TRIAD - WINTER 2015

THE OFFICIAL PUBLICATION OF THE OHIO MUSIC EDUCATION ASSOCIATION

December 2015/January 2016 Vol. LXXXllI, No. 2

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IN THIS ISSUE

FROM THE DESK OF...

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Editor of TRIAD - Marc Parulekar OMEA President - Terry Herschman

TEACHING TIPS 16 20 23 26 30 32 34

BAND - Dr. Stephen L. Gage; Youngstown State University CHOIR - Dr. Zebulon M. Highben; Muskingum University CURRICULUM & ASSESSMENT - Dr. Nathan B. Kruse; Case Western Reserve University GENERAL MUSIC - Dr. Megan M. Sheridan; University of Florida JAZZ - Mike Smith; The Ohio State University MULTICULTURAL - Dr. Linda B. Walker; Kent State University ORCHESTRA - Mark Sholl; Hilliard Davidson High School

MUSIC MASTERCLASS

36 WOODWINDS - Shawn Reynolds; Howland Middle School

NEWS & COMMITTEE REPORTS 40 42 47 58 60 62 64

Adjudicated Events - News and Updates Adjudicated Events - General Music Higher Education News In Memoriam - Dr. Jon R. Woods Jazz Education Connection of Ohio Ohio Collegiate Music Education Association OMEA - Special Learners

PROFESSIONAL DEVELOPMENT & ASSESSMENT 66 69 12 94 96

Workshops, Continuing Education, Camps, etc.

2016 OMEA Professional Development Conference Section Corporate/Institutional Partnership Listing OFME Music Education Donor Form & OFME Donor Link TRIAD Publication Schedule & Advertising Index

EDITOR: Marc Parulekar

editor_of_triad@omea-ohio.org DESIGN/PRODUCTION: Amy Annico, Director of Media and Publications

media_director@omea-ohio.org

ADVERTISING: David N. Adamson, Director of Business Advertising/Exhibits

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 2015/JANUARY 2016

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OMEA INFORMATION NETWORK OMEA OFFICE P.O. BOX 1067 Massillon, OH 44648 330.833.5677 - Office www.omea-ohio.org Roger A. Hall Executive Director 330.833.5677-O executive_director@omea-ohio.org David N. Adamson Director of Business 440.552.6983-O business_manager@omea-ohio.org Amy L. Annico Director of Media & Publications 210.570.6632-O media_director@omea-ohio.org Gregory S. Taylor Director of Technology 614.395.5016-O technology_director@omea-ohio.org Mark A. Hensler Director of Professional Development 513.240.1572-O pd_director@omea-ohio.org William K. Guegold Director of Adjudications 330.592.0539-O adjudications_director@omea-ohio.org Dane Newlove Director of Adjudicated Event Materials and Awards 419.394.2232-O ae_materials_director@omea-ohio.org OMEA is an Affiliate of NAfME National Association for Music Education www.nafme.org Allied Organizations of OMEA: Ohio Alliance for Arts Education www.oaae.net Ohio Arts Council www.oac.state.oh.us Ohio Choral Directors Association www.ohiocda.org Ohio String Teachers Association www.ohiostringteachers.org Jazz Education Connection of Ohio www.jecohio.org

DECEMBER 2015/JANUARY 2016

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

OCMEA OFFICERS Patrick Specht OCMEA President ocmea_president@omea-ohio.org

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

Luke Grieshop OCMEA President-Elect ocmea_president_elect@omea-ohio.org

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

Sarah Bishop OCMEA Secretary ocmea_secretary@omea-ohio.org

Dana Hire Secretary secretary@omea-ohio.org

Michael Reese OCMEA Editor ocmea_editor@omea-ohio.org

Marc Parulekar Editor of TRIAD editor_of_triad@omea-ohio.org

Miwako Hayama OCMEA Treasurer ocmea_treasurer@omea-ohio.org

Benjamin Factor Treasurer treasurer@omea-ohio.org 2015-2016 TRIAD EDITORIAL BOARD EDITOR Marc Parulekar

GRAPHIC DESIGN/LAYOUT Amy Annico

Pickerington North High School

Ohio Music Education Association

PAST EDITOR Matthew Warner

JAZZ Mike Smith

Rapid Run Middle School

The Ohio State University

BAND Scott Jones

MULTICULTURAL Linda Walker

The Ohio State University

Kent State University

BAND Jeff Gershman

ORCHESTRA/STRINGS Mark Sholl

Capital University

Hilliard Davidson High School

BRASS Chris Blaha

TEACHER EVALUATION Heather Russell

University of Akron

Cleveland State University

CHORAL/VOCAL Rich Schnipke

TECHNOLOGY Brian Laasko

Xavier University

McKinley High School

CURRICULUM & ASSESSMENT Nathan Kruse

WOODWINDS Shawn Reynolds

Case Western Reserve University

Youngstown State University

GENERAL MUSIC Christina Pelletier-Blazakis The Ohio State University

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FROM THE DESK OF...

Marc Parulekar, OMEA Editor Ralph Waldo Emerson wrote “In the order of nature we cannot render benefits to those from whom we receive them, or only seldom. But the benefit we receive must be rendered again, line for line, deed for deed, cent for cent, to somebody.” Woody Hayes, the famed Ohio State football coach, more simply stated the same idea as “paying forward.”

The impact of strong mentorship and helping others is one of the greatest aspects of our profession. We can all think of mentors who have helped us to improve our teaching and the experiences our students have in the classroom. This fall one of my mentors, Dr. Jon Woods, passed away. Dr. Woods was a firm believer in paying forward and taking time to help all those who crossed his path. No matter how busy his schedule, Dr. Woods would always take time to meet with students, work with a school band, or give advice. The greatest gift we have to give is the gift of time and Dr. Woods gave of his

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time freely and joyfully to help his students and generations of music educators. I hope all of you will take time to thank your mentors and “Pay Forward” by mentoring pre-service and in-service music educators in your area.

2015 DECEMBER/2016 JANUARY TRIAD We hope that this issue is chock-full of informative articles, event information, and information about the 2016 Professional Development Conference. Special thanks to our amazing Director of Media and Publications, Amy Annico, and our Professional Development Director, Mark Hensler, for their work in making TRIAD a great resource for music educators. Please feel free to contact me via email (editor_of_triad@omea-ohio.org) to submit articles or to provide feedback. Below are a few articles you might find interesting, just click the article title to see the full text.

TRIAD

- Developing the young voice in the general music classroom can be a challenging task. Dr. Megan Sheridan presents suggestions and techniques to help children sing in the elementary general music classroom (Vocal Pedagogy in the Elementary General Music Classroom).

- Refining assessment strategies in schools is an ongoing initiative, regardless of grade level, discipline, or content area. Dr. Nathan Kruse explores research findings and practical applications for the assessment of creativity (Assessing Creativity in the Music Classroom).

- Many non-string players find themselves in situations where they are now teaching orchestra.

Mark Sholl shares some tips and insights from his 28 years as a horn player teaching orchestra (But I’m Not A String Player).

- Often times the rehearsal process can become monotonous causing students to disengage. Dr. Stephen Gage presents some ideas to help reenergize your rehearsals allowing students to realize their full potential (Creating Magic in the Rehearsal).

- This issue is loaded with information about the 2016 OMEA Professional Development Conference.

The OMEA Professional Development Conference is a great way to learn new skills, reconnect with fellow music educators, and hear some outstanding performances. We hope to see all of you January 28-30 in Cincinnati!

Dr. Parulekar is in his 17th year of teaching and 13th year serving as director of bands at Pickerington North HS. He has also served as a graduate assistant director with the Ohio State University Marching Band, director of bands at West Jefferson High School and as assistant band director at Pickerington High School. Dr. Parulekar is a graduate of The Ohio State University where he earned a Bachelor of Music Education Degree, Master of Arts in Music Education, and Doctor of Philosophy in Music Education. He is a member of FBM, MENC, KKY, FMA, and an Eagle Scout. He and his wife, Tracie, make their home in Pickerington, Ohio with their nine-year-old son, Andrew, and three-year-old daughter, Abby. They enjoy watching Ohio State Football and attend the East Side Grace Brethren Church.

Practice Audition Day for High School Seniors Friday, October 23, 2015

High School Honor Band Weekend Friday, January 15 - Sunday, January 17, 2016 Online Audition Deadline: Friday, November 6

Middle School Honor Band Festival Saturday, February 27, 2016 Online Nomination Deadline: Thursday, January 7

Junior Visit Day for High School Juniors Friday, April 8, 2016

Audition Days for the 2016 - 17 Academic Year Thursday, December 10, 2015 Friday, January 15, 2016 Saturday, February 6, 2016 Saturday, February 13, 2016

For admissions and event information visit music.osu.edu

DECEMBER 2015/JANUARY 2016

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FROM THE DESK OF...

Terry Herschman, OMEA President ADVOCACY: STEM to STEAM and other “Stuff” to Share Justin Brady writes in the Washington Post ‘Innovations’ column, “The STEM ‘bundle’ is suitable for building a Vulcan civilization, but misses wonderful irrationalities inherent to living life as a human being and in relation to other human beings.”

I love this - and the Vulcan reference draws even the uninitiated into the topic. You can read and share the rest of this relevant article with parents and students for insight into the STEM versus STEAM conversation HERE. Thank you to the members who provided feedback through the October survey relating to the update of the OMEA strategic plan. Not surprisingly, the responses indicate our members’ ongoing need for help with “advocacy.” My working definition of advocacy here assumes that advocacy is an action that supports or speaks in favor of a cause. OMEA can’t actually argue specifically on behalf of an individual teacher, program or staffing situation in any one school district. But, we can help members with this in two ways. First, through relevant and timely professional development, we help our members keep up with best practices to increase the effectiveness of instruction. Then, we can try to help members expand the visibility and impact of successful music education in their own particular circumstances and at large.

I stand firm in my belief that the best advocacy for music education is the exceptional quality of the experience our students have in our classes. The quality of the experience may be reflected simply in our students’ vibrant attitudes about coming to music 8

class or in their solid achievement of student learning objectives. It may be reflected in the high profile of the music department in your district or publicly by the collection of widespread accolades for performances. It may be reflected in outstanding results of adjudication or standing room only in the auditorium. There can be nothing mediocre about this. If we cultivate truly inspiring artistic growth in our students we will be half way toward a successful advocacy goal. The rest of our challenge is getting the attention of the school community and greater community to know what can be achieved and what has been achieved by your students, by Ohio’s students and all student musicians.

Only as we make progress toward truly exceptional quality in our teaching, is it reasonable to ask for help in getting the word out about the value and benefits of music education. OMEA has posted some fresh advocacy resources on the revised website and I include additional notes and links below for easy to use reference. Since you are working on the exceptional quality daily, I thought I would do a search of relevant, easy to read articles that are worth sharing with students, parents, colleagues and administration. Share these periodically in concert programs, on your web page, your Facebook, in proposals and presentations, email updates and at parent conferences. Send the whole group of them to the music boosters for their web page. Some have links to video clips.

If you have not used this resource yet, take a look at the Grassroots Advocacy Guide from NAMM TRIAD

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

Foundation (National Association of Music Merchants.) NAMM offers a free download of a slick brochure addressing the benefits of music education.

The brochure has been revised to include new research and statistics. Much information here is directed toward parents and boosters. You (or the boosters) can download and custom print the color brochure instantly, or contact SupportMusic at supportmusic@namm.org to order complimentary copies to support your recruitment and advocacy efforts.

HERE is the foundation website for complete information.

Read and share the compelling “Top 10 skills children learn from the arts” also from Valerie Strauss in the Washington Post HERE. The second link is an attractive graphic of the same material HERE. The Ohio Alliance for Arts Education not only has firsthand reviews of committee and legislative activity in Ohio and in the nation, but also offers “Useful Tools for Effective Advocacy.” These are practical and relevant strategies for local, state and national efforts. While you are at the website, you can sign up to receive “Arts On Line” weekly updates and emails from various additional groups HERE. “The game is changing. It isn’t just about math and science anymore. It’s about creativity, imagination, and, above all, innovation.” Read the rest of this one page, easy to digest article from Robert Floyd of the Texas Coalition For Quality Arts Education. Find it HERE. “Why Instrumental Music Can’t Survive in Schools as a ‘Fun’ Class” is a timely and relevant piece in The Music Parents Guide. “In order for music to stand up with the other core academic subjects, it must be taught with rigor and a professional-level expectation of children, musically and otherwise. Music is not sustainable as a class if it is mediocre.” You can finish reading the article and provide this link so parents can subscribe to future posts HERE.

DECEMBER 2015/JANUARY 2016

“Advanced monitoring techniques have enabled scientists to see what happens inside your head when you listen to your mother and actually practice the violin for an hour every afternoon.” Read the article and share the link from Scientific American: “Hearing the Music, Honing the Mind” HERE. Visit the “Music For All” website for quick facts and stats, stories and articles and a music advocacy slide show, all for sharing. Download the free and attractive “Why Music?” poster HERE. In an overview of current neuroscience research, The Royal Conservatory reports that “Over the past two decades, several large-scale studies have found that music students outperform academically compared to other students, often by large margins...

Thanks to the groundbreaking research of neuroscientists, we now have a clear scientific explanation for this phenomenon.” This is a longer article but features a lively layout and is easy to read and understand. It reports on the improved I.Q., memory, focus, speech and reading ability, creativity, empathy, social awareness, health and resilience of music students! You can read it and share the link: “The Benefits of Music Education” The Royal Conservatory 2014 HERE. Finally, and not at all LEAST, know what our national organization is doing for you at the highest level of government. Become familiar with the NAfME Advocacy page, with its action alerts and grass roots advocacy resources. Learn the “beyond the bubbles” arguments in support of music education. HERE is the link to know and share.

Terry Herschman earned both B.M. and M.M. from Kent State University, with an emphasis in choral conducting.

She retired from teaching in 2014 after 36 years in the Mentor Public Schools. She directed Junior High and High School Choirs, taught General Music, Music Theory and Composition and served as music department co-chair. She has served OMEA as an adjudicator, clinician, large group event host, music selection committee member, District 7 Treasurer and State Treasurer.

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2015-2016 CORPORATE/INSTITUTIONAL PARTNERSHIPS

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 partners.

Your patronage of these educational advocates is strongly encouraged.

All listings as of 12/1/15.

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Music Travel Consultants 7920 Georgetown Road Suite 700 Indianapolis, IN 46268 support@music-travel.com www.music-travel.com

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TEACHING TIPS BAND Creating Magic in the Music Rehearsal Room Dr. Stephen L. Gage; Youngstown State University

Having been a music educator and conductor for more than three decades, it remains constantly evident that rehearsals must be forums where music is re-created and increased musical knowledge is shared and acquired. But, I contend that ultimately rehearsals must also be places where magic is manifested. I suspect that most of us would concur that our inspiration as a musician came from some unexpected aural bath that inspired us to choose this career. With this reality as my motivation, I will share some rehearsal strategies and approaches for you to consider as you pursue the unlocking of magic in your classroom and on the concert stage: 1. WARM UPS In most things in life, less-is-best. I used to start rehearsals with a clarinetist playing a concert Bb then concert A for various instruments, and a concert F for everyone. This was a cumbersome process and we still played out-of -tune. Currently, I have the concert master play only a concert A for brass and woodwinds, and then one for the whole group.

Subsequently we often play the Circle of 4th major scales in some fashion--slow/fast, articulated/ slurred, et al. In orchestra, we use the concert master and principal oboe to give concert A’s to the brass, woodwinds, low strings, and high strings and we often play scales or the Circle of 4ths, too.

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As a public school teacher, you have students coming from a variety of classes with no warm-up.

So, you must do tone studies, technical builders, and articulation exercises. What I suggest is that you make connections to these musical skills from within the passages of the piece(s) to be rehearsed. The continuing development of a characteristic tone, technique, and aural acuity of each person in your ensemble is crucial. Furthermore, I strongly recommend that every rehearsal has a different expectation and warm up sequence. If the students are not sure what is next, they will be more likely to emotionally and intellectually invest themselves in the process.

Predictability can destroy success.

2. SING I jokingly say that our wind ensemble is the best choir in the school. While this is certainly not true, they do sing very well. We are currently preparing Biebl’s Ave Maria. Before we read it, we sang through it using solfege syllables. Connecting singing with playing is an omnipresent goal in all of my music-making sessions.

In my youth, every child could be in choir, from grades 1-12. Eleanor Torrey, my elementary general music/choir teacher, is probably one of the main reasons I chose to be a musician. Singing in her choir, listening to great music in her classroom, dancing TRIAD

and marching around her classroom, and seeing the radiance and love of music that she exuded every day was inspiring.

As we live in a time when public school schedule flexibility is not common, instrumental conductors must encourage their students to sing. I can say, without qualification, that every time I ask my students to sing in rehearsals the subsequent sounds that they play are exponentially better.

3. JUST INTONATION, HOMOPHONIC BALANCE & BLEND In the late 1980’s I watched conductor, Larry Rachleff, work with the New York State All State Wind Ensemble. One of the pieces on the program was Grainger’s Lincolnshire Posy. In one of the rehearsals, Rachleff finished one of the movements of the Posy and opted to move to a chorale, Tchesnokoff’s Salvation Is Created. Sadly, at that rehearsal break most of the observers in the room left. After they had vacated the room, Dr. Rachleff stated that it was a shame that they left because he was going to rehearse the Tchesnokoff and address

pitch, balance, and blend with the group. His stated tenet, and one that I share, is that most instrumental groups are weak in these important areas of music performance.

He had mastery of the score, he had the students sing, and he taught theory concepts, especially in terms of harmonic progressions and students’ awareness of their chord tone function. It was a doctoral seminar of the highest order and my career has never been the same. That group was the most in-tune and well-balanced high school instrumental ensemble I have ever heard.

Many times things sound out of tune when they are simply out of balance. Hierarchical balance (Roots, 5ths, 3rds, color tones) is often a culprit in terms of performance weaknesses. As mentioned earlier, singing will help with aural security, but the students must also be aware of their note’s chord function and its need to be raised or lowed slightly based upon Just Intonation, the inherent intonation problems of their instrument, what good balance requires relative to various chord tone functions, and the timbre and its effect on blend. In an era where

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DECEMBER 2015/JANUARY 2016

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there are decreased course offerings, your students must acquire fundamental theory concepts. It is essential to find creative ways to teach theory and to assess the mastery of these concepts. Meaningful performance and mastery of diatonic scales in all keys (horizontal pitch sensitivity), pedagogical awareness of the inherent pitch tendencies of the students’ instruments, and harmonic awareness (vertical pitch and balance sensitivity) will significantly enhance your ensemble’s pitch accuracy, balance, and, blend.

4. VIDEO-TAPE AND AUDIO-RECORD YOUR REHEARSALS The use of visual and audio recording devices in today’s high tech world are tremendously helpful in music teaching. Our smart phones can record everything that we need to use as a pedagogical tool to help improve rehearsal efficiency and to help identify performance lapses. As I sit and sometimes painfully listen to outtakes of our recordings, live and studio sessions, I mercilessly find fault with my work as the conductor.

Earn your

One of my former students and now a university professor posted this week that music majors spend 50 minutes with their applied professors each week leaving 10,030 minutes for the them to be their own teacher. When students hear their rehearsal recordings in a critical listening environment, they will be more apt to make adjustments in their performance and preparation--they become their own teacher.

5. ENSEMBLE PULSE, RHYTHM CONCEPTION AND TIME Making music is human. When we listen to music, especially to dance music, we unknowingly are urged to move. I have never understood why music teachers do not advocate movement in the rehearsal room. I will never forget my 5th grader band director getting on his knees and moving my right foot up and down while chanting “1 & 2 & “ as my classmates and I played on our pads during a beginning drum lesson. Movement can be problematic in terms of some instrumentalists being able to set their embouchures, et cetera, but even in such cases some movement that assists in feeling the

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groove of the music should be utilized. I marvel at the groove displayed by the members of Dudamel’s Simón Bolívar Youth Orchestra. Those young musicians move together in a compelling manner, and their ensemble time and rhythmic accuracy is exceptional. I am not advocating that you do such overt movement, but I truly believe that Dalcroze was right in his assertion and beliefs that musicians gain physical awareness and experience of music through training that takes place through all of the senses, particularly kinesthetic.

Strategies to consider: 1. Have the performers tap their toes with a subdivision as part of the motion; 2., Use call-and-response echoing of rhythmic passages with the conductor chanting, playing, or singing examples; 3. Use a percussionist as a human Dr. Beat or use a Dr. Beat; and 4. Get off the podium and let your students play without a conductor. Once we know how something feels and sounds, we have a higher degree of security in reproducing accurate musical sounds or rhythms. Pulse maintenance is the responsibility of the performers and is facilitated by listening and adjusting. Of course, music ebbs and flows in intensity and so will the pulse.

6. EMOTE--CREATE THE MAGIC Finally, the ultimate goal of any serious musician and conductor is to re-create music in a meaningful manner that elicits an affective response in the listener. All aspects of music performance must be consistently addressed and improved upon in rehearsals, but the best experiences in live music-making are the ones that feel great.

If a performance has consistent flaws in technique, tone, time, pitch, rhythm, and style, few listen-

DECEMBER 2015/JANUARY 2016

ers will be moved. We also must provide models, live and recorded, of exemplary performances, and we need to be unpredictable with regards to tempo changes, lengths of fermatas, dynamic changes and timbral shading, musical inflection, and all other emotionally connected components of the music making process. Basically, you have to be a great musician that feels the need to share your knowledge of and sensitivity for and about music. Then, you will find creative ways to bring your musicianship to the rehearsal to create the magic. Have fun!

Stephen L. Gage has served as Professor of Music and Director of Bands & Orchestra at Youngstown State University’s Dana School of Music since 1993. In fall 2014, Dr. Gage was appointed as the conductor of the Dana Symphony Orchestra in addition to his work with the YSU Wind Ensemble and Chamber Winds. Professor Gage also heads the MM in Conducting program. Stephen holds degrees from the University of Illinois, the Eastman School of Music, and the State University of New York at Fredonia where he also earned the Performers Certificate and was a concerto winner. Stephen studied conducting with Harry John Brown, Donald Hunsberger, David Effron, Roy Ernst, James Keene, H. Robert Reynolds, and Paul Vermel. In September 2012, Stephen accepted the post, Conductor of the W. D. Packard Concert Band in Warren. In 2015, Stephen begins his 23rd season as the Edward Zacharias Memorial Chair and Conductor of the Youngstown Symphony Youth Orchestra. Professor Gage has published numerous articles on conducting, rehearsal techniques, and wind band and orchestral literature; and he is an active wind band and orchestral guest conductor, clinician, and adjudicator of international repute.

He and his wife, Stephanie, have three children, Matthew, Claudia, and Brendan.

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TEACHING TIPS CHOIR Some Parameters for Choral Programming Dr. Zebulon M. Highben; Muskingum University

“What should we sing, and why?” Every fall semester, I pose this question to the choral methods students at Muskingum University as we begin our study of concert programming. As experienced music educators know, the repertoire we choose for our ensembles to perform becomes the curriculum from which they study and from which we teach. By thinking carefully about what music we choose and why we choose it, we take an important step toward deeper learning in our rehearsals.

“What should we sing, and why?” This simple interrogative sentence is a good focal point for concert programming. The use of the auxiliary verb should, rather than will or can, implies the existence of considerations that ought to drive our repertoire selections—considerations beyond our own musical tastes and our perception of our students’ ability.

The second question, why, directs us to identify what those considerations might be. Of course, the answers to both questions will vary greatly depending upon the age of the singers, the size and type of ensemble, and our available resources. In this brief article I will share my personal framework for answering these questions, in the hope that a similar framework might be useful in other contexts and classrooms.

“WHAT SHOULD WE SING...

I answer the question of “What should we sing?’

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through a series of personal repertoire objectives.

But before I consider those objectives, I ask another question: “What must we sing?” Nearly every choral program has certain obligations, traditions, or performance expectations that recur every academic year and that have a practical impact on our musical choices. In my current position at Muskingum University (a Presbyterian liberal arts college), those obligations include an autumn high school choral festival, a Christmas lessons-and-carols service, and an annual spring break tour. I keep those obligations in mind as I examine repertoire through the following programming objectives: Objective 1: Choose music from the Western canon. Every year I include music from the major Western historical style periods. Particularly in the collegiate setting, I believe it is my responsibility to introduce students to historically significant composers and masterworks, as well as to the typical genres and forms of each era, such as the Renaissance motet and Romantic part song.

Objective 2: Choose music that expands the canon.

Women composers, minority composers, and entire nationalities are often excluded from the Western canon, so each year I highlight Western compositions from underrepresented composers or populations.

Objective 3: Choose music that represents musical aesthetics from around the world. The term “global

music” is often used to refer to non-Western music. This can be a bit of a misnomer for several reasons: Europe and the United States are also part of the world; the long, checkered history of colonization means that Westernstyle compositions frequently arise from composers of non-Western heritage; and arrangements of non-Western music by Western composers sometimes “Westernize” the music in one way or another. Although it can be challenging (and I don’t always succeed), I strive to program non-Western pieces that are as authentic to their original cultural contexts as possible.

Objective 4: Balance the new with the old. Choral music is a living art form, and we demonstrate this when we program new and recent works by living composers. I get excited to discover a new piece or become acquainted with a composer I didn’t previously know. But if I’m not careful, I’m tempted to program exclusively new/recent music without including anything else.

Objective 5: Attend to the text. All of the objectives above can also be applied to the texts of choral repertoire as well. Additionally, I like to ponder questions such as these: Is the text relatable? Is it teachable? Is it of literary merit? Does it introduce concepts or ideas that broaden our perspective on music, the arts, or humanity?

Objective 6: Vary musical elements. Another temptation of mine is to select music that reflects my mood while I am planning; I have occasionally completed a program plan only to discover that I’ve chosen mostly lyrical, legato pieces for a given concert. To prevent this, after initially planning a concert I go back and compare the musical elements of the repertoire I’ve chosen—tempi, styles, modes/ keys, articulations, accompaniments, timbres, etc.—to ensure that I’ve achieved sufficient musical diversity.

This also guarantees that I have ample musical goals to work toward in rehearsals.

Objective 7: Strive for diversity and unity both within concerts and across the academic year. I want every concert to be musically diverse but also aesthetically unified. Sometimes it is difficult to balance both of those principles in a single program, so it is helpful to consider the whole year as well. If one concert has a particular aesthetic/musical/thematic unity, a concert later in the year might go in a different direction, or have greater musical diversity overall.

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...AND WHY?” A pedagogical result of utilizing programming objectives such as those above is an abundance of content (musical, cultural, historical, and literary) from which to craft lesson plans and learning objectives. It might seem, then, that asking why we choose to program a given piece of repertoire is unnecessary, since there are so many potential and self-evident answers.

But in an age when it is possible (even likely) to spend more time generating paperwork than actually teaching or preparing to teach, answering the “why” of repertoire selection is more important than ever. If we as teachers can concretely identify the pedagogical and aesthetic reasons for programming a piece of music while we are selecting it, we can tailor our rehearsal plans to address these reasons, and save ourselves substantial time and energy later.

Of course, programming is an art and not a science.

Just as no two conductors would conduct the same piece in exactly the same fashion, no two teachers approach concert programming in exactly the same way. Nevertheless, I hope these brief thoughts on programming inspire you to consider the “what” and the “why” of the repertoire you choose for your choirs to sing.

Dr. Zebulon M. Highben is an award-winning conductor, composer, and educator. He is Assistant Professor of Music and Director of Choral Activities at Muskingum University, where he conducts the Concert Choir, Chamber Singers, and Choral Society, and teaches conducting, choral methods, choral literature, and applied voice and composition. He is the South Central Region Chair for the Ohio Choral Directors Association.

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TEACHING TIPS CURRICULUM & ASSESSMENT Assessing Creativity in the Music Classroom Dr. Nathan B. Kruse; Case Western Reserve University

ASSESSMENT IN MUSIC Refining assessment strategies in schools is an ongoing initiative, regardless of grade level, discipline, or content area. Even though grading students on achievement or performance tasks may be a small part of what teachers do as part of their daily routines, assessing students is often a visible, public, and vulnerable endeavor, especially when one considers that everything students do in classrooms can be – and usually is – reduced to a single grade (Barrett, 2006, p. 12). According to Barrett (2006), assessment is a practice that is linked to teachers’ personal philosophies and professional judgment. The choices that teachers have regarding which assessment strategies to use are often made in conjunction with school or district expectations, although there can be a great deal of leeway as to how teachers can weave assessment into their curricula.

In music, one of the key purposes of grading is to assess students’ musical achievement, which can be separate from extra-musical elements such as participation and concert attendance. While music teachers typically search for a balance of formal and informal ways of providing meaningful feedback for students, the challenge of devising, utilizing, and appraising suitable assessment tools may seem more arduous, especially when more subjective traits, such as musical creativity, are introduced. Because DECEMBER 2015/JANUARY 2016

assessment provides teachers with opportunities to collect evidence regarding their students’ musical progress (Brophy, 2000), it is worthwhile to consider how musical creativity can be expressed, developed, and examined in light of the “interlocking puzzle of curriculum, instruction, and assessment” (Barrett, 2006, p. 8) in schools.

WAYS OF ASSESSING CREATIVITY IN MUSIC EDUCATION Research on creativity in music education has increased since the late 20th-century (Running, 2008), when teachers and researchers began viewing with more interest creative explorations in composition, improvisation, listening, and technology-assisted learning. These artistic avenues can provide students opportunities to manipulate musical sounds by creating, performing, and responding to music in ways that go beyond fundamental performance skills. But what assessment techniques are appropriate for measuring creative skill development? How can something as nebulous as “creativity” be pinned down and measured?

The selected activities below have been featured in music education research and have relevant connections to teachers at all levels. While they reflect models found in elementary and secondary general music classes as well as secondary ensemble set23

tings, the underpinnings of these activities are foundational and can be adapted and applied to any level or group. These approaches can be viewed as various “snapshots” of creativity along the path toward independent musicianship. The selected studies also indicate how assessment can be used to provide valuable feedback for stakeholders, as opposed to determining whether something is right or wrong. As Hickey (1999) states, assessments “should be used to educate, not punish” (p. 52). Furthermore, these studies show how teachers can be pivotal figures in establishing for students a climate of safety and healthy curiosity with regard to the exploratory nature of musical creativity.

This is akin to Abramo and Reynolds’ (2015) notion of creative pedagogues who “(a) are responsive, flexible, and improvisatory; (b) are comfortable with ambiguity; (c) think metaphorically and juxtapose seemingly incongruent and novel ideas in new and interesting ways; and (d) acknowledge and use fluid and flexible identities” (p. 31).

Rubrics are a common assessment tool and are a fitting means to measure student compositions (Hickey, 1999, 2007). Hickey states that some students may feel more comfortable being given well-defined limits when attempting composition projects (e.g., duration, tempo, key), while other students may crave more freedom and fewer guidelines. Still, according to Hickey, “rubrics not only help teachers to understand and measure students’ achievements but also help students to become sensitive and informed critics of their own work” (Hickey, 1999, p. 27). Similarly, Menard (2013) proposes that rhythmic, melodic, and conceptual activities learned in class can be linked directly to students’ compositions, which can engender subsequent examinations of musical forms, genres, expressivity, and even performance etiquette.

Nielsen (2013) also examines the composition process, but with the added element of technology.

He duly notes that creative works can be challenging to assess, but that having a musical product that is observable, unique, and reliant on skills that all students have (rather than on skills that only certain students have) can make the process more rewarding for students and teachers alike. In essence, creative activities should be accessible for everyone, regardless of ability; students should be able to participate 24

at a level that is comfortable for them. By setting careful parameters and technical considerations for students, assessment rubrics can be helpful in guiding school musicians to more sophisticated levels of awareness in the creation process. (For specific rubric examples, consult Hickey and Nielsen.)

Higgins and Mantie (2013) consider improvisation as a window into what students know and comprehend about music, and, like Hickey (1999), believe it is a way to allow students to express the inner aspects of their musical selves. Student-created riffs, drones, and ensemble flexibility can be used as musical exploration points, while subsequent discussions at the ends of activities can be used to assess students’ understanding. In another example that incorporates students’ musical autonomy, Bolden (2013) endorses learner-created podcasts as useful conduits for student interaction and reflection. The audio documentaries that his students create include the music and storied narratives that are most meaningful to them. (For a podcast rubric example that includes narration, technique, and aesthetic/expressive elements, consult Bolden.)

Some forms of musical creativity can be shared among students collectively, as in the case of music listening. Johnson (2011) highlights listening skills, peer interaction, and feedback in large ensemble settings. In this example, ensemble members practice three levels of listening during which they log observations and suggestions that address issues they hear between two people within a section, among an entire section, and across the entire ensemble.

Through this process, Johnson teases out Vygotsky’s zone of proximal development, whereby students who have less experience or ability can be higher achievers on tasks that involve joint problem-solving with students who have more experience or ability (p. 52). Johnson’s model cultivates critical thinking skills, triggers meaningful student interactions, and promotes a listening-driven ensemble culture.

CONCLUSION Creativity in music making goes beyond mere performance skills and instead sharpens students’ musicianship, listening abilities, and transfer and application to other areas. Critical thinking in music, as Brophy (2000) posits, leads to students who have TRIAD

the ability to identify a musical problem, reflect on possible solutions, and make an informed musical decision. Assessing creativity in the music classroom is one avenue that can foster critical thinking among student musicians, as well as their instructors. While teachers and researchers may still ponder how to best assess creativity, it is important for music educators to adopt assessment practices that reflect the needs of their students as well as their personal and professional philosophies.

References Abramo, J. M., & Reynolds, A. (2015). “Pedagogical creativity” as a framework for music teacher education. Journal of Music Teacher Education, 25(1), 37-51. doi: 10.1177/1057083714543744 Barrett, J. (2006). Developing the professional judgment of preservice music teachers:Grading as a case in point. Journal of Music Teacher Education, 15(2), 8-20. doi: 10.1177/10570837060150020103 Bolden, B. (2013). Learner-created podcasts: Students’ stories with music. Music Educators Journal, 100(1), 75-80. doi: 10.1177/0027432113493757 Brophy, T. S. (2000). Assessing the developing musician: A guide for general music teachers. Chicago, IL: GIA Publications.

Hickey, M. (2007). Assessing creativity: An oxymoron. In T. S. Brophy (Ed.) Assessment in music education: Integrating theory and practice. Chicago, IL: GIA Publications.

Hickey, M. (1999). Assessment rubrics for music composition.

Music Educators Journal, 85(4), 26-33.

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Higgins, L., & Mantie, R. (2013). Improvisation as ability, culture, and experience. Music Educators Journal, 100(2),38-44.doi: 10.1177/0027432113498097 Johnson, E. (2011). Developing listening skills through peer interaction. Music Educators Journal, 98(2), 49-54. doi: 10.1177/0027432111423440 Menard, E. (2013). Creative thinking in music: Developing a model for meaningful learning in middle school general music. Music Educators Journal, 100(2), 61-67.doi: 10.1177/0027432113500674 Nielsen (2013). Developing musical creativity: Student and teacher perceptions of a high school music technology program. Update: Applications of Research in Music Education, 31(2), 54-62. doi: 10.1177/8755123312473610 Running, D. J. (2008). Creativity research in music education: A review (1980-2005).Update: Applications of Research inMusicEducation,27(1),41-48.doi: 10.1177/8755123308322280

Nathan B. Kruse is Associate Professor of Music Education and Coordinator of Graduate Studies in Music Education at Case Western Reserve University, where he teaches courses in research methods, music cognition, and vernacular music. He taught instrumental music in the public schools of New Mexico and Michigan, and remains an active public school colleague as a conductor and clinician. He earned a B.M.E. from Butler University, an M.M. in Music Education from the University of New Mexico, and a Ph.D. in Music Education from Michigan State University. His research interests include gerontology and adult music making, school-university partnerships, and ethnographic traditions of community music.

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TEACHING TIPS GENERAL MUSIC Vocal Pedagogy in the Elementary General Music Classroom Dr. Megan M. Sheridan; University of Florida

Lowell Mason, who is often viewed as the father of American music education, emphasized the importance of singing in the musical training of children and noted its effectiveness in helping children to acquire musical understanding and knowledge (Mark & Gary, 2007). However, if children are to use their voices as a means of musical knowledge acquisition, they first need to be taught how to use their voices in an appropriate manner. This article presents suggestions and techniques for vocal pedagogy in the elementary music classroom, beginning with an overview of children’s voices.

CHILDREN’S VOICES A healthy child singing voice is naturally light, clear, and free of vibrato. In the early elementary years, children have a limited range in which they can accurately sing. As they grow, so does their vocal range. However, this growth only occurs when children learn how to use their voices for things other than speaking or shouting.

Runfola and Rutkowski (2010) describe children’s voices as having three distinct registers: lower, middle, and upper. The lower register is typically used for speaking, whereas the middle and upper registers are used for singing. Children often need guidance in accessing their middle and upper registers. Runfola and Rutkowski (2010) note that 26

children who are labeled as “monotone” are typically stuck in their lower vocal register and are in need of appropriate vocal instruction. Warm-ups and various singing opportunities can help children to discover and learn to use their voices in an appropriate manner.

THE WARM-UP The warm-up is a key component of helping children find and improve their singing voices.

Spending a couple minutes at the beginning of each class leading the children through vocal warm-ups will have a lasting impact on their music education.

In an elementary general music class, this may include several physical and vocal exercises done for the purpose of improving posture, engaging the breath, and initiating healthy vocal production.

Posture - Posture can have a positive or negative impact on children’s ability to sing. Proper physical alignment is necessary for optimal vocal production.

Poor posture directly impacts breath support and sound quality. Music educator and researcher Kenneth Phillips (2014) recommends using a series of physical exercises to stretch and energize the body followed by exercises focused on posture. For example, begin the warm-up with gentle stretches of the spine, shoulders, and neck. Then, lead the children through a postural awareness process where they focus on standing or sitting tall, with their feet

flat on the floor, their knees relaxed, and their shoulders back and down.

Breathing - If you ask a child to take a deep breath while in a standing position, the child will likely raise his or her shoulders while inhaling thus inhibiting full inhalation. Therefore, it is necessary to guide children through the process of taking a full breath that will enable them ultimately to produce a healthy vocal sound. Imagery can help in this process.

For example, tell the children to imagine their body is a water balloon attached to a faucet. When the water (air) is turned on, the water (air) fills the balloon from the bottom up. This image helps to keep the shoulders down and relaxed. Additionally, it will allow the children to engage their abdominal muscles during the exhalation phase.

Vocal Production - The final section of an effective warm-up should focus on vocal production. Begin with exercises that gently engage the voice, including humming, sirens, or pretending to be a ghost. Progress to echo singing simple melodic patterns or familiar songs on ‘oo.’ The ‘oo’ vowel is optimal in this case because it is the easiest to sing in tune.

DEVELOPING THE CHILD VOICE THROUGH SINGING Recent research has indicated that the consistency of singing experiences influences children’s singing accuracy, and that the ability to sing can decline in children and adults if they do not maintain active engagement in singing activities (Demorest & Pfordresher, 2015). The inclusion of many opportunities to sing throughout an elementary general music class can help to ensure that children remain vocally engaged.

There are a myriad of ways that elementary general music educators can incorporate singing opportunities in every music class. Singing games can provide enjoyment and fun within a music class; however, singing games are also excellent opportunities for encouraging children to use their singing voices without significant social pressure. Additionally, some singing games, like “Charlie Over the Ocean,” require children to sing alone, giving the teacher the opportunity to assess an individual child’s vocal development.

Singing can also be a useful tool for experienc-

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ing, acquiring, and practicing music literacy skills.

For example, rather than relying on recorded listening examples to teach musical form, children can analyze the form of familiar songs or explore the construction of larger musical forms (e.g. ABA or rondo) using familiar songs or original compositions as the sections. Approaching music literacy through sung material has the added benefit of helping children to internalize new music concepts (Houlahan & Tacka, 2008).

It can be all too easy to overlook one of the most basic, but most important, types of singing activities: singing. Children need the opportunity to sing songs where the focus is solely on singing with good vocal technique and expressive musicality. Typically, this type of vocal experience might be limited to those who participate in a choir; however, the elementary general music classroom is the perfect setting for giving children these types of experiences.

CONCLUSION The importance of vocal instruction in a child’s early music education should not be overlooked.

Teaching children to sing early plants the seeds of what can be a life-long love of singing and music.

For additional guidance on vocal pedagogy for children, see the reference section of this article.

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References Demorest, S. M., & Pfordresher, P. Q. (2015). Singing accuracy development from K- adult: A comparative study.

Music Perception: An Interdisciplinary Journal, 32(3), 293-302. doi: 10.1525/mp.2015.32.3.293 Houlahan, M., & Tacka, P. (2008). Kodály today: A cognitive approach to elementary music education. New York: Oxford University Press.

Mark, M. L., & Gary, C. L. (2007). A history of American music education. Lanham, MD: Rowman & Littlefield Education.

Phillips, K. H. (2014). Teaching kids to sing (2nd ed.). New York: Schirmer Cengage Learning.

Runfola, M., & Rutkowski, J. (Eds.). (2010). The child voice.

Lanham, Maryland: Rowman & Littlefield Education.

Megan M. Sheridan, Ph.D. is Assistant Professor of Music Education at the University of Florida where she teaches undergraduate and graduate courses specializing in elementary general music. Her research focuses on pedagogical approaches in the elementary music classroom, children’s vocal development, and the role of singing in music education.

Dr. Sheridan holds a Ph.D. in music from The Ohio State University, a M.A. in music and music education from Teachers College, Columbia University, and a B.M. in music education from Westminster Choir College of Rider University. She has taught elementary general music and choir in public and private schools in Pennsylvania and Maryland.

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TEACHING TIPS JAZZ Teaching Improvisation In the Ensemble Rehearsal, Part 2: Playing Through Listening Michael Smith; The Ohio State University

Many of us remember when one could regularly hear jazz on the radio. For a kid growing up in Chicago in the 60s and 70s, there were many options to tune into jazz on both the AM and FM dial, and occasionally there were jazz songs that made the soul and pop charts (think Ramsey Lewis’The In Crowd and Herbie Hancock’s Watermelon Man as two of many examples). Those times were perfect for a budding young musician. Well, to quote Duke Ellington, Things Ain’t What They Used To Be! The reality is that most kids don’t encounter jazz until they sign up for jazz band at school. For most of them, jazz can be very difficult to find. But as I mentioned in my previous article, jazz, from a historical perspective, was passed down through listening.

When Louis Armstrong made his way to Chicago in 1922, many future greats who were teenagers at the time flocked to hear him at the Lincoln Gardens, including Bix Beiderbecke, Benny Goodman, and Bud Freeman. According to Freeman, “The big doorman weighed about 350 pounds, and every time he saw us he would say, ‘I see you boys are here for your music lesson tonight.’” (from Pops, by Terry Teachout, JR Books, 2009). There is so much that can be taught in a guided listening lesson, and making time for listening in rehearsal can pay dividends to your program, especially in regard to improvisation.

We know all of the great names–Parker, Coltrane, 30

Miles, Buddy, Mingus, Ella, etc. And we know all of the important recordings–Giant Steps, Take Five, Confirmation, and so many more. There is a reason that we can cite all of these great players and performances; they represent the highest levels of the art form, and they are the standard to which we all aspire.

It is part of our job to introduce this rich recorded legacy to our students. And through listening to these recording, our students can learn to crack the code that allows them to find their own voices as improvisers. The great jazz recordings are our link to the past that allows the masters to keep teaching us how it’s done, long after they have transitioned into history.

There are numerous songs, albums, and compilations that we can highlight, but one that looms very large in regard to guided listening and improvisation is the one that has become the greatest selling jazz recording of all time– Miles Davis’ landmark 1959 album Kind Of Blue. This is perhaps the most listenable, the most perfectly executed, and the most sublimely beautiful jazz album ever recorded. And whenever I’m asked to explain jazz to people who don’t listen to jazz (or don’t understand what it is all about), I always use Kind Of Blue to illustrate what makes jazz unique. For students learning to improvise, Kind Of Blue is the perfect album to which one can refer in order to understand what makes for great improvisation. The reasons are obvious; you have TRIAD

seven of the finest players in the history of music playing over harmonies that are easy to hear and tunes that stay in your ear as soon as you hear them. In regard to guided classroom listening, Kind Of Blue is the perfect album to introduce scales and modes, which is the connecting concept throughout the album, and the modal playing is both dazzling and very easy to hear.

As a tool for teaching the art of improvisation, any of the solos on the recording can be considered standouts. But two of the performances on the album deserve special mention, as they are perfect examples of creating memorable solos that many players learn note-for-note. The first of these is Miles Davis’ solo on “So What.” The tune is very simple from a harmonic standpoint– it is a 32-bar form that utilizes just two chords, Dm7 and Ebm7, and the Ebm7 is only utilized over measures 17 thru 24. Because of that simplicity of form, this tune is easy for students to grasp the concept of modal playing, and in the case of “So What” the mode is D dorian.

What makes Miles’ solo so spectacular on this tune is that he keeps the range right in the middle of the trumpet tessitura, and in the process he creates one of the most easy to sing and easy to emulate solos ever recorded. There are times when Miles just opts to outline a Dm7 triad; other times he utilizes simple scalar motion, but his playing is always lyrical. Miles remarked on many occasions that he emulated singers. This is a great solo to get students to learn by singing it first. The solo lies easily in singing range,

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and students can be encourages to sing then play it four measures at a time.

The other Kind Of Blue solo that stands out as a tool for teaching improv is Wynton Kelly’s piano solo on “Freddie Freeloader.” The tune is a standard 12-bar blues in Bb, and it is the only tune on which Kelly plays on the album (Bill Evans plays brilliantly on the others). Kelly does not waste his opportunity–he creates a solo that skips, dances, and swings hard, and it is a solo I have recommended that musicians on all instruments transcribe and learn. Kelly’s solo playing here is a model of utilizing short melodic fragments (riffs and licks) to create a solo that just seems to play itself. It is a testament to the beauty of the economy of this solo that just about anyone can play it–this may the most logically constructed improvised solo ever! This is a great solo to introduce the concept of transcribing solos as a way of learning to improvise.

There are many other recordings that can be used, as well as so many other jazz icons that can be highlighted for their particular contributions. But the most important concept is developing listening skills, as well as introducing our students to the masterworks of the past so that they will be encouraged to add to the canon of great jazz in the future.

Mike Smith conducts the Jazz Workshop big band and the Fusion Combo at The Ohio State University, where he also teaches Jazz Pedagogy and Jazz Styles and Analysis. In addition, Mike is the assistant director of Marching and Athletic Bands at OSU.

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TEACHING TIPS MULTICULTURAL Listen to the Music

Dr. Linda B. Walker; Kent State University

As a part of its October Homecoming activities, Kent State held an International Celebration to “showcase cultures around the world.” Looking around the crowded ballroom at hundreds of students from around the world, I couldn’t help but think about music—multicultural music. The exhibits were set up similar to OMEA or NAfME research poster sessions. At the Thailand exhibit, a neuroscience graduate student was offering to write the names of passer-byers in Thai. There was one surname with which she was unfamiliar, so she asked the visitor to pronounce it again so she could get the inflection. After hearing it repeatedly, she was able to write the name in Thai.

All of music teaching is about learning to listen, create, move, audiate, play (read or improvise) and/ or sing (read or improvise). In particular, general music teachers must be comfortable with singing for and with their students. But, how does one possibly learn to sing songs accurately in different languages?

Because music is an aural art, listening is the key to your students’ learning to sing songs from other cultures. Lois Choksy said: “Listening should be a part of every music lesson; it is a skill that must be practiced. In a world in which music is frequently a half-heard background to other activities, time and care must be taken to teach children how to listen in an intent and focused way…(p. 48).” Some respected jazz musicians shared Choksy’s views about listen32

ing for teaching older students and adults as well.

For example, they posited; “people just don’t hear music, people “listen with their eyes,” and “ear training is essential in teaching.”

It is important to understand that listening—a psychological process—is not the same as hearing—a physical process. (For further reading on psychoacoustics, see Music, Cognition, and Computerize Sound: An Introduction to Psychoacoustics, edited

by Perry Cook.)

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The same strategies used to develop listening skills, generally speaking, may also be used to focus attentive listening to and performance of multicultural music. Even without speaking the native tongue of an ethnic group, listening should involve hearing the music and language as one entity. Here is a short list that I have found to work, for elementary and middle level grades, in teaching songs from different ethnic groups.

• Play quality examples of recorded music and tell students to close their eyes and listen • Engage students in active listening, e.g., tapping the steady beat • Listen repeatedly, but specify something new to listen for each time • Follow a listening map (several good examples are provided in the Basal Series books) • Sing for and with students to help focus their attention

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With emphasis on listening intentionally to music of various ethnic groups, it is possible that music teachers are change agents who can help students become citizens of the world.

References Choksy, L. (1999). The Kodaly Method I: Comprehensive music education, 3rd edition. Upper Saddle River, NJ: Prentice-Hall.

Linda B. Walker teaches undergraduate and graduate music education classes, and directs the KSU Gospel Choir. She formerly served 10 years as coordinator of music education.

With focus on diversity, equity and inclusion in music education, her work is published in several journals and books, and she has served the profession on editorial boards of Music Educators Journal, General Music Today, Teaching Music, and formerly MENC Publications Planning Committee. She received bachelors and masters degrees in music education from Jackson State University, and earned the Ph.D. in music education and music therapy at the University of Kansas.

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TEACHING TIPS ORCHESTRA But I’m Not A String Player

Mark Sholl; Hilliard Davidson High School

Quite frequently I see conference sessions, or journal articles focusing on the topic of wind players and percussionists being school orchestra directors.

Much of the time these articles and sessions focus on how to use the bow, understanding basic set up, understanding unique string notation and other nuts and bolts of the job. They are all quite useful, and attempt to get a lot of information into a short amount of time or space. I’ve attended many of these sessions, and read many of these articles, as I’m a horn player that’s in his 28th year of teaching high school orchestra. As such, I feel entitled to share a few thoughts on this topic. Please bear with me!

LESSONS No matter how many articles you read, or conference sessions you attend, you can’t do this job really well, if you can’t demonstrate at least a little bit on a string instrument yourself. Sometimes people don’t like to say that, but in my opinion, it’s true.

What that meant for me was going to the finest violin teacher I could find and afford who was willing to take me on for private lessons. I would drive to his home every week, and wait for the lesson before me, who awkwardly enough happened to be one of my students, to finish her lesson before I’d go into his studio. He broke things down to the basic steps that I needed to develop my skills. This process was 34

enlightening, at times fun, and frequently deflating.

However, I would not trade the 4+ years I did this for anything, as it’s where I really learned to do the job of being a strings teacher. I took notes after every lesson of what I did wrong, and how he fixed it – or at least tried to fix it! The one advantage I think I may have garnered from the experience is I can closely relate to what my students go through on a daily basis, as I was quite recently in their shoes myself. One other thought, if you aren’t a string player, and can only take one instrument lesson, take violin or maybe viola lessons. In my opinion, the violin skills are a must, and transfer to other instruments easier than the other instruments transfer to violin. Of course the ideal is to take lessons on all four instruments: violin, viola, cello and bass. That just may not be practical for everyone.

VISIT SUCCESSFUL PROGRAMS Seeing successful school orchestra programs function, and finding out how the teachers of those programs make it work is extremely valuable for someone trying to build their own program. To this day I try to travel every year or so to see a top-notch orchestra program in action. Just this past year, for example, I traveled to Cobb County, GA to, amongst other things, see Dr. Perry Holbrook and Sara Grimes with the Walton High School Orchestra– a TRIAD

four time Midwest Clinic performance group. Dr. Holbrook, by the way, is a trumpet player who has surrounded himself with excellent string teachers that feed his orchestras – Ashley Culley, April Cull, Tricia Laux and Jacob Bitinas. Dr. Holbrook uses every resource available to him to maintain the quality of that program.

I try to observe programs I visit with a “can I use this in my school” filter constantly monitoring everything I see. Socio-economics, available resources, school and school district size affect everything, so not all of it can be transferred to my school. Nonetheless, a lot of it can be transferred and can be a positive impact on my students, if I mindfully transfer what I like about the other programs I visit. The most important of these ideas I picked up on these visits is to surround myself with excellent string players/teachers.

SURROUND YOURSELF WITH EXCELLENT STRING PLAYERS/TEACHERS Although I took lessons on violin for several years after I became a high school orchestra director, I cannot honestly say that I am a strong enough violinist to even make the first violins in the top orchestra that I teach each day. I don’t take any shame in that. If I were a band director, I don’t think I’d make the top band in my school on bassoon, oboe or bass clarinet, either. I do, however feel it’s a must to have someone around (again, especially on violin) that can play, finger and assist players on difficult passages that I may not be able to do myself. Although it’s ideal, that may not mean having a full time teacher on staff. It may be someone you bring it to help, or someone on a supplemental contract. How

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you get them is not really the key issue. The key issue is that they are there, and available for you and your students.

THE BOW Yes, this ties back into all those conference sessions and journal articles about non-string players learning to use and understand the bow. One thing I’ve noticed in my travels is there are many really fine high school orchestra programs. What separates the really fine programs, and the truly exceptional programs is the student, and thus teacher understanding of the bow. This is something that, again, one cannot just read about. It has to be experienced firsthand, under the guidance of a fine teacher.

As I approach the twilight of my high school orchestra teaching career, it becomes harder to maintain the focus on my program that I had before I met a lot of my career goals. The one thing that keeps me going is a sense of obligation to my current students.

Growing as a strings teacher, being willing to learn from other teachers and not being afraid to humble myself to say “How do you do that?” seems to work for this horn player turned orchestra director. I don’t see that changing right up to my last day in the classroom.

Mark Sholl has been the director of orchestras at Hilliard Davidson High School and Music Coordinator for the Hilliard City Schools for the past 21 years. He is also the past President of the Ohio Orchestra and String Teachers Association. He is the music director of the Columbus Symphony Cadet Orchestra, one of four levels of youth orchestras associated with the Columbus Symphony Orchestra. He is currently a doctoral candidate in The Ohio State University School of Education Policy and Leadership.

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MUSIC MASTERCLASS -

WOODWINDS Mouthpiece Exercises......

Not Just for Brass Anymore!

Shawn Reynolds; Howland Middle School

Being a double reed specialist and an active woodwind doubler, I have always felt confident in teaching woodwinds. Through the years, I continue to learn as much as possible about brass, percussion and woodwinds to give my students the best education I can provide. The longer I teach, the more it becomes apparent that there are many connections between the fundamentals of brass playing and the applications to the fundamentals of woodwind playing.

I begin many rehearsals in my middle school with brass mouthpiece buzzing as part of our warmup routine to focus the embouchure muscles and get the students to listen to the pitches they are buzzing. By adding woodwind mouthpiece playing to this warmup, you can achieve many of the same results, plus use it as a tool to assess clarinet and saxophone embouchure setup. Many teachers forget about or underestimate the importance of producing the correct pitches on the mouthpiece and barrel/neck alone on clarinet and saxophone, as a tool for assessing overall embouchure. Further, it can be a great insight into intonation issues on those instruments.

There are some advocates who believe that clarinet and saxophone mouthpiece work should be done on the mouthpiece alone. At the high school or college level, this may be true. However, I am a firm believer that in the middle school level, the use of the mouthpiece connected to the barrel/neck provides the 36

sometimes small-statured middle-school student a more tangible object to grasp and visualize for these exercises. In addition, the lower pitch produced using the mouthpiece connected to the barrel/neck is a more easily discernable pitch for the middle level learner to hear and match.

Clarinets should remove the mouthpiece and barrel (connected) from the instrument. Have students place the mouthpiece in their mouth as they would if they were playing normally. It is important that you as the teacher are very specific to mention that the students need to hold this shortened section at the same angle they would play their clarinet fully assembled.

If they are not holding this segment at the correct angle, it can compound and create a host of other issues detracting us from assessing the embouchure, which are the purpose for this exercise. When playing the clarinet mouthpiece and barrel alone, with all factors in correct alignment, students should be able to produce the pitch of concert F#.

Saxophones should remove the mouthpiece and neck from the main body of the instrument. The mouthpiece /neck should produce the pitch of concert G# for alto saxophone. The pitch on the mouthpiece and neck for tenor saxophone should generate a concert E and baritone saxophone should generate a D or D#. It should be noted that some teachers insist that alto sax be played with the instrument to the side of TRIAD

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the right leg. This is most often done with beginners due to the physical size of the student in relation to the instrument. While this is not necessarily a bad thing for beginners, the position of the instrument should be moved to the center as soon as possible (when seated). Students who play in the side position most often place the mouthpiece in the embouchure at too low of an angle (usually closer to a 45 degree angle). This embouchure setup will cause major embouchure and intonation problems as the student gets get taller and their facial features begin to mature.

It is important to keep the alto saxophone neck and mouthpiece almost parallel (to the floor) when in playing position.

While teachings, I always have many instruments, both brass and woodwind, assembled and ready to play at my disposal. I regularly model and demonstrate during rehearsals for all of my students. Modeling is one of the most effective tools teaching tools we have and we should be doing it each and every day on as many instruments as possible for our students. Even if you are not a woodwind player, it would benefit you and your students to obtain these mouthpieces and be able to demonstrate the correct pitch on the mouthpiece and barrel/neck alone while in playing position, for the students. If you have a piano in your room it would suffice to play these pitches on the piano to help reinforce the pitch they should be producing.

Once you have properly demonstrated what pitch the students should be achieving on the mouthpiece and neck/barrel alone, have the students identify whether they are flat, in tune, or sharp, relative to the pitch you have given. I initially encourage my students ‘discover’ how to manipulate the pitch to make it go higher and lower rather than telling them how to make these adjustments. The thought is that they will remember how to adjust if they have discovered it on

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their own. Once they are aware of their pitch in relation to your pitch, begin to help find solutions. Ultimately, we would want to encourage them to “discover” how to fix the problem so that they can apply that to future pitch concerns. The following list are some helpful ways to help troubleshoot problems that you may be hearing using the above exercise: • Think about pushing your chin forward slightly into the reed (clarinet) • Think about pushing the bottom lip (bottom teeth pressure against lip) SLIGHTLY upward into the reed (saxophone) • Stretch your upper lip downward - away from your nose.

• Point your chin downward • Try putting a little bit more “cushion” against the reed with your lower lip. (notice the word “pressure” is purposely avoided!)

• As the teacher, you can slightly change the angle of the barrel/neck and mouthpiece to assist the student in figuring out where the best location in achieving the correct pitch. Sometimes, by moving it slightly inward or outward (up or down on saxophone) the cushion/pressure against the reed will automatically fix itself.

• Though simple idea, the following is often overlooked: Be sure to check that each student has their teeth anchored firmly into the top of the mouthpiece, at all times, to achieve proper “support” of the reed with the lips.

• Too little or too much of the mouthpiece inside the mouth could negatively affect the pitch. Insert a piece of paper between the reed and mouthpiece to demonstrate the point where the paper stops (where the reed begins to move away from the mouthpiece). This is the point where the bottom lip should be anchored against the reed.

• In general, anything less than a strength 3 reed

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will cause the pitch to be too low. I insist my students use a strength 3 reed and it unequivocally always brings the pitch up to where it needs to be, providing all other variables are correct.

The final piece of the puzzle, and the one that is often not worded correctly, is to remind students to remember what it “feels” like to play with the correct pitch on the mouthpiece and barrel/neck alone.

If they remember and apply this “feeling” by replicating it each and every time they play with the instrument assembled in its entirety, intonation and embouchure will be greatly improved.

If you use this technique often in your rehearsals, you will begin to see improvements in embouchure and intonation almost immediately. Do keep in mind that as students’ progress from elementary into middle school and high school, their facial structure and bodies are constantly changing. In addition, kids are often getting braces on or off. All of these factors can contribute and affect the embouchure, sometimes numerous times, during their teen development years. Visit and re-visit this exercise over the course of several years to ensure that minute adjustments are being

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made to accommodate physical growth and development. Frequent reminders of the fundamentals of basic embouchure are very important. While they take a bit of patience and time, the end benefit will be well-worth the extra time spent!

Shawn Reynolds is in his 13th year of teaching. For the last 7 years he has taught in the Howland Local Schools where he is the director of the 6-8 Howland Middle School Bands, and one of two assistant directors at Howland High School. In addition, he serves as the professor of oboe/English horn at Youngstown State University (YSU) Dana School of Music.

He holds a BS in Music Education from Youngstown State University and an MM in Oboe/English horn performance from University of Cincinnati College-Conservatory of Music (CCM), where he was a music education graduate assistant and instructor of record for undergraduate woodwind methods courses. He has been a clinician at several OMEA allstate conferences and has presented clinics in both state and regional PMEA and International Double Reed Festival (IDRS) conferences. In addition to being a husband and dad to 3 amazing kids, he maintains a very active freelance performing career throughout the NE Ohio and Western Pennsylvania regions.

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ADJUDICATED EVENTS Adjudicated Events News & Updates

JD Latorre; OMEA Adjudicated Events Chair

A huge thank you goes out to Jay Wardeska and Stephanie Smith for a great season of marching band Adjudicated Events! Remember that applications to host a 2016 event are due the first week in January.

Contact Jay Wardeska, 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 JD Latorre or Greg Taylor, the OMEA Technology Director, before the registration deadline.

SOLO AND ENSEMBLE Remember that the String, Brass, and Percussion solo lists have been updated; please take the time to check out these lists! Looking ahead to 2017, we will see the Brass Ensembles, Vocal Ensembles, and Piano Solo lists revised.

CHANGE OF DISTRICT AND REGION FOR LARGE GROUP EVENTS DIRECTIONS All requests to perform out of district for 2016 Large Group Events need to be made through the portal. Log onto the portal; choose Large Group

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from the online registration menu; and select the appropriate event. Do this for each ensemble that you are requesting to perform out of District/ Region. 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 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 Remember that the Large Group Required Lists were expanded in 2015. Each high school band and choir required list now has 18 pieces. Twelve pieces are listed as new and returning. Six pieces are listed as standard repertoire and will stay on the list for much longer periods of time. The lists are available on the OMEA website.

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ADJUDICATED EVENT FEES Please remember that all fees must be paid in a timely manner. Request the check early from your school or booster organization so 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.

THE NEW ADJUDICATOR EVALUATION SYSTEM The Adjudicator Evaluation System was used throughout marching band season with great success, and we are looking forward to full implementation this winter for Solo and Ensemble and Large Group events. Directors can go to the member portal and click on the Adjudicator Evaluation tab and the adjudicators from your adjudicated event will be listed.

You can click on each adjudicator to provide the feedback.

AE SESSIONS AT THE 2016 OMEA CONFERENCE There will be many sessions offered by the AE Committee at the 2016 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 2016 adjudicated events. There will be sessions for the new teacher, adjudicators, directors, and site chairs.

JD is a past OMEA Marching Band Affairs Chair, and is currently OMEA Adjudications Chair. JD serves as band director at Berne Union Local Schools in Sugar Grove, Ohio. Berne Union’s small size warrants only one full-time instrumental music instructor, making him responsible for all elements of the band program in grades 5-12. He lives in Lancaster with his wife Elizabeth and their four children.

Music at Otterbein Building your future...one note at a time

Utilizing the cultural resources of a vibrant metropolitan area, the Department of Music and its varied ensembles produce musical excellence within a liberal arts context. Music majors and non-majors work with faculty in a creative and collaborative atmosphere. Otterbein provides a curriculum which meets the individual needs of the performer and prepares students for the career path of their choice.

Upcoming Audition Dates Saturday, Jan. 23, 2016 Saturday, Feb. 13, 2016 Tuesday, Feb. 23, 2016 Saturday, March 19, 2016

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, Concentrations in Audio Production, Arts Administration and Music Management • 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 2015/JANUARY 2016

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GENERAL MUSIC Singing in the Elementary General Music Classroom Suzanne Walters; OMEA General Music Chair

Singing is a basic component of our humanity, and it is heartbreaking to meet adults who claim they cannot sing because they were either never taught, or worse, told by an elementary music teacher in their past to “just move your lips.” It is the rare young child who cannot eventually learn to match pitch but regular singing and appropriate direction are the keys to success. If the elementary music teacher is not teaching children to sing correctly, where will they learn? American Idol? Miley Cirus?

Focusing on teaching young children to sing, when they are uninhibited and naturally expressive, is the best time to train them to think of themselves as confident singers. Having six years of experience with singing and becoming confident should help to alleviate some of the anxiety that could accompany the voice change process later.

Possibly contrary to popular belief, elementary

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students CAN sing beautifully! Young children possess the ability to sing extremely high with a beautiful, clear tone, but they often have no experience doing so.

The pop songs they listen to are in ranges that are too low for young singers, yet they try to sing along anyway. There are certainly parents and elementary classroom teachers who sing with their kids, but often they sing in a range which is comfortable for them and which is, again, quite low for children’s voices.

With some basic changes implemented into the elementary general music classroom, these young singers can produce beautiful sounds!

Good modeling is crucial. Children who are new to singing learn through imitation, so it is imperative that healthy and beautiful tone is produced by the teacher. Regular singing – during EVERY music class – is a must, and checking the students’ individual

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The University of Akron

You are cordially invited...

To attend our Alumni & Friends Reception during the OMEA 2016 Professional Development Conference in Cincinnati, Friday, Jan. 29, 6:15 p.m.

Visit The University of Akron School of Music at Booth #520 and attend these special events:

UA Symphonic Band Concert Friday, January 29, 5 p.m.

Convention Center Grand Ballroom A

www.uakron.edu/music

THE UNIVERSITY OF AKRON

FINE ARTS DIVISION

BUCHTEL COLLEGE OF ARTS AND SCIENCES

Galen S. Karriker conducts, with guest conductor Kenneth G. Bloomquist, Director of Bands Emeritus, Michigan State University.

The University of Akron Symphonic Band

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

DEGREE PROGRAMS 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.)

Correcting Saxophonists’ Common Problems Saturday, Jan. 30 11:45 a.m. - 12:45 p.m., CC262 Dr. Todd Gaffke, professor of saxophone, UA School of Music, clincian.

The University of Akron Invitational Vocal-Choral Festival

Wednesday, Feb. 3, 2016, 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 Wednesday, Feb. 24, 2016 EJ Thomas Hall, 198 Hill St.

Wadsworth High School Wind Ensemble, Brunswick High School Wind Ensemble and Symphonic Band, and the UA Concert and Symphonic bands.

Guest conductor Frank B. Wickes, Director of Bands Emeritus, Louisiana State University.

Concerts at 3:15 and 6:30 p.m.

JazzFest 2016 March 15-18

Featuring guest vocalist Alexis Cole.

Call 330-972-8301 for details.

Scholarship Auditions Dr. Ann L. Usher, Director 330-972-7590 • music@uakron.edu www.uakron.edu/music The University of Akron is an Equal Education and Employment Institution ©2015 The University of Akron

Friday, December 4, 2015 Saturday, February 13, 2016 Monday, February 15, 2016

singing on a very regular basis – several times per month if not once or twice per week – is vital as well.

Children will learn to sing in a high range by singing along with other students who are doing so. Checking a student’s individual singing enables the teacher to strategically place a student who struggles to match pitch surrounded by confident and consistent singers.

Regular pitch exploration ensures that students are comfortable accessing the high head voice. Making siren sounds is a warm-up activity that is used to work through the entire range. Young students enjoy such an activity because it is easy and fun. Other pitch exploration activities include following - with the voice - bouncing balls, lines on a board, long pieces of yarn on the floor in curved shapes, or a flashlight beam. Any pitch exploration game will work with young singers and they will be accessing the high range easily and consistently.

Posture and breathing can become overwhelming

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to young students. I advocate as basic an explanation of posture as possible – feet shoulder-width apart, knees relaxed, hands at sides. Do not belabor the breathing aspect; keep it to a simple explanation of thinking about breathing “from the middle” (of the body) and make no sounds or shoulder movements when taking a deep breath. Correct and consistent vowels is important for beautiful tone – have students become aware of singing “tall” vowels regularly.

Finally, blend – sounding like one voice - makes a big impact. The secret is listening to the people on both sides of the singer. Each student must constantly listen while singing, and think about whether he can hear the people on either side of him. If he cannot hear the people beside him, that singer must make his OWN voice just a bit quieter.

Implementing the strategies described above should create immediate results! Best wishes for a year of great singing!

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ASPIRE ACHIEVE Baldwin Wallace is proud of our BW faculty who are members of THE CLEVELAND ORCHESTRA. Pictured above inside beautiful Severance Hall, their Cleveland home, are (l to r): Yasuhito Sugiyama, tuba; Charles Carleton, double bass; Daniel McKelway, clarinet; Jack Sutte, trumpet; Jesse McCormick, horn; Jonathan Sherwin, bassoon; Richard Stout, trombone; Jeffrey Rathbun, oboe; and Lembi Veskimets, viola.

Baldwin Wallace University Conservatory of Music Challenge your potential at BW—where 352 gifted students engage with 72 artist faculty to achieve amazing outcomes. From the tradition of Bach to the innovation of contemporary composers, our undergraduate-only students enjoy exceptional performance opportunities and find inspiration in the cultural wealth of Cleveland.

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MINUTES

to Cleveland

AUDITION DATES for 2016 Enrollment Sat., Feb. 13, 2016 Sun., Feb. 14, 2016 Sat., Feb. 20, 2016 Sun., Feb. 21, 2016 Sat., Feb. 27, 2016 Sun., Feb. 28, 2016

Instrumental,* Keyboard,* Music Theatre** and Voice Music Theatre** Instrumental,* Keyboard,* Music Theatre** and Voice Music Theatre** Music Theatre** and Voice Music Theatre**

* Instrumentalists may upload a video audition at digitalaudition.bw.edu. ** Music theatre applicants must audition on campus.

APPLY at www.bw.edu/apply

Register for a unique audition weekend at www.bw.edu/events

Conservatory of Music 275 Eastland Rd. Berea, OH 44017-2088 866-BW-MUSIC bw.edu/conservatory Baldwin Wallace University prohibits discrimination on the basis of race, creed, age, disability, national origin, gender or sexual orientation in the administration of any policies or programs.

HIGHER EDUCATION NEWS ASHLAND UNIVERSITY Dr. Christina Fuhrmann, Professor of Music, released her new book “Foreign Opera at the London Playhouses” now available through Cambridge University Press. In the first comprehensive study of the London playhouses’ adaptations of over forty operas from early nineteenth century composers, including Mozart, Rossini, Weber and Bellini -- Dr. Fuhrmann shows how integral they are to our understanding of early nineteenth-century opera and the transformation of London’s theatrical and musical life.

The Ashland University Brass Ensemble performed Respighi’s The Pines of Room with the Ashland Symphony Orchestra for the City of Ashland’s Bicentennial Celebration to open the new Robert and Janet Archer Auditorium at Ashland High School on September 12. Other University musicians for the concert included the Ashland Area Chorus, students Nick Bartulovic and Polly Dexter, and faculty members Andria Hoy, Ian Hoy, Deb Logan, Mike Metcalf, Jane Reed and Thomas Reed.

Dr. Rowland Blackley, Professor of Music and Director of Choral Activities, led the University Choir and Chamber Singers on their spring tour to New York City singing at several churches, schools and the Cathedral Church of St. John the Divine in Manhattan. Blackley’s twenty-seventh published work, an original choral composition titled “Song of Love” for treble chorus was published last spring. Over the summer, he was guest conductor for the Ashland Symphony Orchestra in concert, and played a solo organ recital.

Dr. Thomas Reed, Chair and Professor of Music, and the saxophone/woodwind quartet Iron Toys will perform at Lycoming College in Pennsylvania on October 28, and at Ohio University on January 26.

Dr. Marla Butke, Professor of Music, has been presenting Dalcroze Eurhythmics workshops this fall at the College of Wooster, Otterbein University, Uni47

versity of Cincinnati, Miami University, and Wright State University. Dr. Butke is a Master Teaching Artist with the American Eurhythmics Society.

BALDWIN WALLACE October 8 was a most significant date in the life of the Baldwin Wallace University Conservatory of Music, as we officially celebrated our ALL STEINWAY DESIGNATION. A Convocation Student Recital on our beautiful Steinway D’s, a special presentation from Steinway & Sons – Americas, and a reception marked the occasion.

Frank Battisti and Dwight Oltman, esteemed guest conductors and artistic luminaries, returned to the Gamble Stage at BW on Friday, November 20 at 7:00 pm. Conducting the Symphonic Wind Ensemble and Symphonic Band, works were performed by Norman Dello Joio, Ralph Vaughan Williams, Michael Gandolfi, and Tchaikovsky.

Spring semester promotes a new spirit of innovative programming and artistic synergies that expand the impact of two long-standing festivals. The March

2016 FOCUS Festival will feature composer David Lang, a Pulitzer Prize recipient and Musical America’s 2013 Composer of the Year. One month later, the BW Bach Festival will feature Bach’s St. Matthew Passion.

FOCUS Festival composer David Lang’s work, the little match girl passion, winner of the 2008 Pulitzer Prize, will be performed at both Festivals.

The theme of the little match girl passion connects to Bach’s St. Matthew Passion. This dynamic juxtaposition of traditional and contemporary music will be rich and meaningful for the audience and for students in the learning environment. The Cleveland Chamber Symphony will open the Focus Festival on March 16, and Cleveland’s celebrated baroque orchestra, Apollos Fire, will officially open the Bach Festival week with a performance featuring the music of Telemann on April 10, 2015.

Baldwin Wallace mourns the loss and celebrates the life of Kyle Jean-Baptiste, ’15. Already a music theatre giant at the age of 21 as the first African-American and youngest Jean Valjean in Les

YO U N G STOW N STAT E U N I V E RS I T Y

ana The Dana School of Music C O L L E G E O F C R E AT I V E A RT S & C O M M U N I C AT I O N

Celebrating 147 years of great music-making

Join us at our Open House on

Wednesday, October 14, 2015 2016 Spring Auditions

2/6, 2/20, 3/19

For more information or to schedule an audition:

330-941-3636 www.ysu.edu/ccac 48

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At Heidelberg, we’ve been training music and theatre students for 126 years. We will help you reach your full potential by letting you jump right into our choirs, bands, and theatre performances. Combine that with free private lessons, trips to performances, and workshops with professional musicians and you’ll be ready for whatever path you choose.

THE HEIDELBERG ADVANTAGE • One of Ohio’s most reasonably priced private college music schools.

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

• Recital performance opportunities 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.

SCHOLARSHIPS Scholarships available up to $20,000 for music majors in all performance areas. For full scholarship consideration, students must audition before March 1, 2015.

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

AUDTION DATES • Nov. 6

• Jan. 16

• Feb. 15

• Nov. 21

• Jan. 18

• Feb. 20

• by appt.

* 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

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

2016 OMEA CONFERENCE Cincinnati, Ohio

SESSIONS

CONCERT

Dr. Toby Rush

Braille Music Notator: Create Braille Music without Knowing Braille Friday, Jan. 29 8:15 a.m.

CC238

Dr. Sharon Gratto

Pre-Student Teaching Practicum Experiences: Tried and True or May Be New! Friday, Jan. 29 10:45 - 11:45 a.m.

CC238

Dr. Minnita Daniel-Cox

Exploring the Dunbar Music Archive: Vocal Repertoire with Texts by Paul Laurence Dunbar Saturday, Jan. 30 11:45 a.m. - 12:45 p.m.

CC238

University of Dayton Faculty Brass Quintet Saturday, Jan. 30 9:15 a.m.

CC211

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

2016 AUDITION DATES

February 6 | February 13 | February 20

Misérables on Broadway, he tragically lost his life on August 29 in an accidental fall. His legacy lives on in the hearts of his friends, family, and the BW community.

BLUFFTON UNIVERSITY One Bluffton University professor has begun work on a CD project, while another is marking the release of seven of his compositions in 2015 by Carl Fischer Music.

Dr. Adam Schattschneider received Bluffton’s Trollinger Faculty Scholarship Grant, which is providing a six-credit-hour release over the period from 2015-17. He is using the release time for a collaborative project to record and produce a CD of solo and chamber praise and worship music featuring flute, clarinet and saxophone.

The professor of music plans to work with faculty colleagues and students at Bluffton, and with other community and Ohio musicians with whom he has worked on three previous CD projects. Also a music minister at Bluffton’s English Lutheran Church, he expects the new recording project to be complete by summer 2017.

The Trollinger grant that Schattschneider received is one of three endowed faculty grants at Bluffton. It is awarded via a process in which proposals submitted by faculty are considered by the university’s Faculty Development Committee.

Dr. Peter Terry, an associate professor and also chair of music at Bluffton, has been affiliated with Carl Fischer Music since 2013. This year, the publisher released five new works by Terry for band— one in each grade category from beginner to high school—and two for string orchestra, one each at the grade 1 and grade 1.5 levels.

Carl Fischer has now published 14 Terry pieces, 12 of them for band. Terry hopes to have seven more released in 2016—five for band and two for string orchestra—and another, grade 3 band piece has already been accepted for 2017.

CASE WESTERN RESERVE UNIVERSITY Case Western Reserve University celebrated the opening of the new Milton and Tamar Maltz Performing Arts Center in September. Considered a masterpiece of early 20th Century architecture, the newly renovated facility is a welcome new addition DECEMBER 2015/JANUARY 2016

to rehearsal and performing spaces used by the Department of Music.

Three CWRU doctoral students presented research posters at this year’s SMTE Conference in North Carolina. Marshall Haning presented “The Association Between School Music Participation and Social Capital Development in Young Adulthood.” He worked with fellow doctoral student Elizabeth Tracy on a study entitled, “Commonalities and Differences Among Secondary Non-Performance Music Classes.” Christa Kuebel was also selected to present her work, “Collaboration Through Rock n’ Roll.”

Mr. Haning also recently published an article, “Are They Ready to Teach with Technology? An Investigation of Technology Instruction in Music Teacher Education Programs,” in the Journal of Music Teacher Education.

Dr. Matthew Garrett, Director of Choirs and Coordinator of Undergraduate Studies in Music, was recently promoted, with tenure, to the rank of Associate Professor of Music Education. His research collaboration with Dr. Fred Spano from the University of North Carolina at Charlotte, “An Examination of LGBTQ-Inclusive Practices used by In-Service Music Educators,” has been selected for publication in an upcoming issue of Research Studies in Music Education. Drs. Garrett and Spano presented the results of their study at the 2015 International Symposium on the Sociology of Music Education in June.

Dr. Garrett and Dr. Nathan Kruse presented a session, “Developing Creativity in Secondary Music Classrooms: Critical Thinking as Process and Product,” at the 2015 NAfME National Inservice Conference in October.

CWRU Music Education hosted Dr. Jessica Nápoles of the University of Utah for a two-day scholar-in-residency this fall. Dr. Napoles led undergraduate and graduate seminars in music education and gave a Music Department Colloquium presentation, “Presentation Skills: Content vs. Delivery.”

COLUMBUS STATE COMMUNITY COLLEGE Columbus State Concert Band, under the direction of Thomas Lloyd, performed its fall concert in November. Joel Shonkwiler was guest trombone 51

soloist. The concert featured the 60th anniversary performance of “The Record Herald March” by W. B. Clift as well as Frank Ticheli’s “On Horseback,” co-commissioned by Columbus State. The band will travel to Broad Street Presbyterian Church on April 26th for a joint concert with organist James Hildreth.

Columbus State Jazz Ensemble, conducted by Rick Brunetto, will perform a concert with the Columbus State Concert Band on March 1, 2016.

Chorus Columbus State, under the direction of Gordon Franklin, performed its fall concert at the Columbus Museum of Art on December 6.

Columbus State Gospel Vocal Ensemble, directed

by Emma Easton, celebrated Gospel Music Heritage Month with a Summit and concert held on campus in September. The Summit explored the state of gospel music in the 21st century.

Adjunct faculty member Rocco Di Pietro gave his 66th Birthday concert in New York City at Spectrum-New York, 121 Ludlow St., on October 15th with Pianist Chryssie Nanou and Rob Hamilton from CCRMA Stanford, assisting.

THE OHIO STATE UNIVERSITY The School of Music accepts applications via the ® web-based network Acceptd – deadline January 29 or two weeks prior to the selected audition date, whichever comes first. Audition dates are December 10, January 15, February 6 and 13. Students must apply to both the university and the School of Music.

Junior Visit Day is scheduled for April 10.

Associate Professor Kia-Hui Tan, violin, presented a recital featuring Ysaÿe’s rarely performed Sonata for Two Violins. Opera and Lyric Theatre presented “Moon Over Alabama: A Kurt Weill Cabaret” at the Short North Stage and “The Figaro Project: Scènes de la Beaumarchais” in Mershon Auditorium. The Blakemore Trio, in their first Columbus appearance, presented works by Beethoven and Schumann.

Vocal Arts Showcase 2015 welcomed eleven high school choirs for a full day workshop led by Assistant Professor Kristina Caswell MacMullen, Associate Professor Robert Ward, and members of the vocal faculty. Associate Professor Caroline Hong hosted the Ohio Chapter of the American Liszt Society for an event featuring twelve guest pianists cele52

brating the composer’s October birthday. Professor Steve Glaser hosted Suzuki pedagogue Mary Craig Powell for Piano Pedagogy Day and Associate Professor Ken Williams and the Ohio State Chapter of MTNA partnered with the Central-East District of OhioMTA to host their biennial event Pianorama.

Associate Professor Bruce Henniss hosted a horn day with colleagues from the Spectra Horn Quartet: Tod Bowermaster (St. Louis Symphony Orchestra), Karl Pituch (Detroit Symphony) and Denise Tryon (Philadelphia Orchestra). The day-long workshop focused on the orchestral audition process. String professors Mark Rudoff, Kia-Hui Tan, and Juliet White-Smith hosted the inaugural Chamber Music Open House for high school musicians.

Professor Katherine Borst Jones was featured in the cover story of Flute Talk and alumna Erin Helgeson Torres (DMA, 2012; MM, 2009) recently joined the faculty at Muskingum College as flute instructor.

UNIVERSITY OF AKRON The University of Akron is pleased to welcome the following Visiting Lecturers: Dr. David Blake, musicology; Lori Ciulla, music education; Jim Marron, guitar.

Robert D. Jorgensen was remembered with a celebration of life reception on July 23rd. Jorgensen is survived by his wife Anne, daughter Laura, mother Mary Elizabeth, and other family members.

Donations may be made to the Robert D. Jorgensen Endowed Fund for Music Majors Enrolled in UA Concert Bands at uakron.edu/giving.

Piano professor Philip Thomson performed eight concerts and four master classes in Korea and China last summer. He also gave a lecture at Shanghai University.

The BassoonaRoo Ensemble performed at the annual UA Music Careers Day on October 21st, and The University of Akron’s 36th TubaChristmas took place on December 12th in EJ Thomas Hall.

The Annual Invitational Vocal-Choral Festival will be held on Wednesday, February 3rd. The event provides opportunities for high school singers to work with UA voice faculty Dr. Laurie Lashbrook and Dr. Frank Ward, and Director of Choral Studies Dr. Marie Bucoy-Calavan. Dr. Bucoy-Calavan was recently appointed Artistic Director of the Sum-

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

Wright State School of Music Audition Dates for Admission in Fall of 2016: • Admission and Scholarship Consideration • Saturday, February 13, 2016 • Saturday, March 12, 2016 • Admission Only • Saturday, April 16, 2016 Graduate Assistantships and Scholarships are available for Fall 2016 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

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)

ENGAGE IN MUSIC-MAKING EXCELLENCE AT CSU YOUNG, URBAN and DYNAMIC since 1964!

Music Talent Scholarships Awarded to majors and non-majors for the 2016-2017 Academic Year!

Undergraduate Degree Programs

BM - Composition - Music Education - Music Therapy - Performance || BA - Music || Minor in Music

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

Post Baccalaureate

Licensure Program Music Education - K-12 || Music Therapy Equivalency For m ore information pleas e visit w w w.csuohio.e du /music.

Bachelor of Arts in Music Bachelor of Arts in Music Education

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2016 Scholarship Days: January 30, February 6 & 13 Scholarships available to majors and non-majors

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

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mit Choral Society, and the national board of Chorus America.

Music Education faculty member Dr. Bryan Nichols will present a session on sight-singing strategies at the Central Division conference of the American Choral Directors Association on February 26th in Chicago, IL. The UA High School Band Clinic will be held Wednesday, February 24th with a closing concert at 6:30 PM in EJ Thomas Hall. The UA Symphonic Band, conducted by Dr. Galen Karriker, will perform at the OMEA conference in Cincinnati on Friday, January 29th. Alumni & Friends of the School of Music are invited to the annual UA School of Music reception following the concert.

UNIVERSITY OF DAYTON Dr. Chad Arnow, Artist in Residence in Trombone and Brass Area Coordinator, completed a busy summer. In addition to performances with the Cincinnati Symphony Orchestra, Cincinnati Pops Orchestra, and Columbus Symphony Orchestra, he recorded a CD of new trombone quartet works with the Elysian Trombone Consort.

Dr. Donna Cox presented workshops during the Christian Congregational Music Conference in Cuddesdon, England and the American Music Therapy Association Conference in Kansas City, Missouri.

She recently celebrated 25 years of teaching choral and sacred music at the University of Dayton.

In addition to completing his Doctorate degree at the University of Cincinnati’s College-Conservatory of Music in April, Trumpet Instructor Daniel Grantham released a CD entitled Eighteen Contest Solos for Advancing Trumpeters.

Dr. Sharon Davis Gratto, Professor and Chair, received the Outstanding Service Award from the University of Dayton College of Arts and Sciences in April 2015. In May Dr. Gratto was a presenter in three sessions at the Biennial Mountain Lake Colloquium for Higher Education Teachers of General Music Education Methods.

Dr. James Hiller will co-facilitate a 5 hr. Continuing Music Therapy Education workshop entitled Experiential Education in Music Therapy: Approaches for Deepening Clinical Awareness and Competence at the Annual Conference of the AmeriDECEMBER 2015/JANUARY 2016

can Music Therapy Association in Kansas City, MO in November 2015.

UNIVERSITY OF MOUNT UNION Dr. James Perone, the Margaret Morgan Ramsey Professor in Music and Associate Dean of the faculty, recently had his book, The Words and Music of Elvis Costello, published by Praeger Publishers.

WRIGHT STATE UNIVERSITY Dr. Randall Paul, Professor and Chair of the School of Music recently returned from a 3-day residency at Western University in London, Ontario. He gave several master classes and demonstrations on clarinet reed making for the clarinet studio of Dr. Jana Starling.

This is a result of his conference appearances at the International Clarinet Conference and his book on clarinet reed making “Successful Strategies for Clarinet Reed Making” published by VDM Publishers, Germany.

Dr. In-Hong Cha, Professor of Music, Director of Orchestral Study and Applied Violin just returned from Caracas, Venezuela where he was The Conductor and Violin Soloist with the D’Camara String Orchestra. This event was a celebration of 50 years of diplomatic relations between Korea and Venezuela. The event was sponsored by the Korean Embassy.

Dr. Thomas Lukowicz, Instructor of Tuba and Euphonium served as an adjudicator for the Mock Orchestral Competition for the 2015 Midwest Regional Tuba Euphonium Conference. He was joined by Rex Martin, Fritz Kaenzig, Denis Nulty and John DiCesare.

XAVIER UNIVERSITY In addition to current degree offerings in Music Education and Music Performance, Xavier University also began offering a Bachelor of Arts in Sacred Music this past fall. This new program combines practical experience and professional collaboration with a rigorous and diverse curriculum. In addition to a strong foundation of courses in music and theology, the Bachelor of Music in Sacred Music offers students the opportunity to focus in either keyboard or choral conducting. The program prepares students 55

for professional experience outside of the university environment by fostering a practical, cross-cultural and student-oriented curriculum.

The new program in Sacred Music has been created through close collaboration between Xavier’s Music and Theology faculty, and is intended to prepare students for choral conducting and keyboard leadership of community music making by means of a carefully balanced curriculum that includes a strong foundation in both music and theology. Music courses include work in liturgy, psalmody, hymnody, service playing, choral arranging, conducting, and the history of Sacred Music. Theology courses include study of psalms and canticles, of Christian traditions, of the relationship between Art, Music

and Theology, of the theology of Christian Worship, and Ethics.

The faculty of Xavier University’s new Sacred Music program created the B.A. in Sacred Music out of the conviction that “music and liturgy together are history, in that they reflect the world and the philosophies of their creation. Music and liturgy are also science, in that they demand keen perception, sensitivity and exactness of execution. And music and liturgy together are art, in that they cause us to recognize, understand, and experience both beauty and transcendence.” For more information about the Bachelor of Arts in Sacred Music as well as Xavier University’s other degrees and programs in music, please visit http://www.xavier.edu/music/.

Music caMp July 10 -14, 2016 Featuring a professional teaching staff who provide inwstrumental and choral instruction for young musicians in Grades 5-11.

W 56

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

CONSERVATORY OF MUSIC 1 COLLEGE AND MAIN COLUMBUS, OHIO

BACHELOR OF MUSIC

BACHELOR OF ARTS

Music Education Dual Instrumental Vocal

Music

Keyboard Pedagogy Church Organ Piano

MASTER OF MUSIC IN MUSIC EDUCATION

Music Industry

Jazz Pedagogy Emphasis

Music Technology

Kodály Emphasis

Performance Jazz Studies Composition Instrumental Organ Piano Voice Voice (Opera/Music

(Kodály certification and non-degree programs also available)

Theatre Emphasis)

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 23, 2016 (No percussion) Saturday, February 6, 2016 (No piano or flute) Monday, February 15, 2016 (Brass, flute, clarinet, bassoon, saxophone and percussion only) Saturday, February 20, 2016 Saturday, March 12, 2016 (No brass, percussion, or piano)

www.capital.edu/music

614-236-6101

GRADUATE Internationally renowned professors. Graduate students who go on to teach and perform around the world. Curriculum that balances the cutting edge of theory with the skills necessary for a rewarding career. Unparalleled facilities, including a new state-of-the-art recording studio.

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SIGN UP FOR GRADUATE SUMMER PROGRAMS 2016: COMPLETE BAND DIRECTOR WORKSHOP: June 21 – 24 SUMMER SESSION I: June 27 – July 15 SUMMER SESSION II: July 18 – 29 (Instrumental and Jazz) SUMMER SESSION II: July 18 – August 5 (Kodály)

www.capital.edu/grad-music

614-236-6996

Professional Studies (Music Technology Emphasis)

Instrumental Emphasis

IN MEMORIAM Dr. Jon R. Woods January 22, 1939 - September 12, 2015 Jon Woods, who had a distinguished 38 year career at The Ohio State University School of Music, passed away after a long illness at the age of 76. He spent half of his life as a faculty member at Ohio State. His connection with the OSU Marching Band covered 10 years as Associate Director and 28 years as Director. His death occurred on the morning of the annual OSU Marching Band Alumni Reunion.

Interim Director Dr. Christopher Hoch announced Woods‘ death during the morning rehearsal by saying, “I know that many of you were in the band under his leadership and under his direction, and it is because of his leadership and because of who he was that you’re here today...”

Dr. Woods was born in Spangler, PA, a small coal mining town northeast of Pittsburgh. He came from a musical family. His mother was a singer and his father was a self-taught drummer. His mother’s siblings all played instruments, including two of his uncles who played trombone. It was his love of big band music, and especially the opportunity to hear the touring bands of Glenn Miller, Stan Kenton, Tommy Dorsey, and Les Brown in nearby Carrollton, PA , that led to his choice of playing the trombone.

He attended nearby Indiana University of Pennsylvania for his undergraduate studies, graduating with a BA in Music Education in 1960. He was a double major in music education and trombone performance. He was an all-around musician, performing in all of the instrumental ensembles and also singing in the school choirs. His teaching career began during his senior year at IUP when he returned to his home high school to conduct the band and choir, where he stayed for six years.

Woods earned his MA degree at Pennsylvania State University in 1966. He was a graduate assistant 58

with the Penn State Blue Band, working under Dr. James Dunlop.

After one more year of teaching in his home area, Dr. Dunlop recommended Woods for a position in Newark, Delaware. At Newark he developed an outstanding high school band program. He also played in the Wilmington Symphony Orchestra where he became acquainted with members of the Philadelphia Orchestra and University of Delaware faculty.

Many of these outstanding musicians were alumni of the University of Michigan and they encouraged Woods to consider this school for study at the next level.

During his 7 years in Newark, Woods attended summer classes at The University of Michigan, working on a Ph.D. degree in Music Education. He left Newark to do his residency in the 1972-73 school year. The OSU-Michigan football game was in Ann Arbor that fall and he saw the OSU Marching Band for the first time. His initial impression was “Now there’s a band!” During the spring of 1973 he began looking for a college teaching position.

Mark Klein was a fellow graduate student with Woods at Michigan and also an Ohio State School of Music graduate. Klein knew that Ohio State was looking for someone who was strong in both music education and marching band. He made a phone call to Paul Droste and told him, in so many words, that we should stop the search and hire Jon Woods. After viewing Woods’ credentials and seeing a film of his outstanding Newark HS marching band, he jumped to the top of the list and was hired. Droste had a concern, however, as the OSU style of marching differed from that of his Newark HS band. Woods assured him that he could create shows in the style and tradition of the OSU Marching Band.

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Woods began his career at OSU in the fall of 1974, leaving his studies at Michigan with only a dissertation to complete. He received his Ph.D. in 1979.

As Associate Director of the Marching Band he quickly established himself as a master drill writer and show designer. In 1984 Woods was named head director, a position he held for 28 years. During this time he led the band in new directions, primarily in advanced drill design, giving him national recognition. Woods was one of the first marching band directors to use computer generated charts for his drill routines. During Woods’ tenure as director, he was heavily involved in planning and fund raising for the Steinbrenner Band Center and Practice Field, providing the band with ”state of the art” facilities.

His Graduate Assistant Directors moved into prominent college positions. One of them, Dr. David Leppla, directed the Purdue University Marching Band for 17 years. He stated that “Dr. Woods took the time to not only show me the ins and outs of operating a top collegiate marching band program, but to offer many opportunities to gain hands on experience.

This made all the difference in my ability to step into a college band program of my own.”

Woods retired from the School of Music and Marching Band after the 2011-2012 school year.

Unfortunately, his health declined soon afterwards..

He is survived by his wife of 36 years, Donna; son Jon Stephen (Katrina); daughter Victoria; and granddaughter Reese Catherine Woods. He was preceded in death by his parents and his daughter, Catherine. A Memorial Service was held in St. John Arena on the OSU campus on September 20.

A quote from Jon Woods himself - “My legacy is my students” - set the tone for the tributes that followed. The OSU Marching Band, under Interim Director Christopher Hoch (an undergraduate student and graduate assistant under Woods), was present and performed “Eternal Father, Strong to Save.” Dr. Woods created a Skull Session tradition by playing “Eternal Father” before each home game to honor members of our Armed Forces. Arranger Ken McCoy later wrote that “I’m sure neither Jon Woods nor I had any idea the impact that beautiful hymn would have with The Ohio State University Marching Band faithful.” The band also played a special McCoy arrangement of “Salvation Is Created” and led the singing of the OSU Alma Mater, Carmen Ohio, at the conclusion of the service.

DECEMBER 2015/JANUARY 2016

During the service, tributes to Woods were offered by former directors Paul Droste and Jon Waters, and Woods‘ son, Stephen. Droste recounted Woods‘ early years with the band and that “he brought meaning to the term Tradition of Excellence.” Waters, in an emotional tribute, called Jon Woods “My Hero” and thanked the Woods family for “allowing Woods to be a father to him, and to the entire band.” Waters also challenged the current members of the band to “remember the legacy of Jon Woods as you march in the footsteps of those who went before you.” Stephen Woods remembered his father as “a passionate man who taught us to pursue the things we love.”

Dr. Woods received major awards from The Ohio State University, Kappa Kappa Psi, Phi Beta Mu, ASBDA, and CBDNA. He presented several clinics at OMEA Conventions, and was an active guest conductor, clinician, and adjudicator throughout the country.

Most recently, he received the Distinguished Service Award from OSU upon his retirement in 2012.

The family requests that donations in Woods‘ honor be made to the Dr. Jon R. Woods TBDBITL Marching Band Director’s Fund #647693, c/o The Ohio State University Foundation, 1480 W. Lane Avenue, Columbus, OH 43221, or to the Gladden Community House, 188 Hawkes Avenue, Columbus, OH 43223.

Paul Droste - OSUMB Director (1970-83)

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Inspiration – The True Gift of Jazz Michael Bisig; Beavercreek High School

There is no doubt that we are in a new age of music education. Today’s music educator must wear more hats than ever before, and they must wear them all with style. As the job gets more demanding it is easy to lose focus on what is important – inspiring our students through the gift of music.

Can you remember the first time you were inspired by music? How about the last time you were inspired? Most importantly, when was the last time a student was inspired by your love of music?

Here are some ways to use music, particularly jazz, to inspire your students to be better musicians and better people.

1. Reflect on your own experiences with your students. Let them know what music inspires you as a human being. One of my favorite stories to tell my students happened in 2007.

I had taken a break from music education and was living on the island of Oahu, HI. One night, I was listening to the local university jazz radio station and I heard a sound that was unlike anything I had experienced before. There was so much raw emotion, so much energy and creativity coming from my speakers that I immediately called the radio station and asked what they were playing.

The DJ took a second, and in perfect radio speak said “Rahsann Roland Kirk”.

That one experience lit a fire inside of me 60

that has yet to burn out. Not only did the music inspire me to push my saxophone playing to a new level but Kirk’s personal story continues to influence me as a person.

2. Challenge your students to find music that inspires them. Gone are the days of making mix tapes, or sharing bootleg copies of CDs. We live in a digital age and it is easier than ever to find new music. Have them set up a Spotify playlist, share a YouTube Channel, anything to push your students to have an active role in listening to great music.

3. Find opportunities to listen to live performances. I cannot stress enough the importance of listening to live jazz. There is no better way to teach the basics concepts such as how to swing, how to phrase, and what great tone sounds like. Beyond the basics, live performances are a great way to teach your students that there is much more to music than the written notes or changes. It is about interacting with other human beings. I love it when I can see groups having a musical “conversation” on stage. I am inspired not only by the notes they play, but also by their playful movements, the unspoken words on stage, and the joy they get by just playing their instrument.

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4. Get your students to perform as often as possible. Rehearsing is great, but there is something special about putting it all on the line and playing for an audience. This can be as simple as inviting others in to watch your jazz band rehearse, taking them to a jazz festival, or simply creating a “jam session” night at your school.

We all need to be inspired from time to time and I do not take that responsibility to my students lightly.

Find a way to push your students to be more than they are, both on and off of their instruments, and you may find that they can push you just as hard to be someone who truly loves the art of jazz and the responsibility of music educator.

Michael Bisig is the Assistant Director of Bands at Beavercreek High School in Beavercreek, Ohio. He performs regularly throughout Ohio in various groups and as a soloist/ clinician. Michael received his Bachelors and Masters of Music Education degrees from Wright State University.

Questions?

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DECEMBER 2015/JANUARY 2016

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Build your Network - A Community by Any Other Name Dr. Stephen Lytle; Miami University

All of us have experienced the unique community that evolves from being a part of a music ensemble. There is something special and precious about the feeling we get when we connect with others over a shared bond in music. Immediately we are fast-tracked through shorthand of understanding made possible by experiences that are simultaneously unique to our personal stories but also are so very common. “You sang in All-State Chorus two years ago? So did I! Do you remember....?” In the context of your professional identity, these relationships and connections help strengthen us individually and collectively and can open doors that you may not have considered otherwise. At this point in your careers you need to foster advocates. In the context of seeking your first job, that may be a difference in getting that interview.

Transitioning from high school student to collegiate music major immediately changes your identity and is the first step in your career. Though you are focusing primarily on learning the foundations of your discipline, you are doing it with others who will become your colleagues in the years to come.

Though it may be strange to think of that at this time, that will quickly change as you draw closer to your student teaching semester and ultimately to your graduation. Here are some thoughts I’d like to share on ways you can gain valuable experience 62

while laying the foundation for building a professional network.

1. Start local. Be engaged in your local community. Being active in your OCMEA chapter is a terrific first step. We all may closely identify with our specific discipline (“I’m going to be a high school band director!”) However, it is also important to make connections across our field. That can easily start with your membership and active role in your local chapter. In your ensembles and organizations seek leadership roles as opportunities arise and as you feel your skills develop to a point to be useful to others. Look to your professors as professional mentors, not just as “the teacher” in the sense of that person who assigns you work. Seek to see what drives them professionally and see if that resonates with you. If it does then let that shine through in a way that is unique to you. Your professors want nothing more than at the end of your studies to be able to enthusiastically endorse your launch into the profession and see that spark in you.

2. Volunteer. Many of you already have opportunities to get into the schools through the various classes you take. Make a point to speak to each host teacher and get a sense of their work, their challenges, and their joys. Ask if there are any opportunities for you or your chapter to come and volunteer.

Maybe it is joining the high school band in the TRIAD

stands on a Friday night or coming in and working one-on-one with students. Or, you can volunteer to work your district’s solo and ensemble event or auditions. That is a great way to meet many different people from all over. Obviously, as with any activity involving working with K-12 students, there will be protocols to follow but activities like this will not only allow you to gain valuable experience but will also allow others to see you in action and see you as someone eager and passionate about teaching.

3. Seek outside experiences. The summer before my student teaching year I was lucky enough to get a job at my local full-service music dealer. I worked in the office preparing rental contracts on behalf of all the road representatives that worked in the store, the same people who had direct contact with teachers for my region of the state. I also got to know all of the repair department people who constantly interacted with teachers in the area. When it came time to begin my job search, these people were often the first to know of impending vacancies as well as serving as a wealth of knowledge about area programs. Perhaps your outside experience may be helping with a school musical, working a band camp, or interning with a local independent youth ensemble.

4. Join Professional organizations and attend conferences. All of you have made the most basic step of joining NAfME and, by extension, OMEA. However, did you know that there are other organizations you can join even as a student? College

DECEMBER 2015/JANUARY 2016

Band Directors’ National Association, American String Teachers Association, American Choral Directors Association, American Orff-Schülwerk Association, American Kodály Educators, just to name a few. These and other organizations offer many benefits to their members including first-rate national and international conferences and the attendant benefit of meeting and connecting with a larger, national network. You may also belong to a Greek organization that offers professional networking opportunities as well.

Regardless of the path you take, find a way to build your reputation and network beyond the campus and cultivate advocates that can bear witness to the passion you have for music, teaching, and students. And remember to return the favor to someone younger than you when the time comes!

Stephen Lytle is the Associate Director of Bands at Miami University in Oxford, Ohio where he oversees all aspects of the athletic band program, conducts the Symphony Band, and teaches courses in the music education curriculum.

Under his direction, the Miami University Marching Band has performed for the Cincinnati Bengals, with jazz legend Benny Golson, in the 85th Macy’s Thanksgiving Day Parade, and the 57th Presidential Inaugural Parade. Additionally he serves as Associate Conductor of the Fillmore Wind Band and Music Director of the Fillmore Philharmonic Brass, two select adult ensembles based in the Cincinnati area. Dr. Lytle has been an active arranger for over twenty years with nearly 300 titles in brass, wind band, and marching band and remains active as a guest conductor and clinician.

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SPECIAL LEARNERS Special Learners Clinics - Preview 2016

Lalene DyShere Kay; OMEA Special Learners Chair

The OMEA Special Learners committee is once again thrilled to invite you to any and all of our Special Learners clinics coming to Cincinnati in January.

We have a slate of veteran clinicians presenting on topics from general classroom strategies to specific techniques for presenting effective and meaningful music lessons.

Tom Resnick brings to us the “nuts and bolts” of his extremely successful and effective percussion ensembles with his clinic entitled “Rhythmic Deconstruction”(Sat 1pm).

This clinic will lead the attendees through the steps to break down complex rhythms into more playable patterns and sequences, with musical and authentic outcomes. Tom invites attendees to bring their own drums for enhanced understanding!

Instrument builder and innovator Craig Woodson carries on with this topic in his clinic which will share inspirations for adapting instruments for folks with a

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variety of learning and physical challenges. Craig’s clinic will highlight his work with Cleveland-based performing arts programs featuring deaf performers and performers using wheelchairs. (Thurs, 1:15pm) Challenge yourself by attending a unique hands-on, learning-a-new-skill clinic presented by Toby Rush. This session will introduce a free braille music app which may be used create braille music scores in spite of not knowing braille yourself. For those who are on-board with “music for everyone”, this skill obviously has function far beyond the music classroom. (Fri, 8:15am) Terri McCoy, Cincinnati-based educator, brings her own teaching experiences to her two clinics representing frequently-requested topics: performance group assessment for alternative learners (Sat 9:15am) and strategies for successful inclusion of alternative learners in the traditional school music program.(Fri, 2:30pm) Terri’s classroom examples as well as forms

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and data samples will give attendees easily transferable strategies to use in their own situations. Brian Wagner will offer his own knowledge and experiences in successfully engaging reaching all types of learners in the music classroom. Brian’s handouts will be invaluable for participants as they take this new knowledge back to their classrooms. (Sat, 8am) Music as a lifelong activity for students with special needs will be the focus of a clinic by Brian Wagner (“Making Connections…” Fri, 3:45pm) and also a clinic by Lalene Kay (Educating the Consumer…

Thurs, 2:30pm)). Each of these clinics will challenge you to think beyond the classroom and beyond your students’ graduation to how their music experiences may add additional meaning to their adult life and enhance the quality of those lives.

Though many of us are called to provide them, private lessons are an area we have not represented well in past SL clinics. Lalene Kay’s clinic (Creating Successful Experiences…) will pose technical and philosophical questions (and hopefully answers!) to

DECEMBER 2015/JANUARY 2016

assist attendees to re-think and possibly re-format their private lesson templates. (Fri, Noon) The Special Learners Roundtable (Sat 10:30am) brings teachers state-wide (and college students as well) together to discuss issues of mutual interest, network and suggest topics and areas of interest for future OMEA clinic planning. Everyone interested in learning about working with special learners, sharing their knowledge, experiences and successes with special learners, as well as those interested in networking with other colleagues invested in this rewarding outreach, is enthusiastically invited to join us as the roundtable! See you in Cincinnati!

Lalene Kay is the OMEA Special Learners Chair. She is a Board Certified Music Therapist and Director of the Cleveland Music Therapy Consortium, and has offered mentorship and networking to music teachers statewide as they meet the challenges of offering meaningful music experiences and learning to all learners.

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PROFESSIONAL DEVELOPMENT & ASSESSMENT Workshops, Continuing Education,Camps, and More for Teachers & Students THE OHIO STATE UNIVERSITY SCHOOL OF MUSIC

Middle School Honor Band Festival February 27, 2016 Nomination deadline: January 7 Contact: MSHonorBand@osu.edu Double Reed Honors Invitational April 23, 2016 Contact: Robert Sorton Jazz Festival High School Band Day April 10, 2016 Contact: music@osu.edu

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Youth Summer Music Programs Flute Workshop • Jazz Camp • Clarinet Academy • Morning String Student Workshop • Double Reed Camp • Marching Band Clinic • Student Leadership Intensive June-July 2016 Contact: music@osu.edu String Teacher Workshop July 10-16, 2016 Contact: Robert Gillespie Outreach Program Details at music.osu.edu

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School of Music Creating the 21st-Century Musician The 21st-Century Musician Initiative is a complete re-imagining of the skills, tools and experiences necessary to create musicians of the future instead of the past – flexible, entrepreneurial musicians who find diverse musical venues and outlets in addition to traditional performance spaces, develop new audiences, and utilize their music innovatively to impact and strengthen communities.

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

www.depauw.edu/music/ prospective/omea

noteworthy.

SCHOOL OF MUSIC MIDDLE SCHOOL HONOR BAND FESTIVAL Saturday, February 27, 2016 nomination deadline: Thursday, January 7, 2016

YOUTH SUMMER MUSIC PROGRAMS June - July 2016 Flute Workshop • Jazz Camp • Morning String Student Workshop • Clarinet Academy • Double Reed Camp • Marching Band Clinic • Leadership Intensive

JUNIOR VISIT DAY Friday, April 8, 2016 for High School Juniors considering a career in music register online by Monday, April 4, 2016

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

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W e are W ittenberg . $350,000 in music scholarships available regardless of major

Make music at a university that cares.

2015-2016 Audition Days Nov. 13 and Dec. 5, 2015 | Jan. 18 and Feb. 5, 15, 20, 27, 2016 To schedule a scholarship audition, visit www.wittenberg.edu/music/audition.

For more information about our music programs and scholarships, contact Dr. Daniel Kazez, Professor of Music and Music Audition Coordinator, dkazez@wittenberg.edu,tel. 937-327-7354 (or 800-677-7558, ext. 7354).

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OHIO MUSIC EDUCATION ASSOCIATION

CINCINNATI

2016

QUEEN CITY

PROFESSIONAL DEVELOPMENT CONFERENCE JANUARY 28-30, 2016

AN INVITATION FROM THE DIRECTOR OF PROFESSIONAL DEVELOPMENT MARK HENSLER The 2016 OMEA Professional Development Conference A Command Performance in the Queen City!

After a successful return to Cleveland, we are looking forward to traveling south to Cincinnati for the 2016 OMEA Professional Development Conference – the “Queen City Conference”.

The 2016 PDC team of content chairs, standing chairs and OMEA staff has been hard at work securing the top presenters and clinicians in the field of music education.

The 2016 PDC will offer the biggest GM track in OMEA history and the largest overall PDC schedule since 1998. Notable changes include a restructured instructional-hour program (CEUs); an earlier start on Thursday (12:00 p.m.); an All-State Children’s Chorus program on Thursday afternoon; an increased number of concert venues; more “demo” sessions and many clinicians making their OMEA debut.

Don’t miss your chance to explore topics such as Ohio’s resident educator program; managing social media; improving classroom behavior; designing lessons with the new standards; teaching in rural and low-income communities along with focused sessions in every content area. The exhibit hall in the Cincinnati Convention Center will be filled with many familiar faces and a few new ones. The blind-audition process for performing groups has resulted in another program of outstanding ensembles of all shapes and sizes. When you add world-class All-State ensembles, TI:ME technology sessions with plentiful networking and social opportunities – the Queen City Conference is not to be missed!

Make your plans NOW to join us in Cincinnati, January 28-30 for the 2016 Queen City Conference. Still undecided? Be on the lookout for “Clinician Spotlight” reports featuring some of the outstanding presenters slated for the 2016 PDC. The “Conference” tab (left side of OMEA homepage) will also host a preregistration link; information on the new Instructional-Hour Certificate Program (IHCP); graduate credit options; housing reservations; reception request form and more!

2016 PDC Team Mark Hensler, Director of Professional Development pd_director@omea-ohio.org DECEMBER 2015/JANUARY 2016

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OHIO MUSIC EDUCATION ASSOCIATION

2016 PROFESSIONAL DEVELOPMENT COMMITTEE The 2016 OMEA Professional Development Conference

CINCINNATI

Mark Hensler

2016

Director of Professional Development

QUEEN CITY

ALL-STATE CHAIR

JANUARY 28-30, 2016

Kathleen McGrady

PROFESSIONAL DEVELOPMENT CONFERENCE

CONTENT CHAIRS Robert Tanis Band

Kent Vandock Choral

BethAnn Hepburn General Music

Jan Diehl Jazz

Trista Emmons Orchestra

Dale Nawrocki On-Site Registration

Kyle Phillips Properties Chair

STANDING CHAIRS D. Scott Eversdyke Adjudicated Events

Richard Edwards Higher Education

Kay Edwards Multi-Cultural

Stephen Lytle OCMEA

Birch Browning Research

Lalene Kay Special Learners

Melinda Wallace Curriculum/Assessment

ALLIED ORGANIZATIONS Dan Nicora JECO Gretchen Zunic OSTA DECEMBER 2015/JANUARY 2016

Tim Katz OAAE

Loren Veigel OCDA Justin Riley TI:ME 71

ALL-STATE CONDUCTORS Dr. Rollo Dilworth

All-State Children’s Chorus - Thursday, January 28, 2016 5:00 p.m. – Hyatt Regency Ballroom ABC

Rollo Dilworth is Professor of Choral Music Education and Chair of Music Education and Therapy at Temple University’s Boyer College of Music in Philadelphia, PA. His choral publications can be found in the catalogs of Hal Leonard, Colla Voce, and Santa Barbara. His choral pedagogy books, entitled Choir Builders, have been widely circulated among elementary, secondary, community, and church choral directors.

Dilworth frequently serves as a guest conductor for festival and all-state choirs throughout the United States and abroad.

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ALL-STATE CONDUCTORS Dr. Mary K. Schneider

All-State Band - Friday, January 29, 2016 1:15 p.m. – Cincinnati Convention Center Ballroom B

Mary K. Schneider is Associate Professor of Music and Director of Bands at Eastern Michigan University, where she conducts the Wind Symphony, teaches graduate and undergraduate courses in conducting and music education, directs the Music Now Festival, and oversees and guides all aspects of EMU’s comprehensive band program. She is a strong advocate for new wind music and research in that area. Dr. Schneider holds a doctor of musical arts degree from the University of Texas at Austin, where she studied conducting with Jerry Junkin.

Her teaching experience includes many years as a public school music educator in New Jersey, where she taught all grade levels of instrumental music.

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ALL-STATE CONDUCTORS Dr. Sandra Dackow

All-State Orchestra - Friday, January 29, 2016 8:00 p.m. – Cincinnati Convention Center Ballroom B

Sandra Dackow holds three degrees from the Eastman School of Music and currently serves as Music Director of the Hershey Symphony Orchestra in Pennsylvania, of the Hershey Symphony Festival Strings, and of the William Paterson University Symphony Orchestra in New Jersey.

Dr. Dackow has published over 100 works for student orchestras and is the author of Alfred’s “Orchestra Expressions”. She has appeared as a guest conductor, clinician and adjudicator throughout the US and abroad, including summers at Interlochen, and other music camps. Sandra Dackow previously taught orchestra and band in the public school districts of Glen Rock and East Brunswick, NJ.

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ALL-STATE CONDUCTORS Jeff Rupert

All-State Jazz Ensemble - Saturday, January 30, 2016 11:45 p.m. – Cincinnati Convention Center CC230/231

Saxophonist Jeff Rupert is Pegasus Distinguished Professor and Director of Jazz Studies at the University of Central Florida (UCF), and the founder of Flying Horse Records. Performing and recording credits include associations with Diane Schuur, Mel Torme, Kevin Mahogany, Ernestine Anderson, and Benny Carter’s Grammy winning Harlem Renaissance. Jeff Rupert toured for fifteen years with Sam Rivers; four albums ensued, and from 1997- 2002 toured and recorded with Maynard Ferguson. As a composer and arranger, Rupert has written for Bob Berg, James Moody, Michael Philip Mossman, Maynard Ferguson, and Judy Carmichael.

Rupert has produced three big band albums for the Flying Horse Big Band.

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ALL-STATE CONDUCTORS Dr. Paul Rardin

All-State Choir - Saturday, January 30, 2016 2:45 p.m. – Hyatt Regency Ballroom ABC

Paul Rardin is the thirteenth Artistic Director of the Mendelssohn Club of Philadelphia.

He is also Elaine Brown Chair of Choral Music at Temple University, where he conducts the Concert Choir, teaches graduate conducting, and oversees the seven-choir program at Temple’s Boyer College of Music and Dance. Rardin has served as a guest conductor for all-state choirs in fifteen states, honor choirs for the ACDA, Music Educators National Conference, and Manhattan Concert Productions at Lincoln Center. Rardin is a graduate of Williams College and the University of Michigan, where he received the M.M. in composition and the D.M.A. in conducting.

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2016 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE

SELECTED PERFORMING ENSEMBLES Capital University Symphonic Winds

Little Miami Select Women's Chorale

Cincinnati Jr. Youth Wind Ensemble

Ohio University Women's Ensemble

Dublin Jerome Wind Symphony

Jackson Middle School Symphonic Choir

Fillmore Wind Band

Northern Hills Bassoon Ensemble

Mason High School Wind Symphony

University of Cincinnati CCM Brass Choir

Mason Middle School Symphonic Winds

University of Dayton Faculty Brass Quintet

Pickerington North High School Symphonic Band

Firestone High School Jazz Band

Sycamore Junior High School 8th Grade Band

Jackson High School Seven O'Clock Big Band

University of Akron Symphonic Band

Jacob Coy Middle School Jazz Band

Wilmington High School Wind Ensemble

University of Cincinnati Jazz Lab Band

King’s High School 2Knight 2Knight

University of Toledo CrossCurrents

Bexley High School Vocal Ensemble

University of Toledo Latin Jazz Ensemble

Capital University Chordsmen

Cincinnati Symphony Youth Concert Orchestra

Capital University Philomel

Dublin Youth String Orchestra

Cincinnati Boychoir

Olentangy Liberty High School Chamber Orchestra

Cincinnati Children's Choir

Sycamore Junior High School Orchestra

College of Wooster Chorus

Perry High School Percussion Ensemble

Gahanna Lincoln High School A Capella Choir

Wright State University Percussion Ensemble

DECEMBER 2015/JANUARY 2016

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CONFERENCE CLINICIANS 2016 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE

2016 Professional Development Conference Clinicians (as of 11/7/2015) This list includes 84 clinicians making their Ohio debut!

Area Key:

Katherine Borst Jones - BD

Christopher Eanes - CH

Advocacy (AD)

Bettie Boswell - GM

Richard Edwards - HE, OC

Adjudicated Events (AE)

Jeremy Bradstreet - AE, BD

Julia Ellis - CM

Band (BD)

Brenda Brenner - OR

D Scott Eversdyke - AE, CH

Broad Range (BR)

Nicole Brocke - CA

Rachael Fleischaker - GM, OC

Choral (CH)

Kristen Brown - AD

Daniel Fleischaker - OC

Classroom Management (CM)

Cassandra Bull - GM

Eva Floyd - AE, CH, RS

Curriculum & Assessment (CA)

James Bunte - JZ

Julie Froude - MC

General Music (GM)

Jacque Burke - CA

Todd Gaffke - BD

Higher Education (HE)

Bill Burns - GM, JZ

Stephen Gage - BD

Jazz (JZ)

Kasey Burt - GM

James Gallagher - CH

Multicultural (MC)

Marla Butke - GM

Robert Gillespie - OR

OCMEA (OC)

Chris Carmean - BD

Dara Gillis - AE

Orchestra (OR)

Nat Chaitkin - OR

Dennis Giotta - HE

OTES (OT)

Michael Chandler - GM

Tim Gorgas - BD

Research (RS)

David Childs - CH

Robin Gorham - BD, BR, CA

Special Focus (SF)

Caroline Chin - OR

Sharon Gratto - HE

Special Learners (SL)

Mike Christiansen - CA

Soo Han - OR

Larry Clark - BD

Caroline Hartig - BD

Mario Clopton - SF

Barry Hartz - BD

Kristin Coen-Mishlan - CA, SF

Lynda Hasseler - CH

Elaine Colprit - OR

Gayley Hautzenroeder - AE, OR

Jason Crafton - BD

David Hedgecoth - BR, OC

Sandra Dackow - OR

Bryan Helsel - RS

Adam Dalton - BD

Beth Hepburn - GM

Micah Abrams - BD Jamey Aebersold - JZ Artie Almeida - GM Dawn Anglin - CH Craig Bailey - JZ Samuel Barbara - CH Clarence Barber - BR Amy Beegle - MC, GM Heather Beers - OR Peggy D. Bennett - GM Michael Bisig - JZ Amy Johnston Blosser - CH

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QUEEN

Julie Hobbs - BD PROFESSIONAL DEVELO

Minnita Daniel-Cox -CH, MC Angela Davoll - CA

Brandon Hollihan - SF

JANUARY 2

Kevin Dengel - BR

Angela Holt - BD, SF

Gary DeVault - BR, OT

Matthew Johnson - AD, BD, OC

Rollo Dilworth - CH

Julia Kamanda - GM

Scott DiMauro - AD, SF

Tim Katz - CA TRIAD

CONFERENCE CLINICIANS KellyAnn Nelson - CH

Samantha Smith - GM

Lalene Kay - BR, SL

Laura Nichols - BD

Stephanie Smith - AE

Jessica Kelley - BR

Lance D. Nielsen - BR, CA

Steve Smith - BD

Richard Kibler - BD

Beatrice Olesko - CA, SF

Stephen Smith - BR, SF

Marsha Kincade - OC

Jim Palmer - OR

Michael Smith - JZ

Jordan Koogler - BR

Rebecca Parsons - BR

Matthew Spradlin - CA, OT

Angelo Kortyka - BD

John Pasquale - BD

Matthew Stensrud - GM

Cindy Kostecki - CH

Olman Piedra - JZ

Brian Stevens - AE

David Kramer - GM

Karen Pierson - BD

Pamela Stover - MC, OC

Penny Kruse - OR

Kristy Piper -

Chelsey Sweatman - CH

Robyn Lana - CH

Nancy Pistone - BR, CA, HE, OT

Gregory Taylor - AE

Scott Lang - BD, BR

Ann Porter - CM

Pamela Thiel - AE, OR

Lynne Latham - BR, SF

Glenn D. Price - BD

William Thomas - AE, BD

JD Latorre - AE, BR

Nicole Quallen - CA, OT

Sandra Thornton - CH

Elyse Laux - JZ

Eric Ratica - BR

Michael Vasquez - GM

Joshua Laux - JZ

Thomas Resnick - SL

Christopher Venesile - CH

Mark Lochstampfor - AE

Craig Resta - OR, RS

Brian Wagner - SL

Gerry MacDougall - OR

Aaron Rex - BD

Melinda Wallace - CA

ToniMarie Marchioni - BD

Andrew Rhodes - OC

Holly Walton - GM

Rebel Marcum - BR, CH

Paul Robinson - BR

Renee Wang - OR

Herbert Marshall - HE, OC

Raquel Rodriquez - BD

Jay Wardeska - AE

Lisa Martin - CA, CM

Toby Rush - SL

Barbara Watson - GM

Sandra Mathias - GM

Laura Sailer - OC

Nancy Wehrkamp - GM

Paul Mayhew - CH

Carrie Sanchez - BR, OT

Travis Weller - BD

Marie McCarthy - RS

Ryan Scherber - HE

Jayne Wenner - GM

Teresa McCoy - SL

Ann Schertzer - CH

Garwood Whaley - BR

Katherine McIntosh - AE, BD

Mary K. Schneider - BD

Dustin Wiley - AD

Matthew McLean - GM

Richard Schnipke - CH

Curtis Winters - JZ

Joshua Michal - BD, BR, SF

Matthew Schott - BD

Jeanne Wohlgamuth - AE, CH

Richard Miles - BD, MC

Dale Schubert - GM

Craig Woodson - MC, SL

Rodney Miller - BR, OT

Laura Schumann - BR, OR

Michelle Worthing - SF

C EDUCATION IAT IO N

NNATI

016

N CITY

GM

Cristi Miller - CONFERENCE CA, GM Dusty Selman - OC OPMENT Samuel Minge - BD

28-30, 2016 John Mlynczak - AD, BR

Bobby Selvaggio - JZ

Theresa Young - GM Thomas Zugger - BD, CA, OR

Ryan Shaw - BD

Michelle Muro - BR, OT

Brian Shaw - BR

Philip Nagy - CA, OT

Julia Shaw - CH, MC

Marcia Neel - BD, HE, OR

Brian Shaw - OC

DECEMBER 2015/JANUARY 2016

2016 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE

David Kay - JZ

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2016 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE

SHOWCASE SESSIONS Friday – January 29, 2016 Cool New Assessment Tools & Results!

9:30 AM – 10:30 AM Award-winning, fun, effective solutions for 5th-12th grades. Get measurable results

instantly – see real progress! Access online-home or school. Fun auto-assessed

drills & cool new dashboard save class/marking time.

CC211 Sponsored by Breezin’ Thru Inc. Presenter – Jean McKen Friday – January 29, 2016 Performance Opportunities: Near and Far 9:30 AM – 10:30 AM We will explore unique performance opportunities for your ensembles that are within

driving distances and others that are farther and more exotic. Every budget and group size will be addressed.

CC212 Sponsored by Super Holiday Tours Presenter – Kirk Troen Friday – January 29, 2016 “Where’s All My Stuff?” (Cloud-based asset management using Charms Office Assistant) 10:45 AM – 11:45 AM Learn how the charms system helps directors and fine arts administrators. Manage

inventory, uniforms, equipment, and more through 24/7 access, mobile apps, barcoding, and student assignment reporting.

CC211 Sponsored by CHARMS Presenter – Paul Brown Friday – January 29, 2016 Essential Elements and the New EEi: Online Resources 10:45 AM - 11:45 AM Whether you are a tech guru or a novice, this session will demonstrate simple ways

to let Essential Elements Interactive (EEi) technology work for teachers and students.

CC212 Sponsored by Hal Leonard Corporation Presenter – Stephen Smith Friday – January 29, 2016 Teaching Is Even More Fun with Quaver!

12:00 – 1:00 PM Discover how seriously fun teaching can be! This fast-paced tour of Quaver’s General

Music Programs will provide a quick overview, new updates, sample lessons, and

technology tips for auto-assessments mobile devices and more!

CC211 Sponsored by QuaverMusic.com Presenter – Kirk Maddox Friday – January 29, 2016 Motivation, Innovation, Differentiation In Your Beginning Band 12:00 PM – 1:00 PM Richard Canter’s Scale and Rhythm Chunks books is designed to motivate young

band students to learn new notes, rhythm, dynamics and articulations during their own

home or school practice sessions.

Presenters: Richard Cantor, Josh Van Gorder CC212 Sponsored by Stanton’s Sheet Music Friday – January 29, 2016 Teaching New Dogs Old Tricks 1:15 PM – 2:15 PM Veteran teacher and author Denise Eaton will share numerous “tried and true”

techniques for teaching musical concepts (including tone, vowels, and rhythm)

through repertoire and sight-reading. A complimentary music packet will be provided.

CC211 Sponsored by Carl Fischer Music/Brilee Music Presenter: Denise Eaton

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2016 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE

SHOWCASE SESSIONS Friday – January 29, 2016 You’re in the driver’s seat, but you’re not the only one in charge…

1:15 PM – 2:15 PM Tips on how to be successful in a new teaching position at any level.

CC212 Sponsored by Bowling Green State University Presenter: Dr. Michael King Friday – January 29, 2016 “How to Plan A Concert Tour” 2:30 PM – 3:30 PM Planning a concert tour may seem like an overwhelming process, but we have you

covered! From destination selection to raising funds, consider these seven “how to”

steps to planning the perfect tour for your ensemble!

CC211 Sponsored by Music Celebrations International Presenter: John Wiscombe Friday – January 29, 2016 Summer Head Start For Your Beginning Band Students 2:30 PM – 3:30 PM Discover the pros and cons of starting your beginning band classes during band camp.

Learn how to plan and implement summer instruction for your beginning band classes.

CC212 Sponsored by Jet Music Presenter: Sarah Brown Friday – January 29, 2016 It takes a Thief 3:45 PM – 4:45 PM Veteran teacher and author Denise Eaton will share some of the numerous teaching

strategies she has “stolen” throughout the course of her career regarding, tone, rhythm,

score study, discipline, repertoire selection, and conducting, to name a few. A

complimentary music packet to be provided.

CC211 Sponsored by Carl Fischer Music/Brilee Music Presenter: Denise Eaton Friday – January 29, 2016 12 Days Without a Cell Phone: What a Summer Arts Camp Can Do for Your students 3:45 PM – 4:45 PM Campers can: Emerge artistically by immersion in arts: Grow personally through new

experiences: Gain independence by adventure away from home; reconnect socially by

disconnecting electronically; Learn from dedicated faculty and staff.

CC212 Sponsored by Blue Lake Fine Arts Camp Presenter: Don Flickinger Saturday – January 30, 2016 How To Make Great Recordings of Your Ensembles 9:15 AM – 10:15 AM Presented by Grammy Award winning recording engineer Bruce Egre, you will learn

techniques to get the best sound and balance from any size ensemble. Equipment and costs will be discussed.

CC212 Sponsored by Cleveland Institute of Music Presenter: Bruce Egre Saturday – January 30, 2016 Meet Me in the Middle 10:30 AM – 11:30 AM Join clinician Michael Spresser to sing through the best and most appropriate repertoire for middle school students. A complimentary music packet will be given to each director in attendance.

CC212 Sponsored by Stanton’s Sheet Music Presenter: Michael Spresser AS OF 11/12/15 AND SUBJECT TO CHANGE.

DECEMBER 2015/JANUARY 2016

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WORKSHOPS • PARADES • MEET THE ARTIST

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2016 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE January 28, 29, 30, 2016, Cincinnati, Ohio • Duke Energy Center Exhibitors as of November 1, 2015 and subject to change.

American School Band Directors Association Anderson University Antigua Winds Ashland University Baldwin Wallace University Blue Lake Fine Arts Camp Bluffton University Bob Rogers Travel Bocal Majority Bowling Green State University Breezin’ Thru Inc. Buddy Roger’s Music Capital University Conservatory of Music Carl Fischer Music Case Western Reserve University CCIS, Inc. Cedar Point - Kings Island Cedarville University Century Resources, Inc Charms Office Assistant CIM K-12 Distance Learning Classic Pianos Cleveland Institute of Music Conservatory & Preparatory Divisions Cleveland State University Columbia College Chicago Columbus Pro Percussion Conn-Selmer, Inc. Cousin’s Concert Attire D’Addario DeMoulin Brothers & Company Eastman Music Company Educational Tours, Inc. EPN Travel Services Festivals of Music/Music in the Parks Fox Products Corporation Fred J. Miller Inc. Getzen Company GIA Publications, Inc.

Great Day! Tours & Charter Bus Service Group Travel Odyssey Hal Leonard Corporation Heidelberg University School of Music Heritage Music Press Interlochen Center for the Arts J.W. Pepper Inc. Jeffers Handbell Supply, Inc. Jet Music Jupiter/Mapex/Majestic Kent State University Knoop Enterprises, Inc. Liberty Mutual Insurance Macie Publishing/Ed Sueta Music Publications Make Music, Inc. Malone University Manhattan Concert Productions Marietta College Miami University Music Dept.

Mollard Conducting Batons, Inc. Morehead State University Motter’s Music Music & Arts Music Celebrations International Music for All Music is Elementary Music Travel Consultants Musicians Repair Service Muskingum University / Dept. of Music National Association for Music Education New Era/Crowne Excellence Noteworthy Tours, Inc. Ohio Foundation for Music Education Ohio Northern University Ohio State University School of Music, The Ohio University School of Music Otterbein University Pearl Corporation

Pee-Jay’s Fresh Fruit Pellegrino Music Center PreSonus Audio Electronics QuaverMusic.com Rettig Music, Inc. Riverboat-Enterprises Tupperware Road Scholar Royalton Music Center/ Professional Suite Shar Products Company Shirley’s Gourmet Popcorn Company Singing Buckeyes Soundwaves Recording StageRight Corporation Stanbury Uniforms, Inc. Midwest Band Stanton’s Sheet Music Straight A Tours & Travel Summit Tour & Travel, Inc. Super Holiday Tours Tiffin University Tone Deaf Comics University of Akron, The 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 Willis Music Wittenberg University Woodwind & Brasswind Wright State University Xavier University Yamaha Corporation of America Yankee Candle Fund Raising Youngstown State University Dana School of Music

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 2015/JANUARY 2016

83

Pre-Registration Form

2016 OMEA Professional Development Conference Cincinnati, Ohio • January 28-30, 2016 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 8, 2016. Postmarks after this date will not be accepted.

• All refund requests must be made in writing. Refunds after January 8, 2016 will be assessed a $15.00 processing fee.

• No refunds after January 22, 2016.

Online pre-registration is available until January 15, 2016 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

___TI:ME

___ Your school pays any portion of your conference expenses

OMEA MEMBER

NON-MEMBER

_______ Pre-Registration $135 _______ With IHCP Track* $145 On-Site Registration $155 (IHCP Not Available) _______ Pre-Registration $225 _______ With IHCP Track* $235 On-Site Registration $250 (IHCP Not Available)

OHIO MUSIC EDUCATION AS S O C I AT I O N

CINCINNATI

2016

QUEEN CITY

PROFESSIONAL DEVELOPMENT CONFERENCE JANUARY 28-30, 2016

*IHCP - The optional Instructional Hour Certificate Program (IHCP) requirements include six sessions, one concert and a written reflection.

Registrants should update their IPDP to include OMEA IHCP participation and submit the plan along with documentation (see OMEA website) to their LPDC for approval PRIOR to attending the PDC. Participants will receive a 10-hour instructional certificate that may be converted into 1 CEU (this is not for college credit.) Request for proof of attendance without IHCP 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

Housing Form

2016 OMEA Professional Development Conference Cincinnati, Ohio • January 28-30, 2016 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 01/16 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: 513-621-2156 - Do not mail after faxing.

3.) MAIL: Send a completed form (one copy per room) to:

OMEA Housing Bureau 525 Vine Street, #1500 Cincinnati, OH 45202

HOTEL RATES Hotel

Single

Double

Triple

Quad

Hilton Cincinnati

$165

$165

$175

$185

Hyatt Regency

$159

$184

$184

$184

Millennium

$146

$156

$156

$156

Rates quoted above are subject to 17.5% tax (Subject to change).

Hotel Preference:

Deadline for Special Rates is January 5, 2016.

1. __________________________________________________

• No telephone reservations will be accepted by the Housing Bureau.

2. __________________________________________________

• • • • •

3. __________________________________________________

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 5, 2016, rooms and rates are based on availability.

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

Name: _____________________________________________ Address:___________________________________________________________ City: _______________________________________________ State: ________________ Zip: _________________________ Phone: ______________________________________________ Fax: ________________________________________________________________ Email Address:______________________________________ Reservation Deposit: Many 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 card deposits may be charged at the discretion of the hotel holding your reservation on or after January 5, 2016. Credit cards must be valid through 01/16 in order to be considered a proper deposit.

 

American Express Visa

 

Master Card Discover

Card #  Expir. 

/ 

Name: ____________________________________________________ Signature: _______________________________________

Arrival Date: _____________________________________________________ Departure Date: _ __________________________________ List Names of all occupants (List all occupants' arrival and departure dates if different.)

____________________________________________________ ____________________________________________________ ____________________________________________________ ____________________________________________________ Room Type Preference*:

 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 ____________________________________________________ * Note: All hotels are nonsmoking. * Note: Room type preferences and special requests cannot be guaranteed.

Changes/Cancellations Continue to use the OMEA Housing Bureau for all changes or cancellations through January 5, 2016 (4:00 p.m. EST) via internet, fax, or mail. After January 5, 2016, all new reservations, changes, and cancellations must go through the hotel.

Do not contact the hotels directly until after January 5, 2016.

NEW STREAMLINED INSTRUCTIONAL HOUR

CERTIFICATE PROGRAM (REPLACES HQPD) You asked and we listened! The contact-hour program has been revamped to better meet the needs of our attendees. The required meeting has been replaced with an online tutorial and the format has been trimmed to be more sleek and efficient. The new program provides greater flexibility in session selection and also includes one performance selection (another frequent request!).

OHIO MUSIC EDUCATION A S S OC I ATI O N

CINCINNATI

2016

• Are you planning to attend the 2016 PDC in Cincinnati?

• Are you in need of contact hours or verification of completion for your IPDP or reimbursement purposes?

• Why not enroll in OMEA’s Instructional Hour Certificate Program (IHCP)?

QUEEN CITY

PROFESSIONAL DEVELOPMENT CONFERENCE JANUARY 28-30, 2016

HERE’S HOW IT WORKS: Pre-register for the Professional Development Conference and choose the IHCP option.

Attend six sessions of your own choosing.

Attend one concert of your own choosing.

Electronically submit a post-conference reflection to the Director of PD by February 16, 2016.

(Required format available on the OMEA website.)

5. Satisfactorily complete all requirements and receive an instructional hour certificate (10 hours) from the Ohio Music Education Association.

1.

2.

3.

4.

REMEMBER: 1. You must pre-register to participate in this program.

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

1.

2.

3.

4.

5.

STILL UNDECIDED? CONSIDER THE MANY BENEFITS OF ATTENDING THE PDC: Attend relevant presentations 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 Be sure to check out the IHCP video on the OMEA website for more information!

See the OMEA website, TRIAD, OMEA Blog and Social Media outlets for updates on presenters, topics, performing ensembles and special events.

Still not enough? How about graduate credit? Complete the IHCP and you’re almost there!

Look for the Ashland credit page for more details or contact Mark Hensler at pd_director@omea-ohio.org.

86

TRIAD

NEW STREAMLINED GRADUATE CREDIT PROGRAM

2016 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE GRADUATE CREDIT OPTION - $209 You asked and we listened! The graduate credit program has been revamped to better meet the needs of our attendees. The required meeting has been replaced with an online tutorial and the format has been trimmed to be more sleek and efficient. The new program provides greater flexibility in session and performance selections.

• • • •

Are you looking for affordable college credit?

Do you need credit hours to renew your license or for salary advancement?

Would you like to earn graduate credit every year for something you are already doing?

Why not take advantage of this special program designed specifically for 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.

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 twelve (12) PDC sessions of your own choosing. Your selections may include no more than four (4) concerts.

4. Electronically submit a post-conference reflection to the Director of PD by February 16, 2016.

The required format and rubric for this reflection is available on the OMEA website. A reflection rating of Exemplary or Satisfactory (using rubric) fulfills the graduate credit requirement. The credit is offered on a S/U basis. All work must be submitted via email.

REMEMBER: You must pre-register for the PDC to earn graduate credit. 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 2015/JANUARY 2016

87

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UNDERGRADUATE DEGREES

GRADUATE DEGREES

Programs of Study Audio Recording Composition Music Education Music Production Performance

Master of Arts Composition Ethnomusicology Theory

Bachelor of Arts Bachelor of Music Bachelor of Science in Music Technology

Undergraduate Minors Audio Recording Jazz Studies Music Music Technology World Music Post-Bachelor’s Music Certificates Composition Conducting Performance

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

Master of Music Conducting Music Education - entirely online!

Performance

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 EMAIL: schoolofmusic@kent.edu

Kent State University, Kent State and KSU are registered trademarks and may not be used without permission. Kent State University, an equal opportunity, affirmative action employer, is committed to attaining excellence through the recruitment and retention of a diverse workforce. 15-COTA-00024-048

88

BE REC O G N I Z E D 25 YEARS OR MORE OF SERVICE Any music teacher who has taught for 25 years or more has an opportunity to be recognized for this outstanding achievement at the OMEA Professional Conference in Cincinnati on Saturday, January 30, 2016. Before the awards ceremony you are invited to a luncheon in your honor. If this is your 25th year of teaching and you meet the other requirements listed below, you are eligible. This is an honor that is bestowed upon our own by OMEA and is a fitting tribute for a job well done. You must, however, submit a completed application.

Education is receiving a lot of publicity these days. It would be encouraging to have some good news about the teaching profession. Your 25 years of music teaching is good news.

Don’t delay! Fill out the form and send it in now!

REQUIREMENTS: 1. Applicant must have at least 25 years of active teaching in music education (not necessarily all in Ohio).

2. Applicant must have held membership in the Ohio Music Education Association for 10 of the last 15 years of their teaching career. Membership in music education associations of other states will be considered valid.

3. Candidates whose 25 years include Armed Forces time are also eligible, providing it was interrupted time (i.e., after the applicant began teaching).

4. Applicants must complete the form and mail by January 8, 2016 to:

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 “Recognition”, “Award Nomination Forms” and then select “25-Year Award”.

DECEMBER 2015/JANUARY 2016

89

Ohio Music Education Association EXHIBIT HALL VISITATION HOURS Exhibit Hall A - Duke Energy Center January 28-30, 2016 THURSDAY, JANUARY 28 1:00 pm to 6:00 pm FRIDAY, JANUARY 29 9:00 am to 5:00 pm SATURDAY, JANUARY 30 9:00 am TO 12:30 pm Support your conference!

Patronize our exhibitors!

90

TRIAD

OMEA GR ADUATE RESEARCH FORUM

GRADUATE RESEARCH R O U N DT A BLE Thursday, January 28, 2016 10 a.m. – 3:30 p.m.

Hyatt Regency Findlay’s Room (2nd Floor)

Featured Speaker: Dr. Marie McCarthy Dr. Marie McCarthy is a Professor of Music Education and Director of Research at the University of Michigan School of Music, Theatre and Dance. She holds a B.A., H.D.E. from University College, Dublin, Ireland and received her M.M. and Ph. D. from the University of Michigan. Her research studies to date focused on the sociocultural and socio-historical foundations of music education, in particular the study of music transmission, the relationship between music education processes in formal settings and those in the culture at large.

Her current research interests include the application of sociological perspectives to music transmission contexts, and exploration of the spiritual dimensions of arts education.

SCHEDULE

9:30 a.m

10:00 a.m.

Continental Breakfast Presentation by Dr. Marie McCarthy

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/GRF2016.

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

DECEMBER 2015/JANUARY 2016

91

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

To view the current list of Donors with Recognitions/Memorials to the OFME, please CLICK HERE. Yes, I want to support music education in Ohio and insure that the benefits acquired by students experiencing music are available for them now and in the future. Please apply my gift as indicated.

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

Name:__________________________________________________________________________________________ Street Address:___________________________________________________________________________________ City:______________________________________________ State:____________ Zip + 4_________________________ Email Address:___________________________________________________________________________________ Best Phone:_______________________________________ _____OMEA Member

_____OCMEA Member

_____Parent

_____Friend of Music Education

Donation Information: Donation Amount:

$___________________

Donation Category:

_______ Foundation General Fund for Financial Growth

_______ OMEA Memorial Scholarship Fund

_______ Charles H. Benner Leadership Academy

_______ This is my Annual Campaign Contribution for calendar year 2015.

(Check area for donation)

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

(Example: John and Jane Smith) _________________________________________________ , or

please do not list my/our names.

This gift is: In Recognition of:______________________________________________________________________

In Memory of:__________________________________________________________________________

______ Certificate or _____ Card of Donation Acknowledgment. Send to:

Address________________________________ City_________________ State________ Zip___________ Note: The Ohio Foundation for Music Education is a 501(c)(3) non-profit organization under the Internal Revenue Code.

A donation acknowledgment letter will be provided for tax purposes.

Checks made payable to: Ohio Foundation for Music Education Credit Card Payment: Name on Card: ______________________________________________________

Card # _____________________________________Expiration: _____/_____ 3-Digit: __ __ __

Or go to http://www.ohiofoundationformusiceducation.org/ to make a secure online credit card donation.

Send this completed form with check/cc payment info to: _Ohio Foundation for Music Education

Attn: David N. Adamson, Development Director

5379 West Mill Drive, Highland Heights, OH 44143-3144 94

TRIAD

You love your computers and Smart Phones, don’t you?

So does STANTON’S! We continue to search for new ways to establish and maintain superior customer relationships through the latest technology.

And we appreciate your orders that come via www.stantons.com as well as your e-mail and phone communications.

SO LET’S GET SOCIAL!!!!!

Follow us on Twitter: @stantons.com Like Stanton’s on Facebook® Blog: stantonssheetmusic.wordpress.com

STANTON’S SHEET MUSIC 2016 TIME TABLE FOR TEACHERS • • • DATES TO REMEMBER • • • Print this page and post it for future reference this school year!

TODAY - ORDER from STANTON’S H.S. Choral Octavos & H.S. Band Scores on trial, as well as Solos & Ensembles for Adjudication

JANUARY 2-15 - ORDER from STANTON’S Judge’s Copies for High School Vocal & Instrumental Solo and Ensemble Adjudication

And we’d love to see more of you in person at the store!

JANUARY 9, 2016 - ATTEND STANTON’S Church Choral Reading Clinic (9:00-12:30) Otterbein University in Westerville

So we would like to invite you to come to: Stanton’s Sheet Music 330 South Fourth Street Columbus, Ohio 43215

JANUARY 15-30 - ORDER from STANTON’S Judge’s Scores for H.S. Large Group STATE Orchestra and DISTRICT Band & Choral Adjudication

Invitation

Open 9:00 to 5:00 Monday through Friday Open 9:00 to 4:00 on Saturday • Look at the actual music • See how it will fit your groups • Listen to it at listeninglab.stantons.com • Download Stanton’s Mobile App and listen to it on your smart phone • Work with Stanton’s expert staff • See old classmates and fellow teachers • Swap ideas about repertoire and techniques

JANUARY 28-30 - ATTEND OMEA Convention In Cincinnati - Visit STANTON’S booth and come to the String Orchestra Reading Clinic

FEBRUARY 1-28 - ORDER from STANTON’S Judge’s Copies for Middle School Vocal & Instrumental Solo and Ensemble Adjudication

JANUARY- APRIL - Pick-a-Date Shop at STANTON’S to clean up your Adjudication needs & get Spring Concert ideas galore!

MARCH 1-15 - ORDER from STANTON’S Judge’s Scores for High School Large Group STATE Band and Choral Adjudication

FEBRUARY 15 - ENJOY President’s Day STANTON’S will be CLOSED

APRIL 1-15 - ORDER from STANTON’S Judge’s Scores for Middle School Band, Orchestra & Choral Large Group Adjudication

Stanton’s is also closed New Year’s Day, Memorial Day, Fourth of July, Labor Day, Columbus Day (It’s true!), Thanksgiving and Christmas

• STANTON’S SHEET MUSIC • Local 614-224-4257 www.stantons.com 330 South Fourth Street Toll-Free 1-800-42-MUSIC greatservice@stantons.com Columbus, Ohio 43215 FAX 1-614-224-5929 THE Sheet Music Specialists At www.stantons.com you can find lots of music plus Stanton’s Virtual Workshops, Jukebox and more!

Also visit listeninglab.stantons.com and digitaldelivery.stantons.com You can now use your smart phone!

PUBLICATION SCHEDULE

TRIAD ISSUE October/November 2015 December ‘15/January ‘16 April/May 2016

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

DEADLINE DATE* August 10, 2015 October 5, 2015 February 15, 2016

POSTING DATE** October 5, 2015 December 7, 2015 April 11, 2016

*Deadline Date: The date material must be received by the editor to ensure publication. **Posting date: The date TRIAD is scheduled to be posted online.

EDITOR: Marc Parulekar • editor_of_triad@omea-ohio.org DESIGN/PRODUCTION: Amy Annico • 210-570-OMEA • media_director@omea-ohio.org ADVERTISING: David N. Adamson • 440-552-6983 • business_manager@omea-ohio.org “Writing For TRIAD” guidelines are posted on the OMEA website (www.omea-ohio.org), Advertising/Media section, TRIAD page. Interested new advertisers should click the Menu Bars on the homepage and then click on Advertising Venues and/or contact OMEA Business Manager for assistance.

ADVERTISERS/WEBSITES Baldwin Wallace University . . . . . . . . . . . http://www.bw.edu/conservatory. . . . . . 46

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

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

Ohio Northern University. . . . . . . . . . . . . . . http://www.onu.edu/music. . . . . . . . . . . . . 37

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

Ohio State University, The. . . . . . . . . . . . . http://www.music.osu.edu. . . . . . . . . . . 7, 67

Bowling Green State University . . . . . . . http://www.bgsu.edu/music. . . . . . . . . . . 13

Ohio University. . . . . . . . . . . . . . . . . . . . . . . . http://www.finearts.ohio.edu/music. . . . 10

Capital University. . . . . . . . . . . . . . . . . . . . . . http://www.music.capital.edu. . . . . . . . . . 57

Otterbein University. . . . . . . . . . . . . . . . . . . http://www.otterbein.edu . . . . . . . . . . . . . 41

Case Western Reserve University . . . . . . . http://music.case.edu. . . . . . . . . . . . . . . . . . . 27

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

CCIS Travel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . http://www.ccistravel.com. . . . . . . . . . . . . 93

Royalton Music Center. . . . . . . . . . . . . . . . . http://www.royaltonmusic.com. . . . . . . . 29

Cleveland State University. . . . . . . . . . . . http://www.csuohio.edu/class/music. . . 54

Smoky Mountain Music Festival. . . . . . . . . http://www.smmfestival.com. . . . . . . . . . 17

CMS Publications . . . . . . . . . . . . . . . . . . . . . . . http://www.cmspublications.com. . . . . . 88

Soundwaves Recording. . . . . . . . . . . . . . . . http://www.soundwaves.org. . . . . . . . . . . 66

College of Wooster, The. . . . . . . . . . . . . . . . http://www.wooster.edu/music. . . . 56, 70

Stanton’s Sheet Music. . . . . . . . . . . . . . . . . . . http://www.stantons.com. . . . . . . . . . . . . . 95

DePauw University. . . . . . . . . . . . . . . . . . . . . . http://www.depauw.edu. . . . . . . . . . . . . . . 67

Summit Tour & Travel. . . . . . . . . . . . . . . . . . http://www.summittourtravel.com. . . . . 44

EPN Travel Services. . . . . . . . . . . . . . . . . . . . http://www.epntravel.com. . . . . . . . . . . . . 82

University of Akron, The. . . . . . . . . . . . . . . http://www.uakron.edu/music. . . . . . . . . 43

Festivals of Music. . . . . . . . . . . . . . . . . . . . . . http://www.epntravel.com. . . . . . . . . 33, 65

University of Dayton. . . . . . . . . . . . . . . . . . . http://academic.udayton.edu/music . . . 50

Heidelberg University. . . . . . . . . . . . . . . . . http://www.heidelberg.edu. . . . . . . . . . . . 49

University of Mount Union . . . . . . . . . . . . http://www.mountunion.edu/music . . . 39

Kent State University. . . . . . . . . . . . . . . . . . http://www.kent.edu/music. . . . . . . . . . . . 88

West Music Company. . . . . . . . . . . . . . . . . . . http://www.westmusic.com . . . . . . . . . . . . 61

Malone University. . . . . . . . . . . . . . . . . . . . . http://www.malone.edu/music . . . . . . . . 45

Wittenberg University. . . . . . . . . . . . . . . . . . . . http://www.wittenberg.edu/music. . . . . . 68

Marietta College. . . . . . . . . . . . . . . . . . . . . . . http://www.marietta.edu/~musc. . . . . . . 22

Wright State University. . . . . . . . . . . . . . . . . http://www.wright.edu/music. . . . . . . . . . . 53

Messiah College . . . . . . . . . . . . . . . . . . . . . . . . http://www.messiah.edu/conducting. . 18

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

Musicians Repair Service. . . . . . . . . . . . . . . . http://www.mrsakronohio.com . . . . . . . . 92

Youngstown State University. . . . . . . . . . http://www.ysu.edu/dana. . . . . . . . . . . . . 48

Muskingum University . . . . . . . . . . . . . . . . . http://www.muskingum.edu/dept/music ..54

Bold signifies a Corporate/Institutional Partner

NAfME/OMEA. . . . . . . . . . . . . . . . . . . . . . . . . . . http://jointoday.nafme.org/omea. . . . . . 15

96

TRIAD

NEW Marching

Percussion

30 years of marching percussion history and leadership in design is now coming to life.

Yamaha proudly introduces a new lineup of marching percussion featuring maple shells. Years of industry-leading research with the world’s top drum and bugle corps have led to the development of marching percussion instruments with improved hardware performance, increased tone projection, and exemplary articulation, demonstrating why Yamaha is the number one brand of marching percussion in the United States.

9300 Series Marching Snare Drums Available in Blue Forest, Black Forest, Red Forest and White wrap.

YamahaCorpUS Visit 4wrd.it/MS93TRI3 for complete details Š2015 Yamaha Corporation of America. All rights reserved.