TRIAD - SPRING 2021 by Ohio Music Education Association

ISSUE THREE

TRIAD A P R I L / M AY 2 0 2 1

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TABLE OF

C O N T E N TS 4

FROM THE EDITOR: Dr. Terri Brown Lenzo

FROM THE PRESIDENT: Dr. Ann Usher

FEATURE ARTICLE

MUSIC TECHNOLOGY, REMOTE INSTRUCTION, AND VISUAL IMPAIRMENT - Dr. Jay Dorfman and Jessica Stover

MASTERING THE CRAFT

ORCHESTRA: IMITATE–ASSIMILATE–INNOVATE: REVOLUTIONIZING THE ORCHESTRA

LESSON IN AN UNCERTAIN TIME - Roberto Iriarte

STUDENT ASSESSMENT: EXPLORING CHANGES TO THE 2021 OHIO MUSIC STANDARDS - Heather Marsh

TECHNOLOGY: TEACHING MUSICAL CONCEPTS THROUGH POPULAR

MUSIC WITH TECHNOLOGY - Ryan Van Bibber

REFLECTION & PERSPECTIVE: WHO WE WERE, WHO WE BECAME, WHAT WE WILL BE - Dr. Lisa Martin

HIGHER EDUCATION

CHOOSING A GRADUATE PROGRAM IN MUSIC EDUCATION: ADVICE FROM CURRENT STUDENTS -

Marsha Croskey Kincade, Adrienne Bedell, Jason Falkofsky, Dennis P. Giotta, Bethany Nickel, Allison M. Paetz

CULTURALLY RESPONSIVE PEDAGOGY

CELEBRATING AFRICAN AMERICAN MUSICIANS: SOCIAL MEDIA AS AN EDUCATIONAL TOOL - Jennifer Culver

REPORTS, REVIEWS & UPDATES

CORPORATE INSTITUTIONAL PARTNERS

OCDA PROFESSIONAL ASSOCIATION REPORT - Brandon L. Moss

OHIO FOUNDATION FOR MUSIC EDUCATION SUPPORT FORM

HIGHER EDUCATION - CASE WESTERN RESERVE UNIVERSITY

2021 VIRTUAL PROFESSIONAL DEVELOPMENT CONNECTION WRAP-UP REPORT

A MESSAGE FROM THE DIRECTOR OF BUSINESS AND TRADE SHOW OPERATIONS

2022 OMEA PDC ALL-STATE ENSEMBLES AUDITION INFORMATION

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.

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INFORMATION

N E T WO R K EDITOR: DR. TERRI BROWN LENZO

OMEA OFFICE P.O. BOX 1067 Massillon, OH 44648 330.833.5677 - Office www.omea-ohio.org

editor_of_triad@omea-ohio.org

DESIGN/PRODUCTION: AMY ANNICO Director of Media and Publications media_director@omea-ohio.org

ROGER A. HALL Executive Director executive_director@omea-ohio.org

ADVERTISING: BILL WITTMAN

Director of Business & Trade Show Operations business_director@omea-ohio.org

BILL WITTMAN Director of Business & Trade Show Operations business_director@omea-ohio.org

TRIAD VOL. LXXXVIII, NO. 3

TRIAD EDITORIAL BOARD Immediate Past Editor - Eric West Band - Heather Marsh Culturally Responsive Education - Dr. Lisa Wong Orchestra/Strings - Roberto Iriarte Student Assessment - Dr. Lisa Martin Teacher Education - Dr. Heather Russell Technology - Brian Laasko

AMY L. ANNICO Director of Media & Publications media_director@omea-ohio.org GREGORY S. TAYLOR Director of Technology technology_director@omea-ohio.org MARK A. HENSLER Director of Professional Development & Conference Management pd_director@omea-ohio.org WILLIAM THOMAS Director of Adjudications adjudications_director@omea-ohio.org DANE NEWLOVE Director of Adjudicated Event Materials and Awards 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

OMEA TRUSTEES DR. ANN USHER President president@omea-ohio.org DANIEL RUCKMAN President-Elect president_elect@omea-ohio.org KATHLEEN MCGRADY Immediate Past-President past_president@omea-ohio.org ROBERT ANTONUCCI Secretary secretary@omea-ohio.org DR. TERRI BROWN LENZO Editor of TRIAD editor_of_triad@omea-ohio.org MICHAEL KELLY Treasurer treasurer@omea-ohio.org

OCMEA OFFICERS VIKTORIA STRAKA OCMEA President ocmea_president@omea-ohio.org RACHEL KRUEGER OCMEA President-Elect ocmea_president_elect@omea-ohio.org KATIE JOHNSON OCMEA Secretary ocmea_secretary@omea-ohio.org JACOB BUTZIN Membership Chair jbutzin12@icloud.com TAI KNOLL Communications Director tlknoll@bgsu.edu OCMEA STATE ADVISER WENDI BECHTOL-DAVIS davis@cory-rawson.org

APRIL/MAY 2021 | 3

F RO M T H E E D I TO R Dear Readers: Articles in this issue represent a variety of contemporary music education topics. First, I want to highlight the Feature Article, written by Dr. Jay Dorfman and Jessica Stover—“Music Technology, Remote Instruction, and Visual Impairment”. Dr. Dorfman shares information from an interview he conducted with Jessica Stover, an undergraduate music education major. Jessica explains some of the challenges that software and learning management systems can pose to students with visual impairments. Additional articles: • Jennifer Culver: “Celebrating African American Musicians: Social Media as an Educational Tool” • Roberto Iriarte: “Imitate–Assimilate– Innovate: Revolutionizing The Orchestra Lesson in an Uncertain Time” • Marsha Croskey Kincade et al.: “Choosing a Graduate Program” • Heather Marsh: “Exploring Changes to the 2021 Music Standards” • Dr. Lisa Martin: “Who We Were, Who We Became, What We Will Be” • Ryan Van Bibber: “Teaching Musical Concepts Through Popular Music with Technology” 4 | TRIAD

This is the last issue in my two-year term as editor. I have thoroughly enjoyed reading each article and interacting with the authors. I thank them for their work—particularly during this last year—when writing and other creative activities may have been a bit more difficult. I am sharing the list of articles from the past two years and encourage you to read something of interest to you, if you haven’t yet had the opportunity. Please consider contacting the authors to engage with them or to offer your appreciation. On behalf of all authors and myself—a big thankyou to Amy Annico, director of media & publications, for making our work look fantastic! Sincerely, Terri Brown Lenzo, Ph.D. Editor of TRIAD Terri Brown Lenzo, Ph.D., is an associate professor of music education at Ohio Northern University. She holds degrees from The University of Cincinnati College-Conservatory of Music, The University of Iowa, and Kent State University. Dr. Lenzo has 26 years of experience teaching PK –12 students, having worked as a 5-12 band director and as a general music teacher in public and private schools and in entrepreneurial contexts. Her research interests include early childhood music education, Orff Schulwerk in band settings, and music integration by classroom teachers.

WINTER ISSUE 2020-2021

SPRING ISSUE 2019-2020

1. Feature Article: “Providing Emotional Support for Students During a Pandemic: An Interview with a Counseling Professional” by Heather Marsh 2. Culturally Responsive Education: “Exploring Moroccan Music Through Experiential Learning” by Tai Knoll 3. Mastering the Craft: Technology: “Technologies for Remote Teaching and Learning” by Dr. Darren LeBeau and Dr. Kate Ferguson 4. Mastering the Craft: Early Childhood Education: “Tidying Up Your Early Childhood Repertoire List” by Dr. Lisa Huisman Koops 5. Mastering the Craft: Early Childhood Education: “Early Childhood Music Education: A Position Statement of the National Association for Music Education” reprinted with permission from NAfME 6. Mastering the Craft: Early Childhood Education: Teaching Early Childhood Music in the Time of COVID-19: Addendum to the Early Childhood Music Position Statement” reprinted with permission from NAfME

1. Mastering the Craft: Band: “Summer Professional Development for Band Directors” by Heather Marsh 2. Mastering the Craft: Choir: “Affirmations in Rehearsal: Building a Culture of Empathy” by Dr. Brad Pierson 3. Mastering the Craft: Technology: “Translating Music to Audio: Basic Terminology” by Ryan Van Bibber 4. Creating New Pathways to Musicianship: “Keeping Students Musically Engaged Over the Summer” by Dr. Lisa Martin 5. Culturally Responsive Education: “Bridging Cultures Through World Music Pedagogy” by Dr. Janet Robbins

FALL ISSUE 2020-2021 1. Research to Practice: “Diversity, Discipline, and Dominant Culture: Implications for Music Teachers” by Dr. Lisa Martin 2. Mastering the Craft: Student Assessment: “Assessment: Measuring Growth Within Performance Ensembles” by Dr. Emily Pence Brown 3. Culturally Responsive Pedagogy: “Resources for 2020” by Dr. Lisa Wong 4. Mastering the Craft: Band: “Implementing a Mentoring Program” by Heather Marsh 5. Mastering the Craft: Technology: “Trusting Student Capabilities During Times of Trouble” by Bethany Nickel 6. Mastering the Craft: Clarinet Playing: “Book Review: Squeak Big! Practical Fundamentals for the Successful Clarinetist by Dr. Philip Paglialonga” by Dr. Christopher Bowmaster

FALL ISSUE 2019-2020 1. Feature Article: “Healthy Work-Life Balance: The Unicorn of Music Education?” By Dr. Lisa Martin 2. Mastering the Craft: Band: “A Quest for Constant Improvement” by Heather Marsh 3. Mastering the Craft: Teacher Education: “Choosing a Music School” by Dr. Heather Russell 4. Research-to-Practice: “Flying to the Moon with an Eye Toward Home: Music Education Research and its Practical Application for the PK-12 Music Educator” by Sarah L. Deskins 5. Creating New Pathways to Musicianship: “Modern Band in Two Ohio Music Programs” by Dr. Jay Dorfman and LeslieAnne Bird 6. Creating New Pathways to Musicianship: “Cavalier Steel: From the Beginning—An Interview with Dan Ruckman and Dane Newlove” by Sarah Waters

WINTER ISSUE 2019-2020 1. Mastering the Craft: Orchestra: “Orchestral Programming” by Roberto Iriarte 2. Mastering the Craft: Student Assessment: “Student Assessment: Content-Rich, Comprehensive Approaches for Music Teachers” by Dr. Lisa Martin 3. Creating New Pathways to Musicianship: “My Journey to the Feierabend Curricula” by Laura Hartzler 4. Culturally Responsive Education: “Inclusive Programming” by Dr. Lisa Wong APRIL/MAY 2021 | 5

Practice your passion.

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EnSEMblES

University Chorale, Amplified Chamber Choir, Pioneer Spirit Marching Band, Symphonic Band, Jazz Ensemble, Piano Ensemble, Chamber Ensemble

AUDITIOn DATES

See a schedule at www.malone.edu/music.

SCHOlARSHIPS

Scholarships are available for majors and non-majors. Malone University is an accredited institutional member of the National Association of Schools of Music.

6 | TRIAD

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

OHIO NORTHERN UNIVERSITY

PROGRAMS IN MUSIC Fully accredited by the National Association of Schools of Music

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Ou tst a Ex ndi n c e Sta pt g o i te- on rche of- ally the ac stra, -ar co cho t f mp ra ac ilit lishe l and ies d p • G and iano en de ero di prog us cate ram sc ho d fac s lar sh ulty ips

Offering the following degree programs: • Bachelor of Music in Music Education • Bachelor of Arts in Music with concentrations in Sound Recording Technology, Music Theory & Composition, Music History & Literature, or Applied Studies • Bachelor of Fine Arts in Musical Theatre • Arts Administration Minor with ample internship offerings • Music Minor • Outstanding opportunities for double majors

F RO M T H E P R ES I D E N T Welcome to the spring edition of TRIAD. The end of this difficult year is in sight, and the rollout of the vaccine brings us all hope that next year, while certainly not “normal”, will be better! Now is indeed the time for advocacy efforts to ensure that all students can be guaranteed a quality music education, taught by licensed music educators. These efforts must begin in your classrooms, in your districts, and with our state and federal government. If you have not yet distributed the Arts ARE Education Pledge to your parents and administration, I encourage you to visit https://www.artsareeducation.org/sign-the-pledge to download the pledge and to read more about it. Have important discussions with your administrators now about what next year might look like, and volunteer to be on planning committees in your buildings. Remember, if you’re not at the table, you might be on the menu! Our end-of-the-year issue requires many thanks to those who have worked tirelessly for our organization. We are grateful to outgoing trustees Terri Brown Lenzo, editor of TRIAD, and Robert Antonucci, state secretary, for the many, many hours of virtual meetings, emails, and work to help lead during these difficult times. Our thanks also go to the district presidents, region chairs, and treasurers who will leave office on July 1st, and to all of the returning trustees and officers who have 8 | TRIAD

graciously given extra time this year for the benefit of all. We are so lucky to have OMEA staff members Mark Hensler, director of professional development & conference management, Amy Annico, director of media and publications, and Bill Wittman, director of business and trade show operations, who produced two wonderful virtual conferences this year. We thank Jay Wardeska and the entire AE Committee, along with Bill Thomas, director of adjudications, and Dane Newlove, director of adjudicated event materials and awards, for their incredible efforts to pivot our adjudicated events to virtual formats this year that enabled thousands of Ohio students to still have meaningful adjudicated event experiences. None of the virtual PD or adjudicated events would have happened without the genius of Greg Taylor, director of technology, or the leadership of Roger Hall, executive director. This is evident when I listen to other state MEA presidents talk of their financial and technological challenges. We, in Ohio, have the very best staff and volunteers that have made lemonade out of lemons this year and for all, I am grateful. As the end of the year approaches, more schools are in person five days a week, spring concerts are being planned, and many are actually making music together again. Now is the time for us to reflect on all of the new skills we have learned over the course of

Congratulations to all music educators for teaching and making music, no matter the circumstances. We appreciate you, and we look forward to seeing you in person soon.

Coming this summer!

School of Music

Brass Performance Online Seminar Tuesday - Thursday, June 1 - 3 For high school students, 9th - 12th grade. Cost $100 for three days. For more information, contact trumpet professor Dr. Jim Johnson at jjohnson@uakron.edu, or tuba/euphonium professor Dr. Christopher Blaha at cblaha1@uakron.edu.

Saxophone Online Camp Monday and Tuesday, June 14 - 15

• Outstanding programs, ensembles, and facilities • Numerous performance opportunities • Masterclasses and residencies by acclaimed guest artists • Affordable tuition and generous scholarships • Internationally renowned faculty-musicians

DEGREE PROGRAMS Bachelor of Music (B.M.) • Music Education • Performance • Accompanying

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Bachelor of Arts in Music (B.A. in Music) Bachelor of Arts in Music with Business Cognate Master of Music (M.M.)

The University of Akron School of Music Dr. Marc Reed, Director 330-972-7590 • music@uakron.edu www.uakron.edu/music

For high school students, 9th - 12th grade. Free – optional paid lesson available. For details, contact saxophone professor Dr. Todd Gaffke at tgaffke@uakron.edu.

Summer Symphonic Band June 15 - July 15 Tuesdays and Thursdays, 6 - 7:30 p.m. Concert Thursday, July 15, 7 p.m. Guzzetta Lawn, 157 University Ave. No tuition – pay only fees! Rehearsals outside on the lawn, weather permitting. In case of rain, rehearsals will be held in the parking deck. Social distancing in effect. Masks and bell covers required. Dr. Galen Karriker and Dr. Andrew Feyes conduct. Join us for a fun and safe return to live music! For details, contact Dr. Karriker at gsk1@uakron.edu. For more information: 330-972-8301 music@uakron.edu The University of Akron

Buchtel College of Arts and Sciences

School of Music

this pandemic and find ways to incorporate those that have proved beneficial into our teaching for next year and beyond. We mourn the thousands of lives lost, but take comfort in knowing that we are better for many of the lessons forced upon us during this crisis. We are, indeed, stronger together. I hope you have a safe, happy, and restful summer and look forward to seeing you in person soon! Ann Usher

Ann Usher is the associate dean for the Arts and Humanities Divisions of Buchtel College of Arts and Sciences and professor of music at The University of Akron in Akron, OH, where she teaches graduate and undergraduate courses, supervises student teachers, and coordinates the music education program. She has served OMEA in many capacities, including district president, conference co-chair, on the AE Committee from 1999-2013, and as the inaugural director of the All-State Children’s Chorus in 2014. Dr. Usher recently retired after her twentieth season as director of the Cleveland Orchestra Children’s Chorus. Active as a clinician and adjudicator, she holds a bachelor of music education degree from the University of Northern Iowa, as well as a master of music degree in choral conducting and a doctorate in music education from Kent State University.

BRIAN MEYERS, EDITOR

(CONTRIBUTIONS@OMEA-OHIO.ORG) Contributions to Music Education

Contributions m u s i c to e d u c a t i o n Music Education

c o n t r i b u t i o n s

2011. Volume 38, No. 2

y the

ATION

2011. Volume 38, No. 2

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. 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!

• URBAN AND SUBURBAN MUSIC PROGRAMS

• BEST PRACTICES IN BAND ROOMS

• TEACHER PROFESSIONAL IDENTITIES

• BEGINNING MUSICAL INSTRUCTION

• LISTENING IN MUSIC CLASSROOMS

• INSTRUMENTAL AND CHORAL PROGRAMS

• BAND, CHORAL, ORCHESTRA, GENERAL MUSIC

• INTRINSIC & EXTRINSIC MOTIVATION

• SIGHT-SINGING ATTITUDES & INFLUENCES

• ISSUES OF SOCIAL JUSTICE IN SCHOOLS

• EARLY CHILDHOOD MUSIC EDUCATION

• CURRENT MUSIC TECHNOLOGY PRACTICES

• PROGRAMMING CHOICES & POLICIES

• INNOVATIVE WAYS TO TEACH MUSIC

• HISTORICAL TRADITIONS & METHODS

• MANY, MANY MORE!

10 | TRIAD

CORPORATE INSTITUTIONAL PARTNERS LEVEL III PRESIDENT’S CLUB In these challenging times the Ohio Music Education Association truly appreciates the support of those organizations, listed below, who have become Corporate or Institutional Partners in our efforts to support Music Education throughout Ohio. The OMEA Corporate/Institution Logo may be displayed for the purpose of identification as an Ohio MEA Corporate Partner. Alfred Music P.O. Box 10003 Van Nuy, CA 91410-0003 http://www.alfred.com/

Quaver Music 65 Music Square W Nashville, TN 37203 http://www.QuaverMusic.com

Bob Rogers Travel 3440 Lacrosse Lane Naperville, IL 60564 http://www.bobrogerstravel.com

Rettig Music 510 Clinton St. Defiance, OH 43512 https://rettigmusic.com

Bowling Green State University College of Musical Arts Moore Musical Arts Center Bowling Green, OH 43403 http://www.bgsu.edu/music

Royalton Music Center 10167 Royalton Road Unit A North Royalton, OH 44133 http://www.royaltonmusic.com

Make Music, Inc. 7007 Winchester Circle #140 Boulder, CO 80301 http://makemusic.com Noteworthy Tours, Inc. 231 West Washington Row Sandusky, OH 44870 http://www.noteworthytours.com Ohio State University School of Music, The 110 Weigel Hall, 1866 College Rd. Columbus, OH 43210 http://music.osu.edu

Solich Piano and Music Company 1315 Boardman-Canfield Road Boardman, OH44512 http://www.solichmusic.com Wenger Corporation 555 Park Drive Owatonna, MN 55060 http://www.wengercorp.com Yamaha 6600 Orangethorpe Avenue Buena Park, CA 90620 http://www.usa.yamaha.com

Peripole, Inc. PO Box 12909 Salem, OR 97309 https://www.peripole.com APRIL/MAY 2021 | 11

CORPORATE INSTITUTIONAL PARTNERS LEVEL II OMEA PATRON In these challenging times the Ohio Music Education Association truly appreciates the support of those organizations, listed below, who have become Corporate or Institutional Partners in our efforts to support Music Education throughout Ohio. The OMEA Corporate/Institution Logo may be displayed for the purpose of identification as an Ohio MEA Corporate Partner. Akron, The University of School of Music, Guzzetta Hall 260 Akron, OH 44325-1002 http://www.uakron.edu/music

Bluffton University 1 University Dr., #58 Bluffton, OH 45817 http://www.bluffton.edu/music

Ashland University 401 College Avenue Ashland, OH 44805 http://www.ashland.edu/music

Capital University One College and Main Columbus, OH 43209 http://www.capital.edu/Conservatory

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12 | TRIAD

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CORPORATE INSTITUTIONAL PARTNERS LEVEL II OMEA PATRON Case Western Reserve University 10900 Euclid Ave. - 201 Haydn Hall Cleveland, OH44106-7105 http://music.case.edu

https://www.onu.edu/academics/music-education

Educational Tours, inc. PO Box 257 Holt, MI 48842 http://www.tours-eti.com

Otterbein University Department of Music 1 South Grove St. Westerville, OH 43081 http://www.otterbein.edu/music

Fred J. Miller Inc. 8765 Washington Church Rd Miamisburg, OH 45342 http://www.fjminc.com

University of Toledo, The Dept. of Music MS 605 2801 W. Bancroft St. Toledo, OH 43606-3390 http://www.utoledo.edu/al/svpa/music

Kent State University 1325 Theatre Drive Kent, OH 44242-0001 http://www.kent.edu/music Miami University Department of Music 501 S. Patterson Ave, 109 Presser Hall Oxford, OH 45056 http://miamioh.edu/cca/academics/departments/music/

Muskingum University 10 College Drive, P.O. Box 1837 New Concord, OH 43762 http://www.muskingum.edu/music

Ohio Northern University 525 South Main Street Ada, OH 45810

Wittenberg University 632 Woodlawn Ave. Springfield, OH 45504 http://www.wittenberg.edu/academics/music.html

Youngstown State University Dana School of Music One University Plaza Youngstown, OH 44555 http://www.ysu.edu/dana

APRIL/MAY 2021 | 13

SCHOOL OF MUSIC VIRTUAL SPRING VISIT DAY Saturday, April 17, 2021

For all high school musicians

YOUTH SUMMER MUSIC PROGRAMS In-Person Program*

Ohio State Marching Band Summer Clinic | July 9–11

Virtual Programs

*While uncertainties related to COVID-19 remain,

the safety of our community continues to be our top priority. Should it become necessary to change the delivery method of our day programs, students and families will be notified promptly. Visit music.osu.edu/outreach for details.

NEW! Leadership Intensive | June 14–16 Flute Workshop | June 20–24 Saxophone Camp | June 28–30

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14 | TRIAD

Only Otterbein.

CORPORATE INSTITUTIONAL PARTNERS LEVEL I OMEA SPONSOR In these challenging times the Ohio Music Education Association truly appreciates the support of those organizations, listed below, who have become Corporate or Institutional Partners in our efforts to support Music Education throughout Ohio. The OMEA Corporate/Institution Logo may be displayed for the purpose of identification as an Ohio MEA Corporate Partner. College of Wooster Scheide Music Center Wooster, OH 44691 https://www.wooster.edu/departments/music/

J.W. Pepper Inc. 6330 E 75th Street, Suite 122 Indianapolis, IN 46250 http://www.jwpepper.com

Heidelberg University School of Music & Theatre 310 East Market Street Tiffin, OH 44883 http://www.heidelberg.edu

Malone University 2600 Cleveland Ave. NW Canton, OH 44709 http://www.malone.edu/music University of Mount Union 1972 Clark Avenue Alliance, OH 44601 http://www.mountunion.edu/music

PERSONALIZING LEARNING Real World Experience Sing with the Toledo Opera, perform in a jazz club, attend a Toledo Symphony performance, and intern in a professional recording studio. Located in a culturally rich Toledo region, UToledo provides opportunities for music students to hone their skills.

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Scholarships Available Highly competitive scholarships are available for talented students. Apply for an audition online at utoledo.edu/al/svpa/music/degrees/audition.html

APRIL/MAY 2021 | 15

16 | TRIAD

FEATURE ARTICLE

MUSIC TECHNOLOGY, REMOTE INSTRUCTION, AND VISUAL IMPAIRMENT Dr. Jay Dorfman and Jessica Stover Perhaps receiving less attention than many the myriad difficulties of moving to remote instruction during the pandemic has been students’ struggles with software that they had not previously encountered. These struggles are only amplified for students with any kind of learning difference or disability. Learning management system software (such as Blackboard or Google Classroom) relies on a lot of text and nested navigation; music software often contains many small, specialized buttons and controls that may be unfamiliar to new users. Researchers have suggested that allowing students to adapt to software is a possibility, but enhancements to software may be more effective (Gorbunova & Voronov, 2018). At Kent State, all music education students take a course called Progressive & Vernacular Music Methods in which we focus on areas of music teaching and learning that may be left out of more traditional methods classes. The class relies heavily on technology for completing projects, and this was emphasized in the remote format with all classes meeting through synchronous video. Partway through the semester, I noticed that this situation was particularly cumbersome for students with visual impairments such as Jessica. Jessica’s visual impairment is a result of retinopathy of prematurity, and her eyesight has worsened over the years. A staunch advocate for rights for the blind, Jessica is in the process of learning Braille and Braille music. Her guide dog, Inca, is a regular around the Kent State Music Education suite, and Jessica says that Inca enjoys musical activities as much as she does. Jessica began her pursuit of music teacher licensure in the early 2010s, and after completing a degree in music technology, has returned to school to finish licensure. The purpose of this article is to share some of Jessica’s thoughts on interaction with music technologies and education technologies, particularly in the remote learning environment. I posed some questions to Jessica to probe into her experiences and learn about how this class, and perhaps others, could be altered for students with visual impairments.

WHAT OBSTACLES DO YOU ENCOUNTER MOST WHEN ENGAGING WITH MUSIC SOFTWARE? Navigating some music software can be difficult when using assistive technology such as JAWS for Windows or VoiceOver for iOS, which are both screen reader software. This kind of software allows users with limited vision to navigate a computer screen. It frustrates me when I purchase music software/ apps, and I find out that they are not accessible at all. A fully sighted person can easily scan the interface, whereas someone with blindness needs to use the tab key or some other combination of keys on the keyboard so they can hear what is on the page for each button. I find myself not being able to interact with some of the music software due to the buttons being unreadable by the screen reader software. WHAT REMEDIES DO YOU USE TO MAKE THESE OBSTACLES LESS PROBLEMATIC? I tend to stick with what I know that works well with VoiceOver, but I like to stay up to date on what’s out there today. Sometimes I use a fellow sighted musician that can help with reading what’s on a page. I do have some usable vision and can use the zoom function, but the eye strain gets too much after ten minutes or so. AS AN ADVOCATE FOR THE BLIND, YOU HAVE INTERACTED WITH SOME SOFTWARE COMPANIES WHEN YOU FIND THAT THEIR PRODUCTS ARE NOT AS ACCESSIBLE AS THEY MIGHT BE. WHAT HAVE THOSE EXPERIENCES BEEN LIKE? Some companies send an email back right away and say they will work on fixing the issues, while others I have not heard back from. I am persistent, and I hope that “the squeaky wheel gets the oil.”

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HOW HAS THE SHIFT TO REMOTE LEARNING BEEN FOR YOU? Most of us can say that it has been an interesting shift. Remote learning has been a trial-and-error process for me. For those of us with blindness that use any sort of screen reader, we experience sensory overload trying to pay attention to the instructor while hearing what is being read on the screen each time a student interacts in the course room such as raising/ lowering of virtual hands, any comments in the chat, or people leaving and entering the room. It is a blessing and a curse. Things can get lost in translation, but I feel that my professors at Kent State have done an excellent job with helping me out in modifying some of the instruction that takes place. WHAT ADVICE WOULD YOU OFFER TEACHERS WHO HAVE STUDENTS WITH VISUAL IMPAIRMENTS AND WANT TO ENGAGE THEM WITH MUSIC TECHNOLOGY? Have a talk with the student and ask them what will work best for them. There are varying degrees of vision loss, so interacting with each student with a visual impairment will be different. It is not one-size-fits-all. Make sure that any music technology you have is as accessible as can be, knowing that nothing is perfect. Allow for them to have the extra time on any project because even if the software works great with screen readers, one has to take into account navigating each area of the screen.

STRATEGIES In her responses to my questions, and in our conversations about this topic, Jessica revealed that such heavy reliance on computers for an entire semester of remote learning really was difficult. I tried some strategies to support her, with varying levels of success: 1) sending her printed/scanned materials in advance of class meetings, 2) reviewing software and other materials in advance of class myself to identify potential causes of difficulty, 3) consulting with her about concerns and soliciting her input about how to remedy them. I was indeed fortunate that Jessica is a strong advocate for herself (who is, in fact, very active as the Vice President of the Ohio Association of Blind Students, a division of the National Federation of the Blind), and who speaks up without hesitation when she encounters difficulties that fully sighted people may not have. It is our responsibility as teachers to recognize difficulties that our students with learning differences may have, and do all we can to help them thrive. The transition to fully remote instruction, and the resulting reliance on technology, may have caused obstacles for your students, and my hope is that learning a bit about Jessica’s experiences may encourage you to seek the best routes forward for your own circumstances.

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REFERENCE Gorbunova, I. B. & Voronov, A. M. (2018). Music computer technologies in computer science and music studies at schools for children with deep visual impairment. 16th International Conference on Literature, Languages, Humanities & Social Sciences (LLHsSS-18). Budapest, Hungary. https://doi.org/10.17758/URUAE4. UH10184021 RESOURCES Using JAWS Screen reader software: https://drive.google.com/ file/d/1FHV4OlGlWV-JYV6PXD7caNJ-91_mYjDd/ view?usp=sharing.[JAWS is commercially available software.] Using VoiceOver for Mac: https://www.apple.com/voiceover/ info/guide/_1124.html [VoiceOver is a component built in to Apple computers, as well as mobile devices.] National Federation of the Blind Ohio Chapter: https://nfbohio.org

Jay Dorfman is associate professor and coordinator of music education, and assistant to the director of the Hugh A. Glauser School of Music at Kent State University. He holds bachelor’s and master’s degrees in music education from the University of Miami (FL) and the PhD in music education from Northwestern University. Dr. Dorfman teaches classes in music technology, progressive and vernacular music methods, and graduate research. He has published research in several music education journals including the Journal of Research in Music Education and the Journal of Music Teacher Education, and he is the author of Theory and Practice of Technology-based Music Instruction (Oxford University Press). Jessica Stover received her bachelor’s degree in saxophone performance from Kent State University and a postgraduate degree for music production from Kent State University Stark. Jessica performs both solo performances and with a jazz combo, at various venues around the northeast Ohio area. She has received outstanding soloist awards each year from 2010-2013 at the prestigious Elmhurst College Jazz Festival. From 20172018 she taught adult learners with varying degrees of vision loss giving lectures on jazz history, leading a singing class, and teaching bell choir. She presently serves as vice president for the Ohio Association of Blind Students, a division of the National Federation of the Blind (NFB). She most recently had the opportunity to lobby on Capitol Hill, advocating to make apps and websites more accessible for those with blindness. Jessica is now pursuing her degree in music education at Kent State University and lives in Stow, Ohio with her guide dog Inca.

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M AST E R I N G T H E C R A F T O RC H EST R A

IMITATE–ASSIMILATE–INNOVATE: REVOLUTIONIZING THE ORCHESTRA LESSON IN AN UNCERTAIN TIME Roberto Iriarte Musicians often live by philosophies that drive them in positive directions in order to reach goals in every aspect of performance, composition, production, and education. Trumpet master Clark Terry often taught this philosophy in relation to jazz improvisation– imitate, assimilate, innovate. I was fortunate enough to have heard Clark deliver this at a master class in 1991 at the Elmhurst College Jazz Festival. While this philosophy can apply to many things in life, let us stick to the orchestra at this time. In these uncertain times, your music classroom has likely gone through a rebirth and/or transformation since you left the building in March. By now, you may have been “All-in,” “Hybrid,” or “All Remote” in your school. Some of you may have been reassigned to another subject with music having been cancelled in your building. These are all realities of the pandemic era. Let us take this opportunity to explore some things in order to remain relevant in educating our students during these unprecedented times. IMITATE Humans first learn language by ear, not by reading. Treat music the same way. It is beneficial to listen to the music more than to read the music, particularly in the early stages of learning. Use balance to build both skills, keeping in mind that balance does not necessarily mean 50/50. Tip the balance heavier toward the listening, and the achievement of your students will begin to increase.

We should be modeling best practices for our students on one or more instruments in order to show them how we want them to look and sound. Our students need to see us demonstrate what we are asking them to do. Play for your students in person and on recorded lessons for them to have at home. If you are not comfortable with playing as an example for your students, make a change. Practice more or hire a professional to be the example if it is an instrument you are not comfortable playing. Share great performances of music with your students. You can do this via audio and video for your students to copy sound, style, bow skills, and more. Using real-world examples is one of the most effective and efficient ways for them to hear and to see where we want them to go. Do this for your students often. Use a variety of resources including books, audio recordings, scores, and electronic media of all kinds in order to meet today’s expectations in the music world. PLATFORMS AND APPLICATIONS All of these examples can be organized and shared with your students using a variety of platforms, including Google Classroom or YouTube for posting video and audio. Create interactive Google Slides using the add on Flat. io which you can use to write out music on Slides and on Google Docs. Teachers and students can use this tool if they do not have access to Sibelius or Finale. Screencastify (video/audio add-on to browser) and Audacity (audio only application) are free. For students using phones APRIL/MAY 2021 | 21

or Chromebooks, Voice Recorder is another useful app. Mac users can use iMovie or GarageBand for recording and mastering files. Choose what you are comfortable and efficient using. If you are not familiar with any of these, YouTube is loaded with “how to” videos for all of the above apps and platforms. Free Technology for Teachers and Richard Byrne on YouTube have some concise and searchable pages for many tech tools. Investing in a recording microphone will improve the sound quality of your instrument and your voice in recorded lessons. There are many options at all price points from makers such as Shure, AudioTechnica, and Blue. There are many choices for standard XLR cables that require an audio interface or a simple plug and play with USB or a lightning connector that plug directly into your phone, tablet, or computer. ASSIMILATE The next level in teaching and learning is to assimilate. With our guidance, this is where we meet each student where they are, helping them to advance their skills and to find new ways to apply their skills in the literature. Our guidance has to start with how to practice. Too often, students hear, “Okay, now go practice this.” Teaching our students to practice is quite possibly more important than what to practice. Help your students connect the technique to the music. For example, show them where they are applying learned finger patterns in the music. Use finger pattern exercises, scales, arpeggios, short melodies, orchestral excerpts, chamber music. or solos for curriculum. The chamber music and solo literature models can be very effective in this pandemic era when we may or may not be able to have our traditional performances. Using these materials may be the next way to have a concert with limited numbers in audiences and on stage. Students can learn to thrive in chamber music and solo literature even if they have never done it before. We are fortunate that there is so much literature for small string ensembles of all ability levels. Students will find enjoyment in the end product while gaining valuable independence during the process.

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INNOVATE We have to be the innovators in this trying time. We have been handed the opportunity to revolutionize our pedagogical practices. We have to stop looking back at how things were and continue to reinvent our lessons using innovative materials, technologies, and lesson delivery. By doing this, we can invigorate ourselves and provide our students with new ways to explore and to enjoy learning in orchestra. Perhaps this could change the way we teach orchestra for the rest of our careers. Here are some collected ideas for materials, projects, and lessons outside the box of learning sheet music for large ensembles. CHAMBER MUSIC Solos and small ensembles meet the needs of the student learning while addressing factors such as the uncertainty of frequency we will see them in school and how many at a time. • Explore trios, quartets, and quintets by master composers such as Bach, Haydn, Mozart, Beethoven, and others. • Score study is a must in order to understand the intentions of the composers. Engage students through use of recordings, thematic and formal analyses, and discussions about the pieces. The interplay of the various instruments in a chamber work or the relationship of the solo vs. the piano can both be examined. This is similar to the in-depth study students do in literature, math, science, and social studies. • Consider using arrangements and collections of chamber music for small ensembles by Applebaum, Herfurth, Isaac, and others. These are available for a variety of ability levels. • Solos such as Suzuki School, Solo Time for Strings, and A Tune a Day, are excellent for developing the skills of individual students. Some of these also include accompaniments, or they are available through an extra purchase or on SmartMusic.

TECHNOLOGY • Flipgrid facilitates making student video grids with the teacher posting questions and discussion topics. • Wizer: Teacher can build interactive worksheets. • Edpuzzle: A web-based interactive video and formative assessment tool • Nearpod: Interactive presentations, quizzes, polls, and collaborative boards • GarageBand: Loaded with options for creating. If you and your students have Apple devices, this is a no-brainer for giving them a creative outlet using 21st-century technology. As an Apple Certified Teacher, I cannot stress enough the outcomes for your students when you give them opportunities to be creative in GarageBand. They will love it once they learn it.

There are too many options to list here for ways that we can deliver the material to our students. You have to explore and find one or more that fits you and your students. Network with other educators with whom you can share ideas with and learn from. No one needs to live on an island trying to invent this alone. Thank you to Dr. Elizabeth Hankins, Dr. Christina Lowell, and Mr. Gerald MacDougall for your contributions to this article. Roberto Iriarte is the director of orchestras at Hudson Middle and High Schools and also directs jazz ensembles at Hudson High School, where he has taught since 1996. He is a member of the Cleveland Pops Orchestra, the Canton Symphony Orchestra, and the Akron Symphony. He holds music education and performance degrees from Kent State University and a master’s in orchestral performance from Temple University.

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MASTERING THE CRAFT STUDENT ASSESSMENT

EXPLORING CHANGES TO THE 2021 OHIO MUSIC STANDARDS Heather Marsh A new version of the Ohio Music Standards is on the horizon, and I am very excited to share some information about the changes and updates that are forthcoming. I had the privilege of being a member of the working group for the new standards and hope to provide some insight on the modifications that were made to the 2012 standards. If you were not aware, a draft of the standards was released last spring, and this document is available on the Ohio Department of Education (ODE) website. It is important to note that 2021 standards are still in draft form and have not yet been approved. UPDATE ON THE NEW STANDARDS TIMELINE We began the task of revising the standards in early 2019, and the original plan was to have the new standards in place for the current school year. Unfortunately, due to Covid-19 and a myriad of other challenges we have faced the past year, the standards are now slated to be released for the 2021-2022 school year. In addition, in July 2020, the Ohio Department of Education released Resolution 20 to address inequality in standards and curriculum. ODE is working to ensure that the new standards will meet the needs of students of all backgrounds. This process is currently underway, and the Fine Arts Standards will be re-evaluated to ensure proper implementation in regard to Resolution 20. CHANGES TO THE 2021 MUSIC STANDARDS A significant amount of changes were made in the 2021 music standards. I would like to outline a few of these notable changes and give

some explanation about the revision. The first change is in the cognitive and creative learning processes. In the 2012 standards, there were three main categories: creating, producing/ performing, and responding/reflecting. In the 2021 standards, there are four categories: creating, performing, responding, and connecting. These categories were changed to align all of the Fine Arts Standards to the same set of learning processes. The visual art, dance, media arts, drama, and music standards now contain a common language of assessment for students throughout the arts. The next change was to the structure and format of the standards. I am so excited about this change because it makes the standards so much easier to follow. In the 2012 standards, there is a progression of concepts in each grade level, but you have to search through each box to find that skill in the next grade level. In the 2021 standards, you can now trace growth of a specific skill or concept through multiple grade levels. I will use improvisation as an example, which is in the “creating” category. Standard 1CR is about improvisation in every grade level. This makes it very easy to show how a specific skill should progress throughout the music education process. Each standard now follows this pattern from kindergarten all the way through high school, if applicable. THE 2021 ENSEMBLE STANDARDS Perhaps, the biggest change with the 2021 standards is the addition of the ensemble standards. I felt very passionate about this revision, as most of my job every day is teaching in an ensemble setting. With the addition of the ensemble standards, we were APRIL/MAY 2021 | 25

able to add many essential playing and singing skills, such as tone, articulation, expression, sight reading and technique. These are concepts that we discuss every day in an ensemble setting, but many of these were not consistently addressed in the 2012 standards. The design of the 2021 ensemble standards is just like that of the K-12 music standards, with clear lineage between ability levels for each standard. For example, in the Performing category, standard 2PE develops the concept of tone quality from the beginner to advanced levels. The 2PE standard shows the growth that should happen in regard to tone quality with the advancement of each level. The committee opted to show progression in the ensemble standards through ability level, instead of through grade level. School districts across Ohio start students in band and choir at all different grade levels. We also know that students progress at different rates, depending on a variety of factors. For these reasons, the ensemble standards are set up in five categories: Novice, Intermediate, Skilled, Accomplished, and Advanced. The standards should be viewed from the

prospective of the ability of the individual student, not by the grade level of the student. Every student should advance in category as they develop their individual skills. You could have 8th-grade students who are at the intermediate level or at the advanced level in the same classroom, and that is okay. The goal is for students to progress and show growth in their skills as they develop as individual players or singers. I encourage you to take a look at the draft of the new 2021 standards. A tremendous amount of thought and care were put into this revision. My hope is that the music teachers of Ohio will come away with a user-friendly and understandable document to help their students flourish in the music classroom! Heather Marsh is in her 14th year of teaching, currently serving as the director of bands in the Arcanum-Butler Local School District. She has served OMEA as a district treasurer, vice president, president, member of the OMEA Band Music Selection Committee, and has been an OMEA adjudicator since 2010.

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MASTERING THE CRAFT TECHNOLOGY

TEACHING MUSICAL CONCEPTS THROUGH POPULAR MUSIC WITH TECHNOLOGY Ryan Van Bibber INTRODUCTION Nearly every student I have ever taught has had at least one thing in common--they engage with popular music daily, sometimes in deep and profound ways. So, it is a natural choice for me to use popular music as my primary teaching vehicle. In this article, I will show some of the ways I use popular music and technology to teach fundamental musical concepts, including form, rhythm, melody, and timbre. The illustrations come from Ableton Live, a digital audio workstation (DAW). However, the examples presented would work with any DAW.

FORM Popular songs are a rich entry point for teaching about musical form. I start by asking students to name common sections of a song. They usually come up with verse, chorus, intro, and sometimes bridge. I will then add pre-chorus, post-chorus, outro, or any sections they did not think about already. We discuss the characteristics of each section: the verse tells the story, the chorus summarizes the main idea and emotion of the song, the bridge is the different part that leads back to the chorus, etc. I load songs into a DAW, and the students can see the musical form written in the waveforms. We listen and identify the sections of the song together by ear. Then I label those sections on the track in the DAW.

Formal Analysis of “Shake It Off” by Taylor Swift APRIL/MAY 2021 | 29

Once I demonstrate this a few times, the students usually catch on and are able to chart out song forms on their own. The most interesting part of this activity is when students encounter a song that does not adhere to standard forms. They have to use their ears and their understanding of the purpose and nature of each formal section to analyze the song. Then, they have to defend their analysis using logic and musical terms. This shows students that music theory is not a list of rules made up long ago, but is a living system used to analyze and describe the music they hear every day!

Formal Analysis of “Stairway to Heaven” by Led Zeppelin

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RHYTHM Early in my career, I found it challenging to address complex rhythms, dots, ties, and syncopation. Standard music notation has a mystifying logic to it. If a dot is next to a note, it makes the note longer, but if it’s under or over the note, it makes the note shorter. Otherwise, the more “things” you add to a note (filled-in head, stem, flags), the shorter it is. The physical spacing of the notes is irrelevant. A measure of 16th notes might be four inches wide, while a single whole note might take up only a half an inch. Using a MIDI editor is a great way to teach rhythm. There is a grid that shows note lengths in their proper proportions. The need for dots and ties is eliminated, and syncopation is as easy as shifting a note over by one grid line.

Kick and Clap rhythm from “Single Ladies (Put a Ring on It)” by Beyoncé

The MIDI editor is perfect for analyzing the complex rhythms found in popular music that are often based on speech patterns. Many songwriters and composers (even in the “classical” genre) use the MIDI editor as a primary composition tool. So, by teaching students how to read notes in a MIDI editor, you are giving them valuable skills that will enhance their success in making music throughout their lives.

Lead Vocal Melody from “Them Changes” by Thundercat

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MELODY When I teach students about melody, I usually start by having them analyze existing melodies in a MIDI editor. They can either play melodies from songs they know into a DAW by ear or find free, downloadable MIDI files that contain familiar melodies on the Internet. Then we look at melodic motion (step, skips, and leaps), range, and how melodies change from one song section to another. When it’s time for students to create their own melodies, they are more likely to compose lines that are musically logical and that sound good.

Chorus from “Blinding Lights” by The Weeknd

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TIMBRE The phenomenon we call “timbre” arises from several factors, including an instrument’s sound envelope, the ratio and volume levels of even and odd harmonics it produces, acoustic filtering, such as mutes, and even the space around the musician. Timbre is an important part of popular music, whether it’s a distinctive guitar sound, an 808-style kick drum, or most notably, an instantly recognizable voice.

The Edge, guitar player for U2

Kendrick Lamar, rapper and Pulitzer Prize winner

Every DAW comes with software instruments that allow for comprehensive timbral control. One activity I like to do is to assign students to create a composition in a DAW with a repeating set of notes, one or two measures in length. For each iteration, they must change the settings of the software instruments they use. In effect, the timbre becomes the focus of the composition.

Wavetable in Ableton Live

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RECAP Popular music has all of the same parts and pieces as music from the Western canon, but with the added benefit of being immediately appealing and culturally relevant to people living today. By integrating technology into your teaching, you can greatly enhance understanding of musical concepts. As students’ ears become more educated, they will be able to make informed choices about the music they consume and the music they create. *All analysis and screenshots were created by Ryan Van Bibber. *Photos of The Edge and Kendrick Lamar were downloaded from Wikimedia Commons and have Creative Commons Licenses. Attributions are below.

Attributions The Edge Joe Ahorro, CC BY-SA 4.0 <https:// creativecommons.org/licenses/by-sa/4.0>, via Wikimedia Commons Kendrick Lamar Fuzheado, CC BY-SA 4.0 <https:// creativecommons.org/licenses/by-sa/4.0>, via Wikimedia Commons Ryan Van Bibber has taught music in Columbus City Schools for the past 18 years, including instrumental music, general music, and music technology. He currently teaches audio and music production at the Fort Hayes Career Center and Columbus State Community College and serves as the president of TI:ME Ohio.

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MASTERING THE CRAFT REFLECTION & PERSPECTIVE

WHO WE WERE, WHO WE BECAME, WHAT WE WILL BE Dr. Lisa Martin In the last year, through all the ways the world has changed, our professional identities were disrupted. Music teachers across the world were forced to reinvent themselves, reimagine their programs, and relearn how to connect with their students. Now, as the prospect of a more typical world exists on the horizon of the next school year, it is worthwhile to take inventory of who we were as a profession, who we became during the pandemic, and what we will be moving forward. WHO WE WERE It is natural for us to long for how things used to be. What is normal is familiar, and what is familiar is comfortable. However, it is also important to avoid looking at past practices through rose-colored glasses. While many aspects of music teaching may have been more ideal pre-pandemic, it would be remiss to blanketly state that everything about our past practice was flawless. Indeed, the events of the last year prompt applying a critical lens to how things were done. In reflecting upon past practice, knowing what we know now, what can we uncover about… …how we defined success in the classroom? …which students we served, and which students were we unable to reach? …what music comprised our curriculum, what was omitted, and why? …what values were celebrated in our program? …where we excelled, and where we had room to grow in our personal musicianship and pedagogy? Although reflective practice plays a critical role in our professional development, music teachers well know that there is often little time to meaningfully engage with deep reflection. In preparing for the post-pandemic world, however, it is our responsibility to reflect, learn, and respond

objectively. In asking these and other questions, we can uncover opportunities to address the ways in which what was normal and familiar might not have always espoused best practice. What opportunities for change do we notice, now that there is space between what once was, and what is? WHO WE BECAME In a world where we thrive on the security of what we know, the past year revealed much about what we did not. We experienced feelings of vulnerability, inadequacy, and lack of control. The concept of planning became simultaneously crucial and moot, and as a profession, we were both celebrated and criticized. Living through these dichotomies, we experienced frustration, demonstrated resilience, and rediscovered our own creativity. As such, we must similarly ask ourselves questions about who we became – both in our own classrooms and as a profession at large: • What did we discover about our students’ and our own capacity for resilience? • What teaching tools were effective? • What made us feel vulnerable, and why? • How did our students respond to new strategies in the classroom? • In what ways were students able to demonstrate learning differently? • What sustained us as a profession? There are a range of models for reflective practice in teaching that can help guide the reflection process. Gibbs’ Reflective Cycle (1998) captures a six-stage process which, unlike many other reflective models, encourages teachers to consider their feelings about a given teaching experience. In the “feelings” stage, Gibbs suggests teachers ask themselves questions such as “How were you feeling when the event started?” and “What were you thinking about at the time?” Certainly, our feelings over the past year have been complicated, making it all the more important to reflect upon our feelings alongside APRIL/MAY 2021 | 37

all that has transpired in our classrooms. It is worth noting that the range of emotions associated with teaching in a pandemic can color our objective reflections upon what worked over the past year and what did not. Simply because our circumstances became less than ideal does not mean that the ideas and practices born from our adaptivity do not have merit. Indeed, good things have come from the chaos, and in moving forward, it is our responsibility to identify and acknowledge those things. WHAT WE WILL BE In the space between who we were and who we became as a profession, we can find opportunities for who we will be moving forward. Simply going back to “how it was” is not an option for a variety of reasons, but even if it were an option, what lies ahead should be customized to our future rather than simply reflect our past. In piecing together what our programs might look like as we move ahead, we should objectively examine best practices across the board, crafting a reimagined approach to music education that reflects all that we have learned over the past year while also sustaining those traditions of the past that are valuable for our students. Some questions worth asking include: • What traditions and new ideas are worth carrying forward into normal times, and which are worth reconsidering or restructuring? • How will we approach our relationships with our students differently?

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• How might we continue to grow and develop our own personal musicianship in meaningful ways? • What have we learned about musicking, comprehensive musicianship, and alternative approaches that might reshape our personal philosophies of music education in the long term? In a 2007 article, music education scholar John Kratus noted that our profession was at a tipping point for curricular change. Now, nearly 15 years later, we find ourselves at another tipping point. Because of the events of the last year, we love music differently now. How will this new love reveal itself in who we are and how we teach in the years ahead?

REFERENCES Gibbs, G. (1998). Learning by doing: A guide to teaching and learning. London: Further Educational Unit. Kratus, J. (2007). Music education at the tipping point. Music Educators Journal, 94(2), 42-48.

Dr. Lisa Martin currently serves as assistant professor of music education at Bowling Green State University, where she teaches undergraduate and graduate music education courses. Prior to her appointment at BGSU, she taught middle school band and orchestra for nine years in Illinois and Colorado. Her research interests include music teacher identity development, assessment practices in music education, and music teacher evaluation.

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HIGHER EDUCATION

CHOOSING A GRADUATE PROGRAM IN MUSIC EDUCATION: ADVICE FROM CURRENT STUDENTS Marsha Croskey Kincade, Adrienne Bedell, Jason Falkofsky, Dennis P. Giotta, Bethany Nickel, Allison M. Paetz A graduate degree in music education is a marvelous way to take a tangible step toward specific career goals or to enhance teaching and musicianship skills. Graduate programs are structured differently than undergraduate programs and provide a variety of options. Deciding if and where to apply can seem overwhelming. This choice deserves careful consideration because completing a degree requires a substantial investment of time and financial resources. Through considering a few key factors, music teachers can identify graduate programs that best fit their objectives. First, the decision to return to school should start with identifying the reasons for continuing education. For example, is it to satisfy license renewal requirements, enhance performance, improve teaching skills, focus on research, prepare for teaching in higher education, or something else? Assessing current situations such as individual preferences of employment, lifestyle, location, or familial obligations often factor in decision making. For example, consider asking the following questions before considering graduate school: • Am I happy where I am? • Would a graduate degree enhance my employment opportunities? • Is a graduate degree financially feasible? • Do I have support structures in place to make this move?

Questions like these will be specific to your situation. Meet with a mentor or someone who is trustworthy, neutral, or went through something similar. If this decision depends on another’s support, communicate your ideas with them. Share your situation with a community and weigh the pros and cons as they apply to you. Second, after deciding to pursue a graduate degree, investigate what programs have to offer. While these types of programs might have separate focuses, they typically share similar types of requirements such as theory, history, and philosophy courses. Some might have a strong research aspect while others may focus on practice-based experiences. In a graduate practitioner-focused program, the coursework might involve more focus on musicianship skills, rehearsal techniques, repertoire selection, conducting, and more. Those interested in examining the field of music education holistically or who would like to teach in higher education may consider a research-focused program in which they might be expected to write original research, present at research conferences, and teach undergraduate music education courses. More time will be devoted to learning to read, interpret, and write music education research. In addition to program offerings, it is worth considering the specific faculty involved with a program. The opportunity to build productive mentoring relationships with faculty can be an APRIL/MAY 2021 | 41

important aspect of graduate school. Graduate students work closely with professors as teaching and research assistants. Mentoring relationships developed during this time can last long after graduation. Considerations for finding potential faculty mentors include: • Should I continue growing with faculty I know from previous degrees, or should I pursue new points of view? • Are there specific individuals who have been recommended or who I admire? • Is there longevity among the faculty at my potential university, or will new hires, sabbaticals, and retirements disrupt my degree plan? Graduate programs are often at least partially focused on research, so it may be beneficial to take the faculty’s research interests into account. A faculty member with similar academic interests can provide guidance on setting up productive research studies and finding related conferences to build your experience. However, graduate students will explore a wide variety of research topics, so a clear match of research interests is not always necessary. Lastly, visiting campus and meeting faculty and students is an essential part of selecting an in-person graduate program. If a formal meeting is not an option, even a quick chat is better than reading a bio on a website. Talking to faculty is also a chance to make an impression while in the process of applying. Come prepared with specific questions about the program’s academic requirements. If you have experience to bring to the program, find out what opportunities exist to help build on your strengths. Talk to current graduate students about what their daily lives are like, what challenges they have faced, or their favorite parts of the program. Exploring buildings, resources, and common spaces is another way to get a sense of the school. Each of these elements can enliven a sense of the overall campus community. After considering the above factors, making the final decision on where to apply and enroll in a program of study may still present challenges. Family responsibilities, current employment, personal financial situation, amount of aid offered by an institution, university location, and program acceptance rate may limit available options. Concessions may be necessary to balance goals and ideals with practical implications. 42 | TRIAD

However difficult certain choices may be, there is an element of gratification to be gained from such a thorough and thoughtful deliberation process, along with a greater appreciation for the program which you ultimately choose. The field of music education is broad, and any accredited program should afford you opportunities and flexibility to explore many facets of the profession. Some of these opportunities may align with your interests or affirm your current practices, while others may challenge or expand your notions of music teaching and learning. Perhaps it is the latter you will find most beneficial to bettering your teaching knowledge and skills. No matter your final choice, opportunities for professional and personal growth will be present. Everyone’s graduate school experience is different. The areas highlighted above for consideration are just the first meaningful steps toward the goal of completing a graduate degree. The process of choosing a graduate program and completing a degree can be rewarding, meaningful additions to your professional life. Investing time and energy early on in the process can help ensure the greatest return on your efforts.

Marsha Croskey Kincade is an instrumental music educator who teaches at The Music Settlement in Cleveland, Ohio. Currently, she is a doctoral candidate in music education at Case Western Reserve University and holds a Bachelor of Music in music education from Youngstown State University and a Master of Music in music education from Bowling Green State University. She has also taught in public schools in Maryland and Virginia. Adrienne Bedell is a current PhD student in Music Education at Case Western Reserve University specializing in public policy. Adrienne’s music education career began in New York City where she taught instrumental lessons and music technology courses for local nonprofit programs based in the city that provided art and music education to children and teens within homeless shelters, alternative to incarceration programs, and partnering youth agencies. Her research interests include trauma-informed and asset-informed pedagogy, music education policy and reform, in addition to informal learning opportunities within school systems and nonprofit organizations.

Jason Falkofsky is a doctoral candidate in Music Education at Case Western Reserve University. He has experience conducting choral ensembles of all levels, from elementary through adult, and is an active music theatre pedagogue. Jason holds degrees in Music Education from Kent State and Baldwin Wallace University. Dennis Giotta is pursuing a PhD in Music Education at Case Western Reserve University and is a music teacher in Apple Creek, OH where he teaches band, music technology, and songwriting. Dennis completed degrees at Case Western Reserve University and the University of Cincinnati College-Conservatory of Music. Dennis’ research interests include: Non-traditional music offerings, informal learning practices, and critical examination of the curriculum.

Bethany Nickel is currently pursuing a PhD in Music Education at Case Western Reserve University, where she serves as a research and teaching assistant. She holds a Masters in Music Education from University of Colorado Boulder and a Bachelors in Music Education from University of North Texas. Bethany has taught middle and high school band, guitar, and music technology in Kansas, Colorado, and Ecuador. Allison Paetz is a PhD student in Music Education at Case Western Reserve University and teaches music and research at Rocky River High School in Rocky River, OH. Allison holds a Masters in Music Education from Michigan State University and undergraduate degrees in Music Performance and Music Education from Case Western Reserve University. She has taught choral and general music at the elementary and secondary level and her research interests include music teacher identity, secondary choral music education, and equity in music education.

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CULTURALLY RESPONSIVE PEDAGOGY

CELEBRATING AFRICAN AMERICAN MUSICIANS: SOCIAL MEDIA AS AN EDUCATIONAL TOOL

Jennifer Culver

Over the past year, a global pandemic, social unrest, and an increasingly politically divided nation have led us to unprecedented experiences. Reimagining how I teach in my “classroom”—be it in person or hybrid or remote—forced me to reflect on the content I present to my students and how to create meaningful lessons in these challenging times. I decided to dedicate time in class every day in February to highlight an African American composer, musician, or singer. It was important to me to present individuals from across the vast spectrum of music, representing various periods of history and all genres of music. I also strived to share the work of men and women equally, as well as composers of the past and present. My goal was to present examples of notable individuals and the overwhelming contributions they have made to the cultural fabric of our nation. A quick Google search for important African American composers led me to a variety of lists compiled from various sources, including websites of classical radio stations, National Public Radio, and the Smithsonian Magazine. After reviewing these resources, I identified individuals who were repeatedly mentioned and further researched their

lives and musical experiences. From this research, I created a series of Google Slides to share with my students. Each day, I presented a slide in class to my students. Information included a photo of the musician, a few biographical details about their life, and a link to an example of their work. These slides were housed in our Google Classroom, so students had the ability to go back and look at anything they may have been interested in exploring further. I was committed to spending the first few minutes of class every day to share these biographies, songs, and pieces with my students. In an effort to share this with the wider community, these musicians and their works were also a daily tweet on my teacher Twitter account. I modified the content I was sharing with students to fit the requirements of the social media platform but maintained a photo of the composer and a link to the work of each artist. I cannot begin to express how much I learned throughout this project. Did you know there is an oratorio about Martin Luther King, Jr.? There is, and it is titled Scenes from the Life of a Martyr by Undine Smith Moore, composed in 1981.

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Did you know Wynton Marsalis composed a jazz oratorio titled Blood on the Fields and that he won a Pulitzer Prize for it in 1997? It tells the story of two slaves and their long journey to freedom.

Have you heard about the opera based on the life of Harriet Tubman? It is titled Harriet Tubman: When I Crossed That Line to Freedom, and it is by living composer Nkeiru Okoye, written in 2014. I thoroughly enjoyed learning about these compositions and artists, as did my students. We are living in a significant moment in history, one where the stories of our shared past must be reconciled with our current realities. In these moments, we have the opportunity to search beyond ourselves and the comforts of our communities to truly see one another and all that it means to be American. As educators, we are tasked with the challenges and opportunities to broaden the minds of those in our classrooms and by extension, our communities. Music provides an incredible opportunity to present ideas and stories to people from all walks of life through this shared language. Jennifer Culver has taught music in Cuyahoga Falls City Schools for the past twenty-two years and currently serves as the Fine Arts Department Chair for the district. She has taught a variety of courses, including instrumental music, AP Music Theory, Adaptive Music Appreciation, and a CCP course through Kent State University. She earned her undergraduate (BME) and graduate degrees (MM) from Kent State and holds a Master Teacher Designation from the state of Ohio. In 2017, she was named Teacher of the Year for the Ohio State Board of Education District 7. You can follow her on Twitter @MrsCulver_music. 46 | TRIAD

Note from the editor: I enjoyed reading Mrs. Culver’s tweets throughout Black History Month and was excited that she was willing to share her work with TRIAD readers. As stated in the article, Mrs. Culver presented information about Black composers and musicians to students in her classes. Then, in an effort to share this with the wider community, these musicians and their works were also presented in a daily tweet on my teacher Twitter account” (p. 45). The following pages include a gallery of tweets and some additional slides representing some of the artists she highlighted. You can follow her on Twitter @MrsCulver_music.

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WE CONNECT TALENT WITH OPPORTUNITY

Here to empower student performers to recognize, afford, and achieve their collegiate dreams. How? ScholarshipAuditions.com is a platform for students to showcase their musical talents and accomplishments to college programs nationwide. Students can find opportunities they never considered and colleges can find the student talent they need for their programs. ScholarshipAuditions.com additionally provides students with a treasure trove of resources (including a database of 16,500+ scholarships) and information to guide them through every step of their journey from 6th grade to the college of their dreams. We are here to make dreams come true. Teacher accounts are ALWAYS free. Create your account today and share it with your students.

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OHIO CHORAL D I R ECTO RS AS SOC I AT I O N

SPRING OCDA REPORT Brandon Moss, OCDA President As we approach the end of this unprecedented school year, we are cautiously looking to transition toward something that resembles more of a “normal” by next fall. This report includes details of OCDA activities from early 2021 and an overview of the many resources that will be available to choir directors over the next few months. Our New Directions webinar series included a January presentation by Troy Robertson on creating virtual choir productions and a February session by Matthew Garrett who discussed trans and gender expansive singers in the choral classroom. Recordings of many of our informative webinars, including those we hosted in Fall 2020, are archived and available on our YouTube channel and on our website, www.ohiocda.org. In February, our Repertoire & Resources chairpersons brought you a virtual reading session, sponsored by J.W. Pepper, highlighting music written by BIPOC composers. Though the session itself is now closed, you can find repertoire lists and those from past reading sessions on our website. In March, we introduced a Virtual Concert Session to coincide with Music in Our Schools Month, consisting of performances of choirs from around the state. The playlist of these performances is on our YouTube channel and linked on our website. As we look toward the future, we announce our 2021 Virtual Summer Conference (June 21-22). Unfortunately, there are still too many uncertainties to hold an in-person event, but we look forward to its return in Summer 2022. In the meantime, we are excited to have: • Janet Galván, recently retired director of choral activities at Ithaca College, who will present on conducting, building community, and empowering choir members • Derrick Fox, director of choral activities at the University of Nebraska-Omaha, whose sessions will discuss inclusiveness in the choral community, avoiding conductor burnout, and assessment in the choral classroom

•

Zebulon Highben, director of chapel music at Duke University Chapel, who will present topics specific to music in worship • Maria Ellis, owner of Girl Conductor, LLC, which provides diverse resources for music education; she will highlight ways in which to present historical and contemporary African American music in choral settings • Lynn Brinckmeyer, director of choral music education at Texas State University, who will discuss advocacy for choral music education Additionally, our summer conference will feature reading sessions, virtual concert sessions, roundtables by area, a virtual exhibit hall, and time for socializing and networking. Because the conference is virtual, we are able to offer it for a greatly discounted price, and that will include opening up registration to non-members. I hope you are able to take advantage of this exciting and resource-packed conference! Since the pandemic hit, ACDA has been working to provide as many resources to its members as possible, now resulting in Wednesday digest emails, full of links to free and inexpensive webinars from all over the nation, free music offered by composers, and many other helpful tools and opportunities. If you are not currently a member, I hope you consider joining in order to take advantage of all our organization has to offer.

Brandon Moss serves as Director of Choirs at Central Crossing High School in Grove City, where he teaches five choirs. He is also Director of Music and Chalice Choir at First Unitarian Universalist Church in Columbus. Moss recently served as President of OMEA District 15 and has twice chaired the Ohio All-State Choir. He holds degrees from Otterbein University and The Ohio State University, where he is completing the Doctor of Musical Arts degree in Conducting. APRIL/MAY 2021 | 53

Support the Mission of the Ohio Music Education Association with a donation to the Ohio Foundation for Music Education.

Yes, I want to support music education in Ohio and insure that the benefits acquired by students experiencing music are available for them now and in the future. Please apply my gift as indicated. Donor Information: (Please print legibly or type this form.) Name:__________________________________________________________________________________________ Street Address:___________________________________________________________________________________ City:______________________________________________ State:____________ Zip + 4_________________________ Email Address:___________________________________________________________________________________ Best Phone:_______________________________________ _____OMEA Member

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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

Send this completed form with check to: Ohio Foundation for Music Education Attn: Roger Hall, Executive Director 8227 Audubon St. NW Massillon, Ohio 44646 54 | TRIAD

HIGHER EDUCATION CASE WESTERN RESERVE UNIVERSITY CWRU Music Education hosted Dr. Jason Silveira of the University of Oregon for a multi-day online residency in September, 2020. Dr. Silveira led undergraduate and graduate music education special interest sessions on developing a philosophy of music education and on the perspectives of a transgender music education student. Dr. Silveira also presented a session for the Music Department Colloquium titled “Hearing with Your Eyes: Two Studies Exploring Extra-Music Factors on Perception: Body Movement and Subtitles.”

CWRU Music Education also hosted Dr. Ann Marie Stanley of Louisiana State University for an online workshop in November, 2020. Dr. Stanley discussed the principles and practices of Core Reflections, which can be used to navigate the complexities of professional life. Students engaged in critical dialogue about the importance of drawing on personal strengths in moments of conflict while also identifying and bringing out the best in colleagues and students.

think in sound Undergraduate Programs

BS in Music Education BA in Music Double Major Dual Degree (e.g., with Engineering BS) Minor in Music

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MA in Music Education with Licensure (MAL) MA in Music Education PhD in Music Education PhD in Musicology MA in Historical Performance Practice (HPP) PhD in Musicology with HPP Concentration DMA in HPP

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2021 VIRTUAL PROFESSIONAL DEVELOPMENT CONNECTION WRAP-UP REPORT While we certainly missed seeing each other at the PDC, virtual professional development has proven to be a successful venture for OMEA and its members. We plan to examine what we learned as an organization and implement best practices as we move forward. Here are some statistics and highlights summarizing the 2020 Fall Virtual Professional Development Conference and the 2021 Winter Professional Development Connection. • • • • • • • • • • • • •

125 sessions related to music education and/or technology. 88 on-demand sessions with chat feature enabled for questions and comments. 37 live presentations, (also recorded for on-demand viewing). 6 “Concert Connection” premieres featuring 24 select Ohio ensembles. 1,113 total registered attendees. 443 OCMEA attendees. Approximately 250 additional business partner and guest passes issued. 874 FREE contact-hour credits issued. 23 students registered for graduate credit through Ashland University. 167 subscribers to OMEA PDC YouTube channel with over 3,000 views. Over 3,500 total session views, 2,974 desktop, 371 mobile, 198 tablet. Viewers from 16 states and two countries. Top ten most viewed sessions, (in no particular order).

• • • • • • • • • •

Music Instruction Is Social and Emotional Teaching Ukulele for Student Success Bucket Drumming Fun From Beginning to Blend: A Practical Approach to Beginning Low Brass Success Easy Assessment on Any Device Habits of a Successful Choir Director - Teaching Strategies That Lead to Success Jumpstarting Your High School Choral Program Beginning Brass: Keeping It Simple Assessment Strategies That Work ENCORE: Interactive music with Google Slides for the Elementary Music Classroom

• • • • •

Live Research Lightning Talks. Specially curated concerts by the “President’s Own” US Marine Band and Jazz Chamber orchestra. Special concert links for the Cincinnati Symphony orchestra and Youth orchestra. $49 for full access to fall and winter events. Concerts and sessions accessible for extended time after each event.

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Music Education at The College of Wooster

The College of Wooster offers comprehensive studies in Music Education, culminating in a Bachelor of Music Education degree and Ohio teacher licensure. Our students are mentored by expert musicians and educators, and graduate with a solid foundation of performance skills, content knowledge, and practical experience.

• Classroom observations and teacher assistance in your first semester at Wooster • Small class sizes allow for personalized attention • Expert training in instrumental, choral, and general music teaching techniques

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• Perform each semester in ensembles dedicated to musical excellence • Study in a rich liberal arts environment alongside diverse and supportive peers

Visit: www.wooster.edu Contact Dr. Lisa Wong, Associate Professor of Music at Lwong@wooster.edu

Marching Golden Flashes Photo taken fall 2019

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CLINICIAN AND ATTENDEE COMMENTS • I appreciate the opportunity to be on the program! This was an exceptionally well-managed event. Clinician, Yamaha Corporation. • I finally had a chance to travel through the conference, virtually. What an incredible experience. You and your team have done a magnificent job to create and to provide these opportunities to learn and to be part of this 21st century mode of learning. Past-President, OMEA. • I have participated in several state conferences, and my OMEA experience was second to none - especially impressive given the limitations of the virtual format. Clinician. • Thank you for providing meaningful professional development during this unprecedented time. Attendee. • OMEA’s intelligent answer to featuring student performances during this virtual conference was to have pre-recorded concerts of invited groups performing at their own facilities edited into one presentation. Attendee. • I like the format of the Concert Connection because I saw performances that I would not normally have attended had the conference been in person. Attendee. • I am thankful that OMEA offered this virtual conference. Recorded music is never as good as live music but OMEA was able to have professional ensembles perform as a result of using technology that typically don’t perform for our state conferences. I was able to pause some of the recorded clinics to take notes and keep up with the speakers who often squeezed loads of information into their clinic. I learned much more than expected and look forward to applying what I have learned to improve student learning. Attendee. • It was interesting and refreshing to hear thoughts of people who are sharing the same challenges as ensemble directors. Thoughts on what has been learned and what will be retained past the pandemic were inspiring, contributing to the optimism that learning and music making could be better off down the road. Attendee. • This format is fantastic! I loved being able to hear a HS Band, University Choir, HS orchestra and a HS Vocal Jazz group in the same “concert”. I would have never attended the HS orchestra performance if this would have been an in-person conference. Attendee. • One of the greatest things about these virtual concerts is that there is a combination of different ensembles. Instead of just hearing an orchestra, or band on separate concerts, the listener can have a wide range of ensembles and types of music. I enjoy the silver lining that this has brought. Attendee.

Respectfully submitted by Mark A. Hensler OMEA Director of Professional Development and Conference Management

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A MESSAGE FROM THE DIRECTOR OF BUSINESS AND TRADE SHOW OPERATIONS Dear Friends of the Ohio Music Education Association: The first ever Virtual Professional Development Connection proved to be a huge success in many ways! Our exhibitors led the call to provide opportunities to connect with music educators, musicians and other professionals in our field. There were 45 Virtual Links to “Web and Landing Sites” which featured collegiate and industry organizations. The array and uniqueness of our vendors was evident in the information and materials offered. Several organizations hosted “Zoom” style meetings for constituents. Others delivered short videos to introduce themselves, their product lines and chat with visitors. It was exciting to see that everyone was engaged in supporting that “vital connection” critical to professional educators and future university music students. Ten Organizations presented an “Industry Showcase,” which delivered exclusive news about products, services and information to the Virtual Professional Development Connection! The showcases were focused on music related products, demonstrations and many provided timely information about support for musicians and music educators in this time of a pandemic. They were well attended, and certainly appreciated by those who participated. In addition, several of our exhibitors chose to support our virtual efforts through Sponsorship of our event.

HEADLINER SPONSORS: Baroque Violin Shop Bowling Green State University Cleveland State University Rettig Music UR Tours and Events

CLINICIAN SPONSORS: Baroque Violin Shop Muskingum University Music is Elementary Rettig Music Royalton Music Center SoundTree, Inc. University of Akron UR Tours and Events US Army Bands Yamaha Corporation

The fabric of our association relies upon the willingness, commitment and encouragement of all who have chosen to support music in so many ways. The Ohio Music Education Association is truly appreciative of the many individuals and organizations that know and understand the importance of music; and the necessity to intensely promote music education while assisting musicians on all fronts! A big “THANK YOU” to our Exhibitors/Vendors, Partners, Sponsors, Associates, Members and Friends that make The Ohio Music Education Association one of the very finest music organizations in the Nation! Respectfully submitted, Bill Wittman, Director of Business and Trade Show Operations business_director@omea-ohio.org 740.975.3753 60 | TRIAD

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OMEA All-State Ensembles

2022 OMEA Professional Development Conference Cleveland, Ohio • February 2nd - February 5th, 2022 Coordinator – Kent Vandock

Band Chair – Andrew Feyes Choir Chair – Ben Lupo Jazz Ensemble Chair – Erik Moellman Orchestra Chair – Valerie Roman

All Applicants must be enrolled as members of their school’s performing ensemble while applying, and must continue their participation during the 2021-2022 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 2021-2022. Failure to observe these rules will nullify the student’s All-State eligibility. OMEA continues the use of online applications for the 2022 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: • Student and parent e-mail addresses. • Digital audio recordings of required etudes/solos/scales/warm-up (as listed below) • Your director’s contact information • Your director’s 9-digit NAfME identification number • A credit card for the $15 application fee (paid to Acceptd) APPLICATION TIMELINE • January 23: Audition material available. • March 1: Applications are active for submission • May 31: Deadline for all applications to be submitted. Please carefully note the specific etude and performance requirements. • August 31: Notification of results to applicants and directors. • September 30: Due date for acceptance form and membership fee ($295) that covers hotel lodging at quad occupancy and 5 meals. (Students accepted into the group must stay in the All-State hotels) 2022 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.

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2022 BAND & ORCHESTRA WIND-PERCUSSION RECORDING REQUIREMENTS: Each student (after first announcing name and instrument) will next record all required Etudesas listed below and next record a Solofrom 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 keyboardinstrument. 2022 ALL-STATE BAND & ORCHESTRA WINDS & PERCUSSION ETUDE REQUIREMENTS: FLUTE: - Selected Studies for Flute by Voxman: Pub. By Rubank, p. 33 and p. 49 OBOE: - Selected Studies for Oboe by Voxman: Pub. By Rubank, p. 5 and p. 23 CLARINET Bb AND Eb: - Selected Studies for Clarinet by Voxman: Pub. by Rubank, p. 11 and p. 36 CLARINET ALTO, BASS, CONTRAS: - Advanced Studies from the Works of J. Weissenborn: arr. Rhoades, Pub. by Southern, #15 (p. 11), #31 (p. 24) BASSOON: - Method for Bassoon by J. Weissenborn/50 studies section in back of book (Catalog # CU96), #13 (p. 121), #21 (p. 129) SAXOPHONE: - Selected Studies for Saxophone by Voxman: Pub. by Rubank, p. 37 and p. 48

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(800) 992-6682 mountunion.edu/music APRIL/MAY 2021 | 63

2022 ALL-STATE BAND & ORCHESTRA WINDS & PERCUSSION ETUDE REQUIREMENTS: TRUMPET: - Selected Studies for Trumpet by Voxman: Pub. by Rubank, p. 36 and p. 43 FRENCH HORN: - Preparatory Melodies to Solo Work by Pottag: Pub. by Belwin, #13 (p. 6), #57 (p. 23), #70 (p. 28) TROMBONE AND EUPHONIUM: - Selected Studies for Trombone by Voxman: Pub. by Rubank,13 and p. 15 (p.15 3/8 etude only) 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: #7 (pp. 10-11) and #21 (p. 22) 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, #2 (p. 2) and #37 (pp. 42-43) 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: A Minor Reading Study #1, Page 64. TIMPANI: - Fundamental Method for Timpani, Book 1 by Mitchell Peters: Pub. by Alfred, Etude #57 p. 193. SNARE: - Advanced Snare Drum Studies by Mitchell Peters: Pub. by Try Publishing Company, Etude #7 pp. 14-15. 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.

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JAZZ ENSEMBLE RECORDING REQUIREMENTS: Donna Lee and My Little Suede Shoes are from Charlie Parker (vol. 6); Milestones is from Miles Davis(Vol. 7); Peaceful Ideas, A Little Stop TIme and Double Trouble are from Good Time! (vol. 114). All are Jamey Aebersold Publications. 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 My Little Suede Shoes 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 Donna Lee and improvise two choruses (improvisation required for a SOLO CHAIR, recommended but not required for other chairs) BRASS: - With the play along, record the head to Milestones and improvise two choruses (improvisation required for a SOLO CHAIR, recommended but not required for other chairs) - If you wish to be considered for the lead trumpet chair, include a recording of you performing a swing chart with your home jazz ensemble.

APRIL/MAY 2021 | 65

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JAZZ ENSEMBLE RECORDING REQUIREMENTS: VIBES, PIANO, & GUITAR: - With the play-along (use CD #1), record both of these tunes: - Peaceful Ideas - play the head and improvise for one chorus - A Little Stop Time - play the head, comp for one chorus, and improvise for 2 choruses BASS: (Improvise a bass line with the recorded rhythm section. You may improvise a solo (optional) on one or more of the selections after you have performed a bass line for two choruses) - With the play-along (use CD #4 – right channel), play two choruses to EACH of the following two tunes: Peaceful Ideas and Double Trouble - 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: Peaceful Ideas and Double Trouble - Include a recording of you performing a swing chart with your home jazz ensemble. This swing chart must incorporate at least a brief drum solo (4 or more measures). If you have any issues, questions, or concerns, please contact: Kent Vandock allstate@omea-ohio.org Jason Branch JasonBranchOSU@gmail.com

APRIL/MAY 2021 | 67

2021 REGION ORCHESTRAS/2022 ALL-STATE ORCHESTRA STRING AUDITION REQUIREMENTS: Violin -Scales: Ab Major 3-octave scale and arpeggio, D Major 2-octave scale and arpeggio. -Etude: Mazas Etudes Brilliantes, Op. 36, Book II No. 36 mm1-28 (no repeat) -Excerpt: Berlioz, Roman Carnival Overture, 1 measure before [3] to [6] Viola -Scales: Db Major 3-octave scale and arpeggio, G Major 2-octave scale and arpeggio. -Etude: Bruni 25 studies #25, mm 1-24 -Excerpt: Berlioz, Roman Carnival Overture, 1 pu to mm 37-60 Cello -Scales: Db Major 3-octave scale and arpeggio, G Major 2-octave scale and arpeggio. -Etude: Piatti 12 Caprices for Cello #1 mm 39 to end -Excerpt: Beethoven, Symphony No 5, Movement #2 mm 1-10, 49-59, 98-106 Bass -Scales: Ab Major and D Major 2-octave scale and arpeggio. -Etude: Bottesini, Method for Double Bass, Part 1. Etude No. 111 -Excerpt: Tchaikovsky, Symphony No 6, Movement #4 pu to mm 39 to 72. Harp -Scales: C & Eb Major 3-octave scale and arpeggio. -Etude: Bach/Grandjany Etudes for Harp (*Carl Fischer) Etude #4 -Excerpt: Rimsky-Korsakov Capriccio Espagnol, 4th Mvmt cadenza, and 5th Mvmt – S to the end

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2022 ALL-STATE CHILDREN’S CHORUS AUDITION INFO Cleveland, Ohio - February 3, 2022 ALL-STATE CHILDREN’S CHORUS CHAIRS - Danielle Jones and Angela Perrine OMEA is pleased to announce auditions for the OMEA All-State Children’s Chorus on February 3, 2022 in Cleveland, Ohio as part of the OMEA Professional Development Conference. Selected choristers will participate in three regional rehearsals prior to this event and a full group rehearsal on February 3rd. 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. The concert day and rehearsals will follow health guidelines that are required by the state of Ohio at that time. 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. You will need a parent email address, the music teacher’s name, contact information, and NAfME number, and a credit card for the application. STUDENT ELIGIBILITY FOR THE ALL-STATE CHILDREN’S CHORUS: Auditions will be open to all public, private and home-schooled students in grades 4, 5, and 6 during the 2021-2022 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. • Early Fall 2021: Results posted to the OMEA website and mailed via post office to all students. Teachers will receive an email notification when results are posted to the website. • October 15th: 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 • The profile should be created under the student’s name. Directors are welcome to assist students in setting up their profile. • Under “PROGRAM GROUP” select “OMEA All State Children’s Chorus” • Under “PROGRAM” select MALE or FEMALE • Answer all of the questions. • Upload clearly named audio recordings. Recordings must begin with the student announcing their name and grade level. Recordings of individual selections should NOT be edited or spliced, but rather performed continuously. Attention should be given to the quality of the recording. Soloists will perform acappella. Recordings can be made on digital recorders, iPhones, iPads. • Teachers are urged to review application information and recordings before submission. • The final step of the application includes a $15 application fee to Acceptd LLC for administering the on-line application process. A pre-paid card, commercially available at various retail locations may suit your needs if a personal credit card is unavailable. Please note that the application fees are paid to “Acceptd, Inc.;” OMEA will not receive this money. • Once your application has been submitted, a confirmation e-mail and receipt will be sent. Failure to meet the deadlines or follow application instructions may result in the rejection of an applicant. All evaluation proceedings are confidential and decisions are final.

70 | TRIAD

EXPERIENCE THE DIFFERENCE SLIPPERY ROCK UNIVERSITY DEPARTMENT OF MUSIC DEGREE CHOICES:

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For more information contact: Department of Music Colleen Gray, chairperson 224 Swope Hall Slippery Rock University Slippery Rock, PA 16057 Office: 724.738.2438 Email: colleen.gray@sru.edu www.sru.edu/music www.facebook.com/srumusicdept

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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 2022 All-State Children’s Chorus roster will be posted to the OMEA Website early fall 2021. Teachers will receive email 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 2022 OMEA All-State Children’s Chorus, an $85 participation fee made payable to OMEA is due for all applicants by October 15. ALL-STATE CHILDREN’S CHORUS REHEARSAL & PERFORMANCE EXPECTATIONS REGIONAL REHEARSAL SCHEDULE: The regional rehearsal schedule and details will be posted to the OMEA website http://www.omea-ohio.org. All students are required to attend three regional rehearsals prior to the February 3rd event. Students are encouraged to attend the regional rehearsal in their area but may elect to drive to a different region if there is a conflict. Regional rehearsals are mandatory – a schedule will be communicated in the acceptance letters. February 3rd, 2022 Schedule - All students are required to attend the full day rehearsal on February 3rd, 2022 in Cleveland, Ohio. A detailed schedule will be communicated in the acceptance letters. CONCERT ATTIRE: All students will be given a performance t-shirt on the day of the performance. Students are expected to wear black dress pants or long skirts, black socks and black dress shoes for the performance. Please reach out to ascc@omea-ohio.org with any questions regarding audition information or the event.

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APRIL/MAY 2021 | 73

PUBLICATION SCHEDULE

TRIAD ISSUE FALL 2020 WINTER 20/21 SPRING 2021

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

DEADLINE DATE* August 21, 2020 October 2, 2020 February 12, 2021

POSTING DATE** October 5, 2020 December 4, 2020 April 9, 2021

*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: Terri Brown Lenzo • editor_of_triad@omea-ohio.org DESIGN/PRODUCTION: Amy Annico • 440-941-4269 • media_director@omea-ohio.org ADVERTISING: Bill Wittman • 740-975-3753 • business_director@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.................................................. 9

Noteworthy Tours, Inc.................................................... 71

Ashland University......................................................... 38

Ohio Foundation for Music Education........................... 54

Baldwin Wallace University............................................. 6

Ohio Northern University................................................. 7

Blue Lake Fine Arts Camp................................................ 1

Ohio State University...................................................... 14

Bob Rogers Travel.......................................................... 12

Ohio University............................................................... 69

Bowling Green State University..................................... 27

Otterbein University........................................................ 14

Breezin’ Thru Inc............................................................ 39

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Capital University Conservatory of Music..................... 18

Peruchia LLC dba The Tuba Exchange.......................... 32

Case Western Reserve University................................... 55

Quaver Music.................................................................. 67

CMS Publications........................................................... 26

Rettig Music, Inc........................................................... IFC

College of Wooster.......................................................... 57

Royalton Music Center................................................... 65

Contributions to Music Education.................................. 10

ScholarshipAuditions.com.............................................. 50

Educational Tours Inc..................................................... 43

Slippery Rock University................................................ 72

Fred J. Miller................................................................... 73

Solich Piano and Music Company.................................. 61

Funky Winkerbean - Batuik............................................ 30

Soundcheck Audiology................................................... 51

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University of Mount Union............................................. 63

Music & Theatre............................................................. 19

University of Toledo....................................................... 15

Kent State University...................................................... 58

Wenger Corporation........................................................ 34

Malone University............................................................ 6

Yamaha Corporation of America..................................IBC

Marietta College.............................................................. 66

Youngstown State University - Dana

Miami University............................................................ 35

School of Music.............................................................. 23

Muskingum..................................................................... 49

*BOLD TYPE DENOTES CORPORATE INSTITUATIONAL PARTNER.

74 | TRIAD

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TRIAD - SPRING 2021

Articles inside

MASTERING THE CRAFT: TECHNOLOGY

CELEBRATING AFRICAN AMERICAN MUSICIANS: SOCIAL MEDIA AS AN EDUCATIONAL TOOL

CHOOSING A GRADUATE PROGRAM IN MUSIC EDUCATION: ADVICE FROM CURRENT STUDENTS

WHO WE WERE, WHO WE BECAME, WHAT WE WILL BE

EXPLORING CHANGES TO THE 2021 OHIO MUSIC STANDARDS Heather Marsh

MASTERING THE CRAFT: ORCHESTRA

IMITATE–ASSIMILATE–INNOVATE: REVOLUTIONIZING THE ORCHESTRA LESSON IN AN UNCERTAIN TIME Roberto Iriarte

FEATURE ARTICLE