ocmea_president@omea-ohio.org

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

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

ALYSE HANCOCK-PHILIPS OCMEA President-Elect ocmea_president_elect@omea-ohio.org

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

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

KATIE JOHNSON OCMEA Secretary ocmea_secretary@omea-ohio.org

AMY L. ANNICO Director of Media & Publications media_director@omea-ohio.org

JODI SMITH Secretary secretary@omea-ohio.org

KAITLIN REED Membership Chair jbutzin12@icloud.com

GREGORY S. TAYLOR Director of Technology technology_director@omea-ohio.org

SHAWN REYNOLDS Editor of TRIAD editor_of_triad@omea-ohio.org

COURTNEY COX Communications Director tlknoll@bgsu.edu

MARK A. HENSLER Director of Professional Development & Conference Management pd_director@omea-ohio.org

MICHAEL KELLY Treasurer treasurer@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

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

P U B L I C AT I O N S C H E D U L E

*Copy must be in the hands of the Editor on schedule

TRIAD ISSUE

DEADLINE DATE*

POSTING DATE**

FALL 2021

August 6, 2021

October 8, 2021

WINTER 21/22

November 1, 2021

December 14, 2021

SPRING 2022

February 18, 2022

April 15, 2022

*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: Shawn Reynolds • editor_of_triad@omea-ohio.org DESIGN/PRODUCTION: Amy Annico • 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.

OCTOBER/NOV EMBER 2021 | 2

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 2021.

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

Send this completed form with check to: 3 | TRIAD

Ohio Foundation for Music Education Attn: Roger Hall, Executive Director 8227 Audubon St. NW Massillon, Ohio 44646

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

FROM THE E D I TO R First and foremost, I am grateful to have earned the confidence of my OMEA colleagues for electing me to serve as the editor of the TRIAD for the next two years. I have big plans that I hope will result in a little rebranding of our beloved TRIAD. I hope it will rekindle our love of teaching and our excitement to read the TRIAD for new teaching ideas. Along with my trusty sidekick, and OMEA media extraordinaire Amy Annico, the overriding theme for this year’s TRIAD will be “LOVE MUSIC!” I challenge you to remember why you went into this profession. Who and what inspired you to pursue a love of teaching? We want to help you to rediscover your passion for teaching and your LOVE OF MUSIC by providing easily readable articles with great advice that can be applied in your teaching as soon as tomorrow! We are exhausted, frustrated, and overwhelmed dealing with the events of the last 18 months. Unfortunately, the saga continues. Yet—we as music teachers always find a way to prevail! When flaming and exploding hoops are thrown at us, we find a way to succeed for our students, despite those obstacles. We have found a way to show how music and the arts MUST be a part of every child’s education. Someone inspired you to LOVE MUSIC! The events of the last 20 months have worn us down and some have forgotten what inspires us to be great for our students. We are the inspiration that keeps some of our 5 | TRIAD

students coming to school. We reach so many students in ways other subjects cannot reach them – we all know that our classes may be the one of the few reasons kids come to school. YOU are the bright spot during their day that inspires them to find passion in music and to find beauty in their lives. Remember that your LOVE OF MUSIC and passion is what keeps them going through everything. Dig deep, especially now, and remember to rediscover your love for teaching and infuse your love of music into your teaching. We will inspire a whole new generation about the passion and fun of making music as well as the perseverance to get through difficult times. Despite the hardships they have all encountered, your students will prevail and now, more than ever we must re-discover our own passions for teaching and remind ourselves to share our love of music – it is still in there despite everything! Remind your students and your community how to LOVE MUSIC. It is one of the few things that can help bring us out of this trying time with joy and passion…. which comes from YOU! Every article in this issue is infused with the undertone of rediscovering your love of music. Every article this year will be infused with that phrase. We hope to help remind you why you teach music…why you teach your students! They love you more than you may realize, and you are their beacon for how to

move forward in this strange time! YOU teach them how to persevere, push forward, and find beauty, kindness, love, and passion in their days, their lives, and their music…. LOVE MUSIC…AGAIN! Shawn Reynolds is in his 19h year of teaching. He teaches middle school band (grades 6-8) as well as high school marching and concert band. In addition, he instructs the world drumming ensemble, which is a part of the World Music Drumming general music curriculum at Howland middle school. He also serves as the professor of oboe and English horn at Youngstown State University (YSU) since 2015. Prior to his appointment at YSU he was the oboe professor at Westminster College in Pennsylvania for 12 years. He has presented numerous clinics on middle school classroom management, innovative music appreciation courses for both middle and high school, and middle level instrumental pedagogy at OMEA all-state and regional conferences. He has also presented at regional and all-state conferences in Pennsylvania and has presented internationally for the International Double Reed Society (IDRS). Shawn holds a BS in music education from Youngstown State University (YSU) and an MM in Oboe/English horn performance from the University of Cincinnati College-Conservatory of Music. (CCM). While at CCM he served as a graduate assistant/coordinator in the music education department and was instructor of record of woodwind method and techniques class.

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FROM THE PRESIDENT

Welcome to the fall edition of TRIAD. I hope your year is off to a good start and that you are physically, mentally, and emotionally well. Our optimism over the summer that this fall would bring a complete return to normal has been upended by the surging Delta variant of the COVID-19 virus and once again, music educators are struggling to protect students, create meaningful musical experiences, and recover from the many damaging effects of the last challenging year. Although we are all very tired of this battle, I hope that you have been reenergized by summer vacations, back to school activities, and the joy of making music with your students, together again. NAfME and NFHS have published the Return to Music Guidance Phase III. In addition, the latest Guidelines for Fall 2021 Activities from the Colorado aerosol study can be found HERE. Local districts have employed a wide variety of policies regarding mitigation strategies and we encourage music educators to proactively be a part of those conversations. Our ultimate goal is to do everything we can to ensure outstanding musical experiences for all students in the safest possible environment. After the success of virtual events last year, the Adjudicated Events Committee has announced the opportunity for directors to again participate in Virtual Solo & Ensemble Adjudicated Events this fall for both HS and JH/MS students. Registration will open 7 | TRIAD

on Saturday, September 25th and close on Saturday, November 6th. See the OMEA website for details. At this time, we anticipate all Adjudicated Events in the spring will be in-person. First-year music educators and student teachers are invited to participate in the ‘New Teacher Cohort’ facilitated by the Ohio Department of Education. These discipline-specific virtual cohorts will learn the nuts and bolts of teaching in Ohio from expert teachers who will assist new teachers in navigating a successful first year of teaching. Topics will include: standardsdriven lesson planning, innovative practices, program development, and much more. All meetings will be held virtually on the second Tuesday of each month (September – May) from 4:30-6 p.m. Register HERE. If you do not currently receive the weekly updates from the Ohio Alliance for Arts Education (OAAE), I encourage you to sign up for their mailing list HERE. This organization, of which OMEA is a partner along with other state arts organizations, monitors arts legislation in the Ohio legislature and works tirelessly on advocacy and professional development. Specifically, keep your eyes open for announcements of Building Bridges sessions which will address topics such as OTES 2.0 and SEL (Social Emotional Learning) in the arts. This organization has also developed wonderful guidance on applying for ARP ESSER III Funds for Arts Education with sample letters and a breakdown of the process. Take

School of Music

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Monday, Oct. 18, 2021 Guzzetta Hall, 157 University Ave. Free, fun, and informative for high school students and parents – live and in person! • Attend classes, lessons, and rehearsals • Learn about the application and audition process • Tour campus • Enjoy lunch at Rob’s Café • Meet the School of Music faculty and students To register for Zip to UA Music Day, please register online at www.uakron.edu/music or email music@uakron.edu.

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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.

50th Annual Ohio Band Directors Conference Saturday, Dec. 4, 2021 UA Student Union Ballroom

Celebrating 50 years! Guest bands Wadsworth High School Wind Ensemble, Hudson High School Wind Ensemble, Grove City High School Symphonic Band, and UA’s Concert Band, Symphony Band, and Wind Symphony. Guest composer Johan de Meij, founder and CEO of Amstel Music. Guest conductor and UA alumnus (BM 1981) John Climer, Director of Bands, University of Wisconsin-Milwaukee. Clinic sessions for directors, and presentation of the ‘20 & ‘21 OBDC Hall of Fame awards. Deadline for OBDC Honor Band applications is October 18. Visit www.uakron.edu/bands/obdc for details.

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Saturday, Dec. 18, 2021, noon and 2:30 p.m. E.J. Thomas Hall, 198 Hill St.

Scholarship Audition Days Friday, Feb. 11, 2022 Monday, Feb. 21, 2022 Saturday, March 5, 2022 Virtual auditions by appointment. Sign up online at www.uakron.edu/music. For more information: 330-972-8301 music@uakron.edu

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advantage of this opportunity for funding to address the needs of music education students! OMEA Immediate Past President Kathy McGrady is leading a task force this fall to examine our regional structure, the All-State Orchestra selection process, and the overall standing/ad hoc committees OMEA currently has in place. Many appointments are for positions or committees that no longer have much relevance or purpose. We hope this analysis will lead to more meaningful and efficient use of our volunteers’ time. There are strategic planning initiatives and transitions ahead in our future and I encourage you to become an active part of this process. Reach out to your district president to ask how you can get involved by participating in Adjudicated Events, hosting an event, running for a district or region office, or serving on a committee, or simply attending our state professional development conference! It all begins with membership, so please be sure to join or renew at https://nafme.org/join-renew/. If there are new music educators in your district, invite them to join as well. WE are OMEA!

I continue to be tremendously honored to serve as OMEA president and appreciate the incredible work of our trustees, staff, elected district and region officers, and the many, many volunteers who are the backbone of our organization. We are indeed stronger together and as we hope for brighter days, let’s celebrate this year’s theme: “LOVE MUSIC…..AGAIN!” Have a great year!

Ann Usher is the Associate Dean for Undergraduate Studies in the 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 retired in 2020 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.

SCHOOL OF MUSIC High School Honor Band Weekend January 14–16, 2022 Nominations deadline: November 1, 2021

The Ohio State Marching Band Concerts

Friday, Nov. 5 (grades K–12) • Sunday, Nov. 7 (public)

Audition Days for the 2022–2023 Academic Year Saturday, Dec. 4, 2021 Saturday, Jan. 22, 2022 — live virtual audition Saturday, Feb. 12, 2022

Spring Visit Day 2022

for all high school students Friday, April 8 (on campus) • Saturday, April 9 (via Zoom) All events are subject to change.

music.osu.edu OCTOBER/NOV EMBER 2021 | 10

CORPORATE/INSTITUTION PARTNERS LEVEL III PRESIDENT’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.

CLICK ON EACH PARTNER TO VISIT THEIR WEBSITE

11 | TRIAD

T HE CO LLEG E O F M USICAL ART S AT BG S U Degrees Offered In: Jazz Studies Music Composition Music Education Music History and Literature Music Performance Musical Arts World Music Minors Offered In: Jazz Studies Music Music Industry Recording Technology

BELONG. Become a part of our music community. Undergraduates and graduates work side by side, and form lasting connections with their peers and faculty. By honoring traditions and embracing innovation, we prepare students for diverse musical lives and life-long career growth. The College is a major cultural resource for the campus and northwest Ohio. We are excited to be able to offer a range of events accessible through our live stream page located in the EVENTS section of our website:

BGSU.edu/discovermusic

Spring 2022 Admission: audition by December 3 Summer/Fall 2022 Admission: Saturday, January 22, 2022: virtual Saturday, January 29: in-person Friday, February 18: virtual Saturday, February 19: in-person Saturday, February 26: in-person (Music Scholarship deadline) Saturday, April 16: in-person Senior & Junior auditions Visit us at bgsu.edu/discovermusic for information and registration. Apply by January 15, 2022 for BGSU Academic Scholarships and financial aid consideration. Audition by February 26, 2022 for talent-based music scholarship consideration. musicadmissions@bgsu.edu (419) 372-8577

CLICK ON EACH PARTNER TO VISIT THEIR WEBSITE

13 | TRIAD

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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.

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15 | TRIAD

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19 | TRIAD

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#LOVE MUSIC Dr. Stephen L. Gage Dear Friends, I was honored to be asked by TRIAD Editor, Shawn Reynolds, one of my former students and an outstanding musician, teacher, and conductor, to write an article based on one of my favorite life and career mantras: Love Music! As I write this, I am cognizant of the work and preparation each of you is putting into the beginning of the 2021-2022 academic year. Without question, we hope and pray that the COVID-19 pandemic will be controlled to the point where much more normal teaching situations can exist in music classrooms and ensembles in Ohio this coming year and beyond. The past 18+ months have been very stressful for all of you, for your students, and for your students’ families. While health and safety should always be a high priority in education settings, there is no question that an in-class experience in music education is much preferred over online learning and that it is more effective in most situations. This letter is constructed in three sections: 1. Where are we? 2. What do we need to do to make sure that we are growing as musicians and teachers? 3. What is next? 21 | TRIAD

As I just finished my 28th year at Youngstown State Dana School of Music, where I taught graduate conducting and conducted the YSU Wind Ensemble and YSU Dana Symphony Orchestra, my comments will be directed, primarily, to conductors. That said, I am convinced that we can all glean much from one another. Sometimes, reaching “outside the box” in our pursuit of new pedagogical ideas and knowledge can be very fruitful!! Where are we? Most music educators pursued their career path because someone or a group of someones’ inspired us in a variety of ways. Falling in love with music is, I believe, the prerequisite to a successful and rewarding career in this artform. What is challenging for us, of course, is to be careful not to let that passion and love for teaching and recreating music be extinguished by non-musical or non-teaching factors that are out of our control. Without question, the administrative tasks required of today’s music educator, say nothing of the extramusical requirements (fundraising, planning trips, hosting events, et al) can be so overwhelming that in a relatively short period of time one can effectively

forget what drew them to this profession in the first place, their love for music and their willingness to Care Enough to Share that love with others, especially with our students. What we do to guard against such a phenomenon taking over could be one of the most important tasks for the contemporary music educator. Two prominent figures in history provide some things for us to contemplate as we move forward: • “If music be the food of love, play on.” – William Shakespeare • “Music gives a soul to the universe, wings to the mind, flight to the imagination, and life to everything.” – Plato In my opinion, everyone really loves, or at least likes, music. If you find yourself losing this affinity, then I hope that you will work to rekindle your passion. To do so, I suggest attending live music concerts, playing or singing in a community or church band, orchestra, choir, or in a chamber music ensemble, as well as making time, every day, to listen to a lot of great music. Doing these things for yourself could potentially re-ignite the fire that may be dwindling because of non-musical and nonteaching pressures and situations. It is certainly worth a try!! We need to make sure that we are growing as musicians and teachers! Some Ideas: We are all a product of our experiences and I have spent 4+ decades watching master teachers and conductors share their talents with musicians. There is no question that my teaching, and frankly all of our teaching, approaches, and techniques, are based on our experiences. If something works for someone else, it may very well work for you. Thus, I will share some techniques and rehearsal strategies that could be helpful in your rehearsal room! 1. Be Prepared I have shared with each of my conducting students that they must be the most prepared person in the rehearsal room. While he/she

may not possess some of the musical prowess of those with whom they work, they must do sufficient score study and preparation that allows for all participants to be fully engaged. I suggest listening to and preparing scores well in advance of the first few rehearsals so that you can quickly assess where your group is and how you will get them to their maximum level of musicianship. I firmly believe that we are either growing or regressing in life and in our musical journey. I strongly encourage you to continue to learn and to seek out new levels of musicianship and pedagogy. 2. Consider Using the “T” Approach on a Daily Basis in Your Rehearsal A few years ago, Eugene Corporon shared a “how to” rehearsal strategy list that encouraged us to be constantly mindful of ‘the basics’ as we proceed through our rehearsals. Many fundamental music performance concepts start with (or include) the letter “T”. I often drew a facsimile of this chart on the rehearsal room board:

TONE –

TECHNIQUE – TIME (RHYTHM & PULSE) – TUNING - ARTISTRY It is prudent to consistently reinforce these fundamental performance concepts on a daily basis. I also believe that your students will make adjustments, more frequently, when these things are stressed at each and every musicmaking session. 3. Use the Concept of Silence • Wolfgang Amadeus Mozart, certainly one of music history’s most significant composers, stated: “The music is not in the notes, but in the silence in between.” OCTOBER/NOV EMBER 2021 | 22

• My dear friend and mentor, Edward Lisk, in his Creative Director books and articles stresses the importance of playing from and into silence. • Aldous Huxley said: “After silence, that which comes nearest to expressing the inexpressible is music.” • And, Leopold Stokowski provided this memorable and meaningful quote: “A painter paints pictures on canvas. But musicians paint their pictures on silence.” The beauty of a well-conceived or spontaneous “lift” or silence in a musical phrase, an al niente release, or a molto crescendo release can provide compelling and memorable “goose bumps” for the re-creators and for the listeners. 4. Consider Using Movement, Toe-Tapping, Chanting, et al in the Rehearsal Room I will never forget my fifth-grade band director, James Stabile, getting down on the floor and tapping my foot up-and-down (to give me the inner concept of subdivision) during a group snare drum lesson. Obviously, this experience had a tremendous effect on me as I have used this technique MANY times in my teaching career. From my perspective, an ensemble’s time/pulse, and rhythmic accuracy are intertwined; and, often these are the musical concepts that consume large portions of rehearsal time. Maya Angelou provides great insight into the importance of these concepts with this quote: “Everything in the universe has a rhythm, everything dances.” It is not an accident that in many musical performances throughout the world, musicians move when they perform. I must admit to being confused that too often, what are referred to as classically-trained musicians, do not use movement as they perform. It is difficult to conceive that a majority of the young musicians we teach will automatically have good time/pulse without some kinesthetic 23 | TRIAD

process being utilized and internalized. I have had dozens of students who had ‘perfect pitch’, but I have never had a student with “perfect time or pulse”. As such, I encourage you to find rehearsal strategies that will provide for individual and group growth in these vital performance aspects. 5. “Monk” Rehearsal Concept of Silence When an ensemble has achieved a reasonably high level of performance prowess on a given selection in its repertoire, it might be a great time to have a “Monk Rehearsal.” This strategy is one where the teacher/ conductor never says a word during the rehearsal. The students enter the rehearsal room and there are directions on the board, including the rehearsal agenda. Subsequently, the conductor proceeds to run the rehearsal by acting out (miming) desired musical ideas or by drawing on the board. Of course, these rehearsals cannot be used too often, but I found them to be a wonderful way to have a very focused session in the midst of a final block of rehearsals prior to a performance. The amount of music-making that is the outcome during such a session amplifies the fact that most if not all of us talk too much during rehearsals. In a follow-up to a semester review provided to me by a dear friend and trusted mentor, Joseph Shirk, he reminded me that when he came to rehearsals as a performer, he came to play his oboe. This was a real “AHA!” moment for me that I treasure and now share with you! 6. Balance/Blend/Pitch The longer I have taught and conducted, the more I have come to believe that these three performance concepts are often related. Without going into much into the concept of “just intonation” (I urge you to do some research and reading on this subject), the natural harmonic series and its impact on intonation of various scalar and chord tones is something that must

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be considered in the rehearsal. For instance, most of the time the hierarchical balance of ROOT – FIFTH – THIRD – SEVENTH in a V7 chord in root position is preferred. Obviously, developing the theoretical knowledge along with the aural skills of our students should be at the top of our priority list! We often talk in larger ensembles about a Pyramid Balance where the bass voices are at the bottom (and need to be the strongest) of the pyramid and then the tenor, alto, and soprano voices are placed in that order on top of the pyramid balance spectrum. SOPRANO

ALTO

TENOR

BASS While this approach can often be a successful strategy, I will never forget observing another great mentor teacher, David Effron, who demonstrated with his hands a reverse pyramid to the members of Youngstown Symphony Orchestra. He reminded them that the melody must always be prominent in most musical passages. Subsequently, I have used both approaches and even, from time-to-time, have skewed the pyramid to have certain voices ‘stick out’ of the ensemble bubble in certain passages based on a desired timbre or balance. This reality is one of the differences we hear when we listen to different conductors’ interpretation of a composition. Frankly, it is quite rewarding to reshape pieces in this manner. One of the most noticeable of all musical performance flaws is bad pitch. Intonation accuracy is the bane of a musician’s life! Using tuners and recording what is played/sung by the individuals and by the ensemble are the best ways to identify problems. As mentioned earlier, I also believe that acquiring a comfort in ‘just intonation’ and its effect on the pitch tendency of the harmonic system is a key.

Frankly, perfect pitch can become an albatross if those individuals do not accept or realize that certain pitches need to be shaded up or down in music-making. I also have found that singing in the instrumental rehearsal, especially when rehearsing a chorale of lyrical song/passage, can assist in building aural confidence for the instrumentalists. What Now? • “Music is the divine way to tell beautiful, poetic things to the heart.” – Pablo Casals • “Music produces a kind of pleasure which human nature cannot do without.” – Confucius • “Music can name the unnamable and communicate the unknowable.” –Leonard Bernstein I stated earlier that the thoughtful music educator Cares Enough to Share. This is a clear and important task for us and it is one that is easier to consider than it is to implement. The three quotes provided above and countless others remind us of the importance of the musical art for mankind. Perhaps now, more than ever, we have a charge to recreate music that changes and improves the world. The re-creator and the consumer/listener must be emotionally affected by the music they sing, play, and listen to. This charge is perhaps the most difficult to facilitate but it must be considered when we teach. In a world where digital and over-produced recordings have set the bar so high for those who give live performances and where reaching such a level of perfection is impossible, it is imperative that those of us who make live music fill that music with love and passion that no computer will ever be able to replicate. Creating beauty and even anger when desired are essential in our teaching and music-making. In most aspects of our lives, we rarely achieve the level of perfection that we desire. It is that human reality that keeps us moving forward. I believe in setting high bars for myself and for OCTOBER/NOV EMBER 2021 | 26

those I work with, but I am aware that this process takes time and that sometimes we go three steps forward, then two steps back. Life will be much more tolerable, in my opinion, if we accept that the human condition includes flaws. When we stumble but get up and keep going, we are providing an example that could be very influential on those who observe us. I do subscribe to the “Be the best version of yourself” approach to life and see this as part of my daily quest. I will never forget Sam Adler, a composition professor at the Eastman School who did much better things with his pencil eraser in my lessons than I could do in a whole week of writing my music, reminding me to LOVE YOUR MELODY, STEPHEN! His comments were directed, specifically, at creating melodies that could be consumed, appreciated, enjoyed, and remembered by the listener. I firmly believe that such an approach is also applicable in our #LOVEMUSIC approach to our beloved profession. For most of the last two decades, I have shared with as many musicians as will listen, my three main life mantras. They are:

for perfection, an emotional response, and many other wonderful potential outcomes. These three mantras seem to give me and hopefully others an anchor for approaching life, one day and one event at a time. Thanks for reading this, my sincerest best to each of you, and know that my family and I will always appreciate our special time in Ohio. There are so many exceptional music educators and people in the Buckeye State and I look forward to future endeavors and experiences in Ohio. In the meantime, I hope to see you soon, enjoy your families, and always #LOVE MUSIC! Steve Gage

1. Be Kind 2. Do Your Best 3. #LOVEMUSIC It seems that while there are many other things that help the world be a better place, these three life approaches help create a healthy and vibrant environment. I have said for years that my least favorite people are mean people – being kind seems like a good antidote to this. I also often say “Don’t Let the Bad Guys/Girls Win” which falls in line with being compassionate but simultaneously protecting yourself from those who are not. Doing your best is a great way to begin to create personal success. While nothing is ever guaranteed in one’s life, doing your best will provide you with a pathway to reaching your dreams. And finally, #LOVEMUSIC represents all that is possible in music – self-expression, creativity, passion, a drive 27 | TRIAD

Dr. Stephen L. Gage served as Professor of Music and Director of Bands & Orchestra at Youngstown State University’s (YSU) Dana School of Music from 1993-2021. Stephen holds degrees from the University of Illinois Urbana-Champaign, the Eastman School of Music, and the State University of New York at Fredonia where he also earned the Performers Certificate and was a concerto winner. Professor Gage studied conducting with Harry John Brown, Donald Hunsberger, David Effron, Roy Ernst, James Keene, H. Robert Reynolds, and Paul Vermel. In September 2010, Dr. Gage was appointed as the Principal Conductor of the W. D. Packard Concert Band, a professional concert band, in Warren, Ohio and remains in this position. Stephen recently retired after 28 seasons as the Edward Zacharias Memorial Chair/Conductor of

the Youngstown Symphony Youth Orchestra. Previous teaching positions include serving as Director of Bands & Orchestra at Emporia State University (KS) and as Director of Bands at Auburn High School (NY). Dr. Gage was inducted into the prestigious American Bandmasters Association in 1999, and he has served as an officer for the National Bandmasters Association. In 2016, Dr. Gage was appointed to the Board of Directors of the Ohio Chapter of Phi Beta Mu and was inducted into the inaugural class of the Auburn High School (NY) Music Hall of Fame. Stephen was presented with the YSU Distinguished Professor Award in Teaching, Scholarship, and Service, and he was the recipient of the Marty Manning Faculty Mentor and Faculty Mentor Awards at YSU. Professor Gage has written numerous published articles on conducting, rehearsal techniques, and wind band literature. Gage and the YSU Wind Ensemble released nine compact disc recordings including two through NAXOS, Inc. Stephen has served as guest conductor, clinician, and adjudicator of high school honor bands and orchestras as well as a number of

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university wind bands throughout the United States, Canada, and Ireland. His list of guest conducting appearances includes the Youngstown Symphony Orchestra, the U.S. Air Force Band, the U.S. Army Band: “Pershing’s Own”, and the U.S. Army Field Band & Chorus, among others. Dr. Gage has received critical acclaim from numerous distinguished composers, including several Pulitzer-prize winners: Joseph Schwanter, Carter Pann, John Mackey, Samuel Adler, Karel Husa, Frank Ticheli, Michael Colgrass, Donald Grantham, D.J. Sparr, Jerry Ascione, and David Gillingham for his interpretation and recordings of their music. Stephen and the YSU Wind Ensemble made their Carnegie Hall debut in 2005 and made a second appearance in November 2015. The YSU WE was also invited to give feature performances in Severance Hall, and for CBDNA, OMEA and MENC National Conventions under Dr. Gage’s baton. Stephen currently lives in Chrisman, Illinois with his wife, Stephanie, and son Brendan. Daughter, Claudia, lives in Bloomington, Indiana and son, Matthew and granddaughter, Zoey, live in Austin, Texas.

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No One Sits the Bench in Music Abby Reynolds My educational career started out in music education and quickly took a detour to special education. Special education is now where I have spent my entire career. I’m also married to a band director who values my opinion in regard to students with disabilities or students who just, no matter the effort on both ends, do not fit into the proverbial educational box based on what’s typically required in that music setting. My first six years of teaching were spent working at an alternative school for students with emotional disturbances. I worked with students in both middle school and high school. This job was challenging to say the least, but what I learned from the students and administration during my time there, I now realize was priceless. Currently, I am an intervention specialist in grade 8, co-teaching in English and math. I work with students with Specific Learning Disabilities, students who are on the Spectrum, and students with attention deficit disorder. I am currently working to complete my certification in Orton-Gillingham in order to service students who are struggle with reading. These are the main areas where my students need assistance, but the list certainly doesn’t end here. Students in this population often have more than one disorder, health impairment, or diagnosis. So what 29 | TRIAD

am I doing writing for a Music Education Journal? I’m here to “thank you” for offering something to my students that most other subject areas cannot, and to beg you not to give up on these kids (students with special needs) even when that’s exactly what it seems like they want you to do. Music education is by definition holistic and inclusive. The musical setting, regardless of format or ensemble, is able to provide auditory, kinesthetic/ tactile, and visual learning all at one time. Music instruction also offers an opportunity to grow as an individual and excel at one’s own pace. Much of what I’m writing about can extend to nondisabled students, but I will be focusing on students with specific learning disabilities: those students who struggle in one or more areas but are able to participate in inclusion classes at grade level. You may not realize many of these students are on an IEP (Individual Education Plan) until a huge packet of papers appears in your mailbox telling you so. Even so, it will be evident that some students may need a little extra help, or something completely different. I’ve been lucky that the wonderful music teachers I work with have contacted me when they weren’t sure how to modify the content in order to meet student’s needs and have allowed me to come into their classroom to monitor or assist. Please

do not hesitate to contact a student’s intervention specialist when a student’s behavior is disrupting the class continuously or you are simply not sure where to go next. Maybe a student simply isn’t excelling at their instrument and you, the teacher, think a different route might be better. Regardless, an intervention specialist can be your best friend and provide alternate teaching methods so that the student experiences success and you as the educator are less frustrated and may even learn something new to add to your bag of tricks. Creating behavior modification plans is part of my job as an intervention specialist and they are easier to implement (even for the extremely busy music teacher) than it may seem. These plans allow a teacher and student to focus on a behavior or two that are impeding class instruction and could be preventing the student from progressing and experiencing success. There are also times when there will be a student who may exhibit one or all of the following behaviors: • Student never has their instrument • Student doesn’t practice • Student may exhibit defiant behaviors • Student may seem like1 they want to 2021-08 OMEA HalfPage Ad.pdf 8/23/21don’t 4:03 PM be there

In all of these instances, please remember this: they may need the ensemble/your music class more than the ensemble or class could need them! You may be providing them an experience they cannot receive in any classroom. They may be learning a great deal from the experience of your class but may not have the communication skills or social skills to reflect their true feelings. In many cases, these students who the teacher may view as a disruption may simply lack educational/emotional/social support at home or may be suffering from any type of neglect. Or, the parent/guardian is working so often that they simply can’t provide the necessary time and support for the student to thrive. Don’t be afraid to contact the parent/guardian and “think outside the box” with these kids. You may also want to talk one-to-one with the student simply letting them know you care and are there for them to help or simply listen. This connection alone may be the very thing that saves a student from taking the wrong path. What if a student isn’t excelling on their instrument? Is it okay to give them a drum pad and drumsticks? Some may think that is enabling. A different perspective is that the student is making music and actively engaged in the ensemble and therefore experiencing success they may not be

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achieving in any other class. If a student refuses to sing in choir, the teacher should have a one-on-one conversation with that student and determine what may be causing the underlying issue. A solution might be to allow that student to conduct a piece of music or to let them be a page-turner for a few songs. Not all students have to have the same requirements to experience success in your classroom. The idea of making accommodations is a broad concept and can be accomplished in many different ways. I often think of the online meme that illustrates the high fence where one person is able to see over because they are tall enough, another person needs one crate to stand on to see over the fence, and the third person needs two crates to see over it. This is a fantastic example of students achieving a common goal through correct differentiation. Our goal and outcome should be to teach ALL of our students simply to love music, no matter the barriers. Music education has the beautiful ability to reach students on many levels. Students with disabilities and students without disabilities need exposure to music making with their peers. Music provides them the opportunity to be part of a team even though they might not excel or perform the exact way their peers do. Sometimes kids need the band/orchestra/choir/ drumming class (etc.) more than the ensemble needs them. Remember that what you do for students with special needs can have a lasting impact on their personal and academic growth – more than you may realize. No one sits the bench in music class! Thank you for what you do for ‘my’ kids each and every day. You are so important! Music education not only teaches students to love music but more importantly to love themselves through hard work, learning how to play as an ensemble, teamwork, learning how to be accountable, and most of all, to love learning about and making music with friends!

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Abby Reynolds is currently an 8th grade intervention specialist in the Boardman Local Schools. Previously she was employed for 6 years in the PACE program, an alternative school for students with emotional disturbances. She actively works with colleagues both on and off of her academic team to establish behavior implementation plans for students who struggle in the classroom and collaborates with teachers of all subjects to meet the needs of students with disabilities. She is currently working on her Orton-Gillingham certification for assisting students who struggle with reading. She earned her Masters Degree in Special Education, with a reading endorsement, from Bowling Green State University. Prior to that she earned BS in Music Education from Youngstown State University Dana School of Music where her primary instrument was violin.

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OTES 2.0 is here. Now what? Rachael Fleischaker Adopting the revised Ohio Teacher Evaluation System (OTES 2.0) framework is really happening this year. The model, piloted three years ago, was set to “roll out” in the 2019-2020 school year. However, amidst a global pandemic and statewide school closures, temporary changes were made to House Bill 197, House Bill 164, and House Bill 404 that allowed districts to suspend or postpone teacher evaluations until the 2021-2022 school year. Now that the appointed year has begun, most music educators will find themselves navigating the OTES 2.0 framework. This article is meant to explain the required components of the framework, outline steps for collecting and analyzing high quality student data and clarifying some questions that are specific to music educators. Changes to the OTES Framework For many music educators, the student learning objective (SLO) process felt contrived. It was a test for the sake of testing, but the results greatly impacted the entire teacher evaluation. OTES 2.0 is an attempt to more accurately reflect what teachers do on a daily basis. School districts are not allowed to use student growth measures such as value-added data, student learning objectives (SLOs), or any other metric as a sole indicator for the effectiveness of a teacher. In other 33 | TRIAD

words, the 50/50 model for determining a teacher’s overall score (50% of the teacher’s evaluation being determined by the evaluator and 50% determined by how students scored on an SLO) has been replaced with a more holistic approach. The new framework still includes student data, but the data should emphasize students’ continued growth as it aligns to the daily interactions with their instructor. In other words, the assessments are just one of many pieces of evidence that learning is taking place. High quality student data (HQSD) will be designed by music educators in a way that authentically represents their instructional goals. Also gone is the use of shared attributions. Many music teachers across the state found themselves being evaluated on reading and math scores for their building rather than the effectiveness of teaching their own content. Under the revised model, music educators will be evaluated on the merit of individual professional growth and student growth in their specialized content area. Components of OTES 2.0 The OTES 2.0 framework is an outgrowth of the original model and therefore has many similarities. While the Ohio Department of Education (ODE) has several suggested practices for teacher evaluation, the required components of the revised model include

a professional growth plan (PGP), observations and walkthroughs by a certified OTES 2.0 evaluator, and conferences with the evaluator to discuss growth on the PGP as well as a final summative rating. Student progress, as evidenced by two forms of high-quality student data (HQSD), is part of that final rating. The overall ratings are reduced to four categories, Accomplished, Skilled, Developing, or Ineffective. The frequency of observations, walkthroughs, and conferences with the evaluator is based on the last rating received. Note that many districts in Ohio were not able to complete teacher evaluation for a year or more. For some music teachers, their current rating could be from the 2018-2019 school year (check with your evaluator or human resource director if you are not sure of your last completed OTES cycle). The use of the less frequent versus the full evaluation cycle is determined by the local school district and based on your final summative rating. For example, some districts may adopt a policy in which teachers who are rated Accomplished would be on a less frequent evaluation cycle. In that situation, the teacher would determine their goals for their PGP, have

only one formal observation, and one final conference with their evaluator to determine progress on the PGP. Check with your principal, union representative, or building administrator to understand your school district’s policy on frequency of evaluation cycles. Professional Growth and Improvement Plans The professional growth plan (PGP) and improvement plan are key components of the OTES 2.0 framework. Teachers who are rated Accomplished, Skilled, or Developing must create a PGP that include one or two professional goals. These goals must align with school district/building goals. Accomplished teachers determine their own goals. Skilled teachers decide jointly with an evaluator what their goals will be. Developing teachers write goals with guidance from their evaluator. Teachers who are rated Ineffective are placed on an improvement plan that is at the discretion of the evaluator. During the course of the school year, teachers are encouraged to review and reflect on their goals and to collect evidence for how they are making progress towards achieving them.

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Observations and Walkthroughs The observations and walkthroughs will be similar to the original OTES model. Evaluator’s schedule formal observations which are a minimum of thirty minutes. Full evaluation cycles include one formal observation that specifically looks for evidence of growth in focus areas that were identified in the PGP and one formal observation that gives a holistic review of classroom practices. Teachers on a less frequent evaluation cycle are only required to have one formal observation. Walkthroughs are not scheduled in advance. They are informal observations that are less than 30 minutes and should connect to the focus areas identified in the PGP. The frequency of observations and walkthroughs is determined by individual districts and evaluators.

a requirement for you, having a pre-conference is an excellent opportunity to explain to your evaluator what your goals are and how you will measure your progress toward them throughout the school year. Ineffective, Developing, and Skilled teachers may be required to have multiple conferences throughout the year. All teachers are required to have at least one summative conference during the evaluation progression. During the final summative conference, the evaluator gives the teacher an overall rating of effectiveness. Evidence used to produce this rating will come from the observation, the data collected from two forms of HQSD, and evidence gathered on the progress made towards the teacher’s PGP. The final conference happens toward the end of the school year. The evaluation process should be completed by May 1.

Conference with Evaluators The conferences embedded in OTES 2.0 are very similar to the original OTES model. They are a time to have conversations with your evaluator about the progress happening in your classroom. Preobservation conferences are not required, but a school district may implement them. Whether or not this is

High Quality Student Data HQSD provides evidence of student learning. These assessments include, but are not limited to, playing/singing tests, rubrics that show measured growth, online instructional assessments (such as SmartMusic or Sight-Reading Factory), paper/pencil tests measuring music theory, history, or notational

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knowledge. Simply put, HQSD is any metric that shows the progress made by individual students. Music educators who felt limited in SLO assessments that tried to quantify musical knowledge, will appreciate that HQSD comes in many forms. For example, under the original OTES model, my school district asked that music teachers show student growth by percentage points gained on a paper/pencil test. The assumption was that performance could be quantified on a scale of one to one-hundred and somehow be shown or described on a written test. In the OTES 2.0 model, rubric based assessment is encouraged. Music educators can describe how the sound qualities and performance techniques of individual students are truly assessed using descriptive rubrics. Music teachers do not have value-added data or state adopted vendor assessment to use. So, each music teacher must develop their own HQSD. Determining if a particular assessment meets all seven qualities is decided at the local level. When SLOs were used to measure student growth, each school district had to have a committee or designated person approve the SLO before it could be used for a course. A similar system must be used by each district to determine if an assessment can be used to collect HQSD. The committees are district driven so the OMEA Teacher Evaluation committee encourages music teachers to be involved whether volunteering at the district level or working with other music educators to develop HQSD. Designing HQSD begins with articulating what a student should know and be able to do at the end of the course. These goals are derived from the Ohio Content Standards for Music Teaching which were recently revised and soon to be adopted. They can be found on the ODE webpage (2021 Music Draft Standards). Once goals are identified, music teachers must use assessments to determine whether individual students are on-track to reach the goal. The OMEA Teacher Evaluation committee highly recommends that each music educator develop a means to communicate their goals for the program with rubrics and other metrics so that evaluators can be objective in determining success.

Criteria for HQSD The OTES 2.0 model includes very specific guidelines for determining HQSD is. Note that while many forms of assessment are encouraged throughout the course of instruction, for an assessment to be considered HQSD all seven elements of the following elements must be included. HQSD must: 1. Align to learning standards This particular condition means that assessments should collect information about students’ ability to demonstrate their growth towards the learning standards used by the music department. Many districts use the Ohio Department of Education Content Standards for Music (2021 Draft Standards), but others may have an adopted curriculum that is specific to K-12 music. If you are unsure what your learning standards are, check with your principal, curriculum specialist, or other music teachers in your district. 2. Measure what is intended to be measured The assessment must be intentional in the expected outcome. It must also be accessible to students. For example, if a written assessment is intended to measure a student’s knowledge of notational literacy, the music teacher must be sure that the reading level is appropriate. Any student on an IEP or 504 must be granted the necessary accommodations. A written assessment intending to measure a student’s knowledge of musical content could actually be measuring their reading ability. 3. Be attributable to a specific teacher for course and grade level taught Any assessment should be directly related to the content taught within the course. Musical growth is often a spiraling process and students must build upon skills taught in each grade level. HQSD must accurately reflect what is being taught. It must be directly linked to the current teacher and the appropriate grade level of the student.

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4. Demonstrate evidence of student learning (achievement and/or growth). The pretest/post-test scenario is perhaps the most common type of assessment which measures growth. If that model works in your teaching situation, then it can still be used. However, OTES 2.0 does not limit music educators to traditional paper/pencil tests. A rubric would be an appropriate metric to compare beginning skills with ending skills. A performance-based assessment that measures musical qualities such as rhythmic accuracy, tone quality, articulation, diction, etc. can be used to measure growth. The repertoire used would not need to be the same at the beginning and end of the course as long as the musical elements are identified and examined. 5. Follow protocols for administration & scoring HQSD must be implemented with integrity. To that end, the district committee that oversees the process will need to know how the test will be administered (who gives the assessment and how it

is given), as well as how it will be scored (how the growth is measured). For example, will one teacher give all of the assessments or will there be multiple evaluators for each assessment. 6. Provide trustworthy results This simply means that the metric needs to yield reliable and consistent results. Factors such as allowing ample time, including enough items to accurately measure the content and skill indicated, avoiding ambiguous questions, providing clear directions, and consistently using rubrics or scoring increase trustworthiness. Once while evaluating an assessment for another teacher, I noticed that the directions were “label the following notes with letter names.” Unfortunately, the teacher had not included a clef sign in the musical example. To me that would be an ambiguous question, but a committee member who does not have musical training may not have seen the error. Having other music teachers review your assessment would avoid those types of mistakes.

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7. Not offend or driven by bias Test questions and tasks that students are asked to perform should be free from bias. An example of bias might be asking students to read questions in English if it is not their primary language. Another example of bias would be testing students exclusively on one type or genre of music. Remember that while music teachers use a variety of assessments throughout a school year, a minimum of two assessments must meet all seven of the above characteristics for the metric to be considered HQSD. Music teachers do not need to have HQSD for each course taught. They can focus on a particular content area, a specific strand or skill set, a particular subgroup of students, or a combination of the three. Be Proactive There are several ways music educators can make navigating OTES 2.0 this year a positive experience. First, remember that OTES 2.0 is a framework. Your local district will develop and implement its own policies. Ask questions and have conversations with your evaluator about expectations and protocols. Principals are tasked with evaluating teachers in all content areas. They will not be experts in all of these areas, so take the time to explain what you are doing and why that is important. Use the conferences and/or informal meetings to educate your evaluator on your goals, expectations, and plans for growth. Second, keep informed. The Ohio Department of Education website has a vast amount of information on the revisions, updates, protocols, and definitions. Bookmark the site and visit it when you need clarification (ODE). The OMEA Teacher Evaluation Committee also offers many professional development opportunities specific to OTES 2.0. Virtual and in-person sessions are planned for this year. Watch the TRIAD and check the OMEA PDC webpage for events and times. Finally, have conversations with other music teachers. Be reflective on your teaching and on your students’ progress. Whether you are a first year teacher or a 30+ year veteran, use the entire evaluation cycle to think about your strengths, as well as areas that you would like to improve. As educators our hope for students is constant growth and success. Expect the same from yourself.

References

Batelle for Kids. (2013). Assessment literacy: Identifying and developing reliable and valid assessments. Ohio Department of Education. Retrieved from https://education.ohio.gov/ getattachment/Topics/Teaching/Educator-Evaluation-System/ How-to-Design-and-Select-Quality-Assessments/AssessmentLiteracy-Overview-Presentation.pdf.aspx Ohio Department of Education. (2020). Ohio teacher evaluation system 2.0 model. Retrieved from http://education.ohio.gov/ getattachment/Topics/Teaching/Educator-Evaluation-System/ Ohio-s-Teacher-Evaluation-System/OTES-2-0/Model-OTES-20-Final-03-27-20.pdf.aspx?lang=en-US Ohio Department of Education. (September 9, 2021). Teacher evaluations. Retrieved from http://education.ohio.gov/Topics/ Teaching/Educator-Evaluation-System/Ohio-s-TeacherEvaluation-System

Dr. Rachael Fleischaker (rfleisch@kent.edu) has taught elementary general music, band, and choir in Canton, Ohio for over 25 years. She earned her B.M.E. from the College of Wooster. Her M.Ed. and Ph.D. are from Kent State University. Research interests include culturally responsive music education, urban music teaching and learning, assessment and evaluation, and music teacher development and support. She has presented numerous sessions for OMEA and other professional conferences. Rachael is the chair of the OMEA Teacher Evaluation committee. OCTOBER/NOV EMBER 2021 | 38

What are YOU working on? Jennifer Mollenkopf How many of us have said this about our concert pieces, our halftime shows, our musical productions, our curriculum maps, … our lives? Let’s face it - we ARE a work in progress. And it’s okay. In fact, it’s better this way! While we work on ourselves, we also must rely on each other to share, collaborate, discuss, brainstorm, generate ideas, innovate, restart. After more than a year of uncertainty, we may have had to reinvent all the wheels. If and when we made it back to our music rooms, we were likely found still improvising. Maybe the bridge is still playing but we need the next verse. . . So, let’s talk shop, and share what works! Music teachers LOVE to talk about what we do and what we’re working on, from pre-k all the way to DMA. Even more importantly, we love to hear “WHAT WORKS!” from our colleagues so that maybe we can try it in our own classrooms. This article is a launching point for conversation -- The coffee is brewing! OMEA Members: The mic is yours. Choose the link applicable below and let us know what is working for you. What piece is your goto for a small junior high band? Is there a solid vocal work for the all-treble middle school choir? How about a chamber piece that lets your students shine at solo & ensemble? Someone out there has a jazz chart that can be heard at every spring concert. Tell us about it! Whatever your reason for selection - the teaching tools the piece holds within its measures, the ease of putting the work together, or simply student demand/ audience appeal - we want to know what works for you! 39 | TRIAD

The list will be an active link accepting submissions on loop, from now til forever. It will be published for you, the OMEA members to see at any point in time, and just like us, will be a work in progress. The link to the database will be shared on social media and in upcoming issues of TRIAD. You will have access to the database for as long as it is active! You can submit as many or as few items that you wish. (Repeat and fade...) Ultimately, we want this to be an ongoing resource for all members teaching all areas. As we gauge the popularity of this idea, we may even be able to add more topics such as general music ideas that work, or musical theater tricks of the trade. With the contributions of our OMEA members, this can be a fantastic resource! OMEA hive, it’s your verse. Let’s get to work.

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Jennifer is a graduate of Otterbein College (BME ‘94) and the Youngstown State University Dana School of Music (MM ‘06) Currently she is the Director of Bands and Assistant Drama/Vocal Director at East Palestine City Schools for grades 5-12. Jennifer has performed and conducted over 30 plays and musicals in her career. She is a piano and horn player/studio teacher, and has performed with her family and professionally in various brass and community bands. Jennifer lives in East Palestine, OH with her husband David and two daughters, Victoria and Abigail. She is a member of OMEA/NAfME and Women’s Band Directors International, and will be marching with the Band Director’s Marching Band in the 2022 Rose Parade. OCTOBER/NOV EMBER 2021 | 40

Brass Bungalow Brass Mouthpieces need care and attention too! Heather Sirney From first year students excited about new instruments to the high school students performing horn snaps on asphalt marching fields, band directors have experienced brass players dropping their mouthpieces all too often. As a result, dented mouthpiece shanks are common for both student and school-owned mouthpieces. Such imperfections result in negatively changing the resistance of the mouthpiece as well as the air flow into the instrument. These blemishes should be addressed and repaired, and band directors can easily repair most dents by using a “Truing Tool.” A truing tool is used to change the roundness of a mouthpiece shank and is a great investment for any band program. To get started, one should rest the mouthpiece on a soft cloth, and the use of a plastic or rawhide hammer is recommended. Place the truing tool in the mouthpiece and hand tighten the mouthpiece into the truing tool. Holding it at an angle, begin lightly tapping/hammering around the spots where it does not touch the tool because of the dent. Be sure to hammer toward the indented area with glancing blows as well as toward the end of the shank, rotating the mouthpiece as you go. As the dents round out, the mouthpiece will loosen in the truing tool. Repeat the process of hand tightening and lightly hammering until the shank is back to its original shape. At no time should you insert the truing tool into the mouthpiece and hammer directly down onto the tool. This can potentially ruin the shank as well as get the tool stuck in the mouthpiece. Truing tools can be purchased either online or from a local music retailer for approximately $22.00. A low-cost item for any director’s repair kit, 41 | TRIAD

use of a truing tool is an easy way to maintain brass mouthpieces. School owned mouthpieces should be checked annually, and any imperfections should be fixed as soon as possible to ensure the best possible airflow from mouthpiece to instrument.

Heather Sirney is the Assistant Director of Bands at Warren G. Harding High School. As one of the music teachers at the high school, her teaching responsibilities include Marching Band, Symphonic Band, Concert Band, Freshmen Band, Jazz Ensemble 1, Jazz Ensemble 2, Beginning Piano, and Music Technology. Ms. Sirney is active within the OMEA District 5 organization as one of the co-chairs of the High School Honors Band. She received her education at Youngstown State University, earning a Bachelor of Music Education and continued at YSU as a graduate assistant within the band department while earning a Master of Music with a conducting emphasis. Ms. Sirney previously taught music at Cardinal Mooney High School in Youngstown and before that, was the band director at Huntingdon Area High School in Huntingdon, PA.

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Percussion Parlor Build A Stronger Percussion Section Through Structure and Organization Tyler Husosky Set-Up: When setting up a percussion section, it is important to think about how ensemble parts relate to other instruments, along with stage placement in a performance venue. The timpani and bass drum should be placed near the low brass section. This will help to reinforce low brass parts and improve overall ensemble timing and precision, as they are typically doubled. Having the crash cymbals placed near the bass drum helps with timing, especially when performing marches. The chimes, vibraphone, and marimba should be placed near the outside edges of the section to help projection. Lastly, having the xylophone and bells placed near each other can help students make quick and easy transitions since these instruments often share parts and/or players. Finally, create trap tables by turning music stands sideways and placing a towel or small carpet on it to hold mallets and smaller percussion instruments. Color Coding: Electrical tape can be used to color code school-owned mallets to correspond with the various instruments on which they can be played. Place the correlating-colored tape on the frame of mallet instruments where it is easily visible by the students. Some mallets may have multiple pieces of tape since some mallets can be used for more than one keyboard instrument. Placing pieces of tape on the drawers of the percussion cabinet will help students locate where mallets are stored. 43 | TRIAD

Percussion Assignments: Create a chart that students can clearly see at all times. The chart should include what instrument each student is to play each day/week during warmups, technique building and performance music. Splitting up the section and having a daily rotation of an “A” and “B” group provides opportunities for students to play both mallet and battery percussion instruments. There are many great resources in PDF and Word format that will show up on a simple search. There are also many great assignment charts available through Teachers Pay Teachers. Doubling parts, especially at the beginning and junior high band levels is a fun way to build confidence and get students comfortable playing various percussion instruments. Even though many current composers incorporate a lot of percussion into their music, some older arrangements and method books don’t incorporate accessory percussion instruments at times. Be creative! For example, bass drum parts can typically be doubled with crash cymbals, a suspended cymbal with sticks, tom toms or timpani. Snare drum parts can be doubled on the tambourine, maracas, bongos, claves, and woodblock. The possibilities based on director creativity are endless to keep percussionists actively engaged, even when specific parts might not be written in the score.

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Tyler Husosky is the 5-8 and assistant band director at Lakeview Middle and High School in Cortland. Tyler serves as the co-director of the Henry H. Stambaugh Youth Concert Band in Youngstown, teaches private lessons, and performs with the W.D. Packard Concert Band in Warren. Tyler is an active OMEA member, having served as the District 5 President, District 5 Fall Conference co-chair, and the Junior High Large Group Adjudicated Event site chair. Tyler is also active as an active solo and ensemble and large group adjudicator, and is a member of the American School Band Directors Association. Tyler received his B.M.E. from Youngstown State University, and his M.M.E. from Kent State University.

OCTOBER/NOV EMBER 2021 | 44

Woodwind Window Mouthpiece Exercises...... Not Just for Brass Anymore! Shawn Reynolds Being and double reed specialist and an active woodwind doubler, I have always felt confident in teaching woodwinds. Through the years, I continue to learn as much as possible about brass, percussion and woodwinds to give my students the best education I can provide. The longer I teach, the more it becomes apparent that there are many connections between the fundamentals of brass playing and the applications to the fundamentals of woodwind playing. I begin several of my middle school rehearsals each week with brass player mouthpiece buzzing exercises. These exercises help focus the embouchure muscles for proper setup and coordination of lips, air, and tongue. They also encourage the students to listen to the pitches they are buzzing and match what pitches I am modeling for them either on a mouthpiece, assembled instrument, or piano. My woodwind training has helped my teaching evolve to realize that adding woodwinds to this exercise is beneficial as well. While my brass players are buzzing sirens and pitches, my clarinet and saxophones are playing on mouthpiece and barrel (clarinet) or mouthpiece and necks (saxophones). You may be wondering what ‘goal’ this achieves. Many embouchure issues, tone issues, and intonation concerns can easily be identified and corrected if your clarinets and saxes play their mouthpiece and barrel (clarinet) or mouthpiece and neck (saxophone) alone and not fully assembled on the instrument. Many teachers perhaps underestimate this important fundamental 45 | TRIAD

of woodwind embouchure setup. Woodwind players should be able to produce the correct pitches on the mouthpiece and barrel/neck alone on clarinet and saxophone. If they cannot produce the correct pitches (listed below) there is a larger issue that first must be corrected with the embouchure. Further, this trick can be a great insight into intonation issues students may be having on those instruments. There are some advocates who believe that clarinet and saxophone mouthpiece work should be done on the mouthpiece alone (without the neck/barrel). However, I am a firm believer that in the beginner and middle school level, the use of the mouthpiece connected to the barrel/neck provides the sometimes small-statured middleschool student a more tangible object to grasp and visualize for these exercises. In addition, the lower pitch produced using the mouthpiece connected to the barrel/neck is a more easily discernible pitch for the middle level learner (especially ones with sensitivities to higher pitches) to hear and match. Clarinets should remove the mouthpiece and barrel, keeping them connected. Students should place the mouthpiece in their mouth as they would if they were playing normally. It is important that you as the teacher are very specific to mention that the students need to hold this shortened section at the same angle, they would play their clarinet fully assembled. If they are not holding this segment at the correct angle, it can compound and create a host of other issues detracting us from assessing the embouchure, the purpose for this exercise. When

playing the clarinet mouthpiece and barrel alone, with all factors in correct alignment, students should be able to produce the pitch of concert F#. Have the student sustain this pitch for several seconds. Saxophones should remove the neck from the body and play this exercise only on the the mouthpiece connected to the neck. When played correctly, the mouthpiece /neck should produce the pitch of concert G#. The pitch on the tenor sax mouthpiece and neck should generate a concert E and baritone saxophone the neck and mouthpiece should generate a concert D or D#. It should be noted that some teachers insist that alto sax be played with the instrument to the side of the right leg. This is most often done with beginners due to the physical size of the student in relation to the instrument. While this is not necessarily a bad thing, the teacher needs to ensure that students who play in the side position are placing the mouthpiece in the embouchure at the correct angle — parallel to the ground. If the setup angle is too low (closer to a clarinet angle) the student will not play the correct pitches and the embouchure setup will suffer, defeating the purpose of this exercise. It is important to keep the

alto saxophone neck and mouthpiece almost parallel (to the floor) when in playing position for the correct embouchure setup to produce the right pitch. I regularly model and demonstrate during rehearsals for all of my students. I often have several instruments fully assembled and beside me while teaching. Those who may not be a woodwind specialist can still model the correct pitches for their students with some practice against and tuner and with a mirror. Modeling is one of the most effective teaching tools we have, and we should be doing it each and every day on as many instruments as possible for our students. If you have a piano in your room, I also recommend using that as a pitch reference for the students. Once you have properly demonstrated what pitch the students should be achieving on the mouthpiece and neck/barrel alone, have the students identify whether they are flat, in tune, or sharp, relative to the pitch you have given either modeling or by playing a piano pitch reference. I initially encourage my students ‘discover’ how to manipulate the pitch to make it go higher and lower rather than telling them how to make these adjustments. They will remember

OCTOBER/NOV EMBER 2021 | 46

how to adjust if they have discovered it on their own by making a little game out of scooping the pitches to figure out how to change the pitch. Once they are aware of their pitch in relation to your pitch, begin to help find solutions. If they have “discovered” how manipulate the pitch, they can now figure out how to fix the problem so that they can apply that to future pitch concerns. The following list are helpful ways and visualizations to help troubleshoot problems you may hear on the mouthpiece and barrel/neck alone: Clarinet Tips 1. Think about pushing the chin forward slightly into the reed to slightly raise the pitch. 2. Stretch the upper lip downward - away from the nose - to help lower or stabilize the pitch. 3. Point your chin downward. Be careful to make sure student keeps forehead up. This sets the correct embouchure placement. 4. Make sure the tongue is in the “teee---ooooo” position. (Tongue in “teee” position but lips in “oooo” position with flat chin and upper lip stretched down away from nose). 5. I often have students make the letter “L” with their thumb and index finger of their left hand and put it under their chin for the correct head angle. (tip of pointer finger just under chin and thumb against sternum area) Saxophone Tips 1. Think about pushing the bottom lip (bottom teeth pressure against lip) SLIGHTLY upward into the reed (saxophone) to help raise the pitch ever so slightly. 2. Ensure that the angle of the neck/mouthpiece is nearly parallel to the ground. 3. Make sure the tongue is in the “eeee” position. 4. I have found as my teaching has evolved that some students seem to experience more success with a “tooooo” placement with some mouthpieces that come stock with student instruments. Clarinet AND Saxophone 1. Make sure both saxophone and clarinet students have their bottom lip slightly over their bottom teeth. Their teeth should be just on the wet part of their inner bottom lip. 47 | TRIAD

2. Correct choice of words can make a huge difference: Use the word “cushion” the reed as opposed to the word “tighten up” so that he embouchure remains relaxed and open. 3. As the teacher, you can slightly change the angle of the barrel/neck and mouthpiece to assist the student in figuring out where the best location in achieving the correct pitch. 4. Moving the mouthpiece slightly inward or outward (too much or too little mouthpiece) can cause or fix problems. 5. Though a simple idea, the following is often overlooked: Be sure to check that each student has their teeth anchored firmly into the top of the mouthpiece. I test this by unexpectedly (and gently) trying to wiggle the mouthpiece while the student is playing. If their teeth are properly anchored, you will not be able to wiggle the mouthpiece alone. 6. Too little or too much of the mouthpiece inside the mouth could affect the pitch. Too much mouthpiece inside the mouth will cause sharp pitch and a. Raucous sound. Too little inside the mouth will cause a flat thin sound. 7. Insert a piece of paper between the reed and mouthpiece to demonstrate the point where the paper stops (where the reed begins to move away from the mouthpiece). This is the point where the bottom lip should be against the reed. 8. In general, anything less than a strength 3 reed will cause the pitch to be too low. I insist my students use a strength 3 reed and it unequivocally always brings the pitch up to where it needs to be, providing all other variables are correct. The final piece of the puzzle, and the one that is often not worded correctly, is to remind students to remember what it “feels” like to play with the correct pitch on the mouthpiece and barrel/neck alone. There needs to be a great deal of repetition on the mouthpiece and barrel/neck alone so that students develop a good habit and know exactly where to place their lips, teeth, tongue, and the angle at which they can play with the correct pitch. Once they “feel” where this is at and can do it consistently, they will have a great center of tone and a correct pitch-base to play the entire instrument relatively in-tune.

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The ‘feel’ of the correct embouchure will become a part of each student’s fundamental and provide benefits of a wonderful tone and pitch-center throughout their career. If you use this technique often in your rehearsals, you will begin to see improvements in tone, embouchure, and intonation almost immediately. Do keep in mind that as students’ progress from elementary into middle school and high school, their facial structure and bodies are constantly changing. Make this a habit of your warmup weekly and visit and re-visit this exercise over the course of several years to ensure that minute adjustments are being made to accommodate physical growth and development. Frequent reminders of the fundamentals of basic embouchure are very important. While they take a bit of patience and time, the end benefit will be well-worth the extra time spent! And, while your brass players are buzzing their warmups your woodwinds will have something to work on as well. Don’t forget to include your flute players on headjoints alone to promote tone and flexibility in their embouchure setups!

49 | TRIAD

Shawn Reynolds is in his 19h year of teaching. He teaches middle school band (grades 6-8) as well as high school marching and concert band. In addition, he instructs the world drumming ensemble, which is a part of the World Music Drumming general music curriculum at Howland middle school. He also serves as the professor of oboe and English horn at Youngstown State University (YSU) since 2015. Prior to his appointment at YSU he was the oboe professor at Westminster College in Pennsylvania for 12 years. He has presented numerous clinics on middle school classroom management, innovative music appreciation courses for both middle and high school, and middle level instrumental pedagogy at OMEA all-state and regional conferences. He has also presented at regional and all-state conferences in Pennsylvania and has presented internationally for the International Double Reed Society (IDRS). Shawn holds a BS in music education from Youngstown State University (YSU) and an MM in Oboe/English horn performance from the University of Cincinnati College-Conservatory of Music. (CCM). While at CCM he served as a graduate assistant/coordinator in the music education department and was instructor of record of woodwind method and techniques class.

BRIAN D. 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 almost 50 years? Since 1972, hundreds of music teacher researchers have presented their work to the wider national and international profession, and is available in print and electronic format in nearly all 50-states, and more than 100-countries abroad. With more than 400 articles in 43 volumes, CME can help you be a better music teacher. Topics over the years have centered on improving the musical experience for students and teachers. · · · · · · · ·

URBAN AND SUBURBAN MUSIC PROGRAMS TEACHER PROFESSIONAL IDENTITIES LISTENING IN MUSIC CLASSROOMS BAND, CHORAL, ORCHESTRA, GENERAL MUSIC SIGHT-SINGING ATTITUDES AND INFLUENCES EARLY CHILDHOOD MUSIC EDUCATION PROGRAMMING CHOICES AND POLICIES HISTORICAL TRADITIONS AND METHODS

· · · · · · · ·

BEST PRACTICES IN BAND ROOMS BEGINNING MUSICAL INSTRUCTION INSTRUMENTAL AND CHORAL PROGRAMS INTRINSIC AND EXTRINSIC MOTIVATION ISSUES OF SOCIAL JUSTICE IN SCHOOLS CURRENT MUSIC TECHNOLOGY PRACTICES INNOVATIVE WAYS TO TEACH MUSIC AND MANY, MANY MORE

Now is your opportunity to support OMEA and CME by becoming a subscriber to this important publication. Consider joining today, and for a minimal contribution, you can add to your library of resources to increase your own expertise. Subscriptions are now available in print and electronic format. NEW FOR OMEA MEMBERS: electronic access for only $10 a year! For further information and subscription details, please visit our comprehensive website: www.contributions.omea-ohio.org. We look forward to hearing from you!

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Ohio Choral Directors Association A happy welcome to the 2021-22 School Year from the Ohio Choral Directors Association. As I begin my term as president, I look forward to serving the Ohio choral community. I am deeply in debt to ACDA, OCDA and OMEA for the professional development that has inspired me to become a better director every day. As an affiliate to the American Choral Directors Association, our members have access to excellent resources through publications like “Choral Journal” and “ChorTeach” as well as the incredible online resource “ChoralNet”. Thanks to our members and former board members, Ohio is seen as a strong affiliate of ACDA. In addition to what ACDA has to offer, here is a look at what you could expect from OCDA this year: • The OCDA News is published three times a year; Fall, Winter and Spring. The online publication contains both information about what the organization is up to, as well as insightful and practical articles from our Executive Board and guest contributors. Anyone is welcome to submit an article. • OCDA Summer Conference will once again take place IN-PERSON at Otterbein University this coming June 20-22, 2022. Not only does the conference offer local clinicians, expanded reading sessions, concerts, honor choirs and opportunities for collaboration, but will welcome Jason Max Ferdinand and Elaine Hagenberg to Ohio. This is a conference you will not want to miss! 51 | TRIAD

• OCDA sponsored Reading Sessions at OMEA Conferences are an incredible way to find new music recommended by our outstanding Repertoire and Resources Chairs. Three sessions are sponsored: Elementary, Middle School/Jr. High, and High School/College University. If you haven’t attended one of these workshops, make it your mission this year. • Ohio will also be continuing the virtual workshops begun in the past year. These workshops are offered for free to our members as well as some to the greater choral community. Our two new standing committees on Diversity Initiatives and Professional Development will be working to provide insightful and thought provoking sessions. • Ohio will once again be offering mentors to new professionals. While I had a great experience in undergrad, it was the work with mentors once I was in the classroom that has made all of the difference. Reach out to me if you are interested in having a seasoned professional in your corner this year! • Upcoming ACDA conferences include the Midwestern Region Conference in Chicago, IL, (February 16-19, 2022) and the 2023 National Conference in CINCINNATI, Ohio (February 22-25, 2023). It is incredible to have this incredible conference in our own state!

In my first year on the OCDA Board as membership director, I made a comment that we are much more than reading sessions, and we are! I am reminded of a commercial from my youth, “the only thing missing is YOU.” Your membership is what lets OCDA offer the outstanding insightful discussions to our past, present and future endeavors. To find out more about membership or what ACDA/OCDA has to offer, please visit www.acda.org or www.ohiocda.org. I hope this year will return us to continued beautiful music making, memorable experiences, and strength to support our musicians as we continue to strive during these times.

Doug O’Neal serves as Director of Choirs at Olentangy Liberty High School where he conducts four concert and two ACAPOP choirs. A former music minister and conductor of Illuminati from the Columbus Gay Men’s Chorus, Doug also enjoys performing musical theater. He has degrees from Bowling Green State University and University of Dayton and has served as Co-Chair of the OMEA All-State Choir.

We are Wittenberg. 2021-2022 Audition Days Dec. 10, 2021 Jan. 17, 28, Feb. 12, 21, 26, 2022 To schedule a scholarship audition, visit www.wittenberg.edu/music/audition. For more information about our music programs and scholarships, contact Dr. Daniel Kazez, dkazez@wittenberg.edu, Professor of Music and Music Audition Coordinator, tel. 937-327-7354 (or 800-677-7558, ext. 7354)

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OCTOBER/NOV EMBER 2021 | 52

Adjudicated Events The OMEA Adjudicated Events (AE) Committee continues working to support members facing the challenges of the continuing pandemic as they return to the classroom. Please read below for current COVID-related accommodations. Additional supports and modifications are under review. Updates will be announced early this fall. I want to express my personal appreciation to the AE committee, OMEA adjudicators, and those music teachers who attended this summer’s OMEA AE Roundtables. An action plan is being developed based on the information collected through these discussions. The first of these action items is underway as the committee initiates a strategic planning process to examine the structure of the AE Calendar. More information will be forthcoming as the plan is implemented.

2021 Fall Virtual Solo and Ensemble

OMEA will once again offer a virtual solo and ensemble event open to both junior high/ middle school and high school events. The format will be the same as in the 2020 event. The entry fee is $18 per event (see chart on next page). Submission dates are listed below, and additional details are available on the OMEA website. • Website opens for submissions: Saturday, September 25, 2021 • Website closes for submissions Saturday, November 6, 2021 (11:59PM) • Results released – Monday, December 6, 2021

53 | TRIAD

2021 Marching Band COVID Accommodation

Due to the unique challenges facing marching bands this fall, the AE Committee has voted to modify the overall rating calculation for the 2021 season making it is easier to earn a superior rating at local events, and SMBF. A detailed breakdown of this change is available on the OMEA website. This modification applies only to marching band events, not Large Group.

Adjudicated Events Information

All adjudicated event dates and deadlines for registration are listed on the OMEA website. To access the dates and deadlines, login as a member and access “AE” in the menu. Please register early for all adjudicated events to avoid potential last-minute issues. You are also encouraged to join the Ohio Music Education Association Adjudicated Events Facebook Group. Please be aware that late registrations will NOT be accepted. If you have difficulties in the registration process, please contact me at ae_ chair@omea-ohio.org or Greg Taylor before the registration deadline. Below are the deadlines for out of district/region requests. These are submitted through the OMEA website. 1. HS District Large Group Band and Choir: January 1, 2022 2. HS Region Orchestra: January 1, 2022 3. JH Band, Orchestra and Choir: March 1, 2022

IMPORTANT!! - Registration Deadline Change for High School Solo and Ensemble

• District 1, 5, 10, 12, 14 – Deadline is Thursday, December 23, 2021 (11:59 PM) • District 3, 4, 8, 11, 13, 17 – Deadline is Thursday, December 30, 2021 (11:59 PM) Entry Fees for In-Person Events 2021-2022

Entry Fees for 2021 Fall Virtual Solo & Ensemble

$19 - HS Solo

$18 – HS Solo

$24 - HS Ensemble

$18 – HS Ensemble

$16 - JH Solo

$18 – JH Solo

$20 - JH Ensemble

$18 – JH Ensemble

$220 - HS District Large Group $250 - HS State Large Group & Marching Band $160 - JH Large Group $10 - Out of District

Questions or Suggestions? Please feel free to contact: Jay Wardeska, AE Chair - ae_chair@omea-ohio.org Bill Thomas, Director of Adjudications - adjudications_director@omea-ohio.org

Jay Wardeska is currently a Teaching Associate at The Ohio State University. He holds degrees from Kent State University and Mount Union College and has been a music educator since 1990. He is an active OMEA Adjudicator and has been presented with several awards and honors including the National Band Association Citation of Excellence and the 2013 U.S. Army/NAfME National All-American Band Director of the Year. In addition to OMEA and NAfME, Mr. Wardeska is a member of Phi Beta Mu, the National Band Association, and the American School Band Directors Association.

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Technology In Music Education Welcome All! My name is Lesley Schultz and I am the newly elected President of the Ohio Chapter of TI:ME (Technology In Music Education). We have some really exciting and informative activities planned for the 2021-2022 school year, including the TI:ME North Central Regional Conference at OMEA PDC 2022. TI:ME is hosting over 40 sessions at OMEA that will include a wide-ranging scope of best practices in music education while integrating and using technology. Ethan Hein will be the headline for our sessions, so we hope you will plan your PDC schedule around his session on Friday, February 4th, 2022 at 11am. We want YOU to be more active in TI:ME. We hold mostly monthly meetings via Zoom and we welcome all music educators, including students as well as student-teachers to get involved. I would like to personally invite all of you to check out our online November/December meeting on Monday, November 15th, 2021 at 7pm. If you are interested in attending this meeting please send an email to “lschultz@vikingmail.org“ to receive the meeting link. The Ohio Chapter of TI:ME is also planning a November “Techsgiving Spectacular”. There will be several sessions held on Saturday November 20th, 2021. CEU’s will be offered for this online training and the sessions will be open to anyone who is a member of TI:ME. If you haven’t renewed your membership, now is the time (pun intended!). Memberships can be renewed at: https://www.time.org The website has recently had a redesigned since last year and you will be able to view all the wonderful information and courses offered online through TI:ME. 55 | TRIAD

It is going to be a spectacular year for TI:ME in Ohio, and we would love to see old friends and new friends in our exciting slate of events this school year.

Lesley Schultz currently teaches Secondary General Music and Orchestra at Princeton City Schools (Cincinnati, OH). She earned her Bachelors of Music Education from West Virginia University and her Masters of Music Education from Ohio University. Lesley is a Level 2 Google Certified Educator. Lesley keeps an active performing schedule around the state of Ohio, performing with several regional symphonies on viola. She is a member of TI:ME (Technology In Music Education) and serves as the Ohio Chapter President and on the National Conference Committee. Lesley is a columnist for SBO Magazine. In her copious amounts of spare time she enjoys knitting, watching West Virginia Mountaineer sports and spending time with her family and making TikToks about her cats.

MUSIC AT MUSKINGUM 740-826-8095 | MUSIC@MUSKINGUM.EDU | MUSKINGUM.EDU/MUSIC

AUDITION DAYS

Saturday, January 15, 2022 Monday, February 21, 2022

OCTOBER/NOV EMBER 2021 | 56

Higher Education THE OHIO STATE UNIVERSITY SCHOOL OF MUSIC Construction of the Timashev Family Music Building is in its final year and will open Autumn 2022. The fourstory addition to Weigel Hall features a new 250-seat recital hall, a large ensemble rehearsal room, several high-tech classrooms, 36 additional practice rooms and a dedicated research lab. The new building for the Department of Theatre, Film and Media Arts is under construction next door and will open in 2023. This Arts District is a complement to the 15th & High Project, which includes University Square, the new home for WOSU Public Media, and more. We are pleased to welcome new faculty members Lara Semetko Brooks, associated faculty, jazz and classical vocal performance; and Abby Yeakle Held, associated faculty, oboe. Tanya Sparks has joined the school as Recruitment and Admissions Coordinator. Jim Masters, jazz trombone, was awarded the first-ever Columbus Symphony Orchestra Music Educator Lifetime

Achievement Award. Barry Green, double bass, received the International Society of Bassists 2021 “Special Merit” Recognition Award. The Women’s Glee Club, led by Jordan Saul, music education, won a collaborative grant with the Department of Dance to commission composer Britney Boykin for large work which will premiere in February. Rick Palese, music education, in collaboration with the Centers for African and Latin American Studies, was awarded a university Global Arts and Humanities Discovery Themes grant to support “Global and Popular Music” a new program in that will afford school-aged participants the opportunity to engage in diverse musicmaking and learning experiences alongside School of Music students, faculty, and university and community partners. Eugenia Costa-Giomi, interim director, has been appointed chair of the OMEA Research Committee. CostaGiomi was also awarded a Global Arts and Humanities Discovery Themes COVID grant for special programming — “Muted, Isolated, and Displaced by Social Distancing: Reinventing Collaborations in Performance Ensembles.”

PLAY AN INSTRUMENT? Sing in a choir?

AUDITION FOR SCHOLARSHIPS BEFORE APRIL 1

Scholarships available for music majors and non-music majors, ranging from $1,000-$21,000, renewable for four years!

Visit www.bluffton.edu/music for application and requirements.

OHIO MUSIC EDUCATION ASSOCIATION Research Committee RESEARCH POSTER SESSION OMEA Professional Development Conference February 3–5, 2022 CALL FOR PAPERS Submission Deadline: November 15, 2021 The Research Committee of the Ohio Music Education Association invites submission of recent research reports for review and consideration to be presented during the Research Poster Session at the Ohio Music Education Association Professional Development Conference in Cleveland, Ohio, February 3–5, 2022. The session will be held on Friday, February 4 from 12:00 noon to 1:00 pm. Research reports in music education or other related music disciplines (e.g., theory, musicology, performance, pedagogy, therapy) are welcome. There will be two kinds of research accepted for presentation: (a) completed master's theses or doctoral dissertations and (b) reports of original research studies. Those wishing to submit a report for consideration should comply with the following guidelines: 1. To submit completed master's or doctoral final research documents, it is only necessary to submit a copy of the abstract, a copy of the document's title page, and a copy of the signature page which indicates that the paper was accepted in partial fulfillment of degree requirements. The name of the degree-granting institution should appear on one of these pages, or must be included with the submission, as well as the author’s name, address, and e-mail. If all of the above-mentioned items are included, the completed thesis or dissertation will be guaranteed acceptance for presentation. These should be sent by e-mail as a .pdf, .rtf, .doc, or .docx file (scanned, in the case of the signature page) to the address below. 2. To submit a report of any other type of original research project, student or faculty researchers may email a copy of the complete paper, including an abstract, in .pdf, .rtf, .doc, or .docx format. The project should demonstrate sound research practices with appropriate writing style, generally following the submission guidelines found at: www.contributions.omea-ohio.org. Small-scale studies, including action research, are appropriate for this forum. The author's name, address, e-mail, and current school affiliation should be included on a separate page/file from the abstract and/or manuscript. 3. Papers presented at conferences, other than previous OMEA state conferences, will be considered as long as this is clearly indicated in a statement included with the submission. 4. Authors will be apprised of the results of the selection process by e-mail. A hard copy of acceptance letters will be provided upon request. Submission deadline is November 15, 2021 and applicants will be informed by Friday, Dec. 3. Only fully completed works will be considered. Submissions should not have been previously published and should otherwise adhere to the NAfME Research Publication/Presentation Code of Ethics (https://tinyurl.com/ybkmodkh). E-mail the materials to Dr. Paul Louth [omeapostersession2022@gmail.com], OMEA Research Poster Session Chair, with “OMEA Research Poster Submission” in the subject field. If accepted for presentation, the primary or listed co-researchers must register for and attend the conference to present the poster

OCTOBER/NOV EMBER 2021 | 58

OHIO MUSIC EDUCATION ASSOCIATION Research Committee GRADUATE RESEARCH ROUNDTABLE OMEA Professional Development Conference February 3–5, 2022 CALL FOR PROPOSALS Submission Deadline: November 15, 2021

The Graduate Research Roundtable session will be held at the 2022 OMEA Professional Development Conference on February 4, 2022, from 1:30 p.m. to 3:30 p.m. Six Ohio graduate music education students will be selected to present their in-progress dissertations, theses, or other research projects in a conversational setting to Ohio college and university music education faculty and students. This roundtable session will give students the opportunity to (a) practice presenting their research multiple times (being able to present research is a valuable skill); (b) talk through their study with a small, friendly group of people (talking about a study aloud sometimes helps to clarify the details); (c) receive feedback, both general and specific, from multiple persons; and (d) gain additional perspectives and ideas on how to proceed with various aspects of the study. The format will be as follows: Presenters will be seated at a round table with their laptop computer (encouraged) and 30 abstracts of their study (limited to two pages). Several chairs will surround the table for Ohio music education faculty members, other graduate students, and any additional individuals interested in participating. Students presenting their research will give an 8- to 10minute overview of their study, preferably with a PowerPoint presentation on their own batterydriven laptop computer. This will be followed by a 10- to 15-minute discussion among the presenter and the group, facilitated by a faculty member. After the discussion, the group will move to the next table for another student’s presentation and discussion. This process of moving from table to table will continue throughout the 2-hour session. To apply to present your research-in-progress, send submissions (Word document only) to Dr. Nathan Kruse at nathan.kruse@case.edu, OMEA Graduate Research Roundtable Coordinator, with “GRR Submission” in the subject field. Submissions should include (a) author name, (b) author email address, (c) institution, (d) project title, and (e) a 300-word (max) abstract that includes the need for the study, the purpose statement and research questions, the design/methodology, and the findings/implications (if known at the time of submission). Submissions will be blinded for review and should be received no later than midnight on November 15, 2021. All applicants will be notified whether or not they are among the six who will present their research at the roundtable no later than December 20, 2021. If you have any questions about this process, please contact Dr. Nathan Kruse at nathan.kruse@case.edu or 216-368-0675.

59 | TRIAD

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