TRIAD - SPRING 2014

The Official Publication of the Ohio Music Education Association

April/May 2014 Vol. LXXXI, No. 3

*Photo courtesy of Bill Hayward - B.G.S.U.

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FIND OMEA ON THE WEB! 800.336.3768 www.nafme.org

Allied Organizations: 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

APRIL/MAY 2014

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TABLE OF CONTENTS FROM THE DESK OF...

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Editor of TRIAD - Matthew Warner OMEA President - Patricia Meeks

2014 PROFESSIONAL DEVELOPMENT CONFERENCE

17

A Look Back...

2015 PROFESSIONAL DEVELOPMENT CONFERENCE

37

Looking Ahead...

TEACHING TIPS

46 CHOIR - Selecting Literature for Any Choir - Dara Gillis

48 ORCHESTRA - I Suppose You Think This is Funny: Using Humor

as a Teaching Tool - Sara Given

52 TECHNOLOGY - So, You Want to Build a Music Lab? - Will Kuhn

54 BAND - Chamber Playing’s Impact: Bringing Your Students Out

of the Audible Shadow - Gregory Snyder

EDITOR Matthew Warner

937.570.0927

editor_of_triad@omea-ohio.org

DESIGN/PRODUCTION Amy Annico Director of Media and Publications

210.570.OMEA

media_director@omea-ohio.org

ADVERTISING David N. Adamson Director of Business Advertising/Exhibits

440.552.6983

business_manager@omea-ohio.org ONLINE PUBLISHING WRL Advertising

MUSIC MASTERCLASS

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62

64

PERCUSSION - Quick and Easy Latin Beats - Jim Leslie WOODWINDS - Common Challenges for Young Oboists - Nora Lewis BRASS - Do You Hear What I Hear? Developing Aural Skills in Beginning Brass Students - Dr. David A. Turrill

NEWS & COMMITTEE REPORTS

66 69 80 82 84 87 90 91 92 95 96 97

Adjudicated Events Higher Education News In Memoriam - Robert F. Lyon In Memoriam - Mary Jane McKinley In Memoriam - George Zimmerman Jazz Education Connection of Ohio Music In Our Schools Month Ohio Collegiate Music Education Association Ohio Foundation for Music Education Ohio Music Education Association - Music Advocacy Ohio Music Education Association - General Music Ohio Music Education Association - All-State Children’s Chorus

PROFESSIONAL DEVELOPMENT & ASSESSMENT 98 Workshops, continuing education, camps, etc.

5 12 103 104 106 106

Information Network Corporate/Industry Partners OFME Music Education Donor Form OFME Donors TRIAD Information Advertising Index

APRIL/MAY 2014

TRIAD, the Official Publication of the Ohio Music Education Association, is written for music educators, college students preparing for a career in music education, and others who are interested in music education in both general and specialized areas. TRIAD is now a digital publication that can be found online at www.omea-ohio. org three times a year - with Oct/Nov, Dec/Jan, and April/ May issues.

All news releases should be sent to the editor. All news releases received by the editor will be considered on the basis of news, value, and timeliness to the music education profession in the state of Ohio. All advertising space and business inquiries should be directed to the OMEA Director of Business. An Insertion Order or a Space Reservation Form must be submitted for ads to be printed.

TRIAD reserves the right to reject any advertisement.

The statements of article authors and/or advertisers are not necessarily those of the magazine or association, and the right to refuse any article/advertisement is reserved.

OMEA is not responsible for the URL linking in this publication in terms of destinations or operation. All links are tested in advance for validity to intended sources, but potential distortions may occur beyond the control of OMEA and/or the URL link source.

OhioMEA Online Publication Policy on Post-Publication Changes - The Ohio Music Education Association places the highest importance in the integrity of our publications posted online. We realize that despite the competent efforts of the editor, authors, contributors, advertisers, and OMEA staff, posted content may have errors or desired alterations identified after the proofing process is completed. Once a publication is posted online, it will be considered as ‘final’ and no further changes, updates, or corrections will be made. The electronic archiving of our publications for official record is taken seriously and all online publications should be considered equitable to print venues, without alterable possibilities once posted for public viewing.

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INFORMATION NETWORK OMEA OFFICE

P.O. Box 1067 Massillon, OH 44648 330.833.5677 - Office 330.833.4774 - Fax www.omea-ohio.org Roger A. Hall Executive Director 330.833.5677-O executive_director@omea-ohio.org David N. Adamson Director of Business 440.552.6983-O business_manager@omea-ohio.org Mark A. Hensler Director of Professional Development 513.240.1572-O pd_director@omea-ohio.org Amy L. Annico Director of Media & Publications 210.570.6632-O media_director@omea-ohio.org Gregory S. Taylor Director of Technology 614.395.5016-O technology_director@omea-ohio.org Max Treier Adjudications Coordinator 740.584.1940-O adjudications_coordinator@omea-ohio.org John Purdy Adjudicated Events Vendor 937.339.7360-O ae_vendor@omea-ohio.org

OMEA TRUSTEES Patricia Meeks President president@omea-ohio.org

OCMEA OFFICERS Emma Burger OCMEA President ocmea_president@omea-ohio.org

Terry Herschman President-Elect president_elect@omea-ohio.org

John Barrett OCMEA President-Elect ocmea_president_elect@omea-ohio.org

James Dowdy Immediate Past-President past_president@omea-ohio.org

Laura Horcher OCMEA Secretary ocmea_secretary@omea-ohio.org

John Veneskey Secretary secretary@omea-ohio.org

Justin Caithaml OCMEA Editor ocmea_editor@omea-ohio.org

Matthew Warner Editor of TRIAD editor_of_triad@omea-ohio.org

Patrick Specht OCMEA Treasurer ocmea_treasurer@omea-ohio.org

Richard Eakin Treasurer treasurer@omea-ohio.org 2013-2014 TRIAD EDITORIAL BOARD Matthew Warner Melissa Stamm Editor of TRIAD Teacher Evaluation Cincinnati Hills Centerville City Schools Christian Academy James W. Tipps Shelley Jagow Teacher Education Immediate Past Editor of TRIAD Wright State University Wright State University Jason Smith Amy Annico Brass OMEA Director of Media Ohio University and Publications Bill Jobert Scott A. Jones Woodwinds Band Wright State University The Ohio State University JulieAnn M. Bernard Amy Beegle Strings General Music Centerville City Schools University of Cincinnati-CCM James Leslie Jackson Leung Percussion Orchestra University of Dayton Wright State University David Tovey Bill Burns Multiculturalism Jazz The Ohio State University Centerville City Schools Brian Laasko Technology McKinley High School

APRIL/MAY 2014

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The 2014 Professional Development Conference was energizing and inspiring to me. Like many of you, I left the conference with anticipation and I was excited to return to my students with a renewed sense of purpose. Fresh ideas, reminders of core values, and time spent with friends old and new are some of the things about our PDC that always invigorate me (and I hope you, too). Reflecting on the conference and what makes it special, one can list features like: • Internationally recognized headliners • One of the largest music exhibits in the country • A wide variety of session choices over three days • Truly outstanding student performances, including tremendous All-State ensembles.

OMEA members definitely enjoy one of the premier music education conferences available. What is most remarkable, however, is that such a high-quality event is almost entirely the result of the efforts, input, and vision of the members themselves. Members organize and operate this elaborate conference. Members present ideas in sessions and bring student performers. The PDC is not only for members, it is also created by members.

This is, I think, an important distinction to make.

OMEA is an association—an organization of members who serve each other in a common purpose. This is 6

quite different from a corporation—an organization of employees who service clients, each for their individual needs. However, it is easy for members of a great association like OMEA to take the mindset of a “client” or “consumer” instead of that of a member. What I mean is that we can become preoccupied with what the association does (or does not do) for us rather than what it can accomplish through us.

We are not “Building the Future” of OMEA when we are just consumers. Full membership goes beyond paying dues or conference fees—it involves participation. Membership has its privileges, but also its responsibilities. Consider some ways you might contribute your skills, time, or expertise to other members: • Chair an event in your district • Host a district meeting • Assist with planning or implementing an event in your district • Become a District, Region, or State officer • Start (or sponsor) a Tri-M chapter in your school • Submit an article to TRIAD • Serve on a committee (AE, General Music, etc.)

• Explain the value of OMEA to parents, administrators, students • Serve in an allied organization (JECO, OCDA, OAAE, etc.)

TRIAD

• Contribute to the Foundation for Music Education • Share your ideas, events, and information through social media • Present a session at OMEA PDC • Attend the Benner Leadership Academy, OCMEA Summer Workshop, General Music Workshop, etc.

• Mentor a new member …and the list could go on!

There are many avenues for participation in OMEA. I’m sure you can easily discover how you can be involved as a member rather than a consumer; and if not, you can always ask! OMEA members will tell

you it is much more rewarding and beneficial to participate in building our future than to watch. We are all stakeholders in music education in Ohio, but membership is key to advancing our common purpose.

Dr. Matthew Warner is Middle School Band Director at Cincinnati Hills Christian Academy (Cincinnati, OH). He has also served on the faculty of Evangel University (Springfield, MO), Southwest Baptist University (Bolivar, MO), and Wright State University (Dayton, OH), and Greenon Local Schools (Enon, OH). Dr. Warner also serves as Editor of the TRIAD for the Ohio Music Education Association. An avid saxophonist, he performs regularly in a variety of settings.

THE OHIO STaTE YOuTH SuMMER MuSIC PROGRaMS Instilling a life-long love of music for over 30 years Flute Workshop • June 15 - 19

Enhancing students’ musical and performance skills. For students entering grades 9-12 and 2014 high school graduates. Register by May 1. Katherine Borst Jones, director.

Jazz Camp • June 15 - 19

Immersion in jazz styles with emphasis on performance and improvisation. For intermediate to advanced jazz students entering grades 10-12 and 2014 high school graduates. Reigster by May 16.

Ted McDaniel, director.

Morning String Student Workshop • June 16 - July 2

Summer string playing for students of all ability levels and training styles who are entering grades 4-9. Mon-Fri from 9:30 a.m. - noon, daily. Register by June 6. Robert Gillespie, director.

Clarinet Academy • June 22 - 26

Enhancing students’ musical and performance skills. For students entering grades 9-12 and 2014 high school graduates. Register by May 1. Caroline Hartig, director.

Details and registration at music.osu.edu

APRIL/MAY 2014

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My older brother Mike has been a high school and college math educator for ­­­­­­­­41 years, my late twin sister Pam taught first grade for 29 years, and I’ve spent 34 years as a music educator. Coincidence? Not at all. I clearly remember the day when I was 16 and I asked my father if I could get a job. Dad swiftly replied, “You have a job…it’s called school.” Our parents reinforced the importance of a well-rounded education and the power of knowledge. Music lessons were a priority even though it meant my parents working overtime hours to pay for our lessons. My parents treated teachers with respect and value and most importantly they supported all three of their children’s desire to become educators.

Why is this story important? If you are a Baby Boomer, and/or a seasoned music educator, I am asking you to share your positive stories, fun we’ve had, and optimism for the future with Generation Y! Our young professionals may not have students with parents like mine…but they have us: OMEA members who can provide the support and encouragement they will need to weather educational storms that will challenge their vision, and confront our OMEA mission to advance music education by encouraging the study and making of music by all. For our young professionals, soon to be emerging leaders in OMEA, I wish for you 8

the fulfillment Mike, Pam and I have had as teachers.

I am excited to unveil a new award that will be presented at the 2015 OMEA State Professional Development Conference. The first OMEA Outstanding Young Music Educator Award will be presented to a young professional—between three and eight years of teaching experience—who demonstrates the principles and characteristics of an outstanding music educator and promise for sustaining contributions for educational leadership. Please check the OMEA website for more information.

This past year we’ve seen progressive changes for OMEA, including a digital state journal, increased social media presence, development of a staff position devoted to professional development, plans for the inaugural OMEA All State Children’s Chorus in October, 2014, and a move to online auditions for All State Ensembles. Being responsive to our association’s needs is indicative of our ability to be responsive to change.

Change can be a challenge, but it is also an opportunity to take the lead, to grow and ultimately succeed.

We can’t fear change; we must embrace it. It’s our only path to the future. We must stay tuned in to the pace of rapidly changing technology, demographic shifts in our membership, and the pace of economic recovery in our state.

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“Feeling gratitude and not expressing it is like wrapping a present and not giving it” (William Arthur Ward). As we close this year I want to offer my sincere appreciation to the OMEA Trustees and Staff for their commitment to our association. Rick Eakin, State Treasurer has been a source of thoughtful dialogue and quick wit; he’ll be missed as his term ends July 1, 2014. James Dowdy is concluding his distinguished term of elected office/service to OMEA. Thank you Jim, for your servant leadership the past ten years, I am grateful for your mentorship and guidance! Thank you also to Terry Herschman, John Veneskey and Matt Warner for your tireless and accomplished work on the Board of Trustees. Many thanks to our staff of David Adamson, Amy Annico, Mark Hensler, Greg Taylor, Max Treier and John Purdy for providing continuous and outstanding support for our members.

For the past twenty years Roger Hall has served our association as a Treasurer, Fiscal Coordinator, and Executive Director. Roger takes care of thousands of details that keep OMEA running, but I can now say first-hand what he really does is take care of people.

Thank you Roger for working in a truly selfless manner, demonstrating mentor leadership, and making OMEA a fun place to work and serve!

I’ve been asked numerous times how it’s possible to be a full time teacher and OMEA President. The

APRIL/MAY 2014

answer is Dan Meeks. Thank you Dan for your loving encouragement at home, and as my colleague at Shawnee. I am grateful to the administration of Shawnee Local Schools for their support and insight that leadership positions are forms of professional development!

Simply put…I’ve had a great time serving as President of an organization that has been a part of my life since 1968 when I played my first trumpet solo at an OMEA contest at South Junior High School in Lima.

While OMEA leaders are constantly considering the financial side of OMEA, I want us all to remember that our biggest asset is truly the people in our association. Thank you for your service, friendship and support during the past two years.

I watched my brother, “Coach Mike,” coach football in 22-degree weather last November, still on the sideline at age 65. I was reminded that inspiration is always around us; thanks Mike for reminding me why we went into education—we have the chance to change lives for the better. One student at a time, let’s keep orchestrating success!

Sincerely, Pat

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2013-2014 Ohio Music Education Association

CORPORATE / INSTITUTIONAL PARTNERSHIP

CORPORATE INSTITUTIONAL PARTNERSHIP

The Ohio Music Education Association offers a partnership program to businesses, corporations, and colleges/universities. These organizations have made a special effort to support the activities of the music education profession in the State of Ohio. The quality of music education is highly valued by these caring sponsors. Your patronage of these educational advocates is strongly encouraged.

(List updated as of 11/13/13)

L E V E L l l l - P R E S I D E N T ’S C LU B Bluffton University

Bob Rogers Travel

Lucia Unrau 1 University Drive Bluffton, OH 45817 www.bluffton.edu/music

3440 Lacrosse Lane Naperville, IL 60564 www.bobrogerstravel.com

Jet Music

Music & Arts

Bowling Green State University

Amanda VanWechel College of Musical Arts Moore Musical Arts Center Bowling Green, OH 43403-0290 www.bgsu.edu/music

Noteworthy Tours

Elaine Ostrander 14 W. Ohio Avenue Mt. Vernon, OH 43050 www.jetmusicinc.com

Barbara Pavesi 4626 Wedgewood Blvd.

Frederick, MD 21703 www.musicarts.com

Charles Scroggy P.O. Box 1665 Sandusky, OH 44870 www.noteworthytours.com

The Ohio State University School of Music

QuaverMusic.com

Rettig Music, Inc.

Tamara Morris 110 Weigel Road/1866 College Road Columbus, OH 43210 www.music.osu.edu

Royalton Music Center

Megan Krueger Malko & Lauren Haas Amanfoh 10167 Royalton Road, Unit A North Royalton, OH 44133 www.royaltonmusic.com

Rob Wilbourn 1706 Grand Avenue Nashville, TN 37212 www.quavermusic.com/preview

Tim & Cindy Rettig 510 Clinton Street Defiance, OH 43512 www.rettigmusic.com

Summit Tour & Travel, Inc.

Wright State University

Mr. Kim D. Pretzer P.O. Box 682240 Orlando, FL 32868-2240 www.summittourtravel.com

Victoria Chadbourne 3640 Colonel Glenn Hwy. Dayton, OH 45435 www.wright.edu/music/

Yamaha Corporation of America

Melanie Walker 6600 Orangethorpe Avenue Buena Park, CA 90620 www.usa.yamaha.com

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TRIAD

L E V E L l l - O M E A PAT R O N Anita Evans 275 Eastland Road Berea, OH 44017 www.bw.edu/conservatory

The College of Wooster

Capital University Conservatory of Music

Cleveland State University

Kent State University

Muskingum University

Lynn Roseberry One College & Main Columbus, OH 43209 www.capital.edu/music

Kate Bill 2121 Euclid Avenue MU330 Cleveland, OH 44115 www.csuohio.edu/class/music

Nancy Ditmer Scheide Music Center 525 E. University Street Wooster, OH 44691 www.wooster.edu/music

Dana Brown 1325 Theater Drive RM E1C1 Kent, OH 44242-0001 www.kent.edu

Joyce Alesandrini 163 Stormont Street New Concord, OH 43762 www.muskingum.edu/dept/music

Ohio Northern University

Soundwaves Recording

The University of Akron

Thomas Hunt/Jenny Roby 525 South Main Street Ada, OH 45810 www.onu.edu/music

Dan Canalos 4708 Surfside Drive Huron, OH 44839 www.soundwaves.org

CORPORATE INSTITUTIONAL PARTNERSHIP

Baldwin-Wallace University

Ann Usher School of Music Akron, OH 44325-1002 www.uakron.edu/music

University of Dayton

Karen Solarek 300 College Park Dayton, OH 45469-0290 www.go.udayton.edu/music/

Youngstown State University m a r c h i n g

p r i d e

Friends, experiences and memories to last a lifetime.

Open to all YSU students regardless of major! Sign up today!

Please visit:

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APRIL/MAY 2014

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LEVEL l - OMEA SPONSOR Carl Fischer Music

Elizabeth Holub 48 Wall Street, 28th Floor New York, NY 10005 www.carlfischer.com

CORPORATE INSTITUTIONAL PARTNERSHIP

Educational Tours, Inc.

Cincinnati Symphony Orchestra

Laura Stauffer 10900 Euclid Avenue Cleveland, OH 44106 www.music.case.edu

Jared Webster 1241 Elm Street Cincinnati, OH 45202 www.cincinnatisymphony.org

EPN Travel Services

The Green Horn Project

Kim Burger P.O. Box 257 Holt, MI 48842 www.tours-eti.com

Amy Rossi 1784 West Schuylkill Road Douglassville, PA 19518 www.epntravel.com

Heidelberg University School of Music

Hetzer Tours & Charters, Inc.

John E. Owen/Pat Page 310 E. Market Street Tiffin, OH 44883 www.heidelberg.edu

Herb/Kevin/Barb Hetzer 149 Savoy Ave. Dayton, OH 45449-1724 www.hetzertours.com

Malone University

Marietta College

Dan McCourt 2063 West 12 Mile Road Berkley, MI 48072 www.mccourtsmusic.com/green

JW Pepper & Son

Russ Bullis 5282 E. 65th St. Suite B Indianapolis, IN 46220 www.jwpepper.com

Miami University

Mary Haines 515 25th St. NW Canton, OH 44709 www.malone.edu

Daniel Monek 215 Fifth Avenue Marietta, OH 45750 www.marietta.edu/~musc/

Bruce Murray 109 Presser - Dept. of Music Miami, OH 45056 www.miamioh.edu/sca/academics/ departments/music

Mountain Lake Summer Camp

Music Travel Consultants

Ohio University School of Music

Gene Gooding 17700 Old Camp Road Fannettsburg, PA 17221 www.mountainlakesummercamp.com

Rick Campbell 7920 Georgetown Road Suite 700 Indianapolis, IN 46268 www.music-travel.com

Christopher Hayes/ Helen Kasler 440 Glidden Hall Athens, OH 45701 www.finearts.ohio.edu/music

Otterbein University

Percussion Marketing Council

University of Mount Union

Dennis Davenport 1 S. Grove Street Westerville, OH 43081 www.otterbein.edu

WorldStrides Field Studies Center of New York David A. Hammond 1528 Horton Place Columbus, OH 43228

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Case Western Reserve University

Karl Dustman/ Dr. Craig Woodson P.O. Box 33252 Cleveland, OH 44133 www.playdrums.com, www.rootsofrhythm.net

Patricia Boehm 1972 Clark Avenue Alliance, OH 44601 www.mountunion.edu/ music-major

Youngstown State University Dana School of Music Michael Crist One University Plaza Youngstown, OH 44555 www.ysu.edu/dana

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Think beyond the bubbles.

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join the broader minded movement. ™

It’s time for everyone to start thinking beyond the bubbles.™ We know music helps educate the whole student. But now we need you to help us spread the word. The true mission of education lies in shaping the students behind the scores, and “bubble tests” can measure only so much.

Visit broaderminded.com now to get started.

– Learn what to say and how to share it – Watch the broader minded video – Share your own story – Join the broader minded movement and receive advocacy updates – Order broader minded resources 800-336-3768 www.nafme.org

2014 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE COLUMBUS, OHIO

A LOOK BACK.....

APRIL/MAY 2014

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2014 OMEA CONFERENCE CO-CHAIRS JEFFREY SHELLHAMMER AND RODNEY TOLLIVER

2014 OMEA ALL-STATE CO-CHAIRS BEN FACTOR AND MEG BEAVERS

OMEA BOARD OF TRUSTEES

TREASURER RICK EAKIN

PRESIDENT-ELECT TERRY HERSCHMAN

PRESIDENT PATRICIA MEEKS

TRIAD EDITOR MATTHEW WARNER

PAST PRESIDENT JAMES DOWDY

SECRETARY JOHN VENESKEY

OMEA STAFF

DIRECTOR OF TECHNOLOGY GREG TAYLOR

DIRECTOR OF BUSINESS DAVID ADAMSON

DIRECTOR OF MEDIA & PUBLICATIONS AMY ANNICO

EXECUTIVE DIRECTOR ROGER HALL

DIRECTOR OF PROFESSIONAL DEVELOPMENT MARK HENSLER

2014 INDUSTRY SERVICE AWARD

ROYALTON MUSIC

STAFF CONFERENCE CHAIRS ALL-STATE CHAIRS TRUSTEES

2014 OFME CORPORATE LEADERSHIP TEAM AWARD

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MUSIC ADVOCACY DAY AT THE STATE CAPITAL THURSDAY, FEBRUARY 6, 2014

2014 OMEA ALL-STATE BAND BRIAN BALMAGES, CONDUCTOR

2014 OUTSTANDING ADMINISTRATOR AWARD

JANE RAMSAY

2014 OUTSTANDING MUSIC SUPPORT GROUP

WAUSEON MUSIC BOOSTERS

2014 OUTSTANDING MUSIC EDUCATOR AWARD

GEORGE EDGE

2014 OMEA ALL-STATE ORCHESTRA STEVEN AMUNDSON, CONDUCTOR

BACHELOR OF MUSIC American Music (jazz studies emphasis)

Composition Keyboard Pedagogy

Music Education Music Industry Music Technology Performance (includes

opera and musical theatre emphasis)

BACHELOR OF ARTS Music

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SUMMER DAY CAMP FOR STUDENTS

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Music Technology

MASTER OF MUSIC IN MUSIC EDUCATION Instrumental Emphasis Jazz Pedagogy

Kodรกly Emphasis

(Kodรกly certification and non-degree programs also available)

2014 OMEA ALL-STATE JAZZ ENSEMBLE ALAN BAYLOCK, CONDUCTOR

2014 OMEA ALL-STATE CHOIR KAREN KENNEDY, CONDUCTOR

2014 25-YEAR AWARDS

First Row (left to right): Martha J. Bell, Lisa Aglioti, Annette Slater, Dana M. Willman and Tina V. Decker.

Second Row (left to right): Scott Curfman, Candace S. Haack, Lucinda K. Houck, Mary Margaret Nuzum, Jody Ann Nave and Scott Owen Nave.

Third Row (left to right): John Kustec, James A. Yost, Christopher J. Venesile, William G. Zurkey, Eric Richardson and Jeffrey S. Huston.

Not Pictured: Jeffrey A. Bieler and Deb Maston.

Listed on the following page are the 2014 Twenty-five year or more award recipients, their present assignments (or last assignment if retired), and their most memorable moment from their many years of teaching. We salute these twenty-five year or more educators for their outstanding service to students, communities, and OMEA.

LISA AGLIOTI - UNIONTOWN - 25 YEARS Green Middle School - Band Director Most Memorable Moment - “In 2009, I attended the Spring PTSA (Parent Teacher Student Association) banquet where I was honored as the outstanding educator. One of the parents who nominated me read her nomination letter to the entire audience. It was a beautiful tribute to my hard work.”

MARTHA J. BELL - MOUNT VERNON - 25 YEARS Mount Vernon City Schools - Vocal Music (6-12) Most Memorable Moment - “The first time a graduate came back and said that what they had learned in the classroom had helped them in college.”

JEFFREY A. BIELER - CINCINNATI - 36 YEARS Sycamore Schools - Music Department Supervisor Most Memorable Moment - “Watching the faces of the children when they succeed.”

SCOTT CURFMAN - AKRON - 35 YEARS Retired - Kent State, Cuyahoga Falls and Nordonia - High School and Kent State University Band Director Most Memorable Moment - “Seeing my students choose music education for their careers.”

TINA V. DECKER - VAN WERT - 25 YEARS Van Wert Middle School - Band Director Most Memorable Moment - “I’m sure we all have several memories of great students. However, two of my most memorable moments in teaching were when I was able to publicly recognize my most influential mentors Karen Kelly and Richard Sherrick.”

CANDACE S. HAACK - TIFFIN - 38 YEARS Retired from Hopewell-Louden - Choral Director/General Music Most Memorable Moment - “Too many to mention!”

LUCINDA K. HOUCK - WILMINGTON - 32 YEARS Retired - Kent State Online - Vocal Music Most Memorable Moment - “My most memorable moment in teaching is the year after year time period when I had the most OMEA All State Choir members than any other school in Ohio. One year I had twenty-two members. Very few of my students took private voice. I am proud of the hard work put forth each spring by my students.”

JEFFREY S. HUSTON - DOVER - 30 YEARS Sandy Valley Local Schools - Director of Bands (6-12) Most Memorable Moment - “Two things come to mind: that magical moment when students “get it” and teaching and performing with my son and daughter.”

JOHN KUSTEC - SANDUSKY - 35 YEARS Perkins High School - Band Director Most Memorable Moment - “The privilege of working with so many outstanding students and parents.”

DEB MASTON - COLUMBUS - 31 YEARS Gahanna Christian Academy - Choir Director/General Music Most Memorable Moment - “I love watching the “light bulb” go on when my students understand.”

JODY ANN NAVE - SANDUSKY - 28 YEARS Sandusky Central Catholic School - Music Pre-K through 12 Most Memorable Moment - “The highlight of my teaching career (so far) is the love and support of my Sandusky Central Catholic School students during my last bout with cancer. I had to take off a quarter due to surgery and chemo. Our High School music teacher invited me back to our spring concert. All my former elementary students, who were then in JH/HS music groups dedicated their concert in honor of me, wore pink ribbons, and sang the song “For Good” from “Wicked”.”

SCOTT OWEN NAVE - SANDUSKY - 25 YEARS Danbury Local Schools - Band and Choir Director Most Memorable Moment - “There isn’t any single event, but rather each of the moments when I see and hear a student grow musically, personally, and ultimately relate important techniques and concepts to their fellow students.”

MARY MARGARET NUZUM - VINCENT - 26 YEARS Warren Local Schools - Vocal Music and Handbells Most Memorable Moment - “All three choirs receiving straight superior ratings at contest.”

ERIC RICHARDSON - AVON LAKE - 39 YEARS Retired - Vocal Music Most Memorable Moment - “Having my two children enjoy and still be involved in music, and having over three dozen former students make music their vocation, whether in music education, Broadway, performance, church, composition, or recording.”

ANNETTE SLATER - NORTHWOOD - 26 YEARS Northwood Local Schools - Vocal Music (7-12) Most Memorable Moment - “The alumni Christmas concert and seeing former students walking onto stage to join in singing the annual Christmas Carols. My greatest joy is sharing OMEA with a former student, now teacher, Jacob “Puck” Ross.”

CHRISTOPHER J. VENESILE - AVON LAKE - 31 YEARS Kent State University - Associate Professor Most Memorable Moment - “That’s hard….Watching students live out their dreams.”

DANA M. WILLMAN - ATTICA - 25 YEARS Seneca East Local Schools - Band Director Most Memorable Moment - “Watching students, including my own three children, gain a passion for music which takes them beyond high school, by having been in my classroom.”

JAMES A. YOST - WEST CHESTER - 26 YEARS Northwest Local Schools (Weigel and Struble Elementary) - Music Teacher Most Memorable Moment - “Seeing two of my daughters perform at this convention (one with All-State Band) and hearing my oldest daughter’s excitement during her student teaching as she prepares to graduate this year with flute performance and music education degrees.”

WILLIAM G. ZURKEY - AVON LAKE - 36 YEARS Cleveland State University - Music Education Most Memorable Moment - “Conducting my Avon Lake Chorale at St. Paul’s Cathedral in London with my son and daughter as members of the choir.”

Fully accredited by the National Association of Schools of Music Offering the following degree programs: • Bachelor of Music in Music Education or Music Performance • Bachelor of Arts in Music with concentrations in Theory + Composition, Music History + Literature, or Applied Studies • Bachelor of Fine Arts in Musical Theatre • Arts Administration Minor with ample internship offerings • Outstanding opportunities for double majors Explore ONU’s music department at www.onu.edu/music

Named as one of the top 200 programs in the nation for creative college-bound students in Creative Colleges: A Guide for Student Actors, Artists, Dancers, Musicians and Writers.

Outstanding orchestra, wind, choral and piano programs Exceptionally accomplished and dedicated faculty • State-of-the-art facilities • Generous scholarships

OMEA PROFESSIONAL DEVELOPMENT CONFERENCE CLEVELAND, OHIO FEBRUARY 5-7, 2015

How many times have you moved? Was it always filled with fun and laughter? Was it sometimes bittersweet?

Was it due to new opportunities or cutbacks and downsizing? Was it always stressful? Moving can be all of these things but it is never boring! Music educators are probably used to travelling more than any other discipline.

Whether it’s up and down the hall with a cart or on snow covered back roads between buildings, travelling has never deterred music educators from doing their best. Some of our members actually thrive on travel and view it as an opportunity to work with students they might otherwise never meet. After three great years in Columbus, the OMEA PDC Conference is headed north! Please plan on joining us in Cleveland for the 2015 Ohio Music Education Association Professional Development Conference — “Music Education On the Move”.

The 2015 PDC team of content chairs, committee chairs and OMEA staff is already at work securing the top presenters and clinicians in the field of music education from Ohio and beyond! There will be ample opportunities to explore topics such as assessment, lesson design and rehearsal technique as well as content specific pedagogies.

OMEA will work with affiliated partners to provide sessions targeted to your needs and interests. The blind-audition selection process for performing groups will ensure the selection of outstanding ensembles of all shapes and sizes. The exhibit hall in Cleveland’s new convention center will be filled with familiar faces and a few welcome additions. We hope that the long-awaited return to the north shore will encourage regional participation from many who have been unable to make the trip to Columbus or Cincinnati in recent years.

Many of the successful 2014 initiatives will be returning such as the dedicated exhibit hour and the opening night concert lineup. Attendance scanners will also be in place to provide attendees the opportunity to document their session selection. Lack of space was the number one concern during our tenure in Columbus. Cleveland will also be full of challenges and opportunities in this area. The 2015 team will work diligently to create a streamlined schedule that avoids content conflicts when possible. High-demand sessions will be repeated to allow attendees more flexibility in scheduling. The conference will be spread across several venues to accommodate all disciplines and the general schedule will be modified to allow for travel time between venues.

You can help us to make the 2015 OMEA PDC a success. Send the team an email with a suggestion for a clinician or presenter. Have you ever considered becoming a presenter? Now is the time. Some of the most highly rated sessions came from within our own membership! Encourage your colleagues to apply as presenters. Motivate your best musicians to apply for an All-State Ensemble. If you direct an outstanding ensemble consider submitting an application and audio CD to perform at the conference. The deadline for clinic proposals, and All-State Ensembles and performing groups, is May 31, 2014. Visit the OMEA website for application information.

Welcome to the world of the travelling teacher! See you in Cleveland.

2015 PDC Team Mark Hensler, Director of Professional Development pd_director@omea-ohio.org APRIL/MAY 2014

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If your future is Music... your future is Wright State.

Graduate Assistantships and Scholarships are available for Fall 2014 go to www.wright.edu/musicgta for information on how to apply Questions? Contact us… music@wright.edu or (937)775-2346

Undergraduate Degrees • Music Education • Music History and Literature • Performance • Music combination degrees: Pre-Med, Management, & Marketing Graduate Degrees • Music Education • Performance • Conducting • Humanities

Accredited by the National Association of Schools of Music (NASM), National Council for Accreditation of Teacher Education (NCATE), and North Central Association of Colleges and Schools (NCA)

Performing Ensembles for the OHIO MUSIC EDUCATION ASSOCIATION 2015 PROFESSIONAL DEVELOPMENT CONFERENCE Cleveland, Ohio • February 5–7, 2015 Submission Deadline: May 31, 2014 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE CLEVELAND, OHIO FEBRUARY 5-7, 2015

PERFORMING ENSEMBLE CDs Ensembles interested in performing at the 2015 OMEA Professional Development Conference, to be held February 5–7, 2015, in Cleveland, Ohio should submit an audition CD postmarked no later than May 31, 2014 to: Roger Hall, OMEA Executive Director P.O. Box 1067, Massillon, OH 44648 Applications submitted for this blind audition should contain stereo recordings using AUDIO CD technology playable on a consumer level CD player. Other file formats such as mp3, wav, AAC, mp4, etc. are NOT acceptable and will result in rejection of the application. The audition CD must contain 3 selections, representing a variety of styles. Please use new CDs. To maintain the integrity of the blind audition process, indicate the name of the performing ensemble on the CD case, not on the actual CD. Be sure to notate information identifying all selections by track on the actual CD. Recordings will not be returned.

PERFORMING ENSEMBLE APPLICATION The following information form and a copy of your NAfME membership card must accompany your CD. The director listed on this form must be a member in good standing of NAfME on June 1, 2014 and maintain membership with NAfME through February 28, 2015. The director listed on this form must be the person who will conduct the performance if the ensemble is accepted. Directors can check their membership status by calling NAfME at 1-800-336-3768. Ensembles that performed at the 2014 OMEA Conference in Columbus are not eligible to perform at the 2015 Conference.

Directors of accepted ensembles agree to pre-register for the conference as a full-active NAfME member/ attendee ($125.00); registration as an exhibitor or use of an exhibitor badge is not acceptable to fulfill this requirement. Performing ensembles must provide their own percussion equipment and vocal ensembles requiring sound reinforcement must provide their own microphones and sound systems for their performance. All ensembles must use the existing performance set-up; the performing ensemble cannot add additional risers or platforms. All ensembles except choirs and jazz ensembles will perform on a flat stage. Requests for performance times/days will not be accepted and no changes will be made once the schedule is determined. Ensembles that are accepted for a performance may be asked to participate as a demonstration group for a clinic, if needed, on the same day as the assigned performance. Ensembles involving combination ensembles (band & chorus, orchestra & chorus, etc.) will not be accepted in the audition process.

Attempts to contact members of the selection committee/conference planning committee could result in disqualification of the ensemble. All questions about the audition process should be directed to executive_director@omea-ohio.org.

APRIL/MAY 2014

39

Performing Ensembles for the OHIO MUSIC EDUCATION ASSOCIATION 2015 PROFESSIONAL DEVELOPMENT CONFERENCE Cleveland, Ohio • February 5–7, 2015 Submission Deadline: May 31, 2014 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE

CLEVELAND, OHIO FEBRUARY 5-7, 2015 (Please print or type)

NAME of ENSEMBLE_________________________________________________________Number of Members__________ SCHOOL/COLLEGE/COMMUNITY__________________________________________________________________________ SCHOOL ADDRESS_______________________________________ CITY____________________STATE______ ZIP___________ DIRECTOR__________________________________________________________________NAfME ID NO._________________ HOME ADDRESS_________________________________________ CITY____________________ STATE______ ZIP___________ TELEPHONE (school)_____________________________________ (home)__________________________________________ PREFERRED EMAIL________________________________________ (cell)____________________________________________ (Signed)_______________________________________________________________________Date_____________________

(Music director) Signature indicates support and approval of conditions on previous page.

(Signed)_______________________________________________________________________Date_____________________

(School administrator) Signature indicates support and approval of conditions on previous page.

GRADE LEVEL OF STUDENTS IN GROUP__________________

OMEA AE CLASSIFICATION___________________ (If Applicable)

Is an audition required for membership in this ensemble? _________

How many ensembles of this type exist at your school? __________

COLLEGE GROUPS should choose from the following categories: _______Jr. College (2-Year program)

_______ 4-Year College (no graduate program)

________University (graduate program included)

Are faculty or professional musicians included in the ensemble that made this audition recording?________

CHECKLIST FOR AUDITION MATERIALS • Use a New CD. • Name of Performing Ensemble on CD Case, NOT on Actual CD

(Please note that if the name of the ensemble appears on the actual CD, it must be re-recorded

before it can be submitted to the committee; the quality of this re-recorded CD will possibly diminish

your chance of acceptance.)

• Information Identifying Selections by Track on the Actual CD • Copy of NAfME Card Enclosed • Please List an Email Address that You Open Daily and allows viewing attachments!

• Make Sure All Appropriate Signatures are in Place on the Form • Mail by Deadline

DEADLINE FOR SUBMITTING APPLICATION: POSTMARK DEADLINE OF MAY 31, 2014

OHIO UNIVERSITY SC H O O L O F M U S I C Please join us for these exciting 2014 events!

Athens Jazz Festival April 11-13

Under the Elms Concert Series June 4-July 2 Piano Pedagogy Seminar June 13-14 Ohio Summer Music Camp June 15-21 Mozart on the Green Festival August 4-9

www.ohio.edu/finearts/music

740.593.4244 89564 • 2-14

Ohio University has been an accredited institutional member of the National Association of Schools of Music since 1946.

All-State Ensembles

2015 Professional Conference • Cleveland • February 4-7 Coordinators – Frank Cosenza & Jason Branch Band Chair – Jesse Leyva Choir Chair – Lisa Manning Jazz Ensemble Chair – Robert Hoefler Orchestra Chair – Douglas Bayda

2015 ALL-STATE APPLICATIONS ARE EXCLUSIVELY ONLINE! APPLICATIONS SUBMITTED THROUGH THE POSTAL SERVICE WILL NOT BE CONSIDERED!

OMEA continues the use of online applications for the 2015 All-State Ensembles. Please be aware the online application does not change how recordings are made, only how applications and recordings are submitted. To get started please go to www. omea-ohio.org and follow the “2015 All-State” link where you will find audition requirements and further instructions. You will need the following items to apply: 1. Student and Parent e-mail addresses.

2. Digital recordings of required etudes/solos/scales/warm-up (as listed below) 3. Your director’s contact information 4. Your director’s 9-digit NAfME identification number 5. A credit card for the $10 application fee (paid to Acceptd) APPLICATION TIMELINE: OMEA PROFESSIONAL DEVELOPMENT CONFERENCE March 1: Application and audition material available.

CLEVELAND, OHIO FEBRUARY 5-7, 2015 May 31: Deadline for all applications to be submitted. Please carefully note the specific etude and performance requirements. They are all different for 2015.

August 31: Notification of results to applicants and directors.

September 30: Due date for acceptance form and membership fee of $250 (includes hotel lodging and 5 meals).

All participants must stay in the All-State housing hotel (4 people to each room).

ENSEMBLE REQUIREMENTS: Choir Recording Requirements: Each student (after announcing name and voice part) should record a vocalization (any vocal warm-up exercise) of the student’s choice that best demonstrates the extent of his/her range from bottom to top. Next, record a solo from the OMEA Class “A” or “B” list.

Jazz Ensemble Requirements: “Scrapple From the Apple” is from Charlie Parker (vol. 6); “Autumn Leaves is from Maiden Voyage (vol. 54), “Milestones” is from Miles Davis (vol. 7), and ”Peaceful Ideas”, “Double Trouble” and “A Little Stop Time” are from Good Time! (vol. 114). All four are Jamey Aebersold Publications.

ALL WINDS: • Perform a chromatic scale evenly up and down, to demonstrate range.

• With the play- along, record the head to “Autumn Leaves” and improvise 2 choruses (improvisation required for a solo chair, recommended but not required for other chairs) SAXES: • With the play along, record the head to “Scrapple From the Apple” and improvise two choruses (improvisation required for a solo chair, recommended but not required for other chairs) BRASS: • With the play along, record the head to “Milestones (old)” and improvise two choruses (improvisation required for a solo chair, recommended but not required for other chairs) • If you wish to be considered for the lead trumpet player, include a recording of you performing a swing chart with your home jazz ensemble.

PIANO, GUITAR: • With the play-along (use CD #1), record the head to “Peaceful Ideas,” comp for one chorus and improvise for 2 choruses • With the play-along (use CD #1), record the head to “A Little Stop Time,” comp for one chorus and improvise for two choruses APRIL/MAY 2014

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VIBES: • With the play-along (use CD #1), record the head to “Peaceful Ideas,” comp for one chorus and improvise for 2 choruses • With the play-along (use CD #1), record the head to “A Little Stop Time,” comp for one chorus and improvise for two choruses • With the play along, record the head to “Scrapple From the Apple” BASS: • With the play-along (use CD #4 – right channel), play two choruses of “Peaceful Ideas” • With the play-along (use CD #4 – right channel), play two choruses of “A Little Stop Time” • With the play-along (use CD #4 – right channel), play two choruses of “Double Trouble,” medium version, track 9 DRUMS: • With the play-along (use CD #4 – left channel), play two choruses of “Peaceful Ideas” • With the play-along (use CD #4 – left channel), play two choruses of “A Little Stop Time” • With the play-along (use CD #4 – left channel), play two choruses of “Double Trouble” • Include a recording of you performing a swing chart with your home jazz ensemble. This swing chart must incorporate at least a brief drum solo (4 or more measures) ORCHESTRA REQUIREMENTS: All-State strings are selected through Region Orchestra participation. Winds and percussionists follow the Band instruction process listed below, submitting one recording and one application to be considered for either or both groups. If applying for both, be certain to indicate first and second choice on application.

BAND RECORDING REQUIREMENTS: Each student (after first announcing name and instrument) will next record all required Etudes as listed below and next record a solo from the OMEA Class “A” or “B” list. Note that percussionists are required to record all three etudes (snare, timpani and mallet), then record a solo (OMEA Class “A” or “B”) on a keyboard instrument. See details below: REQUIRED ETUDES (NEW FOR 2015, NOT THE SAME AS ANY PREVIOUS YEAR): Flute: Selected Studies for Flute by Voxman: Pub. By Rubank, p. 8 and p. 56 Oboe: Selected Studies for Oboe by Voxman: Pub. By Rubank, p. 12 and p. 34 (only) Clarinet Bb and Eb: Selected Studies for Clarinet by Voxman: Pub. by Rubank, p. 28 and p. 40 Clarinet Alto, Bass, Contra: Advances Studies from the Works of J. Weissenborn: arr. Rhoades: Pub. by Southern, #16 (p. 12) and #17 (p. 13) Bassoon: Method for Bassoon by J. Weissenborn, Catalogue #CU96, #21 (p. 129), #30 (p. 136) Saxophone: Selected Studies for Saxophone by Voxman: Pub. by Rubank, p. 12 and p. 38 Trumpet: Selected Studies for Trumpet by Voxman: Pub. by Rubank, p. 27 and p. 46 French Horn: Preparatory Melodies to Solo Work by Pottag: Pub. by Belwin, #32 (p. 12), #41(p. 16), #72 (p. 29) Trombone and Euphonium: Selected Studies for Trombone by Voxman: Pub. by Rubank, p. 7 and p. 50 All Euphoniums, both treble and bass clef, must play the trombone etudes. These may be rewritten into treble clef if desired.

The Concert Key (Sounding Pitch) must be maintained.

Bass Trombone: 24 Studies for Bass Trombone by Grigoriev/Ostrander: Pub. by International Music: #4 (p. 5) and #19 (p. 21) NOTE: In order to audition for this position, players must use an instrument with the minimum equipment of an “F” attachment and a .525 or larger bore size.

Tuba: 70 Studies for BB flat Tuba by Blazevich, Vol. No. 1: Pub. by Robert King, #18 (p. 17) and #25 (p. 24) If selected for participation, All-State Tuba Players are expected to use/borrow an upright tuba as opposed to a bell-front tuba or sousaphone.

Percussion: All players will audition using all three of the following instruments: Keyboard: Can be played on xylophone or marimba - NEW BOOK for 2015 - Fundamental Method for Mallets, Book 1 by Mitchell Peters: Pub. By Alfred, A Minor Reading Study #2, pages 64-65 Timpani: The Solo Timpanist by Vic Furth: Pub. By Carl Fischer, Etude XI (p. 23) Snare: NEW BOOK for 2015 – Advanced Snare Drum Studies by Mitchell Peters: Pub. By Try Publishing Company,

Etude #5, pages 10-11 NEW PERCUSSION REQUIREMENT FOR 2015: The required Class A or B Solo must be performed on a keyboard instrument. It can be performed on xylophone, vibraphone or marimba using two or four mallets; accompanied or unaccompanied is acceptable.

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TEACHING TIPS CHOIR Selecting Literature for Any Choir Dara Gillis; OCDA

One of the greatest challenges for the choral music educator is the selection of appropriate literature for the choral ensemble. For experienced teachers, the challenge is in keeping material fresh. Selection of literature is especially daunting for new teachers and even for an experienced educator in a new position as they must discover what is (or is not) in the current library and what money is available to purchase new materials if they are needed. Below are some common sense suggestions that may be helpful when confronting any of these issues.

My number one rule when selecting literature for any ensemble is to keep standards high but realistic.

Be sure that each selection teaches something new to the majority of the singers. Whether it is a new con-

46

cept in rhythm, dynamics, or text that teaches new vocabulary, the majority of your students should be learning something new through each piece. In most cases, I try to avoid repeating selections within a four year period.

Be mindful that foreign language texts are some of your strongest teaching tools; do not shy away from a language challenge. Vowel shape and space in the oral cavity are aided greatly by romance languages in particular. Even the youngest singers will benefit from selections in Latin, Spanish, Italian, etc. If you are not confident with text pronunciation in a given language, enlist the help of another colleague. Of course, many of the selections printed today have pronunciation guides provided and recordings are available as well.

TRIAD

Further, I strongly suggest teaching your students to remove the words “I don’t like that” from their vocabulary. I find that many choral directors shy away from foreign language pieces because their students have made this statement. I strongly discourage the use of this phrase in my classroom. Although everyone is entitled to their own opinion, those opinions cannot be allowed to poison the rest of the group. Remind those students with strong opinions that there will be other selections the group will perform that they may love but others don’t care for.

Be sure to carefully balance genre selection. Just because your ensemble is not ready to sing The Messiah, doesn’t mean there is no Baroque music is available for them. There are many arrangers and publishers that are doing an outstanding job with this literature for all ages without diluting or “dumbing down” the material. Along those same lines, when selecting repertoire for concerts, make it a goal to have at least three different time periods or styles represented. If you have multiple choirs performing on a concert, this should be true for each ensemble. A piece from the Renaissance, one from the Classical or

Romantic period and a spiritual or piece or vocal jazz will give any ensemble a balanced diet and will surely challenge them. Remember that a balanced diet is the key to a healthy and well educated choral ensemble!

Finally, the OMEA Adjudicated Events song lists are a tremendous asset. The repertoire is challenging and is specifically selected to create well rounded singers, even for those ensembles who choose not to participate in adjudicated events. For an inexperienced choir, a selection or two from the Class C list at the start of the year and one or two from the Class B list in the spring will be beneficial. This is also an excellent way to build a strong music library. I often use the OMEA list to select music for my youngest singers who do not yet participate in AE as it gives us an opportunity to talk about what awaits them when they become members of the auditioned ensembles. It also opens the discussion about why those pieces were chosen for these lists and how they challenge us.

With careful consideration and a constant goal of moving the group forward, literature selection can be the most fun and exciting aspect of being a choral director. Happy choosing!

UndergradUate degrees Bachelor of Music Bachelor of Science in Music Technology Programs of study Audio Recording Composition Music Education Music Production Performance

Hugh A. Glauser School of Music

Kent State University P.O. Box 5190 Kent, OH 44242-0001

Phone: 330-672-2172 Fax: 330-672-7837

Undergraduate Minors Audio Recording Jazz Studies Music Music Technology World Music

gradUate degrees Master of Music Conducting Music Education - entirely online!

Performance

Post-Undergraduate Certificate Programs Composition Conducting Performance

Announcing New Faculty!

Master of Arts Composition Ethnomusicology Theory doCtor of PhilosoPhy (Ph.d.)

Music Education Music Theory-Composition

Jesse Leyva – Director of Bands John Franklin – Director of Athletic Bands Charles Latshaw – Director of Orchestra and Kent/Blossom Music Bobby Selvaggio – Director of Jazz Studies Christopher Venesile – Choral Music Education and Online Master’s in Music Education Coordinator Noa Even – Saxophone Amy Lee – Violin for more information on auditions or scholarships, contact: Mr. Dana Brown Coordinator of Undergraduate Studies email: dabrown@kent.edu

for graduate assistantship information, contact: Mr. Michael Chunn Coordinator of Graduate Studies email: mchunn@kent.edu

Kent State University, Kent State and KSU are registered trademarks and may not be used without permission. Kent State University, an equal opportunity, affirmative action employer, is committed to attaining excellence through the recruitment and retention of a diverse workforce. 13-2467

Please visit our website for audition information and dates: www.kent.edU/MUsiC

APRIL/MAY 2014

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TEACHING TIPS ORCHESTRA I Suppose You Think This is Funny: Using Humor as a Teaching Tool Sara Given; Hilliard City Schools I divided my time in undergrad between music classes and performing in a touring sketch comedy group that met on campus. Teaching music was always my career path, but my time as a writer and stand-up comedian provided me with a few valuable life lessons: 1. Finding humor in difficult situations makes life easier 2. People are more likely to remember something if it is funny 3. If I ever get tired of the rock star lifestyle of public school teaching, I can always fall back on comedy While my time on the mic is now limited to introducing our next concert piece, I find numerous benefits in implementing humor into my daily teaching. Just in case you need to be persuaded to goof around more, let’s look at the research.

A Brief Overview of Research Research supports the use of humor in the classroom, citing that teachers who employ humor facilitate the retention of information, increase speed of learning, improve problem solving, relieve stress, reduce test anxiety, and increase student perception of teacher credibility (Torok, McMorris, & Lin, 2004). Highlet (1950) said, “Humor links the pupils and teacher through enjoyment. It can mold a collection of individuals into a group.” Finally, when Weaver & Cotrell (1987) asked what factors had the greatest influence on learning, students ranked “sense of humor/ability to laugh” as the 48

third highest motivating factor in the classroom.

People who have a humorous outlook on life also enjoy personal benefits. Booth-Butterfield & Wanzer (2007), found that using humor to cope with job stress is associated with higher effectiveness, greater coping skills, and higher job satisfaction. Humor-oriented people have been found to enjoy numerous interpersonal benefits such as greater social attractiveness and higher emotional awareness (Honeycutt & Brown, 1998).

Who, me?

If the thought of trying to be funny in front of a group of judgmental adolescents makes you squirm, consider this: teachers and comics already have much in common.

TEACHERS VS. COMICS TEACHERS

COMICS

Continuously assess, adapt and modify material to reach a specific audience

X

X

Are able to observe audience reaction and change the method of delivery on a dime

X

X

Can quickly judge the “feel” of a room

X

X

Understand human nature and emotional response

X

X

Seek others in the profession for feedback/ideas

X

X

Have been heckled

X

X

Are accustomed to people assuming their job is easy (and they could do it better)

X

X

Are haunted by their failings

X

X

Enjoy high pay and the respect of society at large

TRIAD

See? You’re already most of the way there! Now there are a few general guidelines I want to cover before we get into specifics.

General Guidelines #1. Know your audience - Every good comic knows the basic characteristics of his or her audience. For teachers, the age of our students plays a large role in what they think is funny. This graph (Wandersee 1982) provides illustrates the developmental stages of humor.

Types of Humor: Finding Your Style There are a few general categories of comedic style.

You may find yourself drawn to one or more of these descriptions.

Joke Teller - <Insert viola joke here> Impressionist - You don’t have to be Robin Williams to be the impressionist. If you enjoy funny voices or impersonating people, this is your stop.

Story Teller - Telling short, humorous stories is a great way to give your students a break from class while maintaining their focus. A (very) brief guide on telling an interesting story: A great story engages the listener’s emotions and senses.

What were you thinking/feeling? What did it smell/ sound/look like? Leave out banal details and describe how it felt.

Improv Artist - To be a successful improviser, always say “Yes, and…” When a student suggests you rent a fog machine for your next concert, you reply, “Why stop there? Let’s shoot flames out of the stage and hire back-up dancers!”

#2. A little goes a long way - As with any teaching strategy, overusing humor will diminish its impact. Research supports limiting the use of humor, as well. Weaver & Cotrell (1987), suggest 10-15 minutes of content with 1-2 minute humor “breaks” interspersed throughout. Of course, this may vary according to your class or age group. #3. Know thyself - What do YOU think is funny? This is the most important rule, because it is the one that will help you be convincing. Every comic goes through a phase where they try to emulate their idols. This approach always fails because, as we musicians know, there is no authenticity in parroting something back.

Mogavero (1979) found that, “The form of humor is almost unimportant to the students. They seem to selectively perceive the type of humor they prefer as the type being used by the instructor.”

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Physical Comedian - The physical comedian uses his or her face, gestures, body in a humorous way. Even a funny face after a flubbed etude counts. I like using exaggerated conducting gestures to regain attention when students do not watch me.

A Few Comedy Templates Now that you’ve explored your comedic tendencies, there are strategies that comics use to deliver material.

You can use any of these in the classroom setting.

The Rule of Threes - The Rule of Threes plays on the audience’s expectations. A comic gives a perfectly normal example of something, and then another. The third example is always something ridiculous, playing on the audience’s expectation of something “normal” and thus eliciting a laugh. Did you see my opening paragraph?

Rule of threes! This is so easy to use in the classroom: “Alright everyone, as we walk to the auditorium there will be no running, talking, or rhythmic gymnastics.”

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Ridiculous Absurdities - Students love anything silly or ridiculous. “Basses, this time play it as if you are happy little bunnies bouncing around on fluffy clouds.”

Analogies - I love conductor analogies so much I keep a list of my favorites. “Flutes, those trills sound like someone set off a car alarm. Play softer!”

Right and Wrong Examples (Contrast) - This is particularly great for music teaching. Model the right and wrong ways to do something, but make sure your “wrong” is really out there. I like to use this with student posture during rehearsal.

GOOD NATURED teasing - This one is tricky. If you are not confident about coming off in an amiable manner, you should stay away from it. Teasing or sarcasm should never be directed at an individual student and never used when you are genuinely upset. The example for “Analogies” above serves as an appropriate example (as long as you say it with a smile).

Name it! - Students love when something has a special name; it forms an “inside joke” between you and your classes. You can coerce students into an insane amount of disguised repetition if you make it a game with a fun name. We play one called “Only the Eighth Notes” where the orchestra is only allowed to play the eighth notes in any given passage. They have to subdivide like crazy, but they don’t mind doing it because we say the name of the game like we’re on a cheesy game show.

Call Backs - A call back is a technique used by comics where they reference a joke from earlier in their set. It essentially becomes an inside joke between the comic and audience because it creates a bond by referencing an earlier shared experience. You can pull call backs from anything, a Rule of Threes, an analogy you made in class, etc.

Using humor to your benefit Here are a few common classroom goals and ways in which humor can aide in achieving them.

think in sound Undergraduate Programs BS in Music Education BA in Music Double Major Dual Degree Minor in Music

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Developing a rapport with students and sense of community: Storytelling, call backs, and inside jokes form a bond between you and your students.

Effective Instructional Pacing: Ridiculous absurdities, rule of threes, and impressions can buy you a lot more time and focus from students when you want to rehearse a small passage.

Discipline: Analogies, ridiculous absurdities, and impressions get the message across in a way they might remember or even appreciate.

Clearer communication: Analogies or physical humor make information more memorable.

When You Make a Mistake: Any kind of humor shows you are confident and sets a positive example to students for handling failures.

Easing tension: Ridiculous absurdities, improv, and call backs relieve stress and ease student anxieties.

When to leave your act in the club: Finally, there are instances where trying to use humor will make things worse: • A student is clearly in a bad mood/sensitive • The students are wound up already • You are aware of a cultural barrier • You are genuinely upset • A student is identified for a special service • You are not funny (that one is a joke) I hope you found a few clear and effective ways to use humor as a teaching tool and make your days a little more enjoyable. I would like to leave you with a few closing notes from open mic night: • If something doesn’t go over, acknowledge it • You do not HAVE to talk to be funny • Test drive your material whenever possible • It never hurts to have a “plant” • Never, ever, ever invite a heckler on stage

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Bibliography Booth-Butterfield, M., Booth-Butterfield, S., & Wanzer, M. (2007). Funny students cope better: patterns of humor enactment and coping effectiveness. Communication Quarterly, 55(3), 299-315.

Bryant, J., Comisky, P., and Zillmann, D. (1979). Teachers’ humor in the college classroom. Communication Education, 2, 110-118.

Bryant, J., Comisky, P.W., Crane, J.S., & Zillmann, D. (1980). Relationship between college teachers’ use of humor in the classroom and students’ evaluations of their teachers. Journal of Educational Psychology, 4, 511-519.

Bryant, J., Hezel, R., and Zillmann, D. 1979. Humor in children’s educational television. Communication Education, 28(1), 49-59.

Friedman, H. H., N. Halpern, and D. Salb. (1999). Teaching statistics using humorous anecdotes. Mathematics Teacher, 92 (4), 305–08.

Gorham, J. & Christophel, D.M. (1990). The relationship of teachers’ use of humor in the classroom to immediacy and student learning. Communication Education, 39, 46–62.

Hassett, J., & Houlihan, J. (1979). Different jokes for different folks. Psychology Today, 64-71.

Highet, G. (1950). The art of teaching. New York: Knopf.

Honeycutt, J.M., & Brown, R. (1998). Did you hear the one about?: Typological and spousal differences in the planning of jokes and sense of humor in marriage. Communication Quarterly, 46(3), 342-352.

Kaplan, R.M., & Pascoe, G.C. (1977). Humorous lectures and humorous examples: Some effects upon comprehension and retention. Journal of Educational Psychology, 1, 61-65.

Korobkin, D. (1989). Humor in the classroom. College Teaching, 4, 154-158.

Kuhrik, M. (1997). Facilitating learning with humor. Journal of Nursing Education, 3, 332-334.

Mogavero, D. T. (April 01, 1979). It’s Confirmed: J-Students Like Humor in the Classroom. Journalism Educator, 34, 1+.

Torok, S., McMorris, R., & Lin, W. (2004). Is humor an appreciated teaching tool? College Teaching, 52(1), 14-20.

Wandersee, J.H. (1982). Humor as a teaching strategy. The American Biology Teacher, 44(4), 212-218.

Weaver II, R. L., & Cotrell, H. W. (1987). Ten specific techniques for developing humor in the classroom. Education, 108(2), 167.

White, G. W. (2001). Teacher’s report of how they used humor with students perceived use of such humor. Education, 122, 337–47.

Sara Given teaches middle and high school orchestra in the Hilliard City Schools, in Hilliard, Ohio. She is also the conductor of the Columbus Symphony Youth Orchestras Junior Strings. Ms. Given also served as Master Teacher for The Ohio State University String Project. Sara has presented sessions for the Ohio Music Education Association and The American String Teachers Association. Ms. Given earned her Master’s Degree in String Music Education with an emphasis in String Pedagogy from The Ohio State University. She earned her undergraduate degree in Instrumental Music Education from Ohio University where served as the student ASTA chapter president. As an undergraduate student, Sara served as a writer/performer for a touring sketch comedy group when she really should have been practicing. She has also performed independently as a stand-up comedian. Notable appearances include New York City’s Gotham Comedy Club and The Cleveland Improv.

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TEACHING TIPS TECHNOLOGY So, You Want to Build a Music Lab? Will Kuhn; Lebanon City Schools

One of the current trends in music education is to offer technology-based music production courses. A Music Tech course can reach new student demographics and allow a sizable percentage of your student body to participate in music classes. Where should you start?

What should you buy? Here are the answers!

STEP 1: CHOOSE THE SOFTWARE The software you choose should be a balance between ease of use and depth of possible projects on which to base your curriculum. Here are some popular applications you might consider using with your students: GarageBand (Mac and iOS) (free) GarageBand is extremely popular because it is free with new Apple devices. It allows music arrangements on a timeline using both audio and MIDI tracks, and includes a full suite of software instruments (playable with a MIDI keyboard) and prerecorded loops for song construction. The iOS version has a more limited feature set, but includes some very useful Smart Instruments that make improvisation easy for all ages. The Mac version includes a much larger loop library and unlimited song length. Since many students already have access to this software already, it can be a great choice that will not intimidate students or teachers.

Ableton Live (Mac/PC) - Live Lite free with Novation devices, $99 for standalone intro version This application, which comes in varieties for begin52

ners and pros alike, uses a loop-based method for writing songs in a non-linear way. Live features many unique methods of sampling/remixing audio, performing live improvisation, DJing, and producing electronic music.

Other popular options include Logic Pro X ($199— GarageBand’s pro version), Mixcraft ($75—a “GarageBand for PCs”), Soundation (offered both free and in a web-based subscription) and Reason ($299). And of course, I recommend teachers use software they are comfortable using themselves.

STEP 2: CHOOSE THE HARDWARE FOR STUDENT STATIONS Computers In the recording industry the majority of users choose Apple computers, mainly for their stability when handling audio and video media. iMacs, though expensive, are convenient as they have built-in cameras and microphones, and do not take up much desk space.

The Mac Mini is a more affordable choice, but will not come with monitors, keyboards, mice or a built-in microphone. If you have difficulty convincing your district to install a Mac lab in a PC school, try persuading them that the lab is a very specialized setting, such as a CAD lab or a CNC milling workshop; specific production settings require specific tools!

If you decide to teach your course on iPads, be prepared to buy cases, a charging cart, and an Apple TV (for projector connectivity). I would only recommend iPad-based courses for upper elementary school and juTRIAD

nior high, while desktop-based music production courses work better in a high school setting.

MIDI Keyboards Your keyboard selection is dependent on the amount of space available in your lab. Typical computer lab furniture is not designed with full size piano keyboards in mind, so most music tech teachers use smaller 25 or 49-key models. USB keyboards are different from electric pianos in that they do not generate sound on their own. They connect to the computer with a USB cable and function as a piano when paired with software like GarageBand or Ableton Live. Popular models include the M-Audio Axiom and Keystation series, and the Akai MPK series.

Headphones Quality headphones are essential for your lab. Durability is key; if the headphones are cheap and break often, you will spend more in the long run on replacements.

Choose durable models with a closed back, which keeps sound from escaping the earpieces. A good entry level model is the Sennheiser HD201 (priced at $20), while a more dependable model is the Shure SRH440 (priced at $99). In my experience, the Sennheisers last about one year in a lab setting and the Shures last roughly three years before they need to be replaced.

Microphones Students will need microphones at each station, or the ability to plug in audio sources like guitar. USB microphones can be an inexpensive option; a popular model like the Blue Snowball can be had for about $60, and directly connects to the computer with a USB cable.

Durability is also an issue with USB mics, as many are made from plastic or other cheap materials. An alternative solution is the use of a standard Shure SM58 mic (considered the most durable mic) with the Shure x2u USB mic adapter ($99). It connects directly to the microphone’s XLR plug, and then to the computer with a USB cable. Similar devices exist for connecting 1/4” guitar cables, such as the ART T-Connect (a steal at $29).

USB microphones and MIDI keyboards can be connected to iPads via the Apple Camera Connection Kit ($29).

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SAMPLE EQUIPMENT BUDGET: COMPUTER

iMAC OR MAC MINI + MONITOR

MIDI KEYBOARD

M-AUDIO AXIOM 25

$150

MICROPHONE

SHURE X2U ADAPTER + SM58 MIC

$200

HEADPHONES

SENNHEISER HD201

TOTAL COST FOR 25-SEAT LAB

$900-1100

$20 $32,500

MAKE IT HAPPEN The value of offering an entry-level music class with modern audio equipment is a priceless investment in the future health of your overall music program. The music technology program at Lebanon HS has allowed us to expand the music department’s reach to over 60% of our student body, with over 1000 total course requests for music classes in a school of 1600 for the 2013-2014 school year.

Every school will have slightly different needs and different variations of equipment. Do not over buy; only add hardware you feel comfortable managing, and build up your gear each year. Seek advice from other teachers who have built a music tech program, and ask for lots of project ideas. Creating a robust curriculum does not occur overnight, and takes a good amount of trial and error to find a perfect mix of projects and experiences for students. Using this guide as a starting point, I hope readers will find similar levels of success in their school.

Will Kuhn (M.S. Indiana University, B.M. Miami University) is the Department Chair and Music Technology instructor at Lebanon High School in Lebanon, Ohio. In 2007 he designed an innovative Music Tech curriculum focused on amateur music production, which as of this writing involves over 300 students annually. His lab-based courses, as well as the school’s Electronic Music Group, are regularly featured at regional music education events. Nationally, he gives clinics and workshops on revitalizing school music programs for the 21st century. For more information visit willkuhn.com.

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TEACHING TIPS BAND Chamber Playing’s Impact: Bringing Your Students Out of the Audible Shadow Gregory Snyder; Lakota West High School An educator’s greatest goal should be for students to learn and become proficient in his/her subject area.

In instrumental music, that goal is most easily attained when students can work together “in harmony” to make music in small groups. Students take more ownership of their musical product, as they rely on themselves and their peers to correct intonation, rhythms, balance and blend; they become more adept at turning a phrase. The added exposure and unforgiving nature of this setting delicately forces newfound musical boldness and confidence. Sure, we band directors can assist in the process, but the lion’s share of work and creativity rests on the students’ shoulders. For those of us searching for a path to improve our overall band program, these added benefits make chamber playing a necessary tool to embrace.

We all have limited rehearsal time. Sacrificing large group rehearsal time during the school day makes many of us wince. However, in our experience, the advancement and breakthroughs that take place during structured chamber rehearsals far outweigh the progress that would have otherwise been made during full band rehearsal. Chamber playing is many times seen as a reward. We even have some students who arrange pieces of their choice, or choose to write their own compositions. Many find this additional creative outlet to also be very rewarding. It’s motivating for ensemble members to play for their peers during class. Giving playing grades as part of their 54

chamber playing assessment is also a proven way to motivate.

Of course there are many factors to consider when implementing a chamber program: student maturity, leadership, literature, and musicianship. Since some students aren’t intrinsically motivated to make music, it may take longer for them to mature enough to handle chamber playing with its added expectations and responsibilities. Also, due to the inherent nature of the activity, each student—unknowingly at times—is propelled into a leadership role. That’s why the majority of our chamber playing is reserved for our top concert band. Literature can be found from several sources.

Of course when playing at OMEA Solo and Ensemble Adjudicated Event, a piece must appear on the approved list. Ability level is, of course an important consideration when selecting ensemble literature. A good resource for us has proven to be private teachers who encourage students to choose standard literature for their instruments.

While playing chamber music, each student is a soloist. They not only must know their part, but in this micro-setting it’s more crucial for them to learn how their individual parts affect and create the quality of the whole. They come to understand that the good-sounding “whole” is much more reliant on their full bore effort and participation. Of course, they should know their parts in full band, as well, but, for many they don’t fully take on that responsibility TRIAD

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because they know their errors and missteps are more likely to be overlooked. They can fairly easily perform incognito, hiding in a self-perceived audible shadow.

Not true in chamber ensemble playing. We often say in quartet playing that each person is a car wheel. All it takes is one flat tire, not four, to render the car nearly useless. The same is true of the chamber ensemble when one person is not pulling their weight.

We do chamber playing year-round at Lakota West during our top performing concert band rehearsal time. In the spring groups are chosen for the following school year. Each ensemble member selects one piece. Each group is required to perform in the community at least once per quarter. One day per week is devoted to chamber music. In addition, we find that many groups are extra motivated to do well and choose to rehearse outside of what’s required. (If I had to guess, I’d say that has something to do with the aforementioned soloist responsibilities and unforgiving exposure). Community members embrace their performances, which further motivates and contributes to each individual’s confidence level. Also, junior

high students can more often see and hear (up close and personal) the work of the high school students, to which they can aspire.

During rehearsal time in our other five concert bands, December and January become chamber months in order to prepare for the OMEA Solo and Ensemble Adjudicated Event. Every band student is placed in at least one ensemble. With more ensembles than we can oversee with staff, we enlist the following year’s marching band leadership team to work with our freshman ensembles. This not only helps the freshmen, but it enables the juniors to recruit for our marching band.

We also hold our own Ensemble Recital the Monday night before the adjudicated event. Each group is scheduled 15 minutes to perform their selection, receiving feedback from a music educator. Final adjustments are made to each piece based on this added guidance and instruction. Parents are encouraged to attend, allowing them an opportunity to video record the performance (recording is not allowed at the OMEA event). The amount of improvement from

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2014 Audition Dates | January 25, February 1, February 15, February 22 Learn More | (800) 992-6682, mountunion.edu/music 56

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Monday night to Saturday is often astounding. Some of the drastic improvement is due to the human nature of waiting until the last minute, but much of it is credited to this additional mentoring opportunity and the chance to work out some performance jitters.

Adding consistent chamber playing to our band program has paid huge dividends; the improvement has been immense. Obviously, the more students play, the better they become. At Lakota West we often say, “The better you are, the more fun band is!” No one wants to participate in an activity or class that is unfulfilling. We have found that each year, each band sounds and performs better following Solo and Ensemble. Why? Because not only did the students improve musically from practicing, they had to learn how to more closely listen to learn how their part fits into the whole. That learned listening ability translates wonderfully into skills needed in our large ensembles—skills needed by students who are no longer lurking in the self-perceived audible shadow of their peers.

Gregory Snyder is in his 26th year as director of bands in the Lakota School District, West Chester, Ohio. Prior to his tenure at Lakota, Mr. Snyder served as assistant director for five years and director of bands for three years, in the Clyde-Green Springs School District, Clyde, Ohio. Mr. Snyder has a bachelor of music degree from Bowling Green State University, and a master of music education degree from VanderCook College of Music, Chicago, Illinois.

He has acquired additional work from the College-Conservatory of Music at the University of Cincinnati, Miami University and Boston University. Lakota West Symphonic Winds performed at the Midwest Band and Orchestra Clinic in 2000, 2006 and 2011. The Marching Firebirds marched in the 2008 Tournament of Roses Parade and the 2013 Macy’s Parade. They will make a return performance at the Tournament of Roses Parade in 2015. Mr. Snyder was recently awarded the Distinguished Alumni Award from Bowling Green State University, College of Musical Arts. He is a member of the prestigious American Bandmasters Association. Mr. Snyder serves as both large group and solo and ensemble adjudicator for OMEA. He is a member of Phi Beta Mu, Ohio Music Education Association, and the National Association for Music Education.

Mr. Snyder has chaired many OMEA adjudicated events, including the 1994 and 2002 Ohio All-State Band; he served as All-State Chair in 2010. In 2004, Mr. Snyder presented clinics on chamber playing at the OMEA State Conference and the Midwest Band and Orchestra Clinic. He is past-president of OMEA District XIII.

Otterbein’s second annual

Summer Music Camps June 23-27, 2014

Students receive pre-college music training, in addition to daily theory and aural skills classes. Free student recital at the end of camp that’s open to the public.

Time: 9 a.m. - 4 p.m., June 23-27, 2014 LocaTion: Battelle Fine Arts Center, Otterbein University DirecTor: Dr. Nicholas Ross, Director of Keyboard Studies For STuDenTS: Rising 9-12 graders (vocalists must be at least 15 years old) string players (violin, viola, cello, double bass and electric bass), guitarists (classical and jazz), flutists(classical and jazz), composers, pianists (classical and jazz), and classical vocalists.

TuiTion: $350. Lunch provided.

To aPPLY: E-mail Nick Ross at nross@otterbein.edu.

(Application deadline is May 24, 2014) QueSTionS? Contact Jill McCullough at 614-823-1371 or jmccullough@otterbein.edu Or Dr. Nicholas Ross at 614-823-1020 or nross@otterbein.edu

www.otterbein.edu/music

Otterbein is an accredited member of the National Association of Schools of Music (NASM) APRIL/MAY 2014

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MUSIC MASTERCLASS PERCUSSION Quick and Easy Latin Beats Jim Leslie; University of Dayton

While teaching at the Miami Valley Jazz Camp for the last several years, I have devised a few strategies for helping drummers play Latin grooves. These patterns are out of the comfort zone of most young drummers, and I’ve seen band directors struggle to teach these complicated patterns while the rest of the band waits impatiently. This can be a waste of precious rehearsal time, as well a source of frustration for the drummer (and director!). With this in mind, I’ve created a few techniques to teach basic versions of these styles that make them more accessible to young drummers. I will focus on two of the most frequent grooves: the bossa nova and the mambo.

I first ask the drummer to play a simple and usually familiar rock pattern:

Then, I have the student play it using a rim knock.

(FYI: A rim knock, or cross-stick, is performed by placing the tip of the stick in the middle of the snare drum head and bring the stick down sharply on the rim, making a sound similar to temple block.)

BOSSA NOVA This Brazilian rhythm is used for songs such as “The Girl From Ipanema,” “Blue Bossa,” “Corcovado,” and ”Song For My Father,” among many others.

Here is the bossa nova pattern:

Then, I’ll ask the drummer to anticipate the rim knock on “4” and put it on the “and” of “3”.

This is initially very tricky to negotiate, especially the changing left hand rhythm against the ostinato bass drum pattern. I recommend introducing a simpler version of this groove.

This is essentially a slightly simplified version of the second measure of the basic bossa nova. I recently went through this process with a drummer that had never played a Latin groove before and it took about a minute. After the student feels comfortable with this

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Dustin Seifert

Congratulations to Dustin Seifert, recipient of our 2014 Outstanding Music Education Alumni Award.

Mr. Seifert is Chair of the Department of Music, Director of Bands and Coordinator of the Division of Wind and Percussion Studies at Eastern New Mexico University, and a 1996 (BM) graduate of The University of Akron School of Music.

Steel Band for Educators July 14-15, 1 credit

SUMMER 2014

BUCHTEL COLLEGE OF ARTS AND SCIENCES FINE ARTS DIVISION

School of Music

GarageBand for Music Education July 14-15, 1 credit

21 creative uses for GarageBand in classes and rehearsals.

Percussion for the Public School Band Director July 16-18, 2 credits

WORKSHOPS

Literature resources, new percussion products, recruiting percussionists for the school band, instrument repair, and performance techniques.

Diction for the Vocal Music Educator – French and German May 19-22, 2 credits

Using Smartboards in the Music Classroom July 21-22, 1 credit

Understanding the phonetic alphabet in modern languages used in vocal/choral repertoire.

Brass Teaching Techniques for School Band Directors June 9-13, 2 credits

Brass techniques and incorporating them into the school setting.

Marching Band Rehearsal Techniques June 19-21, 2 credits

Newest techniques in designing marching band shows, cleaning for success, and Pyware tutorial.

String Techniques for Music Educators June 30-July 1, 1 credit THE UNIVERSITY OF AKRON www.uakron.edu/music

History, operation, performance techniques, and tips on purchasing instruments.

Pedagogical procedures, lessons and assessment using the Smartboard.

NON CREDIT Junior High Band Camp

June 23-27 For students entering 7th – 10th grades

Rehearsals, recitals, clinics and performances. Campers will perform a concert at 1 p.m. on Friday, June 27, for family and friends. $250 commuter, $475 overnight.

For more information: 330-972-6919 uabands@uakron.edu

Review violin, viola, cello and double bass techniques for junior high and high school orchestras.

Beginning Band Basics June 30-July 2, 2 credits

Review techniques for teaching beginning instrumentalists.

Music iClassroom Mobile Apps and Hardware July 8-11, 2 credits Innovations in mobile apps and devices to increase productivity in the classroom.

www.uakron.edu/workshops (330) 972-7590 School of Music Ann L. Usher, Director The University of Akron is an Equal Education and Employment Institution © 2014 The University of Akron

pattern (playing the chart, playing on the hi-hat and ride, adding fills), he/she will be more than ready for the complete pattern.

MAMBO This Afro-Cuban influenced groove is typically played on “Caravan,” “A Night in Tunisia,” “Malaguena,” and “On Green Dolphin Street,” among many others. Since this style of music was originally played using congas, timbales, and assorted hand percussion, drummers have adapted these rhythms and applied them to the drumset.

Next, ask the student to play the right hand on the ride cymbal bell.

Then, ask the student to play the left hand on the tom toms…

Here is a typical mambo pattern: or incorporate a snare drum rim knock and tom tom.

This is a daunting challenge for a young drummer, requiring considerable practice and coordination. I have invented a simpler version of this that I call the “I Am a Latin Drummer” beat. First, teach the student the rhythm on the snare drum using this phrase: Voila! Instant (simple) mambo! Once the student has a good grasp of this groove, you can introduce a more advanced one.

Next, have the student play the rhythm using the following sticking. The student should continue saying, “I Am a Latin Drummer” throughout the whole process. Trust me: this really works. Add the bass drum and hi-hat.

I hope you find these patterns practical and the strategies useful. While you work through this material with your drummers, be sure to suggest recordings of these styles to study. YouTube can be a great source for this. Good luck!

James Leslie is an Artist in Residence at the University of Dayton, where he serves as Percussion Area Coordinator, Assistant Director of the Pride of Dayton Marching Band, and directs the University Jazz Band.

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MUSIC MASTERCLASS WOODWINDS Common Challenges for Young Oboists Nora Lewis; Kansas State University

PLAYING SHARP Many oboists struggle with playing exceptionally sharp. In a recent master class with twenty high school oboists, students were asked if they ever experienced playing sharp. Everyone from the All-State musicians to the students who had just begun to play acknowledged playing excessively sharp. There are two primary reasons for playing sharp: either the reed is flat or the embouchure is not flexible. Typically, the embouchure loses flexibility as it becomes accustomed to playing on flat reeds. It seems counterintuitive that oboists play sharp when their reeds are flat, but there is good reason for it. For an oboe to play in tune, the reed should comfortably crow octave Cs. When the reed crow is lower than a C, the player responds to this flatness by pinching or biting the reed. The human ear is much more sensitive to flatness than to sharpness and is inclined to make this adjustment. Pinching the reed will bring the pitch higher, but this pitch center is unstable and uncontrollable and the tone is thin. There is no good way to consistently pinch the reed, and consequently, the correct pitch is not sustainable, it is overshot, and the pitch becomes excessively sharp. Directors should note that if an oboist pulls the reed out a bit, when playing sharp, the sharpness gets markedly worse. Pulling the reed out makes the set-up even flatter requiring the student to work even harder to pinch the reed up to pitch, making the tone and pitch even less stable.

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FINDING A QUALITY REED Students at every level should be encouraged to play on handmade reeds instead of machine-made reeds. Machine-made reeds, regardless of brand, are unacceptable, because they play extremely flat and have an incredibly loud and unfocused sound. While most oboists will eventually learn to make their own reeds, they will need to find a source for handmade reeds before that time. Handmade reeds are not typically available for students to purchase at the local music store, since there are so few oboists compared to other instrumentalists. It does not make sense for local music stores to invest in oboe supplies, which is why there are a small number of oboe specific specialty shops located throughout the United States, easily accessible through internet or phone. These shops offer a great variety of high-quality handmade reeds and other oboe supplies.

If there is a local private oboe teacher, check to see if they sell oboe reeds to students. Students should try a variety of reed sources. While handmade reeds can cost more than twice as much as machine-made reeds, they will last much longer and are absolutely worth the investment.

ADAPTING TO A HANDMADE REED When students first switch to handmade reed their initial reaction is usually negative, because the reed will feel uncomfortable to play. A handmade reed will have more resistance and requires greater air flow. Some stuTRIAD

dents are also sensitive to the increased sensation of the vibration on their lips. Ask students to take in a slow and full breath and blow on the reed alone for brief periods of a few seconds at a time, thinking the syllables “oh” and “ooh.” Make sure there is a wide space between the teeth. After a few days of blowing on just the reed, it will no longer feel too resistant to play and the proper embouchure muscles will begin to develop.

The transition period from a machine-made reed to a handmade reed can be made quite quickly.

Reed Characteristics Another characteristic to look for in a reed is an immediate response. If there is a high-pitched chirping sound that precedes the tone or if students are reluctant to articulate with their tongues on the very tip of the reed, then there is a problem with the response of the reed. When looking at the profile of the reed, the two blades of the reed should stay tightly together all the way to the tip. If the blades are splayed apart even slightly, the reed will not respond well and can chirp.

This type of reed problem is typically caused by a warp in the cane and cannot be fixed. A reed should respond to air and articulation without any delay. If there is a

delay in response, the very tip might need thinning, or the reed might be leaking air through the sides. Learning basic reed adjustment techniques can benefit students greatly. Sometimes a couple of small scrapes of the cane can make an unusable reed into a good one.

Basic reed adjustment can be learned through short summer workshops, books, or DVDs. There are even some excellent demonstrations available on YouTube.

Nora Lewis is Associate Professor of Music at Kansas State University, where she teaches oboe and music history and performs with the Konza Winds faculty quintet; she is also the oboist in the PEN Trio. Lewis has performed or presented at six International Double Reed Society Conferences, the Midwest Clinic, ClarinetFest, College Music Society Regional, National, and International conferences, CBDNA, the National Woodwind Festival of Haiti, and at music education association conferences nationwide. Lewis has performed with the Chicago Symphony Orchestra, Wichita Symphony Orchestra, and Boston Lyric Opera. She received degrees from Lawrence, Yale, and Northwestern universities where she studied music and philosophy. Nora Lewis is a Buffet Group USA Performing Artist/Clinician and plays Buffet Greenline oboes exclusively.

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For full Music Talent Scholarship consideration, students must audition by March 8, 2014

CSU Department of Music Audition Dates for 2014-2015: February 1, February 15 & March 8 For more information please visit www.csuohio.edu/music.

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MUSIC MASTERCLASS BRASS Do You Hear What I Hear? Developing Aural Skills in Beginning Brass Students Dr. David A. Turrill; Muskingum University Developing strong aural skills is important to the success of all beginning brass students. The ear should not only evaluate for correctness, but also lead the students’ playing, which, in turn, improves pitch accuracy and intonation. Teachers should guide students to always hear the next pitch, and to encourage active listening at all times. Below you will find some practical suggestions and techniques that are easy to incorporate into any elementary band class.

ROTE TEACHING Teach the first few classes without using a book.

This allows students to focus on tone production and listening skills. You can assign numbers to pitches, or use solfége hand signs, and once three notes are learned, students can play simple songs by rote. Modeling is a great teaching tool in the first few lessons, and is an important component in the other strategies mentioned in this article.

SINGING Incorporate singing into every class. Sing the exercises (on pitch), while doing fingerings/slide positions.

This technique not only develops the ear, but encourages the concept of musical line. It is never too early to think musically. Singing should be encouraged throughout students’ entire instrumental experience.

Brass students at all levels, from beginners to college students, benefit from singing. As Arnold Jacobs (for64

mer principal tuba of the Chicago Symphony) often said, “Be a singer in your brain!”

MOUTHPIECE BUZZING Mouthpiece buzzing has many benefits, particularly with aural skill development. Without the instrument to help guide pitch, there is much greater reliance on the ear. So, what should students buzz? At first, have students match a single pitch, and once students are comfortable doing this, move on to longer sequences of notes. Be patient as you work on pitch matching. Some students will be able to do this immediately, while others will find it very difficult. You should also buzz exercises from the book, as well as simple tunes like Mary Had a Little Lamb or Twinkle, Twinkle, Little Star. The selected material does not matter as much as the act of doing it. Be creative!

Always reinforce correct pitches and encourage students to produce a big mouthpiece sound, since the relative small size of the mouthpiece often encourages students to use less air.

CALL AND RESPONSE Using call and response not only develops aural skills, but provides a variety of instructional methods.

During the warm-up period of each class, play short melodic phrases (four beats long), having the students repeat it back. Keep it very simple at first, limiting it to stepwise motion with only two notes, then add more TRIAD

notes and wider intervals as students develop. Keep it predictable at first, starting and ending on Bb for the first few, to make it more manageable and easier to follow. Add complexity as the students develop this skill. Call and response not only develops studentsâ&#x20AC;&#x2122; aural skills, but can also help students develop a better sound (assuming the teacher is modeling on a brass instrument). Call and response can also be done with a student leader, which gives students greater musical responsibility. Those who are ready for this challenge will thrive on the opportunity to lead.

Call and response is also a great way to introduce new rhythms, especially ones that are more complex.

Rather than explaining the new rhythm, play it for the students, having them repeat it back. Then direct them to the page in the book that introduces the new rhythmic concept and show them what they just learned. This develops their aural skills as well as encourages the learning of new material without thinking too much.

APRIL/MAY 2014

Note that all of the above teaching techniques involve doing. Too much technical information can be confusing and turn students off. Make it fun and always make it musical!

David A. Turrill is Director of Bands & Assistant Professor of Music at Muskingum University where he conducts the Muskingum Wind Ensemble, the Muskingum Valley Symphonic Winds, performs in the Southeastern Ohio Symphony Orchestra and the Muskingum Valley Brass, and teaches applied brass, as well as courses in conducting and music education. He earned the Bachelor of Music Education degree and the Master of Music degree in conducting and trumpet performance from Ohio University, and the Doctor of Musical Arts degree from Michigan State University in trumpet performance, with a cognate in conducting. Prior to teaching at the university level, he taught elementary, middle school, and high school band in Ohio for twelve years.

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ADJUDICATED EVENTS Update on Adjudicated Event Requirements Scott Eversdyke; Adjudicated Events Chair Well it certainly has been an interesting start to the 2014 AE season to say the least. Hopefully you are starting to recover from all of the snow days and life in your music classes is starting to return to normal. I hope that you are also having a successful OMEA Adjudicated Events season. Congratulations to those groups that qualified for your region’s state event!

MARCHING BAND REGISTRATION Online registration for 2014 local marching band events (including the OSU Buckeye Invitational) will begin on April 15, which is earlier than announced at Conference. The complete fall schedule is available for download on the member’s portal. Please contact JD Latorre if you have any questions.

SOLO AND ENSEMBLE ROLLING REVISION UPDATE

Remember to download the new lists from the website and print them out. New lists for woodwind solos and vocal solos are scheduled to go into effect next year.

The rolling revision is an ongoing process. The timeline for future events is listed below: EVENT

TAKES EFFECT

Woodwind Solos, Vocal Solos

Winter 2015

Percussion, Brass, and String Solos

Winter 2016

Brass Ensembles, Vocal Ensembles, and Piano Solos

Winter 2017

DIRECTOR’S REPORT ON ADJUDICATORS (DROAS) After every adjudicated event you get those papers in your check-out envelope that quickly get filed in the circular container. You know what I am talking about. But WAIT! Before you throw them away (or at 66

least recycle them), please know that these Director’s Reports on Adjudicators are so valuable to the entire adjudication process. Your report may be the only way the Adjudicated Events Committee knows when something unusual happens at an event. Without your report we may not be able to be proactive in improving the adjudication process. Please make it a goal to fill out those reports and send them in.

REGISTRATION FEES Please understand that when you register for adjudicated events, you are agreeing to pay the registration fee. Once the deadline for registration has passed, you will be responsible for paying the fees even if you decide not to participate in the event. If a teacher cancels after the deadline and does not pay, that teacher may be prohibited from registering for future adjudicated events until that bill has been paid. This will affect the individual teacher, not the school.

2014 OMEA CONFERENCE What a great conference! Congratulations and thank you to Jeff Shellhammer and Rod Tolliver for putting together such a great conference. All of their hard work certainly paid off! We are so lucky to be a part of such a great professional organization.

Thank you to those that took advantage of the many AE Sessions offered at conference. The AE Committee values your participation and input.

As always, feel free to ask any Adjudicated Events Committee member your questions regarding adjudicated events. If we don’t know the answer for you immediately, we can always find the answer. Have a great end of the year!

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at Muskingum University’s Department of Music offers the Bachelor of Arts degree in music and music education, as well as minors in music and musical theatre. With its six full-time and fourteen adjunct faculty, the Department is large enough to offer a variety of study and performance opportunities, yet small enough to ensure that the needs of individual students are consistently addressed.

Scholarship opportunities abound at Muskingum University. All Music Majors and Music Minors may audition for scholarship awards to pursue their course of study. Music Participants—those who join a major ensemble and take private lessons— can also receive scholarships to cover lesson fees.

Bachelor of Arts in Music Regardless of your academic major, Muskingum

has an Education ensemble for you! Students from across Bachelor of Arts in Music

Auditions are typically conducted in January and February, but may be scheduled throughout the year. For convenience, students who have been invited to Scholarship Days by the Office of Admission are encouraged to audition at that time.

Ensembles

campus participate in numerous vocal and Scholarship opportunities abound at Muskingum groups, some of which require an University. All Music Majors and Music Minorsinstrumental may The Southeastern Ohio Symphony Concert Choir audition for scholarship awards to pursue audition. their (SEOSO), Muskingum Valley Symphonic course of study. Music Participants—those Orchestra who Chamber Singers Winds, and Muskingum Choral Society represent join a major ensemble and take private lessons— partnerships between the university, the New Music Theatre can also receive scholarships to cover lesson fees.

Concord community, and the surrounding region.

An accredited institutional member of the Choral Society Auditions are typically conducted National Association of Schools of Music since in January and Wind Ensemble February, but may be scheduled 1937, the Department of Music is housed in Otto throughout the www.muskingum.edu/dept/music year. one Forofconvenience, students who have been and Fran Walter Hall, the newest academic Jazz Ensemble www.youtube.com/MuskingumMusic Wind Ensemble to Scholarship buildings at invited Muskingum, which Days boastsby the Office of Marching Band Admission are encouraged to audition at that “Marching Muskies” Marching Band www.facebook.com/MuskingumMusic acoustically designed classrooms and rehearsal time.

Jazz Ensemble facilities, a state-of-the-art music technology lab, Muskingum Valley Symphonic Winds c major, Muskingum and spacious studios and practice rooms. The Chamber Ensembles tudents from across Southeastern Ohio Symphony Orchestra Scholarships available to majors and non-majors Department presents over fifty concerts and Southeastern Ohio Symphony Orchestra (SEOSO) merous vocal and recitals each year, both on and off campus.

Muskingum University’s Department of Music Muskingum Valley Symphonic Winds of which require an offers the Bachelor of Arts degree in music and n Ohio Symphony Scholarship opportunities abound at Muskingum music education, as well as minors in music and um Valley Symphonic University. All Music Majors and Music Minors may musical theatre. With its six full-time and ral Society represent Concert Choir audition for scholarship awards to pursue their fourteen adjunct faculty, the Department is large university, the New course of study. Music Participants—those who Chamber Singers enough to offer a variety of study and surrounding region. join a major ensemble and take private lessons— Men’s Chorus performance opportunities, yet small enough to can also receive scholarships to cover lesson fees. ensure that the needs of individual students are Women’s Chorus consistently addressed.

Music Theatre Auditions are typically conducted in January and mble Choral Society February, but may be scheduled throughout the Marching Band year. For convenience, students who have been ble invited to Scholarship Days by the Office of mbles Admission are encouraged to audition at that y Orchestra (SEOSO) time.

Regardless of your academic major, Muskingum mphonic Winds has an ensemble for you! Students from across campus participate in numerous vocal and instrumental groups, some of which require an oir audition. The Southeastern Ohio Symphony Orchestra (SEOSO), Muskingum Valley Symphonic gers Winds, and Muskingum Choral Society represent us partnerships between the university, the New orus Concord community, and the surrounding region.

An accredited institutional member of the tre National Association of Schools of Music since ety 1937, the Department of Music is housed in Otto and Fran Walter Hall, one of the newest academic Wind Ensemble buildings at Muskingum, which boasts “Marching Muskies” Marching Band acoustically designed classrooms and rehearsal Jazz Ensemble facilities, a state-of-the-art music technology lab, and spacious studios and practice rooms. The Chamber Ensembles Department presents over fifty concerts and Southeastern Ohio Symphony Orchestra (SEOSO) recitals each year, both on and off campus.

Muskingum Valley Symphonic Winds

at

A view of Otto and Fran Walter Hall from across the lake

Department of Music 163 Stormont Street New Concord, Ohio 43762 Concert Choir Chamber Singers Men’s Chorus Women’s Chorus Music Theatre Choral Society

APRIL/MAY 2014

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Find your voice.

June 23–27, 2014

Voc al Performance InstItute

This prestigious five-day program gives high school singers an opportunity to study their craft with University of Dayton college professors and guest artists from The Human Race Theatre Company and the Dayton Opera.

• Master classes, workshops and seminars.

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The VPI curriculum is perfect for young singers seeking to prepare for college music programs or for those who simply love to perform and wish to learn more. go.udayton.edu/vpi

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TRIAD

HIGHER EDUCATION NEWS ASHLAND UNIVERSITY Dr. Marla Butke, associate professor of music, has recently presented sessions on Dalcroze Eurhythmics and the concept of Plastique Animée at the First International Conference of Dalcroze Studies in Coventry, England, University of Texas at San Antonio, College of Wooster, and OMEA. Dr. Butke and Tricia Applegate, coordinator of performing arts publicity and events, were recently recognized as 2013-2014 Academic Mentor award winners at Ashland. Leonard Salvo, director of bands, was selected as a conductor for the 2014 Ohio Private College Instrumental Conductors Association All Ohio Collegiate Honors Concert Band, which was held in Severance Hall in Cleveland.

BLUFFTON UNIVERSITY For Bluffton University students who performed in the Ohio Private College Instrumental Conductors Association honors band on Feb. 2, the setting, the music and the musicians combined to create a memorable experience. Representing Bluffton at the OPCICA honors festival closing concert in Cleveland’s Severance Hall were Bethany Babcock and Samuel Black, both from Deshler, Ohio; Aaron Johnson, a first-year student from Goshen, Ind.; and Brittney Ries, a sophomore from Freeman, S.D. They rehearsed with the honors band for two days before the performance.

This was the second year in the band for Babcock, a junior majoring in music education. “I had a great time my first year and decided to do it again this year,” the flutist said. “How could I pass up a chance to play in one of the world’s best performance halls?”

“I loved playing in such a large ensemble,” Black said. The tuba player, a first-year student at Bluffton, was one of 96 musicians in the concert band. “We also played some of the most difficult, rewarding and fun music I have ever played,” he added.

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After an exhausting weekend of travel, practice and performance, the two musicians reflected on their participation with gratitude.

“It was an amazing experience,” Black said. “Every layer of sound is so well annunciated in that hall.”

Babcock was grateful for both the opportunity to play in Severance Hall and to network. “As a music major, this was a great experience to connect with other musicians and directors,” she said.

Dr. Roy Couch, visiting assistant professor of music at Bluffton, nominated and led the university contingent. “It was a terrific event, very well-run and an amazing musical experience for our young musicians,” he said.

CASE WESTERN RESERVE UNIVERSITY Dr. Nathan Kruse, Director of Graduate Music Education at CWRU, presented a session geared toward OCMEA members at the 2014 OMEA Conference in Columbus, “From Student to Professional.”

Last fall, he was a featured lecturer on the CWRU Music Colloquia Series with a presentation entitled “The Jumping Flea Renaissance: Leisure and ‘Ohana in an Intergenerational ‘Ukulele Club.”

Marshall Haning, CWRU doctoral student, presented three sessions at this year’s OMEA Conference, sponsored by TI:ME: “Technology and the First Year Teacher: What You Need to Know,” “Audacity for Music Teachers,” and “I’ve Got the Technology… Now What? Tips for using Technology Successfully in Your Classroom.”

Barry Hartz, also a CWRU doctoral student, presented a session “Band Affairs: Success at Large Group SE-Focus on the March” and collaborated with Dr. William Bauer on a research poster “The Effect of Ear Playing Study on Amateur Wind Instrumentalists’ Musical Self-Efficacy: A Pilot Study” at the 2014 OMEA Conference.

Dr. Matthew Garrett presented a session, “Musicking without Boundaries: Developing Critical Thinking Skills in K-12 Music Classrooms” at the 2013 New York State School Music Association Winter Conference in Rochester, NY and at the 2014 Massachusetts Music Educators Association Conference in Boston, MA. He recently collaborated on a poster presentation with Dr. Fred Spano from the University 70

of North Carolina at Charlotte, “LGBTQ Issues in Music Education Classrooms: An Examination of Inclusive Practices by In-service Music Educators” at the NAfME Music Research and Teacher Education National Conference in St. Louis, MO. Dr. Garrett conducted an annual collaboration concert featuring Case Concert Choir and The Church of The Covenant Choir in Cleveland, celebrating music of American Composers.

THE COLLEGE OF WOOSTER Nancy Ditmer, Department Chair, will complete her role as President of the National Association for Music Education (NAfME) in June and has given clinics and keynote speeches in more than 40 states and near Frankfurt, Germany for the annual conference of the European Music Educators Association. She will continue to serve NAfME for two additional years as Immediate Past President.

Gary DeVault, Adjunct Instructor in Music Education and Collaborative Pianist, has served as a clinician for OMEA, presenting workshops on the Ohio Teacher Evaluation System (OTES) and the Student Learning Objective (SLO) process at the 2014 OMEA Professional Development Conference and in Cincinnati, Columbus, and Wooster during the summer of 2013.

Jack Gallagher, Olive Williams Kettering Professor of Music, worked with the London Symphony Orchestra, under the baton of conductor JoAnn Falletta, as they recorded his Quiet Reflections and Symphony No. 2 (“Ascendant”) for release in 2014 on Naxos American Classics. His works were recorded September 2–3 at Blackheath Halls, London, England.

Lisa Wong, choral conductor and Assistant Professor of Music Education, continues in her roles as Assistant Conductor for the Cleveland Orchestra Chorus and Conductor of the Cleveland Orchestra Youth Chorus. Under her leadership, The Wooster Chorus performed on Friday, February 7th at the 2014 OMEA Professional Development Conference.

The 17th Annual Wooster Music Camp will be held July 13–17, 2014 featuring bands conducted by Lt. Col. Frank Dubuy (Tempe,AZ), Jay Wardeska (Brunswick, OH), and Kathleen McGrady (Springfield Twp., OH). The string program will be led by William TRIAD

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Baldwin Wallace University Conservatory of Music

Summer Institute for Music Teaching and Learning Providing high-quality professional development for music educators in workshops coordinated with Ohio Standards and contextualized for the music educator. n Guitar Skills for Teachers June 16–18, 12:00 pm–4:30 pm, 1 credit; Lalene Kay, ACC, MT-BC, Instructor n Music Education in the Cloud June 23–26, 9:00 am–4:30 pm, 2 credits; William I. Bauer, Instructor n Instrumental Explorations 2014: Making Sousa and Copland “SOUND” – Exploring the Challenges and Solutions June 30–July 3, 8:30 am–4:30 pm, 2 credits Loras Schissel, Laura Joss and Jared Rawlings, Instructors n Orff-Schulwerk Teacher Education Course, Level I* July 7–18 (Monday–Friday), 8:00 am–4:30 pm, 4 credits Tim Purdum, Laura Webster, and Alan Purdum, Instructors n Orff-Schulwerk Teacher Education Course, Level III* July 7–18 (Monday–Friday), 8:00 am–4:30 pm, 4 credits Michelle Przybylowski, Laura Webster, and Alan Purdum, Instructors n Gordon Institute for Music Learning Theory, General Music I+ July 21–August 1 (Monday-Friday), 8:30 am–5:00 pm, 4 credits Jennifer Bailey and Herbert Marshall, Instructors n Gordon Institute for Music Learning Theory, Instrumental Music+ July 21–August 1 (Monday-Friday), 8:30 am–5:00 pm, 4 credits Richard Grunow and Kathy Liperote, Instructors *Orff-Schulwerk courses will take place off-campus at the Andrews Osborne Academy in Willoughby, Ohio; housing is available. +On-campus housing is available during the Music Learning Theory courses.

Additional BW Summer Music Programs . . . for students in grades 4-9: String Camp, June 14-19 Band Camp, June 21-26 Piano Camp A, June 14-19 Music Theatre Camp, June 21-26 Piano Camp B, June 21-26 for high school students: International Guitar Festival, concerts, master classes, workshops and lectures with world-renowned guitarists, May 17-18 BW-CSI: Conservatory Summer Intensive, investigating college music study while exploring careers in music, July 6-19 Music Theatre Overtures, the best college music theatre audition preparation, July 13-18 for adults: International Guitar Festival, concerts, master classes, workshops and lectures with world-renowned guitarists, May 17-18 For more information contact: Conservatory Outreach Department 440-826-8065 • conreach@bw.edu • www.bw.edu/summer-music-programs Baldwin Wallace University does not discriminate on the basis of race, creed, age, disability, national origin, gender or sexual orientation in the administration of any policies or programs.

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Slechta, a Wooster graduate currently teaching orchestra and strings in Cary, NC who serves as President– Elect of the North Carolina chapter of ASTA. COLUMBUS STATE COMMUNITY COLLEGE Columbus State Concert Band, under the direction of Thomas Lloyd, performed a concert of Band Classics on March 4. The program included Beethoven’s “March No. 1” and Gossec’s “Marche Lugubre,” as well as Harry Lincoln’s “Repasz Band,” David Holsinger’s “Adagio,” and “Variation Overture” by Clifton Williams. The concert was shared with the Columbus State Jazz Ensemble, directed by Rick Brunetto. The two ensembles concluded the program by performing Brunetto’s “Suite for Concert and Big Band.” The Concert Band’s Spring Concert is April 29th and will feature Gustav Holst’s “Second Suite in F,” William Grant Still’s “To You, America,” and John Mackey’s “Undertow.” Faculty member Rose Zuber will play the piano solo in the band’s performance of the cinema classic “The Dream of Olwen.” Oboist Ailene MacKay Albrecht will solo in “Cinema Paradiso.” The classic march “Colonel Bogey” is also on the program. The Spring Concert will be shared with the Columbus State Woodwind Ensemble, also under the direction of Thomas Lloyd. They will play “Two Contradances” by Beethoven, “Bugle Quickstep” by 19th century African-American composer Frank Johnson, Patrick Gilmore’s “The Famous 22nd Regiment March,” and Scott Joplin’s “Elite Syncopations.”

Chorus Columbus State, directed by Gordon Franklin, will perform its Spring Concert on Sunday, April 27 at 3:00 p.m. at the Columbus Museum of Art. The Gospel Vocal Ensemble, under the direction of Emma Easton, has two performances in April. On Thursday, April 24 the GVE will sing an informal concert in the college bookstore at 5:00 p.m. and on Saturday, April 26th they will be the guests of the King Arts Complex to perform an hour long outdoor concert in the Amos Lynch Plaza adjacent to the complex.

THE OHIO STATE UNIVERSITY The School of Music concludes its very full academic year with numerous student ensemble performances: Drums Downtown X, April 4–5 (Susan Powell and Joseph Krygier, directors); the COFA APRIL/MAY 2014

Festival with guest artist Demarre McGill, principal flute of the Dallas Symphony, April 5; and Lyric Opera’s production of Benjamin Britten’s The Rape of Lucretia, April 17 and 19 (A. Scott Parry, director).

School of Music Director Richard L. Blatti has been elected president of the Ohio Association of Music Schools (OAMS). He will serve a two-year term. The Ohio State ASTA Student Chapter has been named the “Outstanding Student Chapter” for 2014 and the Ohio State Flute Troupe, directed by Katherine Borst Jones, has recorded new compositions and arrangements for flute choir for McGinty Music.

The Jazz Ensemble, directed by Ted McDaniel, participated in a spring performance tour of China as part of a cultural exchange endeavor funded by a U. S. State Department grant awarded to the Center of American Culture, collaboratively directed by Ohio State and Wuhan University.

Widely commissioned and recorded Arab-American composer and cultural advocate Mohammed Fairouz was composer-in-residence in October 2013.

The Wind Symphony, conducted by Russel C. Mikkelson, performed In the Shadow of No Towers, Farouz’ most recent symphony for wind ensemble, inspired by Pulitzer Prize-winning graphic novelist Art Spiegelman’s book about American life in the aftermath of the September 11 terrorist attacks. The performance can now be seen on YouTube.

The well-known summer programs of over 30 years—Flute Workshop, Jazz Camp, and Morning String Student Workshop—have expanded to include Clarinet Academy (Caroline Hartig, director), and are now known as the Ohio State Youth Summer Programs, Scott A. Jones, director. Additionally, the summer 2014 String Teacher Workshop will welcome guest artist Mark Wood. Details and registrations at music.osu.edu.

OHIO UNIVERSITY The Ohio University Wind Symphony, under the direction of Andrew Trachsel, gave a terrific performance at the OMEA conference in Columbus. The performance featured OU faculty members Sean Parsons, piano and Roger Braun, drums. The Symphony Orchestra, under the direction of Steven Huang, will tour this spring with performances in Chicago, New 73

York City and Pittsburgh. Singing Men of Ohio and the OU Women’s Ensemble will both tour during spring break with concerts in the southern states.

Clarinet professor Rebecca Rischin and piano professor Youmee Kim will perform in New York City’s famed Carnegie Hall this spring. OU alumna Carleen Graham, Professor of Opera and Music Theatre at The Crane School of Music, will receive the School of Music Achievement in Music Award at the annual honors assembly on April 16.

Upcoming events at the Ohio University School of Music include: Athens Jazz Festival April 11-13, (jamesm1@ohio.edu), Under the Elms Concert Series June 4-July 2, Summer Music Camp June 15-21(trachsel@ohio.edu), Piano Pedagogy Seminar June 13-14 (fisherc@ohio.edu), Mozart on the Green Festival August 4-9 (huangs@ohio.edu).

OTTERBEIN UNIVERSITY The Otterbein Departments of Music and Art hosted a collaborative performance by faculty pianist Nicholas Ross and guest visual artist Maurice Quillinan from Limerick, Ireland on January 15. The program, entitled “Debussy in the Rain,” featured a series of Quillinan’s original paintings inspired by solo piano pieces performed by Ross, including Images, book 1 and 2, and Estampes by Claude Debussy, as well the premiere of a new piano sonata by composer Kent Holliday. Quillinan’s paintings were projected onto a screen in Riley Auditorium as Ross performed, and smaller canvasses were displayed in the Battelle Fine Arts Center Lobby. Prior to the concert, Ross and Quillinan presented a lecture discussing their collaboration and the theme of the works’ connection with the Golden Section, a proportional ratio found in both the music and the visual art works.

The Otterbein Wind Ensemble was invited to perform at the Western International Band Clinic in Seattle, WA on November 22, 2013. The group flew to Seattle on November 19 and performed at Mount Si High School and at Mount Tahoma High School. The ensemble also had the opportunity to work with CW2 Scott Pierson, conductor of the 133rd Washington National Guard Army Band. The wind ensemble gave a beautiful performance at the conference performing for an audience of about 400 people.

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Finally, on March 28, the Otterbein Department of Music, in association with Music and Arts, is very pleased to bring Michael Sachs, principal trumpet of the Cleveland Orchestra, to campus. Mr. Sachs will be performing a recital in Riley Auditorium on Friday March 28 at 2:15 p.m. and will present a lecture at 9:15 a.m., followed by a trumpet masterclass at 10:30 a.m.

For more information or to RSVP, please contact Dr. Margaret Underwood, Director of Bands, at munderwood@otterbein.edu or 614-823-3085.

TIFFIN UNIVERSITY Tiffin University hosted its inaugural season of the ProMusic Guest Artist Series, which featured commercial music performances and workshops by pop and jazz vocalists and instrumentalists, beatboxers, live-loopers, songwriters, rappers and producers.

Guest artists included Nashville singer-songwriter Daphne Willis, world champion beatboxer KRNFX, NYC hip hop recording artist F. Stokes, vocalist/beatboxer/live-looper Heatbox, and jazz violinist and live looper Brian Fitzy. Guest artists worked collaboratively with TU students majoring in commercial music performance and presented public concerts produced

by TU music industry majors.

Brad Rees, Music Department Director, conducted the Colorado Music Education Association’s All-State Jazz Choir in January. The 16-voice ensemble was chosen from over 250 auditions, and performed a six-song program that included the debut performances of arrangements by Rees and his wife Ali Rees, who also serves as director of one of Tiffin University’s commercial vocal ensembles.

Artist-in-residence and jazz-soul recording artist Jeanette Berry and her Philadelphia-based band Jeanette Berry and the Soul Nerds released their new album “Allegiance to Love,” available on CD and through Bandcamp download.

Visiting instructor of music business and internationally-renowned hip hop producer J. Rawls released his newest album, “Hotel Beats: Volume Two,” a collage of instrumental music and interludes that touch on themes of war, hope, happiness, freedom, the tragedy of death and the triumph of faith. Rawls has produced for dozens of hip hop artists, including Mos Def, Talib Kweli, Us3, and Beastie Boys.

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UNIVERSITY OF DAYTON Dr. Sharon Davis Gratto, Chair, presented a session on world choral music at the 2014 OMEA conference, with her UD World Music Choir as a demonstration group. Dr. Gratto is the Repertoire and Standards Chair for Ethnic and Multicultural Perspectives for the Ohio Choral Directors Association and will be a featured presenter on world choral music at OCDA’s June conference.

Dr. Linda A. Hartley will present “Expanding the Traditional Music Teacher Education Curriculum to Include Andragogy” at the NAfME Music Research & Teacher Education National Conference in St. Louis in April. She was selected to participate in the University of Dayton’s Global Education Seminar with a cohort of faculty who will tour Argentina and Peru this spring.

Dr. Robert Jones formed and is chair of the Model Mentoring Program, a mentoring process for young choral music educators. Sponsored by the Ohio Choral Directors Association, Model Mentoring pairs new vocal music teachers with successful music educators in their region to focus on the music challenges in the rehearsal environment. Dr. Jones also is the new College and Repertory Chair of the Central Division of the American Choral Directors Association.

In April Dr. Patrick Reynolds will conduct the Dayton Philharmonic Orchestra in a performance featuring UD faculty member and DPO principal horn, Aaron Brant. Professor Brant will perform Richard Strauss’ Concerto No. 1 for Horn. Other works on the program include Mendelssohn’s Overture to A Midsummer Night’s Dream and Mozart’s Symphony No. 41 “Jupiter.”

University of Dayton Summer Graduate Study is available online and on campus. Please see our fullpage ad elsewhere in this TRIAD for a complete listing of courses. For more information: http://www.udayton.edu/artssciences/music_grad/summer_courses_ workshops.php University of Dayton Summer Vocal Performance Institute for high school students: Five-day intensive study to include private lessons, master classes, and hear guest artists. For more information: http://www.udayton.edu/artssciences/music/vpi/ 76

UNIVERSITY OF MOUNT UNION Dr. James E. Perone recently published “The Great Invasion: The Beatles Kicked off a Conquering Wave of Bands from Britain.” This special article appears in The Beatles: Celebrating 50 Years of Beatlemania in America and is published by I-5 Publishing, 2014.

Dr. Patricia Boehm performed a Faculty Artist Vocal Recital on February 2, 2014. This performance featured bass baritone Ronald Hazelett with collaborative artists Brent Schloneger (piano), Dr. Elaine Anderson (‘cello), Betty Shultz (oboe), and Dr. James Perone (bass clarinet).

Jonathan Willis, Director of Bands, served as a guest artist (trombone) on February 18, 2014. He performed the Overture for Trombone and Strings by Alan Hovhaness with the University of Mount Union’s Repertory Strings, Dr. Elaine Anderson, conductor.

Dr. Grant William Cook III, Director of Choral Activities, recently conducted the Ashtabula County High School Women’s Honor Choir at Jefferson High School, and in April will conduct the inaugural Columbiana County High School Honor Choir. In addition, Dr. Cook recently published “The Final American Residency of Beethoven’s Biographer Alexander Wheelock Thayer, Part II: July 1857 through July 1858” in The Beethoven Journal (Volume 28, No. 1) and presented “Alexander Wheelock Thayer: Searching For Beethoven In Paris and London” to the Allegheny Chapter of the American Musicological Society at Indiana University of Pennsylvania.

WRIGHT STATE UNIVERSITY The WSU Trumpet Studio has been invited to perform at the 2014 Ohio International Trumpet Guild Conference at Baldwin-Wallace on March 29. They will be participating in the college ensemble division, Festival of Trumpets Recital.

WSU Trumpet Professor Daniel Zehringer has recently signed with the Bach-Selmer Corp. as a Vincent Bach Performing Artist.

Wright State University is proud to host Camp Acappella June 17–22 and 23–28, 2014. Camp Acappella was founded by new WSU faculty member Brody McDonald and Deke Sharon, vocal producer of both The Sing-Off and Pitch Perfect. June 17–22 is TRIAD

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WSU Horn Instructor Jonas Thoms will be performing a faculty recital at WSU on February 24 at 8:00 p.m. in Schuster Hall. Thoms will also be performing a recital at the University of Southern Mississippi on March 5.

Mark your calendars for the annual WSU Reeds Festival to be held Saturday, November 22. More information at http://liberal-arts.wright.edu/music/ calendar/festivals-and-workshops Associate Director of Bands Dr. Shelley Jagow will be presenting band clinics this year in Florida, Indiana, Ohio, Texas, Ontario, Kansas, North Dakota, Illinois, and California.

The WSU Collegiate Chorale and the New York City Chamber Orchestra performed the Vivaldi “Gloria” at Carnegie Hall on Sunday, February 16 with WSU Director of Choral Studies Dr. Hank Dahlman conducting.

WSU’s Ohio Center of Excellence CELIA, College of Liberal Arts and Department of Music are pleased to announce that Maestro Keith Lockhart of the Boston Pops and the BBC Concert Orchestra will be in residency as WSU’s Distinguished Visiting Artist in spring 2015. Maestro Lockhart will also conduct the WSU Choirs and the Dayton Philharmonic Orchestra and Chorus in a collaborative performance of Benjamin Britten’s War Requiem at the conclusion of his residency at the WSU.

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YOUNGSTOWN STATE UNIVERSITY Dr. Hae-Jong Lee, Director of Choral Activities, has been invited to be one of the lecturers in the World Symposium for Choral Music 10 (International Federation for Choral Music), which will be held during August 7-13, 2014 in Seoul, Korea. He has also been invited to be guest conductor of Seoul Motet Choir, a premier professional choir of Korea for summer 2014.

Dr. Donghyun Son (Choral Conducting, MM, 2008) has recently completed his doctoral degree from University of Kansas and has been appointed as the Director of Choral Study in Ottawa University in Kansas.

Graduate saxophone performance student Wilson Poffenberger was one of 25 students selected from over 100 nationwide applicants submitting recordings to proceed to the Semifinal Round of the North American Saxophone Alliance (NASA) Solo Performance Competition to be held March 2014 at The University of Illinois as part of the proceedings of the NASA Biennial Conference. He is a student of Dr. James Umble.

Dr. James Umble, Professor of Saxophone, is honored to be one of two international saxophone guest artists invited to perform and present a masterclass at the 2014 Single Reed Conference in Colombia, South America (March 2014).

Dr. Brandt Payne served as co-author for new editions of two textbooks to be released this fall, including The Complete Marching Band Resource Manual, University of Pennsylvania Press and Conducting: The Art of Communication, University of Oxford Press.

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IN MEMORIAM Robert E. Lyon 1929 - 2013

BY JOAN WENZEL In early summer of 1990 I spent a week as the percussion instructor for the Stark County All-Star Band co-directed by Tim DeStefano and Ted Wenger. During that time I was offered a position with the Dover City Schools. Bob Lyon, after 40 years as a music educator, had retired. Dover had a storied band program, and my decision would be an important one in the path of my career. In discussing my opportunity with these good men, Ted simply said, “You know Joan, those are VERY big shoes to fill.” Yes, I did know, and I count myself blessed to have had those shoes by my side for the next twenty-one years of my career. It is from this perspective—as a colleague—that I respectfully submit this memorial of my mentor and dear friend, Bob Lyon.

Robert Edgar Lyon passed away on November 7, 2013. He was born on August 5, 1929 in Uniontown, PA and graduated high school in 1947. Bob’s father, a court stenographer by day, was also a pianist. At the age of 14, Bob began playing with his dad’s band. The group provided entertainment for local establishments (burlesque), and Bob’s task—if necessary—was to quickly put his instrument away and begin passing the drums out the window! These playing experiences led to his early love of jazz and proficient improvisational skills.

Following high school, Bob pursued a degree in music education at Westminster College. (His friends soon nicknamed him “Tiger”). He entered college as a clarinetist, but was a skillful “sax man” as well. His time at Westminster refined his intuitive musical gifts. Bob loved to learn, was always curious, and possessed a great ear. Most importantly, his humility enhanced his musicality. During this time he met Nancy Zangrilli, a sociol80

ogy major/French minor from Wilkinsburg, PA. She became the love of his life! In social company, if the conversation needed to turn away from music for a moment, Nancy would gently nudge him and say, “Dear, that’s enough four/four for now.”

After college, Bob proudly served his country during the Korean War (1951-1954). He was stationed at Fort Lee, VA and played saxophone in the base’s big band.

Bob arranged extensively for the ensemble and would later become the director. On June 6, 1953 he and Nancy were married at Westminster. Nancy began a teaching career in Virginia as Bob completed his military commitment.

Bob’s initial teaching position (1954) was with the Strasburg-Franklin Schools as music teacher for grades 5-12. His first superior rating (one of many) was with the high school Girls’ Chorus. Bob recognized the potential of this small community and soon developed one of the finest band programs in the state. During this time he received his graduate degree from the University of Colorado in Boulder (1959). As the only director of a small band program, Bob was responsible for developing the musical skills of each student.

Fred Delphia, retired Dover High School Band director, knew Bob well as a friend and colleague. In 1974, he invited Bob to join the staff at Dover: “We on the staff felt we had won the lottery when he joined us. His impact on the performance level of the students was immediate. Bob had the unique ability to play every band instrument as if it were his major instrument in college.

The fact that he was able to do that was such a positive learning tool for the students. They were able to hear live TRIAD

what their instrument should sound like, and work at imitating that sound with the tutoring of Bob Lyon.” At Dover Bob continued his artful teaching with the junior high Red and Gray Band, the high school jazz ensemble, and his high school Dixieland combo.

Former OMEA President Steven Stroup added this remembrance: “Bob had a unique way of connecting with all those who knew him. As the new band director at Strasburg-Franklin Schools, my wife Sallie and I had the privilege of getting to know Bob and Nancy. During football games Bob and Nancy babysat our two infant sons.

After the games we would sit and talk late into the evenings about all things musical, and about life. I learned so much from Bob and when I became the director of the Dover Band in 1986 I again had the honor of working alongside this master teacher. Bob was a gifted musician and educator. But more than that, he was an amazing human being.”

Bob was a member of the American School Band Directors Association, and was actively involved in OMEA. William Rasey, retired band director from Austintown, commented: “Early in my career I noted that Bob stood to the fore of those in the profession. It was not only a pleasure to hear his bands but to observe his work with the young students. Most of all, Bob valued all students who came under his care. He always adjudicated my students as though they were his own. Through these adjudications Bob had a tremendous influence on my instruction. I will always be grateful for his presence in my life.”

The capstone of Bob’s career was his induction into the Ohio Band Director’s Hall of Fame in 1996.

Robert Lyon was a beloved member of the Tuscarawas County community. He shared his passion for performing and conducting as a member of the Dominic Greco Band, the Lew Woods Orchestra, and his own big band, Recollections. His career spanned nearly sixty years; his last students currently play double reeds in the Dover High School Band. Junior bassoonist Jason Conley shares: “His legacy and voice will carry on through his students who relish the passion he instilled in them. He did this in a way we know will never be heard of again.”

Bob is sadly missed by all who knew him. He was a doting husband and a loving father to Jennifer and Michael. He had great humor and was gracious to a fault. Fred Delphia captures what is in all of our hearts: “Bob was always a true gentleman, a caring and very humble man. The world is definitely better because of our good friend Bob Lyon.”

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IN MEMORIAM Mary Jane McKinley 1927 - 2013

BY TERRY ROBB AND JIM CHICKRELL Who would have thought a young girl from Lucasville, Ohio who saw a town band for the first time in 1930 would dedicate her life to music. This first experience led her to march around the house pretending to play the trumpet and sparked within her the desire to be a part of this wonderful activity. Being born into a family of educators was the motivation that guided Mary Jane to take piano lessons starting in the third grade through college, and to play in the Lucasville Valley High School Band where she played xylophone in grade 7 and saxophone for the remaining five years.

She continued her education in music at Ohio University by playing in the band and orchestra and singing in the choir. She graduated from the Ohio University School of Music in 1950 in the top 10% of her class and sought positions that would allow her to apply her skills and interest.

For the next thirty-five years Mary Jane applied her skills to the children of Southeastern Ohio. Mary Jane taught in the elementary, junior high/middle and high schools. She taught general music, vocal music, instrumental music, music theory, stage band, marching band, concert band, high school and junior high choir, and elementary vocal music. She was head of the department of music of the Nelsonville City School and the Nelsonville-York Consolidated Schools.

Her first teaching position was in Man, West Virginia, but the following year she was hired by Williamsport, Ohio where she taught seventh and eighth grade English and all music in grades 1â&#x20AC;&#x201C;12. She 82

started the band program and developed a 40-member marching and concert band by the end of the year.

That band is now known as the Westfall Band. The next seven years brought her to Union Furnace, Ohio and East Hocking, Ohio respectively. She moved to Nelsonville City Schools and continued in her position as Director of Music when the school consolidated with York Township Schools. It is at Nelsonville-York that Mary Jane remained for the next 26 years. While there, 25% of the student population chose to participate in band. It was not unusual to see half of the cheerleaders and a number of the football players marching before and at half-time of games.

While at Nelsonville-York, her band and the community expected Superior Ratings in OMEA adjudicated events at both the district and state level. They were almost never disappointed.

Mary Jane lent her skills to the Ohio University Summer Music Clinic (1956-1963) chaired by Dr. Gilbert A. Stephenson. During this time, she was responsible for teaching woodwinds, conducting sectional rehearsals and assisting full band rehearsals working with Paul Yoder, Carmen Dragon and Lt. Col. Santelman. After retirement, she judged OMEA large and small group adjudicated events for both the junior and senior high and OMEA marching band adjudicated events. She was also the OMEA Recognition Committee Chair and had time to be a rehearsal consultant, guest conductor and mentor when requested.

Her professional associations included: Sigma Alpha Iota; Music Honorary; Kappa Delta Pi; National TRIAD

Education Honorary; Tau Beta Sigma; National Honorary Band Society; Phi Beta Mu; and the National Band Masters Fraternity.

Mary Jane’s awards include: Ohio High School Band Director’s Hall of Fame (2000); Phi Beta Mu National Band Masters Hall of Fame (2003); Ohio University Friends & Alumni Award “Lifetime Contribution to Music” (2005); and the OMEA Da Capo Distinguished Service Award (2008).

Her love of music, her willingness to serve, and her demand for excellence has brought a deep appreciation of music to many thousands of people in Southeastern Ohio. Rarely can one go anywhere in the state of Ohio where music is being played, and find people who have not heard of “Kentuck,” “Aunt Mary Jane,” “Mac,” or just “Mary Jane.”

Mary Jane’s love of music was second only to her love of children as she constantly worked to influence her students’ lives through music. She held high expectations for each and every one of her students insisting not only on high levels of technical development but also on musical understand and an appreciation for the aesthetic of music. As my teacher, mentor, fellow music educator, and friend for over fifty years, I still recall her advice to me at the completion of my student teaching. “Always remember one thing,” she said, “you do not teach music, you teach children about music. Remember this and your career will be not only be successful and rewarding but you will also provide your students with life changing experiences through music.”

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In all things Mary Jane was a pioneer in the field of music education. Whether it was producing two cultural exchange programs with Brick Township High School in Brick Town, New Jersey or directing the high school’s first Broadway musical Mary Jane worked diligently to provide a vast array of musical experiences for her students in a small high school in Southeastern Ohio. At a time when women were discouraged from pursuing careers in instrumental music at the high school level Mary Jane refused to listen and in doing so her students benefited. She once related to me how a college professor warned her that she should only take a job teaching general music or elementary instrumental music because women did not direct high school bands. An adjudicator at state concert band finals also reinforced this attitude when she was told, “no good bands come from southern Ohio especially one directed by a woman.” Well, Mary Jane, you proved them all wrong and in doing so opened the door for countless female music educators and changed the face of music education in Ohio.

All of us that were privileged to know her and in some way were touched by her will always remember her commitment, dedication, compassion, and love of music. Her legacy lives on in the lives of those she touched and influenced and in the lives of our students that are indirectly linked to her. We will strive to do our best to “always play it pretty” for you.

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IN MEMORIAM George H. Zimmerman 1922 - 2014

BY LINDA A. SNYDER WITH THE ASSISTANCE OF MICHELLE TEDFORD

George Zimmerman passed away in January at the age of 91. He was a gentleman of many artistic talents: pianist, tenor, choral director, American music historian, entertainer, author, composer, gourmet cook, and cartoonist. But first and foremost he was a wonderful and passionate music educator. His enthusiasm, humorous stories, hearty laugh, and engaging personality made the world of music come alive for his audiences and his students of all ages. Among his many honors was the Ohio Music Education Association’s 1989 Distinguished Service Award. “I always encourage everyone to sing along,” he said in a 1994 interview. “I have never told a child he can’t sing. Never. Music is for doing, not listening. It gives you a chance to get your insides out.”

Zimmerman taught music in the Dayton Public Schools for twenty-five years, retiring as Supervisor of Music in 1978. He also served on the music faculty at the University of Dayton from 1976 to 1994. There he taught courses in music education, developed new courses in American Music History and History of Popular Song, and revived the UD chapter of Phi Mu Alpha, serving as their faculty advisor. The general public will long remember his fifteen years of standingroom-only “Old-Fashioned Christmas Carol Sing” programs at UD, evenings of “Nostalgia and Nonsense” music appreciation lecture series, and his engaging solo stage performances in the musical Little Mary Sunshine and H.M.S. Pinafore at the university. When George moved to Florida in 1996, he created a popular lecture series for the Naples Philharmonic Center for the Arts, “Our American Music Heritage.” And, George donated his grand piano and a collection of dozens of musical 84

instruments from around the world, more than 1,200 pieces of rare American sheet music, and scores of American musicals to the University of Dayton.

Born in Philadelphia to what he described as a “non-musical” family, George would tell about the $25 used piano his father purchased for a son who would feign keyboard playing on the end table. “In a world of problems and distractions, I found that music was a wonderful alternative,” Zimmerman said. “Music, as they say, can soothe, and music can change your mood.”

He earned bachelor’s and master’s degrees from Miami University after serving in World War II with the 242nd Infantry Regiment of 42nd Infantry Rainbow Division, which helped liberate the Dachau concentration camp. It was in 1946, after opening a nightclub for GIs across from Vienna’s Volksoper, that he fell in love with the city and its music. He brought that love to UD and, with German professor Edward Hatch, later founded the long-running Encore Vienna travel and culture program for university friends and alumni.

I was a student in the Dayton Public Schools when George Zimmerman was supervisor of music, and I remember how impressed and inspired I was by this distinguished man sporting a bowtie and handlebar moustache, and by his weekly TV program, “Passport to Music” on WLWD (1968-1975). Seated at a grand piano, he would illustrate from the keyboard and talk without script (no teleprompters in those days) about all styles of music. Various local musicians and student groups were his featured guests. According to retired Fairborn music educator Bill Carver, who was the station’s floor director for those programs, George’s show was “a pioneer in the area of musical education proTRIAD

grams in broadcast television.” George’s second PBS series, “By George,” focused on American music, for which he was a great advocate his entire life. In 1973 George received a Television Academy Emmy Award.

One of those who performed with George on these TV series was Mike Mangan, now retired from Stivers High School for the Performing Arts. “I remember George as a performer of fun music…old period ‘folk’ stuff. During the 1976 bicentennial year we were constantly performing – always in period costume and never with any rehearsal. Memories of George still bring back quite a few laughs of those crazy performances we did together.”

George coordinated several OMEA state conferences. Gayle Stalheim, a past OMEA President, recalls one Dayton conference in particular. “We were in the President’s Suite as it was my first year as President-Elect. Mr. Zimmerman was sitting on the couch until two in the morning. I was so tired, but his stories were so interesting that I just couldn’t go into the next room and miss out on the humor and information I was gleaning from this incredible man. My most appreciative moment was in 1993 when I invited Mr. Zimmerman to be our guest speaker during the final banquet at the American School Band Directors Association National Convention held in Columbus, Ohio.

He gave a Victor Borge style interpretation, playing the piano and singing verses to many old favorites and pop tunes from the Teens to the Thirties. The entertainment value of his performance was priceless.”

Ernie Flamm, a UD alumnus who followed Zimmerman as DPS supervisor of music, was hired right out of college by George. Ernie recalled being a part of a group of UD students George took with him to Antioch College in Yellow Springs in the sixties to see John Cage in person in concert. “That experience totally confused us all…it resulted in lots of dialogue with George about what Cage was all about—how George understood all of that, I don’t know, but he did, and he broadened our minds for forever with experiences like this. Later there was a group of us who were invited to accompany him to Interlochen where we attended the International Society of Music Education conference, and walked the walkways alongside Kodály and Kabalevsky. They were on the conference program.

So was George!”

Other UD students remember Zimmerman for his generous hospitality. He would invite ravenous students for gourmet meals and sing-alongs around the piano.

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Many of his recipes ended up in his annual Christmas cards or in the many editions of his cookbook, Everything Makes Me Think of Food. There was one especially for UD students, personalized with George’s tips, quips and, cartoons.

“A meal at his table was certain to provide delicious food, great laughter and stimulating conversation,” said Mark Stickler ’82, president of the UD band alumni.

“While George never married or had any children, he had a music-based family that included thousands. His love of life was infectious. We all wanted to be a part of his family, and he willingly added us all.”

Dr. Richard Benedum, UD Professor of Music Emeritus and a former music department chair, now living in Sarasota, Florida, shared these fond remembrances. “For many in the city of Dayton and all of us on the UD campus, George was ‘Mr. Music.’ Students clamored to get into his classes, the entire campus community came early to get a seat at his memorable holiday Carol-Sings, and his television shows brought music and the arts to a mass audience. But George was also a wonderful mentor to faculty members—his experience and counsel made us all better. He was a kind of one-man ‘social media’ for the arts. George was a friend to everyone who knew him and shared a meal with him.”

George Zimmerman also studied at Ohio State, Harvard, and the University of Washington. Among his many published articles are two edited collections of folk songs, Start with a Song and Reflections. He also wrote Seasons in Song, a collection of original children’s songs for the holidays. Tales from the Well, his memoir, and his cookbooks, are available (micropress.com).

George was especially fond of his many years as chorus director for the Liederkranz-Turner Society and as national music director for his fraternity Pi Kappa Alpha.

The University of Dayton will host a Zimmerman Celebration of Life service on Thursday, April 24, 2014, at 4:30 P.M. in Sears Recital Hall in the Philips Humanities Center. A reception will follow. The public is invited. Memorial contributions may be made to the Department of Music of Miami University or of the University of Dayton.

Dr. Linda J. Snyder, Professor Emerita of Voice and Opera and former chair, Department of Music, University of Dayton. The assistance of Michelle Tedford (UD Media Relations) is gratefully acknowledged.

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music of pivotal Ellington contemporaries, such as Benny Carter, Dizzy Gillespie, and Gerald Wilson.

These compositions are complete transcriptions from original recordings, and are not simplified in any way.

A free membership is the only requirement to access this music, delivered via paper mail or electronic download.

Essentially Ellington: A High School Jazz Band Resource For All

By Zach Compston; Director of Jazz Academy, Jazz Arts Group. Submitted through affiliation with the Jazz Education Connection of Ohio “Authenticity” is an oft-used term bouncing around instrumental music programs nationwide. As more and more resources aimed at developing jazz ensembles and individual improvisers emerge, the task of structuring a jazz curriculum for high school instrumentalists becomes increasingly daunting.

“What music should my band be playing? What playalongs, videos, and technology should I use with my program?” Jazz at Lincoln Center’s (JALC) Essentially Ellington program, or “EE,” aims to distill this process, using the music of Duke Ellington and his contemporaries as the vehicle, driven by JALC’s world-renown musicians and educators.

WHAT IS ESSENTIALLY ELLINGTON?

First and foremost, EE, is a FREE resource provided by Jazz at Lincoln Center. What is included in the program begins with a series of professionally transcribed charts for big band. Each year, JALC transcribes, publishes, and distributes music of the Duke Ellington Orchestra, and since 2008 has included the APRIL/MAY 2014

WHAT IF MY BAND ISN’T “THERE YET”?

This is where JALC’s dedication to advancing jazz education begins. In addition to the charts, JALC provides numerous resources, beginning with very detailed rehearsal guides to assist directors. Not only do these guides break down the individual compositions, but they also provide a detailed stylistic analysis of the music of the particular composer, as well as a glossary of terms used in the chart that serve to codify the nomenclature used in jazz. After all, jazz is a language—one that should not be elusive!

Not only does EE provide resources for band directors; it provides online resources for students in the form or rehearsal videos of the Jazz at Lincoln Center Orchestra, led by Wynton Marsalis, performing each EE composition. Utilizing the Tutti Music Player, each student can adjust volume levels of each instrument, loop sections, play along with the JALC Orchestra, slow down each song, and more. JALC also provides the original recordings for review. How does Wynton Marsalis approach that lead trumpet part?

Slow it down, loop it, and play along!

EE FESTIVALS

Jazz at Lincoln Center hosts a yearly Essentially Ellington Festival in New York City each May, in which high school jazz bands are invited to participate based upon review of submitted recordings. This event showcases the highest-level high school musicians nationally, and is a celebration of a year of hard work for all participants in the EE program. All bands may submit recordings for “comments only,” an extremely valuable resources for jazz bands wishing to integrate the EE repertoire into their program at the ground level. JALC also hosts non-competitive regional festivals designed to broaden its reach nationally with the EE experience.

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CERTIFICATE OF AUTHENTICITY

Jazz at Lincoln Center’s Essentially Ellington program is built on a simple vision: jazz education begins at the heart with iconic jazz repertoire, and this repertoire should be accessible to all students, regardless of proficiency level, financial circumstances, or geographic location. Through the study of these pivotal figures in jazz, young musicians begin to build confidence, perspective, and authenticity in their playing. During my time at Jazz Arts Group of Columbus, I have encountered many band directors on the search for the perfect set of resources with which to build their jazz bands. While no resource is “perfect” for all programs, Essentially Ellington aims to infuse all programs with important repertoire in an experiential way. Most importantly, an EE membership and all member benefits are 100% free. For more information about JALC and Essentially Ellington, visit www. jalc.org.

Zach Compston is Director of the Jazz Academy at Jazz Arts Group of Columbus, America’s oldest non-profit organization dedicated to advancing jazz. A former Associate Instructor and graduate of Indiana University, Zach is a highly regarded drummer, percussionist and music educator with performing credits that include the Andrea Bocelli, Columbus Jazz Orchestra, Pete Mills Quartet, Dwight Adams, Bobby Floyd, Lafayette Symphony, Owensboro Symphony, and the River City Brass Band.

The Jazz Education Connection of Ohio is an OMEA affiliate organization. Visit http://www.jecohio.org to see our jazz events page and join us! Like us on Facebook and send an email to jecojazz@ gmail.com to join our mailing list

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Pick the Workshop with the Most Comprehensive Training Available!

Celebrating Our 29th Season!

• Over 100 sessions • Over 20 faculty • Secondary string classes designed for the band, choir and general music teacher • 10 Instrument repair sessions • Topics on all aspects of string teaching for elementary, middle school, high school •9 music reading sessions • Friendly, nurturing environment, full of practical information! • Designed for the string specialist & band/choir director • Pizza parties and fiddle parties • Academic credit available • Make friends from all over the country! • Schmidt’s Haus final dinner with door prizes!

Visit

www.music.osu.edu for more information on this exciting and inspiring workshop!

CHECK OUT OUR ST. LOUIS WORKSHOP!! July 21-24, 2014 at Webster University More Info and Registration at www.music.osu.edu

college of the arts and sciences school of music Office of Continuing Education

Do you want to be a better teacher?

Do you want to move your orchestra program into the 21st Century?

If so, this is the place to be...

Special 2014 Mark Wood Experience First Come-First Choose!

The first 12 people who have taught 5 or fewer years will have the opportunity to study 3 hours each day with Mark Wood.

What previous participants have said: “I love this workshop! I always feel so inspired and refreshed when I leave.

During the school year when I’m stressed, I think about how much longer it is until I get to come back to this workshop!”

Conference held in cooperation with:

ASTA (American String Teachers Association) Sponsored with support from:

Alfred Music, Baroque Violin Shop, Carl Fischer Music, Hall Leonard, Rettig Music, The Loft Violin Shop

Graduate Courses for Music Educators

SUMMER

2014

Teaching Music with Technology I (MUS 505) Dr. Tobias Rush May 19 –June 13 Distance Learning 2 Semester Hours

Music Education for Special Learners (MUS 560) Dr. Susan Gardstrom June 16 –19, 8:30 a.m.– 4:30 p.m.

2 Semester Hours

The World Sings (MUS 560) Mr. Nick Page June 23–26, 8:30 a.m.– 4:30 p.m.

2 Semester Hours

Music Theory, Analysis and Technology (MUS 511) Dr. Tobias Rush June 2–June 27 Distance Learning 2 Semester Hours

Teaching Music with Technology II (MUS 506) Dr. Tobias Rush June 16–July 11 Distance Learning 2 Semester Hours

Dance History for Educators (MUS 560) Dr. Eric Street June 9–July 30 Distance Learning 2 Semester Hours

Opera History for Educators (MUS 560) Dr. Eric Street June 9–July 30 Distance Learning 2 Semester Hours

Musical Theater for Educators (MUS 560) Dr. Eric Street June 9–July 30 Distance Learning 2 Semester Hours

For more information: go.udayton.edu/graduatemusic or contact Dr. Linda A. Hartley: lhartley1@udayton.edu

Graduate Performance Studies — Lessons (MUS 599) Applied Faculty May 12–July 30 Distance Learning option 1– 2 Semester Hours

Music Education: Orchestrating Success

Carrie Harper; MIOSM Committee The celebrations for the month of March have passed. What else is still on the plate? State contest, spring concerts, Memorial Day parades and Commencement ceremonies. Some of our missions have been accomplished, but now we must look forward to the remainder of the year. Why not focus on continued music celebrations?

With the number of concerts and student performances still to come, embrace the possibility of advocating and celebrating all at once. What we do in our classrooms on a daily basis to assist the students entrusted to us is worth celebrating. The assessments and their outcomes are worth celebrating. Our domain touches on all aspects of student learning and with that comes celebrating student achievement outside of the normative classroom. Reading music increases math scores, it increases language understanding and 90

fluency. Celebrate these facts during your concerts and performances.

Instead of thinking about “Orchestrating Success,” think about “Orchestrated Successes.” What are the moments which deserve a huge kudos? Why not keep our mindset towards always celebrating, always sharing, always advocating? Invite staff members and administrators to your concerts and make your voice heard for the importance of music education. It is not just about getting out your message; it is about showcasing your students and their achievements. It is about creatively celebrating their orchestrated successes! Many times those in attendance at our performances are immediate family members. Have you considered putting an announcement on your school webpage? What about putting information out via the parent groups’ Facebook pages? Have you considered a personal invitation to all your school board members? Why not reach beyond the school community and invite members from your local optimist and rotary clubs? Celebrating successes in music education requires our creative minds to truly get outside of the box.

NAfME has embraced a phenomenal new approach which challenges us to “Think beyond the Bubbles.” This new campaign can assist all music educators in expressing what music does for our students.

There are brochures available to provide to those who attend your concerts and performances. These could be given to the school board members and members of your community organizations. Let NAfME do some of the work for you. Focus on your students, focus on their orchestrated successes and provide performance opportunities for them. Use the brochure and the facts included to be the amplifier to your voice! Check the website for additional information and assistance in receiving brochures. http://www.broaderminded.com Despite cancellations, delays and all that winter has brought to Ohio this year, celebrate your students. Join forces with NAfME and extend MIOSM to a year-long event. Your students need you to bring light and attention to their achievements and their needs as individuals. Think outside the box and beyond the bubbles. Think about orchestrated successes and keep your students’ needs and accomplishments at the forefront!

TRIAD

Creating Connections In a Digital World

Justin Caithaml; OCMEA TRIAD Editor

our musical spirits! It is the impressions we make on others that make them remember us.

In closing, I’d like to return to a question I posed earlier. Couldn’t the OMEA Professional Development Conference be held online? That would be more convenient, right? The resounding answer is “of course not!” What makes events such as the PDC so enriching is reconnecting with friends and meeting new friends in person! It is this networking and involvement that could make the difference in our ability to get a job someday. A regular name on a resume means so much more if the person reading it already knows who you are!

It is with this theme of involvement that I encourage all state OCMEA chapters to become more involved in OMEA. It is not enough to “like” us on Facebook or “follow” us on Twitter. It is time to take charge of the future of our profession and become involved before it is too late. That type of active involvement isn’t possible on a MacBook or an iPad. So what are you waiting for? Stop reading this article on your iPad and go talk to someone!

When was the last time you communicated with someone? Reading a Facebook message a minute ago?

Sending a text message five minutes ago? Replying to an email this morning? All of these are great examples of modern communication, but they all lack one key feature. Think again. When was the last time you communicated with someone by looking in the person’s eyes and making an impression face to face? I would venture to say this in-person connection happens less often than connecting digitally in today’s busy world.

Why? Our society says so.

As a college student, I am constantly glued to my iPad to make sure I don’t miss anything. If this is the case, then why do we still have meetings, conferences, and classes in person? Couldn’t the entire OMEA Professional Development Conference be given online?

I realized one very important principle in answering these questions for myself: connecting face to face with a person still makes a difference, especially in our profession. It is the human connections we make with each other on a daily basis that breathe life into APRIL/MAY 2014

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Money Ball, Baseball and the Ohio Foundation for Music Education Bill White; Vice President, Ohio Foundation for Music Education When Oakland General Manager Billy Beane transformed the hapless Athletics from good to great in a baseball season elegantly portrayed in the movie Money Ball , he brought forth a philosophy that getting on base – any base – was the first order of business.

Home runs notwithstanding, Beane would emphasize, a walk is as good as a hit. This spring, as baseball season unfolds before us, the analogy between Money Ball and the Ohio Foundation for Music Education (OFME) rings as true as the sound of a slider hitting the catcher’s glove. Home runs are good, but walks, singles and extra base hits win games. Oh, and good pitching, here’s mine.

On Friday, February 7, 2014 I was privileged to present scholarship checks on behalf of the OFME to five students to assist them in supporting their student teaching experiences. As members of the Ohio Collegiate Music Education Association (OCMEA) these students have established a head start on their own professional development by participating in year-round OCMEA activities and by learning first-hand the value of peer support and networking beyond the campus. These $750 stipends, increased from $500 last year, represent the commitment your Foundation has made to the youngest of our music education professionals.

As stewards of the contributions you and many others have made, the OFME Board of Trustees welcomes many sources of funding. Bequests, memorials, annual 92

gifts and tributes to retiring educators are encouraged.

Within our music family, however, a home run - nice if it happens – doesn’t blur the reality of what we can expect.

We are looking for walks and singles from you, modest contributions that help us gather steam, increase our endowment and give us latitude to award more scholarships and launch other advocacy and professional development initiatives.

The value of music in education is being defended on many fronts with articulation and success. We believe few want to remove music education from the classroom, but music and arts remain among the first to go when the budget ax falls. Thus, our work as music education advocates is much like the constant cheer we hear in the stadium or ballpark. We need your crowd noise.

There is strength in numbers. Your OMEA membership is now close to 4,300 strong. Even a modest contribution by each of you will make a huge difference, and we encourage you to do what you can, when you can.

Walks and singles, a double here and there, and an occasional triple or home run will put us into the big leagues when it matters most. We encourage you to help us build the endowment. Imagine $10, $20 or even $100 from 4,300 people this season. Walks, singles, extra base hits.

As our most treasured constituents – our students – go about the anonymous business of learning music, practicing and perfecting, entering contests and applying for All State and Honors positions, it’s up to us to encourage them and their teachers by revealing the ultimate truth – music is its own reward. Such is the work of the OFME. As in baseball, the accumulation of walks, singles, extra base hits and occasional home runs can lead to the play-offs. When our students discover more in themselves then they knew they had, when one new music teacher graduates with renewed confidence brought forth through a student teaching experience, and when one parent understands how music education has enabled a struggling child to transition to academic success, we acknowledge that it’s the payoff, not the play-off, that matters.

As baseball fans know all too well, the game changes on every pitch. This is ours: Please support your Foundation.

If you’ve already contributed to the OFME, thank you. And if you feel like it’s time to take a walk or hit one out of the ball park, visit our website at www.ohiofoundationformusiceducation.org where you can donate online.

TRIAD

OMEA MUSIC ADVOCACY What is Your Music Advocacy Score?

Amanda Blevins; OMEA Music Advocacy Chair What is your music advocacy score? Is it limited, basic, proficient, accelerated, or advanced? Music advocacy is defined as the act of publicly recommending music education either orally or written. A music advocate is a proponent or champion of music education.

Music advocacy, like charity and many other things, “begin at home,” so to speak—in our own classrooms and communities. Every music educator is a music advocate of some sort; that advocacy can be positive, negative, active, passive, proactive, or reactive.

Let’s take a moment to assess what our actions are communicating about our advocacy for music education. Answer each of the following questions for yourself: 1. Do I strive to make my music classes the very best fit and quality for my students?

2. Do I endeavor to make my music program(s) attractive and open to all students?

3. Do I/Am I willing to cooperate and collaborate with other curricular colleagues to embellish and extend student learning?

4. Do my colleagues and community consider me an effective advocate for music education?

5. Does my district administration consider me an effective advocate for music education?

6. Do I celebrate the music advocacy of my students, parents, and colleagues?

APRIL/MAY 2014

7. To what extent do I publicize the musical accomplishments of my students, myself, and others?

8. Do I have a current web presence or other medium for celebrating and sharing research about music education with my administration, parents, colleagues, and community?

If you feel you need to improve your advocacy score, you might start by sharing the words of Thomas Sudhof, who won the Nobel Prize for Medicine. When Sudhof accepted the award, he indicated that he owed his success to a music educator, his bassoon teacher.

Ryan Romine of Double Reed later asked Sudhof to expand on his comment, his thoughts on music education, and how musical training had impacted his research skills. Sudhof replied: “As a musician, you practice for thousands of hours to play for a few minutes—but when you play, you have to not only recapitulate the learned material, you have to expand on it and you have to communicate it to the audience. In science, it is basically the same thing—it is in the end a process which also depends on communicating with an audience and accepting and responding to its feedback. Finally, I learned to value traditions as a musician, but at the same time the importance of trying to transcend tradition. The tradition is the basis that allows you to progress, the starting point, but it cannot become a limitation, because then both in music and in science creativity and progress end.”

Romine also asked Sudhof his thoughts on the integration of arts education with STEM (STEAM), to which Sudhof responded: “I personally think that training in the arts prepares a growing child just as well for a scientific or technical career as [does] training in STEM subjects,if not better, because the arts train a person in discipline, independent action, thinking, and in the need for attention to detail without becoming a prisoner of that detail. I absolutely don’t think there is a need for earlier math training—there is only a need for training the mind so it becomes fertile for future learning.”

Perhaps you will want to share other information from http://advocacy.nafme.org and NAfME’s “Think beyond the Bubbles” page at http://www.broaderminded.com. Also, check out “Think Beyond the Bubbles: NAfME Takes a ‘Broader-Minded’ Look at Music Education’s Role” in Teaching Music (Feb. 2014) for information that can help you increase your music advocacy score.

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OMEA GENERAL MUSIC General Music: Generally Speaking

Jill Pongracz Murrell; OMEA General Music Chair Those of us who teach core curriculum classes that are not tested get a little tired of hearing about the old three Rs: Reading, ‘Riting and ‘Rithmatic! So I am suggesting that at this time of the year, we concentrate on a new set: Reflect, Refresh and Renew.

REFLECT It is always a good practice to consider the work that you have accomplished over the past school year and consider a) what went well and what did not; b) the growth of your students as well as your own personal and professional growth, and c) most importantly, did I do my best to make a difference in the lives of my students?

Because of the new teacher evaluation system in Ohio, we had much to learn in a very short time. Pretests, post-tests and student learning outcomes are now a regular part of our vocabulary. I, for one, am very proud of the fact that the leadership of OMEA realized that professional development was needed immediately and provided three OTES workshops, a General Music Workshop that gave hands-on examples of assessment in 96

action and outstanding headliners and clinicians at the 2014 Professional Development Conference!

REFRESH Now that another school year is quickly coming to an end, we have that wonderful opportunity to get some well-deserved time to “recharge our batteries” during our summer vacation. It is important that we make time to reconnect with our families, take some interesting trips, and enjoy the more relaxed pace of summer time.

Perhaps you will enjoy a favorite hobby, sport, or activity.

Maybe you will be able to attend an outdoor concert, visit your favorite museum, or take advantage of one of the many beautiful state parks in Ohio. If you are interested in finding out more about becoming a future leader in OMEA, you could apply to participate in the Charles H. Benner Leadership Academy to be held July 7–9 at Deer Creek Park.

RENEW Some of you may need to take classes or workshops to renew your licensure, while others may find that a change in their job assignment for the upcoming year may include learning some new skills. In this issue of the TRIAD, you will find information on many opportunities to register for classes and workshops.

Personally, I participated in at least one summer course or workshop every year to learn about best practices and new approaches for teaching music to my students!

This is also a good time to renew your membership in OMEA and take advantage of all of the great opportunities available for general music teachers. New this fall will be an All State Children’s Chorus along with the Fall General Music Professional Development Workshop that will be held on October 18 at Capital University. And of course, you will have the 2015 OMEA Professional Development Conference in Cleveland.

As I conclude my term of office as the General Music Professional Development Chair, I would like to thank the members of my committee as well as the Trustees of the OMEA for their dedication and passion to our profession and I strongly encourage all of the general music teachers in Ohio to get more involved at the district level. You make a difference in the lives of the students you teach and your membership in your state professional music organization will make our collective voice stronger.

TRIAD

OMEA All-State Children’s Chorus Auditions!

The OMEA All-State Children’s Chorus Auditions will take place from April 1-May 31, 2014.

Auditions will be open to public and private school students who: would be enrolled in grades 4 and 5 during the 2014-2015 school year whose teachers are members of OMEA Applicants will apply using the “Acceptd, Inc.” online website. The application includes a $10 fee to “Acceptd, Inc.” All applications MUST be submitted electronically through this web-based company. The application process includes uploading a digital audio recording. OMEA members are asked to encourage and assist their finest students in preparing the following: AUDITION/RECORDING REQUIREMENTS: 1. Begin with the applicant announcing their name and grade level 2. Sing the first verse of “My Country ‘Tis of Thee” (key of F Major accompanied) 3. Sing the first verse of “America the Beautiful” (key of C Major unaccompanied) 4. Sing “O Music” by Lowell Mason-public domain (any key unaccompanied) 5. Recordings of individual selections should NOT be edited or spliced 6. Please ensure that all applicants can match pitch, access the head voice and possess the focus and stamina to participate in full day rehearsals EVENT TIMELINE April 1: A link to the “Acceptd, Inc.” online application with detailed instructions will be available on the OMEA homepage May 31: Deadline for all applications to be submitted August 1: Results posted to the OMEA portal and mailed via post office to all student applicants.

August 30: Acceptance forms and $75 participation fee made payable to OMEA due for all applicants.

September/October: Regional rehearsals October 18: OMEA All-State Children’s Chorus Event-Capital University OMEA is thrilled to extend this opportunity to our elementary students and teachers. Please do not hesitate to contact me if you have any questions.

Jodie Ricci OMEA All-State Children’s Chorus Chair jricc@hawken.edu APRIL/MAY 2014

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PROFESSIONAL DEVELOPMENT & ASSESSMENT Workshops, Continuing Education, Camps, and More for Teachers & Students MARIETTA COLLEGE Marietta College Vocal Arts Camp for High School Students June 22–28, 2014 Open to students 8th through 11th grade on or before May 1, 2014 Tuition (including room & board): $600 (scholarships available) Contact: music@marietta.edu or 740-376-4696 Designed to provide significant musical training and experiences for students interested in the study of singing. Includes daily private voice lessons, masterclassess, acting and movement classes, opera and musical scene work and chamber ensembles.

THE OHIO STATE UNIVERSITY SCHOOL OF MUSIC Flute Workshop June 15–19, 2014 Weigel Hall music.osu.edu Contact: Katherine Borst Jones or MusicOutreach@osu.edu

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Jazz Camp June 15–19, 2014 Weigel Hall music.osu.edu Contact: Ted McDaniel or MusicOutreach@osu.edu Morning String Student Workshop June 16–July 2, 2014 Steinbrenner Band Center (Ohio Stadium) music.osu.edu Contact: Robert Gillespie or MusicOutreach@osu.edu Clarinet Academy June 22–26, 2014 Weigel Hall music.osu.edu Contact: Caroline Hartig or MusicOutreach@osu.edu String Teacher Workshop July 6–12, 2014 Weigel Hall music.osu.edu Contact: Robert Gillespie or Workshop Administrator

TRIAD

Live Your Passion THE COLLEGE OF MUSICAL ARTS B O W L I N G

G R E E N

S T A T E

U N I V E R S I T Y

Widely known as one of the countryâ&#x20AC;&#x2122;s outstanding collegiate music programs, the College of Musical Arts prepares students to be educators, performers and scholars on an international level.

Our faculty will position you to live your passion in an academic environment defined by an average ACT score of over 26, and an unusually low faculty to undergraduate ratio of 6:1.

UNDERGRADUATE DEGREES AND MAJORS The College of Musical Arts is organized into the departments of musicology/composition/ theory, music education and music performance studies.* EARN A BACHELOR OF MUSIC IN: Music Education Music PErforMancE studiEs

Music history and litEraturE Music coMPosition

Jazz studiEs World Music

Beyond study, students have numerous opportunities to perform in some of the hundreds of concerts, recitals, and other public events held each year, both on and off campus. Visit BGSU.edu/Music to learn more!

* All students must apply to BGSU, in addition to auditioning. For more information, please visit BGSU.edu/Admissions

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OHIO UNIVERSITY SCHOOL OF MUSIC Athens Jazz Festival April 11–13 (contact: jamesm1@ohio.edu) Under the Elms Concert Series June 4–July 2 Summer Music Camp June 15–21 (contact: trachsel@ohio.edu) Piano Pedagogy Seminar June 13–14 (contact: fisherc@ohio.edu) Mozart on the Green Festival August 4–9 (contact: huangs@ohio.edu0 OTTERBEIN UNIVERSITY Humor in Music Festival: Humorous Music for Serious Times Otterbein University Department of Music, under the auspices of the university’s Enrichment Series, will present a music festival focused on works which involve humor, satire or cultural commentary March 27–April 1, 2014. Jon Deak joins us as featured guest composer. Formerly Assistant Principal Bass of the New York Philharmonic, Mr. Deak’s compositions often explore the relationships of text and words, theatricality in music and music as performance art. Faculty and students will perform humorous works selected from a regional call for scores.

More Info: http://www.otterbein.edu/public/Academics/Departments/Music/humormusic.aspx TIFFIN UNIVERSITY ProMusic Summer Workshop Tiffin University hosts the 17th Annual ProMusic Summer Workshop on June 15–19, which will explore performing, teaching and arranging vocal jazz and contemporary a cappella, live looping performance and arranging, songwriting and recording production. Faculty include Justin Binek (professor of vocal jazz, University of the Arts), beatboxer and live-looper Heatbox, TU faculty Brad Rees, Nathan Santos, Jeanette Berry and Jason Rawls, and others.

Registration and info is at www.tiffinmusic.com/camp.

APRIL/MAY 2014

UNIVERSITY OF DAYTON Summer Graduate Courses Online Includes private lessons, music technology, theory, dance, opera, theatre May–July, 2014 http://www.udayton.edu/artssciences/music_grad/ summer_courses_workshops.php Summer Graduate Workshops (on campus) http://www.udayton.edu/artssciences/music_grad/ summer_courses_workshops.php Music Education for Special Learners June 16–19, 2014 Dr. Susan Gardstrom, clinician The World Sings June 23–26, 2014 Nick Page, clinician Vocal Performance Institute for High School Students June 23–27, 2014 Dr. Minnita Daniel-Cox, Coordinator http://www.udayton.edu/artssciences/music/vpi/ WRIGHT STATE UNIVERSITY WSU Reeds Festival (oboe, clarinet, saxophone &bassoon) Saturday, November 22 8:30 am–6:00 pm Wright State University (Dayton, OH) Contact: shelley.jagow@wright.edu or 937-775-2178 http://liberal-arts.wright.edu/music/calendar/festivals-and-workshops

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Life in the MUSIC WORLD

Scherzo

Another update of true occurrences from the sheet music retail world and many thanks to Stanton’s customers (students, parents and teachers) publishers and Stanton’s employees for their often unwitting contributions!

As a retail store open to the public, and a large sheet music web presence, Stanton’s is often the source for some great, true, musical stories. It’s time once again to poke some good-natured fun at ourselves and our fellow musicians.

• • • Favorite E-mails • • • • “I am trying to assist my Mother with locating sheet music for a Latvian folk song entitled PÅ«t VÄ”jiÅti. Is that something that you could order?” Maybe, when we find it in an alphabet our English search engines know!

••• • A school teacher ordered some books for her class via e-mail. She then wrote, “We have a new middle school building. Please do not use the XYZ Main Street address.” But then she didn’t give us the new address to use!

••• • There is a great jazz bass book by Tom Warrington called Crawl Before You Walk. We got an order for the book from a customer whose last name is Worm. We think he may have the first part of the book figured out already.

• • • Oops • • • • We know it’s probably just a colloquialism, but the title Bach and Before for Band was requested as Bach and Beforehand for Band.

••• • A piano teacher asked a friend to pick up the following: To a Wild Rose by Grieg and Pictures at an Exhibition by Bartok. They had potential of being interesting new arrangements, but alas, did not exist. We sent her home with the MacDowell and Mussorgsky.

••• • “Dye-For-Ell” - Die Forelle by Franz Schubert. A doctoral vocal performance candidate’s mispronunciation (for shame!)

• • • Favorite Phone Calls • • • • Speaking of Schubert, one of our choral staff had an interesting phone conversation...

“Do you have Schubert?”

“Which Schubert?”

“Franz Schubert!”

“Of course - what piece are you looking for?”

“I don’t know - it’s in a collection. I’ll know it when I see it. It’s blue.”

“Might this be for solo voice?”

“Yes - High Voice” Ah, a soprano! One contemplates hair color ...

••• • Favorite phone request: “Do you folks have The Rainbow Connection in banjo tablature?”

••• • Someone else called asking for Contemporary Christian solo drumset music and was told such a thing isn’t in print. After hanging up, the clerk wondered aloud how one would know if drumset music was Contemporary Christian or not. A fellow employee, with tongue in cheek, said, “It’s all in major keys!”

••• • A phone call on our 1-800-42-MUSIC line: “We’re in our car trying to find your store.

Are you off of I-75 or I-85?”

“Well, neither! We’re off the I-70 and I-71 interchange downtown. Where are you?”

“Just outside of Atlanta.”

“Georgia?!?!”

“Yeah...”

“We’re in Columbus, Ohio!”

“Isn’t this Ken Stanton Music?”

• • • Quirky Stories • • • • Here’s a multicultural extravaganza! An Ohio teacher told us of starting a Music Theory course at his high school. He had a couple of Asian boys in the class who had come to the U.S. when they were about 10-12 years old and were accomplished musicians.

However, when the teacher wrote Roman Numeral chord symbols on the board they were both puzzled about what those things were, with the I and V letters. Having had their early education in Asian schools, they had never learned that Western Civilization phenomenon we know as Roman Numerals!

••• • A recently retired member of the athletic staff from The Ohio State University had hauled his saxophone out of the closet and came into the store looking for some fun stuff to play. The clerk showed him some books and said, “Hey - Hang On Sloopy might be in one of these!” The customer, after 35 years of OSU athletics, groaned, “Oh please - anything but that song!” He bought a book without it!

••• • Only in Ohio! A California customer called, saying his 25th school reunion was looming and he wanted to get former band members together to play their fight song, but he didn’t know the actual name of it. He wondered if he could sing it over the phone to see if we might recognize it so he could order it. The clerk agreed and the fellow began to sing his school’s words to O.S.U.’s Across the Field!

Thanks for your support over the last fifty four years! A little musical humor can help the day go a bit smoother, but as the “Sheet Music Specialists” since 1960, we at Stanton’s have and will continue to do our utmost to determine what it is you need and get it to you as quickly and correctly as possible. Stanton’s believes that by helping you, the music teacher, to be successful, we will be successful. That is how it has been and will continue to be.

STANTON’S SHEET MUSIC 330 South Fourth Street Columbus, Ohio 43215 WEB • www.stantons.com

Our blog has the latest news and products: stantonssheetmusic.wordpress.com

TOLL-FREE • 1-800-42-MUSIC LOCAL CALLS • (614)-224-4257 E-MAIL • greatservice@stantons.com FAX • 1-614-224-5929

Check our website for our new Mobile site and Virtual Workshops

Like! Stanton’s on Facebook® and follow us on Twitter!

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

Yes, I want to support music education in Ohio and ensure 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

(Check area for donation)

_______ OMEA Memorial Scholarship Fund

_______ Charles H. Benner Leadership Academy

_______ This is my Annual Campaign Contribution for calendar year 2014.

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

(Example: John and Jane Smith) _________________________________________________ , or

please do not list my/our names.

This gift is: In Recognition of:______________________________________________________________________

In Memory of:__________________________________________________________________________

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

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

A donation acknowledgment letter will be provided for tax purposes.

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

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

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

Send this completed form with check/cc payment info to: _Ohio Foundation for Music Education Attn: David N. Adamson, Development Director

5379 West Mill Drive, Highland Heights, OH 44143-3144 APRIL/MAY 2014

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FOUNDATION GIVING LEVELS:

donors

Patron $1 –249 Accompanist $250 – 499 Musician $500 – 999 Soloist $1,000 –1900 Arranger $2,000– 2,999 Composer $3,000– 4,999 Concertmaster $5,000 –7,499 Conductor $7,500 – 9,999 Music Director $10,000 –24,999 Legendary Maestro $25,000 +

The current list of donors to the Foundation now exceeds the capacity of TRIAD. A complete listing is available by visiting the OFME website Donor page to review donations, memorials and recognitions. The OFME Donor page is maintained with new donations added upon arrival. Click here to visit the OFME Donor Page and more: http://www.ohiofoundationformusiceducation.org/Donation/donorlist.php

Here are some simple, time-effective ways principals can assist their school’s music educators: Create and Foster an Environment of Support • Study the ways that music education develops creativity, enhances cooperative learning, instills disciplined work habits, and correlates with gains in standardized test scores.

• Provide adequate funding for instruments and music education materials.

• Make certain that your school has a fully staffed faculty of certified music teachers.

Tips to Share with

Your Principal

Principals and school boards have the ability to substantially aid music educators in their quest to enrich children’s minds through music. Fostering a strong music program will help them achieve their goals as a leader in the education community, and, most of all, will aid the growth and development of children in their school.

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Communicate Constructively • Make statistical studies and research supporting the value of music education available to other administrators and school boards.

• Encourage music teachers to support their cause by writing articles in local newspapers, professional journals, or by blogging online about the value of music education.

• Share your students’ successes with district colleagues.

Include articles in school and district newsletters to communicate the value of music in a student’s education.

Visit www.nafme.org for more Principal Resources.

TRIAD

HETZER TOURS & CHARTERS, INC. 149 SAVOY AVENUE DAYTON, OHIO – 45449-1724 TOLL FREE: 1-800-322-0223 FAX: 937-866-6761 Email: HETZERTCI@AOL.COM

Owned & Operated by Retired Music Educators Herb and Barb Hetzer Registered Tour Operator – State of Ohio #TP199

Website: hetzertours.com

PUBLICATION SCHEDULE *ARTICLES AND ADS ADHERE TO THE SAME DEADLINES.*

TRIAD ISSUE October/November ‘14 December ‘14/January ‘15 April/May ‘15

DEADLINE DATE* August 11, 2014 October 13, 2014 February 16, 2015

POSTING DATE** October 6, 2014 December 8, 2014 April 13, 2015

*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: Matthew Warner • 937-570-0927 • editor_of_triad@omea-ohio.org DESIGN/PRODUCTION: Amy Annico • 210-570-OMEA • media_director@omea-ohio.org ADVERTISING: David N. Adamson • 440-552-6983 • business_manager@omea-ohio.org “Writing For TRIAD” guidelines are posted on the OMEA website (www.omea-ohio.org), Advertising/Media section, TRIAD page. Interested new advertisers should view this same section under “Advertising Opportunities” and/or contact the OMEA Business Manager David Adamson for assistance.

ADVERTISERS/WEBSITES Click on a web address to link to advertiser.

Ashland University. . . . . . . . . . . . . . . . . . . . . . http://www.ashland.edu. . . . . . . . . . . . . . . 79

Muskingum University . . . . . . . . . . . . . . . . . http://www.muskingum.edu/dept/music ..67

Baldwin Wallace College . . . . . . . . . . . . . . http://www.bw.edu/conservatory. . . . . . 72

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

Bob Rogers Travel . . . . . . . . . . . . . . . . . . . . . http://www.bobrogerstravel.com. . . . . . . 4

Ohio Northern University. . . . . . . . . . . . . . . http://www.onu.edu/music. . . . . . . . . . . . . 36

Bowling Green State University . . . . . . . http://www.bgsu.edu/music. . . . . . . . . . . 99

Ohio State String Teacher Workshop . . http://www.music.osu.edu. . . . . . . . . . . . . 88

Capital University. . . . . . . . . . . . . . . . . . . . . . http://www.music.capital.edu. . . . . . . . . . 27

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

Case Western Reserve University . . . . . . . http://music.case.edu. . . . . . . . . . . . . . . . . . . 50

Ohio University. . . . . . . . . . . . . . . . . . . . . . . . http://www.finearts.ohio.edu/music. . . . 42

CCIS, Inc.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . http://www.ccistravel.com. . . . . . . . . . . . . 94

Otterbein University. . . . . . . . . . . . . . . . . . . http://www.otterbein.edu . . . . . . . . . . . . . 57

Charms Office Assistant. . . . . . . . . . . . . . . . . http://www.charmsoffice.com . . . . . . . . . 67

Quaver Music.com. . . . . . . . . . . . . . . . . . . . . http://www.qk-5.com/. . . . . . . . . . . . . . . . . 15

Cleveland State University. . . . . . . . . . . . http://www.csuohio.edu/class/music. . . 63

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

CMS Publications . . . . . . . . . . . . . . . . . . . . . . . http://www.cmspublications.com. . . . . 100

Royalton Music Center. . . . . . . . . . . . . . . . . http://www.royaltonmusic.com. . . . . . . . 21

College of Wooster, The. . . . . . . . . . . . . . . . http://www.wooster.edu/music. . . . . 10,79

Soundwaves Recording. . . . . . . . . . . . . . . . http://www.soundwaves.org. . . . . . . . . . 100

Cuyahoga Community College. . . . . . . . . . http://www.tri-c.edu. . . . . . . . . . . . . . . . . . . 71

Stanton’s Sheet Music. . . . . . . . . . . . . . . . . . . http://www.stantons.com. . . . . . . . . . . . . 102

EPN Travel Services. . . . . . . . . . . . . . . . . . . . http://www.epntravel.com. . . . . . . . . . . . . 45

Summit Tour & Travel. . . . . . . . . . . . . . . . . . http://www.summittourtravel.com. . . . . 41

Heidelberg University. . . . . . . . . . . . . . . . . http://www.heidelberg.edu. . . . . . . . . . . . 75

University of Akron, The. . . . . . . . . . . . . . . http://www.uakron.edu/music. . . . . . . . . 60

Hetzer Tours & Charters, Inc. . . . . . . . . . . http://www.hetzertours.com. . . . . . . . . . 105

University of Cincinnati . . . . . . . . . . . . . . . . . http://www.ccm.uc.edu. . . . . . . . . . . . . . . . 86

Kent State University. . . . . . . . . . . . . . . . . . http://dept.kent.edu/music. . . . . . . . . . . . 47

University of Dayton. . . . . . . . . . . . . . . . . . . http://academic.udayton.edu/music.68,89

Malone University. . . . . . . . . . . . . . . . . . . . . http://www.malone.edu/music . . . . . . . . 65

University of Mount Union . . . . . . . . . . . . http://www.mountunion.edu/music . . . 56

Marietta College. . . . . . . . . . . . . . . . . . . . . . . http://www.marietta.edu/~musc/. . . . . . 58

Wittenberg University. . . . . . . . . . . . . . . . . . . . http://www.wittenberg.edu/music. . . . . . 93

Messiah College . . . . . . . . . . . . . . . . . . . . . . . . http://www.messiah.edu/conducting. . 71

Wright State University. . . . . . . . . . . . . . . . . http://www.wright.edu/music/. . . . . . . . . . 38

Miami University . . . . . . . . . . . . . . . . . . . . . . http://www.muohio.edu/music. . . . . . . . 55

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

Music & Arts. . . . . . . . . . . . . . . . . . . . . . . . . . . http://www.musicarts.com. . . . . . . . . . . . . . 9

Youngstown State University. . . . . . . . . . http://www.ysu.edu/dana. . . . . . . . . . . . . 13

Musicians Repair Service. . . . . . . . . . . . . . . . http://www.mrsakronohio.com . . . . . . . . 77

Bold signifies a Corporate/Institutional Partner

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TRIAD

Nathan East Depends on Yamaha.

“When I'm looking for that ‘Upright’ sound, I reach for my Silent Bass. The sound quality is rich and full and the feel is very comfortable. In my arsenal of basses, my SVB-200 has become an important instrument for live gigs as well as in the studio.”

-Nathan East, Renowned Bass Artist