The Official Publication of the Ohio Music Education Association
April/May 2015 Vol. LXXXlI, No. 3
OMEA is an Affiliate of
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APRIL/MAY 2015
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IN THIS ISSUE... FROM THE DESK OF... 6 8
Editor of TRIAD - Matthew Warner OMEA President - Terry Herschman
2015 PROFESSIONAL DEVELOPMENT CONFERENCE 17 A Look Back...
2016 PROFESSIONAL DEVELOPMENT CONFERENCE 37 Looking Ahead...
TEACHING TIPS 46 50 53 56
BAND - Dr. Brendan Caldwell; Baldwin Wallace University GENERAL MUSIC - Dr. Lisa Huisman Koops; Case Western Reserve University MULTICULTURAL MUSIC - Rachael Fleischaker; The College of Wooster ORCHESTRA - Dr. Charles Gambetta
MUSIC MASTERCLASS 60 62 66 68
BRASS - Pat Stuckemeyer PERCUSSION - Dr. Sarah Waters; Ohio Northern University STRINGS - Dr. Barbara Beechey; University of Wisconsin-Stevens Point WOODWINDS - Dr. Melissa R. Feilhauer
NEWS & COMMITTEE REPORTS 70 73 80 82 87
Adjudicated Events Higher Education News OMEA General Music Jazz Education Connection of Ohio OMEA All-State Children’s Chorus
PROFESSIONAL DEVELOPMENT & ASSESSMENT 85
Workshops, Continuing Education, Camps, etc.
5 10 88 90 92
Information Network Corporate/Industry Partners OFME Music Education Donor Form OFME Donors TRIAD Publication Schedule & Advertising Index
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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 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 Dane Newlove Director of Adjudicated Event Materials and Awards 419.394.2232-O ae_materials_director@omea-ohio.org
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OMEA TRUSTEES Terry Herschman President president@omea-ohio.org
OCMEA OFFICERS John Barrett OCMEA President ocmea_president@omea-ohio.org
Michael Crist President-Elect president_elect@omea-ohio.org
Patrick Specht OCMEA President-Elect ocmea_president_elect@omea-ohio.org
Patricia Meeks Immediate Past-President past_president@omea-ohio.org
Chelsea Hillard OCMEA Secretary ocmea_secretary@omea-ohio.org
John Veneskey Secretary secretary@omea-ohio.org
Michael Reese OCMEA Editor ocmea_editor@omea-ohio.org
Matthew Warner Editor of TRIAD editor_of_triad@omea-ohio.org
Alexander Looney OCMEA Treasurer ocmea_treasurer@omea-ohio.org
Benjamin Factor Treasurer treasurer@omea-ohio.org 2014-2015 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 Shawn Reynolds Curriculum & Assessment Brian Laasko Howland Middle School Technology McKinley High School 5
A while back when someone was encouraging me to be a candidate for TRIAD editor, I remember thinking, “Could I do that?” It seemed like a daunting task. I agreed, secretly thinking no one would actually vote for me. Imagine my surprise (and fear) when I was elected! Well, this is the final issue of TRIAD in my term as editor, and I survived…and reflecting on the experience brings many thoughts to mind and feelings to heart. First and foremost, I wish to share my sincere appreciation, gratitude, and admiration for those who have served with me as OMEA executive officers and staff. Believe me when I say these two things: 1) OMEA is truly a special and significant organization, setting the standard for other state MEAs, and 2) that is entirely due to some truly special and significant people who hold themselves to the highest personal and professional standards. These two statements were not obvious to me before I had the opportunity to serve as a trustee alongside the likes of Jim Dowdy, Pat Meeks, Terry Herschman, Michael Crist, John Veneskey, Rick Eakin, and Ben Factor. It has been humbling to interact with such quality people, and every OMEA member should know that they are careful listeners, creative thinkers, caring leaders, and committed servants. The only challenge in dealing with them is to match their integrity, heart, and dedication. 6
Likewise, the staff of OMEA is incomparable among peer organizations. Dave Adamson, Greg Taylor, Amy Annico, Mark Hensler, Bill Guegold, and Dane Newlove don’t just exceed expectations—they rewrite them. They are truly the unsung heroes of OMEA, responsible for many of the great things that we might take for granted, but are the envy of other state MEAs—things like an up-to-date website and member portal, a digital journal and professionallooking materials, professional development events, awards for our students, consistent adjudicated events, and an annual professional development conference and trade show that is among the largest in the nation. To think all of these things can come from a handful of part-time staff is amazing, and it is a testament to their superior talents and devotion to OMEA. Finally, it would be sorely remiss of me to not acknowledge the work of Roger Hall, who has exemplified what it means to lead by serving. There are many wise and intelligent people in the world, but about very few can I say this: in every conversation or meeting with Roger, I learn something useful. Roger does much—if not most—of the heavy lifting that makes OMEA a reality, from day-to-day financial management to filling in the “cracks” between staff and officers. His expertise, professionalism, and character set the tone for OMEA’s success. Perhaps most impressive is that, despite so many years of TRIAD
experience, he never stops listening. Aside from the chance to offer some sincere kudos to some deserving folks, I have some other motives for writing such a sentimental farewell. First, I think it important for we members to understand the importance of service to our organization. OMEA only happens if you and I make it happen. It happens because people serve—as district, region, or state officers; as adjudicators or participants in events; as event hosts or chairs; as committee members; as volunteer hands at AE or PD events; as TRIAD contributors; as presenters at conference; as voices in district meetings; as mentors to new members or pre-service teachers…you get the idea. Don’t underestimate your importance or value to OMEA, and don’t assume that it will happen without you. Get involved! Secondly, I want to illustrate the point that when you take on some leadership in OMEA, you are in
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good company. If you want to surround yourself with people of quality who will challenge you to be your best, consider serving OMEA in some capacity. You will find that the people around you are some of the best anywhere. This is true at every level, district to state. You will learn and grow in new ways and have a deeper appreciation for OMEA and for our profession. You’ll also make some great friends who share your passion for music education, and that’s a great thing. I challenge you to seek out new ways to serve OMEA this year. Despite any hesitation or fear you have, you won’t be sorry you did! Dr. Matthew Warner is Middle School Band Director at Cincinnati Hills Christian Academy. He holds a DMA in Music Education from Boston University, and a M.Hum. in Music and B.M. in Music Education from Wright State University. He serves on the OMEA Board of Trustees as Editor of the TRIAD.
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How did we get to the end of the year so soon? It seems the more there is to get done in nine months— the faster it goes, leaving me wondering how I got it all in. I think “deadlines” heighten this effect for me. Speaking of deadlines, you have most likely reported your student growth for the year by now (and possibly weeks ago). One thing that has impressed me, yet not surprised me, is the reaction by many OMEA members to the execution of their SLOs. I have heard from many that the process has had a positive effect on their planning, sequencing, preparation, and selfevaluation of their lessons. Another positive that has been shared with me is the validation by colleagues and administrators who previously, were not aware of the depth of content, scope and sequence that we manage for our students. Even the challenge of assessing individuals in large groups of students is becoming manageable as our members come up with a variety of efficient and creative ways to proceed. As I review the OMEA professional year, I am proud to be associated with OMEA members, servant leaders and staff. I have had the opportunity to work with and around knowledgeable, confident, and determined people who have made our projects and initiatives successful. Our 2014 Leadership Academy was outstanding and graduates are already serving in OMEA activities. New this year was our hugely successful All-State Children’s Chorus, the 8
sparkling new venue in Cleveland for our professional development conference, and the first TRIAD “Living Legend.” Two new staff members, William Guegold and Dane Newlove, have been added to facilitate adjudications, and “tried and true” selections have been added to our required AE lists. The publication schedule for Contributions to Music Education is back on track. A new Outstanding Young Music Educator award has been added and a membership campaign is under way. This year, our relationship with the Ohio Alliance for Arts Education has helped us to navigate tricky business with the Ohio Department of Education. I have begun thorough readings of the Arts On Line Education Update reports from Joan Platz, who is Research and Knowledge Director for the Ohio Alliance for Arts Education. I recommend that you subscribe to these updates at the Alliance webpage. Look for the rainbow-colored Arts On Line Box. The work of OMEA volunteers, whether on new projects and initiatives or on well-established programs such as adjudicated events and honors groups, is facilitated by our staff, who continue to make our work manageable. The business and organization of OMEA activities are complex. I would like to thank our staff, Dave Adamson, Mark Hensler, Amy Annico, and Greg Taylor, under the direction of Executive Director Roger Hall, for their work to execute our TRIAD
ideas and plans. I will miss the contributions of TRIAD Editor Matt Warner and Secretary John Veneskey as their terms come to an end. Their insight and fresh attitudes have helped to make the work of the trustees interesting and enjoyable! President-Elect Mike Crist is always looking forward with our best interest in mind and Treasurer Ben Factor continues to serve the organization with enthusiasm and drive. As Past-President, Patricia Meeks is unmatched in her vision for the future and in her knowledge of OMEA affairs and protocol. I hope your time off and your summer give you the opportunity to enjoy fun, fitness, leisure with family and friends, and anything else you have put on hold during this busy year. And finally, a fun suggestion for the end of the year: I hope you can purchase that one piece of literature you heard at a concert that is tried and true, or found at a conference reading session that is a surefire hit. Or, find the most beloved composition in your files that you know your group will enjoy
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rehearsing and performing next year. This has to be a golden nugget. During the last rehearsal of the year, and on the last day of school if possible, take it out and tell them it will be one of the pieces they will study next year. Let the group sight-read it one time only. No rehearsing. You will hear comments like, “Why didn’t you show us this before? Can we try this again?” I did this years ago with Frank Ticheli’s Earth Song. Then, on the first day of school, there was a storm of interest in beginning rehearsal. A few students burst into the room and without even saying “hello” went to the files saying, “Where is that piece we sight-read on the last day of school?” We were singing with 100% attention within 5 minutes of the bell on the first day of school. Now isn’t that something to look forward to? Have an outstanding summer! Terry Herschman
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2014-2015 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 10/6/14)
LEVEL lll - PRESIDENT’S CLUB Bluffton University 1 University Drive Bluffton, OH 45817 unraul@bluffton.edu www.bluffton.edu
3440 Lacrosse Lane Naperville, IL 60564 info@bobrogerstravel.com www.bobrogerstravel.com
Jet Music
Noteworthy Tours, Inc.
14 West Ohio Avenue Mt. Vernon, OH 43050 elaine@jetmusicinc.com www.jetmusicinc.com
P.O. Box 1665 Sandusky, OH 44871 travel@noteworthytours.com www.noteworthytours.com
QuaverMusic.com
Rettig Music, Inc.
1706 Grand Avenue Nashville, TN 37212 info@QuaverMusic.com www.quavermusic.com/preview
Summit Tour & Travel, Inc.
P.O. Box 682240 Orlando, FL 32868-2240 info@summittourtravel.com www.summittourtravel.com
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Bob Rogers Travel
Bowling Green State University College of Musical Arts
Moore Musical Arts Center Bowling Green, OH 43403-0292 ajvanw@bgsu.edu www.bgsu.edu/music
The Ohio State University School of Music
110 Weigel Road 1866 College Road Columbus, OH 43210 morris.1006@osu.edu http://music.osu.edu
Royalton Music Center
510 Clinton St. Defiance, OH 43512 cindy@rettigmusic.com www.rettigmusic.com
10167 Royalton Rd. Unit A North Royalton, OH 44133 m.malko@royaltonmusic.com www.royaltonmusic.com
Wright State University School of Music
Yamaha Corporation of America
3640 Colonel Glenn Hwy. Dayton, OH 45435 victoria.chadbourne@wright.edu www.wright.edu/music
6600 Orangethorpe Avenue Buena Park, CA 90620 apradia@yamaha.com www.yamaha.com
TRIAD
LEVEL ll - OMEA PATRON Baldwin Wallace University
Capital University Conservatory of Music
Cleveland State University
The College of Wooster Scheide Music Center
Kent State University
Music Travel Consultants
Muskingum University
Ohio Northern University
275 Eastland Road Berea, OH 44017 lciszczo@bw.edu www.bw.edu/conservatory
163 Stormont Street New Concord, OH 43762 duttill@muskingum.edu www.muskingum.edu/dept/music
Soundwaves Recording 4708 Surfside Drive Huron, OH 44839 dan@soundwaves.org www.soundwaves.org
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P.O. Box 5190 Kent, OH 44242 dabrown@kent.edu www.kent.edu/music
525 South Main Street Ada, OH 45810 p-warner@onu.edu www.onu.edu/music
The University of Akron School of Music Guzzetta Hall 260 Akron, OH 44325-1002 concerts@uakron.edu www.uakron.edu/music
CORPORATE INSTITUTIONAL PARTNERSHIP
Wooster, OH 44691 nditmer@wooster.edu www.wooster.edu/music
One College & Main Columbus, OH 43209 lroseber@capital.edu www.capital.edu/music
2121 Euclid Avenue MU332 Cleveland, OH 44115 m.c.bill@csuohio.edu www.csuohio.edu/class/music
7920 Georgetown Road Suite 700 Indianapolis, IN 46268 rjcampbell@music-travel.com www.music-travel.com
Otterbein University
1 South Grove Street Westerville, OH 43081 ddavenport@otterbein.edu www.otterbein.edu
University of Dayton 300 College Park Dayton, OH 45469-0290 musadms@udayton.edu go.udayton.edu/music
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LEVEL l - OMEA SPONSOR Case Western Reserve University
Educational Tours, Inc.
Heidelberg University
J.W. Pepper
CORPORATE INSTITUTIONAL PARTNERSHIP
10900 Euclid Avenue Cleveland, OH 44106 laura.stauffer@case.edu http://music.case.edu 310 East Market Street Tiffin, OH 44883-2462 jowen@heidelberg.edu ppage@heidelberg.edu www.heidelberg.edu
5282 E. 65th St. Suite B Indianapolis, IN 46220 indianapolis@jwpepper.com www.jwpepper.com
Marietta College
Miami University Music Dept.
215 5th Street Marietta, OH 45750 music@marietta.edu www.music.marietta.edu
Ohio University School of Music
440 R. Glidden Hall Athens, OH 45701 hayesc1@ohio.edu kasler@ohio.edu www.finearts.ohio.edu/music
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P.O. Box 257 Holt, MI 48842 eti@tours-eti.com www.tours-eti.com
501 S. Patterson Ave, 109 Presser Hall Oxford, OH 45056 ledforcj@miamioh.edu www.miamioh.edu/sca/ academics/departments/music
University of Mount Union
1972 Clark Avenue Alliance, OH 44601 music@mountunion.edu www.mountunion.edu/ music-major
EPN Travel Services
1784 West Schulykill Road Douglassville, PA 19518 tourinfo@edprog.com www.epntravel.com
Malone University
2600 Cleveland Ave. NW Canton, OH 44709 mhaines@malone.edu www.malone.edu/music
Musical Resources
2020 N. Holland Sylvania Road Toledo, OH 43615 info@musical-resources.com www.musical-resources.com
Youngstown State University Dana School of Music One University Plaza Youngstown, OH 44555 mrcrist@ysu.edu www.ysu.edu/dana
TRIAD
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A LOOK BACK...
OMEA PROFESSIONAL DEVELOPMENT CONFERENCE CLEVELAND, OHIO FEBRUARY 5-7, 2015 2015
OHIO MUSIC EDUCATION PROFESSIONAL DEVELOPMENT CONFERENCE APRIL/MAY 2015
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OMEA TRUSTEES
Matthew Warner - Editor of TRIAD, Benjamin Factor - Treasurer, Patricia Meeks - Immediate Past-President, Terry Herschman - President, Michael Crist - President-Elect, John Veneskey - Secretary
2015 ALL-STATE CO-CHAIRS
Jason Branch and Frank Cosenza APRIL/MAY 2015
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ALL-STATE BAND
CONDUCTOR
Frank Tracz 20
TRIAD
ALL-STATE ORCHESTRA
CONDUCTOR
Jeffrey Grogan APRIL/MAY 2015
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ALL-STATE CHOIR
CONDUCTOR
Ethan Sperry 22
TRIAD
ALL-STATE JAZZ ENSEMBLE
CONDUCTOR
Shelly Berg APRIL/MAY 2015
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2015 INDUSTRY SERVICE AWARD
Chris Jelenic - Yamaha Representative and Dave Adamson - OMEA Business Manager
YAMAHA
Chris Jelenic, Yamaha Representative, at the ribbon cutting ceremony 24
TRIAD
2015 DSA AWARD
James Dowdy and OMEA Immediate Past-President Patricia Meeks
JAMES DOWDY
DSA Award Recipient James Dowdy and Family APRIL/MAY 2015
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2015 OUTSTANDING MUSIC EDUCATOR AWARD
Kathleen McGrady - Director of Bands for Springfield Local School District 2015 OUTSTANDING YOUNG MUSIC EDUCATOR AWARD
Lindsey Newlove - K-6 Music Teacher for Crestview Local Schools 28
TRIAD
2015 OUTSTANDING ADMINISTRATOR AWARD
Dean Bell - Middle School Principal for Elmwood Local Schools 2015 OUTSTANDING MUSIC SUPPORT GROUP AWARD
South Range Music Boosters, Mary Kay Erb - President APRIL/MAY 2015
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25 YEAR AWARD RECIPIENTS
First Row (left to right): Antoinette Novotny, Diane Box, Michelle Muro, Deborah B. Graham-Gibson, Kelly Lemos Scurich and Pamela S. Hunt. Second Row (left to right): Michael Pacula, Jay A. Wardeska, John E. Bell, Zavaan Johnson, Kris Chesser, Nancy Rittenhouse Wehrkamp and Bettie D. Boswell. Third Row (left to right): Darren S. LeBeau, Greg Taylor, Timothy A. Carlson, Charles R. Bradley II, Jeffrey A. Freytag and Briann Edwards. Not Pictured: Sonya Ash, Deborah M. Devore and John Stetler.
Listed below are the 2015 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. SONYA ASH - MASSILLON - 26 YEARS
DIANE BOX - BYESVILLE - 30 YEARS
JOHN E. BELL - CANAL FULTON - 31 YEARS
CHARLES R. BRADLEY II - MANSFIELD - 25 YEARS
Orchard Hill Intermediate School - General Music and Choir Most Memorable Moment - One of my most memorable moments in teaching was being chosen by a former student who was graduating to attend the Summa Celebration as a Distinctive Educator from his elementary school years. Retired - Chippewa Local Schools - Band Director Most Memorable Moment - I have many wonderful memories during the thirty one years of my teaching career, therefore it is very difficult to pinpoint just one memorable moment.
BETTIE D. BOSWELL - BOWLING GREEN - 25 YEARS
Stranahan Elementary School - General Music grades K-5 Most Memorable Moment - Each year when students actually read their first piece of music, hearing students perform something I have written and enjoying my two sons perform with their orchestras and bands in high school and college.
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Rolling Hills Local School District - Elementary Music Most Memorable Moment - I have loved every moment of teaching music; each student holds a special place in my heart! Seeing the joy on their faces as they participated in class or performed on stage is something I will never forget! Mansfield Senior High School - Assistant Band Director Most Memorable Moment - Too many to mention!
TIMOTHY A. CARLSON - ORWELL - 25 YEARS
Grand Valley Local Schools - Band Director Most Memorable Moment - The moment I realized I was successful in changing student’s lives for the better, through the life-long discipline and love of music.
TRIAD
KRIS CHESSER - WESTERVILLE - 26 YEARS
MICHELLE MURO - WOOSTER - 25 YEARS
DEBORAH M. DEVORE - HUDSON - 36 YEARS
ANTOINETTE NOVOTNY - WELLINGTON - 25 YEARS
John Sells Middle School - Vocal Music Teacher Most Memorable Moment - Performing at a Retirement Center every year and watching the students interact with the seniors and everyone having a good time with music and singing. Revere High School - Director of Choirs and Assistant Director of Bands Most Memorable Moment - I have been blessed with wonderful students and colleagues throughout my career. Helping students to grow and to mature both personally and musically has led to a fulfilling career. I am grateful.
BRIANN EDWARDS - ELMORE - 26 YEARS
Genoa Area Local Schools - Instrumental and Vocal Music grades 5 -12 Most Memorable Moment - When a former student shared with me at her son’s beginning 5th grade drum lesson that she thought I was just as energetic and passionate about teaching now as I was twenty years previous when I was her teacher.
JEFFREY A. FREYTAG - MANSFIELD - 25 YEARS
Mansfield Senior High School - Head Band Director Most Memorable Moment - Too many great memorable moments to pick just one!
DEBORAH B. GRAHAM-GIBSON - DUBLIN - 25 YEARS
Barrington Elementary School - Elementary Music Specialist and District Arts Coordinator Most Memorable Moment - I’ve been incredibly privileged to have had the joy of sharing music with many young people, including my own children. We learn from each other during every class, and I still can’t wait for the next one!
PAMELA S. HUNT - MANSFIELD - 25 YEARS
Malabar Intermediate School - General Music Specialist grades 4-6 Most Memorable Moment - When I lived in West Virginia and All State Children’s Chorus was held in Huntington WV. My selected student went into the auditorium with me, and said, “Ms. Hunt, what kind of piano is that? I’ve never seen a piano like that before”. And I answered, “That is a GRAND piano”. It was the first one he had ever seen. (We forget that learning takes place in all situations!)
ZAVAAN JOHNSON - XENIA - 31 YEARS
Xenia High School - Band Director Most Memorable Moment - My memorable moment came when, under my direction, the Xenia High School Symphonic Band earned the first Superior rating at OMEA by any band at Xenia High School in more than twenty years. Also, due to periodic transfers, several students had me virtually every year of their schooling from kindergarten through high school. It is a very special memory to have witnessed their personal and musical growth over this time span.
DARREN S. LEBEAU - AKRON - 25 YEARS
Revere Local Schools - Director of Bands Most Memorable Moment - There would not be any memorable moments without the great parents and students I have had the pleasure of working with over the years. There have been so many memorable moments because of them.
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Tri-County Educational Sevice Center - Fine Arts Consultant Most Memorable Moment - I love getting students excited about learning and watching them take pride in their hard work and performances. Wellington Exempted Village School District - Band Director grades 5-12 Most Memorable Moment - State marching band finals and large group superior rating in 2012. The long range effects of my teaching were never as evident as these past three months when former students and parents all rallied around me and defended my teaching position. The impact we have as music teachers really does help create traits that our students carry with them beyond the classroom or practice field and into their adult lives.
MICHAEL PACULA - MILLERSBURG - 26 YEARS
West Holmes Local Schools - Middle School Band Director Most Memorable Moment - My band’s and school’s first Disney trip. It brought the students, parents and administration together and was a huge boost for the band program in a small school.
KELLY LEMOS SCURICH - YOUNGSTOWN - 28 YEARS
Canfield High School - Choral Music Most Memorable Moment - When you are in front of your choir, and both the students and you are one in mind, body and spirit. You are no longer creating an experience in music, the music is now creating an experience in you. I then tell my students: you are now just along for the ride. This is the greatest “natural high” there is!
JOHN STETLER - CLOVERDALE - 28 YEARS
Elida Local Schools - Band Director Most Memorable Moment - Seeing my students continue on with music, playing or as a career, and enjoying it. I also enjoy students stopping in to see me just to talk or to tell me about something important happing in their life. It makes me feel like I’ve done things right.
GREG TAYLOR - POWELL - 29 YEARS
Phoenix Middle School - Band Director Most Memorable Moment - Teaching two generations of band students from the same family.
JAY A. WARDESKA - MEDINA - 25 YEARS
Brunswick High School - Director of Bands Most Memorable Moment - The expressions on the faces of countless students when their hard work pays off and music speaks to them as emotion.
NANCY RITTENHOUSE WEHRKAMP-PAULDING - 26 YEARS
Oakwood Elementary School - Music grades K-6 and Band grades 5-6 Most Memorable Moment - There have been so many “memorable moments” that I can’t single out just one. My students never cease to amaze me!
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OMEA 2015 PROFESSIONAL DEVELOPMENT CONFERENCE Research Poster Session Summaries
Marsha Croskey Kincade; Case Western Reserve University The annual Research Poster Session held during the OMEA Professional Development Conference provides a means of disseminating research findings and promotes beneficial discussion between the researchers and others involved in music education. The multiple modes of inquiry demonstrate the many ways we can better understand our field. What follows is a synopsis of each research project presented at the session. Dawn Bagwell, Kent State University, investigated the impact of director succession on music programs through a survey. She sought to understand what issues directors faced when taking over an established program and how directors dealt with these difficulties. Every respondent was impacted by director succession. Problems relating to the previous director, discipline, respect, attrition, and learning gaps were associated with changes in teaching personnel. Rachael Fleischaker, Kent State University, investigated general music in the twentieth century. Using a variety of sources, she identified what “general music” meant in that era, its characteristics, and commonly used curriculum and practices. Events that impacted school music programs, changes in teaching methods, and the impact of philosophy on curricular goals were also discussed. In a critical case study, Dennis Giotta, Case Western Reserve University, explored how a principal and a music teacher continued to strengthen their effective partnership. Through individual interviews 32
and observations, he found frequent communication, shared goals, and clarification of roles to be important. Understanding reciprocal expectations and maintaining frequent collaboration may prevent obstacles in teachers’ and administrators’ professional relationships. Dr. Daniel Keown, Youngstown State University, investigated the effects of projected film visuals on singers’ expressivity in choral performance. A significant effect was found for both etude and film visual performance conditions on participants’ expressivity ratings. Most participants preferred the experience of singing with a congruent film to singing with an incongruent film and rated self-expression during that performance experience. Expressivity was rated higher by choral experts for performances influenced by one of the films. Christa Kuebel, Case Western Reserve University, focused on developmentally appropriate practices in music education for early childhood. In 1986, The National Association for the Education of Young Children published “Developmentally Appropriate Practice in Early Childhood Programs Serving Children from Birth through Age 8.” She compared this document with research in music education to identify what those practices could look like in the music classroom. Darren LeBeau, Kent State University, investigated the development of the Ohio Music Education Association (OMEA) from 1924 through 1945. He TRIAD
examined how OMEA grew from an organization initially only concerned with band competitions to concentrating on all aspects of music education. The first twenty-five years of the organization saw expansion of its goals and leadership, while being influenced by the great depression, teacher shortages, and a world war. Through action research, Beatrice B. Olesko, Kent State University, investigated the effect of participating in aural activities preceding teaching rhythmic notation on musical literacy. Using two intact third grade classes, she used a rote learning approach before teaching notation to one class and taught only with notation to another. A comparison of both groups’ scores on a posttest revealed the class that participated in aural activities first scored significantly better. In her research, Dr. Pamela Stover, University of Toledo, explored the teaching materials and equipment used in Midwestern schools, especially rural schools, between 1850 and 1950. Evidence gathered from various sources revealed that teachers used a variety of instructional materials including school equipment, musical instruments, textbooks, and recordings. “New” technology of this period included electricity, the player piano, the Victrola, the phonograph, the telephone, and the radio. Elizabeth Tracy, Case Western Reserve University, investigated the community music offerings of Ohio colleges and universities, looking specifically at the availability of community music schools and preparatory divisions. Data indicated a possible relationship between institution setting and the presence, absence, and scope of community programs. Of the sixteen responses received, fourteen schools provided music instruction for community members and six had a formal division of community music instruction. Through an analysis of historical narratives, Christopher Williams, Doctoral Student, Kent State University, examined the biography of Percy Grainger to understand its impact on music educators. Williams identified themes including Grainger’s relationship with his mother, travel, abnormal lifestyle, multiple talents, racial prejudices, and sexual preferences as areas for examination. In doing this, he sought to determine why this composer has been revered and the impact of this reverence on classroom practices. APRIL/MAY 2015
Notes
D. Bagwell, “Factors That Affect Director Succession in a Music Education Program.” Poster presentation at OMEA Professional Development Conference, Cleveland, Ohio, February 5-7, 2015. 1
R. Fleischaker, “A Century of Evolution: General Music in Historical Context.” Poster presentation at OMEA Professional Development Conference, Cleveland, Ohio, February 5-7, 2015. 2
D. Giotta, “A Critical Case Study of the Music Teacher and Secondary School Principal Partnership.” Poster presentation at OMEA Professional Development Conference, Cleveland, Ohio, February 5-7, 2015. 3
D. J. Keown, “The Effects of Projected Films on Singers’ Expressivity in Choral Performance.” Poster presentation at OMEA Professional Development Conference, Cleveland, Ohio, February 5-7, 2015. 4
C. Kuebel, “Developmentally Appropriate Practices in the National Standards of Music Education.” Poster presentation at OMEA Professional Development Conference, Cleveland, Ohio, February 5-7, 2015. 5
D. LeBeau, “Development, War, Influence: A Review of the Ohio Music Education Association in the Early Days.” Poster presentation at OMEA Professional Development Conference, Cleveland, Ohio, February 5-7, 2015. 6
B.B. Olesko, “Sound Before Symbol: The Effect of Aural Activities When Teaching Rhythmic Notation.” Poster presentation at OMEA Professional Development Conference, Cleveland, Ohio, February 5-7, 2015. 7
P. Stover, “Musical Teaching Materials and School Equipment used in rural schools (1890-1950).” Poster presentation at OMEA Professional Development Conference, Cleveland, Ohio, February 5-7, 2015. 8
E. Tracy, “Community Music Instruction and Institutions of Higher Education in Ohio.” Poster presentation at OMEA Professional Development Conference, Cleveland, Ohio, February 5-7, 2015. 9
C. Williams, “The Historical Narrative of Percy Grainger: Implications for Music Education Practice.” Poster presentation at OMEA Professional Development Conference, Cleveland, Ohio, February 5-7, 2015. 10
Marsha Croskey Kincade is a doctoral student studying music education at Case Western Reserve University. She taught instrumental music in Maryland and Virginia and holds degrees from Youngstown State University and Bowling Green State University.
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You Asked: Your Top 10 OMEA PDC Questions Answered By Mark Hensler, OMEA Director of Professional Development
The 2015 Cleveland conference was marked with successes and challenges and I’m sure Cincinnati will be the same. Cleveland attendees will be happy to hear that Cincinnati has two hotels connected to the convention center. The Hyatt Hotel is the headquarter property and is located just across Fifth St. via skywalk. The Millenium Hotel is just to the east across Elm St. and is also connected via skywalk. Evaluations from the Cleveland PDC are being closely scrutinized and will have an impact on scheduling and programming in Cincinnati. The following Q & A is a result of questions taken directly from the 2015 Guidebook and HQPD evaluation data. Q: What happened to the “First Night” Concert”? A: “First Night” was a five-year program supported by the OMEA Trustees. The latest OMEA PD survey indicated that while members enjoyed the “First Night” concert, it did not influence their decision to attend the PDC. Thursday evening has evolved into a time for district meetings, receptions, networking and socializing. This is an important component of the PDC and it will be reflected in the Thursday evening schedule. Q: Why is the conference held in three different cities? A: The goal of moving the PDC around the state is to spread the heavy load placed on regional volunteers. Volunteers are an important component of the PDC. The conference also takes on a different character in each city. Q: Why doesn’t OMEA provide all session handouts on Guidebook? A: The decision to post handouts on Guidebook is made by the clinician/presenter. Sometimes copyright issues or concerns about plagiarism make the clinician reluctant to post documents. OMEA respects the personal wishes of PDC clinicians/presenters. Q: What factors affect scheduling decisions? A: Clinician availability, committee input, space, acoustics, evaluation data, performing group travel time and other historical data is considered when creating the master schedule. The process begins 12-18 months preceding the PDC. Q: Why are there more band sessions than anything else?
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A: This is a misconception. In 2015, General Music led the way with the most number of sessions (although it is not a contest!). The PDC is an “umbrella” event designed to address the needs of all segments of the membership. Committee decisions are based on nearly 20 years of historical information and analysis along with current trends in music education. Q: How are performing groups selected? A: Using a rubric, the content area committee evaluates applications using a blind audition process (without ever knowing the name of the ensemble). The committee seeks to select a varied program, representing ensembles from across grade levels and genre based on the submitted applications. Q: Were there fewer performing groups in 2015? A: Yes. Performing groups were down slightly in 2015. Factors such as space, warm-up time, acoustics, soundbleed and travel concerns contributed to this decision. OMEA is committed to providing ensembles with high quality venues and fewer direct conflicts with performance times. The PDC reflects the “umbrella” nature of the organization and is not intended showcase every type of ensemble from every genre. The “non-consecutive” repeat clause helps to create variety and ensure that one ensemble (or school) does not monopolize any genre. Q: How do I become a clinician/presenter? A: The call for proposals opens on the OMEA website during the first week of April. You will be asked to provide a title, area of focus, description and brief outline of your proposal. On May 30, these proposals are forwarded to the appropriate committee for review. In August, clinicians are notified of these results (accepted or rejected), and the final schedule begins to take shape. Q: I don’t want to present but I have an idea for a session. Whom should I contact? A: You may contact the Director of Professional Development or any of the content or standing committee chairs (addresses listed below). Q: I would like to volunteer at the PDC. What can I do? A: Volunteers are always needed to serve as presiders or to help with registration, check-in and badge scanning. Please contact the Director of Professional Development for more details. Q: How soon can I register for Cincinnati? A: Keep an eye on the OMEA homepage for pre-registration and program information. See you in 2016!
Mark A. Hensler OMEA Director of Professional Development pd_director@omea-ohio.org APRIL/MAY 2015
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LOOKING AHEAD...
Mark A. Hensler - OMEA Director of Professional Development pd_director@omea-ohio.org 2016 PDC CONTENT CHAIRS Band - Rob Tanis: pd_band@omea-ohio.org Choral - Kent Vandock: pd_choral@omea-ohio.org General Music - BethAnn Hepburn: pd_gm@omea-ohio.org Jazz - Jan Diehl: pd_jazz@omea-ohio.org Orchestra - Trista Emmons: pd_orch@omea-ohio.org A directory of standing chairs is available on the OMEA website. APRIL/MAY 2015
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Performing Ensembles for the OHIO MUSIC EDUCATION ASSOCIATION 2016 PROFESSIONAL DEVELOPMENT CONFERENCE Cincinnati, Ohio • January 28-30, 2016 Submission Deadline: May 30, 2015 PERFORMING ENSEMBLE CDs Ensembles interested in performing at the 2016 OMEA Professional Development Conference should submit an application and an audition CD postmarked no later than May 30, 2015 to: NOTE NEW ADDRESS! Mark A. Hensler OMEA, Director of Professional Development PO Box 958 Hamilton, OH 45012 OMEA utilizes a blind audition process for performing group selection. Your unedited audition CD should contain 3 selections of contrasting styles (similar to AE programming). The recording should be representative of a live performance. 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. Applications should contain stereo recordings using audio CD technology playable on a consumer level CD player. Other file formats (mp3, wav, AAC, mp4, etc.) are NOT acceptable and will result in rejection of the application. Recordings will not be returned. PERFORMING ENSEMBLE APPLICATION The following information form and a copy of each director’s NAfME membership card must be included with the audition CD. All directors must be members of NAfME on May 30, 2015 and maintain membership with NAfME through February 28, 2016. The director(s) listed on this form must be the director(s) who will conduct the performance if the ensemble is accepted. You may call NAfME at 1-800-336-3768 to check your membership status. Ensembles that performed at the 2015 OMEA Conference in Cleveland are not eligible to perform at the 2016 Conference. NEW THIS YEAR: Accepted ensembles must pay a $135 fee as a condition of acceptance. This fee includes complimentary registration badges for a maximum of two directors. The fee must be received prior to August 31 to confirm participation. Performing ensembles must provide their own percussion equipment. Vocal ensembles requiring sound reinforcement must provide their own microphones and sound systems as needed. All ensembles must use the existing performance room set-up and 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. Combined ensembles (band & chorus, orchestra & chorus, etc.) will not be accepted in the audition process. Attempts to contact members of the selection/conference committee could result in disqualification of the ensemble. Questions about the audition process should be directed to Mark Hensler (pd_director@omea-ohio.org).
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Performing Ensembles for the OHIO MUSIC EDUCATION ASSOCIATION 2016 PROFESSIONAL DEVELOPMENT CONFERENCE Cincinnati, Ohio • January 28-30, 2016 Submission Deadline: May 30, 2015 (Please print or type) NAME of ENSEMBLE_________________________________________________________Number of Members__________ SCHOOL/COLLEGE/COMMUNITY__________________________________________________________________________ SCHOOL ADDRESS_______________________________________ CITY____________________STATE______ ZIP___________ DIRECTOR__________________________________________________________________NAfME ID NO._________________ ASSISTANT 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? __________
Total School Enrollment ____________
Are faculty or professional musicians included in the ensemble that made this audition recording? _____
COLLEGE GROUPS should choose from the following categories: _______Jr. College (2-Year program)
_______ 4-Year College (no graduate program)
________University (graduate program included)
CHECKLIST FOR AUDITION MATERIALS • 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 will be disqualified.) • Information Identifying Selections by Track on the Actual CD • Copy of NAfME Card(s) 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 30, 2015
All-State Ensembles for the
OHIO MUSIC EDUCATION ASSOCIATION 2016 PROFESSIONAL DEVELOPMENT CONFERENCE Cincinnati, Ohio • January 27-30, 2016 Coordinator – Kathleen McGrady Band Chair – Brett Benzin Choir Chair – Kent Vandock Jazz Ensemble Chair – Brandon DuVall Orchestra Chair – Matthew Yoke
2016 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 2016 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 “2016 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: March 1: Application and audition material available. May 31: Deadline for all applications to be submitted. Please carefully note the specific etude and performance requirements. They are all different for 2016. 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). 2016 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. 2016 BAND & ORCHESTRA WIND-PERCUSSION 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”)…(New as of 2015 auditions)…on a keyboard instrument. See details below for further specifics. 2016 ALL-STATE BAND & ORCHESTRA WINDS-PERCUSSION ETUDE REQUIREMENTS: FLUTE: Selected Studies for Flute by Voxman: Pub. By Rubank, p, 21 and p. 51 OBOE: Selected Studies for Oboe by Voxman: Pub. By Rubank, p. 10 and p. 38 CLARINET Bb and Eb: Selected Studies for Clarinet by Voxman: Pub. by Rubank, p. 6 and p. 51 CLARINET ALTO, BASS, CONTRA: Advances Studies from the Works of J. Weissenborn: arr. Rhoades: Pub. by Southern, #3 (p. 2) (Contra only), #13 (p. 9) (Alto/Bass only) and #22 (p. 17) (ALL Low Clarinets) BASSOON: (New Book as of 2013 Auditions) – Catalogue #CU96 Method for Bassoon by J. Weissenborn, #2 (p. 115), #26 (p. 132-133) SAXOPHONE: Selected Studies for Saxophone by Voxman: Pub. by Rubank , p. 19 and p. 34-35 (Play ALL of page 34 and the first 4 measures plus 1 note of page 35)
TRUMPET: Selected Studies for Trumpet by Voxman: Pub. by Rubank, p. 13 and p. 32 FRENCH HORN: Prepatory Melodies to Solo Work by Pottag: Pub. by Belwin, #10 (p. 5), #38 (p. 15), #92 (p. 37) TROMBONE AND EUPHONIUM: Selected Studies for Trombone by Voxman: Pub. by Rubank, p. 11 and p. 36 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: #1 (p. 2) and #10 (p. 12) 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, #16 (p. 15) and #41 (p. 50 – first page only). 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: (could be played on xylophone or marimba) – (New Book as of 2015 auditions) Fundamental Method for Mallets, Book 1 by Mitchell Peters: Pub. by Alfred, Ab Major Reading Study #1, Page 108. Timpani: The Solo Timpanist by Vic Furth: Published by Carl Fischer, Etude XVII (p. 31) Snare: (New Book as of 2015 auditions) – Advanced Snare Drum Studies by Mitchell Peters: Pub. by Try Publishing Company, Etude #7, pages 14-15. New Percussion Requirement as of 2015 auditions: The required Class A or B Solo must be on a keyboard instrument. It can be played on either xylophone, vibraphone or marimba. Two or four mallets, accompanied or unaccompanied is acceptable. JAZZ ENSEMBLE RECORDING REQUIREMENTS: NEW FOR 2016…READ CAREFULLY! “Confirmation” and “Billie’s Bounce” are from Charlie Parker (vol. 6);“Dig”(Slow Version) is from Miles Davis (vol. 7), and ”Clear As A Bell”, “Mr. Alex” and “Catchy Waltz” are from Good Time! (vol. 114). All three 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 “Billie’s Bounce” 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 “Confirmation” 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 “Dig” (slow version) 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 “Clear As A Bell”, comp for two choruses and improvise for two chorusesWith the play-along (use CD #1), record the head to “Catchy Waltz”, comp for one chorus and improvise for one chorus BASS: With the play-along (use CD #4 – right channel), play two choruses of “Clear As A Bell”With the play-along (use CD #4 – right channel), play two choruses of “Mr. Alex”With the play-along (use CD #4 – right channel), play two choruses of “Catchy Waltz” DRUMS: With the play-along (use CD #4 – left channel), play two choruses of “Clear As A Bell”With the play-along (use CD #4 – left channel), play two choruses of “Mr. Alex”With the play-along (use CD #4 – left channel), play two choruses of “Catchy Waltz”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).
TEACHING TIPS BAND The Conscious Conductor
Dr. Brendan Caldwell; Baldwin Wallace University What is the single most essential skill cultivated in music education? There are surely countless ways in which that question could be answered. However, as I have progressed through my career as a music educator, I have come to discover one foundational skill upon which all the other musical skills are built. Tasting is to the Culinary Arts, as __________ is to the Musical Arts. Listening is the lynchpin around which all other musical skills are developed. Whether developing an ensemble’s sense of time, pitch, tone, blend, or balance, musical growth is impossible without intentional listening. Accordingly, the teaching of listening is the single most essential skill music educators can cultivate in our students. How can music educators best teach listening? There are many ways in which we can teach listening. However, I assert that all pathways to better listening are united by the common spiritual practice of enhanced awareness. As our awareness expands, so too does our consciousness. For the purposes of this discussion, we will explore conscious listening through the awareness of energetic relationships within a rehearsal context. However, these concepts could be easily transferred to any music educational context. The title of this article is The Conscious Conductor. I use the term conductor to represent all music teachers who serve as a conduit for their students. A conduit is any medium through which energy passes. This, I believe, is the precise function that all music educators serve in the teaching of music to our students. The more conscious we 46
are as teachers, the more efficient and effective we are as conduits. Enhanced consciousness arises through increased awareness. Through increased awareness, we can become more intentional with both our perception and our expression. Hence, our primary goal as music educators should be to increase the consciousness of our self, our students, and our audiences through the practice of enhanced listening. How can we enhance listening through awareness in our rehearsals? MUSICAL MIXING BOARD I often hear music educators correctly telling their students about “ensemble issues” that are negatively affecting musical communication. This usually takes the form of the teacher saying statements like, “The tempo is rushing,” or “the pitch is flat.” However accurate these statements may be, they do little to enhance the awareness of the students other than letting them know what is wrong and encouraging them to guess in the opposite direction. A more conscious approach might also include the energetic reasons why these “ensemble issues” are occurring in the first place. A representative example of enhanced energetic awareness could be explored through an examination of the interplay between the musical energies of orchestration and time. If a composition modulates from a chamber to a tutti orchestration, that shift in energy can easily influence the ensemble’s perception of other musical energies. TRIAD
Using this example, a shift in orchestration can easily influence the ensemble’s perception of time. In this case, instead of simply telling the ensemble that they are rushing, one might say, “You are confusing the musical energy of orchestration with the musical energy of time.” This line of feedback encourages the students to explore why they are rushing through the awareness of energetic relationships. In other words, as a specific energy is intentionally modulated (changing orchestration), other musical energies often modulate unintentionally (rushing). Hence, modulating musical energies like orchestration, rhythm, harmony, form, counterpoint, and tessitura can easily influence one’s perception of the musical energy of time. However, if students are made aware of the relationships of these energies, they can more easily identify and become intentional with which energies they intend to modulate, and which energies they will intentionally resist modulation. To assist with their understanding, I often encourage my students to imagine a musical mixing board in which one “dial” moves upward or downward, (modulation of musical energy) without the other “dials” being affected. This metaphor is understood just as easily by middle
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school students as it is by more mature musicians. For example, in the case of the changing orchestration affecting the ensemble’s perception of time, the ensemble simply needs to intentionally move the “orchestration dial” while intentionally resisting any movement with the “time dial.” Put yet another way, I often warn my students not to be seduced by a change in orchestration to unintentionally affect their sense of time. This concept is easily transferred to other musical energies as well. Please take a moment and consider the relationship between any two of the following musical energies—realizing how modulating one of these energies can affect the perception of the other. Time Form Tone Orchestration Pitch Timbre Dynamics Articulation Harmony Counterpoint Rhythm Tessitura I find that once students are given the determinant reasons why ensemble issues are occurring, they can focus their awareness to the precise relationship of musical energies that is affecting the issue. This process
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helps our students to intentionally address a musical challenge through enhanced awareness. They become intentional about which energies they seek to modulate and which energies they seek to resist modulation. This intentional awareness is an extremely effective pathway toward better listening. Furthermore, the friction that exists between modulating a specific energy while intentionally resisting modulation within other musical energies is the essence of dramatic opposition in music. And dramatic opposition is the key to musical expression. If you have ever heard Jack Sutte (my colleague at BW and trumpet player in the Cleveland Orchestra) playing a scale throughout the range of his instrument, you have heard the beautiful expression embedded in dramatic opposition. As the tessitura modulates, the consistency of tone throughout the instrument does not. Thus, a simple scale can become a wonderful expression of musical beauty. With enough awareness, intention, and practice our students are capable of dramatic opposition that results in beautiful musical expression. The foundation to this expression is listening. Listening is facilitated through enhanced consciousness. In music education, I assert
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that enhanced consciousness through listening should be both our primary learning outcome and our most essential contribution to society. Ultimately, not only is conscious listening a key to profound transformation in our students, but it is also our most convincing model for advocating to society why music education is essential in our schools. What subject other than music demands such a high proficiency of listening? Who would not want their children to become better listeners? Dr. Brendan Caldwell is an Associate Professor of Conducting and Director of Wind Ensembles at the Baldwin Wallace Conservatory of Music. In this role, he conducts the BW Symphonic Wind Ensemble, Symphonic Band, and teaches courses in conducting. In addition, Dr. Caldwell has written a book and leads a university-wide seminar entitled: “The Buddha and Bruce Springsteen: A Spiritual Journey beneath this Dirty-hood, through the Tunnel of Love, and into The Promised Land.”For a more thorough experience in cultivating consciousness in your self, your students, and your audiences, please consider attending Brendan’s summer seminar for musicians entitled The Conscious Conductor: Awareness and the Art of Connection. For more information, please contact Brendan directly at bcaldwel@bw.edu or by phone at 612-720-8169.
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TEACHING TIPS GENERAL MUSIC Balancing Enjoyment and Student Agency in the Music Classroom Dr. Lisa Huisman Koops; Case Western Reserve University Mr. Smith groaned inwardly as his 5th grade students groaned outwardly when he gave the instructions for a movement activity. It was a cloudy February afternoon and clear that everyone in the room wished they were somewhere else. As he started the recorded music and modeled the creative movement he had given directions for, he observed the students meandering listlessly around the room. Clearly, something needed to change. Was it the type of activity? Type of music? Pacing? Music room décor? While there is much more to music than “just having fun,” we do our students a disservice when we lose sight of the importance of enjoyment in the music classroom. Research studies have found links between enjoyment and increased motivation, participation, and musical responses from music students (Koops & Keppen, 2014). Enjoyment is also linked with the idea of student control, or agency, in the classroom— providing students choice in repertoire, allowing students to lead activities, following student interests or inquiry, equipping students for music-making outside of the classroom. How can we structure the music classroom to maximize music learning through a balance of enjoyment and agency? This article explores these issues with vignettes and discussion for general music. When considering balancing enjoyment and student control in the classroom, keep three keys in mind: (1) begin by paying attention to what you and your student enjoy, (2) be open to the ebbs and flows of enjoyment, and (3) observe the “chaos point.” 50
KEY 1: WHAT DO YOU ENJOY? WHAT DO YOUR STUDENTS ENJOY? Mrs. Apple sat back on her heels as she looked around the classroom. Her 28 fifth graders were busy in small groups working on a cover song project. This year, instead of assigning repertoire, she invited the students to choose their own songs (with parental and teacher approval). She was surprised by the increase in student involvement and focus on the annual project, especially among some of the students who typically did not engage in planned lessons. In this vignette we see an example of a teacher who took an existing project and modified it slightly to increase student agency and enjoyment. This may be a helpful model to follow, introducing small changes into the classroom routine to allow for both teacher and student familiarity as well as growth. Teachers who wish to reap the benefits of including enjoyment and student agency in the classroom can tap the ideas of colleagues and professional journals as well as their own creativity as they develop their teaching practice and watch their students’ enhanced musicianship as a result. KEY 2: ENJOYMENT IS CONTEXTUAL - STAY FLEXIBLE Mr. Williams was looking forward to the second grade lesson he planned, for which he carefully chose and learned several new song-games in the hopes of boosting student enjoyment while teaching his targeted rhythmic motives and selected intervals for this unit. As he taught a circle game and a passing game, though, he TRIAD
noticed mixed reactions from the students—several were whole-heartedly playing, while others seemed completely uninterested. Further perplexing was when they played again the following week, most of the class participated joyfully; yet, when he used the games again the third week, the class was disruptive and unengaged. “So much for that,” muttered Mr. Williams as he prepared his plans for the following unit. In this example, the teacher encounters the frustration of making a plan for enjoyment yet having unresponsive students. Educational philosopher Nel Noddings (2003) notes that enjoyment, while central to her approach to education, is also contextual—it varies among students and across time. What is enjoyable one week may be passé the next, and something that is engaging for one group of students may leave others disinterested. This makes it challenging for teachers who are already negotiating a range of individual learning differences in the music classroom. One possible solution is for the teacher to give brief reminders to students about the community of learners in the classroom—that not every song, activity, or listening example will be of interest to all students, but that we still try new things and share in the activities together. It might also be helpful to note that some people learn to enjoy things after several times; a teacher could share an example of music that he did not enjoy on first hearing, but came to enjoy with repeated listenings. Additionally, teachers could track student enjoyment of existing classroom activities and routines before introducing new activities; becoming aware of and tracking enjoyment may be a helpful first step in increasing enjoyment within general music classes. KEY 3: SPACE FOR AGENCY, UP TO THE CHAOS POINT Ms. Johnson attended a professional development session on the importance of enjoyment and student agency and was now committed to pursuing student agency with her seventh grade general music class. She was perplexed by the chaotic environment that had developed and taken hold over the last few weeks, however. Rather than promoting student learning, giving the students free reign in the classroom had led to endless classroom management issues. Was too much freedom a bad thing? Did the seventh graders need more structure? Fewer choices? Or a complete classroom management APRIL/MAY 2015
lock-down and “back to the basics boot camp”? Here we see what happens when things go too far and chaos takes a hold. While incorporating more opportunities for student choice and enjoyable elements may enhance instruction to a point, teachers report that passing a “chaos point” can lead to decreased learning opportunities, as shown in Ms. Johnson’s classroom. Introducing changes slowly and adding new elements one at a time may help teachers gauge what is working and how much a class can handle in terms of enjoyment and agency. Through considering the three keys above, and planning for both enjoyment and student agency within general music classes, we as general music teachers may come to notice our students being more deeply engaged musically both inside and outside of the music classroom. Meanwhile, let’s have some fun! References
Koops, L. H. & Keppen, H. (2014). Planning for joy in the general music classroom. General Music Today (published online before print). doi: 10.1177/1048371314563828 Noddings, N. (2003). Happiness and education. Cambridge, UK: Cambridge University Press.
Lisa Huisman Koops, Ph.D., associate professor of music education at Case Western Reserve University, specializes in early childhood music, elementary general music, and world music education. Her research focuses on the vital role of the family in optimizing early childhood music development and education; additional research interests include international models for children’s music education with a focus on The Gambia, West Africa and inclusionary models of early childhood music education for children with disabilities. She holds a Bachelor of Music Education from Calvin College (Grand Rapids, Michigan) and Master of Music and Doctor of Philosophy degrees in Music Education from Michigan State University (East Lansing, Michigan). Koops has taught general music in Zeeland (Michigan) Public Schools as well as early childhood music at Michigan State University’s Community Music School; she currently teaches early childhood music classes at The Music School Settlement in Cleveland. She has presented and published research in the fields of music education, ethnomusicology, and liturgical music, and has also contributed chapters to the Oxford Handbook of Children’s Music Cultures (Oxford, 2012) and Learning from Young Children: Research in Early Childhood Music (Rowman & Littlefield Education, 2011). 51
TEACHING TIPS MULTICULTURAL MUSIC Windows and Mirrors: Perspectives of Multiculturalism in Music Rachael Fleischaker; The College of Wooster If we music educators still believe that music education is for all children, we must seriously consider cultural diversity. ~ Renee Boyer-White As a young teacher, I was programming music for a spring concert in a school with a racial and cultural make-up extremely different from my background. A parent who volunteered in the school asked if I would consider using a piece from an artist who was popular in the community. I was hesitant at first because the genre was completely unfamiliar to me and I had a concern about the vocal style. However, I found an arrangement and programmed the piece into the concert. It was the last selection performed and was met with such enthusiasm that the entire audience was on their feet singing along. I was shocked by what I viewed as a lack of decorum. They couldn’t even hear the students singing. However, after the show I had many conversations with parents about the experience. The general attitude was of sincere appreciation for understanding the importance of including this style into a formal school concert. They also helped me to understand that standing and singing along with the performers was a compliment and a show of support. As music educators, we cannot ignore the plethora of musical cultures that live in our classrooms. We must consider the music that we use and the ways in which we approach repertoire in terms of how it relates to our students. Using a multicultural curriculum as windows to the world of others and as mirrors to validate existing perspectives is a step towards creating APRIL/MAY 2015
a caring community. This experience for me was a window into another perspective of music education. However, for my students and their parents, it was a mirror reflecting the value of their cultural identity. Each of us benefitted from the experience. Through music we learned ways to interact that brought a sense of common understanding. WINDOWS A rich and diverse curriculum that uses multiple styles, cultures, and heritages can be a window into the worldview of those who are different from us. This view of multicultural music supports the idea that understanding others will foster a greater sense of community. There are few school districts that can claim to be completely homogeneous in terms of cultural identity, socio-economic status, ethnicity, or musical preferences. “Educators must recognize that knowing about and enjoying a broad spectrum of musical styles can foster the development of students’ respect for the intrinsic worth of every group within a given culture” (Boyer-White, 1988, p. 53). A multicultural approach, when used as a window, can deepen understanding of differences and foster empathy. MIRRORS Just as important as peering into the musical world of others is the ability to affirm our own worldviews. “Empowering students to recognize that their own cultural identities are valid, acknowledged, and 53
respected in our classroom is the first step toward nurturing social justice in our schools and communities� (Fitzpatrick, 2013, p. 54). Using multiculturalism as a mirror requires a knowledge of the musical lives of your students and of the characteristics that are unique to them, their families, and the community. This is an opportunity for our students to see themselves and their families in an affirming and validating way. RELEVANCE Windows and mirrors are analogies to underscore the importance of a diverse multicultural approach to music curriculum. Family life, social circles, education, religious beliefs, and community values are factors in our cultural identity. Our students have access to multiple cultures through television, news sources, the internet, and social media which influence and challenge their identities. Our music classrooms have the potential to enhance their musical literacy while exploring this diversity. Multiculturalism is a complex topic that includes not just the content of our curriculum, but also the manner of delivery and engagement level of our students. Our music classrooms have the potential to explore musical venues that are relevant to all students. When developing our curriculum, it is important to reflect on our own cultural beliefs and practices and to consider how they align with cultural influences of our students.The challenge for music
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educators is to find a balance in our repertoire and teaching methods. Are we open to including various perspectives? Would including other cultures into our programming be appropriate and meaningful? While developing your instructional plans, consider using multicultural repertoire not just as a window into the culture of others, but also as a mirror to validate the cultural perspectives that the students bring into the classroom. References
Boyer-White, R. (1988). Reflecting culture in the music. Music Educators Journal, 75 (4), 50-54. Fitzpatrick, K. (2013). Cultural diversity and the formation of identity: Our role as music teachers. Music Educators Journal, 98 (4), 53-59.
Rachael Fleischaker is a doctoral student in Music Education at Kent State University, an adjunct professor of Music Education at the College of Wooster, and an elementary music teacher in the Canton City Schools. Rachael has been a clinician at OMEA Professional Development Conferences and an invited lecturer at The Ohio State University Mansfield Campus. She holds a Bachelor of Music Education degree from The College of Wooster and a Master of Education in Curriculum and Instruction degree with an Emphasis on Urban Education from Kent State University. Rachael lives in Massillon, OH with her husband, Dan and their four children.
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ORCHESTRA Conducting Is a Moving Experience Dr. Charles Gambetta Conducting stands alone in the midst of musical endeavors devoted to performance because it is practiced in silence. While there are many technical elements that contribute to a conductor’s performance (eye contact, aural acuity, bearing, rehearsal skills, theoretical and historical knowledge, for example), it is the movement of hands, arms, and body though space that serves as the central means by which conductors convey musical expression to their musician collaborators. With this understanding, it seems logical that the art of conducting should be as firmly rooted in the art and science of human movement as it is in the art of music. Yet 150 years after the publication of Berlioz’s treatise on conducting, most conducting instruction continues to emphasize the practice and perfection of repetitive patterns traced by the tip of the baton that primarily represent the progress of the metric pulse as the central pillar of conducting curricula. This realization that conducting is both movement and musical art inspired me to develop a new integrative approach to conducting that balances musical and movement training. Embodied Conducting™ uses the descriptive vocabulary, observational tools and practical exercises of Laban Movement Analysis (LMA) to explain, explore and experience every detail and nuance of conducting movement or technique. It includes modules that address Body (the conductor’s instrument), Effort (the conductor’s expressive palette), Space (the conductor’s canvas), and Shape (the conductor’s instrument part 2). 56
BODY: THE CONDUCTOR’S INSTRUMENT Human beings are born movers. In fact, we are already moving months before birth. Cultures around the world have evolved traditions of expressing thoughts, feelings, opinions and states of being through the medium of movement. The Body component of LMA introduces conductors to the concepts of: Connectivity—how different parts of the body relate, interact and work together in desirable or undesirable effect (core/hands, head/hands, head/sacrum, sacrum/ heels, etc.); Points of Initiation—point(s) in the body where movement begins (hands, elbows, shoulder, head, core, hips, knees, feet); Sequencing—once begun, the order in which the movement unfolds in the body (simultaneous [all at once], successive [flowing through adjacent body parts] or sequential [non-adjacent body parts]. This increased body awareness helps conductors consciously choose how to begin a gesture (Points of Initiation), how best to execute it once it’s begun (Sequencing) and how to develop a sense of connectivity and integration throughout the body while conducting (Connectivity). EFFORT: THE CONDUCTOR’S EXPRESSIVE PALETTE Musical expression can range from delicate legato to bombastic marcato or indulgent lento to spirited presto. Although movement possibilities are equally TRIAD
infinite, the qualities of exertion that contribute to the constant stream of dynamic change in movement are limited to four Effort Factors: Weight, Time, Space and Flow. Each Effort Factor exists as a continuum between two polar opposites that represent inner attitudes of accepting/indulging and resisting/condensing. Weight can be Light (accepting) or Strong (resisting); Time is either Sustained (accepting) or Quick (resisting); Space can be Flexible (accepting) or Direct (resisting); and Flow is either Free (accepting) or Bound (resisting) [Fig. 1]. Movements infused with a single Effort Element are rare. They are typically present in pairs called States or in combinations of three called Drives.Fig. 1. The Effort Graph.
the extended reach of the limbs of a stationary body the Kinesphere. Movement in this personal, portable space is addressed in terms of proximity to the body (near, mid and far reach), location (points in space where movements begin and end), and pathway (the courses that movement travels between those points). Orientation is defined by the three dimensions of height (high-low), width (left-right), and depth (forward-backward) [fig. 2.], and further delineated by four space diagonals and the vertical (door), horizontal (table), and sagittal (wheel) planes [fig. 3].
Effort is vitally important for conductors because it is these dynamic qualities of exertion that transmit the constantly changing flow of tempo, dynamics, articulation, character, mood, texture, phrasing, etc. Conducting gestures may exhibit visual clarity and transmit a metric pulse without any consideration of the underlying Effort Elements. However, absent the appropriate Efforts, the most accurately traced beat patterns fail to convey a conductor’s musical intentions, his personal inner experience of the expressive essence of the music, to the orchestra. SPACE: THE CONDUCTOR’S CANVAS If the conductor’s instrument is her body and the Effort Elements are primary colors that she combines and blends to produce an infinitely varied expressive palette, then Space is the canvas on which she paints her realization of the continuum of time and sound represented in the score. Laban calls the space within APRIL/MAY 2015
These geometric structures are not imaginary. One can vividly experience them by simply moving through the dimensions, diagonals and planes. Conductors can use the Space component of LMA to better ground themselves in the dimensional cross of axes, and the planes can serve as boundaries and surfaces on which the play of conducting gestures unfolds. For example, 57
the sagittal plane is the plane of rhythm and metric pulse. Try conducting any rhythmically energetic passage in the horizontal plane and the sagittal plane. Conversely try conducting a slow, sustained passage in the horizontal plane and again in only the sagittal plane. What do your musical sensibilities tell you? SHAPE: THE CONDUCTOR’S INSTRUMENT PART 2 The word Shape seems to suggest the shape of trace forms drawn by the tip of the baton or fingers, but it instead refers to the constant shifts and changes in the shape of the body and its limbs as we adapt and attend to ourselves, others, and the environment around us. Shape is extremely useful for conductors because it is the vehicle through which we express relationship with ourselves, the music, the musicians, and the audience. LMA identifies three Modes of Shape Change. Shape Flow applies to movement exhibiting qualities of growing and shrinking or opening and closing. Examples of this category include the respiratory cycle of inhalation and exhalation or a string player completing a down bow/up bow sequence. Directional movement serves as a bridge that connects a mover with an external place, person(s), or object in spokelike (jutting out from an axis in straight lines) or arclike (scribing flat arcs in space) fashion. Beat patterns are typically examples of arc-like movement, and cues are often spoke-like. Carving or Shaping describes three-dimensional movements where the mover is actively molding, accommodating or adapting to the environment or an object, real or imagined. Mastery of Carving endows conductors with the ability to touch, hold and shape the musical phrase—extremely helpful for developing an expressive left hand.
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The concepts and examples presented in this brief introduction to Embodied Conducting™ were carefully chosen to give readers a sample of the richness and breadth of understanding that this approach to conducting provides students and teachers alike. It is not movement training added to conducting but rather an innovative, integrated approach that leads to the ability to fuse force of will and musical intentions with the body in order to create more compelling, expressive, accurate and informative conducting gestures. Maestro Charles Gambetta began his conducting studies with Ansel Brusilow in 1974 at the University of North Texas. His guest conducting engagements include appearances with the Hudson Valley Philharmonic, United States Military Academy Band at West Point, the Fayetteville Symphony, the University of North Carolina at Greensboro Symphony Orchestra and Opera Theatre and the Philharmonia of Greensboro. In addition to his collaborations with American Orchestras, he has performed with the Philharmonic Orchestra “Mihail Jora” of Bacau, Romania, the National Orchestra of Ukraine, the Rome Festival Orchestra, the Varna State Philharmonic and the Catania International Festival Orchestra in Sicily. Known around the world for his ground-breaking research in conductor training, Maestro Gambetta is the creator of the Embodied Conducting™ method, a revolutionary movement-centered curriculum for conductors based on the principles of Laban Movement Studies. An awardwinning composer and arranger, Maestro Gambetta is equally at home composing music for groups large and small in many different idioms and genres. Dr. Gambetta also serves on the music faculties of Winston-Salem State University, Guilford College and Greensboro College, and continues to maintain an active career as a double bassist and composer/arranger as his schedule permits.
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BRASS Sound Advice: Right from the Beginning!
Pat Stuckemeyer
When I was a young student, I got into the habit of breathing on the preparatory beat in most performance situations. This stemmed from years of various directors holding the prep until they maintained the attention and focus of their ensembles, and when the ensemble was ready, the director began the piece. As a brass musician this did two things: 1.) taught me that I had only a set amount (i.e. prep) of time in which to take in air as the ensemble “breathed together.” 2.) as I began to take in more air, I was putting an exorbitant amount of tension into my body. Having been a high school band director, I understand from a classroom management setting that these directors were trying to get the ensemble to play “together,” but by doing so were not allowing their musicians to practice relaxed breathing. A relaxed breath is one that starts first from a relaxed body. It is not impossible to breath correctly with a tense body, but it is much more difficult. There are enough “problems” getting in the way of younger musicians making quality sounds on their instruments as it is. The last thing you would want to do is to add something else to make it more difficult for them. Along with preparatory beat breathing, this also instills the muscle memory that we should do this “all the time.” Think about a long series of rests (or even just two bars) and how you react to breathing when you’re supposed to start playing again. Most likely, if you’re accustomed to breathing quickly on a preparatory 60
beat, you’ll simply do the same thing and take a short, shallow, quick inhale on the beat right before you have to play. Retraining this out of young students (or older students) is very difficult, and is something that is a learned offense. As educators, we must allow the breath to be both controlled and relaxed while still maintaining tempo, meter and time in the performance. Here is an example of what some younger musicians do by breathing on the preparatory and then what their subsequent breaths look like:
In my own playing I often refer to “long-meterbreathing,” meaning whatever time (or pulse) you’re performing in is what you should be practicing your breathing in. It is a technique that takes a bit of time to get used to, but will keep the body relaxed and allow you to take the air in more slowly (and also achieve a better quality of inhalation) while preparing to play. Air is either moving in (inhale) or moving out (exhale). It is never stagnant or held. Composers put rests in their music for the music to breathe as well as the performers to breathe. The time (space) is there, so take advantage of all of it.
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Practice these extended inhales with your ensemble or group the next time you want to work on a focused beginning, while maintaining tempo and time. This will also allow your ensemble members to work on their internal metronome and adjust their “long-meterbreathing” over a series of smaller intervals. While breathing exercises are not the answer to every problem, what I have found is that improper breathing (and adding tension into the body) is usually the root of what is affecting the student’s fundamental. While it is possible to perform very musically with tension and be a very technically proficient performer, it simply makes the task of music making that much harder. As educators we need to set every student up for success, and focusing on this one simple fix will help all of our students succeed no matter the skill level.
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As one of the leading voices in a new generation of musicians, Pat Stuckemeyer’s diverse career has taken him to a dozen countries and three continents. Originally from Indiana, Stuckemeyer was awarded the Doctor of Musical Arts degree from Arizona State University in 2010. He holds additional degrees from the Conservatory of Music at Capital University, the University of Kansas, and the Royal Northern College of Music.Stuckemeyer has held collegiate teaching positions at Arizona State University, Mesa Community College and Chandler-Gilbert Community College. In 2014, he joined the faculty at Indiana UniversitySoutheast as Professor of Tuba and Euphonium. Pat is a founding member of Eufonix, Tuba Quartet 2.0, and has released four recordings with the group: End Game, Brink, Furious Apis and their education offering: Stepping Stones for Tuba Quartet.
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PERCUSSION Make a Joyful Noise: Getting Better Sounds from Metal Percussion Instruments
Dr. Sarah Waters; Ohio Northern University When I am asked to do a percussion clinic in schools, I try to arrive an hour or two before the rehearsal begins so I can address any issues with the equipment. I believe many problems in producing good sounds lie in the equipment and not in the students’ ability to make them. Nothing can spoil all the hard work you have done with the beautiful woodwind passage more than a clumsy, unmusical triangle “thonk” or suspended cymbal roll in which the rattle of the cymbal hitting the stand is louder than the actual cymbal. Here are a few quick tips to help you give your percussion students a chance to make a joyful noise. SUSPENDED CYMBALS The first thing I usually check is the suspended cymbal stand. Often the plastic sleeve and felts are missing, or in the worse cases, the stem of the stand is bent, snapped off, or gummed up with tape. Replacement parts are inexpensive and you should keep a supply on hand. A bag of twelve cymbal sleeves cost about $20.00, felt washers are about $3.00 for four, and wing nuts are less than a dollar each. Zildjian makes a “Drummers Survival Kit ($13.00) that contains a variety of essential replacement parts.
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To keep the stem from breaking off or bending, always fold it down when packing it.
To produce the best sound on the suspended cymbal, use medium hard yarn mallets and place them at the 3:00 and 9:00 positions. Use a single-stroke roll, one that is not too fast, but fast enough to create the crescendo.
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Other sound effects include the scrape: use a small triangle beater or quarter. Start from the center and move to the edge. In general, the closer to the edge, the more overtones will be produced; toward the bell will produce less ringing sounds—appropriate for rhythmic passages. For single note forte hits, it is better to use a drumstick on the edge of the cymbal. TRIANGLES Next, check the string and clip for the triangle. Clips can be purchased at a hardware store for around $3.00. The string (try nylon fishing line) should be thin to let the triangle ring freely (not a shoelace) and needs to be just long enough to keep the triangle from bumping the clip—not long at all. I always put two strings on, in case one breaks. Hold the clip in one hand and strike the triangle on the bottom or side with a metal beater (not a drum stick, tension rod, pencil, or any other makeshift beater). Triangle beaters come in a variety of diameters, smaller beaters produce softer sounds, and larger beaters louder sounds. Be sure to have the students hold the instrument up.
for the gong because it is not heavy enough. The gong beater should have some weight to it. And of course, please don’t let them use the gong beater on the bass drum!
CRASH CYMBALS To make a musical cymbal crash, make sure one cymbal is stationary while the other strikes at an angle by first hitting the bottom then the top. This produces a slow motion “flam” like sound. Be sure to follow through. The most common mistakes while playing the cymbals are meeting each other too “flat,” too fast, or without any weight behind the motion. Each of these produces a weak and airy sound, or a popping sound rather than a full-bodied crash. There is no need to put the hands through the straps for concert band. Just grab them, with the thumb on top, finger knuckles toward the cymbal.
GONGS In many band rooms I have seen short, wobbly gong stands that tip over when the instrument is played. If possible, try to get a better stand, or at least tighten it up so it won’t tip over so easily. A universal gong stand is available for under $100.00. The player should warm up the gong by tapping it lightly and be sure to anticipate the hit—the gong is actually louder a second or two after the initial impact. Strike the gong just off-center. A bass drum beater is not appropriate APRIL/MAY 2015
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OTHER INSTRUMENTS Other metal instruments like the cowbell, finger cymbals, brake drum (anvil), bell tree, and wind chimes (sometimes called a mark tree) all have sweet spots that make the best musical sound. Experiment with different playing areas and beaters until you produce the desired sound. For example, to play the cowbell, hold in one hand and strike with the other. A darker louder sound is produced if you strike it at the open end, while a higher pitch is produced when hit near the closed end.
The bell tree is played with a metal triangle beater or brass bell mallet. Try laying it down if the player is having trouble with it tipping over.
Wind chimes are also known as a mark tree. And here we finally see why the percussionists keep losing the felts and plastic supports for the suspended cymbal stands. To hang the wind chimes it is often necessary to remove these items from the stand. A solution is to dedicate a stand for them, or to buy a special holder that attaches to the stand itself. I hope these tips will help you help your percussionists make a joyful noise!
Sarah Smith Waters teaches applied percussion, steel drum band, percussion ensemble, conducting, African and American Music at Ohio Northern University. She received her Doctorate in Percussion Performance from the Ohio State University in 1995, and a Master of Music in Percussion Performance and Wind Conducting from Western Michigan University (1991). A native of Lima, Ohio, she received her Bachelor of Music in Music Education from Ohio Northern University in 1987. She is the director of the Ohio Northern Summer Music Camp for students in grades 7–12. Currently she performs with the Lima Symphony Orchestra and can often be heard or seen performing in the Freed Center for the Performing Arts or Snyder Recital Hall on ONU’s campus for various events. 64
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STRINGS Navigating Around the Shoulder of the Viola: Not necessarily a One-size-fits-all Solution Dr. Barbara Beechey; University of Wisconsin-Stevens Point It is not uncommon when a student comes to me that I find he or she is having trouble getting around the shoulder of the viola when playing in 6th position or higher. It’s a problem almost all violists encounter at some point, mostly due to the size of the instrument. But, it’s a problem exacerbated by the fact that violas are not standard in size. The thickness of the instrument itself, assuming a traditional shape, the design of the shoulders (some are boxier than others), and, of course, the length of the instrument all contribute to the potential issue a student might have in getting around the high positions. All of this is to say that it is important that the student have an instrument of an appropriate size. As a person who is not tall, this is an issue with which I am very familiar. I’m a firm believer in developing technique that is specific to the individual instrument and student. First, a student has to understand that not only do we get around the shoulder, but we also have to move
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the arm up at the same time. As we go higher on the viola, higher than 5th position, it can be necessary to move the thumb next to the side of the fingerboard. If a student’s hand is large enough, sometimes having the thumb move to the shoulder works. Whatever the best position is for the student, it must involve a healthy shape for the wrist—bent as little as possible— and fingers curved much like they would be in first position. Regardless, the thumb doesn’t lose contact with the instrument while shifting. Some ways to improve proficiency in this area involve: - Shifting up a one octave scale on the first finger, starting in 3rd position on the A string, analyzing how the hand position changes, where the thumb needs to move from under the neck to the side of the fingerboard (or shoulder). - Three octave scales and arpeggios, and one-string scales—this is especially helpful in learning to play
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in higher positions on lower strings. - To help a student prepare for playing in the higher positions, I will use books such as Kreutzer 42 Studies and Mazas Etudes SpĂŠciales, Op. 36. When a student is struggling to rework the higher position technique, I will sometimes give repertoire like the Bach Suites in order to allow him or her to focus on fixing the technique before adding it to the repertoire. Otherwise, playing repertoire that explores 6th position and higher is an excellent tool in learning how to navigate around the shoulder of the viola. When taught carefully and thoroughly, a student can play in the higher positions on the viola with success and confidence. Recently appointed to the faculty at the University of Wisconsin-Stevens Point, Dr. Barbara Beechey has taught full-time at the Lawrence University Academy of Music since 1999. Believing strongly that students can successfully start on the viola rather than starting first on the violin, she
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has developed a strong pre-college studio whose members have been accepted to schools such as Juilliard, Oberlin, and the University of Wisconsin-Madison, among others. In the past, Dr. Beechey also designed and taught the upper string pedagogy course for the Lawrence Conservatory of Music. Dr. Beechey is an active performer in Northeast Wisconsin, where she is Principal Viola of the Fox Valley Symphony, Assistant Principal in the Green Bay Symphony Orchestra, Associate Principal in the Oshkosh Symphony, and most recently, Principal Viola of the Central Wisconsin Symphony Orchestra. She has been a featured soloist with the Oshkosh Symphony Orchestra. Chamber music collaborations include those with other Lawrence Academy Faculty, Lawrence Chamber Players, St. Norbert College Faculty, and Miami University Faculty. Barbara has coached and participated in master classes with members of the Juilliard Quartet, the American String Quartet, the DaVinci Quartet, the Peabody Trio, the Cleveland Quartet, and the Oxford String Quartet. Past chamber music and orchestral performances have included concerts in Luxembourg, Germany, Austria, and the Czech Republic.
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MUSIC MASTERCLASS -
WOODWINDS Strategies for Supporting Young Oboists in the Band Classroom
Dr. Melissa R. Feilhauer As an undergraduate oboe performance major, I was astounded at the small amount of training in double reed instruments received by my music education colleagues. At my alma mater (Baylor University), a semester was split between oboe and bassoon techniques. It wasn’t until much later that I realized a semester was rather generous; many other institutions devote much less time to double reeds (I’ve seen oboe covered in as little as one class session!). Don’t remember much about oboe methods from your college days? Not to worry; you can support the oboists in your ensemble with the following strategies. HAVE ACCESS TO HANDMADE REEDS. Handmade oboe reeds are far superior to those found in your local music store. Each handmade reed is play-tested for pitch, tone, and response prior to being sold to the student. Additionally, consideration is given to the individual variants in each piece of cane. Store-bought reeds are often harsh in tone and flat in pitch, thereby making the student “bite” to get the pitch up and control the sound. This often leads to multiple bad habits with the embouchure. Store-bought reeds are also generally short, giving very little room (if any) for scraping or adjusting. In order to keep oboe reeds functioning to their maximum capacity, they will likely need to be adjusted on a weekly basis. As reeds wear out, they typically collapse and get sharper in pitch. Contact your local college or university music department for referrals to area oboists. Many undergraduate or graduate oboists are happy to supply students with reeds for a price comparable to your local music store. 68
ENSURE THAT INSTRUMENTS ARE IN GOOD WORKING ORDER. The oboe is a fickle instrument; one screw turned half a rotation in the wrong direction can render the entire instrument useless. It is imperative to find a repairperson that knows how to adjust and repair oboes. A local freelance oboist or private teacher will be your best bet for making these small adjustments. Wooden oboes need to be checked for cracks, especially if they have been sitting in storage for any amount of time. The oboe gets a bad reputation for being a “difficult” instrument. I find that 95% of problems with young oboists can be attributed to these first two points. DEMONSTRATE THE CORRECT EMBOUCHURE. A good oboe embouchure supports from the corners of the mouth and uses a flat chin; the lips are brought in and the chin is pulled downward. The oboe embouchure does not “bite” or stretch out in a smile, as this will cause the pitch to be sharp and the tone to be shrill. No more than one-third of the reed should be in the mouth. (Beginners will need to be reminded of this often. As their embouchure tires, the reed will slip further into the mouth). Regarding pitch, a little change can make a huge difference with your oboist; instructing them to take a fraction more reed into the mouth (think in millimeters!) will raise the pitch, while a fraction less will lower the pitch. If adjusting the amount of reed in the mouth doesn’t help, it is likely a problem with the reed (see suggestion #1).
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ENCOURAGE OBOISTS TO FULLY USE THEIR BREATH. The oboe is one of the only instruments that produces back pressure; this is largely due to trying to push a lot of air through the small opening of the oboe reed. I like to compare playing the oboe to blowing up a balloon. Producing a consistent tone on the oboe takes a concentrated air stream, much like inflating a balloon to its maximum capacity. Instruct students to blow beyond their reed and direct their air through the oboe and out the bell rather than simply into the reed. A concentrated, well-directed air stream will both open up the tone, and allow the pitch to settle in and be more consistent. Middle and high school oboists often claim that they “cannot get enough air,” but this is an illusion. Unlike other instrumentalists, oboists do not use all of the air they take in. Oboists often concentrate solely on the intake of air, thus adding new air on top of stale air already in their lungs. This stacking of stale air can make an oboist feel dizzy, get headaches, or have other adverse physical symptoms. Encourage your oboists to spend half of each rest exhaling and half inhaling quickly through the mouth. This can be accomplished even with eighth rests; the lungs do not have to fill to
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capacity. Your oboist will feel physically better, and this will reflect in his tone and pitch. Although the oboe can be confusing at times, it doesn’t have to be difficult! Utilizing these four strategies with your developing oboists will help them achieve success, heighten their musical experience, and increase their love of playing. A native of Atlanta, Georgia, Melissa Feilhauer received her Bachelor of Music Degree in Oboe Performance from Baylor Univeristy in Waco, Texas, a Master’s Degree in Music Education from Piedmont College in Demorest, GA, and recently completed her Doctor of Musical Arts at Cincinnati-College Conservatory of Music. Her principle teachers include Dr. Doris DeLoach and Dr. Mark Ostoich. Melissa is a founding member of Double or Nothing Reeds, providing hand-made high quality oboe and bassoon reeds and accessories to customers and schools across the United States. In 2013, Melissa and her colleagues formed the Double or Nothing Oboe and Bassoon Camp, which serves middle and high school oboists and bassoonists every summer at Wright State University in Dayton, Ohio. Melissa has held positions at Coe College, Cornell College, and Kirkwood Community College in Iowa, and Mount Saint Joseph University in Cincinnati, Ohio. She currently maintains a private studio of approximately 30 oboists.
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ADJUDICATED EVENTS Adjudicated Events Update
Scott Eversdyke; Adjudicated Events Chair Once again, snow has caused a great many snow days. I hope that this TRIAD finds you finally warm and sans snow. I also hope that you are having a successful OMEA Adjudicated Events season. Congratulations to those groups that qualified for your region’s state event! I hope that all band and choir large group director’s enjoyed the new expanded lists. The AE Committee is very proud of the work and discussions that went into creating those lists. MARCHING BAND REGISTRATION Directors that participate in Fall OMEA Marching Band Events are reminded that online registration for the 2015 season begins on April 15. Marching Band Affairs Chair JD Latorre will be sending out a detailed email in the weeks prior outlining the procedure. 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 events due to be revised for next year are percussion, brass, and string solos. STATE ADJUDICATED EVENT Please note that a group that has qualified for a State Adjudicated Event cannot change their class from District AE. Penalty for this will be comments only. 70
THE NEW! ADJUDICATOR EVALUATION SYSTEM There is a new and improved system for directors to give feedback to the Adjudicated Events Committee and Adjudicators. Beginning with State Orchestra, directors are now able to go to the member portal and fill in a quick survey to give feedback. All that you need to do is click on the Adjudicator Evaluation tab and the adjudicators will be listed from your adjudicated event. You can click on each adjudicator to provide the feedback. The system incorporates a Likert scale from 1–5. However, unlike the rating system for AE, an evaluation of a “5” should be used for the best adjudication. A “5” should be used for distinguished adjudicating in each category. A “4” is for a skilled (above average) adjudication; a “3” is a skilled (average) adjudication; a “2” is a skilled (below average) adjudication; and a “1” is for an ineffective adjudication. There will be a comment box at the end for additional information.As always, a rating of a “1” should be followed by comments and sending the Director of Adjudication a copy of the rating sheet, recordings, etc. You should have about a week or two after the event to make changes or deletions to your evaluation if you change your mind. Please try to give positive feedback as well as expressing concerns. REGISTERING FOR ADJUDICATED EVENTS A very important reminder: all registration deadlines are strictly enforced. Late registrations TRIAD
cannot be accepted for any OMEA Adjudicated Event. Please plan to register well before the deadline! It is the responsibility of the director to know and comply with all deadlines and rules for adjudicated events.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. 2015 OMEA CONFERENCE What a great conference! 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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HIGHER EDUCATION NEWS ASHLAND UNIVERSITY
Dr. Marla Butke, Associate Professor of Music, was recently promoted to full Professor. She presented sessions on Dalcroze Eurhythmics at the Florida and Ohio music education state conferences, for music students at Xavier University, and for practicing music teachers at the Central Ohio Orff Chapter Workshop this past winter. Dr. Butke will be presenting Eurhythmics sessions at the University of Hawaii and the Nevada Music Conference in April. Her Eurhythmics summer workshops/graduate courses will take place at the University of Texas in San Antonio, the Columbus Center of Ashland University, and at the Summer Music Institute at Central Connecticut State University.
BLUFFTON UNIVERSITY Two longtime colleagues on the Bluffton music faculty had talked many times about making music together. They have finally accomplished it, on a piece that will be performed in the United Kingdom this spring. Drs. Peter Terry and Mark Suderman worked in tandem to create a lively “fanfare of voices” based on Psalm 100. The piece, written by Terry, an associate professor of information technology and music, will be performed by Bluffton’s Camerata Singers in Great Britain during the group’s May cross-cultural experience. “For many years, I’ve been wanting Peter to write a piece for Camerata,” says Suderman, a professor of music and the ensemble’s conductor. The pair spent spring 2014 perusing biblical texts for inspiration until Terry was moved by the jubilant message of Psalm 100, which compels readers to “shout for joy to the Lord.” He is used to working with slower, more expressive texts, he notes, but saw Suderman’s request as a challenge to compose something more lively. “I like the mix of moods,” he says of his piece, which combines a triumphal beginning and ending with a lyrical, almost march-like middle section. 73
While Terry and Suderman shaped the piece, the students in Camerata Singers had the opportunity to give direct feedback. “The educational significance of this commission is really important,” Terry points out. Adds Suderman: “It’s not often that students have the opportunity to work with the composer.” The song was premiered at several churches in the Midwest during Camerata Singers’ spring-break tour March 1–8. Dr. Adam Schattschneider, professor of music, has been awarded Bluffton’s Trollinger Faculty Scholarship Grant for the next two academic years. He will receive release time for a collaborative project to record and produce a CD of solo and chamber praise and worship music featuring flute, clarinet and saxophone.
BALDWIN WALLACE UNIVERSITY CONSERVATORY OF MUSIC The Baldwin Wallace University Conservatory of Music is very excited to host the Cleveland International Piano Competition’s 2015 Young Artists Competition May 12–21. The competition will include 25 contestants, ages 12–18, from around the globe as well as master classes by festival judges and BW faculty for local pianists. The opening ceremony, guest artist recitals, master classes and competition rounds are open to the public; more information and tickets are available at www.clevelandpiano.org. The 2015 Baldwin Wallace University Conservatory of Music’s upcoming summer programs for middle and high school students are filling up quickly. Fourth through ninth grade students who wish to participate in String (June 13–18); Piano (June 13–18); Band (June 20–25); or Music Theatre (June 20–25) Camps must apply by May 1. A few spots remain in the high school BW CSI: Conservatory Summer Intensive (July 1225) for specific instruments as well. Applications and additional information is available at: www.bw.edu/ summer-music-programs. BW’s annual International Guitar Festival, May 16 and 17, with guest artists Denis Azabagic (Bosnia), Socrates Leptos (Cyprus) and Duo Amaral (Mexico/ Israel) will feature master classes and recitals with all of the guest artists. Guitar luthiers and vendors will also be presenting. Observer passes, participant passes and individual recital tickets are still available. The Institute for Music Teaching and Learning has 74
another rich set of offerings for summer 2015. These professional development courses for music educators take place in June and July and registration is now open.
UNIVERSITY OF DAYTON
Dr. James Hiller (music therapy) contributed a chapter titled “Aesthetic Foundations of Music Therapy: Music and Emotion” to Music Therapy Handbook, published by Guilford Press in January of 2015. In 2014 Dr. Hiller was a presenter at the Annual Conference of the American Music Therapy Association in Louisville, Kentucky and at the World Congress of Music Therapy in Krems, Austria. Dr. Linda A. Hartley (music education) presented sessions at the 2015 OMEA state professional development conference on the topics of gender and ethnicity in band conducting, and preparation for a college teaching position. Dr. Hartley and coauthor S. Edgar contributed a chapter titled “Adult Music Teaching and Learning” in the 2015 textbook publication, Musicianship: Focused Curriculum and Assessment, edited by C. Conway (GIA). Under the leadership of Dr. Samuel Dorf (music history), UD music history students collaborated with history majors in a lecture recital titled, “History, Music, Culture and the Great War (1914-1918)” presented at the University’s Stander Academic Symposium in April. Dr. Donna M. Cox presented two sessions at the 2015 OMEA Conference in February. In March she presented a workshop during the Sigma Alpha Iota Province Day at the University of Dayton and traveled to Brattleboro, Vermont where she gave master classes and coached The Bright Wings Chorus, a touring ensemble specializing in the performance of unaccompanied American music, on singing Spirituals with authenticity. Dayton Opera’s production of Jake Heggie’s opera Dead Man Walking featured several UD faculty and students. Dr. Minnita Daniel-Cox, soprano, sang the role of Sister Rose; Dr. Ryu-Kyung Kim, mezzosoprano, sang Jade Boucher; Andrea Chenoweth Wells, soprano, sang Kitty Hart; and baritone Errik Hood sang the Motorcycle Cop and Prison Guard One. Students F. Alec Brown and Josh Houston sang the roles of the Young Brothers. Performances were in February and March at Dayton’s Schuster Performing Arts Center. TRIAD
UNIVERSITY OF MOUNT UNION
Robin Tryon, flute, Patricia Olsson, saxophone, and Ivy Adams, pianist, collaborated on a faculty showcase recital, performing Les tréteaux by Pierre Max DuBois. The Flute Choir, Robin Tryon, director, performed at Westbrook Park Church and at the Central Ohio Flute Festival. They also performed with the Alliance Symphony Orchestra on the composition, “Hope is the Thing with Feathers” written by Eric Benjamin, conductor. Tryon also directs the Stark County Honors Flute Choir, a select high school ensemble that rehearses and performs on campus during the spring semester. Elaine Anderson, D.M.A. performed a recital on August 26, 2014 at Presser Recital Hall on the Campus of the University of Mount Union with pianist Janelle Phinney. They performed works by Brahms, Lucas Foss and Arvo Pärt. Anderson was the featured cello soloist on Pärt’s Fratres with the Alliance Symphony Orchestra on October 5, 2014. She will perform the piece again on March 14 with the Tuscarawas Philharmonic at the Kent State Stark Performing Arts Center. Anderson conducted Mount Union’s Repertory Strings Chamber Orchestra twice this academic year. Works included Bach’s Orchestral Suite in B minor, Mozart’s Eine kleine Nachtmusik, and Saint-Saëns’s Carnival of the Animals with the Appassionata Piano Duo of Maira Liliestedt and Janelle Phinney. Besides her performance with the Repertory Strings Chamber Orchestra, Associate Professor Dr. Maira Liliestedt is performing three solo recitals in several different concert venues and giving master classes in the Midwest during her sabbatical this spring. She is also the featured soloist on Mozart’s Piano Concerto in D minor on April 12 with the Alliance Symphony Orchestra. Eric Benjamin led the Alliance Symphony Orchestra in an October program including Dvořák’s Symphony in G major, as well as pieces by Nelhýbel, Paul Whear, and Arvo Pärt. Benjamin plans a grand concert to celebrate the first performance of the Alliance Symphony in Mount Union’s new Brush Performance Hall on April 12, 2015 with one of his own works, “Hope is the Thing with Feathers”; a work by Gabrielli; Ive’s Unanswered Question; Mozart’s Piano Concerto in D minor, featuring pianist Maira Liliestedt; and Respighi’s Pines of Rome. APRIL/MAY 2015
Dr. Patricia Boehm, soprano, and Professor Ronald Hazelett, bass, performed Mozart’s Requiem with the Tuscarawas Philharmonic Orchestra in March. Dr. Elaine Anderson, ‘cello, was also featured as a soloist and performed Fratres by Arvo Pärt. Also performing in the orchestra were Dr. James Perone and alumna Lindsay Nicholson-Moreland. A gala celebration was held in February to mark the opening of the Giese Center for the Performing Arts on the Mount Union campus. This new facility houses the Department of Theatre, a new choral rehearsal hall, a new black box theatre, a renovated art gallery, and a state-of-the-art performance hall that will seat 450 arts patrons. Gala Opening Concerts featured weekend performances by Mount Union’s Repertory Strings, Wind Ensemble, Concert Band, Concert Choir, Cantus Femina, and musical theatre students, as well as the professional artists Chicago Boyz, rePercussion, and the Rat Pack.
WRIGHT STATE UNIVERSITY SCHOOL OF MUSIC
Dr. Christopher Chaffee (flute) has been invited to perform at the National Flute Association convention in August 2015. This is the 4th year in a row he will perform at the NFA convention and was selected from over 500 proposals from flutists around the world. Dr. Shelley Jagow (saxophone and Associate Director of Bands) completed her woodwind method book series: Intermediate Studies for Developing Artists (for Flute, Oboe, Clarinet, Saxophone, and Bassoon) published by Meredith Music. Jagow is serving as Honor Band Conductor for: LMEA District 7, OMEA District 11, Indiana Bi-County, and the International Music Camp, and this summer she will be part of the Wind Conducting Faculty at the Montreal Conducting Symposium. Dr. Gretchen McNamara (trombone) presented at the OMEA Conference: “Tips and Tricks for Teaching Trombone: Sound, Slurring, and the Slide.” McNamara guest conducted the OMEA District 14 Honor Middle School Jazz Ensemble and has been an Artist in Residence with the Centerville High School jazz ensembles this year. In the summer of 2014, Dr. Jackson Leung (piano and Chamber Orchestra) was the recipient of the “Excellence in Piano Teaching Award” at the Carmel 77
International Piano Competition and the Outstanding Conductor Award at the Advanced Conducting Academy in Romania. He will be featured as a guest conductor with the Mihail Jora Philharmonic Orchestra of Bacau in Romania during its 2015–16 season. Leung’s CD recording with the Bohuslav Martinu Philharmonic in the Czech Republic has received nine broadcasts on WGUC, Cincinnati, and fourteen broadcasts on WDPR, Dayton. This summer double reed faculty members Katherine DeGruchy (oboe) and Bill Jobert (bassoon) will be teaching alongside the double reed professionals of Double or Nothing Reeds as the Double or Nothing Oboe and Bassoon Camp is held on the Wright State campus the week of July 13–17. http://www. doubleornothingoboeandbassooncamp.com/
YOUNGSTOWN STATE UNIVERSITY DANA SCHOOL OF MUSIC On Saturday, January 10 on the campus of Youngstown State University, the Dana School of Music held the OMEA District V/Dana Summit involving 18 area music teachers and several Dana faculty members. The “heart” of this event was to strengthen the connection of music teachers in District V with the music faculty at the Dana School of Music. Dr. Paul Louth conducted an engaging presentation and discussion on music education advocacy, while area teachers provided comments and suggestions pertaining to advocacy in District V. All attendees had the chance to co-compose and perform a musical work for smart phones and computer tablets in an effort to experience and investigate a technology-based learning activity for a wide range of students. The event concluded with a structured round table discussion led by Dr. Daniel Keown exploring ways how the Dana School of Music can assist and support area music teachers and their students. As an outcome of this summit, the Dana School of Music looks forward to providing future professional development sessions concerning specific issues and topics for area music teachers, while exploring new
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and innovative ways for K–12 music students and Dana music students to collaborate at their schools and within the community.
THE UNIVERSITY OF AKRON
Dr. Daniel McCarthy, Professor and Chair of the Composition and Theory Section, was recently awarded the Ohio Arts Council Excellence in Composition Fellowship and The University of Akron Outstanding Faculty Research Award. The annual High School Band Clinic took place on February 18 in EJ Thomas Performing Arts Hall on the University of Akron campus. The clinic included performances by the U of A Symphonic Band, Dr. Galen Karriker, director; the U of A Concert Band, Andy Feyes, director; the Jackson High School Concert Band, David Gleason, director; the Jackson High School Symphonic Band, Michelle Monigold, director; and the Lowellville High School Concert Band, Robert Antonucci, director. Guest conductor was Dr. Frank Tracz, Director of Bands, Kansas State University. Dr. Gene Milford, Senior Lecturer in Music Education has been commissioned by the Madison High School Band (Kristy May, director) and the Perry (Lake County) High School Band (Brad Hruska, director) to write an original work for band. Each band will premier Lake Dances in May. The North East Ohio Clarinet Association will be sponsoring noted pedagogue and performer, Nathan Williams, on April 1 for a clarinet master class and recital. Williams is Professor of Clarinet at the University of Texas-Austin. The University of Akron Brass Performance Seminar for High School Students returns this summer, June 6–10, 2015. This workshop is for advanced high school brass players. U of A School of Music brass faculty will provide instruction. Contact Dr. James Albrecht (jalbrecht@uakron.edu) for more information. The 2nd annual U of A Saxophone Camp will take place this summer, June 15–19, 2015. The camp is for students in grades 9–12. Contact Dr. Todd Gaffke (tgaffke@uakron.edu) for more information.
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OMEA GENERAL MUSIC General Music: Improving Student Achievement by Focusing on Teacher Excellence Suzanne Walters; OMEA General Music Chair I am going to presume to speak for all teachers for a moment and state that, at some time in our careers, each of us has attended a conference session, clinic, inservice, or conversation with another teacher, and perhaps at some point we had something similar to one of the following thoughts: “I never thought of doing that.” OR “I already do that but did not understand why it is so effective.” OR “I already do that, understand its effectiveness, and am glad to know other teachers do it too.” Examining what we do, why we do it, and why it works is a natural component of effective teaching. Excellence in teaching is the result of consistency and effectiveness across the many areas of this profession. The Master Teacher Program requires that teachers
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examine, reflect on, write about, and provide evidence for their effectiveness, and the resulting designation is a public recognition and acknowledgment of teacher excellence. Detailed information regarding this program and the requirements for achieving it is listed on the Ohio Department of Education website. In a brief summary, I list below the five areas in which master teacher candidates must demonstrate excellence, along with some suggestions as to how this might be accomplished or may already be implemented into one’s teaching practices. CRITERION A: CONSISTENT LEADERSHIP Participation in and execution of associated duties on Advisory Committee, Curriculum Committee, or other leadership position at the building level; Department Chair or Curriculum Committee at the district level; District Arts Representative at the county level; committee chair or member at the state level.
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CRITERION B: FOCUSED COLLABORATION Working together to incorporate interdisciplinary or intra-departmental objectives with other teachers at the building, district, county, or state level. CRITERION C: FOCUS ON STUDENTS AND ENVIRONMENT This is quite challenging in the General Music classroom if the format is highly teacher-directed, as this criterion is getting directly at differentiation. This is much more easily achieved in a classroom that incorporates student-directed activities such as learning centers or Orff lessons. CRITERION D: FOCUS ON CONTENT, INSTRUCTION, AND ASSESSMENT This one is easy! S.L.O. CRITERION E: CONTINUED PROFESSIONAL GROWTH This can be a tricky one because it is more than simply participating in professional development. The PD activities must be related to student achievement
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data and goals, as well as using that data to discover the teacher’s professional strengths and weaknesses and participate in professional development that addresses those strengths and weaknesses.Working to obtain this designation is rigorous and time-consuming to be sure, but the process of self-examination and reflection is so valuable that it makes the investment of time and energy worthwhile. Students benefit from teachers that are willing to think, reflect, adapt, and change when necessary, and keeping the interests of the students in mind is always the goal.If I can be of assistance to you in answering questions regarding the Master Teacher program, or other aspects of the wonderful world of elementary general music, please do not hesitate to contact me. Best wishes for great success in the remaining months of the school year! Suzanne Walters teaches Elementary General Music in the Jackson Local Schools in Massillon, Ohio. She is the Elementary Repertoire and Standards Chair for the Ohio Choral Directors Association, and the Assistant Director of Children’s Choruses for The Cleveland Orchestra. She lives in North Canton with her husband and three children.
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Creating Jazz Poetry in the Early Elementary Classroom Peter Schomburg This school year I decided, with the help from Mr. Bill Burns, to start a yearlong project with first grade classes that would integrate literacy and music. The means for this project is jazz and poetry. I wanted the project to allow the students to be involved in the creation of most, if not all aspects, of creating the poetry, the accompanying music, and the artwork with each poem. I am acting more as a guide to help mold the students’ ideas into elements the entire class can learn and perform. As mentioned above, Mr. Bill Burns, the music teacher at Cline Elementary in Centerville City Schools, has been assisting in the process with ideas for resources, mini-lessons, and how to implement many of my ideas. Many of these lesson plans are available at http://www.jecohio.org. This project would not have been possible without Mr. Burns guiding me through the process and sharing these great jazz education resources. The jazz poetry project is currently ongoing so this will be an overview of what has occurred so far with the project and my plans for the rest of the school year. The first two quarters of the school year served as preparation time for the students. Books on Louis Armstrong, Ella Fitzgerald, Tito Puente, and the blues were interspersed with listening, movement, and
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video activities corresponding to the musician being discussed during a given class (a list of resources used and be found at the end of the article). Informal formative assessments were given verbally as the class moved on from one activity to another, or as students were lining up to leave class to serve as a constant reminder of topics and people discussed in previous activities. Small, in-class performances based on material from Louise Rogers and Susan Milligan’s Jazz Mosaic were used as a primer to performances practices to be used at the end of the year to accompany the class poetry. No original poetry or music was created throughout the first two quarters because the primary focus was to get the students more familiar with jazz music and some musicians that play it. Every class some out amount of jazz is heard by the students. Most of the students have little knowledge of any jazz to start out the year, so this time was spent building a foundation upon which they can lean in the future with some familiarity of what—and how—jazz makes them feel. The primary focus of many lessons was not the poetry project, but simply to hear, discuss, move, and react to music unfamiliar to them. Winter and spring quarters serve as time to begin
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creating poetry and music based on learned material from the fall quarters. Louis Armstrong is the first musician we used to write about. After reviewing what we already knew of Louis, we began coming up with simple words, or images, that reminded the students of Louis. From there we decided on a title as a launching point to begin writing phrases for our poems. I would help guide the students towards words that might rhyme better, or fit more with what we have learned about Louis Armstrong. Here is an excerpt from a class poem entitled, “Louis, Louis Down the Street” by Miss Weller’s class: Louis, Louis down the street Singing that wonderful beat. Louis, Louis never stopped His playing won’t ever be topped. Similar processes were used to create poems based on the blues, Ella Fitzgerald, and Tito Puente. Once our short poems are written we will practice them on occasion while adding layers of performance practice including: individuals reciting portions of the poem, the entire class reciting other portions, creating rhythmic motifs on rhythm sticks and other percussion instruments using learned note values (quarter, eighth, half, and the corresponding rest values), and simple harmonic ostinati (such as open fifths) using Orff instruments. By adding layers of varying difficulty it allows every student of almost any ability to be a crucial part of the creation and performance of the poem. We will add artwork to each poem designed by the class to match themes from each poem as well as a cover page mixing themes from all four of the class poems. At the end of the two quarters the classes will get to perform their poems with all of the layers added in class to create a poetry jam with art, music, and poetry. This year, most of the performances will be informal, in-class performances with some teachers invited. Four classes will be performing their poems in an inschool luncheon for their parents. In future years I would like to have each class be able to perform in a more formal setting. My hope for this project was not only to use differentiated lessons with multiple types of activities, but also to integrate literacy, music, art, and performance into a long term project that can be developed throughout an entire school year. I plan on sharing our final work with the Jazz APRIL/MAY 2015
Education Connection of Ohio. Check the JECO website in May to see the rest of our jazz poems and hopefully some YouTube clips of our performances. Do you have any lessons integrating Jazz and poetry? If so, I encourage you to share your lessons plans and student work as a model for other music teachers. As a jazz musician myself, I have enjoyed sharing this great music with my students. In addition to promoting National Standard 6: Listening to, analyzing, and describing music, students are having fun enjoying the great American art form. I encourage you to get your kids swinging with Jazz! They will thank you later! Resources Texts Boynton, Sandra. One Shoe Blues. Workman Publishing Company. New York, NY. 2009. Brown, Monica and Rafael Lopez. Tito Puente: Mambo King/Rey del Mambo. Harper CollinsPublishers. Broadway, NY. 2013. Bryan, Ashely and George David Weiss and Bob Thiele. What a Wonderful World. Atheneum Books for Young Readers. New York, NY. 1995. Fitzgerald, Ella and Ora Eitan. A-Tisket A-Tasket. Philomel Publishing. 2003. Rogers, Louise and Susan Milligan. Jazz Mosaic: Jazz Activities for the Early Childhood Classroom. Alfred Music Publishing. Van Nuys, CA. 2013. Weinstein, Muriel Harris and R. Gregory Christie. When Louis Armstrong Taught Me Scat. Chronicle Books. San Francisco, CA. 2008. Songs Armstrong, Louis. “Blues for Yesterday.” The Complete RCA Victor Recordings. Armstrong, Louis. “Potato Head Blues.” The Best of Louis Armstrong: The Hot Five and Hot Seven Recordings. Armstrong, Louis. “What A Wonderful World.” What a Wonderful World. Davis, Guy. “We All Need More Kindness In This World.” Legacy. Fitzgerald, Ella. “Flyin’ Home.” Essential Ella Fitzgerald. Fitzgerald, Ella. “A-Tisket A-Tasket.” Ultimate Ella Fitzgerald. Puente, Tito. “Mambo Gallego.” Royal T. Puente, Tito. “Mambo Gozόn.” Mambo Birdland. Terry, Clark. “Mumbles.” Jazz For Kids: Sing, Clap, Wiggle, and Shake.
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PROFESSIONAL DEVELOPMENT & ASSESSMENT Workshops, Continuing Education,Camps, and More for Teachers & Students BALDWIN WALLACE UNIVERSITY 2015 BW Summer Institute for Music Teaching and Learning The Institute provides high-quality professional development courses contextualized for the music educator. All classes are taught on the BW campus; participants receive graduate or undergraduate credit (depending on credentials). Registration is now open for the following 2015 courses: Intermediate Guitar Skills for Educators June 15–17; 12:00–4:30 pm; 1 credit; Lalene Kay, MT-BC, Instructor West African Drumming, Song, and Dance: An Introduction to Afro-Centric Music June 15–19; 9:00 am–4:30 pm; 2 credits; Josh Ryan, Instructor Creating, Performing, and Responding to Music with Technology June 22–25, 9:00 am–4:30 pm; 2 credits; William Bauer, Instructor The iPad in Music Education June 29–30, 9:00 am–4:30 pm; 1 credit; William Bauer, Instructor Creating and Measuring Learning Objectives in the Kodály-Inspired Classroom June 29–30, 9:00 am–4:30 pm; Nyssa Brown, Instructor Orff-Shulwerk Teacher Education Course Level I* July 6–17 (Monday–Friday); 8:00 am–4:30 pm; 4 credits; Tim Purdum, Laura Webster & Alan Purdum, Instructors Orff-Schulwerk Teacher Education Course Level II* July 6–17 (Monday–Friday); 8:00 am–4:30 pm; 4 credits;
Michelle Przbylowski, Laura Webster & Alan Purdum, Instructors
Gordon Institute for Music Learning, Early Childhood Music Level 1* July 20–July 31 (Monday–Friday); 8:30 am–5:00 pm; 4 credits; Jennifer Bailey & Herbert Marshall, Instructors *On-campus housing is available during the Orff-Schulwerk and Gordon Institute courses. For more information or to register, visit: www.bw.edu/academics/ conservatory/outreach/profdevelopment/
APRIL/MAY 2015
THE OHIO STATE UNIVERSITY SCHOOL OF MUSIC (Columbus Campus) Flute Workshop June 14–18, 2015 Weigel Hall music.osu.edu Contact: Katherine Borst Jones or MusicOutreach@osu.edu Jazz Camp June 14–18, 2015 Weigel Hall music.osu.edu Contact: Ted McDaniel or MusicOutreach@osu.edu Morning String Student Workshop June 15–July 1, 2015 Steinbrenner Band Center (Ohio Stadium) music.osu.edu Contact: Robert Gillespie or MusicOutreach@osu.edu Clarinet Academy June 21–25, 2015 Weigel Hall music.osu.edu Contact: Caroline Hartig or MusicOutreach@osu.edu String Teacher Workshop July 5–11, 2015 Weigel Hall music.osu.edu Contact: Robert Gillespie or Workshop Administrator Ohio State Marching Band Clinic July 12–13, 2015 Steinbrenner Band Center (Ohio Stadium) music.osu.edu Contact: MusicOutreach@osu.edu Student Leadership Intensive July 15–18, 2015 Steinbrenner Band Center (Ohio Stadium) music.osu.edu Contact: David Hedgecoth or MusicOutreach@osu.edu
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OMEA ALL-STATE CHILDREN’S CHORUS AUDITIONS! The OMEA All-State Children’s Chorus Auditions will take place from April 1-June 1, 2015. Auditions will be open to public, private and home school students who: - Will be enrolled in grades 4 and 5 during the 2015-2016 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 “America the Beautiful” (Key of C Major unaccompanied) 3. Sing “O Music” by Lowell Mason-public domain (any key unaccompanied) 4. Recordings of individual selections should NOT be edited or spliced 5. 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 June 1: 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. November/December 2015 & January 2016: Regional rehearsals (TBA) January 28: OMEA All-State Children’s Chorus All-Day Event Hyatt Regency Cincinnati (Headquarter Hotel) 151 W. Fifth St. Cincinnati, Ohio 45202 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 childrens_chorus@omea-ohio.org APRIL/MAY 2015
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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 insure that the benefits acquired by students experiencing music are available for them now and in the future. Please apply my gift as indicated. Donor Information: (Please print legibly or type this form.) Name:__________________________________________________________________________________________ Street Address:___________________________________________________________________________________ City:______________________________________________ State:____________ Zip + 4_________________________ Email Address:___________________________________________________________________________________ Best Phone:_______________________________________ _____OMEA Member
_____OCMEA Member
_____Parent
_____Friend of Music Education
Donation Information: Donation Amount:
$___________________
Donation Category:
_______ Foundation General Fund for Financial Growth
(Check area for donation)
_______ OMEA Memorial Scholarship Fund
_______ Charles H. Benner Leadership Academy
_______ This is my Annual Campaign Contribution for calendar year 2015.
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 88
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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 is now exceeding the capacity of TRIAD. A complete listing is available by visiting the OFME website Donor page to review donations received between 1/1/14 to 2/1/15. The OFME Donor page is maintained daily with new donations. Click here to visit the OFME Donor Page to view Recognitions/Memorials, etc.: http://www.ohiofoundationformusiceducation.org/Donation/donorlist.php
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PUBLICATION SCHEDULE
TRIAD ISSUE October/November 2014 December ‘14/January ‘15 April/May 2015
*Copy must be in the hands of the editor on schedule.
DEADLINE DATE* August 11, 2014 October 6, 2014 February 16, 2015
POSTING DATE** October 6, 2014 December 8, 2014 April 13, 2015
*Deadline Date: The date material must be received 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 OMEA Business Manager David Adamson for assistance.
ADVERTISERS/WEBSITES Ashland University. . . . . . . . . . . . . . . . . . . . . . http://www.ashland.edu. . . . . . . . . . . . . . 79
Otterbein University. . . . . . . . . . . . . . . . . http://www.otterbein.edu. . . . . . . . . . 47
Baldwin Wallace University . . . . . . . . . . http://www.bw.edu/conservatory. . . 65
Quaver Music.com. . . . . . . . . . . . . . . . . . . http://www.qk-5.com/. . . . . . . . . . . . . . 16
Bob Rogers Travel . . . . . . . . . . . . . . . . . . . http://www.bobrogerstravel.com. . . . 4
Rettig Music, Inc. . . . . . . . . . . . . . . . . . . . . http://www.rettigmusic.com. . . . . . . . IFC
Bowling Green State University . . . . . . http://www.bgsu.edu/music. . . . . . . . 55
Royalton Music Center. . . . . . . . . . . . . . . http://www.royaltonmusic.com. . . . . 11
Capital University . . . . . . . . . . . . . . . . . . . http://www.music.capital.edu . . . . . . 75
Smoky Mountain Music Festival. . . . . . . . . http://www.smmfestival.com. . . . . . . . . . 15
Case Western Reserve University. . . . . . . http://music.case.edu. . . . . . . . . . . . . . . 15
Soundwaves Recording. . . . . . . . . . . . . . http://www.soundwaves.org . . . . . . . 79
CCIS, Inc.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . http://www.ccistravel.com. . . . . . . . . . . . . 76
Stanton’s Sheet Music. . . . . . . . . . . . . . . . . . . http://www.stantons.com. . . . . . . . . . . . . . 89
Charms Office Assistant. . . . . . . . . . . . . . . . . http://www.charmsoffice.com . . . . . . . . . 69
Steve Weiss Music. . . . . . . . . . . . . . . . . . . . . . . http://www.steveweissmusic.com. . . . . . 44
Cleveland State University. . . . . . . . . . . http://www.csuohio.edu/class/music.61
Summit Tour & Travel . . . . . . . . . . . . . . . . http://www.summittourtravel.com. . 40
CMS Publications . . . . . . . . . . . . . . . . . . . . . . . http://www.cmspublications.com. . . . . . 81
University of Akron, The . . . . . . . . . . . . . http://www.uakron.edu/music. . . . . . 52
College of Wooster, The. . . . . . . . . . . . . . http://www.wooster.edu/music. . 12,90
University of Cincinnati . . . . . . . . . . . . . . . . . http://www.ccm.uc.edu. . . . . . . . . . . . . . . . 84
EPN Travel Services. . . . . . . . . . . . . . . . . . http://www.epntravel.com . . . . . . . . . 18
University of Dayton. . . . . . . . . . . . . . . . . http://academic.udayton.edu/music.59
Heidelberg University . . . . . . . . . . . . . . . http://www.heidelberg.edu. . . . . . . . .72
University of Mount Union. . . . . . . . . . . http://www.mountunion.edu/music. 48
Kent State University . . . . . . . . . . . . . . . . http://dept.kent.edu/music. . . . . . . . . 38
Wittenberg University. . . . . . . . . . . . . . . . . . . . http://www.wittenberg.edu/music. . . . . . 86
Malone University. . . . . . . . . . . . . . . . . . . http://www.malone.edu/music . . . . . 67
Wright State University . . . . . . . . . . . . . . . http://www.wright.edu/music/. . . . . . . 26
Marietta College. . . . . . . . . . . . . . . . . . . . . http://www.marietta.edu/~musc/. . . 49
Yamaha Corporation of America. . . . . . http://www.yamaha.com. . . . . . . . . . IBC
Messiah College . . . . . . . . . . . . . . . . . . . . . . . . http://www.messiah.edu/conducting. . 44
Youngstown State University. . . . . . . . . http://www.ysu.edu/dana . . . . . . . . . . . 9
Miami University. . . . . . . . . . . . . . . . . . . . http://www.muohio.edu/music . . . . . 42 Musicians Repair Service. . . . . . . . . . . . . . . . http://www.mrsakronohio.com . . . . . . . . 91
Bold signifies a Corporate/Institutional Partner
Muskingum University. . . . . . . . . . . . . . . . http://www.muskingum.edu/dept/music ..71 Noteworthy Tours . . . . . . . . . . . . . . . . . . . http://www.noteworthytours.com . . . 2 Ohio Northern University. . . . . . . . . . . . . http://www.onu.edu/music. . . . . . . . . . 25 Ohio State University, The. . . . . . . . . . . . http://www.music.osu.edu . . . . . . . . 7,38 Ohio University . . . . . . . . . . . . . . . . . . . . . http://www.finearts.ohio.edu/music.36
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