The Official Publication of the Ohio Music Education Association
December 2013/January 2014 Vol. LXXXI, No. 2
*Photo courtesy of Bill Hayward - B.G.S.U.
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2014 OMEA Professional Development Conference Section - Page 18
OMEA is an Affiliate of
800.336.3768 www.nafme.org
Allied Organizations: 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
Find OMEA on Social Media!
Jazz Education Connection of Ohio www.jecohio.org
TABLE OF CONTENTS FROM THE DESK OF...
6 8
Editor of TRIAD - Matthew Warner OMEA President - Patricia Meeks
TEACHING TIPS
44 GENERAL MUSIC - Hands-On Projects for the Middle School General Music Classroom - Cynthia Edwards 48 BAND - The First Moments of Class: Rut-less Routines - Dr. Scott A. Jones 53 ORCHESTRA - The Conceptualization of a Faculty-Student Performing Ensemble - Dr. Jackson Leung 57 CHOIR - Why Start a Contemporary A Cappella Group? - Ben Spalding & Brody McDonald
MUSIC MASTERCLASS 60 62 65
WOODWINDS - Developing the Low Range For Better Bassoon Embouchures - Bill Jobert BRASS - Achieving a Continuous Air Stream with Brass Articulation - Dr. Jason Smith VOCAL - Instrumentalists: Tune Up Your Choir! - Dr. James Tipps
NEWS & COMMITTEE REPORTS
68 73 82 86 88 89 91 92 93
Adjudicated Events Higher Education News In Memoriam - Lee Suman Jazz Education Connection of Ohio Ohio Choral Directors Association Ohio Alliance for Arts Education Ohio Collegiate Music Education Association Ohio Music Education Association - General Music Ohio Foundation for Music Education
PROFESSIONAL DEVELOPMENT & ASSESSMENT 94 Workshops, continuing education, camps, etc. 96 100 5 12 106 108 110 110
CURRICULUM - Forward (or Backward) March! Updated Advice on Music Curriculum - Dr. Ed Duling PROFESSIONAL DEVELOPMENT – Boulanger: A Master Teacher - Dr. David M. Hedgecoth Information Network Corporate/Industry Partners OFME Music Education Donor Form OFME Donors TRIAD Information Advertising Index
DECEMBER 2013/JANUARY 2014
EDITOR Matthew Warner
937.570.0927
editor_of_triad@omea-ohio.org
DESIGN/PRODUCTION Amy Annico Director of Media and Publications
210.570.OMEA
media_director@omea-ohio.org
ADVERTISING David N. Adamson Director of Business Advertising/Exhibits
440.552.6983
business_manager@omea-ohio.org ONLINE PUBLISHING WRL Advertising TRIAD, the Official Publication of the Ohio Music Education Association, is written for music educators, college students preparing for a career in music education, and others who are interested in music education in both general and specialized areas. TRIAD is now a digital publication that can be found online at www.omea-ohio. org three times a year - with Oct/Nov, Dec/Jan, and April/ May issues. All news releases should be sent to the editor. All news releases received by the editor will be considered on the basis of news, value, and timeliness to the music education profession in the state of Ohio. All advertising space and business inquiries should be directed to the OMEA Director of Business. An Insertion Order or a Space Reservation Form must be submitted for ads to be printed. TRIAD reserves the right to reject any advertisement. The statements of article authors and/or advertisers are not necessarily those of the magazine or association, and the right to refuse any article/advertisement is reserved. OMEA is not responsible for the URL linking in this publication in terms of destinations or operation. All links are tested in advance for validity to intended sources, but potential distortions may occur beyond the control of OMEA and/or the URL link source. OhioMEA Online Publication Policy on Post-Publication Changes - The Ohio Music Education Association places the highest importance in the integrity of our publications posted online. We realize that despite the competent efforts of the editor, authors, contributors, advertisers, and OMEA staff, posted content may have errors or desired alterations identified after the proofing process is completed. Once a publication is posted online, it will be considered as ‘final’ and no further changes, updates, or corrections will be made. The electronic archiving of our publications for official record is taken seriously and all online publications should be considered equitable to print venues, without alterable possibilities once posted for public viewing.
3
“You have all made a point to get to know me and my band program personally in order to get a feel for what will make our tours successful.” Randy Karon,
Director of Bands, Barrington High School
Glenn Williams, Music Department Chair, Downers Grove South High School
Todd Rogers Tami Rogers
Brayer Teague, Music Department Chair, Downers Grove North High School
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INFORMATION NETWORK OMEA OFFICE
P.O. Box 1067 Massillon, OH 44648 330.833.5677 - Office 330.833.4774 - Fax www.omea-ohio.org Roger A. Hall Executive Director 330.833.5677-O executive_director@omea-ohio.org David N. Adamson Director of Business 440.552.6983-O business_manager@omea-ohio.org Mark A. Hensler Director of Professional Development 513.240.1572-O pd_director@omea-ohio.org Amy L. Annico Director of Media & Publications 210.570.6632-O media_director@omea-ohio.org Gregory S. Taylor Director of Technology 614.395.5016-O technology_director@omea-ohio.org Max Treier Adjudications Coordinator 740.584.1940-O adjudications_coordinator@omea-ohio.org John Purdy Adjudicated Events Vendor 937.339.7360-O ae_vendor@omea-ohio.org
OMEA TRUSTEES Patricia Meeks President president@omea-ohio.org
OCMEA OFFICERS Emma Burger OCMEA President ocmea_president@omea-ohio.org
Terry Herschman President-Elect president_elect@omea-ohio.org
John Barrett OCMEA President-Elect ocmea_president_elect@omea-ohio.org
James Dowdy Immediate Past-President past_president@omea-ohio.org
Laura Horcher OCMEA Secretary ocmea_secretary@omea-ohio.org
John Veneskey Secretary secretary@omea-ohio.org
Justin Caithaml OCMEA Editor ocmea_editor@omea-ohio.org
Matthew Warner Editor of TRIAD editor_of_triad@omea-ohio.org
Patrick Specht OCMEA Treasurer ocmea_treasurer@omea-ohio.org
Richard Eakin Treasurer treasurer@omea-ohio.org 2013-2014 TRIAD EDITORIAL BOARD Matthew Warner Melissa Stamm Editor of TRIAD Teacher Evaluation Cincinnati Hills Centerville City Schools Christian Academy James W. Tipps Shelley Jagow Teacher Education Immediate Past Editor of TRIAD Wright State University Wright State University Jason Smith Amy Annico Brass OMEA Director of Media Ohio University and Publications Bill Jobert Scott A. Jones Woodwinds Band Wright State University The Ohio State University JulieAnn M. Bernard Amy Beegle Strings General Music Centerville City Schools University of Cincinnati-CCM James Leslie Jackson Leung Percussion Orchestra University of Dayton Wright State University David Tovey Bill Burns Multiculturalism Jazz The Ohio State University Centerville City Schools Brian Laasko Technology McKinley High School
DECEMBER 2013/JANUARY 2014
5
I’ve been contemplating the theme for our upcoming professional development conference: “Building the Future.” It occurs to me that when we talk about the future of music education we often mean the “what” and the “how.” What will be expected of music educators? What challenges might we face, and how might we meet them? What new opportunities might exist through new technologies, ideas, policies, or attitudes, and how might we seize upon them? What should we anticipate and how can we be ready for it? These are important questions that deserve our attention, but what about the “who” of building the future? Whose future are we building? Who decides what that will look like? Who will implement positive changes to build that future, and who might present resistance to those changes? Who will be our leaders? To whom will we listen, turn for guidance, or seek to benefit? I think these are important questions precisely because music education is not just a what or a how, but a who. It is much more than repertoire and pedagogy; it is also students, teachers, parents, communities, policymakers, and a host of other stakeholders, beneficiaries, and interest groups. Depending on whose future you are building, you might come up with very different whats and hows about “building the future.” 6
With that in mind, I offer a few thoughts about whose future we are building as music educators with this challenging proposal: Building the future of music education involves YOU. NOW. Why? • You are the one who is teaching, training, and/or mentoring future teachers. For some of you these future teachers are the students in your general music class, orchestra, or private studio. For others it means the music education majors in your university courses and studios. For some it also means the student teachers for whom you are a cooperating teacher or supervisor, or for younger teachers who look to you for encouragement and guidance. For still others it is their classmates in music education undergraduate or graduate programs. Teacher training is not limited to college programs; all music educators should consider themselves, in part, to be building future music educators. • You are the one who is shaping attitudes, beliefs, and understanding about music and music education. You are doing this with the kinds of experiences you are giving students, the interactions you have with their parents and the community, and the professional dialogues in which you participate. Music educators are ambassadors, experts, and advocates for music in life, not just in school. TRIAD
• The future is built in the present. By virtue of currently being a music educator, music education student, or retired teacher, you are contributing somehow to the future of music education whether you are conscious of it or not. Secretary of State William Jennings Bryan (1860-1925) said, “Destiny is no matter of chance. It is a matter of choice. It is not a thing to be waited for, it is a thing to be achieved.” Everything we do now, no matter how small, has future implications. We can speculate about the whats, hows, and whos of the future of music education, but one thing is certain: right now the future belongs to us, because we have
the power to shape it. I hope you will join us at the 2014 OMEA Professional Development Conference with that in mind, and that you will be proactive in thinking about the future of music education and your role in building it. Matthew Warner is Middle School Band Director at Cincinnati Hills Christian Academy (Cincinnati, OH). He has also served on the faculty of Evangel University (Springfield, MO), Southwest Baptist University (Bolivar, MO), and Wright State University (Dayton, OH), and Greenon Local Schools (Enon, OH). He is a candidate for the Doctor of Musical Arts in Music Education at Boston University (Boston, MA).
Be heard.
www.depauw.edu/beheard
DECEMBER 2013/JANUARY 2014
7
They’re back. A nationally recognized communication company TV commercial with children around a table has changed from chanting, “we want more” (start of the school year) to a new chant of “better is better.” Once again out of the mouths of babes we are reminded (via this commercial) to analyze what we do that is “better.” Without pause my answer to this question is the OMEA State Professional Development Conference. You simply must find a way to attend! For three days you will gain valuable content, hear inspiring concerts, network with colleagues and just plain have fun sharing musical experiences. You owe it to yourself to utilize your creativity in convincing the decision makers in your district that it is in the best interest of your students to send YOU to Columbus on February 6–8, 2014. If you are struggling to gain release time I ask you to share my letter with your administration, and perhaps it will help? I hope to see YOU in Columbus in February…you won’t be disappointed. OMEA will prove that “better is better” as we showcase “Building the Future of Music Education!” Dear School Superintendents, Principals, & Administrative Decision Makers: The Ohio Music Education Association State Professional Development Conference will be held in 8
Columbus, Ohio on February 6-7-8, 2014. It is important to recognize that OMEA sponsors a PD conference, not to be compared to other conventions hosted by some associations. Serving as President of OMEA, I am well aware of recent changes in school calendars and policies. As a result, approval of teacher requests to take advantage of off-site professional development opportunities requires a vision and commitment to the development of every teacher in your school district. The OMEA PD State Conference offers comprehensive professional development tailored to match the needs of Ohio school districts as they address the many facets of current educational reform. Your teachers will be able to select from well over 200 clinics, 50 technology sessions, and OTES/SGM training that is customized to prepare your music teachers to become experts in authentic student assessment and SLO writing. Grand efforts have made to connect each session to the State Content Standards to better align our sessions to the new OTES requirements. A pre-conference HQPD begins on Thursday morning for participants seeking to gain verification of participation in the OMEA State Conference. This pre-session will focus on the revised standards and their implications for assessment. Complete details are available on the OMEA website, HQPD link. TRIAD
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OMEA serves 5500 members and is the third largest music education association in the country. Last year over 3000 teachers registered for the State PD Conference. I am asking you to please consider supporting your music teacher’s request to attend this intensive three-day learning opportunity. I promise you that music teachers who attend the OMEA State Professional Development Conference will return with valuable information and enthusiasm to turn new learning into action in the classroom. Participants return to school with ideas that are both effective and efficient and with a long list of names of people with whom to network. THANK YOU in advance for including the OMEA State PD Conference in the professional development options available to your school music staff. If you would like more information please visit the OMEA website www.omea-ohio.org and click on the “Building the Future of Music Education” link. Registration is
DECEMBER 2013/JANUARY 2014
now open. Your decision to send your music teacher to this conference will have a positive ROI in the students you serve in your district. As music teachers we know the importance of a comprehensive and sequential music education as we work to orchestrate success one student and one musical moment at a time! If you would like to speak to an OMEA Staff member or OMEA Trustee (state officer) please feel free to contact me at any time. We are here to help your teachers reach their potential and provide the best education possible for your district’s students.
Sincerely, Pat
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2013-2014 Ohio Music Education Association
CORPORATE / INSTITUTIONAL PARTNERSHIP
CORPORATE INSTITUTIONAL PARTNERSHIP
The Ohio Music Education Association offers a partnership program to businesses, corporations, and colleges/universities. These organizations have made a special effort to support the activities of the music education profession in the State of Ohio. The quality of music education is highly valued by these caring sponsors. Your patronage of these educational advocates is strongly encouraged. (List updated as of 11/13/13)
L E V E L l l l - P R E S I D E N T ’S C LU B Bluffton University
Bob Rogers Travel
Lucia Unrau 1 University Drive Bluffton, OH 45817 www.bluffton.edu/music
3440 Lacrosse Lane Naperville, IL 60564 www.bobrogerstravel.com
Jet Music
Music & Arts
Bowling Green State University
Amanda VanWechel College of Musical Arts Moore Musical Arts Center Bowling Green, OH 43403-0290 www.bgsu.edu/music
Noteworthy Tours
Elaine Ostrander 14 W. Ohio Avenue Mt. Vernon, OH 43050 www.jetmusicinc.com
Barbara Pavesi 4626 Wedgewood Blvd. Frederick, MD 21703 www.musicarts.com
Charles Scroggy P.O. Box 1665 Sandusky, OH 44870 www.noteworthytours.com
The Ohio State University School of Music
QuaverMusic.com
Rettig Music, Inc.
Tamara Morris 110 Weigel Road/1866 College Road Columbus, OH 43210 www.music.osu.edu
Royalton Music Center
Megan Krueger Malko & Lauren Haas Amanfoh 10167 Royalton Road, Unit A North Royalton, OH 44133 www.royaltonmusic.com
Rob Wilbourn 1706 Grand Avenue Nashville, TN 37212 www.quavermusic.com/preview
Tim & Cindy Rettig 510 Clinton Street Defiance, OH 43512 www.rettigmusic.com
Summit Tour & Travel, Inc.
Wright State University
Mr. Kim D. Pretzer P.O. Box 682240 Orlando, FL 32868-2240 www.summittourtravel.com
Victoria Chadbourne 3640 Colonel Glenn Hwy. Dayton, OH 45435 www.wright.edu/music/
Yamaha Corporation of America
Melanie Walker 6600 Orangethorpe Avenue Buena Park, CA 90620 www.usa.yamaha.com
12
TRIAD
L E V E L l l - O M E A PAT R O N Anita Evans 275 Eastland Road Berea, OH 44017 www.bw.edu/conservatory
The College of Wooster
Capital University Conservatory of Music
Cleveland State University
Kent State University
Muskingum University
Lynn Roseberry One College & Main Columbus, OH 43209 www.capital.edu/music
Kate Bill 2121 Euclid Avenue MU330 Cleveland, OH 44115 www.csuohio.edu/class/music
Nancy Ditmer Scheide Music Center 525 E. University Street Wooster, OH 44691 www.wooster.edu/music
Dana Brown 1325 Theater Drive RM E1C1 Kent, OH 44242-0001 www.kent.edu
Joyce Alesandrini 163 Stormont Street New Concord, OH 43762 www.muskingum.edu/dept/music
Ohio Northern University
Soundwaves Recording
The University of Akron
Thomas Hunt/Jenny Roby 525 South Main Street Ada, OH 45810 www.onu.edu/music
Dan Canalos 4708 Surfside Drive Huron, OH 44839 www.soundwaves.org
CORPORATE INSTITUTIONAL PARTNERSHIP
Baldwin-Wallace University
Ann Usher School of Music Akron, OH 44325-1002 www.uakron.edu/music
University of Dayton
Karen Solarek 300 College Park Dayton, OH 45469-0290 www.go.udayton.edu/music/
The OhiO STaTe YOuTh
Summer muSic PrOgram Flute Workshop • June 15 - 19, 2014
Five-day flute camp for high school students grades 9-12. This camp focuses on enhancing students’ musical and performance skills. For flutists of all abilities.
Jazz Camp • June 15 - 19, 2014
Five-day jazz camp for high school students grades 9-12. Students are immersed in jazz styles and studies with an emphasis on performance and improvisation. For intermediate and advanced jazz students.
Morning Strings Student Workshop • June 16 - July 2, 2014 Summer string playing for students in grades 4-8 of all ability levels and training styles. This two-week program brings students to campus from 9am-12pm, M-F.
Junior Visit Day for High School Juniors considering a career in music Friday, March 28
DECEMBER 2013/JANUARY 2014
Clarinet Academy • June 22 - 26, 2014
Five-day clarinet camp for high school students grades 9-12. This program focuses on enhancing students’ musical and performance skills. For clarinetists of all abilities. For more information about our programs, visit music.osu.edu
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LEVEL l - OMEA SPONSOR Carl Fischer Music
Elizabeth Holub 48 Wall Street, 28th Floor New York, NY 10005 www.carlfischer.com
CORPORATE INSTITUTIONAL PARTNERSHIP
Educational Tours, Inc.
Cincinnati Symphony Orchestra
Laura Stauffer 10900 Euclid Avenue Cleveland, OH 44106 www.music.case.edu
Jared Webster 1241 Elm Street Cincinnati, OH 45202 www.cincinnatisymphony.org
EPN Travel Services
The Green Horn Project
Kim Burger P.O. Box 257 Holt, MI 48842 www.tours-eti.com
Amy Rossi 1784 West Schuylkill Road Douglassville, PA 19518 www.epntravel.com
Heidelberg University School of Music
Hetzer Tours & Charters, Inc.
John E. Owen/Pat Page 310 E. Market Street Tiffin, OH 44883 www.heidelberg.edu
Herb/Kevin/Barb Hetzer 149 Savoy Ave. Dayton, OH 45449-1724 www.hetzertours.com
Malone University
Marietta College
Dan McCourt 2063 West 12 Mile Road Berkley, MI 48072 www.mccourtsmusic.com/green
JW Pepper & Son
Russ Bullis 5282 E. 65th St. Suite B Indianapolis, IN 46220 www.jwpepper.com
Miami University
Mary Haines 515 25th St. NW Canton, OH 44709 www.malone.edu
Daniel Monek 215 Fifth Avenue Marietta, OH 45750 www.marietta.edu/~musc/
Bruce Murray 109 Presser - Dept. of Music Miami, OH 45056 www.miamioh.edu/sca/academics/ departments/music
Mountain Lake Summer Camp
Music Travel Consultants
Ohio University School of Music
Gene Gooding 17700 Old Camp Road Fannettsburg, PA 17221 www.mountainlakesummercamp.com
Rick Campbell 7920 Georgetown Road Suite 700 Indianapolis, IN 46268 www.music-travel.com
Christopher Hayes/ Helen Kasler 440 Glidden Hall Athens, OH 45701 www.finearts.ohio.edu/music
Otterbein University
Percussion Marketing Council
University of Mount Union
Dennis Davenport 1 S. Grove Street Westerville, OH 43081 www.otterbein.edu
WorldStrides Field Studies Center of New York David A. Hammond 1528 Horton Place Columbus, OH 43228
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Case Western Reserve University
Karl Dustman/ Dr. Craig Woodson P.O. Box 33252 Cleveland, OH 44133 www.playdrums.com, www.rootsofrhythm.net
Patricia Boehm 1972 Clark Avenue Alliance, OH 44601 www.mountunion.edu/ music-major
Youngstown State University Dana School of Music Michael Crist One University Plaza Youngstown, OH 44555 www.ysu.edu/dana
TRIAD
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OMEA’S 2013 ANNUAL GENERAL MUSIC PROFESSIONAL DEVELOPMENT WORKSHOP SPONSORS: Ohio Music Education Association, North Coast Kodaly Association, Greater Cleveland Chapter of the Orff Schulwerk Association EVENT CO-CHAIRS: BethAnn Hepburn & Jill Murrell PRESENTERS: Toby Thompson & Brian Burnett GUEST SPEAKER: Dr. Michelle Muro
Guest Speaker Dr. Michelle Muro
Presenter Brian Burnett
Presenter Toby Thompson
Toby’s Session In Action!
Dr. Michelle Muro Reviewing SLO’s
Playing in Brian’s Workshop!
AN INVITATION FROM THE CO-CHAIRS 2014 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE
2014 OMEA Professional Development Conference We cordially invite you to attend “Building the Future of Music Education,” the 2014 OMEA State Conference on February 6–8 in downtown Columbus. Approximately 2,500 music educators will be in attendance. Those who register by the January pre-registration deadline can do so at a reduced rate. Registration materials can be located in this TRIAD or on the OMEA webpage. Listed in this TRIAD are those individuals who served on the 2014 OMEA Conference Planning Committee. We want to thank them sincerely for their efforts. OMEA 2014 will be a diverse and balanced event full of opportunities that you will find interesting and helpful no matter what your area of music education. A list of topics, presenters, and much more information can be found on the following pages. What will be different for OMEA 2014? 1) a new Thursday evening experience featuring our own musicians from four areas: band, orchestra, choir and jazz 2) a conflict-free hour for visiting exhibits late Friday afternoon 3) sessions that address the broader needs of our students, beyond their musical skills 4) more time on Thursday evening to network and learn in informal settings 5) more headliners and national presenters 6) a focus on musical theater with the addition of a headliner in this area What will be the same for 2014? 1) numerous sessions for all disciplines 2) opportunities to learn how to use technology effectively in your classroom 3) music industry vendors and exhibitors 2014 4) opportunities for HQPD 5) OSTA, JECO, and OCDA sponsored sessions THE 6) AE Sessions 7) concerts by some of Ohio’s best performing ensembles OF 8) concerts by Ohio’s All-State Ensembles MUSIC EDUCATION What is cutting edge for 2014? 1) a cell phone app that puts the conference schedule and related information at-hand 2) information on edTPA /OTES OHIO MUSIC EDUCATION ASSOCIATION
We hope you will make attending “Building the Future of Music Education” part of your future plans.
Jeffrey D. Shellhammer Conference Co-Chair 18
Rodney Tolliver Conference Co-Chair TRIAD
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2014 OHIO MUSIC EDUCATION ASSOCIATION
2014 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE
THE
OF
MUSIC EDUCATION
2014 CONFERENCE COMMITTEE 2014 OMEA Professional Development Conference
Jeffrey D. Shellhammer
Rodney Tolliver
Conference Co-Chair
Meg Beavers
All-State Co-Chair
Jill Murrell
General Music
Todd Lacy
Ben Factor
Sharon Davis Gratto
Dale Nawrocki
Amanda Blevins
Jeremy Bradstreet
Birch Browning
Catherine Lewis
Kay Edwards
Lalene Dyshere Kay
Amy Blosser
Marshall Kimball
Justin Riley
Catherine Buchholz
Brian Nitschke
All-State Co-Chair
Advocacy
Band
Choral
Curriculum and Assessment
20
Conference Co-Chair
Higher Education
Jazz
Multicultural
OCMEA
Properties
Registration
Research
Special Learners
Technology (TI:ME)
Orchestra
TRIAD
SEE
YOUR FUTURE
What your music students dream, SmartMusic can help them achieve. As an educator with SmartMusic, your students will learn faster through interactive practice— and you can provide individualized instruction for large groups. Bring SmartMusic into your classroom and see for yourself how it motivates and engages students to see their future. Visit www.smartmusic.com to learn more!
2014 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE
ALL-STATE CONDUCTORS
BRIAN BALMAGES
STEVE AMUNDSON
Brian Balmages is currently serving as the Director of Instrumental Publications for the FJH Music Company, Inc. He is an award-winning composer, conductor, producer and performer. His music for winds, brass and orchestra have been performed worldwide. His commissions and premieres range from elementary school to professional ensembles. Mr. Balmages received his bachelor’s degree from James Madison University and his master’s degree from the University of Miami in Florida.
Steven Amundson has been the orchestra director at St. Olaf College since 1981. Under his direction, the St. Olaf Orchestra has become recognized as one the finest undergraduate orchestras in the United States. In addition Mr. Amundson teaches courses in conducting, aural skills and music theory at St. Olaf. His orchestral compositions have received hundreds of performances by major professional orchestras throughout the US. He has studied orchestral conducting at Luther College, Northwestern University, the University of Virginia, the Aspen Music School and the Mozarteum in Salzburg, Austria.
ALAN BAYLOCK
KAREN KENNEDY
Alan Baylock is recognized as one of the most creative voices in the music business today. He is in demand as a composer, arranger, conductor, producer, instrumentalist and educator, and is the leader of the Alan Baylock Jazz Orchestra. In addition, he is “Jazz Composer-in-Residence” at Shenandoah University, and is the Chief Arranger for the renowned “Airmen of Note” jazz ensemble in Washington, D.C. Mr. Baylock’s music is performed by many of today’s jazz greats.
Karen Kennedy recently joined the faculty at the University of Miami as Director of Choral Studies. Previous she held positions as the Director of Choral Activities at the University of Hawai’i, Artistic Director of the Honolulu Symphony Chorus, and Director of Choral Studies at Towson University. Dr. Kennedy regularly leads festival performances in large venues such as Carnegie Hall, the Mormon Tabernacle, the Royal Academy of Music in Stockholm, Sweden and St. Peter’s Basilica at the Vatican in Rome, Italy.
2014 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE
ALL-STATE CONDUCTORS
CONFERENCE HEADLINERS 2014 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE
BAND
Kenneth Bloomquist
BAND
CHORAL
Loras Schissel
Hilary Apfelstadt
Director of Bands Emeritus Michigan State University
Senior Musicologist Library of Congress - Washington D.C.
Professor University of Toronto
CHORAL
GENERAL MUSIC
GENERAL MUSIC
Weston Nobel
Cynthia Taggart
John Feierabend
Professor Emeritus Luther College
Professor Michigan State University
Professor University of Hartford
GENERAL MUSIC
HIGHER EDUCATION
JAZZ
Nick Page
Chris Azzara
Jill Trinka
Associate Professor Coastal Carolina University
Composer, Conductor, Song Leader Boston, Massachusetts
Professor Eastman School of Music
JAZZ
MUSICAL THEATER
NAFME
Roger Ingram
Recording Artist, Composer, Instrument Designer Chicago, Illinois
Cynthia Macioce
Drama Department Head Gahanna Lincoln High School
William Guegold
President N.C. Division NAfME Professor Emeritus University of Akron
CONFERENCE HEADLINERS ORCHESTRA
Peter Boonshaft
Pamela Tellejohn Hayes Instructor Columbia College
Associate Professor Emeritus Northwestern University
RESEARCH
RESEARCH
SPECIAL LEARNERS & RESEARCH
John Kratus
Elizabeth Stegemoller
Professor of Music Hofstra University
William Bauer
Associate Professor University of Florida
ORCHESTRA
Professor of Music Education Michigan State University
James Kjelland
Assistant Professor Iowa State University
TI:ME
2014 OHIO MUSIC EDUCATION ASSOCIATION
Barbara Freedman
TI:ME Keynote Speaker
THE
OF
MUSIC EDUCATION
2014 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE
OCMEA
2014 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE
CONFERENCE CLINICIANS ADJUDICATED EVENTS Don Clark Scott Eversdyke JD Latorre Michael Lisi Michelle Smith Stephanie Smith Brian Stevens Greg Taylor Pamela Thiel Bill Thomas Max Treier Raymond Walczuk
ADVOCACY Bill Blair Donna Collins Linda Hartley
BAND Christopher Azzara Tom Batiuk Greg Benson Ken Bloomquist Katherine Borst Jones Richard Canter Natalie Douglass Jan Edwards Bill Guegold David Hedgecoth Shelley Jagow Scott Jones Paul Kimpton Laurie Lafferty JD Latorre Cynthia Macioce Sharon Marrell Marcia Neel John Owens Susan Powell Shawn Reynolds
Loras Schissel Dale Shubert James Swislocki Joe Waked Gail Zugger Thomas Zugger
CHORAL Hilary Apfelstadt Christopher Azzara Andy Beck Jonathan Busarow Christopher Buzzelli Tim Cloeter Robert Colaner Eva Floyd Dara Gillis Cynthia Macioce Scott MacPherson Weston Noble Nick Page Rachel Pollard Jonathan Saeger Lauren Saeger Kent Vandock Gayle Walker Jay White Marilyn Wills Kyle Zeuch
CLASSROOM MANAGEMENT Rachael Fleischaker Marcia Neel Shawn Reynolds Clinton Steinbrunner Jared Rawlings
CONDUCTING Scott Jones Loras Schissel
CURRICULUM/ INTEGRATION/ ASSESSMENT Christopher Azzara Kristen Brown Sherron Edge Bill Guegold Bill Jobert Paul Kimpton Michelle Muro Ann Porter Jared Rawlings Pamela Stover James Swislocki
GENERAL MUSIC Christopher Azzara Peggy Bennett Bill Burns Jonathan Busarow John Feierabend Rachael Fleischaker Lisa Gruenhagen BethAnn Hepburn Jody Kerchner Paul Kimpton Nick Page Megan Routh Laura Sailer Roger Sams Pamela Stover Cynthia Taggart Jill Trinka Joseph Van Hassel Suzanne Walters
GENERAL TOPICS Bill Blair Bill Guegold Cynthia Macioce Nick Page
HIGHER ED Donna Cox Jan Edwards Devon Gess Patricia Grutzmacher Bill Guegold Linda Hartley Nick Page Pam Stover
Sara Given Pamela Tellejohn Hayes Paul Kimpton James Kjelland Lynne Latham Cynthia Macioce Sherry Randall Richard Webb Michael Yonchak
JAZZ
OTES
Christopher Azzara Christopher Buzzelli Christian Howes Roger Ingram Wayne Markworth Jim Rupp Lauren Saeger Roger Schupp
MULTICULTURAL Donna Cox Tim Fuchtman Sharon Gratto Jaime Morales-Matos John Owens Joe Waked
Kristen Brown Patricia Grutzmacher Michelle Muro Ann Porter Pamela Stover
RESEARCH William Bauer Eva Floyd Lisa Gruenhagen John Kratus Elizabeth Stegemoller Kent Vandock Mathew Westgate
SPECIAL LEARNERS
Peter Boonshaft Bradley Hruska Bill Jobert Nate Kruse Patrick Murphy Pamela Stover
Greg Donnellan Rachael Fleischaker Lalene Kay Terri McCoy Kristyne Ramsey Thomas Resnick Toby Rush Elizabeth Stegemoller
ORCHESTRA
TECHNOLOGY
OCMEA
Christopher Azzara James Bates Megan Constantine Robert Gillespie
Amy Annico Steve Bartkoski Ian Boynton Janet Cape
Becky Curran Cindy Edwards Anthony Ferrara Sarah Fischer Barbara Freedman Lisa Galvin Anne Hamilton Marshall Haning Matthew Harder Christian Howes Tom Johnson Claudia Jones Leigh Kallestad Meredith Kennedy Michael Krajewski Will Kuhn Brian Laakso Charles Laux Sandi MacLeod Heather Mandujano Brandon Mathieus John Mlynczak Daniel Newsom Tess Nielsen Jared O’Leary Kelly Schenbeck Riley Justin Riley Eric Rizzo Toby Rush Jonathan Saeger Greg Taylor Meghan Watkins Laura Webster Lyle Whybrew Robert Willey 2014 OHIO MUSIC EDUCATION ASSOCIATION
THE
OF
MUSIC EDUCATION
2014 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE
CONFERENCE CLINICIANS
Music at
Ohio Northern
Extraordinary instruction Excellent opportunities
Fully accredited by the National Association of Schools of Music Offering the following degree programs: • Bachelor of Music in Music Education or Music Performance • Bachelor of Arts in Music with concentrations in Theory + Composition, Music History + Literature, or Applied Studies • Bachelor of Fine Arts in Musical Theatre • Arts Administration Minor with ample internship offerings • Outstanding opportunities for double majors
Explore ONU’s music department at www.onu.edu/music Named as one of the top 200 programs in the nation for creative college-bound students in Creative Colleges: A Guide for Student Actors, Artists, Dancers, Musicians and Writers.
Outstanding orchestra, wind, choral and piano programs Exceptionally accomplished and dedicated faculty • State-of-the-art facilities • Generous scholarships
2014 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE
PERFORMING ENSEMBLES/DIREC TORS Anthony Wayne High School Symphonic Winds - Roy Young Capital University Junior Winds - James Dowdy Green Middle School 8th Grade Band - Lisa Aglioti Grove City High School Symphonic Band - George Edge Lakota East High School Symphonic Winds – Robert Tanis Miami University Wind Ensemble - Gary Speck Ohio State University Symphonic Band - Scott Jones Ohio University Wind Symphony - Andrew Trachsel Patriots Community Band - Harry Pfingsten Pleasant Run Middle School Band - Mark Hensler
CHOIR
Capital University Chapel Choir - Lynda Hasseler Capital University “The Chordsmen” - Craig Courtney Centerville High School “Forte” - Ben Spalding Dempsey Middle School Singers - Tracy Cinereski Dublin Jerome High School Chorale - Jeanne Wohlgamuth Kettering Fairmont High School Symphonic Chorale - Brody McDonald New World Singers (Columbus) - Jeanne Wohlgamuth Rutherford B. Hayes Symphonic Choir - Dara Gillis Woodmore High School Symphonic Chorale - Tracey Nycz The Wooster Chorus - Lisa Wong
DECEMBER 2013/JANUARY 2014
ORCHESTRA
2014 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE
BAND
Baldwin Wallace Symphony Orchestra - Dwight Oltman Dayton Philharmonic Youth Orchestra - Patrick Reynolds Dublin Jerome High School Chamber Orchestra - Michelle Adair Nagel Middle School Symphony Orchestra - Alison Oprea & Chad Sheridan Shaker Heights High School Chamber Orchestra - Donna Jelen Strongsville High School Chamber Strings - Andrew Hire Twinsburg H.S. Orchestra - Damon Conn
JAZZ Boardman High School Jazz Ensemble 1 - Thomas Ruggieri Cedarville University Jazz Band - Michael DiCuirci I-75 Ensemble - Roger Schupp Loveland Middle School Stage Band - Bruce Maegly Nordonia Middle School Jazz Band - Mary Schrembeck University of Dayton Jazz Ensemble - Willie Morris, III
SMALL ENSEMBLES
Kent State University Black Squirrel Winds - Diane McCloskey Lancaster High School Percussion Ensemble - Bruce Gerken Ohio State University Percussion Ensemble - Susan Powell University of Dayton Percussion Ensemble - James Leslie Wright State University Faculty String Quartet - In-Hong Cha Wright State University Saxophone Quartet - Shelley Jagow
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PRE-REGISTRATION FORM 2014 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE February 6, 7, 8, 2014, Columbus, Ohio • Columbus Convention Center
2014 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE
To Pre-Register: 1) Read and complete all sections of this form. (Use one form for each registrant). 2) Enclose Personal Check/Money Order or School Check (not purchase order copy) payable to OMEA. NO PURCHASE ORDERS WILL BE ACCEPTED. Registrations will be returned if school check does not accompany this form. 3) Send to: OMEA Conference Pre-Registration, P.O. Box 1067, Massillon, OH 44648 • Mail-in PRE-REGISTRATION must be postmarked by January 17, 2014. Postmarks after this date will not be accepted.
• Online pre-registration will be available until January 24, 2014. • All refund requests must be made in writing; refunds after January 17, 2014 will be assessed a $15.00 processing fee. • NO REFUNDS after January 31, 2014. 4) To pre-register online and pay fee via credit card, go to www.omea-ohio.org and follow website instructions. Do not use this form to pay via credit card. Submit the form on the website electronically. 5) Pre-registrants will receive your badge and confirmation prior to the conference. If you have not received your materials by February 1, 2014, contact executive_director@omea-ohio.org
VERY IMPORTANT — PLEASE READ! Attendance Verification No certificate or proof of attendance will be available to attendees without participation in the High Quality Professional Development Pre-Conference on Thursday, February 6, 2014. (Check box below). Update your Individual Professional Development Plan to include the OMEA HQPD Pre-Conference and submit the plan along with the brochure (see website or Oct/Nov TRIAD) to your Local Professional Development Committee for approval PRIOR to attending the OMEA conference. All requests for proof of attendance after the HQPD Pre-Conference (February 6, 2014) will be denied.
Please Print Clearly (Name will appear on badge) First Name Last Name Check if you will attend the High Quality Professional Development Pre-Conference. The Pre-Conference is only available to those who pre-register for the conference. (This is not for college credit—only HQPD credit.) No charge. Check Pre-Registration Categories That Apply: (Category/School/Business will appear on badge) OMEA Member: _________________________________________________________ Pre-registration $110
$____________
OCMEA Member: ________________________________________________________ Pre-registration $40
$____________
(List School/District/Business Name)
(On-Site Registration $125)
(List College/University Where You Are A Member of OCMEA)
(On-Site Registration $50)
Retired OMEA Member ___________________________________________________ (No Charge) If Retired Member’s Spouse’s badge is requested – Name: _____________________________________________ (No charge for spouse)
Saturday Only: __________________________________________________________ Pre-registration $50 (List School or District Name)
Non-Member: ___________________________________________________________ Pre-registration $225 (List School/District/Business Name)
$____________
(On-Site Registration $60)
$____________
(On-Site Registration $250)
Non-Teaching Family of Above Registrant*: (List names) ______________________________ Pre-registration # x $40
$____________
Requesting Badges for these family members: _______________________________________________________________________ (On-Site Registration $50)
*Note: This option is available to non-teaching spouses, relatives, or children of OMEA members. It is not available to OMEA members or teachers under contract to teach music in the State of Ohio.
A CHECK PAYABLE TO OMEA MUST ACCOMPANY THIS FORM. NO PURCHASE ORDERS ACCEPTED. Check all that apply. (Teaching areas will appear on badge) Elementary Middle School/Junior High High School College Faculty College Student Choral Jazz
Band Theory
Orchestra Department Head/Supervisor
General Music Piano/Keyboard
ALL INFORMATION BELOW IS REQUIRED. BADGES WILL BE MAILED USING THIS ADDRESS.
City State Zip Home Phone: - - School Phone: - - Email Address OMEA/NAfME Member’s Card # (back of NAfME card ) Expiration Date / Home Address
If your future is Music... your future is Wright State.
Wright State Department of Music Audition Dates for Admission in Fall of 2014: • Admission and Scholarship Consideration • Saturday, February 1, 2014 • Saturday, March 1, 2014 See you in • Admission Only Columbus • Saturday, April 5, 2014
at Booth 428!
Questions? Contact us… music@wright.edu or (937)775-2346
Undergraduate Degrees • Music Education • Music History and Literature • Performance • Music combination degrees: Pre-Med, Management, & Marketing Graduate Degrees • Music Education • Performance • Conducting • Humanities
Graduate Assistantships and Scholarships are available for Fall 2014
Accredited by the National Association of Schools of Music (NASM), National Council for Accreditation of Teacher Education (NCATE), and North Central Association of Colleges and Schools (NCA)
HOUSING FORM 2014 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE February 6, 7, 8, 2014, Columbus, Ohio • Columbus Convention Center
2014 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE
Please Note: DO NOT send this form to the address for conference pre-registration.
Reservations can be made by choosing ONE of the following options:
HOTEL RATES Hotel
Single
Double
Triple
Quad
All reservations require a credit card. No checks will be accepted. Credit cards expiring 02/14 and earlier are not valid and will not be processed.
Hyatt Regency
$169.00
$179.00
$189.00
$199.00
1.) INTERNET: www.omea-ohio.org Do not mail and/or fax after submitting online.
Crowne Plaza
$164.00
$174.00
$184.00
$194.00
Hilton
$164.00
$164.00
$174.00
$184.00
Drury Inn - Standard
$131.00
$131.00
$141.00
$141.00
Drury Inn - Suite
$141.00
$141.00
$151.00
$151.00
Hampton Inn
$147.00
$147.00
$159.00
$159.00
2.) FAX: 614-222-6140 - Do not mail after faxing. 3.) MAIL: Send a completed form (one copy per room) to: OMEA Housing Bureau 277 W. Nationwide Blvd. Ste. 125 Columbus, OH 43215
Deadline for Special Rates is January 14, 2014. • • • • • •
No telephone reservations will be accepted by the Housing Bureau. Photocopy this form if more than one room is required. Only one room may be requested under each name. Rooms are assigned on a first-come, first-serve basis. Allow up to two weeks for an acknowledgement. After January 14, 2014, rooms and rates are based on availability.
Confirm reservation to: (Only one acknowledgement will be sent) Name: ______________________________________________ Address: ____________________________________________________________ City: ________________________________________________ State: _________________ Zip: _________________________ Phone:________________________________________________
Rates quoted above are subject to 16.75% tax (Subject to change).
Hotel Preference: 1. __________________________________________________ 2. __________________________________________________ 3. __________________________________________________ Arrival Date: ________________________________________________________ Departure Date: ______________________________________ List Names of all occupants (List all occupants' arrival and departure dates, if different)
____________________________________________________ ____________________________________________________ ____________________________________________________ ____________________________________________________
Fax: _________________________________________________________________
Room Type Preference*:
Email Address:________________________________________
Single - (1) guest Double - (1) bed/2 guests Double/double - (2) beds/2 guests Triple - (2) beds/3 guests Quad - (2) beds/4 guests Wheelchair accessible
Reservation Deposit: All hotels require a one night room deposit with each reservation. Requests received without credit card information will not be processed. Please fill out the credit card information entirely. Credit cards must be valid through February 2014 in order to be considered a proper deposit.
American Express Visa Diner’s Club
Master Card Discover
Card # Expir.
/
Name: ______________________________________________________ Signature: ________________________________________
Special Requests* (please list)
Non-Smoking
Other: Please list
____________________________________________________ * Note: Room type preferences and special requests cannot be guaranteed.
Changes/Cancellations Continue to use the OMEA Housing Bureau for all changes/ cancels through January 28, 2014 (4:00 p.m. EST) via internet, fax, or mail. After January 28, 2014, all new reservations, changes, and cancellations must go through the hotel. Do not contact the hotels directly until after January 28, 2014.
Downtown Columbus 2014 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE
h St N Hig
SHORT NORTH ARTS DISTRICT
The Cap at Union Station Hampton Inn & Suites Spruce St
Hyatt Regency Drury Inn & Suites
Hilton Columbus
Huntington Park
Crowne Plaza Red Roof Inn
The King Arts Complex Lincoln Theatre
Franklin Park Conservatory and Botanical Gardens
Scioto M il e
Ohio Judicial Center
Topiary Park
Columbus Commons
GERMAN VILLAGE S Grant Ave
Schiller Park
Jaeger St
W Whittier St
Mohawk Ave
Scioto Audubon Metro Park
S Third St
© Copyright Experience Columbus
Shadowbox Live
-
DECEMBER 2013/JANUARY -2014
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Are you looking for affordable college credit?
2014 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE
Do you need credit hours to renew your license or improve your salary placement? Would you like to get credit every year for something you are already doing?
2014 OHIO MUSIC EDUCATION ASSOCIATION
THE
OF
MUSIC EDUCATION
Building the Future of Music Education 2014 could be the answer you’ve been waiting for! Please read below about an exciting opportunity for OMEA members.
2014 OMEA Professional Development Conference Graduate Credit Option
Earn one (1) semester hour of graduate credit for attending the 2014 OMEA Professional Development Conference in Columbus. This credit option is being offered through ASHLAND UNIVERSITY. Please visit the OMEA website for a link to Ashland’s online registration system. Course and online registration information will also be available at the graduate credit booth located in the main registration area at the OMEA PDC. The cost of this credit option is $199
REQUIREMENTS:
Observe at least 12 sessions. The 12 must include at least four concerts and six clinics in your major teaching area (elementary, middle school, secondary – vocal, general music, instrumental, etc.), AND two additional clinics or concerts of your choice (may be outside of your area). The new Guidebook app should make scheduling a breeze! A typed synopsis of each session/concert attended must be submitted no later than two weeks after the conference. The synopsis should include critical analysis of the value of the session/concert, content, and application to your unique teaching situation. More details will be sent to upon course registration. All work will be submitted via email. The credit is offered on a S/U basis. If you have questions, feel free to contact Mark Hensler at (513) 240-1572 or email at pd_director@omea-ohio.org.
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2014 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE
Do you need PROFESSIONAL DEVELOPMENT HOURS in your primary area of teaching? OHIO MUSIC EDUCATION ASSOCIATION ANNUAL PROFESSIONAL DEVELOPMENT CONFERENCE COLUMBUS, OHIO - FEBRUARY 6, 7, 8, 2014 Attend this High Quality Professional Development Conference and receive a certificate of verification (10 hrs. = 1 CEU). • Serves as a high quality professional
• Information on standards, integration, and assessment
• Provides information and training on the latest research and trends in music education
• Provides networking opportunities with master teachers, workshop leaders, and music industry professionals
development opportunity
• Refreshes and enhances teaching skills
1. Attend Pre-Conference Session Thursday, February 6, 10:00 a.m.–12:30 p.m. (Be sure to check the box on the pre-registration form to indicate attendance.) 2. Attend a minimum of 6 specified sessions during the OMEA Conference held Thursday – Saturday, February 6 - 8, 2014. 3. Submit a Post-Conference Reflection by Monday, February 24, 2014
In order to take advantage of this opportunity, you must PRE-REGISTER for the conference. Be sure to CHECK THE BOX on the Conference Pre-Registration form. Update your Individual Professional Development Plan to include the OMEA HQPD, and submit the plan along with the brochure (see website) to your Local Professional Development Committee for approval PRIOR to attending this conference. The 2014 HQPD session is ALL NEW and will focus on the revised standards and their implications for assessment.
Print the brochure from the website, share it with your administrator, or attach it to your professional development plan. DECEMBER 2013/JANUARY 2014
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OHIO UNIVERSITY SC H O O L O F M U S I C
2014 Audition Dates Jan. 25, Feb. 15, Feb. 17, Feb. 22, 2014 Study with nationally recognized faculty dedicated to the highest standards of performance and scholarship. Scholarships & Assistantships available to highly talented students.
Please join us for these exciting events! Experience the Arts Day October 14, 2013
Honor Band Festival December 5-7, 2013 Honor Choir and Orchestra January 17-19, 2014 Jazz Festival April 12, 2014 Ohio Summer Music Camp June 15-21, 2014
www.ohio.edu/finearts/music
740.593.4244 83994 • 8-13
Ohio University has been an accredited institutional member of the National Association of Schools of Music since 1946.
2014 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE February 6, 7, 8, 2014, Columbus, Ohio • Columbus Convention Center Exhibitors as of November 13, 2013 and subject to change. Graceland - Home of Elvis Great Day! Tours & Charter Bus Service Green Horn Hal Leonard Corporation Heidelberg University School of Music Herff Jones/Murphy Robes Heritage Music Press Hetzer Tours & Charters Interlochen Center for the Arts J.W. Pepper Inc. Jazz Education Connection of Ohio (JECO) Jet Music Jupiter Band Instruments Kent State University Kent State University Press Kerr’s Music World Lake Erie Shores & Islands Lakefront Lines Inc. Ludwig Masters Publications Macie Publishing/Ed Sueta Music Publications MakeMusic, Inc. Malone University Marietta College Marshall University McCutcheon Music Miami University Mixed Bag Designs Mollard Conducting Batons, Inc. Morehead State University Motter’s Music Mount Vernon Nazarene University Music & Arts Music Celebrations International Music Filing & Storage Music First Music for All Music is Elementary Music Travel Consultants Musicians Repair Service MusicLearningCommunity.com Muskingum University National Association for Music Education Neff Company New Era/Crowne Excellence Noteworthy Tours, Inc. Oboe Chicago, Inc. Ohio Foundation for Music Education & Tom Batiuk Ohio Northern University Ohio State University School of Music, The
Ohio University Ohio Wesleyan University Otterbein University Ozark Delight Candy Pearl Corporation Pee-Jay’s Fresh Fruit Pellegrino Music Center Percussion Marketing Council Premier Tour and Travel QuaverMusic.com Rettig Music, Inc. Royalton Music Center/Professional Suite Shar Products Company Shirley’s Gourmet Popcorn Company Singing Buckeyes Soundwaves Recording StageRight Corporation Stanbury Uniforms, Inc. - Midwest Band Stanton’s Sheet Music Stoller Fundraising Straight A Tours & Travel Sullivan Violins Summit Tour & Travel, Inc. Super Holiday Tours Tiffin University Tone Deaf Comics Trine University United States Marine Bands University of Akron University of Cincinnati University of Dayton University of Mount Union University of Toledo, The Vandercook College of Music Wenger Corporation West Music Company Wittenberg University Woodwind & Brasswind World Cultural Tours World’s Finest Chocolate WorldStrides Field Studies Center Wright State University Dept. of Music Xavier University Yamaha Corporation of America Yankee Candle Fund Raising Young’s Screenprinting & Embroidery Youngstown State University Dana School of Music
2014 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE
Alfred Publishing Company, Inc. American School Band Directors Association Anderson University Antigua Winds Antonio Violins Ashland University Baldwin Wallace University Baroque Violin Shop Blue Lake Fine Arts Camp Bluffton University Bob Rogers Travel Bocal Majority Bowling Green State University Breezin’ Thru Inc. Brightspark Travel Brilee Music Capital University Carl Fischer Music Case Western Reserve University CCIS, Inc. Cedarville University Century Resources, Inc. Charms Office Assistant Chenille Specialty Supply CIM K-12 Distance Learning Classic Pianos, LLC Cleveland State University College of Wooster, The Columbia College Chicago Columbus Pro Percussion Conn-Selmer, Inc. Cousin’s Concert Attire Culver Summer Camps Custom Fundraising Solutions D.T. Woodwinds DeMoulin Brothers & Company Donald M. Graham & Associates Dynasty/DEG Music Eastman Music Company Educational Tours, Inc. Educational Travel Adventures eMedia Music Corporation EPN Travel Services Festivals of Music/Music In The Parks Fred J. Miller Inc. French Woods Festival GBC Customized Calendars Getzen Company GIA Publications, Inc. Gordon Institute for Music Learning
Companies and institutions interested in exhibiting should contact: David Adamson, Director of Business Email: business_manager@omea-ohio.org • Phone: 440-552-6983 • Fax: 440-449-8793 DECEMBER 2013/JANUARY 2014
37
2014 OHIO MUSIC EDUCATION ASSOCIATION
2014 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE
THE
NEED MORE INFORMATION ON THE 2014 CONFERENCE? Throughout the next several months, information will be updated on the OMEA website.
OF
MUSIC EDUCATION
Go to www.omea-ohio.org and click on the Conference logo on the homepage.
HERE ARE SOME OF THE ITEMS THAT WILL APPEAR AS AVAILABLE: • Brochure for the High Quality Professional Development Opportunity
• Online Registration
• Performing Groups
• Receptions and Special Functions and Meetings
• Clinicians
• Research Forum and Roundtable
• Schedule—Searchable and printable
• Call for Graduate Research Papers and Poster Session
• Headliners • All-State Ensembles Information and Conductors • Industry Showcase
• Maps • Exhibitor Information • College Credit
OMEA EXHIBITOR SCHEDULE Exhibit Hall C – Columbus Convention Center February 6 - 8, 2014 Thursday, February 6: 1:00 to 6:00 p.m. (Exhibits open to Attendees) Friday, February 7: 9:00 a.m. to 6:00 p.m. (Exhibits open to Attendees) 5:00 p.m. to 6:00 p.m. (Dedicated Exhibit Time) Saturday, February 8: 9:00 a.m. to 12:30 p.m. (Exhibits open to Attendees) THIS IS THE OFFICIAL SCHEDULE. 38
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OMEA GR ADUATE RESEARCH FORUM 2014 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE
GRADUATE RESEARCH R O U N DT A BLE Thursday, February 6, 2014 10 a.m. – 3:30 p.m. Featured Speaker: Dr. John Kratus Dr. John Kratus is a professor of music education at Michigan State University, where he teaches courses in secondary methods, philosophy, sociology, research, and songwriting. He has published in the leading international music education journals and has presented his ideas to audiences around the world.
SCHEDULE 9:30 a.m. Continental Breakfast 10:00 a.m. Dr. John Kratus: An Analysis of the Most Influential Music Education Articles Published in the First Decade of the 21st Century
Noon
Lunch break
1:30 p.m.
Graduate Research Roundtable
3:30 p.m.
Graduate Research Roundtable Ends
If you plan to participate, please email Dr. Birch Browning, Chair of the OMEA Research Committee, at b.browning@csuohio.edu no later than January 17, 2014. Notifying Dr. Browning of your attendance will help ensure that we have sufficient food and space for this event.
DECEMBER 2013/JANUARY 2014
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OHIO MUSIC EDUC ATION ASSOCIATION 2014 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE
INDUSTRY SERVICE AWARD RECIPIENT
ROYALTON MUSIC You are invited to the Opening Ceremony of the OMEA Exhibit Hall at the 2014 OMEA State Professional Development Conference to witness the 2014 Industry Service Award presentation. OMEA is pleased to make this award to Royalton Music, who will execute the ceremonial ribbon cutting to open the Exhibit Hall for the 2014 Conference. This presentation will take place at the entrance to Exhibit Hall C of the Columbus Convention Center on Thursday, February 6 at 12:50 p.m. Everyone is invited to attend this recognition of Royalton Music for their exceptional support of Music Education and OMEA!
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Tips to Share with
Parents
The Many Benefits of Music Education Schools that have music programs have significantly higher graduation rates than those without music programs (90.2 percent compared to 72.9 percent). On average, students in music performance scored 57 points higher on the verbal and 41 points higher on the math section of the SAT than did students with no music participation.
Parents wield extraordinary influence over local principals, school boards, and other decision makers. Encourage them to become involved in the advocacy process and make a significant difference in the quality of their child’s music education program. Here are some simple, time-effective ways parents can assist their child’s school music educators: Access the Status Quo • Study the ways that music education develops creativity, enhances cooperative learning, instills disciplined work habits, and statistically correlates with gains in standardized test scores. • Speak with your local school board about your desire to have a strong music education for your child. • Find out if music classes in your schools are taught by teachers certified in the arts; see to it that arts specialists are required by policy.
Visit www.nafme.org for more Parent Resources.
Communicate Effectively • Speak at meetings of your school board about the importance of supporting music education with funds for teacher training, equipment and supplies, and music-related activities. • Be in touch with local music teachers on a regular basis. • Ask yourself why your children need high quality music education. Be able to articulate the answers to teachers, administrators, and other parents. • Take part in your school’s music booster organization. • Make certain that your local media give adequate coverage to the accomplishments of your school’s music program.
2014 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE
BE RECOGNIZED
25 YEARS OR MORE OF SERVICE
Any music teacher who has taught for 25 years or more has an opportunity to be recognized for this outstanding achievement at the OMEA Professional Conference in Columbus on Saturday, February 8, 2014. Before the awards ceremony you are invited to a luncheon in your honor. If this is your 25th year of teaching and you meet the other requirements listed below, you are eligible. This is an honor that is bestowed upon our own by OMEA and is a fitting tribute for a job well done. You must, however, fill out an application and send it in. Education is receiving a lot of publicity these days. It would be encouraging to have some good news about the teaching profession. Your 25 years of music teaching is good news. Don’t delay! Don’t wait until later! Fill out the form and send it in now! Requirements: 1. Applicant must have at least 25 years of active teaching in music education (not necessarily all in Ohio). 2. Applicant must have held membership in the Ohio Music Education Association for 10 of the last 15 years of their teaching career. Membership in music education associations of other states will be considered valid. 3. Candidates whose 25 years include Armed Forces time are also eligible, providing it was interrupted time (i.e., after the applicant began teaching). 4. Applicants must fill in the form and mail by January 17, 2014. Applications can be found on the OMEA website (www.omea-ohio.org). Once on the website, select “Portal Access” to log into your “Member Portal”. Follow the links to “Activities”, “Award Nomination Forms” and then select “25-Year Award”.
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TEACHING TIPS GENERAL MUSIC Hands-On Projects for the Middle School General Music Classroom Cynthia Edwards; Emmanuel Christian School Monday morning, 9:00 a.m., general music class with middle school students…what should we do? Perhaps blogging, videotaping a scene for their music parody, or making a word cloud would be fun. Was it always this way? No, but it did not take this teacher long to realize that it needed to be like this. The current general music class that I teach started several years ago as an option for students who were not in band or choir. Students in my class have varied backgrounds, from those with no musical training whatsoever to those with some music experience that chose not to participate in band or choir. My first approach to this class was more behavioral or cognitive. Students needed to learn certain concepts, so they were presented with related information and then expected to be able to process it through a traditional type of assessment (such as a test). Needless to say, this did not have the best results. I chose to change direction in favor of a more hands-on, constructivist approach. A piano lab was not available, but a computer lab was. What follows are some ways I helped these students became truly involved in their general music education. CLASSBLOGMEISTER One of the most successful weekly assignments in our classroom was the creation of a music blog using www.classblogmeister.com. The first quarter’s weekly blog assignment was simple and twofold. First, stu44
dents wrote down one new song each week, with basic information about the song. Next, they discussed any other musical event or topic from that week. In the first quarter I prohibited all commenting on classmates’ blogs. In the second quarter, students were prompted not only to create the entries, but also to comment on at least two of their classmates’ blogs. This assignment had unexpected results. It gave great insight into the lives of these students, and they were also enjoying discovering music on their own! By the second semester, students were asking when the blog was starting again! VIDEO PARODIES There was a spin-off assignment from the blog: a video parody. To begin, some class time was spent discussing video parodies and how they are constructed. Then students were placed in groups, and each group was permitted to choose a song from their blogs. Students were asked to brainstorm scenarios for their parodies. Each group had an assigned leader, but assignments were delegated to all of the group members. Once the group had an approved scenario, a storyboard was written for the video. Students were excited about making props and being able to videotape anywhere on campus! When videotaping was completed, the video and audio were imported into Windows Movie Maker, which the groups used to edit their work. The students learned a TRIAD
number of skills in this project, as each student was expected to participate in various project responsibilities. The results were so much more effective than what would have been achieved in a traditional, behaviorist type of classroom. Here are some of the other hands-on projects that have proved to be successful: Christmas Carol Project: Students research an assigned Christmas carol, find corresponding images to coincide with this information, and produce a video with the carol’s audio. Photo Story 3 and Movie Maker are used to complete this project Music in Media: This is a unit study on the effect music has on the media we watch. Students choose appropriate music for a commercial that they will produce. Students ask every year when this is going to be repeated—it’s something they look forward to! This project also uses Movie Maker. Recipe for an Opera: Students demonstrate their knowledge about the basics of opera through the
use of PowerPoint. The key to this project is in the creativity of the PowerPoint presentation. National Anthem: Every September I include some type of unit on the National Anthem. Using Wordle (www.wordle.net), a word cloud generator, is a quick way for students to show their creativity with the National Anthem. There are some other excellent resources that can be used to make nearly any current curriculum into a more hands-on learning experience: Noteflight: (www.noteflight.com) Noteflight is a great way for students to explore making music. A big plus is that students do not have to learn how to write any specific notes. They choose an instrument, note value, and place it where they want on the staff with a click of the mouse. There is a slight fee, but keep an eye out for specials, as the site is well worth the investment. When this site is introduced for the first time during the school year, the students thoroughly enjoy exploring and creating!
UndergradUate degrees Bachelor of Music Bachelor of Science in Music Technology Programs of study Audio Recording Composition Music Education Music Production Performance
Hugh A. Glauser School of Music
Kent State University P.O. Box 5190 Kent, OH 44242-0001
Phone: 330-672-2172 Fax: 330-672-7837
Undergraduate Minors Audio Recording Jazz Studies Music Music Technology World Music
gradUate degrees Master of Music Conducting Music Education - entirely online! Performance
Post-Undergraduate Certificate Programs Composition Conducting Performance
Announcing New Faculty!
Master of Arts Composition Ethnomusicology Theory doCtor of PhilosoPhy (Ph.d.) Music Education Music Theory-Composition
Jesse Leyva – Director of Bands John Franklin – Director of Athletic Bands Charles Latshaw – Director of Orchestra and Kent/Blossom Music Bobby Selvaggio – Director of Jazz Studies Christopher Venesile – Choral Music Education and Online Master’s in Music Education Coordinator Noa Even – Saxophone Amy Lee – Violin for more information on auditions or scholarships, contact: Mr. Dana Brown Coordinator of Undergraduate Studies email: dabrown@kent.edu
for graduate assistantship information, contact: Mr. Michael Chunn Coordinator of Graduate Studies email: mchunn@kent.edu
Kent State University, Kent State and KSU are registered trademarks and may not be used without permission. Kent State University, an equal opportunity, affirmative action employer, is committed to attaining excellence through the recruitment and retention of a diverse workforce. 13-2467
Please visit our website for audition information and dates: www.kent.edU/MUsiC
DECEMBER 2013/JANUARY 2014
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Glogster for Education: (http://edu.glogster. com/) This site enables students to make online posters. Results from my students have yielded great examples of creativity and personal expression on many topics. Glogster allows for video and audio links, images, and a variety of different designs. Although there is a fee, you can try it out for thirty days at no charge, which gives you plenty of time to do a project in class. EVALUATION Grading is greatly simplified with these hands-on projects. Students are given a rubric at the beginning of the projects, so expectations are immediately known. That same rubric is used at the presentation for grading, which provides specific information for the parents on how their child was assessed. CODA In the end, allowing the students to participate and create their knowledge in the general music class-
room has more positive results than a traditional classroom. The world of free software and Web 2.0 resources provides a plethora of opportunities at little or no cost to the school. Cynthia Edwards teaches middle school general music as well as elementary computers at Emmanuel Christian School in Toledo, Ohio. She is a state board member of the Ohio chapter of the Technology Institute for Music Educators (TI:ME). Mrs. Edwards regularly presents workshops on SmartBoards (for all subjects) and hands-on projects for the general music classroom at conferences and professional development workshops throughout the area. She is pursuing a Masters of Education in Classroom Technology at Bowling Green State University, where she is a teaching assistant for the Introduction to Educational Technology class, required of all education majors. She can be found on Facebook, Twitter, and Diigo at tech4edbuffet or https://sites.google.com/site/tech4edbuffet.
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MASTER OF MUSIC IN MUSIC EDUCATION DEGREE
TEAM Scholarship:
Teacher Education Access at Miami University 50% Tuition and Fees Scholarship for all full-time Ohio teachers
To achieve the Senior Professional Educator License, Ohio teachers must have a Master’s degree Regular academic year (August through May); two-year program completed while holding a graduate assistant position with athletic bands (stipend approximately $11,200 and partial summer funding for eligible students)
ADMISSION PREREQUISITES: Undergraduate courses equivalent to a bachelor’s degree in music education plus teacher licensure/certification; prior full-time teaching experience is required. GRE not required.
arts.MiamiOH.edu/music/admissions SUMMER 2014 COURSES:
FOR ADDITIONAL INFORMATION:
Research in Music Education (required)
Brenda Mitchell, Director of Graduate Studies Miami University, Oxford, OH 45056 513-529-1228 mitchebs@MiamiOH.edu
Teaching Elementary Music: Theory and Practice (elective) Integrating Multiculturalism into Music Curricula (elective)
arts.MiamiOH.edu/music/programs
Department of Music
TEACHING TIPS BAND The First Moments of Class: Rut-less Routines Scott A. Jones, Ph.D.; The Ohio State University Students need a certain amount of routine in their learning experiences. This is particularly true as they bound into the classroom filled with the energy that is a byproduct of passing time between classes. Consistent behavioral expectations at this moment serve to focus student attention and contribute to an effective classroom environment. Routine, however, also plays an important role in the musical portion of the classroom. Just as an accomplished musician observes prescribed experiences at the start of his/her musical day, so too should it be for students. There is a fine line, however, between a musical “routine” and a “rut.” The first moments of rehearsal need to be ones in which the students are fully engaged in relevant musical issues. Consider the following rehearsal architecture.
Percussionists are expected to first set up instruments for the entire rehearsal, and then to accomplish their individualized warm-up on mallet equipment (with yarn or rubber mallets). Doing so fosters a cooperative sonic environment for all musicians in the classroom. The goal of the instrument specific warm-up sheet is to provide an individual warm-up routine that can be accomplished in 2-3 minutes. This warm-up material is focused, rich, and succinct. The role of the teacher during this time is to monitor the progress of the students and to provide meaningful feedback to students as the individual warm-up time unfolds. The presence and complete attention of the teacher during this time communicates the importance of this part of the daily rehearsal to the students.
REHEARSAL PREPARATIONS AND INDIVIDUAL WARM-UP No matter what time a student enters the rehearsal room before class, s/he is charged with specific and artistically meaningful tasks. Once seated with folder and instrument, each wind instrumentalist engages a time of individualized warm-up. As a guide, the student follows an instrument-specific handout that delineates warm-up exercises that are both pedagogically sound and developmentally appropriate: hand stretches, breathing exercises, long-tone exercises, lip slur or interval exercises, and the like.
Of the many benefits of nurturing an individualized warm-up routine are these: • every student, regardless of how early s/he arrives to the rehearsal, has specific musical expectations to guide behavior (which also fosters excellent classroom management) • every student warms up with material that is suited for his/her instrument • every student is provided with material that is customized to his/her level of accomplishment • every student is engaged in behaviors that mirror those of accomplished musicians
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ENSEMBLE FOUNDATIONS Following the prescribed time for individual warm-up (2-3 minutes), the ensemble then engages a prescribed set of teacher-led experiences designed to sensitize the musicians to the foundational elements of ensemble music making. The name for this part of rehearsal, foundations, distinguishes between activities that are individual in focus (warm-up) versus that of the collective whole. For virtually each year of my K-12 teaching career, I began this portion of rehearsal with an “F concert scale descending” and a supplemental exercise called the “F concert stretch” (see Figure 1). The 2-3 minutes invested in this “routine” paid remarkable dividends every year. As with all such pedagogical resources, the key to their effectiveness lies not in the exercises FIGURE 1
themselves, but rather the musical ends to which they serve. What follows is a sequence of engagements with this routine that provide ever-increasing ensemble rigor. 1. Start with having the students perform the exercises as written (to enable everyone to find the right notes/partials/etc). Continue with this daily approach until the ensemble appears ready for the first modification. 2. Perform the exercises with a fermata on each note; the musicians change to the next note with the conductor’s gesture. 3. Continue fermata on each note, but allow for no breath between different notes (i.e., the students must breathe and re-enter during the same
Warmup Exercises
C Instruments - Treble Clef "F concert scale descending"
˙ c & ˙
˙ ˙
˙ ˙ ˙ ˙
b˙ b˙
˙ ˙
˙ ˙
˙ ˙
˙ ˙
b˙ ˙ b˙ ˙
˙ ˙
˙ ˙
˙ ˙
˙ ˙
Ó
"F concert chromatic scale"
œ œ bœ œ ˙ & œ œ b œ œœ bb œœ œ b œ b œ œ b œ œ b œ œ # œ œ # œ œ # œ œ œ # œ œœ ## œœ œ ˙ Ó œ bœ bœ œ bœ œ bœ œ #œ œ #œ œ #œ œ #œ œ 1 2
3
4
"F concert stretch"
5
6
7
8
9 10 11 12
13 14 15 16
œ œ œ &œ œ œ Œ
œ bœ œ œ bœ œ Œ
œ œ & œ bœ œ Œ bœ
œ œ Œ œ œ Œ œ œ b œ œ œ œ œ bœ
DECEMBER 2013/JANUARY 2014
œ œ œ œ œ œ Œ
17 18 19 20
œ bœ œ œ bœ œ Œ
21 22 23 24
25
œ œ œ œ œ œ Œ
œ bœ œ œ bœ œ Œ
œ œ Œ œ œ Œ œ b œ œ œ œ œ œ bœ
œ œ Œ œ œ œ œ 49
pitch). Doing so facilitates the communication between stand partners in order to achieve a unified stagger-breathing texture. Continue having the student stagger breathe the phrases from this moment forward with the exercises. 4. Periodically investigate tone quality, section sonority, timbral matching, and balance within each section. Remember to investigate the percussionists in these areas of development, too! They are easily—and unfortunately, often—neglected in their contributions to the ensemble sonority. 5. Alter the enunciation of the notes (legato tongue, accents, etc). Investigate sections/individuals regarding the unification of the enunciation. 6. When performance dictates, stop the ensemble, call on a student, and ask him/her “Are we changing together? Who do you hear ahead of (or after) everyone else in the room?” If the student is uncertain, start the exercise again, allowing him/ her another chance to answer the same question. 7. Adjust the overall balance of ensemble by gesturing (non-verbally) for more or less of specific sections within the ensemble as you move through the exercises. 8. Gesture for crescendo/diminuendo as the ensemble moves through the scale. Refine the ideal sonority of a tutti crescendo/diminuendo (i.e. which sections lead crescendo, etc.). 9. Assign certain sections (or musicians within each section) to use the upper octaves. This is particularly helpful once ensemble sound has stabilized with everyone in the lower tessitura. 10. In an unexpected place in the scale, gesture for a release. Did the ensemble release together? What kind of release did you gesture? Did the ensemble release match your gesture? 11. Following a release, have the ensemble sing the next note of the scale on a neutral syllable. How accurate is their singing? How in tune is their singing? How rich is the tone quality of their singing? Engaging students throughout an entire rehearsal is one of our greatest challenges as educators. Allocating the first few minutes of rehearsal to structured individual warm-up and the next few minutes for 50
these two exercises can provide meaningful routine and rich results. Best wishes as you structure and modify experiences for your students on behalf of increased learning. Note: I am pleased to share a complete set of PDF copies of these foundation exercises with those who are interested. Please contact me at jones.4371@osu.edu. Scott A. Jones is Associate Professor of Music and Associate Director of University Bands at OSU. In addition to conducting Symphonic Band, he also leads the undergraduate conducting curriculum. Prior to joining the OSU faculty, Dr. Jones served as Director of Bands at Concordia College (Moorhead, MN). He also garnered 15 years of teaching experience in the public schools of Apple Valley, MN and Ashville, OH. Dr. Jones was named “Music Educator of the Year” by the Minnesota Music Educators Association, and was one of three school band conductors from the United States selected to participate in the National Band Association International Conducting Symposium in Rome, Italy. His guest engagements regularly include AllState Bands and Honor Bands, as well as international engagements throughout Asia.
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think in sound Undergraduate Programs BS in Music Education BA in Music Double Major Dual Degree Minor in Music
Graduate Programs MA in Music Education MA in Music Education with Licensure (MAL) PhD in Music Education MA in Music History and Literature PhD in Musicology MA in Historical Performance Practice (HPP) PhD in Musicology with HPP Concentration DMA in HPP
music.case.edu 800. 808. MUSC
Explore Music at Mount Union Bachelor of Arts and Bachelor of Music
2014 Audition Dates | January 25, February 1, February 15, February 22 Learn More | (800) 992-6682, mountunion.edu/music DECEMBER 2013/JANUARY 2014
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TEACHING TIPS ORCHESTRA The Conceptualization of a Faculty-Student Performing Ensemble Jackson Leung, DMA; Wright State University
TEACHER/STUDENT PAIRING IN DUET LITERATURE The idea of pairing musicians of varying performing abilities and intellectual maturity in an ensemble might seem to be a strange idea. In normal circumstances, musicians tend to team up with others who have similar musical training, educational background, performance abilities, and aesthetic viewpoints, in order to have the most rewarding musical experience. It is not difficult, however, to find examples in the literature where composers had performers of varying levels of technical ability in mind when writing their works. In J. S. Bach’s multiple keyboard concertos, those for three and four keyboards in particular, one can see one of the solo parts clearly predominates in technical display and musical weightiness, while another solo part might have a perfunctory or supportive role, with fewer technical challenges. When writing the predominant parts, it is easy to suspect that Bach might have his virtuoso keyboard player sons in mind (Wilhelm Friedmann or Carl Philipp Emmanuel), and the easier part might have been designated to a lesser skilled or gifted performer. A recording of Bach’s multiple keyboard concertos shows this phenomenon. The recording features virtuoso pianists such as Christopher Eschenbach, Justus Franz, Gerard Oppitz, as well as the German politician, Helmut Schmidt, who was also a proficient amateur pianist. Schmidt was Chancellor DECEMBER 2013/JANUARY 2014
of Germany from 1974 to 1982, as well as Minister of Defense and Minister of Finance and briefly served as Foreign Minister. In the genre of piano duets, there are numerous examples of composers writing specifically with a teacher/pupil team in mind. Oftentimes, works are clearly written with either a lighter Primo or Secondo part. The benefits of these educational duets are abundant and apparent. Even in pieces written for elementary levels, students can have the opportunity of performing music with greater harmonic color, musical depth, variety of sound, rhythmic complexities, and contrapuntal interests than their abilities would allow if they were performing a solo. Performing with one’s own teacher can also increase musical expression, rhythmic stability, and confidence in performance. Beyond piano duets, there are numerous examples of pedagogical duets written for other instruments with didactic purposes in mind. TEACHER/STUDENT PAIRING IN CHAMBER ENSEMBLES The concept of combining students and faculty in a performing ensemble is not often encountered in universities and colleges. When designed pragmatically and administered appropriately, the educational philosophy of pairing faculty and students in rehearsals and performing situations can be viable, successful, and can yield extraordinary musical results. By put53
ting students in faculty chamber music groups such as woodwind and brass quintets, string quartets, or piano trios, the student has the opportunity to work with faculty mentors as fellow chamber musicians. The degree of musicianship, refinement, and technical proficiency raises a student’s normal performing expectations to a higher level. It can also stimulate and challenge the student’s imagination, ensemble techniques, performance skills, and musical understanding. Instead of the normal relationship of teaching/ learning, coaching/assimilating, and instructing/ acquiring, the role between teacher and student changes to true musical partnership and camaraderie. This type of performing experience inspires students’ musical sensitivity and enhances their artistic growth.
tral excerpts for the students. The mentor/pupil set-up in a faculty/student orchestra is a brilliant teaching environment that cannot be replicated. The skill of playing second part in an orchestra is very different from playing principal, and the best way to learn the differences is to play them both. Given that, for the first couple of rehearsals with new literature, the faculty can play the principal part while the student plays second. After two or three rehearsals, faculty and student are free to trade parts—and all the while the faculty can coach on style, intonation, and technique. It may sound unorthodox, but it is actually a very practical pedagogical tool. The students learn the literature and develop the ability to “shift gears” according to the parts they are playing.
FACULTY MENTORING IN LARGE ENSEMBLES This idea can also be extended to large performing ensembles such as orchestra and wind ensembles, where faculty members serve as section leaders or principal players. Performing side-by-side with faculty mentors allows students to work in a setting that helps bridge the transition from performing in a student group to that of a professional level. The Chamber Orchestra at Wright State University, which I conduct, is such an ensemble. This setting abounds in musical and educational benefits that include numerous advantages:
3. When performing with faculty members, students learn to acquire etiquette in rehearsals and performance. The experience puts students in an environment that evokes the professional world. These qualities include sufficient preparation and practice prior to rehearsals, punctuality, professionalism in rehearsals, and utmost concentration in performance.
1. With faculty participation, level of technical and musical difficulty in repertoire chosen is greatly enhanced. Students will be able to perform works that would otherwise be too challenging for an apprentice group. It opens the door for broader range and scope in repertoire selection, hence constituting more effective teaching. 2. In most rehearsals and sectionals, music faculty assume the role of section leaders. This provides ample opportunity for teaching instrumental technique in ensemble playing (such as fingering, bowing, and rhythmic precision) and performance consideration (including intonation, volume, tone color, and articulation). In certain pieces, faculty members are free to designate a principal part to the students, thus creating a built-in opportunity for coaching of orches54
4. Length of preparation for a concert is significantly shortened. While the normal preparation time for a student ensemble concert ranges from eight to ten weeks, a faculty-student ensemble can shorten the preparation time to five or six rehearsals. This training is extremely useful for students to prepare themselves to meet the expectations and demands of the profession. 5. With other faculty present, the conductor serves as a “facilitator” rather than a “dictator.” The setting encourages exchanges and discussions of interpretive ideas among the faculty present, thus creating the atmosphere of true chamber music making. Students can learn a great deal about musical interpretation and ensemble playing from various ideas of the faculty, thus encouraging them to be proactive chamber musicians in the orchestra. 6. With faculty soloists as principal players, ensembles (orchestra, in particular) can conveniently program works that feature soloist(s), such as concerti grossi. TRIAD
These works normally demand greater technical difficulty in the concertino group than in the orchestra. As an example, the WSU Chamber Orchestra gave the U. S. premiere of Rieti’s Concerto for Woodwind Quintet and Orchestra. Other examples include Bach’s Brandenburg Concertos, Concerti Grossi by Handel, Symphonies Concertantes by Mozart and Haydn, Elgar’s Introduction and Allegro for Strings, op. 47, Stravinsky’s Pulcinella Suite, Concerti Grossi by Herbert Howell and Ernest Bloch. ORCHESTRAL REPERTOIRE Although with no specific concertino groups scored, many orchestral works in the literature feature virtuosic soloistic writing within the orchestra. Such passages can highlight the high level of performance in the faculty members. These pieces include: Respighi’s Gli uccelli, Trittico botticelliano, Kodály’s Dances of Marosszek, Dances of Galanta, Wagner’s Siegfried-Idyll, Stravinsky’s Suite nos. 1 & 2, Richard Strauss’s Le Bourgeois Gentilhomme, Ravel’s Le
Tombeau de Couperin, Prokofiev’s Overture on Hebrew Themes and Peter and the Wolf, and Piazzolla’s Tangazo. CODA Although there are built-in difficulties and certain disadvantages of creating faculty-student ensembles, the educational and musical benefits resulting from the establishment of such groups greatly offsets the drawbacks. College and university administrations should consider incorporating such ensembles into the curriculum.
Dr. Jackson Leung is Coordinator of Keyboard Studies and Director of the Chamber Orchestra at Wright State University. He is the recipient of the 2010 Robert J. Kegerreis Distinguished Professor of Teaching Award at WSU and the 2011 Southwest Ohio Council for Higher Education Award for Excellence in Teaching.
Music at Otterbein More than an education...an experience!
Otterbein has an array of performance opportunities — bands, choirs, orchestras, and programs in jazz and opera. Our ensembles enjoy an outstanding reputation and have performed at regional and national conferences and tour throughout the country and abroad. These ensembles are open to all students at Otterbein. 2014 Audition Dates Saturday, January 25, 2014 Tuesday, February 11, 2014 Saturday, February 22, 2014 Saturday, March 8, 2014 (Participation Awards) Wednesday, March 12, 2014
Degrees Offered: • Bachelor of Arts, Concentrations in General Studies, Theory and Composition, History and Literature and Jazz Studies • Bachelor of Arts in Music and Business • Bachelor of Music Education • Bachelor of Music in Performance
For more information on the Department of Music at Otterbein, or to arrange an audition, contact Claire Brock, cbrock@otterbein.edu or 614-823-1504.
www.otterbein.edu/music
Otterbein is an accredited member of the National Association of Schools of Music (NASM) DECEMBER 2013/JANUARY 2014
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You are cordially invited...
To attend our Alumni & Friends Reception during the OMEA 2014 Professional Development Conference in Columbus, Friday, Feb. 7, 6 to 7:30 p.m. Visit The University of Akron School of Music at Booth #315 and attend these events:
The Real “March King”: The Marches of Karl L. King
Thursday, February 6, 5 p.m., Convention Center 111-112 Dr. Gene Milford, Senior Lecturer, UA School of Music, clinician
Band Affairs: Success at Large Group Adjudicated Events - Focus on “The March” Friday, February 7, 8:15 a.m., Hyatt Champaign Room
Dr. Gene Milford, Senior Lecturer, UA School of Music, clinician
Stop, Look, and Listen: Giving Meaning to Rehearsal Clichés. Friday, Feb. 7, 9:30 a.m., Hyatt Hotel, Morrow Room
THE UNIVERSITY OF AKRON www.uakron.edu/music
BUCHTEL COLLEGE OF ARTS AND SCIENCES FINE ARTS DIVISION
Dr. Laurie Lafferty, Professor, UA School of Music, clinician
School of Music Orchestrating Success
• Outstanding programs, ensembles and facilities • Numerous performance opportunities • Master classes and residencies by stellar guest artists • Affordable tuition, generous scholarships • Internationally renowned faculty-musicians
DEGREE PROGRAMS Bachelor Of Music (B.M.) • Music Education • Performance • Accompanying
• History/Literature • Theory/Composition • Jazz Studies
Bachelor of Arts in Music (B.A. in Music) Master of Music (M.M.) Dr. Ann L. Usher, Director 330-972-6923 • ausher@uakron.edu www.uakron.edu/music
The University of Akron is an Equal Education and Employment Institution © 2013 The University of Akron
The University of Akron Invitational Vocal-Choral Festival Friday, Jan. 24, 2014, 9 a.m. - 4 p.m. Contact Dr. Laurie Lashbrook at lashbro@uakron.edu for details.
The University of Akron School of Music Annual Band Clinic Tuesday, Feb. 11, 2014
Guest clinician John T. Madden, Associate Director of Bands and Director of the Spartan Marching Band at Michigan State University. Concert at 6:30 p.m. at E.J. Thomas Hall, 198 Hill St.
Scholarship Auditions Feb. 1 and 15, 2014
Call 330-972-7590 or visit www.uakron.edu.
JazzFest 2014 March 18-21
Featuring jazz trumpeter Dominic Farinacci. Call 330-972-8301 for details.
TEACHING TIPS - CHOIR -
Ben Spalding; Centerville High School
Why Start a Contemporary A Cappella Group?
BEN SPALDING There’s no better time than the present to start a contemporary a cappella group at your high school. I’ve found that more and more kids are gravitating toward my high school choral program because of contemporary a cappella. With shows like Glee, American Idol, The Voice, X Factor, and The Sing-Off on television, now is the time to get things going. Kids are looking for a way to perform the kind of music that they are hearing on the radio these days. And let’s face it—singing is starting to seem a little cooler because of these shows. In fact, my high school program has doubled in size over the past couple years. With the hopes of making it into my top a cappella group, Forte, kids are auditioning for my choir program like crazy. I had over 100 kids audition to be in Forte this past year alone and I had only 71 students in my entire choral program three years ago when I first took over the program! So why should you start a contemporary a cappella group? Below is a list of reasons why I think it’s a great time to start a group at your high school. 1. One of the things that really helped contemporary a cappella become more successful as of late is the availability of arrangements. Only a couple of years ago, there were only a limited number of people DECEMBER 2013/JANUARY 2014
Brody McDonald; Kettering-Fairmont High School
arranging a cappella (or at least it seemed like that), but now arrangements are easily accessible and more people are showing their talents in that area. You can get arrangements any place that sells choral music (J.W. Pepper, Stanton’s Sheet Music, etc). The cost of purchasing an arrangement isn’t much more than the cost of buying all of the copies you need of one piece of choral music. 2. There are festivals and competitions out there for contemporary a cappella that are exploding. The two most successful festivals and competitions currently are Kettering Fairmont’s High School Festival in the Midwest (www.acafest.org) and International Championships of High School A Cappella (through Varsity Vocals). Kettering Fairmont’s a cappella festival has grown from five groups participating when it started five years ago to over 50 groups participating this school year. Varsity Vocals sponsors ICHSA, which is the main competitive festival for high school groups around the country. Competitions are held throughout the country. You can get more information about ICHSA at www.varsityvocals.com. 3. It’s getting easier and more affordable to record a CD. I can’t tell you of a better way to get kids excited 57
than to put them through the recording process and create a CD with them. There are recording studios out there like Plaid Productions, Liquid 5th, Overboard, diovoce, and many more that will come to you to record. They can set up shop in your school and record you there. It doesn’t get much more convenient than that. I started recording my first CD with my group Forte within the first month of having the job and rehearsing my group. It turned out great and was a fun experience for all! Your kids don’t have to be perfect to record. They grow tremendously through the process! If you get someone that knows what they are doing, they will make the process painfree for you. I know what you are thinking...can we afford to do that? Well, chances are with some effort you can easily afford to do it. You can do a fundraiser that is CD-specific. I require each of my kids to pre-sell twenty copies of our CD for $20 each. Each person
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that buys the CD for $20 gets his or her name in the CD jacket as a producer of the CD. Money can start to add up quickly and before you know it, your kids feel like rock stars. 4. I’ve never seen kids become more musically independent as I have with contemporary a cappella. My kids can switch back to choral music and knock out a class “A” piece in a rehearsal or two. The musical growth that has occurred and the passion for singing that has grown within them are amazing. Contemporary a cappella has been so awesome for my program at Centerville High School. If you have a passion for music and love working with people and seeing them grow, I can think of no better way to foster that than starting a contemporary a cappella group. I love what’s happening with my students and choral program and I don’t see it slowing down any time soon.
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BRODY MCDONALD Ben‘s account of program growth is fantastic, one I’m sure many would love to emulate. Having been at Kettering Fairmont for ten years prior to Ben’s arrival, I can attest that his success has largely been driven by the excitement that Forte generates. But what if you have an established program? In Kettering’s case, the department was heavily invested in show choir upon my arrival and had no standard for excellence with traditional choral music. I worked hard to establish my Symphonic Chorale as the foundation of the program. Numbers and quality shot through the roof. Eleventh Hour was simply started as a small group that could very easily handle community engagements. I had no idea that one day they would end up on The Sing-Off! A cappella has proven to enhance my program because it is modern-day chamber music. We all want students to strive for the ability to sing complex music independently, even with one singer on a part. A cappella did that for my program. With a medium sized chorale already in place, starting a madrigal group didn’t feel right; it seemed like more of the same. A cappella has the allure of modern pop combined with the vocal challenges of chamber music. It is the “carrot” that drives younger singers to sharpen their skills to the highest degree. Whether you are trying to kick-start a newer/ smaller program into new heights or just add another dimension to an existing program, a cappella has many advantages—educationally and from a recruiting standpoint. Toward that end, a small group of teachers has founded the Acappella Education Association (AEA). The AEA will provide for its members a comprehensive website full of information on all things a cappella, framed in educationally sound terms and geared for high school programs to succeed. You can learn more at www.acappellaeducators. com. We want every program to have access to great educational material so you can spend less time researching, and more time on your program.
DECEMBER 2013/JANUARY 2014
Ben Spalding is the head Choral Director at Centerville High School in Dayton, Ohio. At Centerville, Ben directs all of the choirs including the a cappella group Forte. Forte has earned second place overall at ICHSA the last two years and is performing at the OMEA Conference this year. Under his direction, Forte has recorded four albums including an album of original a cappella music that won the Contemporary A Cappella Recording Award (CARA) for the Best Overall High School CD in 2013. His Symphonic Choir has earned Superior Ratings every year at OMEA district contest since he has been directing them. Ben is a founding member and the Treasurer of the A Cappella Education Association. He has served as the Program Manager for High School Outreach for the Contemporary A Cappella Society of America. Brody McDonald is the director of choirs at Kettering Fairmont High School in Kettering, Ohio. His choirs consistently receive the highest rating at OMEA adjudicated events, and have performed regularly at OMEA, ACDA Central Division and ACDA National conferences. In addition, they have performed with international artists such as Kenny Rogers, LeAnn Rimes, The Beach Boys, Kenny Loggins, and The Texas Boy’s Choir. Brody is at the forefront of the high school a cappella movement, serving as a founding member and the vice-president of the A cappella Education Association. He has presented at numerous educational conferences on pop a cappella in the high school, and regularly lectures on the topic for ACDA chapters throughout the Midwest. He has been named one of Choral Director magazine’s Choral Directors of Note. Brody is the author of “A Cappella Pop: A Complete Guide to Contemporary A Cappella Singing.” This year Brody joins the faculty at Wright State University to develop an a cappella program. He has partnered with Deke Sharon to launch Camp A Cappella, a summer camp designed to immerse high school singers in the contemporary a cappella style, which will move to Wright State University June 23-28, 2014. Details and registration information can be found at www.campacappella.com.
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MUSIC MASTERCLASS WOODWINDS Developing the Low Range For Better Bassoon Embouchures Bill Jobert; Wright State University
One of the most common problems with bassoonists is the tendency to play with too much tension in the jaw. Most often we just refer to this as “biting” and it develops early for players and then is difficult to change. The causes for this problem are varied and can include air support, range issues, and using a single reed “fixed” embouchure while playing the bassoon. There are strategies to develop and maintain the correct embouchure that can be incorporated into your program. The first has to do with how you introduce the bassoon embouchure. Since many bassoonists switch to bassoon from clarinet or saxophone, there is a tendency to use the same style of embouchure. The bassoon embouchure is much looser than that of the single reeds. You and your bassoonists should try this exercise together. Sit and breathe in and out through an open, relaxed mouth. This is a relaxed and natural position
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and what we are striving for when we play bassoon. Now simply close the lips without closing the teeth. Point out to your players how far apart their teeth are inside their mouths. Using this concept, take the reed and put it between the lips. Only the lips should be touching the reed, the teeth should still be far apart and the mouth relaxed. The bassoon is a bass instrument and that is where we want to develop embouchure and tone. I keep my 7th and 8th grade bassoonists in a range between the low B-flat at the bottom of the instrument and the open F (fourth-line of bass clef). In this range the player can relax the embouchure. In fact, the lower the range the more the player has to open the aperture and use a large volume of air, exactly the habits we want to start. Clarinet players especially feel the difference between the embouchures when they play down to the F below the staff. The bass range of the bassoon will not allow them to use the clarinet embouchure.
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You can keep your students in this range with the music you give your young bassoon players. Because students often switch to bassoon at a point when the rest of the band is no longer in a beginning method book, students are often given the second year method book that the rest of the group is using or just the band parts that the ensemble is playing. Since the rest of the woodwinds have been playing longer, they are ahead of the bassoonists, and these books and parts will immediately push your bassoonists into upper middle and upper ranges before the embouchure is ready. This can result in students biting and forcing to get these notes out. Look closely at the ranges of scale sheets and supplemental materials you give to your bassoonists. Edit the materials whenever possible to keep your players in or below the bass clef staff. Often second year bassoon books and band music actually keep the player above the staff and into the 3rd octave of the instrument. Consider giving your player a second-year euphonium book. It will have some upper-register work, but will keep the player relatively lower. When giving out band parts to develop-
ing players look at the music and consider giving the bassoonist a trombone or euphonium part if the range is lower. For less experienced high school players give the bassoonist 2nd or 3rd trombone parts or a 2nd bassoon part and leave the 1st bassoon part in the folder. If you can keep you bassoonists playing lower as they develop you will hear a difference in their tone and they will be more prepared to carry this relaxed embouchure into the upper register. Bill Jobert is in his 8th year Wright State University where he is Lecturer of Bassoon and Coordinator of Music Education. He holds degrees in Music Education from the University of Georgia and in Bassoon Performance and Literature from the Eastman School of Music. Jobert has over 16 years of teaching experience with middle school and high school band programs and high school marching programs. In addition to his bassoon studio at WSU, Jobert has a large private bassoon studio.
ENGAGE IN MUSIC MAKING EXCELLENCE AT CLEVELAND STATE UNIVERSITY
Undergraduate Degree Programs BM - Composition - Music Education - Music Therapy - Performance || BA - Music || Minor in Music Music Education Licensure and Music Therapy Equivalency
Graduate Programs MM - Performance - Composition - Music Education
For full Music Talent Scholarship consideration, students must audition by March 8, 2014
CSU Department of Music Audition Dates for 2014-2015: February 1, February 15 & March 8 For more information please visit www.csuohio.edu/music.
DECEMBER 2013/JANUARY 2014
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MUSIC MASTERCLASS BRASS Achieving a Continuous Air Stream with Brass Articulation Dr. Jason Smith; Ohio University
As a college euphonium-tuba professor, I often find a need to re-evaluate and improve an incoming high school student’s approach with fundamental articulation. Articulation is dependent on a continuous movement of air. It requires careful attention to avoid allowing the crutch of stopping rather than continuing an air stream through articulated passages, absolutely identical to the approach with slurred passages. The difference with articulation is maintaining the air continuously while also using the tongue. Young students tend to form the habit of equating use of their tongue with a need to stop the air. The result is simply “short and choppy” technique no matter the style they are after. A habit formed usually through laziness with air, improper or no guidance at the beginning, or even a director’s urging for clarity. This is among the first fundamentals addressed in my studio. This article aims to help the educator consider an approach in introducing or re-introducing the importance of a continuous air stream with brass articulation. When a student is only capable of articulating in a short and choppy manner, many limitations surface besides limited stylistic capabilities. Such an approach promotes a poor use of the air stream, resulting in inefficiencies with sound, intonation, and phrasing to name a few. Added, if/when these students encounter more technically demanding 62
music, they will lack the technical facility to successfully perform this repertoire. Students initially have difficulty recognizing the problem. Have them perform a selected passage only on the air stream (slurred), comparing the note length to that when using the tongue. Is it the same, ideally? Obviously, many believe that clarity is better through shortening the note values. To the contrary, we must hold true that clarity is improved through maintaining length and improving the “front” of the note: the attack. The most basic of exercises using scale patterns (or even opening exercises from the all important Arban’s Complete Conservatory Method), simplifying and gradually increasing tempo to what is desired is the ideal approach. The following figure illustrates this type of exercise: establishing a continuous air stream with each attack, beginning with the longer note values (Figure 1). FIGURE 1
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An effective tool I have found that provides a visual reference for promoting the continuous air stream in articulation is undoubtedly the use of the Inspiron.
A device pioneered by the great Arnold Jacobs, it features a small ball that when upright is raised by inhalation. When flipped over, blowing (or using a mouthpiece) into the device propels the ball up. The device also has a mechanism for increasing/decreasing resistance. The ball’s movement provides an accurate, effective visual representation of exactly what the air stream is doing. You can insert any brass mouthpiece on the connected tube, and a variety of pedagogical exercises can be employed to address different concepts. This device—as all the devices used by Arnold Jacobs and the generations of his disciples—should be present in every music educator’s office. For improving the air stream in a student’s articulation, inserting a mouthpiece and holding the device upside down is ideal. Buzz the same exercises on this device and the reaction of the ball illustrates what is occurring with the air stream. A poor air stream results in a ball clicking from up and down movement. A correct, continuous air stream results in the ball staying at the top, representing the ideal articulation technique that all brass students are capable of achieving. DECEMBER 2013/JANUARY 2014
The Inspiron can be purchased from WindSong Press and a video is available on their website that features Arnold Jacobs using this device. A proven device that every private lesson teacher and band director can implement to insure articulation is introduced the right way: with a continuous air stream. While I find the most efficient method for helping students understand is through use of an accurate visual aid, often the hurdle is simply getting a student to blow more air with ease versus tension. Promote exercises just on the mouthpiece: buzzing! Take it up a notch and consider providing mouthpieces with holes drilled through the cup. This isn’t voodoo, as it’s quite common among professionals. Using such a mouthpiece promotes great ear training and truly encourages a student to use more air, creating a free blowing, easy wind tunnel! Once I show a student the merits of such a thing, they immediately want to take one of their old mouthpieces and do the same. Buzzing the mouthpiece is always an effective pedagogical outlet for any level of student—the earlier the better! As one buzzes, one will play! Whenever I’m invited in for a high school visit and master class the topic of articulation is a definite follow-up to conditioning exercises for breathing, and this activity provides immediate results for the students and teacher. Any thoughtful musician young or not so young can recognize the difference and quickly realize the improvements that these considerations merit. Jason Roland Smith, Professor of Tuba & Euphonium at Ohio University, has presented performances at conferences, festivals, and universities internationally. As a founding member of OhioBrass, Ohio University’s faculty-artist brass quintet in residence, he has toured nationally and also performed at the Music Teachers National Convention and the Ohio Music Educators Association Conference. He served as head judge for the Young Tuba Artist Competition at the 2010 International Tuba Euphonium Conference and has adjudicated for the prestigious Leonard Falcone Competition. From 2002-2011, he was Chief-Editor for the ITEA Journal, quarterly publication of the International Tuba Euphonium Association, and, currently, he serves on the organization’s Board of Directors and directs the organization’s website, ITEAonline.org. 63
DEPARTMENT OF MUSIC GO.UDAYTON.EDU/MUSIC 937-229-3936
2014 OMEA CONFERENCE SESSIONS Dr. Toby Rush Braille Eye for the Sighted Guy: Using Technology to Make Your Course Accessible Thursday 1:15 p.m.
CONCERTS University of Dayton Percussion Ensemble, Professor James Leslie, Director Saturday 10:45 a.m.
Dr. Donna Cox
University of Dayton Jazz Ensemble, Dr. Willie Morris, Director
Juba Dis Juba Dat Friday 10:45 a.m.
Thursday 6 p.m.
Using Music As A Vehicle For Difficult Conversations About Race, Gender and Class Friday 1:15 p.m.
Dayton Philharmonic Youth Orchestra, Dr. Patrick Reynolds, Conductor Thursday 6:15 p.m.
Dr. Linda Hartley Updates for Music Teacher Preparation Friday 2:30 p.m. Beyond K-12: Teaching Music to Adults Saturday 8:15 a.m.
Dr. Sharon Gratto with Professor James Leslie World Music Performance in the Aural-Oral Tradition: The Process and the Presentation (with the University of Dayton World Music Choir and Percussion Ensemble) Saturday 9:30 a.m.
NASM ACCREDITED DEGREE PROGRAMS BACHELOR OF MUSIC Music Composition Music Education Music Performance Music Therapy
BACHELOR OF ARTS IN MUSIC Music Studies Concentration Jazz Studies Concentration Ethnomusicology Concentration
MASTER OF SCIENCE IN EDUCATION Music Education
2014 AUDITION DATES January 25 | February 1 | February 15
MUSIC MASTERCLASS VOCAL Instrumentalists: Tune Up Your Choir! Dr. James Tipps; Wright State University
In tough economic times in which music teachers are laid off when levies fail, instrumentalists who do not have extensive vocal backgrounds are more frequently directing choirs in elementary, middle, and high schools. If you are one of these folks, you are probably comfortable teaching pitches and rhythms, but may need help in developing a beautiful choral tone. Even without years of choral training, you can teach your students techniques that will enable them to become excellent singers as part of an outstanding choral ensemble. While there is always more to learn, do an initial checkup to make sure you are giving a good foundation in two areas. Attention to these will make an immediate, positive, and possibly amazing difference. The first area is learning to use the voice in a healthy manner. Often, directors are so concerned that the group be heard that volume becomes the primary concern. When asked for “louder,” most singers will gravitate to the lower “chest” register. It is absolutely necessary for singers of all ages to find the upper voice and work it down into the lower range, rather than push the strong lower voice higher. Encouraging singers to find and mix the head voice progressively through the middle into the upper range will prevent a “shouty” sound and probable vocal health issues later on. There will not be as much volume, but will result in improved intonation and unforced upper range. DECEMBER 2013/JANUARY 2014
To achieve this, begin with exploring the entire vocal range to make your students more comfortable with the sound and sensation of the upper voice. There are very few good models of head voice in popular music to which most young people listen, so it is wise to realize that you may be taking students well outside their “comfort zones,” and work to make it enjoyable. While descending yawn-sighs are appropriate for students of all ages, you might want also to try animal sounds, roller coasters, football cheers, sirens, and quotes from The Three Bears in their various voices so that they don’t take themselves too seriously. The second way to significantly improve the sound of a choir is to give attention to diction. Energized consonants will not only make texts clear, but help keep the tone from being swallowed and muffled. Students of all ages tend to think that they are overdoing it long before they actually are, so you will have to teach them to exaggerate. However, be aware that two consonants that you usually need to minimize are the ending “r” (a huge help to tone) and “s.” Teaching a choir to sing with tall, matched vowels is absolutely necessary to achieve a beautiful choral sound. Rich vowels are foreign to many young people accustomed only to conversational speech and popular music. Many teachers work only to get the mouth open wider, which, unfortunately, will have limited impact in creating beautiful singing. It is usually effective to 65
practice a yawn to produce space necessary to a rich tone. Working for tone with open choral speaking achieves wonders, particularly if you have the fortitude to repeat it as needed and insist that they actually make enough of a change. Modeling both the preferred and the wrong way is a great time-saver, and students of all ages enjoy it when you say, “Now let me hear the wrong way!” By starting with a good foundation of healthy vocal registers while articulating consonants and unifying vowels, you can make great changes in your choir’s sound…tomorrow!
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Dr. Tipps is the conductor of the Wright State University Men’s Chorale, and his teaching load includes conducting, research, and methods classes at both the undergraduate and graduate levels. Active as a choral clinician and researcher, Tipps has presented workshops in regional, national, and international venues. He has served on the Ohio Music Education Association state board, and served as advisor for the Ohio Collegiate Music Education Association, as well as the WSU chapter. He is currently on the editorial board of Contributions to Music Education. Prior to his appointment at Wright State, Tipps taught elementary school general music and high school choral music in Georgia, and conducted Men’s Glee Club and Choral Union at Florida State University. Additionally he worked extensively with church music as a conductor, pianist, organist, and consultant in the mid-west and southeastern United States.
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DECEMBER 2013/JANUARY 2014
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ADJUDICATED EVENTS Update on Adjudicated Event Requirements Scott Eversdyke; Adjudicated Events Chair
I know that everyone is busy with so many new requirements, so here are a few reminders about some of the new things to keep in mind for the upcoming season of adjudicated events. MARCHING BAND UPDATE A huge thank you goes out to JD Latorre and Stephanie Smith for a great season of marching band Adjudicated Events! Please remember that applications to host an event in 2014 are due the first week in January. Please contact JD Latorre, Marching Band Affairs Chair for more information about hosting a local event. latorrej@buschools.com CHANGE OF DISTRICT AND REGION FOR LARGE GROUP EVENTS All out-of-district requests for 2014 Large Group Events must be made through the portal. It will open around December 1. Log into the portal, choose Large Group from the online registration menu and select the appropriate event. Please complete one form for each ensemble that you are requesting to perform out-of-district. The deadline is January 1 for State Orchestra and High School Band and Choir and March 1 for Junior High events. You will receive an email confirming your request and then, within a few weeks, you will receive an email with your assignment. This assignment will 68
automatically be sent to the appropriate event chair. Once assigned to an out-of-district site, you will still need to register for that site like everyone else. Again, please make sure you complete one form for each ensemble that you are registering. Please remember there is no option to perform out-of-district for Solo and Ensemble Events. SOLO AND ENSEMBLE ROLLING REVISION UPDATE We will have updated lists for Percussion Ensembles and String Ensembles in 2014. Please remember to download and print the new lists from the website. The rolling revision is an ongoing process. The timeline for future events is listed below: EVENT
TAKES EFFECT
Percussion Ensembles, String Ensembles
Winter 2014
Woodwind Solos, Vocal Solos
Winter 2015
Percussion, Brass, and String Solos
Winter 2016
Brass Ensembles, Vocal Ensembles, and Piano Solos
Winter 2017
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ADJUDICATED EVENT FEES Please remember that all fees must be paid in a timely manner. Request the check early from your school or booster organization so you can send it to the event chair and receive your school’s schedule as soon as possible. Your schedule will not be sent until your fees have been received. DIRECTOR’S REPORT ON ADJUDICATORS After every adjudicated event you get those papers in your check-out envelope that quickly get filed in the circular container. You know what I am talking about. But WAIT! Before you throw them away (or at least recycle them), please know that these Director’s Reports on Adjudicators are so valuable to the entire adjudication process. Your report may be the only way the Adjudicated Events Committee knows when something unusual happens at an event. Without your
report we may not be able to be proactive in improving the adjudication process. This year try to make it a goal to fill out those reports and send them in. AE SESSIONS AT THE 2014 OMEA CONFERENCE There will be many sessions offered by the AE Committee at the 2014 OMEA Professional Development Conference in Columbus. These sessions are a great way to learn more about adjudicated events. Each session gives the opportunity for you to ask questions to help you prepare for adjudicated events. Members of the AE Committee are always open to questions. There will be sessions for the new teacher, adjudicators, directors, and site chairs. The adjudicator sessions at the conference will focus on adjudicating across the classes at High School Solo & Ensemble. Make sure you check the conference schedule to find the sessions that best fit your needs.
ADJUDICATED EVENTS Band Affairs Update Raymond Walczuk; Adjudicated Events Band Affairs Chair
By now, many decisions have been made on which pieces to begin preparing for this school year’s adjudicated events. Before making your final decisions, please take the time to listen to each of the pieces that were selected for this year’s required list. An experienced panel of Ohio’s finest band directors met in June to put together a quality list for 2014. With the hundreds of pieces that were submitted by publishers, we are certain you will find a wide variety of pieces to meet your educational needs. Please consider bringing in other directors to listen to your ensemble prior to performing at an adjudicated event. So many of us get accustomed to hearing the same things each and every day that we tend to miss important details that are not noticed until someone else points them out. Remember to incorporate a little sight-reading into your rehearsal each and every day. Practice the actual sight-reading procedure so that your students are not “surprised” on the day of the event. Get in touch with directors from other schools and ask them to share some of their expertise. Titles of previous pieces that have been used for sight-reading are listed on the website to help you prepare for this year’s event. The required pieces for 2014 are listed on the OMEA website. Directors are reminded that only one
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piece needs to be chosen from the required list for the district event. It is important to remember that a different piece from the same list must be performed at the state event. Directors may decide to keep their required piece from district as one of their select pieces for the state performance. This year’s Band Affairs Session at the OMEA Professional Conference in Columbus will focus on “The March.” In addition to the many updates from adjudications coordinator Max Trier, we will have three experienced directors share their expertise and suggestions on the different types and titles of marches to use for your ensemble. Marcus Neiman, Barry Hartz, and Gene Milford have all agreed to make presentations at this session to offer suggestions, lists, and ideas when performing this type of literature. All three of these presenters have done a great deal of research with “march” literature and their knowledge and expertise will make this session one you will not want to miss. I am very grateful to the other members of the AE Committee for their continued help throughout the year. I wish you all success as we begin our adjudicated events and please do not hesitate to contact me if you have any concerns or questions. I look forward to seeing you in Columbus in February!
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Beautiful, historic campus, 20 minutes from the heart of Cleveland
BALDWIN WALLACE UNIVERSITY
CONSERVATORY OF MUSIC
Don’t miss the BW Symphony Orchestra, conducted by Dwight Oltman, perform Mahler No. 1 in D Major, Fri., Dec. 6, 8:00 pm, Gamble Auditorium, Berea, Ohio. OMEA Conference selects BW Symphony Orchestra to perform Fri., Feb. 7, at 3:45 pm.
The BW Motet Choir under the direction of Dirk Garner will be touring in North Carolina, Jan. 13-18 2014.
Jordan Hamilton from Upper Marlboro, MD, is the recent winner of the BW Concerto Competition.
2013-2014 Audition Dates ON-CAMPUS
Fri., Nov. 15 Sat., Nov. 16
Fri., Jan. 17 Sat., Jan. 18 Fri., Feb. 7 Sat., Feb. 8 Fri., Feb. 14 Sat., Feb. 15 Fri., Feb. 28 Sat., Mar. 1
Music Theatre Instrumental, Keyboard, Voice, Music Theatre Music Theatre Instrumental, Keyboard, Voice, Music Theatre Music Theatre Music Theatre Music Theatre Instrumental, Keyboard, Voice, Music Theatre Instrumental, Keyboard, Voice Instrumental, Keyboard, Voice
For instrumentalists only, you may upload video recordings at digitalaudition.bw.edu.
OFF-CAMPUS
Nov. 21-24, 2013 Dallas, Texas Jan. 25, 2014 Interlochen, Michigan
Degree offerings BM: performance, therapy, composition, theory, history and literature, music theatre; BME: music education; BA. OCTOBER/NOVEMBER 2013
BW congratulates Conservatory Alumni Achievement Award Winner Deborah Barrett Price. Debbie is the Founder and Artistic Director of Chamber Music Connection in Columbus, an accomplished violist and teacher, and a chamber clinician.
music@bw.edu 440-826-2368 866-BW-MUSIC www.bw.edu/conservatory Baldwin Wallace University does not discriminate on the basis of race, creed, age, disability, national origin, gender or sexual orientation in the administration of any policies or programs.
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The Heidelberg advantage • • • •
One of Ohio’s most reasonably priced private college music schools. BA/BS music programs allow double majors with most other programs. Recital performance opportunities (not just performance majors). Music majors have no added costs for lessons (saving thousands of dollars).
Private lessons • Free introductory lesson with an applied teacher when you visit campus. • 4 years of private lessons at no cost: save thousands of dollars! • All students receive private lessons, plus chamber music opportunities.
Ensembles • No ensemble scheduling conflicts; easily participate in multiple experiences. • Ensembles and private teaching by caring, professional faculty.
Audition Dates Monday, January 20, 2014 Monday, February 17, 2014 Saturday, February 22, 2014 Saturday, March 22, 2014 or by appointment
Scholarships
Scholarships available up to $20,000 for music majors in all performance areas. For full scholarship consideration, students must audition before March 1, 2014. For more information about scholarships, or to complete an audition form, see our website at www.heidelberg.edu/music
For more information, please contact: Dr. John E. Owen Director, School of Music jowen@heidelberg.edu 419-448-2073
HIGHER EDUCATION NEWS UNIVERSITY OF AKRON The University of Akron is pleased to welcome three new full-time faculty members for the 2013–2014 school year. Dr. James Albrecht, Assistant Professor of Trombone, earned a Bachelor of Music from the Manhattan School of Music, a Master of Music from the Cleveland Institute of Music, and a Doctor of Musical Arts from the University of Memphis. Dr. Bryan Nichols, Assistant Professor of Music Education, taught middle school and high school choir in Kentucky for 7 years. He received his Bachelor of Music Education from the University of Kentucky, a Master of Music Education from Florida State University, and a PhD in Music Education from the University of Washington. Todd Gaffke, Assistant Professor of Saxophone, earned his Bachelor of Music from Central Michigan University, and Master of Music from Michigan State University. He will receive his Doctor of Musical Arts from MSU in December of 2013. The School of Music also welcomes the following Visiting Lecturers this year: Jane Berkner, flute; Jack Harel, oboe; Karl Kramer-Johansen, horn; Dr. Andy Larson, tuba; Dr. Mark Dulin, trumpet; Dr. Vaughn Roste, choral studies; and Joe Witkowski, band. The University of Akron’s 34th TubaChristmas will take place on December 21 at noon and 2:30 p.m. in EJ Thomas Hall. Contact Tucker Jolly at (330) 923-9586 for additional information. The 9th Annual Invitational Vocal-Choral Festival will be held on Friday, January 24. The event provides opportunities for high school singers to work with UA voice faculty Dr. Laurie Lashbrook and Dr. Frank Ward, and to participate in an Honor Choir with UA choral directors Dr. Vaughn Roste, Dr. Bryan Nichols, and Dr. Ann Usher. Email Dr. Lashbrook at lashbro@uakron.edu for additional information. ASHLAND UNIVERSITY Dr. Thomas Reed, Music Department Chair, recently performed on saxophone with the Cleveland Orchestra at Blossom Music Center, and as clarinet soloist with the Akron Symphony in works of Gershwin and 73
Porter. With Iron Toys, he performed at the Berea Arts Fest, Art Collinwood, and Ashland University. Dr. Marla Butke, Associate Professor of Music, presented at the First International Conference of Dalcroze Studies in Coventry, England this past July. Her topic, “Plastique Animée: Music Education through Expressive Movement,” was based on her joint research with Dr. David Frego, UTSA, which examined purposeful movement with practicing music teachers, undergraduate music education majors, and 4th/5th grade students. Dr. Butke has recently presented eurhythmics workshops at UTSA, the College of Wooster, for the Central Ohio Orff Chapter and the Tri-Country Fine Arts Day, and at the National Orff Conference in Denver, Colorado. BALDWIN WALLACE UNIVERSITY The Baldwin Wallace Conservatory of Music is celebrating 80 years of summer music programs in 2014. Programs for students in grades 4–9 during June include: String Camp, Piano Camp, Band Camp and Music Theatre Camp. The newly designed Conservatory Summer Intensive allows high school students to explore careers in music while investigating college music study July 6 to 19. Music Theatre Overtures provides 11th grade students preparation for their college music theatre auditions also in July. The BW Summer Institute for Music Teaching and Learning will again offer professional development classes for music educators during June and July. Audition season for prospective students is in full swing and students planning to audition during January or February should have their materials submitted by January 1 to secure their audition dates. The BW Motet Choir will be on tour in North Carolina January 12 to 18. BW is proud to host the Music Teachers National Association East Central Division Competitions January 10 to 11and Ohio Chapter of the International Trumpet Guild March 29. BW’s main-stage opera is Hansel and Gretel performed in English February 20 to 23 at the Kleist Center. This classic fairytale is sure to entertain audiences of all ages. In a third year of collaboration, BW’s music theatre program and the Beck Center for the Arts will present the regional premiere of Carrie: The Musical February 7 to March 9 at the Beck Center in Lakewood. The 82nd Bach Festival will take place April 25 to 27. This year’s Bach Festival will celebrate Dwight Oltman’s long-time leadership of the Festival as he prepares to retire at the end of the school year. Also, save the date for an alumni celebration on Saturday, May 3, that will honor Oltman’s many contributions to the BW community. 74
BLUFFTON UNIVERSITY Three music faculty members will represent Bluffton in leading performance, conducting and academic roles in the coming months. Dr. Lucia Unrau, a professor and chair of music at the university, will be guest solo pianist with the Lima Symphony Orchestra twice in January. She will perform Mozart’s Concerto No. 21 in C Major, K. 467, at the orchestra’s Bluffton Artist Series concert on Jan. 23 and at the symphony’s “Mozart by Candlelight” concert Jan. 25 at Trinity United Methodist Church in Lima. Dr. Mark J. Suderman, also a professor of music, is joining the Lima Symphony Orchestra as well, as its new chorus conductor. The 80-member chorus performs with the orchestra twice per season. This season’s first performance, on Dec. 14, is “Bells, Brass, and Bows,” which will include many familiar Christmas carols plus a movement from Bach’s Christmas Oratorio. The spring concert, on April 12, will feature a Handel coronation anthem, “The King Shall Rejoice,” and Beethoven’s Ninth Symphony. At Bluffton, Suderman is conductor of Camerata Singers, a select chamber choir. Dr. Roy Couch, a visiting assistant professor, will serve on a panel at the International Tuba Euphonium Conference at Indiana University in May 2014. He was invited to participate in a discussion about university-level teaching in the applied area of tuba and euphonium while also teaching in other areas of music education. Couch, the Concert Band conductor at Bluffton, has been a regular contributor to the quarterly journal of the International Tuba Euphonium Association (ITEA) as a reviewer of new materials. The biennial conference is the main convention of the ITEA, which recently celebrated its 40th anniversary. CAPITAL UNIVERSITY Summer and fall are replete with clinics, workshops, master classes, recordings, and performances in the Conservatory of Music. Prof. Robert Breithaupt will present clinics and master classes at the Eastman, Crane, and Hartt Schools of Music and Indiana and Northwestern Universities. His upcoming performances include the Milwaukee, Dallas and Salt Lake City Symphonies. Along with fellow jazz faculty ensemble members, Rob Parton, Stan Smith, Ryan Hamilton, and Mark Flugge; he will perform as featured artists the Midwest Band Clinic. Dr. Gail Zugger recently formed the Neapolitan Trio and performed at Ohio Wesleyan and Wittenberg TRIAD
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Universities. She will also present a clinic at the 2014 OMEA and Minnesota MEA Mid-Winter Conferences. Dr. Lisa Jelle was appointed Principal Flute of the Central Ohio Symphony Orchestra and has been invited by the Haynes Flute Factory to attend their 125th Anniversary Celebration in Boston. In November, Dr. Mark Lochstampfor will present “Music Theory in the New Millennium: Goals, Curriculum, Assessment” for CMS in Cambridge, MA. He will also co-present “Developing a Music Program Assessment” at the annual meeting of NASM in Hollywood, Florida. Dr. Thomas Zugger has premiered four newly commissioned chamber music compositions: Intersections, clarinet, trombone, percussion; Forest Sounds, clarinet, flute; Great Lakes Tableau, brass quintet, and Three Moods, trumpet, trombone, piano. While on sabbatical next spring, Dr. Michael Cox will record a great variety of saxophone mixed-instrument chamber music by Pierre-Max Dubois. He also plans a special recording of jazz standards, Brazilian composers’ works, and original compositions and collaborations in New York City, Tulsa, Kansas City, Denver, and Cincinnati while also performing with the Black Swamp Saxophone Quartet, Columbus Jazz and Columbus Symphony Orchestras. The Conservatory also welcomes P.J. Cinque, Classical Double Bass; Amy Radkowczyk, Contemporary Voice; Dr. Dione Bennett, Voice; and Kevin Jones, organ to the applied faculty. COLUMBUS STATE UNIVERSITY Columbus State Electronic Music Ensemble, under the direction of Rocco Di Pietro performed at an October 29th concert at Fort Hayes High School. The ensemble performed DiPietro’s “Halloween Night.” And Fort Hayes, Columbus State, and Ohio State students performed Di Pietro’s “Convolutions with Lear” with Russell Link and “Lilith” for three cellos and three voices and celesta. A new work by adjunct faculty David Nelson Tomasacci was performed. Chorus Columbus State, directed by Gordon Franklin, performed works by Johannes Brahms, Randall Thompson, and Gustav Holst on November 24 at the Columbus Art Museum in Darby Court. Columbus State Concert Band, under the direction of Thomas Lloyd, gave the first performance of the band version of “Urban Synthesis” by Everett N. Jones on the Fall Band Concert. The band played the Ohio premiere 76
of “Vignettes” by David Avshalomov, a work Columbus State helped commission. “Banshee: Woman of the Mound” by Ohio composer Carlton L. Winston was performed along with “Lucky Two March” by former Ohio musician Errol Weiss Schlabach. A 1913 arrangement of “That Ragtime Regiment Band” was also performed. The Spring Semester band concerts on March 4 and April 29 will feature Band Classics including works by Beethoven, Gossec, Holst, and William Grant Still. CASE WESTERN RESERVE UNIVERSITY Dr. Gary Ciepluch celebrated the 25th Anniversary of the Cleveland Youth Wind Symphony on November 10th in Cleveland’s Severance Hall. On October 13th, he conducted the CWRU Symphonic Winds and Wind Ensemble in Kulas Hall at The Cleveland Institute of Music. Campus instrumental performances continued on November 17th, as the University Circle Wind Ensemble performed in Harkness Chapel. Dr. Ciepluch has also been invited to conduct the Texas Small High School All-Region Band in December. Dr. Matthew Garrett recently published “An Examination of Critical Thinking Skills in High School Choral Rehearsals” in the fall issue of The Journal of Research in Music Education. The article focused on the amount of time high school choral directors spent engaged in critical thinking activities with ensemble members. He will continue to focus on critical thinking at the 2014 OMEA Conference, when he co-presents a session with CWRU’s Dr. Lisa Hanson, “Vocal Warm-Ups that Connect: Teaching for Transfer in Choral Rehearsals.” Dr. Garrett began a yearlong 10th Anniversary celebration of the Case Concert Choir with a performance on November 8th in The Church of the Covenant. The ensemble premiered a newly commissioned work, “How Should We Fear the Seasons” by Dr. Troy Roberston, Director of Choirs at Tarleton State University in Texas. Graduate Conductors Karly Bowman, Marshall Haning, and Dalton Phillips were also featured on the program. The CWRU Department of Music would like to invite all TRIAD readers to join us for upcoming events during the 2013-2014 academic year. For more information about our degree programs, colloquia lecture series, and performance activities, please visit our website: music.case.edu! UNIVERSITY OF DAYTON Dr. Donna Cox presented African American Women Composers as Monument Builders at the NCORE in New TRIAD
MUSIC CAMP July 13-17, 2014 Featuring a professional teaching staff who provide inwstrumental and choral instruction for young musicians in Grades 5-11.
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Contact: Nancy Ditmer, Music Camp Director Phone: 330/263-2052 Email: nditmer@wooster.edu
Orleans in May. She is a member of the 2013-14 cohort of the Academy of Leaders (Center for Courage and Renewal - Minneapolis). Dr. Cox will lead three sessions at the OMEA Professional Conference. Dr. Minnita Daniel-Cox, Assistant Professor of Voice and Voice Area Coordinator, will be performing with several local organizations this coming year including: Judas Maccabeus (Handel) with the Miami Valley Symphony Orchestra (November 24), The Stained Glass Series with Dayton Philharmonic Orchestra (January 26 and April 6), and the B minor Mass (Bach) with Bach Society of Dayton (March 23). Dr. Linda Hartley, Music Education, presented her research on Adult Music Learning at the Music for Lifelong Learning Symposium in Columbia, South Carolina this past October. She will be presenting two sessions at OMEA 2014. Prof. Jim McCutcheon presented a lecture on the National Federation of Music Clubs at the Guitar Foundation of America International Convention in Louisville this past summer. He was the solo performing artist sat the 125th anniversary dinner of the Dayton Music Club in September. In November, Prof. McCutcheon hosted Nemanja Ostoich, guest guitarist, on UD’s campus. DECEMBER 2013/JANUARY 2014
In October, the UD Orchestra, under the direction of Dr. Patrick Reynolds, performed six concerts in Puerto Rico, including the Conservatorio de Musica, Cathedral San Juan Bautista, and Escuela Libre de Musica–San Juan. In January, Dr. Reynolds conducts the Sonoma County (CA) Honor Band, and in February conducts the Dayton Philharmonic Youth Orchestra at the OMEA Conference. The University of Dayton Jazz Ensemble, Dr. Willie Morris, III, conductor, has been selected to perform at the 2014 OMEA Professional Development Conference on February 6 at 6:15 in the CP Ballroom. This group also performed at the 2013 Jazz Educators Network National Conference in Atlanta, Georgia. MIAMI UNIVERSITY The Miami University department of music welcomes five new faculty members in 2013! New assistant professor of piano is internationally recognized soloist Frank Huang. He has won several competition awards, including second prize at the 2010 World International Piano Competition and holds Bachelor of Music and Master of Music degrees from The Juil77
liard School and a D.M.A. from The Cleveland Institute of Music. He has previously served as a piano faculty member at both Cuyahoga Community College in Cleveland, Ohio and The College of Wooster. Two new adjunct instructors in trumpet are assuming the studio of James Olcott, who retired in the spring. Steven Pride, is second trumpet with the Cincinnati Symphony Orchestra and the Cincinnati Pops Orchestra. He is a graduate of the University of Cincinnati College-Conservatory of Music. Steven has also taught on an interim basis at Northern Kentucky University and given clinics and masterclasses at schools around the country, most recently at Rice University’s Shepherd School of Music and University of Kentucky. Douglas Lindsay is the associate principal trumpet with the Cincinnati Symphony and Pops Orchestras. He holds the Bachelor of Music degree from Baldwin-Wallace College and undertook graduate study at the Manhattan School of Music. Previously, Douglas
has taught at the University of Dayton and Wittenberg University, and held positions with the Charlotte Symphony and the Dayton Philharmonic. Flute professor Morrigan O’Brien Kane holds Bachelor of Music, Master of Music, and Doctor of Musical Arts degrees from the University of Cincinnati College-Conservatory of Music. She has won or placed in many national flute competitions, including the National Flute Association competitions, the Frank Bowen Young Artist Competition, and the Myrna Brown Young Artist Competition. Ben Harris is media services specialist for the department of music and adjunct professor of music theory. Our faculty members are engaged in a variety of professional activities. Choral professor Jeremy Jones is one of eight conductors in the U.S. to represent the American Choral Directors Association at an international conductors exchange program with the China
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TRIAD
Chorus Association in summer 2014. He will also lead the Men’s Glee Club in performances on an international tour to in England, Wales, France, Germany, Luxembourg, and Belgium. On November 16 and 17, 2013, Harvey Thurmer, associate professor of violin, will be a guest at Simpson College, giving a workshop on the Alexander Technique and performing a collaborative recital with Miami professor of clarinet Michele Gingras. Students from the violin studio participated in a masterclass with violin virtuoso Ray Chen in early October. Cello professor Pansy Chang performs with internationally acclaimed Pink Martini. The group released a new CD, “Get Happy”, on September 24, 2013. OHIO STATE UNIVERSITY Auditions will be held Friday, January 17 and Saturdays, January 25 and February 1. Students select their audition date on the School of Music application, due two weeks prior to the selected date. Junior Visit Day is scheduled for Saturday, March 28. Jan Edwards presented Undergraduate Music Education Degree Program Requirements: Addressing Music Educator Diversity Preparation in the Curriculum, and Daryl Kinney presented Ohio College and University Supervision Practices for Preservice Music Educators’ Field and Student Teaching Experiences, co-authored with Sarah Fischer (PhD, Music Education, 2013) at the Society for Music Teacher Education Symposium. Robert Gillespie and PhD student Blair Williams co-authored “Making a Musical Life for Violists in School Orchestra,” published in American String Teacher (August 2013). Fall semester featured over fifty student ensemble, faculty, and guest artist performances. The First Annual Viola Day, hosted by Juliet White-Smith, welcomed 45 students; Katherine Rohrer, mezzo-soprano, presented her Ohio State debut recital and Caroline Hartig hosted the 2-day Clarinet Spectacular with guests Eddie Daniels and Sarah Elbaz. The School featured international composer and alumnus Stephen Montague in its Contemporary Music Festival and co-commissioned his world premiere Invictus, performed by The Columbus Symphony Orchestra in November. Middle School Honor Band Weekend, hosted by Scott A. Jones on February 15, will include two seventh and two eighth grade bands, with guests James Swearingen and Nancy Youse. Russel Mikkelson will conduct the Wind DECEMBER 2013/JANUARY 2014
Symphony, with guest Michael Sachs, principal trumpet of the Cleveland Orchestra, February 25 in Weigel Hall and again on March 1 at the CBDNA Convention. The Ohio State Percussion Ensemble and Symphonic Band will perform at OMEA Conference in February. The Youth Summer Music Program will include two new opportunities for students. Viola Camp and Clarinet Workshop will join long-standing favorites Flute Workshop, Jazz Camp and Morning Strings. OHIO UNIVERSITY The faculty, staff and students of the Ohio University School of Music are pleased to announce the appointment of six new faculty members. New music faculty include Sean Parsons, jazz & music theory; Elaine Ross, music theory; Paul Mayhew, choral music education; Kelly Burns, voice; Solomiya Ivakhiv, violin, and Garrett Field, ethnomusicology. Special events this year include Experience the Arts Day, Monday, October 14th (huangs@ohio.edu), Ohio Honor Band Festival, December 5-7 (Trachsel@ohio. edu), Ohio Honor Choir/Honor Orchestra Festival, January 17-19 (halld2@ohio.edu [choir] and huangs@ ohio.edu [orchestra]). Athens Jazz Festival, April 11-13, (jamesm1@ohioedu). Ohio University ensembles completed another exciting year. In May, the Marching 110 and Wind Symphony performed in Dublin, Ireland and Rome, Italy. The Wind Symphony, conducted by Dr. Andrew Trachsel, released its first commercial CD entitled Mothership. The album features world-premiere recordings as well as School of Music Flute Professor Alison Brown Sincoff. The Wind Symphony is pleased to announce that it has been invited to perform at the 2014 OMEA Conference in Columbus. The jazz program continues to excel, including a Jazz Ensemble I performance at the Elmhurst Jazz Festival, the annual Bobcat Alumni Jazz Jam at Homecoming, and a guest masterclass by drummer Carl Allen. The Marching 110 performed at the home season openers for both the Cincinnati Bengals and Cleveland Browns and traveled to Shreveport, LA for the Independence Bowl. The Symphony Orchestra featured guest conductor Mihai Agafita, conductor of the national philharmonic of Moldova. Season performance highlights include Bruckner 4, Dvorak 9, and Mozart 41. In March, the Singing Men of Ohio and Women’s Chorale embarked on separate multi-state performance tours with stops in 79
Tennessee, Georgia, South Carolina, Virginia, Pennsylvania, and Ohio. The students performed for new audiences and alumni in the Southern and Mid-Atlantic regions. The Ohio University Singers and Choral Union performed a variety of seasonal concerts, with highlights including combined choral/orchestral performances of Vivaldi’s Gloria and “In Windsor Forest”, by Ralph Vaughan Williams. TIFFIN UNIVERSITY Tiffin University welcomes artist-in-residence Jeanette Berry, who is teaching commercial voice, directing jazz, R&B and hip hop ensembles, and serving as mentor to students majoring in ProMusic. Having performed around the world as background vocalist for Lauryn Hill, Berry moved to Tiffin from New York City, where she’s been working professionally as a soul/ jazz vocalist. “Love Stomped,” the single from her album, “Peace, Love and Music,” received industry acclaim and was featured on the VH1 show Single Ladies. Berry has also served as senior lecturer at The University of the Arts in Philadelphia, from which she received her degree in jazz vocal performance.
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Tiffin University’s vocal group Up in the Air is featured on the EP “Two for the Money,” released by international pop music production team The Dualists. Up in the Air’s cover of “Heavy,” recorded by Maroon 5 lead singer Adam Levine and R&B singer P.J. Morton, was noticed by the song’s co-writers and production team The Dualists. The Dualists offered to include it as a bonus track on their new EP, which also features Levine, Morton, and pop artists from Great Britain and Australia. Up in the Air’s recording was done in Atlanta’s Namaste Studios by Grammy-nominated producer Nick Chahwala and remixed by The Dualists for inclusion on their release. Tiffin University welcomes its first ProMusic majors enrolling with hip hop music production and performance as a primary performance area. These students come from around the country to study music theory and composition, rhythm section methods, music business, and get hands-on performance and production experience working with professional recording artists and producers, including studying with visiting artist J Rawls, producer for Mos Def, Talib Kweli, Beastie Boy, and many others.
TRIAD
WRIGHT STATE UNIVERSITY This past fall Dr. Shelley Jagow was the invited guest clinician and conductor at the Band Director Symposium in Toronto, Ontario, the British Columbia MEA, and the Alberta MEA. In December, Jagow will guest conduct of the Utah State High School Honor Band, and will be presenting at the Midwest International Band and Orchestra Conference in Chicago. Dr. Franklin Cox will be hosting the third annual American Innovator Series on January 31–February 2. This year the series will take an in-depth look at the music of Steve Reich. The weekend will include concerts, open forums, and the presentation of papers. For more information contact Franklin.cox@wright.edu The WSU Brass Quintet will host the Eastman Brass, the faculty brass quintet of the Eastman School of Music, for a residency on January 20–21. The Eastman Brass will perform a recital at 7pm on the evening of January 20 in Schuster Hall. Jerry Noble will be presenting and performing at the Illinois Day of Percussion on Jan. 18. Noble will be per-
DECEMBER 2013/JANUARY 2014
forming with his duo “Tamburo Doppio” with Boston Conservatory Percussion Instructor, Keith Aleo. Noble and the WSU Percussion Ensemble will be performing throughout the American Innovator’s Series at the end of January. This fall Noble hosted a residency with Bob Becker at WSU from Nov. 11–13 and Japanese percussionist Yurika Kimura for a three day residency, which included a series of performances and clinics. And in late November Noble and the WSU Percussion Ensemble presented an educational workshop and performance at the Troy Hayner Center. Dr. Gretchen McNamara will be hosting the WSU Trombone Festival on Monday January 20, 2013. Details can be found at http://liberal-arts.wright.edu/music/calendar/festivals-and-workshops. Dr. McNamara has also been invited to direct the District 12 Symphonic Band in February.
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IN MEMORIAM Lee Suman 1931-2013 Who can forget his shock of hair, his pipe, or his sense of humor? He was a ‘stand-out’ figure at every OMEA conference. He will be remembered … he will be missed! Lee Suman passed away on Saturday, November 2, 2013, in Hamilton (OH). He was born July 28, 1931, on a farm near Eaton (OH), and attended West Alexandra High School, graduating in 1949. It was then that a neighboring high school (Farmersville) was forming a small dance band and needed a drummer. Lee fit the bill and during rehearsals he soon became attracted to the piano player (Shirley), and the rest is history. They attended dances together; however, seldom danced, because Lee always played drums with the dance band. After graduation from high school, Lee planned to enlist in the Marines, but ended up in the Air Force. In 1951 he enlisted in the Air Force, auditioning at Wright-Patterson Air Force Base for a band position. He was at the right place at the right time and passed the audition as a marimba soloist going to basic training with a letter requesting his assignment to be at Wright-Patterson Air Force Base where he remained for his full tour of duty. Following his tour of duty with the Air Force, Lee attended and graduated (in three years, as an honor student) from Miami University, where he earned his bachelor of science and master of 82
music degrees, and the respect of students and faculty. He was voted the “Outstanding Music Education Major.” Lee kept his ties with Miami strong, announcing for the Miami University Marching Band for 25 years, directing with the alumni band, and serving as the adjunct percussion instructor. In 1952, he married the piano player from that Farmersville dance band he joined. Shirley was not only his partner and inspiration through the next 61 years, but also shared in assembling and developing two children, Michael, retired band director of Benjamin Logan Schools, and Michele, director of external accounting and reporting for Macy’s Corporate Office in Cincinnati, who is married to a former band director and current school guidance counselor. They have been blessed by four musical grandchildren, Brandon, Brittany, Joshua and Jacob. Shirley and Lee made a great couple; they were gracious, loving, and both always had a warm, genuine smile as they greeted friends and colleagues. Lee started his career in music education as an assistant band director at Northwest School District (Colerain High School) in February of 1957, and soon assumed the position as head band director—a post he held for many years—then became music supervisor having taught music in elementary, junior high, and high school levels, and retiring in 1984. He served a term on the Mt. TRIAD
Healthy City School Board and was chair of one of the few successful operating levy campaigns in Mt. Healthy during those years. In retirement Lee co-chaired the vocal music department at Mannerino’s Sheet Music in Cincinnati, a post he held for nearly 20 years. From 2004 through 2012, he was conductor of the New Horizons Band of Cincinnati for which he was named “Conductor Emeritus” in 2012. The common thread from postings remembering Lee’s life were his love of family, respect for colleagues, passion about teaching students music, and helping young (and old) music educators grow as professionals. He wasn’t afraid to speak his mind, nor timid to state an opinion; but, at least in my memory, he was always able to respond in a professional and civil manner. Former students, friends, and colleagues were common in thanking Lee for being part of their lives! Former student and colleague Dan Meeks commented: “A very giving man, Lee was an applied music instructor during my years at Miami University, guiding young musicians into a career that he was so very proud to represent. He not only taught how to succeed as a musician, he taught how important music is to the very basis of education. What made him special was that he was quick to give credit for his success to his students and colleagues. His kind manner and caring words inspired all of his students (and teachers who knew him) to create music that would touch your very soul. Lee was honored to help anyone who asked… especially this young, naïve, first year junior high band director in nearby Harrison, Ohio in 1977! Lee always made music a very important part of his life. His influence will be forever in my life. We will all miss Lee’s wonderful stories because they always came from the heart. I am a better teacher and person because of Lee Suman.” Lee viewed volunteerism as an important component in every music educator’s professional responsibilities. He felt that each of us needed to serve to the best of our abilities and go beyond teaching in the classroom to serving the profession. He taught by example. I remember him DECEMBER 2013/JANUARY 2014
best as state president and state historian. As president, he had the ability to see the big picture and the long range implications of decisions that had to be made. He had a passion for encouraging us to examine the best approach to growing our association, providing the best possible education for our members and their students, and not being afraid to ask hard questions about the future of OMEA. His annual historian reports were thoughtfully constructed, comprehensive in scope, and covered every aspect of the accomplishments of the association and its members. And, of course, we were all blessed with Lee’s sense of humor and knew that, when he addressed the state board, we would be entertained by yet another series of stories from the master. For OMEA, he chaired the minimum standards revision committee (1976-80); professional concerns committee (1978-80); resolutions (198488); state conference coordinator (1984-91); historian (1990-2000). And was elected by the membership to serve as well: as president of district 12 (1972-74); state treasurer (1974-76); state president-elect (1980-82); state president (198284); past-president (1984-86); DaCapo president (1988-89 and 2000-01); and recipient of the 37th Distinguished Service Award (February 1990). Gayle Stalheim, former OMEA president, commented: “Upon ending his term as president, Lee reminded the membership that the most important five letter word in our vocabulary is MUSIC! Lee led the association by encouragement, rather than edict. Lee felt that we do not deserve the title of ‘music educator’ if we do not give every ounce of our creativity to the development of teaching strategies that will impart to our students the enjoyment of listen to and performing music.” Colleagues were common in pointing out that Lee Suman was a model for their lives, a mentor, and, a friend. Friend and colleague Bruce Knapp commented: “I will miss Lee and always be grateful for guidance, mentorship, and the many wonderful memories.” Former OMEA president Paul Thoms commented: “Lee Suman was a dear and special friend. 83
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ccmadmis@uc.edu 513-556-5463 ccm.uc.edu ccm.uc.edu/music/music_education
During the six-year commitment we each made during our times as president-elect, president, and past-president, Lee and I traveled together from southwestern Ohio to Columbus, and indeed, throughout Ohio, hundreds of times. On a personal level, I got to know Lee as a man for whom family was tremendously important; on a professional level, I learned that he was a dedicated educator who spent countless hours promoting the best practices to promote music education. He, as much as any of our past presidents, was the man who could give perspective to where OMEA started and where it had gone through the last several decades. And, Lee was wonderfully funny. He loved telling a story as much as he loved learning one. He was a passionate man who cared deeply about the organization which had been such a significant part in his life. Lee was definitely one of the good guys!” For my part, Lee was a mentor and guide through the trials and tribulations of serving OMEA at various levels and holding various elected and appointed offices. His encouragement and friendship over so many years served me well and reminded me how important service to OMEA was, and still is. Lee was a master at bringing people to common ground. He never lost sight of the big picture and never allowed “the little things” to pull him down. For me, he was there to celebrate my successes, counsel me when success eluded me, and offer guidance when the path to success seemed blocked or hard to find! We
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laughed together, enjoyed breaking bread together, being band directors, volunteerism, and talking about OMEA. I will miss Lee very much, but what he taught me and what he gave me will remain in my heart as long as I live. If I am able to pass on only a small portion of that knowledge and his love for OMEA, well, I’ll consider myself successful. From his 1990 DSA acceptance speech, I was drawn particularly to several of his comments made in his acceptance speech that I believe he would approve my sharing with those who read this memoriam. You are extremely fortunate to have an organization like OMEA to support and guide you. No other field has anything to offer its members like this great conference we have all enjoyed, not to mention all the other activities provided throughout the years. I can assure you that OMEA is the best organized, most helpful, and most dedicated one in MENC. My advice to you … get involved; you’ll like it! Marcus L. Neiman, State Historian OMEA State President – 1998-2000 The Suman Family has authorized donations to the Ohio Foundation for Music Education in Lee’s memory. Go to www.ohiofoundationformusiceducation.org, Donor section for online donations or a download mail-in donation form.
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“Okay, but Does it Actually Sound Like Jazz?” and Other Questions from the Jazz Front.
Scott Belck, DMA; CollegeConservatory of Music Having heard, adjudicated, and worked with countless jazz ensembles of all levels over the past 30 years, I’ve noticed that one of the main things that separates a good jazz performance from an outstanding one is the quality, authenticity, and expressiveness of the jazz soloists. It is not uncommon to hear a well rehearsed ensemble that phrases together, plays most of the right notes at the right times and has clearly spent some time on style and intonation. But for an ensemble or artist that wishes to make that next step toward excellence, musical beauty and expression, it is important to continually ask questions. More than ever, the crossover among classical, band, jazz and orchestral ensembles has seen a general rise in the level of chops, stylistic versatility, and musicianship across the board. But when the rubber meets the road (at the solo section), all of a sudden the wheels come off, and the same guesswork blues scale “licks” that have been part of the stage band experi86
ence from time immemorial, emerge from the primordial musical ooze. Yes, there are always talented players that play their instruments well, but when faced with the question “Does it actually sound like jazz?” we often must answer no. “WHY IS IT THAT THE LEVEL OF IMPROVISED JAZZ SOLOS HAS NOT KEPT PACE?” Today’s teachers and students of jazz have exponentially increased access to jazz recordings, theory and how-to jazz books, videos, free streamed or archived concerts, instructional materials, and playalongs. Many of these materials are free or cost relatively little. While there is no singular easy answer to this question, I believe a good place to start is by really taking the time to understand our musical priorities in rehearsal are and how they might be reexamined. WHAT DIFFERENTIATES A JAZZ PERFORMANCE FROM ANY OTHER TYPE OF MUSICAL PERFORMANCE? What is the one element that defines the jazz genre? Improvisation. And not just “improvisation,” but jazz improvisation: communicating in the language of jazz in such a way that other people who speak the language can understand and relate to it. This may seem like a mouthful, but it really cuts to the heart of the jazz experience. The most important component of the jazz performance is usually the thing that gets the least attention in rehearsal and, by extension, prohibits a truly excellent jazz performance. Many directors might argue that they barely have time to get their ensembles to learn the music for the concerts, much less devote the kind of individual time needed to teach only the kids who are soloing on a particular song. This is akin to building a car and saying “we really don’t have time to build an engine, so we are going to concentrate on making the body look really nice.” WHAT DOES “IMPROVISED” REALLY MEAN? “Improvised” means many things, but one thing it doesn’t have to mean is unprepared or not rehearsed. Chord symbols in a chart don’t provide instruction as to what to play, they indicate what the rhythm section is playing at that moment. Giving a student scales and TRIAD
chords is a little bit like giving them an alphabet and a dictionary in a new language and expecting them to write a story that makes sense or poetry that is beautiful. So there is a lot to this process, and many great artists have devoted lifetimes to learning how to master it. While that may seem daunting, what truly worthy pursuit doesn’t require dedication, perseverance, and a quest for knowledge? SOME THOUGHTS ON PUTTING THE “JAZZ” PART BACK INTO THE JAZZ ENSEMBLE EXPERIENCE Play arrangements of actual jazz tunes so that the kids can listen to great renditions by the masters of jazz. Yes, everybody wants to rock out to the latest disco version of “The Funky Fried Turkey Buzzard,” but you can’t find a recording of Louis Armstrong, Ella Fitzgerald, or Count Basie or anyone for that matter, to learn from. If your band plays an arrangement of “Summertime,” there literally hundreds of great recorded versions to steal, um, borrow from for your soloists. Players need real musical ideas to use in their solos, and they can be found in the music, for free! Jazz is often referred to as a language in and of itself. Accepting this premise goes a long way toward understanding what we are all trying to do. There are numerous great texts for directors to check out to expand your pedagogical bag of tricks. Check out Jerry Coker’s Solutions for Jazz Improvisers or Essential Elements of Jazz for a look at what’s actually in famous jazz solos. And yes, there are wrong notes in jazz—lots of them? Playing jazz is not license to ignore the basic
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rules of harmony and melody, but rather a chance to come up with your own way of playing the song. Work to build an ever deeper understanding of music with your students, everyone will get more out of it. Studying jazz, or any music for that matter, is a treasure hunt for cool stuff to play and cool ways to play. Embrace the learning process and everyone will get a lifetime of enjoyment out of listening to and playing jazz. Dr. Scott Belck is the Director of Jazz and Commercial Music at the University of Cincinnati’s College-Conservatory of Music (CCM) where he conducts the CCM Jazz Ensemble and teaches the Jazz Trumpet Studio. He is Artistic Director of the Cincinnati Contemporary Jazz Orchestra, and a founding member of the critically acclaimed Tromba Mundi contemporary trumpet ensemble. His playing credits include recordings lead trumpet/guest soloist with the Cincinnati Pops featuring the Manhattan Transfer and John Pizzarelli, the Glenn Miller Orchestra, and as a jazz soloist with the University of North Texas One O’clock Lab Band. He is the author of Modern Flexibilities for Brass, published by Meredith Music and distributed by Hal Leonard. The Jazz Education Connection of Ohio is an OMEA affiliate organization. Visit http://www.jecohio.org to see our jazz events page and join us! Like us on Facebook and send an email to jecojazz@ gmail.com to join our mailing list
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What would Mozart Think of SLOs?
Dara A. Gillis; OCDA President SLOs, OTES, value added data, best practice, common core, learning targets, ELL, ESL, IAT, IEP, 504, RE, ME, formative assessment, summative assessment....the list of nomenclature and acronyms is simply endless. At times, just keeping track of what each of these titles means can be overwhelming, especially if you are a new teacher. Particularly with regard to SLOs and student assessments, I have encountered many new teachers and even some very experienced ones who are simply panic-stricken at the idea of keeping track of all these requirements. But rather than let the acronyms and the fear of the unknown consume you, I urge you to stop for a moment to consider what it all really means to you and your students. One of the most important items to consider pertains to assessment. Music teachers are already gurus on this subject and therefore formative assessment, especially, should not cause any of us great alarm. We do it in every class we teach. The basis of a musical rehearsal is formative assessment. Students play or sing a phrase, we give immediate feedback, they cor88
rect and we repeat the process. This is assessment at its most elementary (and effective) level. An even more important factor to consider is this: we are artists. As such, we have an obligation to help our students develop an appreciation for beauty through our art. We are charged with the task of assisting our students in spreading beauty wherever they go. We have a duty to share our passion for our art with the individuals who enter our classrooms each day in the hope that they, even to the day they draw their last breath on this earth, will continue to love and appreciate the art of music making. In examining the new measurement tools introduced throughout our state, I have asked myself what Mozart or Bach or Beethoven would think of the modern education system’s desire to measure one’s capacity to appreciate and understand artistic beauty. I have a feeling that Wolfgang especially would have some rather choice words on this subject! Of course, you can measure the understanding of specific elements of music (and we should do so regularly), but can you truly measure an individual’s ability to appreciate an aesthetic concept? We must be mindful that part of our mission is to spread beauty. As you work this school year to meet the new evaluation standards and criteria, I encourage you to pause regularly for a little self-check. Before allowing the acronyms to overwhelm you, take a moment and ask yourself the following questions: 1. Do the majority of your students love and appreciate music? 2. At the end of the class period, are your students singing or playing a phrase more accurately than they had when they entered your room? 3. Are your students able to identify the quarter notes and half notes you taught in your lesson that day (or the form, or the dynamic contrasts, etc.)? 4. And most importantly, do your students have a desire to come back tomorrow and the next day and the day after that? If you are able to answer “yes” to the questions above, then you are being true to your art. In fact, I would venture to say that if you are able to answer affirmatively to these questions, then you are probably also writing clear and concise SLOs and will meet the new evaluation standards without fail. TRIAD
Music Education: What To Watch For (W2W4)
Joan Platz; OAAE Research and Information Director The off-year elections are over, music educators are busy preparing for winter concerts and community performances celebrating the holiday season, and lawmakers are heading home to their districts to re-energize for the next half of the 130th General Assembly. As we take stock of the number of changes that have been implemented in our schools over the past year such as A-F report card, teacher and principal evaluations, and the Third Grade Reading Guarantee, and wonder how schools could possibly incorporate any more “reforms,” now is the time for arts and music education advocates to think about and prepare for 2014. What should we watch for in 2014? Here are a few thoughts. At the national level the National Coalition for Core Arts Standards (NCCAS), a coalition of national arts and education organizations and media arts representatives, is expected to complete new academic content standards for the arts in spring 2014. The new standards will include media arts, for the first time, DECEMBER 2013/JANUARY 2014
and sample cornerstone assessments to guide curriculum development and instruction. Draft standards are available at http://nccas.wikispaces.com. The Turnaround: Arts Initiative will be nearing the end of a two-year experiment to test the hypothesis that high-quality and integrated arts education can boost academic achievement, motivate student learning, and improve school culture in the context of overall school reform. The President’s Committee on the Arts and the Humanities (PCAH) launched the initiative in April 2012 in eight low achieving schools receiving School Improvement Grants from the U.S. Department of Education. PCAH and its partners provided a number of resources for the selected schools, including the opportunity for visiting artists Chuck Close, Yo-Yo Ma, Forest Whitaker, Sarah Jessica Parker, Damian Woetzel, Kerry Washington and Alfre Woodard to work with the schools. Information is available at http://turnaroundarts.pcah.gov/. Back in Ohio, Governor Kasich is expected to introduce a Capital Budget and conduct another mid biennium review (MBR) of state agencies and departments, similar to the review conducted in 2012. Some of the recommendations that resulted from the 2012 MBR were later introduced in legislation, including 129-HB487 (Amstutz), which became as long as a biennial budget bill, 129-SB316 (Lehner), which created the Third-Grade Reading Guarantee, and 129HB555 (Stebelton), which created the new A-F report card. We take MBRs very seriously. Committees in both the House and Senate have also been working on more tax reform proposals, which might find their way into legislation in 2014. The State Board of Education and the Ohio Department of Education (ODE) have a number of deadlines to meet to fully implement HB59 (Amstutz) the F14-15 budget. The State Board of Education must adopt in 2014 revised operating standards for schools and school districts; adopt reading competencies for all reading credentials and training; adopt rules for the reading achievement improvement plans; start collecting, analyzing, and publishing data regarding reading achievement; establish criteria for value added in reading instruction; update the rules regarding the number of days schools must be open, and change the number of 89
days to hours; establish measures of satisfactory achievement and process for subgroups; publish a list of schools, school districts, and other educational providers that have demonstrated an ability to serve each subgroup of students; and more. The State Board also approved a resolution in September 2013 to specify additional measures on the report card. One of the additional measures that the ODE will report is the availability of courses in the fine arts starting with the 2013-14 school year! 2014 is also the first year in which students, with some exceptions, are required to complete two semesters or the equivalent of courses in the arts as a requirement for graduation. This is one of the first
real “outcome” measures for Ohio students in the arts! This requirement was passed in 2007 in 126-SB311 (Gardner), and finally will be realized for students graduating this year. What a great way to start the New Year! The Ohio Alliance for Arts Education (OAAE), your arts education partner, is working hard to keep you informed about policy issues relating to arts education. Please use this information to your benefit at the local and state levels. For more information about OAAE contact Donna Collins at dcollins@oaae.net or by telephone at 614.224.1060.
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Constructing a Solid Future in Your Chosen Field
Marshall C. Kimball; OCMEA State Advisor & Associate Professor of Music Marietta College
Opportunities for personal and professional growth will be abundant this Spring semester for all the collegiate music education majors. There are opportunities in all areas instrumental, vocal, orchestral, general, advocacy, multicultural and more. Are you asking where these are located? All of these will take place in one location in Columbus from February 6–8 at the Ohio Music Education Association Professional Development Conference. Can you afford it? You can’t afford to not be there. During this conference OCMEA members will find a long list of presentations. Some of these are specifically for those pursuing their bachelor’s degrees in music education. These sessions are geared toward helping the music education majors “learn the ropes” from the experiences of others. It can sometimes help with the “growing pains” for a young music educator. Other sessions will be for everyone DECEMBER 2013/JANUARY 2014
at the conference. Whether a seasoned veteran in the music classroom or a college music education major, there is a wealth of information available to you for the taking. The word advocacy is a buzz word in the educational arena these days, especially when it comes to the arts in the curriculum. Common core seemingly has taken over the minds and time of administration in the school systems. If advocacy was ever essential and needed it is now. As music educators we are always “proving” the value of music and the arts in the contemporary education setting. I continue to be amazed by music education majors who feel that the advocacy subject is not applicable to them. It perhaps is more applicable to the music education major than to the 25–30 year veteran music teacher, who will soon retire. With an entire career in front of the music education major, there is even more reason to become an active advocate of what you say is important to you. If you’re a music major, the assumption has to be made that music has had a positive impact on your life. Is it not important for other students to be given the same opportunity? There will be a special opportunity for true advocacy when some of the OCMEA members to have the opportunity to speak to Ohio senators and representatives at the state capital on the Thursday morning of conference. Learning how to effectively advocate for music and the arts is not something that is innate to each of us. It takes training and effort. It takes courage to step up and speak out. Come and learn how to be a great advocate for this incredible thing called music education. Opportunities like this don’t come every day. Make plans to get to the OMEA Conference. Share the experience and get involved in professional development at one of the largest music education conferences in the United States. It’s time to make sure that you develop the right attitude toward involvement in your professional organization and also to realize that everything you need to know can’t be taught in the college classroom or on the college campus. Help in Building the Future of Music Education at the Columbus Convention Center February 6–8. See you there! 91
OMEA GENERAL MUSIC General Music: Generally Speaking
Jill Pongracz Murrell; OMEA General Music Chair
By the time you read this article, you will already have written your SLOs, pre-tested your students, and experienced some great lessons and student success stories! Hopefully, you were able to attend one of the OMEA OTES workshops that were held in June and also had the opportunity to participate in the Annual General Music Workshop that was held this past August. The leadership of OMEA is aware of the need for high quality professional development in order to accomplish our mission statement and meet the new mandates of the Ohio Department of Education. Ultimately, the result will be better quality of music education for all of our students. As general music teachers, we are able to visualize the “big picture” and are well positioned to accomplish our mission statement (Music for All) as we teach all students in the elementary grades. Because of scheduling, attrition due to retirement, budget restraints and high-risk test taking, all of our colleagues are forced to do more with less. Now, more than ever, 92
all music teachers regardless of their current teaching assignment must be able to visualize the “big picture” by offering courses for those students who want to learn more about music, but are not necessarily interested in traditional performing ensembles. Then, we will be encouraging the study and making of music by all. You will have the opportunity to continue your professional development this February by attending the 2014 OMEA Professional Conference to be held in Columbus on February 6—8. Building the Future of Music Education is the theme and I am convinced that can only happen if it is built upon a firm foundation of musical knowledge, which starts in the elementary general music classroom. We are very fortunate this year to have some great sessions that will help you to build that firm foundation. At this time, I am pleased to announce our headliners for the upcoming conference: John Feierabend is considered one of the leading authorities on music and movement development. A Professor of Music and the Director of the Music Education Division at the Hartt School of Music of Hartford, he is a past President of the Organization of American Kodaly Educators as well as a NAfME Lowell Masson Fellow. His teaching has provided thousands of teachers and their students with the materials and techniques to help build community through music by evoking enthusiastic participation of all people. Cynthia Taggart is an instructor of Early Childhood Music at the Michigan State University Community Music School. Dr. Taggart is also a Professor and Area Chair of Music Education for the MSU College of Music. She has co-authored a series of student music books called Jump Right In in addition to other early childhood related publications and articles in music journals. Jill Trinka is Director of Graduate and Undergraduate Programs in Music education at the University of St. Thomas in St. Paul, MN where she teaches methods, musicianship, and American folk music. She holds Kodaly Certification as a Ford Foundation Ringer Fellow from the Liszt Academy of Music in Budapest, TRIAD
Hungary. Dr. Trinka plays guitar, dulcimer, autoharp, and banjo and has recorded and written four volumes of folksongs for kids of all ages. She is an author and recording artist for the Silver Burdett and Ginn/Scott Foresman music series textbooks and is a frequent lecturer, clinician, and performer.
I hope you are as excited as I am to have these nationally renowned headliners participate in our upcoming conference as well as many other clinicians yet to be announced. Looking forward to meeting you in Columbus!
Announcing the 2014 OFME Conference Auction! New time and new location 2014 OMEA State Professional Development Conference Friday, February 7, 2014 5:00 PM to 6:00+ PM during the Dedication Exhibit Hall hour. Exhibit Hall C – Convention Center – Lounge at back of hall. Wonderful items will be offered for auction conducted by a professional auctioneer! Have something you wish to donate to the auction? Items for auctioning received from individuals, OMEA Conference Exhibitors and more! Free bidding on all items. Great values! Contact Dave Adamson for more information: ohio_foundation_for_music_ed@omea-ohio.org or call 440-552-6983. Join us for this exciting event that is fun for all!
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PROFESSIONAL DEVELOPMENT & ASSESSMENT Workshops, Continuing Education, Camps, and More for Teachers & Students
CAPITAL UNIVERSITY CONSERVATORY OF MUSIC Vocal Symposium with Genie Grunewald, Dramatic Mezzo Soprano October 25, 2013, Huntington Recital Hall, 10 a.m.–5:00 pm. Contact: Sharon Bennett (614) 236-6263 or sbennett@capital.edu The New Concert Band Music Reading Clinic & Wind Band Invitational November 22–23, 2013 Conservatory of Music Complex Contact: Barry E. Kopetz (614) 236-6630 or bkopetz@capital.edu Brass Day January 15, 2014 Conservatory of Music Complex Contact: Thomas Zugger (614) 236-6274 or tzugger@capital.edu Woodwind Day January 29, 2014 Conservatory of Music Complex Contact: Gail Zugger (614) 236-6173 or gzugger@capital.edu
THE OHIO STATE UNIVERSITY SCHOOL OF MUSIC Viola Intensive January 3–6, 2014 The Ohio State University (Columbus, OH) http://music.osu.edu/outreach/viola-intensive Contact: morelock.13@osu.edu 94
Middle School Honor Band Festival February 15, 2014 The Ohio State University (Columbus, OH) http://music.osu.edu/outreach/ms-honor-band High School Percussion Ensemble Festival Weekend February 21–22, 2014 The Ohio State University (Columbus, OH) music.osu.edu Jazz Specialty Days March 1 & 22, 2014 The Ohio State University (Columbus, OH) music.osu.edu Contact: morelock.13@osu.edu Double Reed Honors Invitational March 22, 2014 The Ohio State University (Columbus, OH) http://music.osu.edu/outreach/drhi Contact: morelock.13@osu.edu Jazz Festival High School Band Day March 30, 2014 The Ohio State University (Columbus, OH) music.osu.edu Youth Summer Music Program June–July 2014 The Ohio State University (Columbus, OH) music.osu.edu Contact: morelock.13@osu.edu TRIAD
OHIO UNIVERSITY Ohio University Honor Band December 5–7, Athens, OH Dr. Andrew Trachsel http://www.ohio.edu/finearts/music/ Seventh Annual Ohio University High School Horn Quartet Workshop Sunday, Nov. 24–All Day Scott Smith (ssmith4@ohio.edu) Ohio University Honor Choir and Orchestra January 17–19, Athens, OH Dr. Daniel Hall (halld2@ohio.edu) or Steven Huang, huangs@ohio.edu Flute Fest and Double Reed Extravaganza March 29th Alison Sincoff (browna2@ohio.edu) or Michele Fiala (fialam@ohio.edu) Athens Jazz Festival Apr. 11, 2014 Contact Matthew James, jamesm1@ohio.edu Ohio University Summer Music Camp June 15–21, Athens, OH Dr. Andrew Trachsel (trachsel@ohio.edu)
WRIGHT STATE UNIVERSITY Music Education Lecture Series September 5, 2013 Wright State University, Dayton, Ohio www.wright.edu/music/events (937)775-3170 or william.jobert@wright.edu Music & Medicine Symposium October 30, 2013 Wright State University, Dayton, Ohio www.wright.edu/music/music-med/ Clarinet Festival November 23, 2013 Wright State University, Dayton, Ohio www.wright.edu/music/ (937)775-2254 or john.kurokawa@wright.edu Double Reed Festival November 23, 2013 Wright State University, Dayton, Ohio www.wright.edu/music/ (937)775-3170 or william.jobert@wright.edu
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Saxophone Quartet Festival November 23, 2013 Wright State University, Dayton, Ohio www.wright.edu/music/ (937)775-2178 or shelley.jagow@wright.edu Music Education Lecture Series January 23, 2014 Wright State University, Dayton, Ohio www.wright.edu/music/events (937)775-3170 or william.jobert@wright.edu Department of Music Admission & Scholarship Auditions February 1, 2014 Wright State University, Dayton, Ohio www.wright.edu/music/students/prospective/ (937)775-2346 or music@wright.edu American Innovators Symposium February 1 & 2, 2014 Wright State University, Dayton, Ohio www.wright.edu/music/ (937)775-3495 or franklin.cox@wright.edu Tri-State Honor Band February 20–22, 2014 Wright State University, Dayton, Ohio www.wright.edu/music/ (937)775-2545 or david.booth@wright.edu Celebration of African-American Classical Composers Symposium February 23, 2013 Wright State University, Dayton, Ohio www.wright.edu/music/students/prospective/ (937)775-2346 or music@wright.edu Department of Music Admission & Scholarship Auditions March 1, 2014 Wright State University, Dayton, Ohio www.wright.edu/music/students/prospective/ (937)775-2346 or music@wright.edu Department of Music Admission Only Auditions April 5, 2014 Wright State University, Dayton, Ohio www.wright.edu/music/students/prospective/ (937)775-2346 or music@wright.edu
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CURRICULUM Forward (or Backward) March! Updated Advice on Music Curriculum Dr. Ed Duling; Assistant Professor of Music Education at the University of Toledo, retired. A teacher-created, board-adopted, standards-based course of study (or a set of curricular maps) is still one of the best advocacy tools we have to keep arts and music in the school curriculum. My purpose in this article is to present some concrete ideas about developing school district music curricula in Ohio, specifically curricular maps, so that when reductions are suggested, teachers can say, “I have a board-adopted course of study to follow; such courses of study must be taught by law.” My stance arises from: (1) my article in the December, 2012-January, 2013 TRIAD, in which I called attention to the fact that we often substitute state or national music standards for local, teacher-developed curricula (curricular maps or courses of study), and from realizing that (2) development and revision of local music curricula have often been delayed intentionally as teachers come up to speed on OTES and turn their attention to working on SLOs. (3) Finally, I could see that the in-progress ODE Model Curriculum (MC) in music, based on recent state standards revision, will greatly reduce the amount of time teachers will spend constructing district curricula and revising their SLOs. Because OTES-related resources have been provided by OMEA, ODE, OAAE, and others that have helped and will help Ohio music educators understand and create SLOs, I will focus on the neglected local curriculum. 96
There is no one way to create the essential curricular bridge between standards and the units and lessons presented. For years, what we taught came from school district courses of study, with some nod to state models. In more recent decades, well-publicized national and state standards have helped drive and define local curricular documents and, in turn, the skill and knowledge content of units and lessons. A “forward,” “top down” or “traditional” design—standards, course of study/curricular map, units, lessons— still works today, providing we think carefully about the “end products” as we proceed. An old Latin motto I learned years ago was vestiga nulla retrorsum—sometimes translated as “footsteps forward, never backward” or “no stepping back.” While this saying could represent traditional forward design, curriculum experts have lately advocated for curricular “backward design;” varieties of this approach are often named for developers who have presented variations on its themes over time. For example, the current National Standards (NS) revision is being guided by Understanding by Design (UbD) developed by McTighe and Wiggins after years of work in Harvard’s Project Zero and elsewhere. Basically, backward design leads teachers to work from the target performance or skill level and “think back” to the curriculum and standards that will overarch and support that performance or skill. TRIAD
NATIONAL STANDARDS: AN EXAMPLE The basic framework for revision of the NS—a framework with similarities to our new Ohio Fine Arts Standards—draws heavily upon UbD. The January issue (2013, p. 13) of NAfME’s Teaching Music, outlines the five “big ideas” of UbD related to the Common Core Standards, curriculum and assessment. A four-point condensation of the short article: (1) curriculum must be mapped backwards from the desired performances (applications) of knowledge; (2) teachers need to focus on outcomes in terms of goals, understandings, essential questions, and recurring tasks; (3) because standards are themselves a type of outcome, they are not the curricula that guide students to “educational ends” that will endure; rather, they (4) “refer to the desired qualities of student work and the degree of rigor that must be assessed and achieved.” MAPS: GETTING THERE AND BACK Good curricular maps created from standards are one step that may speed up creation and revision of SLOs. The “forward” design of maps from standards will work well if professional development (PD) time is provided for teachers to write and plan curriculum together. The number and names of categories on music maps can vary; decide whether the maps will include columns that go beyond a traditional content-oriented course-ofstudy style to include items such “assessments,” “activities,” and “materials.” One sample map that I worked out with a group of teachers had left to right columns named “time frame,” “content-standard(s),” “demonstrated performance,” “suggested assessments,” “materials/resources/links to other subjects.” Another district listed “cognitive and creative processes,” “music concepts,” “content statements,” “suggested activities,” and “assessment” in columns organized row-wise by month. A third used a map that charted only two columns: “content” and “resources.” The less-traditional categories mentioned factor into SLOs since SLOs, too, contain information beyond “content to be covered”—at times matching mapping categories. Though mapping often begins from standards in an effort to be sure there is “coverage;” thinking of the students’ final abilities and level of performance on larger skills (e.g. sight reading well vs. naming notes 98
accurately) suggests that curriculum writers might look first at “demonstrated skills” and work both forward and backward from that point. Checking “progress points” and “enduring understandings” in the state standards and “enduring understandings” and “essential questions” when the new NS are complete, are good starting places for mapping. Units of study and activities already in use may also be mapped; “what I’m already doing” is what teachers first mapped over thirty years ago. Mappers should use care that the unit material and activities really aid student understanding and fit into the overall music curriculum. ANOTHER UPCOMING PATH: THE OHIO MODEL CURRICULUM (MC) After working over the spring as a member ODE Model Curriculum Committee (coordinated in music by David Eby and involving a dozen OMEA members), I could see that the MC will be a great help in creating local curriculum and revising SLOs. Leaders in the fours arts are now reformatting the first draft as I write at the end of August. Each content statement will feature an online map-like chart that will be searchable; it will go beyond the staid categories of the past, for example, to suggest assessments and resources. The current MC categories resonate with requirements for SLOs and with usual categories in curricular maps: “progress points” and “enduring understandings” addressed, “content elaborations” (what student will understand), “expectations for learning” (including assessment strategies), “visions into practice” (an idea for an assignment), “essential questions” (tied closely to the content statement itself), “instructional strategies,” “instructional resources,” “connections to other subject areas,” and “diverse learners.” The MC will enable music teachers in school districts to more easily create their own curricula that will support their units and lessons and undergird SLOs. “BACKWARD, MARCH!” But the paths taken to create local music curricula will need some fluidity. Since creating SLOs has taken priority, teachers should step back when they are complete, look at the state MC for music, ask administrators for PD time to create a useable overarching TRIAD
framework (maps or course-of-study) to support their teaching, and request that the board of education to adopt this product as local curriculum. The process of thought and analysis used in creating SLOs can and will contribute structure “in reverse” to the creation of comprehensive curricular maps. Likewise, having maps will enable experienced teachers to justifiably revamp SLOs and will facilitate creation of SLOs by new teachers. The opportunities to take control of what music educators do is unprecedented at present. In the coming months, it is important to “seize the moment” as completely as possible by being sure all the parts are in place. Strong alignment throughout standards, curriculum, and objectives—regardless of the direction of our “march”—will solidify music’s place in the overall curriculum.
DECEMBER 2013/JANUARY 2014
References Duling, E. (2012). The missing link: Preserving a curricular link for our music programs. TRIAD, 80(2), 130-132. New paper examines link between common standards, curriculum and assessments. (2013). Teaching Music, 20(4), 13.
Ed Duling, a retired music teacher educator, serves as an OMEA S & E adjudicator, and as NW Region secretary/ treasurer, and maintains an interest in music teacher professional development and music curriculum.
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BOULANGER: A MASTER TEACHER Do you know this woman? Dr. David M. Hedgecoth; Lecturer in Music Education at The Ohio State University
Let’s begin with a simple question. Who was the greatest musician of the twentieth century? Answers might encompass a broad spectrum of individuals. In addition, responses would depend greatly on a person’s prior musical training and experience. So let’s narrow our focus by changing the question. By replacing the word musician with music teacher, answers might flow more readily. Who was the greatest music teacher of the twentieth century? Many of us would most likely produce a list of several names. If we restrict our inquiry even more, to limit ourselves to those teachers who taught professionally, and those who achieved a reputation for excellence, the list begins to shorten. Add to this teachers who worked intimately with virtually all the progressive and popular composers of the 1900s, we are left with perhaps a few. Finally, if we include teachers whose life purpose was, by their own admission, to teach music, we arrive at a list with a singular name: Nadia Boulanger. Regardless of where instrumental conductors/ teachers learned their craft as undergraduate students, there is a high probability that the conducting text they used contains references to Nadia Boulanger. In addition, a cursory glance at the biographies of the most well known contemporary composers of the twentieth century (in the United States and abroad), include Boulanger among their formal teachers. Boulanger’s unique family, style of instruction, and 100
her stoic yet tender presence, have fascinated many in the musical world for years. Composers who have studied with her were quick to write about their experiences. Most historical accounts contain vivid descriptions of the experience of being in the same room with her. For some, it took many years of reflection before a true understanding of what she had taught them took form. Interpersonal dynamics aside, her reputation for pedagogical mastery and musical ability is what caused to students to flock to her for more than half a century. How exactly, though, was Nadia Boulanger a master? What elevated her beyond the status of a talented taskmaster to worldwide phenomenon and musical icon? Her musical gifts will be made clear, but what did she possess that enabled her to create hundreds of successful composers, arrangers, conductors and teachers? What about her teaching was one of a kind? After several American composers returned home from studying with her, they began to send their own students to experience Boulanger firsthand. While these exchanges were taking place, Boulanger also made several trips to the United States. She taught throughout the nation at varying institutions. These interactions, when combined with the questions previously presented, lead to additional inquiries. How did Nadia Boulanger influence American music? Are these influences present today? In what ways has BouTRIAD
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langer’s teaching and influence effected American music education? CAREER OVERVIEW Perhaps the most widely known biography of Boulanger is The Tender Tyrant, by Alan Kendall. In Regard to Nadia’s professional shift from composing and performing to teaching, he writes: “..she devoted her time to encouraging, guiding, developing… through teaching her sister, Nadia’s teaching talent was revealed…She came to know that she could teach, and do it supremely well. This is why she is world famous.” (Kendall, 1976, p5) Boulanger’s reputation as teacher grew quickly on both sides of the Atlantic. She was in constant demand as a lecturer and conductor. Boulanger spent her professional teaching career primarily in France. With other prominent European artists, she opened the Écoles d’Art Américaines—Conservatoire de Musique. The American Conservatory at Fountainbleau would become one of the most
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popular secondary schools for music in the mid 20th century. The summer school enabled American music students the opportunity to experience intensive musical training from European composers, theorists and performers. From the European perspective, such an opportunity did not exist in the United States during this time. Boulanger would remain on the summer faculty and eventually became the director of the school until her death in 1979. (The school still exists today, though its scope has broadened to include sculpture and architecture). During her initial visits outside France, Boulanger made headlines with her conducting appearances. She became the first woman to conduct the London and New York Philharmonics, and the Boston Symphony in 1937, 1938 and 1939. When the subject of her gender was brought up in conversation, she would respond: “Let’s forget about the fact that I’m a woman…Let us talk about music!” (Spycket, 1987, p101) BOULANGER’S TEACHING STYLE Much has been written about Boulanger’s musical aptitude, personal life and socio-musical connections.
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In order to determine what made her a successful teacher however, one must rely on first hand accounts of how and what she taught. Boulanger’s lectures on the music of other composers during her lifetime such as Fauré and Stravinsky are well documented. She never authored a book on composition or theory. She always commented on other composer’s creations in very careful, neutral tones. In her private lessons, both in Paris and Fountainbleau, she would make a social and musical assessment of her students prior to proceeding into the next lesson. From The Tender Tyrant: “She never sought to improve and define a kind of style on her pupils… her gift is to draw out rather than impose, to guide rather than direct.” (Kendall, 1976, p48) Aaron Copland was one of Boulanger’s first students at Fountainbleau and later became one of her greatest proponents and colleagues. He wrote extensively on his first experiences with “Mademoiselle Boulanger” (as he referred to her): “I was uncertain I should study with a woman. No composer had ever studied with a lady. But I bravely asked her for lessons. I was not afraid of her, but afraid of my reputation. But how does one describe adequately what is learned from a powerful teacher? It begins with the conviction that one is in the presence of an exceptional musical mentality. By process of osmosis, one soaks up attitudes, principals, reflections, and knowledge. The last is a keyword: It is absolutely exhilarating to be with a teacher for whom the art one loves has no secrets.” (Bates, 1996, p243) CONCLUSIONS Boulanger’s musical dedication possessed her professionally and personally. Such a dedication certainly played a role in her success as a teacher. Her natural musical ability enabled her to establish a reputation of high standards. Given the time period and proximity to great musical minds of the 20th century, she was able to further her career and broaden her influence through various social and musical connections. But the question remains: how did she influence American music and American music education? DECEMBER 2013/JANUARY 2014
Several students have stated that they believed Nadia Boulanger aided in giving American music its own voice and style. When one looks at the list of over 200 American composers she instructed, there is an interesting fact that emerges in that the style of each composer is unique. Nadia Boulanger was quoted as saying, “I teach music. That is the simplest was to describe it. I teach music.” While she was a music teacher, it was her ability to aid young composers in finding their own musical voice and allow it to flourish that made her a master. Again, Boulanger’s words: “The only thing I can do is to try to understand a person and then discuss with him what he has not done yet. Really, I can’t develop or change anything, in anybody. I can respect what he is and try to make him a true picture of himself. It is between the teacher and the student to find out who you are.” Boulanger was a master teacher because she taught students to no longer need her guidance once they had found themselves. On a side note, she is famous for turning away George Gershwin when he approached her for instruction. “I cannot make you sound like yourself, because you already do,” she told him. She was clearly a brilliant woman who understood students’ talents before even they were cognizant of their own musical abilities. Rather than focusing on a singular point to determine how she influenced our national music culture, we should step back and look at America and the world in a larger context to see how her students’ unique, independent voices spread across continents in the 1900s. Perhaps then one can comprehend what it means to be the greatest music teacher of the 20th century. References Campbell, D. (1984). Master Teacher. Washington, D.C.: The Pastoral Press. Kendall, A. (1976). The Tender Tyrant: A Life Devoted To Music. London: Macdonald and Jane. Mender, M. (1997). Extraordinary Women in Music. London: The Scarecrow Press, Inc. Neuls-Bates, C. (1996). Women In Music. Boston: Northeastern University Press. Spycket, J. (1987). Nadia Boulanger. Stuyvesant, NY: Pendragon Press.
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Here are some simple, time-effective ways principals can assist their school’s music educators: Create and Foster an Environment of Support • Study the ways that music education develops creativity, enhances cooperative learning, instills disciplined work habits, and correlates with gains in standardized test scores. • Provide adequate funding for instruments and music education materials. • Make certain that your school has a fully staffed faculty of certified music teachers.
Tips to Share with
Your Principal
Principals and school boards have the ability to substantially aid music educators in their quest to enrich children’s minds through music. Fostering a strong music program will help them achieve their goals as a leader in the education community, and, most of all, will aid the growth and development of children in their school.
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Communicate Constructively • Make statistical studies and research supporting the value of music education available to other administrators and school boards. • Encourage music teachers to support their cause by writing articles in local newspapers, professional journals, or by blogging online about the value of music education. • Share your students’ successes with district colleagues. Include articles in school and district newsletters to communicate the value of music in a student’s education.
Visit www.nafme.org for more Principal Resources.
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Yamaha Corporation of America. . . . . . . http://www.yamaha.com. . . . . . . . . . . . . IBC
Messiah College . . . . . . . . . . . . . . . . . . . . . . . . http://www.messiah.edu/conducting. . 67
Youngstown State University. . . . . . . . . . http://www.ysu.edu/dana. . . . . . . . . . . . . 11
Miami University . . . . . . . . . . . . . . . . . . . . . . http://www.muohio.edu/music. . . . . . . . 47 Music & Arts. . . . . . . . . . . . . . . . . . . . . . . . . . . http://www.musicarts.com. . . . . . . . . . . . . . 9
110
Bold signifies a Corporate/Institutional Partner
TRIAD
Artists Depend on Yamaha. With a height adjustable frame for a comfortable playing position, a process of tuning partials that ensures superb intonation and broad tone, and a silent pause motor with slider control that provides a quite operation, Yamaha vibraphones give artists ample reason to depend on Yamaha. Learn about these features and more at www.4wrd.it/vibetri YVM-300 Motor with memory system.
YV-3910 Also available in a matte finish.
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