TRIAD - WINTER 2016

THE OFFICIAL PUBLICATION OF THE OHIO MUSIC EDUCATION ASSOCIATION

December 2016/January 2017 Vol. LXXXlV, No. 2

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IN THIS ISSUE FROM THE DESK OF...

6 8

Editor of TRIAD - Dr. Marc Parulekar OMEA President - Dr. Michael Crist

TEACHING TIPS 14 18 22 24 26

BAND - Dr. Kyle R. Glaser; Texas State University ETHNOMUSICOLOGY - Hong Le; Hudson City Schools HIGHER ED - Dr. Jay Dorfman; Kent State University ORCHESTRA - Mark Sholl; Hilliard City Schools TEACHER EVALUATION - Rachael Fleischaker; College of Wooster

NEWS & COMMITTEE REPORTS 28 30 33 36 40 42 46

Adjudicated Events - JD Latorre Adjudicated Event Materials & Awards - Dane Newlove Higher Education News Historically Speaking - Paul Droste In Memoriam - Dr. Donald E. McGinnis Jazz Education Connection of Ohio Ohio Choral Directors Association

PROFESSIONAL DEVELOPMENT

49 2017 OMEA Professional Development Conference Section 70 OFME Music Education Donor Form 72 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 2016/JANUARY 2017

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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 2016/JANUARY 2017

OMEA TRUSTEES Michael Crist President president@omea-ohio.org

OCMEA OFFICERS Luke Grieshop OCMEA President ocmea_president@omea-ohio.org

Kathleen McGrady President-Elect president_elect@omea-ohio.org

Wyatt Heinz OCMEA President-Elect ocmea_president_elect@omea-ohio.org

Terry Herschman Immediate Past-President past_president@omea-ohio.org

Kaitie Welch 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

Emily Damelio OCMEA Treasurer ocmea_treasurer@omea-ohio.org

David Vitale Treasurer treasurer@omea-ohio.org 2016-2017 TRIAD EDITORIAL BOARD EDITOR Marc Parulekar

GRAPHIC DESIGN/LAYOUT Amy Annico

Pickerington North High School

Ohio Music Education Association

PAST EDITOR Matthew Warner

MULTICULTURAL Linda Walker

Cincinnati Hills Christian Academy

Kent State University

BAND Jeff Gershman

ORCHESTRA/STRINGS Mark Sholl

Capital University

Hilliard Davidson High School

CHORAL/VOCAL Rich Schnipke

TEACHER EVALUATION Heather Russell

Xavier University

Cleveland State University

CURRICULUM & ASSESSMENT Nathan Kruse

TECHNOLOGY Brian Laasko

Case Western Reserve University

McKinley High School

JAZZ Mike Smith

WOODWINDS Shawn Reynolds

The Ohio State University

Youngstown State University

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FROM THE DESK OF...

Dr. Marc Parulekar, OMEA Editor Professional development‌ If you are like me you want to run and hide when you hear your school district say those two dreaded words. Inevitably you are subjected to a speaker, video, book or course work that has little relevance to music teaching.

Take heart! The OMEA Professional Development Conference is just around the corner.

The 2017 Conference is going to be full of amazing concerts, relevant professional development for all areas of teaching, and a great opportunity to network with colleagues from around the state of Ohio. We are also very excited to offer a number of special focus sessions geared towards Urban, Rural and Underserved Students.

Special thanks to our amazing Director of Media and Publications, Amy Annico, for her work in making TRIAD a great resource for music educators. Be sure to check out the OMEA Blog, Facebook Page, and other social media accounts for the latest information on OMEA activities.

Please feel free to contact me via email to submit articles or to provide feedback. Below are a few articles you might find interesting, just click the article link to see the full text.

- Hong Le explores techniques to help your students learn about other cultures through World Music Drumming: Bringing the World Closer to Home.

- Jack Evans and Frederick Fennel are luminaries of the music world and started their musi6

cal journeys together, even attending the same Cleveland Public Schools. Professor Paul Droste charts their uniquely intertwined paths in Jack and Fred.

- Careful programming is essential to successful concerts. Dr. Kyle Glaser explores the repertoire selection process From START to Finish.

- This issue also includes important information about the 2017 Professional Development Conference in Cleveland, Ohio. This is going to be an outstanding event with relevant professional development, fantastic performances and great networking opportunities. The 2017 conference will also feature a special focus track with emphasis on Music Education in Urban and Rural Schools.

Dr. Parulekar is in his 18th year of teaching and 14th 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, NAfME, KKY, FMA, and an Eagle Scout. He and his wife, Tracie, make their home in Pickerington, Ohio with their ten-year-old son, Andrew, and fouryear-old daughter, Abby. They enjoy watching Ohio State Football and attend the East Side Grace Brethren Church.

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FROM THE DESK OF...

Dr. Michael Crist, OMEA President I want to recommend to every OMEA member that you familiarize yourself with the Every Student Succeeds Act (ESSA). ESSA has the potential to significantly impact the entire American education system, including your music program.

The ESSA is a reauthorization of the 1965 Elementary and Secondary Education Act. Do I still have your attention?! Here is the good news: ESSA is designed to take the place of No Child Left Behind, the education law that helped to create the quagmire of red tape and testing we have been living with for the past two decades.

ESSA is a huge and complex law that will affect education in America, but its main goal is to put education policy back in local control. For this to work, it is imperative that educators become informed, and work to inform all stakeholders in local government, in your community and in our schools. So back to my opening paragraph: how do you get to know ESSA? Some of the important points in ESSA that could be beneficial to music education are listed below: • A New and Clear Intent to Support Our Nation’s Schools Through a Well-Rounded Education.

• Enumeration of Music as a Well-Rounded Subject • Requirements for Well-Rounded Education • Flexibility of Title I funds to support a wellrounded education.

• More Professional Development for Music Educators • Flexible Accountability Systems • Protection from “Pull Outs” 8

This list was extracted from pages of ESSA information provided by NAfME. I recommend you start your quest for knowledge about ESSA with this resource titled “Everything ESSA” at http://www. nafme.org/take-action/elementary-and-secondary-education-act-esea-updates/. Through this site you can access the entire law and a synopsis focusing on important information for music educators, along with action plans, and tips for working with state and local lawmakers.

Although the ESSA law was approved this past December in a by-partisan Christmas Miracle, we are far from done. Current work is focusing on the funding of ESSA. A federal appropriations committee approved $1.65 billion in funding for ESSA. Unfortunately the U.S. Senate has only approved $300 million for the law. Please feel free to contact your federal representatives and ask them to fully fund ESSA and support a well-rounded education for all students.

As the funding model takes shape, it is time for state and local governments to develop an implementation plan for ESSA. Ohio is taking a proactive stance with the implementation process. Through the leadership of Donna Collins with the Ohio Arts Council (http://www.oac.ohio.gov) and Tim Katz with the Ohio Alliance for Arts Education (http:// www.oaae.net/en/), the Collaborative for Arts Education in Ohio (CAEO) was formed. The CAEO is a group of arts educators, education administrators, artists and parents who have come together to develop a list of recommendations to ensure that arts learning is included in Ohio’s state and local education plans.

TRIAD

We are very excited that Chris Woodside, NAfME advocacy powerhouse, will be offering his insights on ESSA at the 2017 OMEA Professional Development Conference in Cleveland. Mr. Woodside’s presentations will provide a clear perspective on future action plans for ESSA and how each of us can be involved. I ask each of you to get involved now by becoming informed and taking action toward the implementation of the Every Student Succeeds Act in your community.

Michael Crist is Professor Emeritus of the Dana School of Music at Youngstown State University where he was a member of the faculty for more than 33 years. His teaching responsibilities have included; applied trombone, assistant band director, director of Jazz Ensemble II and III, conductor of the Dana Trombone Ensemble, and numerous classes in music education and music technology. Dr. Crist has served as Director of the Dana School of Music, and Interim Dean of the College of Creative Arts and Communication. Prior to coming to Youngstown State University, Dr. Crist taught music in public schools in upstate New York. Dr. Crist’s degrees include a B.M. and B.M.E. form Ithaca

College, New York, an M.M. in trombone performance from Youngstown State University, and a Ph.D. in music education from Kent State University. Dr. Crist has studied conducting with Edward Gobrecht, Edward Lisk, Robert Fleming, and Wayne Gorder. His trombone teachers include Frank Brown, William Harris, Bruce Burritt, Charles Dalkert, Allen Ostrander, Vern Kagarice, and James Desano. Dr. Crist served as principal trombone with the Youngstown Symphony for 30 years. He has also performed with the Warren Philharmonic Orchestra, the Tri-Cities Opera, Binghamton Symphony, Broome County (NY) Pops Orchestra, the Cleveland Opera Orchestra, and the Cleveland Jazz Orchestra. Dr. Crist is a member of the International Trombone Association, where he served as a member of the Scholarship Committee, and as Membership Chair for the state of Ohio. Dr. Crist has been published in the International Trombone Association Journal, the O.M.E.A. Triad, Dialogues In Instrumental Music Education, Dissertations Abstracts, Contributions To Music Education, and has served as Editor of Contributions To Music Education. Dr. Crist has served as Chairperson for Region 5 of the National Association of Schools of Music and has served as chair of the O.M.E.A. Research Committee and as Associate Editor of Contributions to Music Education. Dr. Crist has served as president of the Ohio Association of Music Schools, and is a Visiting Evaluator for the National Association of Schools of Music. Dr. Crist is currently President of the Ohio Music Education Association.

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TEACHING TIPS BAND From START to Finish: Thoughtful Programming for Band Dr. Kyle R. Glaser; Texas State University

How do you select music for your band to play? Making choices that are decided by artistic merit and educational concerns, as opposed to choosing pieces based on your “gut reaction” will produce greater rewards for you, your students, and your audience.

Listed below are some points to consider when choosing music for your ensemble.

S - STUDENT What is the ability level of your students?

You make music with the people in front of you so what is their ability level? For many, this is an area with which we have a fair amount of comfort. As educators we need to constantly monitor our students’ technical facility, tone production, rhythmic vocabulary, and general musicianship.

What are the educational needs of your students?

If something is wrong, or if there is an area of concern, what can be done from a literature standpoint to address the issue? For example, if playing a piece in cut-time is difficult, perhaps finding a cut-time work that is repetitive and has homophonic texture would be better than a composition that had a greater independence of parts or a complex rhythmic structure.

How do you want them to grow as artists?

Sometimes the “nuts and bolts” of literature selection - issues like key signatures, instrument 14

ranges, rhythms - cloud our true goals, one of which should be to ensure a significant musical experience for the members of our ensemble.

While the blueprint of a composition is important when selecting literature, be sure to also consider the intangible aspects of music-making.

T - TEACHER Establish short & long term goals We are what we play! It’s up to us to determine what music students will be exposed to, not only for one concert, but for multiple concerts over multiple years. Developing a “band curriculum” that covers a student’s four years of high school is a complex issue that deserves serious thought.

Gauge your own musical & educational ability This can be a tough pill to swallow. Young music educators may find score study and lesson planning difficult if the composition employs advanced harmonies and compositional techniques, or explores instrument-specific issues that are unfamiliar to the teacher.

Meeting district, state, and national standards in music We have a responsibility as educators to meet the mandates set forth by our governing bodies. State and national standards for music should be considered when choosing literature.

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TRIAD

Is the music artistically or pedagogically satisfying?

It will be hard to “sell” an ensemble on a piece of music that you are not excited to conduct yourself.

Does the work explore a variety of colors and timbres? Is it consistent in quality and style? Is it a work that you will be excited to spend weeks (or months!) on during the preparation phase?

A - AUDIENCE Who are you performing for?

Focusing on who is sitting in your auditorium could impact what pieces you choose to play.

Your concert band adjudication program could differ greatly from your holiday concert or a pops concert that featured music of a lighter fare.

How do we educate the audience?

Just as we want to see the musical palate of our students develop, this can be a goal for the audience as well.

What is the program length and order; how many ensembles are performing?

So much time is invested in working with students for concert preparation that we forget what it is like to sit and actually listen to a concert from the audience’s perspective. Scheduling a concert that features four concert bands - each performing 20 minutes of music and requires additional time for seating changes - can be tedious for parents who just finished an eight-hour shift at work. Even though they love their kids, the last thing they may want to do is sit through a two and a half hour band concert!

R - REHEARSAL How much time do you have to prepare?

Choosing four challenging pieces for your next concert may seem accessible when you look at the calendar, but how will your preparation be altered by snow days, state testing, and field trips? Gauging your amount of rehearsal time, arranging sectionals, and planning for these little “inconvenient interruptions” will yield a less stressful rehearsal environment for both conductor and ensemble.

Is physical space and equipment a consideration?

What instruments are required for the works you plan to perform? If a work requires two sets of timpani and you only have one, perhaps a differOCTOBER/NOVEMBER 2016

ent piece is in order. A composition that is constantly scored in tutti fashion and at mostly fortissimo dynamics may be ill-fitting for small band rooms with poor acoustics.

Can you get help from other directors or staff?

Your fellow educators can be helpful in assisting with sectionals, master classes, and other issues that could allow you to focus on musical interpretation, thereby making you more effective on the podium. Also, collegiate ensemble directors LOVE to visit schools and work with bands. Pick up the phone and call or send us an email - help is out there!

T- TOTALITY What does a good concert sound like?

Analyze concerts that you attend as a listener, and ask yourself what made the experience an enjoyable one? Was there a “cornerstone work” of the program? Was it a themed concert? Consider all aspects when trying to figure out what makes the best total package for a concert.

Is the ensemble set up for future growth?

How will the time and energy spent on preparation for this concert assist them with preparing and performing the next concert?

Advance planning by conductors with these thoughts in mind will hopefully produce a positive musical experience for all involved - happy concert season!

Kyle Glaser serves as the Associate Director of Bands at Texas State University. His responsibilities include conducting the Symphonic Winds, overseeing all athletic bands, and teaching various methods classes. He holds a Doctor of Music degree in Conducting from the Indiana University Jacobs School of Music, a Master of Music degree in Conducting from Rutgers University, and a Bachelor of Science in Music Education from the Pennsylvania State University.

Prior to his appointment at Texas State, Glaser served as the Director of Bands at the East Stroudsburg Area South High School in northeastern Pennsylvania. He can be contacted by email at: krg60@txstate.edu

17

TEACHING TIPS ETHNOMUSICOLOGY World Music Drumming: Bringing the World Closer to Home Hong Le; Hudson City Schools

As a college student, I was often asked to reflect on and write about my philosophy of music education and what my mission would be as a future music educator. As one who wanted to teach music since I was thirteen, I reflected upon and described what my own music educators had exemplified to me that had inspired me to want to enter this profession. Little did I know when writing those papers that it was not going to be past events which shaped my career, but the current events of my first year of teaching that would ultimately clarify and dictate, with true passion, empathy, and grit, what I needed to accomplish in my role as a music educator.

Three weeks into my first year of teaching, I learned of the premeditated devastation that terrorists intended upon the American people during the tragic events of September 11, 2001. I was horrified that such hatred could exist. To compound the problem, the instinctive reaction of some was to hate back and unfairly judge a certain segment of the American population whose ethnicity was similar to that of the terrorists. These observations helped clarify my primary mission as a teacher: the best combatant to more hate in our world is to allow our youth to discover the beauty, not the divide, found in our differences.

I believe that multiculturalism is a way of being, not an event or unit of study. I allow students to dis18

cover, by modeling and with direct instruction, with subtlety and with obvious direction, through their experiences and reflection, the beauty found in other cultures. Because music plays a central role in traditions around the world, my students can become the people of that culture through the study and performance of traditional music, played on authentic instruments, sung in their language, danced with their flair.

While these goals became clarified for me, I was woefully ill-prepared musically to teach music of various cultures to my students, as I had most recently spent my college years studying Western orchestral repertoire as a bassoonist and general music repertoire in preparation for my future job. In the spring of 2002, I had the fortune of attending the Music Educators National Conference (MENC, predecessor to NAfME) in Nashville, Tennessee, where I attended a session by Dr. Will Dr. Schmid, who had written and piloted a curriculum called World Music Drumming. Its emphasis is on the drumming traditions of West Africa and the Caribbean islands.

His session was what set me on the path towards studying music of various cultures.

While this curriculum began with middle school general music students in mind, it has now been established in music programs of all levels and genres in over 20,000 schools worldwide. While the TRIAD

The University of Akron

You are cordially invited...

To attend our Alumni & Friends Reception during the OMEA 2017 Professional Development Conference in Cleveland, Friday, Feb. 3, 6:15 p.m.

Visit The University of Akron School of Music at Booth #415 and attend these special events: “Fun & Fabulous Sight-Singing for the Choral Classroom” Friday, Feb. 3, 5 p.m., CC 3

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“Inspiring Greater Musicality in Preparation for Performance” Saturday, Feb. 4, 8 a.m., CC 22 Dr. Galen S. Karriker, Director of Bands, UA School of Music, clinician

The University of Akron Invitational Vocal-Choral Festival Friday, Jan. 27, 2017, 9 a.m. - 4 p.m.

For details and registration information, contact Dr. Laurie Lashbrook at lashbro@uakron.edu.

The University of Akron School of Music Annual Band Clinic Wednesday, Feb. 15, 2017 EJ Thomas Hall, 198 Hill St. Guest conductor Dr. Terry Austin, Director of Bands, Virginia Commonwealth University, conducts UA’s Symphonic Band, Concert Band, and select high school bands.

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

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curricular title suggests that it focuses primarily on drumming, it also includes singing, moving, playing xylophones and recorders. Through my experience with World Music Drumming, it has not only expanded my repertoire of music from around the world, but it vastly expanded my pedagogical and performing approaches in all areas, particularly in the area of learning through oral tradition, which is the traditional method of learning by the people of the cultures from which this music originates.

Through my experiences of teaching my own students for 16 years and being a member of the national World Music Drumming (WMD) faculty for the last 12 summers, I have witnessed thousands of music educators understand the necessity for including multicultural experiences within the music classroom, so that students, as well as school faculty and audiences, can achieve a growth mindset when it comes to learning about and appreciating other cultures. I encourage all music educators to learn more about World Music Drumming and how it can be implemented into their own music program. The following three steps will help one to begin this journey: 1. Visit the following website www.worldmusicdrumming.com to study its resources.

2. Study the 20th Anniversary edition of the World Music Drumming curriculum. This edition was released in 2016, and contains multimedia resources, including instructional videos, mp3 files the music and songs, and an e-book version with easy links to all these resources 3. Attend a week-long summer WMD workshop, offered in 16 locations around the country. This workshop focuses on authentic learning of the music through oral tradition, and provides a multitude of pedagogical ideas and opportunity for practice teaching for implementation, which will help one in other areas of teaching besides with WMD. In the current school environment, incorporating technology has become the primary initiative for classroom implementation and the primary item sought from grant funds. I view the request of multicultural instruments, resources, and training as a form of advanced technology. Technology provides OCTOBER/NOVEMBER 2016

access to the outside world. However, in the context of music, using technology to show students other people making the music is more passive experience, with students being observers. By acquiring instruments and training, music educators could allow their students to more fully complete their cycle of learning because the students would be active learners and performers rather than observers.

While this article focuses mostly on using the World Music Drumming curriculum to provide a multicultural experience for students, the world is vast. The primary goal is to use any tools, resources, and music available that will allow students to engage in musical experiences that will help them appreciate the beauty and culture of others.

Hong Le is a National Board Certified elementary music specialist in the Hudson City Schools. She graduated summa cum laude with Bachelor of Music in music education and Bachelor of Music in bassoon performance degrees from the University of Arkansas, Master of Music Education degree from the University of Illinois, and the Master of Educational Administration degree from the University of North Texas.

Hong is a member of the national World Music Drumming teaching faculty. In addition to her regular teaching duties, Hong is the K-5 Unified Arts Facilitator for the Hudson City Schools and is the music director of the “One Beat” Drum Ensemble, which was a featured ensemble at the OMEA Conference in 2015.

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TEACHING TIPS HIGHER ED Technology Tools for Music Education Faculty Dr. Jay Dorfman; Kent State University

The lives of music teacher educators can be complex balancing acts between teaching, research and service responsibilities. While technology is not always the answer to finding harmony in one’s life, some technologies can enhance the ways in which we work, perhaps making our work more efficient, and suggest important skills for our students. In addition to helping us to work faster and more productively, technology can also help to archive our work so that it is available on demand in the future.

In this short article, I will describe a few technologies that I think are particularly useful for music teacher education faculty.

Music teacher educators in Ohio prepare their students to submit artifacts in support of the edTPA requirement, which is an extensive assessment of teacher candidates’ readiness for the profession. In order to support students who are to be assessed using edTPA, faculty members should become familiar with writing and video tools that are essential for creating artifacts.

While students are frequently asked to submit word-processed work throughout their teacher preparation programs, we should not assume that they are well-versed in efficient uses of word processing software. As researchers and frequent writers, faculty often take this technology for granted, but helping students learn intricacies of word processing and other writing tools can promote the professionalism 22

of their work. Helping students use formatting tools, on- or off-line reference management tools, and functions as seemingly simple as spell checking can make the artifacts they submit for this important exam more likely to be scored successfully. Many universities’ technology support departments offer training workshops for students and faculty to learn about business software so they can be more productive and make professional use of technologies.

Students are expected to video record themselves teaching as part of the edTPA submission process.

While our Millennial students may sometimes be referred to as “The Selfie Generation” (Blow, 2014), casual uses of still photography and videography may not equate to professional quality images that are appropriate for use in a formal assessment such as the edTPA. As faculty, we should familiarize ourselves with, and pass on to our students, essential techniques for capturing acceptable quality video. Aim to acquire video capture equipment that surpasses the abilities of a typical cell phone, especially in terms of sound quality. Devices such as the Zoom Q8 and the Sony HDR-MV1 capture high-definition video, and include upgraded microphones which capture better sound quality than can be obtained from the consumer-level microphones in a cell phone. As music teachers, we should emphasize the quality of audio capture, and the devices mentioned earlier, among TRIAD

others, are capable of very high quality with reasonable investment. Students who are learning to make excellent quality videos might also benefit from a visit to our classes from faculty in film or TV production departments, or from campus television station producers. Basic lighting and framing techniques can mean the difference between acceptable and unacceptable videos.

Software for video editing that is available to just about everyone on a college campus—such as Apple’s iMovie or Microsoft’s Windows Movie Maker—is perfectly capable of editing video to a level of sophistication that is acceptable for student teacher assessment submissions. Students should learn techniques for cutting and transitioning between video clips, adding titles, and exporting in usable formats. With these technologies available, the artifacts that student teachers prepare will portray the best representation of their performances in the classroom without the distraction of poor audio or video quality.

In addition to helping our students prepare their professional evaluations, music teacher educators can use technology to document their own professional accomplishments with an eye toward assembling a dossier for promotion or tenure consideration.

Rather than rely on untrustworthy hard drives and local storage possibilities, we should consider using cloud services for dependable archiving of these important artifacts. Many universities supply faculty with access to Google Drive, which is a reliable online storage repository capable of storing files of many kinds including print documents, images, video, and audio files. Similarly, we may use other online storage services such as Dropbox, Microsoft OneDrive, or SugarSync. These services vary in price from free to a few dollars a month, and also vary in storage capacity.

Consider the possibility of developing a website dossier, which will serve the dual purposes of storing files for safekeeping, and displaying them in an orderly fashion for internal and external reviewers.

WordPress is a free option that offers template-based construction of your online presence, and allows up to 3 gigabytes of storage, which is quite substantial.

Other options include services such as Wix, SquareSpace, and Weebly, all of which offer free options, and increase both storage capacity and available features with paid services. With so many options availOCTOBER/NOVEMBER 2016

able for both simple storage and for development of a website, it is simply foolish to put one’s faith in unreliable hard drives to store the most important data for your professional advancement.

In my previous writing, I have suggested that, while keeping up with technology can be daunting, music teacher educators must own the responsibility of modeling exceptional uses of technology for our students (Dorfman, 2013). Using learning management systems, online storage services, and high-quality video capture are three relatively simple ways that we can demonstrate for our students how to successfully integrate technology into their lives as teachers. While students will certainly imagine other ways, we can start with these as launching points to serve as strong models of technology integration.

REFERENCES Blow, C. M. (2014, March 7, 2014). The self(ie) generation, The New York Times. Retrieved from http:// www.nytimes.com/2014/03/08/opinion/blow-the-selfie-generation.html?_r=0 Dorfman, J. (2013). Theory and practice of technology-based music instruction. New York, NY: Oxford University Press.

Dr. Jay Dorfman is Associate Professor & Coordinator of Music Education in the Hugh A. Glauser School of Music at Kent State University. Dr. Dorfman was previously on the faculty at Boston University and was a public school music teacher in Pembroke Pines, Florida. He is the author of Theory and Practice of Technology-Based Music Instruction (Oxford University Press, 2013). He holds BM and MM degrees from the University of Miami (FL) and the PhD from Nothwestern University.

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TEACHING TIPS ORCHESTRA Professional Resources for Orchestra Teachers Mark Sholl; Hilliard City Schools For several years, I have been involved with the ProMusica Chamber Orchestra in Columbus as a board member. We spend a lot of time trying to reach out to local teachers to provide them with services the orchestra has to offer. One thing I notice about many orchestra programs we reach out to, regardless of setting (e.g., Urban, Rural and Suburban): teachers are frequently apologetic of their circumstances. Orchestra teachers often feel isolated and unsupported. Please know that support and resources are available nearly any place in the state of Ohio. You simply need to be proactive in locating and contacting them.

Resources can often be found in the form of professional arts organizations, businesses, and local musicians. These entities not only want to help you, but probably include support for public school orchestra programs as part of their mission statement. Moreover, they probably need your program to partner with them in order to maintain grants that are crucial to their financial health. As strange as it may sound, they may actually need you and your program as much as you need them!

Most professional orchestras have an outreach or education element that is actively seeking partners.

Here are some to consider exploring, depending on your geographical location in the state. I am sure some quality programs are missing, but they should be relatively easy to find with a quick google search.

Akron Symphony Orchestra Canton Symphony Orchestra 24

Cincinnati Symphony Orchestra Cleveland Orchestra Columbus Symphony Orchestra Dayton Philharmonic Lima Symphony Mansfield Symphony New Albany Symphony Newark-Granville Symphony ProMusica Chamber Orchestra Springfield Symphony Toledo Symphony Westerville Symphony Youngstown Symphony As I stated, there are many more places available to support you and your students. Go out and find them.

Also, as you look online at their education offerings, if you do not see what you are looking for, call them and ask them if they could provide the kind of help you need. It has been my experience that the education programs in most of the aforementioned organizations really do want to help and are willing to be creative to work with your students.

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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TEACHING TIPS TEACHER EVALUATION Every Student Succeeds Act (ESSA): A Review Rachael Fleischaker; College of Wooster

WHAT IS ESSA? The Every Student Succeeds Act (ESSA) is a piece of federal legislation that was signed into law on December 2015 and reauthorizes the Elementary and Secondary Education Act of 1965. It replaces the No Child Left Behind policies and guidelines that have governed access to federal funding for schools since 2001.

WHEN WILL ESSA GO INTO EFFECT? ESSA will be implemented in the 2017-2018 school year. The Ohio Department of Education will submit a plan to the United States Department of Education for approval by July of 2017. The current school year (2016-2017) is a transition year, meaning schools must still operate under the No Child Left Behind.

WHAT CHANGES? Some aspects of ESSA mirror current legal mandates. For instance, states are still required to develop a plan that shows how school districts are being held accountable for high academic standards, teacher evaluations, and scores on high stakes testing. The state plan must also identify the lowest performing schools and put intervention strategies in place. However, ESSA differs from current regulations in that it does not require states to define highly qualified teachers and it eliminates the penalties for not achieving adequate yearly progress. States now have more freedom to determine accountability systems such as how teachers will be evaluated and to what extent students’ test scores will affect that evaluation. ESSA also affords more flexibility in the way title money will be allocated. Grants for Title I, Title II, and Title IV funds can be used to support a well-rounded education.

HOW WILL ESSA EFFECT OHIO MUSIC TEACHERS? This new legislation offers music educators some encouragement as well as some challenges. For the first time, music is listed as a core subject in federal law. Under ESSA, schools are encouraged to develop plans that represent a well-rounded education. These two changes represent potential opportunities for music education to become an integral part of the school-wide curriculum. However, the definition for a well-rounded education must be developed and put into action.

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WILL ESSA CHANGE TEACHER EVALUATION? WILL I STILL HAVE TO USE SLOS? Local districts determine their evaluation protocol using the current model for teacher evaluation which is governed by Ohio Teacher Evaluation System (OTES). Student learning objectives (SLOs) will conTRIAD

tinue to be an option for measuring student growth for teachers who do not have value-added or vendor approved assessments (most music teachers fall into this category). ESSA does not override state law.

However, it does allow states more flexibility to refine their teacher evaluation models in the future.

WHAT IS OMEA DOING? OMEA is advocating for music education! Officers have been attending state-wide meetings and webinars organized by ODE to offer input and advocate for music to be a part of the state development plan. We are partnering with other arts advocacy groups around the state to develop recommendations.

We are also asking members for input and ideas. Look for ESSA session at the OMEA Professional Development Conference in Cleveland this February. Contact Rachael Fleischaker at rfleisch@kent.edu for more information or to become involved.

FOR MORE INFORMATION ABOUT ESSA FOLLOW THESE LINKS: The Ohio Music Education Association http://www.omea-ohio.org/ The Ohio Department of Education http://www.education.ohio.gov/ The National Association for Music Education http://www.nafme.org/ The Ohio Alliance for Arts Education http://www.oaae.net/ Rachael Fleischaker is a doctoral student in music education at Kent State University. She is an adjunct professor of music education for the College of Wooster where she teaches elementary music methods courses. Rachael has taught as an invited professor for The Ohio State University, Mansfield Campus and has been an invited lecturer for Ashland University. She has taught elementary band and vocal music in the public schools for 21 years. She has been a full time elementary music specialist in the Canton City Schools for the past nineteen years. Rachael has earned her Level 1 Orff Schulwerk certification through AOSA.

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ADJUDICATED EVENTS Adjudicated Events News & Updates JD Latorre; 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 2017 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 me or Greg Taylor, the OMEA Technology Director, before the registration deadline.

NEW OPEN CLASS FOR SOLOS AT HS SOLO AND ENSEMBLE Beginning this winter, directors will have the option to register a student performing a solo at High School S&E in a new Open Class. This is designed for a student who is preparing a classical work for a college audition that does not appear on the OMEA list. Similar to Festival Class at Large Group, the student will receive written comments from the adjudicator, but will NOT earn a rating.

CHANGE OF DISTRICT AND REGION FOR LARGE GROUP EVENTS DIRECTIONS All requests to perform out of district for 2017 Large Group Events need to be made through the portal. Log onto the portal; choose Large Group 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.

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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-ofdistrict for Solo and Ensemble Events.

NEW FEES FOR 2016-17 EVENTS There will be new fees in place for all Adjudicated Events this year, beginning with State Marching Band Finals this fall. This fee increase is part of the established two-year cycle (fees are increased every other year). However, this cycle will last three years, that is to say fees will not be raised again until fall of 2019.

HS Large Group: $210.00 (District) $240.00 (State LG and SMBF) JH Large Group: $150.00 HS Solo & Ensemble: $18.00 (Solos) $23.00 (Ensembles) JH Solo & Ensemble: $15.00 (Solos) $19.00 (Ensembles) TRIAD

THE NEW ADJUDICATOR EVALUATION SYSTEM The AE Committee is very pleased with the how well the AES functioned in its first full year of implementation and we are all excited about its potential for the future. We believe this represents a revolutionary change in how a director submits feedback on adjudicators and provides our adjudication corps with a great opportunity to further hone their skills.

Just like last year, the AES will be in place for all OMEA Adjudicated Events during the 2016.17 school year. A few reminders: • AES is found on the Members Portal • An evaluation rating of “5” is the highest, “1” is the lowest • A rating of a “1” should be followed by comments and sending the Director of Adjudication a copy of the rating sheet and/or the recording • The AE Committee reviews every “1” rating when supporting materials are provided

AE SESSIONS AT THE 2017 OMEA CONFERENCE There will be many sessions offered by the AE Committee at the 2017 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 2017 adjudicated events and beyond. There will be sessions for the new teacher, adjudicators, directors, and site chairs.

DUETS FOR VOCAL, WINDS, AND PERCUSSION AT JUNIOR HIGH S&E Looking ahead to JH S&E, we will be piloting the addition of duets this year in three districts.

DISTRICTS: D3, D9, AND D10.

It is limited to only three Districts so that we can be certain we have sufficient facility space at host sites and adjudicators to serve demand. These sites should provide us with sufficient data to consider the feasibility of adding duets state wide. If you are a member in one of these districts, look for more detailed information to come later this year.

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Degrees Offered: • Bachelor of Music Education • Bachelor of Music in Performance • 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

Upcoming Audition Dates: Saturday, January 21, 2017 | Saturday, February 11, 2017

Tuesday, February 21, 2017 | Saturday, March 18, 2017 Contact: Claire Brock, 614-823-1504, cbrock@otterbein.edu www.otterbein.edu/music

Otterbein is an accredited member of the National Association of Schools of Music (NASM)

DECEMBER 2016/JANUARY 2017

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ADJUDICATED EVENTS OMEA Awards Snapshot Dane Newlove; OMEA Director of Adjudicated Event Materials and Awards As I enter my third year as OMEA Director of Adjudicated Event Materials and Awards, I want to share some statistics regarding award purchases for the 2014-15 and 2015-16 school years. First, purchases for the 2015-16 school year show an increase in High School large group award purchases, while Solo and Ensemble and Junior High events purchases are down (Table 1).

TABLE 1 - AWARDS PURCHASED 2014-2016 Item Solo I Solo II Ensemble I Ensemble II Band I Band II Choir I Choir II Marching Band I Marching Band II Orchestra I Orchestra II Junior High I Junior High II Total

2015-16 3462 1513 4268 1769 1270 1571 1662 650 3301 1345 952 52 4234 1547 27596

2014-15 3512 1511 4471 2051 1119 995 1468 353 2130 2083 720 235 4366 1680 26694

Trend Down UP Down Down UP UP UP UP UP Down UP Down Down Down UP

Large group award purchases are trending up in all areas, other than a slight decrease in orchestra.

These numbers do not reflect purchases of state level awards by individuals (Table 2).

TABLE 2 - STATE LEVEL LARGE GROUP AWARDS PURCHASED State Event Marching Band Band Choir Orchestra

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2015-16 % 40% 36% 21% 10%

2014-15 % 27% 28% 19% 13%

Trend UP UP UP Down

Recognizing student achievement at OMEA Adjudicated Events is great way to encourage student participation and advocate for your program.

The OMEA adjudicated event awards program is an inexpensive way to recognize and reward your students. Many directors find creative ways to fund award purchases. In some cases community service organizations (e.g., Rotary, Kiwanis, etc.), parent-teacher organizations, and/or individual benefactors are willing to purchase awards for students.

Additionally, many administrators have a discretionary fund that can be used for student recognition, including the purchase of OMEA awards. With a little digging you may find your own unique funding source!

When filling out the award order form, please be sure to complete all sections, including phone and email. While most orders can be filled and shipped the same day, at times inventory may be low for certain items. Allow enough lead-time if you need your awards on a specific date. Also, make sure all orders include a check, payable to OMEA. Remember, every award purchased and worn by a student is a statement for music advocacy! Please contact myself, or any member of the OMEA Staff if we can be of assistance.

Dane Newlove retired following the 2012-13 school year after a thirty-year career in education, the last twenty-seven as Director of Bands and Performing Arts Department Chair for the St. Marys City Schools. He currently teaches part time as percussion specialist for the Coldwater and St. Marys school systems in West Central Ohio, is an active performer in West Central Ohio, and is the Director of Adjudicated Event Materials and Awards for the Ohio Music Education Association.

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HIGHER EDUCATION NEWS ASHLAND UNIVERSITY Dr. Rowland Blackley, Professor of Music and Director of Choral Activities, led the University Choir and Chamber Singers on their spring tour to Washington, DC, singing at several schools and churches. Highlights included programs at the historic St. Joseph’s Roman Catholic Church on Capitol Hill and Washington National Cathedral. He also conducted Bach Cantata No. 43 and all the choral and orchestral music for a vespers service in collaboration with Trinity Lutheran Church (Ashland); and presented a repertoire session at the annual professional conference of the Ohio Choral Directors Association. Two of his choral compositions were published this summer based on texts by Shakespeare and Michael Drayton: “Blow, Winter Wind” for mixed voices, and “Since There’s No Help” for treble voices. Dr. Christina Fuhrmann, Professor of Music, presented a paper entitled “Aladdin vs. Oberon” at the conference Theatre in the Regency Era in Cambridge, England in July 2016.

CASE WESTERN RESERVE UNIVERSITY In September, the Department of Music welcomed back alum, Dr. Rollo Dilworth (BS ’91) to the CWRU campus. Administrators, faculty and students celebrated his visit with a performance conducted by Dr. Dilworth and featuring a number of his compositions.

Students from the R. Nathaniel Dett Concert Choir of the Cleveland School of the Arts (CSA) joined University Singers and the Case Concert Choir for the choral collaboration. Dr. Dilworth completed his undergraduate student teaching with Dr. William Woods at CSA and both gentlemen enjoyed the opportunity to share their musical passion through rehearsals and performance. The CWRU Marching Spartans, under the direction of Dr. Ryan Scherber, debuted new uniforms during their home game performance on October first. Congratulations on a great new look! CWRU Music Education hosted Dr. Frank Diaz of Indiana University for a two-day scholar-in-residency in October. Dr. Diaz led undergraduate and graduate seminars in music education and a gave a Music Department Colloquium presentation, “Attentional Self-Regulation 33

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and Musical Experiences: Dissecting Dualisms between Empirical, Embodied, and Phenomenological Frameworks.” Dr. Matthew Garrett, Director of Choirs, Associate Professor of Music Education and Coordinator of Undergraduate Studies in Music, will present a session, “Music for All! Creating Inclusive Classrooms for LGBTQ Students and their Allies,” at the Florida Music Educators’ Association All-State and Clinic-Conference in January 2017.

UNIVERSITY OF DAYTON The faculty of music is pleased to welcome our new faculty members in the music education, music therapy, and performance areas; Susan Raponi as Music Education Coordinator and Lecturer. She is the recipient of the Prime Minister’s Award for Teaching Excellence of Canada. Susan’s ongoing doctoral research continues in the development of non-notational numbered curriculum for exceptional learners and the learning differentiated music classroom in inclusive settings. Noah Potvin, lecturer in music therapy, is a doctoral candidate in creative arts therapies at Drexel University with expertise in music therapy in end-of-life care settings. He is currently completing his doctoral dissertation developing a music therapy model of resiliency development in pre-bereaved hospice caregivers. Kenneth Will is the director of the Pride of Dayton Marching Band, Concert Band and assists with the Flyer Pep Band. Will served as the Director of Bands at Ashland University and Walsh University where he was responsible for the marching and concert programs. Mr. Will’s publications can be found in the Teaching Music Through Performance series.

We are also excited to announce the following new faculty appointments; Dr. Chad Arnow, Assistant Professor and Brass Area Coordinator, teaches trombone lessons, coaches chamber music, as well as classroom courses. Dr. Arnow is a member of the Dayton Philharmonic Orchestra and has performed with the Cincinnati Symphony Orchestra, Cincinnati Pops Orchestra, and the Columbus Symphony Orchestra Andrea Chenoweth is Artist-in-Residence in Voice and Opera. She is currently working on her Doctorate in Music at the University of Cincinnati. Career highlights include her recent Carnegie Hall debut singing Verdi’s Requiem and touring Japan with the Telemann Chamber Orchestra. Eric Knorr is Artist-in-Residence in Trumpet.

Knorr teaches studio trumpet, directs the Trumpet Ensemble, performs with the Faculty Brass Quintet, and teaches several classroom courses within the DECEMBER 2016/JANUARY 2017

department of music. Randall Wolfe is Artist-in-Residence in Piano and provides recital coaching and accompanying for singers and instrumentalists. Dr. Wolfe is a service pianist for the Dayton Philharmonic Orchestra, and conductor of the West Chester Chorale in northern Cincinnati.

UNIVERSITY OF MOUNT UNION Dr. Grant William Cook III, Director of Choral Activities, was named the University of Mount Union’s “2016 Great Teacher.” In May, the Concert Choir toured the Mid-Atlantic United States, performing by invitation at Washington National Cathedral.

Maira Liliestedt, piano, and Bohdan Subchak, violin, performed a violin/piano program on the Faculty Artist Series at the University of Mount Union (on Aug. 23, 2016) with Elaine Anderson, cello. Liliestedt and Subchak also performed on the Guest Artist Series at University of Evansville, in Indiana, on Sept. 18, 2016. UMU Bands are also proud to announce that we are once again hosting District 8 Honors Concert Band in 2017, after hosting and co-hosting the event the past two years in conjunction with Alliance High School bands. Composer, conductor, and Mount Union adjunct faculty member Eric Benjamin had his new composition, An Occasional Overture premiered by the Canton Symphony Orchestra in October, 2016. Benjamin also conducted the Alliance Symphony Orchestra, an ensemble of University of Mount Union students, faculty and community members, in a program featuring UMU’s faculty violinist, Bohdan Subchak, in Vaughan Williams The Lark Ascending and other orchestral favorites. In May, tenor Eduardo Valdes (Mount Union BME ’83), principal artist with the Metropolitan Opera in New York conducted a masterclass for voice students at the University of Mount Union.

WRIGHT STATE UNIVERSITY WSU School of Music Alumni Sandra and May Poon performed a duo piano recital at the Pedro V Theater as part of the Bravo Macau Series in Macau, China. Lorenz Music just published his latest choral composition “Night of Tears” by music instructor, Steven Aldredge. Tom Lukowicz was a featured soloist at the 2016 Cleveland Tuba Euphonium Day. The WSU Percussion Studio under the direction of Gerald Noble, were selected to perform at PASIC 2016.

Kevin Nordstrom, viola faculty, just released the beginning of a series called “The Great Composers Podcast” available in I-tunes.

35

HISTORICALLY SPEAKING Jack O. Evans and Frederick Fennell The Cleveland Orchestra Connection Paul Droste; Ohio State University Before Jack Evans and Frederick Fennell became music education and conducting luminaries they were boyhood friends and grew up together on Cleveland’s southeast side. Both Fennell and Evans attended the same public schools and performed in the same music ensembles throughout the 1920’s and early 1930’s.

I was privileged to study under both men. Jack Evans was my OSU Marching Band director and euphonium instructor. My teaching career at the public school level and the college level was defined by “what would Jack do in this situation?” Playing under Fred Fennell at Eastman changed my approach to teaching: his enthusiasm in every rehearsal and concert was contagious. Fennell had an energetic and flamboyant personality, while Evans was noted for his disciplined approach. Fennell was the promoter and Evans was the organizer.

Evans and Fennell grew up in the same neighborhood and both experienced the loss of a parent at an early age. Fennell’s mother died in a diphtheria epidemic. Evans’ family was sent to Cleveland to live with his paternal grandparents during World War One. His father, a Navy man, was eventually lost at sea.

Evans‘ family lived in a boarding house, while Fennell was raised on what was part of a large farm. Evans and Fennell first connected at Miles Elementary and Junior High School. After a short period of study on the trombone, Evans joined the orchestra at Miles Junior High.

There were many talented members in this orchestra, but Evans particularly remembered “a cocky little guy named Fred Fennell” who played percussion.

Fennell and Evans then attended Cleveland John Adams High School, a cosmopolitan school of over 3600 students from the surrounding ethnic neighborhoods. They played in marching band, concert band, and orchestra together, all under the direction of Amos 36

Wesler. In 1932 their John Adams Orchestra took first place in the National High School Orchestra Contest, held in Lincoln, Nebraska. Fennell and Evans also held prominent roles in their high school marching band with Fennell serving as the drum major and Evans as the drill sergeant.

After nationwide auditions, Evans and Fennell were both selected to play in the 300- piece National High School Orchestra, performing in the 1932 Music Supervisors National Conference Convention, held in Cleveland. Both were offered half scholarships to the new National Music Camp. Fennell’s family was able to send him to Interlochen, where his connection with Howard Hanson led to a scholarship at Eastman. Evans could not afford Interlochen, and he was forced to be a live-at-home student at Western Reserve University, where he met Carol Jones, who was also a member of the National High School Orchestra and would become his classmate at WRU and later, his wife.

Although Evans and Fennell went in different directions for their college studies, their love for marching bands was a constant tie. Both became college marching band directors, before moving on to other areas of concentration.

In 1933 Fennell started his studies at the Eastman School of music in Rochester, New York. Fennell hoped to be the drum major of the University of Rochester marching band, but the athletic director said, “We don’t have a band - as far as I can remember, we’ve never had a marching band.” Undaunted, Fennell convinced him, and Dr. Howard Hanson, that he could form one, made up mostly of Eastman students. Starting with a small group of players and makeshift uniforms, Fennell led the band down the field, even incorporating a successful goal post toss and catch in his routine. For eleven years Fennell wrote the shows, TRIAD

school of music & theatre AT HEIDELBERG UNIVERSITY

The Heidelberg Advantage

Auditions

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• November 4 • February 25

• BA/BS music programs allow double majors in multiple areas of study

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.

• Performance opportunities for ALL, not just music and theatre majors.

• Music and theatre majors and minors receive applied lessons with no added fees - save thousands of dollars!

• Ensembles open to all students, come participate no matter your major

• January 16 • March 3

• February 20 • by appt.

Scholarships Over $450,000 in scholarships available for students in all performance areas, both majors and non-majors.

For full scholarship consideration, students must audition before March 1, 2017. For more information about scholarships, or to complete an audition form, visit at www.heidelberg.edu/music.

School of Music & Theatre Dr. Carol Dusdieker | cdusdiek@heidelberg.edu | 419.448.2073 310 E. Market St. | Tiffin, OH 44883 | www.heidelberg.edu

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

2017 OMEA CONFERENCE Cleveland, Ohio

SESSIONS

PERFORMANCES

Dr. Sharon Gratto

Want to Teach Outside the United States?

Here is Information to Help You Proceed!

Thursday, Feb. 2 12:30 p.m.

CC12

Dr. Linda Hartley

Relationship with Department of Teacher Education: A New and Unique Perspective Friday, Feb. 3 2:30 p.m.

CC9

Dr. Tobias Rush

Braille Music Notator: Create Braille Music without Knowing Braille Saturday, Feb. 4 9:15 a.m.

CC11

University of Dayton Jazz Ensemble Dr. Willie L. Morris III, Director Friday, Feb. 3 2:30 p.m.

MA Ballroom Bright Moments Jazz Quintet with Professor Jim Leslie, percussion Saturday, Feb. 4 9:15 a.m.

MA Ballroom

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

2016-17 AUDITION DATES December 3 | January 21 | January 28

charted the formations, and arranged the music. Eventually, it grew into a 48-piece band - almost all brass, with a few saxophones, piccolos and drums, but no flutes or clarinets.

After the first season, the students urged Fennell to start an indoor concert band. Two years later Dr. Hanson insisted that the band move to Eastman where it became the Eastman Symphony Band, which Fennell conducted - first as a student, then later as a faculty member. After Fennell earned his bachelor’s degree in percussion in 1937, and Masters degree in 1939, he was offered a conducting position at Eastman.

Evans first joined the WRU Marching Band as a trombonist in 1934 and then became its drum major for the 1935 and 1936 seasons. Following graduation in 1937, Evans became an instrumental music teacher and band director in the Shaker Heights school system. He was also an on-call substitute trombonist with the Cleveland Orchestra, and became a full-time member of the Cleveland Orchestra Summer Pops in 1942 and 1943.

Both Evans and Fennell had their careers interrupted by service in World War II. Evans led an Army show band in England and France. He was often mistaken for Glenn Miller because, fronting the band with his trombone, he resembled Miller. Evans had another Cleveland connection when accordionist Frankie Yankovic, “America’s Polka King,” was assigned to his Army band.

Fennell served the USO during the war as a National Music Advisor. Returning to Eastman, he resumed his career as a band and orchestra conductor, but gave up the marching band. While working with the wind sections of the orchestras, he discovered a love for the smaller group of winds, mostly one on a part. History was made when Fennell founded the Eastman Wind Ensemble in 1952. .

Following the war, Evans returned to Shaker Heights to rebuild the band program. Shortly after he was hired at OSU in 1947, he started a second concert band, in addition to his low brass teaching duties. He also served as Manley Whitcomb’s assistant with the OSU Marching Band, and followed Whitcomb as director in 1952, leading the band for 14 seasons.

Evans and Fennell shared a love of marches, and both programmed marches regularly in their concerts.

A Fennell specialty was ending concerts with “Three Diverse Marches.” Fennell recorded many albums with the Eastman Wind Ensemble, also made highly acclaimed albums with the Cleveland Symphonic DECEMBER 2016/JANUARY 2017

Winds, and recorded with Tokyo Kosei Wind Orchestra. He was one of the most recorded band directors of his time.

Evans’ output, however, was limited to three LP’s with the OSU Marching Band, featuring traditional marches and OSU school songs. An interesting comparison with Fennell could be made, as they recorded some of the same marches. Both were masters of conducting unwritten bass drum and cymbal accents “ka-booms” and “ka- chings” - on marches. Fennell credited these special effects to Dr. A. A. Harding, the University of Illinois director, under whom he had played at Interlochen.

Patriotism is another characteristic that Evans and Fennell shared. The Civil War - Its Music and Its Sounds was a two-volume set recorded by the Eastman Wind Ensemble, which received a citation and medal from the Congressional Committee for the Centennial of the Civil War in 1961. Evans and the OSU Marching Band received a National Freedoms Foundation Award in 1959 for the halftime show entitled It’s a Grand Old Flag.

Evans left the OSU Marching Band after the 1963 season, and finished his career at Ohio State as chair of brass studies and career counselor. Fennell left Eastman in 1962 to be Associate Conductor of the Minneapolis Symphony Orchestra, then moved to University of Miami, in Florida, as conductor-in-residence, and ended his long and successful conducting career in Japan with the Tokyo Kosei Wind Orchestra. Evans and Fennell were both honored as concert band directors with membership in the prestigious American Bandmasters Association (ABA).

Both men were life-long teachers and stayed active until shortly before their deaths. Evans died in 2001 at the age of 86 and Fennell died in 2004 at the age of 91.

These two famous Ohioans, with a strong musical education beginning in the Cleveland Public Schools, have left a long-lasting legacy as music educators and band directors.

Paul Droste grew up in suburban Cleveland. His degrees are from The Ohio State University (BSE), Eastman School of Music (MM) and The University of Arizona (AMusD). Droste taught in the Pickerington and Lakewood Public Schools before a 25 year tenure at Ohio State, where he directed the Marching Band for 14 season. After his retirement he worked as Educational Director of Colonial Music. Droste founded the Brass Band of Columbus in 1984 and directed it for 20 years.

He was elected to membership in The American Bandmasters Association and had an active career as an educator, Yamaha clinician, euphonium soloist, and conductor.

39

IN MEMORIAM DR. DONALD E. McGINNIS 1917-2016 Clarinetist, Conductor, Flutist, Professor, Naval Officer, College Administrator, Sports Fan, Composer, Mentor, Studio Teacher, Inspiration to the Profession …

… all these words describe a man who lived a very full life: one which ended just one week after his 99th birthday. Preceded in death only four months earlier by his life-long companion and loving wife Ruth, Don passed away peacefully on October 28, 2016 in his home in Hilliard, Ohio.

Don McGinnis, Professor Emeritus and Director of Bands Emeritus at The Ohio State University School of Music, was an avid fan of collegiate sports throughout his life – he even played guard his senior year on the varsity football team! – but his love of sports was eclipsed by his lifelong devotion to music. He was born in Barberton, Ohio, in 1917 and remained a loyal Ohioan and Buckeye his entire life. With BM and BME Degrees from Oberlin College (clarinet performance and music education), he embarked on a career that would come to inspire thousands of musicians who would follow.

After a year as Oberlin High School’s band director, Don was hired by Eugene Weigel to teach all of the woodwind students, assist with both the Concert and Marching Bands, and conduct the regimental bands at Ohio State. The year was 1941 and after winning the Principal Clarinetist chair in the Columbus Philharmonic, his near 40-year career at Ohio State was interrupted by his enlistment in the 40

United States Navy, in which he eventually achieved the rank of Lieutenant JG as the Communication Officer on the USS Lucidor in the South Pacific.

Because he was originally commissioned to be principal clarinetist and featured soloist in the highly regarded Pre-Flight School Band that was stationed in Iowa City, his three-year stint in the U.S. Navy also provided him an opportunity to begin his pursuit of advanced degrees at the University of Iowa, receiving an MA and later, a 1953 PhD in music theory and composition. His Symphony for Band was written as his dissertation and was eventually published in the Hal Leonard catalogue.

In 1946, Don married Ruth and returned to Ohio State as a full-time professor of flute, clarinet, and associate conductor of the OSU Concert Band, sharing the podium with Manley Whitcomb. When “Whit” left for Florida State University in 1953, Weigel appointed Jack Evans director of the Marching Band and Don McGinnis director of the Concert Band, resulting in the enrichment of the band program’s numerous traditions and establishing the standards of excellence for many years to come.

Under his leadership, the Concert Band earned national and international recognition with performances in illustrious venues such as Carnegie Hall and Lincoln Center, making widely-acclaimed recordings, enabling commissions for new works, and earning awards as an ensemble of the highest caliber. Many of Don’s clarinet and flute students, including Richard Stoltzman, Howard Klug and Ohio State faculty Katherine Borst Jones and Caroline Hartig to name a few, went on to enjoy wonderfully influential professional careers of their own.

The band profession-at-large held Don in their highest regard as well, resulting in his being elected into the prestigious American Bandmasters Association in 1956, elected president in 1976, later named ABA Honorary Life Member and Honorary Life President, receiving a Resolution from the Ohio House of Representatives for Outstanding Contributions in Teaching, Performance, and Leadership in 1977, Honorary Life Memberships in TBDBITL (The Best Damn Band in the Land) and The Ohio State University Alumni Band in 1977, and the coveted Medal of Honor at the Midwest International Band and Orchestra Clinic in 1988. It would be impossible to contextualize the contributions of this incredible artist/teacher without using words such as profound, timeless, far-reaching, creative, influential, inspirational, and eternal.

–––Richard Blatti, Professor Emeritus, The Ohio State University School of Music–––

DECEMBER 2016/JANUARY 2017

41

JAZZ EDUCATION CONNECTION OF OHIO How to Make Jazz Studies Curriculum Viable for Jazz Performance and Music Education Majors Bobby Selvaggio

One criticism I often hear about jazz music in academia is that it makes jazz performers sound like they are playing straight out of a book. This type of playing can be described as “head” versus “heart”; that is, performing too technically or theoretically versus playing from the soul or with emotion. Jazz was always music that was learned in clubs or at jam sessions ─ places where musicians would gather to hang out, talk about music, and play together. Traditionally, Jazz created a unique environment in which young and upcoming musicians would learn directly from a mentor, practice all day, and perform all night. However, now that colleges have been offering programs in Jazz Studies for many years, that environment has begun to encourage students to take out a book, learn some licks over a few tunes, and perform those exact patterns at a jury to pass the class. By moving to this “head” versus “heart” way of teaching, we have begun to lose sight of the most fundamental aspect of jazz: that it is a pure, improvisational driven music.

Another big change I have noticed in young jazz students today is they are not growing up listening to jazz music on a regular basis, if even at all. I have too often come across college students who want to be jazz musicians or teach high school jazz, but don’t have a true understanding of what the music sounds like. They played in a big band in high school, liked it a lot, and think that is what they will be studying. But high school programs are not entirely to blame for this trend; jazz music is barely emphasized in daily society, so students come to college having no real understanding of what jazz truly is. In order to reverse this trend, we must come up 42

with basic principles around which to build a jazz education curriculum and then apply those fundamentals to music education as a whole.

As I developed as an educator in particular, I spent a lot of time thinking about what the concept “improvisational driven” truly means. I feel it breaks down into four main elements: Ear Training, Theory, Technique, and Style. This might be slightly old school, but I strongly believe that learning tunes out of a book is counterproductive. Developing the ear is essential not only in jazz music, but music in general. If we always use a book to learn jazz repertoire, we take an essential element of musical development out of the equation. Working with students on melodic and harmonic ear training is extremely important. Making them learn tunes off a record, not out of a book, not only influences the way they learn the music, but also ensures that they learn the sounds of jazz through repetitious listening. This also helps develop the concept of selective listening versus casual listening ─ i.e., the ability to focus on one element of the music at a time, such as the chords or the bass line to figure out the harmony, the interpretation of the melody, or the interaction of all the musicians during improvisations. To me, ear training should be at the forefront of all we do as musicians and educators.

While ear training is extremely important, theory is also an essential element of performing and understanding music. I talk with students a lot about being effortless and immediate with everything they do, and that immediacy comes from knowing their instrument and understanding what it is they are playing. As improvising musicians, jazz players TRIAD

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have to make instantaneous decisions, manipulating and developing the music in the midst of a performance. In essence, jazz improvisation is spontaneous composition. Since we compose in real time, our ability to access and apply theory instantaneously is essential. When I have transcribed and analyzed the most complex solos (e.g., John Coltrane’s solo on India), one thing I’ve come to notice is how fairly fundamental all of the ideas being played truly are. It comes back to the same concepts, time after time: know your scales, intervals, triads, and arpeggios effortlessly. Once again, don’t always allow students to use books to practice those things, since it makes them have to think and listen less.

Encourage them to be creative and come up with new, unique ways to practice fundamentals. I tell my students all the time to create their own book.

The biggest comment I get from non-musicians when I’m performing modern original jazz is “what kind of music are you playing?” In general, people don’t understand there are many styles of jazz. They always say how much they like and have enjoyed the music, but they don’t realize it’s still jazz. Young jazz students and music education majors should be reminded that jazz continued to evolve after the 1930s. To put it simply, when it comes to style, you need to constantly imitate, assimilate, and innovate.

In this way, jazz musicians are learning the tradition while moving the music forward with their own individual voices.

When I went to OMEA last year in Cincinnati, I gave a clinic on improvisation. I started the clinic with a series of questions to the high school jazz band directors in particular. I would like to share how part of that session, with around 20 professional music educators, went. “How many of you played in a High School Jazz Band?” I asked. They all raised their hands. “How many of you played in a College Jazz Band?” Half raised their hands. “How many of you took a Jazz Techniques class at the college level?” Only three raised their hands. Experiences like this continue to remind me that Music Education majors are expected to teach jazz bands with little or no jazz training. They have no idea what the process for teaching jazz and improvisation should look like. They have no real idea of what jazz sounds like or any understanding of what it truly is, and that 44

is a travesty. However, if we can reform jazz curriculum at the college level, we will surely see a domino effect in the understanding, appreciation, and proficiency of jazz. And that will be beneficial for everyone.

Bobby Selvaggio is one of the leading alto saxophone voices on today’s jazz scene. In the words of pianist Kenny Werner, “Bobby is among the best of players out there,” and legendary saxophonist Joe Lovano praises Bobby by calling him “one of the few young saxophonists on the scene today that captures you with his strong presence, focus, and sound.” Bobby, who grew up in the Cleveland area, earned his Bachelor of Music in Music Performance from Kent State University. He eventually moved to New York City and earned a Masters degree in Jazz Performance from the Manhattan School of Music. While in New York, Bobby studied with Joe Lovano, Bobby Watson, Dick Oatts, and Maria Schneider. After living in New York City and gigging around town at places like the Vanguard, Smalls, and Birdland for four years, Bobby decided to move back to Cleveland with his family. He has dedicated himself to keeping jazz alive in Cleveland and his passion for jazz education has led him to serve as Director of Jazz Studies at Kent State University. In addition to his work in jazz education, Bobby continues to expand his discography. His most recent recording is Short Stories (Origin Records, 2014) featuring Aaron Goldberg on the piano, which followsWay Of Being (Arabesque Records, 2013), Grass Roots Movement (Arabesque Records, 2011) and Modern Times (Arabesque Records, 2009). Modern Times featured Kenny Werner on piano and Sean Jones on trumpet. Bobby’s Unspoken Dialogue (Playscape Recordings, 2007), also featured Kenny Werner, as well as Jamey Haddad on drums, Ben Street on bass, and Paul Tynan on trumpet. In addition to playing alto saxophone, Bobby also plays soprano saxophone and alto clarinet.

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

Wright State School of Music Audition Dates for Admission in Fall of 2017: • Admission and Scholarship Consideration • Saturday, February 11, 2017 • Saturday, March 11, 2017 • Admission Only • Saturday, April 1, 2017 Graduate Assistantships and Scholarships are available for Fall 2017 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)

OHIO CHORAL DIRECTORS ASSOCATION Collaboration: A Key to Future Success Loren C. Veigel; OCDA President Dr. Timothy Sharp, ACDA’s innovative and brilliant National Executive Director, has written a book on Collaboration in the Arts. In this thought-provoking book, Tim asserts the necessity for collaboration to secure the long-term future of arts ensembles.

Having worked over the last decade with a community choir, I can personally attest to the truth of his assertion. We all must understand the implications of collaboration – “laboring together toward common goals.” Benefits compound as arts organizations “team up” for achievement.

OCDA continues this year as a proud affiliate organization of OMEA. Benefits, indeed, compound! OCDA members are permitted to register for OMEA Professional Conference at member rates.

Registration forms can be found on the OCDA website, ohiocda.org. We are proud to present three Choral Reading Sessions at OMEA Conference.

These sessions have been immensely popular; the music packets provided for every participant allow you to take home a wealth of new choral music selected by expert Ohio music educators. Plan your OMEA conference schedule to include at least one reading session helpful for your area of teaching – Junior High/ Middle School music will be presented Friday, 8:00-9:00 a.m., in CC 3; High School/ University music on Friday, 10:30-11:30 in the CC Junior Ballroom; and, Elementary music will be read on Saturday, 8:00 – 9:00 a.m. in CC 3.

Ohio choral educators are assured excellent opportunities for targeted professional growth at OMEA conference through our affiliation, which guarantees OCDA the inclusion of choral interest sessions in the conference program. These sessions allow educators to expand their awareness of rehearsal methods, new technologies, and to be 46

inspired by great leaders in our field.

One of our proudest achievements through the OMEA/OCDA affiliation is only beginning to materialize. With the support of OCDA, Suzanne Walters (Jackson Schools, Stark County) single-handedly developed a non-competitive festival for Elementary School choirs. Her passion and administrative skills made this event a tremendous success and a wonderful opportunity for hundreds of young singers. Now, with the assistance of OMEA, the Elementary School choral festivals will be expanding to multiple regional events. Under the new chairmanship of Julie Strebler (Coventry Schools, Summit County), elementary teachers will want to watch for information about these opportunities through shared resources of OCDA and OMEA. As you make your plans for next summer, don’t forget the OCDA Summer Conference, to be held on the beautiful campus of Otterbein University June 19-21, 2017. With all the technological and communication tools available to us, OCDA members realize the tremendous asset of personal contact. Don’t miss this opportunity to learn from national headliner clinicians as well as Ohio colleagues. You’ll read and take home lots of new music, hear performances by excellent Ohio choirs, and – most important of all – spend three days in personal exchange with your fellow choral professionals. Watch ohiocda.org for Summer Conference information.

Collaboration can be a wonderful thing. It is my hope that the affiliation between OCDA and OMEA is only in its infancy – music professionals in Ohio will benefit from this collaboration for many years!

Chorally yours, Loren TRIAD

MEET CHRIS MCKEE

YOUR EPN TRAVEL PROFESSIONAL “I enjoy working with great directors and teachers and helping them provide the best experience possible for their students by customizing value-added trip itineraries that maximize the goals of the group.”

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Chris has over 20 years of group travel planning experience. He earned a B.M. in Music Marketing from Clarion University of PA. Chris is the former Director of North American Music Festivals, where he managed the production of adjudication festivals throughout the East Coast.

He also served as a Travel Consultant with Educational Travel Experiences, Inc. and The Sound of America Honor Band and Chorus European Concert Tour.

WHAT IS A GREAT STUDENT DESTINATION THAT MANY TEACHERS ARE NOT AWARE OF? Cleveland, Ohio is one of the best kept secrets in student travel.

Cleveland has such a rich history. George Washington once said that a great city would stand in the blessed spot where the Cuyahoga River met Lake Erie. Steel and oil barons built a monumental downtown which has grown into a modern-day cultural icon that includes the world-renowned Cleveland Museum of Art and the Cleveland Orchestra. The Rock & Roll Hall of Fame, Cleveland Aquarium and Great Lakes Science Center combined with the Hard Rock Café and Dinner and Sightseeing Cruises on Lake Erie make Cleveland a city that everyone should experience. Cedar Point Amusement Park, the “Rollercoaster Capital of the World” is just a short drive up the coast.

Cleveland really has it all!

Did you know....

Meet that virtually all of the staff at the team Stanton’s Sheet Music are musicians?

Get to know your fellow musicians at Stanton’s website...

stantonssheetmusic.wordpress.com/category/stantons-series/meet-the-stantons-team/ Barb Violin Viola David Voice Piano

Some of Stanton’s Piano and Pop Music Staff

Jennifer Voice Handbells

Phyllis Alto Sax Woodwinds Stanton’s Sheet Music 330 South Fourth St Columbus OH 43215 www.stantons.com 1-800-42-MUSIC 614-224-4257 FAX 614-224-5929

Terry Euphonium Voice

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Some of Stanton’s Instrumental Staff

Dan Cello, Bass, Guitar, Ukulele

Liz Piano Clarinet Some of Stanton’s Office Staff

Joyce Piano

Some of Stanton’s Choral Staff

Judy Voice Piano

Amy Trumpet

Ken Alto Sax

Ben Trumpet

OHIO MUSIC EDUCATION ASSOCIATION

AN INVITATION FROM THE DIRECTOR OF PROFESSIONAL DEVELOPMENT

CLEVELAND 2017

MARK HENSLER The 2017 OMEA Professional

NORTH COAST

PROFESSIONAL DEVELOPMENT CONFERENCE

Development Conference

FEBRUARY 2-4, 2017

We are excited to be returning to the Huntington Convention Center of Cleveland for the 2017 OMEA Professional Development Conference – the “North Coast Conference”. The city of Cleveland has continued to grow and develop new and updated housing and dining options, which I am sure you will enjoy. The 2017 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 to meet your professional development needs.

The 2017 PDC will offer the most significant “special focus” track in OMEA history and several new initiatives sparked by member surveys and other data. Notable changes include a restructured session schedule; selected 90-minute session times; several clinic-concert sessions; and more “first time” OMEA presenters.

The 2017 special focus sessions are made possible by a generous grant from the Ohio Arts Council. We are grateful for this opportunity and look forward to a continuing partnership with the OAC. Don’t miss your chance to explore such topics as teaching in urban and rural schools; managing resources in low-income communities; improving classroom behavior; non-traditional music education; the impact of the Every Student Succeeds Act; working with special learners and more.

The blind-audition process for performing groups has resulted in another program of outstanding ensembles of all shapes and sizes. TI:ME technology sessions, All-State concerts and plentiful networking/social opportunities guarantee another “must attend” event for music educators.

The exhibit hall in the Huntington Convention Center of Cleveland will be filled with many familiar faces and a few new ones. Attendees have been asking for more time to visit the exhibits and more time to find a meal without missing so many sessions. The new schedule builds in flextime for attendees to use as they wish - eat, visit vendor booths, network or just get off of your feet for a few minutes!

Make your plans NOW to join us in Cleveland, February 2-4 for the 2017 North Coast Conference. Still undecided? Be sure to check out the new PDC website featuring some of the outstanding presenters slated for the 2017 PDC (see list in TRIAD). The “Conference” tab (left side of OMEA homepage) will also host a preregistration link; information on the Instructional-Hour Certificate Program (IHCP); graduate credit options; housing reservations; reception request form and more.

2017 PDC Team Mark Hensler, Director of Professional Development pd_director@omea-ohio.org DECEMBER 2016/JANUARY 2017

49

THE COLLEGE OF WOOSTER Department of Music Degrees

Programs

Performance Opportunities

Bachelor of Arts Bachelor of Music Bachelor of Music Education

Composition History & Literature Music Education Music Theory Music Therapy Performance

Concert Band Gospel Choir Jazz Ensemble Scot Marching Band Symphonic Band Wooster Chorus Wooster Singers Wooster Symphony Chamber Ensembles Opera Workshop

W www.wooster.edu

Music Scholarship Audition Dates: December 2-3, 2016 January 27-28, 2017

OHIO MUSIC EDUCATION ASSOCIATION

2017 PROFESSIONAL DEVELOPMENT COMMITTEE The 2017 OMEA Professional Development Conference

CLEVELAND 2017

Mark Hensler Director of Professional Development

NORTH COAST

ALL-STATE CHAIR

PROFESSIONAL DEVELOPMENT CONFERENCE

Michael Kelly

FEBRUARY 2-4, 2017

CONTENT CHAIRS Robert Tanis Ryan Smith Band

Kent Vandock Choral

BethAnn Hepburn General Music

Jan Diehl Jazz

Elizabeth Hankins Orchestra

Dale Nawrocki On-Site Registration

Bill Thomas Percussion

Gianna Tyrrell Kristin Koterba Properties Co-Chairs

Paul Schrameck Small Ensembles

STANDING CHAIRS JD Latorre Adjudicated Events

Richard Edwards Higher Education

Ewelina Boczkowska Multi-Cultural

Stephen Lytle OCMEA

Patricia Grutzmacher Research

Lalene Kay Special Learners

Rachael Fleischaker Teacher Evaluation

Melinda Wallace Curriculum & Assessment

ALLIED ORGANIZATIONS Dan Nicora JECO

Tim Katz OAAE

Loren Veigel OCDA

Trista Emmons OSTA

Donna Collins OAC

Lesley Schultz TI:ME

DECEMBER 2016/JANUARY 2017

51

2017 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE ALL-STATE CONDUCTORS

OMEA All-State Children’s Chorus - Judy Bowers OMEA All-State Orchestra - William Wiedrich OMEA All-State Band - Kevin Sedatole OMEA All-State Jazz Ensemble - Dean Sorenson OMEA All-State Choir - Brady Allred ENGAGE IN MUSIC-MAKING EXCELLENCE AT CSU YOUNG, URBAN and DYNAMIC since 1964!

Music Talent Scholarships Awarded to majors and non-majors for the 2017-2018 Academic Year!

Undergraduate Degree Programs

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

Graduate Programs

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.

52

We are Wittenberg.

$450,000 in music scholarships available regardless of major Music scholarships awarded up to full tuition

Make music at a university that cares.

2016-2017 Audition Days Nov. 11 and Dec. 3, 2016 | Jan. 16, Feb. 10, 17, 20, 25, 2017 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).

2017 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE SELECTED PERFORMING ENSEMBLES Baldwin Wallace Men’s Chorus Baldwin Wallace Symphony Orchestra Brunswick High School Wind Ensemble Cincinnati Youth Jazz Orchestra Cleveland Jazz Orchestra Cleveland Orchestra Children’s Chorus Cleveland State University Chorale Cleveland Winds Columbus International Children’s Choir Columbus Symphony Chamber Strings Firestone High School Symphonic Choir Greenville Middle School Concert Band Hilliard Davidson Chamber Orchestra Hudson Middle School 8th Grade Orchestra Kent State University Wind Ensemble Kettering Fairmont High School Eleventh Hour Learwood Middle School Concert Choir Liberty Middle School Choir

Lowellville High School Concert Band Muskingum University Concert Choir Ohio University Symphony Orchestra OPCICA Honors Jazz Ensemble Patriots Symphonic Band Pickerington High School North Percussion Ensemble Sam Morrison – Beyond the Miles Scioto Valley Community Chorus Stivers School for the Arts Jazz Orchestra Strongsville High School Symphony Orchestra University of Dayton Jazz Ensemble University School Flying Mallets Upper Arlington High School Symphonic Choir Wapakoneta Symphonic Band Worthington Kilbourne Wind Ensemble Wright State University ETHOS Wright State University Wind Symphony Xavier University Men’s Chorus

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westmusic.com 54

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purposeful

pathways

by Roger Sams and BethAnn Hepburn

an MIE Publication

Possibilities for the Elementary Music Classroom

Purposeful Pathways is an extensive collection of developmentally sequenced lessons for learning about music by making music, integrating Orff Schulwerk, Kodály, and eurhythmics.

1

BOOK ONE

2

BOOK TWO

3

BOOK THREE

ELECTRONIC VISUALS ON CD-ROM y purposeful

pathways

CD-ROM COMPANION

Possibilities for the Elementary Music Classroom Literacy Ensemble Movement Improvisation Composition

SMART NotebookTM Electronic Visuals by Holly Walton

Formats available: SMARTBoard™ • Promethian • PowerPoint

2017 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE CLINICIANS ADVOCACY Kristen Brown Larry Brown Gary DeVault Scott DiMauro John Mlynczak Ryan Shaw Dustin Wiley Chris Woodside ADJUDICATED EVENTS Chris Carmean Scott Eversdyke Dara Gillis William Guegold Gayley Hautzenroeder JD Latorre Katherine McIntosh Brian Stevens Gregory Taylor Pam Thiel Joseph Thrower Jay Wardeska Jeanne Wohlgamuth BAND Lucas Borges Thomas Bough Richard Canter Joe Carver Larry Clark Michael Colburn Stephen Gage Barry Hartz Galen Karriker John Kurokawa Kelly Langenberg John Mackey Kevin Mixon Matthew Schatt Jennifer Shauf Ryan Shaw Jason Sulliman Daniel Tembras Lindsey Williams Jason Wyse Thomas Zugger Gail Zugger BROAD RANGE Peggy Bennett Judy Bowers Rachael Fleischaker Felipe Morales-Torres Emily Pence Brown Susan Plemons

56

CURRICULUM AND ASSESSMENT Andy Beck Kenneth Douglas Manju Durairaj Aaron Given Melanie Glazer Lisa Gruenhagen Tim Katz John Mlynczak Melinda Wallace CHORAL Andy Beck Judy Bowers Marla Butke Rollo Dilworth Denise Eaton Dara Gillis Brennan Harris Amanda Hughes Brandon Moss Mark Munson Brian Nabors Bryan Nichols Brad Pierson Christa Roberts Ann Schertzer Richard Schnipke Julia Shaw Robert Sinclair James Vaughn Jay White Jessica Wiseman

Lauren McDougle Beatrice Olesko Heather Russell Roger Sams Laura Stack Pamela Stover Natasha Thurmon Jim Tinter Craig Woodson Michelle Zinck

Kathleen Horvath Roberto Iriarte Donna Jelen Lynne Latham Frank Lestina David Pope Leyla Sanyer Jeffrey Singler William Wiedrich Edward Zunic

HIGHER EDUCATION Linda Hartley Kathleen Horvath Brandon Jones Lisa Huisman Koops Craig Resta Heather Russell Paul Young

RESEARCH Amy Beegle Dawn Farmer Tammy Kuntz Craig Resta Pamela Stover

JAZZ Jamey Aebersold Bill Burns Timothy Fuchtman Sean Jones David Kay Gunnar Mossblad Jim Tinter Mike Tomaro

MULTICULTURAL Manju Durairaj Timothy Fuchtman Megan Rhodes Pamela Stover CLASSROOM MANAGEMENT Craig Woodson Cynthia Braswell Julie Ellis OHIO COLLEGIATE MUSIC Rachael Fleischaker EDUCATION ASSOCIATION Kristin Coen-Mishlan GENERAL MUSIC Gary DeVault Alice Basinger Jacob Donofrio Lorelei Batislaong Daniel Fleischaker Peggy Bennett Sharon Gratto LeslieAnne Bird Barry Hartz Thom Borden Benjamin Meisel Sharon Burch Cathy Miller Marla Butke David Montgomery Mike Christiansen Leyla Sanyer Susan Cook Brian Shaw Greg Donnellan John Feierabend ORCHESTRA Denise Gagne Lois Clark Ramey James Javorsky Douglas Droste Cheryl Lavender Trista Emmons Michael Leone Sara Given Tracy Leslie BettyAnne Gottlieb Herbert Marshall Michael Hopkins

SPECIAL FOCUS Tom Bracy Dawn Farmer Kate Fitzpatrick John Hill Chelsea Hillard Lisa Hirzel Sean Jones Margaret Martin Glen McCarthy Jay Rinsen Weik SPECIAL LEARNERS Kathlene Cramer Jennifer Culver Greg Donnellan Gary Gorton Lalene Kay Thomas Resnick Toby Rush Angela Snell Edie Steiner CLINIC-CONCERT SESSIONS BD - Kevin Mixon with the Jackson City HS Band BD - Lindsey Williams with the Cory-Rawson High School Band CH - Amanda Hughes with the Spencerville HS Women’s Choir GM - Roger Sams with Boulevard Elementary School GM Class JZ - Sean Jones with the Warren G. Harding HS Jazz Band JZ - David Kay with the University School Jazz Ensemble OR - Leyla Sanyer with the Cleveland School for the Arts Orchestra

The Fun-filled Music Festival For Band, Orchestra & Choirs.

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2017 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE February 2017, Cleveland, Ohio • Huntington Convention Center Exhibitors as of 11/4/16 and subject to change.

Acoustica American School Band Directors Association Anchor Audio 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. Brightspark Travel Buddy Roger’s Music Capital University Conservatory of Music Carl Fischer Music Case Western Reserve University Cedar Point - Kings Island Cedarville University Century Resources, LLC Charms Office Assistant CIM K-12 Distance Learning Cleveland State University Columbia College Chicago Columbus Pro Percussion Conn-Selmer, Inc. Costume Holiday House Cut Time Daybreak Music DeMoulin Brothers & Company Eastman Music Company Educational Tours, Inc. Edwards Instrument Company Elvis Presley’s Graceland Enovative Technologies EPN Travel Services ErgoSonic Percussion Festivals of Music/Music in the Parks Fox Products Corporation Fred J. Miller Inc. Gemeinhardt Musical Instruments Getzen Company

GIA Publications, Inc. Great Day! Tours & Charter Bus Service Green Horn Project, The Hal Leonard Corporation Heidelberg University School of Music Interlochen Center for the Arts J.W. Pepper Inc. Jazz Education Connection of Ohio/Columbus Jazz Arts Group Jupiter/Mapex/Majestic Kent State University Loyola University Maryland Ludwig Masters Publications Macie Publishing/Ed Sueta Music Publications Make Music, Inc. Malone University Marietta College Miami University Music Dept.

Mollard Conducting Batons, Inc. Montefiore Foundation Morehead State University Motter’s Music Mount Vernon Nazarene University Music & Arts Music Celebrations International Music Filing Solutions Music First Music for All Music is Elementary Music Settlement, The Music Travel Consultants Musicians Repair Service Muskingum University / Dept. of Music National Association for Music Education Neff Company New Era/Crowne Excellence Noteworthy Tours, Inc. Ohio Foundation for Music Education/Tom Batiuk Ohio Northern University Ohio State University School of Music, The

Ohio University School of Music Ohio Wesleyan University Otterbein University Pageantry Innovations, LLC. Pee-Jay’s Fresh Fruit Pellegrino Music Center Premier Tour and Travel QuaverMusic.com Rettig Music, Inc. Rock & Roll Hall of Fame Royalton Music Center/Professional Suite Singing Buckeyes Slippery Rock University StageRight Corporation Stanton’s Sheet Music Steinway Piano Gallery Cleveland Stoller Fundraising Straight A Tours & Travel Summit Choral Society Summit Tour & Travel, Inc. Super Holiday Tours The All-Ohio State Fair Youth Choir Tiffin University 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 Winter Guard Tarps Wittenberg University Woodwind & Brasswind WorldStrides Wright State University School of Music 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 58

CONSERVATORY OF MUSIC 1 COLLEGE AND MAIN COLUMBUS, OHIO

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Keyboard Pedagogy Church Organ Piano

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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 21, 2017 Monday, February 20, 2017 Saturday, March 11, 2017 (No percussion)

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.

Earn your Master of Music in Music Education degree in three summers.

SIGN UP FOR GRADUATE SUMMER PROGRAMS 2017: COMPLETE BAND DIRECTOR WORKSHOP: June 19 – 22 SUMMER SESSION I: June 26 – July 14 SUMMER SESSION II: July 17 – 28 (Instrumental and Jazz) SUMMER SESSION II: July 17 – August 4 (Kodály)

www.capital.edu/grad-music

614-236-6996

Professional Studies (Music Technology Emphasis)

Instrumental Emphasis

2017 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE SHOWCASE SESSIONS Greg Ondo CC 14 FRIDAY 8:00 AM - 9:00 AM

Dorico - The New Era in Notation Software - Come see how Dorico is redefining the gold standard in scoring software. Combining musical intelligence, intuitive workflows, impeccable output, and world-class audio in one awesomely powerful, professional package. Sponsored by Yamaha Corporation of America - Steinberg

John Jacobson CC 13 FRIDAY 9:15 AM - 10:15 AM

Higher Order Thinking: It’s As Simple As Do Re Mi - Giving young students the tools they need to understand, infer ,connect, categorize, evaluate and apply information they learn from you will help them become leaders and learners of the future. Sponsored by Hal Leonard Corporation

Anthony Conte CC 14 FRIDAY 9:15 AM - 10:15 AM

Teach Music Creation With Mixcraft - Teach modern music creation using technology that will inspire students.

Session covers music recording, live performance, loops, mixing, editing, video and publishing. Free mixcraft teachers license and curriculum for attendees. Sponsored by Acoustica, Inc.

Otto Gross CC 13 FRIDAY 10:30 AM - 11:30 AM

Placing Together the Pedagogy Puzzle: Kodàly and Orff Meet QuaverMusic Interactive Technology How can you integrate best practices from many different pedagogical approaches at the same time? Experience Quaver’s new tools that guide students as they sing, play, improve, compose, read and notate music. Sponsored by QuaverMusic.com

Lisa Martin & Michael King CC 14 FRIDAY 10:30 AM - 11:30 AM

Programming with Purpose: Backwards Design with our Band - In this session, we will discuss how to both independently and cooperatively shape repertoire cycles using backwards design, helping directors to purposefully build toward performance goals and other learning outcomes. Sponsored by Bowling Green State University College of Music Arts

John Jacobson CC 13 FRIDAY 12:30 PM - 1:30 PM

Sub-Time Surprise - Suddenly you need to be absent from school for an emergency. We will introduce you a sure-fire 25 minute lesson plan. Sponsored by Hal Leonard Corporation

Justin Mirche CC 14 FRIDAY 12:30 PM - 1:30 PM

Where’s My Stuff? - If you’re not managing your instrument inventory, uniforms, library, student data, and finances, you’re losing some of it! See how the Charms system helps you manage your assets. Sponsored by Charms Office Assistant

Otto Gross CC 13 FRIDAY 2:30 PM - 3:30 PM

Classroom Management Made Easy - The planning process can be streamlined by making use of the Quaver K-5 and the Quaver 6-8 General Music Programs. Automated assessments, easy curriculum customization, and engaging activities for your students help make lesson planning fun again! Save precious time and build a collection of resources that will help you efficiently manage your classroom. Sponsored by QuaverMusic.com

Greg Ondo CC 14 FRIDAY 2:30 PM - 3:30 PM

Dorico - The New Era in Notation Software (Repeat Session) - Come see how Dorico is redefining the gold standard in scoring software. Combining musical intelligence, intuitive workflows, impeccable output, and world-class audio in one awesomely powerful, professional package. Sponsored by Yamaha Corporation of America - Steinberg

Michael Sweeney CC 13 FRIDAY 3:45 PM - 4:45 PM

Young Band Programming for Success - Program meaningful literature using a balance of proven classics and carefully chosen new works. What to look for, what to look out for, and how to find hidden games.

Sponsored by Hal Leonard Corporation

Greg Ondo CC 14 FRIDAY 3:45 PM - 4:45 PM

Dorico - The New Era in Notation Software (Repeat Session) - Come see how Dorico is redefining the gold standard in scoring software. Combining musical intelligence, intuitive workflows, impeccable output, and world-class audio in one awesomely powerful, professional package. Sponsored by Yamaha Corporation of America - Steinberg

Jim Frankel CC 13 SATURDAY 9:15 AM - 10:15 AM

Online Elementary Music Tools by MusicFirst - Discover MusicFirst’s simple-to-use online software tools for today’s elementary music students and teachers, including the brand-new Music-First Junior. Enhance learning quality applications that are accessible anytime, anywhere. Sponsored by MusicFirst

John Wiscombe CC 13 SATURDAY 10:45 AM - 11:45 AM

How To Plan A Concert Tour - Planning a concert tour may seem like an overwhelming process, but we have you covered! From destination to raising funds, consider these seven “how to” steps to planning the perfect tour for your ensemble! Sponsored by Music Celebrations International

60

GRADUATE ASSISTANTSHIPS ARE OFFERED IN: FOR ADDITIONAL INFORMATION, CONTACT: UNDERGRADUATE DEGREES: BACHELOR OF ARTS BACHELOR OF MUSIC BACHELOR OF SCIENCE*

GRADUATE DEGREES: MASTER OF ARTS MASTER OF MUSIC DOCTOR OF PHILOSOPHY

AUDITIONS:

Programs of Study:

Programs of Study:

UNDERGRADUATE MUSIC SCHOLARSHIPS:

Music (B.A.)

Contemporary Popular Music*

Music Education (B.M.) Instrumental Performance (B.M.) Piano Performance (B.M.) Vocal Performance (B.M.) Composition (B.M.) Music Technology (B.S.)* Undergraduate Minors:

Music Jazz Studies World Music Audio Recording* Music Technology*

Music Composition (M.A.) Ethnomusicology (M.A.) Music Theory (M.A.) Conducting: (M.M.) Band Orchestra Choral

Music Education (M.M.) – Entirely Online!

Performance (M.M.) Performance: Chamber Music (M.M.) Music Education (Ph.D.) Music Theory-Composition (Ph.D.)

* OFFERED AT KENT STATE UNIVERSITY AT STARK

JESSE LEYVA

RECRUITMENT COORDINATOR jleyva@kent.edu

DANA BROWN

ASSISTANT TO THE DIRECTOR dabrown@kent.edu

• • • • •

Conducting Ethnomusicology Graduate String Quartet Music Education Performance - Instrumental - Piano - Voice • Theory APPLICATION MATERIALS AND AUDITIONS MUST BE COMPLETED BY APRIL 1.

APPOINTMENTS BEGIN AUGUST OF THE ACADEMIC YEAR.

GRADUATE ASSISTANTSHIPS:

MICHAEL CHUNN

COORDINATOR OF GRADUATE STUDIES mchunn@kent.edu KENT STATE UNIVERSITY AT STARK:

LAURIE CAMP

ACADEMIC ADVISOR, STARK CAMPUS Lacamp1@kent.edu

WWW.KENT.EDU/MUSIC

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. 16-cota-00223-056

DECEMBER 2016/JANUARY 2017

61

PRE-REGISTRATION FORM

2017 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE Cleveland, Ohio • February 2-4, 2017 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 13, 2017. Postmarks after this date will not be accepted.

• All refund requests must be made in writing. Refunds after January 13, 2017 will be assessed a $15.00 processing fee.

• No refunds after January 27, 2017.

Online pre-registration is available until January 20, 2017 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

CLEVELAND 2017 NORTH COAST

PROFESSIONAL DEVELOPMENT CONFERENCE FEBRUARY 2-4, 2017

*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

2017 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE Cleveland, Ohio • February 2-4, 2017 RESERVATIONS CAN BE MADE BY CHOOSING ONE OF THE FOLLOWING OPTIONS: All reservations require a credit card. No checks will be accepted.

Credit cards expiring 02/17 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: 844-662-6124 - Do not mail after faxing.

3.) MAIL: Send a completed form (one copy per room) to: Destination Cleveland Housing Bureau Attn: Casey Gwin, CMP 334 Euclid Ave, Cleveland, OH 44114 4.) EMAIL: housing@destinationcle.org

DEADLINE FOR SPECIAL RATES IS JANUARY 10, 2017.

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

• Photocopy this form if more than one room is required.

• Only one room may be requested under each name.

• Rooms are assigned on a first-come, first-serve basis.

HOTEL RATES Hotel

Single

Double

Triple

Quad

Cleveland Marriott at Key Center

$159

$159

$159

$159

Westin Cleveland

$159

$159

$159

$159

Doubletree by Hilton Cleveland Downtown-Lakeside

$120

$120

$120

$120

Hampton Inn Cleveland Downtown

$119

$119

$119

$119

Hilton Cleveland Downtown

$167

$167

$167

$167

Drury Plaza Hotel Downtown Cleveland

$149

$149

$149

$149

Hyatt Regency at the Arcade

$159

$169

$174

$179

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

HOTEL PREFERENCE: 1. �����������������������������������������������������

• Allow up to two weeks for an acknowledgement.

• After January 10, 2017, rooms and rates are based on availability.

2. �����������������������������������������������������

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

Arrival Date: �������������������������������������������

Name: ������������������������������������������������

Departure Date: ���������������������������������������

Address: ��������������������������������������������������������������

List Names of all occupants

City: ���������������������������������������������������

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

State: ������������������������ Zip: ���������������������

��������������������������������������������������������

Phone: ��������������������������������������������������

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Fax: ��������������������������������������������������������������������

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Email Address: �����������������������������������������

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RESERVATION DEPOSIT:

ROOM TYPE PREFERENCE*:

All hotels require a credit card for guarantee. Requests received without credit card information will not be processed. Please fill out the credit card information entirely.

Credit cards must be valid through February 2017 in order to be considered a proper guarantee.

  

American Express Visa Diner’s Club

 

Master Card Discover

Card #  Expir.  /  Name: �������������������������������������������������������� Signature: �����������������������������������������

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 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 * 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 20, 2017 (4:00 p.m. EST) via internet, fax, email, or mail. After January 20, 2017, all new reservations, changes, and cancellations must go through the hotel. Do not contact the hotels directly until after January 20, 2017.

INSTRUCTIONAL HOUR CERTIFICATE PROGRAM • ARE YOU PLANNING TO ATTEND THE 2017 PDC IN CLEVELAND? • 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)?

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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 21, 2017. (Required format will be available on the OMEA website.)

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

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.

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 Take part in rural, urban and underserved special focus sessions SEE THE PDC WEBSITE, OMEA WEBSITE, TRIAD, AND SOCIAL MEDIA FOR UPDATES ON PRESENTERS, TOPICS, PERFORMING ENSEMBLES AND SPECIAL EVENTS.

STILL NOT ENOUGH? IN NEED OF GRADUATE CREDIT? CHECK OUT THE NEXT PAGE FOR INFORMATION ON THE ASHLAND CREDIT PROGRAM FOR DETAILS.

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ASHLAND GRADUATE CREDIT PROGRAM • 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?

2017 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE Graduate Credit Option - $209

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 21, 2017. 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.

NEW FOR 2017: Registration for graduate credit will be available throughout the conference (online only). This will allow you to take advantage of this great offer, even if you are unable to preregister.

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

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Did your instrument get: • dropped from the bleachers • hit by a flying baton, flag, or football • damaged but you don’t know how • stepped on

t e g t i • or did your y b n e t ea dog?

WE SPECIALIZE IN PROJECTS THAT MANY REPAIR SHOPS TURN DOWN • tenon replacement • bar percussion tuning and custom stands • drum recovering • woodwind key manufacturing • instrument modifying for musicians with special needs • overhauls • fabrication

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musicians repair service (70 years experience)

“we work so you can play” www.MRSAkronOhio.com

(330) 633-3631

OHIO MUSIC EDUCATION ASSOCIATION 2017 25-YEAR AWARD FORM

Any music teacher who has taught for 25 years has an opportunity to be recognized for this outstanding achievement. If this is your 25th year of teaching and you meet the other requirements listed on the application form, you are eligible. This is an honor that is bestowed upon our own by OMEA and is a fitting tribute for a job well done. You must, however, fill out the application and send it in. No one will do it for you! Education is receiving a lot of publicity these days. It would be encouraging to have some good news about the teaching profession. Your 25 years of music teaching is good news. Don’t delay! Don’t wait until later! Fill out the form, and send it in now!

25 YEAR APPLICATION FORM — REQUIREMENTS Please fill out the application form and send it in by January 6, 2017.

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. Applicant must fill in the form below and mail/email by January 6, 2017 to:

Christy Nawrocki • 4698 Clayburn Dr. E., Grove City, OH 43123 Email: ChristyLNawrocki@yahoo.com 5. Awards will be made at the 2017 OMEA Conference in Cleveland, Ohio on Saturday, February 4, 2017.

NAME: _________________________________________________________________________________________________________________________________ (Please print your name exactly as you would like it to appear on your certificate)

HOME ADDRESS: _______________________________________________________________________________________________________________________ CITY: _____________________________________________________________

STATE: _________________________________

ZIP:____________________________

HOME PHONE: _____________________________________________________ HOME EMAIL: _____________________________________________________ PRESENT SCHOOL: __________________________________________________ POSITION: _________________________________________________________ SCHOOL ADDRESS: _____________________________________________________________________________________________________________________ CITY: ____________________________________________________________

STATE: _________________________________

ZIP: ___________________________

My Most Memorable Moment in Teaching: ______________________________________________________________________________________________ ________________________________________________________________________________________________________________________________________ I have completed __________ (number) Years of Teaching in Music Education.

ALL OF MY TEACHING HAS BEEN IN OHIO _______ YES _______ NO If NO, list teaching locations outside of Ohio and number of years at each location. _____________________________________________ ______ Yes, I will attend the awards Ceremony and Reception Luncheon on Saturday, February 4, 2017. ______ No, I will not attend the awards Ceremony and Reception Luncheon on Saturday, February 4, 2017.

Ohio Music Education Association EXHIBIT HALL VISITATION HOURS Location: Exhibit Hall C of the Huntington Convention Center of Cleveland Visitation Hours: Thursday, February 2 – 1:00 pm to 6:00 pm Friday, February 3 – 9:00 am to 5:00 pm Saturday, February 4 – 9:00 am to 12:30 pm Attendees: Patronize Our Exhibitors!

Exhibitors make an investment in our conference with no assurance of return, but it is in everyone’s best interest for attendees to interact with this supportive body. It is a win-win! Information for potential exhibitors is located on the OMEA website homepage: www.omea-ohio.org

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OMEA GR ADUATE RESEARCH FORUM

GRADUATE RESEARCH ROU N D T A BL E Thursday, February 2, 2017 10 a.m. – 3:30 p.m.

Westin Hotel - Vanda Room

Featured Speaker: Dr. J. Terry Gates J. Terry Gates retired from full-time teaching in summer 2001 after 43 years in elementary, secondary and higher education in Illinois, Ohio, Alabama, and New York. He chaired the SUNY-Buffalo Music Department from 1994-1997, and was Director of the Teacher Education Institute in the Graduate School of Education 1999-2001. He was part of the group that developed New York’s Frameworks for Arts Education, and was a leading figure in developing the Goals 2000 grant for New York State arts assessments His contributions to the international research literature include history and criticism in music teaching and learning, edited books, speeches and workshops, and articles on arts education policy. He is co-founder of The MayDay Group, an international organization of music education theorists. Gates is a former member of the MENC Publications Committee, the J. of Music Teacher Education editorial board and the Executive Committee of the Music Education Research Council. Gates’ doctoral degree is from the University of Illinois at Urbana-Champaign, where he was a student of Charles Leonhard, Richard Colwell and Harry Broudy. He lives in St. Louis, where he maintains his activities as founding president/CEO of The Hoenny Center for Research and Development in Teaching.

SCHEDULE

9:30 a.m

10:00 a.m.

Continental Breakfast Dr. J. Terry Gates– “Unfinished Business: My ‘To-do’ List on the Shoreline of Wonder.”

Noon Lunch break

1:30 p.m.

Graduate Research Roundtable

3:30 p.m.

Graduate Research Roundtable Ends

Welcome to all preK-12 and collegiate educators, and graduate and undergraduate students interested in current music research, educational initiatives, and avenues for implementation into the music classroom.

Please indicate your plans to attend the continental breakfast by emailing Dr. Pat Grutzmacher at pgrutzma@kent.edu by Monday, January 30.

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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

(Check area for donation)

_______ Charles H. Benner Leadership Academy _______ This is my Annual Campaign Contribution for calendar year 2016.

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 70

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URBAN, RURAL AND UNDERSERVED S P E C I A L F O C U S S E S S I O N S AT T H E 2 0 1 7 O M E A P R O F E S S I O N A L D E V E LO P M E N T C O N F E R E N C E

Sessions made possible by a generous grant from the Ohio Arts Council.

THA

OU Y K N

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AN

KY

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SESSION TITLE CLINICIAN Orff In the Urban (or any) Classroom (Primary)

Leslie Anne Bird

Orff in the Urban (or any) Classroom (Intermediate)

Leslie Anne Bird

Using Music as a Vehicle to Enhance One’s Life

Tom Bracy

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Urban Music Panel Discussion Tom Bracy Small School, Big Program, No Problem: Recruitment and Retention in a Small, Rural District.

Joe Carver

Beethoven to Beatbox: Building Thriving Orchestras in Urban Schools

Lois Clark Ramey

What Does “Urban” Music Education Mean: Discussing the Discourse

Dawn Farmer

Inner-City Schools: Keys to Success Dawn Farmer Getting to Know our Students: Building Upon Strengths in Urban and Under-Resourced Schools

Kate Fitzpatrick

Setting Goals and Developing Your Own Definition of Success in Urban and Under-Resourced Settings

Kate Fitzpatrick

Urban Music Education: A Counternarrative Based on Contextually Specific Teaching

Kate Fitzpatrick

The Only Constant is Change: Musings of an Urban Veteran Music Teacher

Rachael Fleischaker

Life, Music, and Social Justice for All

Rachael Fleischaker

Making Music with Today’s Urban students Timothy Fuchtman Building Community through STEAM John Hill Something Out Of Nothing: How to be Successful in an Urban District

Lisa Hirzel

Urban Music Education: A Personal Reflection

Sean Jones

Promoting Healthy Growth and Development in Children and Communities Through Music

Margaret Martin

Building Your Instrumental Music Program in Urban and Rural Schools

Kevin Mixon

Music Without Borders: Making Travel Meaningful and Accessible for Low-Income Families

Felipe Morales-Torres

From Rural to Urban: Building and maintaining a Successful Choral Program

Brian Nabors

The Ur-band Program, Building and Maintaining a Music Program in an Inner Ring Suburb. Our Kids Can! Jennifer Shauf Avoiding Urban Music Education Cuts: A Cautionary Tale

Ryan Shaw

Fostering Social Justice Through Music Education in Urban Communities and Beyond

Julia Shaw

Movement from a Muse: Building Blocks for Character and Creativity in the Underserved Classroom

Laura Stack

Mindful Management: Moving Beyond the Obstacles of the Underserved Classroom

Laura Stack

African-American Folk Songs and Games for Rural and Urban Students.

Pamela Stover

Success in the Small School Vocal Music Program: One Approach to Achieving It

James Vaughn

DECEMBER 2016/JANUARY 2017

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PUBLICATION SCHEDULE

TRIAD ISSUE October/November 2016 December ‘16/January ‘17 April/May 2017

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

DEADLINE DATE* August 8, 2016 October 3, 2016 February 13, 2017

POSTING DATE** October 3, 2016 December 5, 2016 April 10, 2017

*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 Blue Lake Fine Arts Camp. . . . . . . . . . . . . . http://www.bluelake.org. . . . . . . . . . . . . . . 16

Ohio Northern University. . . . . . . . . . . . . . . http://www.onu.edu/music. . . . . . . . . . . . . 31

Bowling Green State University . . . . . . . http://www.bgsu.edu/music. . . . . . . . . . . 11

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

Capital University. . . . . . . . . . . . . . . . . . . . . . http://www.music.capital.edu. . . . . . . . . . 59

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

Case Western Reserve University . . . . . . . http://music.case.edu. . . . . . . . . . . . . . . . . . . 25

Otterbein University. . . . . . . . . . . . . . . . . . . http://www.otterbein.edu . . . . . . . . . . . . . 29

Cleveland State University. . . . . . . . . . . . http://www.csuohio.edu/class/music. . . 52

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

CMS Publications . . . . . . . . . . . . . . . . . . . . . . . http://www.cmspublications.com. . . . . . 57

Royalton Music Center. . . . . . . . . . . . . . . . . http://www.royaltonmusic.com. . . . . . . . 20

College of Wooster, The. . . . . . . . . . . . . . . . http://www.wooster.edu/music. . . . . . . . 50

Smoky Mountain Music Festival. . . . . . . . . http://www.smmfestival.com. . . . . . . . . . . 9

EPN Travel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . http://www.epntravel.com. . . . . . . . . . . . . 47

Soundwaves Recording. . . . . . . . . . . . . . . . http://www.soundwaves.org. . . . . . . . . . . 61

Festivals of Music. . . . . . . . . . . . . . . . . . . . . . http://www.epntravel.com. . . . . . . 4, 34, 57

Stanton’s Sheet Music. . . . . . . . . . . . . . . . . . . http://www.stantons.com. . . . . . . . . . . . . . 48

Heidelberg University. . . . . . . . . . . . . . . . . http://www.heidelberg.edu. . . . . . . . . . . . 37

Summit Tour & Travel. . . . . . . . . . . . . . . . . . http://www.summittourtravel.com. . . . . 43

Kent State University. . . . . . . . . . . . . . . . . . http://www.kent.edu/music. . . . . . . . . . . . 61

University of Akron, The. . . . . . . . . . . . . . . http://www.uakron.edu/music. . . . . . . . . 19

Malone University. . . . . . . . . . . . . . . . . . . . . http://www.malone.edu/music . . . . . . . . 16

University of Dayton. . . . . . . . . . . . . . . . . . . http://academic.udayton.edu/music . . . 38

Marietta College. . . . . . . . . . . . . . . . . . . . . . . http://www.marietta.edu/~musc. . . . . . . 27

University of Mount Union . . . . . . . . . . . . http://www.mountunion.edu/music . . . 34

Messiah College . . . . . . . . . . . . . . . . . . . . . . . . http://www.messiah.edu/conducting. . . 7

West Music Company. . . . . . . . . . . . . . . . . . . http://www.westmusic.com . . . . . . . . . . . . 54

Miami University . . . . . . . . . . . . . . . . . . . . . . http://www.miamioh.edu/music. . . . . . . 15

Wittenberg University. . . . . . . . . . . . . . . . . . . . http://www.wittenberg.edu/music. . . . . . 53

Musicians Repair Service. . . . . . . . . . . . . . . . http://www.mrsakronohio.com . . . . . . . . 66

Wright State University. . . . . . . . . . . . . . . . . http://www.wright.edu/music. . . . . . . . . . . 45

Music Is Elementary. . . . . . . . . . . . . . . . . . . . . http://musiciselementary.com. . . . . . . . . 55

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

Muskingum University . . . . . . . . . . . . . . . . . http://www.muskingum.edu/dept/music .25

Bold signifies a Corporate/Institutional Partner

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

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Artwork features winners of the Yamaha Young Performing Artists Competition

It Pays to

Purchase any qualifying “Step Up” Yamaha wind or string instrument between Oct. 1, 2016 and Dec. 31, 2016 and receive either a $50 or $100 rebate, corresponding to the level of your qualifying purchase. Join the thousands of professional artists who depend on Yamaha. Get a complete list of qualifying instruments and begin the rebate process at the website below.

www.4wrd.it/SUTY16TRI Rebates can be mailed or submitted online. Rebate is only valid on new instruments. This offer is not valid in conjunction with any other Yamaha promotion. Visit your authorized “Step Up to Yamaha” dealer for details.