TRIAD - SPRING 2023

The Official Publication of the Ohio Music Education Association

Volume XC, No. 3

Editor: Shawn Reynolds editor_of_triad@omea-ohio.org

Design/Production: Amy Annico Director of Media and Publications media_director@omea-ohio.org

Advertising: Bill Wittman Director of Business & Trade Show Operations business_director@omea-ohio.org

OMEA OFFICE

P.O. BOX 1357 Medina, OH 44258 www.omea-ohio.org

JAY WARDESKA

Executive Director executive_director@omea-ohio.org

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

AMY ANNICO

Director of Media & Publications media_director@omea-ohio.org

GREGORY TAYLOR Director of Technology technology_director@omea-ohio.org

MARK 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

NICHOLAS TURON

Assistant Technology Director technology_assistant@omea-ohio.org

OMEA TRUSTEES

DANIEL RUCKMAN President president@omea-ohio.org

BRIAN STEVENS President-Elect president_elect@omea-ohio.org

ANN USHER Immediate Past-President past_president@omea-ohio.org

JODI SMITH Secretary secretary@omea-ohio.org

SHAWN REYNOLDS Editor of TRIAD editor_of_triad@omea-ohio.org

BRANDON DUVALL Treasurer treasurer@omea-ohio.org

OCMEA OFFICERS

ALYSE HANCOCK-PHILLIPS

OCMEA President ocmea_president@omea-ohio.org

MEREDITH BISCHOFF

OCMEA President-Elect ocmea_president_elect@omea-ohio.org

COURTNEY COX

OCMEA Secretary ocmea_secretary@omea-ohio.org

TATE STEWART Membership Chair

BETHANY HASKELL Communications Director

OMEA is an Affiliate of NAfME National Association for Music Education www.nafme.org

ALLIED ORGANIZATIONS

Jazz Education Connection of Ohio www.jecohio.org

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

TI:ME Technology in Music Education

TABLE OF CONTENTS

FROM THE DESK OF...

4 Shawn Reynolds, Editor of TRIAD - A Farewell Tribute to Dr. Stephen Gage

8 Jay Wardeska, OMEA Executive Director -

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.

FROM THE EDITOR SHAWN REYNOLDS

Amazing people come into our lives and often shape us as human beings and help shape our careers. When those individuals unexpectedly leave our lives, it can be devastating and emotional. Sometimes the irony we encounter around that loss is even more upsetting.

As I took over for my first issue as Editor of Triad, I established a theme. My inspiration was and always has been my friend, musical mentor, and second father, Dr. Stephen Gage. The theme fit both an inspirational void as well as a good fit of the pandemic of which we were coming out. We all needed musical and educational inspiration. Steve’s iconic phrase to anyone he taught or met was “Love Music!” And, so the most fitting theme of my first year as editor they would hopefully provide the inspiration we needed both educationally and personally. That inspiration came from a brilliant article by my friend and musical mentor, Steve Gage. “Love Music…Again” was chosen to inspire us on multiple fronts: To love teaching again; to love inspiring children and other musicians again; and most importantly to share the insight, inspiration, and effect that Steve Gage had on so very many people. I wanted everyone to be reminded why we became music teachers.

Fast forward a year and half later when that irony punched me in the gut. That punch hit so many of his former students, colleagues, friends, and the entire musical community with the devastating news the music world experienced in January with the passing of Steve Gage. The irony is that both the first and last articles I share as my time as editor are tribute and reflection of an amazing music educator and his inspiration. While the first article was a celebration and inspiration provided by him, my last article sadly comes full-circle as a remarkable tribute to an amazing man, educator, musician, teacher, and friend who means so much to so many across Ohio and the nation and especially to me.

Dr. Stephen L Gage, retired director of bands at Youngstown State University, and acting director of bands at Indiana State University, left this world way too young, after complications from heart surgery. The news of his passing sent shockwaves through the music education community across the country. Many of us are still coming to terms with the loss of our mentor, teacher, and our musical guide. He was like a second father to me and so many others. Steve was a consummate cheerleader for every one of his current and former students, no matter their age, position in life, or current career path. He was a consummate cheerleader for music education in the state of Ohio and beyond. He would freely give any time he had, often traveling hours to work with the band of a former student or a colleague. He gave freely of his time, his inspiration, his friendship, and his guidance. All you had to do was ask!

A retired educator from my part of the state recently stated this to me: “I hadn’t been on social media in quite a while since Steve’s death. When I finally went online, I started to read some posts and tributes after his death. I realized it would take me hours upon hours and several beverages to read through the many heart-wrenching tributes and stories about Steve!”

His charge was a quintessential phrase, that became a meme and a hashtag over the years. Simply stated… ”LOVE MUSIC!” The most recent meme, created by one of his former students Heather Sirney, can be seen in far-reaching areas of social media. Many have changed their profile picture to this heart-felt icon in tribute to Steve. It is simply a heart with the words “Love Music” inside. It became the comforting unification and comfort that we all needed to come to terms with his illness and ultimate passing. It is an inspiring reminder of the thousands upon thousands of lives he touched through his teaching and his music making.

Heather Sirney, received both her undergrad and graduated degree working with Dr. Gage. “Dr. Gage asked me to stay at YSU after completely my undergraduate degree in music education, to be his graduate assistant in the band department. The experience was intense; it was an apprenticeship in high levels of music making and expressing genuine love for students! He became my biggest supporter and a good friend, and I hope to pass on his enthusiasm and love of music to my own students!”

Steve reminded us daily, and will continue to remind those that worked with him, to never forget why we do what we do; to never forget to love our students each day and that the privilege of teaching music to kids is a gift. Most of all, through thick and thin, through good and bad, we must always remember to “Love our students more, even when we may not like their actions very much!”

OMEA’s incredible director of media, Amy Annico, was also a student of Steve Gage and remembers this about him. “We often lose touch with teachers and friends after we graduate, but Dr. Gage never let that happen. He was always there to encourage and remind us of the best in ourselves. He was family. I know I speak for many when I say there is a huge hole in my heart that cannot be filled.”

When I asked Steve to write the article and the theme of the first year, I remember his words. “It would my honor and privilege to write an article for an iconic OMEA publication, where two of my former students are at the helm and spreading the their love of music to other music educators!”

John Veneskey, director of bands at South Range Middle School and former professor of music education and director of the Youngstown State University Marching Pride, had the privilege of working with and knowing Steve Gage for quite some time. He had these words to say about Steve. “Steve Gage’s impact on the lives of those who have been fortunate enough to have been associated with him, transcends what words can accurately portray. I am forever thankful to not only have been his colleague, but his friend. Bravo Steve Gage! You left us far too soon - wanting more!”

He touched the musical and personal lives of so many students over so many years. His lessons were not only musical, but always sprinkled with life-lessons about being a better person, loving more, and remem-

bering the traditions we were charged with carrying on from our predecessors. He taught us that it was ok to get lost in musical emotions during a piece of music that may result in tears. Anyone who played in his ensembles knows that many of his favorite pieces ended with his distinct cutoff and tears rolling down his (and our) faces. This was commonplace in Steve Gage’s mastery of teaching. I distinctly remember a performance at an OMEA conference of “For Natalie…” from a wind symphony by James Barnes. The music tells the story of Mr. Barnes daughter, Natalie, who died at a very young age. The lush harmony and interplay of musical lines tug at every string of the musician’s heart. Steve loved his children with all of his heart, and he also loved his students. This piece was personal for him because it was about the composer’s child. I was playing principal oboe and distinctly remember trying to hold myself together with tears rolling down my face during the final solo and echoes of the last minor chords. Steve was sobbing, I was sobbing, the musicians were sobbing, and the entire grand ballroom was sobbing. Steve brough amazing and raw emotion to the podium and was able to excavate that from every ensemble he worked with. I will never forget that moment of liquid harmony that was in every teary eye in the room that day.

He taught us that it was ok if our emotions got the best of us during a piece, and that it meant we truly were connecting with and loving the music. He also taught us that life must go on, the show must go on, and that we had to pull ourselves together and make the next piece come alive, even more for our audience. Those that played under him regularly will forever have his final cutoff of a dramatic piece etched in our eyes and in our memories. Whether it was the massive baseball-bat cue complemented by the full-on Paul McCartney ‘hair flop’, or the floating emotional cut-off, with his mouth wide open staring into midair pondering his love of the moment….those cherished moments will forever be etched in our minds and hearts.

Darren Allen, director of bands in the Bay Village Schools and former student of Gage, states:

“Dr. Gage’s influence on me was one of inspiration, encouragement, and modeling what a music educator could be. He was always positive but demanding. The rapport he had with his students allowed him to be honest. I benefited form that honesty on many occasions

when I made mistakes. I still strive to create a good rapport with my students while keeping it positive and being forthright. I will miss talking repertoire with him, discussing life, and hitting the links….”

I can think of no better words to end my term as Editor of TRIAD and pay tribute to the man who made me the teacher and musician, I am today than the following: Steve Gage was one of the many mysteries of this world. He is gone too soon and it will take some amount of time to come to terms with his departure from this world. I have lost count of the number of times since his passing that I have heard a piece of music he loved conducting or played with him, and tears started rolling down my face. Those were tears of sadness and joy because this inspirational musician taught so many of us to love music. I am thankful that Steve Gage was such a huge part of my life!

It is our job now…. all of us whom he loved so much….to carry on his torch of love and passion for teaching kids…for teaching music. WE are now charged with carrying his musical legacy and inspiration forward

OMEA Editor of TRIAD Shawn Reynolds and OMEA Director of Media & Publications Amy Annico together as Drum Majors for the Youngstown State Marching Pride under the direction of Dr. Stephen L. Gage at the National Championships in Chattanooga, Tennessee, in 1997.

in this world. As he would say often, “This world needs more beauty…more music!!” He saw himself in all of us. Now, WE must see those same things in ourselves. Each one of us must love music harder, love music more passionately…. teach with more compassion…. connect to our students with more love…. on behalf of him! I will miss that huge smile, those dramatic conducting gestures, and the little bits of life-wisdom he drizzled in every musical situation and conversation.

Perhaps it is cliché, but the song “He Lives in Us” from The Lion King resonates and embodies the charge he has left so many people he taught and interacted with. A great man has left us too soon, and we all miss him dearly. Now for the smile we all need…. imagine him standing in front of you with that huge grin on his face, shaking his conducting hand at you while staring deep into your soul and speaking in that voice that only Steve Gage could muster……… “LOVE MUSIC!”

It has been an honor and a privilege to have served as the Editor of the TRIAD for the past two years. I thank the membership for having confidence in voting me to this position. And so, in true fashion when a portion of life comes full circle in ways we never expect, just as I took over as Editor, I am signing paying tribute

to this amazing person who has done so much for music education in the state of Ohio and beyond. I pay tribute to the man, the myth, and the legend Dr. Stephen L. Gage. The world is a little darker without you, but we will carry on your charge to “LOVE MUSIC.....MORE!”

Shawn Reynolds teaches instrumental music grades 5-12 as well as middle school music technology and world drumming in the Howland Local Schools. He directs the middle school bands grades 5-8 as well as grades 9-12. He is level 1 certified in the World Music Drumming curriculum and currently teaches a World Music Drumming (WMD)/Music Technology middle school general music course as part of his teaching duties. Shawn has presented at numerous OMEA and PMEA all-state and regional conferences, as well as Internationally as part of the International Double Reed Society (IDRS). He serves as the editor of the Ohio Music Education Association journal, TRIAD and as a member of the OMEA Board of Trustees. In addition, he has been professor of oboe/English horn at Youngstown State University (YSU) since 2015 and previously served as professor of oboe at Westminster College (PA) from 2003 to 2015.

FROM THE EXECUTIVE DIRECTOR JAY WARDESKA

The lyrics from Stephen Sondheim’s “Putting It Together” captures the theme of the OMEA staff over the past several months as we have been preparing for the roll out of the new OMEA Website and Online Management System. One line of Sondheim’s song is “Change Isn’t Easy,” and that is very true in this case.

As a membership, we have taken for granted the numerous OMEA-specific applications that were built by Greg Taylor. It is now taking a team of programmers to attempt to replicate these same applications from Solo and Ensemble registration to event scheduling. While the new website it going to revolutionize the OMEA Membership experience, there will be challenges along the way. The magnitude of this project will require some retooling and adjustment as the website comes fully online. We all must be patient, positive, and gracious as we undertake this monumental transition. The end result is going to be well worth the wait! Our appreciation is due Nick Turon, Assistant Director of Technology and Greg Taylor, Director of Technology for their leadership, planning, and work on this exciting project.

THE MECHANISMS OF CHANGE

It is not uncommon to read a post on social media, usually in a Facebook group, that involves a comment like “OMEA never changes” followed or preceded by a particular policy or event that the poster feels is important. While the significance of the topic of the post may be both sincere and relevant, three important considerations would improve the chance of implementation. First, and most importantly, change rarely happens via social media posts. OMEA has a system of volunteers, leaders, and staff members who are

responsible for representing the interests, needs, and desires of all OMEA members. This is where change is initiated. If you have an idea or a concern, use your device to send an email or make a phone call to someone that can put your idea into action. Each member is represented by a district president, region chair, and a state trustee all of whom can take your ideas to the appropriate committees and see that action is considered. Social media is where great ideas go to die.

Secondly, try to look at issues from someone else’s classroom or podium. OMEA is tasked with serving the needs of teachers in the smallest rural school, the largest urban districts, the mid-sized suburbs, general music teachers, band teachers, choir teachers, orchestra teachers, and everyone in between. When some directors are demanding more rigor and competition, other directors are looking for on-ramps that will enable their students to participate and grow in a nurturing and nonjudgmental environment. Some teachers are motivated by trying to get the highest placement, while others are demotivated by placements. Ultimately, OMEA is all of US, and WE have a multitude of varying needs, all of which deserve to be addressed.

Finally, WE are OMEA. As a member, avoid saying “OMEA needs to…” in favor of “We need to….” Our organization is built on a foundation of professional service. We thrive through the selfless service of each of our members. In addition to sharing your ideas, share your time. It is the ultimate reward when you help someone else succeed. There are a multitude of ways for you to become involved from hosting events, to serving a committee or in an elected office, to sharing your ideas and helping them come to frui-

tion. Please reach out with the ideas you have to the people who can help make them happen, and please consider lending your hand to the effort to support music education in Ohio.

CHANGE IS HAPPENING

In addition to the new OMEA Website and management system, many new initiatives are already under development. Change is happening in OMEA! Immediately, 2023 includes the arrival of a regional level audition option for string players. The region orchestra chairs worked hard to develop a more accessible audition on-ramp to encourage more of Ohio students to audition. Beginning this year, string students can opt to perform a regional level audition or an all-state audition. The goal for this initiative is to remove barriers and encourage more students to participate. Please see the All-State audition link on the OMEA website for details.

In 2024, the OMEA Adjudicated Events Committee is piloting a new large group format for the State Orchestra Event that is built around a theme of “choice.” Directors will have the option of choosing

three different tiers of participation which includes a clinic option, a sight-reading option, and various choices of literature. This is an innovative pilot program that will enable directors to choose the option that best addresses the variety of needs and concerns that have been expressed regarding large group events. This initiative is coupled with an adaptation to the AE calendar which eliminates the use of President’s Day weekend and results in four straight weeks of large group events. The AE committee is continuing to look at innovative ways to address concerns with the calendar and has some additional plans under design. If you have specific ideas or concerns, please reach out to the AE Committee Chair (ae_chair@omea-ohio.org), or Director of Adjudications Bill Thomas (adjudications_director@ omea-ohio.org).

THE STATE OF OMEA

OMEA is currently the 3rd largest state affiliate of the National Association for Music Education (NAfME). During the 2022 calendar year, there was a 12% increase in active membership and an 8%

SCHOOL OF MUSIC Youth Summer Music Programs

RESIDENT PROGRAMS

— with a commuter option

Clarinet Academy • June 11–14

Saxophone Camp • June 11–14

Jazz Camp • June 14–17

Flute Workshop • June 18–22

Double Reed Camp • June 21–24

Ohio State Marching Band Summer Clinic • July 7–9

DAY PROGRAMS

NEW! Vocal Arts Camp • June 9–11

Music Leadership Intensive • June 18–21

Middle School Concert Band Academy • June 25–30

All events are subject to change. Details

increase in retired memberships. The 2023 Professional Development Conference matched attendance metrics from the last conference pre-COVID with over 9,000 total in attendance over the three-day period. Overall, there was a sense of renaissance and renewed energy from the 2023 conference. Many people said it feels like “We’re Back!”

There is no question that the COVID pandemic has left music programs facing an unfamiliar landscape. We will be ushering through classes that were affected by long-term virtual learning models, restrictions to music making, course reductions, and many other unique situations. However, we will continue to provide high quality music education to students and develop new and innovative ways to address student needs. It is inherently what we do. For decades we have faced budget cuts, policy challenges, and a changing social landscape and through it all we have persevered. We are facing the current landscape with the same spirit, and in the end, we will come out of it stronger than ever.

Jay Wardeska serves as the Executive Director of OMEA. He has served OMEA in a variety of leadership roles including District President, AllState Ensembles Chair, All-State Task Force Chair, and Adjudicated Events Chair. He also served as an adjudicator for solo and ensemble, large group, and marching band. Currently a PhD Candidate at The Ohio State University, he holds degrees from Kent State University (M.M.) and the University of Mount Union (B.M.E.). Jay taught music in the State of Ohio for over 30 years and was named the 2013 National Band Director of the Year by the National Association for Music Education (NAfME) and the U.S. Army Band. Additional acknowledgements include membership in the NAfME U.S. Army All-American Band Directors Academy, Grammy Quarterfinalist for Music Educator of the Year, Medina County Arts Council Service to the Arts Award, the National Band Association Citation of Excellence, and the National Excellence in Teaching Award. He is

Programs in chamber music, collaborative piano, composition, conducting, ethnomusicology, jazz studies, music education, performance, theory, and technology (Stark Campus).

FROM THE PRESIDENT DAN RUCKMAN

A LEGACY OF LEADERSHIP: ROGER HALL, EXECUTIVE DIRECTOR EMERITUS & GREG TAYLOR, OMEA DIRECTOR OF TECHOLOGY

Morale is the state of mind. It is steadfastness and courage and hope. It is confidence and zeal and loyalty. It is élan, esprit de corps and determination.

-George C. Marshall

The retirement of Roger Hall and Greg Taylor was celebrated in front of family, colleagues and friends at the OMEA Professional Development Conference on Friday, February 3rd 2023 in the Union Station Ballroom at the Columbus Convention Center. The quote above by George C. Marshall was chosen for Roger Hall’s retirement plaque. Those that have worked with Roger know that the spirit of this quote resides deeper than words on a page. They embody a career that started as a band director and culminated at the helm of OMEA. A career, whereas Executive Director, he was a champion for students, educators, and music education. A career that showed the value of steadfastness, high standards, and service. A career that placed people and relationships above all else. A career that impacted countless numbers of people. In the many congratulation letters that were received, the constant theme was the influence Roger has had on all of

those with whom he has worked. Tim Lautzenheizer wrote, “You are living proof that ONE PERSON MAKES A DIFFERENCE, and the difference you have made has benefitted all of us; EVERYONE!” This sentiment was echoed by Peter Boonshaft who said “[you] have led OMEA with such unbelievable skill, have been there for all who ask for help, have been the model of grace, have been a mentor to so many, have been a trusted advisor, and most importantly, a dear and cherished friend…my life and all those you have touched with your kindness are so much better because of you.”

As the first Executive Director of OMEA, Roger Hall was instrumental in creating and refining the systems that have grown OMEA into the strong and professional organization we see today. Everyone who has worked with Roger knows that his influence is woven throughout the organization and the events that have defined the

mission of OMEA. His attention to detail, financial stewardship, and vision have allowed OMEA to not only survive financial crises and a global pandemic, but to thrive. His leadership has grown OMEA into the third largest NAfME affiliated music education association in the country. In the words of Jerry Pellegrino Jr. “OMEA would not be what it is today without [Roger] and the staff [he] assembled.”

A word often used in describing Roger Hall’s leadership is vision. One of the first things someone would notice during their initial board meeting was Roger’s ability to look at a situation from every possible angle and distill it down to its very essence. He would stand at the back of the meeting room, listen to everyone’s thoughts, and then confidently walk among the participants to plan how to successfully move forward. Roger’s vision was described by Jim Dowdy in the following: “You’ve guided [OMEA] strongly and

safely for over two decades. [OMEA’s] success, even in the face of obstacles such as financial crises and COVID, are a direct result of your analysis, planning and execution.”

Another common theme throughout the many letters was confidence. Those that have worked with Roger value his confidence and poise. When Roger speaks, people listen. But more importantly his ability to listen is what set him apart. Many colleagues expressed their gratitude for Roger encouraging them to be confident, forge their path, and trust their voice. The numerous stories that were shared paint a picture of a caring mentor or in Roger’s own words “a guide on the side rather than a sage on the stage.” This is where so much of the energy and motivation of OMEA leadership would develop during Roger’s tenure as Executive Director. As Mike Crist said of Roger, “You have always been eager to share your ideas and help solve problems. Your com-

mitment to excellence has been motivational.”

In any organization it takes more than skills, knowledge and planning to succeed. The zeal with which Roger approached every task was contagious. And while the product is what people remember, it was the work in which Roger thrived. He included in every email this quote from Douglas Lowry: “In the end, it will be about the work; each day’s work a link in the chain that cannot be broken, work given with full consciousness of your knowledge, spirit and will, and with untold extremes of generosity.” Roger’s work ethic and vigor is well known by colleagues and former students as shared in this anecdote by Mark Tryon: “Just last year, your cell phone went off while you were giving a speech to the State Board (ringtone: Esprit de Corps, by Robert Jager) and instead of silencing it and apologizing, you held it in the air for us to listen to the music, stating that this has always been your most important job as Executive Director: building esprit de corps in the organization. Looking back on my time in high school, it wasn’t that you taught me to love making music - it was that you taught me to love making music TOGETHER!”

A lifelong educator, Roger’s teaching and mentoring have never stopped. In the words of Ryan Nowlin, “We are all better for having known you, worked with you, and learned from your unwavering example.” Many individuals may have only been a student or OMEA officer for a relatively short time during his career, but with Roger these relationships were lifelong. He embraced the concept that leadership is about helping others. Here are the words of Mark Scatterday, Conductor of The Eastman Wind Ensemble: “Roger Hall single-handedly changed my life at a time that was crucial to my development as a serious musician. His professionalism, love for teaching, and care for his students significantly helped shape my career going forward, even to this day (40 years later!). I owe this man so much and love him dearly.”

His loyalty to people and relationships (as

well as his love for OMEA) was evident when he agreed to aid in the transition of a new Executive Director. Roger continued in the position of Executive Director throughout the search process. When the Board hired Jay Wardeska as the new Executive Director, Roger embraced his new role of Executive Director Emeritus and has mentored Jay throughout the current year. Jay Wardeska describes it this way: “I would think it is a rare occasion when a person gets the opportunity to not only have a lifelong mentor, but to be mentored by that person through many phases of life. I count myself very fortunate to have such an experience and for you to be that mentor for me.”

On behalf of the members of OMEA and the millions of students, we thank Roger, his wife Jennie, and his family for their service and sacrifices over many years of a magnificent career. It is most fitting that Roger’s daughter Stacie summed up his career perfectly when she wrote, “Ever since I was a little girl, I followed you around and watched you do your magic, teaching kids, including myself, the joy of music. I also saw how other students looked up to you as well because you cared about your students. Teaching was never a job for you, it was your passion, and it showed.”

As OMEA’s Director of Technology, Greg Taylor and his work have defined OMEA. Greg has been with the organization for well over 30 years. He began his work as a volunteer during which time he developed OMEA’s first solo and ensemble management program. He eventually was brought onboard in 2012 as a full-time member of the OMEA staff. He has shepherded the creation of the first OMEA website, the marching band, large group, and solo and ensemble management systems, online registration, and so much more.

Greg’s drive, ingenuity, and vision built the infrastructure necessary for OMEA to operate and grow. Most of the functional aspects that are required for the day-to-day operations of the

organization have been made possible by his work. In addition, he has been driven to continue to refine and improve these systems. His patience, persistence, and attention to detail are second to none. His leadership is steadfastly focused on the needs of our membership. His expertise, combined with his kindness, sensitivity, and humor have defined the technology position.

There have been times other Music Education Associations have asked how we did something. The answer usually started and ended with, “Find your Greg Taylor” and ended with “You Can’t have ours!”

Dan Ruckman is currently in his twenty sixth year of teaching and serving his twentieth year as the Director of Bands at Coldwater Exempted Village Schools where he directs the 5-12 concert bands, marching and pep band, Cavalier Steel Bands, and music theory. He has served OMEA as a solo and ensemble adjudicator, Past-President of OMEA District 3, and State Secretary. Dan is a member of the National Association for Music Education, Ohio Music Education Association, and Phi Beta Mu. Dan holds a bachelor of music education degree and a master of music in education degree from Bowling Green State University.

Contributions to Music Education

BRIAN D. MEYERS, EDITOR - CONTRIBUTIONS@OMEA-OHIO.ORG

Did you know that Contributions to Music Education, the research journal of OMEA, is celebrating its 50th year of publication? 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 47 volumes, CME can help you be a better music teacher. Topics over the years have centered on improving the musical experience for students and teachers.

• Urban and suburban music programs

• Teacher professional identities

• Listening in music classrooms

• Band, choral, orchestra, general music

• Sight-singing attitudes and influences

• Early childhood music education

• Programming choices and policies

• Historical traditions and methods

• Best practices in band rooms

• Beginning musical instruction

• Instrumental and choral programs

• Intrinsic and extrinsic motivation

• Issues of social justice in schools

• Current music technology practices

• Innovative ways to teach music

• And many, many more

Now is your opportunity to support OMEA and CME by becoming a subscriber to this important publication. Consider joining today, and for a minimal contribution, you can add to your library of resources to increase your own expertise. Subscriptions are now available in print and electronic format. NEW FOR OMEA MEMBERS: electronic access for only $10 a year! For further information and subscription details, please visit our comprehensive website: www.contributions.omea-ohio.org. We look forward to hearing from you!

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2023 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE RECAP

If the 2023 PDC had a theme it would have been, “We’re Back!”. Paid registration figures were over 90% of pre-COVID numbers, there was a feeling of excitement and renewal in the air, and there was no blizzard! Sessions and concerts were full to overflowing and IHCP enrollment was the second largest since its inception. The exhibit hall was buzzing while old and new friends paused to greet each other on their way to the next event. The return to Columbus felt somewhat like a homecoming and we are excited to be returning in 2024. This does not mean the everything was perfect. We have several areas of concern and are diligently working on a new plan for next year.

The Hyatt hotel session rooms in the “County Foyer” do not provide much flexibility. The hard walls mean that seating capacity is fixed. This cuts down on sound-bleed but also can lead to full capacity audiences. On one hand this is a “good” problem – with attendance up over 50% from 2022. On the other hand, it deprives some attendees the chance to attend popular clinic sessions. General Music sessions were also overcrowded – especially those needing space for movement and dance. Sound-bleed in the Hyatt ballroom became a concern when a dance/cheer event was scheduled in the ballroom next door, (owned by the convention center). We apologize for any inconvenience or disruption and will do everything within our power to remedy these concerns for 2024.

Planning for the next PDC is well underway. Featured clinicians are being contacted, session rooms reconfigured, and a new proposal portal is being developed. The IHCP and Ashland graduate credit reflections are a great window into the attendee experience. The evaluation option in guidebook, (still available), also provides insight and direction for future events. Please feel free to reach out to me at pd_director@omea-ohio.org if you have specific topics or clinicians to recommend for Columbus next year. Did you know that our Ohio-based clinicians are often among the most popular? YOU just might be the expert we need! The proposal and ensemble application portal will be open April 1 through May 31 on the OMEA website.

Thank you for making the 2023 PDC a great success! Make plans now as we head back to Columbus for the next PDC, February 1-3, 2024.

Mark A. Hensler Director of Professional Development & Conference Management

A MESSAGE FROM THE DIRECTOR OF BUSINESS AND TRADE SHOW OPERATIONS

A hearty congratulations to the 650+ exhibitors that represented over 135 organizations at the 2023 Ohio Music Education Association Trade Show in Columbus at the Greater Columbus Convention Center.

These organizations gave their time, talent, and energy to participate and stage their organizations in our return to normalcy!

I truly appreciate our Corporate and Institution Partners in making this year a strong return to the support we have had previously. Forty-Six (46) sponsors came forward this year to support OMEA. In addition, the Strike-A-Chord Golf Outing, helped us obtain needed scholarships for our All-State Participants.

Partnerships, Donations and Participation at the Annual Trade Show help OMEA to maintain their strength in the Nation as one of the largest Conferences and Trade Shows. OMEA provides support for the 1.7 million music students that we support in the State of Ohio.

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 on all fronts. Once again, a big “THANK YOU” to our exhibitors, partners, sponsors, associate members, and friends that make the Ohio Music Education Association one of the very finest music organizations in the Nation.

Please reach out if we can support you or your organization in any way!

Respectfully,

Bill Wittman, Director of Business and Trade Show Operations business_director@omea-ohio.org

740.975.3753

A MESSAGE FROM THE ASSISTANT DIRECTOR OF TECHNOLOGY

Hello!

By now, I hope you have visited our brand new website! If you are a current member, you should have received your welcome email. If you are a current member and have not received your welcome email, first check your spam folder. If it is not there, or if you had it but lost it in your jungle-of-an-inbox, you can rerequest the welcome email using your NAfME ID and email address on our public help page. It is important that you sign up for your new account as communications from your district/region leaders will not “go through” after July before you have logged in and set your OMEA zip code! District/Region leaders take note and emphasize this point with your members while we are still communicating through the old system!

The launch of the new website was not without bumps, but those bumps were met with exercises in great patience and grace from our membership and characteristically heroic efforts from our OMEA staff! “We are OMEA,” and the launch of this site is a testament to that collaboration optimism. In particular, I would like to recognize Greg for treating this launch (and these past few months) more like mile 26 of a marathon than the final months before retirement.

Looking ahead, you will notice continual improvements to the system! The top priorities for the next three months are as follows:

• Refine the Marching Band registration process that empowers event chairs to perform needed actions and enforce copyright compliance.

• Build a system to manage adjudicator certifications, assignments, availability, and affiliations.

• Build a mechanism for accepting registrations for Marching Band State Finals and scheduling those events that can scale to the level required.

• Activate a system through which our business partners can continue to gift to OMEA and return incremental value through our tradeshow and advertisements.

As you may have noticed, much of what we are building is being completed “just in time.” This is not ideal, but it is as practical as we can manage while trying to produce a minimal viable product. We ask that you continue to be patient with our rollout schedule. The old system was not built in a single year, and neither will this new system. You can expect continual improvement of our systems year over year!

Nicholas Turon Assistant Director of Technology

2023 OMEA PDC 25-YEAR AWARDS

(NAMES LISTED ALPHABETICALLY)

Ricardo Averbach

Jennifer Beair

Michelle Beck

Brian Coleman

J. Toney Dingess

Kenneth Emerine

Andrew Hire

Steve Kauffman

Carol L. Kinney

James Ledbetter

Laura Mitchell

Jess Nelson

Christa Roberts

Randall T Rodik

Dan Ruckman

Patricia Ruckman

Robert H. Sloan

Stephanie K. Smith

Ronda Stammen

Mark Sturm

William E. Van Pelt, II

Becky Wagner

Shannon Wagner

Brenda Adrienne Maria Waters

Kevin Wilson

2023 OMEA PDC OUTSTANDING MUSIC EDUCATOR

BRECKSVILLE-BROADVIEW

HEIGHTS HIGH SCHOOL

STEVE COCCHIOLA ORCHESTRA DIRECTOR

2023 OMEA PDC

OUTSTANDING YOUNG MUSIC EDUCATOR

WITT

HILLIARD BRADLEY

HIGH SCHOOL

JEREMY

CHOIR DIRECTOR

2023 OMEA PDC

OUTSTANDING ADMINISTRATOR

DOUG MARRAH SUPERINTENDENT ASHLAND CITY

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2023 OMEA PDC

DISTINGUISHED SERVICE AWARD

MARK A. HENSLER

NORTHWEST LOCAL SCHOOLS

CINCINNATI, ret.

OMEA 2022 Distinguished Service Award

Presented To Mark A. Hensler

2023 OMEA Professional Development Conference

Friday, February 3, 2023 - 7:30 pm

Hyatt Regency Ballroom - Columbus, Ohio

Introductory Speech by Kathy McGrady

Good evening! It surely is a great pleasure and honor to be here tonight to present the 2022 Distinguished Service Award. I want to begin by thanking the members of Da Capo (OMEA Past Presidents) for their dedication and promoting the high standards that make OMEA a great organization supporting music education in Ohio.

The Distinguished Service Award is the highest honor presented by the Ohio Music Education Association. Each year nominations for the DSA are solicited from the OMEA membership. Each application is vetted by members of Da Capo, and a winner is selected.

The recipient of the DSA Award must have demonstrated, evidence of success as an outstanding teacher. They must show evidence of service to the music education profession. And lastly, they must demonstrate evidence of distinguished contributions to the music education profession through such activities as achieving prominence as a clinician, adjudicator, guest conductor, author, performer; and receiving educational or community-based awards/recognition.

With all that said, this year’s recipient has accomplished all the above and more. He has given outstanding service to music education and has made a significant difference in the lives of others through distinguished leadership as a music educator.

I’m very excited to introduce to you the 2022 OMEA Distinguished Service Award recipient, Mark A. Hensler!

We would like to recognize and thank Gayley Hautzenroeder, a former colleague and dear friend who nominated Mark; his lovely wife of 38 years, Jenni, and Mark and Jenni’s three talented children – Mark Jr., Hannah, and Madeline.

Gayley mentioned that “he would walk through fire for Jenni, son, Mark, Jr., and daughters Hannah and Maddie. A lovely family in every way and all 3 children have continued the “Hensler” music tradition”. Mark, Jr. an architect and bassoonist, Hannah, an aspiring actress and oboist, who is also involved in children theater productions and Maddie, a senior at Kent State majoring in Fashion Merchandising, who is proud of the fact that she is the only other low brass player in the family, a trombonist.

Mark is a devoted husband and father! Jenni and Mark were married on September 1, 1984. The same week that they started teaching at Northwest Local Schools. Mark was worried about missing the first football game to go to their rehearsal dinner.

Mark received his Bachelor of Music Education from Morehead State University, KY, where he studied with Dr. Earle L. Louder. He also holds an MBA from Miami University, Oxford, OH.

Mark joined the instrumental music department at Northwest Local School District (Cincinnati, OH) in the fall of 1984, where he spent his entire 36-year career, retiring in the spring of 2020. Unfortunately, because of Covid, he was unable to have a final concert with his students which, in typical Hensler programing was going to include an Elvis impersonator!

For twenty-four of those years he was the Band Director at Pleasant Run Middle School earning 30 Superior ratings at the Ohio Music Education Association (OMEA) Adjudicated Events, (including a run of 19 consecutive years), and his Pleasant Run Middle School Band was selected to perform at the 2014 OMEA State Professional Development Conference held in Columbus.

Mark dedicated 36 years to inspire his students be excellent musicians and the best version of themselves. Mark’s ability to inspire students to the highest levels of excellence, while also connecting to them personally is what made him stand out in our profession. His students consistently display exemplary fundamentals, outstanding musicianship, love and appreciation for music and performance.

One of the many programs that Mark was very proud to have instituted while teaching was the National Association for Music Education’s National Anthem Project. Every year for 10 years 1000+ students at Pleasant Run Middle School would practice and then come together to sing the National Anthem. This included EVERY Staff member and student. Each year Mark would try to incorporate something new; for example, one year having the flag brought in by parachute.

Mark is an outstanding musician! He has performed with the Sounds of Sousa Band, National Community Band, Frank Simon Band, The Cincinnati Wind Band, The River’s Edge Brass Band, Bavarian’s German Band, the Yuletide Brass Quartet, and appears frequently as a soloist with school and community groups in the Greater Cincinnati area. Mark was also a founding member of the Cincinnati Brass Band where he served as euphonium soloist and assistant director, 1995-2007.

Mark is truly a scholar of Marches and older band music. Over the years, Mark has accumulated one of the largest private libraries of band music in southern Ohio. He has been known to “rescue” music that was going to be thrown away or destroyed!

Mark’s favorite band is “The President’s Own”! He can tell you about the band from the days of John Phillip Sousa to the present. He is truly a fan, and friends and family know that he really enjoys and appreciates this band, its history, and musicians, and especially their clean and precise performances of band music.

Mark is a collector of many musical antiques, instruments, and memorabilia. He has old records, record players, a player piano with many old piano rolls, that he listens to and plays them all! Mark is an avid music collector of books on band history, 78 records, over 450 piano rolls, classic radios, a victrola, a jukebox and well over 900 band arrangements and euphonium solos.

Mark is currently director of the Ohio Military Band. A group of non-professional band members from ages 16 - 97, proving that “Music Does Last a Lifetime”. Can you imagine Mark in a rehearsal with this group, with his incredible sense of humor and wit? No doubt, there’s a lot of fun music-making at those rehearsals and concerts under Mark’s baton and I am sure that they play well.

A quote from the oldest member of the band: “Only a wonderful person as you, would keep this old 97 trumpeter in the Ohio Military Band. You have made these final days a great experience.”

Mark volunteers his time on Sundays at his church as a Lay Leader and runs the AV equipment for the services. And if that is not enough, he is a Member of the Ohio Free and Accepted Masons and also the Scottish Rite Masons.

Anybody that knows Mark, knows he has wonderful wit and a keen sense of humor! He’s a terrific “punster”! It’s always fun to get into a “pun war” with him. One pun moves to another, and he ALWAYS wins! He makes everybody laugh with his play on words. When he makes a pun, he waits a second to see if you get it, then laughs with you!

Since retiring, in addition to his OMEA responsibilities he has joined the River’s Edge Brass Band, the Otterbein Choir, and a tuba/Euphonium quartet yet to be named. Some names that they are considering are, “Low Down,” “Basic Instinct,” or “Low Expectations.” Mark’s dedication to OMEA is unbelievable!

He has served OMEA and music education in Ohio throughout his career. Da Capo member, Marcus Neiman, states in his nomination of support letter, “the depth of his professional commitment to OMEA demonstrates his strong belief in giving back to those who serve our students and school districts”.

Mark’s leadership roles in the Ohio Music Education Association include: State President, State Secretary, District President, Conference Chair, Large Group AE Chair, Ohio Foundation Music Education Secretary, Leadership Academy Chair, Conference Registration Chair, Adjudicator, Constitution Committee Chair, Member of the Futures Advisory Committee, and Honor Band Chair.

Since 2014 Mark has been OMEA’s Director of Professional Development and Conference Management, or as our OMEA members fondly know it as

the PDC. His responsibilities include team management, proposal selection, contract management, establishing metrics, communicating with clinicians, ensemble conductors, facilities staff, OMEA members, sponsors, adjunct organizations, and scheduling nearly 300 events annually, including concerts, clinics, and special presentations.

Needless to say, Mark has been instrumental, along with Roger Hall, Jay Wardeska, and our talented OMEA Staff, in building the OMEA Professional Development Conference into what it is today, the third largest music conference in the United States! That definitely is worth repeating: The Third Largest Music Conference in the United States!

Roger Hall, Executive Director of the Ohio Music Education Association Emeritus wrote: “Mark exemplifies the core value of the OMEA Staff – Whatever it takes! His commitment to the membership is inspirational and the OMEA membership is the beneficiary of his unselfish service, unparalleled work ethic and vast experience as a music educator and accomplished performer.”

In Gayley Hautzenroeder’s nomination letter she wrote: “Mark is always learning; always teaching; always giving; and always caring. Mark is true professional; a humble person; a talented musician; a gentleman and a scholar.”

To quote one of Mark’s former students, Avi Kaufman: “Thousands of students, musicians, and music educators have benefitted from having Mark Hensler in their lives. Even though he is retired he continues to make a difference and brings that same dedication he has had for as long as I’ve known him”.

Finally, on a personal note, I would like to add that Mark has enriched the lives of so many through his teaching, friendship and mentorship. He continues to, put his whole heart and soul into his community, his music and his family. I am so fortunate to call him a dear friend and colleague. I can think of no one more deserving of the OMEA “Distinguished Service Award”.

Please help me welcome to the podium, the 2022 Ohio Music Education Association’s “Distinguished Service Award” recipient, Mark A. Hensler!

OMEA 2022 Distinguished Service Award

Presented To Mark A. Hensler

2023 OMEA Professional Development Conference

Friday, February 3, 2023 - 7:30 pm

Hyatt Regency Ballroom - Columbus, Ohio Acceptance

Speech by Mark Hensler

Distinguished members of DaCapo, OMEA staff, friends, and guests. My sincere thanks to my nominator and dear friend, Gayley Hautzenroeder, Chair Kathy McGrady, OMEA colleagues, former students, Ohio Military Band members, and friends for all your kind words. I am deeply humbled to receive this honor and join the ranks of past DSA recipients.

Jack Wainwright, Harry Clarke, J. Merton Holcombe, and Vivian Pearson may not be names you recognize but they set in motion what we are doing this evening. They were the first board of trustees for the Ohio School Band and Orchestra Association in 1924 – almost 100 years ago. Harry Clarke was the first DSA recipient in 1954.

I have had the privilege of attending these presentations for nearly forty years. I have also had the honor of tallying votes, notifying recipients, and even presenting the award. All I can say is, “has there been some kind of mistake?” I feel as if I should be preparing the reception or cordoning off seats or making copies for someone’s presentation tomorrow. Then I came to realize – that is the essence of OMEA. Leaders and volunteers in OMEA are always seeking to “do the work”.

My grandfather, whom I never knew, was a country fiddler, and music always had a large presence in our home. My parents loved music and always had the record player or radio playing. My mom knew and sang many folk songs around the house. When I started in elementary general music class, I always knew more verses to the songs than were printed in the textbook. I could also sing lengthy renditions of “Homer and Jethro” songs in first grade, much to the dismay of my classroom teacher.

Growing up in Mt. Healthy, I was fortunate to have many role models for excellence in teaching and service. I would like to thank Russell Hinkle for starting me on the cornet, (after a successful flutophone audition), Paula Stewart Aronoff for switching me to baritone, and my other Mt. Healthy music teachers, Allen Young, Roger Reece, Tilly Cowherd, Tom Gillfillen, and Cynthia Gray, and my private teacher Steve Hoock, for providing a truly unparalleled music education experience. I also must credit my late brother, Ken, who grabbed the cornet when I brought it home for the first time and played, “When the Saints Go Marching In”, just to show me up. This was a great motivation. My math teacher, Elizabeth Coates, also gets an honorable mention for introducing me to the comedy of Tom Lehrer and Spike Jones. I found out later that she was a fine pianist and performed as a youth with the Cincinnati Symphony Orchestra. In junior high, I began singing in church and was recruited to sing in the HS musical because I had a deeper voice than the other boy singers. This was the beginning of my love of musical theatre. Cynthia Gray came to Mt. Healthy when I was a junior, building up the choral program and adding music history and theory to the curriculum. This was an enormous benefit when I began studying music education. I also must thank my high school creative writing teacher whose name escapes me. If she had done a better job, I might have ended up as a writer.

The first time I remember hearing a band concert was probably 2nd or 3rd grade when Mr. Hinkle brought the HS band to my elementary school. In my fifth-grade biography, (out of print), I wrote that I was

going to be a band director. When our class took a field trip to the Wright-Pat Airforce Museum, the only thing I was interested in seeing was Glenn Miller’s trombone and glasses. In high school, I worked at our town’s public library. One day, I saw a two-record set of the US Marine Band come across the desk. This prompted a discussion with librarian Mildred Marshall, about music and I found out that her late husband had been a band director. When she discovered my interest in music, she invited me to attend a Cincinnati Symphony concert with her. This was the beginning of many trips to music hall with Mrs. Marshall and it opened a new world of music for me.

I have fond memories of my OMEA experiences as a student. I routinely performed in six or more S&E events each year along with large group band and choir. I was exposed to wonderful literature, played solos on almost every concert, became a student conductor, and learned an enormous number of marches. My senior year, I was soloist with the band when they traveled to Switzerland, France, and Spain.

When the time came for graduation, I asked Mr. Hinkle what college he recommended. He said without hesitation, Morehead State University. This decision would have lasting effect on the trajectory of my life. Roger Reece, also a Morehead grad, traveled with me in my 1964 Oldsmobile to accompany my vocal and euphonium auditions. This is when I first met Earle Louder and discovered Morehead’s rich band heritage. At MSU, I learned valuable lessons

from many outstanding, caring, educators. Somehow, I managed to end up in the honors program where I met my wife, Jenni – a music department “outsider”. Mr. Reece often spoke of his neighbor, George, who collected records. I discovered that this was George Stein who did a great deal of research and legwork for Paul Bierley’s biography of Sousa and Fillmore. It was through George and Earle that I came to know Paul and many other luminaries in the band world. During this time, Mr. Hinkle invited me back as chaperone and soloist with the Mt. Healthy band as they traveled to England, Scotland, and Wales and again for the band’s historic visit to Romania and China.

I was hired by Michael Hanning and began teaching in the Northwest Local Schools in 1984. I joined the faculty the year after OMEA President Lee Suman retired from Colerain High School. Both Mike and Lee had a tremendous influence on my teaching career. I remained at Northwest for 36 years, finding my niche as a middle-school band director for the last 26 or so. Cincinnati had an active OMEA community, and I was surrounded by mentors including Rosemary Koepfle, Sam Reynolds, Pete Metzger, Jack Wimmer, Bill Wilkie, Fred Marzan, Bob Gray, Dan Meeks, and many, many, others. I tried to set an example by practicing my euphonium at 6:30 AM every day before school. I set high expectations for my own performance and that of my students. I tried to push my students to achieve while maintaining a caring, supportive, humorous, environment. One of my students once gave me the highest compliment when she said, “You know Mr. Hensler, your class is the only place where I can really be myself”. I had a supportive administration who essentially had the motto, “Just make us look good and we will leave you alone.” The staff at Pleasant Run MS was also supportive and jumped on board when I introduced them to MENC’s National Anthem Project. It became an annual tradition and a fun way to start each school year. The project culminated with a 10-year celebration that included the entire student body, dressed in red, white, and blue, the Hamilton County Sheriff’s helicopter, the ROTC color guard, the city of Cincinnati Police bagpiper, firetrucks, police vehicles, dignitaries, and veterans from throughout our community. Patrick Gilmore would have been proud. I am also proud to have given students their first taste of musical theatre, opera, and

professional concert band performances. I have fond memories of my time at PRMS and NWHS working with David Zerull, Steve Joos, Doug Gaines, Gayley Hautzenroeder, Henry Huber, Sara Boys, Michael Spresser, and so many more.

My move to fulltime MS band opened the door for even greater involvement in OMEA. I served as chair of many events, committees, conferences, District President, and eventually became State Secretary. That first group of trustees included Marcus Neiman, Nancy Ditmer, Sharon Nelson, Linda Hartley, and Karen Hann. I returned to the trustees just as Roger Hall became executive director. He has since become a great friend and mentor, along with Bill Anderson, Jim Dowdy, and too many others to name. When the Director of PD position was created in 2014, I decided to build on the skills I learned as a volunteer join the OMEA staff which included Amy Annico, Greg Taylor, Bill Guegold, Dane Newlove, and David Adamson.

I have directed several community groups, including the Ohio Military Band. I tried to instill in my students the idea that music is a life-skill and lifelong activity through joint concerts between the OMB and the PRMS 8th grade band. It was quite rewarding to see 12- and 13-year-old students playing alongside musicians in their 80s and 90s. I would like to acknowledge the OMB band members in the audience this evening including our senior member, (not a former student), 97-year-old trumpet player Dr. Charles Fixler. It has been a joy to welcome former students including Avi and Fletcher Kaufman into the band and to see the accomplishments of former student musicians including Angela Ammerman, who is a clinician here this week. We rehearse on Thursday night and are always looking for new members. Be sure to “like” us on FB and visit our website. Our manager Dennis is here tonight too if you are interested in booking the band. I still play the occasional solo and participate in the annual concert by the Mt. Healthy HS Alumni Band. This summer will mark the 43rd year for the alumni band started by Russell Hinkle in 1980.

I am fortunate to have a loving and supportive wife who puts up with my obsessions which include collecting records, sheet music, piano rolls, radios, books, and an assortment of other items. I am also very

proud of my children and their musical accomplishments including many fine ensembles in the Fairfield City Schools, musical theatre, and starting careers of their own in their chosen fields. OMEA has been a big part of their lives beginning with “trick or treating” in the exhibit hall on the last day of conference through adjudicated events and All-State ensembles.

As music education evolves, I worry about the future of large ensembles such as the one you are going to hear in a moment. I encourage you to advocate for these groups in your community. I believe in the pursuit of musical excellence but also in a place where students can be themselves, discover their strengths, and celebrate their accomplishments. I believe music education is uniquely qualified to meet these goals, assisted by OMEA, its current and future leaders, and by parents and students who share these goals. I encourage my colleagues just starting out to be patient. Don’t be discouraged when your first assignment is not your dream job. Sometimes you just need to focus on the long haul and build your own “dream job”. Let’s keep “doing the work” and make tonight the beginning of the next 100 years of excellence and opportunity for all of Ohio’s music students.

DISTINGUISHED SERVICE AWARD RECIPIENT LIST

CORPORATE/INSTITUTION PARTNERS

In these challenging times, the Ohio Music Education Association truly appreciates the support of the following organizations

organizations who have become Corporate/Institution Partners in our efforts to support Music Education throughout Ohio.

YOUR

EDUCATOR

The NEW Be Part of the Music educator platform gives you a personalized, ever-changing dynamic resource feed with recruitment, retention, and advocacy resources to build your program and grow your enrollment.

CORPORATE/INSTITUTION PARTNERS

In these challenging times, the Ohio Music Education Association truly appreciates the support of the following organizations

PARTNERS - LEVEL II - CONDUCTOR’S CLUB

organizations who have become Corporate/Institution Partners in our efforts to support Music Education throughout Ohio.

CORPORATE/INSTITUTION PARTNERS

LEVEL I - MUSICIAN’S CLUB

In these challenging times, the Ohio Music Education Association truly appreciates the support of the following organizations who have become Corporate/Institution Partners in our efforts to support Music Education throughout Ohio.

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

Yes, I want to support music education in Ohio and insure that the benefits acquired by students experiencing music are available for them now and in the future. Please apply my gift as indicated.

Donor Information: (Please print legibly or type this form.)

Name:

Street Address:

City: State: Zip + 4

Email Address:

Best Phone:

_____OMEA Member _____OCMEA Member _____Parent _____Friend of Music Education

Donation Information:

Donation Amount: $

Donation Category: _______ Foundation General Fund for Financial Growth

(Check area for donation)

_______ OMEA Memorial Scholarship Fund

_______ Charles H. Benner Leadership Academy

_______ This is my Annual Campaign Contribution for calendar year 2023.

Recognition/Memorials: Please list how you wish to be recognized on our website and in our publications.

(Example: John and Jane Smith)

This gift is: In Recognition of: In Memory of:

, or please do not list my/our names.

_____ Certificate or _____ Card of Donation Acknowledgment. Send to: Address City State Zip

Note: The Ohio Foundation for Music Education is a 501(c)(3) non-profit organization under the Internal Revenue Code. A donation acknowledgment letter will be provided for tax purposes.

Checks made payable to: Ohio Foundation for Music Education

Send this completed form with check to: Ohio Foundation for Music Education

Attn: Jay Wardeska, Executive Director 4535 Tatiana Trail Medina, Ohio 44256

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.

• Field experience in K-12 music classrooms during your first semester at Wooster.

• Small class sizes allow for personalized attention

• Expert training in instrumental, choral, and general music teaching techniques

• 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

NAVIGATING OTES 2.0 PART 3: PRESENTING THE EVIDENCE

BY: RACHAEL FLEISCHAKER

It is the end of the evaluation cycle. You have had your pre-conference conversation with your evaluator. You have had a holistic observation as well as a more focused one. Your professional goals have been developed. You have created assessments and collected high quality student data. What now? How do you present necessary information at your end of the year post-conference conversation? What is your evidence of excellent teaching?

Before you have your final conversation with your evaluator, you will want to compile all the data from your HQSD assessments. This can seem daunting, but remember, you must only have two measures that “provide evidence of student learning” (ODE, 2023). Methods for organizing and analyzing data can be personalized to your teaching situation as well as your content area. In the digital age, many music teachers are using technology to store information.

For example, a choir director might choose to give ear training tests set up in Google Forms that the students complete using iPads. The results are quickly scored and can be organized to show individual student data. An elementary general music teacher may find that making a spreadsheet listing students names along the side and skill sets along the top can be color coded to track when students have mastered basic skills such as keeping a steady beat, reading rhythmic patterns, distinguishing high/low, loud/soft, fast/slow, and so on. A band director using Flip (formerly known as FlipGrid), might require students to video themselves playing passages from the repertoire. The director would collect data using a performance rubric to score these playing tests. Many online music programs offer assessment pieces that can

be set up to record in a grade book. This information can later be sorted and compared overtime.

No matter how you have chosen to collect your data, the end result must be presented to your evaluator. OTES 2.0 criteria states that “the teacher must use the data generated from the high-quality student data instrument by:

• Critically reflecting upon and analyzing available data, using the information as part of an ongoing cycle of support for student learning

• Considering student learning needs and styles, identifying the strengths and weaknesses of an entire class, as well as individual students

• Informing instruction and adapting instruction to meet student need based upon the information gained from the data analysis

• Measuring student learning (achievement and/ or growth) and progress toward achieving state and local standards” (ODE, 2023)

The first bullet point indicates that you as the teacher must use the data to help students learn the content. You must show that you understand what the data is telling you about student learning. This type of reflection needs to be explained to your evaluator. You will have information in front of you that describes where your students are excelling and where they need improvement. You can use the information to show your evaluator how you individualize learning goals with the students. Do you give your students “helpful tips” and “guidance” for becoming more technically accurate? Do you practice intervals during warm-ups? Do you correct hand positions on the fret board? Do you have stu-

dents explore various ways to find the beat by walking, marching, tapping, and bouncing? Make your evaluator aware of how you recognize and bolster each and every student in your room.

The second bullet point requires you to look at both the strengths and weaknesses within the group you are instructing. Ensemble directors have an advantage in this area because they are constantly evaluating from the perspective of the whole group to individual and back. Do you ask strong singers or players to mentor less experienced ones? Do you have sectionals? Do you sit next to the student struggling to feel the beat? These are all ways that you individualize instruction for students. The data you collect is your opportunity to inform your evaluator how individuals within the group help the overall health of the ensemble, as well as pointing out ways that you can support struggling students (which will in turn aid the overall group).

The expectation of the third bullet point is that you are using the data you collected to inform your instruction. That is, of course, what we as music teachers do on a daily basis. We present information, listen to our students as they demonstrate their understanding, evaluate their progress, and adjust our instruction to review or move forward in the curriculum. OTES 2.0 gives us the opportunity to share our process with an evaluator. The data you collected is the evidence you will present that explains the instructional strategies you have used and the ones you will use in the future to build the skills needed to improve your program.

Finally, your data should show that individual students are making progress toward mastering the content. Use the evidence you have collected to explain to your evaluator what growth has occurred and how you know that has happened. This may seem basic or even elementary to trained musicians. If the students are building skills through effective instruction, their performance gets better. However, many evaluators are not trained musicians so “sounding better” needs to be explained. Take the time to explain what skills your students needed to master over the year and how you got them to do it.

From the above example, the choral director could show the evaluator the musical scores for the

repertoire used in the concerts. Explain how the choral group needed to be able to see dots on the page and translate those notes into intervals of sound. Then show them the ear training tests that were administered and explain how the data collected showed which students could hear the pitches and which were still struggling. Explain the strategies that were used to help each student progress. If all of the students mastered the particular set of intervals that were essential in the repertoire, show the next step for the group. What was the next piece, what challenges did it bring, and how did your instruction help them master these new skills? Then set up your HQSD for the next evaluation cycle to reflect what the students need to know. It is a cyclical process, and one that you can control.

For the band director mentioned above, perhaps explain that the clarinet player could only read and play six notes at the beginning of the year, but by the end of the year, they were performing twice that many. Bring a few of the recorded clips that demonstrate what the students could do at the beginning of the year and where they are now. Show your evaluator the rubrics that were used and explain the aspects of the performance that were improved. Then articulate the next steps for the students.

The elementary music teacher would show the progression of skills that each grade level is expected to master. Then show the records that were kept to track this progress. Did all of the students master these skills? If they did not, what were the instructional strategies used to reteach? For the students who did master the skills, what was the next step in the progression? Show how your lessons reflect opportunities for students at different levels to continue at differentiated paces. Student growth is an essential part of HQSD and by explaining the progression of skills, a conversation will open with your evaluator about the curricular goals and how you are monitoring student progress toward those goals.

HQSD should be meaningful to you and to your students. OTES 2.0 allows for music educators to document our process. The HQSD that you collect does not and should not be an auxiliary tool that is only done to check off a box in the evaluation

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cycle. If done well, it becomes the living proof of the work that is happening in your classroom each and every day.

Once your HQSD is organized, think about other indicators done by you throughout the year that help determine where you should be on the teaching rubric. There are several themes within the evaluation rubric. For example, student ownership in the learning process is mentioned in several categories. How are you demonstrating student ownership? Do your students participate in Solo & Ensemble events? Do you have featured soloists at concerts? Conversely, do you discuss with other teachers what your data is telling you about your students? Do you collect exit tickets that ask students to reflect on their skill development, knowledge, or learning? While these examples may not qualify as HQSD, they demonstrate ways in which your students are engaging in the content, setting goals, and using self-assessment. Be ready to share those examples with your evaluator.

Before that final conversation, reflect on your year as a whole. Take some time to read the Teaching Rubric. Jot down actions and dig out the lesson plans that speak directly to the criteria that perhaps your evaluator did not see in the two or three observations in the classroom. For example, engaging in professional development and collaboration with colleagues is mentioned many times in the rubric. Be sure to upload documentation of your own professional development in the OhioES system. Did you attend an OMEA or other professional organization sponsored professional development sessions? Are you taking graduate classes? Do you perform in professional or community ensembles? Do you mentor younger teachers? How have these experiences helped you to grow as a professional? Be prepared with a copy of the rubric to show your evaluator how you integrate these activities into your professional life.

When you have organized your HQSD, studied the criteria listed in the teaching rubric, and reflected on your program and professional goals, it is time to have that final conference for the year. This conversation will, of course, determine your final summative rating, but it should also be used as

an opportunity to set up the next evaluation cycle. Use all of the evidence that you have collected and presented to determine your Professional Growth Plan goals for next year. The OTES 2.0 cycle encourages teachers to continuously improve so take everything you have learned from this first year of implementation and begin to build on the successes you had. Ultimately, we as music educators are asking our students to constantly reflect on and rehearse the skills we have taught them. Allow yourself to do the same.

References

Ohio Department of Education. (2023). High quality student data. Retrieved from https://education.ohio. gov/Topics/Teaching/Educator-Evaluations/Teacher-Evaluations/High-Quality-Student-Data

Dr. Rachael Fleischaker (rfleisch@kent. edu) has taught elementary general music, band, and choir in Canton, Ohio for over 25 years. She earned her B.M.E. from the College of Wooster. Both her M.Ed. and Ph.D. are from Kent State University. Research interests include culturally responsive music education, music teacher development and support, and learning, assessment, and evaluation. She has presented numerous sessions over the years at OMEA Professional Development Conferences, at NAfME Professional Development conferences, and has reached international audiences by presenting at the 2022 International Society for Music Education Conference. Rachael is the chair of the OMEA Teacher Evaluation committee.

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3 STEPS TO BETTER MIDDLE SCHOOL BAND INTONATION

BY: DR. SHELLEY JAGOW

When I visit various schools throughout Ohio, I am always impressed with the fine music making encountered at every grade level. But I must confess that I hold middle school band directors with great admiration and appreciation for their critical responsibility in teaching a multitude of music concepts in a child’s formative years. And one of the more obscure concepts to teach a young band is that of intonation. The following three steps should help music educators develop a method for achieving better intonation with young ensembles.

Step #1: Toning before Tuning

Tone quality must always take priority over pitch quality. Even with good tuning, your ensemble will not sound in tune if there are a variety of competing timbres/tone quality between homogenous instruments. The insistence on good tone is the responsibility of the ensemble director. Students cannot be expected to reproduce a sound that they have never heard.

Introduce students to characteristic tone qualities of a full band at every rehearsal. You can locate several archived concerts of the “The President’s Own” United State Marine Band, the United States Navy Band, “Pershing’s Own” The United States Army Band, and several others on professional YouTube channels. Introduce beginners to the proper sound of their instrument by utilizing resources such as: Instruments of the Orchestra by Utah Symphony, Meet the Musician with the Indianapolis Symphony, and Instrument Demonstration for Beginning Band by The United States Army Field Band. Young players may be more motivated by seeing peers closer to their age-group performing fun excerpts such as in the section demonstration by the Portland Youth Philharmonic

Always consider the many factors that affect

tone quality such as air support, posture, embouchure, amount of mouthpiece, reed condition, mouthpiece quality, equipment condition, etc. Invest a few minutes at each rehearsal performing long tones in varying registers and at varying dynamics with the purest tone possible. Do not allow your ears to become complacent to mediocre tone. The “I’ll fix it later” approach only trains student’s ears to not be offended by poor tone quality.

Step #2: Activating Ears vs Eyes

There are many opinions as to the best method of tuning a band, yet none are really incorrect if the method promotes players to listen. Our goal is to create independent players with great ears! I like to tune concert bands to both a Concert F and Concert Bb. Concert Bb is a good tuning note for the majority of the ensemble as it works well within a practical range of the overtone series for most instruments. Using Concert F provides the horns a better tuning pitch than Bb, and it further allows the clarinets to tune throat tone G by adjusting with the barrel joint. (Keep in mind, however, that Concert F is a terrible tuning note for Eb saxophones, so please educate these players that this pitch is inherently sharp.)

Students should be instructed to tune with a full tone at a mf. It is helpful to articulate the note rather than simply sustaining. Sustaining a note often tends to trick the player’s ears into hearing a faulty pitch in tune after sitting on it for a short while. Articulating the note can help a player hear the initial pitch of each attack.

Try utilizing a game we call Pitch Barometer. Instruct the band to sustain a unison pitch and then point to one player to continue sustaining the pitch while the other players release their sound. (Create a friendly learning atmosphere because it can place

less confident players on the spot.) The lone sounding pitch will immediately sound sharp, flat, or in tune with the released pitch. The reason this pitch barometer technique works so well is because the sum of the parts equals the whole. In other words, the whole sound moves to the closet in-tune pitch. Allow the players to determine the relation of their pitch to the whole, while encouraging them to follow their first instinct. If we think too long on the direction of our pitch, then our ears can be confused and not know which direction to move at all. The goal is for a student to independently and quickly identify pitch relations and make immediate adjustments.

Step #3: Identifying “Beats”

Teach students to listen for any audible “beats” in the sound of two instruments sounding a unison. If you can hear beats, then the sound waves are not matching each other. By adjusting embouchure, the student should be able to bring the two tones together to sound “beat-less”. One student should hold their pitch as steady as possible while the second student adjusts their embouchure in an attempt to eliminate audible beats between the two tones. If the student must firm their embouchure, then their pitch is flat to the other tone, and they must shorten the length of their instrument. If the student must relax their embouchure, then their pitch is sharp to the other tone, and they must lengthen the length of their instrument. A beat-less sound indicates that the two tones are vibrating at the same frequency, and are thus in tune.

Younger bands should first practice playing unisons/octaves in tune, followed by perfect fifths, then major thirds. The concept of balance comes into play when tuning intervals. Students must learn to fit their sound inside the lower sounding tones of the ensemble. And for the majority of chords in younger repertoire, students are required to properly balance the root, major third and perfect fifth. First sound the root and match tone to eliminate any beats in the sound. Then add the perfect fifth with slightly less volume than the root, while also listening to match tone and eliminate beats. Lastly, add the major third making sure it is sounded at a lower volume than the fifth. For young players, it is not

too soon to instruct them how to sound the major third. You do not need to dive into the physics of harmonics or overtones or cents or ratios. Simply tell younger players to lower or darken their tone (and have them pencil in a down-arrow in their music). You will be impressed by some players that can immediately hear reduced beats in the chord.

Resources

• APP (iOS and Android) serves as an intonation resource for students and band directors. The app is an interactive, color-coded fingering chart for the full-range of wind instruments, providing alternate fingerings, inherent pitch tendencies, and tuning suggestions. The app also identifies the best tuning notes for each instrument, and provides tips on tuning each instrument in relation to dynamics, air speed and direction, and embouchure. The Director’s version includes all ten wind instruments, while individual instruments are available for download to each student. https://www. shelleyjagow.com/apps

• A video illustrating the affect of mouthpieces and reeds on tone quality: https:// www.youtube.com/watch?v=RrpKZPBnkhg

• A video illustrating what “beats” sound like when teaching intonation: https://www. youtube.com/watch?v=HUyBuYUb450

Bibliography

Jagow, Shelley (2020). Teaching Instrumental Music: Developing the COMPLETE Band Program, (2nd ed). Chicago, IL: Meredith Music Publications, a division of GIA Publications.

Jagow, Shelley. (2012). Tuning for Wind Instruments, A Roadmap to Successful Intonation. Galesville, MD: Meredith Music.

Apps: https://www.shelleyjagow.com/apps

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OUR POWERS COMBINED: HOW A UNIFIED FINE ARTS DEPARTMENT WILL STRENGTHEN YOUR DISTRICT.

BY: MARTY KRAL & CAMERON DEDRICK

We’ve all been there. You have a great idea, suggestion, change to tradition, problem to solve, etc., and no one will listen to your thoughts or concerns. The administration is busy with more pressing matters, the guidance counselors don’t understand your needs, and the community doesn’t recognize that your students have more value than just entertainment. It can be frustrating to grow your program in new and innovative ways. Most of us exist in a small vacuum. We have few staff, are housed in far flung wings of the building, sometimes travel to multiple buildings, and have a hard time maintaining regular interactions with other members of the staff. Here in Ashland, Ohio, we’re no different. Although we have great administrators and faculty support, amazing parents, and community members, it can be tough to gain traction on new initiatives and have our voices heard. In an attempt to combat this, we made a decision to triple our department size with this one thought: What if we were no longer just the music department, the art department, Theater, and Dance, but a Fine Arts Department?

BENEFITS OF UNIFYING THE FINE ARTS IN YOUR DISTRICT

By unifying the Fine Arts, you have just doubled or tripled your department footprint! Music, Visual Art, Digital Art, Media Arts, Theater, Dance, Photography, Video Production, etc. all have some of the same basic tenets in their discipline. We train students to become independent creators within their medium. We teach the skills, techniques, procedures and accepted practices that professionals would expect beyond High School. We also teach the importance of the aesthetic within our disciplines. The old adage of “Power in Numbers” holds true. Getting buy-in from all Fine Arts stakeholders in your district can only expand your department’s footprint throughout the building and allow you more staff to workshop and refine ideas before going to the administration or parent organizations.

HOW WE UNIFIED THE DEPARTMENTS IN ASHLAND, OHIO

We began with stakeholders from each department. This started as simply one music and one visual art teacher to discuss similarities within our departments. This blossomed quickly into a full Fine Arts Action Plan (email us for a copy). We started with the goal of combining all that we do. If there’s a performance in the auditorium, why wouldn’t we have art on display in the lobby? If there’s a gallery night to celebrate student art work, why not have a quartet performing to set the mood? This also expanded to creating honoraries for our disciplines. Tri-M and the National Art Honor Society, the music and art honoraries respectively, are two separate but equal entities at Ashland High School. They allow graduating seniors to wear honor cords to celebrate their achievements, but also bring together like minded individuals that value the Fine Arts in its various forms. One of our other goals that we continue to refine is that we want all Fine Arts classes to hold the same weight. Promoting departments together ensures equity of importance across our disciplines.

HOW TO BEGIN - IDEAS THAT WORKED FOR US

Just like any good lesson planner would, we identified our desired outcomes first. What did we want for our students? We decided to use a backwards design approach. This started with recognizing the students that were heading into college or a career in the arts. This included Music/Art Education, Graphic Design, Photography, Radio/TV, Music Instrument Repair, Tattoo Artist, Music Performance, Etc. We now hold an annual Fine Arts Signing Day where students are recognized for their decision to continue in the arts beyond HS. We bookended this idea with a Fine Arts Career Fair at the start of the year. How often do we sit without parents during conference nights? We capitalize on this time by holding a Fine Arts Career Fair. Parents and students of all grade levels meet with local artists, entrepreneurs, musicians, and college reps in the arts. This year we had 8 (all local) companies take part in helping students in their career path. It’s an incredible chance to network with your community and have students realize that what they enjoy most at school doesn’t have to end to get a “real job.” We encourage our fine arts students to identify as “creatives.” So many of them are multi-talented, and are intrinsically-motivated by the sheer satisfaction of creating something new. We remind them that the creative economy is second only to retail in industry sector revenue, and that people will not only pay them for their product, but the creative way in which they think

ing or district. Do this in a way that makes sense for you. This could be a formal meeting time in the conference room or over zoom. It could be an informal get-together at a local pub or coffee shop. And don’t worry that only a few will come, but be adamant that this is for everyone and not just your department. Nothing new comes easy. In Ashland, we still don’t have 100% buy in from every Fine Arts teacher, and that’s okay. We push forward for the good of the kids and the program. The colleagues that show up to that first meeting may be all you need to get the ball rolling. Let their ideas and yours guide the discussion and create a mutual trust and respect between disciplines. Then be bold and shoot for the stars.

BACK TO BASICS

What are we doing as teachers? We hope to create safe, engaging, and relevant learning environments for our students. We teach them the value of teamwork, collaboration, skill building, ethics and morality, etc. Are we always doing that as staff members? If you feel like an island, what have you done to change that? This plan all starts with taking the initiative. Our first suggestion would be to schedule a meeting with any Fine Arts staff in your build-

WHERE WE’VE COME AFTER THREE YEARS OF UNIFICATION

We’re Thriving! We love to list our accomplishments for the students and the community. This is simply called ADVOCATING for your program. We suggest visiting the Ohio Alliance for Arts Education on ways to advocate for your district. It’s a huge resource for all Fine Arts teachers. Below are only some of the ideas to promote, teach, collaborate and grow as a Unified Fine Arts Department. Email us at any time to learn more about any of these ideas:

1. Name your Unified Arts Department something memorable. We went with the AVPA: Ashland Visual and Performing Arts Department, and created a logo for promotion.

2. Spend a few dollars: We spent a few bucks on logo pens, a retractable sign for the stage and hallway, and digitizing the logo so any staff could buy a shirt with the logo embroidered to help promote us unified.

3. Quarterly Newsletters that celebrate all the Fine Arts in the district. This is a digital item that we send to students, staff, administration and parents.

4. TRI-M & NAHS - Honors Society

5. Fine Arts Career Fair

6. Fine Arts Signing Day

7. Visual/Digital Art on display at concerts and music performed at Galleries and Art Shows

8. Art Show weekend is now Fine Arts Show weekend including as many students as possible throughout the time of the show

9. Presenting Fine Arts accomplishments to the school board (at least twice a year)

10. Moving the December School Board Meeting to the auditorium to hear some holiday music from our performing ensembles

11. School calendar with student art highlighted every month

12. Digital Displays (TV Slide Shows) in prominent areas that ONLY displays Artwork, Fine Arts events, Student achievements in the arts, and Arts propaganda (quotes and facts about being in Fine Arts programs)

Marty Kral is the Music Department Chair and District Fine Arts Coach for the Ashland City School. He directs the High School Bands including the Symphonic, Concert & Marching Bands. He also teaches HS guitar, music technology and media arts courses. In 2010, 2020, 2021 & 2022 Mr. Kral was selected as a guest clinician at the Ohio Music Education Association State Conference, most recently co-presenting a clinic on making the fine arts “Non-Negotiable” in education. In 2021 & 2022, he was a featured clinician at the Ohio Art Education Association State Conference as well as in 2011 at the National Technology Institute for Music Educators Conference. He holds a Bachelor of Music in Education from Ashland University, Master of Arts in Teaching and Learning from Nova Southeastern University and Teacher Leadership Endorsement from Concordia University. He serves on various committees for the Ashland County Community Foundation & Ashland University and is a former board member of the Ohio Alliance for Arts Education. Mr. Kral has Master Teacher status with the district, and holds a Lead Professional Teaching License. He has a K-12 Music Licensure as well as a Teacher Leadership Endorsement.

EMPOWER YOURSELF & GO FOR IT

Identify what your hopes are for a unified department and jot those down in an email to your fellow Fine Arts colleagues in your building or district and make that first contact for a meeting. There’s nothing stopping you from going for it. We didn’t ask for permission to collaborate, we only decided it was the right thing to do. After deciding on student centered ideas to grow our presence, build unity, and promote the amazing things we’re already doing, then let your administration know. It won’t involve any work on their part (which they love), but it’ll let them know why you are using new branding: as in the AVPA in our case. We believe you have nothing to lose, and only good things to gain. GO FOR IT!

Cameron Dedrick is the Media Arts Department Chair for the Ashland City Schools. He teaches 3D Foundations, 2D Foundations, Drawing Fundamentals, Printmaking, Sculpture, and Media Arts at Ashland High School. Previous to his high school career, he taught Elementary Art for 15 years. He also serves as Assistant Marching Band Director at AHS and District Technology Coach. In 2021 & 2022, Mr. Dedrick was selected as a featured clinician at both the Ohio Music Education Association State Conference and Ohio Art Education Association State Conference, where he presented various clinics about the fine arts classroom. He holds a Bachelor of Science in Art Education from Ashland University with concentrations in Graphic Design and Printmaking, and a Master of Arts in Educational Technology from Baldwin-Wallace College. In his undergraduate program, Mr. Dedrick was heavily involved in the music department, participating in Marching Band, Concert Band, University Choir, and Chamber Singers. He is also a member of Kappa Kappa Psi National Honorary Band Fraternity and a former Assistant Stage Manager for the Ashland Symphony. Mr. Dedrick is the Vice President of The Ohio Alliance for Arts Education, and serves on Ohio Arts Council & Ashland County Community Foundation Grant Committees.

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OMEA ALL-STATE ENSEMBLE AUDITION INFORMATION

2024 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE

COLUMBUS, OHIO • FEBRUARY 1ST-4TH, 2024

All-State Coordinator – Robert Sloan

All-State Band Chair – Don Nathan

All-State Choir Chair – Heather Wilkins

All-State Jazz Ensemble Chairs – John Stetler and Dave Sycks

All-State Orchestra Chair – Vincent Huzicka

All-State Children’s Choir Chairs – Danielle Jones and Amanda Rasey

2024 ALL-STATE APPLICATIONS ARE EXCLUSIVELY ONLINE!

APPLICATIONS SUBMITTED THROUGH THE POSTAL SERVICE WILL NOT BE CONSIDERED!

All Applicants must be enrolled as members of their school’s performing ensemble while applying, and must continue their participation during the 2023-2024 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 2023-2024. Failure to observe these rules will nullify the student’s All-State eligibility.

OMEA continues the use of online applications for the 2024 All-State Ensembles. Please be aware the online application does not change how recordings are made, only how applications and recordings are submitted. You will need the following items to apply:

1. Student and parent e-mail addresses.

2. Digital recordings (audio only) of required etudes/solos/scales/warm-up (as listed below)

3. Your director’s contact information

4. Your director’s 9-digit NAfME identification number

5. A credit card for the $15 application fee (paid to Acceptd)

APPLICATION TIMELINE:

• March 1 - Application and audition material available.

• May 31 - Deadline for all applications to be submitted. Please carefully note the specific etude and performance requirements. They are all different for 2024.

• August 31: Notification of results to applicants and directors.

• September 30: Due date for acceptance form and membership fee of $325 that covers hotel lodging and 5 meals.

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

2024 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.

School of Music

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PANdemonium4 is a flute quartet of Ohio-based teacher-performer professionals representing a diverse group of universities across the state. PANdemonium4 shares a mutual passion for promoting all things flute in central Ohio and impacting the global future of chamber music collaborations within the setting of the quartet. $12 General Admission, all students free with ID.

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Join us for a week-long camp designed for all high school band, choir, and string students. Large and chamber ensembles, individual lessons, masterclasses, classes in theory and history, and more will be lead by SOM faculty and students. The camp is open to students entering grades 9-12, including those that will be entering college in the fall.

Commuter campers: $175 (includes daily lunch) Overnight campers: $400 (includes 3 meals per day and evening activities)

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Concert: Wed., June 28, 7:30 p.m., Guzzetta

Recital Hall

Join us for the annual Summer Symphonic Band! The ensemble is open to high school and college students, directors, and community members. Directed by UA Director of Bands Dr. Galen S. Karriker, rehearsals will be held on Monday and Wednesday evenings from June 12-28 at 6:00 p.m., followed by a concert on June 28 at 7:30 p.m. in Guzzetta Recital Hall. For more information and to register, contact Galen Karriker at gsk1@uakron.edu. Register by June 1, 2023.

For more information: 330-972-8301

music@uakron.edu

www.uakron.edu/music

Photo Dale Dong

2024 BAND & ORCHESTRA WIND-PERCUSSION RECORDING REQUIREMENTS:

Each student (after first announcing name and instrument) will next record all required Etudes as listed below and next record a Solo from the OMEA Class “A” or “B” list. Percussionists are required to record all three etudes (mallet, snare, and timpani) and then record a solo (OMEA Class “A” or “B”) on a keyboard instrument (xylophone, vibraphone, or marimba). Two or four mallet solos are acceptable, and the solo may be accompanied or unaccompanied.

FLUTE:

Selected Studies for Flute by Voxman, published by Rubank - p. 23 and p. 51

OBOE:

Selected Studies for Oboe by Voxman, published by Rubank - p. 18 and p. 55

Bb CLARINET:

Selected Studies for Clarinet by Voxman, published by Rubank - p. 14 and p. 35

BASS CLARINET:

Advanced Studies from the Works of J. Weissenborn, arr. Rhoads, published by Southern - #7 (p. 5) and #20 (p. 15)

BASSOON:

Method for Bassoon by J. Weissenborn: 50 Studies section in back of book (Catalogue #CU96) - #2 (p. 115) and #23 (pp. 130-131)

SAXOPHONE:

Selected Studies for Saxophone by Voxman, published by Rubank - p. 19 and p. 38

TRUMPET:

Selected Studies for Trumpet by Voxman, published by Rubank - p. 12 and p. 19

FRENCH HORN:

Preparatory Melodies to Solo Work by Pottag, published by Belwin - #14 (p. 6), #54 (p. 22) and #74 (p. 29)

TROMBONE AND EUPHONIUM:

Selected Studies for Trombone by Voxman, published by Rubank - p. 30 and p. 37

BASS TROMBONE:

50 Etudes for Bass Trombone and Tenor Trombone with F Attachment by Grigoriev, ed./arr. by Randall Hawes, published by Encore - #31 (p. 30) and #38 (p. 36)

TUBA:

70 Studies for BBb Tuba by Blazhevich, Volume No. 1, published by Robert King - #16 (p. 15) and #28 (p. 27)

MALLETS:

Fundamental Method for Mallets by Mitchell Peters, published by Alfred – Reading Study #3 in Eb Major (p. 90).

SNARE DRUM:

Advanced Snare Drum Studies by Mitchell Peters, published by Try Publishing Company – Etude #15 (pp. 30-31) .

TIMPANI:

Fundamental Method for Timpani by Mitchell Peters, published by Alfred – Etude No. 43 (p. 174)

2024

ALL-STATE AND REGION ORCHESTRA STRINGS AUDITION REQUIREMENTS:

Each student (after announcing name and instrument) will next record the 2 scales and technical etude. After the etude, students who are auditioning for All-State Orchestra will perform the All-State Orchestral excerpt. They would NOT play the Region orchestral excerpt, however they are still required to participate in region orchestra.

This year, a violin, viola, cello or bass student has the option to only audition for Region orchestra. These students will still record the 2 scales and etude, but will then announce “region orchestra only” and then play the Region orchestral excerpt. They would NOT play the All-State orchestral excerpt.

VIOLIN

• Scales: A Major 3-octave scale, Eb Major 2-octave scale

• Etude: Kreutzer Etude #14, beginning to measure 14

• Region orchestral excerpt: Mendelssohn Midsummer’s Night Dream, measure 17 to downbeat of letter B

• All-State Orchestral excerpt: Prokofiev Classical Symphony, movement IV, beginning to 6 measures after letter B (play paper part on divisi)

VIOLA

• Scales: D major 3-octave scale, Ab Major 2-octave scale

• Etude: Kreutzer etude #5 beginning to downbeat of measure 16

• Region orchestral excerpt: Berlioz Roman Carnival Overture pickup to 3 measures after box 1 to downbeat of box 3

• All-State Orchestral excerpt: Tchaikovsky Symphony 6 letter B to 6 measures after letter C

CELLO

• Scales: D Major 3-octave scale, Ab Major 2-octave scale

• Etude: Dotzauer etude #44 beginning to downbeat of measure 17

• Region orchestral excerpt: Mendelssohn The Hebrides Overture measure 19-40

• All-State Orchestral excerpt: Elgar Enigma Variation 12, rehearsal 52 to 54

BASS

• Scales: Bb Major 2-octave scale, E major 2-octave scale

• Etude: Simendl B minor etude measures 1 -29

• Region orchestral excerpt: Saint-Saens Carnival of the Animals, L’Elephant beginning to rehearsal 3

• All-State Orchestral excerpt: Mozart Symphony 40, movement 1 pickups to measure 115 to downbeat of measure 138

HARP

• Scale: A Major 3-octave scale

• Etude: Bach-Grandjany Etude #8 beginning to downbeat of measure 17

• All-State Orchestral excerpt: Tchaikovsky Swan Lake cadenza

2024

ALL-STATE JAZZ ENSEMBLE RECORDING REQUIREMENTS:

Groovin’ High is from GROOVIN’ HIGH (vol. 43); Ornithology is from CHARLIE PARKER (vol. 6); Doxy is from MAIDEN VOYAGE (vol. 54); Peaceful Ideas, A Little Stop Time, and Double Trouble are from GOOD TIMES! (vol. 114). All are Jamey Aebersold Publications.

All WINDS

• Perform a chromatic scale evenly up and down to demonstrate range. **Trumpets and Trombones: if interested in playing lead, please play up to at least a high C (trumpet) and high Bb (trombone)

• With the play-along, record the head to Groovin’ High – play head ONCE (with repeat)

• OPTIONAL: after playing the head, improvise TWO choruses (required for solo chair, not required for other chairs)

SAXES

• With the play-along, record the head to Ornithology – play head ONCE

• OPTIONAL: after playing the head, improvise TWO choruses (required for solo chair, not required for other chairs)

BRASS

• With the play-along, record the head to Doxy – play head ONCE

OPTIONAL: after playing the head, improvise TWO choruses (required for solo chair, not required for other chairs)

VIBES, PIANO, GUITAR

• With the play-along (use CD #1), record the head to Peaceful Ideas and comp one chorus. (OPTIONAL: improvise one chorus following the comping)

• With the play-along (use CD #1), record the head to A Little Stop Time and comp one chorus. (OPTIONAL: improvise one chorus following the comping)

BASS

• With the play-along (use CD #4 RIGHT CHANNEL), record TWO CHORUSES of Peaceful Ideas. (OPTIONAL: improvise one chorus following the two original choruses)

• With the play-along (use CD #4 RIGHT CHANNEL), record TWO CHORUSES of A Little Stop Time. (OPTIONAL: improvise one chorus following the two original choruses)

• With the play-along (use CD #4 RIGHT CHANNEL), record TWO CHORUSES of Double Trouble. (OPTIONAL: improvise one chorus following the two original choruses)

• Include a recording of you playing a swing chart with your home jazz ensemble or a combo.

DRUMS

• With the play-along (use CD #4 LEFT CHANNEL), record TWO CHORUSES of Peaceful Ideas.

• With the play-along (use CD #4 LEFT CHANNEL), record TWO CHORUSES of A Little Stop Time.

• With the play-along (use CD #4 LEFT CHANNEL), record TWO CHORUSES of Double Trouble.

• Include a recording of you playing a swing chart with your home jazz ensemble or a combo. This chart should include a drum solo of at least four bars.

If you have any issues, questions, or concerns, please contact: omeaallstatecoordinator@gmail.com

2024 ALL-STATE CHILDREN’S CHORUS AUDITION REQUIREMENTS:

OMEA is pleased to announce auditions for the OMEA All-State Children’s Chorus on February 1, 2024 in Columbus, 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 1st. 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 and 5 during the 2023-2024 school year whose teachers are members of OMEA. 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 2023: Results will be posted to the OMEA website and emailed to all students and teachers.

• October 15th: Acceptance forms and $85 participation fee made payable to OMEA due for all applicants.

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 “Start an Application” select “2024 OMEA All-State Children’s Chorus” then click the green ‘Apply to’ button.

• 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.

AUDITION REQUIREMENTS:

• America the Beautiful - Key of C Major, A Cappella

• O Music by Lowell Mason - 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 2024 All-State Children’s Chorus roster will be posted to the OMEA Website early fall 2023. 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 2024 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:

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 2nd 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 1st, 2024 ScheduleAll students are required to attend the full day rehearsal on February 1st, 2024 in Columbus, 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.

HIGHER EDUCATION

CASE WESTERN RESERVE UNIVERSITY

Director of Choirs Chris Clark performed with the Cleveland Chamber Choir at the American Choral Directors Association National Conference held in Cincinnati, Ohio in February. The program, Of Sound Mind: From Darkness into Light, featured music relating to neurodiversity. Dr. Clark also assisted in the presentation “Dreaming a Just and Equitable Choral Future with Voices 21C.” In this session, they explained the main values that the social justice ensemble governs themselves by and explored some of the processes by which they create musical programs. At the Ohio Music Educators Association Professional Development Conference, Dr. Clark presented a well-attended session “Building Harmony: Deploying Harmonic Warm-Ups in the Choral Rehearsal,” which explained different ways of using scales, tonality, and modulation to use harmony in the warm-up session of a choral rehearsal.

Assistant Professor of Music Education

Benjamin Helton published “Policy dispositions among music administrators at higher learning institutions,” co-authored with CWRU doctoral candidate Jason Delfing. The piece is published in the Journal of Music Teacher Education. Helton also published an opinion column in the Columbus Dispatch on school vouchers (2/23/23).

Professor of Music Education Lisa Huisman Koops launched Season 2 of the podcast Parenting Musically. Season 2 is sponsored by the Rock & Roll Hall of Fame and features interviews with musicians, researchers, and Rock Hall educators.

CWRU Music Education hosted Dr. André de Quadros, Professor of Music Education at the Boston University for a residency in February, 2023. Dr. de Quadros led undergraduate and graduate seminars on his philosophy and research. He presented “Freedom Dreaming, Dismantling Walls: Music and Social Justice” for the Music Department Colloquium.

COLUMBUS STATE COMMUNITY COLLEGE

Columbus State Community College Concert Band, under the direction of Thomas Lloyd, performed their Autumn Semester Concert on November 29th. The program began with “On Parade March” by Amanda Aldridge and included “A Thousand Single Snowflakes” by Amber Sheeran and “Tribal Dance” by William Grant Still. The band continued their study of music by African American composers of the early twentieth century with “A Ragtime Dance” by Will Marion Cook. Since 2021, the band has performed works by Will Vodery, William H. Tyers, and James Reese Europe, including his “Clef Club March,” all in new editions prepared by Thomas Lloyd.

KENT STATE UNIVERSITY

In early January, the Kent State Bands hosted our annual All-Star Band Invitational with 225 students representing more than 50 schools from Ohio, Pennsylvania, and Michigan. Students attended a faculty recital and participated in masterclasses with our studio faculty. Students worked with guest conductor, Jamal Duncan, Associate Director of Bands and Assistant Director of the School of Music at Arizona State University, and

KSU faculty members Dr. Benjamin Lorenzo, Dr. Darin Olson, and Dr. Wendy Matthews. The event concluded with an exciting performance by the two ensembles to a capacity crowd in Cartwright Hall Auditorium.

Congratulations to the leadership of our fully online Master of Music in Music Education program for being recognized by Intelligent.com as providing the best student services among all such programs. The online MMME is one of the best and biggest programs in the country. Senior Advisor Jenna Sepúlveda and Program Coordinator Dr. Butch Marshall take tremendous care to help students succeed. This is a well-deserved honor for an outstanding program!

Kent State was well represented at the 2023 OMEA Professional Development Clinic in Columbus. Congratulations to Dr. Jay White (voice), Dr. Rachael Fleischaker (Music Education), Music Education doctoral students Lisa Heinrich, Bri-

an Laakso, Jacob Gibson, Martin Ryan, and David Thompson on excellent presentations of their pedagogical and research work. Professor Bobby Selvaggio was the Director of the Intercollegiate Jazz Ensemble; Dr. Matthew Holm and Dr. Janine Tiffe led the Kent State Percussion Ensemble in an outstanding performance. We were thrilled to welcome more than 100 alumni and friends to our reception and look forward to seeing you all next February in Columbus.

We are thrilled to be offering professional development classes this summer on the Kent State campus! We’d love to have you join us for Orff Levels 1, 2, and 3 (June 20-24 and 26-30); Early Childhood Music—A Music Learning Theory Approach (July 5-8 and 10-15); and Choral/Instrumental Conducting Intensive (July 17-21). For more information, please visit https://www.kent. edu/music/mued-summer-courses or email Dr. Butch Marshall at hmarsha6@kent.edu.

WWW.ASHLAND.EDU/MUSIC

o:419.289.5100 e:music@ashland.edu Scholarships available to music majors, minors, and ensemble participants!

ALLIED ORGANIZATIONS

JAZZ

EDUCATION CONNECTION OF OHIO

Zach Compston - President

With all of the excitement of OMEA propelling us into 2023, we would like to invite you to get involved with our organization in one of the following ways:

• Join our virtual spring meeting on April 19, 2023. Visit jecohio.org to learn more.

• Consider becoming a MEMBER, and join the conversation about how to deepen our jazz education opportunities around the state.

SPRING 2023 UPDATE

The Jazz Education Connection of Ohio is an OMEA Allied Organization dedicated to enriching jazz education efforts throughout the state. We are a member-based organization with a rich history of connecting all educational environments to the power of jazz. This update comes to you on the heels of a highly productive OMEA conference - one in which JECO was postured in arguably its strongest light yet. JECO hosted four sessions at OMEA that made a profound impact on the attendees, ranging from improvisation tips and vocal jazz techniques to advocacy for women in jazz. Further, the JECO/Stanton’s Reading Band and newly instituted JECO Jam Session were held before capacity crowds at the Hyatt Regency. Saxophonist Bobby Selvaggio (Kent State University) curated an innovative, forward-thinking program of music with the Intercollegiate Jazz Ensemble, which represented ten different Ohio colleges and universities. Our events were full of attendees anxiously absorbing the tips, techniques and best practices that we had to offer. Emails and correspondence has continued to flow in from individuals seeking more information about how they can deepen their jazz education practices in the future.

• Are you a results-oriented jazz education lover? Consider joining our BOARD OF DIRECTORS and bring your ideas to reality.

Our goal is to reimagine our impact around the state, including online resources, professional development events, message boards and more, aimed at providing you the tools you need to better serve your students through jazz. Please follow the Jazz Education Connection of Ohio on Facebook to stay up-todate about our events and opportunities.

Finally, as a celebration of Jazz Appreciation Month in April, consider adding a new element to your teaching of this American art form. Whether it’s a deeper dive into the elements of jazz - blues, improvisation, swing - a lesson on jazz with a general music class, or an opportunity to take your students to a live jazz performance, how can you inspire your students using jazz? We are here to help, and we can’t wait to see the amazing work being done around the state of Ohio.

Zach Compston is the Executive Director of Programming and Education for the Jazz Arts Group. He oversees logistical and administrative duties, vision and direction of JAG’s performance and educational programming, including concert productions, the Columbus Youth Jazz Program, Jazz Academy programs and school programs for pre-K through college.

Contact: zcompston@jazzartsgroup.org

ALLIED ORGANIZATIONS

OHIO CHORAL DIRECTORS ASSOCIATION Doug O’Neal - President

HIGHLIGHTING THE UPCOMING OCDA SUMMER CONFERENCE

The 2023 Ohio Choral Directors Association (OCDA) Conference, “Tune your Toolbox”, is just around the corner, and it promises to be a must-attend event for choral conductors and music educators alike! This year, the conference is featuring an exceptional lineup of renowned choral directors and educators, including Joe Miller, Jessica Nápoles, and Stacey Gibbs. Additionally, we are thrilled that Richard Schnipke and Robyn Lana will be leading the High School Honors Choir and Treble Honors Choir respectively.

If you are a choral director, music educator, or simply an enthusiast, this is an event you simply cannot miss. The Ohio Choral Directors Association Summer Conference is designed to provide you with a unique opportunity to expand your knowledge and skills while networking with some of the most experienced choral directors in the country.

Joe Miller, the Director of Choral Studies at the University of Cincinnati Conservatory of Music, will be leading sessions on TLC, conducting technique, and lead a director’s chorus providing tools and insights to preparing music and scores for outstanding performances. . He has conducted renowned ensembles such as the Westminster Choir, and the Spoleto Festival Choir. With a wealth of experience, he is sure to offer valuable insights and techniques to attendees.

Jessica Nápoles is an Associate Professor of Choral Music Education and Director of Choral Activities at the University of North Texas. Her sessions will cover topics building independence, critical thinking, and fostering student engagement. With a focus in music education, Nápoles has been praised for her own work

and teacher education in choral music and is sure to provide attendees with an enlightening and inspiring experience.

Stacey Gibbs is a celebrated arranger and composer, and his arrangements have been performed by choirs all over the world. He will be sharing his music in a reading session format as well as a session on authenticity in gospel, spiritual and hymn singing for schools and churches.

In addition to these amazing choral musicians, Richard Schnipke and Robyn Lana will lead the High School Honors Choir and Treble Honors Choir respectively. These choirs are comprised of some of the best school vocalists in the state and offer a unique opportunity for students to work with outstanding conductors and learn new skills.

The Ohio Choral Directors Association Summer Conference will take place on June 26-28, 2023 at Capital University in Bexley (Columbus), Ohio. We invite you to join us for three days of learning, networking, and inspiration. Don’t miss your chance to learn from some of the most accomplished choral directors in the country and be a part of an amazing musical experience. Register now to secure your spot at ohiocda.org. Pre-registration discount ends May 26, 2023.

Doug O’Neal serves as Director of Choirs at Olentangy Liberty High School where he conducts four concert and two ACAPOP choirs. A former music minister and conductor of Illuminati from the Columbus Gay Men’s Chorus, Doug also enjoys performing musical theater. He has degrees from Bowling Green State University and University of Dayton and has served as Co-Chair of the OMEA All-State Choir.

State and federal dollars through the Ohio Arts Council support artistic resources throughout the state.

EVEN TEACHERS NEED TEACHERS

As an educator, one of the most impactful ways to improve is by educating yourself. That’s why the Yamaha Educator Suite (YES) helps music teachers access professional development opportunities, music teacher resources, program health support, advocacy assistance and more. YES brings you a network of like-minded teachers, experts and professionals, who want to help you achieve your goals. Let us help you raise the bar. Go to Yamaha.io/educatorsTRI