TRIAD - WINTER 2014

The Official Publication of the Ohio Music Education Association

December 2014/January 2015 Vol. LXXXlI, No. 2

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FIND OMEA ON THE WEB! 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 Jazz Education Connection of Ohio www.jecohio.org

FIND OMEA ON THE WEB!

DECEMBER 2014/JANUARY 2015

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IN THIS ISSUE...

FROM THE DESK OF...

6 8

Editor of TRIAD - Matthew Warner OMEA President - Terry Herschman

TEACHING TIPS 42 46 49 53

BAND - Dr. Scott A. Jones; The Ohio State University GENERAL MUSIC - Christa Kuebel JAZZ - Paul Glader; Taylor High School TECHNOLOGY - Brian Laakso; McKinley High School

MUSIC MASTERCLASS 56 58 62 64

BRASS - Steve Darling; Ohio University PERCUSSION - Roger Braun; Ohio University STRINGS - Christian Howes; Yamaha Performing Artist WOODWINDS - Joe Hesseman; Wittenberg University

NEWS & COMMITTEE REPORTS 68 73 80 82 85

Adjudicated Events Higher Education News OMEA General Music Ohio Choral Directors Association Ohio Collegiate Music Education Association

PROFESSIONAL DEVELOPMENT & ASSESSMENT 86

Workshops, continuing education, camps, etc.

88

CURRICULUM & ASSESSMENT - Marc Ferris

5 10 16 90 92 94

Information Network Corporate/Industry Partners 2015 OMEA Professional Development Conference Section OFME Music Education Donor Form OFME Donors TRIAD Publication Schedule & Advertising Index

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.

DECEMBER 2014/JANUARY 2015

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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 Dane Newlove Director of Adjudicated Event Materials and Awards 419.394.2232-O ae_materials_director@omea-ohio.org

DECEMBER 2014/JANUARY 2015

OMEA TRUSTEES Terry Herschman President president@omea-ohio.org

OCMEA OFFICERS John Barrett OCMEA President ocmea_president@omea-ohio.org

Michael Crist President-Elect president_elect@omea-ohio.org

Patrick Specht OCMEA President-Elect ocmea_president_elect@omea-ohio.org

Patricia Meeks Immediate Past-President past_president@omea-ohio.org

Chelsea Hillard OCMEA Secretary ocmea_secretary@omea-ohio.org

John Veneskey Secretary secretary@omea-ohio.org

Michael Reese OCMEA Editor ocmea_editor@omea-ohio.org

Matthew Warner Editor of TRIAD editor_of_triad@omea-ohio.org

Alexander Looney OCMEA Treasurer ocmea_treasurer@omea-ohio.org

Benjamin Factor Treasurer treasurer@omea-ohio.org 2014-2015 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 Shawn Reynolds Curriculum & Assessment Brian Laasko Howland Middle School Technology McKinley High School 5

I’m a to-do list kind of person. I like to write down what I need to get done on paper, online, and on my phone. With so many little personal chores, school tasks, and gig details to remember, these lists can help maintain a feeling of being in control. However, they also get bloated and even induce a little anxiety. Why? Because they remind us just how much we are not in control—or rather that we permit the needs of others to overtake our own.

You may have heard the phrase, “What you permit, you promote.” Sometimes we promote the feeling of being overworked, overwhelmed, and underserved because we permit ourselves to be. Think about it: when is the last time your to-do list included things that rejuvenate, restore, refresh, or renew you? If you’re a list maker like me, then you know that if it’s not on the list, it’s probably not going to get done.

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We teachers can get so accustomed to serving others that we habitually ignore ourselves, which is personally and professionally detrimental. I suggest you take back your to-do list, and permit yourself to promote a better you! Add some things to your list just for you that promote health, wellness, happiness, and growth. Some ideas to get you started: • undistracted time with your spouse, children, or friends • quietude: a solitary walk, prayer or meditation, a bench at the park • listening to some great music (not as “background” to other tasks!)

• exercise: a jog, yoga, weights, a fitness class, or a favorite sport • a good book (something not “work” related)

TRIAD

• making music (not teaching related): practicing, singing or playing in a relaxed professional or amateur setting, trying a new instrument • write your name in your appointment book for a specific time every week, and use that time for anything YOU want to do. Write it “in ink,” and never use it for “work” or chores.

Now that I have the ball rolling, I’m sure you’re thinking of some activities that energize you or bring you peace and satisfaction. Making that list is a lot more fun, isn’t it? Adding some of these items into our to-do lists can remind us that we are human, we have value beyond our accomplishments, and we have our own physical, emotional, mental, spiritual, and social needs that must be met. If we do not prioritize ourselves, those needs will go unmet…and we promote anxiety, fatigue, and “burnout.”

Professional development should also be on our to-do list. This is where OMEA can serve you: by

offering professional development choices that are what you want and need, and that build and invest in you. The upcoming Professional Development Conference is a great chance to get away and focus on your own revitalization. You can make a great to-do list that includes hearing good music, learning what can make you a better teacher, and visiting with colleagues and old friends. You might even throw in some of the great attractions around Cleveland as icing on the cake.

So write your name in your appointment book for February 5–7, 2015…in ink. See you in Cleveland!

Dr. Matthew Warner is Middle School Band Director at Cincinnati Hills Christian Academy. He holds a DMA in Music Education from Boston University, and a M.Hum. in Music and B.M. in Music Education from Wright State University. He serves on the OMEA Board of Trustees as Editor of the TRIAD.

School of Music Creating the 21st-Century Musician Is there a chair for you in one of our premiere undergraduate touring chamber ensembles? Members of the Howe Wind Quintet, Mansfield Brass Quintet and Asbury String Quartet will receive fulltuition scholarships, side-by-side playing opportunities and masterclasses with visiting guest artists and composers, as well as private study with outstanding professors.

Are you ready to be a musician of the 21st Century?

www.depauw.edu/beheard DECEMBER 2014/JANUARY 2015

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Greetings OMEA members! This fall, OMEA has begun a membership awareness campaign. As the membership committee, led by Rick Eakin, worked through the details of the project, we had the opportunity to identify a number of benefits that add value to your membership. The obvious advantages to membership in OMEA include access to outstanding professional development, opportunities for networking, a place to mentor and to be mentored, support for advocacy, and opportunities for your students’ performances, to name just a few. The upshot of all of these opportunities is that YOU BELONG HERE. This is an investment in your professional credibility. Your level of professionalism will grow as you surround yourself with other professionals who share your interests, questions and quest for excellence for yourself and your students. OMEA is committed to your ongoing success as a professional.

This is an invitation to attend the 2015 OMEA Professional Development Conference. You have the opportunity in February to participate in a comprehensive review of best practices in music education, to hear the finest performing ensembles in the state, and to reunite with colleagues near and far. The demands of your profession change with each successive academic year. You are required to know more and do more every year. OMEA keeps up with 8

the changes and is determined to provide you with the information and tools you need. Colleagues and educational professionals will share their innovative methods and successful strategies.

The OMEA members of northeast Ohio are thrilled to have you join us in Cleveland for a fresh take on our professional conference in the new Cleveland Convention Center. In Cleveland, members will be impressed with the dedicated space for General Music sessions in the newly renovated public auditorium. The planning committee is excited about the cabaret style jazz performances at the Marriott, one of which features the CSU Faculty Jazz Septet in a special performance on Thursday night.

Other opening night attractions include performances in the sleek ballrooms, featuring the BGSU Collegiate Chorale, the Blue Lake Festival Band, and the Hudson High School Chamber Orchestra. Also on opening night, be ready for a Folk Dance Party and Evening Drum Circle. Looking forward to Saturday morning, you should anticipate an astounding performance from the Cleveland Orchestra Youth Orchestra. And of course, you do not want to miss the All-State performances at the General Sessions.

The 2015 Conference will feature timely and relevant sessions that you need now. Planners in each content area have included sessions with information about student assessment. There will be discussion of TRIAD

OTES standards, implementation of the Student Learning Objective (SLO) and the details of teacher evaluation. Of course, you will find all of the sessions you might expect: pedagogy, rehearsal techniques, use of technology, programming, adjudications and more.

As I read descriptions of the sessions, I was pleasantly satisfied with the balanced and inclusive program that Mark Hensler, Director of Professional Development and his planning team have assembled.

There are sessions that address educational trends, such as Core Collaboration, centers in music class, and Universal Design for Learning. Relevant topics are addressed in several sessions for instruction of special learners. You can also learn to write cheers for athletic bands, find out how to work with the harpist in your school orchestra and, of course,

noteworthy.

attendance at the OCDA Choral reading sessions is essential. This is a sampling from an extensive menu of over 230 clinics and performances!

The OMEA 2015 Professional Conference presents the finest opportunity to find what you need now, in one place. If you are interested, you can earn one credit hour through Ashland University or 10-hour instructional time certificate. Please note that this year, the introductory meeting for the HQPD track will be Friday morning to facilitate attendance and will actually include the first in a series of three related sessions on assessment.

Best practices, inspirational performances and a music-centered social life are here, and as if all of that weren’t enough, no one can deny that Cleveland in early February is an awesome adventure. Come back to north coast this year and share the fun!

SCHOOL OF MUSIC MIDDLE SCHOOL HONOR BAND FESTIVAL Saturday, February 21 Nomination deadline: Wednesday, January 7

YOUTH SUMMER MUSIC PROGRAMS June - July 2015 Viola Performance Institute • Flute Workshop • Jazz Camp • Morning String Student Workshop • Clarinet Academy • Double Reed Camp • Marching Band Clinic • Leadership Intensive

JUNIOR VISIT DAY Friday, April 10 for High School Juniors considering a career in music

For more information about our programs visit music.osu.edu

DECEMBER 2014/JANUARY 2015

9

2014-2015 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 10/6/14)

LEVEL lll - PRESIDENT’S CLUB Bluffton University 1 University Drive Bluffton, OH 45817 unraul@bluffton.edu www.bluffton.edu

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LEVEL ll - OMEA PATRON Baldwin Wallace University

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P.O. Box 5190 Kent, OH 44242 dabrown@kent.edu www.kent.edu/music

525 South Main Street Ada, OH 45810 p-warner@onu.edu www.onu.edu/music

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CORPORATE INSTITUTIONAL PARTNERSHIP

Wooster, OH 44691 nditmer@wooster.edu www.wooster.edu/music

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Otterbein University

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

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LEVEL l - OMEA SPONSOR Case Western Reserve University

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CORPORATE INSTITUTIONAL PARTNERSHIP

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215 5th Street Marietta, OH 45750 music@marietta.edu www.music.marietta.edu

Ohio University School of Music

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

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ana School of Music Celebrating 146 years of great music-making Scholarship Auditions Saturday, Dec. 6, 2014 Saturday, Feb. 14, 2015 Saturday, Feb. 28, 2015 For more information or to schedule an audition:

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think in sound Undergraduate Programs

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

Graduate Programs

MA in Music Education with Licensure (MAL) MA in Music Education 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 DECEMBER 2014/JANUARY 2015

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2015 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE

2015

AN INVITATION FROM THE DIRECTOR OF PROFESSIONAL DEVELOPMENT 2015 OMEA Professional Development Conference Moving Day is Almost Here – Are Your Bags Packed and Ready to Go? How many times have you moved? Was it always filled with fun and laughter? Was it sometimes bittersweet?

Was it due to new opportunities or cutbacks and downsizing? Was it always stressful? Moving can be all of these things but it is never boring! Whether it’s up and down the hall with a cart or on snow covered back-roads between buildings, travelling has never deterred music educators from doing their best. After three great years in our Columbus “home”, the OMEA PDC Conference has arrived on the north shore. Please plan on joining us in Cleveland for the 2015 Ohio Music Education Association Professional Development Conference-—“Music Education On the Move”.

C

M

Y

The 2015 PDC team of content chairs, committee chairs and OMEA staff has worked to secure the top presenters and clinicians in the field of music education from Ohio and beyond. There will be ample opportunities to explore topics such as assessment, lesson design and rehearsal technique as well as content specific pedagogies. OMEA has collaborated with affiliated partners to provide sessions targeted to your needs and interests. In addition to our fantastic All-State groups, the blind-audition selection process has resulted in a selection of outstanding ensembles of all shapes and sizes. The exhibit hall in Cleveland’s new convention center will be filled with familiar faces and a few welcome additions. We hope that the long-awaited return to the north shore will encourage regional participation from many who have been unable to make the trip to Columbus or Cincinnati in recent years.

Many of the successful 2014 initiatives will be returning (with some tweaking), including the dedicated exhibit hour and the opening night lineup. Lack of space was a big concern during our tenure in Columbus. Cleveland has been full of challenges and opportunities in this area. High-demand sessions will be repeated to allow attendees more flexibility in scheduling. The conference will be spread across several venues to accommodate all disciplines and the general schedule has been carefully analyzed to avoid conflicts when possible. The HQPD session has been moved to Friday morning to allow for greater participation and graduate credit will once again be offered through Ashland University.

A good mover requires experience to handle the big items and a personal touch to take care of the things that matter to you. Relax! The 2015 PDC committee is your official moving company. It is our goal to make sure everything you value arrives in one piece. Put in your request now to join us in Cleveland, February 5-7, 2015.

Mark Hensler OMEA Director of Professional Development pd_director@omea-ohio.org 16

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2015

2015 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE

2015 PROFESSIONAL DEVELOPMENT COMMITTEE 2015 OMEA Professional Development Conference

Mark Hensler Director of Professional Development

ALL-STATE CHAIRS Frank Cosenza

Jason Branch

All-State Co-Chair

All-State Co-Chair

CONTENT CHAIRS Robert Tanis Band

Kent Vandock Choral

BethAnn Hepburn General Music

Paul Ferguson Jazz

Trista Emmons Orchestra

Dale Nawrocki On-Site Registration

Thomas Deep Properties Co-Chair

Daniel Crain Properties Co-Chair

STANDING CHAIRS D. Scott Eversdyke Adjudicated Events Stephen Lytle OCMEA

Richard Edwards Higher Education Birch Browning Research

Kay Edwards Multi-Cultural Lalene Kay Special Learners

ALLIED ORGANIZATIONS Bill Burns JECO Dara Gillis OCDA DECEMBER 2014/JANUARY 2015

Tim Katz OAAE Gretchen Zunic OSTA

Donna Collins OAC Justin Riley TI:ME 19

2015 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE

ALL-STATE CONDUCTORS

FRANK TRACZ ALL-STATE BAND

Dr. Frank Tracz is Professor of Music and Director of Bands at Kansas State University, where he coordinates undergraduate and graduate conducting activities, teaches classes in music education, and administers and guides all aspects of the K-State band program. The recipient of many awards and honors as a band director, he has served as an adjudicator, clinician and guest conductor for all-state and honor bands across the nation and internationally. Dr. Tracz also serveson the Faculty Board for the Conn-Selmer Institute and a contributor to the series Teaching Music Through Performance in Band.

CHRISTOPHER LEES ALL-STATE ORCHESTRA

Christopher James Lees is the new Music Director of the Symphony Orchestra and Associate Professor of Conducting at the University of North Carolina School of the Arts. He has been recognized nationally for powerful and nuanced performances across a wide array of repertoire. Recipient of a Gustavo Dudamel Conducting Fellowship with the Los Angeles Philharmonic, Mr. Lees made his debut with the orchestra in April 2013. A passionate advocate for contemporary music, Mr. Lees has commissioned many new works, and collaborated closely with Pulitzer Prize-winning composers including John Adams, William Bolcom, Joseph Schwantner, and Jennifer Higdon.

ALL-STATE CONDUCTORS

ALL-STATE JAZZ

A Steinway piano artist, Shelly Berg is the Dean of the Frost School of Music at the University of Miami. Shelly was a finalist in the 1988 Great American Jazz Piano, and maintains a busy, worldwide schedule of jazz festival and club performances. He has performed and/or recorded with a “Who’s Who” of jazz legends, as well as composing and orchestrating for television, film, and high-profile artists across genres. Shelly Berg has numerous compositions for jazz ensemble in publication, and his texts include the Chop-Monster improvisation series, Rhythm Section Workshop for Jazz Directors, Essentials of Jazz Theory, and Jazz Improvisation: The GoalNote Method. He has also recorded over 30 disks for the Yamaha Disklavier piano.

ETHAN SPERRY ALL-STATE CHOIR

Ethan Sperry is Director of Choral Activities at Portland State University, Artistic Director and Conductor of the Oregon Repertory Singers, and editor of the Global Rhythms series for earthsongs music. He also serves as a consultant for the KM Music Conservatory in Chennai, the first classical music school in India, which opened in 2009. Ensembles under his direction have performed around the globe and at major venues in the United States including The Hollywood Bowl, The Kennedy Center, The Washington National Cathedral, St. Patrick’s Cathedral in New York City, The Nassau Coliseum, Cincinnati’s Music Hall, Boston’s Symphony Hall, and the United Nations.

2015 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE

SHELLY BERG

2015 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE

CONFERENCE CLINICIANS ADJUDICATED EVENTS Jeremy Bradstreet Don Clark George Edge Scott Eversdyke Gayley Hautzenroeder JD Latorre Michael Lisi Dane Newlove Michele Smith Stephanie Smith Brian Stevens Gregory Taylor Pamela Thiel William Thomas Max Treier Ray Walczuk Jeanne Wohlgamuth ADVOCACY Justin Caithaml Gary DeVault Cathy Frastaci Sara Given Tim Katz Glenn E. Nierman BAND Aaron Backes Chris Bernotas Larry Clark Ian Davidson John Franklin Leonard Garrison Linda Hartley Barry Hartz John Hendricks Roberto Iriarte Shelley Jagow Galen Karriker Stacey Larson Dolan Kathleen McGrady Gretchen McNamara Natalie Steele Royston Raphael Sanders 22

Robert Sloan Sean Smith Jackie Townsend David Turrill Jay Wardeska Myron Welch Arthur Wright Ryan Yahl BROAD RANGE Hong Da Robert Franzblau Barry Hartz Amy Johns Ralph Lorenz Elizabeth Menard Eric Ratica Jonathan Saeger Robert Sloan Michael Spresser Julie Vish Jay White Jackie Wiggins CHORAL Mitos Andaya Ryan Beeken James Bowyer Susan Brumfeld Sarah Hassler Zebulon Highben Jody Kerchner Kristina MacMullen Brandon Moss Brett Nolker Tracey Nycz David Rayl Nick Riley Sarah Santilli Robert Sinclair Ethan Sperry Sandra Stegman Ann Usher Kent Vandock Loren Veigel

Suzanne Walters Robert Ward Jeann Wohlgamuth Matt Zabiegala CLASSROOM MANAGEMENT Lisa Koops Natalie Steele Royston Ann Porter CURRICULUM AND ASSESSMENT Terri Brown Lenzo Rachael Fleischaker Ann Kimpton Paul Kimpton Glenn E. Nierman Kimberly Powell Edward Zunic GENERAL MUSIC Tiffany Berting Susan Brumfeld Brian Burnett Marla Butke Brent Gault Sarah Hassler David Holland Hong Le Nancy Lineburgh Herbert Marshall Glen McCarthy Martha Riley Heather Russell Dawn Sloan Lisa Sullivan Celeste Wagner Holly Walton Gina Yi HIGHER ED Matthew Garrett Patricia Grutzmacher Linda Hartley David Kay

OMEA PROFESSIONAL DEV CLEVELAND, OHIO TRIAD

CONFERENCE CLINICIANS

JAZZ Mitos Andaya Paul Baransy Zach Compston Scott Garlock David Kay Glen McCarthy John Perrine Bobby Selvaggio Mike Steinel Matthew Warner MULTICULTURAL Kathy Bullock Donna Cox Kay Edwards Sarah Fischer Hong Le Robert Roche Janine Tiffe Craig Woodson Paschal Younge OCMEA Gary DeVault Nancy Ditmer George Edge Daniel Fleischaker BettyAnne Gottlieb Emily Hage David Hedgecoth Bradley Hruska Brandon Jones Heidi Keppen Cathy Miller Ann Porter Celeste Wagner

ORCHESTRA Sara Given BettyAnne Gottlieb Kathleen Horvath Marsha Kincade Charles Laux Gerald MacDougall Chris Selby Pamela Thiel Ed Zunic Gretchen Zunic OTES Bill Basel Kristen Brown Gary DeVault Trista Emmons Rachael Fleischaker Jason Gibson BethAnn Hepburn Michelle Muro Philip Nagy RESEARCH Wendy Bedrosian Kelvin Jones Dennis Llinas Elizabeth Morgan Craig Resta Carol Shively Mizes Jan Wolf Robert H. Woody SPECIAL FOCUS Timothy Brakel Sharon Marrell SPECIAL LEARNERS Lalene Kay Anne Marie Kulbis Terri McCoy Kristin Pugliese Thomas Resnick Andrew Shahriari Michelle Zinck

VELOPMENT CONFERENCE FEBRUARY 5-7, 2015 DECEMBER 2014/JANUARY 2015

TECHNOLOGY Brian Boyd Erin Broadhurst Robby Burns Jeff Ceresnie Christopher Chidsey Linda Christensen Catherine Dwinal Sarah Fischer Robert Grifa Marshall Haning Keith Heimann Shane Hoose Leigh Kallestad Mavis Kallestad David Kilkenney Shana Kirk Lisa Koops Michael Krajewski Christa Kuebel Will Kuhn Brian Laakso George Litterst Chad Loughrige Heather Mandujano Brody McDonald Jean McKen Michael Medvinsky Benjamin Meisel John Mlynczak Mark Pohlman Sam Rao Floyd Richmond Alberto Rodriguez Paul Rumrill Christopher Russell Karen Schindler Cathy Shinaberry Ryan Van Bibber Kent Vandock Gretchen Weber

2015 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE

Jody Kerchner Tammy Kuntz Ann Porter Jackie Wiggins

23

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 or Bachelor of Music in Music Performance 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 or find audition dates 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

2015 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE

SELECTED PERFORMING ENSEMBLES

DECEMBER 2014/JANUARY 2015

2015 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE

Bay Village High School A Cappella Choir Blue Lake Festival Band Bowling Green State University Collegiate Chorale Brass Band of Columbus Cleveland Orchestra Youth Orchestra Cleveland State University Chamber Winds Cleveland State University Faculty Jazz Septet Cleveland Youth Wind Symphony I Cuyahoga Falls High School Gold Tones Jazz Orchestra Ellsworth Hill Elementary “One Beat” World Drum Ensemble Firestone High School Woodwind Ensemble Hilliard Bradley High School Women’s Chorale Hudson High School Chamber Orchestra Kent State University Jazz Ensemble Kettering Fairmont High School Eleventh Hour Kimpton Middle School Jazz Band Lakota West High School Symphonic Winds Medina Community Band Neo-Tessares Saxophone Quartet Perry Symphonic Winds Perrysburg Junior High School Orchestra Pickerington North Percussion Ensemble Solon High School Sinfonia Orchestra Solon Middle School Mixed Treble Ensemble Springfield Middle School 8th Grade Band Stausser Elementary School Choir University of Dayton Chorale Youngstown State University Wind Ensemble YSU Dana Clarinet Ensemble

25

Pre-Registration Form

2015 OMEA Professional Development Conference Cleveland, Ohio • February 5-7, 2015

2015 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE

TO PRE-REGISTER: 1.

2.

3.

Enclose Personal Check/Money Order or School Check payable to OMEA. No purchase orders accepted.

Send to: OMEA Conference Pre-Registration, P.O. Box 1067, Massillon, OH 44648 • Mail-in pre-registration must be postmarked by January 16, 2015. Postmarks after this date will not be accepted.

• All refund requests must be made in writing. Refunds after January 16, 2015 will be assessed a $15.00 processing fee.

• No refunds after January 30, 2015.

Online pre-registration will be open November 1, 2014 through January 23, 2015 at www.omea-ohio.org.

PLEASE PRINT CLEARLY - NAME WILL APPEAR ON BADGE ALL INFORMATION BELOW IS REQUIRED - BADGES WILL BE MAILED USING THIS ADDRESS. MEMBER NUMBER:

EXPIRATION DATE:

FIRST NAME: _________________________________________

OMEA DISTRICT: _________

LAST NAME: ___________________________________________________

SCHOOL DISTRICT: ____________________________________________________________________ YEARS OF EXPERIENCE: _________ Home Address: _______________________________________________________________________________________________________ City: ______________________________________________________________________ State: _______________ Zip: _________________ Home Phone: ______________________________________________ School Phone: ___________________________________________ Personal Email Address: ________________________________________________________________________________________________ CHECK ALL THAT APPLY. ___ Elementary

___ Middle School/Junior High

___ Band

___ Choral

___ High School

___ General Music

___ Jazz

___ College Faculty

___ College Student

___ Orchestra

OMEA MEMBER

_______ Pre-Registration $125 _______ With HQPD Track* $135 On-Site Registration $150 (HQPD Not Available)

NON-MEMBER

_______ Pre-Registration $225 _______ With HQPD Track* $235 On-Site Registration $250 (HQPD Not Available)

___TI:ME

OMEA PROFESSIONAL DEVELOPMENT CONFERENCE CLEVELAND, OHIO FEBRUARY 5-7, 2015

*HQPD TRACK - This optional High Quality Professional Development track includes an overview session, multiple required sessions and a written reflection. Next step: update your IPDP to include OMEA HQPD participation and submit the plan along with documentation (see OMEA website) to your LPDC for approval PRIOR to attending the OMEA conference. The optional HQPD track is only available during pre-registration. (This is not for college credit.) Requests for proof of attendance without HQPD participation will be denied.

NON-TEACHING FAMILY MEMBER of ABOVE Registrant Name: ______________________________________________

_______ Pre-Registration $40 On-Site $50

OMEA MEMBER SATURDAY ONLY (Saturday only badges will not be mailed)

_______ Pre-Registration $50 On-Site $60

OCMEA MEMBER College/University Name: ____________________________

_______ Pre-Registration $40 On-Site $55

RETIRED OMEA MEMBER (Includes Spouse) Spouse Name: _______________________________________

No Charge

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If your future is Music... your future is Wright State.

Wright State School of Music Audition Dates for Admission: • Admission and Scholarship Consideration • Saturday, February 14, 2015 • Saturday, February 28, 2015 • Admission Only See you in • Saturday, April 11, 2015

Cleveland at Booth 507!

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

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

2015 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE

2015 OMEA Professional Development Conference Cleveland, Ohio • February 5-7, 2015 Reservations can be made by choosing ONE of the following options:

All reservations require a credit card. No checks will be accepted.

Credit cards expiring 02/15 and earlier are not valid and will not be processed.

1.) INTERNET: www.omea-ohio.org Do not mail and/or fax after submitting online.

2.) FAX: 216-621-5967 - Do not mail after faxing.

3.) MAIL: Send a completed form (one copy per room) to: Positively Cleveland Housing Bureau Attn: Casey Gwin, CMP 334 Euclid Ave, Cleveland, OH 44114

Deadline for Special Rates is January 11, 2015.

• 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 11, 2015, rooms and rates are based on availability.

HOTEL RATES Hotel

Single

Double

Triple

Quad

Cleveland Marriott at Key Center

$159

$159

$159

$159

Doubletree by Hilton Cleveland Downtown-Lakeside

$120

$120

$120

$120

Hampton Inn Cleveland Downtown

$114

$114

$114

$114

Westin Cleveland

$159

$159

$179

$199

Rates quoted above are subject to 16.5% tax (Subject to change).

Hotel Preference: 1. __________________________________________________ 2. __________________________________________________ 3. __________________________________________________ Arrival Date: _____________________________________________________ Departure Date: _ __________________________________ List Names of all occupants

Confirm reservation to: (Only one acknowledgement will be sent)

(List all occupants' arrival and departure dates if different.)

Name: _____________________________________________

____________________________________________________

Address:___________________________________________________________

____________________________________________________

City: _______________________________________________

____________________________________________________

State: ________________ Zip: _________________________

____________________________________________________

Phone: ______________________________________________

Room Type Preference*:

Fax: ________________________________________________________________

 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

Email Address:______________________________________ 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 2015 in order to be considered a proper deposit.

Special Requests* (please list)

  

* Note: Room type preferences and special requests cannot be guaranteed.

American Express Visa Diner’s Club

 

Master Card Discover

Card # 



Non-Smoking

 Other: Please list

____________________________________________________

Changes/Cancellations

Name: ____________________________________________________

Continue to use the OMEA Housing Bureau for all changes or cancellations through January 21, 2015 (4:00 p.m. EST) via internet, fax, or mail. After January 21, 2015, all new reservations, changes, and cancellations must go through the hotel.

Signature: _______________________________________

Do not contact the hotels directly until after January 21, 2015.

Expir. 

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2015 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE

2015 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE

THE OMEA HQPD TRACK OPTION • Are you planning to attend the 2015 PDC in Cleveland?

2015

• Are you in need of contact hours or verification of

completion for your IPDP or reimbursement purposes?

• Consider enrolling in OMEA’s HQPD track option.

HERE’S HOW IT WORKS: 1. Pre-register for the Professional Development Conference HQPD track option.

2. Attend required HQPD session on Friday morning from 8:00 AM – 9:15 AM. Attend a minimum of six additional sessions including two or more from the required list and the remainder of your own choosing. (“Choice” sessions attended on Thursday may count toward this requirement.)

3. Electronically submit a post-conference reflection to the Director of PD by February 23, 2015.

The format for this reflection will be available online and shared at the HQPD required session on Friday morning. A reflection rating of Exemplary or Satisfactory (using the HQPD rubric) completes the HQPD requirements.

4. Satisfactorily complete all requirements and receive a 10-hour instructional time certificate from the Ohio Music Education Association.

REMEMBER:

1. You must pre-register to qualify for this service.

2. Update your Individual Professional Development Plan to include the OMEA HQPD track option and submit the plan to your LPDC for approval prior to attending this conference.

Still undecided? Consider the many benefits of attending the PDC: • Relevant information and training on the latest research/trends in music education • Refresh and enhance your teaching skills • Explore the latest innovations in music technology • Network with master teachers, clinicians, colleagues and music industry leaders • Hear outstanding ensemble performances from across all disciplines See OMEA website, TRIAD and the Staccato Newsletter for more information on presenters, topics and performing ensembles.

Still not enough? How about graduate credit? Complete the HQPD track option and you’re almost there! Look for the Ashland credit page for more details or contact Mark Hensler at pd_director@omea-ohio.org.

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2015 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE

GRADUATE CREDIT OPTION - $199

• Do you need credit hours to renew your license

or for salary advancement?

• Would you like to get graduate credit every

year for something you are already doing?

• Why not take advantage of this special program

designed specifically for Ohio music educators?

Earn one (1) semester hour of graduate credit by completing the requirements outlined below. This credit is being offered through

ASHLAND UNIVERSITY. 1. Pre-register for the Professional Development Conference HQPD track option.

2. Visit the OMEA website for a link to Ashland University’s online registration system and enroll in the OMEA PDC course option.

3. Attend required HQPD required session on Friday morning from 8:00 AM – 9:15 AM. Attend a minimum of six additional sessions including two or more from the required list and the remainder of your own choosing. (“Choice” sessions attended on Thursday may count toward this requirement.)

4. Attend five additional sessions/concerts of your choosing.

5. Electronically submit a post-conference reflection to the Director of PD by February 23, 2015.

The format for this reflection will be available online and shared at the HQPD required session on Friday morning. A reflection rating of Exemplary or Satisfactory (using the HQPD rubric) completes the graduate credit requirement. The credit is offered on a S/U basis. All work will be submitted via email.

REMEMBER:

1. You must pre-register for the PDC to earn graduate credit.

2. This credit option will not be available on-site.

Please contact Mark Hensler at (513) 240-1572 or pd_director@omea-ohio.org for more information.

DECEMBER 2014/JANUARY 2015

31

2015 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE

• Are you looking for affordable college credit?

S

OHIO UNIVERSITY chool of music

2015 Audition Dates Jan. 24, Feb. 14, Feb. 16, Feb. 21, 2015 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 13, 2014

Honor Band Festival December 4-6, 2014 Honor Choir and Orchestra January 16-18, 2015 Jazz Festival April 17-19, 2015 Ohio Summer Music Camp June 14-20, 2015

www.ohio.edu/finearts/music

740.593.4244 94250 • 7-14

Ohio University has been an accredited institutional member of the National Association of Schools of Music since 1946.

2015 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE February 5, 6, 7, 2015, Cleveland, Ohio • Cleveland Convention Center Exhibitors as of October 6, 2014 and subject to change.

Fred J. Miller Inc. Gemeinhardt Musical Instruments Getzen Company GIA Publications, Inc. Great Day! Tours Green Horn Group Travel Planners Hal Leonard Corporation Heidelberg University School of Music Herff Jones/Murphy Robes Heritage Music Press Hetzer Tours & Charters, Inc. Huddletrip, LLC Interlochen Center for the Arts J.W. Pepper Inc. Jet Music Jupiter Band Instruments Kent State University Lake Erie Shores & Islands Lakefront Lines Inc. Liberty University Macie Publishing/Ed Sueta Music Publications Malone University Manhattan Concert Productions Marietta College Mercyhurst University Miami University Mollard Conducting Batons Morehead State University Motter’s Music House, Inc. Music & Arts Music Celebrations International Music Filing Solutions Music for All Music is Elementary Music Settlement, The Music Travel Consultants Musicians Repair Service Muskingum University National Association for Music Education (NAfME) Neff Company New Era/Crowne Excellence Noteworthy Tours Oboe Chicago Ohio Foundation for Music Education Ohio Northern University Ohio State University School of Music, The

Ohio University Otterbein University Pearl Corporation Pee-Jay’s Fresh Fruit Pellegrino Music Center Percussion Marketing Council Peter Zaret & Sons Violins Playhouse Square Premier Tour and Travel QuaverMusic.com R & E Music Tours Rettig Music, Inc. Royalton Music Center/Professional Suite Shirley’s Gourmet Popcorn Company Singing Buckeyes Soundwaves Recording StageRight Corporation Stanbury Uniforms, Inc. Stanton’s Sheet Music Stoller Enterprizes Straight A Tours Summit Tour & Travel, Inc. Super Holiday Tours Tiffin University Tone Deaf Comics University of Akron University of Cincinnati University of Dayton University of Mount Union University of Toledo, The US Army Bands VanderCook College of Music Wenger Corporation West Music Company Westminster College Wittenberg University Woodwind & Brasswind WorldStrides International Discovery Wright State University School of Music Xavier University Yamaha Corporation of America Yankee Candle Fund Raising Young’s Screenprinting & Embroidery Youngstown State University Dana School of Music

2015 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE

Alfred Music All About Group Travel All Ohio State Fair Choir American School Band Directors Association Anderson University Antigua Winds Ashland University Baldwin Wallace University Barons Bus Blue Lake Fine Arts Camp Bluffton University Bob Rogers Travel Bocal Majority Bowling Green State University Breezin’ Thru Inc. Brightspark Travel Capital University Carl Fischer Music, LLC Case Western Reserve University CCIS Travel Cedar Point - Kings Island Cedarville University Century Resources, Inc. Charms Office Assistant CIM K-12 Distance Learning Classic Pianos Cleveland Institute of Music Cleveland State University College of Wooster, The Columbia College Chicago Columbus Pro Percussion Conn-Selmer, Inc. Cousins Concert Attire Culver Summer Schools & Camps Custom Fundraising Solutions DeMoulin Brothers & Company Denison University Dynasty/DEG Music Products Eastman Music Company Educational Tours, Inc. Educational Travel Adventures ejazzlines/JazzLines Publications/ Walrus Music Publishing Elvis Presley’s Graceland EPN Travel Services Festivals of Music/Music in the Parks Field Studies Center of New York Fox Products Corporation

As of 10/6/14 and subject to change.

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 2014/JANUARY 2015

33

2015 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE

Ohio Music Education Association EXHIBIT HALL SHOW HOURS Exhibit Hall C – Cleveland Convention Center February 5 - 7, 2015 THURSDAY, FEBRUARY 5 12:55 pm Industry Service Award (Entrance to Hall C) 1:00 pm to 6:00 pm (Exhibits open to attendees) FRIDAY, FEBRUARY 6 9:00 am to 5:00 pm (Exhibits open to attendees) Foundation Auction in Lounge 4 to 5 pm SATURDAY, FEBRUARY 7 9:00 am TO 12:30 pm (Exhibits open to attendees)

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OMEA GR ADUATE RESEARCH FORUM

2015 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE

GRADUATE RESEARCH R O U N DT A BLE Thursday, February 5, 2015 10 a.m. – 3:30 p.m.

Featured Speaker: Dr. Robert Woody Dr. Robert H. Woody is associate professor of music education at the University of Nebraska School of Music. He earned a bachelor of music degree from the University of Nebraska - Lincoln and two master’s degrees (music education and educational research) and a Ph.D. in music education from Florida State University. Dr. Woody’s research deals primarily with the psychology of music. He is specifically interested in the cognitive mechanisms of expressive performance and the skill-based factors that contribute to participatory music involvement among people.

SCHEDULE

9:30 a.m Continental Breakfast

10:00 a.m.

Dr. Robert Woody – “Musician, Scholar, Detective: Research as Evidence Gathering.”

Noon Lunch break

1:30 p.m.

Graduate Research Roundtable

3:30 p.m.

Graduate Research Roundtable Ends

If you plan to participate, please register at http://tinyurl.com/GRF-2015.

Registering for the Forum will help us ensure sufficient food and space for this event.

DECEMBER 2014/JANUARY 2015

35

2015 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE

OHIO MUSIC EDUCATION ASSOCIATION 2015 INDUSTRY SERVICE AWARD RECIPIENT

You are invited to the Opening Ceremony of the OMEA Exhibit Hall at the 2015 OMEA State Professional Development Conference to witness the 2015 Industry Service Award presentation. OMEA is pleased to make this award to the Yamaha Corporation of America who will execute the ceremonial ribbon cutting to open the Exhibit Hall for the 2015 OMEA Cleveland Professional Development Conference.

This presentation will take place at the entrance to Exhibit Hall C of the Cleveland Convention Center on Thursday, February 5 at 12:55 p.m. Everyone is invited to attend this recognition of Yamaha for their exceptional contributions to music education and OMEA!

HAVE YOU TAUGHT 25 YEARS OR MORE? Be sure to send in your application for recognition at the OMEA Professional Development Conference on Saturday, February 7, 2015.

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”.

BE VISIBLE All music teachers with 30 or more years of teaching experience: OMEA has a special ribbon designed just for you to wear with your convention name tag. Pick this up at the OMEA Exhibit Booth, wear it with pride, and accept our congratulations and thanks for a job well done. Also, all 25 year teachers who have misplaced or forgotten their ribbons may get a replacement at the OMEA Booth.

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SCHOOL OF MUSIC The Ohio State University School of Music is pleased to announce the permanent appointments of: Julia Shaw, assistant professor of choral music education David Hedgecoth, assistant professor of instrumental education Julia Shaw

David Hedgecoth

Christina Pelletier-Blazakis, senior lecturer and coordinator of student teacher preparation and assessment And, announces Robert Gillespie, professor of strings pedagogy, as area head

Music Education Faculty

Christina Pelletier-Blazakis

Robert Gillespie

Jan Edwards Timothy Gerber Robert Gillespie David Hedgecoth Daryl Kinney

Paul Sanders Julia Shaw David Tovey Kenneth Williams Margaret Young

For event and admissions information visit music.osu.edu

For elementary, middle, and high school students in band, choir, and orchestra

www.SMMFestival.com or call: 1-855-766-3008

DECEMBER 2014/JANUARY 2015

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mountunion.edu/music

Visual and Performing

Mount Union Welcomes New Director of Bands Dr. Otis C. French serves as the Director of Bands at the University of Mount Union, where he leads the Purple Raider Marching Band, Wind Ensemble, Concert Band and Wind Instrumental Chamber Ensembles. He remains active as a marching show drill writer for both high school and college bands. French enjoyed a career as a euphonium soloist and conductor in several U.S. Military Bands before starting his career in higher education.

He continues to perform as a guest conductor, clinician, adjudicator, and instrumental soloist.

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Coming Soon in 2015 New Performing Arts Center

Scholarship Auditions

mountunion.edu/music-scholarship-auditions

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...

A E M O k c a B k o o L A t s a L e h t n o .. . . . s h t n o M Si x

2014 OMEA STATE MARCHING BAND FINALS

2014 O MEA ALL-STA TE CHILDR EN’S CH ORUS

A 2014 OME MUSIC GENERAL P WORKSHO DECEMBER 2014/JANUARY 2015

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VISITING THE GREATER CLEVELAND CONVENTION CENTER

A 2014 OME ME AND NAF G HIP MEETIN MEMBERS

2014 O MEA PROFES SIONAL DEVELO PMENT WORKS HOP

2014 OME A LEADERSH IP ACADEM Y

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TEACHING TIPS BAND Lessons from Orpheus: Collaborative Large Ensemble Rehearsal and Performance Dr. Scott A. Jones; The Ohio State University Last fall I had the profoundly moving experience of spending two days with the internationally renowned Orpheus Chamber Orchestra. While Orpheus performances are extraordinary, I traveled to New York to intentionally witness the musicians in rehearsal. For more than 40 years, Orpheus has been rehearsing and performing without a conductor.

Orpheus musicians collaborate on all aspects of performance (tempi, phrasing, interpretation, style, balance). Every musician has a responsibility not only as an individual, but even more so to the “greater whole.”

Their “shared leadership” model has garnered accolades within the arts community as well as with international business and medical industries. As a process-centered educator and believer in the role of community, I was eager to see how the practices of this self-governed ensemble might enrich the education of our students at Ohio State.

The repertoire rehearsed during my visit included Symphony No. 3 of Beethoven, the Liebeslieder Waltzes of Brahms, and a United States premiere of Variations on a Melancholy Theme by jazz pianist and composer Brad Mehldau. Such programming—repertoire from the orchestral canon alongside works of contemporary composers—has become commonplace for Orpheus.

With more than 70 recordings and 42 commissioned and premiered compositions to its credit, Orpheus has a long-held commitment to the performance of diverse repertoire according to the highest artistic standards.

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The limitations of a single article prohibit sharing fully what I witnessed. However, if I could wish any single experience upon every large ensemble music educator, it would be to witness an Orpheus rehearsal in person. The Orpheus rehearsal process calls its musicians to strike a balance of important human, musical, and corporate juxtapositions: leadership and followership; speaking and listening; structure and improvisation; agreement and disagreement; extraction and assimilation; exploration and prioritization; unity and variety. Their rehearsals call each musician to formulate informed opinions; to be responsible for an individual part as well as its relationship to every other part; and to engage music and others with honesty, vulnerability, passion, ownership, respect, professionalism, grace, and tact. Do we all deeply desire such experiences to be commonplace for large ensemble musicians in our care? Absolutely.

Broadly speaking, large ensemble educators have long revered the performances of professional caliber ensembles. Doing so has aided the performance standards attained by school ensembles throughout our country. The greatest amount of time we have with our students, however, is in rehearsal. I have long wondered how much richer the large ensemble experience might be if we devoted more of our collective professional energies toward the exploration and diversification of rehearsal frameworks.

Since my visit to Orpheus, the musicians of the Ohio State Symphonic Band have engaged and TRIAD

adapted this approach to rehearsal and performance.

Collaboratively prepared compositions now routinely coexist with repertoire performed with a conductor.

Every time our students start the collaborative rehearsal with a new composition, they experience greater ease, increased success, and deeper satisfaction. And—without question—all of the music making in the ensemble has profoundly matured.

Since sharing this process at the 2014 OMEA Professional In-Service Conference, a number of educators have inquired about how it might be adapted for high school students. While we are continually refining the process at Ohio State, here are several “best practices” we have discovered for collaborative rehearsal in the large ensemble.

PRE-REHEARSAL CONSIDERATIONS • The focus of this experience is the collaborative process itself. As such, the technical demands of the repertoire should be well within reach of the musicians so that their energies can be devoted to that end.

• The score is an indispensible tool for students in this rehearsal framework. Every student must have a conductor score for study, rehearsal, and performance.

UNDERGRADUATE DEGREES

Be certain to secure proper permissions from the composer/publisher before duplicating scores.

• Allocate far more time for the preparation of a collaboratively prepared composition than one being prepared with a conductor. Allow time for group discussion and planning before any collaborative rehearsal begins. Also allow time for post-rehearsal discussion so that students can celebrate accomplishments, voice concerns, and plan for the next rehearsal.

• Access to a high quality audio recording of any given rehearsal is exceptionally helpful to the collaborative process. A “model recording” of the composition also aids students in critical/comparative listening.

• Students need some basic skill with instrument movement to facilitate beginning a phrase and/or cueing/confirming arrivals in the music. Such movements can be as simple as a slight head nod coordinated with a breath to start a phrase.

• Teachers should anticipate some increased anxiety as governance of the rehearsal is relinquished to the students. Teachers should similarly anticipate tremendous insights into students as musicians, artists, and people.

Bachelor of Music Bachelor of Science in Music Technology

Hugh A. Glauser School of Music

Programs of Study Audio Recording Composition Music Education Music Production Performance

Undergraduate Minors Audio Recording Jazz Studies Music Music Technology World Music Post-Undergraduate Certificate Programs Composition Conducting Performance

For more information on auditions or scholarships, contact: Mr. Dana Brown Coordinator of Undergraduate Studies email: dabrown@kent.edu

GRADUATE DEGREES

Master of Music Conducting Music Education - entirely online!

Performance Master of Arts Composition Ethnomusicology Theory

DOCTOR OF PHILOSOPHY (PH.D.) Music Education Music Theory-Composition

For graduate assistantship information, contact: Mr. Michael Chunn Coordinator of Graduate Studies email: mchunn@kent.edu

Please visit our website for audition information and dates: WWW.KENT.EDU/MUSIC

KENT STATE UNIVERSITY P.O. BOX 5190 KENT, OH 44242-0001

PHONE: 330-672-2172 FAX: 330-672-7837

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. 14-1756

DECEMBER 2014/JANUARY 2015

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STUDENT REHEARSAL ETIQUETTE AND CONSIDERATIONS • Students who speak during the rehearsal must stand and speak clearly and strongly enough so that everyone can hear. This practice not only helps everyone hear, but also ensures that what is going to be said is important enough to motivate a student to stand before his/her peers to do so.

• Comments are most helpful (positive or negative) when they are specific to an issue and to a section(s) of the ensemble.

• Students should provide both a specific observation (i.e. “The trumpets and horns are not matching note lengths at letter B.”) and a rehearsal direction (i.e.

“I suggest that trumpets and horns play the first four measures of letter B so that we can listen for that.”).

• As performance nears, it can be exceptionally helpful to have a few students listen to the rehearsal from the audience location. Such perspective can help ensure that what is clear on stage is also clear to the listener in the audience.

The musicians of the Ohio State Symphonic Band have been invited to share this collaborative approach to rehearsal and performance at the 2014 Midwest

International Band and Orchestra Clinic in Chicago on Friday December 19, 2014. We have also created video segments of the collaborative rehearsal process for educators to see this process in action. Videos can be found by visiting http://music.osu.edu/people/ jones.4371.

I have found the insights that come from this rehearsal process to be transformational. Consider diversifying your large ensemble rehearsal in this way as you continue to plan rich experiences for your students.

Scott A. Jones is Associate Professor of Music, Associate Director of University Bands, and Director of the Youth Summer Music Programs in the School of Music at The Ohio State University. In addition to conducting the Ohio State Symphonic Band, Dr. Jones also guides the undergraduate conducting curriculum. Prior to joining the faculty at Ohio State, he served as Director of Bands at Concordia College in Moorhead, MN. Jones also garnered 15 years of teaching experience in the public schools of Apple Valley, MN and Ashville, OH. Jones was the recipient of the 2014 School of Music Distinguished Teaching Award. He can be contacted at jones.4371@osu.edu.

Questions?

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Our Education Consultants are available to: • be your personal shopper • design custom collections for you • suggest new ways to use what you have • assist with product questions

Email us at ts@westmusic.com an lt su on nc io at uc ed

FIND WEST MUSIC!

2014.10_Ohio Ad_West Music.indd 1

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800-397-9378 westmusic.com

10/1/2014 10:26:46 AM

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Miami University Department of Music providing a distinctive learning experience within a major liberal arts university

Schedule an audition online: MiamiOH.edu/music UPCOMING AUDITION DATES FOR STUDENTS ENTERING THE 2015-16 ACADEMIC YEAR: Saturday, November 15 Saturday, January 31 Saturday, February 21 Saturday, February 28 Auditions are also available for instrumentalists on Wednesday afternoons and singers on Thursday mornings. Exceptions include holidays and exam weeks.

DEPARTMENT OF MUSIC FACULTY 2014-15 STRINGS Harvey Thurmer, violin Amy Kiradjieff, violin Tze Yean Lim, violin Mary E.M. Harris, viola Pansy Chang, violoncello Stephen Ullery, bass Jacquelyn Davis, harp James McCutcheon, guitar

VOICE (continued) Mari Opatz-Muni Benjamin Smolder Lisa Hasson Christina Haan

WOODWINDS Rebecca Andres, flute Morrigan O’Brien Kane, flute Andrea Ridilla, oboe Michele Gingras, clarinet Christin Schillinger, bassoon Jeremy Long, saxophone

BANDS Gary A. Speck Stephen Lytle

BRASS Gregory Phillips, horn Steven Pride, trumpet Douglas Lindsay, trumpet Jaime Morales-Matos, trombone Carson McTeer, euphonium and tuba PERCUSSION William Albin Michael LaMattina Chris Tanner PIANO Frank Huang Heather MacPhail Bruce Murray Siok Lian Tan VOICE Alison Acord Audrey Luna Linda McAlister

CHORAL MUSIC William Bausano Jeremy Jones

MUSIC EDUCATION Kay Edwards Brenda Mitchell Joshua Slagowski COMPOSITION Per Bloland G. Roger Davis MUSICOLOGY Thomas Garcia Elizabeth Hoover Tammy L. Kernodle THEORY Claire Boge CONDUCTORS Ricardo Averbach, Symphony Orchestra William Bausano, Chamber Singers; Choraliers Jeremy Jones, Collegiate Chorale; Men’s Glee Club Jeremy Long, Jazz Ensembles Stephen Lytle, Symphony Band; Marching Band Gary A. Speck, Wind Ensemble Chris Tanner, Steel Band

THE DEPARTMENT OF MUSIC OFFERS DEGREE PROGRAMS IN THE FOLLOWING: Bachelor of Music in Performance Bachelor of Music in Music Education Bachelor of Arts in Music Master of Music in Performance Master of Music in Music Education Music scholarships available to talented music majors in addition to generous graduate assistantships.

Call or e-mail us to schedule a visit!

Miami University Department of Music 109 Presser Hall Oxford, Ohio 45056 513-529-3014 music@MiamiOH.edu

Department of Music

TEACHING TIPS GENERAL MUSIC Hit the Road: Exploring the World Through International Education Christa Kuebel

When I graduated with a bachelor’s degree of music education, I was told repeatedly that I would only find a job if I was willing to relocate. I do not think the people giving me that advice meant that I should look on the other side of the globe.

During my first two years of teaching, in the south suburbs of Chicago, the travel bug got the best of me and I decided to look into teaching overseas. I assumed this would mean I would be teaching English; however, after a few short hours of searching on the Internet, I discovered a vast network of international and American schools all over the world where I could potentially be hired. I was excited about having the opportunity to teach music while gaining new life experiences through travel.

I was hired for my first overseas position through the University of Northern Iowa’s Overseas Job Fair.

Administrators come from schools the world over to this well-established event to interview candidates during a busy three-day period. I walked away with a contract for a school in Shanghai, China where I would be teaching elementary music and beginning band.

I stayed in Shanghai for three years, followed by two years in Warsaw, Poland. The experiences were vastly different culturally and socially, but both provided me with some insights to share with fellow teachers looking to expand their horizons into the world of international teaching.

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IN THE CLASSROOM… Cultural sensitivity is key. While teaching internationally, a class of about twenty students could potentially contain more than ten nationalities, but kids are still kids. They are looking for fun, engaging activities that challenge them and result in successful music making experiences. However, gaining insight into the culture of your host country and a few specifics about the nationalities of your students will help to avoid potentially uncomfortable situations. For example, in some cultures, not looking at someone directly is a sign of respect, whereas Americans typically believe eye contact shows you are listening. Especially with early elementary age children, I found that if I had a question about a culture or language, students were more than happy to explain.

Multicultural music has a new meaning. Both of my international teaching assignments were in American schools, meaning they follow an American curriculum. We also utilized the NAfME standards for music education, which includes studying multicultural music. For most students in this setting, however, American music is music of another culture. I could not assume students would already know traditional American folk songs or nursery rhymes. To reverse roles, students became the teachers when given the opportunity to share music from their own culture.

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Know your resources. Packing my life into a few suitcases was challenging, but knowing what to bring for school supplies was even more difficult. I brought a few necessities, but relied heavily on the resources provided by my schools. In both schools, music libraries had been created for general music and performing ensembles. I was able to order materials for my classroom, but it often took up to a year to receive them. If I needed something sooner, I found online resources.

I discovered that Amazon (maybe not their US site, but UK or other) delivers nearly everywhere and JW Pepper will ship internationally quickly. Many companies also allow you to purchase downloadable sheet music.

Ask questions of new colleagues and the teacher that you are replacing if possible. It is impossible to know the system of a school, city and country until you are a part of it. Most teachers who are leaving a position will be more than happy to speak with their replacement and give some insight into how they ran the program. Remember this favor when you leave a school and are considering what information to leave for the next teacher to have your position.

Take advantage of professional development.

Most schools will provide their teachers with professional development funds. These funds can typically be used for coursework, conferences, or materials in the US or overseas—sometimes even before the school year begins. For example, I was actually able to use my first year’s money the summer before I arrived at my new school in order to take an Orff certification course, which prepared me immensely for my new job.

OUTSIDE OF THE CLASSROOM… Explore the local culture. If you approach it with an open mind, you will enjoy the excitement of teaching overseas. While work comes first, be sure to take time to learn about the local culture and explore the

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new places that are now in your backyard. Learn the language, try new cuisine, and explore your neighborhood. To meet other ex-patriots, join groups like Internations or Facebook pages for your new city. See concerts or learn to play an instrument from the country where you are working. One of my favorite things to do in Warsaw was attend the weekly Chopin piano concerts in the park. In Shanghai, I attempted to learn the guqin. While I was never proficient, students appreciated that I was making an effort to learn something from their culture.

Be safe and healthy. Ask questions before you sign a contract regarding safety, quality of life, and things that you will need to be happy and healthy, whether going solo, with a spouse or partner, children or pets.

Be flexible and patient. Language barriers, traffic jams, miscommunication, and a different pace of life will make things difficult at times. Be patient, kind, and have a backup plan and a good sense of humor.

And remember: most things that go wrong will lead to a good story later!

There are many resources available for teachers looking to move overseas. As I mentioned, my first experience was with the University of Northern Iowa’s Overseas Job Fair. I later used International School Services (ISS) and Search Associates. If you are aiming for a specific country or city, school websites will also offer helpful information. For less formal information, check out the International School Teachers page on Facebook. Safe travels!

Christa Kuebel completed her bachelor’s of music education at Bowling Green State University and master’s at Boston University. She has taught general music, band and choir in Chicago, Illinois, Shanghai, China, and Warsaw, Poland. She is now residing in Cleveland, Ohio where she is pursuing a doctoral degree in music education at Case Western Reserve University.

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The Edward E. MacTaggart Department of Music

music.marietta.edu

740.376.4696

music@marietta.edu

TEACHING TIPS JAZZ Jazz Band: All Experiences Matter

Paul Glader; Taylor High School At many high schools and middle schools, the jazz band (if they have one) is often considered the “fun” band to play in by the students. It is all well and good that the jazz band is viewed as the “fun” ensemble, but is it viewed as “fun” for the right reasons? Do students view jazz as fun because they are fully ingrained into the genre: going out to listen to live jazz, listening to the great jazz artists from different eras, understanding how jazz relates to American culture, and sharing ideas with other students? Or is jazz band viewed as fun because they like to jam on a standard funk tune at the end of a concert? For a lot of programs, the “fun” part of jazz to the students is often the latter.

Now I am certainly guilty of programming those jam tunes into my concerts—they have their place in jazz history and are admittedly a lot of fun to play and solo on—but that cannot be the only focal point of making jazz fun. We, as educators, need to be thinking about not only providing an exciting activity for the students to take part in at the time, but also about instilling an appreciation of jazz music into our students so that they may become jazz advocates in the future. If there is a continual decline of popularity for jazz, then there will be less emphasis on having jazz included in school curriculum. It is our job to help preserve not only jazz music in schools, but to also preserve jazz appreciation for the future listeners of America.

Here are some tips for instilling an appreciation for the genre into your students: 1. Encourage your students to go see live music DECEMBER 2014/JANUARY 2015

in the area. Print off a schedule listing jazz events at venues that will allow underage students. Local universities with a jazz program are great opportunities for your students to go listen to more advanced players and to experience unique types of writing as well as different types of programming/ensembles. Also, if you are lucky enough to have a jazz club around or a restaurant in your area that has live jazz, print off a schedule and give it out to your students. I have unexpectedly encountered students multiple times at jazz venues in Cincinnati, and it is a great feeling to see them getting out and learning from live music. If you don’t think they will show the initiative to go out, take them on a field trip so all can experience the impact of jazz in a live setting.

2. Include listening examples in your curriculum.

It is very difficult to play a Count Basie chart without ever listening to Count Basie. The subtleties that different big bands from different eras possess must not go unnoticed. Study the charts and incorporate what the greats did to the music to really make it their own.

One of the best tools for a drummer is to listen to what the drummer on the recording did to the chart and not just literally play the tiny cues written on top of their basic swing feel. The same goes for the rest of the members of the band in knowing their roles in the ensemble and how to approach them. For improvisers, you can introduce them to the great soloists of many different eras of jazz music. If your students are only familiar with Charlie Parker, they will only sound like a Char49

lie Parker copy. I suggest printing off a list of the great players for each instrument and passing it out to your class. They can often listen for free online (Pandora or You Tube) or visit the public library to check out a CD. It will do a great deal for their understanding of style and appreciation for the past.

3. Make sure your students understand the historical role that jazz has played in American culture. Do your students know that jazz is considered America’s contribution to music history (although jazz can be traced back much farther back beyond America’s inception)? I was fortunate enough to have my students partake in the “Let Freedom Swing” educational series from the Cincinnati Contemporary Jazz Orchestra (www.cincinnatijazz.org/education). It was a focus on the relationships of jazz to democracy, civil rights, and communication. I felt my students had a greater appreciation of jazz as part of our society after attending those classes. It is important to convey that jazz is something for which we Americans can be proud, and it is our job to preserve that part of our culture.

4. My last tip is to encourage your students to experience jazz outside of your program with other students.

I remember attending a jam session at the Northside Tavern in Akron when I was in high school. It was extremely encouraging to see and hear other high school students working at the same craft that I was. A great way to get all of your students involved is to take your

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band to a jazz festival, in which they can hear other high school groups perform, attend master classes, receive adjudication from professionals, and just interact with other high school students studying jazz. There are jazz festivals all around Ohio throughout the year that can offer these experiences—The Three Rivers Jazz Festival in Cincinnati (www.YellowJacketBands. com), The Capital University Jazz Festival in Columbus (http://capital.edu/jazzfest/), and the Tri-C Jazz Festival in Cleveland (http://www.tri-c.edu/enrichment/ arts/jazzfest/Pages/default.aspx) are just a few examples available.

Jazz is a beautiful genre that would not be possible without the idea of sharing music. Learning through live experiences will reward both you and your students. The Jazz Education Connection of Ohio (JECO, http://www.jecohio.org) is a great resource for jazz theory, history, improvisation, events, and much more.

Please use it to your advantage and have a great year promoting one of the most creative genres in music: jazz.

Paul Glader is currently director of bands at Taylor High School and Three Rivers Elementary located in Cleves, Ohio. He is also a freelance musician in Cincinnati and is the founding member of The Cincy Brass. Paul holds a B.M. in Music Education from The University of Cincinnati College-Conservatory of Music.

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BLFAC Ad 4C - OMEA 2015:Layout 1

2015

8/14/14

SESSION 1 July 1- July 12

SESSION 3 July 29 - August 9

SESSION 2 July 15 - July 26

SESSION 4 August 12 - August 23

IT STARTS HERE.

7:53 PM

Page 1

PIANO DANCE VISUAL ARTS ORCHESTRA JAZZ BAND THEATER HARP CHOIR TM

fine arts camp

TM

bluelake.org BLUE LAKE FINE ARTS CAMP 300 E. CRYSTAL LAKE RD. TWIN LAKE, MI 49457 800.221.3796 231.894.1966

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.

Upcoming Audition Dates Friday, Dec. 5, 2014 Saturday, Jan. 31, 2015 Saturday, Feb. 14, 2015 (Participation Awards) Tuesday, Feb. 24, 2015

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 2014/JANUARY 2015

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You are cordially invited...

To attend our Alumni & Friends Reception during the OMEA 2015 Professional Development Conference in Cleveland, Friday, Feb. 6, 2015, 6:15 - 7:45 p.m.

Visit The University of Akron School of Music at Booth #521 and attend these events:

Developing Artistry in Young Singers Thursday, Feb. 5th 3:45 - 4:45 p.m., CC05.

www.uakron.edu/music

THE UNIVERSITY OF AKRON

FINE ARTS DIVISION

BUCHTEL COLLEGE OF ARTS AND SCIENCES

Dr. Ann Usher, Director, UA School of Music, clinician

4GÆ‚PKPI VJG %QPFWEVQToU 6QQNDQZ 9JCV CTG ;QWT )GUVWTGU 4GCNN[ %QOOWPKECVKPI! Saturday, Feb. 7th 11:45 a.m. - 12:45 p.m., CC22.

Dr. Galen Karriker, Director of Bands, UA School of Music, clinician

School of Music • Outstanding programs, ensembles and facilities • Numerous performance opportunities • Master classes and residencies by stellar guest artists • Affordable tuition, generous scholarships • Internationally renowned faculty-musicians

The University of Akron Invitational Vocal-Choral Festival

DEGREE PROGRAMS

Wednesday, Feb. 18, 2015

Bachelor of Music (B.M.) • Music Education • Theory/Composition • Performance • Jazz Studies • Accompanying Bachelor of Arts in Music (B.A. in Music) Master of Music (M.M.) Dr. Ann L. Usher, Director 330-972-7590 • ausher@uakron.edu www.uakron.edu/music The University of Akron is an Equal Education and Employment Institution ©2014 The University of Akron

Friday, Jan. 23, 2015, 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 Guest clinician, Frank Tracz, Director of Bands at Kansas State University. Concert at 6:30 p.m. at E.J. Thomas Hall, 198 Hill St.

JazzFest 2015

March 17-20, 2015

Featuring guest tubist Howard Johnson.

Call 330-972-8301 for details.

Scholarship Auditions Saturday, January 31, 2015 Saturday, February 14, 2015 Monday, February 16, 2015

TEACHING TIPS TECHNOLOGY Technology For Everyone!

Great Stuff at the 2015 OMEA Conference Brian Laakso; McKinley High School Greetings from TI:ME, the Technology Institute for Music Educators! Our Ohio division is gearing up for an amazing selection of technology sessions offered at the OMEA Professional Development Conference in February, and I’d like to encourage you to attend at least one of them during your conference stay. Our sessions are not just for tech teachers and gear heads! We are offering many presentations this year that will help teachers understand how to seamlessly incorporate technology into their normal classes.

I’d like to highlight a few of them to excite your interest, pique your curiosity, and enhance your personal teaching approach.

OHIO MUSIC TECH EXTRAVAGANZA! We are most excited to present our first ever “Ohio Music Tech Extravaganza,” which will be a technology focused pre-conference to be held Wednesday, February 4 from 4 p.m.–9 p.m. This special event will be presented in the beautiful facilities of the Tri-C Tommy LiPuma Center for Creative Arts (located just blocks from the Cleveland Convention Center). The Tri-C Recording Arts and Technology Program is co-hosting, and will provide their professional recording studios and music tech classroom labs for presentations.

You can look forward to hands-on tutorial sessions, music tech lectures, product demonstrations, building tours, and recording studio tips for anyone wanting to sharpen their music tech chops! We are DECEMBER 2014/JANUARY 2015

also very proud to feature a Keynote that evening from Andy Leach, the director of the Rock and Roll Hall of Fame Library and Archives. He will share some of the greatest and most rare treasures housed in the library, located adjacent to the Tri-C facilities.

The Music Tech Extravaganza is held the evening before OMEA so drop in and attend a few sessions before the big weekend starts. We’ll even have food!

Contact me at blaakso@gmail.com to pre-register.

Now here’s a taste of what you can expect during the “conference proper”…

MUSIC TECH IN TRADITIONAL MUSIC CLASSES We have many friendly, simple sessions for all of you who say, “I’m not really a computer person.” Learn how technology can help you reach your concert and marching band students. Discover how to record your concerts and set up simple sound systems for your performances. Learn how the web can help you meet your new state standards requirements. Check a session or two out—you’d be surprised at how simple it can be! iPADS There’s no denying the power of the iPad in music education! It has taken classrooms by storm in the last two years, and we’ve got sessions on how to fire up these great tablets for music learning. Learn how to use iPads to write music, to play in ensembles, to mix sound and lighting for concerts, and especially to 53

engage your students in dozens of apps related to fundamental musical concepts. iPads are awesome!

MUSIC TECH FOR FREE The internet is teeming with music making tools!

If you have little or no budget for technology, but have access to at least one computer (or a lab), we’ve got a half-dozen must-attend gatherings for you. Discover websites and free software that will get your class playing with musical notes like Lego blocks, fixing their embouchures, singing in tune, recording their raps, writing simple melodies, remixing each other’s songs, and identifying composers. These sessions are great for elementary school teachers, band and choir directors, and anyone willing to try tech with eager students.

SOFTWARE Attend some presentations to give your software knowledge a boost! We’re offering tutorials for serious musical endeavors (in Finale, ProTools, GarageBand, Ableton Live, and Smart Music). We’ll also help you learn how to extend music units into other content areas (through Powerpoint, Prezi, iMovie), and help your students to reach out across the world (using Skype, YouTube, social media). After the tutorials, you will want to hang out with our…

SPECIAL GUESTS! This year we are proud to feature some special guests. Our TI:ME Keynote will be presented by the Rock and Roll Hall of Fame Education Department.

This session will cover the Hall’s educational outreach.

Find out how they take music classrooms across America into rock and roll’s past through the use of distance learning and on-site programming. They

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even have programs to help teachers learn more about rock!

Finally, go from Palestrina to Pink Floyd without missing a beat with the Capital University MIDI Band.

See the band perform a set of classic and popular electronic music pieces. Don’t miss it!

I hope you will stop into the technology wing of the OMEA conference this February. Ohio boasts some of the most active, cutting edge teachers, presenters, ideas, and music programs in the nation. Also, if you’re not already a TI:ME member, get some special perks when you join our organization at the conference. Feel more connected to your students’ digital world, improve your teaching, expand your network, share ideas, and introduce yourself—I would love to meet you. If you have any questions don’t hesitate to contact me at blaakso@gmail.com. Technology in every classroom, every day!

Classically trained (and punk-rock inspired) pianist Brian Laakso attended Oberlin Conservatory and Kent State University, where he learned about the philosophy, power, and purpose of teaching. Since then, he has taught middle schoolers at a private boys’ academy, rocked masses of K-6 students from a rolling cart, and currently teaches music technology, songwriting, and multimedia at McKinley High School in Canton. Brian loves writing music, jogging, and he has partied with over a half million people as a professional dueling pianist. Brian advises music teachers nationwide as Secretary of the Technology Institute for Music Educators (ti-me.org). He lives on a genius compound in Akron, Ohio with his gorgeous wife, three brilliant children, a radical niece, and two dopey dogs.

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SCHOOL OF ART | COLLEGE OF MUSICAL ARTS | CREATIVE WRITING | THEATRE & FILM

Bands at BGSU FALCON MARCHING BAND ATHLETIC BAND

Join us January 22-25, 2015 for the 57th Annual BGSU Honor Band and Directors’ Clinic, with special guest conductors and clinicians, Dr. Timothy Mahr and Mr. George Edge. Contact Dr. Bruce Moss, director of band activities at the Bowling Green State University College of Musical Arts at bgsubands@bgsu.edu for more information.

On Friday, January 23 there will be a program performed by the Mason High School Wind Symphony, Robert Bass, a conductor and the Mason Middle School 8th grade Symphonic Winds, Susan Bass, conductor.

Sponsored by Rettig Music

MUSIC MASTERCLASS -

BRASS Essential Technique Approaches for Aspiring Euphoniumists Steve Darling; Ohio University

The euphonium has traditionally held an important role as a prominent brass voice within in the concert band. This is due to its technical capabilities as well as its sonorous timbre. From the technical flexibility required of the euphonium in marches of the Sousa era (i.e. Melody Shop, Barnum and Bailey’s Favorite, etc.) to the lyricism employed by Grainger, (i.e. Colonial Song) even the youngest euphoniumists are required to execute both at high levels. How then do we prepare our students for what could be a daunting challenge?

For euphoniumists to fulfill this role, they must have a routine of exercises that include the following: 1) scalar (both chromatic and diatonic), 2) lip slurs/ flexibility, and 3) range control. There are many

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method books that contain this material, with one of the most inclusive being the “Arban book.” In Arban, a structured variety of diatonic scalar passages that utilize different rhythms, slur groupings, and articulations in all major keys can be introduced to the student at any stage in their development. It is immensely important for young euphoniumists to be familiar with this, as it ensures finger dexterity. Introducing such exercises to the student along with some “one-on-one” guidance will establish a foundation for the development of technique.

In teaching my own students I often will have them perform an exercise as written, and then subsequently execute the exercise using a different articulation or slur grouping (Example 1).

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It is important to make young students think critically about these exercises, so they are not surprised by scalar patterns they will undoubtedly encounter in the band. Finger dexterity, however is only one element of euphonium technique.

Slurring (“on the air stream”) has become increasingly important for all brass players. It is typical to encounter a quick technical passage that incorporates fast fingers, as well as the ability to execute a natural slur in a smooth manner (Example 2).

With proper flexibility studies, euphoniumists can gain control over slurs no matter the tempo or rhythmic pattern. Slurs should be practiced methodically, beginning with a slow tempo. It is important the tempo not be increased until the slur at the current

tempo is well under control, this ensures that the corners of the embouchure stay firm and that the air remains constant. Slur exercises should start simple and become increasingly complex rhythmically and demanding of range (Example 3).

The final technical demand on young euphoniumists is range. At the high school level, a euphonium player should be comfortable from C2 to C5 (given they have a four-valve instrument). Control of range can be accomplished by using the previous exercises in a variety of tessituras—especially the low tessitura!

So often the higher range is stressed more simply because this range appears as a challenge in the repertoire. However, incorporating these same type of exercises as discussed in the lower tessitura will reinforce a stronger embouchure and control of the air stream, while likely at the same not frustrating the young student.

The aforementioned technical demands are quite common, even in easy to intermediate band literature, and should be attained through diligent and methodical practice. However, every young student needs

inspiration and guidance in focusing on the technical requirements of the euphonium, so certainly pointing the student in the direction of well-known soloist and ensemble recordings will certainly help in getting their fingers rolling!

DECEMBER 2014/JANUARY 2015

Steve Darling is an accomplished brass teacher, performer, and composer. He recently was awarded 2nd place in the Solo Euphonium Artist Competition at the 2014 International Tuba Euphonium Conference in Bloomington, Indiana. Currently he is instructing the low brass methods course as applied euphonium and music theory while completing a Masters in Euphonium Performance/Brass Pedagogy at Ohio University. Steve’s teachers have included Marty Erickson and Matt Gaunt (UW-Milwaukee), Timothy Northcut (Cincinnati College-Conservatory of Music), and Jason Smith (Ohio University).

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MUSIC MASTERCLASS -

PERCUSSION Rhythm is Easy, Notation is Complex Roger Braun; Ohio University It is essential for all musicians to have a solid understanding of rhythm and the ability to perform rhythms accurately in time. While rhythm may seem complex at times, there are really just a small number of rhythmic relationships that come up repeatedly in music. If those rhythmic relationships are mastered, then rhythm becomes easy.

Our notation system is the complex part. Rhythms can be notated in many different ways— any note value can be the beat, dots and ties change note durations, and triplets and other “borrowed values” override the expected subdivision. Time signatures don’t even necessarily indicate the true metric feel. (6/8 marches anyone?) Sometimes our very flexible notation system makes rhythm quite difficult and seem like an exercise better suited for a mathematics class!

DUPLE RHYTHM GRID Fortunately, once the notation is understood we see the same few rhythmic relationships occur again and again. To help students understand these fundamental rhythms and provide them with practice material I created a rhythm chart I call the duple rhythm grid (see Fig. 1).

In this chart, column A shows rhythms that students can easily master even at a beginning level.

These rhythms are all the possible combinations of quarter notes and quarter note rests in 4/4 time (except all rests). Believe it or not, these fifteen rhythmic relationships occur in about 80% of the music 58

your students will ever play. They just need to understand how those rhythms appear and sound when they have a different relationship to the pulse.

In columns B and C the same fifteen rhythmic relationships from column A are transferred to the eighth and sixteenth note levels. While they look difTRIAD

ferent and subdivide the beat two or four times, they have the same exact relationship as the rhythms in column A. One caveat is that some of the note durations do differ—in the duple rhythm grid I chose to write the rhythms in columns B and C the way they are most typically encountered.

The chart can be expanded to the left to create longer note values of half and whole notes or to the right to create 1/32nd and 1/64th notes. Combinations of these rhythmic possibilities make up the majority of the music we play, so students need to understand and accurately perform these fifteen rhythms. In essence they are the rhythmic equivalent of playing scales.

There are many ways to use the grid to create exercises that put these rhythms into practice. Clapping, counting, and performing the fifteen rhythms in unison and then in canon is a great way to teach rhythm.

Typically I have students repeat each rhythm four times and then move down to the next number until they complete the full cycle of rhythms in a column.

Once students can successfully do this together I create canons by dividing the students into groups with each starting on a different number, still repeating each rhythm four times and playing the full cycle of rhythms. Students can even compose pieces alone or in groups by combining the rhythms in the grid. I also enjoy using combinations of these rhythms to create movement exercises and practice independence of the four limbs. The possibilities are limitless!

TRIPLE RHYTHM GRID I created another grid that applies to triple subdivisions of a beat. This can be found on my website: (www.rogerbraunpercussion.com/percussion-resources.html). Here, seven rhythms make up all of the possible combinations of quarter notes and quarter rests in 3/4 time. Again, there are three levels to the grid, the grid can be expanded to the left or right, and the rhythms can be re-written to fit different time signatures. Understanding and successfully performing

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these rhythms provides fluency with triple subdivision rhythms that commonly occur in 6/8, 12/8, and triplet passages.

MIXED METER Combining patterns from the two grids creates additional rhythms. When this occurs at the level of the pulse it is called asymmetrical or odd meter. For example, a 5/4 measure can feel like 2/4 plus 3/4 or 3/4 plus 2/4. Combining the duple and triple systems at the subdivided level creates rhythms typically referred to as mixed meter.

SUMMARY When we consider all possible combinations of the fifteen duple grid rhythmic relationships and the seven triple grid rhythmic relationships (including the mixed rhythms that combine duple and triple rhythms) we have about 99% of the rhythmic vocabulary that exists! Yes, all of that from twenty-two rhythms! The remaining rhythms are divisions of the beat into five or seven, but we can even use the grids as a template to create those relationships. By using the two rhythm grids students quickly learn that, while notation can be complex, rhythm is easy.

ENGAGE IN MUSIC MAKING EXCELLENCE AT CLEVELAND STATE UNIVERSITY

For full Music Talent Scholarship consideration, students must audition by March 21, 2015

Undergraduate Degree Programs

BM - Composition - Music Education - Music Therapy - Performance || BA - Music Pop and Rock track option Minor in Music || Music Education Licensure and Music Therapy Equivalency

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MM - Performance - Composition - Music Education - Professional Studies in Music Performance Certificate Program

CSU Department of Music Audition Dates for 2015-2016: January 24, February 21, March 7 (Vocal Only), March 21 (Instrumental & Keyboard Only) For more information please visit www.csuohio.edu/music.

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DEPARTMENT OF MUSIC GO.UDAYTON.EDU/MUSIC/ 937-229-3936

2014 OMEA CONFERENCE Cleveland, Ohio

SESSIONS

CONCERT

Dr. Linda Hartley

University of Dayton Chorale

Applying and Interviewing for Part-time and Full-time College Teaching Positions

Friday, Feb. 6 3:45 p.m.

Friday, Feb. 6 Noon Gender and Ethnicity in Band Conducting: Does Discrimination Still Exist?

Friday, Feb. 6 1:15 p.m.

Dr. Donna Cox Using Music as a Vehicle for Difficult Conversations about Race, Gender and Class Saturday, Feb. 7 1 p.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

2015 AUDITION DATES January 24 | February 14 | February 21

MUSIC MASTERCLASS -

STRINGS Perfecting Practice Techniques

Christian Howes; Yamaha Performing Artist A common complaint of string players and teachers is that they wish they had more time to devote to creative practice, such as learning improvisation, contemporary styles and/or composition. Thankfully, there are advantages to consolidating creative practice with technical practice.

It is possible, for example, to focus on techniques like string crossing, bow control, intonation and double stops while improvising, which also provides the added advantages of developing technique beyond the “given” and limited possibilities of the classical repertoire and providing students with a sense of ownership in the vocabulary they are practicing/creating.

Studying improvisation or jazz provides an entirely new and different skill set, so mastery takes time. For many classical musicians beginning to study jazz or other contemporary styles, the discomfort in feeling like a novice can threaten self-esteem and cause a defensive backlash. Undertaking a discipline that is totally new can ultimately lead to improved musical-

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ity, rhythm, and technique, because it freshens and broadens one’s perspective on playing in general.

When one of my most accomplished jazz violin students plays solos over standard tunes, gaps in his grasp of harmony sometimes hinder his progress, i.e. he has trouble “playing the (chord) changes.” He has no trouble executing melodies on the violin, but it is difficult for him to conceive of the ideas because the harmony eludes him, and so many of his lines clash with the harmony.

To help students develop their skills, they must confront the uncomfortable in the practice room. Every day of practice presents the crucial challenge of practicing effectively. We can make it count by practicing the things that matter!

My mentor and long-time classical violin teacher Michael Davis once told me, “If you sound good, you’re probably not practicing.” Most practice time should be devoted to confronting challenging aspects of playing. Once you sound good and feel comfort-

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able, it is time to move to something else.

To develop a strong grasp of harmony for improvising in many styles, there are several ways you can drill harmony (and once this is internalized, the understanding will remain).

1. Articulate the chords on the violin in various forms (as double stops or arpeggios in all inversions or shapes), being sure to play properly voice-led inversions when the chords fall into progressions.

Playing chords and arpeggios in root position, keeping the harmonic rhythm of the tune, is a good place to start.

2. Play the voice-led chords on the piano (or guitar). You can also play the root/3rd/7th in the left hand on the piano and improvise, rubato, in the right hand.

3. When you listen to music, focus on the harmony. Try to transcribe the harmony in any music you listen to. When in doubt, refer to the bass line for help. If necessary, sing the bass line up an octave to find your starting pitch. Start with simpler songs, like beginners’ pieces, holiday songs, pop tunes, etc.

4. Harmonize melodies to songs in double stops, both as parallel thirds, 4ths, 6ths, 7ths, 2nds, and also as non-parallel harmonies (I like to put the harmony note below the melody).

6. Play 3rds and 7ths of chords in various comping styles. Play root/3rd/7th voicing of chords.

Play voice-led upper extensions of chords. Walk bass lines.

7. Harmonize the melody of a tune using only chord tones.

8. Play 4-note melodic sequences up and down in first position, changing the scale through the chord progression whenever the chord scale changes.

Don’t start on the root of each scale; instead, start wherever you left off from the previous scale.

Christian Howes, a Yamaha Performing Artist, specializes in teaching improvisation, composition, contemporary styles and music technology with orchestra programs in schools across the country through workshops, artist residencies and online curriculum. His web site, www.christianhowes.com, includes more than 200 multimedia instructional resources with thousands of users worldwide.

Music at Malone University

EnsEmblEs University Chorale, Chamber Choir, Chapel Choir, Opera Workshop, Symphonic Band, Marching Band, Jazz Ensemble, Piano Ensemble, Flute Ensemble, Percussion Ensemble, Electro-Acoustic Ensemble DEGREEs B.S. in Music Education, B.A. in Music, B.A. in Music Production, B.A. in Music Ministry, Certificate in Piano or Voice Pedagogy AUDITION DATES Saturday, December 13, 2014 Monday, January 19, 2015 Monday, February 16, 2015 (Discover Day) Saturday, March 14, 2015 Canton, Ohio | 330.471.8231 | www.malone.edu/music

DECEMBER 2014/JANUARY 2015

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MUSIC MASTERCLASS -

WOODWINDS Developing Successful Habits for Beginning Bassoonists

Joe Hesseman; Wittenberg University We all know how invaluable a good reed, bocal and instrument in good repair are to any bassoonist, but what else does a beginner need to be successful? I will outline briefly in this article a number of other strategies and techniques a music educator can facilitate to ensure a young bassoonist obtains an effective foundation.

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The use of a seat strap with the bassoon is the best device to support the instrument. It is adjusted so the reed enters directly into the student’s mouth with the head perpendicular to the floor. If the bassoonist must tilt their head up or down to reach the reed, the seat strap is in the improper position and requires correction either higher or lower. Rule number one—the bassoon goes to the player, not the player to the bassoon.

Once the seat strap is adjusted, the teacher should check the student’s left hand and playing position of the bassoon. The weight of the instrument is balanced at the base of the left index finger and not the middle joint. The student should not lean forward with the bassoon—a common fault with young bassoonists and even seasoned professionals. This deviation puts excess weight on the left index finger and can hinder finger technique. All fingers of the left hand remain relaxed with a slight natural curve and the fleshy part of the fingertips covering the open tone holes. The little finger of the left hand touches the E-flat key and the left thumb comfortably reaches the whisper key without pressing down the low D key.

The right hand position is also critical to good bassoon performance. The fingers need a relaxed, natural curved position with the fleshy part of the right index finger and middle finger covering the open tone holes, the ring finger touching the G key, and the little finger touching the F key. Teachers should check the right hand of beginning bassoonists and ensure they are not placing their little finger underneath the F key and usTRIAD

ing it to stabilize the bassoon. Another common problem for beginning bassoonists is improper placement of the right thumb. The right thumb should touch the B-flat key or low E key. Unfortunately, many beginners

DECEMBER 2014/JANUARY 2015

place their thumb above the B-flat key, against the body of the bassoon, to balance the instrument. Once established, this habit sometimes takes years to break and seriously hinders the student’s technical prowess.

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There are varying opinions among professional bassoonists concerning the use of a hand rest. I feel that some student benefit from the use of this apparatus. Beginners need the hand rest adjusted so the right hand fingers comfortably reach the keys and tone holes of the boot joint. It is also imperative (whether the student utilizes the hand rest or not) that the right thumb and index finger maintains a U-shape and has a wrist that is flat and gently curved—not a wrist at a harsh right angle to the bassoon.

The recommended embouchure I use is the soft cushion embouchure. Students place their lips over the teeth and cushion their lips around the bassoon reed.

Because of physical variations within lip structures, I adjust the amount of lower lip over the teeth by the student’s bassoon tone: too much lower lip over the teeth will dampen the sound, too little will make the sound unfocused and uncontrolled. Students should place at least half the reed in their mouth using the syllable “AH” for throat and jaw placement. Again, due to different teeth and facial structures, a student may take in more than half the reed and be closer to the first wire— especially with a pronounced overbite. I do not have bassoonists force their lower jaw back since most individuals already have a slight overbite; this also defeats the purpose of a relaxed, cushioned embouchure.

A great embouchure and throat position check for beginning bassoonists once they learn a one octave F major scale from f (fourth line bass clef) to great F (space below bass clef), is to tongue each note in the scale without the whisper key. If the student consistently cracks notes or is unable to produce a controlled sound, their throat position is incorrect and embouchure probably tense from biting the reed instead of having a drawstring effect around the bassoon reed.

The late, great bassoonist and teacher Sol Schoenbach used this exercise on a regular basis to rectify improper throat and embouchure placements…and it has always worked for all of my bassoonists.

As a music educator, your observations and simple corrections are invaluable to the young bassoonist.

While some of the issues concerning the bassoon may seem daunting and confusing at times to the beginning bassoonist, applying some of the pedagogical strategies mentioned above will help your students hone their skills and achieve musical success in the classroom.

Mr. Joseph Hesseman has over 30 years of experience performing in professional orchestras and bands and instructing bassoonists of all ages. Along with fellow faculty member Lisa Grove, Mr. Hesseman hosts the annual Midwest Oboe and Bassoon Camp at Wittenberg University where he is Adjunct Instructor of Bassoon; a position he has held since 1997.

Author’s note: Special thanks to demo assistant Eric Barga, a former bassoon student who is now a sophomore bassoon major at the New England Conservatory of Music.

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BALDWIN WALLACE UNIVERSITY

CONSERVATORY OF MUSIC Dynamic direction emboldens Conservatory ensembles . . .

Brendan Caldwell

Director of Wind Ensembles

Octavio Mรกs-Arocas

Director of Orchestral Studies

Dirk Garner

Director of Choral Studies and Bach Festival

David Pepin

Music Director for BW Music Theatre

2015 Audition Dates Saturday, January 31 Instrumental, Keyboard and Voice

Application deadline for the Conservatory is January 15.

Degree offerings BM: performance, therapy, composition, theory, history & literature, music theatre; BME: music education; BA: arts management and entrepreneurship. music@bw.edu 440-826-2368 866-BW-MUSIC www.bw.edu/conservatory

Saturday, February 14 Music Theatre Saturday, February 21 Instrumental, Keyboard, Music Theatre and Voice Saturday, February 28 Music Theatre and Voice Music theatre only must upload video prescreen at GETACCEPTD.COM/BWMUSIC. For instrumentalists only, you may upload video recordings at DIGITALAUDITION.BW.EDU.

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.

ADJUDICATED EVENTS Adjudicated Events Update

Scott Eversdyke; Adjudicated Events Chair A huge thank you goes out to J.D. Latorre and Stephanie Smith for another great season of marching band Adjudicated Events! Remember that applications to host a 2015 event are due the first week in January.

Contact J.D. Latorre, Marching Band Affairs Chair for more information about hosting a local event.

ADJUDICATED EVENTS REGISTRATION Please register early for all adjudicated events to avoid potential last minute issues. Late registrations will NOT be accepted. If you are having problems, contact me or Greg Taylor, the OMEA Technology Director, before the registration deadline.

RULEBOOK Get rid of your old rulebooks. The rulebook has been revised. The rulebook that is on the portal is the only correct rulebook. Check out the new searchable feature!

STRING SCALE REQUIREMENTS The updated String Scale requirements for solo and ensemble events is available online in the revised rulebook. There are changes in both scale and octave requirements.

AWARDS AND MATERIALS Medals and pins are now $4.00. The address for materials and awards is: Dane Newlove PO Box 608 Saint Marys, OH 45885 68

SOLO AND ENSEMBLE ROLLING REVISION UPDATE The lists for woodwind and vocal solos will be updated for 2015 solo & ensemble events. Please remember to download the new lists from the website.

The rolling revision is an ongoing process.

Timeline for Future Events Event Woodwind Solos, Vocal Solos Percussion, Brass and String Solos Brass Ensembles, Vocal Ensembles, and Piano Solos

Takes Effect: Winter 2015 Winter 2016 Winter 2017

CHANGE OF DISTRICT AND REGION FOR LARGE GROUP EVENTS DIRECTIONS All requests to perform out of District for 2015 Large Group Events need to be made through the portal. Log onto the portal; choose “Large Group� from the online registration menu; select the appropriate event. Do this 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.

You will receive an email confirming your request.

This is only a confirmation of the request, not approval.

Within a few weeks, you will receive an email approving your assignment. This email will automatically be sent to the appropriate event chair. You will still need TRIAD

to register for the specific site like everyone else.

Again, please make sure that you complete one form for each ensemble that you are registering.

There is NO option to perform out of District for Solo and Ensemble Events.

LARGE GROUP REQUIRED LIST EXPANSION The Large Group Required Lists have been expanded. Each high school band and choir required list will have 18 pieces. Twelve pieces will be listed as new and returning. They will function as they have in the past. Six pieces will be listed as standard repertoire that will stay on the list for much longer periods of time. The lists are available on the OMEA website.

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 that you can send it to the event chair and receive your school’s schedule as soon as possible. Your schedule will not be sent to you until your fees have been received.

DIRECTOR’S REPORT ON ADJUDICATORS Please take the time to fill out the Director’s Report on Adjudicators after every event. They are so valuable to the entire adjudication process. Those reports are used to be proactive in improving the adjudication process. This year, make it a goal to fill out those reports and send them in. This process will hopefully become an online survey in the future.

AE SESSIONS AT THE 2015 OMEA PD CONFERENCE There will be many sessions offered by the AE Committee at the 2015 OMEA Professional Development Conference in Cleveland. 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 2015 adjudicated events. There will be sessions for the new teacher, adjudicators, directors, and site chairs. The adjudicator sessions at the conference will focus on adjudicator standards for ratings at both large group and solo & ensemble. Check the conference schedule for specific times and locations.

Bachelor of Arts in Music Bachelor of Arts in Music Education

www.muskingum.edu/dept/music www.youtube.com/MuskingumMusic www.facebook.com/MuskingumMusic

Scholarships available to majors and non-majors 2015 Audition Days: January 17 & February 25

Ensembles

Concert Choir Chamber Singers Music Theatre Choral Society Wind Ensemble Jazz Ensemble Marching Band Muskingum Valley Symphonic Winds Southeastern Ohio Symphony Orchestra

For More Information: 740.826.8095 or music@muskingum.edu

DECEMBER 2014/JANUARY 2015

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ADJUDICATED EVENTS Guitar Solo Adjudication for Ohio Gayley Hautzenroeder, AE Committee Instrumental Advisor OMEA’s Adjudicated Event Committee continues to evolve and work with the music education happening in our state. We listen and try to address our music educators’ ideas and needs. Many of Ohio’s music teachers are teaching Guitar Classes and enthusiastically endorse the addition of Classical and Pick Style Guitar Solo Events. Joining many states in NAfME, the members of the OMEA Guitar Committee and Adjudicated Events Committee have worked for three years to make Guitar Solo AE a reality for Ohio’s high school guitar students.

It’s been my pleasure to work with many wonderful folks who gave of their time, expertise and talents for Classical Guitar and Pick-Style Guitar. I would like to especially thank Jim McCutcheon, Lee Ann Kinner, Lewis Charles, Clare Callahan, Rod Stuckey, Aaron Jackson, Tyler Shepard, Karl Wohlwend, Donald Broerman, Brett Baker, and Bill Gorrell, who have met and worked with me to develop Solo Lists and rules that are usable in both the guitar classrooms and studios.

We are at the “Pilot Stage” for yet another year.

Due to the many weather cancellations this past winter, we were only able to gather data from one pilot site. This school year we will expand to three pilot sites. These sites will be the High School Solo-Ensemble Events held in Districts 9, 12, and 14. The goal is to offer Guitar Solos for EVERY district in Ohio for the 2015–2016 school year. We are also developing a pool of Guitar Adjudicators. If you are interested in 70

adjudicating guitar solos, please contact: Max Trier <adjudications_coordinator@omea-ohio.org> or Bill Guegold <adjudications_director@omea-ohio.org> With many thanks to the AE and Guitar Committees, and Past AE Chair Bill Thomas, the Rules for High School S & E now encompass rules for Guitar Adjudicated Events, including the scale requirements, accompaniments, and amplification. These are available on the OMEA website. A wonderful list of Solos has been developed for high school students. Jim McCutcheon, Lewis Charles, and Lee Ann Kinner made sure there are pieces on the lists which will fit the various levels of students who participate in guitar classes.

Greg Taylor has incorporated the list with the rest of the Solo-Ensemble Lists online as well. I encourage you to take a look at these lists to see what pieces fit your curriculum and student levels. You can find the Classical and Pick Style Solos listed from the numbers: 1011634–1011690 (Classical Solos) 1011691–1011724 (Pick-Style Solos) We hope you will find the lists helpful, and inspiring to students for participation in the Guitar Adjudicated Events.

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Scholarships BA/BS music programs allow double majors with most other programs.

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For more information about scholarships, or to complete an audition form, see our website at www.heidelberg.edu/music.

Recital performance opportunities for everyone, not just performance majors.

Music majors have no added costs for lessons: save thousands of dollars!

No ensemble scheduling conflicts; easily participate in multiple experiences.

Audition Dates Monday, Jan. 19, 2015 Saturday, Jan. 24, 2015 Monday, Feb. 16, 2015

Saturday, Feb. 21, 2015 Saturday, Mar. 28, 2015 or by appointment

* Your audition at Heidelberg will include three parts: performance of music you have prepared (you may audition in more than one performance area,) interview with faculty, and an assessment of musical background.

Heidelberg School of Music & Theatre 310 E. Market St. | Tiffin, OH 44883 www.heidelberg.edu

Dr. John Owen jowen@heidelberg.edu 419.448.2085

WHAT IS YOUR CONTRIBUTION TO MUSIC EDUCATION? Did you know that the Ohio Music Education Association produces a well-regarded research journal? That’s right – Contributions to Music Education is a standard publication in the research literature, and has been so for 40+ years. Since 1972, numerous music educators, from graduate student to classroom teacher to college professor to prolific researcher have presented their work in the pages of CME, and to the wider national and international profession. CME is available in print and electronic format in nearly all 50-states, and dozens of countries abroad.

More importantly, this is work directly connected to means of improving music teaching and learning. You are considering questions of how to better your own practice everyday, so why not get a little help? Let those who have done the work already assist in making your classroom a better place for students to experience the power and joy of making music. Recent topics include urban and suburban music programs, teacher professional identities, listening in music rooms, sight-singing attitudes and influences, early childhood music education, programming policies, historical traditions, practices in band rooms, beginning instruction, instrumental and choral programs, intrinsic and extrinsic motivation, and many, many more.

Now is your opportunity to support OMEA and CME by becoming a subscriber to this important publication. Consider joining today, and for a minimal contribution, you can add to your library of resources to increase your own expertise. Those who subscribe and mention Staccato or TRIAD, will receive 5 back copies to add to their professional development collection (please contact the editor at <cresta@kent.edu> once you’ve completed your subscription). For further information and subscription details, please visit our fabulous new website: <www.contributions.omea-ohio.org>.

We look forward to hearing from you!

HIGHER EDUCATION NEWS UNIVERSITY OF AKRON SCHOOL OF MUSIC The University of Akron School of Music faculty continue to stay busy with professional development.

Dr. Bryan Nichols, Assistant Professor of Choral Music Education, traveled to Toronto, Canada and presented a session at a meeting of AIRS: Advanced Interdisciplinary Research in Singing. Dr. Ann Usher, Director of the School of Music, directed the OMEA All-State Children’s Choir at the 2014 General Music Professional Day on October 18. She will also present a session entitled “Creating Artistry in Young Voices” at the OMEA Professional Conference. Dr. Galen Karriker, Director of Bands, will present a session entitled “Refining the Conductor’s Tool Box: What Are Your Gestures Really Communicating?”

On December 6, the University Bands hosted the 2014 Ohio Band Director’s Conference with guest composer Dr. Ralph Hultgren of Queensland Conservatorium Griffith University, Queensland, Australia and guest conductor Loras John Schissel, conductor of the Blossom Festival Band.

The University of Akron’s 35th Tuba Christmas will take place on December 20, 2014 at 12:00 p.m. in E.J. Thomas Performing Arts Hall. Contact Tucker Jolly at (330) 923-9586 or <trjolly@uakron.edu> for additional information.

On January 23, Akron will host the 10th Annual Invitational Vocal-Choral Festival. This 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. Marie Bucoy-Calavan, Dr. Bryan Nichols, and Dr. Ann Usher. E-mail Dr. Lashbrook at <lashbro@uakron.edu> for additional information.

The University of Akron High School Band Clinic will be held Wednesday, February 18 at E.J. Thomas Performing Arts Hall. The event will feature guest conductor and clinician Dr. Franck Tracz, Director of 73

Bands at Kansas State University, and master classes with faculty applied instructors. For information, contact Dr. Galen Karriker at <www.uakron.edu/bands>.

ASHLAND UNIVERSITY Dr. Marla Butke, Associate Professor of Music, presented Dalcroze Eurhythmics Workshops at the College of Wooster and Cedarville University in September. Dr. Butke, Master Teaching Artist for the American Eurhythmics Society, will be presenting eurhythmics workshops at the Florida and the Ohio Music Education Association Conferences, University of Hawaii, Xavier University, and for the Medina, Lima, and Berea School Districts in the upcoming months.

BLUFFTON UNIVERSITY Dr. Roy Couch, assistant professor of music at Bluffton, is among the five conductors of the OPCICA Honors Concert Band Jan. 24 and 25 at Malone University.

Couch, who conducts the Bluffton Concert Band, will be on the baton for the first time at the OPCICA Honors Festival closing concert. He came to Bluffton last year as a visiting assistant professor after five years at Cameron University in Lawton, Okla.

Couch said he’s looking forward to working with the honors band and the challenge of limited rehearsals, calling it a professional development opportunity.

“I’m honored I’m able to do this and to represent Bluffton on a statewide stage,” he said.

The conductor’s degrees are in tuba performance, including a doctorate from the University of North Texas. His bachelor’s and master’s degrees are from Kent State University and the University of Akron, respectively. He has been principal tuba in the Allen (Texas) Philharmonic Symphony Orchestra and the Firelands Symphony Orchestra in Sandusky, Ohio.

Dr. Mark J. Suderman, professor of music, will conduct the University Chorale, the Bluffton Choral Society, and a community chamber orchestra in Bluffton’s annual Masterworks Concert on Sunday, Feb. 22, in Yoder Recital Hall.

Also on the program will be performances by high school senior finalists competing for Bluffton music scholarships in the Performing Scholar Competition. The renewable scholarships range in value up 74

to $20,000 per year. Participants are chosen by Bluffton music faculty on the basis of auditions, which include interviews with faculty members.

Suderman, who has been at Bluffton since 2000, also conducts the university’s annual performance of Messiah and is now in his second year as conductor of the Lima Symphony Orchestra Chorus.

BALDWIN WALLACE CONSERVATORY OF MUSIC Baldwin Wallace Conservatory of Music 2015 summer music programs include: String Camp, Piano Camp, Band Camp and Music Theatre Camp for students in grades 4–9 during June. CSI: Conservatory Summer Intensive invites high school students to explore careers in music while investigating college music study July 12–25. Music Theatre Overtures provides juniors 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 January or February auditions should have their materials submitted by January 5. BW is very proud to welcome new tenure-track faculty members: Brendan Caldwell, Director of Wind Ensembles and former director of bands at University of Wisconsin; Octavio Más-Arocas, Director of Orchestral Studies and former orchestra conductor at Lawrence Conservatory and Interlochen Arts Academy; acclaimed mezzo-soprano Nancy Maultsby, Associate Professor of Voice and active performer including engagements with the world’s top operas and orchestras including a performance with The Cleveland Orchestra this season; and Broadway music director David Pepin, Music Director of BW’s music theatre program whose Broadway credits include Kinky Boots, Wicked, Bring It On and Rent.

Also joining BW in one-year appointments are voice professor Gregory Harrell and music education professors Jordan Saul and Gina Yi. In a fourth year of collaboration, BW music theatre and the Beck Center will present the regional premiere of Dogfight February 6–March 15 at the Beck Center. BW’s main-stage opera is Mozart’s La finta giardiniera February 26–March 1 at the Kleist Center.

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BACHELOR OF MUSIC American Music (jazz studies emphasis)

Composition Keyboard Pedagogy BACHELOR OF ARTS Music

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UNDERGRADUATE Creative minds find their homes at the Conservatory of Music at Capital. Choose more than a dozen music majors with opportunities to perform with more than 40 ensembles.

SCHEDULE YOUR AUDITION Visit www.capital.edu/conservatory-admission. Review the audition requirements, complete the application and select a date for your audition. Can’t make it to campus? No worries, we offer an online audition option just for you!

UNDERGRADUATE AUDITION DATES: Saturday, January 31 (No clarinet, trombone or euphonium) Tuesday, February 10 (percussion only) Monday, February 16 Saturday, March 7 (No percussion) Saturday, March 14 (No percussion or horn) Wednesday, March 18 (Evening only for brass)

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SIGN UP FOR GRADUATE SUMMER PROGRAMS 2015: SUMMER SESSION I: June 22 – July 10 SUMMER SESSION II: July 13 – 24 (Instrumental and Jazz) SUMMER SESSION II: July 13 – 24 (Kodály) COMPLETE BAND DIRECTOR WORKSHOP: June 9 – 12

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(Kodály certification and non-degree programs also available)

The 83rd Bach Festival will be April 17–19 under the leadership of new BW Bach Festival Artistic Director Dirk Garner, BW’s Director of Choral Studies.

COLUMBUS STATE COMMUNITY COLLEGE Columbus State presented a piano recital by guest artist Everett N. Jones of Cincinnati State Technical and Community College. Dr. Jones performed the music of Hungarian Franz Liszt, African-English composer Samuel Coleridge Taylor, and African-American William Grant Still. Dr. Jones was the piano soloist with the Columbus State Concert Band in March 2012 and gave a recital of African-American piano music on campus in February 2011.

Columbus State Concert Band, under the direction of Thomas Lloyd, performed their Fall Concert October 28 featuring music inspired by Lincoln, including the 1909 “Abe Lincoln Centennial March.”

Lincoln Presenter Robert Brugler was guest artist. The Spring Concert, April 14, will be a Sousa Salute commemorating the Sousa Band concerts in Columbus in April 1915. Soloists include soprano Elizabeth Scinto and trumpeter Dan King.

Rocco Di Pietro hosted a concert on campus of his own composition and works by David Tomasacci and Yuri Bortz. All three are adjunct faculty members at Columbus State. Di Pietro’s music was also heard at Weigel Hall earlier in November. Featured were “Taubes,” “Post Cards,” “Qi Gong Frames,” and “Odalisques.”

Chorus Columbus State, directed by Gordon Franklin, continued its series of concerts at the Columbus Museum of Art in November with “Bach and Beyond.”

CASE WESTERN RESERVE UNIVERSITY Dr. Gary Ciepluch led the Cleveland Youth Wind Symphonies in the opening performance of their 26th season at Severance Hall on November 2. Concert Winds, Group II, collaborated with the Cleveland Winds at Cleveland State University on November 16.

In February, Group I will perform at the OMEA State Conference for the 8th time.

The University Circle Wind Ensemble premiered a new work by Kevin Krumenauer at their Fall Concert on November 16 in Harkness Chapel. Symphonic Winds concluded the semester with their 26th Annual DECEMBER 2014/JANUARY 2015

Pops concert on December 5 and 6 in the CWRU Thwing Ballroom.

On December 12, Dr. Ciepluch served as guest conductor for the Oconomowoc, WI High School Bands. He has been invited to conduct the Tri-County Honors Band in Wooster in February 2015.

The 12th Annual Northeast Ohio Band Invitational will take place in Severance Hall on January 25, 2015 and will feature High School Bands from Solon, Norton, Perry and Port Clinton.

Dr. Nathan Kruse and Dr. Matthew Garrett will present a session, “Developing Creativity in Secondary Music Classrooms: Critical Thinking as Process and Product,” at the Florida Music Education Association All-State and Clinic-Conference in January 2015.

Dr. Garrett will continue to focus on developing critical thinking skills in music learning environments as a featured clinician for the 2015 Wyoming Music Educators Association Conference in Sheridan, WY. His sessions will speak to applicability of critical thinking skills in choral, instrumental and general music classrooms at primary- and secondary-school levels.

UNIVERSITY OF DAYTON Dr. Donna Cox presented an Institute at the National Conference on Race and Ethnicity on the use of the gospel choir as a diversity tool. She also presented sessions at the ISME World Conference in Porto Alegre, Brazil on Art Songs by Contemporary African American Composers and Gospel Music Performance Practices.

Dr. Susan Gardstrom, Coordinator of Music Therapy, is this year’s recipient of the Association of Ohio Music Therapists Past Presidents Club Award.

This award honors an AOMT member who has made significant contributions in music therapy research, education, advocacy, and service on the state level.

The Dr. Robert Jones article “Mentoring: Assuring That Our Present Will Have A Future,” appeared in the spring issue of Resound, an ACDA Central Division publication.

Dr. Heather MacLachlan’s article about the repertoire performed by GALA choruses was recently published in the Journal of American Culture. This fall she presented papers at Cornell University’s Burma/Myanmar Research Forum and at the Society for Ethnomu77

sicology Annual Conference held in Pittsburgh.

Artist-in-Residence Jim McCutcheon presented a lecture on “The Physics of the Guitar” for the Victoria Theater Association in June.

Dr. Linda J. Snyder, professor emerita, has been elected President-Elect of the National Association of Teachers of Singing, a professional organization of 7300 members. She continues to direct the Dayton Celebration Chorus, to perform (Dayton Opera Chorus and Human Race Theatre), and to guest lecture and adjudicate.

Four UD students were chosen to participate in the Repertoire Chorus at the 2014 ACDA Central Division Professional Conference in Cincinnati.

In September, the UD Department of Music sponsored String Day 2014, featuring performances and masterclasses by UD string faculty, with a guest masterclass presented by violinist Chad Hoopes.

The Pride of Dayton Marching Band hosted 27 bands from eight states at the Bands of America Dayton Regional in September. The Pride of Dayton, under the direction of Dr. Jeff Lehman, performed in exhibition.

THE OHIO STATE UNIVERSITY SCHOOL OF MUSIC The School of Music now accepts applications via ® the web-based network Acceptd , with the deadline January 30 or two weeks prior to the chosen audition date, whichever comes first. Students select their dates during the application process. Audition dates are December 10, January 16, 24, and February 14. Prospective music majors must apply to both the university and the School of Music. Junior Visit Day is scheduled for April 10. Visit music.osu.edu.

Autumn semester featured faculty performances

by Kia-Hui Tan, violin, who presented the final recital in her series devoted to the music of Bach, Paganini and Ysaÿe; Katherine Borst Jones, flute and Caroline Hartig, clarinet, dedicated a recital to Professor Emeritus Donald E. McGinnis; Scott McCoy, tenor, presented Schubert’s Winterreise; and James Hill, saxophone with Tom Wells, piano, premiered Norman’s Garden of Follies.

In partnership with the Advanced Computing Center for the Arts and Design, the school hosted Marty O’Donnell, composer of the highly praised 78

scores for the Halo and Destiny video games. The Vocal Arts Showcase featured a full day workshop for high school choirs led by Kristina Caswell MacMullen, Robert Ward, and guest clinician Ryan Beeken, Indiana University of Pennsylvania. A two-day residency with composer John Mackey culminated with a performance of his work Wine-Dark Sea: Symphony for Band by the Wind Symphony, Russel Mikkelson, conductor. Ohio State’s Clarinet Spectacular, Caroline Hartig, director, hosted the International Clarinet Association Mid-America Conference, featuring legendary artist and Ohio State alumnus Richard Stoltzman.

Christina Pelletier-Blazakis has been appointed to a newly created position as senior lecturer and coordinator of Student Teacher Preparation and Assessment. Pelletier-Blazakis teaches the student teacher seminar and general music classes to pre-service special education and elementary teachers and is liaison to the College of Education and Human Ecology and manages student professional standing, field experience placements, and assessments.

WRIGHT STATE UNIVERSITY SCHOOL OF MUSIC The WSU Trombone Ensemble performed and WSU trombone instructor Dr. Gretchen McNamara presented a clinic on music memorization at the Midwest Trombone and Euphonium Conference at Eastern Illinois University this past October. McNamara will present a trombone pedagogy clinic at OMEA this February: “Tips and Tricks for Teaching Trombone: Sound, Slurring, and the Slide.” Also in February, Dr. McNamara will be directing the OMEA District 14 Middle School Jazz Ensemble.

This fall WSU French horn instructor Jonas Thoms performed with the Dayton Philharmonic Orchestra, Springfield Symphony Orchestra, Kentucky Symphony Orchestra, and Cincinnati Chamber Orchestra Brass Quintet. Thoms also taught a master class at Ball State University in October.

Thoms and McNamara will be hosting the WSU Horn and Trombone Festival on Monday, January 19, 2015. The day-long event includes workshops with guest artists and WSU faculty, recitals, and a solo performance competition. For more information visit www.wright.edu/music/festivals.

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WSU Saxophone professor and Assistant Director of Bands Dr. Shelley Jagow was in California this fall to present workshops for J.W. Pepper and was a featured band and saxophone clinician in Quebec. In the coming months, Jagow will serve as the High School Honor Band Conductor for Louisiana District VII and Ohio District XI. In February, Dr. Jagow will present a clinic at OMEA with Lakota West HS Band.

John Kurokawa, WSU instructor of clarinet and principal clarinetist with the Dayton Philharmonic, and the Prestige Clarinet Quartet will be presenting their clinic “Clarinets BIG and small—How to Utilize them ALL!” at the Midwest Band and Orchestra Clinic Friday, December 19th.

This summer WSU oboe instructor Kathy DeGruchy and bassoon instructor Bill Jobert look forward to teaching alongside the great teachers and performers of the Double or Nothing Reed Company at double reed camp at WSU July 13–17. For more information: doubleornothingoboeandbassooncamp.com.

Department of Music

DECEMBER 2014/JANUARY 2015

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OMEA GENERAL MUSIC General Music: Focusing on Alignment Suzanne Walters; OMEA General Music Chair In my article that appeared in the October/November issue, I created a brief list of suggestions to help establish focus for greater student achievement. The first suggestion that was made was to begin with an open and honest conversation with district colleagues, which could enable the creation of a list of skills that students will need upon entrance to the programming

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at the next level. This article details the process that my district undertook to become aligned across four elementary buildings that feed into one middle school.

The five elementary teachers sat down with the middle school band and choir directors and asked them to list the skills which they would like the students to possess upon entering the sixth grade music

TRIAD

programs. The list is short: 1) students should be able to read notes on the treble staff to one ledger line above and below the staff; 2) students should be able to read and count rhythms using numbers in 2/4, 3/4, and 4/4; 3) students should be able to sing a major scale using solfège syllables and Kodály hand signs; and 4) students should know basic vocabulary, such as tempo, dynamics, and time signature.

Our collaborative response to that meeting was to generate a skills chart (Fig. 1) in which we listed the skills required at the end of fifth grade, followed by those skills necessary by the end of fourth grade, and so on. This chart is aligned with the music standards for the state of Ohio, was used as the basis for creating assessments for the SLO, and is used as the guide for lesson planning and assessing throughout the year.

An integral component to a fully aligned approach to teaching students across a large district is to come to philosophical agreement among the department members, particularly regarding common vocabulary

and common practices, such as writing counts or measure numbers. It is the most beneficial to students that all teachers use the same system or practice for concepts rather than expecting the kids to adapt to various labels and practices depending upon the teacher. Healthy and professional conversations will be necessary for departmental colleagues to come to agreement upon such issues, always keeping in mind the best interests of the students.

If I can ever be of assistance in such endeavors, please do not hesitate to contact me. Best wishes for successful alignment and productive conversations with colleagues, and enjoy the upcoming holiday performance season!

Suzanne Walters teaches Elementary General Music in the Jackson Local Schools in Massillon, Ohio. She is the Elementary Repertoire and Standards Chair for the Ohio Choral Directors Association, and the Assistant Director of Children’s Choruses for The Cleveland Orchestra. She lives in North Canton with her husband and three children.

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ACDA: A Cure for the Winter Blahs!

Dara A. Gillis; OCDA President As we look toward the winter months and the glow of summer has faded, itâ&#x20AC;&#x2122;s easy to get mired in the hubbub of the holiday season and to dread the darkness of the cold months to come. It is the time of year when many struggle to be creative and motivated. The day-to-day becomes mundane and the rejuvenation of spring is so very far off. Of course, there is no magic cure for this situation; however, I can suggest that ACDA/OCDA has items to offer that may give the needed pick-me-up and certainly much to look forward to in the months to come. However, as president of our state organization, I am aware that many choral directors throughout Ohio are not yet members of ACDA or have allowed their membership to lapse. I hope that the information below will encourage you to change your mind and join us. I have made the statement again and again and I con-

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tinue to stand by it: ACDA/OCDA truly has something for everyone!

In addition to our upcoming reading sessions at OMEA conference in Cleveland for elementary choirs, middle school and junior high choirs, as well as high school and university choirs (open to all regardless of membership in ACDA), our organization has a wealth of materials and information available to its members which may assist with beating the winter blahs. Membership in ACDA carries benefits such as access to all national publications including the Choral Journal, which contains music and book reviews, educational articles for choral musicians at all levels and much more. ChoralNet offers access to online forums that include job postings, discussion threads on auditioning and recruiting singers, and even rehearsal strategies and warm-up techniques.

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ACDA radio, a station broadcast live from the ACDA national office features stunning choral literature to motivate even the most worn-out choral musician and is available to members by simply logging on and clicking play.

Of course I would be remiss if I did not mention the incredible conference opportunities that accompany membership in ACDA. February 25–28, ACDA will hold its National Conference in beautiful Salt Lake City, Utah. I attended my first ACDA National Conference only two years ago in Dallas, and I can honestly say that it is a mind-blowing experience. This year’s conference will feature performances by the Mormon Tabernacle Choir, The Estonian Philharmonic Chamber Choir, The Real Group, the King’s Singers, Anuna and many more. Attendees will have opportunities to take workshops from world-renowned conductors such as Helmut Rilling, John Nelson and Simon Halsey. The list of opportunities is endless and I would encourage any choral conductor to consider attending this conference. To see a video description of the conference, visit acda.org today.

Obviously, I realize that travel to Salt Lake City may not be possible for all. No worries! Ohio is fortu-

DECEMBER 2014/JANUARY 2015

nate to have one of the finest and most exciting state conferences of any in the nation. This year, our conference will once again be held on the campus of beautiful Otterbein University from June 22–24, 2015.

Save the date! Our 2015 summer conference boasts learning opportunities for all choral educators from the elementary to the collegiate level, from church to community choruses. In addition to our ever popular Children’s Honor Choir, this year under the direction of Christine Jordanoff we will host clinicians including renowned composer Howard Helvey, National R&S Chair Amy Johnston-Blosser, Dr. Kristina MacMullen of The Ohio State University and our very important guest from across the pond, Simon Carrington, founding member of the King’s Singers and internationally sought conductor and clinician.

I will be honest—sharing these exciting opportunities does much to bolster my outlook for the coming months. I would be honored to share these experiences with my colleagues throughout the state.

Although ACDA has recently completed its second Sing Up! Membership Drive, it is not too late for you to take advantage of all we have to offer. Join us, won’t you?

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OCMEA Report Stephen Lytle, OCMEA State Advisor Hello all collegiate members, and welcome back for what I hope is already shaping up to be a terrific semester for all of you. If you are a brand new music education major then congratulations! You’re finally getting the opportunity to follow your passion for music full-time and learn more about how to effectively share that love with others.

My name is Stephen Lytle and I am your newly appointed state advisor for the Ohio Collegiate Music Education Association (OCMEA). I serve on the faculty of Miami University where I am the Associate Director of Bands. I look forward to meeting many of you in the coming months and hearing about the great things going on with your chapters. First of all, we owe our deepest thanks and congratulations to my predecessor, Marshall Kimball from Marietta College. Marshall’s guidance and leadership have been a tremendous influence on this organization and has helped promote the status of the collegiate caucus in OMEA and NAfME. My personal thanks go to Marshall as well for the help he has provided me in this transition.

Let me introduce to you your state officers for OCMEA: President, John Barrett (Miami), President-Elect, Patrick Specht (Marietta) Treasurer, Alexander Looney (Akron) Secretary, Chelsea Hillard (Kent), Triad Editor, Michael Reese (Marietta). This terrific team began work in earnest this summer and has already produced a fantastic Fall Conference, held Saturday, September 27 at Whetstone High School and hosted by band director, Josh Reynolds. The full DECEMBER 2014/JANUARY 2015

day of clinic sessions featured highly engaging speakers on a variety of topics including general music, getting (and keeping) a job in today’s market, and building a music technology program from scratch, among others. Our biggest thanks to our presenters, Kay Edwards, Michelle Muro, Will Kuhn, Chris Shaffer, and Rachel Fleischaker. Make no mistake: this was no “junior” conference, but a first-rate event that any professional would have enjoyed attending.

Please do make plans to attend next year.

Looking forward to the Winter Conference, we are very pleased to offer OCMEA members a high number of sessions dedicated to collegiate members. There are a variety of sessions tailored to topics that are of special interest to the pre- and young professional track, including making the transition from college to professional life, interviewing skills, preparing for student teaching, repertoire selection, and classroom management. Additionally, we are very excited to have George Edge, former director of bands at Grove City High School, be our keynote speaker at the conference. Mr. Edge’s very successful career as a public school teacher is an inspiration to all of us, regardless of age, and we all look forward to hearing about the lessons he has learned over three decades in music education.

All of us have dreams for our careers and ourselves and it is never too early to become engaged in the larger picture. I encourage all of you to connect with one another across the state and begin to build your network of colleagues. A great way to do this is by liking our Facebook page at facebook.com/OCMEA and following us on Twitter @OCMEA_Music. Another great way to do this is by serving as an officer either in your local chapter and/or at the state level. In the coming months you’ll hear about ways to do this.

Help strengthen and grow OCMEA by lending us YOUR talents and energy and make some terrific friends along the way.

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PROFESSIONAL DEVELOPMENT & ASSESSMENT Workshops, Continuing Education,Camps, and More for Teachers & Students ASHLAND UNIVERSITY DEPARTMENT OF MUSIC & AMERICAN EURHYTHMICS SOCIETY Eurhythmics Workshop for the General Music and Choral Classrooms Featuring Headliner Brian Sweigart, Cleveland Institute of Music Along with presentations by: Jayne Wenner, The Ohio State University Marla Butke, Ashland University Rowland Blackley, Ashland University Saturday, Jan. 10, 2015 9 a.m. – 4 p.m.

Redwood Hall, Ashland University Fee: $75 ($65 for AES members) Includes Lunch with Payment Due at Workshop To register or inquire, contact Dr. Marla Butke at mbutke@ ashland.edu For information about joining AES, visit www.americaneurhythmics.org Music Educators Professional Development Opportunity: BW MEN’S CHORUS PARTICIPATION & CHORAL TEACHING STRATEGIES PROFESSIONAL DEVELOPMENT COURSE Male music educators are invited to join the BW Men’s Chorus and participate in an adjoining graduate-level professional development course on Choral Teaching Strategies.

Following weekly rehearsals of the Men’s Chorus, music educators participate in a seminar discussion with chorus director Frank Bianchi and BW Music Education student interns to deconstruct and discuss the rehearsal, teaching strategies and plans for the following week. Each participant has a copy of the rehearsal/lesson plan of the day and is encouraged to take notes on the plan for discussions following rehearsal. At the seminars, participants discuss group vocal techniques, score study, programming, classroom management, teaching music literacy and musicality as well 86

as teaching strategies as they apply to male chorus singing.

The BW Men’s Chorus rehearses on Tuesday evenings, 7–9 pm, during the BW school year; accepts new members each August and January; and presents 5–6 concerts each year.

Participating music educators are able to register for a onecredit professional development course each semester. Interested music educators should contact BW Men’s Chorus director Frank Bianchi at <fbianchi@bw.edu> to register or for more information.

THE OHIO STATE UNIVERSITY SCHOOL OF MUSIC Viola Intensive January 9– 12, 2015 Contact: Dr. Juliet White-Smith Middle School Honor Band Festival February 21, 2015 Nomination deadline: January 7 Contact: Tom Cook, festival administrator Double Reed Honors Invitational April 25, 2015 Contact: Music Outreach Registrar Jazz Festival High School Band Day April 12, 2015 Contact: Music Outreach Registrar Youth Summer Music Programs Viola Performance Institute • Flute Workshop • Jazz Camp • Morning String Student Workshop • Clarinet Academy • Double Reed Camp • Marching Band Clinic • Leadership Intensive June-July 2015 Contact: Music Outreach Registrar String Teacher Workshop July 5-11, 2015 Contact: Dr. Robert Gillespie Outreach Program Details at music.osu.edu TRIAD

We areWittenberg Make music at a university that cares.

Audition dates 2014-2015 Nov. 10 and 22 Jan.19 and 31 Feb.16, 21, and 28

More than $350,000 in music scholarships available to all students regardless of major. www.wittenberg.edu/music For more information about our music programs and scholarships, contact Daniel Kazez, Professor of Music, Music Admission Coordinator, dkazez@wittenberg.edu, 800-677-7558 ext. 7354.

CURRICULUM & ASSESSMENT Raising the Banner: Debunking Some Star-Spangled Myths Marc Ferris Now that The Star-Spangled Banner has reached its 200th birthday, the best present we can offer would be to dispel the pervasive myths that have persisted throughout the centuries. Typically, whenever an extended article about the song appears the question is not if it contains an error but how many mistakes will it have? Francis Scott Key is partly to blame for an endemic lack of knowledge about the national anthem. A large share of the responsibility for getting it right falls to the country’s teachers.

Myth 1: Key wrote a poem that someone else later matched with the melody of a song that originated in England called “To Anacreon in Heaven.”

The truth: In the days before copyright enforcement, poets often used existing melodies to animate their muse, a practice called parody at the time. Key purposely wrote the four verses that later became known as the national anthem to this popular tune, which underpinned at least 84 previous musical compositions.

In 1805, Key had fused original words with the same melody for another parody that included the line “Star-Spangled flag of our nation” and rhymed the words wave and brave. When he debarked from the ship upon which he watched the bombardment of Fort McHenry, he told his brother-in-law in passing that he had written a song to mark the occasion before he set off to see his family.

The myth arose because Key remained mum about his association with the song, never sought a 88

dime of royalties and only spoke about it once during his lifetime at a banquet more than 20 years after he wrote it (deflecting all praise to the men who defended Baltimore). Baltimore actor Ferdinand Durang took advantage of Key’s modesty and created the confusion by claiming credit for pairing the verses with the tune.

Myth 2: Key called his poem “The Defence of Fort M’Henry.”

The truth: Key’s original manuscript, now in possession of the Maryland Historical Society, has no title. Someone other than Key brought it to the offices of the Baltimore American newspaper, where the printer affixed this title to a broadside—a sheet of paper with words or images published on one side— the first time Key’s words appear in print.

Thomas Carr, who published the initial sheet music version, called it “The Star Spangled Banner,” since Key repeated this phrase in all four verses.

Again, Key’s indifference perpetuated the myth because he never weighed in on any matter of fact regarding the song’s evolution. And, although there is no standard usage of the title in print, I contend that it the proper rendering should be “The Star-Spangled Banner,” since Key used the hyphen all four times.

Myth 3: The song is war-like.

The truth: Key opposed the War of 1812 but participated in the futile defense of Washington, D.C. The lines “rocket’s red glare” and “bomb bursting in air” (as he wrote them) merely described what he saw TRIAD

as the British navy shelled Fort McHenry in Baltimore harbor.

In his third verse, Key did write about blood washing out the foul footsteps’ pollution of the British forces and taunted our future ally. In context, however, just after the heat of war, this is pretty tame. The fourth verse reveals his true, qualified take on warfare: “then conquer we must, when our cause it is just.”

Around the world, bloodthirsty anthems abound.

“The Marseillaise,” France’s anthem, calls for watering the field with the enemy’s blood and for raising a “bloody banner.” In “March of the Volunteers,” the anthem of China, the lyrics exhort citizens to sacrifice their blood and flesh to forge a new Great Wall.

Myth 4: The Star-Spangled Banner first aired at a sporting event during the 1918 World Series. For years, baseball historians have known about this falsehood, but many published references lacked a citation. The first documented instance of the song airing at a ballgame is in 1862. A short article in the Brooklyn Daily Eagle about the opening of the first enclosed baseball stadium stated that at 3:00 o’clock the band arrived and “the proceeding commenced, opening by playing the ‘Star-Spangled Banner.’”

Several newspaper accounts in the 1890’s contain colorful descriptions of bands playing the future anthem at Opening Day ceremonies. At the 1899 Army-Navy football game, the band accompanying the Annapolis team played the song and the entire audience stood in reverence.

One reason why the 1918 myth endured is because Babe Ruth played in the game. Professional ball teams did not play the song before every game until World War II, when improved amplification systems removed the need to hire expensive bands. Curiously,

DECEMBER 2014/JANUARY 2015

the general manager of the Baltimore Orioles decided to drop the playing of the anthem before every home game during the team’s first year, 1954, arguing that the repetition cheapened the song’s impact. Public outcry led him to change his mind after about a week.

Myth 5: Jimi Hendrix played the first controversial version of the song at Woodstock in 1969.

The truth: Ragtime pianists in the 1890s first performed non-traditional versions of “The Star-Spangled Banner” and other sacred musical cows. Jazz bands in the 1900’s also took liberties with the melody and meter.

Aretha Franklin performed the first contested pop version, a “soul-spangled” rendition at the 1968 Democratic National Convention, televised live but overshadowed by the chaos that rocked the streets of Chicago. Guitarist and singer Jose Feliciano created an even bigger stir on live television and radio during the 1968 World Series, almost a full year before Woodstock.

Hendrix first performed the anthem live in 1968.

He also recorded a studio version very different from his stage interpretations. Had his performance at Woodstock been omitted from the film or left off the soundtrack album that documented the event, the impact and reach during his lifetime would likely have been limited to fans that attended his concerts.

To perpetuate misinformation about the national anthem does a disservice to the historical record.

After 200 years of falsehoods, it is time to get it right and educators can perform a pivotal role establishing the truth about “The Star-Spangled Banner.”

Marc Ferris is author of Star-Spangled Banner: The Unlikely History of America’s National Anthem.

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Contact: Nancy Ditmer, Music Camp Director Phone: 330/263-2052 Email: nditmer@wooster.edu

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TRIAD ISSUE October/November 2014 December ‘14/January ‘15 April/May 2015

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EDITOR: Matthew Warner • 937-570-0927 • editor_of_triad@omea-ohio.org DESIGN/PRODUCTION: Amy Annico • 210-570-OMEA • media_director@omea-ohio.org ADVERTISING: David N. Adamson • 440-552-6983 • business_manager@omea-ohio.org “Writing For TRIAD” guidelines are posted on the OMEA website (www.omea-ohio.org), Advertising/Media section, TRIAD page. Interested new advertisers should view this same section under “Advertising Opportunities” and/or contact OMEA Business Manager David Adamson for assistance.

ADVERTISERS/WEBSITES Ashland University. . . . . . . . . . . . . . . . . . . . . . http://www.ashland.edu. . . . . . . . . . . . . . 79

Ohio Northern University . . . . . . . . . . . . . http://www.onu.edu/music. . . . . . . . . . 24

Baldwin Wallace University . . . . . . . . . . http://www.bw.edu/conservatory. . . 67

Ohio State University, The. . . . . . . . . . . . http://www.music.osu.edu . . . . . . . . 9,37

Blue Lake Fine Arts Camp. . . . . . . . . . . . . . . http://www.bluelake.org. . . . . . . . . . . . . . . 51

Ohio University . . . . . . . . . . . . . . . . . . . . . http://www.finearts.ohio.edu/music.32

Bob Rogers Travel . . . . . . . . . . . . . . . . . . . http://www.bobrogerstravel.com. . . . 4

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Summit Tour & Travel . . . . . . . . . . . . . . . . http://www.summittourtravel.com. . 41

College of Wooster, The. . . . . . . . . . . . . . http://www.wooster.edu/music. . 11,92

University of Akron, The . . . . . . . . . . . . . http://www.uakron.edu/music. . . . . . 52

DePauw University. . . . . . . . . . . . . . . . . . . . . . http://www.depauw.edu/music. . . . . . . . . 7

University of Cincinnati . . . . . . . . . . . . . . . . . http://www.ccm.uc.edu. . . . . . . . . . . . . . . . 84

Destination Cleveland. . . . . . . . . . . . . . . . . . . http://www.thisiscle.com. . . . . . . . . . . . . . 38

University of Dayton. . . . . . . . . . . . . . . . . http://academic.udayton.edu/music.61

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West Music Company. . . . . . . . . . . . . . . . . . . . http://www.westmusic.com . . . . . . . . . . . . 44

Kent State University . . . . . . . . . . . . . . . . http://dept.kent.edu/music. . . . . . . . . 43

Wittenberg University. . . . . . . . . . . . . . . . . . . . http://www.wittenberg.edu/music. . . . . . 87

Malone University. . . . . . . . . . . . . . . . . . . http://www.malone.edu/music . . . . . 63

Wright State University . . . . . . . . . . . . . . . http://www.wright.edu/music/. . . . . . . 27

Marietta College. . . . . . . . . . . . . . . . . . . . . http://www.marietta.edu/~musc/. . . 48

Yamaha Corporation of America. . . . . . http://www.yamaha.com. . . . . . . . . . IBC

Messiah College . . . . . . . . . . . . . . . . . . . . . . . . http://www.messiah.edu/conducting. . 59

Youngstown State University. . . . . . . . . http://www.ysu.edu/dana . . . . . . . . . . 15

Miami University. . . . . . . . . . . . . . . . . . . . http://www.muohio.edu/music . . . . . 45 Musicians Repair Service. . . . . . . . . . . . . . . . http://www.mrsakronohio.com . . . . . . . . 93

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Muskingum University. . . . . . . . . . . . . . . . http://www.muskingum.edu/dept/music ..69 Noteworthy Tours . . . . . . . . . . . . . . . . . . . http://www.noteworthytours.com . . . 2

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