The Official Publication of the Ohio Music Education Association
April/May 2016 Vol. LXXXIlI, No. 3
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FIND OMEA E H T N O WEB! APRIL/MAY 2016
1
IN THIS ISSUE FROM THE DESK OF... 6 8
Editor of TRIAD - Marc Parulekar OMEA President - Terry Herschman
A LOOK BACK
19 2016 OMEA PDC Photo Highlights 28 25 Year Award Recipients 30 Research Poster Session Summaries
LOOKING AHEAD
37 Performing Ensembles Form 41 All-State Ensembles Form 44 All-State Children’s Chorus
TEACHING TIPS 46 48 52 56 58 62 66 70 72 74
BAND - Dr. Stephen L. Gage; Youngstown State University BAND - Dr. Zebulon M. Highben; Muskingum University CURRICULUM & ASSESSMENT - Dr. Nathan B. Kruse; Case Western Reserve University GUITAR - Dr. Megan M. Sheridan; University of Florida JAZZ - Mike Smith; The Ohio State University MULTICULTURAL - Dr. Linda B. Walker; Kent State University TEACHER EDUCATION - Mark Sholl; Hilliard Davidson High School TECHNOLOGY - Dr. Linda B. Walker; Kent State University TECHNOLOGY - Mark Sholl; Hilliard Davidson High School WOODWINDS - Dr. Linda B. Walker; Kent State University
NEWS & COMMITTEE REPORTS 76 79 86 88 90 92 94 96
History Higher Education News Adjudicated Events - News and Updates Curriculum General Music Jazz Education Connection of Ohio Ohio Choral Director’s Association Ohio Collegiate Music Education Association
5 13 100 104
Information Network Corporate/Institutional Partnership Listing OFME Music Education Donor Form & OFME Donor Link TRIAD Publication Schedule & Advertising Index
EDITOR: Marc Parulekar
editor_of_triad@omea-ohio.org
DESIGN/PRODUCTION: Amy Annico
media_director@omea-ohio.org
ADVERTISING: David N. Adamson
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.
APRIL/MAY 2016
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OMEA INFORMATION NETWORK OMEA OFFICE P.O. BOX 1067 Massillon, OH 44648 330.833.5677 - Office 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 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 Mark A. Hensler Director of Professional Development 513.240.1572-O pd_director@omea-ohio.org William K. Guegold Director of Adjudications 330.592.0539-O adjudications_director@omea-ohio.org Dane Newlove Director of Adjudicated Event Materials and Awards 419.394.2232-O ae_materials_director@omea-ohio.org OMEA is an Affiliate of NAfME National Association for Music Education www.nafme.org Allied Organizations of OMEA: Ohio Alliance for Arts Education www.oaae.net Ohio Arts Council www.oac.state.oh.us Ohio Choral Directors Association www.ohiocda.org Ohio String Teachers Association www.ohiostringteachers.org Jazz Education Connection of Ohio www.jecohio.org
APRIL/MAY 2016
OMEA TRUSTEES Terry Herschman President president@omea-ohio.org
OCMEA OFFICERS Patrick Specht OCMEA President ocmea_president@omea-ohio.org
Michael Crist President-Elect president_elect@omea-ohio.org
Luke Grieshop OCMEA President-Elect ocmea_president_elect@omea-ohio.org
Patricia Meeks Immediate Past-President past_president@omea-ohio.org
Sarah Bishop OCMEA Secretary ocmea_secretary@omea-ohio.org
Dana Hire Secretary secretary@omea-ohio.org
Michael Reese OCMEA Editor ocmea_editor@omea-ohio.org
Marc Parulekar Editor of TRIAD editor_of_triad@omea-ohio.org
Miwako Hayama OCMEA Treasurer ocmea_treasurer@omea-ohio.org
Benjamin Factor Treasurer treasurer@omea-ohio.org 2015-2016 TRIAD EDITORIAL BOARD EDITOR Marc Parulekar
GRAPHIC DESIGN/LAYOUT Amy Annico
Pickerington North High School
Ohio Music Education Association
PAST EDITOR Matthew Warner
JAZZ Mike Smith
Rapid Run Middle School
The Ohio State University
BAND Scott Jones
MULTICULTURAL Linda Walker
The Ohio State University
Kent State University
BAND Jeff Gershman
ORCHESTRA/STRINGS Mark Sholl
Capital University
Hilliard Davidson High School
BRASS Chris Blaha
TEACHER EVALUATION Heather Russell
University of Akron
Cleveland State University
CHORAL/VOCAL Rich Schnipke
TECHNOLOGY Brian Laasko
Xavier University
McKinley High School
CURRICULUM & ASSESSMENT Nathan Kruse
WOODWINDS Shawn Reynolds
Case Western Reserve University
Youngstown State University
GENERAL MUSIC Christina Pelletier-Blazakis The Ohio State University
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FROM THE DESK OF... Marc Parulekar, OMEA Editor The Ohio Music Education Association is an amazing organization that is built on service and volunteerism. Each and every year music educators with no extra time to give, find a way to squeeze a few more tasks into their busy week to help keep OMEA working for our talented teachers and amazing students. Without the contribution of these selfless music educators OMEA would cease to function. I encourage all of you to attend OMEA district meetings, seek out small ways you can help your OMEA district run events, and find out if there are any committees or projects where you can lend a hand. The task of maintaining and keeping OMEA relevant is enormous and your perspective, time and talents are vital to our continued success. Many hands make light work. 2016 APRIL/MAY TRIAD We hope to continue the work of providing our membership with informative articles and timely information. Special thanks to our amazing Director of Media and Publications, Amy Annico, for her work in making Triad a great resource for music educators. Be sure to check out the OMEA Blog (make this a hyperlink to blog), Facebook Page and other social media accounts for the latest information on OMEA activities. Please feel free to contact me via email (editor_ of_triad@omea-ohio.org) to submit articles or to provide feedback. Below are a few articles you might find interesting, just click the article title to see the full text. - Understanding our history and preserving the wonderful stories of our past is an important mission 6
of this publication. Dr. Paul Sanders explores Ohio’s early commitment to music education (Resolutions Supporting Music Education, 1835-1839). - The ever-changing world of technology continues to provide new and innovative ways to help our students improve their musicianship. David Kilkenney (Developing Recording Skills With Voiceovers) and Lesley Schultz (Google: It’s More than a Search Engine) help us explore and apply online technologies for the music classroom. - Dr. Andrew Trachsel explores ways we can improve our awareness and interactions with performers throughout the rehearsal process (The Mindful Meastro). - This issue also includes a recap of our 2016 Professional Development Conference and information about how you can be involved in our 2017 Professional Development Conference in Cleveland, Ohio. Dr. Parulekar is in his 17th year of teaching and 13th year serving as director of bands at Pickerington North HS. He has also served as a graduate assistant director with the Ohio State University Marching Band, director of bands at West Jefferson High School and as assistant band director at Pickerington High School. Dr. Parulekar is a graduate of The Ohio State University where he earned a Bachelor of Music Education Degree, Master of Arts in Music Education, and Doctor of Philosophy in Music Education. He is a member of FBM, MENC, KKY, FMA, and an Eagle Scout. He and his wife, Tracie, make their home in Pickerington, Ohio with their nine-year-old son, Andrew, and three-yearold daughter, Abby. They enjoy watching Ohio State Football and attend the East Side Grace Brethren Church.
TRIAD
SCHOOL OF MUSIC YOUTH SUMMER MUSIC PROGRAMS 2016 RESIDENT PROGRAMS Jazz Camp • June 12-16 Clarinet Academy • June 12-16 Flute Workshop • June 19-23 Double Reed Camp • June 26-30 Student Leadership Intensive • July 6-9
Register online at music.osu.edu/outreach
DAY PROGRAMS New! Middle School Choral Academy • June 5-11 New! Middle School Concert Band Academy • June 5-11 Morning String Student Workshop • June 13-29 Ohio State Marching Band Summer Clinic • July 17-18 FACULTY Scott A. Jones, programs director Robert Gillespie Caroline Hartig David Hedgecoth Christopher Hoch Katherine Borst Jones
Karen Pierson Julia Shaw Robert Sorton Shawn Wallace
think in sound Undergraduate Programs
BS in Music Education BA in Music Double Major Dual Degree (e.g., with Engineering BS) Minor in Music
Graduate Programs
MA in Music Education with Licensure (MAL) MA in Music Education PhD in Music Education MA in Music History and Literature PhD in Musicology MA in Historical Performance Practice (HPP) PhD in Musicology with HPP Concentration DMA in HPP
music.case.edu APRIL/MAY 2016
p 216.368.2400
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FROM THE DESK OF... Terry Herschman, OMEA President As a profession, we are learning about effective ways to advocate for music education. Advocacy for music education can be carried out as social and political activism. It may cite studies of the benefits of music programs to students’ intellectual and emotional development. Prominent figures may testify to the positive effect that their music education has had on their lives. Advocacy can be directed to a local audience or may target lawmakers. Well-funded advocacy may have effective brochures and campaigns. I feel that our first tools for advocacy are the inspirational work we do in our classrooms and the passionate love for our students reflected in our teaching. Part of the philosophy of OMEA states that “For music to be indispensable to learning and life, it must be more than a shallow, passing experience for the student. Increased proficiency increases enjoyment, and competence begets respect for competence.” Students, parents and school communities react to high quality music achievement whether in individual performance, class lessons or ensemble performances. Truly outstanding work speaks volumes about music teachers and our profession. If the exceptional quality and impact of your teaching is the first thing that comes to mind when your students, parents and community think about your program, an essential first step is in place. To that end, I hope you are able to look back over the past year and find that OMEA has promoted the highest standards for your teaching, provided relevant professional development that promotes best practice, and provided you with the opportunity to share inspirational interaction with colleagues that impacts your teaching. I hope that OMEA is helping you to 8
become the best advocate for your program. This past year, OMEA activities have reflected forward-looking practice. The State Board approved a revision to Policies and Practices, which more accurately reflects changes that have been made within OMEA over the last few years and things that need to be adjusted for ongoing relevance. The strategic plan has been updated as well. Our Adjudicated Events committee has been responsive to members’ needs and will continue to implement refinements to AE offerings. Our professional development conference continues to be one of the most valued events for our members and the Cincinnati conference lived up to expectations and featured the wonderfully mild weather that we ordered as well. As we anticipate summer activities, I am looking forward to another exciting Leadership Academy in July. Graduates of the 2014 Academy are already serving as elected officers and committee volunteers and I am anxious to meet the new “class.” Also in July, OMEA is offering a workshop in “Teaching Guitar” July 18-22 at Gahanna-Lincoln High School. Check the OMEA website for registration information. This past year our OMEA Staff, including Mark Hensler, Dave Adamson, Amy Annico and Greg Taylor, led by Executive Director Roger Hall, have spearheaded an initiative to bring the benefits of OMEA professional development to underserved populations of music teachers and students in urban and rural settings. In January, the cruise raffle kicked off the initiative and we anticipate the first efforts to be reflected in our next conference, in Cleveland, February 2-4, 2017. Our members have asked that OMEA reach out to urban and rural educators and I TRIAD
SESSION 1 June 29 - July 10
SESSION 3 July 27- August 7
SESSION 2 July 13 - July 24
SESSION 4 August 10 - August 21
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would like to thank our staff for their interest and drive in this worthy project. And now, as my term as President of OMEA comes to an end, I must share that I have emerged a better educator, stronger advocate and more appreciative member of an association that has been large in my life for many years. I would like to thank Roger Hall for his care and vigilance in overseeing the organizational-well being and practical management of OMEA as well as his protective concern for every single member. I am blessed to have been mentored by Pat Meeks, whose knowledge and devotion to OMEA has helped us to keep the association moving ahead. Thank you for your forward-looking vision during my last four years. I want to thank outgoing State Treasurer, Ben Factor for his constant and thoughtful consideration of all things OMEA. And I am grateful to the rest of our team of trustees - Mike, Marc and Dana for their vigilance, ongoing stewardship and thoughtful vision and reflection on behalf of all of us.
I also want to thank the scores of OMEA volunteers that plan and execute conference sessions and performances, All-State performing groups, District and State Adjudicated events, District Honors’ Ensembles and everything else that makes OMEA the remarkable Association that it continues to be. YOUR spirit of volunteerism is the same which inspires ME to serve OMEA and I look forward to the next two years, as Past-president, serving with President Crist and continuing my work with a most inspiring membership. Terry Herschman earned both B.M. and M.M. from Kent State University, with an emphasis in choral conducting. She retired from teaching in 2014 after 36 years in the Mentor Public Schools. She directed Junior High and High School Choirs, taught General Music, Music Theory and Composition and served as music department co-chair. She has served OMEA as an adjudicator, clinician, large group event host, music selection committee member, District 7 Treasurer and State Treasurer.
YO U N G STOW N STAT E U N I V E RS I T Y
The Dana School of Music C O L L E G E O F C R E AT I V E A RT S & C O M M U N I C AT I O N
Celebrating 147 years of great music-making We offer innovative degrees leading to careers in the music industry: • Music recording with options in video production, entrepreneurship or jazz studies • Applied music with options in entrepreneurship or nonprofit leadership • Jazz performance and a new jazz emphasis music education degree Excellent scholarship opportunities, affordable tuition and caring faculty make the Dana School of Music a great value. Come see what we can do for you. For more information or to schedule an audition:
330-941-3636 www.ysu.edu/ccac 10
TRIAD
SCHOOL OF ART | COLLEGE OF MUSICAL ARTS | CREATIVE WRITING | THEATRE & FILM B
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where music takes flight
SESSION ONE J u n e 1 2 - 1 7 , 2 0 1 6 DouBle reeD | piano | recorDing sTring | Vocal arTs SESSION TWO J u n e 1 9 - 2 4 , 2 0 1 6 Brass | saxophone | Musical TheaTre
“One of the best summer programs for aspiring musicians.”
Center for Talented Youth at Johns Hopkins University
“I have more confidence in my voice because I feel valued as a musician here.”
Vocal Arts Student
Registration Open Feb. 1ST! www.bgsu.edu/smi
SCHOLARSHIPS AVAILABLE
MEET CHRIS MCKEE
YOUR EPN TRAVEL PROFESSIONAL “I enjoy working with great directors and teachers and helping them provide the best experience possible for their students by customizing value-added trip itineraries that maximize the goals of the group.” E CKE S M ialist I R CH r Spec Tou
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WHAT IS A GREAT STUDENT DESTINATION THAT MANY TEACHERS ARE NOT AWARE OF? Cleveland, Ohio is one of the best kept secrets in student travel. Cleveland has such a rich history. George Washington once said that a great city would stand in the blessed spot where the Cuyahoga River met Lake Erie. Steel and oil barons built a monumental downtown which has grown into a modern-day cultural icon that includes the world-renowned Cleveland Museum of Art and the Cleveland Orchestra. The Rock & Roll Hall of Fame, Cleveland Aquarium and Great Lakes Science Center combined with the Hard Rock Café and Dinner and Sightseeing Cruises on Lake Erie make Cleveland a city that everyone should experience. Cedar Point Amusement Park, the “Rollercoaster Capital of the World” is just a short drive up the coast. Cleveland really has it all!
CORPORATE/ INSTITUTIONAL
2015-2016 CORPORATE/INSTITUTIONAL PARTNERSHIPS
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 partners. Your patronage of these educational advocates is strongly encouraged. All listings as of 12/1/15.
OHIO
PARTNER
L E V E L l l l - P R E S I D E N T ’S C LU B Blue Lake Fine Arts Camp
Bluffton University
Bob Rogers Travel
300 E. Crystal Lake Road Twin Lake, MI 46457 www.bluelake.org
1 University Drive Bluffton, OH 45817 unraul@bluffton.edu www.bluffton.edu
3440 Lacrosse Lane Naperville, IL 60564 info@bobrogerstravel.com www.bobrogerstravel.com
Bowling Green State University College of Musical Arts
Buddy Rogers Music
Conn-Selmer, Inc.
6891 Simpson Ave. Cincinnati, OH 45239 Customerserv@buddyrogers.com www.buddyrogers.com
P.O. Box 310 Elkhart, IN 46515 marketing@conn-selmer.com www.conn-selmer.com
Moore Musical Arts Center Bowling Green, OH 43403-0292 amlong@bgsu.edu www.bgsu.edu/music
Festivals of Music/ Music in the Parks 1784 West Schulykill Road Douglassville, PA 19518 rmicco@edprog.com www.educationalprograms.com
Noteworthy Tours, Inc. P.O. Box 1665 Sandusky, OH 44871 travel@noteworthytours.com www.noteworthytours.com
Jet Music
Music Travel Consultants
14 W. Ohio Avenue Mt. Vernon, OH 43050 judy@jetmusicinc.com www.jetmusicinc.com
7920 Georgetown Road Suite 700 Indianapolis, IN 46268 support@music-travel.com www.music-travel.com
The Ohio State University School of Music
QuaverMusic.com
110 Weigel Road 1866 College Road Columbus, OH 43210 music@osu.edu http://music.osu.edu
1706 Grand Avenue Nashville, TN 37212 info@QuaverMusic.com www.quavermusic.com/preview
Rettig Music, Inc.
Royalton Music Center
Summit Tour & Travel, Inc.
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
P.O. Box 682240 Orlando, FL 32868-2240 info@summittourtravel.com www.summittourtravel.com
Super Holiday Tours
Wright State University School of Music
Yamaha Corporation of America
3640 Colonel Glenn Hwy. Dayton, OH 45435 amy.neace@wright.edu www.wright.edu/music
6600 Orangethorpe Avenue Buena Park, CA 90620 apradia@yamaha.com www.yamaha.com
116 Gatlin Avenue Orlando, FL 32806 hskiver@superholiday.com www.superholiday.com
APRIL/MAY 2016
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L E V E L l l - O M E A PAT R O N Baldwin Wallace University 275 Eastland Road Berea, OH 44017 music@bw.edu www.bw.edu/conservatory
Cleveland State University 2121 Euclid Avenue MU332 Cleveland, OH 44115 m.c.bill@csuohio.edu www.csuohio.edu/class/music
Capital University Conservatory of Music
Case Western Reserve University
One College & Main Columbus, OH 43209 lroseber@capital.edu www.capital.edu/music
10900 Euclid Avenue Cleveland, OH 44106 laura.stauffer@case.edu http://music.case.edu
The College of Wooster Scheide Music Center
Educational Tours, Inc. P.O. Box 257 Holt, MI 48842 eti@tours-eti.com www.tours-eti.com
Wooster, OH 44691 nditmer@wooster.edu www.wooster.edu/music
EPN Travel Services
Kent State University
1784 West Schulykill Road Douglassville, PA 19518 tourinfo@edprog.com www.epntravel.com
1325 Theatre Drive Kent, OH 44242 schoolofmusic@kent.edu www.kent.edu/music
Miami University Music Dept.
501 S. Patterson Ave, 109 Presser Hall Oxford, OH 45056 www.miamioh.edu/sca/ academics/departments/music
Music & Arts
Muskingum University
Ohio Northern University
4626 Wedgewood Blvd. Frederick, MD 21703 marketing@musicarts.com www.musicarts.com
163 Stormont Street New Concord, OH 43762 dturrill@muskingum.edu www.muskingum.edu/dept/music
525 South Main Street Ada, OH 45810 p-warner@onu.edu www.onu.edu/music
Otterbein University
Soundwaves Recording
University of Akron
1 South Grove Street Westerville, OH 43081 ddavenport@otterbein.edu www.otterbein.edu
4708 Surfside Drive Huron, OH 44839 virginia@soundwaves.org www.soundwaves.org
School of Music, Guzzetta Hall 260 Akron, OH 44325-1002 concerts@uakron.edu www.uakron.edu/music
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University of Dayton
West Music
300 College Park Dayton, OH 45469-0290 musadms@udayton.edu go.udayton.edu/music
1212 Fifth Street Coralville, IA 52241 service@westmusic.com www.westmusic.com
TRIAD
LEVEL l - OMEA SPONSOR Ashland University
Heidelberg University
J.W. Pepper & Son, Inc.
401 College Avenue Ashland, OH 44805 music@ashland.edu www.ashland.edu/music
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
Malone University
Marietta College
Musical Resources
2600 Cleveland Ave. NW Canton, OH 44709 mhaines@malone.edu www.malone.edu/music
215 5th Street Marietta, OH 45750 music@marietta.edu www.music.marietta.edu
2020 N. Holland Sylvania Road Toledo, OH 43615 info@musical-resources.com www.musical-resources.com
Ohio University School of Music
University of Mount Union
440 R. Glidden Hall Athens, OH 45701 hayesc1@ohio.edu kasler@ohio.edu www.finearts.ohio.edu/music
1972 Clark Avenue Alliance, OH 44601 andersem@mountunion.edu www.mountunion.edu/ music-major
Youngstown State University Dana School of Music One University Plaza Youngstown, OH 44555 mrcrist@ysu.edu www.ysu.edu/dana
Music at Otterbein Discover your future...one note at a time
Utilizing the cultural resources of a vibrant metropolitan area, the Department of Music and its varied ensembles produce musical excellence within a liberal arts context. Music majors and non-majors work with faculty in a creative and collaborative atmosphere. Otterbein provides a curriculum which meets the individual needs of the performer and prepares students for the career path of their choice.
Degrees Offered: • Bachelor of Arts, Concentrations in General Studies, Theory and Composition, History and Literature and Jazz Studies • Bachelor of Arts in Music and Business, Concentrations in Audio Production, Arts Administration and Music Management • Bachelor of Music Education • Bachelor of Music in Performance
For more information on the Department of Music at Otterbein, contact Claire Brock, cbrock@otterbein.edu or 614-823-1504.
www.otterbein.edu/music
Otterbein is an accredited member of the National Association of Schools of Music (NASM) APRIL/MAY 2016
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Fully accredited by the National Association of Schools of Music Offering the following degree programs: • Bachelor of Music in Music Education or Music Performance • Bachelor of Arts in Music or Bachelor of Music in Music Performance with concentrations in Theory & Composition, Music History & Literature, or Applied Studies • Bachelor of Fine Arts in Musical Theatre • Arts Administration Minor with ample internship offerings • Outstanding opportunities for double majors Explore ONU’s music department or find audition dates at www.onu.edu/music
Named as one of the top 200 programs in the nation for creative college-bound students in Creative Colleges: A Guide for Student Actors, Artists, Dancers, Musicians and Writers.
Outstanding orchestra, wind, choral and piano programs Exceptionally accomplished and dedicated faculty • State-of-the-art facilities • Generous scholarships
A LOOK BACK... OHIO MUSIC EDUCATION A SSO C I AT I O N
CINCINNATI
2016
QUEEN CITY
PROFESSIONAL DEVELOPMENT CONFERENCE JANUARY 28-30, 2016
APRIL/MAY 2016
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Summer Music Programs 2016 CaMPS for StudentS in gradeS 4–9
Application deadline: May 6, 2016.
String Camp
Band Camp
• For string students studying violin, viola, cello, bass
• For woodwind, brass and percussion students
• Sectionals with individual attention
• Sectionals with individual attention
• Recreational and social events planned throughout the week
• Recreational and social events planned throughout the week
Piano Camp
Music theatre Camp
• For pianists with at least nine months of piano study
• Singing, acting and movement classes
• Variety of classes, private lessons and duets
• Work directly with professional actors/teachers
June 11–16, 2016
June 18–23, 2016
June 11–16, 2016
June 18–23, 2016
• Recreational and social events planned throughout the week
• All-Steinway school • Recreational and social events planned throughout the week
PrograMS for high SChool StudentS
Auditions required. Application deadline: April 1, 2016.
Mto: Music theatre overtures
CSi: Conservatory Summer intensive
• Daily music theatre workshop
• 10-day program for students considering studying music in college. Work directly with the BW music faculty
July 3–8, 2016
• Monologue and dance classes • Private voice lessons
July 7–16, 2016
• Audition training
• Wind Ensemble, Orchestra, Choir
• Director Victoria Bussert has jump-started dozens of Broadway careers; let her jump start yours
• Special Tracks include: Music Theatre, Keyboard, Composition, Chamber Music & Jazz • Private lessons
• Must be a current junior (graduation year 2017) to apply
• Theory and ear training • Exciting elective courses • Audition Preparation Program
for MuSiC eduCatorS: SuMMer inStitute for MuSiC teaChing and learning (June and July)
Making Music Classes Meaningful for Students with Special needs, 2 credits n iPads in Music education: an introduction to apps & online resources for Music learning, 1 credit n iPads in Music education: the iPad as a Musical instrument, 1 credit n iPads in Music education: Musical Creativity, 1 credit n iPads in Music education: developing instructional Materials for the iPad and other devices, 1 credit n West african drumming, Song, and dance: an introduction to afro-Centric Music, 2 credits
For information: Conservatory Outreach Department • 440-826-2482 • smp@bw.edu • www.bw.edu/summer-music-programs
OMEA TRUSTEES
Michael Crist - President-Elect, Terry Herschman - President, Marc Parulekar - Editor of TRIAD, Patricia Meeks - Immediate Past-President, Roger Hall - OMEA Executive Director,
Dana Hire - Secretary, Benjamin Factor - Treasurer
2016 ALL-STATE CHAIR Kathy McGrady
APRIL/MAY 2016
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ALL-STATE BAND
CONDUCTOR
Mary K. Schneider 20
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ALL-STATE ORCHESTRA
CONDUCTOR
Sandra Dackow APRIL/MAY 2016
21
ALL-STATE CHOIR
CONDUCTOR
Paul Rardin 22
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ALL-STATE JAZZ ENSEMBLE
CONDUCTOR
Jeff Rupert APRIL/MAY 2016
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2016 INDUSTRY SERVICE AWARD
Isaac Lutkoff and Dave Adamson, OMEA Business Manager
ISAAC LUTKOFF
Isaac Lutkoff and Dave Adamson at the ribbon cutting ceremony 24
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2016 DSA AWARD
Dr. Roberta Mohan Newcomer with OMEA Immediate Past-President Patricia Meeks
ROBERTA NEWCOMER
Dr. Roberta Mohan Newcomer with Gary DeVault APRIL/MAY 2016
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2016 OUTSTANDING MUSIC EDUCATOR AWARD
Dr. Gary Ciepluch - Case Western Reserve University, Cleveland 2016 OUTSTANDING YOUNG MUSIC EDUCATOR AWARD
Megan Link - Starr Elementary School, Oregon City Schools 26
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2016 OUTSTANDING ADMINISTRATOR AWARD
Ken Pease - Slate Hill Elementary School, Worthington Schools 2016 OUTSTANDING MUSIC SUPPORT GROUP AWARD
Avon Lake Band Aids, Inc. APRIL/MAY 2016
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25 YEAR AWARD RECIPIENTS
First Row (left to right): Kristen Brown, Suzanne Walters, Mendell Hibbard, Roger B. Biddle, Christopher Lyons and Christy Downer Second Row (left to right): Robert D. Tocheff, Charlene Rom-Alfaro, Diane L. Deck, Cathy Shinaberry, Yvonne M. Youngblood, Teresa T. Cosenza and Laurie Parsons Third Row (left to right): Jeff North, Joe Burke, Tom Zerkle, Ben Ayling, David J. Iannelli and Dr. Paschal Yao Younge Not Pictured: Katherine Borst Jones, Jan Hare, Lynda R. Hasseler, Dan Nicora, Charles R. Snyder and Julie Zedlitz
Listed below are the 2016 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. Ben Ayling - Findlay - 36 years Ohio Nothern University - Director of Choral Activities Most Memorable Moment: Our standing ovations on the Ohio Northern University national tours and every time one of my students becomes a music educator themselves.
Kristen Brown - Milford - 25 years Princeton City Schools - Band Director Most Memorable Moment: Beginning Band Try-It and Sign-Up Nights every April. The best part of being a band director is getting them started!
Roger B. Biddle - Batavia - 52 years Batavia Schools - Assistant Band Director Most Memorable Moment: My last concert where I was surprised by the school skyping my two daughters, who live in New York and New Hampshire, so they could see the concert.
Joe Burke - Grove City - 27 years Hilliard Heritage Middle School - Director of Bands Most Memorable Moment: I am finding it difficult to select a single moment that would differentiate itself from all the other memorable moments I have experienced over the years. I have been very fortunate to have had the opportunity to work with exceptional students, parents, colleagues and administrators. Perhaps this is what is most memorable.
Katherine Borst Jones - Powell - 40 years Ohio State University - Professor of Music Most Memorable Moment: Conducting a flute choir of alumni at the National Flute Association Convention in August of 2015.
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Teresa T. Cosenza - Mentor - 29 years West Geauga Local Schools - Band Director Most Memorable Moment: Too many to choose just one.
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Diane L. Deck - Reynoldsburg - 40 years Grace Christian School - Orchestra Director Most Memorable Moment: One of my 2nd graders wrote a melody for violin. We orchestrated it in four parts and performed it with her as the soloist. Christy Downer - Mason - 27 years Mason Early Childhood Center - Kindergarten Music Most Memorable Moment: Recently a former beginning band student reached out to me during his first year teaching band in Colorado. He shared a memory of the first day he got to blow into his fully assembled saxophone. He remembered his excitement and enthusiasm and is happy to pay it forward to another generation of students. Jan Hare - Pickerington - 25 years Retired - Delphos St. John’s - Director of Bands Most Memorable Moment: Every time a student experienced the thrill of performing with emotion. Lynda R. Hasseler - Columbus - 35 years Capital University - Director of Choral Activities Most Memorable Moment: Truly too many to choose just one! Mendell Hibbard - Groveport - 34 years Capital University - Adjunct Professor Most Memorable Moment: There are so many memorable moments in my career! I think the most satisfying moments come from speaking with former students who have made music their passion as adults. David J. Iannelli - Lebanon - 25 years Lebanon City Schools - Director of Bands Most Memorable Moment: Directing my high school jazz band on “Foggy Day in London Town” with my son soloing on piano and my daughter soloing on vocals - the first time all three of us were on stage together. Christopher Lyons - Sylvania - 25 years Evergreen Loacal Schools - Band Director Most Memorable Moment: Stranded with kids for two days in level 3 snow on way home from Florida and losing 125 band uniforms in a dry cleaner’s fire the same year. Dan Nicora - Kettering - 32 years Kettering Fairmont High School - Assistant Director of Bands and Director of Jazz Studies Most Memorable Moment: Performing twice at the OMEA Professional Conference with Fairmont’s Jazz Ensemble. Jeff North - Logan - 31 years Logan High School - Director of Bands Most Memorable Moment: Starting my fifth grade “pups”; being a part of their lives for eight years, and watching them develop into fine young adult musicians. Laurie Parsons - Powell - 30 years Wellington Schools - Lower School Music Specialist Most Memorable Moment: Anytime upper school students stop by my room and share their fond memories of their experiences when they were in lower school music as my students.
APRIL/MAY 2016
Charlene Rom-Alfaro - Cincinnati - 26 years Hamilton City Schools - Band Director and MusicTeacher Most Memorable Moment: As a music teacher, we see memorable moments everyday. Seeing things “click” when students “get it,” while enjoying the music they learn and realizing their own successes is the best part. How exciting! I was inspired by many of my teachers, and have had a number of former students find careers in music education. That is gratifying to see, as it is one way to give back to a field that has meant so much to me for most of my life. Cathy Shinaberry - Westerville - 27 years Buckeye Valley East Elementary - General Music Teacher K - 4 Most Memorable Moment: I have many memorable moments, but most recent was an all-patriotic program, complete with a veterans honor guard for the armed forces medley, in November, 2015, that ended up being very timely. The performance was just days after the Paris bombing; it was very inspirational and loved by the students and parents. Charles R. Snyder - Coshocton - 47 years Coshocton Community Choirs - Music Director/Conductor Most Memorable Moment: Seeing the connection of the audience with singers on Cardinal Chorale tours in Ohio, Michigan, Pennsylvania, England, France and Wales. Robert D. Tocheff - Mount Vernon - 42 years Mount Vernon Nazarene University - Professor of Music Most Memorable Moment: The effect of choral music on my students and audiences. Especially on concert/mission trips abroad. Suzanne Walters - North Canton - 26 years Strausser Elementary - General Music Teacher K - 5 Most Memorable Moment: My elementary school choir performed at OMEA Professional Development Conference in January 2015 in Cleveland. Yvonne M. Youngblood - Toledo - 26 years Emmanuel Christian - Music, Band and Choir Director Most Memorable Moment: Some of my fondest memories are when our ensembles have traveled, over the years, and ministered in music at their church, to the elderly, homeless, and community. It’s been a joy to see and hear them use their gift of music, many even after they graduate high school. Dr. Paschal Yao Younge - Athens - 27 years Ohio University - Professor of Music Most Memorable Moment: Directing Brass Bands and Choirs in Ghana and World Music Ensembles at West Virginia University and Ohio University. Julie Zedlitz - Swanton - 25 years Swanton Local Schools - Middle School and High School Choir Director Most Memorable Moment: Too many to choose just one. Tom Zerkle - Ironton - 25 years Dawson-Bryant High School - Band Director Most Memorable Moment: Having both of my own children in band during one of the most successful years in our bands history. Also, getting to see my son perform on the national stage as part of the US Army All-American Marching Band.
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OMEA 2016 PROFESSIONAL DEVELOPMENT CONFERENCE Research Poster Session Summaries
Kristin Coen-Mishlan; Kent State University
Each year at the Ohio Music Education Association Professional Development Conference, researchers gather to share their work with the music education community. The poster session provides a place for researchers to share information about their investigations, have discussions about their research interests, and is a way for practicing teachers to learn of research in the field of music education that could inform their practice. This year, eleven researchers filled the hall overlooking the exhibit area to share their research from colleges and universities in Ohio and beyond. MUSIC DESCRIPTION AND EXPRESSIVE PERFORMANCE BY MIDDLE SCHOOL INSTRUMENTALISTS Dr. Elizabeth L. Braun, from Ohio University, utilized a mixed-methodology study to investigate how middle-school instrumentalists understand expression in music. She examined categories of language students use to describe music (music analytic, metaphor/imagery, temporal) and how they perform when given music analytic or figurative language as performance instructions. Students in sixth, seventh, and eighth grade were asked to write descriptions of six brief piano excerpts. The researcher analyzed the language students used in their descriptions, and identified that students used analytic language in 41.5% of excerpts, metaphor/ imagery in 36.1% of the excerpts, and temporal lan30
guage in 22.4% of their descriptions. A significant difference was identified among the types of language used, with analytic terms being the most common type of language used. Temporal language was used significantly less than the other types of language. Experts then attempted to match student descriptions to stimulus recordings, and were able to match the description to the recording 67.4% of the time. Seven students who previously studied piano in addition to their school instrument were selected for the second phase of the study. These students were given a piece of music and 15 minutes to practice. Students then selected at random one of four different performance instructions; two using music analytic language, and two using figurative language. The recordings were analyzed, and were able to be matched to performance instructions 82.86% of the time. The experts also rated the performances for expressivity, and found no difference based on whether analytic or figurative language was used in the instructions. She found little relationship between written vocabularies used to describe musical performance and expressive performances by middle-school instrumentalists. INFANT MUSIC SOUNDSCAPE: A CASE STUDY OF 11-MONTH-OLD TWINS This poster was presented by Eugenia Costa-Giomi, from The Ohio State University, and focused on TRIAD
the home musical environment of a family with three young children. Language research has revealed the lasting effects that the quantity and quality of exposure to speech has on language skills. However, there is limited research about the musical environment of infants and their effect on musical development. Two of the three children were 11-month old twins, and wore a digital processor/recorder for an entire day. The recordings provided an assessment of their home language environment, which allowed the analysis of incidence, characteristics, duration, and context of home musical activities. Results of the study revealed that the infants were immersed in music played by the television and digital devices almost every instant of the day. This included hearing recorded children’s music for more than eight hours, live singing for twenty minutes, and live singing by an adult for as little as one minute. The study concluded that although the parents were attentive to their children and provided them with plenty of instruments, toys, and devices, the parents rarely initiated musical activities with their children. URBAN MUSIC EDUCATION: A CRITICAL DISCOURSE ANALYSIS Dr. Dawn M. Farmer, from Saint Mary’s College, presented a critical discourse analysis of the term “urban” present in the Music Educators Journal and The Journal of Research in Music Education. Specifically, she investigated how the term urban was used in statements from 1991-2010, and how the terms “inner city,” “at risk,” and “diversity” are used in similar ways. The examination revealed attitudes and biases within the music education structure. Dr. Farmer found the phrase “urban music education” is rarely defined, and is at times used as a euphemism. Through the lens of Michel Foucault, she uncovers ways in which the profession labels urban music education programs that privilege the White, suburban, middle class ideal of music education. Dr. Farmer further suggests that the term “urban” is code for poor, minority, and unable to succeed. In conclusion, she calls for an evaluation of the perceptions of success, and a different method of knowing, in order to provide a more just teaching and learning space.
APRIL/MAY 2016
A BRIEF HISTORY OF BAND SCHOOLS FROM 1860-1930 WITH AN EMPHASIS ON THE DANA MUSICAL INSTITUTE, THE VANDERCOOK COLLEGE OF MUSIC, AND THE CONWAY MILITARY BAND SCHOOL Kate Ferguson, PhD Candidate from Kent State University, presented her poster on the history of band schools from 1860-1930. According to her research, few opportunities for formal training existed in the United States during this time. The majority of the activity took place after the turn of the century, when bands in public schools became popular, which led to a need for trained band teachers. Band schools were developed to fulfill this need, and were later replaced by college and university curriculum. William Henry Dana is responsible for starting the Dana Musical Institute in 1869, and was advertised as “music taught in all branches.” The VanderCook School of Music existed with the purpose of training and preparing teachers for organizing, teaching and directing bands, orchestras, and choral ensembles in educational institutions. The Conway Band School was started in 1922 as part of the Ithaca Conservatory of Music, and was described as the first and only institute of its kind. SELECTED NON-MUSIC PREDICTORS OF URBAN STUDENTS’ DECISIONS TO ENROLL AND PERSIST IN MIDDLE AND HIGH SCHOOL MUSIC ENSEMBLE ELECTIVES Dr. Daryl W. Kinney, from The Ohio State University, presented his poster on predictors of urban students’ decisions to enroll and persist in middle and high school music ensemble electives. The purpose of this study was to fit theoretical models of prediction using academic achievement, socioeconomic status, number of parents/guardians at home, mobility, ethnicity, and sex as variables. Findings supported that band, string, and choir students were able to be differentiated from the general population of non-music students. Differences were also found between instrumental and choir students, in terms of academic achievement, socioeconomic status, family structure, and mobility. Factors influencing initial enrollment remained relatively stable over both retention models, with a 31
few exceptions. Socioeconomic status became a weaker predictor of band enrollment in high school, although the number of parents/guardians at home became more salient. Dr. Kinney identified that all music participation was strongly predicted by academic achievement; however, this was concluded by reading test scores for choir participants. In addition, achievement in math and reading strongly predicted enrollment in instrumental electives. COGNITIVE LEARNING THEORY OF MUSIC IN CHILDREN AGES 5-9: A REVIEW OF LITERATURE Christa Kuebel, a PhD student from Case Western Reserve University, presented her review of literature on the cognitive learning theory of music in children ages 5-9. Cognitive science has been used to gain insight into how individuals learn music and develop musical abilities, and focuses on theories in relation to the brain, specifically in relation to music, rhythm and movement, melody and harmony, notation, and improvisation. She stated that most research focuses on prenatal cognition through age five, and that there is a gap in the research of the musical development at the grade school age, when many areas of musical ability may cease if not nurtured properly. According to the literature, Christa identified that the development of singing abilities ends around eight, rhythmic and movement development may slow without formal or informal experiences, and that the development of melodic perception and preference for tonality and consonance plateaus around age nine. She addresses that the field of music education should focus on early childhood teacher education, exposing students to a variety of tonalities and meters, and encourage vocalization of grade school students. IN SEARCH OF A MUSICAL IDENTITY: AN UNDERSTANDING FOR MUSIC EDUCATION This review of literature by Dr. Tammy L. Kuntz, from Kent State University, looks at the importance of musical identity. She specifically looks at the ways music students, musicians, and music teachers develop identifies, and considers how music education assists this process through the lens of identity making. Each music teacher carries with them an identity that begins to form in infancy, and grows as 32
from experience of different genres of music, and participation. Internal characteristics of identity store meanings and information to create a framework for interpreting experiences, while external characteristics are linked to external societal structures and are affected by structures. Dr. Kuntz argues that educators are looking for ways to make school music more integral in student experiences. Specifically, the way music is presented in schools needs to move beyond band, orchestra, and choir. She believes that there is a personal musical identity that is waiting to be expressed, and that teaching methods, activities, and repertoire used can help students claim their own musical identities. TAKING CHARGE: LOOKING AT HIGH SCHOOL LEADERSHIP IN THE BAND ROOM Darren S. LeBeau, from Kent State University, examined the experiences of three band students in an American high school. The students held leadership roles in a large performing ensemble, which may affect their overall experience. Specifically, the researcher addressed (1) How has student participation in a leadership role influenced his or her view of the band? (2) What are the influences that impact student participation in the band? (3) What are the implications for leadership roles in the band? Mr. LeBeau identified that students had a positive experience holding a leadership position, however they were frustrated by unmotivated band students. The leaders were not able to understand why some members of the band would not want to do their best to meet developmental and musical goals. He concluded that student leadership is important to the functioning of a band program, however student leaders are given many tasks to handle at their own discretion. Taking the time to listen to leaders allows for the adults and teachers to provide a positive leadership experience for the students.
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PRESCHOOL TEACHER CONFIDENCE FOR LEARNING MUSICAL ACTIVITIES: RELATIONSHIPS BETWEEN PERSONAL EXPERIENCES, BELIEFS ABOUT MUSIC DEVELOPMENT, AND SELF-EFFICACY Dr. Terri Brown Lenzo, assistant professor at Ohio Northern University, presented the results of the second of three research questions investigated in her dissertation: Online Professional Development in Preschool Settings: Music Education Training for Early Childhood Generalists. She states that preschool generalists are often responsible for leading musical activities, although they may not have received musical training. In order to combat this issue, she conducted and recorded four preschool music classes, and combined the recordings with narrated PowerPoint presentations to create three separate video-training modules. Overall teaching self-efficacy for leading musical activities increased significantly, and significant findings were identified in 14 of 22 categories of leading singing, instrumental, and movement activities. Dr. Lenzo stated that the findings for teaching musical concepts and facilitating the development of creativity were meaningful because previous researchers have found these activities were lacking in preschool curricula. She concludes that additional training programs should be implemented with classroom teachers and music educators due to the critical nature of early childhood musical development. LINGUISTIC INDICATORS OF REFLECTIVE PRACTICE AMONG MUSIC EDUCATION MAJORS: AN EXPLORATORY STUDY Dr. D. Gregory Springer, Assistant Professor of Music Education at the University of South Carolina, presented this poster in conjunction with Dr. Olivia Swedberg Yinger from the University of Kentucky. The purpose of their study was to examine the linguistic content of preservice music teachers’ written reflections following peer-teaching experiences. The written reflections were analyzed to examine usage of pronouns, temporal orientation words, and affect words. First-person singular words dominated all other types of pronouns, which the researchers felt were indicative of self-focus. Participants used significantly fewer future-oriented words than past or presAPRIL/MAY 2016
ent, suggesting a tendency of participants to reflect on aspects in the moment or on prior experiences. The results also identified significantly more positive affect words than negative affect words, which suggests participants have a favorable view of their teaching. The researchers conclude that music teacher educators may consider designing learning activities for preservice teachers that promote a more student-focused and future oriented approach to reflection. TEACHING MUSIC COMPOSITION VIA THE RADIO: THE PREISAUSSCHREIBEN – THE FIRST ORFF-SCHULWERK CHILDREN’S MUSIC COMPOSITION COMPETITION Dr. Pamela Stover, from The University of Toledo, introduces the concept that although music skills are more difficult to teach online, it is not impossible with today’s technology. In fact, she states, that there were early attempts of teaching music skills via the radio in the 1940s and 1950s. In this study, Dr. Stover analyzed the effectiveness of musical skill instruction of the 1948-1950 Orff-Schulwerk radio broadcasts using children’s musical compositions as evidence. Over 100 compositions were analyzed for compositional techniques, as well as correspondence between Carl Orff, Gunild Keetman, officials from the Bavarian Radio, and adult and children listeners. Dr. Stover identified that the prize-winning compositions utilized musical forms such as rondo, bourdon, introduction, and coda. All of the compositions were written in the key of C pentatonic, and tended to use the whole scale and a singable range of pitches. She concludes that although the prize-winning composition demonstrated that radio instruction was successful, many of the submitted compositions did not use elements of the Orff-Schulwerk. Kristin Coen-Mishlan received her bachelor’s degree in music education from the University of Rio Grande in 2006, and a master’s degree in music education from Kent State University in 2013. She served as band director for eight years at Huntington Local Schools in Ross County, OH, and is currently a doctoral student in music education at Kent State University. Her research interests include feminist studies and socio-cultural issues in public education. 33
2016 OHIO STATE UNIVERSITY STRING TEACHER WORKSHOP • July 10 – 16 CELEBRATING 31 YEARS! SPEND A WEEK WITH THE BIGGEST NAMES IN THE PROFESSION! Bob Gillespie • David Becker • Robert D. McCashin • Bob Phillips • Pam Phillips • Soo Han • Brian Cole • Bingiee Shiu • David Wong FOR THE STRING SPECIALIST AND SECONDARY BAND, CHOIR OR GENERAL MUSIC TEACHER Recapture your passion • Gain fresh insights • Discover new materials • Explore different methods and acquire new skills • Network with other music educators • Topics on all aspects of elementary, middle school and high school strings • Friendly environment, full of practical information and fun • Inspire and lead!
Details, graduate credit information, and online registration at music.osu.edu A MERICAN S TRING T EACHERS A SSOCIATION
SCHOOL OF MUSIC
UNDERGRADUATE DEGREES
GRADUATE DEGREES
Programs of Study Audio Recording Composition Music Education Music Production Performance
Master of Arts Composition Ethnomusicology Theory
Bachelor of Arts Bachelor of Music Bachelor of Science in Music Technology
Undergraduate Minors Audio Recording Jazz Studies Music Music Technology World Music Post-Bachelor’s Music Certificates Composition Conducting Performance
For more information on auditions or scholarships, contact: Mr. Dana Brown Coordinator of Undergraduate Studies email: dabrown@kent.edu
Master of Music Conducting Music Education - entirely online! Performance
DOCTOR OF PHILOSOPHY (PH.D.) Music Education Music Theory-Composition
For graduate assistantship information, contact: Mr. Michael Chunn Coordinator of Graduate Studies email: mchunn@kent.edu
Please visit our website for audition information and dates: WWW.KENT.EDU/MUSIC KENT STATE UNIVERSITY P.O. BOX 5190 KENT, OH 44242-0001
PHONE: 330-672-2172 FAX: 330-672-7837 EMAIL: schoolofmusic@kent.edu
Kent State University, Kent State and KSU are registered trademarks and may not be used without permission. Kent State University, an equal opportunity, affirmative action employer, is committed to attaining excellence through the recruitment and retention of a diverse workforce. 15-COTA-00024-048
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LOOKING AHEAD... OHIO MUSIC EDUCATION ASSOCIATION
CLEVELAND 2017 NORTH COAST
PROFESSIONAL DEVELOPMENT CONFERENCE FEBRUARY 2-4, 2017
Mark A. Hensler - OMEA Director of Professional Development pd_director@omea-ohio.org 2017 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 - Elizabeth Hankins: pd_orch@omea-ohio.org A directory of standing chairs is available on the OMEA website. APRIL/MAY 2016
35
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OHIO MUSIC EDUCATION ASSO CIATION
CLEVELAND 2017
Performing Ensembles 2017 OMEA Professional Development Conference Cleveland, Ohio • February 2-4, 2017
NORTH COAST
PROFESSIONAL DEVELOPMENT CONFERENCE
Submission Deadline: May 31, 2016
FEBRUARY 2-4, 2017
PERFORMING ENSEMBLE CDs Ensembles interested in performing at the 2017 OMEA Professional Development Conference should submit an application and an audition CD postmarked no later than May 31, 2016 to: 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 June 1, 2016 and maintain membership with NAfME through February 28, 2017. 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 2016 OMEA Conference in Cincinnati are not eligible to perform at the 2017 Conference. 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). (Please print or type) Performing Ensembles for the Ohio Music Education Association 2017 Professional Development Conference to be held in Cleveland, Ohio, February 2-4, 2017. Submission Deadline: May 31, 2016 37
OHIO MUSIC EDUCATION ASSO CIATION
Performing Ensembles
CLEVELAND 2017 NORTH COAST
PROFESSIONAL DEVELOPMENT CONFERENCE
2017 OMEA Professional Development Conference Cleveland, Ohio • February 2-4, 2017 Submission Deadline: May 31, 2016
FEBRUARY 2-4, 2017
(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: ______ 4-Year College (no graduate program)
_______Jr. College (2-Year 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 Enclosed • Please List an Email Address that You Open Daily and allows viewing attachments! • Make Sure All Appropriate Signatures are in Place on the Form • Mail by Deadline
DEADLINE FOR SUBMITTING APPLICATION: POSTMARK DEADLINE OF MAY 31, 2016 39
Congratulations to Lt. Gregory Fritz,
recipient of our 2016 Outstanding Music Education Alumni Award.
Fine Arts Division
BUCHTEL COLLEGE OF ARTS AND SCIENCES
Lt. Fritz is director of the Navy Band Northeast. He is a 1995 graduate (BM, Music Education) of The University of Akron School of Music.
COMING THIS SUMMER:
School of Music Training the 21st Century Musician a Summer Symposium Monday-Thursday, June 13-16 8 a.m. - 5 p.m. 7500:590:901, 2 graduate credits Attend a variety of two-hour sessions, including: • •
www.uakron.edu/music
THE UNIVERSITY OF AKRON
• • • • • • • • • • • • •
Rehearsal Technique: Enhancing Ensemble Rhythm and Articulation Skills Conducting: Meaningful Gestures for Musical Success Marching Band: Arranging Skills to Improve Bad Pop Songs Solfege Boot Camp Teaching Individual Learners in General Music Sight-Singing for Choirs Choral Methods Tune-Up Jazz Improvisation Steel Band for Educators Percussion Techniques Assessment in Music Ensembles Working with the Changing Male Voice Introducing Part Singing for Young Choirs Vocalise for Vocal Ease Diction Brush Up: What the Heck is IPA?
Brass Performance Seminar June 6-10 For students entering 9th - 12th grades $250 commuter, $475 overnight. Summer Symphonic Band June 12-16 Graduate and undergraduate credit Concert Thursday, June 16, 7:30 p.m. Saxophone Camp June 20-24 For students entering 9th grade through first year of college $145 commuter, $370 overnight. Junior High Band Camp June 20-24 For students entering 7th - 10th grades $250 commuter, $475 overnight. “Front Page Flo” Staged Reading June 24 and 25 A new musical by Larry and Sara Kass Workshop and staged reading in Daum Theatre in Kolbe Hall.
For more information: 330-972-7590 concerts@uakron.edu www.uakron.edu/music
School of Music
The University of Akron is an Equal Education and Employment Institution - uakron.edu/eeo ©2016 The University of Akron
Ann L. Usher, Director
OHIO MUSIC EDUCATION AS SOCI AT I ON
All-State Ensembles 2017 OMEA Professional Development Conference
CLEVELAND 2017 NORTH COAST
PROFESSIONAL DEVELOPMENT CONFERENCE FEBRUARY 2-4, 2017
Cleveland, Ohio • February 1 - 4, 2017 Coordinator – Michael Kelly Band Chair – John Veneskey Choir Chair – Adam Landry Jazz Ensemble Chair – Tom Ruggieri Orchestra Chair – Steve Cocchiola
2017 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 2017 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 https://app.getacceptd.com/omea 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 $15 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 2017. • 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).
2017 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.
2017 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”) on a keyboard instrument. See details on next page.
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2017 ALL-STATE BAND & ORCHESTRA WINDS-PERCUSSION ETUDE REQUIREMENTS: FLUTE: Selected Studies for Flute by Voxman: Pub. By Rubank, p, 10 and p. 33 OBOE: Selected Studies for Oboe by Voxman: Pub. By Rubank, p. 5 and p. 48 CLARINET Bb and Eb: Selected Studies for Clarinet by Voxman: Pub. by Rubank, p. 23 and p. 42 CLARINET ALTO, BASS, CONTRA: Advances Studies from the Works of J. Weissenborn: arr. Rhoades: Pub. by Southern, #5 (p. 3), #32 (p. 25) BASSOON: Catalogue #CU96 Method for Bassoon by J. Weissenborn, #6 (p.117), #39 (pp. 144-145) SAXOPHONE: Selected Studies for Saxophone by Voxman: Pub. by Rubank, p. 7 and p. 41 TRUMPET: Selected Studies for Trumpet by Voxman: Pub. by Rubank, p. 23 and p. 50 FRENCH HORN: Prepatory Melodies to Solo Work by Pottag: Pub. by Belwin, #5 (p. 3), #30 (p. 11), #86 (p. 34) TROMBONE AND EUPHONIUM: Selected Studies for Trombone by Voxman: Pub. by Rubank, p. 5 and p. 48 - 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: #5 (p. 6 thru p. 7 end of second full measure) and #16 (p. 18) 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, #6 (p. 5) and #26 (p. 25) 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, Eb Major Reading Study #3, Page 90. • Timpani: The Solo Timpanist by Vic Furth: Published by Carl Fischer, Etude IV (p. 11) • Snare: (New Book as of 2015 auditions) – Advanced Snare Drum Studies by Mitchell Peters: Pub. by Try Publishing Company, Etude #9 (pp. 18-19). 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.
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JAZZ ENSEMBLE RECORDING REQUIREMENTS - NEW FOR 2017: “Donna Lee”, “Yardbird Suite” and “My Little Suede Shoes” are from Charlie Parker (vol. 6); ”Runnin’ and Gunnin’”, “An April Recall” and “I Remember Grant” are from Good Time! (vol. 114). Both 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 “Yardbird Suite” and improvise 2 choruses (improvisation required for a solo chair, recommended but not required for other chairs) SAXES:
BRASS:
VIBES:
- With the play along, record the head to “Donna Lee” and improvise two choruses (improvisation required for a solo chair, recommended but not required for other chairs) - With the play along, record the head to “My Little Suede Shoes” 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. - With the play-along (use CD #1), record the head to “Runnin’ and Gunnin’”, comp for one chorus and improvise for 2 choruses - With the play-along (use CD #1), record the head to “An April Recall”, medium version (track 9), comp for one chorus and improvise for two choruses - With the play- along, record the head to “Yardbird Suite” and improvise 2 choruses (improvisation required for a solo chair, recommended but not required for other chairs)
PIANO, GUITAR: - With the play-along (use CD #1), record the head to “Runnin’ and Gunnin’”, comp for one chorus and improvise for 2 choruses - With the play-along (use CD #1), record the head to “An April Recall”, medium version (track 9), comp for one chorus and improvise for two choruses BASS:
- (Improvise a bass line with the recorded rhythm section. You may improvise a solo (optional) on one or more of the selections after you have performed a bass line for two choruses) - With the play-along (use CD #4 – right channel), play two choruses “Runnin’ and Gunnin’” - With the play-along (use CD #4 – right channel), play two choruses of “I Remember Grant” - With the play-along (use CD #4 – right channel), play two choruses of “An April Recall”, medium version, track 9
DRUMS: - With the play-along (use CD #4 – left channel), play two choruses of “Runnin’ and Gunnin’” - With the play-along (use CD #4 – left channel), play two choruses of “I Remember Grant” - With the play-along (use CD #4 – left channel), play two choruses of “An April Recall”, medium version, track 9 - 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).
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OMEA ALL-STATE CHILDREN’S CHORUS AUDITIONS! OMEA is pleased to announce auditions for our third OMEA All-State Children’s Chorus on Thursday, February 2, 2017 in Cleveland, Ohio as part of the OMEA Professional Development Conference. Judy Bowers, professor of choral music at Florida State University, will be the guest conductor. Selected choristers will participate in three regional rehearsals prior to this event (see dates/times below) and a full group rehearsal with Judy Bowers on February 2nd. The day will conclude with a final concert at 5:00. We are thrilled to extend this opportunity to elementary students and teachers in the State of Ohio.
ON-LINE APPLICATIONS
In order to assure an efficient review process, applicants will apply using the “Acceptd, Inc.” online website. All application material MUST be submitted electronically through this web-based company. This process includes a $15 application fee to Acceptd LLC for administering the on-line process. Applications submitted by any other means will not be considered. Please read the following information carefully. Failure to do so may disqualify deserving students.STUDENT ELIGIBILITY for the ALLSTATE CHILDREN’S CHORUSAuditions will be open to all public, private and home school students in grades 4 and 5 during the 2016-2017 school year whose teachers are members of OMEA. Home-schooled students whose parent or private teacher is a member of OMEA are also eligible. OMEA members are asked to encourage and assist their finest students in the application process described below. Please ensure that all applicants can match pitch, access the head voice and possess the focus and stamina to participate in full day rehearsals.
STUDENT ELIGIBILITY FOR THE ALL-STATE CHILDREN’S CHORUS
Auditions will be open to all public, private and home school students in grades 4 and 5 during the 2016-2017 school year whose teachers are members of OMEA. Home-schooled students whose parent or private teacher is a member of OMEA are also eligible. OMEA members are asked to encourage and assist their finest students in the application process described below. Please ensure that all applicants can match pitch, access the head voice and possess the focus and stamina to participate in full day rehearsals.
APPLICATION TIMELINE: • •
• •
April 1: Application and audition material available online at https://app.getacceptd.com/omeachildrenschorus. June 1: Deadline for all applications to be submitted. Please carefully note the specific performance requirements below. August 1: Results posted to the OMEA portal http://portal.omea-ohio.org and mailed via post office to all students. Teachers will receive e-mail notification when results are posted to the portal. September 1: Acceptance forms and $75 participation fee made payable to OMEA due for all applicants. Mail all acceptance forms and the participation fee to: Sarah Kozlowski 1024 South Belvoir Blvd. South Euclid, Ohio 44121
AUDITION/RECORDING REQUIREMENTS:
PDF copies of the audition material will be located on the OMEA website http://www.omea-ohio.org and can be downloaded for reference. 1. Begin with the applicant announcing his/her name and current grade level 2. Sing the first verse of “America the Beautiful,” unaccompanied, in the key of CM. 3. Sing Lowell Mason’s “O Music,” unaccompanied, in any key.
FOR MORE INFORMATION PLEASE VISIT: https://app.getacceptd.com/OMEAchildrenschorus 44
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2016 ALL-STATE CHILDREN’S CHORUS
CONDUCTOR
Rollo Dilworth APRIL/MAY 2016
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TEACHING TIPS BAND Getting More from Your Metronome
Mark Sholl; Hilliard Davidson High School
A sense of pulse is required for any group to perform cleanly together. Without a sense of pulse, there will be no clean rhythms. A modern amplified metronome in an orchestra classroom can be an effective tool to clean a group up when used effectively over time. However, getting the most effective use of a metronome involves more than just playing it on the beat at the tempo you want to go. Using the metronome to both subdivide and then provide only sparse beats gets an ensemble to play more rhythmically accurate if done methodically. Here are a series of examples of how this can occur. If I am playing a piece in 4/4 time I will begin rehearsing by frequently using a metronome clicking 8th notes with an accent on beats 1 and 3. The metronome can be adjusted accordingly to fit 6/8 time and other meters encountered in music you are preparing. If however I stay on this, the group tends to become too dependent on the metronome. It becomes necessary to wean them from it. So I start a gradual progression. First to four quarter notes with accents on counts one and three; then to quarter notes on only counts one and three; then to only one beat per measure on count one; and finally to one beat on count one every other measure. This process starts by using the metronome to keep time for the ensemble – basically serving as the 46
group’s drummer, to eventually forcing the group to keep better time on their own than they would normally do. I often see my students looking to each other to maintain their sense of ensemble once the metronome is pulled away. They’re communicating! When that happens you’re on the right track. As students develop the skill to monitor their sense of pulse and ensemble, their awareness of what is going on around them begins to heighten. This gateway to awareness can affect other things as well. Once that occurs, areas like style, note length and even things like intonation can become more obvious to the students. Mark Sholl has been the director of orchestras at Hilliard Davidson High School and Music Coordinator for the Hilliard City Schools for the past 21 years. He is also the past President of the Ohio Orchestra and String Teachers Association. He is the music director of the Columbus Symphony Cadet Orchestra, one of four levels of youth orchestras associated with the Columbus Symphony Orchestra. He is currently a doctoral candidate in The Ohio State University School of Education Policy and Leadership.
TRIAD
VPI
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This prestigious five-day program gives high school singers an opportunity to study their craft with University of Dayton college professors and guest artists from The Human Race Theatre Company and the Dayton Opera. • Master classes, workshops and seminars. • Daily individual lessons with University of Dayton faculty. • Concluding gala recital open to family and friends. The VPI curriculum is perfect for young singers seeking to prepare for college music programs or for those who simply love to perform and wish to learn more. go.udayton.edu/vpi
TEACHING TIPS BAND The Mindful Maestro
Andrew Trachsel; Ohio University
MINDFULNESS IS AWARENESS Mindfulness is a concept that is gaining a lot of attention in our culture. No longer considered a concept reserved only for the mountaintop guru or the new age enthusiast, over the past three decades mindfulness has found its way into medical clinics, community centers, and corporate board rooms. Another way to think of mindfulness is awareness: being present in the moment of your surroundings, including your thoughts and all of your senses including hearing. Another term for the concept of mindfulness is “Shoshin” or “Beginner’s Mind,” which implies an openness to see (and hear) things just as they are, without any preconceived expectations. Applied in a musical context, mindfulness is awareness of the elements of organized sound at the moment they happen. Of course, this is the way music occurs - it is an art form that is “of the moment” - the only way we can perceive it is at the precise moment that it is being sounded, whether live or in recording. Therefore, developing a keener awareness or mindfulness will benefit every musician, especially in an ensemble setting. There are many teachers, books, and seminars available for those wishing to seek greater mindfulness. For the serious student, it is a lifetime commitment. However, even without becoming fully committed to decades-long study, there are aspects of mindfulness awareness - that we can introduce to ourselves and to 48
our students that will deepen our music-making and have a profound impact on our ensembles. We can begin by looking inward to consider how we can become more mindful as conductors. There are two sides to this approach: our musical mindfulness and mindfulness in our interactions with our students. While both paths are ultimately interrelated, we can focus on each separately. Musical mindfulness includes our work in our preparation and on the podium. Approaching the score and the sound in rehearsal with a Beginner’s Mind allows us to take nothing for granted - to exist in the moment in an authentic manner and respond accordingly. Applying mindfulness to our interactions with students, both on and off the podium, is also important. Like a standup comedian or stage actor, a conductor needs to “read the room”: to gain a sense for the emotional environment as well as the students’ level of focus at the moment, and then adjust accordingly. Expanding the conductor’s awareness is of crucial importance and perhaps we’ll be able to address this in greater depth in another forum someday. For now, let’s move on to explore ways in which we can help our students develop greater awareness in rehearsal. MINDFULNESS OF THE MUSICIAN In addition to teaching our students musical fundamentals, we are also teaching them how to listen. TRIAD
For them to become better listeners, they need to deepen their awareness - to become mindful about the music and musicians around them. I will never forget the image of Frederick Fennell on the inside of my band folder, his arms outstretched and clad in what my sixth-grade self thought was a snazzy poncho (it turns out, in retrospect, it was simply 1970s fashion du jour). Next to this image were giant letters that seemed to shout “LISTEN!” along with an itemized list of tips from Mr. Fennell on how to do just that. To help them become more mindful musicians, our students will benefit from guided listening in rehearsal. Notice I am not suggesting that we should “make them aware”; instead, we can only guide them to awareness. One concept that I find effective is for the ensemble musician to consider that they exist in an expanding sphere of awareness. The sphere first includes only the individual: each person focuses solely on their sound. Then the sphere begins to expand to include their section mates - the other people playing their instruments. The sphere expands again, growing to encompass more and more people around them, until the sphere contains the entire ensemble. As the sphere expands, each musician finds
themselves becoming more aware of everything beyond them. Another way of thinking of this to ask the player to “lose yourself in the sound around you.” This can be an effective way to help establish blend and balance, and move the group from a collection of individual sounds to a more cohesive ensemble concept of sound. Besides a music ensemble, where else nowadays do we embrace the idea of each individual becoming less so that the group becomes more? Another effective method to help foster mindful musicians in rehearsal is to establish musical hierarchy: the recognition of primary, secondary, and tertiary musical elements at any given time. This can be accomplished through isolation. By asking those who play the melody (or countermelody, rhythmic motive, etc.) in a particular passage to demonstrate their part for everyone else, we help the rest of the ensemble prioritize what is most important and together we have a better chance to help it emerge. If the musical hierarchy needs to be reinforced, phrases such as, “Protect the oboe melody here,” or “Play so that you can hear the horn countermelody” can be effective. Should it sound as if the musical priorities are unclear at some point, stop and ask the students,
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APRIL/MAY 2016
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“Who has the rhythmic motive here?” If musicians can’t identify the hierarchy, there is a good chance that the listener won’t be able to, either. Our conducting should serve as the physical realization of the musical hierarchy. Consider our use of gesture on the podium: when we cue an event, usually the primary purpose is to reinforce to the player(s) that this is where and when they should begin playing again or that they have become the primary focus after a secondary role. But what if we used the gesture to also remind the rest of the ensemble of the musical priorities? My initial gesture to the bassoons indicates they are playing too loudly; my next gesture in the direction of the melody played by the second flutes, while still maintaining eye contact with the bassoons, reminds everyone of what we are trying to protect. Style is a particular musical element that is best addressed through a deeper mindfulness by the musicians. In woodwind, brass, and vocal articulation, most of the technique is contained internally - inside the performers’ oral cavity. Therefore, the most efficient modeling of ideal sound is the sound, especially if we are trying to match the articulation of multiple instruments with differing pedagogies. Please don’t misunderstand me: the pedagogy of each instrument is crucial for the director, and we should be equipped to teach those techniques. However, in an ensemble where we are trying to be as efficient as possible, I have found that sound modeling is the most effective route. One powerful way to model articulation is to use consonants and vowels in combination to model how the tongue and teeth work together: “This is more of a ‘dah’ and less of a ‘tah’ articulation.” Another effective method is to identify a player that is modeling the ideal articulation and ask them to demonstrate for the ensemble: “Listen to how Emily is playing the marcato quarters here.” Lastly, do not underestimate the power of the percussion to serve as style indicators. Great composers will reveal much about a passage’s articulation through their use of percussion. We can direct the musicians’ listening: “Listen to the triangle - it will tell you everything you need to know about the length of those staccato eighth notes.”
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TO HEAR AND BE HEARD I try to emphasize to my students that in a musical rehearsal we exist in a rarified air: where else do we get the opportunity to listen to everyone and at the same time be heard by everyone in the room? Strengthening our mindfulness can help us to take full advantage of this singular experience. The only moment that we have any control over is this one - the one we are in right now. If each musician can gain a greater awareness of all that is happening around them, then they will deepen the connections they make through their music making and with each other. Suggested Reading Kabat-Zinn, Jon (2012). Mindfulness for Beginners: Reclaiming the Present Moment - And Your Life. Boulder, Colorado: Sounds True. Andrew Trachsel serves as Director of Bands at Ohio University. He is the conductor of the Wind Symphony, music director for the “Under the Elms” Summer Concert Series, Division Chair of Conducting and Ensembles, and is the Assistant Director for Recruitment for the School of Music. He teaches graduate and undergraduate conducting, wind band literature, and is the founder of Moving with Meaning: A Conductors Workshop. Under his artistic direction, the Ohio University Wind Symphony has performed at the College Band Directors National Association North Central Divisional Conference, the Ohio Music Education Association Annual Conference, and the Southern Ohio Performing Arts Association subscription concert series. In January 2013, the Wind Symphony released its first commercial album, MOTHERSHIP (50261-MCD), on the Mark Records label, which has been featured on syndicated public radio and appeared on the Grammy Entry List. In celebration of the 90th anniversary of the Ohio University Bands, the Wind Symphony, along with the Marching 110, embarked on a European tour in May 2013, with performances in Ireland and Italy. In 2017, the Wind Symphony will make its debut at New York City’s famed Carnegie Hall. Dr. Trachsel is published in ten volumes of Teaching Music Through Performance in Band and serves as the Coordinator for Research Associate Assignments for the series.
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TEACHING TIPS CURRICULUM & ASSESSMENT Assessing Critical Thinking Skills in Music Learning Environments
Matthew L. Garrett; Case Western Reserve University
Gabriella established one goal for her music students at the beginning of the year: to develop independent musicianship skills! As she began to explore this goal further, she realized that defining student learning objectives and measuring individual student growth might be more challenging than she anticipated. Where would she find a definition that would work for her music classroom? How would she measure thought processes that are often unique to each individual? DEFINING CRITICAL THINKING IN MUSIC LEARNING ENVIRONMENTS Generating a definition for critical thinking might best begin with what it is not rather than what it is. Recalling the names of pitches in alto clef, classifying compositional traits of romantic period composers, and explaining the difference between legato and staccato articulations are all ways students can demonstrate understanding, but these behaviors do not constitute critical thinking. Critical thinking involves actively using a base of knowledge for a specific purpose. Using the revised Bloom’s taxonomy as a guide (Anderson et al., 2001), critical thinking incorporates the behaviors of analyzing, evaluating, creating, transferring, and purposeful reflection in order to make reasoned decisions, solve problems, and master concepts. Students who 52
develop critical thinking skills understand how to transfer knowledge gained in one context to another. Within the context of a music learning environment, consider the possibilities of a classroom full of young musicians who can transfer skills and techniques from a ten-minute warm-up sequence into musical performance, read and analyze music, discuss musical concepts and ideas, and create music of their own! ASSESSING CRITICAL THINKING AND INDEPENDENT MUSICIANSHIP When we ask students to analyze something, we are fundamentally asking them to break tasks down into smaller parts and to determine how those parts relate to each other and to the task or goal itself. Gabriella decided to teach her elementary general music students to improvise and compose using simple rhythmic patterns. She outlined specific options for time signature, note and rest values and number of measures. Gabriella had students work in small groups during class, but still wanted to assess how much her students learned on an individual level, so she had them complete some homework, with the help of their parents or guardians and return information to her at the beginning of their next class. Brophy (2000) described this type of individual assessment as learning logs for younger students. TRIAD
Questions might start with simple recall items: What did you do in music class today? or What comments did you get from your teacher? In order to measure how well students can analyze, however, they would need to answer a deeper question: How did you figure out how many notes and rests to use in each measure of your composition? Answers to these questions could be collected electronically or by paper and individual responses would indicate the extent to which students could analyze their schoolwork. This type of written reflection can also be helpful to teachers as plans for the next class meeting are developed and refined. Evaluation is a central component to assessment as teachers make judgments based on pre-de-
Name Group
termined criteria and standards. Gabriella really wanted to develop her middle school students’ ability to evaluate their own musical performance, prior to attending festival. In the past, she had used a performance rubric to rate her ensemble’s accuracy, tone quality and musical expression. This year, however, she wanted her students to take responsibility for listening critically to rehearsals and offering feedback that might be used in subsequent rehearsals. Gabriella aligned her learning objective with an assessment tool that would help measure individual student growth. She posted a short excerpt of a rehearsal online, and asked students to listen carefully to the example several times before completing an open-ended rehearsal evaluation:
Student Ensemble Evaluation
Date Piece
Write your evaluation of the ensemble performance. Include specific measure numbers associated with your comments. Be as honest and detailed with your remarks as possible. Measure Numbers
My section’s strengths during this performance
Measure Numbers
My sections’ challenges during this performance
Measure Numbers
Ensemble strengths during this performance
Measure Numbers
Ensemble challenges during this performance
This type of information could be collected through an online platform, such as Google Forms, or by paper. The format of the evaluation could easily be altered to meet a variety of developmental levels or ensembles and examples created by other middle school music teachers are available (Porterfield, 2011). APRIL/MAY 2016
Ideas for improvement
Ideas for improvement
As music teachers, we often ask students to assemble elements in order to form a functional whole. Hanna described the significance of creating as one of the most complex cognitive processes within the context of music learning environments (2007). Gabriella valued the use of composition as a way to teach her students musical creativity. She 53
established very specific parameters for her high school seniors to create unison and two-part sight-reading exercises for her freshmen ensembles. She was very concerned, however, that any type of formal assessment might deter individual students as they began to explore their musical creativity. After reviewing suggestions from Kruse (2015), Gabriella decided on additive criterion scoring as a means of addressing successful completion of her pre-determined criteria: 1. Notate using appropriate rhythmic values ___ 2. Notate using appropriate melodic steps and skips ___ 3. Notate using a musical antecedent phrase followed by a consequent phrase ___ 4. Perform composition accurately ___ TOTAL SCORE This assessment tool would allow her to measure individual student achievement without negatively impacting student creativity. Teachers seeking to assess more advanced students might develop a compositional rubric to take into consideration the degree to which students successfully met task criteria and level of creativity or originality. Teaching students to transfer concepts and ideas from one context to another leads to more time making music and better-paced rehearsals. Gabriella had seen Dr. Judy Bowers (2011) use a series of “Rules for Transfer” at a recent honor choir event. In one situation, Dr. Bowers invoked the “Rule of Punctuation,” students were to lift or breathe after punctuation marks, in an effort to save time explaining each spot where she wanted students to breathe and where she wanted them to carry-through a particular section. Gabriella noted that exceptions to this type of rule would occur if she, herself asked students to ignore certain punctuation marks for musical reasons. She felt that teaching students to transfer on their own would not only improve rehearsal, but it would also allow her to observe which of her students could make connections from one context to another and which students needed additional time to master this component of critical thinking.
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CONCLUSION Developing and assessing students’ critical thinking skills involves the behaviors of analyzing, evaluating, creating, and transferring. Teachers often speak of the value of critical thinking, yet research suggests a disconnect between the expressed value and the amount of time spent developing critical thinking skills (Garrett, 2013). General music teachers and ensemble directors who value independent musicianship can develop learning objectives and assessment tools to help foster the development of critical thinking activities. Students who learn to use critical thinking skills can continue to make and to appreciate music independently for life. References
Anderson, L.W., Krathwohl, D.R., Airasian, P.W., Cruikshank, K.A., Mayer, R.E., Pintrich, P.R., et al. (Eds.). (2001). A taxonomy for learning, teaching, and assessing: A revision of Bloom’s taxonomy of educational objectives. New York, NY: Longman. Bowers, J. (2011). Structuring success in beginning middle school choral ensembles. In F. Abrahams & P.D. Head (Eds.), Teaching music through performance in middle school choir (pp. 70-72). Chicago, IL: GIA Publications. Brophy, T.S. (2000). Assessing the developing musician: A guide for general music teachers. Chicago, IL: GIA Publications. Garrett, M.L. (2013). An examination of critical thinking skills in high school choral rehearsals. Journal of Research in Music Education, 61, 303-317. doi:10.1177/0022429413497219 Hanna, W. (2007). The new Bloom’s Taxonomy: Implications for music education. Arts Education Policy Review, 108(4), 7-16. doi:10.3200/ AEPR.108.4.7-16 Kruse, N.B. (December 2015/January 2016). Assessing creativity in the music classroom. TRIAD, 83(2), 23-25. Retrieved from http://www.omea-ohio. org/TRIAD/DecJan2016/index.html# Porterfield, S. (2011). The role of assessment in helping middle-level singers become musical artists. In F. Abrahams & P.D. Head (Eds.), Teaching music through performance in middle school choir (pp. 38-56). Chicago, IL: GIA Publications.
Matthew L. Garrett is Associate Professor of Music Education, Director of Choirs and Coordinator of Undergraduate Studies in Music at Case Western Reserve University, where he teaches courses in conducting, choral methods and sociology of music education; conducts the Case Concert Choir; and coordinates student teaching. Originally from South Carolina, he taught general and vocal music in the public schools of Florida and Massachusetts, and remains an active public school colleague as a conductor and clinician. He holds a B.M.E., cum laude, and a Ph.D. in Music Education and Conducting from Florida State University, and an M.M. in Conducting from Boston University. His Research interests include the development and utilization of critical thinking skills in music classrooms and LGBTQ issues in music education. TRIAD
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TEACHING TIPS GUITAR Influential Guitarists
Thomas J. Amoriello Jr.; NJMEA Guitar Education Chairperson
Influential individuals and teams in the areas of sports, politics and the arts have pushed men, women and children to achieve what some believe to be unobtainable goals. Michael Jordan, Mickey Mantle and David Beckham have filled the dreams of thousands of youngsters wanting to attain a higher plateau in their chosen sports just as our founding fathers and political activists have done for those wanting positions that serve our citizens better. In many ways, musical performers have done the same to inspire the daydreams of the readers of this article. Many NAfME members have completed some type of music education program or are currently enrolled in one and part of the curriculum requires a music history course or two for graduation. These classes generally focus on the study of the “significant composers” of western music sometimes ignoring jazz as well as non-western styles. In the applied music studio, students focus on the required repertoire that is chosen/pre-determined by the instructor with some creative input from the student and it can be understood that equal credence is given to the study of the key interpreters (performers) of their chosen works. How many fewer musicians would have graced the important concert halls if there were no James Gallway, Yo Yo Ma, Denyce Graves, Buddy Rich, John Coltrane, Itzhak Perlman, Vladimir Horowitz and a list that could fill this entire issue. This particular column will be dedicated to those 56
teachers of guitar classes who had no idea that they would be an instructor in this area as well as to those with limited guitar experience physically or socially. The names that I will provide will consist of famous and lesser known but equally talented performers that your students will be in awe of. These players have used the guitar as a vehicle of expression to encourage millions of others to follow in their footsteps. These unique players excel in different areas of performing and will only be divided by style category. The author has chosen these 100 musicians based on their technique, originality, superior tone, interpretations and cultural impact. I have respectfully made an effort to include woman musicians in addition to world musicians. It is recommended that you play an audio or visual sample of each guitarist throughout the year. It is best to choose instrumental recordings to avoid non-school appropriate lyrics or other forms of innuendo. The majority of these samples can be located on iTunes or cdbaby.com as ease of availability was taken into consideration. Classical Guitar: Andres Segovia, Julian Bream, Sharon Isbin, Christopher Parkening, David Russell, Los Angeles Guitar Quartet, Jason Vieaux, Manuel Barrueco, Ana Vidovic, Lily Afshar, Newman & Oltman Guitar Duo, John Williams, Adam Holzman, Michael Chapdelaine, Narciso Yepes, Eliot Fisk, Martha Masters, Pepe Romero, Benjamin Verdery & Kazuhito Yamashita. TRIAD
Jazz Guitar: Wes Montgomery, Pat Martino, George Benson, Django Reinhart, Joe Pass, Pat Metheny, Mike Stern, John McLaughlin, Stanley Jordan, Al DiMeola, Herb Ellis, Charlie Christian, Eddie Lang, Tal Farlow & Emily Pember. Blues Guitar: Muddy Waters, Robert Johnson, Albert King , Freddy King, B.B. King, Robert Cray, Rory Gallagher, Joe Bonamassa, Gary Moore, Hound Dog Taylor, Big Bill Broonzy, Buddy Guy, Albert Collins, Johnny Copeland, Stevie Ray Vaughn, Robin Trower, Danny Gatton & Roy Buchanan. Rock Guitar: Chuck Berry, Scotty Moore, Duane Eddy, Jimi Hendrix, Edward Van Halen, Yngwie Malmsteen, Tom Morello, Jimmy Page, Orianthi, Brian Setzer, Eric Johnson, Mark Knopfler, Rusty Cooley, Steve Vai, Jeff Beck, Vinnie Moore, John 5, Ritchie Blackmore, Tony Iommi, Prince, Marty Friedman, Vernon Reid, Alex Lifeson, Ace Frehley , Neal Schon, Michael Angelo Batio, Robert Fripp & The Edge. Country Guitar : Don Rich, Brad Paisley, Jerry Reed, Chet Atkins, Willie Nelson, Roy Clark, Pete
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Anderson, Johnny Hiland, Merle Travis & Vince Gill. Other: Kaki King, Francis Bebey, Paco De Lucia, Ottmar Liebert, Michael Hedges, Dominic Frasca, Frantz Casseus, Les Paul & Andy Summers. Although this list could be infinite as new talent is recognized each year, this will be a good starting point to get your students even more excited about exploring the guitar. This article was first published in Tempo Magazine: The Official Magazine of the New Jersey Music Education Association. Permission has been granted to reprint. Thomas Amoriello is the Guitar Education Chairperson for the New Jersey Music Education Association. Tom earned his M.M. in Classical Guitar Performance from Shenandoah Conservatory and has presented workshops for various music organizations including the NAfME, Guitar Foundation of America and Philadelphia Classical Guitar Society. You can learn more about Tom by visiting www.tomamoriello.com
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TEACHING TIPS JAZZ Standardizing The Jazz Band Musical Experience Mike Smith; The Ohio State University
In my other OSU role (as assistant director of marching and athletic bands), I was having a conversation with the other directors regarding how best to get the OSU Marching Band to play in the proper style for our performance of Rule Britannia during our performance in London. It was mentioned that most of the students should be somewhat familiar with the style that we wanted, since almost all of them had, at some point in their school band experience, played one of the Holst Military Suites, or the Vaughan Williams English Folk Song Suite. That expectation that all high school band musicians will have been exposed to one or more of these pieces is, I believe, rooted in the belief that these pieces form the core repertoire for all band music, and all students should play them. That made me think of the jazz world, and the fact is that there is no such set expectation regarding the school jazz band experience. The question that I grapple with is this: should there be a standard repertoire expectation for school jazz bands? Which pieces should all students be expected to know and have played before graduating in order to have a thorough experience? I do feel that there is a need for a standard jazz repertoire, most importantly from the standpoint of literacy. I believe that the students in our jazz bands should be as familiar with certain composers, 58
arrangers, and works from the jazz canon as our band students are within the concert band world. And I believe that familiarity will help them to understand the importance of jazz as a unique and important American musical language that is spoken around the world. What are the benefits of a standard repertoire? First and foremost, a standard jazz rep can insure that you are choosing tunes that your students will enjoy. Another very important benefit is that this music that is so uniquely American in style and execution, will become known and valued by future generations of music lovers who will continue to consume this music well after their playing days are over. But perhaps the most overlooked aspect of standardizing the school jazz band experience is just what the word implies – setting a standard that will insure that students at all levels are getting a quality experience by playing the tunes that have stood the test of time. As I suggest the following tunes that make up a thorough jazz experience, I want to make it clear that most of these tunes have been published by multiple arrangers. Which arrangement you use should be based on the band that you have, and the capability of the players. Here are my suggestions – Take The ‘A’ Train (Strayhorn), C Jam Blues (Ellington), Caravan (Tizol), Mood Indigo (Ellington): The TRIAD
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Ellington book represents the cornerstone of our jazz musical heritage, and these tunes represent many different styles and moods within that vast catalogue. One O’Clock Jump (Basie), April in Paris (Duke, arr. Hefti), Shiny Stockings (Foster), Ya Gotta Try (Nestico): The Basie book comes very close to rivaling Ellington’s, and these are just a few of many great tunes that have become standard jazz rep. Freddie Freeloader (Davis), Four (Davis), Footprints (Shorter): Miles Davis was a key player in so many eras and styles that it is hard to boil it down to just a few, but these are three of his tunes that are often requested and performed. Billie’s Bounce (Parker), Hot House (Dameron), Ornithology (Parker): Charlie Parker represents the apex of technical proficiency as a jazz player, and these tunes will give students a sense of what they can achieve with great technique and great chops! Straight, No Chaser (Monk), Round Midnight (Monk and Williams), Epistrophy (Monk): Thelonious Monk is where modern jazz begins, and knowing his music unlocks the future that includes bebop, free jazz, and fusion. A Night in Tunisia (Gillespie), Manteca (Gillespie), Mambo Inn (Bauza): Dizzy Gillespie and Mario Bauza created what has come to be known as Latin Jazz or Cubop, and these three tunes give students a good sample of the wonderful harmonies and rhythms that can be mastered in that style. Sing Sing Sing (Prima), A String of Pearls (Gray), Tuxedo Junction (Hawkins and Johnson), Opus One (Oliver): The Swing Era provided many standards which endure today, and the Goodman, Miller, and Dorsey bands represent the absolute best of many great bands. St. Thomas (Rollins), The Blues Walk (Brown), Song For My Father (Silver), Stolen Moments (Nelson), Moanin’(Timmons), The Sidewinder (Morgan), Mr. P.C. (Coltrane): Soul Jazz/Hard Bop is probably the dominant style of jazz among active players, and these tunes represent some of the great players and bandleaders from that 50s and 60s. APRIL/MAY 2016
Cherokee (Noble), Donna Lee (Davis and Parker), Giant Steps (Coltrane): These are the tunes that jazz players learn to really stretch themselves harmonically, and all of these tunes are judged by how well one can proficiently play them at fast tempos! I Got Rhythm (Gershwin): This George Gershwin tune gets its own little blurb because once the form of this tune is learned, musicians can solo over hundreds of tunes, like Moose the Mooch (Parker), The Theme (Davis), andRhythm-a-Ning (Monk). Watermelon Man (Hancock), Mercy, Mercy, Mercy (Zawinul), Red Clay (Hubbard), Spain (Corea), Chameleon(Hancock, Jackson, Mason, Maupin), Birdland (Zawinul): The Fusion era doesn’t always get a fair shake in jazz history, but there are many important tunes that were created during that period. These represent just a few of many great tunes from the 60s and 70s. Students should also be familiar with tunes recorded by the bands of Charles Mingus (mainly composed by Mingus himself), Stan Kenton, and The Thad Jones-Mel Lewis Orchestra (mainly composed by Thad Jones). Keep in mind that in a perfect world, this jazz literacy would begin in middle school and continue through high school. And as I suggest these tunes as core repertoire, I also understand that there are numerous composers creating new pedagogical jazz band charts that sound great and are appealing to the students. But I’d like to suggest that we insure that our invaluable jazz heritage is learned and appreciated by everyone, and that starts with our student jazz musicians! Mike Smith directs the jazz lab ensemble and the jazz fusion combo at The Ohio State University, where he also teaches jazz pedagogy and jazz styles and analysis. Mike is also the the assistant director of marching and athletic bands at OSU.
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TEACHING TIPS MULTICULTURAL In Their Own Words: What the Experts Say, Part I Dr. Linda B. Walker; Kent State University
Some people talk about society as a melting pot, blended into one homogenous culture. However, America is a salad bowl, or should be. A bowl of lettuce is bland/boring without vegetables, fruit, cheese, meat, eggs, grains added. The salad bowl concept is one that fully integrates many cultures who are different from one another. The integration (salad bowl idea) of varied genres should be incorporated into teaching music in the 21st century. According to Ken Burns, the African American scholar Gerald Early told us that “when they study our civilization two thousand years from now, there will only be three things that Americans will be known for: the Constitution, baseball and jazz music. They’re the three most beautiful things Americans have ever created.” https://www.youtube.com/ watch?v=udqP0hepLZM (For full interview see) http://emmytvlegends. org/interviews/people/ken-burns) In the aforementioned interview, Burns said: “The Constitution’s greatest test was in the Civil War.” Thus, if all American students must study the Civil War and baseball is America’s favorite pastime, then at least some exposure to Jazz (America’s music) completes the trilogy. Is it important for American students—and the general public—to have knowledge of, listen to, 62
and/or perform Jazz? Why? What, then, is the future of Jazz in American public and private schools, colleges and/or universities? I’ve asked several expert colleagues to answer these questions because when we talk about expertise in teaching and/or performing music, diversity and experience matters. The eight musicians below are male and female, Black and White, young and middle-aged, members of many professional organizations, and have over 150 years of combined experience. I am thankful for their outstanding commitment to the education and performance of Jazz as well as their contribution to this column. Meet the experts: • Charles Baker, emeritus professor of music, recently retired as Director of Jazz Studies at Kent State University. • Christopher Coles, on the faculty at Kent State University and the Aurora School of Music, was recently accepted into the Banaff International Workshop for Jazz and Creative Music. • Patricia Harris is a featured soloist at the Tri-C Women in Jazz Festival. Pat is a classically trained artist who learned to sing jazz by listening to the greats. • Robert Hoefler retired in 2013 after 40 years as a high school band director. He continues to TRIAD
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perform in his own ensemble for special occasions as well as with the John Trapani, Swing Machine, and DanJO big bands in Northeast Ohio. Ronald McCurdy is professor of music at the University of Southern California Thornton School of Music and past president of the International Association for Jazz Education. Ron has toured the Lansgton Hughes Project, Ask Your Mama: 12 Moods for Jazz throughout the U.S. Gregory Newman has taught bands in Stow-Munroe Falls schools for 20 years and serves as the district’s brass specialist. The school was Best Community for Music Education recipient in 2015. Robert Selvaggio is a leading alto saxophone voice on today’s Jazz scene. In addition to his work in Jazz education, as Director of Jazz Studies at Kent State University, Bobby continues as an active recording artist. A recipient of the Jazz Legend Award, vocalist Evelyn Wright has been performing Jazz for over 30 years across the U.S. and Canada.
Common themes—culture, expressiveness, and inclusiveness—resounded when these experts were asked about the importance of knowing, listening to and performing jazz. Chas Baker: Education is the critical issue and it starts early, some say in the womb…certainly early childhood. I heard lots of good music before I was six [years old] and so did my two boys…it makes all the difference. As Americans, we must be informed and enlightened…citizens of the world, which goes hand and hand with critical thinking skills and intellectual curiosity. My experience in teaching History of Jazz showed me that most Americans (80% I’d say) know nothing about music…they literally do not hear music…they hear words, “the beat,” very simple melodies and little else. How do we get parents to play good music for their children? Hint: This question should be explored in a research study.
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Chris Coles: Students need to learn Jazz and other complex forms of music because it challenges the notion that music is simply something to be felt, which is certainly important. But, there is an intellectual side to music that can further inform how you feel. Jazz is a direct link to our past—good, bad and ugly—and is the single most valuable gift musicians have given the entire world. Pat Harris: American students should know about a musical art form that started in America. The joy of Jazz is that it can’t be anticipated…I was trained as a classical artist and had no desire to sing Jazz. Yet, when challenged to do so I began to study the greats with an intense desire to create…and now, Jazz brings me to a realization of my own creativity. Our students can also realize their own potential with Jazz. Jazz performances are often spontaneous and very rewarding for me as an artist. Bob Hoefler: Students and the general public should know, listen to, and perform Jazz because it is America’s contribution to the World of Music...which includes all nationalities and cultures around the world. Jazz was born out of a multicultural society, it unites people across the divides of race or region and has always made powerful statements about freedom and creativity…Jazz is an ideal that is created in the mind [fertile minds], inspired by…passion and a unique expression that draws from life experiences and human emotions. Ron McCurdy: Several large cities, e.g., Los Angeles, have a jazz scene and jazz fans. We now know that Jazz, in the straight-ahead genre, accounts for less than 3% of all music consumed. With a few exceptions, the majority of those who listen to jazz music are those who are musicians themselves. In the least, students of all ages need to be exposed to the genius and brilliant programming of Wynton Marsalis and the Jazz at Lincoln Center Orchestra and a few other big names. When music educators provide Jazz performance opportunities we educate the masses and help students to know themselves and others, developing both intrapersonal and interpersonal skill sets.
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Greg Newman: Jazz is the only true American art form, originated from slave songs and chants. Because Jazz has a deeply rooted history in this country, all students should be exposed to it through performance and listening. The popularity of most rock-n-roll/pop artists can be attributed to Jazz as a source of inspiration. Public attendance in the communities of Stow and Munroe Falls greatly supports jazz education in our schools. We have hosted, performed at and attended many great concerts and clinics over the years, featuring several outstanding local professionals musicians who have inspired our students—who come from great feeder programs— to continue the pursuit of jazz performance in our district. Bobby Selvaggio: A typical answer to the question is that Jazz is America’s only true art form and it’s important to keep that tradition alive…jazz musicians deserve more respect…and jazz music deserves more recognition. But, if we focus on the point that Jazz should be more popular, then we will fail the music. In my opinion, Jazz and the musicians that play it aren’t owed anything…it is important to understand that Jazz will never have more recognition than it has now. The most important aspect of Jazz is the honesty that each musician needs to bring to the music for a performance to be successful. A great performance is not about how many notes we play or how easy we can make it for the listening audience to understand. It’s simply about being honest with yourself and the people who are listening. The honesty and vulnerability that students and the general public can learn from Jazz is one of the most important aspects of this music to be passed on. Evelyn Wright: Jazz is a genre of music that connects…brings many cultures and people together. Performing Jazz connects me to others and provides a place of comfort for me to express and be in conversation with my audience. So, what is old is new and what is new is old. My experience has been one of joy and pain and helping others through music. Very humbling.
Linda B. Walker is professor of music at Kent State University where she teaches undergraduate and graduate music education classes, directs the KSU Gospel Choir and formerly served 10 years as coordinator of music education. She specializes in teaching general music at the elementary and secondary levels. With focus on diversity, equity, and inclusion in music education, her work is published in Triad, JRME, Bulletin of the Council for Research in Music Education, MEJ, Contributions to Music Education, General Music Today, and Quarterly Journal of Music Teaching and Learning. She has coauthored and contributed to several books, including Multicultural Perspectives in Music Education (2nd & 3rd editions). Walker is recipient of numerous faculty teaching, research and creative activity awards, including the unique Distinguished Woman of Kent State University. Dr. Walker received bachelors and masters degrees in music education from Jackson State University, and earned the Ph.D. in music education and music therapy at the University of Kansas.
(See the next issue for Part II, which will discuss the future of Jazz.) 64
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TEACHING TIPS TEACHER EDUCATION Helping Student Teachers Find Relevance and Success in the edTPA Dr. Barry Hartz; Cleveland State University
Despite the objections of many teacher educators (Cody, 2014; Mader, 2013; Ravitch, 2015; Vigon, 2015; Wearne, 2014), the edTPA has become part of the new data-driven accountability imposed on pre-service teachers and yet another high-stakes component of the student teaching experience. Although the state of Ohio has not yet mandated the use of the edTPA for teacher certification, many universities have adopted the assessment and charged teacher educators with helping student teachers not only complete the assessment, but also find the relevance and aspects of excellent teaching embedded among the labyrinth of requirements for documentation and commentary. Given this challenging reality, teacher educators can support their student teachers by helping them (a) identify pertinent resources, (b) organize their thoughts and materials before writing, and (c) revise their commentaries. SETTING THE STAGE: DEVELOPING THE MINDSET OF AN EXPERT TEACHER This phase of the process presents the opportunity to help student teachers apply all that they have learned during their coursework and connect with some of the primary conceptual models upon which the edTPA is based. Planning an effective unit of instruction can be enhanced by deepening one’s comprehension of (a) the nature of understanding 66
and how students develop musical skills, knowledge, and understanding, (b) how to build lessons on a conceptual framework of “big ideas” and “essential questions”, (c) how to provide multiple means for students to engage with and demonstrate their mastery of new skills and concepts, and (d) how to help students master the language of music. Integrating primary sources into student teachers’ preparation for the edTPA can bring a depth of understanding not available through the materials published by the Stanford Center for Assessment, Learning and Equity (SCALE). For example, Understanding by Design (Wiggins & McTighe, 2005) provides in-depth explanations of six facets of understanding and several templates for working through the three stages of the backward design process: identifying desired results, determining acceptable evidence of learning, and planning learning activities. Jackie Wiggins’ Teaching for Musical Understanding (2015) is an excellent complement to Wiggins and McTighe’s work and provides strategies for applying a constructivist approach to music learning. Chapters 4 and 5 of Universal Design for Learning: Theory and Practice (Meyer, Rose, & Gordon, 2014) are especially valuable in helping teachers differentiate instruction by providing multiple means of presenting concepts to students, fueling students’ interest and persistence, and enabling them TRIAD
to demonstrate their learning. Assessment, academic language, and the practical implementation of abstract concepts are three additional challenges posed in the edTPA. Scale Your Way to Music Assessment (Kimpton & Harnisch, 2008) is a comprehensive and practical guide to developing assessment literacy and effectively assessing students’ musical learning. Jeff Zwiers has done extensive research into the role of academic language in students’ learning. His book, Building Academic Language: Essential Practices for Content Classrooms (Zwiers, 2008) presents detailed descriptions of how academic language differs from everyday language, explains why mastering academic language is essential to success in school, and provides practical strategies for supporting students’ language skills. Doug Lemov’s Teach Like a Champion Field Guide (2012) is a compendium of techniques for implementing several concepts examined in the edTPA, such as creating a positive learning environment, delivering instruction, engaging students, and extending students’ thinking. The field guide provides brief descriptions of each strategy and suggestions for implementation, as well as a
DVD with examples of veteran teachers modeling each technique. Working through excerpts of these primary sources with students can help prepare them to conceptually understand the expectations of the edTPA and spur their creativity as they begin to plan their own unit of instruction. In addition to the resources described above, there are two important resources that can help student teachers apply concepts stressed in the edTPA to a musical context. Musicianship-Focused Curriculum and Assessment (Conway, 2015) includes many chapters that address topics pertinent to the edTPA. Chapters four and five discuss Understanding by Design and Universal Design for Learning from a musical perspective, while chapters 7-13 present research-based approaches to teaching students to create, perform, and respond to music. Chapter 16 examines research, theory, and applied techniques for helping English Language Learners develop musical skills and understanding. Mary Adamek and Alice-Ann Darrow’s Music in Special Education (2010) can help student teachers differentiate their instruction to support students with specific learning needs.
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ORGANIZING THOUGHTS AND RESOURCES One of the most important considerations in successfully completing the edTPA is answering each component of the prompts. This can be surprisingly difficult because of the dense language and multipronged nature of the prompts. Questions such as 3a in Task 1 (edTPA, 2015), shown below, can be confusing to both student teachers and their mentors. Justify how your understanding of your students’ prior academic learning and personal, cultural, and community assets (from prompts 2a-b above) guided your choice or adaptation of learning tasks and materials. Be explicit about the connections between the learning tasks and students’ prior academic learning, their assets, and research/theory (p. 2). Graphic organizers can be an effective way of helping student teachers navigate the logical progres-
sion of each prompt and collect the pertinent information required to respond to each component. Figure 1 is an example of an organizer designed to help students prepare their response to the prompt quoted above. A second way to help student teachers prepare for writing their commentaries is to identify in advance the prompts that require the support of theory and research. In the 2015 edition of the edTPA, the prompts requiring this support are Task 1: Prompts 3a-c (SCALE, 2015a), Task 2: Prompt 5b (SCALE, 2015b), and Task 3: Prompt 4b (SCALE, 2015c). Prompts 3a-c ask student teachers to explain how their understanding of students’ prior learning and existing assets informed their choice of materials, strategies and supports and to discuss common errors and misunderstandings, citing theory and research to support their explanations (SCALE, 2015a). In Task 2,
Figure 1. Graphic organizer for Task 1, Prompt 3.a. 68
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Prompt 5b asks respondents to use theory and research to explain how proposed changes in their instruction would lead to improved student learning (SCALE, 2015b). Question 4b in Task 3 asks writers to draw on theory and research to identify the next appropriate steps in instruction (SCALE, 2015c). Knowing the topics requiring the support of theory and research in advance can help student teachers gather relevant sources prior to writing their commentaries, and lead to deeper and richer integration of expert sources. REFINING THE COMMENTARIES As with any writing, it is essential to schedule sufficient time to provide feedback and allow students to revise their initial response to each prompt. In addition to assuring that each response answers each component of the prompt, it is helpful to remind students to use the language and structure of the prompt when formulating their response. Students need to guide the assessor through their response and make clear connections to each component of the prompt. It is also important that students understand which rubrics will be used to assess which response. The Understanding Rubric Level Progressions (SCALE, 2015d) publication identifies the rubrics used to assess each response and explains the qualities that must be present to earn each score. SUMMARY While the debate about the predictive validity, reliability, and developmental appropriateness of the edTPA continues, the responsibility for guiding student teachers through this process remains for many of Ohio’s music teacher educators. Sharing resources that address the conceptual foundations of both the edTPA and high quality music instruction can help student teachers begin to think like expert curriculum designers, assessors, and pedagogues. Helping students organize their thoughts and resources prior to composing their commentaries can promote more thoughtful and thorough responses. Scheduling sufficient time for feedback and revisions can help assure that students answer every component of each prompt and understand the qualities that must be present to earn the desired score. Most importantly, providing this support can help student teachers see beyond the language of the edTPA to discover the principals of APRIL/MAY 2016
excellent teaching hidden beneath the layers of instructions and requirements. References
Adamek, M. S., & Darrow, A. (2010). Music in special education. Silver Spring, MD: The American Music Therapy Association. Cody, A. (2014). Teacher education leaders speak out: Kevin Kumashiro on teacher preparation, edTPA and reform [Web log post]. Retrieved from http://blogs.edweek.org/teachers/living-in-dialogue/2014/05/teacher_education_leaders_spea.html Conway, C. (Ed.). (2015) Musicianship-focused curriculum and assessment. Chicago: GIA Publications. Kimpton, P., & Kimpton, A. (2013). Grading for musical excellence: Making music an essential part of your grades. Chicago: GIA Publications. Kimpton, P., & Harnisch, D. (2008). Scale your way to music assessment. Chicago: GIA Publications. Lemov, D. (2012). Teach like a champion field guide. San Francisco, CA: Jossey-Bass. Mader, J. (2013). Do new exams produce better teachers? States act while educators debate [Web log post]. Retrieved from http://hechingerreport. org/do-new-exams-produce-better-teachers-states-act-while-educators-debate/ Meyer, A., Rose, D. H., & Gordon, D. (2014). Universal design for learning: Theory and practice. Wakefield, MA: CAST. Ravitch, D. (2015). Rick Ayers: EdTPA is ruining teacher professionalism [Web log post]. Retrieved from http://dianeravitch.net/2015/11/13/ rick-ayers-edtpa-is-ruining-teacher-professionalism/ Stanford Center for Assessment, Learning and Equity (SCALE). (2015a). edTPA Task 1: Planning commentary, K-12 performing arts. Palo Alto, CA: SCALE. Stanford Center for Assessment, Learning and Equity (SCALE). (2015b). edTPA Task 2: Planning commentary, K-12 performing arts. Palo Alto, CA: SCALE. Stanford Center for Assessment, Learning and Equity (SCALE). (2015c). edTPA Task 3: Planning commentary, K-12 performing arts. Palo Alto, CA: SCALE. Stanford Center for Assessment, Learning and Equity (SCALE). (2015d). Understanding rubric level progressions, K-12 performing arts. Palo Alto, CA: SCALE. Vignon, L. (2015). A laundry list of problems with new edTPA teacher assessment [Web log post]. Retrieved from http://catalyst-chicago.org/2015/05/ a-laundry-list-of-problems-with-new-edtpa-teacher-assessment/ Wearne, E. (2014). EdTPA part 1: Crony academia [Web log post]. Retrieved from http://www.ericwearne.com/blog/edtpa-part-1-crony-academia Wiggins, J. (2015). Teaching for musical understanding (3rd ed.). New York, NY: Oxford University Press. Wiggins, G., & McTighe, J. (2006). Understanding by design (2nd ed.). Upper Saddle River, NJ: Pearson. Zwiers, J. (2008). Building academic language: Essential practices for content classrooms, grades 5-12. San Francisco, CA: Jossey-Bass.
Barry Hartz currently serves on the music education faculty of Cleveland State University, where he teaches instrumental methods classes and supervises student teachers. Dr. Hartz has conducted research in several states examining innovative means of developing music literacy. An active OMEA adjudicator for 25 years, he earned his Ph.D. from Case Western Reserve University in 2015, National Board Certification in 2007, and was received the OMEA Outstanding Music Educator award in 2013.
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TEACHING TIPS TECHNOLOGY Developing Recording Skills With Voiceovers David Kilkenney; Gilmour Academy
Today’s traditional music technology students come to us with a wide variety of musical backgrounds. Some are instrumentalists, some are vocalists, and some simply just enjoy listening to the music from their favorite artists. With such a diverse collection of student skills, it can be difficult to offer your students a range of opportunities to explore the recording process (outside of overworking the few trained vocalists that you may have). This is where the voiceover can help. Voiceovers can give students more opportunities to develop their skills in microphone and voice recording techniques. There are a large number of voiceover project types that can be chosen. Recording a joke and adding sound effects or music to it can be a fun way for students to explore microphone recordings. Promoting a school event, such as an upcoming performing arts concert, through an audio commercial can help the students not only work with microphone recordings, but can get them involved and excited in other areas outside of their given class. Another idea would be for students to record a copy of their favorite book from their childhood, and then donate the book and the recording to the primary school library. PRE-PRODUCTION: The process for recording a voiceover begins with choosing the dialogue or creating a script for 70
your talent to record. When the student is creating their own script, reaching out to an English or Creative Writing teacher / class is a great interdisciplinary way to help the students put it together. Once the script is created, the students will need to determine who their “talent” will be to record the script. Have the students audition different voice types (male, female, tenor, soprano, etc.) to give them a sample of how their project can sound when different people read. The final step in pre-production is finding a good location to execute the recording. The most important step in determining a location is the room noise. Something as simple as the fan in a computer or the hum of an air duct vent can ruin a recording. A place that is absolutely quiet is essential. RECORDING: Once the script has been written, the talent chosen, and the recording location determined, it is time to begin the recording. Key concepts like the signal chain, microphone placement, and talent direction are important pieces that should be explored at this stage of the project. Let’s tackle the signal chain first. Explaining how the sound gets all the way from the talent’s voice to the monitors or headphones will reinforce the purpose and function of each step in the chain. Nothing will test this better then something not TRIAD
working correctly in the recording! Whether there is no sound coming out at all, or perhaps the presence of unwanted sounds (like humming or feedback), the students will need to follow the signal chain to locate and correct the problem. Don’t forget that Digital Audio Workstation software signal chains should also be analyzed and explored by the students. Microphone location and proximity will alter the way a voice sounds when it is recorded. Encourage the students to sample different mic placements to determine where the mic should be placed for the best sound. A mic directly in front of the speaker’s mouth with no pop filter will sound different from one that is placed slightly off access or placed farther away. The mic gain should be set as high as possible without getting distortion; it is always easier to lower the volume in post-production than it is to raise. Finally, performance is key. A top-notch performance recorded on mediocre hardware will always sound better than a mediocre performance recorded on top of the line gear. The performers should be reminded to talk slowly and articulate as they read through the script. Some words or phrases will need to be emphasized more than others, and with varying expression. The students should try several different takes, to see what helps deliver the script’s message in the most solid fashion.
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POST-PRODUCTION: Once the script has been recorded, a lot can be done to enhance the project within a digital audio workstation or DAW. Equalization and compression can be added to make the voice sound loud and full. Perhaps even a bit of reverb will help. Post-production is also a great time for the students to show off their creativity. They can add sound effects from a stock library, or record their own Foley. They can also create their own original music to enhance the project. If students choose to add these other modes of expression, it will also be essential for them to carefully mix, master, and balance the overall layered mix of tracks into one seamless stream of audio. Finally, students can share and critique their finished projects with their peers in a roundtable listening session. Voiceovers can give students more opportunities to develop their skills in microphone and voice recording techniques. They can also help students express themselves creatively. Hopefully you too can help students let their “voices” be heard through a voiceover project of your own! David Kilkenney holds a Bachelor’s in Music Education from Cleveland State University and a Master of Science in Music Technology from Indiana University (IUPUI). He is currently the Director of Instrumental Music at Gilmour Academy in Gates Mills, Ohio, where he directs the Middle and Upper School bands. He also teaches a series of Digital Music Technology and Audio Engineering classes.
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TEACHING TIPS TECHNOLOGY Google: It’s More than a Search Engine Lesley Schultz; Princeton City Schools
Google is one of the biggest search engines out there fielding over 3.5 billion searches per day, but Google can do so much more to streamline your work and your classroom. Google offers a suite of tools that can revolutionize the way you teach, interact with students and parents, and take care of the everyday business of running a music classroom. Through Google Drive, you can create and share instrument inventories, music libraries, locker assignment lists, and parent/student contact databases, and much more than I can list here. These documents are sharable with anyone that has a Google account, making sharing administrative tasks between teachers much easier. The Drive automatically saves, and anyone can edit the documents if you so choose. It is a great way to work on any kind of documents collaboratively. Google Forms (part of Drive) can create some of those databases for you. For example, to collect information about students, you can provide a QR code link for parents to scan with their phones during open house. This will link them to the Forms that gather the needed information. Google Forms also have the amazing ability (with help of add-ons Flubaroo and Form Ranger) to create self-grading quizzes and rubrics that will instantly email results to students and parents. Google Translate can help you translate your 72
documents into almost any language. Though Google Translate does the bulk of the work, it would be wise to have a foreign language teacher or ELL teacher check it over if possible, as sometimes the finer nuances of foreign language grammar aren’t quite right with Google Translate. That said, Google Translate is getting better all the time and can be a useful tool – especially if you have non-English speaking students! Google Classroom is one of the newest services that Google offers, but you need a school Google domain to use it. More and more districts are offering this (since it is free to school districts), so check with your district officials to see if it is available to you. Google Classroom is similar to sites like Edmodo, except students cannot use their personal Google accounts, which offers school districts (and teachers) a bit more control. What can Google Classroom do? I personally use Google Classroom in my music tech classes as the primary way for students to turn in all of their work and projects. For performing ensembles like my guitar classes, it can be used to turn in playing exams, offer concert reflections, or upload videos of their ensemble rehearsing. Also, students can comment on videos or recordings posted by the teacher, either privately or in a community discussion styled forum. If you teach a music appreciation class or IB TRIAD
music, Classroom can create a virtual cloud-based space for your class projects and papers. Everything is private on Classroom, meaning only the teacher and student can see what is submitted. Teachers can instantly see who has and has not turned things in. Worried about having access to computers? Google helps to eliminate some of those concerns, since it is accessible from any computer, and there are apps for Android and iOS. Many high school students have access to a smartphone, and short assignments (like a Google Form quiz) can be taken right on the student’s phone. If designed appropriately, many things can be done through the student phone or tablet computers. Talk to your media specialists about getting a cart of laptops or two, and if your district is having a large technology push, advocate that you need to be a part of this as well. Need to know more about what Google can do for you? If you need specific help with the different tools that are available through Google, this link is a very good place to start: https://edutrainingcenter. withgoogle.com/resources/tools. If you are willing
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to go the extra mile, Google offers online professional development to help you become a Google Certified Educator; check with your LPDC if you can do a Google independent study. Information on becoming a Google Certified Educator can be found here: https://edutrainingcenter.withgoogle.com/certification This article barely scratches the surface of what Google can do to help you connect your classroom and to streamline your work. If you are interested, I will be presenting a session at the OMEA Professional Development Conference this coming January with Brian Frey on how Google can transform your classroom. We will go much more in depth and show you how we use Google’s tools to streamline our classrooms. Lesley Schultz has taught Orchestra and General Music since 2003 and has taught 6-12 Orchestra and General Music at Princeton City Schools since 2008. She serves on the Ohio board for TI:ME, and keeps an active playing schedule around the state.
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TEACHING TIPS WOODWINDS Teaching Vibrato to Middle and High School Saxophonists Michael Rene Torres; The Ohio State University
INTRODUCTION Vibrato is a musical tool which is part of the characteristic sound of the saxophone. It is a basic fundamental skill that adds character and beauty to phrases and is learned like any other musical fundamental: through diligent and focused practice. HOW TO PRODUCE IT Jaw-vibrato is the most commonly used approach to creating saxophone vibrato. It is produced by slightly lowering and raising the bottom jaw. The process subtly lowers the pitch as the bottom jaw drops, returning the pitch as the jaw raises to its original position. This is accomplished while still maintaining proper sound quality, intonation, embouchure control, and air pressure. The process is often described as a “chewing gum motion”1. Another way to conceptualize this action would be to repeat the syllable “moh.” This approach allows students a consistent and measurable lower jaw motion which is easily recreated and controlled. WHEN TO TEACH IT Learning to use vibrato artistically can be a lifelong process that is highly individualized; however, vibrato is not a technique that should wait to be taught in college. Students should learn vibrato when they are ready and not necessarily at a standardized time. 74
The only prerequisite to learning vibrato is the development of proper tone production. When a student is creating a characteristic sound quality and using air correctly, they are ready to begin learning vibrato regardless of age or grade. HOW TO TEACH IT While the speed of vibrato should be flexible to fit the context of the music, it should be practiced strictly in tempo in order to gain control of its use. A metronome is essential during these beginning steps. 1. Ask the student to verbally repeat the syllable “moh” eight times at mm=80 with one vibration per beat. Demonstrate this first, then participate with the student. 2. Ask the student to describe what is happening to their lower jaw as they create the syllable. Explain how the jaw moves in a “chewing gum” motion and ask them to imagine what affect this might have on their sound. 3. Have the student replicate the process while blowing air through the reed, ligature, mouthpiece, and neck. Do not use the body of the saxophone so the student does not worry about pitches and fingerings. Repeat a cycle of whole-note-whole-rest still at mm=80 with one vibration per beat. 4. Attach the neck of the saxophone to the body and TRIAD
have the student begin the vibrato process on middle C. Typically, vibrato at this point will be too wide. This will both distract from musicality and lower the pitch. In other words, the wider the lower jaw opens, the wider the vibrato sounds. After the student begins to feel comfortable with vibrato on middle C, increase the speed/frequency of vibrations and introduce other pitches through longtones. HOW TO PRACTICE IT Once students have been taught the basic physical process to produce vibrato, help them to develop a practice routine to improve the skill. Students should practice vibrato through the use of longtones and apply the skill to the study of etudes. There are many different types of longtones that can be used for practicing vibrato but it is advisable for students to use very basic exercises like slow-scales in order to focus on vibrato without distraction. Have students start with a C major scale in which each note is played for a whole note and slurs into the next note. The eventual goal is four vibrations per beat using the “moh” syllable at mm=60-76 (Figure 1). This will create a sixteenth-note pattern against the quarter-note beat of the metronome (Figure 2). The purpose of slurring the scale is to help students learn to move the vibrato through notes instead of stopping and restarting vibrato at each note change. Figure 1 - Mid to low range vibrato exercise
Figure 2 - Vibrato subdivisions against the whole-note pitch
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CONCLUSION Developing vibrato artistically can take years of study. As students learn, be positive and provide them with examples to aspire towards. Suggest that they take private lessons and listen to recordings of professionals. It is also important not to forget that the absence of vibrato can sometimes be an equally effective musical tool. Vibrato should always sound natural, not mechanical; used in a way that follows the shape of each phrase, not just on long-notes. Most importantly, be encouraging as learning to control vibrato can be a challenging process. i Hemke, Frederick L. “Teaching Saxophone Tone Production.” Woodwind anthology: a compendium of woodwind articles from the instrumentalist. 1999 ed. Vol. 2. Northfield, Ill: Instrumentalist Co., 1999. 561-563.
Dr. Michael Rene Torres is Lecturer of Saxophone at The Ohio State University and Executive Director of the Columbus Ohio Discovery Ensemble. Dr. Torres is a ConnSelmer Endorsing Artist and has presented recitals, clinics, and masterclasses throughout the USA.
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Figure 3 - Rhythmic variations of scale exercises
After repeating these exercises, eighth-note subdivisions can be added on the metronome. This will help to maintain and control rhythmic evenness. Advanced students can even add eighth-note subdivisions for additional development. Various scale exercises at faster tempi can be used, abruptly stopping the technique and adding vibrato on elongated pitches within a pattern (Figure 3).
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HISTORY Resolutions Supporting Music Education, 1835-1839. Dr. Paul Sanders; Ohio State University Newark
The National Association for Music Education (NAfME) website notes that combining stories with facts is one the best ways to advocate for music education in our schools.1 Ohio’s music education history naturally unifies stories about public school music education in Ohio with facts from primary sources and well-documented historical studies. As early as the mid-1830s, several Ohioans actively supported the inclusion of music as a regular subject in the public, or “common,” schools. Those seeking to establish vocal music as a branch of instruction found support in several resolutions passed at county and state teachers meetings during the 1830s. Such resolutions demonstrated an early commitment to music education by Ohio’s educational leaders. Following are the stories of five early resolutions. HAMILTON COUNTY ASSOCIATION OF TEACHERS, 1835 One early resolution came from the Hamilton County Association of Teachers in Carthage. This group was associated with the Western Literary Institute and College of Professional Teachers, an organization devoted to education in Ohio and other “Western” states. Many from the Hamilton County group likely attended the yearly gathering of the Western Literary Institute in nearby Cincinnati where they would have heard speeches on various topics 76
related to common school education. At the 1834 meeting of the Western Literary Institute, local piano teacher William Nixon gave a lengthy speech on the moral influence of music. Following the model of the Boston Academy of Music, the Eclectic Academy of Music was established in Cincinnati in that same year with the goal of promoting music education in the West.2 Nixon’s speech and the founding of the Eclectic Academy in 1834 almost certainly influenced discussions at the 1835 meeting of the Hamilton County Teachers Association, leading to the adoption of the following resolution: Resolved, That Vocal Music should be made a part of common elementary education for boys and girls.3 WESTERN LITERARY INSTITUTE, 1837 AND 1838 Several years later at the 1837 meeting of the Western Literary Institute, there were two significant reports related to music education. Calvin E. Stowe, a professor at Lane Seminary and spouse of Harriet Beecher Stowe, reported on his recent visit to public schools in Germany. In that report, he noted the inclusion of vocal music at each grade level and instrumental music beginning at age ten. In a second report, Timothy Mason from the Eclectic Academy, and Stowe’s brother-in-law, Charles Beecher, addressed TRIAD
questions posed during the previous year’s institute, noting that: (1) all men can learn to sing, (2) vocal music is of physical, intellectual, and moral benefit as a school subject, and (3) in order to introduce music to the schools, the public must be made to see its desirability and qualified teachers must be prepared.4 The compelling evidence presented by Stowe, and by Mason and Beecher, led members of the institute to adopt the following resolution: Resolved, as the settled sentiment of this convention, that the capacity of vocal music is common to mankind, and that vocal music may be employed to great advantage, as a means of discipline, of health, and of intellectual and moral advancement; and ought to be made part of the daily course of instruction, in all our common schools, as well as higher seminaries.5 These two reports also directly influenced early experiments with music in the Cincinnati schools beginning that same year.6 At the 1838 meeting of the institute, members had the opportunity to hear a group of Cincinnati school children perform under the direction of Timothy Mason. They responded by passing an additional resolution: Resolved, that the College of Teachers are very much gratified at witnessing the singing of the Scholars of the Common Schools of this City, ad have entire confidence in the system of instruction in vocal music, which has been introduced among them.7 OHIO EDUCATION CONVENTION, 1838 Later that year, a statewide convention held in Columbus resulted in the adoption of yet another resolution although not without considerable debate. In attendance were Ohio’s School Superintendent, Samuel Lewis, William Holmes McGuffey who edited the McGuffey Readers, Calvin E. Stowe, and numerous other delegates from Ohio schools and colleges. On December 26th, Dr. J.D. Weston read a letter on behalf of Mrs. William C. Webster supporting the introduction of music into the schools.8 Calvin Stowe introduced two related resolutions the following day: Resolved, 1st, That we regard the Education of APRIL/MAY 2016
children and youths in the theory and practice of vocal music, as constituting an important part of a system of Physical, Mental and Moral discipline, designed to prepare them for the duties and enjoyments of life, inasmuch as it tends to promote health, strengthen and enlarge the mind and to soften and elevate the affections. Resolved, 2d, That we hail the introduction of Sacred Music into our primary and higher Schools, as an important and promising era in the history of Education in our Country; and that we highly recommend its introduction into Common Schools, Academies and higher Seminaries of Learning in the State.9 The pair of resolutions was tabled after the first reading but brought back to the floor on four different occasions the same day, suggesting that “a heated controversy was aroused in which all the current arguments for and against music teaching were brought into the open.”10 Although the exact nature of the debate is unknown, it seems likely that the assembly was divided on the inclusion of sacred music in the public school curriculum. In the end, a single, shorter resolution was adopted on December 28th: Resolved, That experience has shown that the practice of vocal music in schools so far from encroaching on the time of the pupils, by promoting cheerfulness and activity of mind, renders their progress in all other respects more rapid and certain.11 CUYAHOGA COUNTY COMMON SCHOOL ASSOCIATION, 1839 Mrs. Webster, who led a “juvenile singing school” in Cleveland beginning in 1838, soon had another opportunity to promote music in the schools. At the January 31, 1839 meeting of the Cuyahoga County Common School Association, Webster’s students performed adding “much interest to the proceedings of the meeting,”12 and the Cuyahoga County group unanimously adopted the following resolution on the same day it was introduced: Resolved. That this Association recommend the introduction of vocal music into our common schools, as an important part of the system of Education to be pursued by them.13
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CONCLUSION These resolutions helped lay the foundation for the strong tradition of music education in Ohio that began in the 1840s. Dickey notes that, because of great interest in all educational matters, Ohio was “like a second New England” closely following Boston’s early introduction of public school music, and Rich informs us that public school music education had spread to sixty-four of Ohio’s eighty-eight counties by 1859. By sharing these stories and facts from Ohio’s music education history with others, our proud tradition can continue to serve as a powerful instrument for advocacy in the 21st century.14 Endnotes 1 National Association for Music Education, “What to Say,” http://www. nafme.org/take-action/what-to-say/ (accessed July 23, 2015). 2 Paul D. Sanders, “The Western Literary Institute (1832-1845” Kodály Envoy 30(1), (Fall 2003): 4-5; Charles L. Gary, “A History of Music Education in the Cincinnati Public Schools” Journal of Research in Music Education, 2 (Spring 1954): 11. 3 William C, Woodbridge, ed., “Convention of Teachers at Carthage,” American Annals of Education and Instruction, vol. 5 (Boston: William D. Ticknor, 1835), 281-282. 4 Gary, 12. 5 John W. Picket, ed., “Proceedings of the College of Professional Teachers,” The Western Academician and Journal of Education and Science, vol. 1 (Cincinnati: James R. Allbach, 1838), 490. 6 Gary, 11. 7 Transactions of the Eighth Annual Meeting of The Western Literary Insti-
tute and College of Professional Teachers (Cincinnati: Josiah Drake, 1839), 17. 8 Miriam Bierbaum Kapfer, “Music Instruction and Supervision in the Public Schools of Columbus, Ohio, from 1845 to 1900 (Ph.D. diss., The Ohio State University, 1964), 64-67; and Francis Hawthorne Grant, “Foundations of Music Education in the Cleveland Public Schools (Ph.D. diss., Case Western Reserve University, 1963), 153-154. 9 Proceedings of the Second Annual Convention of Professional Teachers (Columbus: Cutler & Pilsbury, 1839), 6. 10 Grant, 306. 11 Proceedings of the Second Annual Convention, 7. 12 “Cuyahoga County Common School Association,” Cleveland Herald and Gazette, January 10, 1839. 13 Ibid. 14 Frances M. Dickey, “The Early History of Public School Music in the United States,” MTNA Proceedings (1914), 203; and Arthur Lowndes Rich, Lowell Mason, “The Father of Singing Among the Children” (Chapel Hill: The University of North Carolina Press, 1946), 115.
Paul D. Sanders is a professor of Music Education at the Ohio State University at Newark. He holds graduate degrees in choral conducting and music education from The University of Oklahoma, and a Kodály Certificate from Silver Lake College. He currently serves on the Kodály Envoy editorial board, and his publications include Lyrics and Borrowed Tunes of the American Temperance Movement (University of Missouri Press), 175 Progressive Diatonic Exercises, and 200 Progressive Pentatonic Exercises (Masterworks Press). His most recent articles appear in Social History of Alcohol and Drugs and the Journal of Historical Research in Music Education.
COMPLETE BAND DIRECTOR June 21-24
CONSERVATORY OF MUSIC www.capital.edu/music www.capital.edu/grad-music 614-236-6101
BACHELOR OF MUSIC
WIND & PERCUSSION CAMP June 6-10
BACHELOR OF ARTS
MUSIC MUSIC EDUCATION PROFESSIONAL STUDIES (Music Technology Emphasis) Dual, Instrumental, Vocal KEYBOARD PEDAGOGY Church, Organ, Piano MUSIC INDUSTRY MASTER OF MUSIC IN MUSIC EDUCATION MUSIC TECHNOLOGY PERFORMANCE INSTRUMENTAL emphasis Jazz Studies JAZZ PEDAGOGY emphasis ‘ emphasis Composition KODALY Instrumental Organ Piano Voice Voice
MASTER’S IN MUSIC EDUCATION June 6-July 15 July 18- Aug. 5
(Opera/Music Theatre Emphasis)
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HIGHER EDUCATION NEWS UNIVERSITY OF AKRON
The University of Akron Marching Band capped off an exciting football season with a win at the Famous Idaho Potato Bowl Game in Boise, ID against Utah State. The entire band traveled to support the Zips and represented UA, the School of Music, and themselves with pride. In Fall 2015 the UAMB also unveiled new uniforms and a $1,000 stipend for all members. Congratulations to Lt. Gregory Fritz, recipient of the UA 2016 Outstanding Music Education Alumni Award presented at the 2016 OMEA Professional Development Conference. Lt. Fritz is the director of the Navy Band Northeast and a 1995 graduate (BM, Music Education). The UA brass faculty will host the 36th Annual Brass Performance Seminar June 6-10th. Emphasis is on chamber music for high school brass players as they play in 5 brass quintets and a brass choir. Daily classes also include instrumental performance and jazz improvisation, culminating in a finale concert for family and friends on Friday June 10th. If you have students interested in auditioning, please contact Dr. Jim Albrecht at 330-972-6434 or email jalbrecht@uakron.edu. The UA School of Music will also host Training the 21st Century Musician - a Summer Symposium for music educators, Monday-Thursday, June 13-16th from 8 a.m. - 5 p.m. (2 graduate credits). Credit is also available for Summer Symphonic Band, June 12-16th with a final concert on Thursday, June 16th at 7:30 p.m. Additionally, the UA Saxophone Camp (for students entering 9th grade through first year of college) and Junior High Band Camp (for students entering 7th 10th grades) will be held on June 20-24th. Visit uakron. edu/music for more details. Music Education faculty member Bryan E. Nichols will present a session on singing at the national conference of the National Association for Music Educators in Chicago on March 18. APRIL/MAY 2016
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We are Wittenberg. $350,000 in music scholarships available regardless of major
Make music at a university that cares.
More than100 years of music excellence For more information about our music programs and scholarships, visit www.wittenberg.edu/music or contact Daniel Kazez, Professor of Music, Music Audition Coordinator, dkazez@wittenberg.edu, 937-327-7354 (or 800-677-7558, ext. 7354). A nationally ranked university for the liberal arts and sciences, Wittenberg is located in Springfield, Ohio.
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ASHLAND UNIVERSITY
Dr. Christina Fuhrmann, Professor of Music, presented a paper in January titled “The travels of Don Giovanni; or, the rake reimagined in Georgian London,” at the conference “Operatic Reflections and Reverberations.” This conference was part of the European Research Council project at King’s College London, Music in London 1800-1851. Dr. Thomas Reed, Chair and Professor of Music, was featured soloist with the Ashland Symphony on January 23, performing his orchestration “Gershwin Clarinet Medley.” He was also soloist with the Venner Clarinet Choir in a joint concert with the Solon HS Clarinet Choir January 21. With his group Iron Toys, he was a featured performer and clinician at the Ohio University Saxophone Quartet Summit, January 26. Reed is among the 2016 recipients of the Mentor Award at Ashland University, for serving as a valued mentor to a student.
BALDWIN WALLACE UNIVERSITY CONSERVATORY OF MUSIC
The Baldwin Wallace University Conservatory of Music is very excited to host the Art Song Festival May 23-28. The competition will include 10 singer / pianist teams and provide them opportunity to learn from Susan Graham, mezzo-soprano; Bradley Moore, piano; Edwin Crossley-Mercer, baritone; and Jason Paul Peterson, piano. Public masterclasses and recitals by the guest artists and participating teams are open to the public throughout the week. The 2016 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 11-16); Piano (June 11-16); Band (June 18-23); or Music Theatre (June 18-23) Camps must apply by May 1. A few spots remain in the high school BW CSI: Conservatory Summer Intensive (July 7-16) 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 14 and 15, with guest artists Anton Baranov (Russia), Pino Feola (Italy) and Duo Amaral (Mexico/Israel) will feature master classes and recitals with all of the guest artists. Guitar luthiers and vendors will also be APRIL/MAY 2016
presenting. Observer passes, participant passes and individual recital tickets are available. The Institute for Music Teaching and Learning has another rich set of offerings for summer 2016. These professional development courses for music educators take place in June and July and registration is now open.
CASE WESTERN RESERVE UNIVERSITY
Congratulations to Dr. Gary Ciepluch, Associate Professor and Director of Bands, on receiving the 2016 OMEA Outstanding Music Educator Award! Dr. Ciepluch joins Dr. Barry Hartz and Dr. Lisa Hanson as the third award recipient associated with CWRU in the past four years. Dr. Ciepluch led two performances in Cleveland’s Severance Hall this spring. In February, CWRU ensembles and members of the Cleveland Youth Wind Symphony (CYWS) performed a new work by guest composer Michael Markowski. In March, CWRU and CYWS joined the Atlanta Youth Wind Symphony in concert. Dr. Ciepluch will conclude the semester with a special concert in Severance: “Cancer Blows.” The fundraising event will feature CYWS along with Ryan Anthony and Friends (www.cancerblows.com). Dr. Matthew Garrett, Director of Choirs, Associate Professor of Music Education and Coordinator of Undergraduate Studies in Music, presented an interactive distance learning session, “Developing Critical Thinking Skills in K-12 Music Classrooms” to music education students at the University of North Carolina, Pembroke in November 2015. He is on the planning committee for the third LGBTQ Studies in Music Education Symposium, to be held May 18-20, 2016 at the University of Illinois, Champaign-Urbana (www.qmue3.com). Dr. Ryan Scherber, Director of the Marching Spartans and Lecturer in Music Education, is excited to announce that the CWRU marching band will be performing in new uniforms this fall. Go Spartans! CWRU faculty and doctoral students have been accepted to present at this year’s NAfME Research Conference in Atlanta, GA: Dr. Lisa Koops, Dr. Nathan Kruse, Dr. Ryan Scherber, Marshall Haning, Elizabeth Tracy and Christa Kuebel. CWRU Music Education hosted Dr. Mary Cohen of the University of Iowa for a two-day scholar-inresidency this spring. Dr. Cohen led undergraduate and 81
SCHOOL OF MUSIC The School of Music is pleased to welcome Dr. Eugenia Costa-Giomi to the faculty. A leading international researcher in early childhood music education.
Music Education Faculty
Eugenia Costa-Giomi
Eugenia Costa-Giomi Jan Edwards Timothy Gerber Robert Gillespie Alyssa Graber David Hedgecoth Daryl Kinney John Long Sandi Mathias Christina Pelletier-Blazakis Milton Ruffin
Molly Rule Paul Sanders Eric Scarbrough Brian Shaw Julia Shaw Jeff Shellhammer Lynn Singleton David Tovey Jayne Wenner Kenneth Williams Margaret Young
For event and admissions information visit music.osu.edu
ELEMENTARY, MIDDLE, AND HIGH SCHOOL BAND, CHOIR, AND ORCHESTRA
2016 dates: April 22-23, April 29-30, May 6-7 2017 dates: April 21-22, April 28-29, May 5-6
www.SMMFestival.com or call:1-855-766-3008
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graduate seminars in music education and gave a Music Department Colloquium presentation.
COLUMBUS STATE COMMUNITY COLLEGE
Columbus State Concert Band, under the direction of Thomas Lloyd, performed a joint concert with the Columbus State Jazz Ensemble, directed by Rick Brunetto. The March concert featured both groups performing “Concerto for Drum Set and Concert Band” by Larry Neeck with Rick Brunetto as the soloist. Each group also performed five numbers on their own. The band featured a new performance edition of the century old “All Hail to Old Glory March” by George Rosenkrans edited by Thomas Lloyd. The director’s brother, John Lloyd, contributed an arrangement of “Jacob’s Ladder.” The Concert Band will perform its spring concert at Broad Street Presbyterian Church on April 26. The soloist will be James Hildreth performing on the pipe organ. The band and organ will perform several numbers together including Mendelssohn’s “War March of the Priests” and David Gillingham’s “Prophecy of the Earth,” a symphonic poem for band and organ. Chorus Columbus State, directed by Gordon Franklin, will continue its tradition of performances at the Columbus Museum of Art in the Darby Court. The concert will be Sunday, May 1.
UNIVERSITY OF DAYTON
Dr. James Hiller has been selected to present a 5 hour workshop at the Great Lakes Regional Conference of the American Music Therapy Association in Indianapolis in April 2016. The session is titled, “A ‘Methods Approach’ to Designing and Facilitating Therapeutic Music Experiences.” Dr. Ryu-Kyung Kim, Mezzo-Soprano, is grateful to have been a part of the beautiful production of Dayton Opera’s Madama Butterfly as Suzuki last November, which was her third collaboration with the company since her appointment at UD as a Lecturer in 2013. Her remaining 2015-2016 season will include many exciting recitals and concerts including a collaborated recital (music & visual arts) of Arnold Schoenberg’s The Book of the Hanging Gardens, Op. 15, performing the Alto solo in the Dayton Bach Society’s Magnificat in March, and a recital of French repertoire with Music APRIL/MAY 2016
for All Seasons at Peterloon Estate located in Cincinnati, in April. Jim McCutcheon, Artist-in-Residence in Guitar, will become an inaugural member of the Huber Heights Performing Arts Hall of Fame this February. McCutcheon is a graduate of Wayne High School (‘69) and lived in Huber Heights while earning his Bachelors degrees in physics and music.
KENT STATE UNIVERSITY
Kent State University, the Hugh A. Glauser School of Music, Division of Music Education recognizes the success of 308 graduates of the online Master of Music in Music Education (MMME) degree which began in 2010. There are 129 students currently in the program. Our students and alumni of the MMME represent all fifty states and several foreign countries. Patricia Grutzmacher was the American Director of an Arts Enriched English Language Camp in Zalecze, Poland in July, 2015 sponsored by the Kosciuszko Foundation, New York City. In February, 2016, Grutzmacher presented “Cultivating an Online Community of Learners”, Pearson Embanet Academic Partner Summit, Amelia Island, Florida. Tammy Kuntz presented “In Search of a Musical identity: An Understanding for Music Education” in the poster session at the OMEA Professional Conference in Cincinnati, OH in January, 2016. With Dr. Ed Duling, Dr. Kuntz presented “What and Why: Examining Instrumental Music Educators’ Discussions Within Online Learning Communities” at the SMTE Symposium, Greensboro, North Carolina, September, 2015. Craig Resta presented on cultural diversity in online music education at the Cultural Diversity in Music Education Meeting, Helsinki, Finland, June, 2015. In January 2016, he spoke at the OMEA Professional Development Conference on social justice in string education classrooms, and on the OMEA research journal, Contributions to Music for which he is editor. In February 2016, he presented four invited lectures on music education research and practice at the University of Michigan and University of New Mexico. Christopher Venesile presented “The Contemporary (Jazz, Pop) A Capella Ballad for Choirs: Innovative Approaches to Interpretation” in January, 2016 at the OMEA Conference in Cincinnati 83
Doctoral students Kristin Coen-Mishlan, Bryan Helsel, Beatrice Olesko, Kate Ferguson, Rachael Fleischaker, Darren LeBeau, and David Thompson, along with MMME graduate, Jessica Kelley, presented separate and joint sessions at the OMEA Professional Conference in Cincinnati.
THE OHIO STATE UNIVERSITY SCHOOL OF MUSIC
Shawn Wallace, director of jazz studies, was the featured saxophone soloist in the Columbus Jazz Orchestra’s October program “Redefining Tradition: Ellington, Basie & Beyond.” Juliet White-Smith, viola, presented master classes and performed a guest artist recital at the annual Southern Miss Viola Festival at the University of Southern Mississippi (Hattiesburg) in November. Following this appearance, she traveled to Ho Chi Minh City and Hanoi, Vietnam where she conducted field research. The School of Music was delighted to welcome over 4,000 students and their teachers from throughout
Central Ohio to the Ohio State Marching Band Youth Concert (November) and the Music Celebration Youth Concert (December). Saxophone lecturer Michael Rene Torres was awarded the Greater Columbus Arts Council’s 2015 Choral Composition Fellowship for his new composition I Am the Autumnal Sun, which premiered at the December concert of the Columbus Gay Men’s Chorus. Torres has also been named a Conn-Selmer Endorsing Artist for Selmer Paris Saxophones. The Ohio State University Men’s Glee Club, under the direction of Robert Ward, director of choral activities, and accompanied by Casey Cook, performed in Alice Tully Hall at Lincoln Center in January. The performance was at the invitation of the University Glee Club of New York City. Music in America’s Cold War Diplomacy by Danielle Fosler-Lussier, musicology, was named an Outstanding Academic Title by the American Library Association’s Choice magazine. Choice particularly recommended the book for general readers as well as for academic use.
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ADJUDICATED EVENTS Adjudicated Events News & Updates
JD Latorre; Adjudicated Events Chair
ADJUDICATED EVENTS REGISTRATION Please register early for all adjudicated events to avoid potential last minute issues. Late registrations will NOT be accepted. If you are having problems contact me or Greg Taylor, the OMEA Technology Director, before the registration deadline. MARCHING BAND REGISTRATION Directors that participate in Fall OMEA Marching Band Events are reminded that online registration for the 2016 season begins on April 15th. Marching Band Affairs Chair Jay Wardeska will be sending out a detailed email in the weeks prior outlining the procedure. THE NEW ADJUDICATOR EVALUATION SYSTEM The Adjudicator Evaluation System has been in place since marching band events started last fall. Keep in mind ALL events now are part of the system, including Solo and Ensemble, and both District
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and State level Large Group events. Directors can go to the member portal, click on online registration, and then click on the Adjudicator Evaluation tab and the adjudicators from your adjudicated event will be listed. You can click on each adjudicator to provide the feedback. We feel the AES offers a great chance for participating directors to offer constructive feedback to the OMEA adjudication corps, allowing them to continue to hone and improve their skills as well. Please make use of this wonderful tool! SA AND TB PERTAIN TO VOICE PART Adjudicators and directors who are involved in vocal events (S&E and Large Group) are reminded that the terms “Soprano, Alto, Tenor and Bass” DO NOT refer to gender, but rather vocal range. OMEA does not discriminate based on the gender of a performer. In other words, if an adjudicator feels that a female student is participating in a “TB” ensemble
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or if you feel that a male student is participating in an “SA “ensemble, that adjudicator should simply listen and make a determination on THAT performance, evaluating tone, range, balance, blend, intonation, etc. according to musical standards. The same would apply to solos. Entry requirements are still exactly the same as always. A student may not participate in the same numbered event more than once. PILOT SITES FOR DUETS AT JH SOLO AND ENSEMBLE In 2017, two Districts chosen as “pilot sites” will be allowing duets at JH Solo and Ensemble. From this pilot program, we are hoping to gain data about the amount of interest, as well as the effect it has on adjudicator assignments. Again, this will only involve two OMEA Districts, and for JH only at this point.
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AE FEE INCREASES IN 2016.17 It’s never a popular topic, but unfortunately fees for Adjudicated Events will be increasing for the next school year (beginning with SMBF in the Fall). Look for the new lists of fees in the Fall Triad. SHEET REVISIONS Beginning this winter, the AE Committee began investigating and planning for an update to our Solo and Ensemble as well as Large Group sheets. As many folks know, it has been a long time since any major changes have been made to these evaluation tools. Right now the plan is to introduce new Large Group sheets in 2018 and new Solo and Ensemble sheets in 2019. Stay tuned!
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CURRICULUM Have You Missed Ohio’s Model Curriculum? Ed Duling; Kent State University
Ohio’s Fine Arts Learning Standards were revised over the course of about two years and accepted by the State Board of Education in summer, 2012. The focus of these current standards are Content Statements (CS) categorized into three cognitive/creative learning processes: perceiving/ knowing/creating (CE), producing/ performing (PR) and responding/reflecting (RE). These categories replaced the five goals in the 2003 standards centering on statements in historical, cultural and social contexts (History), creative expression and communication (Performing), analyzing and responding (Criticism), valuing the arts/aesthetic reflection (Aesthetics) and connections, relationships and applications (Connections). The 2012 Ohio standards, unlike their predecessors, share striking parallels with the currents national standards—the National Core Arts Standards (NCAS)—completed in summer, 2014. RECENT DIVERSIONS Don’t be surprised if you’ve not had a chance to work closely with Ohio’s MC. No sooner were the standards accepted and the MC conceptualized than school districts and teachers, propelled by law, were handed a distracting alphabet soup of initiatives: SLOs, OTES, and RESA. As anyone will realize when they get acquainted with the MC, that much of the writing of SLOs would have been easier had SLOs and OTES come after the MC had been completed! 88
MODEL CURRICULA AND THEIR USES While Model Cornerstone Assessments are currently being constructed and piloted to undergird the new NCAS, we in Ohio have included assessment as a facet within our 2014 MC. The music portions of the Ohio MC were written by teams and sub-teams of music teachers (all OMEA members) coordinated by David Eby. Model curricula are generally the logical next step after the updating of a set of standards, and provide, at the very least, a general explanation and examples of content and resources in each CS. Standards are never to be used as curriculum, yet a MC at its best, may function as a curriculum in schools and districts where local courses of study (COS) are non-existent, hopelessly outdated, or based on superseded local standards. In recent years, I have seen schools turn to our state MC as a course of study when funds for district-wide revision committees are scarce. A Course of Study created by district teachers is always preferable, but all that is generally needed when adopting the MC in its place is prefatory district philosophical material (mission statement for example) and explanation of the document’s organization and intended uses. Just as important is the use of the MC in making and revising SLOs and of course, in planning units of study and daily lessons based on the state standards. Those of us who work with preservice and inservice TRIAD
teachers (grad students) have a special responsibility to be sure that out students know—at the very least— where to find our state and national standards and the related model curricula. Better still would be professors or in-school mentors coaching these teachers through unit and lesson preparation that goes well beyond just jotting down the codes for one or two CS being covered. What are we teaching our future (and inservice) music specialists about creating a logical and complete curricular map tied to authentic assessments? If we have learned anything from the many hoops through which we’ve hopped in the last few years (for good and ill), it is that we can take control of our own professional destinies through clearly connecting curriculum at all levels to our instruction, and the assessment thereof. FINDING, UNDERSTANDING AND USING OHIO’S MODEL CURRICULUM We have moved light years beyond the unitlength downloadable “lessons” that I helped to create and which undergirded the 2003 Standards. Our latest MC is now but a click (or two!) away on the ODE website. From the ODE homepage (http://education. ohio.gov/), click on: “Teachers” at top of the page, followed by “Find Ohio’s Learning Standards” under “How Do I?” and then “Fine Arts” under “Topics.” The Arts Standards, including music, are in downloadable . pdfs in the middle of the page—as is a five-page guide to the standards. The MC itself is in a “Quick Links” box on the left and is also in .pdf format. However, the best feature of the MC is that it is also “clickable;” clicking on each Content Statement’s code letter and number (in blue) under each of the Cognitive and Creative Processes “opens,” displaying helpful connections, elaborations and explanation of all types. In 1922, Lord Carnarvon anxiously ask Howard Carter, the discoverer of King Tutankhamen’s tomb, what he could see as he peered into one of the chambers. Carter replied, “I see wonderful things!” When we make the final click on a CS in out Ohio MC, we also see wonderful things pertaining to that statement and things that connect it to the work we will do with our students. Moreover, preparation and research time saved in using the online MC quickly adds up. So, what will a user see? First, there are clear connections “up line” to more general, over-arching parts of our standards, APRIL/MAY 2016
“Enduring Understandings” and “Progress Points;” this grounds each CS in a larger context relative to the other statements. Each CS is clarified and defined in a box called “Content Elaborations;” another box gives us “Expectations for Learning”—sort of broad objectives useful in planning. “Instructional Strategies and Resources” contains both general ideas on engaging students, and a clickable link (called “Pearltrees”) to pertinent web resources. In the center, the “Assessment” box features a link to both a rubric template and a matrix for generating instructional and assessment activities. The bottom row on the chart gives links to strategies for “Diverse Learners,” “Career Connections,” and links to selected “Learning Standards in other subject areas.” The last item on the chart is “Student Performance Tasks”—work you can ask students to do to show understanding. TO SUM UP Curriculum in music has always been a concern of mine. Having a foundation in place helps us music teachers, old and new, know what we have to do and the extent to which we have to do it. Unlike most other subject areas, we deal with all domains of learning (cognitive, psychomotor, and affective) and must use limited time wisely. This short article represents a “terminus” of sorts. I have tried to explain and advocate for the creation and use of music curriculum (see references) over a span of years from before my brief time at the ODE and in the years following. Courses of study, units (including major pieces in ensemble settings), lessons, and even parts of lessons—teaching episodes—are all held together by a curricular “glue” rooted in standards and in facets of model curricula. Have you missed anything along the way? There is no time like the present to review and update yourself. References
Duling, E. (2013). Forward (or backward) march! Updated advice on music curriculum. TRIAD, 81(2), 97-99. Duling, E. (2012). The missing link: Preserving a curricular link for our music programs. TRIAD, 80(2), 130-132. Duling, E. (2004). Music standards: Wheels on the road to curricular com- monplaces. TRIAD, 72(2), 40-43.
Ed Duling is NW Region Secretary-Treasurer, teaches as an adjunct faculty member in the KSU Online Master’s program, and is organist at Bowling Green’s First Presbyterian Church. 89
OMEA GENERAL MUSIC Time Signature: A Way to Help Elementary Students Understand Duration, Note Names Suzanne Walters; OMEA General Music Chair It is common knowledge and a bit of an understatement to say that there are many philosophies and approaches regarding teaching elementary general music. I believe the best approach to be the one that most benefits the students - both now and in those students’ future programs and activities. I am a proponent of alignment throughout a K-12 program, particularly regarding vocabulary and common practice. Such alignment results from conversations with departmental colleagues and the arrival at common ground, whatever that may be in a particular district. In my district, we have agreed that the traditional method of counting rhythm using numbers - from the earliest introduction - and names of notes such as quarter note, half note, etc., is the common ground and the agreed-upon method that is taught. In the past, when working with my students to read and perform written rhythms by clapping (or playing) and counting, I would either write measures or hang flashcards on the board or use the Smart Board. When referring to the time signature, the focus was on the top number - explaining and reinforcing that it indicates the number of beats in each measure. We would proceed to discuss and insert bar lines, a double bar line, write counts beneath the notes, and number measures. Inevitably, a student would inquire about the bottom number of the time signature, and I would avoid directly answering it for fear of causing 90
confusion to the students - instead giving a vague and non-committal response such as, “You will learn about that in middle school.” The lack of interactive ability in this article prevents the reader from hearing the loud buzz of the “WRONG ANSWER” alarm. By creating a void in place of a legitimate answer to a reasonable question, many of the students created and filled in the missing information for themselves. This resulted in my inadvertently “teaching” the students that the bottom number - a four - meant four measures. Evidently I also had the habit of creating four-measure examples as this is a nice and comfortable number for an exercise. So ... once I discovered this problem that I had created, it was obviously time to fix it. I made a couple of changes immediately - henceforth, any number of measures EXCEPT four was used; and I addressed the bottom number briefly and succinctly, then explained that they would learn more about it in middle school. I was dismayed that my students, however, still struggled to understand duration and note values and began to realize that they had nothing to which they could relate the notes’ names. Take, for instance, half note - my students repeatedly would answer that this note receives half of a beat because they did not know what it is “half of.” I finally realized that I needed to take greater advantage of the opportunity to teach understanding of TRIAD
the bottom number of the time signature as well as the top. I realized also that the time signature is complex in that it contains two important pieces of information at the same time, something that it is challenging to elementary students to understand. It takes time and plenty of reinforcement for the students at this level to grasp this concept, but pays off quickly. I have begun teaching that the unit note/bottom number of the time signature means “the number of beats in a WHOLE NOTE,” and not “quarter note gets one beat.” I realize, of course, that the unit note can also be a half note or an eighth note, but I truly do save those more complex concepts for middle school! Once I changed that explanation, the students suddenly realized that a half note is worth two beats since it is half of four. It takes just a bit of explanation for them to understand that a “fourth” and a “quarter” mean the same thing, but once they do, the quarter note getting one beat makes perfect sense to them, and so on for the eighth note and sixteenth note for the math wizards in the classes. Granted, these theoretical concepts are understood in more depth as the students get older and more experienced in the use of fractions. However, I would argue that this is true of all musical concepts, and my spiraling through them every year reinforces what they already know, deepens their understanding, and enables them eventually fully grasp the concepts. And then, one day, I had an idea! Light bulb time! Last year, I wanted to strive to use as many non-linguistic/visual representations of concepts as possible, as this is a research-based approach to greater learning and deeper understanding. My idea to explain unit note is below.
2. Add the number of (heart) beats in a whole note according to the time signature when 4 is the bottom number, such as 3/4.
1. Begin with a drawing or a laminated circle this is a whole note.
Suzanne Walters teaches Elementary General Music in the Jackson Local Schools in Massillon, Ohio. She has a B.M.Ed. from The College of Wooster, an M.M. in Choral Music Education from The University of Akron, and a Master Teacher Certification from the State of Ohio. She is the Elementary Choir Festival Chair for OCDA, and the Assistant Director of Children’s Choruses for The Cleveland Orchestra. Suzanne lives in North Canton with her husband Brian and their three children - Kelly, Kevin, and Casey.
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3. To explain half note, draw a line cutting the whole note in half. They can see half note gets two beats.
4. Likewise for quarter notes and eighth notes. Even dotted notes could be explained.
5. If the unit note should change to a 2 or an 8 on the bottom, the same concept applies.
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The Miami University Campus Owls Jon Arnold; Miami University
As soon as one hears the trumpet play the opening notes of the “Campus Owls Theme” an era gone by immediately comes back to life. The Miami University Campus Owls is one of the nation’s oldest college jazz bands with a rich and vibrant history. In January 1924, a 20-year-old Bix Beiderbecke and the Wolverines performed on the campus of Miami University. This performance inspired some young musicians to start their own jazz band. This was the beginning of what is now known as the “Campus Owls.” This student led jazz band was
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together for 37 years, and made a huge impact on the musical world. The Campus Owls became an institution at Miami University. Students auditioned in hopes that they would make the band and earn enough money to help finance their college education. A restaurant in Oxford named the Huddle was the gathering place for the band. They rehearsed and performed there several times a week to earn their meals. The band placed ads in Downbeat magazine to recruit the finest players.
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The Owls were a working, professional band. In addition to performing at school functions for homecoming, proms, alumni events and other dances. The Owls toured Europe every year from 1927-1939 and even a tour of Japan in 1936. The band also performed opposite sets to legendary bands of Duke Ellington and Gene Krupa. It was not uncommon for the Owls to receive praise from the other bands of their level of musicianship and performance. The band also performed at Coney Island, Indiana Roof in Indianapolis, Topper Ballroom in Cincinnati, Lakeside in Dayton, Cleveland, Youngstown, Toledo, and Oberlin. The Owls influence even went outside the musical realm. Many members of the Owls went on to become doctors, lawyers and businessmen. A recent obituary offers some interesting facts about Dr. Dominick Consolo, past leader of the Owls and jazz trumpeter. He later went on to become an English professor at Denison University. He was also the inspiration behind the lead character in the 1989 major motion picture “Dead Poets Society”, as played by the late Robin Williams. It tells the story of an English teacher who inspires his students
through his teaching of poetry. It is very clear the members of the Campus Owls had a great impact on the world and influence on the lives they touched. In 1992, the Campus Owls reunion was established. Over 60 players came from all over the country to perform for Alumni Weekend and Freshman Orientation. The reunions have taken place every year since. Many of the original players have passed on and the legacy has continued through a collaboration of musicians from the Miami University Jazz Ensemble, professors, and alumni. The Campus Owls Tribute Band can be heard playing the songs of the Owls every June during alumni weekend at Miami University, Oxford Ohio. Jon Arnold is the leader of the Miami University Campus Owls Tribute Band and director of Bands at Edgewood High School in Trenton, Ohio. Jon was recently named President-elect of the Jazz Education Connection of Ohio and is a Jupiter XO Trumpet Educator/Performing artist. Jon also enjoys spending time with his family and the study of local music history. Jon is a member of OMEA, JECO, JEN, ITG, MENC and Phi Mu Alpha Sinfonia.
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Attention ALL Vocal/Choral Educators: OCDA Conference is FOR YOU! Loren C. Veigel; OCDA President
The recent OMEA Conference in Cincinnati offered wonderful opportunities for professional growth. I always return from these conferences carrying a jolt of “musical adrenalin!” Hearing excellent choral concerts on every level, from children’s choirs through university; learning new methods and techniques from a myriad of sessions; and, for those of us who are retired, the refreshing of lifelong collegial relationships – all these items create growth, knowledge, and warm new memories. The Ohio Choral Directors’ Association (ACDA) is very proud of our growing affiliation with OMEA. Personally, I find it immensely gratifying to watch the distribution of hundreds of J W Pepper reading
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session packets which are provided by OCDA to music educators at the elementary, middle school, and high school/university levels. Our OCDA Repertoire and Standards chairs share their expertise in numerous areas as they submit and conduct their chosen titles – a veritable goldmine of excellent literature for you to access. NOW …. When can you acquire your next dose of “musical adrenalin?” On June 20-22, 2016, on the lovely campus of Otterbein University in Westerville – by attending our own OCDA Summer Conference! You’ll find a conference filled with opportunities designed for vocal and choral specialists of all levels:
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• Headliner clinician Rodney Eichenberger brings to Ohio his internationally-acclaimed techniques in conducting and stylistic interpretation. • Headliner Andrea Ramsey shares her amazing expertise in the area of younger voices, male voices, and composition. • Hear the Ohio Northern University Tour Choir under the direction of retiring director (and a former OCDA President) Dr. Ben Ayling. • Professional Ohio choir Lancaster Chorale sings under Dr. Stephen Carraciolo. • OCDA sponsors three honors choirs at the conference: • The OCDA Children’s Honors Choir under Fred Meads • The OCDA High School Honors Men’s Chorus under Lynda Hasseler • The OCDA High School Honors Women’s Chorus under Frank Bianchi • Even more diversified Reading Sessions than those presented at OMEA conference, including music for worship and community choirs – more free music! • Exhibits – interest-level roundtables – more
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choral performances • Interest sessions dealing with every type of choral organization. • A sponsored full-conference party! REMEMBER – OCDA offers several special incentives to learn about our organization and its offering – check page 82 in your OMEA conference program. Visit ohiocda.org. Graduate credit is available for OCDA Summer Conference; a reduced student registration rate is offered; and, Ohio dues are free to those joining ACDA for the first time and attending the concert. As I’ve frequently shared with my colleagues, OCDA has provided for myself the best opportunities for professional growth, the most comfortable and applicable learning opportunities, and perennial support. The camaraderie of OCDA colleagues has meant everything to me in this challenging professional and artistic world – OCDA friends have lasted a lifetime! If you have not involved yourself in this fine organization, isn’t it time? See you at Otterbein in June – musical adrenalin is promised! Chorally yours, Loren
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Looking Back and Looking Forward Stephen Lytle; OCMEA State Advisor
It is hard to believe that we are close to the end of another school year. At times you were probably hanging on during a wild ride but, hopefully more frequently than not, you found ways to enjoy, celebrate, and learn. For all who are graduating, know that all of OMEA is cheering and celebrating with you and wishing you the best of luck as you take the next step in your professional life. If you are starting the application and interview process, then dedicate yourself to the process and don’t be afraid to reach out for help wherever you think you may find it. If your plans include graduate school or another endeavor, then we offer encouragement as you get closer to your goals. Allow me to take this time to thank and congratulate graduating board member Patrick Specht (Marietta) for his years of service to OCMEA. During his time, OCMEA hosted successful fall conferences and the collegiate portion of the OMEA winter conference. Good luck to you! Also, allow me to take the time to re-introduce to you your President-Elect, Luke Grieshop, who will serve as OCMEA State President for the 2016-2017 school year. Luke is finishing his junior year at the University of Dayton as a trumpet and instrumental education major. He is from St. Marys, Ohio and attended St. Marys Memorial High School. At the time you are reading this article, elections will be underway to assemble the rest of the state board. I 96
know that Luke is eager to get started on planning activities for OCMEA as well as connecting with chapters across the state. He would love to hear from you, especially if you have particular ideas on how the state board can help your chapter. He may be reached at lgrieshop1@udayton.edu and I may be reached at lytlesc@miamioh.edu. For the rest of you who are continuing in your education in 2016-17 then take some time for a muchneeded rest but think about seeking work in the field. This could include work with summer youth music programs near your home, working as counselors in camps, music or other, or other industry-related work such as your local music store, teaching private lessons, or attending a prestigious summer festival as a performing musician. These types of experiences can really be helpful in giving you some valuable work experience to include in your resumes as you begin your job searches. Enjoy the summer and we’ll be in touch! Stephen Lytle is the Associate Director of Bands at Miami University in Oxford, Ohio where he oversees all aspects of the athletic band program, conducts the Symphony Band, and teaches courses in the music education curriculum. Additionally, he serves with the Fillmore Wind Program, an adult community music organization based in Cincinnati. TRIAD
Music caMp July 10 -14, 2016 Featuring a professional teaching staff who provide inwstrumental and choral instruction for young musicians in Grades 5-11. Contact: Nancy Ditmer, Music Camp Director Phone: 330/263-2052 Email: nditmer@wooster.edu
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Life in the MUSIC WORLD
Scherzo
Another update of true occurrences from the sheet music retail world and many thanks to Stanton’s customers (students, parents, and teachers), publishers, and Stanton’s employees for their often unwitting contributions! As a retail store open to the public, with a large sheet music web presence, Stanton’s is often the source for some great, true, musical stories. It’s time once again to poke some good-natured fun at ourselves and our fellow musicians. • • • Interesting E-mails • • • • “I am waiting as fast as I can for a Purchase Order number.” That fast, huh? ••• • “I have an extensive collection of sheet music. Do you purchase at all?” We were so tempted to write back “We have an extensive collection of sheet music. Do you purchase at all?” But we controlled ourselves and answered that we get brand new music from publishers and don’t buy old music from individuals. They could try selling it on eBay! ••• • “I need a band book called...I think it’s Hal Leonard Interception, maybe? I can’t read the teacher’s handwriting” It’s actually a band method called Hal Leonard Intermediate! Maybe they were watching football when they typed the email or they’re very likely a football fan - just guessing! • • • Requests that went downhill • • • • I need music for a saxophone quartet J To be featured with a concert band K On some Christmas music. L ••• • I have a really good viola player. J Do you know a good viola solo feature K With Concert Band? L • My school’s trumpet/trombone/tuba trio J Wants to go to Kentucky Solo & Ensemble K And play Johnny Cash’s Ring of Fire L
• • • Memorable Phone Calls • • • • “I heard an arrangement of Amazing Grace on the bus. There was a soloist and some ‘ooo-ing’ in the background. Do you know which version I mean? I want that one!” ••• • “I need Ave Verum for choir” “And who is the composer?” “Um - it’s not Chopin - it’s the other one!” Great! You’ve eliminated one of the few standard composers that didn’t even write an Ave Verum, let alone any choral music! Now how about Boccherini, Byrd, Elgar, Faure, Mozart, Poulenc, Saint-Saens... ••• • A phone customer gave a Stanton’s salesperson the catalog number of the item she wanted. When the salesperson typed the number into the customer’s order, the title popped up and he saw that it was a popular method for french horn by Fred Teuber. He said, “Oh yes - the Teuber book,” and the customer replied, “No I think it’s for french horn!” • • • Requests - with a twist! • • • • “I’m looking for some Gregorian Chant - for children’s choir.” ••• • “I want Für Elise - for harmonica.” ••• • “I need a Fake Book - all Rachmaninoff!” ••• • “Do you know of any good pieces - for Alp Horn and Concert Band?”
• • • Quirky Stories • • • • It seems as if titles keep getting longer and longer. When typed into a computer field with a limited amount of character space, a long title will often get truncated. We got an invoice from a publisher for a brass book that got truncated to Lip Flexibilities for all Bras. ••• • Speaking of publishers, we have noticed that they use various abbreviations for the names of instruments on their scores. They may use VLN or VN for violin, VLA or VA for viola. In its English translation, one Finnish publisher used VL. So which instrument was it? The treble clef revealed it was violin, but who knows if the translator even knew English! ••• • Please help us help you! Private teachers, it seems, get so familiar with the material they use with their students that they often don’t remember specifics about it when ordering. They’ll say, “Send me a Wohlfahrt violin book.” Well, there are 24 different ones. Sometime they don’t even know who wrote the music, even though they use it all the time. One teacher finally admitted, “I don’t know the name of it or who wrote it, but I know how it goes! Let me sing it for you. I think it’s in one of the Suzuki viola books!” With the arpeggiated melody in 6/8 she sang for us, we thought we’d find it, but we looked through every Suzuki viola book to no avail. It helps to have just a little more specific info from the customer! Yes - we’re talking about you!
Thanks for your support over the last fifty six years! A little musical humor can help the day go a bit smoother, but as the “Sheet Music Specialists” since 1960, we at Stanton’s have and will continue to do our utmost to determine what it is you need and to send it to you as quickly and correctly as possible. Stanton’s believes that by helping you, the music teacher, to be successful, we will be successful. That is how it has been and will continue to be.
STANTON’S SHEET MUSIC
TOLL-FREE • 1-800-42-MUSIC LOCAL CALLS • (614)-224-4257 330 South Fourth Street E-MAIL • greatservice@stantons.com Columbus, Ohio 43215 FAX • 1-614-224-5929 WEB • www.stantons.com Like! Stanton’s Our blog has the Check our website for our Virtual Workshops & Jukebox on Facebook® and latest news and products: 82 TRIAD and download our new Mobile app follow us on Twitter! stantonssheetmusic.wordpress.com
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OHIO UNIVERSITY chool of music
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Ohio Summer Music Camp June 12-18, 2016 Study with nationally-recognized teachers! Participate in group activities and develop new musical skills! Meet other talented music students!
www.ohio.edu/finearts/music
740.593.4244 110990 • 3-16
Ohio University has been an accredited institutional member of the National Association of Schools of Music since 1946.
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Otterbein’s fourth annual
Summer Music Camps June 6-10, 2016
Students receive pre-college music training — including daily theory, aural skills and musician wellness classes. Time: 9 a.m. - 5 p.m., June 6-10, 2016 LocaTion: Battelle Fine Arts Center, Otterbein University DirecTor: Dr. Nicholas Ross, Director of Keyboard Studies For STuDenTS: Rising 9-12 graders (vocalists must be at least 15 years old) string players (violin, viola, cello, double bass and electric bass), guitarists (classical and jazz), composers, pianists, and classical vocalists. Wind and brass instrument instruction will be offered upon request.
TuiTion: $400 commuters (lunch and dinner provided) $525 for overnight campers (all meals included) To aPPLY: E-mail Dr. Nicholas Ross at nross@otterbein.edu. (Application deadline is May 15, 2016) QueSTionS? Contact Jill McCullough at 614-823-1371 or jmccullough@otterbein.edu Or Dr. Nicholas Ross at 614-823-1020 or nross@otterbein.edu
www.otterbein.edu/music
Otterbein is an accredited member of the National Association of Schools of Music (NASM) 102
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The Edward E. MacTaggart Department of Music
Bachelor of Music Music Education Vocal Performance
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PUBLICATION SCHEDULE
TRIAD ISSUE October/November 2016 December ‘16/January ‘17 April/May 2017
*Copy must be in the hands of the editor on schedule.
DEADLINE DATE* August 8, 2016 October 3, 2016 February 13, 2017
POSTING DATE** October 3, 2016 December 5, 2016 April 10, 2017
*Deadline Date: The date material must be received to ensure publication. **Posting date: The date TRIAD is scheduled to be posted online. EDITOR: Marc Parulekar • 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 Baldwin Wallace University . . . . . . . . . . http://www.bw.edu/conservatory. . . 18
Ohio Northern University . . . . . . . . . . . . . http://www.onu.edu/music. . . . . . . . . . 16
Blue Lake . . . . . . . . . . . . . . . . . . . . . . . . . . . http://www.bluelake.org . . . . . . . . . . . . 9
Ohio State University, The. . . . . . . . . . . . http://www.music.osu.edu . . . . . 7,34,82
Bob Rogers Travel . . . . . . . . . . . . . . . . . . . http://www.bobrogerstravel.com. . . . 4
Ohio University . . . . . . . . . . . . . . . . . . . . . http://www.finearts.ohio.edu/music.99
Bowling Green State University . . . . . . http://www.bgsu.edu/music. . . . . . . . 11
Otterbein University. . . . . . . . . . . . . . . . . http://www.otterbein.edu. . . . . . . . . . 15
Capital University . . . . . . . . . . . . . . . . . . . http://www.music.capital.edu . . . . . . 78
Otterbein University Summer Camp. . . . . http://www.otterbein.edu/stand. . . . . . 102
Case Western Reserve University. . . . . . . http://music.case.edu. . . . . . . . . . . . . . . . 7
Rettig Music, Inc. . . . . . . . . . . . . . . . . . . . . http://www.rettigmusic.com. . . . . . . . IFC
CCIS, Inc.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . http://www.ccistravel.com. . . . . . . . . . . . . 85
Royalton Music Center. . . . . . . . . . . . . . . http://www.royaltonmusic.com. . . . . 65
Cleveland State University. . . . . . . . . . . http://www.csuohio.edu/class/music.49
Smoky Mountain Music Festival. . . . . . . . . http://www.smmfestival.com. . . . . . . . . . 82
CMS Publications . . . . . . . . . . . . . . . . . . . . . . . http://www.cmspublications.com. . . . . . 93
Soundwaves Recording. . . . . . . . . . . . . . http://www.soundwaves.org . . . . . . . 73
College of Wooster, The. . . . . . . . . . . . . . http://www.wooster.edu/music. . 51,97
Stanton’s Sheet Music. . . . . . . . . . . . . . . . . . . http://www.stantons.com. . . . . . . . . . . . . . 98
EPN Travel Services. . . . . . . . . . . . . . . . . . http://www.epntravel.com . . . . . . . . . 12
Summit Tour & Travel . . . . . . . . . . . . . . . . http://www.summittourtravel.com. . 38
Festivals of Music. . . . . . . . . . . . . . . . . . . . http://www.epntravel.com . . . . . . 36,87
University of Akron, The . . . . . . . . . . . . . http://www.uakron.edu/music. . . . . . 40
Heidelberg University . . . . . . . . . . . . . . . http://www.heidelberg.edu. . . . . . . . .55
University of Dayton. . . . . . . . . . . . . . . . . http://academic.udayton.edu/music.47
Indiana University of Pennsylvania. . . . . . . . http://www.iup.edu . . . . . . . . . . . . . . . . . . . . 59
University of Mount Union. . . . . . . . . . . http://www.mountunion.edu/music. 97
Kent State University . . . . . . . . . . . . . . . . http://dept.kent.edu/music. . . . . . . . . 34
Wittenberg University. . . . . . . . . . . . . . . . . . . . http://www.wittenberg.edu/music. . . . . . 80
Malone University. . . . . . . . . . . . . . . . . . . http://www.malone.edu/music . . . . . 95
Wright State University . . . . . . . . . . . . . . . http://www.wright.edu/music/. . . . . . . 60
Marietta College. . . . . . . . . . . . . . . . . . . . . http://www.marietta.edu/~musc/. . 103
Xavier University. . . . . . . . . . . . . . . . . . . . . . . . http://www.xavier.edu/music. . . . . . . . . . 84
Messiah College Graduate Programs. . . . . http://www.messiah.edu/conducting. . 36
Yamaha Corporation of America. . . . . . http://www.yamaha.com. . . . . . . . . . IBC
Musicians Repair Service. . . . . . . . . . . . . . . . http://www.mrsakronohio.com . . . . . . . 101
Youngstown State University. . . . . . . . . http://www.ysu.edu/dana . . . . . . . . . . 10
Muskingum University. . . . . . . . . . . . . . . . http://www.muskingum.edu/dept/music ..67 Noteworthy Tours . . . . . . . . . . . . . . . . . . . http://www.noteworthytours.com . . . 2
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Bold signifies a Corporate/Institutional Partner
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NEW Yamaha Intermediate Flutes The Yamaha line of Intermediate flutes has been updated to surpass the evolving needs of student flutists. Featuring an industry-leading pointed key arm design and a complete review and update to many aspects of the production process, the 300 and 400 series Intermediate flutes emphasize the Yamaha consistency and quality that keeps these flutes strong and singing for youn g flutists. • The keys of the new Intermediate flutes have been redesigned with the pointed key arm style which is vertically integrated from Professional and Handmade flutes • Mechanical redesigns and material changes result in increased resistance to corrosion and longer playing life for the instrument • Pad cup structures now feature the same style and thickness as the Professional and Handmade line , for a more precise seal and increased durability • The 300 series flute body is nickel-silver with a sterling silver headjoint, while the 400 series is completely sterling silver. Both styles help retain a clean polished look and a rich singing sound. • All intermediate flutes now come with a French-style case and a durable, E-style case cover