TRIAD - SPRING 2019

THE OFFICIAL PUBLICATION OF THE OHIO MUSIC EDUCATION ASSOCIATION

April/May 2019 Vol. LXXXVl, No. 3

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IN THIS ISSUE FROM THE EDITOR...

4 Editor of TRIAD - Eric West

FROM THE PRESIDENT...

8

OMEA President - Kathleen McGrady

2020 ALL-STATE AUDITION INFO

10 All-State Band, Choir, Orchestra & Jazz 13 All-State Children’s Chorus

2019 OMEA PDC PHOTOS & RECAPS 14 20 21 24 28

All-State Conductors Industry Service Award Outstanding Awards 25-Year Awards Research Poster Sesssion Summary

MASTERING THE CRAFT 32 36 38 40

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

ADVOCACY - Dr. Benjamin C. Helton CHORAL - Dr. Brad Pierson JAZZ - Bobby Selvaggio TEACHER ED - Beth Workmaster Klayman

PARTNERS, COMMITTEES, HIGHER ED 43 48 51 55 57 60 63 64 66 67

Corporate/Institutional Partnerships Ohio Foundation for Music Education Donor Form OMEA Adjudicated Events OMEA Research Committee Higher Education News Jazz Education Connection of Ohio Ohio Choral Directors Association Ohio Department of Education Tri-M Music Society TRIAD Publication Schedule & Advertising Index

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

All news releases received by the editor will be considered on the basis of news, value, and timeliness to the music education profession in the state of Ohio. All advertising space and business inquiries should be directed to the OMEA Director of Business. An Insertion Order or a Space Reservation Form must be submitted for ads to be printed. TRIAD reserves the right to reject any advertisement. The statements of article authors and/or advertisers are not necessarily those of the magazine or association, and the right to refuse any article/advertisement is reserved. OMEA is not responsible for the URL linking in this publication in terms of destinations or operation. All links are tested in advance for validity to intended sources, but potential distortions may occur beyond the control of OMEA and/or the URL link source. OhioMEA Online Publication Policy on Post-Publication Changes The Ohio Music Education Association places the highest importance in the integrity of our publications posted online. We realize that despite the competent efforts of the editor, authors, contributors, advertisers, and OMEA staff, posted content may have errors or desired alterations identified after the proofing process is completed. Once a publication is posted online, it will be considered as ‘final’ and no further changes, updates, or corrections will be made. The electronic archiving of our publications for official record is taken seriously and all online publications should be considered equitable to print venues, without alterable possibilities once posted for public viewing.

APRIL/MAY 2019

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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 Kathleen McGrady President president@omea-ohio.org

OCMEA OFFICERS Adelaide Young OCMEA President ocmea_president@omea-ohio.org

Ann Usher President-Elect president_elect@omea-ohio.org

Lauren Zetts OCMEA President-Elect ocmea_president_elect@omea-ohio.org

Michael Crist Immediate Past-President past_president@omea-ohio.org

Brianna Potts OCMEA Secretary ocmea_secretary@omea-ohio.org

Daniel Ruckman Secretary secretary@omea-ohio.org

Lydia James 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

Wendi Davis Treasurer treasurer@omea-ohio.org 2018-2019 TRIAD EDITORIAL BOARD

Mark A. Hensler Director of Professional Development 513.240.1572-O pd_director@omea-ohio.org

EDITOR Eric West

GRAPHIC DESIGN/LAYOUT Amy Annico

Defiance High School

Ohio Music Education Association

William K. Guegold Director of Adjudications 330.592.0539-O adjudications_director@omea-ohio.org

PAST EDITOR Marc Parulekar

JAZZ Mark Russo

Pickerington North High School

Parma Community High School

BAND Jeff Gershman

MULTICULTURAL Lisa Wong

Capital University

Wooster College

CHORAL/VOCAL Brad Pierson

ORCHESTRA/STRINGS Michael Smith

University of Toledo

Perrysburg High School

CURRICULUM & ASSESSMENT Nathan Kruse

TEACHER EDUCATION Heather Russell

Case Western Reserve University

Cleveland State University

GENERAL MUSIC Terri Lenzo

TECHNOLOGY Brian Laasko

Ohio Northern University

McKinley High School

Dane Newlove Director of Adjudicated Event Materials and Awards 419.394.2232-O ae_materials_director@omea-ohio.org OMEA is an Affiliate of NAfME National Association for Music Education www.nafme.org Allied Organizations of OMEA: Ohio Alliance for Arts Education www.oaae.net Ohio Arts Council www.oac.state.oh.us Ohio Choral Directors Association www.ohiocda.org Ohio String Teachers Association www.ohiostringteachers.org Jazz Education Connection of Ohio www.jecohio.org

APRIL/MAY 2019

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FROM THE EDITOR...

Eric West, OMEA Editor LOVE AND PRIDE By the time this makes its way to your eyes we will be into the final weeks of our academic year. The end of the school year has always been different for me from year to year. I remember in my early years there was a sense of great excitement and accomplishment. I have made it to another year and I have accomplished these goals and now I’m excited to start working on some new ones. There was also a time, when I was a little more experienced, that I began working on the next year even before the current year had finished. I remember coming into school multiple times over the summer and working to make sure everything was as ready and prepared as possible so when the students entered on the first day we would hit the ground running. Then there have been the years where students leave the building on the last day, you put everything away, close and lock the door and don’t come back until you’re contractually obligated to do so.

There are so many different ways by which we gauge our success in any given year. There are so many variables and factors to consider when evaluating yourself. The more experience I gain as a teacher the more these factors come into play. Everything used to be black and white. The ensemble did good, I did good.

The ensemble did bad, I did bad. And now I’ve had years where the ensemble did well but I felt I did not.

Or vice versa; I’m giving it everything I’ve got and the ensemble just didn’t produce. The variables that influence the outcomes are so numerous and complicated it is almost impossible to account and adjust for all them.

The numbers and abilities of students change from year to year, the attitudes of any given class of students is wildly unpredictable, the lives of your students outside 4

of your room, the state testing affect, the culture of your school, the relationship with your administration, your coaches, your fellow teachers. All of these things can produce outcomes encompassing the whole spectrum of results inside the walls of your class room.

There is no way to predict what any year will throw your way.

However, there is one thing that has never changed from year to year. And I’m fairly certain that it will never change. It is the one thing you can base your whole year plan with one hundred percent confidence that it will remain the same from day one to day one hundred and eighty. All students, regardless of age, ability, race, belief, orientation, gender, wealth, parental support, or anything else – all of these students want to feel loved and want to feel proud of themselves. And even though those two things are the most certain things every year, they are the toughest to achieve.

They are also more necessary for us to program into our year now more than ever. If you can plan your year and work with your students in ways so that they understand how much you care about them and how much you want them to be proud of their efforts, then you can finish that year with an incredible amount of satisfaction.

Writing that down is easy. Putting it into practice is not. Some students will see right away. Some students will not. But even when they push the limits of your patience, remember that every child is just trying to find love and wants to be proud of their work. Navigating that path requires many, many course adjustments but getting to that destination is so very worth it.

This is my last article as the OMEA Editor of TRIAD. I don’t think I can accurately put into words TRIAD

S TAND OUT. B O W L I NG G REEN STATE UNIVERSITY

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BGSU’s Summer Music Institute features intensive sessions designed to improve techniques and musicianship in a fun and supportive atmosphere. Students will study with BGSU faculty, guest artists and experienced college students who will challenge and inspire!

SESSION 1 June 16-21 DOUBLE REED PIANO STRINGS VOCAL ARTS

SESSION 2 June 23-28 BRASS MUSICAL THEATRE PERCUSSION SAXOPHONE

SCHOLARSHIPS AVAILABLE Register at bgsu.edu/smi

what this experience has meant to me. It has completely changed my view of this organization. I have had the privilege to meet and work with wonderfully dedicated and caring people. I want to thank the members of the Editorial Board: Brad Pierson, Nathan Kruse, Terri Lenzo, Mark Russo, Lisa Wong, Michael Smith, Marc Parulaker, Heather Russell and Brian Laasko. You have created, encouraged and gathered some incredible content for the past several years. I thank my fellow Board of Trustee members past and present for your wisdom, your collaboration and your friendship. Kathy McGrady, Michael Crist, Ann Usher, Terry Herschman, David Vitale, Dan Ruckman and Wendi Davis: it has been an honor and a pleasure to serve with you. The OMEA Staff are complete professionals in every sense of the word and keep this amazing machine running. Roger Hall, Dave Adamson,

Greg Taylor, Mark Hensler, Bill Guegold and Dane Newlove: thank you for all of the “over and above” that you do every day. And my final thanks goes out to OMEA’s Director of Media and Publications, Amy Annico. None of what I do exists without your expertise. Thank you for always telling it like it is and helping guide me to how it should be. OMEA is in good hands and I firmly believe it will continue to be in good hands. I am looking forward to the future.

Eric West is the Director of Vocal Music at Defiance High School. He has a Bachelor of Music Education from Bowling Green State University. At Defiance he conducts the A Cappella Choir, Women’s Chorus, Men’s Chorus and Varsity Blues Pop/ Jazz Ensemble. He also teaches classes in Popular Music, Music Theory and Musical Theater. He is the co-chair of the OMEA District 1 Honors Festival and is a regular adjudicator at OMEA adjudicated events.

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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SCHOOL OF MUSIC YOUTH SUMMER MUSIC PROGRAMS 2019 RESIDENT PROGRAMS — now with a commuter option Double Reed Camp • June 2–5 Clarinet Academy • June 9–13 Jazz Camp • June 9–13 Saxophone Camp • June 16–19 Flute Workshop • June 16–20 Bass Camp • June 27–30 Ohio State Marching Band Summer Clinic • July 12–14 Register online at music.osu.edu/outreach

DAY PROGRAMS Middle School Choral Academy • June 2–7 Morning String Student Workshop • June 10–26 Middle School Concert Band Academy • June 23–28

FACULTY Scott A. Jones, programs director Robert Gillespie Barry Green Caroline Hartig David Hedgecoth

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Robert Sorton Michael Rene Torres Shawn Wallace

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University Chorale, Chamber Choir, Women’s Concert Choir, Men’s Glee Club, Malone Opera Theatre, Symphonic Band, Marching Band, Jazz Ensemble, Piano Ensemble, Flute Ensemble, Percussion Ensemble, Woodwind Ensemble, Strings Ensemble, Commercial Recording and Performance Ensemble, Music Ministry Experience PROGRAms

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Malone University is an accredited institutional member of the National Association of Schools of Music.

APRIL/MAY 2019

Canton, Ohio | 330.471.8231 | www.malone.edu/music

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FROM THE PRESIDENT...

Kathleen McGrady, OMEA President

Spring symbolizes new life and beginnings. For myself, and I suspect other music educators, we’re in the last push until summer. Our schedules and lessons are full of topics we haven’t quite covered and we are putting finishing touches on the year. Spring wraps up a busy season of adjudicated events, performances, and other musical endeavors.

For OMEA, spring welcomes a new chapter of discovery as we welcome new district, regional, and state officers to our state board. We are very excited about the future of OMEA under our new and returning leadership. Thanks to Ann Usher and Michael Crist for building such a great slate of officers to pave our way into the future.

Now that the conference is behind us I would like to personally thank everyone involved in making the 2019 OMEA Professional Development Conference held in Cleveland a huge success. A conference of this magnitude and significance would not have been possible without the dedicated work of Roger Hall, Executive Director, Mark Hensler, Director of Professional Development, David Adamson, our Business Manager and our OMEA staff who devoted countless hours to making this event a successful one. Special thanks go to the performing ensembles and their directors who helped bring beautiful music to the conference. Our goal was to provide a professional development boost, which all of us needed to reach our year end goals. I hope that you all had the chance to attend and that you are already making plans to be present at the 2020 PDC in Cincinnati.

As I walked through the Huntington Convention Center at this year’s conference I was reminded that doing what we love requires us to constantly acquire new skills, polish existing abilities, and develop more effective teaching methods. And as I looked around, I saw many colleagues, music students, and professional musicians, devoting their time, money, and energy to making this happen. This type of continuing education program is priceless. When I think back on the mentors I’ve learned the most from, they all modeled the same appetite for learning. They continually learned from their own experiences and they learned observing what the best people around them did as well. They were on the 8

constant lookout for new ideas, new innovations, and new ways of doing things better than ever before. No matter how much they learned or how much they accomplished in life, they realized they would never know it all. They continued to grow because they continued to invest in themselves. I ask you to stay engaged, keep proactive and help shape the future of music education. Is it worth the cost? You Bet! Lastly, I want to extend a note of sincere gratitude to all of the members of OMEA. Your involvement with our organization is what makes OMEA a great place to be for music educators and advocates. Bringing students to our general music events, adjudicated events, all-state, and honor ensembles; leading and/or participating in conference, sharing OMEA advocacy efforts with music and non-music stakeholders, serving on our committees or boards, hosting OMEA events, starting or maintaining a Tri-M chapter, being a mentor or mentee, taking courses to become a music educator, serving school programs as a business representative, promoting music education as a well-rounded part of a child’s education, and so much more, strengthens our commitment and resolve to continue as a champion for music education in Ohio. Good Luck with your end-of-the-year concerts, and other musical ventures this spring and summer.

Thanks for all you do for OMEA, thank you for your continued support of our mission, and especially thank you for carrying the OMEA banner so high.

Kathleen McGrady is a retired instrumental music educator after 34 years as Director of Bands at Springfield High School in Holland, Ohio and Northwood High School, in Northwood, Ohio where she was honored as “Teacher of the Year”.

She currently teaches Music Education courses at Eastern Michigan University and is a conductor/ scholarship representative for the Blue Lake Fine Arts Camp. She has served OMEA at the District, Region, and State levels, and most recently as the 2016 All-State Coordinator. Ms. McGrady is a graduate of Bowling Green State University and holds a master’s degree in Music Education from Vandercook College of Music. She was honored as the Ohio Music Education Association’s 2015 Music Educator of the Year.

TRIAD

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OMEA All-State Ensembles

2020 OMEA Professional Development Conference Cincinnati, Ohio • January 29th - February 1st, 2020 Coordinator – Micah Ewing

Band Co-Chairs – Jim Blankenship & Micah Ewing Choir Co-Chairs – Rick Hand & Chelsea Hilliard Jazz Ensemble Co-Chairs – Avious Jackson & Ed Protzman Orchestra Co-Chairs – Angela Santangelo & Brian Frey

2020 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 2019-2020 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.) Home school students may apply if sponsored by their private teacher (must be an OMEA member).

The parent of the home-schooled student will serve as the school administrator. Students must be enrolled in grades 9-12 for the academic year 2019-2020. Failure to observe these rules will nullify the student’s All-State eligibility.

OMEA continues the use of online applications for the 2020 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:

May 31:

August 31:

September 30:

Application and audition material available.

Deadline for all applications to be submitted. Please carefully note the specific etude and performance requirements. They are all different for 2020.

Notification of results to applicants and directors.

Due date for acceptance form and membership fee that covers hotel lodging and 5 meals.

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

2020 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.

2020 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.

2020 ALL-STATE BAND & ORCHESTRA WINDS & PERCUSSION ETUDE REQUIREMENTS: FLUTE: • Selected Studies for Flute by Voxman: Pub. By Rubank, p. 17 and p. 56

OBOE: • Selected Studies for Oboe by Voxman: Pub. By Rubank, p. 28 and p. 39

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CLARINET Bb AND Eb: • Selected Studies for Clarinet by Voxman: Pub. by Rubank, p. 21 and p. 30 CLARINET ALTO, BASS, CONTRAS: • Advanced Studies from the Works of J. Weissenborn: arr. Rhoades, Pub. by Southern, #11 (p. 7), #12 (p. 8) BASSOON: • Method for Bassoon by J. Weissenborn/50 studies section in back of book (Catalog # CU96), #5 (pp. 116-117), #45 (p. 151) SAXOPHONE: • Selected Studies for Saxophone by Voxman: Pub. by Rubank, p. 26-27 and p. 55 TRUMPET: • Selected Studies for Trumpet by Voxman: Pub. by Rubank, p. 8 and p. 22 FRENCH HORN: • Preparatory Melodies to Solo Work by Pottag: Pub. by Belwin, #12 (p. 5), #77 (p. 31), #97 (p. 40) TROMBONE AND EUPHONIUM: • Selected Studies for Trombone by Voxman: Pub. by Rubank, p. 7 and p. 21 • 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: #43 (p. 41) and #50 (p. 47) • 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, #20 (p. 19) and #35 (p. 38-39) • 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, Eb Major Reading Study #1, Page 89.

TIMPANI: • Fundamental Method for Timpani, Book 1 by Mitchell Peters: Pub. by Alfred, Etude #48 p. 180 SNARE: • Advanced Snare Drum Studies by Mitchell Peters: Pub. by Try Publishing Company, Etude #6 pp. 12-13.

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.

2020 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: A Major 3-octave scales, F Major 2 Octave Scale • Etude: Mazas Etudes Brilliantes, Op. 36, Book II No. 39 • Excerpt: Schubert Symphony No. 2, first mvt., m. 11-47, First Violin

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VIOLA: • Scales: D Major 3-octave scale, Bb 2 octave scale • Etude: Mazas Etudes #41 mm 1-24 (no repeat, 1st ending only) • Excerpt: Brahms, Variations on a theme by Haydn, Variation VII (no repeats) CELLO: • Scales: D Major 3-octave scale, Bb 2 octave scale • Etude: Gruetzmacher etude Op 38 No. 5 to first double bar (D major section) • Excerpt: Smetana, Overture to Bartered Bride, cello 1, beginning to A BASS: • Scales: A Major and F Major scales; 2 octaves.

• Etude: Storch-Hrabe, Etude No. 1 • Excerpt: Schubert, Symphony No 8, Movement #2 (section on page 4) HARP: • Scales: None • Etude: N.C. Boscha 40 Progressive Studies for Harp Etude #2, Moderato (pg. 89) • Excerpt: Tchaikovsky, Swan Lake Ballet Suite Op. 20a, Scene #4, Cadenza

2020 JAZZ ENSEMBLE RECORDING REQUIREMENTS - NEW FOR 2020 READ CAREFULLY:

Confirmation and Yardbird Suite are from Charlie Parker (vol. 6); Dig is from Miles Davis(Vol. 7); Runnin’ and Gunnin’, An April Recall and Catchy Waltz 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 Yardird Suite and improvise 2 choruses (Improvisation required for a SOLO CHAIR / Recommended but not required for other chairs) SAXES: • With the play along, record the head to Confirmation and improvise two choruses (Improvisation required for a SOLO CHAIR / Recommended but not required for other chairs) BRASS: • With the play along, record the head to Dig (Track 6) 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 two tunes: Runnin’ and Gunnin’ and An April Recall 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 two tunes: Runnin’ and Gunnin’ and An April Recall • Include a recording of you performing a swing chart with your home jazz ensemble.

DRUMS: • With the play-along (use CD #4 – left channel), play two choruses of BOTH of the following tunes: An April Recall and Catchy Waltz • Include a recording of you performing a swing chart with your home jazz ensemble. This swing chart must incorporate at least a brief drum solo (4 or more measures).

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2020 ALL-STATE CHILDREN’S CHORUS AUDITION INFO Cincinnati Ohio - January 30, 2020 ALL-STATE CHILDREN’S CHORUS CHAIRS - Sarah Kozlowski and Angela Perrine OMEA is pleased to announce auditions for our fifth OMEA All-State Children’s Chorus on January 30, 2020 in Cincinnati, 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 30. 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 2019-2020 school year whose teachers are members of OMEA. Home-schooled students whose parent or private teacher is a member of OMEA are also eligible. OMEA members are asked to encourage and assist their finest students in the application process described below. Please ensure that all applicants can match pitch, access the head voice and possess the focus and stamina to participate in full day rehearsals.

APPLICATION TIMELINE:

April 1: Application and audition material available online 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 website and mailed via post office to all students. Teachers will receive

e-mail notification when results are posted to the website.

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 will perform a cappella. 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 prepaid 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 notreceive 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, A Cappella

O Music – Key of F or G Major, A Cappella

*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 2020 All-State Children’s Chorus roster will be posted to the OMEA Website on August 31st, 2019. Teachers will receive e-mail notification when results are posted to the OMEA Website. Each applicant will also receive a mailing to his/her home address with audition results. Results are final. If accepted into the 2020 OMEA All-State Children’s Chorus, an $85 participation fee made payable to OMEA is due for all applicants by September 30, 2019.

FOR MORE INFORMATION - INCLUDING REHEARSAL SCHEDULES, ATTIRE, AND MORE, PLEASE VISIT THE FOLLOWING LINK: https://app.getacceptd.com/OMEAchildrenschorus APRIL/MAY 2019

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NANCY STRELAU, CONDUCTOR

ALL-STATE ORCHESTRA

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PAULA A. CRIDER, CONDUCTOR

ALL-STATE BAND

APRIL/MAY 2019

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KELLORI DOWER, CONDUCTOR

ALL-STATE CHOIR

CONDUCTOR

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MICHAEL PHILIP MOSSMAN, CONDUCTOR

ALL-STATE JAZZ ENSEMBLE

APRIL/MAY 2019

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LYNNEL JOY JENKINS, CONDUCTOR

ALL-STATE CHILDREN’S CHORUS

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2019 INDUSTRY SERVICE AWARD WCLV 104.9 ideastream

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2019 DISTINGUISHED SERVICE AWARD LALENE DYSHERE KAY

APRIL/MAY 2019

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2019 OUTSTANDING MUSIC EDUCATOR OMAR LOZANO

2019 OUTSTANDING YOUNG MUSIC EDUCATOR BRETT BENZIN

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2019 OUTSTANDING ADMINISTRATOR MARK A. MURPHY

2019 OUTSTANDING MUSIC SUPPORT GROUP SPENCERVILLE BAND BOOSTERS

APRIL/MAY 2018

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25 YEAR AWARD RECIPIENTS

Listed here are the 2019 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.

WENDY BAUER REEVES DUBLIN - 25 YEARS Sells Middle School Band Teacher Most Memorable Moment - I do not have just one exceptionally memorable moment, but my career has been made up of many memorable moments which include: having both of my daughters in band, seeing my former students excel in college band and continue playing as adults, getting notes from students saying that I have made a difference in their lives, and watching my students’ eyes light up when they make that first good sound. For me, teaching is made up of ripples on the water, rather than a big splash.

ALICE M. BASINGER BLUFFTON - 31 YEARS Bluffton Elementary Elementary Music Teacher Most Memorable Moment - Greeting parents and students each morning as they arrive at school to start a new day!

DAVID BODE LANCASTER - 26 YEARS General Sherman Junior High School Band Director Most Memorable Moment - Having our band premiere commissioned works by composers James Curnow, James Swearingen, and Robert W. Smith. In addition, taking students on trips to perform at different areas of the state and country.

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25 YEAR AWARD RECIPIENTS BRUCE CARLSON COLUMBUS - 27 YEARS Dominion Middle Director of Bands Most Memorable Moment - Sharing some laughs with my students after school in jazz band.

KIM EDWARDS FARMERSVILLE - 31 YEARS Valley View JS – Chorus and General Music Most Memorable Moment - While rehearsing for a 4th grade recorder concert, a student threw up all over six or seven students! He was standing on the top riser!

LOIS CLARK RAMEY DAYTON - 36 YEARS Stivers School for the Arts Orchestra Magnet Director Most Memorable Moment - The Stivers Philharmonic Orchestra’s performance of “The Christmas Song” on our school’s holiday showcase. It was an amazingly professional performance of my favorite holiday song, only possible because of years of hard work by a team of dedicated teachers and students.

LORI ANNE ELIAS WILLOUGHBY - 25 YEARS Willoughby Middle School – Band and General Music Most Memorable Moment - Every time a former general music student, whether still in school or well into adulthood, tells me that they are still enjoying a piece/composer/performer/musical studied in our class.

WENDI DAVIS RAWSON - 25 YEARS Cory-Rawson HS Band Director/ General Music Most Memorable Moment - Performing at OMEA Conference in 2013 and 2017.

ANGELA L. DAVOLL HILLIARD - 25 YEARS Hilliard Weaver MS Band Director Most Memorable Moment - I will always treasure having the opportunity to teach my children, Abigail and Jonathan, while they were in middle school band.

BRIAN W. DODD MILLERSBURG - 34 YEARS West Holmes Local H.S. Band Director Most Memorable Moment - Too many to count in 34 years. The moment when the pieces come together and students create a great musical moment. What joy!

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DAN FLEISCHAKER WOOSTER - 25 YEARS Edgewood Middle School – Music Teacher Most Memorable Moment - Seeing my former students as lifelong musicians in college bands, as student teachers, and as professionals.

MERRI A. GENSLEY ZOARVILLE - 38 YEARS Tuscarawas Valley – Band Director Most Memorable Moment - The day I received the letter from OMEA congratulating the Tuscarawas Valley concert band that we were chosen to play at the 2019 OMEA Professional Development Conference in Cleveland.

BRIAN J. GYURAS OREGON - 25 YEARS Clay High School – Director of Bands Most Memorable Moment - Seeing my former students teaching and directing their own bands and being successful in their accomplishments.

CHRISTIE HAMILTON COCHRAN DANVILLE - 33 YEARS Danville Local Schools Instrumental Music Most Memorable Moment - Marching in the Chicago Thanksgiving Parade and being colder than I’ve ever been in my life!

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JEREMY S. KARG BELLEFONTAINE - 27 YEARS Bellefontaine HS Band Director Most Memorable Moment - Earning a superior rating in the 2016 OMEA state marching band event.

CHRISTINE KARLIAK FAIRVIEW PARK - 26 YEARS Fairview High School Choral Music Teacher Most Memorable Moment - Some of my favorite moments have been when I have traveled with my choirs. It is exciting to see my students experience music globally.

ROB KESHOCK GARFIELD HEIGHTS - 30 YEARS William Foster Elementary – General Music Teacher and Band Teacher Most Memorable Moment - Each concert I direct gives me great joy. I love seeing my students perform for their families. They are so proud afterward.

RICHARD M. ROEMER HAMILTON - 25 YEARS Ross High School – Instrumental Music Directory Most Memorable Moment - Every time I get to see the light bulb turn on in a student’s mind!

MARK E. SMARELLI SPRINGFIELD - 35 YEARS Schaefer and Hayward Middle Schools – Band Director Most Memorable Moment - One year when I taught HS orchestra, one of my violinists was struggling.

I offered to help her out privately and she started succeeding. At the end of the year, she came and thanked me, saying no other music teacher had paid much attention to her over the years. She was smiling and very thankful.

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SCOTT A. SOEDER KIRTLAND - 25 YEARS Kirtland Elementary – General Music Most Memorable Moment - Watching the enthusiasm when the young musicians would perform.

REBECCA SUHR CENTERVILLE - 25 YEARS Incarnation School – Band Director and Music Teacher Most Memorable Moment - Could it be when a trombonist lost her tooth in her mouthpiece or when I was a Jedi directing the band? Perhaps it was the drum snowman or the 100 fourth grade bugs on stage… those spider legs were hilarious! In any case it’s always a wonderful adventure living the dream and sharing joy!

DAVID B. SYCKS BLUFFTON - 27 YEARS Bluffton MS/HS – Band Director Most Memorable Moment - One of my most memorable moments takes place over a span of about 17-18 years. The first two years of my career was spent in Middletown teaching elementary bands. I had a 6th grade flute player approach me one day after class, frustrated, and asked what she could do to get better. I was tired and cranky that day, and I asked her, rather abruptly, “Are you practicing?” She responded, “Not really,” to which my response was something like, “Well, if you want anything bad enough, you make time for it and work at it. In this case, go home and practice!”

Flashing forward some 17-18 years later, a young lady approached me at an OMEA conference. She told me who she was and that she was a former student of mine from Middletown. She told me that I was the reason she went in to music education! When I asked her the details, she simply said that I told her to go home and practice if she wanted to get better. She obviously took that to heart. That moment hit me like a brick… What’s the moral of the story? What we say to a young person can have major repercussions. The power we yield as educators goes far beyond teaching content!

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OMEA 2019 PROFESSIONAL DEVELOPMENT CONFERENCE RESEARCH POSTER SESSION SUMMARY Angeline Shelton; Kent State University The OMEA Professional Development Conference featured a Research Poster Session which highlighted new research from University undergraduate and graduate students from around the state of Ohio.

Chaired by Dr. Paul Louth and Dr. Terri Lenzo, this unique forum gave practicing teachers and students the opportunity to share research with conference goers through personal discussions and displays. The 2019 session featured thirteen presentations from Capitol University, Case Western Reserve University, Kent State University, and University of Toledo.

“A change in nomenclature only:” Specialization in music education David Thompson, a Doctoral student at Kent State University and music teacher at Plain Local Schools examined the labels attached to music teacher roles. This historical research study investigated when these designations were applied, how these role designations are maintained, and examined past research that does not address these specific labels but focuses on teacher and performer identities.

Culturally Responsive Pedagogy in the Choral Classroom Shannon Nicholson, a Doctoral student at Kent State University and Choral Director at Poland Seminary High School, presented an investigation into culturally responsive pedagogy in the choral classroom. Implications include insights into validating students’ culturally diverse backgrounds and broadening cultural horizons in the choral environment.

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The Use of Laban Movement Analysis in Undergraduate Conducting Coursework Nicholas J. Marzuola, a Doctoral student at Case Western Reserve University explored the system of Laban Movement Analysis both historically through his life, the system development, and pedagogy within conductor education.

Tropicalism and the Struggle for Legitimacy: A History of the Steel Band Movement in American Universities Dr. Janine Tiffe, Assistant Professor at Kent State University presented a historical dissertation study of the steel band movement in American universities and colleges and how the Americanization of the movement has both supported and rejected the legitimacy. Included in the study is an examination of Ellie Mannett and stereotypical and anti-stereotypical imagery associated with the culture.

Early-Career Music Teachers’ Perceptions of the Facebook Band Directors Group as Professional Induction Andrew L. Rhodes, Assistant Director of Bands at University of Toledo, presented his dissertation investigation into early-stage teachers’ usage and perceptions of FBDG as a form of induction. Findings revealed that the group provided practical and emotional support and alleviated isolation anxiety the feeling of being overwhelmed, potentially improving classroom success.

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Ancient Voices through Contemporary Music: An Examination of W. Francis McBeth’s Kaddish for Concert Band Eric Bable, Doctoral student at Kent State University and Band and Choral Director at Crestview High School, explored the complexities of Kaddish

by W. Francis McBeth for concert band. The challenges of this work, through melodic content, polymeter, polyrhythm, syncopations, and intricate rhythmic figures pose unique learning experiences to instrumental classrooms.

APRIL/MAY 2019

The Dalcroze Method: A Curriculum Critique Sarah Mattern, Doctoral student at Kent State University and General Music teacher at Niles Elementary, examined the life and techniques of Emile Jacques-Dalcroze. Born out of the need to increase the musical understanding of his own students, the Dalcroze influence spread around the world and into other disciplines becoming one of the leading music education methods.

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Detection, Teaching Techniques, Self-Efficacy, and the Adolescent Male Changing Voice: Topical Literature Review William D. Klein Jr., Doctoral student at Kent State University and Choral Director at Austintown Fitch High School, reviewed literature relating to the changing male voice, teaching techniques, and efficacy. Positive student outcomes are possible with effective teaching and healthy vocal approaches.

The Origins of Carl Orff’s Schulwerk: An Historical and Cultural Investigation Beth Ann Hepburn, Doctoral student of Kent State University, presented a historical and cultural investigation on the development of Carl Orff’s Schulwerk pedagogy and philosophy from 1924 to 1932. Influences on that development included the work of Dorothee Gunther, The German Body Culture Movement, Austruckstanz, and Primitivism.

Further study examined how the pedagogical uniqueness of the Guntherschule are linked to modern Orff teaching practices.

Measuring Musical Creativity in Non-Traditional Courses: A Review of Literature of Measures of Musical Creativity and Applications to New Curricular Offerings Kelsey Kordella Giotta, a student at Case Western Reserve University and teacher at Plain Local Schools, presented a review of literature focused on measuring creativity in the non-traditional music classroom. Recommendations by scholars, researchers, and practitioners were presented for the existing classroom and for the creation of new curricular offerings.

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Music Teacher Evaluation: From National Policy to Classroom Observation Bethany Nickel of Case Western Reserve University investigated the role that national, state, and local school district policies have on the evaluation of Ohio music teachers. This study included implications for increased productivity in the evaluation of music teachers through increased discussion time in the observation process, student portfolios or SLO’s accounting for 50% of the evaluation, and peer based evaluation for music teachers.

Religious School Music Teachers’ Identities: Intersections of Music Education and School Communities of Faith Laura Wiedenfeld of Kent State University and Visiting Assistant Professor at University of Akron examined the challenges of identity in parochial school music educators. Commonalities included socialization, unique teaching opportunities in a religious environment, collaboration within school communities and a strong sense of belonging.

A Study of High School Choral Directors’ Use of Social Comparison Dr. Laura Kitchel of Capitol University presented a study examining the usage of social comparisons of students by high school choral directors.

Comparison for information seeking, problem solving, and validation of opinions were found to have positive emotional outcomes for students. Teacher perceived control and years taught also played a role in comparisons.

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MASTERING THE CRAFT

ADVOCACY

Dr. Benjamin C. Helton; Case Western Reserve University The Problem with Advocacy Advocacy is only half the battle. We all have our advocacy handbooks and bullet points that speak to music’s value in education. Music teaches personal expression through creative activity. Music allows students to develop grit to achieve individual goals.

Music provides an activity that coordinates motor, linguistic, emotional, and aural learning in a social setting. While these talking points express the why of music teaching, they do not provide proactive or actionable policies.

Further, these talking points provide reasons to not eliminate music learning in schools. This deficit perspective may be why music educators always seem to be playing defense in advocacy discussions. We rarely play on offense; possibly because we may not know what having a strong foothold in education feels like.

Educational scholars David Tyack and William Tobin refer to the curricular make-up of schools as the grammar of schooling. In short, the subjects viewed as most legitimate in a school’s curriculum is dependent on the values of the school, community, and national educational policies at a given time. In Ohio, students can graduate high school without taking any music classes between 9th and 12th grade, but must pass four years each of math and English. These requirements are not surprising, but they demonstrate the values present in the grammar of graduating high school.

Also written in the grammar of Ohio schooling is five credits (10 semesters) of electives to graduate high school. Foreign languages, business, technology, agriculture, non-required math or English courses, or career-technical education (among others) also count as electives along with music. So, music teachers must 32

compete for students with the other electives. This competition is not inherently a problem, but we must play offense on the advocacy front if we want to improve music’s legitimacy in the grammar of our secondary curriculum in Ohio.

Becoming Policy-Minded Recent policy changes in federal educational policy have opened up opportunities to expand music class offerings in secondary schools. The recent reauthorization of the Every Student Succeeds Act gave individual states more curricular control than what was previously required. Schools now have more agency to teach more to their student bodies as opposed to trying to comply with broad federal policy.

But this opportunity also requires more grassroots efforts and policy involvement from classroom teachers. The following steps provide a systematic approach to expanding musical offerings at any school through curricular policy change.

Step 1: Learn the Local Policy Procedures Every school district is different so it is important to find out the appropriate parties responsible for enacting curricular changes. The process often begins at the department level or, for smaller districts, with an assistant principal or the principal themselves. For some districts, a proposal has to make it through numerous approvals before ultimately being brought before the school board.

When exactly who has been determined in the process, the next step is creating a proposal to address the what of your policy change. A school district may have a template for creating a new class or making any TRIAD

other major change to the curriculum. Additionally, try to find examples of past successful proposals and/or the people who wrote them to learn how the current proposal could be as successful.

Step 2: Have a Concrete Goal Modern education policy is written in the language of outcomes. It is not enough to go to our administrators and simply say, “Music offerings need to be expanded.” Think about what outcomes we would want for this course. Why is this class necessary right now? Would this class present a legitimate opportunity to learn about music? What would the students learn?

Who is the class for? Be clear about the objectives of the music technology class and have them written in short, concise language.

Step 3: Outline Equipment Costs Budget is the perennial concern for all music classes. Is space available in the music classroom(s) for a non-ensemble class? What additional equipment (computers, keyboards, software licenses, headphones, instruments, etc.) is needed for the class to be operational? For some concerns, it would be helpful to consult with the technology person in the school, especially if the new class involves technology. Software purchases and licenses may be directed through a different district budget. Also, an existing computer lab could be modified to accommodate a music technology class.

Step 5: Consider the Audience As we think about the goals for our music technology class, we must utilize language conducive to policy writing. The best place to begin is with state standards. Write in standards language so administrators and/or school board members can relate to the class and view it as a legitimate educational opportunity for students. This technique will also make the proposal more accessible for any non-musically trained administrators.

Tyack, David, and William Tobin. “The “grammar” of schooling: Why has it been so hard to change?.” American educational research journal 31.3 (1994): 453-479. ii Kos Jr, Ronald P. “Music education and the well-rounded education provision of the Every Student Succeeds Act: A critical policy analysis.” Arts Education Policy Review 119.4 (2018): 204-216. iii Schmidt, Patrick. “Why policy matters: Developing a policy vocabulary within music education.” Policy and the Political Life of Music Education, edited by Patrick Schmidt and Richard Colwell, Oxford, 2017, pp. 11-36. iv Cochran-Smith, Marilyn, Peter Piazza, and Christine Power. “The politics of accountability: Assessing teacher education in the United States.” The Educational Forum. 77.1 (2013). v Ibid. i

Dr. Helton is assistant professor of music education at Case Western Reserve University where he teaches undergraduate and graduate courses in music education and directs the Spartan Marching Band. He earned his PhD in music education from the University of Illinois, Master of Music (Education) from Northern Illinois University, and his Bachelor of Music Education from the University of Illinois. His primary research interest considers the relationships between assessment and policy.

Step 4: Develop Accountability Structures Accountability has been the primary driving force in American educational policy reform since the 1980s. Administrators are held accountable by forces different than classroom teachers, but they partly hold us accountable through assessment. So, it is wise to include detailed assessment procedures for the class whether a district requires a proposal to contain them or not. Have projects and their assessment rubrics sketched out and have them connected to the concrete goals of the class as well as state standards.

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MASTERING THE CRAFT

CHORAL

Dr. Brad Pierson; University of Toledo

Diversify Your Choral Programming About a year ago, I came across a post on my Facebook timeline from Rob Deemer, Associate Professor of Composition at Fredonia University. The post provided a proposal for concert music programming that looks like this: living omposers (25-35%), women composers (15-25%), composers of color (15-25%). More simply put, for a choral season of 30 works this means 8-11 works by living composers, 5-8 works by women composers, and 5-8 works by composers of color. I knew immediately that I was not doing enough to diversify my programming.

Why is it so important to ensure a diversified program? After all, we can teach polyphony by Palestrina, fugues by Bach, and drama by Verdi – all while providing really wonderful music, and a variety of historical contexts for our students, right? The answer is this: representation matters. We teach diverse populations of students and it is important that they see themselves reflected in the composers and poets that we choose.

One of the perceived hindrances sometimes provided for not programming a diverse range of composers is often “I just don’t know enough music by (insert under represented demographic) composers.” Others might suggest “I don’t really think about it, I just program good music.” These are each really just code for “I haven’t done the work to learn about new composers,” and this leads us to the first stumbling block on the path to fulfilling this mission: what resources are available to help me diversify my programming?

Fortunately, Deemer followed his proposal with a plan of action and created the Composer Diversity Database (http://www.composerdiversity.com). This resource 36

allows you to search by a number of criteria with the simple click of a button, yielding numerous results in the form of website links for an astounding number of composers you may have never previously encountered.

This includes options for Living/Deceased and Woman/ Non-Binary, as well as ethnic demographics, genre (band/choir/orchestra, etc.), medium subgenres (including “young chorus”) and even specific location.

The next step does require some time, as you begin to peruse websites, review scores, and listen to recordings. You may even have to email the composer directly and request perusal scores. The good news is that every composer I have emailed through this process has been completely willing to share scores with me. I have found several composers who self-publish their music, which also means that in addition to your purchase money going directly to the composer, you are also saving money (just an added bonus).

The Composer Diversity Database is not a singular answer to cure all of your programming woes, nor does it alleviate anyone from doing the work of really learning about new composers. However, combined with sessions at OMEA, ACDA Repertoire and Resources, and other sources, there are fewer barriers than ever to ensuring that our programs reflect the diverse student populations we serve.

Brad Pierson is the Director of Choral Activities at the University of Toledo. He also conducts Glass City Singers, an auditioned community ensemble of singers ages 16-30 who exclusively perform the music of living composers written in the 21st century.

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MASTERING THE CRAFT

JAZZ

Bobby Selvaggio; Kent State University

Quality Versus Quantity When I walk the halls and listen to various students’ practice, most of the time I am thinking of the concept “Quality versus Quantity”. Practice just for the sake of practicing to put “time in” just to say you put your “time in” is not good enough. So how do we get more “Quality” of time in? Everything we practice must have purpose and direction with a very specific goal in mind. Some goals can be short term goals, but we must always have an idea of what are long term goals are. Short term goals tend to be immediate situations, like learning a piece of music for a concert.

Long term goals tend to be the fundamental musical elements that make us better musicians, like ear training, command of your instrument, knowledge of theoretical concepts, and research into the historical background of multiple styles.

So why do we practice the way we practice? This is an important question that we need to deal with before we even head to the practice room. If the answer is for reasons like passing a class or because you were told to, then you may need to rethink why you are doing what you are doing. The next reason is back to the concept of just learning repertoire for the next concert. That short-term goal or mentality of pumping out music for the next concert or event. With this approach, you build limited technique and a limited understanding of your instrument that is repertoire driven only or learning how to do one thing only one way. Finally, we can practice the way we do from an obsession with music standpoint. We practice from a wholistic standpoint that comes from an obsessive 38

need and a deep desire to experience music.

Let’s discuss first the short-term goal of practicing or what I refer to as “repertoire-driven practicing.” Of course, learning repertoire is important and essential.

We all understand that, and I don’t want to belittle the importance of that. But when it comes to becoming the best well-rounded musicians we can possibly become, sometimes repertoire is beside the point. Sometimes we get so hyper-focused on learning music for the “next” event that we just learn notes and rhythms on a page and go no deeper than that. This is quantity practice. A lot of music education is quantity practice, whether it’s applied lessons or ensembles. The other issue of just doing repertoire driven practicing is building your facility technique just from the music, etude, concerto, or whatever it is that’s in front of you.

The idea of learning one thing one way only is limiting as a musician. For example, if you have ever performed a piece of music that has fourth intervals in it, but only in one key and only one way, then you are not going to hear the interval of a fourth very well. You are learning that pattern from a muscle memory standpoint for that one situation. You have not learned how to hear fourths better. So, every time you encounter a musical phrase in a piece of music that deals with fourths, you are starting over every time learning that pattern of fourths for that composition. You are learning music from a mostly visual standpoint and rarely from an aural standpoint. The better we hear something, the better we understand something, so the better we play something.

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So how do we get to more of a long-term practicing goal? How do we get more quality practice time?

First, we must let go of the dogma that repertoire is the only important thing. Performing repertoire from a deep personal and passionate place is the end goal, but it’s not the only long-term goal as musicians. There are musical elements we must tackle from a practicing standpoint to be able to become effortless with our performances. Fifteen minutes, or “Quality of Time,” of disciplined and concentrated practice on a specific situation is always better then an hour plus, or “Quantity of Time,” of undisciplined and non-concentrated practice running a piece of music over and over. Philosophers and musicians have discussed the 10,000hour rule where you need to spend 10,000 hours practicing something to master it. But that only works if it is 10,000 hours of correct and disciplined practice.

So, what are the things we should practice? Fundamentals! If we want better individual musicianship quality and deeper experiences in our performances, we must become effortless with basic music fundamentals. And what are these music fundamentals? Ear training or how we hear things, facility technique, command of your instrumental or vocal medium, sound and time, music theory knowledge, and historically correct style. Reading music out of books is not the end game. Technique and etude books should be used as a guide for contextual musical suggestions, not

APRIL/MAY 2019

as a visual dependency to box us in and disconnect us from how we hear music. Get off the page when practicing scales. Be spontaneous and creative playing your scales every possible way (intervals, triads, arpeggios, contrary motion, change of note order, etc.).

Improvise ideas, situations, and musical shapes within the sound of a scale with and without a metronome and drone. Compose your own etudes, especially around situations that are hard for you.

How you practice sets up how you perform. Be OK with spending more time on music fundamentals then music repertoire. We all understand that the end game is to perform repertoire in a live situation with as much emotional content as we can. But, quantity will come if you focus your practice on quality. Make the live experience about your personal experience with every moment of everything you do, and everyone will see the quality in you and your performances.

Bobby Selvaggio is one of the leading alto saxophone voices on today’s jazz scene. Bobby, who grew up in the Cleveland area, earned his Bachelor of Music in Music Performance from Kent State University. He eventually moved to New York City and earned a Masters degree in Jazz Performance from the Manhattan School of Music. While in New York, Bobby studied with Joe Lovano, Bobby Watson, Dick Oatts, and Maria Schneider. He has dedicated himself to keeping jazz alive in Cleveland and his passion for jazz education has led him to serve as Director of Jazz Studies at Kent State University.

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MASTERING THE CRAFT

TEACHER ED Beth Workmaster Klayman; Mentor Public Schools

How to Mentor Your Replacement Music teachers are planners. Let’s face it, we plan every minute of the day, week and year, meeting deadline after deadline. We plan recruiting, rehearsals, assessments, concerts, adjudicated events, trips, festivals, recitals, to name a few. So why not plan your retirement? This is not about STRS. I am speaking about handing the baton over with a plan.

When I initially began to think about retiring, I had mixed emotions. I have had a varied background of teaching experiences including elementary general music, junior high band and all levels of orchestras in three different school systems. When deciding to retire, I was at the top of my game working with middle school and high school orchestras in the Mentor Public Schools. My top chamber and symphony orchestras were performing major unedited works. It was quite a challenge and exhilarating to conduct the repertoire that our own Cleveland Orchestra played. But on the other hand, I was approaching 60 and I could see that kind of energy level could not be sustained forever. Hence I began my retirement plan. What if I could mentor my own replacement?

Most of us were not fortunate enough to have had our predecessor lay out our job for us. Learning on the job is often the case and if you are a brand new teacher, there is much to navigate. As a first year teacher in 1975, I was privileged to instruct orchestra and band in the North Olmsted City Schools with a fabulous mentoring group: the late 40

Casimir “Casey” Kriechbaum, the late John Kepperley, Budd Malcus and Vincent Sidoti. Daily, these veterans helped me steer through the hoops and taught me so much on the job! We frequently met at the Ground Round or other local eatery to discuss and tweak our instrumental program. They called me “the Rookie.” It was a dream position.

Fast forward to 2010, while teaching orchestras in Mentor, I began to plan my departure for 2013.

Similar to so many music teachers, I traveled from high school to two middle schools, to an elementary and back to the high school again. The schedule and pace could be dizzying. How could I make this organized chaos easier for the next director?

Here was my plan: I placed a standing file on my desk at the high school and created a similar file on my computer. I provided a file for every month.

For each grade level or group that I directed, I stuffed those files with every spreadsheet, each flyer, living room concert form, all concert programs, the summer chamber camp plans with schedules, letters and contacts, the recruitment information, my grading procedures, my playing quiz forms, audition forms, festival plans, private teacher lists, lists of section coaches and accompanists, contest deadline timelines, adjudicated events information, award and lettering rubrics and so much more. Together, our district music teachers had worked hard to create an accurate database of all the district-wide instruments which included with the location of each instrument, its condition, estimated value and purchase date. In TRIAD

my years as high school director, I reorganized, added to and purged the vast orchestral library while creating a complete database for each level of repertoire. All of this was inserted into the files on my desk and computer. Whatever the task, the sheet of paper went into that month’s file—12 months a year.

Bam! It was kind of cathartic. Each sheet was one more form closer to retirement.

By my final school year 2012-13, the files were extremely full. I wanted the person who won this wonderful job to be armed with as much information as possible. I wanted “my” program to be successful and grow in my absence. Mentor had a strong tradition and I was proud to be a “link” in its chain. If my successor did not want all the information I had accrued, that was his/her prerogative.

APRIL/MAY 2019

My talented successor, Matthew Yoke, has generously thanked me and remarked to me on numerous occasions that my files were “an amazing gift.”

How much work was it to stick a flyer into a file or copy data onto a USB stick? In the scheme of the numerous tasks that we do every day—not much effort.

Why should you make such an effort? Do it for your students and the families of your students. Do it for your legacy. Do it because you can teach the teacher of the next generation of students. Plan your retirement with class. Pass the baton and be the ultimate mentor.

Beth Workmaster Klayman is a retired orchestra director for Mentor Public Schools.

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1 South Grove Street Westerville, OH 43081 ddavenport@otterbein.edu cbrock@otterbein.edu www.otterbein.edu/music

Capital University Conservatory of Music One College & Main Columbus, OH 43209 lroseber@capital.edu www.capital.edu/music

Case Western Reserve University 10900 Euclid Avenue Cleveland, OH 44106 music@case.edu http://music.case.edu

Cleveland State University 2121 Euclid Avenue MU332 Cleveland, OH 44115 music@csuohio.edu www.csuohio.edu/class/music

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University of Dayton 300 College Park Dayton, OH 45469-0290 musadms@udayton.edu go.udayton.edu/music

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APRIL/MAY 2019

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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:

_______ Foundation General Fund for Financial Growth

_______ OMEA Memorial Scholarship Fund

(Check area for donation)

_______ Charles H. Benner Leadership Academy _______ This is my Annual Campaign Contribution for calendar year 2019.

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 48

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The Ohio Foundation for Music Education extends a note of thanks and appreciation to everyone who participated in the 2019 50/50 Raffle at the 2019 OMEA State Conference. While it would be wonderful if everyone could win, the reality is everyone has won - for beyond the prize winner, the benefits of every dollar have been applied to scholarships and the operation of the All-State HS Ensembles in accord with the Foundation’s mission.

The 2019 raffle winner received a cash prize of $1,100.00. The identity of the winner is not promoted/announced per OMEA/OFME policy. The OFME benefited the same with all proceeds applied as noted above. On behalf of the OFME Board of Directors, thank you to those who participated in this raffle, and be advised that ‘winning’ is automatic for everyone with benefits extending to students, members, and music education in Ohio. We hope more members will participate in this raffle next time!

Also remember: Tax-exempt donations can be made anytime via the OFME website at http://www.ohiofoundationformusiceducation.org in the donor section!

Recognitions/Memorials are encouraged with every donation.

Thank you, OFME Board of Directors

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ADJUDICATED EVENTS Adjudicated Events News & Updates Stephanie Smith; Adjudicated Events Chair

Thank you to the members of the Adjudicated Events Committee who presented outstanding sessions in February at the OMEA Professional Development Conference in Cleveland! It was wonderful to see so many music educators sharing ideas with colleagues.

I’d also like to take this opportunity to thank our Director of Technology, Greg Taylor, for his amazing work to completely re-design the OMEA Website!!

SOLO AND ENSEMBLE This winter, there were 17,828 events registered for high school solo and ensemble adjudicated events statewide! The committee would like to remind all participating directors that once a performer/ensemble is entered and the deadline has passed, it cannot be changed. The site chairs are not permitted to make substitutions.

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 myself or Greg Taylor, the OMEA Director of Technology, before the registration deadline.

APRIL/MAY 2019

CHANGE OF DISTRICT AND 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 State 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 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 ensemble 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 individ51

ual 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, 2019. 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 1 at The Ohio State University; Wednesday, June 12 at Brunswick High School and

Friday June 26 in Southern Ohio. As in years past, Bill Guegold will hold the summer Adjudicated Events Best Practice Mini-Conferences at these locations on these dates. Please visit the website for specific information regarding exact locations and times for each site.

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 August 15. Directors who do not 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, November 2 at Hilliard Bradley High School, Sunday, November 3 at Welcome Stadium in Dayton, SATURDAY November 9 at Brunswick Automart Stadium and Sunday November 10 at Welcome Stadium in Dayton.

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52

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With nine ensembles, numerous chamber groups, and scholarships for all student musicians, we have a place for everyone.

Our concert and recital series presents more than 50 events on campus each year, while touring ensembles take our music on the road, from Nashville to New York and London to Leipzig.

Learn more at muskingum.edu.

At the OMEA Professional Development Conference, Jay Wardeska and Chris Carmean presented a summary of information gathered at the Town Hall Meetings that took place last summer. They also presented the findings from the Marching Band Director Survey that was sent to all participating directors. The survey has indicated four major areas of concern, committee has voted to address two of these areas for the 2019 season. Beginning in the 2019 fall season, local event adjudicators will be assigned by the Director of Adjudications. Also new for 2019, the minimum time for a performance is now six minutes, meaning a performance now must be between 6-11 minutes long.

THE ADJUDICATOR EVALUATION SYSTEM The AE Committee is very pleased with the how well the AES functioned in the past several years 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: APRIL/MAY 2019

• AES is found on the “Register Performers” button under the Adjudicated Events tab.

• An evaluation rating of “5” is the highest, “1” is the lowest.

• A rating of a “1”will result in an “Upload Documentation button so you may upload recordings and/or comment sheets to substantiate your rating.

• 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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Elementary, Middle, and High School Band, Choir, and Orchestra 2019: April 12 April 26 May 3

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TRIAD

RESEARCH COMMITTEE Research Committee News & Updates Dr. Patricia Grutzmacher; Research Committee Chair The year 2019 marks thirty years of nationally and internationally known keynote speakers featured in the Graduate Research Forum held annually during the OMEA State Conference. Past speakers, beginning with Jerome Hausman, have included among others Rudolf Radocy, David Elliott, Clifford Madsen, Richard Colwell, Peter Webster, Terry Kuhn, Robert Duke, Michael Mark, Colleen Conway, John Kratus, Janet Barrett, Pat Flowers, and Patricia Shehan Campbell. Each speaker brings a different yet equally important topic to enlighten and engage participants.

This year our keynote speaker was Dr. Regina Carlow, Professor of Music Education and Interim Associate Dean for Student Affairs, College of Fine Arts, University of New Mexico. Dr. Carlow’s presentation was titled Keeping Our Doors Open: Diversity, Equity and Inclusion in Music Education for 2019. She spoke of the seven characteristics of multicultural music education, as quoted

by Sonia Nieto (2018). Multicultural education is anti-racist, it is basic education, and is important for all students.

This topic is a pervasive and on-going process that supports social justice. Finally, multicultural education is critical pedagogy. Briefly defined, this is an approach to teaching that endeavors to humanize and empower learners through encouraging them to question common beliefs and form their own understanding of what they are learning.

According to Dr. Carlow, empowering learners involves teaching for, with, and through social justice.

This requires that we examine our own understandings, beliefs, and biases. Barron, Grimm and Gruber in Social Change in Routine Practices (2006) ask pertinent questions that guide us in self-examination. For example, we may ask: What expectations and experiences might we unconsciously project upon our students? How do we negotiate between the histories we own and the new conAPRIL/MAY 2019

texts we work within and multiple identities we bring to these contexts? To achieve our goals of full inclusion, we must adopt a pedagogy that is culturally responsive. This involves a pedagogical approach that offers full, equitable access to all students from all cultures; a pedagogy that recognizes the importance of including students’ cultural references in all aspects of learning (Ladson-Billings, 1994). For a more detailed report on Dr. Carlow’s presentation, there will be an article published in Contributions to Music Education (V44) this May 2019.

As music teachers, musicians, and music consumers, we are aware that music is an intrinsic part of everyone’s cultural identity, and that these identities are diverse. It is the job of the teacher to tailor instruction to meet the needs of all students. This demands that we know our communities; that we identify the needs of our students within our communities; that we grow to be culturally responsive and competent; that we embrace change. Ultimately, it requires that we re-imagine and re-structure our curricula to be inclusive and thereby remain a strong component of the education of all students.

References Barron, N.G., Grimm, N. M., & Gruber, S. (Eds.). (2006). Social change in diverse teaching contexts: Touchy subjects and routine practice. New York, NY.: Peter Lang Publishers Ladson-Billings, G. (1994). The dreamkeepers. San Francisco: JosseyBass Publishing Co. Nieto, S. (2018). Language, culture and teaching: Critical perspectives.

(3rd ed.). New York, NY: Routledge Publishers..

Patricia Ann Grutzmacher, Ph.D. is Professor Emerita, Kent State University. Currently she is the Coordinator for the Capstone and Research courses in the Kent State University online Master of Music in Music Education degree, and she serves as Professor of Record for music technology internships at Kent State University at Stark. She is Chair of the Research Committee for the Ohio Music Education Association.

55

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Independent Minds, Working Together

HIGHER EDUCATION NEWS ASHLAND UNIVERSITY Dr. Rowland Blackley, Professor of Music and Director of Choral Activities conducted Bach Cantata No. 124, the Corelli “Christmas Concerto,” and all the choral and orchestral music for a vespers service in collaboration with Trinity Lutheran Church; premiered an original composition, “Welcome,” for chorus and percussion based on a text by Richard Crawshaw; presented an American Eurhythmics Society workshop for in-service teachers and music education majors.

CASE WESTERN RESERVE UNIVERSITY Faculty, students, and alumni of the Music Education area of Case Western Reserve University offered over 15 presentations, workshops, research posters, and research presentations at the 2019 OMEA Professional Development Conference. Congratulations to Dr. Ryan Scherber, Assistant Professor of Music Education and Director of Bands for his successful work as Band Chair of the OMEA All-State Band and to Dr. Kathleen Horvath, Associate Professor of Music Education and Director of Orchestras, who likewise served as the Orchestra Chair of the OMEA All-State Orchestra. We also celebrate the work of our undergraduate and graduate students in assisting Dr. Scherber and Dr. Horvath with these ensembles.

Professor and Area Head of Music Education Dr. Lisa Huisman Koops penned “It takes a village to raise an early childhood music teacher” for General Music Today.

COLUMBUS STATE COMMUNITY COLLEGE Columbus State Concert Band celebrated its twentieth anniversary with a concert at the historic Lincoln Theatre on November 6, 2018. Featured works included “Suite for Woodwind Quintet and Band,” “Sax-Soliloquy,” and “Concerto for Percussion Section and Band.” Director Thomas Lloyd has conAPRIL/MAY 2019

57

ducted the band for nineteen of its twenty seasons.

Chorus Columbus State continued its tradition of performing its December concert at the Columbus Museum of Art in the Debry Court. The featured work was Britten’s “A Ceremony of Carols” with harp. Spring semester the choir will be directed by Elizabeth Scinto.

UNIVERSITY OF DAYTON The faculty of music is pleased to highlight the esteemed Oxford University Press publication of Dr. Samuel Dorf. Dr. Dorf is a musicologist and teaches required history courses in the music education degree program at the University of Dayton. His research areas include intersections between musicology and dance studies and the history of technology, studies of antiquity, queer studies, and the history of performance practice.

Performing Antiquity: Ancient Greek Music and Dance from Paris to Delphi, 1890-1930 investigates collaborations between French and American scholars of Greek antiquity (archaeologists, philologists, clas-

sicists, and musicologists), and the performing artists (dancers, composers, choreographers and musicians) who brought their research to life at the birth of Modernism.

Dr. Dorf’s work has been used to address contextual understandings in the educative teacher performance assessment requirement in Diverse Populations in Inclusive settings, taught by the Coordinator of Music Education, Susan Raponi.

KENT STATE UNIVERSITY Kent State University Music Education was well represented at the 2019 OMEA Conference. Faculty, graduate, and undergraduate students participated in more than 25 individual presentations, performances, and research sessions. Congratulations to Amitai Vardi, Assistant Professor of Clarinet, on an excellent performance by the Kent State University Clarinet Choir, under his direction. More than 150 alumni and friends attended our Friday evening reception. Dr. Craig Resta and Dr. Jay Dorfman will present research posters at the 2019 NAfME All-Eastern con-

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ference in Pittsburgh in March.

Dr. Dorfman recently published an article on technology in student teaching in Visions of Research in Music Education, and will present a session about rock band performance at the inaugural Enacting Curricular Change in Music Education through Vernacular Music conference at Case Western Reserve University in March.

Dr. Wendy Matthews will present research and practitioner sessions at the Texas Music Educators Association conference and the College Band Directors National Association. Dr. Matthews recently won a KSU research grant to continue her investigation of influential female brass musicians. She will serve as the conductor of the ASBDA Middle School Honor Band in February.

Doctoral alumnus Kate Ferguson presented a session on sight-reading at the 2018 Midwest Band & Orchestra Clinic. Doctoral student Beth Ann Hepburn’s Purposeful Pathways, Possibilities for the Elementary Music Classroom (Book 4, MIE Publications) was recently released. Hepburn also offered

general music-related workshops in Alabama, Tennessee, Missouri, Florida, and New York.

Doctoral candidate Bryan Helsel was the guest conductor for the OMEA District 5 Junior High Choir festival and recently published an article in the PMEA quarterly magazine.

Doctoral candidate Rachael Fleischaker published, with Joanne Dowdy, the edited book Text Sets: Multimodal Learning for Multicultural Students (Brill).

155 students from 44 schools attended the KSU All-Star Band in January. The guest conductor was Dr. Matthew Luttrell of Midwestern State University.

UNIVERSITY OF TOLEDO Associate Professor of Music Education Dr. Pam Stover received a Fulbright Award for her project “The History of Kodály-inspired Teaching: From Hungarian Folksongs to Globalization.” This history will trace the development of the Hungarian music curriculum of composer Zoltan Kodály from its inception to today’s use throughout the world.

BIG DREAMS WELCOME SEE WHAT CSU MUSIC HAS TO OFFER YOU! Undergraduate Degree Programs BM - Composition, Music Education, Music Therapy, Performance BA - Music || Minor in Music

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APRIL/MAY 2019

For more information, please visit csuohio.edu/music/.

DEPARTMENT OF MUSIC

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Mark Russo; JECO Board Member & NE Ohio Rep

JAZZ EDUCATION IS ALIVE IN OHIO OMEA has come and gone. As bitter cold as it was, I felt as if I got there Thursday morning to register and before I knew it, I was in the middle of All State Jazz on Saturday listening to Michael Mossman. I hope you all had a great time connecting or reconnecting with friends and colleagues. This year’s conference saw a very promising future for not only music education, but jazz education and the Jazz Education Connection of Ohio (JECO).

This year I was co-chair for the Intercollegiate Jazz Ensemble (IJE) sponsored by JECO with my good friend and YSU Alum, Eric Dregne. It’s a funny story how it all happened, but the “Reader’s Digest” version starts in Dallas, TX and the Jazz Education Network (JEN) Conference in January of 2018. It was there that Eric and I met a great jazz bassist by the name of Kris Berg, a local Dallas Metroplex native. Kris has a passion for teaching and composing that I haven’t seen in a long time. Needless to say, Eric and I found his passion contagious and we later asked him to be the guest conductor for the IJE this year.

The auditions were held and after the dust settled, we had ourselves a band made up of some of the best collegiate jazz musicians in the state. Add the music of Kris Berg and there was one swinging concert on Friday night!! It is safe to say that the future of jazz is bright and in good hands with these talented youngsters. We had students from Youngstown State, Kent State, Ohio University, Ohio State, Capital and Denison Universities. The JECO board was very pleased that there was a wide representation from across the state. Fun was had by all for sure!

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As for JECO, we have been an affiliate with OMEA for some time now and just recently we’ve created a collaboration with the Jazz Arts Group of Columbus to further our educational outreach state wide. If you are not a JECO member, active membership is $20/year and that also gives you the opportunity to join JEN at a discount. You can register at http://www.jecohio.org/join and while you’re at it, please feel free to peruse the newly designed website.

We signed up many members at the table in the exhibit hall so if you missed it, head over to the JECO site and sign up. Also in the works for the website are a series of resources that will give both new and seasoned directors access to jazz specific content, worksheets, video lessons and improvisation exercises to name a few.

As we wrap up this academic year, I hope that you have found my articles helpful and insightful.

Jazz, both music and education, have been a passion of mine since I started teaching. I sincerely hope you enjoy reading it as much as I enjoy sharing it with you. I’m looking forward to introducing more content from myself and my jazz colleagues. Please feel free to reach out to me with any questions. I’d welcome the opportunity to work with any of your ensembles. Until next year, thanks for reading and keep on keepin’ on!

Mark A. Russo is a 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 a Music Education from Kent State University (Magna Cum Laude) and is currently the director of bands at Constellation Schools: Parma Community High School. Mr. Russo is North East Ohio representative and board member for the Jazz Education Connection of Ohio (JECO) and an Edwards Trumpet endorsing artist.

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Rich Schnipke; OCDA President As I write this morning, glancing out my window at the snow-covered ground, I’m aware that this second-half of the academic year will speed by and summer will be here before we know it! With warmer weather, comes the tradition of the OCDA annual Summer Conference held at Otterbein University. This year’s event will take place June 17 – 19, and I am excited to announce that Jerry Blackstone and Abbie Betinis will be joining us as our headliners.

Jerry Blackstone is a leading conductor and highly respected conducting pedagogue. Now Emeritus Professor of Conducting, he served on the faculty of the University of Michigan School of Music, Theatre & Dance for thirty years where as Director of Choirs he led the graduate program in choral conducting and oversaw the University’s eleven choirs.

In February 2006, he received two Grammy® Awards (“Best Choral Performance” and “Best Classical Album”) as chorusmaster for the critically acclaimed Naxos recording of William Bolcom’s Songs of Innocence and of Experience. His choirs have sung at numerous national conferences of both ACDA and NCCO and have toured extensively in both the U.S. and abroad.

Composer Abbie Betinis writes music called “inventive” (New York Times), “incandescent” (Boston Globe), and “ethereal” (Cambridge University Press). She has composed over 70 pieces for world-class organizations, including the American Choral Directors Association, American Suzuki Foundation, Cantus, Chorus Pro Musica, The Dale Warland Singers, James Sewell Ballet, New England Philharmonic, St. Olaf Choir, Young New Yorkers’ Chorus, and Zeitgeist. In 2019, she will be the American Composers Forum’s “ChoralQuest” composer, visiting schools around the U.S. to write new choral music for and with middle school singers.

The Summer Conference also will feature performances by our OCDA Women’s, Men’s, and Children’s APRIL/MAY 2019

Honor Choirs. Ohio clinicians, Dr. Robert Ward (Ohio State University) and Sarah Baker (Little Miami High School) will serve as conductors of the high school ensembles, and Dr. Barbara Lamont from Missouri State University will join us to work with the children. I hope you will encourage your students to participate and have the chance to work with these wonderful musicians. The process for selecting performing ensembles is underway and we also look forward to hearing several of our state’s finest ensembles perform!

In addition to these wonderful clinicians and performances, our OCDA Repertoire and Resources Chairs will be presenting the following reading sessions: Music and Worship/Community Choirs, Elementary/Children’s Choirs, High School/University Choirs, Junior High/ Middle School Choirs, and Choral Gems. And, our Vocal Jazz, Show Choir and Contemporary A Cappella R&R Chairs will be sharing performance tips as well as repertoire in their reading session/clinic. As always, the conference will also include roundtable discussions by R&R area, exhibitors, and our annual conference party.

As you can see, the 2019 OCDA Summer Conference promises to be packed with use useful information and materials and inspiring presentations, and performances. Mark your calendars and save the date for June 17-19 at Otterbein University.

Dr. Richard Schnipke serves as President for the Ohio Choral Directors Association. He is currently an Assistant Professor of Conducting at Bowling Green State University. His duties at BGSU include conducting the Collegiate Chorale and Men’s Chorus, as well as teaching graduate and undergraduate courses in choral performance and music education. Previously, Dr. Schnipke held faculty positions at Xavier University and The Ohio State University and spent 15 years as an Ohio public school choral director. He holds degrees from Bowling Green State University and Ohio State University, and has done additional graduate studies at the University of Cincinnati College-Conservatory of Music.

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Scott Wilson; Fine Arts Consultant The Ohio Department of Education is diligently working to update the current fine arts learning standards. We posted the current standards for public review from early-December through mid-January. During this timeframe we compiled the fine arts advisory committees which is comprised of people who are appointed by partner organizations, including OMEA. The advisory is tasked with determining what comments from the feedback are warranted and should result in an update to the current standards.

Ohioans had the chance to apply for the fine arts standards working groups as well. Those selected are currently working to implement the changes to the standards based on the advisory committees’ recommendations. This work is not easy, but the process is important to ensure that voices are being heard and that professionals are guiding and doing the work to represent the arts disciplines. There will be another opportunity for public feedback once an initial draft is completed later this year.

The goal is to have the newly updated standards adopted by the Ohio School Board by the end of 2019.

We are also working collaboratively with a small group of educators to update the Gifted Identification Handbook for Fine Arts. The goal of this revision is to

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make the suggested rubrics and practices more user friendly for families and districts. The updated handbooks will be available for use in the 2019-2020 school year.

The Ohio Arts Education Data Project is a great tool for you to use to analyze student access and enrollment in the arts across Ohio. This database displays data collected through EMIS by every public and community school in Ohio. Please take some time to explore this interactive database to fully understand the state of arts education in our state, http://education.ohio.gov/Topics/ Learning-in-Ohio/Fine-Arts/Ohio-Arts-Education-Data-Project.

If you ever have any questions related to music and arts education in Ohio, please reach out. I work for you and will do my best to find answers to your questions.

Working with professional organizations like OMEA, we will continue to strengthen arts education across Ohio.

Scott Wilson has worked in public education in Ohio for twenty years as a theatre educator and school counselor. His work on the National Core Arts Standards and the Ohio Fine Arts Standards and Model Curriculum led to his hiring at ODE as the Fine Arts Consultant.

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Life in the MUSIC WORLD

Scherzo

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

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

• • • What have you learned? • • • • A high school customer on the phone: “I need a snare drum solo for a college audition.

I need one with a CD so I’ll know how it goes!” Maybe you should rethink your major!

••• • • • Instant Gratification • • • • Another high schooler on the phone: “Can you send me a digital copy of any Class B euphonium solo for me to audition with next week? I live about five miles away from your store, but I don’t have a car!” We really should consider training musicians to plan ahead!

••• • • • Why Professionals Get Gray • • • • Stanton’s sales staff has a well-earned reputation for knowing their stuff. All were college music majors, many have teaching, conducting, and performing expertise, and several have over ten years of experience at Stanton’s, so they know the music we carry.

One of our veteran choral staff members, however, was stunned by a rapid-fire church choir customer: “I need an anthem for Easter. It has to be SAB (limiting) with a trumpet solo, not a brass ensemble (more limiting) and can’t have any of the standard Easter hymns in it (even more limiting) and I’d like a separate piano part printed so there won’t be any page turns.

(Virtually impossible) What do you have?”

When the Stanton’s staffer hesitated, wracking their brain for something at least close, the customer snapped impatiently, “Doesn’t anyone there know your sacred choral stock?”

• • • Calling All Inventors • • • • Customer on the phone: “Does Stanton’s carry harnesses for choral folders?”

Stanton’s employee:“You mean like a handsfree gizmo that will hold your choir folder?”

Customer: “Yeah - like that!”

Stanton’s employee:“No, but what a great idea! You ought to design one!”

••• • • • New Logic? • • • • Customer on the phone, after making their request: “I need this music in three days so my granddaughter has time to practice before the concert” Stanton’s employee: “I’m sorry, we’re sold out of that item, but we can have the publisher drop-ship one directly to you via UPS 3 Day Air, if you’re in that much of a hurry.”

Customer: “What would that cost?”

Stanton’s, “For 3 Day Air service about an extra $25.00 to $30.00.”

Customer: “WHAT??? This is for a child!

The shipping should be FREE for a child!”

••• • • • Interesting E-mail • • • • Stanton’s has many customers from Japan.

One of them likes to practice his English when he emails us. The year Donald Trump was elected, our customer wrote: “Tokyo has become the Fall. American presidential election is also fuss Japanese television.”

••• • • • Favorite Mispronunciations • • • • Three Ayres from Glue-chester (Gloucester)

• • • Quirky Stories • • • • An expensively dressed woman came in to buy a beginning book for her child. A firsttime music mom, she asked, in all innocence, “What happens when we’re done with the book - do you buy it back?” (Uh, sorry...no!)

••• • We got some children’s jigsaw puzzles from a supplier that featured pictures of musical instruments on the pieces. You lift the puzzle piece and the name of the instrument on the piece is exposed. Great idea, except they spelled saxophone as saxaphone and under the picture of the recorder, it said flute, which in this day and age is not exactly the same.

Yeah, let’s send those back to the supplier!

••• • A customer from Brazil inquired via email about the status of his music order. He wrote in Spanish since his English is not so good, nor is our Portuguese! We had sent the music to him weeks earlier, so we tracked the package on the United States Postal Service website.

Those three little choral octavos went to Cologne, Germany, then to Stockholm, Sweden, then to Helsinki, Finland and were still “in transit.” If that first toss into a bin at the post office goes awry, things end up literally going all over the world! Thanks, USPS! ••• • E-mail: “The Grade ½ pieces you recommended are still too hard. Are there any at the Grade 0 level?” So as a joke, we sent a misprinted piece with nothing but blank pages.

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

STANTON’S SHEET MUSIC

TOLL-FREE • 1-800-42-MUSIC LOCAL CALLS • (614)-224-4257 330 South Fourth Street E-MAIL • greatservice@stantons.com Columbus, Ohio 43215 FAX • 1-614-224-5929 WEB • www.stantons.com Like! Stanton’s Our blog has the Check our website for our Virtual Workshops & Jukebox on Facebook® and latest news and products: and download our new Mobile app follow us on Twitter! stantonssheetmusic.wordpress.com

Justin Caithaml; State Tri-M Advisor

As my third year of serving as State Tri-M Advisor concludes, I wanted to provide a “State of TriM” update to identify what we are doing well and to set goals for the future.

The most exciting piece of information that I am excited to share is that there are 14 more chapters registered with NAfME for 2018-19 school year over the 2017-18 school year. It is important that this positive spirit of starting new chapters across our state continues into the 2019-20 school year. If you currently have a chapter at your school, consider reaching out to teachers in neighboring districts and offer to help support them in starting a new chapter.

This year at the OMEA Professional Development Conference, I was able to talk to colleagues from three neighboring districts and convinced them to start chapters simply by offering to help them plan their first Tri-M Induction Ceremony. If you do not currently have a chapter at your school, but would like to start one, just send me an e-mail at jcaithaml@ midviewk12.org. I will provide you with some resources to help get your chapter up and running and can connect you with schools in your area that have an existing chapter. If you are an OMEA District Officer, consider appointing a District Tri-M Advisor to help oversee the Tri-M chapters in your district and promote collaboration among chapters in your area.

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Looking to the future, it is entirely possible to meet the goal of 100 Tri-M chapters in Ohio by 2020. If each OMEA district started three new chapters by next school year, this goal would be met.

There were twelve new chapters started in the Southwest and South Central regions for the 201819 school year alone. I sense that there is a new enthusiasm for the value of Tri-M within a school’s culture and it is time that more students across Ohio have the opportunity to be recognized for their exemplary musicianship and leadership skills.

To me, the goal of Tri-M can be summarized with the following equation: recognizing successful music students + meaningful service = Strong advocacy for music education.

Tri-M chapters strengthen the case for the importance of music everywhere. So what are you waiting for? Start a chapter at your school and show everyone in your community why music is so important.

Together we can meet the goal of 100 chapters by 2020.

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 Vice President of the Board of Directors at the Ohio Alliance for Arts Education.

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PUBLICATION SCHEDULE

TRIAD ISSUE October/November 2019 December ‘19/January ‘20 April/May 2020

*Copy must be in the hands of the editor on schedule.

DEADLINE DATE* August 5, 2019 October 1, 2019 February 10, 2020

POSTING DATE** October 7, 2019 December 2, 2019 April 6, 2020

*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. . . . . . . . . 37

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

Baldwin Wallace University. . . . . . . . . . . . . . http://bw.edu/conservatory. . . . . . . . . . . . 42

OFME Golf Outing. . . . . . . . . . . . . . . . . . . . . . . http://www.ohiofoundationformusiceducation.org . . 46

Blue Lake Fine Arts Camp. . . . . . . . . . . . . . . http://www.bluelake.org. . . . . . . . . . . . . . . . 9

Ohio Northern University. . . . . . . . . . . . . . . http://www.onu.edu/music. . . . . . . . . . . . . 45

Bowling Green State University . . . . . . . http://www.bgsu.edu/music. . . . . . . . . . . . 5

OSU String Teacher Workshop. . . . . . . . . . . http://stw.osu.edu. . . . . . . . . . . . . . . . . . . . . 41

Capital University. . . . . . . . . . . . . . . . . . . . . . http://www.music.capital.edu. . . . . . . . . . 54

Otterbein University. . . . . . . . . . . . . . . . . . . http://www.otterbein.edu . . . . . . . . . . . . . 35

Case Western Reserve University . . . . . . . http://music.case.edu. . . . . . . . . . . . . . . . . . . 35

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

Cleveland State University. . . . . . . . . . . . http://www.csuohio.edu/class/music. . . 59

Royalton Music Center. . . . . . . . . . . . . . . . . http://www.royaltonmusic.com. . . . . . . . 50

CMS Publications . . . . . . . . . . . . . . . . . . . . . . . http://www.cmspublications.com. . . . . . 58

Smoky Mountain Music Festival. . . . . . . . . http://www.smmfestival.com. . . . . . . . . . 54

College of Wooster, The. . . . . . . . . . . . . . . . . http://www.wooster.edu/music. . . . . . . . 56

Soundcheck Audiology . . . . . . . . . . . . . . . . . http://www.soundcheckaudiology.com. . . . . . 49

Contributions to Music Education. . . . . . . http://www.contributions.omea-ohio.org. . . . 6

Stanton’s Sheet Music. . . . . . . . . . . . . . . . . . . http://www.stantons.com. . . . . . . . . . . . . . 65

Heidelberg University. . . . . . . . . . . . . . . . . http://www.heidelberg.edu. . . . . . . . . . . . 61

Summit Tour & Travel. . . . . . . . . . . . . . . . . . http://www.summittourtravel.com. . . . . 19

Kent State University. . . . . . . . . . . . . . . . . . http://www.kent.edu/music. . . . . . . . . . . . 62

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

Malone University. . . . . . . . . . . . . . . . . . . . . http://www.malone.edu/music . . . . . . . . . 7

University of Dayton. . . . . . . . . . . . . . . . . . . http://academic.udayton.edu/music . . . 31

Marietta College. . . . . . . . . . . . . . . . . . . . . . . http://music.marietta.edu. . . . . . . . . . . . . . 62

University of Mount Union . . . . . . . . . . . . http://www.mountunion.edu/music . . . 52

Miami University . . . . . . . . . . . . . . . . . . . . . . http://www.miamioh.edu/music. . . . . . . 33 Musicians Repair Service. . . . . . . . . . . . . . . . http://www.mrsakronohio.com . . . . . . . . 27

* Bold signifies a Corporate/Institutional Partner

Muskingum University . . . . . . . . . . . . . . . . . http://www.muskingum.edu/dept/music .. . . 53

APRIL/MAY 2019

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