THE OFFICIAL PUBLICATION OF THE OHIO MUSIC EDUCATION ASSOCIATION
April/May 2018 Vol. LXXXV, No. 3
FROM THE EDITOR...
IN THIS ISSUE
4 Editor of TRIAD - Eric West
FROM THE PRESIDENT... 8
OMEA President - Dr. Michael Crist
2019 OMEA PDC AUDITION INFO
14 Performing Ensemble Application 15 All-State Children’s Chorus 16 All-State Band, Choir, Jazz Ensemble & Orchestra
2018 OMEA PDC RECAP 19 20 26 30 32
2018 OMEA PDC “By The Numbers” All-State Photo Section 2018 PDC Special Recognition Photo Section 25-Year Award Recipients Research Poster Session Summaries
FEATURE ARTICLES
Editor: Eric West editor_of_triad@omea-ohio.org Design/Production: Amy Annico Director of Media & Publications media_director@omea-ohio.org
Advertising: David N. Adamson Director of Business Advertising/Exhibits business_manager@omea-ohio.org ONLINE PUBLISHING: WRL Advertising
38 Wisdom From My Mentors - Marcus L. Neiman 40 The Mentors Who Molded Me - Dr. Peter Jarjisian
MASTERING THE CRAFT 42 44 48 52 54
CHORAL - Loren C. Veigel GENERAL MUSIC - Dr. Margaret Thiele JAZZ - Mark A. Russo STRINGS - Penny Thompson Kruse TEACHER EDUCATION - LeslieAnne Bird
PARTNERS, COMMITTEES, HIGHER ED 11 58 60 66 68 73 74
Corporate/Institutional Partnerships Adjudicated Events - Stephanie Smith Higher Education News Tri-M Music Honor Society - Justin Caithaml Ohio Alliance for Arts Education - Tim Katz Jazz Education Connection of Ohio - Myles Bowers Ohio Foundation for Music Education Donor Form
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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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
OMEA TRUSTEES Michael Crist President president@omea-ohio.org
OCMEA OFFICERS Wyatt Heinz OCMEA President ocmea_president@omea-ohio.org
Kathleen McGrady President-Elect president_elect@omea-ohio.org
Adelaide Young OCMEA President-Elect ocmea_president_elect@omea-ohio.org
Terry Herschman Immediate Past-President past_president@omea-ohio.org
Mackenzie Payton OCMEA Secretary ocmea_secretary@omea-ohio.org
Daniel Ruckman Secretary secretary@omea-ohio.org
Aly Szczublewski OCMEA Editor ocmea_editor@omea-ohio.org
Eric West Editor of TRIAD editor_of_triad@omea-ohio.org
Colton Thomas OCMEA Treasurer ocmea_treasurer@omea-ohio.org
David Vitale Treasurer treasurer@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
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2017-2018 TRIAD EDITORIAL BOARD EDITOR Eric West Defiance High School PAST EDITOR Marc Parulekar Pickerington North High School BAND Jeff Gershman Capital University CHORAL/VOCAL Loren Veigel Massillon City Schools (retired) CURRICULUM & ASSESSMENT Nathan Kruse Case Western Reserve University
GRAPHIC DESIGN/ LAYOUT Amy Annico Ohio Music Education Association JAZZ Mark Russo Parma Community High School MULTICULTURAL Lisa Wong Wooster College ORCHESTRA/STRINGS Michael Smith Perrysburg High School TEACHER EDUCATION Heather Russell Cleveland State University
TECHNOLOGY GENERAL MUSIC Brian Laasko Terri Lenzo Ohio Northern University McKinley High School 3
FROM THE EDITOR... Eric West, OMEA Editor I almost quit choir on my first day of high school…. and it was all my choir director’s fault. He became one of my most cherished mentors from the second day of high school clear through to this present moment. He shaped my beginning understanding of the craft of choral music. He nudged me into things that allowed the discovery of my full potential. He guided me through my preparations to audition for music schools. He kept in touch every year in one way or another as I made my way through college and those first couple of years as a new teacher. He even played organ at my wedding. He meets up with me at OMEA conference every year and we get to sit through a reading session or a concert together and catch up. I know that if I go to him for some advice, he will be swift and honest in his answer. I owe him every day for showing me, unbeknownst to him, how important it is to be patient and kind to every student and how to try and treat each individual as a valued person of my program. That has become one of the cornerstones of my music education philosophy. But yeah….I almost quit his class on that first day. It actually begins in junior high school. I had been taking piano since I was seven years old and, according to some (mostly my mother), was pretty darn good at it. I didn’t sign up for band or choir at the time so I was put into a general music class. My junior high music teacher discovered my ability on the piano that year and asked me to sign up for choir the next year to be his accompanist, which I did. I had a great time, I played piano for the choirs and that was all I had to do. 4
Somewhere in the spring of that year, the high school choir director came down to do some recruiting and he asked me if I would consider being his accompanist in high school. I said I absolutely would. I really enjoyed getting to play more music than that in my lesson books and pieces I was preparing for solo & ensemble contest. So I made sure I had my schedule for high school with choir on it. The school year ended and summer came and I didn’t think about much else except playing baseball, swimming and most of the other things a young teenager enjoys during those summer breaks that seemed to last forever (which now seem to be over in about a week). It was a couple of weeks from the beginning of school and word had gotten to me that the choir director that had recruited me for high school had retired and that the choir director from the other junior high school was taking over his job. I was a little nervous but I knew that I was skilled enough to do the job no matter who was the director. The first day of school came and about halfway through the morning I had choir. I walked in and sat down. It was the typical first day of class things with handouts and concert schedules and talks about rules and expectations. After the class had ended I went up to the new choir director and introduced myself. I informed him that I was asked to be in the class by the former director to be the accompanist. He seemed to be fine with that. I asked him if I could have the music he had picked out so that I could begin practicing. His answer stunned me. He said, “No.” I looked at him a little weird and he continued, “Not until you sing a little bit.” I was dumbfounded. I cannot even remember TRIAD
how I responded to him. I had never sung before in my life, at least not seriously. That was for everyone else. I was just a piano player. I remember leaving that room and the driving thought in my mind was, “forget this, I’m going to drop choir and just be in jazz band.” I was completely convinced that this was a ridiculous request from a man that had no idea about the deal that I had brokered with his predecessor. I was just a piano player. I don’t remember what transpired that night when I talked to my parents. I can’t remember why I didn’t go to the guidance counselor first thing the next day and have my schedule changed. All I remember is that I returned to choir that next day, and the day after that, and that day after that, and for every day after that the rest of my high school, college and professional life. It’s been twenty-eight years of choir
classes. Twenty-eight years of amazing musical experiences and thousands of connections with people, classmates, students, colleagues, clinicians and mentors. But it all started with Mr. Jim McLaughlin in a little choir room at Zanesville High School. And I almost quit his class after the first day. Eric West is the Vocal Music Director for Defiance High School. He has spent the last 19 years teaching choral music in northwest Ohio. He has served OMEA at the district and state level in numerous capacities including District 1 President, District Honors Choir Chair, District Honors Festival Chair, and continues to be an active OMEA adjudicator. He also serves as the IT Coordinator for the Ohio Choral Directors Association. He has a Bachelor of Music Education from Bowling Green State University and lives in Defiance, OH.
Craig Resta (contributions@omea-ohio.org) Contributions to Music Education: Putting OMEA on the International Stage Did you know that Contributions to Music Education, the research journal of OMEA, has been a recognized publication for 45+ years? Since 1972, hundreds of music teacher researchers have presented their work to the wider national and international profession, and is available in print and electronic format in nearly all 50-states, and more than 100-countries abroad. With more than 400 articles in 43 volumes, CME can help you be a better music teacher. Topics over the years have centered on improving the musical experience for students and teachers. • • • • • • • •
Urban and suburban music programs Teacher professional identities Listening in music classrooms Band, choral, orchestra, general music Sight-singing attitudes and influences Early childhood music education Programming choices and policies Historical traditions and methods
• • • • • • • •
Best practices in band rooms Beginning musical instruction Instrumental and choral programs Intrinsic and extrinsic motivation Issues of social justice in schools Current music technology practices Innovative ways to teach music And many, many more
Now is your opportunity to support OMEA and CME by becoming a subscriber to this important publication. Consider joining today, and for a minimal contribution, you can add to your library of resources to increase your own expertise. Subscriptions are now available in print and electronic format. NEW FOR OMEA MEMBERS: electronic access for only $10 a year! For further information and subscription details, please visit our comprehensive website: www.contributions.omea-ohio.org. We look forward to hearing from you!
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FROM THE PRESIDENT... Dr. Michael Crist, OMEA President PRIORITIZING YOUR TEACHING Teaching music is complex and full of decisions about what to teach and when to teach specific elements. As a construct, music can take you in many directions. Just teaching the basic elements of music to a high level can take a lifetime of dedication. What guides us as we teach our students and how do we know we are making the right choices as we teach? Much of our success as music teachers revolves around our own past musical experiences and the guidance we receive as life long learners. We’ve all had those mentors from the past who showed us the way. For some, it’s a single person who guided them through the beginning years to a career in music. Most of us recognize a group of people who have influenced our choices and decisions, and helped us prioritize our teaching. From the nuts and bolts of music to the heights of our musical achievements, our mentors have changed our lives. Now it is our turn to influence, guide and direct those who are following. Students, colleagues, administrators and parents look to us for recommendations as they make decisions that will affect the music around you. How will you prioritize your recommendations, and how have your mentors controlled that decision? Most of us began listening to and trusting our mentors based on their levels of success as musicians and teachers. We continued following their lead when we experienced our own success based on our mentor’s suggestions. Stop and think about what guided you. You wanted to be accepted by your peers and to be ”good” at what you do. Our early success motivated us to continue improving, but the motivation to reach our highest potential started once again with our mentors. The mentor’s expectation for our level of achievement soon became our driving force. Music allows us the opportunity to reach for excellence, both as performers and as teachers. Ultimately this quest for excellence permeates our lifestyle. Each of us has our vision of excellence. The secret to achieving your best is 8
to find a mentor with a similar vision. The relationship between mentor and mentee can be volatile. Many times our mentors have visions of greatness we have not yet experienced. Realizing the differences and working to create new levels of achievement will take us to our own pinnacle of excellence. Create a culture of excellence in your teaching and performing. Doing so will help guide your students to a similar ethos. Not all the students will follow, excellence is too much work for some, but you will attract many of the best and brightest in your program. There were mentors when we needed the guidance and now it is our turn. Your students will appreciate the high expectations and join your quest for the best. Michael Crist is Professor Emeritus of the Dana School of Music at Youngstown State University where he was a member of the faculty for more than 33 years. His teaching responsibilities have included; applied trombone, assistant band director, director of Jazz Ensemble II and III, conductor of the Dana Trombone Ensemble, and numerous classes in music education and music technology. Dr. Crist has served as Director of the Dana School of Music, and Interim Dean of the College of Creative Arts and Communication. Prior to coming to Youngstown State University, Dr. Crist taught music in public schools in upstate New York. Dr. Crist’s degrees include a B.M. and B.M.E. form Ithaca College, New York, an M.M. in trombone performance from Youngstown State University, and a Ph.D. in music education from Kent State University. Dr. Crist has studied conducting with Edward Gobrecht, Edward Lisk, Robert Fleming, and Wayne Gorder. His trombone teachers include Frank Brown, William Harris, Bruce Burritt, Charles Dalkert, Allen Ostrander, Vern Kagarice, and James Desano. Dr. Crist served as principal trombone with the Youngstown Symphony for 30 years. He has also performed with the Warren Philharmonic Orchestra, the Tri-Cities Opera, Binghamton Symphony, Broome County (NY) Pops Orchestra, the Cleveland Opera Orchestra, and the Cleveland Jazz Orchestra. Dr. Crist is a member of the International Trombone Association, where he served as a member of the Scholarship Committee, and as Membership Chair for the state of Ohio. Dr. Crist has been published in the International Trombone Association Journal, the O.M.E.A. Triad, Dialogues In Instrumental Music Education, Dissertations Abstracts, Contributions To Music Education, and has served as Editor of Contributions To Music Education. Dr. Crist current has served as Chairperson for
Region 5 of the National Association of Schools of Music and has served as chair of the O.M.E.A. Research Committee and as Associate Editor of Contributions to Music Education. Dr. Crist has served as president of the Ohio Association of Music Schools, and is a Visiting Evaluator for the National Association of Schools of Music. Dr. Crist is currently President of the Ohio Music Education Association.
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2017-2018 OHIO MUSIC EDUCATION ASSOCIATION CORPORATE / INSTITUTIONAL PARTNERSHIP The Ohio Music Education Association offers a partnership program to businesses, corporations, and colleges/ universities. These organizations have made a special effort to support the activities of the music education profession in the State of Ohio. The quality of music education is highly valued by these caring partners. Your patronage of these educational advocates is strongly encouraged. All listings as of 10/2/17.
LEVEL lII - PRESIDENT’S CLUB
1 University Drive Bluffton, OH 45817 terryp@bluffton.edu www.bluffton.edu
Bluffton University
Bob Rogers Travel
3440 Lacrosse Lane Naperville, IL 60564 info@bobrogerstravel.com www.bobrogerstravel.com
Bowling Green State University College of Musical Arts Moore Musical Arts Center Bowling Green, OH 43403-0292 musicadmissions@bgsu.edu www.bgsu.edu/music
Buddy Roger’s Music
Conn-Selmer
Festivals of Music/ Music in the Parks
6891 Simpson Avenue Cincinnati, OH 45239 customerserv@buddyrogers.com www.buddyrogers.com
Mattlin Hyde Piano Company
P.O. Box 310 Elkhart, IN 46515 marketing@conn-selmer.com www.conn-selmer.com
Music For All
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39 W. Jackson Place Suite 150 Indianapolis, IN 46225 jessica.s@musicforall.org www.musicforall.org
Noteworthy Tours, Inc.
QuaverMusic.com
1706 Grand Avenue Nashville, TN 37212 info@QuaverMusic.com
1784 West Schulykill Road Douglassville, PA 19518 info@edprog.com www.edprog.com
Music Travel Consultants
5348 W. Vermont St. Suite 200 Indianapolis, IN 46224 support@music-travel.com www.music-travel.com
Rettig Music, Inc.
P.O. Box 1665 Sandusky, OH 44871 travel@noteworthytours.com www.noteworthytours.com
www.quavermusic.com/preview
510 Clinton St. Defiance, OH 43512 cindy@rettigmusic.com www.rettigmusic.com
Royalton Music Center
SightReadingFactory.com
Summit Tour & Travel, Inc.
10167 Royalton Rd. Unit A North Royalton, OH 44133 m.malko@royaltonmusic.com www.royaltonmusic.com
P.O. Box 14772 Richmond, VA info@sightreadingfactory.com www.sightreadingfactory.com
The Ohio State University School of Music
Yamaha Corporation of America
110 Weigel Rd /866 College Rd Columbus, OH 43210 music@osu.edu http://music.osu.edu
APRIL/MAY 2018
P.O. Box 682240 Orlando, FL 32868-2240 kim@summittourtravel.com www.summittourtravel.com
6600 Orangethorpe Avenue Buena Park, CA 90620 www.usa.yamaha.com
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LEVEL ll - OMEA PATRON Akron, The University of School of Music, Guzzetta Hall 260 Akron, OH 44325-1002 music@uakron.edu www.uakron.edu/music
Cleveland State University 2121 Euclid Avenue MU332 Cleveland, OH 44115 m.c.bill@csuohio.edu www.csuohio.edu/class/music
Capital University Conservatory of Music
Case Western Reserve University
One College & Main Columbus, OH 43209 lroseber@capital.edu www.capital.edu/music
10900 Euclid Avenue Cleveland, OH 44106 music@case.edu http://music.case.edu
The College of Wooster Scheide Music Center
Educational Tours, Inc.
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
Kent State University
Marietta College
Miami University
1325 Theatre Drive Kent, OH 44242 schoolofmusic@kent.edu www.kent.edu/music
215 Fifth Street Marietta, OH 45750 music@marietta.edu http://music.marietta.edu
501 S. Patterson Ave, 109 Presser Hall Oxford, OH 45056 music@miamioh.edu www.music.miamioh.edu
Muskingum University
Ohio Northern University
Otterbein University
163 Stormont Street New Concord, OH 43762 music@muskingum.edu www.muskingum.edu/dept/music
525 South Main Street Ada, OH 45810 p-warner@onu.edu www.onu.edu/music
1 South Grove St. Department of Music Westerville, OH 43081 cbrock@otterbein.edu www.otterbein.edu/music
Soundwaves Recording
Super Holiday Tours
University of Dayton
4708 Surfside Drive Huron, OH 44839 virginia@soundwaves.org www.soundwaves.org
116 Gatlin Ave. Orlando, FL 32806 hskiver@superholiday.com www.superholiday.com
300 College Park Dayton, OH 45469-0290 musadms@udayton.edu go.udayton.edu/music
West Music 1212 Fifth Street Coralville, IA 52241 smarchuk@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
Malone University 2600 Cleveland Ave. NW Canton, OH 44709 mhaines@malone.edu www.malone.edu/music
Heidelberg University 310 East Market Street Tiffin, OH 44883-2462 cdusdiek@heidelberg.edu ppage@heidelberg.edu www.heidelberg.edu
J.W. Pepper & Son, Inc. 6330 E. 75th St. Suite 122 Indianapolis, IN 46250 indianapolis@jwpepper.com www.jwpepper.com
Ohio University School of Music
University of Mount Union
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
Wright State University School of Music 3640 Colonel Glenn Hwy. Dayton, OH 45435 ellizabeth.robbins@wright.edu www.wright.edu/music
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PERFORMING ENSEMBLE
2019 OMEA PDC
Performing Ensemble Application OMEA
2019 OMEA Professional Development Conference Cleveland, Ohio • January 31 - February 2, 2019 Submission Deadline: May 31, 2018
Ensembles interested in appearing at the 2019 OMEA Professional Development Conference should submit an application through the OMEA member portal, (instructions online), no later than May 31, 2018. Sound files, (mp3), should be shared via email with: Mark A. Hensler OMEA, Director of Professional Development 2019pdcmp3@gmail.com Selected ensembles may be asked to present a concert, serve as a clinic demonstration group and/or participate in a “Clinic-Concert” format. PROCEDURES 1. Complete the online performing group application through the member portal. Be sure to print the summary, obtain required signatures and mail hard copy to address indicated on the form. 2. Create mp3 recordings of three selections of contrasting style (15-20 minutes total length). Please do not submit solos or concertos. Selected movements of an extended work are acceptable. NOTE: Your unedited audition recordings should be representative of a live performance. To maintain the integrity of the blind audition process, great care should be taken to make certain the group is not identified in any way during the recording (announcements, digital markers, etc.). 3. On your personal device, create a folder with your ensemble name and ensemble type (i.e., “Hall High School Mixed Choir”). Place the mp3 tracks into the folder. To ensure that tracks are listened to in preferred order and not alphabetically, identify the tracks by title and number, (“01 Chorale for Band”). 4. Share the folder to 2019pdcmp3@gmail.com via a link from a cloud service of your choice such as Dropbox, Google Drive, etc. Be sure to include school/community, director name(s) and name of ensemble in the body of the email. A file that does not play may result in rejection of the application. All directors must be members of NAfME on June 1, 2018 and maintain membership with NAfME through February 28, 2019. The director(s) listed on the 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 2018 OMEA Conference in Columbus are not eligible to perform at the 2019 Conference. Accepted ensembles must pay a $145 fee as a condition of acceptance. This fee includes registration badges for a maximum of two directors, (does not include spouses, chaperones or helpers). If selected, 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 committee could result in disqualification of the ensemble. Questions about the audition process should be directed to Mark Hensler (pd_director@omea-ohio.org).
Online application, hard copy mailing and sound file email link must be submitted no later than May 31, 2018 14
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2019 ALL-STATE CHILDREN’S CHORUS AUDITION INFO Cleveland, Ohio January 31, 2019 ALL-STATE CHILDREN’S CHORUS CHAIRS - Sarah Kozlowski and Angela Perrine OMEA is pleased to announce auditions for our third OMEA All-State Children’s Chorus on January 31, 2019 in Cleveland, Ohio as part of the OMEA Professional Development Conference. Selected choristers will participate in three regional rehearsals prior to this event and a full group rehearsal with our guest conductor on January 31. The day will conclude with a final concert at 5:00. We are thrilled to extend this opportunity to elementary students and teachers in the State of Ohio. ONLINE APPLICATIONS - In order to assure an efficient review process, applicants will apply using the “Acceptd, Inc.” online website. All application material MUST be submitted electronically through this web-based company. This process includes a $15 application fee to Acceptd LLC for administering the on-line process. Applications submitted by any other means will not be considered. Please read the following information carefully. Failure to do so may disqualify deserving students. STUDENT ELIGIBILITY FOR THE ALL-STATE CHILDREN’S CHORUS - Auditions will be open to all public, private and home school students in grades 4 and 5 during the 2018-2019 school year whose teachers are members of OMEA. Home-schooled students whose parent or private teacher is a member of OMEA are also eligible. OMEA members are asked to encourage and assist their finest students in the application process described below. Please ensure that all applicants can match pitch, access the head voice and possess the focus and stamina to participate in full day rehearsals. APPLICATION TIMELINE: March 1: Application and audition material available online through Acceptd. May 31: Deadline for all applications to be submitted. Please carefully note the specific performance requirements below. August 31: Results posted to the OMEA portal http://portal.omea-ohio.org and mailed via post office to all students. Teachers will receive e-mail notification when results are posted to the portal. September 30: Acceptance forms and $85 participation fee made payable to OMEA due for all applicants. Mail all acceptance forms and the participation fee to: Angela Perrine, ASCC Chair 8200 Rushwood Lane Sagamore Hills OH 44067 APPLICATION PROCESS FOR ALL APPLICANTS 1. The profile should be created under the student’s name. Directors are welcome to assist students in setting up their profile. 2. Under “PROGRAM GROUP” select “OMEA All State Children’s Chorus” 3. Under “PROGRAM” select MALE or FEMALE 4. Answer all of the questions. 5. Upload clearly named audio recordings. Recordings must begin with the student announcing their name and grade level. 6. Recordings of individual selections should NOT be edited or spliced, but rather performed continuously. 7. Attention should be given to the quality of the recording. Soloists should be more prominent than the accompaniment and the site of the recording should be as soundproof as possible. Recordings can be made on digital recorders, iPhones, iPads. 8. Teachers are urged to review application information and recordings before submission. 9. The final step of the application includes a $15 application fee to Acceptd LLC for administering the on-line application process. A pre-paid card, commercially available at various retail locations may suit your needs if a personal credit card is unavailable. Please note that the application fees are paid to “Acceptd, Inc.;” OMEA will not receive this money. 10. Once your application has been submitted, a confirmation e-mail and receipt will be sent. 11. Failure to meet the deadlines or follow application instructions may result in the rejection of an applicant. 12. All evaluation proceedings are confidential and decisions are final. AUDITION REQUIREMENTS - America the Beautiful – Key of C Major, unaccompanied - O Music – Key of F or G Major, unaccompanied - Please ensure that all applicants can match pitch, access the head voice and possess the focus and stamina to participate in full-day rehearsals NOTIFICATION & FEES - The 2018 All-State Children’s Chorus roster will be posted to the OMEA portal on August 31st, 2018. Teachers will receive e-mail notification when results are posted to the portal. Each applicant will also receive a mailing to his/her home address with audition results. Results are final. If accepted into the 2019 OMEA All-State Children’s Chorus, an $85 participation fee made payable to OMEA is due for all applicants by September 30, 2018.
FOR MORE INFORMATION - INCLUDING REHEARSAL SCHEDULES, ATTIRE, AND MORE, PLEASE VISIT THE FOLLOWING LINK: https://app.getacceptd.com/OMEAchildrenschorus APRIL/MAY 2018
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OMEA All-State Ensembles
2019 OMEA Professional Development Conference Cleveland, Ohio • January 31 - February 2, 2019 Coordinators – Jason Branch & Benjamin Meisel Band Chair – Dr. Ryan Scherber Choir Chair – Mario Clopton Jazz Ensemble Chair – Jim Lang Orchestra Chair – Dr. Kathleen Horvath
2019 ALL-STATE APPLICATIONS ARE EXCLUSIVELY ONLINE! APPLICATIONS SUBMITTED THROUGH THE POSTAL SERVICE WILL NOT BE CONSIDERED!
All Applicants must be enrolled as members of their school’s performing ensemble while applying, and must continue their participation during the 2018-2019 academic year (ex. All-State band applicants must be members of their school’s band, All-State choir applicants must be in their school’s choir, All-State Jazz applicants must be in their school’s Jazz ensemble, All-State Orchestra applicants for wind/percussion must be in their school’s Orchestra or band ensemble.) Failure to observe this rule will nullify the student’s All-State eligibility. OMEA continues the use of online applications for the 2019 All-State Ensembles. Please be aware the online application does not change how recordings are made, only how applications and recordings are submitted. You will need the following items to apply: 1. Student and parent e-mail addresses. 2. Digital recordings of required etudes/solos/scales/warm-up (as listed below) 3. Your director’s contact information 4. Your director’s 9-digit NAfME identification number 5. A credit card for the $15 application fee (paid to Acceptd)
APPLICATION TIMELINE:
March 1: Application and audition material available. May 31: Deadline for all applications to be submitted. Please carefully note the specific etude and performance requirements. They are all different for 2019. 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).
2019 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.
2019 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.
2019 ALL-STATE BAND & ORCHESTRA WINDS & PERCUSSION ETUDE REQUIREMENTS: FLUTE: • Selected Studies for Flute by Voxman: Pub. By Rubank, p, 24-25 (first two lines) and p. 50 OBOE: • Selected Studies for Oboe by Voxman: Pub. By Rubank, p. 18 and p. 29 CLARINET Bb AND Eb: • Selected Studies for Clarinet by Voxman: Pub. by Rubank, p. 26 and p. 33
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CLARINET ALTO, BASS, CONTRAS: • Advanced Studies from the Works of J. Weissenborn: arr. Rhoades, Pub. by Southern, #24 (p. 18), #34 (p. 28) BASSOON: • Method for Bassoon by J. Weissenborn/50 studies section in back of book (Catalog # CU96), #15 (pp. 122-123), #27 (p. 133) SAXOPHONE: • Selected Studies for Saxophone by Voxman: Pub. by Rubank , p. 40 and p. 53 TRUMPET: • Selected Studies for Trumpet by Voxman: Pub. by Rubank, p. 21 and p. 35 FRENCH HORN: • Preparatory Melodies to Solo Work by Pottag: Pub. by Belwin, #67 (p. 27), #81 (p. 32), #83 (p. 33) TROMBONE AND EUPHONIUM: • Selected Studies for Trombone by Voxman: Pub. by Rubank, p. 17 and p. 43 • 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: • 50 Etudes for Bass Trombone and Tenor Trombone with F Attachment by Grigoriev, ed. and arranged by Randall Hawes: Pub. by Encore: #34 (p. 32) and #39 (p. 37) • 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. TUBA: • 70 Studies for BB flat Tuba by Blazevich, Vol. No. 1: Pub. by Robert King, #22 (p. 21) and #24 (p. 23) • If selected for participation, All-State Tuba Players are expected to use/borrow an upright tuba as opposed to a bell-front tuba or sousaphone. PERCUSSION: • All players will audition using all three of the following instruments: Keyboard (could be played on xylophone or marimba) – Fundamental Method for Mallets, Book 1 by Mitchell Peters: Pub. by Alfred, Ab Major Reading Study #1, Page 108. TIMPANI: • Fundamental Method for Timpani, Book 1 by Mitchell Peters: Pub. by Alfred, Etude #46 p. 177 SNARE: • Advanced Snare Drum Studies by Mitchell Peters: Pub. by Try Publishing Company, Etude #3 pp. 6-7. NOTE: • 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.
2019 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: • Scales: C Major 3-octave scales, E-flat 2 octave scale • Etude: Dont 24 Etudes or Caprices, Op.35 No 5. • Excerpt: Beethoven Symphony No.9, Mvt.3, mm. 99-110
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VIOLA: • Scales: F Major 3-octave scale, Ab 2 octave scale • Etude: Kreutzer 40 Studies for Viola Etude #5 • Excerpt: Beethoven Symphony No.5, Mvt.2, m. 1-57 (top line) CELLO: • Scales: F Major 3-octave scale, Ab 2 octave scale • Etude: Dotzauer: 113 Studies for Cello bk 2 #40. Quarter note = 72 • Excerpt: Beethoven Symphony No.5, Mvt.3, m. 141-196 (top line, 2nd ending) BASS: • Scales: C Major and Eb Major scales; 2 octaves • Etude: Simandl 30 Etudes #17 Cantabile Section • Excerpt: Beethoven Symphony No.5, Mvt.3, mm.141-196 (bottom line, 2nd ending) HARP: • Scales: None • Etude #1: Grossi Method for Harp, Ricordi Edition: Etude #30. Record pages 136-137. Metronome marking of quarter note = 90-110 throughout. • Etude #2: Sonatina (Andante movement) by Clementi, Suzuki Harp School Volume 3. Record pages 12-13. Tempo: Andante.
2019 JAZZ ENSEMBLE RECORDING REQUIREMENTS - NEW FOR 2019 READ CAREFULLY: Algo Bueno is from Four and More (vol. 65); Scrapple from the Apple is from Charlie Parker (vol. 6); Doxy is from Maiden Voyage (Vol. 54); No Smokin’ Here, Clear as a Bell, and Mr. Alex are from Good Time! (vol. 114). All are Jamey Aebersold Publications.
PLEASE MAKE CERTAIN THE ACCOMPANYING CD CAN BE HEARD AND IS BALANCED WITH YOUR SOUND. ALL WINDS: • Perform a chromatic scale evenly up and down to demonstrate range. • With the play- along, record the head to Algo Bueno and improvise 2 choruses (improvisation required for a SOLO CHAIR, recommended but not required for other chairs SAXES: • With the play along, record the head to Scrapple from, the Apple and improvise two choruses (improvisation required for a SOLO CHAIR, recommended but not required for other chairs) BRASS: • With the play along, record the head to Doxy 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 chair, include a recording of you performing a swing chart with your home jazz ensemble. VIBES, PIANO, & GUITAR: • With the play-along (use CD #1), record the head, comp for one chorus and improvise for 2 choruses on EACH of the following three tunes: No Smokin’ Here, Clear as a Bell and Mr. Alex 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 to EACH of the following three tunes: No Smokin’ Here, Clear as a Bell and Mr. Alex DRUMS: • With the play-along (use CD #4 – left channel), play two choruses of BOTH of the following tunes: Clear as a Bell and Mr. Alex • Include a recording of you performing a swing chart with your home jazz ensemble. This swing chart must incorporate at least a brief drum solo (4 or more measures).
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OMEA Professional Development Conference BY THE NUMBERS th Year 1940 86 rd First OMEA Conference
25
Pianos!
5
All-State Groups
20+
Hours of PD
Columbus Conference
Performances!
2,812
TI:ME Sessions
1,000+
Social Media Posts!
65
20
Clinic/Concert Rooms
3
Complete Sets of Orff Instruments
PDC attendance including performing groups, parents, exhibitors and educators!
44
Sessions
54
10,000
Meetings and Receptions
251
The average number of attendees at the last five Columbus Conferences!
50+
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280
Clinicians and Conductors
Areas of Focus
234
Exhibit Booths
9 Months Until the Next OMEA PDC. See you January 31, 2019 in Cleveland! APRIL/MAY 2018
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ALL-STATE BAND ALFRED L. WATKINS, CONDUCTOR
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ALL-STATE ORCHESTRA JAMES MICK, CONDUCTOR
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ALL-STATE JAZZ ENSEMBLE BRAD LEALI, CONDUCTOR
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ALL-STATE CHOIR SANDRA SNOW, CONDUCTOR
CONDUCTOR
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ALL-STATE CHILDREN’S CHORUS PATRICK FREER, CONDUCTOR
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2018 INDUSTRY SERVICE AWARD OHIO ALLIANCE FOR ARTS EDUCATION - TIM KATZ JAZZ EDUCATION CONNECTION OF OHIO - MYLES BOWERS TECHNOLOGY INSTITUTE FOR MUSIC EDUCATORS - MIKE LAWSON OHIO CHORAL DIRECTORS ASSOCIATION - RICHARD SCHNIPKE OHIO STRING TEACHERS ASSOCIATION - BETTYANN GOTTLIEB
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2018 DISTINGUISHED SERVICE AWARD DONNA COLLINS
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2018 OUTSTANDING MUSIC EDUCATOR MALA KENNARD, CHILLICOTHE HIGH SCHOOL CHORAL DIRECTOR
2018 OUTSTANDING YOUNG MUSIC EDUCATOR RYAN HURD, JACKSON MIDDLE SCHOOL BAND DIRECTOR
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2018 OUTSTANDING ADMINISTRATOR MR. JERRY “TODD” HERMAN, SUPERINTENDENT OF CONOTTON VALLEY UNION LOCAL SCHOOLS
2018 OUTSTANDING MUSIC SUPPORT GROUP BEAVERCREEK MUSIC PARENTS ASSOCIATION
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25 YEAR AWARD RECIPIENTS
Front row: Lisa Huston, Michelle Haverfield, Barbara Fieger, Diane Ballard, Lisa Miragliotta-Van Scyoc Back row: Craig Porter, Beth Polen, Kristina Prucha, Tim Tanner, Robert Freisthler Not pictured: David Beck, Elizabeth Hankins, Shelley Jagow, Alan Notestine, Jennifer O’Neal, Jennifer Shauf
Listed below are the 2018 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. DIANE E. BALLARD - GAHANNA - 39 YEARS Gahanna Jefferson City Schools Associate Director of Bands Most Memorable Moment Conducting at Midwest!
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DAVID G. BECK - WILMINGTON - 27 YEARS Wilmington High School Choral Director Most Memorable Moment Preparing Ryan, a 7th grade boy with Down’s Syndrome, to sing a solo at contest. He sang one verse of his song for comments only and received a standing ovations from everyone in the room! TRIAD
BARBARA A. FIEGER - ELYRIA - 31 YEARS Midview Schools Assistant Band Director Most Memorable Moment Conducting my last concert at Midview. ROBERT L. FREISTHLER - LIMA - 36 YEARS Perry Local Schools Elementary Music Specialist Most Memorable Moment I began teaching at a small rural school that only graduated 30 students each year. I was the first vocal/general music teach the district employed. My second year, I had a choir of 88: almost ¾ of the high school signed up for my class! ELIZABETH A. HANKINS - LAKEWOOD - 28 YEARS Lakewood City Schools Orchestra Director Most Memorable Moment Creating the Lakewood Project. MICHELE HAVERFIELD - DOVER - 25 YEARS Cambridge Middle School/ High School MS Band Director/ Asst. HS Director Most Memorable Moment A trip to Disney when stopped at the ocean before arriving in Orlando. Many of these kids had never been out of Cambridge, let alone the state of Ohio. To watch them when they saw the ocean for the first time is a moment I will never forget. LISA L. HUSTON - WESTERVILLE - 30 YEARS Big Walnut High School Choir Director & Assistant Band Director Most Memorable Moment Walking out on the 2004 State Large Group adjudication stage for the 1st time in the school’s history. SHELLEY JAGOW - DAYTON - 27 YEARS Wright State University Professor of Music Most Memorable Moment Watching students surpass my expectations and encouraging their peers to do the same! LISA MIRAGLIOTTA-VAN SCYOC - AVON LAKE - 30 YEARS Hayes Elementary Music Specialist Most Memorable Moment So many! Watching the musical growth of students form K-5th grade; special education students included in a musical presentation of “Love You Forever” with one student narrating; choir students selected for honor choir participation to name a few. APRIL/MAY 2018
ALAN G. NOTESTINE - ZANESVILLE - 27 YEARS Dempsey MS Band Director Most Memorable Moment Having 3 students go into music education, and 2 of them making The Ohio State University Marching Band. JENNIFER O’NEAL - LAKEWOOD - 25 YEARS Brecksville-Broadview Heights City School District 4-8 Strings Teacher Most Memorable Moment Each year in May when the graduating orchestra seniors receive recognition and high honors. BETH A. POLEN - CANTON – 25 ½ YEARS Perry High School Vocal Music Director Most Memorable Moment Every year of the past 25 has been filled with more memorable moments than I can recall! CRAIG PORTER - WESTERVILLE - 25 YEARS Big Walnut High School Director of Bands Most Memorable Moment Taking a Big Walnut music group to OMEA State Finals for the 1st time in school history. KRISTINA PRUCHA - NEW PHILADELPHIA - 25 YEARS New Philadelphia High School Vocal Director Most Memorable Moment I can’t possibly choose just one moment! JENNIFER E. SHAUF - BEDFORD - 25 YEARS Bedford HS/ Columbus Intermediate Band Director/ Music Teacher Most Memorable Moment I love having the opportunity to see so many kids mature both as people and musicians. Most recently at our marching band concert the seniors awarded me a bank to represent the fact that I tell them “You do not have to have money to be kind.” The bank was actually an owl to represent my wisdom. Inside the bank are 50 quotes typed up; I am supposed to pull one out at the beginning of each month to be inspired by them. TIM TANNER - LONDON - 25 YEARS London City Schools 6-12 Vocal Music Teacher Most Memorable Moment Each time a student finally realizes why they are doing what they are doing.
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OMEA 2018 PROFESSIONAL DEVELOPMENT CONFERENCE Research Poster Session Summaries Laura M. Wiedenfeld; Kent State University
Music education research is often foreign, inaccessible or seemingly too time consuming for practicing teachers. At the annual OMEA Professional Development Conference, practicing teachers have opportunities to meet and discuss on-going music education research with their peers as well as people currently conducting research studies, many of which are also full-time teachers. The 2018 Research Poster Session exemplified this, with posters presented by 17 researchers, the vast majority of whom are current teachers, with several conducting action research (meaning they participated in the study with their students). This annual event is open to the public and often takes place in the concourse hallway, making it even more accessible to conference-goers. The OMEA State Research Committee, chaired by Dr. Patricia Grutzmacher of Kent State University, sponsors the Research Poster Session. One of the goals of the State Research Committee is reaching more practicing teachers with research studies. This article, along with an accompanying video (https://youtu.be/qcUItIelmzk) is part of that effort. The video features the poster presenters, where they are from, what their research is about, and how it is applicable. Another new feature spearheaded by the State Research Committee was the inclusion of undergraduate research posters, an effort chaired by Dr. Terri Brown Lenzo of Ohio Northern University. Dr. Paul Louth of Youngstown State University chaired the graduate poster session.
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UNDERGRADUATE POSTER SESSION
Music and Community in Jamaica: The Impact of Music Education in a Developing Nation
Matthew J. Gaal, a recent graduate of Ohio State University, explored music education curriculum in Jamaica while teaching there in 2014. Gaal found that the quality of music education in Jamaica was linked to value that the school and community placed on the subject, which included having teachers trained to teach the subject.
An Annotated Guide to Wind Band Transcriptions of Keyboard Literature
Jordan Provost, a recent graduate of Kent State University, created an annotated bibliography of piano works transcribed for wind band. Provost’s bibliography is continually updated as new transcriptions and recordings are discovered.
The Connection of Music Along the Silk Road
Lydia D. Smith, a current undergraduate student at Ohio Northern University, investigated how Silk Road travelers influenced music and instruments along the route. Smith, who lived in Uzbekistan, noted similarities between the cultures and instruments that were along the Silk Road and hopes to conduct further research during graduate study.
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GRADUATE POSTER SESSION
Infant Vocal Imitation of Music
Lucia Benetti, a PhD student at Ohio State University, presented a case study on infant music production, in which a 15-month-old infant wore a portable recording device for 16 hours. Upon analysis of the recording, Benetti found that the child imitated music he heard throughout the day, including pitches, songs, and melodies that were both sung to him and played by a toy. Benetti concluded that infants develop accurate representations of melodies, recall these representations, and vocally express what they hear.
The Relationship Between Active and Passive Music Activities and Students’ On-task Behaviors in Fifth Grade Music Class
Jessica Marie Bush, who recently received her Master in Music Education from the University of Toledo, investigated students’ on-task behavior during active and passive music activities. Bush found that students who were actively engaged in music making (singing, dancing, and playing instruments) exhibited more on-task behavior than their counterparts who were passively listening, with physical movement being an asset to on-task behavior.
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Finding a Voice in the Men’s Chorus: One Journeymen’s Experience
Jason R. Falkofsky, a PhD student at Case Western Reserve University, followed one man’s experience joining a men’s chorus in his retirement years. Of interest is that the man featured in the study had never participated in a music ensemble before, and his experience may inform music educators how to recruit and retain musicians who had never been in a musical setting before.
From Theory to Practice: Stories of Assessment Strategies in General Music
Rachael Fleischaker, a PhD candidate at Kent State University, studied how general music teachers perceive and enact assessment strategies in their classrooms. Fleischaker collected data from general music teachers through questionnaires, interviews, and focus groups. She found that the teachers interviewed needed to embrace the art of teaching and collaborate with others to navigate the culture of testing.
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Making It My Own: Student and Teacher Experiences and Perceptions of Music Composition in Middle School Band
Kelsey K. Giotta, a Masters student at Case Western Reserve University, led an action research study examining the impact of composition activities in a middle school band. Giotta found themes of student engagement, rewarding challenges, and student ownership. Within her classroom, Giotta found this project to be an effective way to develop a more student-centered classroom that reinforced previously learned musical concepts.
How Does it Go?: An Ear Training Case Study of Middle School Band Students
Kristin Koterba, a PhD student at Kent State University, conducted an action research study that implemented ear training for 10 minutes during middle school band rehearsals, as well as interactive ear training assignments. Koterba analyzed the pre- and post-test results of 140 students and found significant gains in student achievement on music tests and surveys, as well as increased student listening ability.
Self-Efficacy of Music Education Majors Completing Fieldwork in Secondary Areas
Christa Kuebel, PhD, is Assistant Professor of Music Education at the University of Central Arkansas. Kuebel conducted a case study that examined the impact of elementary general field placement on the self-efficacy of pre-service music teachers.
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The Use of Folksongs in the Kodály Pedagogical Workshops, Courses and Textbooks of Jean Sinor
Pamela Stover, PhD, is an Associate Professor of Music Education at the University of Toledo. Stover examined the use of folksongs by the late Jean Sinor, Professor of Music Education at Indiana University. Stover studied Sinor’s archived materials at the Kodály Institute, particularly how Sinor sequenced and used her materials in her workshops, publications, and courses.
“We’ll Make Our Own Way”: Socialization of Non-Traditional Music Educators
David Thompson, a PhD student at Kent State University, used an exploratory, qualitative multiple case study of three, non-traditional music educators, who implemented new programs at their schools. Thompson tested the stages of Randles’ Hero’s Journey (2012) in his study, finding several stages deeply resonated with participants, while others did not elicit Feeling the Music: A Case Study Nicholas Marzuola, a PhD candidate at Case West- strong reactions. ern Reserve University, explored the use of “unconducted” rehearsals by Dr. Stephen L. Gage at Orff-Schulwerk: A Curriculum Critique Youngstown State University. Marzuola analyzed Laura M. Wiedenfeld, a PhD student at Kent State the perspectives of Gage and ensemble members, University, examined the Orff-Schulwerk approach and found themes of holistic understanding of through the lens of the five commonplaces developed music, feeling time, and student-centered learning. by Joseph Schwab, a curriculum specialist. She argued that the Orff-Schulwerk approach finds equity within Notable Women Who Have the five commonplaces while supporting a democratic and collaborative classroom. Influenced Music Education Sarah L. Mattern, a PhD student at Kent State University, presented a literature review of women Lead by Standards? An Historical Examination of who influenced the field of music education. The the Creation of Professional Music Standards review included women teachers, researchers, and Aaron Wilburn, a PhD candidate at Ohio State Unipatrons. Mattern provided a brief history of women versity, traced the development of national music stanin music education in the United States, as well as dards in US public schools, as well as their relationship unique challenges they faced in society and in the to educational reforms and legislation. Wilburn hopes profession. that, through this study, music educators may better understand the relationship between music standards, Trumpet and Organ Music: educational reforms, and legislation.
A Historical and Pedagogical Analysis
Angeline Shelton, a PhD student at Kent State University, investigated music composed specifically for trumpet and organ. These compositions present unique characteristics for the trumpet player, which Shelton describes and analyzes. 36
Laura M. Wiedenfeld is currently a graduate assistant and PhD student at Kent State University. A native Iowan, she received her bachelor’s degree in percussion performance at Arizona State University and continued her education at Southern Methodist University. She received her Orff Levels training at SMU and continues to use and study this approach. TRIAD
FEATURE ARTICLE Wisdom from My Mentors
Marcus L. Neiman, OMEA State Historian
Being a mentor starts with being mentored. During the years I spent teaching music education courses at the college/university level, I gained insight into how and why first year music educators selected their mentors. Not surprisingly, those young people felt that their first mentors were their parents, school teachers, studio instructors, and music ensemble conductors. Students felt few options in choosing mentors and often found that while they learned many skills deemed valuable, they also gained insight into skills they deemed as not valuable, or that they would never copy. Those value judgements were often their first steps toward qualifying attributes they deemed desirable when selecting a mentor. We place too much emphasis on success, on winning, on achieving the highest rating or honor and not enough on risk taking, critical thinking and exploration of innovative solutions to problem solving. In short, we don’t allow our students the opportunity to fail. Students were reluctant to try alternate teaching approaches for fear their supervisor or studio teacher would down grade them, or that their teaching would be viewed as less than successful. Better to stick to the ‘tried and true’ methods that insure getting a good grade. Thus, as mentors, there is great value in helping students realize that not only are there multiple possible teaching solutions to learning problems, but that trying different approaches is often more valuable. We must encourage students to think about and discuss their 38
teaching successes and failures. Having the mentor close by, watching the teaching process, and offering constructive criticism coupled with follow-up discussions promotes greater future success in teaching. Making videotapes, watching them together, openly and honestly discussing the results is as beneficial as a written evaluation, perhaps more beneficial. Passing on wisdom gained from your mentors. My philosophy of music education, conducting, and rehearsal management were molded and shaped by countless hours of observation and chat sessions with Jim Kirk, band director at Nordonia Junior High and Robert Feldbush, band director at Cuyahoga Falls High School. They taught me that “success as a professional music educator is based not so much on what we teach students, but rather on the impact we have on our students over time.” Both stressed our responsibility to serve OMEA and be willing to mentor young music educators. Sharing these stories and experiences with students offered a bridge from my past, to the present, and opened discussions about my students’ experiences in the classroom. They helped remind students that while much has changed in our society and our classrooms, much remains the same. Another complaint was that teachers and conductors didn’t take enough time to talk about the importance of mastering non-musical tasks, working with colleagues, parents, administrators, or the community at large. What skills do I need to become a leader; why is it TRIAD
important to ‘give back’ and volunteer to serve our profession; or do I need to give back to the profession? These were questions repeated term after term by college/university students. Being a leader required a different skill set and the need to acquire different mentors. My leadership education continued with such luminaries as Charles Benner, Millie McCrystal, Dick Shoup, Stuart Ling, Lee Suman, Linda Mercer, Paul Thoms, Warren George, Carol Lyle, William Anderson, and William Guegold – to name just a few. Their example taught me that our efforts do not exist in a void – our successes are amplified by those around us and their efforts add to ours and our successes are theirs. And that service to the profession is just as important as successful teaching, perhaps more at times. A few words about being a conductor as well as a music educator. At some point in the learning process of every music ensemble there comes the point when the notes and rhythms have been learned and we are no longer music educators, but rather music conductors. Mentoring our students on the non-verbal communication skills of conducting, moving beyond the notes and rhythms and making a musical statement rather than just a technically accurate statement are desired and valued. William D. Revelli and Elizabeth Green served as my musical mentors at The University of Michigan during my post-graduate degree work. Their own demands for perfection and detail encouraged me to raise my own sights and standards constantly higher and higher. Galen Karriker at The University of Akron and Jesse Leyva at Kent State University continue to guide me through our discussions on selection of literature and being a musical conductor.
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From being mentored to being a mentor. It is my belief that to be truly successful, you must be willing to fail. Through those failures, I have gained a greater understanding of what must be done to succeed. The challenge comes from having the belief in self strong enough to admit those failures and move forward toward future success. I have been blessed with the opportunity to having mentored numerous music students and the enjoyment of continuing to mentor several young (and not so young) music educators. My goal has always been to listen carefully to their comments and questions; help them seek answers to will serve them best rather than answers that served me best. I have tried to ecourage them to not only be the best music educator they could be, but also be the best conductor and communicator. And finally, to continue to ask questions, demand answers that work for them, and to never be afraid to reach beyond where they are, even if it means failing. For only through evaluating our failures can be understand what is needed to succeed.
Marcus L. Neiman serves OMEA as state historian. His past service to OMEA include service on various committees both elected and appointed, including editor of TRIAD, and state president. He is a recipient of OMEA’s Distinguished Service Award. He has taught at the public school and college/university level and supervised arts during his long career. Retired from all teaching and supervisory responsibilities, he keeps active as conductor of Medina Community Band, which he has done since the fall of 1972.
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FEATURE ARTICLE The Mentors Who Molded Me Dr. Peter Jarjisian; Professor Emeritus of Choral Music, Ohio University
My heart overflows with gratitude. Exceptional music teachers have stimulated and inspired me since the third grade. Naming them is important to me: Clyde R. Dengler, Jr., Robert Summer, Robert Page, and Robert Fountain. Each had special gifts. Each revealed integrity and passion, loyalty to people, and commitment to the art. Each worked tirelessly. Their actions were often more impactful than their words. But what shines most brilliantly is the impression that JOY laid at the core of the journey. When they conducted, I memorized how they sculpted phrases. They modeled a care for detail. They inspired me to practice painting with my hands the shapes my senses imagined. RS filled the space between beats by dragging the tip of the baton; he related it to the sensation of moving my hand through water in a swimming pool. RP referred to the same sensation and appeared to pull the tone out of the previous beat. RF connected the singer’s release of warm air to the delight of steaming-up a window in winter. He helped me connect that sensation to my hands by wrapping an elastic string around my middle finger and having me stand on the other end in order to experience the resistance. Embracing that sensation added a priceless dimension to my ability to represent what I imagined. Each loved words and valued intelligible diction. They led their singers to intensify voiced consonants. RP in particular would represent that exaggeration by arriving at a beat just a little early, showing a brief glide 40
of his fingers toward the ensemble to suggest the sensation of intensifying the consonant—perhaps an “l”, “m” or “n”. I loved the sensuality it conveyed, and I realize I’ve adopted that nuance as part of my gestural vocabulary. RF invested more time than others developing a choir’s sense of dynamics. His singers could move comfortably and freely among all six dynamic levels: pp-pmp-mf-f-ff (perhaps regions represents the experience more accurately than levels). RF taught singers to feel liberated –rather than restricted when singing softly. It may have been Robert Shaw whom I first heard say this, but vivid in my mind is the admonition, “When the composer requires you to change from forte to pianissimo, in your mind go back to zero first, then come up to pianissimo.“ Remarkably, the mind and muscles respond differently. You “get to” sing pianissimo! At the higher end of the dynamic spectrum, RF taught his singers to distinguish between offering an audience a fortissimo rather than imposing it upon them. Releasing the tone feels so much better than forcing it, and the difference for the listener is like night and day. These teachers and the work of the legendary UCLA basketball coach, John Wooden, led me to feel comfortable following the wisdom of Alice Parker. When my conducting colleagues and I asked for her advice as we anticipated our first year of master’s students in conducting, she said, “You know, men, just teach them what you love, and everything will be fine.” TRIAD
A. Bartlett Giamatti, former Professor, then President of Yale University, and later Commissioner of Major League Baseball, offered these thoughts on teaching. They compliment perfectly the competence and professionalism my multiple mentors demonstrated each day: “I have projected a process of choice and shape as if teaching were really what the ancients and their Renaissance emulators said it was, a sculpting process, whereby the clay or stone or wax, inorganic material but malleable, could, through choices, be made to take a shape that nature never saw, a shape art supplies to the stuff the world provides. While I do not think teaching is as painless or effortless as I have made it sound, I do believe it is essentially the ethical and aesthetic activity I propose. I do believe that it involves the making and setting of right and wrong choices in the interests of a larger, shaping process and that the deep thrill a teacher
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can experience comes from the combination of these activities, so that you feel what you think, do what you talk about, judge as you talk about judgment, proceed logically as you reveal logical structure, clarify as you talk about clarity, reveal as you show what nature reveals—all in the service of encouraging the student in imitation and then repetition of the process you have been summoning, all so that the student may turn himself not into you but into himself.� A. Bartlett Giamatti A Free and Ordered Space: The Real World of the University. W. W. Norton Company. First published 1988.
Peter Jarjisian, DMA, Professor Emeritus of Choral Music, Ohio University; Adjunct Faculty, Hocking College; Director of Music, First United Methodist Church, Athens, Ohio.
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MASTERING THE CRAFT: CHORAL You Can’t Teach Music; You Must Teach Students Loren C. Veigel; Past-President of the Ohio Choral Director’s Association
The words of my beloved mentor, Dr. Lewis Phelps, longtime chair of the Music Department at Mount Union College (now University of Mount Union), resonated with me throughout an exciting and rewarding thirtyone year career directing Ohio high school choirs. Dr. Phelps consistently reminded us of student-centric instruction, authentic assessment, performance-based goals, and especially the need to continually focus on the human aspect of our work - long before any of these were education buzz words. He remained the little mentoron-my-shoulder whispering in my ear throughout my teaching. And, he was right. Not only did Dr. Phelps profoundly influence the type of teacher (and person) I wanted to become but he remained a concerned, faithful friend and supporter, cheering from the stands wherever he might be. When we were undergrads, one was commonly called in from the hallway. As Dr. Phelps saw us passing, he would invite us into his studio for a visit. There, one would be quizzed about many things unrelated to school, reminding us to keep a balance in our lives. We knew his wife and children and heard exciting tales of their projects and joys. It was family first for Dr. Phelps. Those studio visits continued as long as he remained at Mount until retirement. Passing the door during any campus visit brought a friendly call and a sincere desire to spend time together. I feel blessed to have experienced the mentorship of a truly great man who consistently showed strong character, professional balance, and personal wisdom. 42
Where would we be without our mentors? Like parents, we spend our careers hoping for their approval, sensing a strong desire to live up to the professional goals they helped us establish. Of course, as we strike out on our own, we carry with us the burden of becoming mentors ourselves. Those little post-graduation notes, emails, or phone calls often alert us to the importance of every word, every exchanged idea, every day spent with students. It’s a delightful burden, and the most significant way we can re-pay our debts to our mentors. I think the reader will find many parallels to my experience as you read some mentor-thoughts from my Ohio choral colleagues. Of Dr. Gayle Walker, Director of Choral Activities at Otterbein University, Brandon Moss says: “For four years, I sang under her direction, learning about the things Gayle finds important—healthful singing, historical perspective, varied and balanced repertoire, and finding joy in music. In the years since, she has remained an important and consistent person in my life—treating me as both a colleague and friend and still championing my progress and advising me as I move along my own professional path. Much of my conducting style also comes from her, as she was my first conducting teacher. Yet, it is perhaps the non-musical lessons Gayle has taught me that will stick with me the longest, and of which I will list a few: Embrace who you are, be kind but stand up for your values, never be too proud to seek out advice and opinions from a variety of people, be a TRIAD
leader, stay sane by having interests outside of music, don’t forget to have fun.” Zebulon Highben reflects upon experiences with Jim Gallagher and Hilary Apfelstadt at The Ohio State University, “I was privileged to be a student at Ohio State during the years that their tenures overlapped. Their musical and pedagogical gifts complemented each other, and both had the ability to perceive and nurture potential in their students. From my first quarter in the OSU Men’s Glee Club, Jim was an advocate for me, encouraging me to pursue the music education major and helping me prepare for such a path. His instruction in vocal pedagogy and conducting was formative, and the music he programmed with the Men’s Glee Club and Symphonic Choir exposed me to many “staples” of the choral repertoire. I particularly remember his teaching on how to objectively examine repertoire to determine its quality and pedagogical value; I now teach a similar method to my students. As an upperclassman, I sang in the Chorale and studied advanced conducting under Hilary. Although her teaching load was primarily focused on graduate students, she made space for undergraduates who were interested in and ready for further study beyond the undergraduate
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curriculum. She allowed us to take her graduate repertoire courses, and provided us with additional conducting instruction as an independent study. These experiences sparked my interest in pursuing a graduate degree. To this day, her detailed approach to score study and rehearsal planning remain the model for my own.” Thank you, Dr. Phelps! Music was indeed my most valuable companion as I spent my life teaching students. Through our art, lives were changed for the better - most especially my own life, as I experienced the privilege of mentoring growing young musicians, just as you did for me. Take the time today to reflect on the mentorship in your life - that given to you, and that which you give daily in your immensely important job creating humans. And, take the time as well, to thank those who mentored you. Loren C. Veigel, Past-President of the Ohio Choral Director’s Association (ACDA), retired after thirty-one years of teaching high school choral music in Ohio. His ensembles at Massillon Washington High School traveled extensively and scored well annually in OMEA adjudicated events. Veigel remains active as adjudicator, clinician and mentor, as well as Ohio representative for Witte Travel.
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MASTERING THE CRAFT: GENERAL MUSIC As Much as They Need a Mentor, They Need a Friend Dr. Margaret Thiele; Heidelberg University
Starting a new teaching position can be daunting. Each teaching institution has its own culture and protocols that require navigation on top of the required teaching load. Fortunately, the educational community recognizes the challenges beginning teachers face and provide mentors for new hires. Mentor teachers meet regularly with the new teacher to offer guidance and support. What I have noticed over the years is that as much as new teachers need a mentor, they also need a friend. I will address what mentors can do to reach out and be that type of friend, and how others who are not assigned as mentors can also reach out and assist new hires in their transition to the community. The Ohio Department of Education Resident Educator Program (RESA) requires that a mentor be assigned to a beginning teacher for at least two years. The RESA Program provides standards that identify what a mentor should do: Commit and communicate to build a quality mentoring relationship, design and facilitate professional development, create and foster positive learning environments, advocate and coach for student success, model and promote professionalism. (Ohio Department of Education, 2011). These are lofty and worthwhile standards for a mentor and a boost to any beginning teacher. How can a mentor fill this role successfully? The first step is to listen deeply. As the mentee shares their feelings and experiences the mentor needs to go beyond listening for content and watch body language. Try to rephrase concerns the mentee expresses to 44
be sure that you understand precisely what it is they are saying. Nothing is worse than providing a long-winded answer only to find out that you didn’t really comprehend the question. After the mentee has expressed their concerns, don’t rush in telling them what to do. Rather, offer a suggestion in the spirit of Love and Logic, “Would you like to hear how other teachers I know have solved that problem?” (Fay and Funk, 1995). Try and make at least one meeting ‘off-site’ in a relaxed setting. Mentees might find a comfortable location where there won’t be interruptions by a student, parent, or administrator more conducive to sharing. Make sure the mentee is included in all other required but non-teaching events. Staff meetings abound, but the mentee should not need to search for where the meeting is located, or be sitting alone trying to decipher the alphabet soup of terms used for district initiatives. A mentor sitting next to the mentee can quietly explain terms, or provide the background on the present discussion. Remember, a new hire doesn’t know what they don’t know. The simple phrase, “Do you have an questions?” may seem helpful, yet, the mentee may not even know where to begin. Sit down well before your first meeting and make a list of all the new information you feel they need to know, and then keep adding to it as time goes on. Try to think of things you didn’t know when you were hired and wished you knew, any policies—written or unwritten, or routines that happen on a TRIAD
less frequent basis. Giving the mentee a printed handout of FAQs can be a helpful reference guide. If you do not teach in the same building as your mentee make sure you know all the procedures and protocols for the building of your mentee. One first year teacher taught several classes at the elementary building, while the mentor served only at the high school. As the elementary school spring performance approached neither the new teacher, nor the mentor, were aware that requisitions to guarantee the delivery and set up of chairs should have been filed back in the fall. A kind, observant custodian noticed he hadn’t received the paperwork to set up for the program, informed the building administrator, and saved the new teacher a potential fiasco. One may wonder if a mentor and friend can be one and the same; certainly they can, and hopefully they will be—some stay in contact with their mentors for the rest of their lives. What could a friend offer that a mentor would not? A friend offers another set of listening ears. In addition, a friend shares common interests. While the mentor and mentee will share a passion for music and teaching that is not to say they will necessarily share a similar enthusiasm for sporting events, dining, and other recreational events. Friends will engage in common interests outside of the school day. Friends come and visit because they care, not because they need to fulfill a requisite number of contacts. A friend would swing by, with a beverage or snack to share for stamina, and accompany the new hire to meetings. If mentees are new to the community let them know of outside events, or invite them to activities. Finally, make sure new hires are coming to lunch in the faculty lounge and include them in conversations there as well. What should a mentor avoid? Never treat serving as a mentor as a job. One mentee overheard his mentor say to another, “How much are we getting paid for this?”
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This established the relationship as purely business and left the new hire feeling as if they were a burden. A 2016 study by the Learning Policy Institute reported, “ . . . more than half of teachers who leave the profession list dissatisfaction with some part of their job as “very” or “extremely important” in their decision. Research indicates that turnover is driven less by student or teacher characteristics than by teaching circumstances.” (Sutcher, Darling-Hammond, Carver-Thomas, pg. 52). One of the prominent circumstances listed collegial relationships (Ibid). However, each and every individual in the building can foster positive collegial relationships for new employees by listening, inviting, and befriending. The mentoring process is invaluable to the new hire as they acclimate to their new community. In addition, there is an increased likelihood of gaining not only a new colleague but also a friend for life.
REFERENCES
Fay, J. & Funk, D. (1995). Teaching with love and logic: Taking control of the classroom. Golden, CO: Love and Logic Institute, Inc. Ohio Department of Education. (2011). Mentor standards for the Ohio resident educator program. The Mentoring Years. Retrieved from http://education.ohio.gov/Topics/Teaching/Resident-Educator-Program/For-Mentors Sutcher, L., Darling-Hammond, L., Carver-Thomas, D. (2016). A coming crisis in teaching? Teacher supply, demand, and shortages in the U.S.. Palo Alto, CA: Learning Policy Institute. Retrieved from https://learningpolicyinstitute.org/product/ coming-crisis-teaching
Dr. Margaret Thiele serves as a Visiting Assistant Professor of Music Education in the School of Music and Theatre at Heidelberg University. Previously she taught Elementary General and Choral music in Michigan, and at Eastern Michigan University in the Department of Music and Dance. A mother of four and a grandmother of five, her favorite past-times are traveling, biking and being with family.
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MASTERING THE CRAFT: JAZZ Wisdom From My Mentors: All The Things You Are Mark A. Russo; Parma Community High School
When I was an undergrad learning to improvise, the actual process for me was overwhelming. With so many chords, scales, nomenclature and tunes to learn, I had a hard time figuring out where exactly to start. I remember one lesson in particular, discussion I had with my trumpet professor Dr. Todd Davidson, where we talked about a song that shed new light on the whole process and to this day I use it for the basis of teaching improvisation. It was a song written for a 1939 musical, Very Warm For May written by Jerome Kern with lyrics by Oscar Hammerstein entitled “All The Things You Are.” This particular song is the perfect vehicle for improvisation and I want to share with you the revelation Dr. Davidson shared with me. The tune has a 36 measure form and is a variant of the “I Got Rhythm” AABA rhythm changes form used quite often as a vehicle for improvisation. Its structure is categorized as ABCD. A and B contain the first variation where the melody repeats in B down a fourth. The second variation happens in C where Kern inserts four measures extra for a 4 tag. 48
All The Things You Are
Lead Sheet
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music by: Jerome Kern lyrics by: Oscar Hammerstein
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TRIAD
1) 2) 3) 4) 5) 6) 7)
THE SONG CAN BE BROKEN DOWN INTO 7 DISTINCT FEATURES: Every chord type is used. There are many examples of functional harmony or root movement of a fifth The ii-V7-I progression is a staple of every section. There are 5 different key centers (Ab, C, Eb, G and E) that can be used for improvisation. The harmony, melody, and rhythm of the first 8 bars of A repeats nearly verbatim down a perfect fourth in the second 8 bars (B). The harmony, melody, and rhythm of the first 4 bars repeat nearly verbatim down a minor third in the second 4 bars. The third of each chord essentially forms the entire melody.
CHORDS In All The Things You Are, Kern manages to use the 5 basic types of chords most commonly found in Jazz; Major, Minor, Dominant, Diminished and Half Diminished. This is a great foundation for learning the sonorities of these chords and how they function harmonically. It also helps teach basic chord/scale relationships used so frequently when learning how to improvise. There are many examples of these that can be found in numerous Jazz Theory books but below is an example of some basic chord/scale relationships.
FUNCTIONAL HARMONY For me, one great component of the tune was the root movement of the chords. There is a great deal of movement of a fifth which in turn helped me not only be able to hear that harmonic motion, but help me understand the Circle Of Fifths/Fourths that my high school band director used to refer too. This also helped me to understand the ii-V7-I progression that is a staple, not only within jazz and western music, but also in this song. Lets take the measures 2-4 where we find our first ii-V7-I in the key of Ab Concert.
This is a standard diatonic progression (Bbmin7|Eb7|Abmaj7) in Ab concert and the progression can also be found in measures 10-12 (Fmin7|Bb7|Ebmaj7), 17-19 (Amin7|D7|Gmaj7) and 21-23 (F#min7|B7|Emaj7) which is a great segue to my forth point from above. Key centers. KEY CENTERS “All The Things You Are� has 5 distinct key centers (Ab, Eb, G, E, and C) that can be used to teach beginning improvisation from a tonal or key center approach. These are all diatonic progressions within their respective keys, which help the beginner learn improvisation by grouping the chords to a specific center and one scale to APRIL/MAY 2018
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cover it. In turn, the novice improviser can learn how it relates to Modes Of The Major Scales and chord/scale relationships Let’s take the first progression in Ab. Beginner improvisers using the Key Center approach, can use the Ab major concert scale over the whole progression. Taking it one step further, they can include the Dbmaj7 chord in measure 5 (also happens in measures 12 and 13), which creates a Lydian sound. The more novice to advanced improviser can use the Dorian mode over the ii chord, the Mixolydian (dominant scale) mode over the V7 chord, and the Ionian or Major scale mode over the Ima7 chord in each of these progressions. MELODY For my last point, I’ll incorporate my last three features with regards to melody and harmony. The melody/ harmony of the first 8 measures of the A section repeats almost verbatim down a perfect fourth with the 8 measures of the B section. This provides the improviser with a great deal of creativity in terms of sequencing ideas. Below are a couple of examples: Notice how the chord structure enables a soloist to create a sequence of ideas. These sequential ideas add a great deal of interest for the listener and more depth of creativity for the soloist. Example 3a and 3b demonstrate ideas based over the first 16 (8/8) measures of the tune with a slightly different resolution at the end of the phrases.
Examples 3c 1-3 show how one can utilize the sequential ideas over the bridge (or C section) of the tune. These ideas are based on 4 measure phrasings as opposed to the 8 measure ones at the beginning of the tune. Again notice how the resolutions are a little different for each.
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TRIAD
And finally, example 3d 1-2 exhibits some sequential ideas over the descending chord progression in measures 29-32 which employs the 3rds and 7ths of the chords. Incidentally, the 3rds and 7ths of the chords make up the melody of the tune 95% of the time.
PRACTICE TIME With all of this information, a student would have an abundance of material to practice. From form to melody to harmony, “All The Things You Are� is a gold mine of knowledge. Once this material is mastered it can then be transferred to other songs, thus increasing a students improvisational vocabulary. Mark A. Russo is an active freelance jazz trumpet player and educator in the greater Cleveland area. He holds degrees in Music Performance In Jazz Studies from Bowling Green State University and Music Education from Kent State University (Magna Cum Laude) and is the director of bands at Constellation Schools: Parma Community High School. Mr. Russo is an Edwards Trumpets, AR Resonance Mouthpieces and Torpedo Bags supported artist as well as an active member of the Jazz Education Network (JEN), Jazz Education Connection of Ohio (JECO) and Ohio Music Education Association (OMEA).
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MASTERING THE CRAFT: STRINGS Mentee to Mentor and the Fluidity of the Roles Penny Thompson Kruse; Bowling Green State University
Did you consciously or subconsciously reference advice from one of your mentors today? I did. Every time I respond to an email in a timely manner, I thank Dr. Richard Kennell, former Dean of the College of Musical Arts at Bowling Green State University. He led by example stating that professional emails should be answered within 24 hours. I would sit at my desk in the Moore Musical Arts Center and shoot him an email. I could see his office light on across the center courtyard and know he was in his office. I was amazed at how quickly his sage advice would appear in my inbox. As I navigate each day working in higher education, I am reminded how I was guided by Dr. Donald Brown, former Music Department Chair at William Jewell College (Liberty, Missouri); William Jewell College was the institution that took a chance on me and gave me my first job in academia. Don Brown could recruit a student while standing in line at the grocery store with his warmth and southern charm. When I make adjustments to a student’s bow hand and arm, I quote my first college violin teacher at Northwestern University, Mary Ann Mumm, stating that nothing should be above or below the stick. She also told me that she wouldn’t change anything in my playing unless it was getting in my way. I am a better violinist and teacher because of her. My husband violist Steven Kruse and I still regularly use The 16 Shifts from one of his early teachers Joachim Chassman. Less complicated than Otakar Ševčík 52
exercises, the process is broken down into every possible combination in shifting. Steve did not truly realize the value of his teacher’s methodology until he became a teacher himself. Chassman became a mentor years after the student-teacher relationship ended. As I prepare this article, I recall how my father, Dr. Fred Thompson, taught me the nuts and bolts of writing when I was in high school. He explained the process far better than any teacher I had. I now ponder how I would have managed without these and other important people who were there for me at the right time and place. When I think about the commonalities among these and other mentors in my life, these individuals guided me as I was learning new or refining established skills, starting a new position, assuming new duties in a current position and/or preparing for a review. The individuals allowed me to make mistakes and grow from them. They provided encouragement when encouragement was needed. I do not doubt that they saved me from costly mistakes. The best mentors don’t just give answers, but teach you the process to discover the answers. Good mentors do not want you to be a carbon copy of them; they encourage individuality. My relationship with and admiration for my mentors has continued years later. As a result, I have been inspired to mentor others. Some of the things that can be learned from a mentor are how to fit into the culture of a position, including how to dress, what events to attend and how to manage deadlines and paperwork. Mentors can open doors and introduce you to TRIAD
others. They can also aid in research. I continue to benefit from past and present mentors. When have I stepped up to be a mentor to someone else? Since mentoring is not always official, someone may simply ask for our help or advice. We may find ourselves with the time, information or experience to offer. Perhaps we are placed in a supervisory role. Of course, I can think of obvious situations when I have been a mentor to a new colleague. I particularly enjoy the mentor role when working with doctoral violin students in our DMA program in Contemporary Music. The relationship is mutually beneficial. I am exposed to new repertoire, styles and research. We discuss pedagogy together. Recently my current doctoral violinist Anat Kardontchik introduced me to Lost Landscapes by the Finnish composer Einojuhani Rautavaara. In this synergistic relationship, experience meets fresh insight and energy. As a professed lifelong learner, I am invigorated by the collaborative process! There is not a defined moment in one’s life when you stop being mentored and start mentoring. These relationships are fluid. We should invite opportunities to mentor and be mentored. Someone who is unwilling to
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admit that they benefit from help or advice misses out on being part of a mentoring relationship. Allow someone to shadow you for a day. Bring in an expert. Share your ideas for repertoire and teaching tips on social media platforms. Be involved in state and national organizations. Give your students opportunities to lead sectionals, plan activities, conduct and teach. Be a cooperating teacher who works with student teachers. Attend masterclasses, workshops and clinics to develop or hone a skill. Organize discussion groups in person or on the internet. There are no age limits for being a mentor or being mentored! Dr. Penny Thompson Kruse, professor of violin at the College of Musical Arts at Bowling Green State University, has performed extensively as a soloist, orchestral and chamber musician. Prior to her BGSU appointment in 2000, Kruse was on the faculty of William Jewell College in Liberty, Missouri and was a member of the Kansas City Symphony, serving as associate concertmaster one season.Trained at Northwestern and Yale Universities and earning a D.M.A. in violin performance from the University of Missouri—Kansas City, Conservatory of Music and Dance, Dr. Kruse has co-authored articles in American String Teacher, the Strad and Journal of the American Viola Society with her husband, Steven Kruse.
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MASTERING THE CRAFT: TEACHER EDUCATION Letting Go and Letting Them: Mentoring A Student Teacher LeslieAnne Bird; North Olmsted City Schools
Mentoring a student teacher can be a positive and rewarding experience for your student teacher, you and your students. It can make you a better teacher by forcing you to analyze your own teaching and consider why you make the educational choices you makes. Before you decide to accept a student teacher, consider if you are comfortable with letting go of some control in the classroom. Student teachers need room to make mistakes and learn from them. If you are unable to let go of your idea of “perfection” you may want to reconsider. I have learned so much FROM my student teachers by letting their teaching style and strengths shine through. I like to have a prospective student teacher observe me for at least one day prior to accepting them. The student teacher can decide if my teaching style, my school and my students will be a good fit for them. Prepare for your student teacher so they are comfortable and have everything they need to begin. Start by prepping physical space and providing information. Have a desk or table where they can work. Make a space for them to store their coat and personal items, and provide them with their own set of keys. Give your student teacher a binder with your school and classroom information. Some things to include; • State and/or District standards • Your curriculum maps 54
• • • • • • • • • • • • • • •
The district calendar A copy of the schedule Teacher reporting times Information on building norms Dress code requirements Social media policies Required meeting dates Behavior plans Procedures for copying and printing Email addresses A map of the building The rhythm syllables and solfege systems you use Seating charts How to access IEP’s, 504’s, ELL and Health Alert information How and when they should communicate with you outside of school hours
Make learning students’ and faculty members’ names easy by providing a copy of last year’s yearbook. I also use an app that creates seating charts with names and pictures, which makes identifying students much easier. Before they begin the placement, or near the beginning, arrange for lunch or coffee together and take time to get to know your student teacher as a person; learn their expectations and concerns. Take them on a tour of the building and introduce them to TRIAD
staff. I introduce student teachers to parents by posting their photo, bio, and a brief letter of introduction on my website and school-wide communications. I request deadlines for college paperwork and formal observations up front, and let them know reminders are welcome. If you practice a specific teaching approach (Orff, Kodaly, MLT, etc.) don’t assume the student teacher will be familiar with the details of the approach. You can recommend websites to student teachers, loan books and journal articles and discuss them early in the placement. Select your best resources to share with your student teacher, so they don’t get overwhelmed. Now it is time to prepare your students. A colleague suggested the idea of referring to your student teacher as a “guest teacher” and referring to the class as “our class” and “our students.” This puts them on equal plane, and will help students view your guest as an authority figure. Be sure to respect them in front of students at all times. Ask your guest teacher how they would like to be addressed by students and write it on the board. Have them introduce themselves and perhaps perform a short selection on their primary instrument.
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Begin with observation and find ways to get your guest involved right away (helping to reset the classroom, pass out instruments, etc.) It helps to have a week or two of lesson plans available for your student teacher so they see longer range goals. While they observe, have them write “why” questions about your teaching in a notebook. Stop and briefly explain the “why” of teaching techniques. Ask them to join the students and participate in the lesson. Having a physical or digital “notebook” (eg. Drop Box or Google drive) makes it easy to keep track of questions and answers, lesson plans and feedback. I like to schedule time twice each week that will be dedicated to answering questions and providing feedback. Of course, I answer questions as they arise informally, but our scheduled time allows for deeper conversations. When your guest is ready to begin teaching, first review pacing guidelines provided by their professor. Then create a plan with your guest teacher to begin teaching small portions of lessons you have modeled. Offer voice and choice to your guest about pacing how much teaching they take on and when, and the content they will teach. Co-teaching lessons is
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another way to scaffold as they build confidence and skill. Move on to co-planning segments and full lessons. If you are having a performance, have them help in planning the program and participate in the organizational process. When they are ready to plan and teach lessons on their own, ask to review the lesson plan before they teach. Set clear deadlines for how far in advance you need to see the plan. Do not expect perfection right away, there will be missteps big and small. It is part of the learning process. There will also be magical moments of beauty and success, where you will come away with fresh ideas for your own teaching. Finally, after the guest teacher begins teaching, look for the best parts of their teaching to discuss first, then move on to the areas that may need attention. Be direct, clear and gentle with suggestions. If there are critical deficits or the guest teacher does not respond to feedback, contact their supervisor right away. Celebrate successes, and when a lesson
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crashes, be just as ready to console. After a really difficult lesson, leave a little time before providing feedback so the guest teacher is ready to hear what you have to say. With a little preparation and planning, hosting a pre-service teacher can be a positive experience for everyone involved.
LeslieAnne Bird is a music and movement educator in North Olmsted, Ohio. She teaches general music for grades three to six as well as fifth and sixth grade band, orchestra, and choir for grades three to six. A highly respected preservice music teacher mentor for several universities in Northeast Ohio, she regularly hosts methods course students and student teachers. She also serves as the Vice President for the Greater Cleveland Orff Chapter and the content curator for the Teaching With Orff online community. She earned Orff Certification from Baldwin Wallace University in 2014, and has completed Music Learning Theory General Music Level One and Level One World Music Drumming training.
TRIAD
ADJUDICATED EVENTS Adjudicated Events News & Updates Stephanie Smith; Adjudicated Events Chair
CREATIVE EVENTS Thank you to the members of the Adjudicated Events Committee who presented sixteen outstanding sessions in February at the OMEA Professional Development Conference in Columbus. It was wonderful to see so many music educators sharing ideas with colleagues. SOLO AND ENSEMBLE This winter, there were 18,269 events registered for high school solo and ensemble adjudicated events statewide. The AE committee is also excited about the addition of duets to the junior high solo and ensemble offerings across the state this spring. As a reminder, please check the OMEA Rule Book section in the membership portal for clarifications of proper instrumentation for duets (VII.T.3d, VII.T.4) and junior high required scales and rudiments (VII.T.6-VII.T.10) LARGE GROUP CRITERIA REFERENCE PLACEMAT DEBUT The large group adjudicated event performance rubric was introduced during OMEA Conference and debuted in late February at the State Orchestra Events. It will be used for all junior high and high school band, orchestra and choir large group events. The new placemat provides adjudicators and directors with specific criteria to place ensembles in a rating “box” that pinpoints strengths and weaknesses. This practice will still provide time and space for individualized feedback and suggestions for improvement on the original comment sheets. As a reminder, the performance rubric is available for all to see in the “download forms” tab of the adjudicated events section on the member portal of the website. 58
ADJUDICATED EVENTS REGISTRATION As we approach the end of the school year and begin preparations for a new year, please be reminded that all registration deadlines are strictly enforced. Late registrations cannot and will not be accepted for any OMEA Adjudicated Event. Please plan to register well before the deadline. The registration portal opens eight weeks prior to the event and closes at midnight four weeks prior to the event. Please mark your calendars early so you do not miss deadlines and disappoint your students. It is the responsibility of the director to know and comply with all deadlines and rules for adjudicated events. If you are having problems with registration, please contact me or Greg Taylor, the OMEA Director of Technology, before the registration deadline. CHANGE OF DISTRICT & REGION REQUESTS The deadline for out of district requests for high school band, orchestra and choir is January 1. Please check all school activities calendars for possible conflicts that would require you to perform out of district. The deadline for junior high out of district requests is March 1. Schools may not change their district for Solo and Ensemble Events. SD CARDS It is the responsibility of the participating director to provide three blank SD Cards for large group events and nine blank SD Cards for marching band events. Please keep in mind that SD Cards do not last indefinitely. Before each and every event, directors must clear previous recordings from the cards so they are blank when adjudicators receive them. Site chairs are prepared with some extra SD Cards, but should TRIAD
not be expected to replace multiple cards that malfunction because the cards are full or overused. As always, site chairs will have several “sets” of SD Cards for directors who forget their supply, but the final packet for the band will not be released until the director reimburses the site chair for the cost of the SD Cards. CREATIVE EVENTS The OMEA Adjudicated Events Creative Events component allows students of all ages to submit their original compositions for adjudication. This is a perfect opportunity for students who are enrolled in music theory or composition classes to submit their work for feedback. For schools that do not offer composition or theory classes, teachers can guide and support individual students during the submission process by asking questions, making suggestions and even offering to help make a recording of the piece before submission. Submissions ranging from eight measures to entire pieces for symphony orchestra have been submitted in the past. Please keep in mind that recordings for compositions that have multiple voicings (full band or orchestra compositions) are very helpful to the adjudicator. The deadline for Creative Events submission is May 1, 2018. The fee for adjudication is $17.00. Please visit the OMEA website for specific information including acceptable instrumentation/voicing, examples of past submissions and an official application. Questions can be directed to James Vaughn, the OMEA Creative Events Chair at jbvaughn@wauseonindians.org. MARCHING BAND UPDATE The OMEA Marching Band Summer Sessions are Saturday, June 2 at The Ohio State University; Wednesday, June 6 at the University of Akron and Friday, July 6 at the University of Cincinnati. Please visit the website for specific information regarding exact locations and times. There are many deadlines approaching this spring for marching band directors. The pre-registration window for local events opens on May 1 and closes May 24th. At this time, directors will be able to enter basic school and band information. LOCAL EVENT REGISTRATION opens June 1. The copyright registration window opens August 1 and closes at midnight two weeks before each local event. Directors who do not APRIL/MAY 2018
register copyright permission will find their band automatically withdrawn from the event registration if they do not meet the two week deadline. OMEA State Marching Band Finals dates include Saturday, October 27 at Hilliard Darby High School, Sunday, October 28 at Welcome Stadium in Dayton, SATURDAY November 3 at Brunswick Automart Stadium and Sunday November 4 at Welcome Stadium in Dayton. THE ADJUDICATOR EVALUATION SYSTEM The AE Committee is very pleased with the how well the AES functioned in its first two years of implementation and we are all excited about its potential for the future. We believe this represents a revolutionary change in how a director submits feedback on adjudicators and provides our adjudication corps with a great opportunity to further hone their skills. 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 As always, don’t hesitate to contact me or members of the Adjudicated Events Committee with questions. Let’s finish the school year strong. Stephanie K. Smith is the Director of Instrumental Music at Teays Valley High School in Ashville. She holds degrees from The Ohio State University and Capital University and has been a music educator since 1990. She frequently serves as an OMEA Adjudicator and was presented the 2015 Columbus Symphony Orchestra’s Secondary Music Educator Award. Ms. Smith’s professional affiliations include NAfME, the National Honorary Band Fraternity Phi Beta Mu, the International Women’s Brass Conference and the North American Brass Band Association.
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HIGHER EDUCATION NEWS UNIVERSITY OF AKRON Recent highlights: Feb. 2, UA Choirs hosted over 150 HS students at the Vocal-Choral Festival, including featured choirs from Coventry HS (Julie Strebler) and Madison HS (Jennifer Calhoun). Feb 14, UA Bands hosted the annual Band Clinic with guest conductor Kevin L. Sedatole, featuring Nordonia HS (Tom Weaver), Perry HS (Ryan Smith), and Washington HS (Jason Neel). Feb. 23, Men in Song, an annual choir festival held on campus At the OMEA 2018 Professional Development Conference, UA was represented by performances of BassoonaRoo, Akron’s 10-member bassoon ensemble, and the Symphonic Band, under the direction of Dr. Galen Karriker. Dr. Andrew Feyes, Dr. Chris Blaha, and the UA Faculty Brass Quintet presented clinics. Also at the conference, alumnus Glenn Fugett received the 2018 Distinguished Music Education Alumni award. A student of Larry Snider and 1986 music education graduate, he is currently Director of Bands and Orchestras at the Nashville School for the Arts after a noteworthy career in Texas. Glenn is a clinician for Music for All, Yamaha, and Vic Firth and has been a BoA and DCI adjudicator, judging DCI Finals eleven times. At the NAfME conference, UA was represented by sessions presenters Christine Russell (Instrumental Music Education) and Bryan Nichols (Choral Music Education). BOWLING GREEN STATE UNIVERSITY The BGSU music education department enjoyed another productive year of teaching, learning, creative activity, and service to the community throughout 20172018. The OCMEA Chapter at BGSU hosted several speakers throughout the year, including BGSU alum and OMEA President Kathy McGrady. The group sent numerous student representatives to the 2018 OMEA Professional Development Conference in Columbus. At the conference, Dr. Elaine Colprit and applied violin professor Dr. Penny Kruse collaborated with string music education alumni in a panel discussion for prospective string educators. Director of Band Activities, Dr. Bruce Moss, conducted a performance with the Wheaton Municipal Band at the 2017 Midwest Clinic in Chicago, and Dr. Michael 60
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King, Director of the Falcon Marching Band, led BGSU students in a performance at the 2017 Bands of America Grand National Championships in Indianapolis. Director of Choral Activities Dr. Mark Munson led the University Choral Society in a performance celebrating the 500th anniversary of the Reformation last October, and he helped coordinate another successful Honors Chorus weekend in March. Dr. Cole Burger gave presentations at both the University of Southern California and California State University Northridge, and Dr. Kenneth Thompson continued research at the Prague Conservatory and Klementinum on performance editions of 18th century opera transcriptions for harmoniemusik ensemble. Music education faculty members Dr. Lisa Gruenhagen, Dr. Emily Pence Brown, and Dr. Lisa Martin each presented at the 2018 NAfME Music Research and Teacher Education National Conference in Atlanta, and Dr. Liz Menard, Department Chair, conducted a National Endowment for the Arts grant evaluation for the University of Wisconsin- Stevens Point community music education project: Very Young Composers 2017. The Master of Music Education - Teaching Artistry degree program continues to grow, and the department is thrilled that alum Ryan Hurd (BM ’14) was selected as the 2018 OMEA Outstanding Young Music Educator.
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CASE WESTERN RESERVE UNIVERSITY Faculty, students, and alumni of the Music Education area of Case Western Reserve University offered over 20 innovative and integrated presentations, workshops, research posters, and research presentations at the 2018 OMEA Professional Development Conference. Congratulations to Dr. Kathleen Horvath, Associate Professor of Music Education and Director of Orchestras, who received the 2017-2018 Ohio String Teachers’ Association Collegiate Teacher of the Year during the conference. We applaud the way Dr. Horvath has mentored so many practicing teachers, university students, and young string players in our state. Dr. Matthew Garrett, Associate Professor of Music Education, Director of Choirs, and Coordinator of Undergraduate Studies in Music, has been appointed Interim Director of the University Center for Innovation in Teaching and Education (case.edu/UCITE). In his new role, he works with faculty colleagues to explore innovative teaching approaches designed to improve student learning and engagement. Garrett has recently presented interactive conference sessions focused on pedagogical techniques for working with transgender singers and strategies for music educators working with transgender and gender nonconforming students. Dr. Lisa Huisman Koops, Associate Professor of
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Music Education and Area Head of Music Education, presented her research on parenting musically at the Society for Ethnomusicology conference in Denver as well as at the University of Colorado Boulder Music Education Colloquium. Dr. Koops published two articles in General Music Today: “Classroom management for early childhood music settings” and “Communicating the importance of music in early childhood.” CWRU Music Education hosted Dr. Ruth Wright of Western University (Canada) for a residency. Dr. Wright led undergraduate and graduate seminars and presented “Is Gramsci Dead? Revisiting Hegemony in 21st Century Music Education” for the Music Department Colloquium. COLUMBUS STATE COMMUNITY COLLEGE After more than 25 years as chairman of the Humanities Department, Douglas Montanaro retired at the end of 2017. Dr. Montanaro was a strong supporter of the arts at Columbus State, including many years singing with Columbus State Chorus and acting in theater productions. The department is now under the leadership of Interim Chair Patrice Ross, who began her tenure by performing with the Columbus State Concert Band on their December Holiday Concert. This was the sixth annual
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holiday program as instituted by Band Director Thomas Lloyd when the school moved to semesters. The band’s November Fall Concert featured four premieres including the first local performances of co-commissioned works by Donald Grantham and Timothy Mahr. First performances were given of the “Uppingham Festival March” by John Lloyd and a new band arrangement of Jaroslav Holesovsky’s “Bratislava” by Thomas Lloyd. The guest soloist was Capital University clarinet instructor Gail Zugger. Humanities adjunct professor Rocco Di Pietro was announced to be a semi-finalist in The American Prize orchestra division for his cello symphony fourth movement called “Cyborg.” UNIVERSITY OF DAYTON Congratulations to Jim McCutcheon, Artist-in-Residence in Guitar, upon receiving the 2017 Ohio Governor’s Award for the Arts in Arts Education. The Centerville City Council recognized him for his outstanding artistic accomplishments. Other recent performance highlights and academic contributions include Susan Raponi, Music Education Coordinator, who was the guest speaker at the Music Education Colloquium Series of Engaged Research at the University of Toronto, November 22, 2017. She pre-
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sented on “Learning Differentiation Music Education Curriculum Theory.” Dr. David Sievers, Dr. Ryu-Kyung Kim, Dr. Andrea Chenoweth Wells and Dr. Minnita Daniel-Cox, voice faculty, co-presented “Sparking Social Justice Conversations in American Opera” at the National Opera Association Convention in New Orleans, LA on January 3-7, 2018. Dr. Ryu-Kyung Kim, voice faculty, performed for Korean Olympics Concert on February 3, 2018 celebrating 2018 Winter Olympics in Pyeongchang, South Korea. The program included an interview with the Olympic gold medalist and World Rowing Champion, Anna Goodale. Aaron Brant, horn instructor and principal of the Dayton Philharmonic is performing as guest associate-principal horn with the Cincinnati Symphony Orchestra. Aaron was the featured guest artist at Western Michigan University “Horn Day” on February 10 where he performed Haydn’s “Horn Concerto No. 1,” presented an open masterclass, and worked with WMU horn students on preparing repertoire for orchestral auditions. Dr. Patrick Reynolds, University Orchestra and Symphonic Wind Ensemble, presented at the national conference of the College Orchestra Directors Association in Los Angeles in February. His topic was “Community
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Connections for the 21st century musician: Developing Young Peoples Concerts and Community Outreach Programs” Dr. Linda Hartley, Professor of Music, presented a session at the 2018 OMEA Professional Development Conference, Governing Community Music Ensembles, and hosted the annual Ohio Society of Music Teacher Educators annual meeting as state chair. She continues her service on the OMEA Research Committee. KENT STATE UNIVERSITY Faculty, students and alumni from the Hugh A. Glauser School of Music were very active at the 2018 OMEA Professional Development Conference. Dr. Jay Dorfman presented a session on research in instrumental music with PhD alumnus Dr. Joni Stoll, and an additional session on music technology with doctoral student David Thompson. Dr. Craig Resta presented a session on unique string resources, and led a panel on music education doctoral study with Professor Kristin Coen-Mishlan, and doctoral students Rachael Fleischaker, Kristin Koterba, and David Thompson. Dr. Chris Venesile led choral music reading sessions. Dr. Jay White presented a session on musical theatre voice training. Dr. Jesse Leyva also presented a session about concert band repertoire by
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underrepresented composers, and Professor Erin Vaughan presented a session about guitar pedagogy. Doctoral candidate Bryan Helsel presented his research during the Graduate Research Roundtable, and eight students presented posters at the research poster session. PhD alumnus Kate Ferguson was the organizer of the OMEA All-State Band. Finally, we were thrilled to welcome more than 125 faculty members, students, alumni and friends to our OMEA School of Music reception. The All-Star Band festival was held on the Kent Campus on January 19 & 20. This year’s guest conductor was Dr. Andy Collinsworth from Sonoma State University. 150 students from 40 high schools attended this event, the largest All-Star Band in KSU history. On the weekend of February 22-24, the Kent State Wind Ensemble performed at the North Central Division conference of the College Band Directors National Association. They were one of six collegiate ensembles invited along with other institutions such as the University of Michigan and Indiana University. OHIO STATE UNIVERSITY The School of Music proudly hosted the U.S. Army Field Band and Soldiers’ Chorus in Weigel Hall in November. The school welcomed a record number of stu-
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dents to its annual High School Honor Band Weekend in January. Nearly 300 students from five states participated in one of three bands led by Dr. Russel Mikkelson, Dr. Scott Jones and Dr. Christopher Hoch. Bruce Henniss, Associate Professor of Horn, performed with the Cincinnati Symphony, led by music director Louis Langre, for the orchestra’s season opening in the newly renovated Music Hall. Professor Juliet White-Smith played principal viola with the Ann Arbor Camerata, accompanying Nancy Ambrose King’s recently released album Illumination. The album features works written for solo oboe and orchestra or chamber ensemble by American composers. The COSMOS Trio, founded in 2004 by Professor Katherine Borst Jones, flute; violist Mary E. M. Harris, associate professor at Miami University; and Jeanne Norton, lecturer in harp, has released American Premieres, its first album with MSR Classics. The album features commissioned pieces by Andrew Boysen Jr., Donald Harris, Libby Larsen, Stephen Main, Stephen Paulus and Dale Warland. All pieces were commissioned and premiered by COSMOS, and have been performed at the conventions of the National Flute Association (2008), the International Viola Conference (2010) and the American Harp Society Convention (2014).
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Dr. Michael Rene Torres, saxophone, presented a lecture about his composition process to the Cleveland State University Composition Forum in November. His recent compositions include I wonder at the idleness of tears, which was premiered by the Divertimento Flute Quartet; and his existence a flux... for flute, clarinet, violin, cello, piano and percussion, was recently commissioned and premiered by the Cleveland, Ohio based contemporary music group No Exit New Music Ensemble. YOUNGSTOWN STATE UNIVERSITY Youngstown State University is pleased to welcome Dr. Kivie Cahn-Lipman, assistant professor of cello, to the Dana School of Music. Dr. Cahn-Lipman holds degrees from Oberlin, Juilliard, and the University of Cincinnati. He is the founding cellist of the International Contemporary Ensemble, the founder and lironist of the baroque string band ACRONYM, and gambist with the viol consort LeStrange. His more than forty recordings on over a dozen labels include the complete cello suites of J.S. Bach, which were praised for their “eloquent performances,” “fresh thinking,” and “energy and zeal” (The Strad).
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The Dana School of Music and the department of Theatre & Dance are also pleased to welcome Dr. Maria Fenty-Denison, visiting assistant professor of voice. Dr. Denison has spent a lifetime exploring a wide variety of vocal genres (e.g., musical theater, jazz, pop, classical, opera), which has enabled her to cross-train the voice and teach the multidisciplinary singer at varying ages. Having previously served as coordinator of the Voice Health Collaborative at the University of Miami, Dr. Denison is a strong advocate for research, outreach, diagnosis, and voice rehabilitation strategies for singers. In addition to solo performance and collaboration with other artists and ensembles, Dr. Denison’s recent premiere recording of Michael Dellaira’s The Death of Webern (Albany Records) was selected by Opera News as one of the five best new recordings of 2016. In November 2017, YSU’s OCMEA and OMEA District V hosted a General Music Professional Development Workshop at the Dana School of Music with clinician Ms. BethAnn Hepburn. Area music teachers and students from Youngstown State University and other surrounding universities participated in several Orff-related activities and discussions related to general music.
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Justin Caithaml; Tri-M State Advisor
Do you have a chapter of the Tri-M Music Honor Society at your school? If not, what are you waiting for? Now is the time. My experience in Tri-M began as a member of Chapter 2522 at Midview High School, advised by Mrs. Lisa Manning. Lisa remains a mentor to me, as I now have the honor of serving as Choir Director at Midview and as Advisor for Chapter 2522. There are many lessons I learned as a member and leader of this chapter, but the lesson that stands out the most is taking ownership of your work in order to create success. It is not our job as teachers and advisors to micromanage every detail of our music program. It is our job to inspire our students to take ownership of their work so that they understand what it takes to be successful. If we are constantly creating that success for them, how will they ever succeed on their own without us? To me, a Tri-M chapter establishes this culture of student leadership in your music program. It recognizes students for their previous success and inspires them to achieve even greater success in the future. Those not in Tri-M strive to become a member, and those nominated for membership are encouraged to step into a position of student leadership within the organization. 66
Over the past two years serving as your Tri-M State Representative, I have heard many stories about how Tri-M has provided meaningful service to communities across our state and advocated for access to a quality music education in the process. Schedules are busy and time is tight to start something new. However, an investment of just a few hours in starting a Tri-M chapter will quickly turn into time celebrating the unity of your music department. Instead of worrying if your program might become less supported over time, a Tri-M chapter helps you be proactive and showcase and recognize the amazing musicians at your school. So don’t wait any longer. Visit http://www.musichonors.com/membership-form today to complete the process for starting a new chapter at your school!
Justin Caithaml graduated Magna Cum Laude from Baldwin Wallace University in 2014 with a Bachelor of Music Education degree. He currently teaches 7-12 choir at Midview Local Schools, serves as the state advisor for the Tri-M Music Honor Society, and is fully certified in Orff-Schulwerk. In addition, he serves as a board member at the Ohio Alliance for Arts Education and also serves on the Collaborative for Arts Education in Ohio.
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Tim Katz; OAAE Executive Director
OHIO ARTS EDUCATION DATA PROJECT The Ohio Arts Education Data Project is a continuation of OAAE’s long-term commitment to reporting data to the field regarding what Ohio’s schools are actually providing in arts education opportunities. It follows on the heels of the “Status Survey of Arts Education in Ohio,” a survey-based research document published approximately every five years, from 1989-2013, through a partnership of OAAE, the Ohio Arts Council, the Ohio Department of Education (ODE), and others. The Ohio Arts Education Data Project is projected as an extension of this ongoing project, with data now to be extracted directly from Ohio’s Education Management Information System (EMIS), updated annually, and accessible to the public via an interactive online dashboard. Measures to be included: - Number of students enrolled in arts courses, total and by discipline - Percentage of student arts enrollment, total and by discipline - Number of certified or full-time arts teachers by discipline - Student/arts teacher ratios, total and by discipline - Number of distinct arts courses offered by discipline 68
- Each of the above presented at state, county, school district, and school building level This exciting project is a partnership of OAAE, ODE, Quadrant Arts Education Research, and the Ohio Arts Council, which is not only providing funding support but is also an active member of the project team in its implementation. We expect to launch the online dashboard by summer of this year. OHIO STATEWIDE ARTS EDUCATION PLAN The Collaborative for Arts Education in Ohio (CAEO), convened through a partnership between OAAE and the Ohio Arts Council, is a statewide arts education advisory group that works to ensure that arts learning is included in Ohio’s state and local education plans. The CAEO is made up of arts teachers and leaders representing more than 40 statewide, regional, and local arts and education organizations across Ohio, including the Ohio Department of Education and the statewide professional arts education associations such as OMEA. For the past several months, this group has focused on the development of an “Ohio Statewide Arts Education Plan.” The Ohio Statewide Arts Education Plan is meant to provide a common framework for arts education advocates to inform the public discourse on education, and support strengthening of and TRIAD
access to arts learning opportunities in Ohio’s schools. The plan identifies four priority Goal Areas around which multiple objectives, strategies, and tactics have been developed. They are: Advocacy/Policy, Finances, Professional Development, and Engagement. ODE’S STRATEGIC PLAN This past winter, OAAE was given the opportunity to submit brief talking points in support of arts education for consideration by the relevant ODE and State Board of Education workgroups that were crafting “Ohio Strategic Plan for Education,” a new fiveyear strategic plan for the Ohio Department of Education. We recommended that ODE’s plan should: - Integrate the arts into the work of the ODE. - Include annually collected and publicly disseminated data on the number of students taking arts courses and student achievement in the arts. - Encourage school districts to engage the arts in whole-school reform.
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- Encourage a state school funding system that provides sufficient financial support to ensure that all students have sequential, standards based learning opportunities in the arts (defined as dance, drama/theater, music, visual art, and media arts, in grades preK-12). - Restore the music/theatre consultant position at the ODE so that there are two arts consultants. - Include the arts in Ohio’s assessment system for schools, as a complete learning system includes learning standards, curriculum and instruction, assessment, and teacher professional development.
Tim Katz joined the staff of the Ohio Alliance for Arts Education (OAAE) five years ago, and has been the Executive Director since 2014. Before that, he served for 15 years as the Education Director of the Greater Columbus Arts Council.
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Creating Jazz Poetry in the Early Elementary Classroom Myles Bowers PARTNERS IN JAZZ It is an exciting time to be a part of the JECO family. As of 2018, JECO has become a Jazz Education Network (JEN) Signature Society. The Jazz Education Network (JEN) is a global non-profit organization based in the United States of America that seeks to advance jazz education, promote performance, and develop new audiences. This partnership will allow JECO to more deeply serve the jazz community of Ohio with additional benefits and resources. JECO is also proud to be an allied organization of the Ohio Music Education Association. The 2018 OMEA Professional Development Conference saw many steps forward for our organization. JECO received an Industry Service Award in recognition of outstanding and dedicated service to music art education in Ohio as well as provided conference attendees with quality JECO sponsored clinics to enhance pedagogical techniques and knowledge in the jazz idiom. Once again the JECO/Stanton’s New Jazz Reading Band under the direction of Ben Huntoon and the JECO Intercollegiate Jazz Ensemble under the direction of Matt James (Ohio University) were highlights of Thursday and Friday night respectfully. Saturday saw the induction of JECO’s new board. Our new board truly represents every region of Ohio and will now better serve jazz education around the entire state.
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JAZZ APPRECIATION MONTH Jazz is America’s music and to celebrate JECO needs your help. JECO will be using #jecojam all month to connect musicians of all ages across the state. It is my hope that you will take time to make jazz a part of your April lesson plans. One of the best ways to celebrate jazz in April is by gauging student interest in jazz and starting a conversation with school administration about starting a jazz program at your school. Jazz can be an integral part of any school music program and will add so many positives to student life. It is JECO’s mission to provide jazz resources to Ohio’s music educators and I hope that you will take advantage of this and reach out to us for more information. Ohio needs jazz, and it starts with you, the educator. Please visit our website, www. jecohio.org or e-mail jecojazz@gmail.com for more ways to celebrate with your ensemble this month or for more information on how to start a jazz program at your school. On behalf of the Jazz Education Connection of Ohio we look forward to continuing our greatest endeavor, to develop and expand jazz in the state of Ohio. Myles Bowers is the High School Band Director at Benjamin Logan Local Schools in Bellefontaine, Ohio. His teaching duties include: band, jazz ensemble, jazz combo, music theory, and music technology. Mr. Bowers has his Bachelor’s Degree from Bluffton University and is completing his Master’s Degree in Jazz Pedagogy at Capital University. He serves as president of the Jazz Education Connection of Ohio. 73
Support the Mission of the Ohio Music Education Association with a donation to the Ohio Foundation for Music Education. To view the current list of Donors with Recognitions/Memorials to the OFME, please CLICK HERE. Yes, I want to support music education in Ohio and insure that the benefits acquired by students experiencing music are available for them now and in the future. Please apply my gift as indicated. Donor Information: (Please print legibly or type this form.) Name:__________________________________________________________________________________________ Street Address:___________________________________________________________________________________ City:______________________________________________ State:____________ Zip + 4_________________________ Email Address:___________________________________________________________________________________ Best Phone:_______________________________________ _____OMEA Member
_____OCMEA Member
_____Parent
_____Friend of Music Education
Donation Information: Donation Amount:
$___________________
Donation Category:
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_______ OMEA Memorial Scholarship Fund
(Check area for donation)
_______ 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 74
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PUBLICATION SCHEDULE
TRIAD ISSUE October/November 2018 December ‘18/January ‘19 April/May 2019
*Copy must be in the hands of the editor on schedule.
DEADLINE DATE* August 6, 2018 October 1, 2018 February 11, 2019
POSTING DATE** October 1, 2018 December 3, 2018 April 8, 2019
*Deadline Date: The date material must be received by the editor to ensure publication. **Posting date: The date TRIAD is scheduled to be posted online. EDITOR: Eric West • 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 click the Menu Bars on the homepage and then click on Advertising Venues and/or contact OMEA Business Manager for assistance.
ADVERTISERS/WEBSITES Akron, The University of. . . . . . . . . . . . . . . http://www.uakron.edu/music. . . . . . . . . 45
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OSU String Teacher Workshop. . . . . . . . . http://stw.osu.edu. . . . . . . . . . . . . . . . . . . . . 71
Capital University. . . . . . . . . . . . . . . . . . . . . . http://www.music.capital.edu. . . . . . . . . . 56
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Rettig Music, Inc.. . . . . . . . . . . . . . . . . . . . . . . http://www.rettigmusic.com. . . . . . . . . . IFC
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Smoky Mountain Music Festival. . . . . . . http://www.smmfestival.com. . . . . . . . . . 64
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Soundwaves Recording. . . . . . . . . . . . . . . . http://www.soundwaves.org. . . . . . . . . . . 55
Heidelberg University. . . . . . . . . . . . . . . . . http://www.heidelberg.edu. . . . . . . . . . . . 69
Stanton’s Sheet Music. . . . . . . . . . . . . . . . . . . http://www.stantons.com. . . . . . . . . . . . . . 75
Kent State University. . . . . . . . . . . . . . . . . . http://www.kent.edu/music. . . . . . . . . . . . 65
Summit Tour & Travel. . . . . . . . . . . . . . . . . . http://www.summittourtravel.com. . . . . 25
Malone University. . . . . . . . . . . . . . . . . . . . . http://www.malone.edu/music . . . . . . . . . 7
The Ohio State University . . . . . . . . . . . . . http://www.music.osu.edu. . . . . . . . . . . . . . 7
Marietta College. . . . . . . . . . . . . . . . . . . . . . . http://music.marietta.edu. . . . . . . . . . . . . . 63
University of Dayton. . . . . . . . . . . . . . . . . . . http://academic.udayton.edu/music . . . 35
Miami University . . . . . . . . . . . . . . . . . . . . . . http://www.miamioh.edu/music. . . . . . . 37
University of Mount Union . . . . . . . . . . . . http://www.mountunion.edu/music . . . 53
Musicians Repair Service. . . . . . . . . . . . . . . . http://www.mrsakronohio.com . . . . . . . . 72
Yamaha Corporation of America. . . . . . . http://www.yamaha.com. . . . . . . . . . . . . IBC
Music Is Elementary. . . . . . . . . . . . . . . . . . . . . http://musiciselementary.com. . . . . . . . . 67 Muskingum University . . . . . . . . . . . . . . . . . http://www.muskingum.edu/dept/music .. . . 51
76
Bold signifies a Corporate/Institutional Partner
TRIAD