The Official Publication of the Ohio Music Education Association
April/May 2017 Vol. LXXXIV, No. 3
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The Ohio Music Education Association would like to take this opportunity to thank the Ohio Arts Council for its generous grant that made possible the Special Focus Sessions at the 2017 Professional Development Conference. Sessions topics covered Urban, Rural, and Underserved populations. Again, a big thank you to the Ohio Arts Council for making this possible!
2017 OMEA PDC Special Focus Session Presenters LeslieAnn Bird
Margaret Martin
Tom Bracy
Kevin Mixon
Joe Carver
Felipe Morales-Torres
Lois Clark-Ramey
Brian Nabors
Dawn Farmer
Jennifer Shauf
Kate Fizpatrick
Ryan D. Shaw
Rachael Fleischaker
Julia Shaw
Timothy Fuchtman
Laura Stack
John Hill
Pamela Stover
Lisa Hirzel
James Vaughn
APRIL/MAY 2017
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IN THIS ISSUE FROM THE DESK OF... 6 8
Editor of TRIAD - Dr. Marc Parulekar OMEA President - Dr. Michael Crist
A LOOK BACK AT THE 2017 OMEA PDC 15 2017 All-State Ensembles 20 2017 Award Recipients 26 2017 Research Poster Session Summary
LOOKING AHEAD TO THE 2018 OMEA PDC 31 2018 Performing Ensembles Application 35 2018 All-State Ensembles Application 38 2018 All-State Children’s Chorus Information
TEACHING TIPS 40 44 48 50 54 58 60
BAND - Dr. Christopher Hoch; The Ohio State University BAND - Rob Cebriak; Gahanna Jefferson Public Schools CURRICULUM & ASSESSMENT - Dr. Matthew D. Talbert; Ohio University GUITAR - Glen McCarthy; George Mason University JAZZ - Mike Smith; The Ohio State University MULTICULTURAL - Dr. Nada Martinovic; Kent State University VOCAL - Kristina Caswell MacMullen; The Ohio State University
NEWS & COMMITTEE REPORTS 64 66 68 70 72 74
Higher Education News Adjudicated Events - JD Latorre Jazz Education Connection of Ohio Music in Our Schools Month - Amanda Rhonemus Ohio Choral Directors Association - Loren C. Veigel Region Orchestra - Steven Cocchiola
EDITOR: Marc Parulekar
editor_of_triad@omea-ohio.org DESIGN/PRODUCTION: Amy Annico, Director of Media and Publications
media_director@omea-ohio.org
ADVERTISING: David N. Adamson, Director of Business Advertising/Exhibits
business_manager@omea-ohio.org
ONLINE PUBLISHING: WRL Advertising TRIAD, the Official Publication of the Ohio Music Education Association, is written for music educators, college students preparing for a career in music education, and others who are interested in music education in both general and specialized areas. TRIAD is now a digital publication that can be found online at www.omea-ohio.org three times a year - with Oct/Nov, Dec/Jan, and April/May issues. All news releases should be sent to the editor. All news releases received by the editor will be considered on the basis of news, value, and timeliness to the music education profession in the state of Ohio. All advertising space and business inquiries should be directed to the OMEA Director of Business. An Insertion Order or a Space Reservation Form must be submitted for ads to be printed. TRIAD reserves the right to reject any advertisement. The statements of article authors and/or advertisers are not necessarily those of the magazine or association, and the right to refuse any article/advertisement is reserved. OMEA is not responsible for the URL linking in this publication in terms of destinations or operation. All links are tested in advance for validity to intended sources, but potential distortions may occur beyond the control of OMEA and/or the URL link source. OhioMEA Online Publication Policy on Post-Publication Changes - The Ohio Music Education Association places the highest importance in the integrity of our publications posted online. We realize that despite the competent efforts of the editor, authors, contributors, advertisers, and OMEA staff, posted content may have errors or desired alterations identified after the proofing process is completed. Once a publication is posted online, it will be considered as ‘final’ and no further changes, updates, or corrections will be made. The electronic archiving of our publications for official record is taken seriously and all online publications should be considered equitable to print venues, without alterable possibilities once posted for public viewing.
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stan d ou t.
B OW L I NG G R EEN S TATE U N IV E R S IT Y
summer Music Institute 2017 BGSU’s Summer Music Institute features intensive sessions designed to improve techniques and musicianship in a fun and supportive atmosphere. Students will study with bgSu Music Faculty, guest artists and experienced college students who will challenge and inspire!
SESSION ONE June 11-16 Double ReeD StRingS
SESSION TWO June 18-23 bRaSS RecoRDing Vocal aRtS
bgsu.edu/SMI
SESSION ThREE June 25-30
MuSical theatRe Saxophone
ScholaRShipS aVailable Register at bgsu.edu/SMI
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 2017
OMEA TRUSTEES Michael Crist President president@omea-ohio.org
OCMEA OFFICERS Luke Grieshop OCMEA President ocmea_president@omea-ohio.org
Kathleen McGrady President-Elect president_elect@omea-ohio.org
Wyatt Heinz OCMEA President-Elect ocmea_president_elect@omea-ohio.org
Terry Herschman Immediate Past-President past_president@omea-ohio.org
Kaitie Welch 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
Emily Damelio OCMEA Treasurer ocmea_treasurer@omea-ohio.org
David Vitale Treasurer treasurer@omea-ohio.org 2016-2017 TRIAD EDITORIAL BOARD EDITOR Marc Parulekar
GRAPHIC DESIGN/LAYOUT Amy Annico
Pickerington North High School
Ohio Music Education Association
PAST EDITOR Matthew Warner
MULTICULTURAL Linda Angotti
Cincinnati Hills Christian Academy
Kent State University
BAND Jeff Gershman
ORCHESTRA/STRINGS Mark Sholl
Capital University
Hilliard Davidson High School
CHORAL/VOCAL Rich Schnipke
TEACHER EVALUATION Heather Russell
Xavier University
Cleveland State University
CURRICULUM & ASSESSMENT Nathan Kruse
TECHNOLOGY Brian Laasko
Case Western Reserve University
McKinley High School
JAZZ Mike Smith
WOODWINDS Shawn Reynolds
The Ohio State University
Youngstown State University
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FROM THE DESK OF... Marc Parulekar, OMEA Editor Congratulations to our conference leadership team and OMEA Staff on an outstanding professional development conference. The 2017 North Coast Conference was truly reflective of the diversity found in our membership and teaching environments. The quality of the 2017 professional development conference was a direct result of the vision of our leadership team and the countless volunteer hours contributed by our members. Thank you to all of our conference leaders and volunteers! Special thanks to our Director of Media and Publications, Amy Annico, for making TRIAD a great resource for music educators. Be sure to check out the OMEA 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 link to see the full text. - Chris Hoch provides insight on Innovative Show Design for the Traditional Non-competitive Marching Band - Why Teach Guitar? Glen McCarthy shares his experiences starting a public school guitar program and provides advice on starting a guitar class in your school. 6
- Small ensembles are the backbone of many instrumental music programs. Rob Cebriak explores a variety of ways to develop Year Round Chamber Ensembles as an Extension of Your Program. - Kristina Caswell MacMullen discusses the use of project-based performances to explore social justice in the choral classroom in the Seeing Place. - Designing and implementing effective assessments is essential to the modern music classroom. Matthew Talbert walks us through the process of constructing and implementing assessments with the End in Mind.
Dr. Parulekar is in his 18th year of teaching and 14th 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 ΦΒΜ, MENC, KKΨ, ΦΜΑ, and an Eagle Scout. He and his wife, Tracie, make their home in Pickerington, Ohio with their ten-year-old son, Andrew, and four-year-old daughter, Abby. They enjoy watching Ohio State Football and attend the East Side Grace Brethren Church. TRIAD
SCHOOL OF MUSIC YOUTH SUMMER MUSIC PROGRAMS 2017 RESIDENT PROGRAMS Double Reed Camp • June 4-7 Jazz Camp • June 11-15 * Clarinet Academy • June 11-15 NEW! Saxophone Camp • June 18-21 * Flute Workshop • June 18-22 Student Leadership Intensive • July 5-8 * Ohio State Marching Band Summer Clinic • July 14-16 * * commuter option
DAY PROGRAMS Register online at music.osu.edu/outreach
NEW! Summer Singers • June 4-10 for singers entering grades 6-9 Morning String Student Workshop • June 12-28 Middle School Concert Band Academy • June 25-30
FACULTY Scott A. Jones, programs director Robert Gillespie Caroline Hartig David Hedgecoth Christopher Hoch
Katherine Borst Jones Michael Rene Torres Karen Pierson Shawn Wallace Julia Shaw Jeanne Wohlgamuth Robert Sorton
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 2017
p 216.368.2400 7
FROM THE DESK OF... Dr. Michael Crist, OMEA President It was great to see so many of our OMEA membership at the 2017 OMEA North Coast Conference in Cleveland! I had a great time, and I hope each of you did as well. The OMEA Conference serves as a great opportunity to reconnect with friends and colleagues from across the State. Our OMEA Conference is also one of the best opportunities for music teacher training and lifelong learning in the country. Let me share just a few stats about the 2017 Conference. The OMEA Conference officially ran from Thursday at 1:00 PM though Saturday just past 3:00 PM. There were 374 events and more than 40 performances during that time period. Including our five All-State Ensemble concerts, featuring over 400 of the finest musicians in the state of Ohio. Each of these All-State performers earned their spot in the ensembles through a rigorous audition process. Maybe most impressive about the 2017 OMEA North Coast Conference was the scope of offerings. The 2017 Conference featured special focus presentations on under-resourced rural and urban populations. This focus programming was made possible through funding from the Ohio Arts Council. Conference attendees had opportunities to experience music from elementary to collegiate levels. Also, presentations in music research, general music, and music technology, along with more than 250 corporate and music education exhibitors were available. There were around 3,500 registered participants at the North Coast Conference with an estimated 10,000 people attending events. I can assure you, this does not happen in many other states in our country. An event like the annual OMEA Professional Development Conference requires hard work and dedication from many. The Ohio Music Education Association has a world-class staff. Many thanks to Mark Hensler, Director of Professional Development; David Adamson, Direc8
tor of Business; Amy Annico, Director of Media and Publications; Greg Taylor, Director of Technology; William Guegold, Director of Adjudication; Dane Newlove, Director of Adjudicated Event Materials and Awards, and Executive Director Roger Hall. Without their knowledge and expertise the OMEA Conference would not be what it is today. The success of the PD Conference is also made possible through the work of hundreds of volunteers who handle everything from registration to stage set up. Volunteering at conference is a great way to get involved and give back to our Association and our profession. Plans are well underway for the 2018 OMEA Conference. A full day meeting was recently held in Columbus where OMEA Staff and Trustee members came together to discuss issues from the 2017 Conference and make plans for the 2018 Conference. Once again, we need help from the membership. Please plan to submit a clinic, workshop or performance proposal. Appropriate forms are available on the OMEA Portal, and submission deadline is May 31, 2017. If you want to serve as a volunteer, there are still many jobs available. Please feel free to contact a Trustee or Staff member and let us know how you want to help. The OMEA Professional Development Conference is a great annual event, and we need you to help make the 2018 Conference the best yet! I hope to see you in Columbus!! Just a quick follow up on ESSA. The Ohio Department of Education plans to release their ESSA implementation plan in early April. Please take the time to look at the plan and find ways you can be involved in the successful implementation of ESSA in Ohio. I highly recommend you visit the Ohio Alliance for Arts Education website at www.oaae.net to follow how ESSA implementation is progressing in our State. TRIAD
OHIO NORTHERN UNIVERSITY
DEPARTMENT OF MUSIC Fully accredited by the National Association of Schools of Music
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Offering the following degree programs: • Bachelor of Music in Music Education • Bachelor of Music in Music Performance • Bachelor of Arts in Music with concentrations in Theory & Composition, Music History & Literature, or Applied Studies • Bachelor of Fine Arts in Musical Theatre • Arts Administration Minor with ample internship offerings • Music Minor • Outstanding opportunities for double majors ONU’s
or
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2016 - 2017 OH I O M U S IC EDUC ATION A SSO CIAT I ON
CORPORATE / INS TITUTION AL PARTNERSHIP The Ohio Music Education Association offers a partnership program to businesses, corporations, and colleges/universities. These organizations have made a special effort to support the activities of the music education profession in the State of Ohio. The quality of music education is highly valued by these caring partners. Your patronage of these educational advocates is strongly encouraged. All listings as of 4/1/17.
L E V E L l l l - P R E S I D E N T ’ S C LU B
Bluffton University
3440 Lacrosse Lane Naperville, IL 60564 info@bobrogerstravel.com www.bobrogerstravel.com
Buddy Roger’s Music
Conn-Selmer
6891 Simpson Avenue Cincinnati, OH 45239 customerserv@buddyrogers.com www.buddyrogers.com
P.O. Box 310 Elkhart, IN 46515 rhanby@conn-selmer.com www.conn-selmer.com
Music Travel Consultants
Noteworthy Tours, Inc.
Bowling Green State University College of Musical Arts - Moore Musical Arts Center Bowling Green, OH 43403-0292
musicadmissions@bgsu.edu www.bgsu.edu/music
Festivals of Music/ Music in the Parks
1784 West Schulykill Road Douglassville, PA 19518 info@edprog.com www.educationalprograms.com
QuaverMusic.com
7920 Georgetown Road Suite 700 Indianapolis, IN 46268 support@music-travel.com www.music-travel.com
P.O. Box 1665 Sandusky, OH 44871 travel@noteworthytours.com www.noteworthytours.com
1706 Grand Avenue Nashville, TN 37212 info@QuaverMusic.com www.quavermusic.com/preview
Rettig Music, Inc.
510 Clinton St. Defiance, OH 43512 cindy@rettigmusic.com www.rettigmusic.com
Royalton Music Center
10167 Royalton Rd. Unit A North Royalton, OH 44133 m.malko@royaltonmusic.com www.royaltonmusic.com
Summit Tour & Travel, Inc.
The Ohio State University School of Music
Wright State University School of Music
Yamaha Corporation of America
110 Weigel Road 1866 College Road Columbus, OH 43210 music@osu.edu http://music.osu.edu
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Bob Rogers Travel
1 University Drive Bluffton, OH 45817 terryp@bluffton.edu www.bluffton.edu
3640 Colonel Glenn Hwy. Dayton, OH 45435 amy.neace@wright.edu www.wright.edu/music
P.O. Box 682240 Orlando, FL 32868-2240 info@summittourtravel.com www.summittourtravel.com
6600 Orangethorpe Avenue Buena Park, CA 90620 usa.yamaha.com www.usa.yamaha.com
TRIAD
L E V E L l l - O M E A PAT RO N Capital University Conservatory of Music
Cleveland State University
One College & Main Columbus, OH 43209 lroseber@capital.edu www.capital.edu/music
Case Western Reserve University
10900 Euclid Avenue Cleveland, OH 44106 music@case.edu http://music.case.edu
The College of Wooster Scheide Music Center
Educational Tours, Inc.
Kent State University
Wooster, OH 44691 nditmer@wooster.edu www.wooster.edu/music
P.O. Box 257 Holt, MI 48842 eti@tours-eti.com www.tours-eti.com
Marietta College
Muskingum University
Ohio Northern University
Soundwaves Recording
Steinway Piano Gallery Cleveland
215 Fifth Street Marietta, OH 45750 music@marietta.edu http://www.marietta.edu/~musc/
Otterbein University
1 South Grove Street Westerville, OH 43081 ddavenport@otterbein.edu www.otterbein.edu
Super Holiday Tours 116 Gatlin Ave. Orlando, FL 32806 info@superholiday.com www.superholiday.com
163 Stormont Street New Concord, OH 43762 dturrill@muskingum.edu www.muskingum.edu/dept/music
4708 Surfside Drive Huron, OH 44839 virginia@soundwaves.org www.soundwaves.org
University of Akron
School of Music, Guzzetta Hall 260 Akron, OH 44325-1002 concerts@uakron.edu www.uakron.edu/music
2121 Euclid Avenue MU332 Cleveland, OH 44115 m.c.bill@csuohio.edu www.csuohio.edu/class/music
1325 Theatre Drive Kent, OH 44242 schoolofmusic@kent.edu www.kent.edu/music
525 South Main Street Ada, OH 45810 p-warner@onu.edu www.onu.edu/music
334 East Hines Hill Road Boston Heights, OH 44236 cgood@steinway-ohio.com www.steinway-ohio.com
University of Dayton
300 College Park Dayton, OH 45469-0290 musadms@udayton.edu go.udayton.edu/music
West Music
1212 Fifth Street Coralville, IA 52241 service@westmusic.com www.westmusic.com
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LEVEL l - OMEA SPONSOR Ashland University
401 College Avenue Ashland, OH 44805 music@ashland.edu www.ashland.edu/music
EPN Travel
1784 West Schulykill Road Douglassville, PA 19518 tourinfo@edprog.com www.epntravel.com
Heidelberg University
J.W. Pepper & Son, Inc.
Malone University
Miami University Music Dept.
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
2600 Cleveland Ave. NW Canton, OH 44709 mhaines@malone.edu www.malone.edu/music
501 S. Patterson Ave, 109 Presser Hall
Ohio University School of Music
University of Mount Union
Youngstown State University Dana School of Music
440 R. Glidden Hall Athens, OH 45701 kasler@ohio.edu www.finearts.ohio.edu/music
1972 Clark Avenue Alliance, OH 44601 andersem@mountunion.edu www.mountunion.edu/ music-major
Oxford, OH 45056 ledfordcj@miami.edu www.miamioh.edu/sca/ academics/departments/music
One University Plaza Youngstown, OH 44555 clkrummel@ysu.edu www.ysu.edu/dana
Bachelor of Arts in Music Bachelor of Arts in Music Education Minors in Music & Musical Theatre www.muskingum.edu/dept/music www.youtube.com/MuskingumMusic www.facebook.com/MuskingumMusic
Scholarships available to majors and non-majors
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TRIAD
The Ohio Foundation for Music Education extends a note of thanks and appreciation to everyone who participated in the 2017 Raffle via advance online sales and on-site 2017 Conference sales. While it would be wonderful if everyone could win a prize, the reality is that everyone has won far beyond the three prize winners, the benefits of every dollar is being applied to student Scholarships and OMEA member professional development experiences in accord with the Foundation’s mission. The 2017 Raffle Prize winners have been notified and will enjoy their prizes, as did the 2016 Raffle Prize winners who reported complete satisfaction with their prize experiences. On behalf of the OFME Board of Directors, thank you for participating in this recent raffle and be advised that ‘winning’ is built into the event for everyone with benefits extending to students, members and music education in Ohio. Thank you and we hope you will continue to support the Foundation in its efforts to advance music education. Tax-exempt donations can be made anytime via the OFME website: www.ohio_foundation_for_music_education.org, under donor section! Recognitions/Memorials encouraged with every donation. Thank you.
APRIL/MAY 2017
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A LOOK BACK... OHIO MUSIC EDUCATION A SSO C I AT I O N
CLEVELAND 2017 NORTH COAST
PROFESSIONAL DEVELOPMENT CONFERENCE FEBRUARY 2-4, 2017
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TRIAD
2017 ALL-STATE CHILDREN’S CHORUS
CONDUCTOR
Judy Bowers APRIL/MAY 2017
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ALL-STATE BAND
CONDUCTOR
Kevin Sedatole 16
TRIAD
ALL-STATE ORCHESTRA
CONDUCTOR
William Wiedrich APRIL/MAY 2017
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ALL-STATE CHOIR
CONDUCTOR
Brady Allred 18
TRIAD
ALL-STATE JAZZ ENSEMBLE
CONDUCTOR
Dean Sorenson APRIL/MAY 2017
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2017 INDUSTRY SERVICE AWARD
Sharon Gronowski and Dave Adamson, OMEA Business Manager
SHARON GRONOWSKI
The Ribbon Cutting Ceremony 20
TRIAD
2017 DSA AWARD
Patricia Meeks with OMEA Immediate Past-President Terry Herschmann
PATRICIA MEEKS
Patricia Meeks and Family APRIL/MAY 2017
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2017 OUTSTANDING MUSIC EDUCATOR AWARD
Dr. Bruce Moss, Directors of Bands, Bowling Green State University 2017 OUTSTANDING YOUNG MUSIC EDUCATOR AWARD
John M. Carmack, Choir Director, Vermilion HS/ Sailorway MS 22
2017 OUTSTANDING ADMINISTRATOR AWARD
Dr. William Wagner, Superintendent, Fairview Park City Schools 2017 OUTSTANDING MUSIC SUPPORT GROUP AWARD
Canfield Band Parents, Inc., Canfield Local School District 23
25 YEAR AWARD RECIPIENTS
Listed below are the 2017 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. CHRISTOPHER A. BARBARO - LORAIN - 25 YEARS Amherst Schools - Director of Bands Most Memorable Moment - Seeing a student who would have otherwise quit in the 6th grade get a full scholarship in music education after graduating from our program 6 years later.
MALA KENNARD - CHILLICOTHE - 32 YEARS Chillicothe High School - Choral Director & System-wide Music Coordinator Most Memorable Moment - Taking my choir to an OMEA State Large Group Event for the first time.
BRIAN GRIM - ADA - 31 YEARS Bath Local Schools - Band Director Most Memorable Moment - I have been privileged to have the enjoyment of music with many young people, including my own son.
GLENN KULMA - CHESTERLAND - 25 YEARS Mentor Public Schools - Choir Director Most Memorable Moment - I’m extremely fortunate to work in the school district that I graduated from as a student. Having the opportunity to work with my former teachers has been a blessing my whole career. Everyday I get to make music with amazing kids… It’s all good!
ERIN JANE MCCONIHAY GRIM - ADA - 31 YEARS Bath Local Schools - Band Director Most Memorable Moment - Our current superintendent, also a former band director, said, “My dream is to be superintendent at a school with an awesome band program. Thank you for letting me live that dream here at Bath!” GAYLE HUGHES - AVON - 26 YEARS McCormick Middle School, Wellington General Music (4-6) & Choir (7-8) Most Memorable Moment - The “ahah” moments when a student gets “turned on” to music. 24
DALE NAWROCKI - GROVE CITY - 35 YEARS Norton Middle School, retired - Band Director Most Memorable Moment - Those moments when the students realized their own gifts and started to soar on their own. MARK SKLADAN - ELYRIA - 30 YEARS Amherst Steele High School - Director of Choirs Most Memorable Moment - The first time my choir was rated superior at a State Adjudicated Event.
TRIAD
2017 OHIO STATE UNIVERSITY STRING TEACHER WORKSHOP • July 9 – 15 CELEBRATING 32 YEARS! SPEND A WEEK WITH THE BIGGEST NAMES IN THE PROFESSION! Bob Gillespie • David Becker • Brian Cole • Winifred Crock • Pam Hayes • Denese Odegaard • Sean O’Loughlin • David Wong • Mark Wood FOR THE STRING SPECIALIST AND SECONDARY BAND, CHOIR OR GENERAL MUSIC TEACHER Recapture your passion • Gain fresh insights • Discover new materials • Daily technique classes • 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
GRADUATE ASSISTANTSHIPS ARE OFFERED IN: FOR ADDITIONAL INFORMATION, CONTACT: UNDERGRADUATE DEGREES: BACHELOR OF ARTS BACHELOR OF MUSIC BACHELOR OF SCIENCE*
GRADUATE DEGREES: MASTER OF ARTS MASTER OF MUSIC DOCTOR OF PHILOSOPHY
AUDITIONS:
Programs of Study:
Programs of Study:
UNDERGRADUATE MUSIC SCHOLARSHIPS:
Music (B.A.)
Contemporary Popular Music*
Music Education (B.M.) Instrumental Performance (B.M.) Piano Performance (B.M.) Vocal Performance (B.M.) Composition (B.M.) Music Technology (B.S.)* Undergraduate Minors:
Music Jazz Studies World Music Audio Recording* Music Technology*
* OFFERED AT KENT STATE UNIVERSITY AT STARK
Music Composition (M.A.) Ethnomusicology (M.A.) Music Theory (M.A.) Conducting: (M.M.) Band Orchestra Choral
Music Education (M.M.) – Entirely Online! Performance (M.M.) Performance: Chamber Music (M.M.) Music Education (Ph.D.) Music Theory-Composition (Ph.D.)
JESSE LEYVA
RECRUITMENT COORDINATOR jleyva@kent.edu
DANA BROWN
ASSISTANT TO THE DIRECTOR dabrown@kent.edu
• • • • •
Conducting Ethnomusicology Graduate String Quartet Music Education Performance - Instrumental - Piano - Voice • Theory APPLICATION MATERIALS AND AUDITIONS MUST BE COMPLETED BY APRIL 1. APPOINTMENTS BEGIN AUGUST OF THE ACADEMIC YEAR.
GRADUATE ASSISTANTSHIPS:
MICHAEL CHUNN
COORDINATOR OF GRADUATE STUDIES mchunn@kent.edu KENT STATE UNIVERSITY AT STARK:
LAURIE CAMP
ACADEMIC ADVISOR, STARK CAMPUS Lacamp1@kent.edu
WWW.KENT.EDU/MUSIC
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. 16-cota-00223-056
APRIL/MAY 2017
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OMEA 2017 PROFESSIONAL DEVELOPMENT CONFERENCE Research Poster Session Summary
Rachael Fleischaker, Kent State University
The 2017 Ohio Music Education Association Professional Development Conference once again hosted the annual OMEA Research Poster Session. During this session, researchers shared their work with the music education community. Posters displaying information from current investigations served as conversation starters that offered researchers and music educators an opportunity to discuss how research and practice are mutually beneficial. The posters are reviewed by the OMEA Research Committee and often center on practical issues related to music classrooms. This year, seven researchers presented their work in the main hallway concourse. MUSIC SUPERVISORS JOURNAL AND MUSIC EDUCATORS JOURNAL: A COMPARATIVE ANALYSIS OF THREE ISSUES Kristin Coen-Mishlan, a Ph.D. candidate at Kent State University, engaged in a comparative analysis of three issues of national music education publications. Her investigation focused on topics, content, and key features of Music Educators and Music Supervisors Journals from 1927, 1938, and 1946. Findings suggested that insight into past music education documents are relevant to current practice and NAfME publications. Analysis revealed topics in these publications included issues concerning current technology, assessment practices, and copyright, as well as updates on conferences and member concerns. 26
EXPLORING THE CORE MUSIC STANDARDS THROUGH THE LENS OF A GENERAL MUSIC TEACHER Rachael Fleischaker, doctoral student at Kent State University, explored the Core Music Standards in relation to general music curriculum. Questions addressed in this study were 1) what is the definition of musical literacy in the context of the Core Music Standards; 2) how is musical literacy measured; and 3) what are possible paths to adoption and integration of the Core Music Standards into a general music curriculum? This study involved the analysis of documents published in print and online by the National Coalition for Core Arts Standards (NCCAS), the National Association for Music Education (NAfME), and the Organization of American Kodaly Educators (OAKE); an interview with the co-chair of the Music Core Standards writing team; research and practitioner journal articles, and general music method and pedagogy books. Findings indicated that the Core Music Standards will be influential in future curriculum writing and will require music teachers to shift focus from a product-based approach towards a process-oriented approach which includes three artistic processes (Creating, Performing/Producing, and Responding). This study also found that active engagement in the artistic processes is important in any pedagogical approach. TRIAD
BUILDING A FIRM FOUNDATION: STRUCTURING BAND INSTRUMENT SELECTION BASED ON RESEARCH
KEY ELEMENTS OF PREPARATION AND TRANSITION FOR AN INSTRUMENTAL MAJOR TEACHING ELEMENTARY GENERAL MUSIC
Marsha Croskey Kincade, a Ph.D. candidate at Case Western Reserve University, engaged in a literature review focused on student instrument choice and director assignment methods with the purpose of identifying best practices for beginning band. This study explored practices currently used in instrument selection, factors influencing students’ choices and educators’ perceptions of their students’ instrument choices, and suggestions for future research that may be beneficial to students and directors when selecting instruments. During this investigation, Ms. Kincade found that students are influenced by instrument characteristics, parents’ and directors’ opinions, and perceived gender stereotypes of different instruments. Findings indicated that instrument selection should be a structured process that includes consistent communication with parents, partnerships with elementary music teachers, performances for potential students, and opportunities for students to play various instruments. Directors were cautioned to have a plan for confronting gender stereotypes and to be wary of relying on the students’ physical traits during the selection process.
Christa Kuebel, doctoral candidate at Case Western Reserve University, used a case study approach to describe the experience of a first-year music educator teaching outside of his specialization. Questions addressed in this case study included how the participant navigated differences between his expected employment prior to graduation and the realities of his current teaching position. It also evaluated what critical experiences the participant considered to be most relevant to his preparedness for achieving success in his current job. The participant was a first-year teacher who majored in instrumental music and student taught in a middle/high school band and orchestra setting, but was teaching elementary general music. Themes emerging from this study included limitations in the job market, personal characteristics predicting success (flexibility and high self-efficacy), the value of a mentor teacher, and importance of general music methods. Implications discussed were the need to provide undergraduates information about the reality of the job market and to create broader preparation programs for music education.
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AN ANALYSIS OF GOUNOD’S “PETITE SYMPHONIE,” AND ITS IMPLICATIONS FOR YOUNG CONDUCTOR DEVELOPMENT Nicholas J. Marzuola, doctoral student at Case Western Reserve University, explored the benefits of rehearsing and performing with chamber music ensembles for young conductors. Findings indicated that chamber music ensembles can benefit young conductors by serving as a laboratory for developing conducting and rehearsal techniques that transfer to larger ensembles. Analysis of Gounod’s “Petite Symphonie” provided examples of consistency within repeated motives, dynamic and individual note shaping, leggiero style, textural changes and shifting, and awareness of the importance of the individual’s contributions to the success of the ensemble. POPULAR MUSIC AS THE VEHICLE FOR DEVELOPING LISTENING SKILLS IN FIFTH GRADE STUDENTS Shannon Mendenhall, doctoral student at Kent State University, used a quasi-experimental design to determine the effectiveness of popular music as a tool for developing listening skills. During this study, control and experimental groups of fifth grade students were given a researcher designed pre- and post-test. Each group participated in five class sessions in which listening activities were engaged to help students identify musical concepts defined by the state adopted curriculum. The control group was exposed to listening activities using classical music while the experimental group used popular music examples. An independent t-test showed no significant difference in the treatments. Both groups showed improvement. These findings suggest that popular music was as effective as classical music for teaching tonality, meter, dynamics, form, and tempo.
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MUSIC TECHNOLOGY AND THE NON-TRADITIONAL MUSIC STUDENT: SELF-REPORTED EXPERIENCES OF UNDERGRADUATE MUSIC TECHNOLOGY STUDENTS David Thompson, doctoral student at Kent State University, presented findings from a quantitative, non-experimental descriptive study. The purpose of this study was to determine the level at which high school music technology courses involve non-traditional high school music students. Thompson surveyed 60 music technology majors (N = 60) from a NASM accredited four-year institution. Data was collected from 38 responses (n = 38). The research questions were: 1) at what rates did traditional and non-traditional students report being enrolled in technology-based music courses (TBMC) in high school; 2) can general technology course experience be used as a predictor of TBMC experience for either non-traditional or traditional music students; 3) from which traditional ensemble, if any, do students report enrollment in TBMCs? Results indicated that technology-based music courses were not taken by non-traditional music students. General technology course experience cannot be used as a predictor of technology based music course experience. Students from all traditional ensemble types and other music courses enroll in technology-based music course at the undergraduate level. Rachael Fleischaker serves on the music faculty at Kent State University where she is a doctoral student in music education. Rachael has taught undergraduate coursework for the College of Wooster and the Ohio State University Mansfield Campus. She has been an elementary band and vocal music teacher in the public schools for 22 years with the last 20 years in the Canton City Schools. She holds a Bachelor of Music Education from The College of Wooster and a Master of Education in Curriculum and Instruction with an Emphasis on Urban Education from Kent State University. Rachael is the teacher evaluation chair for the Ohio Music Education Association.
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LOOKING AHEAD... OHIO MUSIC EDUCATION ASSOCIATION
COLUMBUS 2018 CAPITAL CITY
PROFESSIONAL DEVELOPMENT CONFERENCE FEBRUARY 8-10, 2018
Mark A. Hensler - OMEA Director of Professional Development pd_director@omea-ohio.org A directory of standing chairs is available on the OMEA website.
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elementary, middle, and high school band, choir, and orchestra 2017: April 21-22 April 28-29 May 5-6
2018: April 20-21 April 27-28 May 4-5
www.SMMFestival.com or call:1-855-766-3008
IT STARTS HERE. TM
NOW ACCEPTING APPLICATIONS SCHOLARSHIPS & FINANCIAL ASSISTANCE AVAILABLE
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fine arts camp BLUELAKE.ORG BLUE LAKE FINE ARTS CAMP 300 E. CRYSTAL LAKE RD. TWIN LAKE, MI 49457 800.221.3796 231.894.1966
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OHIO MUSIC EDUCATION ASSO CIATION
Performing Ensembles
COLUMBUS 2018 CAPITAL CITY
PROFESSIONAL DEVELOPMENT CONFERENCE
2018 OMEA Professional Development Conference Columbus, Ohio • February 8-10, 2018 Submission Deadline: May 31, 2017
FEBRUARY 8-10, 2018
PERFORMING ENSEMBLE CDs Ensembles interested in performing at the 2018 OMEA Professional Development Conference should submit an application and an audition CD postmarked no later than May 31, 2017 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, please indicate the name of the performing ensemble on the CD case, not on the actual CD. Great care should be taken to make certain the group is not identified in any way as part of the recording (announcements, digital markers, etc.) or the CD itself. Be sure to notate the type of group, and 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. A file that does not play will result in rejection of the application. Recordings will not be returned. NEW Selected ensembles may be asked to present a concert, serve as a clinic demonstration group OR participate in the new “Clinic-Concert” format. Ensembles selected for a “Clinic-Concert” will be paired with a clinician to serve as a demonstration group for a portion of a session, immediately followed by a brief concert (20-30 minutes). 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, 2017 and maintain membership with NAfME through February 28, 2018. 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 2017 OMEA Conference in Cleveland are not eligible to perform at the 2018 Conference. Accepted ensembles must pay a $145 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. Requests for performance times/days will not be accepted and no changes will be made once the schedule is determined. 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).
DEADLINE FOR SUBMITTING APPLICATION: POSTMARK DEADLINE OF MAY 31, 2017
“Choose CSU” �
ENGAGE IN MUSIC MAKING EXCELLENCE
CSU CHORALE
VISIT THE CSU DEPARTMENT OF MUSIC BOOTH #712 AND ATTEND THESE EVENTS: “Making a 2-Hour Investment in Repertoire Preparation Pay Off with Two Months of Musical Success” Dr. Barry Hartz, Visiting Assistant Lecturer Music Education Thursday, 2/2 || 12:30-1:30pm || Room CC 22
“No More Two Left Feet! Teaching Folk Dance Using Phyllis Weikart’s Language-to-Dance Approach” Dr. Heather Russell, Coordinator of Music Education Thursday, 2/2 || 5:00-6:00pm || Room CC 25AB
“Who’s on First? Identifying and Tackling the Challenges of the First Year in a New Position.” Dr. Barry Hartz, Visiting Assistant Lecturer Music Education Friday, 2/3 || 9:15-10:15am || Room CC 20
The Cleveland State University Chorale Dr. Brian Bailey, conductor Friday, 2/3 || 9:15-10:15am || Room CC 20 Junior Ballroom
“The Care and Feeding of a Student Teacher: Being a Cooperating Teacher”
Undergraduate Degree Programs
BM - Performance - Composition - Music Education - Music Therapy BA in Music, BA in Music - Focus in Popular Music Minor in Music
Graduate Programs
MM - Performance - Composition - Music Education Post-Graduate: K-12 Music Education Licensure and Music Therapy Equivalency Professional Studies in Music Performance Certificate Program
Dr. Heather Russell, Coordinator of Music Education Co-Presenter, Dr. Barry Hartz, Visiting Assistant Lecturer Music Education Saturday, 2/4 || 10:45-11:45am || Room CC 10
Generous Academic and Talent Scholarships Available to Qualified Candidates
The Cleveland Winds
You are cordially invited to attend our
Dr. Birch Browning, conductor Winner of the American Prize in Band/Wind Ensemble – Performance Community & School Division. Saturday, 2/4 || 9:00-10:00am || Huntington Convention Center
Please visit csuohio.edu/music for 2017 audition dates, music application and audition repertoire. Alumni & Friends Reception during the OMEA 2017 Professional Development Conference in Cleveland Friday, February 3, 2017 || 6:15 – 7:45 pm
csuohio.edu/music
FOR MORE INFORMATION ON THE DEPARTMENT OF MUSIC PLEASE VISIT CSUOHIO.EDU/ MUSIC OR CONTACT K ATE BILL AT (216) 687-5039
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OHIO MUSIC EDUCATION ASSO CIATION
COLUMBUS 2018 CAPITAL CITY
PROFESSIONAL DEVELOPMENT CONFERENCE
Performing Ensembles 2018 OMEA Professional Development Conference Columbus, Ohio • February 8-10, 2018 Submission Deadline: May 31, 2017
FEBRUARY 8-10, 2018
(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) ___________________________________________ TRAVEL TIME TO DOWNTOWN COLUMBUS _________________________________________________________________ CHECK HERE IF DIRECTOR OR ASSISTANT IS ALSO SUBMITTING A PROPOSAL APPLICATION ____________________ (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) OMEA District _____________________ Is an audition required for membership in this ensemble? _________ Total School Enrollment ____________ Are faculty or professional musicians included in the ensemble that made this audition recording? _____ COLLEGE GROUPS should choose from one of the following categories: ________ Jr. College (2-Year program) ________ 4-Year College (no graduate program)
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
DEADLINE FOR SUBMITTING APPLICATION: POSTMARK DEADLINE OF MAY 31, 2017
Congratulations to Karen Martin recipient of our 2017 Outstanding Music Education Alumni Award.
Fine Arts Division
BUCHTEL COLLEGE OF ARTS AND SCIENCES
Martin currently teaches in Perry (Stark) Local Schools. She is a graduate (BM 93, MM 99, Music Education) of The University of Akron School of Music.
COMING THIS SUMMER:
School of Music • Outstanding programs, ensembles and facilities • Numerous performance opportunities • Master classes and residencies by stellar guest artists • Affordable tuition, generous scholarships • Internationally renowned faculty-musicians
DEGREE PROGRAMS Bachelor of Music (B.M.) • Music Education • Theory/Composition • Performance • Jazz Studies • Accompanying
www.uakron.edu/music
THE UNIVERSITY OF AKRON
Bachelor of Arts in Music (B.A. in Music) Master of Music (M.M.)
Brass Performance Seminar Monday - Friday, June 5-9 For students entering 9th - 12th grades $250 commuter, $475 overnight.
Saxophone Camp Monday - Friday, June 12-16 For students entering 9th grade through first year of college $145 commuter, $370 overnight.
Summer Concert Band Tues. and Thurs. 7-9 p.m. June 13 - July 13 (no rehearsal July 4th) Concert Thursday, July 13, 7:30 p.m. One graduate or undergraduate credit. Galen Karriker and Andrew Feyes conduct.
Foundations and Principles of Music Education Tues., Weds., Thurs., 9-11:40 a.m. June 13 - July 13 Three graduate credits. Dr. Ann Usher, instructor.
18th annual TubaSummer Sunday, July 30, 7 p.m. Buchtel Common, outside Guzzetta Recital Hall. Tucker Jolly conducts.
Dr. J. Thomas Dukes, Interim Director 330-972-7590 • music@uakron.edu www.uakron.edu/music
The University of Akron is an Equal Education and Employment Institution www.uakron.edu/eeo ©2017 The University of Akron
For more information: 330-972-8301 concerts@uakron.edu www.uakron.edu/music
School of Music
OHIO MUSIC EDUCATION A S S OCI AT I ON
All-State Ensembles 2018 OMEA Professional Development Conference
COLUMBUS 2018 CAPITAL CITY
PROFESSIONAL DEVELOPMENT CONFERENCE FEBRUARY 8-10, 2018
Columbus, Ohio • February 8-10, 2018 Coordinator – Keith Hallas Band Chair – Kate Ferguson Choir Chair – Brandon Moss Jazz Ensemble Chair – Andy Doherty Orchestra Chair – Christopher Lape
2018 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 2018 All-State Ensembles. Please be aware the online application does not change how recordings are made, only how applications and recordings are submitted. To get started, please go to www.omea-ohio.org and click on the 3 bars in the upper right-hand corner. Choose “Activities” in the drop-down menu and go to “All-State Ensembles” where you will find audition requirements and further instructions.
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 2018. August 31: Notification of results to applicants and directors. September 30: Due date for acceptance form and membership fee of $275 (includes hotel lodging and 5 meals). All participants must stay in the All-State housing hotel (4 people to each room).
2018 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.
2018 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 below for further specifics.
2018 ALL-STATE BAND & ORCHESTRA WINDS-PERCUSSION ETUDE REQUIREMENTS: FLUTE: Selected Studies for Flute by Voxman: Pub. By Rubank, p. 20 and p. 34 OBOE: Selected Studies for Oboe by Voxman: Pub. By Rubank, p. 6 and p. 40 CLARINET Bb and Eb: Selected Studies for Clarinet by Voxman: Pub. by Rubank, p. 8 and p. 43 CLARINET ALTO, BASS, CONTRA: Advances Studies from the Works of J. Weissenborn: arr. Rhoades: Pub. by Southern, #4 (p. 2), #26 (p. 20) BASSOON: Method for Bassoon by J. Weissenborn (Catalogue #CU96) #3 (p. 116), #28 (p. 134) SAXOPHONE: Selected Studies for Saxophone by Voxman: Pub. by Rubank, p. 15 and p. 29 TRUMPET: Selected Studies for Trumpet by Voxman: Pub. by Rubank, p. 4 and p. 37 FRENCH HORN: Prepatory Melodies to Solo Work by Pottag: Pub. by Belwin, #19 (p. 7), #22 (p. 8), #47 (p. 19)
TROMBONE AND EUPHONIUM: Selected Studies for Trombone by Voxman: Pub. by Rubank, p. 10 and p. 35 • 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: NEW BOOK for 2018 - 50 Etudes for Bass Trombone and Tenor Trombone with F attachment by Grigoriev, ed. & arr. by Randall Hawes: Pub. by Encore, #3 (p. 7), and #35 (p. 33) 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, #14 (p. 13) and #30 (p. 29). If selected for partici pation, 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) – Fundamental Method for Mallets, Book 1 by Mitchell Peters: Pub. by Alfred: “A Major” Reading Study #3, Page 78 • Timpani: NEW BOOK FOR 2018! Fundamental Method for Tympani by Mitchell Peters, Pub. by Alfred: Etude #44, p. 175. • Snare: Advanced Snare Drum Studies by Mitchell Peters: Pub. by Try Publishing Company, Etude #15 (pp. 30-31). 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.
2018 ORCHESTRA STRINGS RECORDING REQUIREMENTS: Each student (after announcing name and instrument) will next record all TECHNICAL Etudes listed below and next record the LYRICAL passages listed for their instrument. Finally, Orchestra strings must record the required scales listed for their instrument. See details below. VIOLIN: • TECHNICAL: Kreutzer 42 Studies for Violin: Etude #10; Start at beginning through first note of measure 27. Metronome marking of quarter note = 66 throughout. • LYRICAL: Mozart Symphony No. 39, Mvt. 2: Using Violin 1 part, record measures 1-27 with no repeats. Metronome marking of eighth note = 88 throughout. • SCALES: Record a 3-octave G major scale and a 2-octave Bb major scale. VIOLA: • TECHNICAL: Mazas 30 Etudes Speciales, Opus 36, Book 1: Etude #18; Start at beginning through measure 28. Metronome marking of eighth note = 118 throughout. • LYRICAL: Tchaikovsky Symphony No. 6, Mvt. 2; Using Viola 1 part, record measures 112-150. Metronome marking of quarter note = 152 throughout. • SCALES: Record a 3-octave C major scale and a 2-octave Eb major scale. CELLO: • TECHNICAL: Popper 40 Studies “High School of Cello Playing”, Opus 73: Etude #11; Start at beginning through measure 24. Metronome marking of quarter note = 88 throughout. • LYRICAL: Dvorak Symphony No. 8, Mvt. 4; Using Cello 1 part, record measures from rehearsal A to rehearsal D with no repeats. Metronome marking of quarter note =108-116 throughout. • SCALES: Record 3-octave C major scale and 2-octave Eb major scale. BASS: • TECHNICAL: Sturm 110 Studies, Opus 20, Volume 1: Study #19; Record measures 11-20. • LYRICAL: Storch-Hrabe 57 Etudes, Volume 1: Etude #4; Record measures 1-10. • Also record Sturm 110 Studies, Opus 20, Volume 1: Study #46; measures 1 through 22. Metronome marking of half note = 76 throughout. Finally, record Mahler Symphony No. 2, Mvt. 1; Using Bass 1 part, record measures 2 through measure 20. Metronome marking of quarter note = 72 throughout. • SCALES: Record 2-octave G major scale and 2-octave Bb major scale.
HARP: • TECHNICAL: Grossi Method for Harp, Ricordi Edition: Etude #29; Record pages 134-135. Metronome marking of quarter note = 90-110 throughout. • LYRICAL: Borodin Polovetsian Dances, Luck’s Music Library; Record measures 15 -45. Metronome marking of quarter note = 84 throughout. • SCALES: None required.
JAZZ ENSEMBLE RECORDING REQUIREMENTS - NEW FOR 2018 READ CAREFULLY:
Ornithology is from Charlie Parker (vol. 6); Satin Doll is from Maiden Voyage (Vol. 54); Milestones is from Miles Davis (Vol. 7); Peaceful Ideas, A Little Stop Time and Double Trouble are from Good Time! (vol. 114). All 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 Satin Doll and improvise 2 choruses (improvisation required for a solo chair, recommended but not required for other chairs) SAXES: • With the play along, record the head to Ornithology and improvise two choruses (improvisation required for a solo chair, recommended but not required for other chairs) BRASS: • With the play along, record the head to Milestones 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. VIBES: • With the play-along (use CD #1), record the head to Peaceful Ideas, comp for one chorus and improvise for 2 choruses • With the play-along (use CD #1), record the head to A Little Stop Time, comp for one chorus and improvise for two choruses • With the play- along, record the head to Satin Doll 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 Peaceful Ideas, comp for one chorus and improvise for 2 choruses • With the play-along (use CD #1), record the head to A Little Stop Time, comp for one chorus and improvise for two choruses 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 Peaceful Ideas • With the play-along (use CD #4 – right channel), play two choruses of A Little Stop Time • With the play-along (use CD #4 – right channel), play two choruses of Double Trouble DRUMS: • With the play-along (use CD #4 – left channel), play two choruses of Peaceful Ideas • With the play-along (use CD #4 – left channel), play two choruses of A Little Stop Time • With the play-along (use CD #4 – left channel), play two choruses of Double Trouble • Include a recording of you performing a swing chart with your home jazz ensemble. This swing chart must incorporate at least a brief drum solo (4 or more measures).
OMEA ALL-STATE CHILDREN’S CHORUS AUDITIONS! The OMEA All-State Children’s Chorus is a great chance for young singers to experience choral excellence while meeting other excited musicians and working with excellent guest conductors. Auditions for the ensemble will take place from March 1 to May 31, 2017. This auditioned group is open to public, private and home school students who: - Will be enrolled in grades 4 and 5 during the 2017-2018 school year - Have teachers who are current members of OMEA Applicants will apply using the “Acceptd, Inc.” online website. The application includes a $15 fee to “Acceptd, Inc.” All applications MUST be submitted electronically through this web-based company. The application process includes uploading a digital audio recording. OMEA members are asked to encourage and assist their finest students in preparing the following:
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AUDITION/RECORDING REQUIREMENTS 1. Begin with the applicant announcing their name and grade level for 2017-2018 2. Sing the first verse of “America the Beautiful” (Key of C Major unaccompanied) 3. Sing “O Music” by Lowell Mason-public domain (any key unaccompanied) 4. Recordings of individual selections should NOT be edited or spliced 5. Please ensure that all applicants can match pitch, access the head voice and possess the focus and stamina to participate in full-day rehearsals
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EVENT TIMELINE March 1: A link to the “Acceptd, Inc.” online application with detailed instructions will be available on the OMEA homepage May 31: Deadline for all applications to be submitted August 31: Results posted to the OMEA portal and mailed via post office to all student applicants September 30: Due date for acceptance form and membership fee of $85. December 2017 – January 2018: Regional rehearsals will be held in various locations around the state (TBA) Thursday, February 8: OMEA All-State Children’s Chorus All-Day Event in Columbus, Ohio (downtown; exact location TBD) OMEA is thrilled to extend this opportunity to our elementary students and teachers. To get started, please go to www.omea-ohio.org and click on the 3 bars in the upper right-hand corner. Choose activities in the drop-down menu and go to All-State Ensembles where you will find audition requirements and further instructions. Please do not hesitate to contact me if you have any questions. Sarah Kozlowski OMEA All-State Children’s Chorus Chair skozl@hawken.edu 38
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the group’s performance schedule. Music in the Parks makes it easy.
An Incredible Experience + More Options = Great Satisfaction + We offer festival only packages + You can easily update your numbers and print out a new invoice 24/7 + Audio critique and printable score sheets available online after your performance + We have more dates and locations than anyone else + Our performance schedules are available on-line + We have the most experienced festival staff in the industry + We are open 12 hours a day to answer your questions
Dates, locations and pricing are all on our website. musicintheparks.com | 1-800-323-0974 | info@edprog.com
TEACHING TIPS BAND Innovative Show Design for the Traditional Non-competitive Marching Band Dr. Christopher Hoch; The Ohio State University
The modern marching band is the picture of diversity. While bands have long taken pride in holding onto old traditions and maintaining strong group identities, we live in a time when these traditions and identities are wonderfully varied. Some groups are breaking new ground by incorporating musical elements – vocalists, orchestral sounds, electronic media – not traditionally heard on a football field. Others amaze their audiences with high-energy performances incorporating the latest dance movements. However, even as bands celebrate their past by embracing their own traditions and styles, they must also evolve and adapt to the demands of modern students and audiences. Traditions give way to innovations, which in turn become new traditions. As in any drill movement, we must be fully aware of our starting point as well as the point toward which we are moving. Where we are moving depends on the balance between two considerations: the needs of our students and the expectations of our audiences. As part of the directing staff of The Ohio State University Marching Band, I spend a great deal of time thinking about show concepts that would appeal to our football crowd, but that consideration eliminates whole genres of music that might be of value in the students’ music education. Similarly, we may consider performing music that is widely thought to be of great educational importance, but in so doing we risk alienating our 40
audience. Finding a balance is challenging but essential. For a non-competitive marching band, achieving balance can be accomplished by offering a variety of musical experiences for both our students and audiences. Each year we strive to select music from a variety of genres, both modern and historical, that is of high quality and to which students and audiences can relate. During the 2016 season, our band experienced Russian classical music, 1970s pop, big band swing, and even modern hip-hop from Broadway’s smash hit, Hamilton. Most selections were recognizable to at least a portion of our audience, and we tried to enhance lesser-known music with obvious visual cues. One example of such visual enhancement came as a result of our planning for the 2016 season, when several students presented us with a show concept entitled “Halftime Horrors,” a Halloween-themed show that incorporated some of their favorite horror movie music. While we felt the idea had merit, we struggled with just how to use the concept in a way that engaged the audience and enhanced the students’ musical experiences. We decided on themes that included Bernard Herrmann’s wonderful strings-only score to Psycho, the traditional “Dies Irae” used in the soundtrack to The Shining, and – for a lighter number – Danny Elfman’s jazz-infused “Oogie Boogie Song” TRIAD
from The Nightmare Before Christmas. Finding an ending to the show, however, proved to be difficult. During our discussions we listened to a recording of the finale from Berlioz’ Symphonie Fantastique, a piece of music that evokes exactly the musical affect that our “Halftime Horrors” show was struggling to achieve. The music’s programmatic nature, its place as a prime example of early Romanticism, and the compositional techniques employed in its construction (including its use of the “Dies Irae”) served our educational goals, but we were concerned that it would not connect with a football audience. As we listened, the meter, tempo, and musical themes combined to create a “galloping” feel. It was then only a small leap to match the visual concept of the Headless Horseman to Berlioz’ music, thereby ending the show in a recognizable and crowd-pleasing fashion.
finale from The Natural). Quotes of “The Star Spangled Banner” were included throughout. From an educational standpoint, the students experienced musical and cultural history while learning a variety of performance styles and practices. Audience interest was generated through a two-level visual conceptualization. The drill (first level) featured obvious baseball references, and it was designed around a baseball diamond where costumed students actively played baseball throughout the show (second level). For additional audience engagement, we included a “seventh inning stretch” sing-along as well as other familiar sights and sounds of the old ball game. “AMERICA’S PASTIME” FULL SHOW
“HALFTIME HORRORS” FINALE
A major component of the non-competitive marching band’s repertoire is patriotic music. For years, bands have successfully elicited positive audience reactions by appealing to feelings of national pride. At Ohio State, our audiences expect a patriotic show at least once a season, and over the years the band has graciously obliged. The challenges we face are that patriotic sensitivities evolve over time while the available repertoire changes very little. Patriotic shows do a great job of honoring the past but sometimes fail to provide an avenue for forward-thinking creativity and innovation. Every year the obvious question is raised: how can we do this differently? In 2016 our patriotic show celebrated America’s national game: baseball. The show included a century’s worth of music, including an early-twentieth century Tin Pan Alley song (“Take Me Out to the Ballgame”), two mid-twentieth century popular selections (“Joltin’ Joe DiMaggio” and “Did You See Jackie Robinson”), and a hit song and soundtrack from the late-twentieth century (“Centerfield” and the APRIL/MAY 2017
While “America’s Pastime” and “Halftime Horrors” conjured some definite visual images, not all music is so easily adapted to audience expectations. Early last season, we performed a tribute to Stevie Wonder in celebration of the fortieth anniversary of his landmark album, Songs in the Key of Life. Although the rhythmic and stylistic elements of the music were educationally valuable, we expected the visual program to be a tough sell for our audience. Additionally, many songs had similar (and predominantly slow) tempi, and we could not rely on drill velocity to create visual appeal. We therefore selected recognizable and crowd-pleasing music, including a slow-tempo opener that was energetic enough to be marched in double-time. “SONGS IN THE KEY OF LIFE” PARTS 1 AND 2
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The visual program for “Songs in the Key of Life” was very different from the picture drills our audiences have come to expect over the last several years, and it included some of the most difficult drill of the season. Our students had to march to an extremely fast subdivided beat (216 beats per minute in places) and learn challenging precision maneuvers, all while performing music that was stylistically and rhythmically demanding. As the innovations of the present become the traditions of the future, quality show design remains of paramount importance to the non-competitive marching band. Students are capable of performing an enormous variety of music, and we now live in a world where virtually all music is adaptable for use on a football field. It is essential that we select our music with great care, always keeping one ear on the musical needs of our students and the other on the reactions of those who watch our performances and support what we do. In The Ohio State University Marching Band, we honor important traditions while
constantly looking ahead at where we are going, always asking the question: how can we do this differently and achieve the balance we seek? Dr. Christopher Hoch is in his second year as Director of Marching and Athletic bands at The Ohio State University, where he also serves as an assistant professor in the School of Music. Prior to his appointment, he served three years on the band staff at Ohio State, three years as director of The Ohio State University Marching Band Alumni, and seven years as director of bands at Rutherford B. Hayes High School in Delaware, Ohio. Dr. Hoch’s work with The Ohio State University Marching Band has received national and international recognition for innovation and creativity in show design. Under his leadership, the marching band has given many high-profile performances, including at the inaugural College Football Playoff National Championship, Wembley Stadium in London, Bands of America Grand Nationals in Indianapolis, and the Fiesta Bowl in Glendale, Arizona. In addition to his teaching responsibilities, Dr. Hoch serves as musical director of the Scioto Valley Brass and Percussion Company, and he is active as a clinician, guest conductor, musical arranger, and guest speaker. Dr. Hoch’s Ohio State education includes bachelor’s degrees in music education and mathematics, master’s degrees in conducting and music education, and a PhD in music education.
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TEACHING TIPS BAND Year-round Chamber Ensembles as an Extension of Your Program
Rob Cebriak; Gahanna Jefferson Public Schools
Several years ago, I was working after school with four saxophonists to prepare a quartet for the solo and ensemble AE. It was one of those moments when the selection was just the right difficulty, the students were well-prepared, and we were confident it was going to be a memorable performance that weekend. Best of all, every student was having a great time working, playing, and joking together. “Wouldn’t it be great if we could do this all the time?” said one of the saxophonists. “We could,” I replied. “If you want to keep playing together, we can maintain our regular rehearsal time, we will choose some other music to work on, and I’ll find some places for us to perform.” By the next fall, they had a name (Taskforce), decided on a uniform with matching vests and ties, and were looking forward to getting together once a week to work on a variety of music. I did not realize that our regular rehearsal would also become one of my favorite moments of the week. Taskforce, whose membership changes as players graduate, has now been performing for seven years. Other year-round groups have developed, too, including a woodwind quintet (Quintessence), a tuba quartet, clarinet choir, and a jazz combo. As with all the best ideas, this one came through stealing bits and pieces from other directors. For many years, Gahanna’s middle schools have had flute, 44
clarinet, and woodwind choirs that meet once a week for most of the school year. I had read the articles and talked to the directors who espoused making weekly chamber music participation a part of the band curriculum, and my dad (retired director from Canfield and my most important mentor), had frequently talked about having brass and woodwind quintets in the high school band program and the great music that was available. The benefits of the year-round ensembles have been many: they have stretched the abilities of our best players; they have, by example, increased the performance level of our other small and large ensembles; they have helped cultivate some great friendships; and they have encouraged many of the students to continue playing after high school—at least 80% of Taskforce graduates have played in their college concert bands. The year-round ensembles have also been excellent ambassadors for our program. Since they have a regular repertoire of music and don’t require a lot of big equipment, they can be ready to perform on very short notice. Our students have performed at fundraising galas, holiday celebrations, NHS induction ceremonies, church and memorial services, arts fairs, elementary schools, band recruiting events, and college classes. Through these performances, our students become very comfortable on stage, people in TRIAD
school of music & theatre AT HEIDELBERG UNIVERSITY
Summer Camp Join us from June 4-10, 2017 for Heidelberg University’s Music & Theatre summer camp! We’re welcoming high school students, grades 8-12, to campus for a week to explore their music and theatre interests, and to make memories and new friends.
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Classes Offered: Audition Techniques
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Exploring Careers in the Arts
I N S T R U M E N TA L
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Strings, winds, and percussion
Conducting
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Monologue coaching and scene study
All campers can audition for the 2017 camp musical Godspell.
Cost & Registration: COST Resident Camper - $425 includes camp tuition, meals, room and board Commuter - $325 includes camp tuition, daily lunch
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Tech Tips for Artists
School of Music & Theatre Dr. Carol Dusdieker | cdusdiek@heidelberg.edu | 419.448.2073 310 E. Market St. | Tiffin, OH 44883 | www.heidelberg.edu
the community form ties with our band program, the school system strengthens a positive relationship with the public, and some of the kids get their pictures in the paper. Middle school students can do this too. Our 7th and 8th grade woodwind choirs recently performed holiday music at one of the local retirement homes and everyone (including the students) loved it.
• Don’t try to program the most difficult music. We will learn one or two “major” pieces per year, but the rest of the repertoire is a little easier, especially since we may work on three or more pieces in a 40-minute rehearsal, and some of the easy stuff is quite good. The focus has to be on developing strong ensemble and musical skills rather than building technique or rhythm.
HERE ARE SOME TIPS IF YOU WANT TO TRY A YEAR-ROUND SMALL ENSEMBLE • Mix the ages. I always have a mix of at least two grades in our year-round ensembles. That way, we maintain an “institutional memory,” and new members can learn from the experienced ones. It also allows us to quickly refresh repertoire from past years.
• Choose a variety of repertoire. Each student has a music binder that grows each year. Have Christmas music, patriotic tunes, something for a young audience, and serious classical music. Our woodwind quintet is currently working on a tango, a rag, and pieces by Beethoven and Persichetti. Sax quartets must have “The Pink Panther” and “Yakety Sax” in their binders. I regularly check the bins at our local music store for new ideas, and one of the former Taskforce members just composed a new piece for us.
• Choose the members carefully. The performers must be independent readers, dependable, and not overly committed to other activities. There is also a social component: they must like each other. I welcome the input of the returning members when we replace graduates, but they can only advise. Personnel decisions must ultimately, be made by an adult. • Keep the students grounded. These should be elite groups but not groups of elitists. Think of them as enrichment opportunities for the advanced musicians, but no one outside of the group should feel less important to the band, because they are not. If I anticipate a student might develop a “superior” attitude, I will not invite him/her to join. • Have a regular rehearsal time. I rehearse the ensembles most of the time but they are also capable of and enjoy meeting on their own too. The weekly rehearsal time must be a priority, but it should also be fun (I sometimes bring donuts for the early morning rehearsals).
• Larger ensembles can have different advantages. Our 25-member clarinet choir has helped improve the tone and technique of our sections, because it gives our freshmen the opportunity to sit among our seniors. It has also allowed students to try some other members of the clarinet family. I encourage any director to think about starting a year-round ensemble if one doesn’t already exist. The benefits can be extraordinary.
Rob Cebriak is the director of bands for the Gahanna Jefferson Public Schools and part of a five-member staff that serves Gahanna Lincoln High School and three middle schools. Besides the small ensembles, his teaching responsibilities include the Gold, Blue, Freshman, and Marching Bands, an honors harmony and theory class, and 6th and 7th grade woodwind sectionals. Mr. Cebriak graduated with a BME from The Ohio State University and an MM from Ithaca College (New York).
• Encourage the ensemble to create an appropriate name and a uniform (Taskforce buys a different color tie/scarf each year.)
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Chris has over 20 years of group travel planning experience. He earned a B.M. in Music Marketing from Clarion University of PA. Chris is the former Director of North American Music Festivals, where he managed the production of adjudication festivals throughout the East Coast. He also served as a Travel Consultant with Educational Travel Experiences, Inc. and The Sound of America Honor Band and Chorus European Concert Tour.
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!
TEACHING TIPS CURRICULUM & ASSESSMENT Designing Assessments with the End in Mind
Dr. Matthew D. Talbert; Ohio University
“I am way too busy to worry about assessments in my classroom!” “I teach music, not math. Assessments are for other teachers. We’ve got notes and rhythms to learn!” I have heard both of these statements in recent conversations with music teachers when I brought up the topic of assessment. For many, assessment in the music classroom can feel arduous at times, but it is a critical component in developing successful music students. Teachers and students alike greatly benefit from frequent, meaningful assessments in their classroom. The concern for many teachers, however, is the fear of losing valuable rehearsal time in order to assess their students. When we understand how to effectively implement assessment activities into our classroom on a regular basis, the amount of teacher reflection increases and student learning is enhanced. ASSESSMENT VS. GRADING It is important to remember that assessment and grading are not synonymous, although they are routinely presented in tandem. The main goal of assessment is to improve student learning while grading is an evaluation of what a student has learned. Duke (2009) writes, “assessment is ‘finding out.’ Feedback and grading are ‘communicating what you’ve found out’” (pg. 51). For many teachers, assessment is the last part of a three-part chronological sequence: teaching, learning, and then assessment. Rather than approaching instruction in this manner, consider a 48
scenario where all three facets are interwoven and there is a constant connection between teaching, learning, and assessment – imagine a Venn Diagram where assessment is the intersecting point between teaching and learning. Assessment is an ongoing process that must be closely monitored while you teach and must not serve as an afterthought. In short, align learning objectives, assessments, and instructional strategies (Ambrose, Bridges, DiPietro, Lovett, & Norman, 2010) to aid in maximizing student growth. BEGINNING WITH THE END IN MIND Assessment activities should be carefully planned prior to the beginning of instruction. Robert Duke (2009) writes, “Assessment is inextricably related to the goals of instruction, so the time to begin thinking about assessment is in the planning stages, before instruction actually begins” (pg. 49). This idea requires the teacher to focus his or her attention on planning instruction with the end goal in mind; teachers in other disciplines often times refer to this as “teaching to the test.” During the initial planning phase, before the instruction begins, there are three things we must clearly identify: 1. What prior knowledge do my students need to demonstrate before introducing a new concept? 2. What behaviors do I want my students to exhibit at the end of this lesson/unit to demonstrate concept mastery? TRIAD
3. What assessment activities do I implement along the way to help them become successful in understanding the material being taught? By having a clear and realistic answer to each of three questions, the likelihood of success in student achievement is elevated. MACRO-MICRO-MACRO Consider the macro-micro-macro approach when developing your lessons. Start with the overall concept that you want your students to learn (macro), break it down into its component parts to present to your students (micro), and then begin putting the parts back together one piece at a time (macro). It is during the micro stage where we can focus the majority of our attention on assessment. It is during this part of instruction, when the main concept is broken down to its most basic form, that the teacher should regularly assess student learning. The outcomes of these assessment help determine the rate in which teachers should pace their next lesson. Teachers should inch forward when introducing new material, but should leap backward when reviewing. This helps to ensure a higher number of students understand the material. PLANNING ASSESSMENT ACTIVITIES Having an end goal in mind of concept mastery is a key component in designing appropriate assessments in your classroom. The purpose of these assessments, mostly informal, is to get a quick snapshot of what your students are doing well and to identify areas in which they are struggling. In order to obtain an accurate assessment of student learning, attempt to make the situation as stress-free as possible. According to Weimer (2013), “some of the learning potential inherent in evaluation experiences is compromised by the stress associated with them” (pg. 176). This can be accomplished by creating a classroom environment where both the teacher and the students understand that learning is an ongoing process full of trial and error. Formative assessment activities should be incremental and should always focus on a review of what has already been learned, in addition to any new material that has been presented. The creation of formative assessments should always align to a certain standard or criteria (rubric), not compared between students (Raiber & Teachout, 2014). In many cases the assessment can be dichotomous – yes, the student met the standard, or no, the student did not meet the standard that was expected at the beginning of the lesson/unit. APRIL/MAY 2017
CONCLUSION Great teachers continually assess their students in myriad different ways. Assessments in the music classroom are most often going to be formative and can provide valuable information on student comprehension of materials introduced. Embrace the assessment process and work to find what is most effective in your situation. Rather than viewing assessments as an obstruction to the daily plan, work to develop assessments that are meaningful for you and your students and use the results to plan instruction that meets the needs of your particular students.
REFERENCES Ambrose, S. A., Bridges, M. W., DiPietro, M., Lovett, M. C., & Norman, M. K. (2010). How learning works: 7 research-based principles for smart teaching. San Francisco, CA: JosseyBass. Duke, R. A. (2009). Intelligent music teaching: Essays on the core principles of effective instruction (2nd ed.). Austin, TX: Learning and Behavior Resources. Raiber, M., & Teachout, D. (2014). The journey from music student to teacher: A professional approach. New York, NY: Taylor & Francis. Weimer, M. (2013). Learner-centered teaching: Five key changes to practice. San Francisco, CA: Jossey-Bass.
Matthew D. Talbert is Assistant Professor of Music Education and Chair of Music Education at Ohio University, where his duties include teaching undergraduate and graduate courses in music education, supervising student teaching, and teaching courses in the Patton College of Education. He had a successful tenure as a band director in the public schools of North Carolina and continues to remain active as a clinician for middle and high school ensembles. He earned the B.M.E. and M.M.E. from Appalachian State University and a Ph.D. in Music Education from the University of South Carolina. His current research interests include adult amateur musicianship and the role mentoring plays in the teacher retention process.
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TEACHING TIPS GUITAR Why Teach Guitar?
Glen McCarthy; George Mason University (Edited by Robert Sulkow & Robert Pethel)
I didn’t start off as a classroom guitar teacher…I wasn’t even a guitar player! In college I was a trumpet major and I played electric and upright bass. My first teaching gig was at Robinson Secondary School (7-12) in Fairfax County, Virginia, a suburb of Washington DC. I was hired to be the assistant band director, teach theory, direct the jazz band and, so I could have a full-time job, my principal and I decided to offer class guitar. The guitar class turned out to be popular. To improve my guitar skills I studied with different teachers and learned different styles. Within 5 years I was teaching 5 sections of guitar and the school had to hire an additional music teacher to take over my former responsibilities. There was a ton of demand for classroom guitar! Students signed up for guitar because they wanted to learn songs they heard on the radio. I taught them what they wanted to play using it as a hook to get these students started in school music education. Once inside the door I taught them everything! We explored multiple styles: bluegrass and Appalachian string band music, reggae, heavy metal, Sor studies, jazz, blues - you name it. Back then guitar programs were few and far between; I did not have peers and colleagues to help me develop a curriculum. The early methods like Mel Bay, Jerry Snyder and Aaron Shearer were great, but I 50
was always looking for more books. I used whatever I could get my hands on for ensemble literature: clarinet duets, trios and quartets as well as violin methods worked wonderfully. Any time I went to a music store I would check out what was new. My program flourished and when I retired there were 250 students in the classroom guitar program at Robinson. WHAT ABOUT ALL THESE KIDS? Robinson is a definitely a success story - lots of kids, lots of music, good stats all around. However, just 20% students enrolled in High School participate/ get a school music education. According to the National Center for Education Statistics there were 15 million children enrolled in High Schools across America in 2016. Doing a little math, that’s 12 million young people who are getting left out! They may never get to enjoy music making. So how do we start to reach them? One way is to start a classroom guitar program. There is demand for guitar – there was when I started teaching and there still is today. I’ve been a classroom guitar teacher and a teacher of guitar teachers through the Teaching Guitar Workshops (www. GuitarEduNet.org) for decades. From my personal experience and from the thousands of teachers I’ve trained, I know that kids are still lining up for guitar class! TRIAD
For those of you who are worried about your existing programs, I’ve also learned that: Students that take guitar are not the same kind of students you find in Band, Orchestra and/or Chorus (BOC). Some of the students in BOC may decide to take your guitar class, but offering guitar does not cannibalize or damage existing BOC programs. That means that if you teach classroom guitar you are (or will) making a difference. You’re beginning to reach those 12 million kids with the gift of music! BUDGETING The barrier to entry for starting a guitar class is minimal. An entry-level nylon string (classical) guitar should not cost more than $120, so a class set of 30 guitars will cost approximately $3,600. Imagine telling your Principal that you can teach 90 more kids (3 classes of 30) for just $3600. In some schools, the cost of a guitar program can be covered with a weekend fundraising event! In other schools...well, there is not a nickel to be had. However, you’re in luck because we live in a nation
APRIL/MAY 2017
with guitars under beds and in closets. Roughly 46% of the teachers I train at the Teaching Guitar Workshops start programs in which the kids are required to bring their own guitar. This is not as democratic as supplying guitars to all children, but helping some students get a music education is better than helping no students get a music education. I know some teachers who have their students take turns on the classroom guitar and others who have a modest activity fee. And at Teaching Guitar Workshops we talk a lot about grant writing. The point is: it’s not a lot of money, so don’t let it stand in your way. VERSATILITY Classroom guitar is as versatile as you can get. The instrument can be taught with a regional influence such as Mariachi in the Southwest or Bluegrass in the Appalachians. You can teach Rock, Folk, Jazz, Classical, or Blues and you don’t have to stop there! Guitar can be offered as a semester, year long or a multi-level 4 year program (beginning, intermediate,
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advanced, and artist). You can teach solo, ensemble, improve, composition, theory – you name it! Remember my literature problem? Well, nowadays there are enough books and ensemble literature in the style of your choosing. When I teach the Teaching Guitar Workshops every summer our attendees walk away with a thigh-high stack of books and sheet music. We tell people to bring a milk crate for the sole purpose of carting away the literature. NOW, I KNOW WHAT YOU’RE THINKING There are conflicting thoughts about guitar education. Should Guitar majors be the ones teaching guitar in primary and/or secondary schools? Well, yes and no. To be clear: you must have a passion for guitar AND a passion for working with and teaching children to be a guitar teacher in a primary and/or secondary school. As one who was not a guitar major but a music educator who saw the need for guitar education, I know I had a positive impact on thousands of students. Ask Martha Masters, one of my former students who grew up to become the President of the Guitar Foundation of America….and an incredible player! Now, I know what you’re thinking - there’s a problem, I don’t play guitar. As a band or orchestra director, we know the basics about each instrument, but are we virtuosos on every one of them? Guitar is probably the most ubiquitous instrument out there. Help is available from numerous sources. Added to which, a recent survey of music educators indicated that over 90% of school guitar classes are taught by teachers for whom guitar was not a primary instrument. If this sounds like you, rest assured that many others like you have built successful programs and stayed one step ahead of his or her students. I know from personal experience and from the experience of the thousands of teachers that I’ve trained that you’ll do great! If you offer guitar and you are not a guitarist, you are a musician, and you will pick it up the instrument faster than your students. In your guitar class you may have a “hot shot” student….great! Use him/her as a resource to demo the exercise/song your class is working on. Teaching guitar is a great journey. You will expand your offering, turn more young people onto music and maybe even open up new ideas on how to teach BOC! 52
GETTING STARTED To get a step ahead of your students and get a great foundation, consider taking a recognized course like the Teaching Guitar Workshops (www.guitaredunet.org) or get involved with Little Kids Rock or Austin Classical Guitar. And, you probably know that there are YouTube videos galore about teaching and playing guitar (be warned - some of them are better than others).
For over 20 years, Glen McCarthy has taught guitar pedagogy and class guitar required for all music education majors at George Mason University. He has been a guest clinician and adjudicator at numerous festivals, conferences and workshops both nationally and internationally. He is the chair and a clinician for Teaching Guitar Workshops, past-chair of the NAfME Council for Guitar Education, and the past-chair of the ASTA Guitar-in-the-Schools Committee. Mr. McCarthy retired from Fairfax County Public Schools after 30 years at Robinson Secondary School where he developed a multi-level guitar program. Robinson was the first recipient of the Guitar & Accessories Marketing Association’s award to recognize innovative guitar programming in the United States. Under his direction, the Robinson Guitar Ensemble performed in numerous venues and was consistently awarded superior ratings at adjudicated festivals. The Grammy Foundation recognized Glen as one of the top ten music educators in the United States in 2014 from over 32,000 nominees.
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TEACHING TIPS JAZZ The Big Beat: Addressing Drum Issues in Jazz Band, Part Two Mike Smith; The Ohio State University
Percussion, in general, and drum set, in particular, is such a different and specialized way of playing from strings, winds, and brass, that it can be very intimidating for non-percussionists band directors. Talking drum language is crucial to getting the most out of your drummers and percussionists, and as I stated in my earlier article, there are a number of things that you can do and say to get the most out of your players. One of the first challenges to tackle is the drum set itself. I have seen, on numerous occasions in public schools, drums sets that are built to power heavy metal bands being used for jazz band. I will put it this way–a heavy metal drum set is to a jazz band what a fiber glass sousaphone is to an orchestra, or a Fender Stratocaster is to a folk trio, or a Hammond B3 organ is to Baroque chamber ensemble–it sorta, kinda looks like the instrument that is supposed to be there, but it is absolutely not the same! And it will absolutely affect the way that your drummer sounds as she/he plays in your band. Jazz drums and cymbals are, in general, much smaller, more melodic, and much more resonant than rock drum sets. Rock drums and cymbals are built to cut through amplification, as well as reinforcing big, heavy riffs–absolutely nothing wrong with that–but that sound is not the desirable sound for drums in a jazz band. 54
The trend lately is to go to smaller drums in jazz bands, to the point where you now see many 18 inch bass drums being used in jazz bands (as opposed to 22 and 24 inch bass drums in rock bands). There are many different size options that are more appropriate for jazz bands than rock, pop, and funk bands, but the most important thing is to get drums and cymbals that will allow the drummer to blend in with and enhance the sound of the jazz band. The same is true for sticks–heavy marching band sticks are not conducive to good jazz-styled playing, whether you are thinking of a straight-ahead jazz shuffle, or a burning up-tempo samba. All stick makers make jazz model sticks, which are all smaller and more slender than either concert or marching band sticks. It is a good idea to stock up on sticks intended for jazz playing. Once you have a drum set that is built to power a jazz band, it is time to look at the specific set-up. The nature of jazz drumming dictates that the set-up accommodate the ability to play numerous different ride cymbal patterns, sometimes at very fast tempos for very long periods. Try as one might, the desire to keep two mounted tom toms on a bass drum (the way that most drum sets are sold) often runs counter to placing the ride cymbal at the proper height and angle to be played effectively. One might take note of most pro jazz band drum set-ups–most of the time there is only one tom tom, which is mounted on TRIAD
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the right. The four-piece jazz kit, with a snare, one mounted tom, a floor tom, and a bass drum, has become the standard. As a jazz drummer, I always want my ride cymbal to be as low as I can possibly get it, so as to let gravity help me to play those fast ride cymbal patterns as easily and evenly as possible, as well as helping to keep my ride cymbal hand and arm from getting fatigued. Unlike pop, funk, and rock playing, all of which rely heavily on the hi hat for groove patterns, jazz and latin styles utilize very extensive ride cymbal patterns, and very few hi hat-centered patterns. Young drummers will often copy the set-up of their favorite rock drummers, and many of those players have their cymbals sitting on top of stands raised high. Younger drummers don’t realize that those drummers will set up their drums and cymbals for maximum visual effects, not necessarily for the practical nature of playing patterns (this was a particular problem for yours truly in my younger days). Nuanced ride patterns are not always important in rock or funk playing–hard driving straight-eighth patterns are what is need in those styles. In jazz drumming, the most important consideration has to be time. Remember that jazz drummers main way of keeping steady time is between the ride cymbal and hi-hat, and usually time issues happen when the ride hand gets fatigued.
in the OSUMB! The key here is to acknowledge the difference in grip and approach between jazz and marching band playing. And the reality is that, from a visual standpoint, this is one of the easiest issues to address. The tight grip/set-up is easy to see; locked hands, arms bend and locked at the elbow, tight, rigid back and neck are all hallmarks of the tight marching band-styled approach. What you should try to get is a smooth, limber motion in the hands and arms, with the joints moving easily, as well as a relaxed movement in the shoulders and back (not to be confused with hunched-over in the back–that’s not good). This approach will help in cultivating a swingin’ groove that allows for independence in the arms and legs at all tempos in all styles. Remember, tension is the antithesis of good music on any instrument, and that is especially true on the drum set, where endurance is often the most important factor of all. Keep swinging! 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.
NOW I’D LIKE TO ADDRESS THE PHYSICS OF DRUM SET PLAYING. Jim Rupp, professor of jazz drumming at OSU, is a staunch advocate of a very loose-limbed approach to playing drum set. Jim is a stickler for smooth, loose movement in the hands and arms, even going as far as saying that drummers with a tight arm/hand set-up will have a very hard time setting a nice jazz/Latin groove. We’ve had a number of conversations regarding drum grips, and Jim is always wary of drummers who come to him with a solid marching band background. He will work quite a lot on getting his drum students to loosen up. In general, I agree with him on this issue, as I have had numerous drum students for whom this is a challenge–not insurmountable by any means, but one to take note of. This is not meant as a knock against marching percussion–I have always worked in both the jazz and the marching band world, and Jim Rupp is a former snare drummer APRIL/MAY 2017
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TEACHING TIPS MULTICULTURAL Preserving One’s Cultural Heritage Through Participation in Community Music Dr. Nada Martinovic; Kent State University
When Dr. Angotti invited me to write a multicultural piece for Triad, she requested that I talk about the connection between my role as a music teacher and my work in the community. A strong opponent of the melting-pot theory, she explained that no time is better than the present to show how we can use the powerful reality of music to display cultural diversity and unite our communities. See http://omea-ohio.org/TRIAD/ AprilMay2016/HTML/index.html#3/z This article shares a few ways in which public and private school teachers can involve themselves and their students in community music and multicultural activities simultaneously. Almost 20 years ago, I found myself moving across continents, from Serbia to the United States. My first instinct was to connect with people from my own country. Yet, I experienced another “culture shock” to learn that long-lost traditions preserved by the local Serbian settlers were no longer part of contemporary Serbia. SERBIAN CHILDREN’S CHOIR Soon after settling in the west Cleveland area, I founded a children’s choir with the aim to introduce, practice and preserve Serbian culture, language and tradition. Research confirms that language acquisition and music learning are very similar processes and that practice of one enhances the other. When presented in close proximity with one another, singing and learning 58
a language go hand-in-hand. For many years, I worked with children ages 4-12, confined within the invisible walls of my church community. However, I felt that something was missing. INTERNATIONAL COMMUNITY COUNCIL-WORLDWIDE INTERCULTURAL NETWORK (ICC-WIN) The day I met with the members ICC-WIN literally changed my life. I felt like I had found my longlost family. For years, the group had been creating a network and integrating leadership of the international community into activities e.g., The Cleveland International Folk Festival and Holiday Multicultural Celebration. December 14, 2016, was a day of excitement as ICC-Win showcased its Multicultural Holiday celebration. The bright, modern atrium at the Global Center for Healthy Innovation in the Cleveland Convention Center was filled with anticipation as members of 120 different communities-living and working in the Greater Clelveland area-got together to celebrate their heritage and each other. What started a few years ago as a friendly conversation over a cup of coffee quickly became one of the most sought-after community events in the city of Cleveland. Ethnic foods, traditional music played by local musicians, and people dressed in traditional, beautiful and colorful garments celebrated their culTRIAD
tures together. More than 700 visitors representing 86 different countries enjoyed the performances of the four ethnic ensembles, followed by the International Fashion show representing 25 different communities. Last year, I asked the models (non-professionals) to submit a piece of traditional music that would, in their opinion, best represent their county. The result was a purely organic and authentic experience as models walked the runway to the ‘beat’ of their own countries, completely in sync with music. The beats of Beethoven’s Ode to Joy brought all 125 participants on stage for the grand finale. ONE WORLD DAY Located along Martin Luther King Jr. Blvd. near University Circle, Cleveland Cultural Gardens is a string of 29 nationality gardens unique to the city. Various nationalities that call Cleveland home have collaborated and developed their respective garden to memorialize and share with the world their culture and history. The 71st annual celebration, held last August, exemplified the theme of the Cleveland Cultural Gardens: “Peace Through Mutual Understanding.” Over 24,000 enjoyed Parade of Flags, Naturalization Ceremony, Passport to Peace activities, ethnic food and the arts: virtuoso piano performances at the Russian Garden, Italian opera and ballet, Scottish Highland Dances, Chinese Dragon Dance, and the Michael Stanley concert. Moreover, The Serbian Children’s Choir (mentioned earlier) recorded our first song during this event, then received and accepted an invitation to appear on Fox 8 News Morning Show. That something I was missing earlier was now clear. The children’s choir became involved in the larger community! Children’s Musicking, as I named the event, will perform annually at the Serbian Garden as a part of One World Day. INTERNATIONAL COMMUNITY DAY FESTIVAL Recognizing the huge potential of the rich ethnic cultural fabric of our city, the Cleveland Museum of Art established an annual event, the International Community Day Festival (2013). Each year, more than 50 community groups and organizations showcase their rich cultural diversity of music, dance and fine arts which express continued vitality of their heritage that enlivens our city. APRIL/MAY 2017
ENGAGE YOUR STUDENTS All members of our communities have stories to tell, music to share and art to display. By doing so, they participate in the grounding of a strong and vibrant communal identity which contributes to preserving their unique culture, protecting their heritage, and concurrently developing their modern expressions. Knowing and acknowledging the value of our heritage helps us understand why preserving it is so important. This preservation of culture includes honoring and learning from the monuments of our forefathers, our shared history, cultural relics, and legendary artifacts. Music and other arts are powerful means for self-expression, creativity, and communicating truths between and among cultures. In a country as diverse and complex as the United States-where the histories of many communities are layered and convoluted-music teachers should recognize, understand and embrace the vital role of diversity in classrooms. By engaging our students and ourselves in community music activities, we expand our perception of our students’ heritage(s) and add new dimension to their social integration while actively contributing to preserve cultural heritage and identity. I agree with my former professor and colleague that the time is now. Music teachers need to focus on the most resilient elements of various vultures as a catalyst for harvesting the best practices from all around the world. They need to nurture and honor their students’ unique cultural expressions while at the same time promoting mutual understanding. It is time to view our society as a mosaic of the people of the world, living together in this country we call home.
Nada Martinović, Ph.D., is a part-time faculty member at Kent State University where she teaches an undergraduate and online graduate classes in music education, and serves as advisor for Capstone projects. She is a passionate community leader with volunteer roles in numerous cultural and civic organizations, e.g., Cleveland Museum of Arts, International Community Council-Worldwide Intercultural Network, Cleveland International Folk Festival, One World Day, Global Cleveland, and Elite Women Around the World. Dr. Martinović earned her BA in music theory at the University of Arts in Belgrade, Serbia, MA in Music Education at Cleveland State University and PhD in Music Education at Kent State University. She has presented her research at the ISME conferences in Denmark and Brazil. 59
TEACHING TIPS VOCAL The Seeing Place: Social Justice in the Choral Classroom Kristina Caswell MacMullen; The Ohio State University
Known as the “Seeing Place,” ancient Greek theater linked collective voice and reason. Merriam-Webster defines the Greek chorus as an ensemble that serves to, “formulate, express, and comment on the moral issue raised by the dramatic action.” The chorus emphasized the emotions inherent to the dramatic structure. In contrast, the contemporary school chorus, most typically, prizes the tangible elements of our craft – the development of a healthy vocalism, literacy, style, music history, entertainment, etc. Particularly as new educators, we work to cultivate our own mastery of pedagogic concerns. While these concepts are foundational, the ineffable draws us in and leaves us changed. Consider the watermark moments in your own musical life. Were they inspired by the perfection of aligned vowels or well-articulated consonants? Perhaps. Yet, it is more likely that you experienced an intersection of life and art – that of the human experience lived in sound and time. In isolation, tangible components are unable to evoke products of the human spirit. When paired with meaning, intention, and narrative – intangible moments found in rehearsal and performance emerge. How do we engage the listener and performer to create these moments? How do we reach the “un-choired” audience? One path involves the marriage of music and social change. While choral music has always 60
included music of the oppressed, in recent years, choirs have begun to prioritize social justice as a focal point. Although many consider “social justice” to have liberal implications, conservative Jesuit theologian Luigi Taparelli d’Azeglio first coined the term in the 1840s. This bi-partisan association should liberate us to embrace the mantle of extra-musical purpose in performance as a means of impact and relevance. Three models are typically found. Some ensembles consider it their primary purpose, with choral singing a vehicle for action. Some exist to serve marginalized populations. Others choose to construct independent projects. Each model offers principles of application. CHANGING THE COMMUNITY Founded in 2009 by David Brown, the Harmony Project is a “non-profit organization with a mission of connecting people across social divides through the arts, education, and volunteer community service.” This 200-voice ensemble boasts a waiting list of several hundred people. A place in the non-auditioned ensemble simply requires a return of community service. Members participate in service projects, including the creation of city murals, community gardens, neighborhood cleanup, tree planting, meal provision, and toy collection for poor children. Their programs serve neighborhoods in need, public schools, housing facilities, and prisons. All repertoire is taught by rote, TRIAD
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an MIE Publication
Possibilities for the Elementary Music Classroom
Purposeful Pathways is an extensive collection of developmentally sequenced lessons for learning about music by making music, integrating Orff Schulwerk, Kodály, and eurhythmics.
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Possibilities for the Elementary Music Classroom Literacy Ensemble Movement Improvisation Composition
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VPI
Find your voice.
June 26–30, 2017
VOCAL PERFORMANCE INSTITUTE
This prestigious five-day program gives high school singers an opportunity to study their craft with University of Dayton college professors and guest artists from The Human Race Theatre Company and the Dayton Opera. • Master classes, workshops and seminars • 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
and participants present two performances per year. While this ensemble is a community choir, its model of service can be applied to any ensemble. A school choir could choose one service project, pair appropriate repertoire, and dedicate a concert to its realization. HOMELESS, NOT VOICELESS Established in 2014, the Dallas Street Choir serves 90-100 members in rehearsal each week. The ensemble began as a musical program of the Symphony Center Foundation in Dallas. The once temporary choir has become permanent. Director Dr. Jonathan Palant rehearses the ensemble for one hour per week. Over 1000 people have participated. The ensemble presents three to four concerts per year. In 2017, the ensemble is traveling to perform in Carnegie Hall, the first ensemble of its sort to perform there. Palant expressed that the experience of conducting this ensemble has changed his perception of the street community. Often, society overlooks their need for creating and expressing. In schools, our disadvantaged students need the same opportunity, often more urgently than the privileged. We must not underestimate the benefits of being a choral musician, and continue to work to engage all members within our student populations. Often we create special performance opportunities for our most advanced students. Why not craft a special performance for those students who rarely experience the extraordinary? PROJECT BASED PERFORMANCE For school choirs, one of the friendliest models for social justice engagement involves project specific works, in which an ensemble selects a topic, and presents a related performance. This does not involve the development of a social justice mission. It can be small-scale or highly involved. Conductors and ensemble members can shape the outcome to best suit their individual parameters. It could be as minor as dedicating a set of music on a concert to a particular cause. To begin, the conductor/ensemble members must identify a concept. For example, the Ohio State University Women’s Glee Club presented a project entitled CONCEPT:Freedom. The event focused attention on the topic of Human Trafficking. In this case, we used Rachel Lloyd’s book Girls Like Us as a framework for the material. Xara Choral Theater, a choir APRIL/MAY 2017
based in Nova Scotia, chose to focus on the educational access of aboriginal people, using the children’s book Fatty Legs as its structural inspiration. In both of these cases, previously insular choral works were programmed to represent the stories presented. In the case of the “Seven Last Words of the Unarmed,” the University of Michigan Men’s Glee Club chose to perform a multi-movement work specifically composed to address the untimely deaths of seven unarmed men. Once a cause is identified, the conductor must begin the task of selecting repertoire. Begin by identifying the cornerstones of your message. Consider these your “bullet points.” In assigning selections, take great risks! Seek music that may not be typically considered “choral.” Ask yourself how you can create adaptions. Consider solo music, music of the theater, popular music, and instrumental music. Prioritize stylistic variety. Juxtapose unexpected works. Work to connect these selections with transitional music, allowing the audience to experience a more holistic and singular vision. Above all, prepare your students for the experience by immersing them in the topic. Spend time in cultivating their understanding. Assign non-musical investigations that will enrich their connection to the topic. Student ownership will only heighten the impact of the project. Seek community partners and collaborative ensembles. Let your venture be a rich example of the arts and society merging for good.
Kristina Caswell MacMullen serves as Assistant Professor of Music and Associate Director of Choral Studies at The Ohio State University, where she conducts the Symphonic Choir, the Women’s Glee Club and instructs both undergraduate and graduate students in the areas of conducting and choral pedagogy. She is featured on the DVD “Conducting-Teaching: Real World Strategies for Success” published by GIA (2009), and her editions for treble choir are published by Musicatus Press, Boosey & Hawkes, and MusicSpoke.
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HIGHER EDUCATION NEWS UNIVERSITY OF AKRON Congratulations to Karen Martin (BM, 1993; MM, 1999), recipient of the UA 2017 Outstanding Music Education Alumni Award presented at the OMEA Professional Development Conference. Ms. Martin is a band director in Perry Local Schools. Music education faculty members Ann Usher led the Cleveland Orchestra Children’s Chorus in concert at the 2017 OMEA conference, and Bryan Nichols presented a session on sight-singing strategies. Director of Bands Galen Karriker presented a session, “Inspiring Greater Musicality in Preparation for Performance.” UA welcomes Minju Kim (violin & viola) to the string faculty, joining Jiah Chapdelaine (violin), Paul Kushious (cello) and Sue Yelanjian (bass). Recent highlights at UA: • February 11, UA alumni joined together for an evening of opera to pay tribute to Professor Emeritus Alfred Anderson. Anderson was a professor of Voice/Opera for 25 years, retiring in 2010. He passed away last June. • February 15, UA Bands hosted the annual High School Band Clinic Festival featuring the top ensembles from Twinsburg, Strongsville, and North Royalton schools. Dr. Terry Austin, Director of Bands at Virginia Commonwealth University (VCU) served as the guest clinician for a day of rehearsing and performing with the UA Concert and Symphonic Bands. • February 27, The University of Akron Bands hosted Joe Alessi, Principal Trombonist from the New York Philharmonic. Alessi’s residency was a part of the Kulas Concert Series, and co-sponsored by John & Sandra Gates and Andy & Ruth Gates, which also included a performance by the Firestone High School Wind Ensemble. • April 3-4, the UA student chapter of the American Choral Directors Association hosted choral composer Jake Runestad for several lectures and rehearsals. • April 8, the UA Steel Drum Band gave a performance with guest composer/arranger Kendall Williams in UA’s EJ Thomas Hall.
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UNIVERSITY OF DAYTON UD will be co-hosting the International Trumpet Guild Ohio Chapter Conference to be held at Wright State University School of Music from 9:00-4:00 pm on Saturday March 18, 2017. This event will feature our guest clinician, Philip Collins, retired principal trumpet of the Cincinnati Symphony Orchestra. ohiotrumpetguild.org Linda A. Hartley serves as Chair of the Ohio Society of Music Teacher Education. In October she presented the session, “New Horizons Music Programs: The Unanticipated and Satisfying Intersections” at the Music and Lifelong Learning International Symposium at Ithaca College in NY. At the 2017 OMEA Professional Development Conference in Cleveland, Dr. Hartley gave a presentation entitled “Relationship with Department of Teacher Education: A New and Unique Perspective.” In November, Susan Raponi, M. Mus Ed., Ph.D. (ABD), presented the session “Learning Differentiation Theory in Wind Band Education” at the Ontario Music Educator’s Conference in Niagara Falls, Canada. Dr. James Hiller, Professor of Music Therapy, cotaught a multi-day workshop in Seoul, South Korea in July of 2016 on the topic of Group Music Psychotherapy. Dr. Hiller also presented a newly developed model of music analysis for recorded Popular song material prior to its application in therapy at the Annual Conference of the American Music Therapy Association in Sandusky, OH in November. Also in 2016, Dr. Hiller’s chapter, “Epistemological Foundations of Objectivist and Interpretivist Research” was published in Music Therapy Research, 3rd Edition, edited by Barbara Wheeler, and a co-authored article titled “Resistances in Group Music Therapy with Women and Men with Substance Use Disorders” was published in the journal Voices: A World Forum for Music Therapy. THE OHIO STATE UNIVERSITY - After more than 30 years as one of the most successful programs of its kind, the 2017 High School Honor Band Weekend expanded from one to three ensembles. TRIAD
Director of University Bands, Russel Mikkelson, wished to expand the program’s mission to be accessible to more student musicians and to bridge the gap between the Middle School Honor Band Festival and the highly selective High School Honor Band. This year’s program received over 500 nominations from eight states (Alabama, Florida, Georgia, Missouri, New York, Ohio, Pennsylvania, Wisconsin) with 270 students invited, representing 81 different schools. Over 30 of the nominating directors were School of Music alumni. - The Ohio State Saxophone Studio recently participated in the 39th annual U.S. Navy Band International Saxophone Symposium at George Mason University in Fairfax, VA. Two student quartets and several alumni performed, a DMA student presented a lecture and Michael Rene Torres, lecturer of saxophone, performed a recital with his chamber ensemble, Tower Duo. - Following the tragic attack that occurred at Ohio State on November 28, School of Music students and faculty reached out to the College of Engineering to provide moments of serenity and joy through the power of music. Numerous performances were presented, including the #BuckeyeStrong event held at St. John Arena on November 29. - During autumn semester, CellOhio, the cello studio student organization, produced The Bach Project, a series
of performances of the complete Bach Cello Suites in various venues around campus and the greater Columbus area. - Tim Gerber, music education, will retire from Ohio State after 33 years. Since 2011, Gerber was appointed twice by OSU presidents as the Senate Secretary. He gave the autumn 2016 Commencement address and in 2017 was honored with the President and Provost’s Award for Distinguished Faculty Service.
WRIGHT STATE UNIVERSITY Steven Aldredge (piano) newest choral work “Hallelujah...” was accepted for publication by Lorenz. This will be his fourth choral work published this year. Jim McCutcheon (guitar) has been awarded a 2017 Governor’s Award for the Arts in Arts Education. Tom Lukowicz, (tuba) has been invited to tour Europe with the Blue Lake Fine Arts Camp and will be attending the New York Conducting Workshop this summer. The WSU Flute Choir, under the direction of Dr. Christopher Chaffee, was chosen to perform at the National Flute Association Convention this summer. John Kurokawa (clarinet) has been chosen to perform at the International Clarinet Association Conference this summer.
Otterbein’s fourth annual
Summer Music Camps June 5-9, 2017
Students receive pre-college music training — including daily theory, aural skills and musician wellness classes. Time: 9 a.m. - 8 p.m. or overnight, June 5-9, 2017 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), guitarists (classical and jazz), pianists (classical and jazz), classical vocalists, wind and brass instrumentalists (flute, clarinet, bassoon, trumpet and lower brass instruments), percussionists and composers.
TuiTion: $400 commuters (lunch and dinner provided) $525 for overnight campers (all meals included) To aPPLY: E-mail applications to summermusic@otterbein.edu. (Application deadline is May 14, 2017) QueSTionS? Contact Jill McCullough at 614-823-1371 or jmccullough@otterbein.edu Or Dr. Nicholas Ross at 614-823-1020 or nross@otterbein.edu
www.otterbein.edu/music
Otterbein is an accredited member of the National Association of Schools of Music (NASM) APRIL/MAY 2017
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ADJUDICATED EVENTS Adjudicated Events News & Updates
JD Latorre; Adjudicated Events Chair
UPDATE ON NEW SHEETS The AE Committee continues to work on exploring updates to both Large Group sheets and Solo and Ensemble sheets. After much deliberation and the creation of some draft documents, the Committee has decided to not update the actual Large Group sheet, but rather in 2018 to have adjudicators begin utilizing a criterion reference “placemat” to help guide their decisions and comments as they are evaluating a performance. The Committee feels that this is the best balance of retaining what is already great about our system (directors often receive a wealth of written comments, specific to their ensemble, not just highlighted verbiage on a sheet), as well as providing more specific criteria for adjudicators about what type of performance deserves what rating. We also expect that this document will be a resource for all directors, especially newer teachers who may find themselves asking: “what exactly are the adjudicators looking for?” This new placement will be available for download in the fall of 2018. 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 JD Latorre, Adjudicated Events Committee Chair, or Greg Taylor, the OMEA Technology Director, before the registration deadline. 66
NEW OPEN CLASS FOR SOLOS AT HS SOLO AND ENSEMBLE This past S&E season was the first where students could register to perform a solo in Open Class. The purpose of this class is for students preparing a piece for a college audition that does not appear on the required list. About 30 students state-wide utilized this opportunity. One change for 2018 Open Class: adjudicators may ask an Open Class performer to perform ANY major scale. 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 disqualify based on the gender of a performer. In other words, if an adjudicator feels that a female student is participating in a “TB” ensemble 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. TRIAD
PILOT SITES FOR DUETS AT JH SOLO AND ENSEMBLE This Spring OMEA is piloting duets for winds, percussion, and vocal Solo and Ensemble performers in three OMEA Districts (3, 9, 10). The purpose of this initiative is to determine the level of interest for duets, and the number adjudicators needed to accommodate the demand if duets were offered state-wide. Check out the Fall AE article for an update on the junior high school duet pilot program. 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 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.
APRIL/MAY 2017
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! A few reminders: • AES is found on the Members Portal • An evaluation rating of “5” is the highest, “1” is the lowest • A rating of a “1” should be followed by comments and sending the Director of Adjudication a copy of the rating sheet and/or the recording • The AE Committee reviews every “1” rating when supporting materials are provided NEW AA ORCHESTRA LIST IN 2018 Orchestral Affairs Chair Pam Thiel, in conjunction with a state-wide ad hoc committee, is now in the final stages of developing the all-new AA required list for State Orchestra. This project has also involved moving some works around on the C, B, and A list. All Orchestra directors are encouraged to take a close look at the list when it debuts this summer.
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State of the 2017 JECO Union
The last three months have been a progressive time for the Jazz Education Connection of Ohio (JECO). As part of our allied affiliation with the Ohio Music Education Association, we sponsored several clinics at the 2017 OMEA Convention in Cleveland. These included “21st Century Jazz Integration with the Bright Moments Quintet”, the JECO Intercollegiate Jazz Ensemble under the direction of Bobby Selvaggio, and the JECO/Stanton’s reading band under the direction of Ben Huntoon. In addition, to help promote jazz education in the exhibit halls, we were able to collaborate with the Jazz Arts Group of Columbus and the Roberto Ocasio Foundation in Cleveland as institutional members. Our combined presence in the exhibit hall promoted Ohio jazz camps and various educational opportunities across the state. As always, please visit http://www.jecohio.org for Ohio jazz events and a wealth of resources that include elementary general music activities, big band charts, combo charts, and pedagogy for teaching jazz improvisation. We have also had the honor of welcoming our new president, Myles Bowers from Benjamin Logan Schools. Myles brings a wealth of experience as a band director and jazz educator, and we are excited to welcome him to the JECO board. For an invitation to our next meeting, do not hesitate to contact us at jecojazz@gmail.com. We look forward to hearing from you! Plans for future JECO developments were discussed at our annual meeting during the conference. Among those topics was a discussion of regional representation of JECO around the state. It was agreed that 68
we would explore the possibility of electing a board member from each region of the state. Each board member would be responsible for connecting JECO with all jazz activities in his/her region, including school jazz band concerts, jazz festivals, educational resources, a contact list of active jazz educators from pre-K through college and more. This is part of our commitment to keep the many jazz education resources in Ohio connected to one another, locally and statewide! Please give us your feedback by contacting jecojazz@gmail.com. Lastly, JECO is proud to partner with Jazz Arts Group of Columbus to present the 15th annual Hank Marr High School Jazz Award. Columbus musical legend Hank Marr was one of the world’s masters of the Hammond B-3 organ. In recognition of over fifty years as a performer, teacher, arranger and conductor, the Jazz Arts Group established the Hank Marr High School Jazz Award as a tribute to this special individual. The audition process is very straightforward and a wonderful opportunity for students to develop their skills in audition preparation. Audition recordings will be reviewed by a panel of outstanding jazz performers and educators, and three students will be selected to perform a live 2nd round audition in Columbus at the Jazz Academy. The winner will receive a $500 award and the chance to perform live with the Columbus Jazz Orchestra in one of its summer 2017 JazZoo concerts! For more information, including submission deadlines and audition requirements, visit http://www.jazzartsgroup.org/hankmarraward. TRIAD
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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. A nationally ranked university for the liberal arts and sciences, Wittenberg is located in Springfield, Ohio.
Music in Our Schools [For More Than Just a] Month Amanda Rhonemus; OMEA Music In Our Schools Month Chair
Whether the month of March was full of musical celebrations or the month flew by without a thought about Music in Our Schools Month, advocating for our students, our music, and the future of music education should be on the forefront of our minds now, more than ever. In a time when educational law and policy is changing, we have the ever-important job to “…communicate the purposes and processes of music education, as well as demonstrate results. By doing so, it will encourage support for the arts in education.” This quote, taken from NAfME’s 1975 inaugural national Music in Our Schools Day, serves as a reminder of our lesson plan, our “I Can…” statement, our measurable goal for each day we step forward as educators of the future musicians and leaders of this world. Each day, we must be advocates for music education. We must reach outside our classroom walls to show the value of the musical experiences taking place within our classrooms and performances. We must extend a hand to musicians and non-musicians alike and invite them to witness the personal and academic growth that comes from being a part of a musical community. Yes, Music in Our Schools Month is a great time to make all of this happen, but we can also keep the momentum going throughout the year. Below are some ideas to help spark some interest and involvement in your music program. 70
-Invite administrators and leaders in your community to observe a lesson or “Informance” in your classroom to demonstrate the educational process in a music classroom. Follow up with an invitation to a performance. -Collaborate with other music teachers in your school and district to create new and meaningful performance opportunities and musical experiences for your students. -Start an after-school mentoring program between beginner and higher-level musicians. -Write a grant or talk to area businesses about collecting donations to start an after-school guitar club where teachers and students can learn alongside each other. -Seek out collaborative performance opportunities for your youngest students to perform alongside your oldest students in general music, vocal and instrumental settings. -Visit the Music for All website (http://www. musicforall.org/who-we-are/advocacy/tools-resources) to access valuable information and resources to support music and the arts in our schools and communities. -Invite parents, families and community members to get involved in the advocacy of your school’s musical programs. TRIAD
- Visit NAMM’s (National Association of Music Merchants) Grassroots Advocacy Guide website (https://www.nammfoundation.org/educator-resources/grassroots-advocacy-guide) to download the free SupportMusic Community Action Kit and The Music Parents’ Guide website (http://www.musicparentsguide.com) to help parents and community members get started in their efforts. -Finally, talk to the students. It seems so simple, but is often the last thing we think of when we hear the word advocacy. Being advocates for the students and for the future of their musical education, it is important for us to know what the students want and need to help them feel successful, supported and valued in their musical pursuits. These students are the future of music education and the future leaders of our world. The tools and opportunities we provide to them, through their musical experiences, will shape them into the people they will become.
Music in Our Schools Month is a great model for year round music education advocacy. If we are advocating for our students and doing everything within our power to create meaningful, musical experiences for students at all levels, the music will speak for itself. In the coming months, focus on the studentseverything we do is for the betterment of their music and their world.
Amanda Rhonemus teaches elementary and vocal music at Marion Local Schools in Maria Stein, Ohio. She is active in assisting with the direction of Marion Local’s competition marching band and the school’s drama productions. Amanda received her Bachelors of Music Education degree from Capital University in Bexley, Ohio.
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Crossing Professional Bridges Loren C. Veigel; OCDA President
The Ohio Choral Director’s Association, our state’s ACDA (American Choral Directors’ Association) affiliate, enjoys a strong and beneficial alliance with OMEA. This arrangement provides a professional bridge to additional resources for teachers. ACDA is the nation’s largest and most comprehensive professional organization specializing in choral music in all its forms. OMEA members who teach choirs of any type – children through university educational settings; church; community; lifelong learning – singing groups of any kind, are encouraged to cross the bridge to OCDA. Please do consider joining us for our spectacular Summer Conference, to be held Monday-Wednesday, June 19-21, 2017, on the beautiful campus of Otterbein University in Westerville. At the conference, you’ll enjoy the opportunity to interact with choral professionals from all over the state (and several other states!) who direct choirs of all types. Headliner clinicians include: Stacey Gibbs, one of America’s most popular composers of African-American music, especially gospel and spirituals; and Tim Sharp, an internationally recognized conductor who serves ACDA as our National Executive Director. Sessions with our headliners will introduce outstanding new choral music, teach innovative techniques, and inform about the activities 72
and future of ACDA. Stacey has promised to bring a new piece available for pre-publication use by all participants – written especially for OCDA! New this Year! Undergraduates and new teachers will be offered specially designed opportunities at the Summer Conference to meet and “pick the brains” of highly successful choral directors. These sessions will offer the chance to establish further mentorship with experienced professionals. In addition, OCDA Summer Conference offers FIVE reading sessions, additional clinics presented by Ohio choral experts, including Amy Blosser and Ann Usher; exhibits; a grand All-Conference Party; and a Luncheon Business Meeting. All this, plus several choral performances by outstanding Ohio choirs. OCDA sponsors a long-standing Children’s Honors Choir, to be directed this year by Dr. Ann Usher, as well as High School Men’s and Women’s Honors Choirs, directed by Dr. Gayle Walker and Dr. Peter Jarjisian. Come across the bridge! If you are working with choirs, OCDA is here for you! We express our sincere appreciation to OMEA for working together with us to promote best practice and standards in Ohio’s musical arts. Find all the information you need about the OCDA Summer Conference by visiting our website, www.ohiocda.org TRIAD
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REGION ORCHESTRA Changes to the Region Orchestra and All-State Orchestra Audition Process Steven Cocchiola: OMEA All-Region Orchestra Chair
The five region chairs met during June of 2016 to share information about the current process of Region Orchestra and the All-State Orchestra. After a long discussion, it was decided to change the current timeline and align it with the All-State Choir, All-State Jazz Ensemble, and All-State Band. This will help to standardize the process, reduce confusion about Region/All-State timelines, and help teachers who work with multiple types of ensembles (e.g., band, orchestra, and/or choirs). NEW TIMELINE March 1: Application and audition material available. May 31: Deadline for all applications to be submitted. August 31: Notification of results to applicants and directors. September 30: Due date for acceptance form and membership fee Another change to the process is a universal audition. All five regions will now use the same audition materials. This will help teachers and/or students who may move from one region to another. The region chairs began to brainstorm about what a common audition would look like and decided to use one technical passage, one lyrical passage, and scales. To view the new audition requirements for 2018 Region/ All-State Orchestra strings, please go to www.omea-ohio.org and click on the 3 bars in the upper right-hand corner. Choose Activities in the 74
drop-down menu and go to All-State Ensembles where you will find audition requirements for Region Orchestra and further instructions. We are asking high school directors to work with their middle school directors to ensure current 8th grade students are aware of this new system. If you have any questions, please contact the region chair listed below. NORTHWEST REGION Michael Smith, Chair (Districts 1, 2 & 3) http://d01.omea-ohio.org/ NORTHEAST REGION Scott Astey & Hillery Needham, Chairs (Districts 4, 5, 6 & 7) https://neroorchestra.wikispaces.com/ EAST CENTRAL REGION Stephen Domka, Chair (Districts 8, 9 & 10) http://www.omea-eastcentralregion.com/ SOUTHWEST REGION Dr. Betty Anne Gottlieb, Chair (Districts 11, 12, 13, & 14) http://omeaswro.wikispaces.com/SWRO+Home SOUTH CENTRAL REGION Kevin Wallick, Chair (Districts 15, 16 & 17) https://sites.google.com/site/omeascregion/ TRIAD
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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 • • • • Message: “Hi. I play obie (sic) I have a friend who plays hammered dulcimer. Any suggestions for a duet at the medium difficult level?” We love their enthusiasm, but there is surely nothing published for that combination. We suggested duets for two C instruments. ••• • Message: “Do you have mother goose raising her feathers and standing on 1 leg while she has a hat on head, glasses on eyes, and red bunny slippers on feet, boy raising his hands, and a girl waving her hand while mother goose & friends sing along and they have a frog and a puppy with long ears and black spots on the front cover?” We were glad they had put the title on the subject line, so we were able to say, “Yes, we have it!” ••• • Message: “Hi, my names (sic) is Ethan, I was just wondering if I can get updates on my music. My order # is xxx. It’s been a few weeks since the publisher ran out of paper. If I could get an estimated time of when I will receive my music.” Well, his music was on its way to him - and the publisher had plenty of paper, but just needed to reprint his piece. • • • Funny Phone Order • • • • In a hesitant, androgenous voice like Pat from the old Saturday Night Live skit... I need the thing...that you blow into...that makes a note............................. Yup, they wanted a pitch pipe!
Phone Orders from well-intentioned but non-musical College Secretaries • “Our band director needs a piece by Percy Grainger called ‘The Immovable Doo’” Maybe the music secretary’s previous job was gluing wigs on manikins? • “We need a copy of ‘Bug-lers Holiday’ for our college concert band” Be careful when you take a breath - gag! Ever inhaled a bug when playing or singing? Ew! • “We need music for the university marching band - it’s called ‘Hang on Sloppy’ arranged by John Tat...Tatge...something.” You can rest assured this wasn’t an Ohio college! • • • Payback’s a Pleasure • • • A customer called asking for Grieg’s Sonata #2 in G minor for violin. The Stanton’s employee could only find listings for Sonata #2 in G Major and told the customer so. “Oh, no, I’m sure it’s G minor,” he replied. Internet searches ensured and everything came up G Major. “Well, I must have been given the wrong information,” the customer said, “so I’ll take the one in G Major.” He wanted to pick the music up at the store and when he gave his name, the Stanton’s employee had to chuckle when he learned he had been talking to his old music history professor!
• • • Quirky Stories • • • • We have noticed that when we ask questions for clarification (even repeatedly!) some people just won’t answer them! An exchange with one in-store customer went like this... “Do you have Suzuki books?” “Yes - for violin, viola, cello, or bass?” “Volume Six” “For violin, viola, cello, or bass?” “Piano accompaniment” “For violin, viola, cello, or bass?” (Is there an echo in here?) ••• • Band directors will often call Stanton’s needing extra parts that have gone missing from arrangements. Not pointing fingers, but the majority of them are percussion parts. One director called who had just gotten a brand new jazz ensemble chart and the drumset part was missing. The staff member said, with tongue in cheek, “Oh the publishers are ‘pre-losing’ the drum parts now because they know the drummers will lose them anyway.” ••• • There is a veteran staff member at Stanton’s named Dan, who has been with the company since 1979. People often ask Dan, “How long have you been here? I remember you from 10/20/30 years ago!” Serendipitously, we discovered that a concert band piece by Timothy Mahr called When I Close My Eyes I See Dancers gets truncated on Stanton’s invoices to read When I Close My Eyes I See Dan. Pretty scary - he just won’t go away!
Thanks for your support over the last fifty seven 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: and download our new Mobile app follow us on Twitter! stantonssheetmusic.wordpress.com
S
OHIO UNIVERSITY chool of music
2017 Audition Dates Jan. 28, Feb. 18, Feb. 20, Feb. 25, 2017 Study with nationally-recognized faculty dedicated to the highest standards of performance and scholarship. Scholarships & Assistantships available to highly-talented students.
Please join us for these exciting events! Experience the Arts Day October 10, 2016
Honor Band Festival December 1-3, 2016 Honor Choir and Orchestra January 13-15, 2017 Jazz Festival April 7-9, 2017 School of Music 100th Anniversary Celebration April 22, 2017 www.ohio.edu/finearts/music
740.593.4244
Ohio University has been an accredited institutional member of the National Association of Schools of Music since 1946.
115729 • 8-16
Ohio Summer Music Camp June 11-17, 2017
Support the Mission of the Ohio Music Education Association with a donation to the Ohio Foundation for Music Education. Yes, I want to support music education in Ohio and insure that the benefits acquired by students experiencing music are available for them now and in the future. Please apply my gift as indicated. Donor Information: (Please print legibly or type this form.) Name:__________________________________________________________________________________________ Street Address:___________________________________________________________________________________ City:______________________________________________ State:____________ Zip + 4_________________________ Email Address:___________________________________________________________________________________ Best Phone:_______________________________________ _____OMEA Member
_____OCMEA Member
_____Parent
_____Friend of Music Education
Donation Information: Donation Amount:
$___________________
Donation Category:
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(Check area for donation)
_______ OMEA Memorial Scholarship Fund
_______ Charles H. Benner Leadership Academy
_______ This is my Annual Campaign Contribution for calendar year 2016.
Recognition/Memorials: Please list how you wish to be recognized on our website and in our publications. (Example: John and Jane Smith) _________________________________________________ , or
please do not list my/our names.
This gift is: In Recognition of:______________________________________________________________________
In Memory of:__________________________________________________________________________
______ Certificate or _____ Card of Donation Acknowledgment. Send to:
Address________________________________ City_________________ State________ Zip___________ Note: The Ohio Foundation for Music Education is a 501(c)(3) non-profit organization under the Internal Revenue Code. A donation acknowledgment letter will be provided for tax purposes. Checks made payable to: Ohio Foundation for Music Education Credit Card Payment: Name on Card: ______________________________________________________
Card # _____________________________________Expiration: _____/_____ 3-Digit: __ __ __
Or go to http://www.ohiofoundationformusiceducation.org/ to make a secure online credit card donation. Send this completed form with check/cc payment info to: _Ohio Foundation for Music Education Attn: David N. Adamson, Development Director 5379 West Mill Drive, Highland Heights, OH 44143-3144 78
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FOUNDATION GIVING LEVELS:
donors
Patron $1 –249 Accompanist $250– 499 Musician $500 – 999 Soloist $1,000 –1900 Arranger $2,000– 2,999 Composer $3,000– 4,999 Concertmaster $5,000 –7,499 Conductor $7,500 – 9,999 Music Director $10,000 –24,999 Legendary Maestro $25,000 +
The current list of donors to the Foundation is now exceeding the capacity of TRIAD. A complete listing is available by visiting the OFME website Donor page to review donations received between 1/1/17 to 4/1/17. The OFME Donor page is maintained daily with new donations. Click here to visit the OFME Donor Page to view Recognitions/Memorials, etc.: http://www.ohiofoundationformusiceducation.org/Donation/donorlist.php
The Edward E. MacTaggart Department of Music Schedule auditions for both Music Majors and Non-Music Majors for ensemble participation by calling to set up an individual audition appointment.
A MUSICIAN, AN EDUCATOR, A LEADER Bachelor of Music Music Education Vocal Performance
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Bachelor of Arts Bachelor of Music Bachelor of Music Education
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Music Scholarship Audition Dates: December 2-3, 2016 January 27-28, 2017
PUBLICATION SCHEDULE
TRIAD ISSUE October/November 2017 December ‘17/January ‘18 April/May 2018
*Copy must be in the hands of the editor on schedule.
DEADLINE DATE* August 7, 2017 October 2, 2017 February 12, 2018
POSTING DATE** October 2, 2017 December 4, 2017 April 9, 2018
*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 Blue Lake Fine Arts Camp . . . . . . . . . . . . http://www.bluelake.org . . . . . . . . . . . 30
Ohio State University, The. . . . . . . . . . . . http://www.music.osu.edu . . . . . . . . 7,25
Bowling Green State University . . . . . . http://www.bgsu.edu/music. . . . . . . . . 4
Ohio University . . . . . . . . . . . . . . . . . . . . . http://www.finearts.ohio.edu/music.77
Capital University. . . . . . . . . . . . . . . . . . . . http://www.capital.edu/music . . . . . . . 42
Otterbein University Summer Camp . . http://www.otterbein.edu/stand. . . . 65
Case Western Reserve University. . . . . . . http://music.case.edu. . . . . . . . . . . . . . . . 7
Rettig Music, Inc. . . . . . . . . . . . . . . . . . . . . http://www.rettigmusic.com. . . . . . . . IFC
Cleveland State University. . . . . . . . . . . http://www.csuohio.edu/class/music.32
Royalton Music Center. . . . . . . . . . . . . . . http://www.royaltonmusic.com. . . . . 73
CMS Publications . . . . . . . . . . . . . . . . . . . . . . . http://www.cmspublications.com. . . . . . 71
Smoky Mountain Music Festival. . . . . . . . . http://www.smmfestival.com. . . . . . . . . . 30
College of Wooster, The. . . . . . . . . . . . . . http://www.wooster.edu/music. . 75,81
Soundwaves Recording. . . . . . . . . . . . . . http://www.soundwaves.org . . . . . . . 67
EPN Travel Services. . . . . . . . . . . . . . . . . . http://www.epntravel.com . . . . . . . . . 47
Stanton’s Sheet Music. . . . . . . . . . . . . . . . . . . http://www.stantons.com. . . . . . . . . . . . . . 76
Heidelberg University . . . . . . . . . . . . . . . http://www.heidelberg.edu. . . . . . . . .45
Summit Tour & Travel . . . . . . . . . . . . . . . . http://www.summittourtravel.com. . 43
Kent State University . . . . . . . . . . . . . . . . http://dept.kent.edu/music. . . . . . . . . 25
Teaching Guitar Workshops . . . . . . . . . . . . . http://www.guitaredunet.org. . . . . . . . . . 53
Malone University. . . . . . . . . . . . . . . . . . . http://www.malone.edu/music . . . . . 51
University of Akron, The . . . . . . . . . . . . . http://www.uakron.edu/music. . . . . . 34
Marietta College. . . . . . . . . . . . . . . . . . . . . http://www.marietta.edu/~musc/. . . 80
University of Dayton. . . . . . . . . . . . . . . . . http://academic.udayton.edu/music.62
Miami University. . . . . . . . . . . . . . . . . . . . http://www.miamioh.edu/music . . . . 55
University of Mount Union. . . . . . . . . . . http://www.mountunion.edu/music. 75
Music Is Elementary. . . . . . . . . . . . . . . . . . . . . http://www.musiciselementary.com. . . 61
Wittenberg University. . . . . . . . . . . . . . . . . . . . http://www.wittenberg.edu/music. . . . . . 69
Musicians Repair Service. . . . . . . . . . . . . . . . http://www.mrsakronohio.com . . . . . . . . 79
Wright State University . . . . . . . . . . . . . . . http://www.wright.edu/music/. . . . . . . 56
Music In The Parks/Festivals of Music . http://www.musicintheparks.com. . . 39
Yamaha Corporation of America. . . . . . http://www.yamaha.com. . . . . . . . . . IBC
Muskingum University. . . . . . . . . . . . . . . http://www.muskingum.edu/~music. . . 12 Noteworthy Tours . . . . . . . . . . . . . . . . . . . http://www.noteworthytours.com . . . 2
Bold signifies a Corporate/Institutional Partner
Ohio Northern University. . . . . . . . . . . . . http://www.onu.edu/music. . . . . . . . . . . 9
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