TRIAD - WINTER 2017

THE OFFICIAL PUBLICATION OF THE OHIO MUSIC EDUCATION ASSOCIATION

December 2017/January 2018 Vol. LXXXV, No. 2

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IN THIS ISSUE FROM THE EDITOR...

6 Editor of TRIAD - Eric West

FROM THE PRESIDENT...

10 OMEA President - Dr. Michael Crist

FEATURE ARTICLE

16 It Takes More Than Musicianship Heather A. Russell

MASTERING THE CRAFT 20 24 30 34 36

BAND - Dr. Ryan Shaw CHORAL - Kent W. Vandock JAZZ - Bobby Selvaggio MULTICULTURAL - Dr. Lisa Wong STRINGS - Paul John Stanberry

PARTNERS, COMMITTEES, HIGHER ED 13 38 40 46 52 72

Editor: Eric West editor_of_triad@omea-ohio.org Design/Production: Amy Annico Director of Media & Publications media_director@omea-ohio.org Advertising: David N. Adamson Director of Business Advertising/Exhibits business_manager@omea-ohio.org ONLINE PUBLISHING: WRL Advertising

Corporate/Institutional Partnerships Adjudicated Events - Stephanie Smith Higher Education News National Association for Music Education - Leyla Sanyer Ohio Alliance for Arts Education - Tim Katz Ohio Foundation for Music Education Donor Form

2018 OMEA PDC SPECIAL SECTION 52 56 60 62 63 64 66 68 71 74

Invitation & Professional Development Committee All-State Conductors, Performing Ensembles, Clinicians Exhibit Hall Information & Exhibitors Industry Showcase Sessions, Industry Service Award Recipients Graduate Research Roundtable Pre-Registration Form, Housing Form IHCP & Ashland Programs Letter to Administrators for the 2018 OMEA PDC 25-Year Award Nomination Form TRIAD Publication Schedule & Advertising Index

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 2017/JANUARY 2018

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SCHOOL OF MUSIC noteworthy.

UNDERGRADUATE AUDITION DAYS FOR THE 2018-2019 ACADEMIC YEAR Friday, January 12 Saturday, January 20 Saturday, February 3 MIDDLE SCHOOL HONOR BAND FESTIVAL February 17 Nomination deadline: January 4 SPRING VISIT DAY for all high school students April 6 DOUBLE REED HONORS INVITATIONAL April 14 YOUTH SUMMER MUSIC PROGRAMS June - July 2018

Admissions and Outreach details at music.osu.edu

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

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

OCMEA OFFICERS Wyatt Heinz OCMEA President ocmea_president@omea-ohio.org

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

Adelaide Young OCMEA President-Elect ocmea_president_elect@omea-ohio.org

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

Mackenzie Payton OCMEA Secretary ocmea_secretary@omea-ohio.org

Daniel Ruckman Secretary secretary@omea-ohio.org

Aly Szczublewski OCMEA Editor ocmea_editor@omea-ohio.org

Eric West Editor of TRIAD editor_of_triad@omea-ohio.org

Colton Thomas OCMEA Treasurer ocmea_treasurer@omea-ohio.org

David Vitale Treasurer treasurer@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 2017/JANUARY 2018

2017-2018 TRIAD EDITORIAL BOARD EDITOR Eric West Defiance High School PAST EDITOR Marc Parulekar Pickerington North High School BAND Jeff Gershman Capital University CHORAL/VOCAL Loren Veigel Massillon City Schools (retired) CURRICULUM & ASSESSMENT Nathan Kruse Case Western Reserve University

GRAPHIC DESIGN/ LAYOUT Amy Annico Ohio Music Education Association JAZZ Mark Russo Parma Community High School MULTICULTURAL Lisa Wong Wooster College ORCHESTRA/STRINGS Michael Smith Perrysburg High School TEACHER EDUCATION Heather Russell Cleveland State University

TECHNOLOGY GENERAL MUSIC Brian Laasko Terri Lenzo Ohio Northern University McKinley High School 5

FROM THE EDITOR...

Eric West, OMEA Editor I’ve started this article several times. I know where I want to go but I was having trouble on how to get there. Isn’t that a theme that all of us music educators can relate to from time to time? So I guess I’ll begin with a story.

It begins in the early part of this century. It was in the summer of 2007. I had been asked by the current district officers to attend the Da Capo/OMEA Leadership Academy. This is a wonderful retreat sponsored

by Da Capo and OMEA to help promote leadership within the state. Participants in the event go through numerous workshops and seminars to help them better understand how OMEA works and how they can contribute to its continued success as leaders within their own districts.

It was held at the Inn at Honey Run. Which, if you have never been, is in the middle of Ohio and about as far removed from everything as you can possibly get. It is an absolutely gorgeous and serene facility, the food was magnificent and the weather was perfect for the several days the retreat was held.

This would be the first time I would put faces to names that I had heard of in my early days as an educator. I would meet Roger Hall and Jim Dowdy. I remember enjoying hearing Bill Bauer speak about technology. I remember being absolutely fascinated by getting a peek at the inner workings of an organization that, other than adjudicated events and district honors festivals, I knew very little about. It was inspiring and one of the major influences in my willingness to continue to serve OMEA for the decade that would follow.

However, I only knew one other person attending the event. He was a fellow director from District 1.

6

We knew each other but we really didn’t KNOW each other. That would soon change. Just like being new kids in a new classroom in a new school year, several of us would figure out we shared similar personality traits. In this case, it would be a wicked sense of humor and a fondness for wisecracks. There were about six of us that started sitting by each other. On the last evening of the retreat we even snuck away to a nearby town and found a local watering hole. I remember leaving the retreat not only feeling inspired to do more for this organization but thrilled in meeting and befriending fellow music educators who hailed from all over the state.

Later the following school year, our annual professional development conference was held. I was excited to go. The group of friends from the academy had stayed in touch and we decided that it would be fun to go to dinner together on the Friday night of conference. We all had different college receptions that we needed to attend but made reservations at a fairly nice restaurant and had our reunion later that evening. That would end up being the first of an annual tradition that would become one of the highlights for all of us at every conference. But it didn’t just stay the six of us. The next year, one of us would ask if we could bring a friend. The following year, a couple more new people would join our dinner. One year, I remember the reservation being nearly twenty people. It was (and still is) one of the things I look forward to the most during conference. I have come to meet dozens of colleagues from all over the state.

We have become good friends. The dinner is usually nothing but laughter from start to finish. We have grown and encouraged each other as educators. We TRIAD

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have all become OMEA leaders in some way or another. Many of us became adjudicators and have enjoyed judging each other’s ensembles, and sometimes getting to adjudicate with each other. Several colleagues have had ensembles perform at the PDC and we have all gone to support. We even now have a Facebook message board that we share our thoughts with each other on a weekly and daily basis. I have a support system in place for almost any issue that comes my way. I have received advice from them on literature selection, classroom management and pedagogy. We vent, we encourage and we sometimes cry.

But most importantly, we let each other know that we are not alone in this.

Which brings me to where I finally wanted to be.

I often feel alone in my job. I believe that in the majority of school districts across the state, you are the only one of you in your building. There are exceptions and those people should feel blessed.

Even though I have a colleague that is also a music educator, I am the only choral director in my building.

The English department has numerous English teachers as does Math, Science, Foreign Language and P.E. I am the only one of me. At times it can become very frustrating because no one else knows exactly what is going on when there are problems. My fellow band director can relate to some degree and that has been helpful but there is no one else in the building that I can go to during a planning period or lunch period to ask field specific questions or advice. That’s where the OMEA Professional Development Conference has been a lifesaver. It is perfectly scheduled at the time that I need it the most. I get to see my “people.” I get to spend several days with folks that know exactly what I might be going through. I get to vent my issues to a sympathetic ear that can help advise a course of action that will work. I get to tell success stories to people that truly get how hard it might have been to accomplish that task. I get to meet young new educators and be inspired by their energy and desire to prove themselves. I get to engage in conversations with educators that I have considered mentors during my career. I get to be immersed in people that “get me.”

I truly believe there is a strong spiritual/karmic energy that everyone attending benefits from. You can’t really advertise it in a program guide or a letter DECEMBER 2017/JANUARY 2018

to an administrator. But I always come back better than when I left. And while I am writing at length to the social benefits, every single year I also find a couple of sessions that seem to be speaking directly to me. It seems like the universe knew I needed to hear that session. For example, three years ago I was struggling with recruiting men into my high school ensembles. I had been toying with the idea with starting a men’s chorus as a prerequisite for my mixed ensemble. I was nervous about it because it would initially hurt my numbers in my mixed ensemble.

That was the year I attended Ethan Sperry’s session on recruiting and retaining men. His proclamation to the attendees was that if you are thinking about starting a men’s ensemble, just do it. Do it with fifteen men, do it with five men but just start it.

The next year I did just that. I started with 18 men. The numbers in my mixed ensemble dropped.

But the year after, the numbers in both ensembles starting growing. This year the numbers have increased again. Additionally, we added several men that I never thought would take to singing in my groups. What Dr. Sperry said was exactly what I needed to hear exactly when I needed to hear it.

This issue of Triad will be focused on telling you all about our amazing PDC. Mark Hensler and his staff have worked tirelessly to make this conference exactly what YOU need. Your colleagues from around the state want see you as much as you want to see them. You will realize that not only are you not alone in all this, you have hundreds and hundreds of like minded individuals that are feeling the exact same way you are. Get a fresh perspective. Re-ignite the fire that brought you to this profession in the first place.

If you are thinking about attending this year’s PDC, just do it.

Eric West is the Vocal Music Director for Defiance High School. He has spent the last 19 years teaching choral music in northwest Ohio. He has served OMEA at the district and state level in numerous capacities including District 1 President, District Honors Choir Chair, District Honors Festival Chair, and continues to be an active OMEA adjudicator. He also serves as the IT Coordinator for the Ohio Choral Directors Association. He has a Bachelor of Music Education from Bowling Green State University and lives in Defiance, OH. 9

FROM THE PRESIDENT...

Dr. Michael Crist, OMEA President CONNECTIONS While attending the OMEA District 5 fall meeting I was asked a question that I had heard many times before.

I’ve asked the same question in the past. For some reason, the question hit me differently this time. “What does OMEA do for advocacy?”

My answers came quickly, and as I talked, I reflected on the advocacy activities connected with our association.

I listed a number of activities in Ohio and mentioned our Advocacy Chairperson and Past President Jim Dowdy. I talked about the NAfME Hill Day event in Washington, D.C., and I listed some advocacy events hosted by other MEAs across the country. I thought about how advocacy opportunities present themselves to us most days and how positive connections with the people around us affect the impact of our advocacy activities. The next question that came my way asked, “What can I do to advocate for music education?” I was impressed by the enthusiasm and thought carefully about my response. We can all advocate for music education, but what can we do for the most impact. I provided two recommendations, become informed and do a great job teaching your students.

Usually when most of us think of advocacy activities we envision conversations with leaders from our schools, communities, our state and our country. Conversations with our leaders are important opportunities, and I highly recommend you take advantage of any opening that arises. Be sure you are prepared to talk about a few very specific requests or concerns. Ensemble directors have many opportunities throughout the year to talk with members of their community about the successes and needs associated with each music program. Recently, State Superintendent DeMaria spent the day at Pickerington North High School observing a band rehearsal and talking with students and teachers. A great opportunity to advo10

cate! Use these connections to advocate for your profession, but please don’t preach. Treat your audience with respect, and display the best you and your students have to offer. The goal is to build and strengthen the connections.

OMEA has many advocacy connections through our affiliate organizations. I recently attended a meeting of the Collaborative for Arts Education in Ohio held in Columbus. The CAEO is sponsored by the Ohio Alliance for Arts Education and the Ohio Arts Council with an initial charge of providing recommendations to the Ohio Department of Education for the implementation of ESSA in Ohio. That charge was met with great success.

Our new charge is to offer recommendations to the ODE for the revision of the State Education Plan. The meetings provide opportunities to talk with arts leaders, teachers, artists and members of the Ohio Board of Education.

These connections are invaluable when it comes to advocating for music in our schools.

Another great way to get connected is to attend the many professional development opportunities offered by OMEA. The OMEA Professional Development Conference is one of the best in the country. OMEA also offers outstanding leadership training through the Brenner Leadership Academy and the Leadership Retreat. Please reach out to your district and region leaders, or to members of the OMEA Board of Trustees if you want to be more connected with our advocacy activities.

The most powerful way for our membership (you) to advocate for music education is to be an outstanding teacher. Keep quality in mind with everything you do, and do your best to offer your students the best “wellrounded” education possible. Work to keep your school leaders involved in your program. If you have a state or national representative or senator in you community, be TRIAD

sure to reach out with special invitations to your event.

Remember, your strongest constituents are your parents.

They want the best for their children, and when asked, will help you provide that for your students. Keep your connections strong and engaged.

Musicians thrive on connections. At a recent performance of the Pittsburgh Symphony (I highly recommend you go hear this group, much improved!!) I was drawn to the connection between the performers as they navigated the challenges associated with Rachmaninoff’s Symphony No. 2. They were connected as one, moved as one and produced an outstanding performance. We have all realized that same experience in our careers as performing musicians. I can also believe that your student ensembles have experienced that connection at certain levels.

In all my advocacy meetings everyone has agreed on the importance of music education in our schools. The problems arise when resources are limited. There is usually never enough to go around. Remember that our leaders have a big picture perspective guiding their decisions.

Help them to see the importance of a quality musical experience for the students in your school districts. Stay connected and provide your absolute best.

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 current 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.

Craig Resta (contributions@omea-ohio.org) Contributions to Music Education: Putting OMEA on the International Stage Did you know that Contributions to Music Education, the research journal of OMEA, has been a recognized publication for 45+ years? Since 1972, hundreds of music teacher researchers have presented their work to the wider national and international profession, and is available in print and electronic format in nearly all 50-states, and more than 100-countries abroad. With more than 400 articles in 43 volumes, CME can help you be better music teacher. Topics over the years have centered on improving the musical experience for students and teachers.Urban and suburban music programs

• Urban and suburban music programs • • • • • • •

Teacher professional identities Listening in music classrooms Band, choral, orchestra, general music Sight-singing attitudes and influences Early childhood music education Programming choices and policies Historical traditions and methods

• • • • • • • •

Best practices in band rooms Beginning musical instruction Instrumental and choral programs Intrinsic and extrinsic motivation Issues of social justice in schools Current music technology practices Innovative ways to teach music And many, many more

Now is your opportunity to support OMEA and CME by becoming a subscriber to this important publication.

Consider joining today, and for a minimal contribution, you can add to your library of resources to increase your own expertise. Subscriptions are now available in print and electronic format.

NEW FOR OMEA MEMBERS: electronic access for only $10 a year! For further information and subscription details, please visit our comprehensive website: <www.contributions.omea-ohio.org>. We look forward to hearing from you!

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DECEMBER 2017/JANUARY 2018

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FEATURE ARTICLE It Takes More Than Musicianship Heather A. Russell; Cleveland State University

INTRODUCTION Teaching is a high-stakes profession, especially in this era of high scrutiny and accountability.

Teachers just entering the profession are expected to perform at a high level of effectiveness, and in Ohio, they face the daunting task of completing the Resident Educator assessment in their first four years on the job (Ohio Department of Education). During the college admissions process, we always ask prospective undergraduates to demonstrate their musicianship and musical knowledge (e.g., audition on a primary instrument, take a written music theory exam, perform an aural skills assessment such as sight singing). Excellent skills as a musician and at least a rudimentary understanding of music notation are important requirements for entering a music education program. I suggest that prospective music education majors should also be able to demonstrate beginning teaching skills and dispositions. I believe doing so will support students’ success as beginning teachers and strengthen the profession in general.

In this article, I will discuss some ways music teachers can recognize and develop teaching potential in high school students. I will also pose questions for high school students to consider when thinking about majoring in music education, and propose things they can do to investigate whether teaching is right for them. Finally, I will describe one tool that music teacher educators could use to examine prospective students’ readiness to enter a music education program.

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IN-SERVICE MUSIC TEACHERS When high school students are considering going into music education in college, they often discuss the idea with their school music teacher. Many high school students who have had teaching/leadership experiences may believe they are effective teachers, but this belief may not be accurate. In a national survey of teacher beliefs and practices related to peer teaching, respondents who used peer teaching techniques in their classes indicated that higher proportions of their students were interested in teaching others than were effective at it (Puchner, 2014). The Hoenny Center, an organization focused on research and development in teaching, proposes that, “unless [a prospective] student has already personally felt the rewards of guiding someone else’s learning, and unless the learner’s needs are the focus, the [prospective] student will likely be more successful in some other field” (Hoenny Center).

Therefore, if a student comes to you with the question, “should I major in music education,” I encourage you to not only think of their music skills (which should be excellent, of course), but of the characteristics and skills that might make them a good teacher. Things like being responsible and respectful are, of course, important, as are proactive and responsive communication skills. Here are some other questions to consider: • Has this student taken advantage of leadership/ teaching opportunities I have offered them (e.g., section leader, tutoring younger students)?

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• Does this student take it upon him/herself to help peers? Do his/her peers find this help useful?

• Does this student treat everyone, regardless of achievement, as someone who can learn?

• Does this student seem to enjoy helping others grow as musicians?

• How does this student handle him/herself when things do not go as expected--is he/she able to adjust and regroup in the moment?

opportunities, then revisit the questions above. You might also share these questions with trusted teachers (or advisors, coaches, or scout leaders), and ask them if they see teacher qualities in you. Music teaching can be a wonderfully rewarding profession, but it is not easy, and it is not for everyone, so these are important questions to consider in addition to considering your achievement in performing and understanding music.

In addition to considering these questions about students who ask you about majoring in music education, you could look for the qualities suggested by these questions in younger students. Music teachers at all levels are keenly aware of their students’ progress as musicians. We encourage increased participation in music and provide additional opportunities and instruction to those students who are capable and excelling in music. I believe we can pay as much attention to students’ teaching skills and understanding as we do their musicianship. When students demonstrate they are capable of teaching peers, we can encourage increased participation in teaching activities and help them develop teaching skills and dispositions. If you see a younger student who is a good musician also displaying the qualities/dispositions of a beginning teacher, then you could talk with them about teaching and encourage them to seek opportunities to be a peer teacher.

MUSIC TEACHER EDUCATORS As we know, there is little time for beginning music teachers to learn on the job. If students enter music education programs without already possessing beginning teaching skills and dispositions to teach, four years of undergraduate study may not be enough time to learn or develop them. Traditionally, the applied audition is the primary decision-making factor for admission to music education degree programs, however, some colleges and universities have been exploring ways to evaluate prospective students with regard to their potential to develop teaching skills, knowledge, and dispositions, alongside evaluating their musical skills. These evaluations range in form from written short answers to questions (e.g., Why do you want to teach music?), to written personal statements, letters of recommendation, in-person interviews, and/or music tasks (e.g., prepared song, sight-singing). In-person interviews are often intended to gauge prospective students’ interests and attitudes toward teaching, and their communication skills and critical thinking skills.

The Hoenny Center for Research and Development in Teaching has developed an interview map for prospective education majors that I have found useful. I recommend using this interview map as is, or as a starting point for developing program-specific interview questions. You can find the map on the Hoenny Center website (www.hoennycenter. org). Loving music and wanting to be able to make music all day at a job is not enough when using this interview map; prospective teachers must demonstrate that they are interested in teaching enough to have sought out opportunities to teach, whether it is helping peers informally, or participating in more formal teaching opportunities. They must also demonstrate that they are curious about how people

HIGH SCHOOL STUDENTS If you are a high school student considering majoring in music education, I recommend you ask yourself these questions: • Do I like helping people learn (all people, even the ones who have a harder time learning)?

• Do I feel successful when I try to help people learn?

• Do I enjoy the challenge of figuring out how to help someone?

If you answered an enthusiastic “yes!” to the questions above, and you are excited to learn more about how to teach students effectively, then you might be an ideal candidate for music teaching. If you have not had any opportunities to try helping others learn, then I encourage you to look for those DECEMBER 2017/JANUARY 2018

17

learn and that they are willing to work to discover how to help people learn. The interview map begins with the question, “Have you done anything that’s like teaching?” (e.g., coaching, scout leading, camp counseling, peer tutoring, military leadership, teaching lessons). It goes on to ask prospective students to tell about the learners they have tried to teach, what and how they tried to get them to learn, and whether all students learned at the same pace.

When I use this interview map, I listen for clues that prospective teachers see learners as individuals, that they believe it is okay for students to learn differently (have different needs), and that they possess a curiosity that motivates them to figure out ways of teaching that will work for different students. When prospective students give answers like, “I don’t know,” and I cannot lead them to think more deeply about the questions, or if they have never attempted anything like teaching, it indicates to me that they may not be good candidates for the program. However, answers like, “I asked the person what they were confused about,” or “I had them move to experience the rhythm,” or “I connected what I was trying to teach them to a topic I knew they were interested in,” indicate students use the same kind of problem-solving skills effective teachers employ.

Prospective students rarely give “ideal” answers for every question and sometimes I have to ask more pointed questions to get students to give thoughtful answers. However, if a prospective student seems firmly entrenched in ideas like, “students who can’t learn from me are not really trying,” or if he or she seems unwilling to consider trying a different way to teach something, he or she may not be flexible or see all students as able to learn--dispositions that are encoded into the Ohio Standards for the Teaching Profession (Ohio Department of Education, 2010).

Interestingly, some of the students who show great potential in an interview with me do not perform as well in the applied audition. The opposite is also true; some students play or sing masterfully, but their answers in the interview are surface-level and rigid. These outcomes pose a dilemma and require negotiation with applied colleagues about whether or not to admit students in either group. The strongest argument I can make is that when I have gone back to look at my notes from entrance interviews for cur18

rent students, I often see a connection between their success in the program and their performance in the entrance interview. I think it is a conversation worth having with our colleagues, and I think the interview map is a powerful tool worth trying.

CONCLUSION Teaching music is a rewarding, but challenging profession, especially in the current area of highstakes teacher assessment. Graduates of music education programs must be ready to “engage in activities that use self-assessment, goal-setting, and reflection and decision-making practices” (Ohio Department of Education, 2017) in the first years of teaching. If students do not possess the ability and/or disposition to engage in these activities when entering a four-year program, they may not be able to develop these abilities and dispositions as an undergraduate. Because of this, I believe we should consider both musical achievement and demonstrated teaching skills and dispositions in the college admissions process. To discover if teaching might be a good choice for them and to prepare for college interviews, High school musicians can explore teaching by seeking out leadership opportunities and reflecting on their experiences using questions posed in this article. Practicing music teachers can identify students who might be good teacher candidates and help them develop teaching skills and dispositions, and can help students considering majoring in music education if it is a good choice for them. Finally, university music education programs can use tools such as the Hoenny Center interview map during the admissions process to assess prospective students’ initial teaching skills and dispositions alongside their musical skills and understandings. I believe these strategies will support the success of music education students and strengthen the music education profession.

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REFERENCES

The Hoenny Center. (n.d.). Interview map. Retrieved October 10, 2017 from: https://www.hoennycenter.org/content/interview-map Ohio Department of Education (2017). RESA guidebook 2017-2018.

Available from: http://s3.amazonaws.com/ohioresa-dev-website-s3/wp-content/uploads/2017/09/ 13225613/Ohio-RESA-Guidebook-2017-2018.pdf Ohio Department of Education. (2010). Standards for the teaching profession (revised). Available from: https://education.ohio.gov/ getattachment/Topics/Teaching/Educator Equity/Ohio-s-Educator-Standards/StandardsforEducators_ revaug10.pdf.aspx Ohio Department of Education. (n.d.). Resident Educator Program.

Retrieved October 10, 2017 from: http://education.ohio.gov/ Topics/Teaching/Resident-Educator-Program Puchner, L. (2014). National survey of teacher beliefs and practices related to peer teaching report summary. Retrieved on 9/29/2017 from https://www.hoennycenter.org/sites /default/files/documents/1286985792_natlsurveysummary_0.pdf

Heather A. Russell is the Coordinator of Music Education at Cleveland State University, where interviews prospective music education majors and contributes to admissions decisions. Prior to joining the faculty at CSU, Dr. Russell was the Coordinator of Music Education at Southern Illinois University. She has also been an adjunct faculty member at West Chester University of Pennsylvania, Temple University, and Mansfield University.

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MASTERING THE CRAFT: BAND Teaching Musical Expression: Finding Goals and Strategies Dr. Ryan Shaw; Capital University

Teaching expression is a little bit like teaching love or friendship—everyone’s conception of what it is and how it develops differs to some degree. And while music educators seem at home determining the scope and sequence of rhythmic concepts or of the overall difficulty of repertoire, they often seem less comfortable teaching students to be musically expressive. In this article, I will offer some concrete teaching strategies and principles for assessing students’ abilities.

DEVELOPING AN EXPRESSION “VOCABULARY” An expressive performance of a melody may start with a purposefully meek, almost inaudible sound that then warms through the use of vibrato, accelerates and loudens to a high note, before slowing down and becoming purposefully muted and brittle. It can be challenging, however, for students to perceive how the performer takes separate musical aspects and joins them together to create this holistic performance.

Because of this, it can be helpful to break expressive music down into its components, and to encourage students to have the vocabulary to discuss each. Once these “ingredients” are identified separately, students can better understand how to use them to accomplish goals. For example, students can be shown how expressive performance often requires a performer to: • Perform with desired dynamic (volume) contour 20

• Perform with desired tempo manipulation (e.g., accelerating, slowing, rubato) • Manipulate articulations/accents to create desired performance “style” • Perform with a desired tone/sound concept (e.g., beautiful, raspy, piercing) • Vary the color/timbre of one’s sound during performance • Manipulate vibrato/straight tone during performance • Manipulate physical presentation (e.g., use of facial expressions, body movements) TEACHING STRATEGIES FOR DEVELOPING EXPRESSION Once students can identify the strategies and components of an expressive performance—likely through listening—we can begin to work purposefully on internalizing these so that they become part of a student’s “bag of tricks.” So what are the best teaching strategies? Consider this list as a jumping off point for what works best for you and your students.

General Aural Modeling - In this largely non-verbal strategy, a music teacher demonstrates an expressive concept through singing or playing. The teacher may frame it explicitly as a model to discuss: “I’ll perform that section now—listen for how I approach the phrasing.” Teachers could also set up the model as a TRIAD

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basis for a verbal answer from the students: “I’ll perform the piece. Listen and tell me what you hear.”

While this is often effective, teachers who prefer modeling expressive performance must be careful to remember the limitations of the strategy—namely that it requires translation by the student. As Woody (2006) noted: “Students cannot simply tape-record the model into their memories and then play it back. Preexisting musical knowledge, expectations, and preferences always influence—and sometimes interfere with— hearing and encoding a model” (p. 22).

Modeling “Deadpan” vs. Expressive Exemplars - A teacher may also choose purposefully to model “right” and “wrong” exemplars in close proximity. The “wrong” exemplar can either be “deadpan” (purposefully boring, drab, and unaffected) or what I call “counterintuitive” (gestures chosen at random or that go against written or unwritten conventions). Teachers who use this strategy often preface it with a verbal set-up, such as “I’ll play this two ways—tell me which you prefer,” or “I’ll sing this two ways—one with very little expression, and one with more expression.”

Physical Gesturing - Teachers frequently attempt to show or embody the music through physical gesturing.

While common in ensembles, this strategy is not confined to a podium and need not require a baton. A crescendo may be shown through expanding or rising arm motions. Accents may be shown through jumping, leaning, or pushing. Harmonic tension and release (or cadential closure) can be shown in a number of ways through physical tension and release. A potential advantage of this strategy is that it can easily occur simultaneously with a student’s performance.

Verbal Instruction using Imagery and Metaphor - This strategy involves the teacher using vivid metaphors or images as a means of enabling the students’ expressive performance. As is the case with aural modeling, this strategy requires a level of inference/interpretation there is a chance of the instructional strategy getting “lost in translation.” That being said, there is also a potentially high reward if the metaphor or imagery used connects in a rich, deep way with the student, enabling personal attachment and ownership to an expressive concept.

DECEMBER 2017/JANUARY 2018

Examples of metaphors are as follows: I like to think of that crescendo as a vacation car trip. When you begin, you are filled with anticipation—I can’t wait to get to Florida! But you’re still so far away. As you get further south, you start to sense the changing weather. The air smells different. You shed your long-sleeved shirt and turn off the heat in the car. As you cross into Florida, you start to see palm trees—your anticipation is building and your heart is pounding until … finally! You see the ocean. Can you treat the crescendo just like that?

That example is holistic in the sense that it uses an extended metaphor—a “road trip”—to stand in for all the discrete aspects that make a crescendo expressive (potentially including volume, air speed, tone, timbre).

Using discrete images can also be helpful. For example, a teacher may say: “Can you make those staccato notes more like a rooster pecking (or ping pong balls bouncing, or popcorn popping, or grains of rice)?” A teacher might also say: “Can your airstream be steady like the water coming out of a fire hose?”

CONCLUSION Though isolating what is expressive can be harder than identifying a problem with rhythm or pitch, this difficulty should not be an excuse for avoiding instruction in expression and sensitivity. By devoting time and energy to choosing specific goals and identifying engaging instructional strategies, teachers can help students to embrace their musicianship more fully.

REFERENCES

Woody, R. H. (2006). The effect of various instructional conditions on expressive music performance. Journal of Research in Music Education,54(1),21–36. doi:10.1177/002242940605400103

Dr. Ryan Shaw is Assistant Professor of Music Education at Capital University in Columbus, Ohio. At Capital, Ryan teaches introduction and methods courses and coordinates all aspects of the undergraduate music education and summer masters in music education programs. Ryan is also the advisor for Capital’s OCMEA chapter and the Capital Collegiate Kodaly Educators (CCKE) chapter.

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MASTERING THE CRAFT: CHORAL We Are What We Sing: Examining Choral Literature in Ohio—Where do we find it and how do we select it?

Kent W. Vandock; Archbold High School

When I’m in my office sitting (and that doesn’t happen very often), I’m usually looking at choral music. Studying, thinking, and, reflecting. I’ve always been fascinated by the process, procedures, and ultimate percolation that takes place in the minds of choral music educators when selecting choral literature. The selection of choral literature is one of the most important tasks for a choral director. Our personal philosophy, belief system, and ethical code form the filter through which we evaluate choral literature.

That filter is what stands between a piece of choral literature and our ensembles. Given the pressure of external forces (time, resources, and personal life), our filters can become temporally compromised.

There has been meaningful study on this topic in past decades, but research has lagged recently. I conducted research examining the literature selection characteristics of Ohio high school choral directors in an effort to understand the characteristics and sources where they obtain and select choral literature, factors that contribute to strong choral programs, and indicators that qualify literature as high quality literature.

Given the space limitations for this article, I intend to give a quick examination of this important area for your continued thought and reflection.

EXAMINING CHORAL LITERATURE Conlon (1992) believes that choral literature 24

allows us to experience the universal truths in the music of all peoples of the world. The selection of quality literature facilitates the learning of vocal technique, listening skills, music theory and history, expression, and aesthetic response (Brunner, 1992).

One must know their singers, know their objectives, know themselves, and have a conscientious approach to literature selection. Directors must keep in mind their own philosophy, goals, and objectives as these will guide their choral programming. Quality literature encourages young singers to improve and excel by challenging their musicianship (Brunner, 1992) and (Kaschub, 2000). When selecting literature, keep these ideas in mind: 1. Know the needs of the students and program.

2. Be realistic about your own abilities.

3. Know where you want to lead the ensemble by the end of the term.

STUDIES OF THE LITERATURE SELECTION PROCESS Studies that examined the literature selection process have codified in writing the literature selection strategies that choral directors innately perform on a regular basis.

1. Davis (1970) sought to identify and analyze (a) the musical criteria used by high school choral conductors when selecting repertoire, TRIAD

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(b) the extramusical factors that influence repertoire selection, and (c) the extent and diversity of the repertoire selected. (Northeast) Bolt (1983) sought to provide a basis for improving the teaching of choral literature selection concepts in undergraduate music education courses. (Southwest) Devore (1989) examined the choral music literature selection process in the Ohio Music Education Association Large Group High School Contests.

Dahlman (1991) investigated the effect of choral program size, teacher experience, and teacher education on choral literature selection for high school choirs. (Missouri) Rentz (1996) examined choral repertoire lists for state festivals and contests to determine any possible trends and developments in choral music that may have taken place between the years 1982-1992. (13 states) Forbes (2001) investigated and described the literature selection practices and procedures of current high school choral directors. (Southeast) Reames (2001) investigated and described the literature and characteristics of a population of â&#x20AC;&#x153;beginningâ&#x20AC;? high school choirs. (Virginia)

The findings from these studies can be summarized as follows: 1. Davis (1970) and Bolt (1983) did identify sources for choral literature, but those sources seem to have changed when comparisons are made to Reames (2001).

2. Research from Reames (2001) and Forbes (2001) agrees that a solid philosophical foundation must be in place in order to begin the literature selection process.

3. Davis (1970), Dahlman (1991), and Forbes (1998), indicate that criteria for literature selection are necessary to begin the literature selection process.

4. Reames (1995) concurs, but indicates that a consensus has yet to be reached on what exactly those criteria should be.

5. Devore (1989) and Rentz (1996) both looked at repertoire lists in contest and festival situaDECEMBER 2017/JANUARY 2018

tions. Their studies, by design, did not examine literature selection practices and sources outside of the contest and festival situation 6. Both Reames (2001) and Forbes (2001) saw a need to further explore the literature selection process and sources for said literature.

FINDINGS Investigation of frequency distribution of the total population by high school choral enrollment affirmed that a majority of teachers taught 50-99 students (33.8%) or 1-49 students (24.5%). Twenty-three percent of teachers reported a 100-149 choral enrollment and only 39 teachers (9.8%) reported 200 students or more in their choral programs.

A majority of teachers (22.7%) offer two ensembles or 3 ensembles (23.9%) in their choral programs.

Teachers with one choral ensemble constituted 17.2% of the surveyed population. Fifteen percent of teachers offered 4 ensembles and only a few teachers (2.6%) offered 7 or more ensembles in their choral programs.

Choral reading sessions ranked as the most frequently used source followed by publisherâ&#x20AC;&#x2122;s catalogues and music store files, respectively. Music from their personal library ranked as the fourth most frequently used source. Sources that were reported to be the least valuable included: (1) reviews in professional journals, (2) music from college methods class, and (3) music from college repertoire class.

REFLECTION Ohio offers fewer choral ensembles than other states when compared to states such as Missouri, Virginia, or the southeastern United States. Forty percent of Ohio high schools offered one or two ensembles and 24% of the schools offered three ensembles. Dahlman (1992) found that 64% of the public high schools in Missouri offered one or two curricular ensembles and 35% of the high schools offered three or more choral classes. Forbes (1998) found that 46% of public high schools in the southeastern United States offered one or two curricular choral courses. Reames (1995) found that 60% of selected Virginia high schools offered one or two levels of choral instruction, and 40% of schools offered three levels of choral instruction.

27

Ohio high school choral directors most frequently used choral reading sessions, publisher catalogues, music store files, and their personal music library as choral literature sources. Attending choral reading sessions was recommended in studies by Davis (1970), Bolt (1983), Reames (2001), and Forbes (2001).

Ohio teachers identified CD recordings, music from college repertoire class, music from college methods class, and reviews in professional journals as the least valuable sources for finding literature. This is similar to findings reported by Bolt (1983), Davis, (1970) and Reames (2001) who reported that professional journals and music from college methods class were not highly regarded or valuable sources. 25% of teachers report never using literature from their college methods class and over 40% reports only rarely using that same literature. Previous studies have shown that music education majors are not adequately prepared by their college methods classes with regards to literature selection (Bolt, 1983; Davis 1970), that literature from those classes are not highly valuable (Reames, 2001) or frequently used (Forbes, 2001).

Ohio’s results seem to mirror these previous findings.

Teachers using music from their college methods classes less frequently as they gain experience is not necessarily a problem, as it can demonstrate the growing knowledge and confidence that experienced choral directors gain with time.

When reflecting on choral program size, choral ensemble offerings, sources for choral literature, and the importance we place on said resources there is much to consider. We know that factors such as school enrollment, choral enrollment, teacher experience, and a host of situational-specific factors impact our personal choral situations. Reflect on your personal choral situation in light of this information.

Then reflect on what this data says about our profession. Is your situation where you would like it to be?

Are we as a profession where we should be? Does this information surprise you and spurn you to action or has it cemented what you already knew and provided a renewed sense of confidence?

My hope is that choral music educators will intentionally reflect upon their personal literature selection practices and ultimately the collective practices of the larger choral community to facilitate continued 28

growth and change. Personal professional development is as easy as five minutes of reflection in your office or the car. If quality choral literature is the medium through which we can cultivate the musicianship of our ensembles then we owe it to our future students to invest some time to this important endeavor.

REFERENCES

Bolt, G. R. (1983). Choral repertoire selection competency development in undergraduate music education curricula. Dissertation Abstracts International, 44 (03), 302A. (UMI No. 8315795) Brunner, D. L. (1992). Choral repertoire: A director’s checklist. Music Educators Journal, 79(1), 29-32.

Conlon, J. C. (1992). Explore the world in song. Music Educators Journal, 78(9), 46-51.

Dahlman, Henry Nicholas (1991). The effect of choral program size, teacher experience, and teacher education level on the selection of high school choral music literature. Dissertation Abstracts International, 52 (10), 82A. (UMI No. 2907596) Davis, J. L. (1970). A study of choral repertoire in selected high school and factors affecting its selection. Dissertation Abstracts International, 31 (04), 317A. (UMI No. 7019683) Devore, D. M. (1989). Choral music repertoire selection in the Ohio Music Education Association large group high school contests. Dissertation Abstracts International, 50 (09), 173A. (UMI No. 9006125) Forbes, G. W. (1998). The repertoire selection practices of public high school choral directors in Florida, Georgia, South Carolina, and Virginia. Dissertation Abstracts International, 59 (09), 205A. (UMI No. 9905945) Forbes, G. W. (2001). The repertoire selection practices of high school choral directors. Journal of Research in Music Education, 49, 102-121.

Kaschub, M. (2000). Repertoire and standards committee reports: High school choirs-setting high standards for the selection of quality repertoire. Choral Journal, 41(1), 49-50.

Reames, R. (1995). Literature, music education, and characteristics of selected Virginia beginning high school choirs. Dissertation Abstracts International, 56 (08), 228A. (UMI No. 9541718) Reames, R. (2001). High school choral directors’ description of appropriate literature for beginning high school choirs. Journal of Research in Music Education, 49, 122-135.

Rentz, E. (1996). An examination of choral repertoire in 13 states.

Southeastern Journal of Music Education, 8, 65-79.

Kent W. Vandock is Director of Choral Activities at Archbold High School and an adjunct professor at Northwest State Community College. He holds a bachelor’s degree in music education from Bowling Green State University, master’s degree in music education from the University of Michigan, and an Ed.S in educational administration and supervision from Bowling Green State University. He serves as State Treasurer for OCDA and Choral Chair for OMEA. Kent is an Ohio Department of Education Master Teacher.

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MASTERING THE CRAFT: JAZZ Jazz Curriculum and the Improvisational Driven Process Bobby Selvaggio; Kent State University

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 also be described as “head” versus “heart”; i.e. 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 30

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 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 eleTRIAD

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ment 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 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 (i.e.

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

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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 a couple years ago 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 ensembles with little or no jazz training. However, if we can reform jazz/music curriculum at the college level, we will surely see a domino effect in the understanding, appreciation, and proficiency of jazz at all levels. And that will be beneficial for everyone.

Bobby Selvaggio is one of the leading alto saxophone voices on today’s jazz scene. 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. 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.

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MASTERING THE CRAFT: MULTICULTURAL Global Voices: Spotlight on Contemporary East-Asian Choral Music Dr. Lisa Wong; The College of Wooster

For inspiration in programming for the current academic year, I spent a great deal of time listening to choirs whose work I admire. This year’s search led me down a delightful rabbit hole of choral music from East Asia; I encountered four contemporary composers, each of whom, though highly accomplished, was new to me. The recommended works below are intended for collegiate or advanced high school ensembles. If you work with younger singers, I nevertheless encourage you to explore these composers to see if they might also have something suited to your needs.

HYO-WON WOO (B. 1974) Originally from South Korea, Hyo-Won Woo teaches Composition on the faculty of the Chorus Center Academy in Seoul, and is also a Visiting Scholar at the University of Michigan through the Nam Center for Korean Studies. From 1999 – 2014, Woo was composer-in-residence for the Incheon City Chorale, and since 1996, has been the resident composer for the Seoul Ladies’ Singers. She has several interesting pieces that combine traditional Korean elements with Western compositional techniques. Of the four composers highlighted here, Woo is the only one who does not appear to have a professional website. However, several of her works are published by Walton and are therefore easily accessed through American distributors.

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Recommended: Pal-so Seong (Eight Laughters) • SATB with some divisi.

• Unaccompanied.

• Rhythmically challenging.

• Elicits laughter from both the singers and the audience.

O Magnum Mysterium • SATB, divisi, soprano solo.

• Unaccompanied.

• Beautifully ethereal.

• Requires sustained D2 in the bass.

ZECHARIAH GOH TOH CHAI (b. 1970) A native of Singapore, Zechariah Goh Toh Chai is Head of Composition and a Senior Lecturer at the Nayang Academy of Fine Arts. With early training in piano and saxophone, he worked primarily with bands for nearly a decade. In the late 1990s, choral conductors began to commission works from Goh Toh Chai, searching for music that fused Eastern and Western techniques. The composer then studied Southeast Asian and Chinese traditional music, and thus has several choral works that are representative of his multi-faceted training. Conductors can listen to Goh Toh Chai’s music at www.zechariahmusic.com. Impressions is available through Carus-Verlag, and other works are available through the composer.

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Recommended: Impressions • SATB, divisi.

• Unaccompanied.

• Onomatopoeic syllables to imitate the sounds of a Gamelan orchestra.

Kucinta • SATB, divisi, Unaccompanied.

• From the composer’s website, language is listed as “Malay and Meow.”

• Titled after Singapore’s iconic Kucinta, the Love Cat. KO MATSUSHITA (b. 1962) Born and raised in Tokyo, Japan, Ko Matsushita trained as both a composer and choral conductor. At present, he is the Artistic Director of the Choral Alliance of Tokyo: Koyukai, where he leads fourteen choirs of varying ages and voicings. Of the composers mentioned here, Matsushita appears to have the greatest variety in his repertoire in terms of level of difficulty and voicings available, perhaps a reflection of his breadth of experience as a conductor. He is widely published, and several works are available through PanaMusica’s website. Although Matsushita’s music is available for purchase through PanaMusica, conductors will need to do a bit of searching on other sites like YouTube or SoundCloud as no musical scores or audio previews are available on PanaMusica. Matsushita’s professional webpage is under construction; I am hopeful that its completed version will be a resource where one can preview scores and listen to recordings of his music.

Recommended: Karimatanu Kuicha • SATB, divisi.

• Unaccompanied.

• In Japanese.

• One piece of a three-part work, “Three Insular Songs of Yaeyama and Miyako Islands.”

Kotoba-asobi Uta: Word Game Song • SSA, divisi.

• Unaccompanied.

• In Japanese. One piece from “Children’s Songs of Ki-no-Kuni.”

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NILO ALCALA (b. 1978) Los Angeles-based Filipino composer, Nilo Alcala, has received numerous awards and commissions from the likes of the Los Angeles Master Chorale and The Esoterics. He has been the Composer-in-Residence for the Philippine Madrigal Singers, and has written several choral works that combine Eastern and Western techniques. His website, www.niloalcala.com, is excellent – easy to navigate, informative, and offers score, video, and audio previews of many of his pieces. Of added interest, Alcala is also the Music Director for Club Six Studios – a mobile video game company. His American publishers include Walton Music and See-adot Music Publishing, Inc. Recommended: Kaisa-isa Niyan • SATB, divisi.

• Unaccompanied.

• Based on a children’s game chant from the Philippines.

• Onomatopoeic phrases imitate traditional percussion instruments.

Three Kalingga Chants • SATB, divisi, soprano solo.

• Unaccompanied.

• Text is chant-based, music is original.

If you are looking to further explore East-Asian choral repertoire, I recommend Spice, Magic and Mystique: Choral Repertoire from Southeast Asia, published by Carus-Verlag and edited by André de Quadros. The collection contains 12 choral works from Indonesia, Malaysia, the Philippines, Singapore, and Thailand. A perusal copy of the complete collection is available on the Carus-Varlag website.

Dr. Lisa Wong is Acting Director of Choruses for The Cleveland Orchestra, and an Associate Professor of Music at The College of Wooster. At Wooster, she co-chairs the Department of Music, directs the Wooster Chorus, and teaches courses in conducting, choral literature, and music education. Lisa has a Bachelor of Science degree in Music Education from West Chester University, and Master of Music and Doctor of Music degrees in Choral Conducting from the Indiana University Jacobs School of Music.

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MASTERING THE CRAFT: STRINGS Living On The Edge of Evolution

Paul John Stanbery

The American orchestral scene is alive and well.

Far from the predictions of gloom and doom of just a few years ago, modern American orchestral life is entering a new golden era.

Every industry goes through growing pains from time to time. That’s actually healthy. Even as a fruit tree must be pruned to flourish, many arts organizations have had to re-invent themselves in order to survive and indeed grow. One would normally see the folding of one orchestra after another as a bad thing, and that certainly has happened. But it can mean a fresher, leaner approach to audience appeal and musical outreach.

We’ve been in on a growth spurt in southwestern Ohio. The I-75 corridor between Cincinnati and Dayton is one of the fastest growing areas in the country.

Over 65% of the American population lives within driving distance of our part of the world in Butler and Warren Counties. Attractions such as Voice of America Park and Pyramid Hill Sculpture Park have helped make us a prime and desirable destination. So also has our orchestra, the Butler Philharmonic.

At the same time we’ve seen arts organizations struggle to survive, and even fold, the Butler Philharmonic has been able to expand. Our success story in the face of such happenings is due to the fact that we’ve always had the philosophy of “you’re either growing, or dying.” In the arts and in the orchestral world, that is especially the case. One is only as good as the last performance.

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Starting as a string quartet in 1951, we were first known as the neighborhood orchestra for one town, Hamilton, Ohio. The 1970’s saw the inclusion of the town just to the south in the name, re-branding as the Hamilton-Fairfield Symphony.

For the past twelve years, our board has been in the process of examining who we are, and projecting where we need to be. “Growing or dying” being the philosophy, the time seemed right to once again evolve, taking a more central role in the cultural life of our region. We like to say that the Butler Philharmonic is “America’s newest orchestra,” but a more apt slogan might be “America’s most evolved orchestra.”

Our fully professional ensemble is made up of some of the finest musicians in the Mid-West, and offers a full season of attractive and affordable concert offerings. Additionally, we sponsor a fine 90 voice chorus, a fully symphonic youth orchestra, a hands-on board of trustees, and an active support network in the form of our 60+ member Guild. On top of that, the Butler Philharmonic does more in the way of scholarships for young musicians than any other symphonic organization in Ohio, offering four distinct programs of help and other opportunities.

Musical health is evident and vibrant in the local schools as well, as our area boasts some of the finest string, band and choral programs in Ohio. We also benefit from the support of area colleges and universities such as Miami and The University of Cincinnati TRIAD

College-Conservatory of Music, Wright State, The University of Dayton and Northern Kentucky University.

If we’re going to continue to thrive, and offer our young people the greatest chance at experiencing beauty in life through music, a spirit of togetherness must prevail. It’s never helpful to live in a “silo,” concerned only with what one needs. Musicians and educators have to be constantly reaching out, and reaching up, sharing the possible with our charges. A true cooperative approach that engages young people has a ripple effect far beyond music. Former Ohio Governor James Rhodes used to say, “find out what the people want, and the give it to them.” Hardly a “silo” approach but one which is ever asking the question.

My best teachers at BGSU used to say, “We don’t teach music. We teach young people, using music as our tool.” The same can be said of the audience experience at any concert, “We don’t perform. We engage,

DECEMBER 2017/JANUARY 2018

and we use music as our tool.”

It is our responsibility as teacher/performer/educators to bring people to the edge of their own evolution through our programming, our leadership and our example.

That is our trust, and our hope. That is our contribution.

Paul John Stanbery is acclaimed as both a conductor and composer. He is the Music Director of the Butler Philharmonic Orchestra, Ohio Mozart Festival and Butler Philharmonic Youth Orchestra, and he has been associate conductor of the Lima Symphony. He studied at Bowling Green State University and the University of Cincinnati.

His mentors and teachers included conducting studies with Emil Raab, Ivan Trusler, Robert Porco, and John Leman.

He studied composition with Wallace DePue and H. Owen Reed.

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ADJUDICATED EVENTS Adjudicated Events News & Updates Stephanie Smith; Adjudicated Events Chair Congratulations and thank you to Jay Wardeska and Chris Carmean for a great season of Marching Band Adjudicated Events! Remember that applications to host a 2018 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 As we approach the solo and ensemble and large group registration deadline, it is very important for all directors to remember that ALL registration deadlines are strictly enforced. Late registrations cannot and will not be accepted for any OMEA Adjudicated Event. Please plan to register well before the deadline! It is the responsibility of the director to know and comply with all deadlines and rules for adjudicated events.

Please understand that when you register for adjudicated events you are agreeing to pay the registration fee. Once the deadline for registration has passed you will be responsible for paying the fees even if you decide not to participate in the event. If a teacher cancels after the deadline and does not pay, that teacher may be prohibited from registering for future adjudicated events until that bill has been paid. This will affect the individual teacher, not the school. If you are having problems with registration, please contact me or Greg Taylor, the OMEA Director of Technology, before the registration deadline.

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OPEN CLASS FOR SOLOS AT HS SOLO AND ENSEMBLE Again in 2018, directors will have the option to register a student performing a solo at High School Solo and Ensemble in Open Class. This class 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 Performance at Large Group, the student will receive written comments from the adjudicator, but will NOT earn a rating. Students performing in open class may be asked to play scales from ALL major keys.

CHANGE OF DISTRICT AND REGION FOR LARGE GROUP EVENTS DIRECTIONS All requests to perform out of district for 2018 Large Group Events need to be made through the portal. Log onto the member portal; select “Out of Region Requests” from the front page and type “Out” in the search bar on the left. Finally, select the appropriate event and complete the information. Do this for each ensemble that you are requesting to perform out of District/Region. The deadline is January 1 for State Orchestra and High School Band and Choir and March 1 for Junior High. You will receive an email confirming your request. This is only a confirmation of the request, not approval. Within a few weeks, you will receive an email approving your assignment. This email will automatically be sent to the appropriate event chair. You will still need to register for the specific site like everyone else. Again, please make sure that you complete one form for each ensemble that you are registering. There is NO option to perform out-ofdistrict for Solo and Ensemble Events.

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FEES FOR 2017-18 EVENTS A new fee structure was put in place for Adjudicated Events last year, beginning with State Marching Band Finals last fall. This fee increase was part of the established two-year cycle (fees are increased every other year). However, last year’s cycle will last three years, meaning 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) THE ADJUDICATOR EVALUATION SYSTEM The AE Committee is very pleased with the how well the AES functioned in its first two years 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 2017-18 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

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AE SESSIONS AT THE 2018 OMEA CONFERENCE There will be many sessions offered by the AE Committee at the 2018 OMEA Professional Development Conference in Columbus. These sessions are a great way to learn more about adjudicated events.

Each session gives the opportunity for you to ask questions to help you prepare for 2018 adjudicated events and beyond. There will be sessions for the new teacher, adjudicators, directors, and site chairs.

JUNIOR HIGH SOLO AND ENSEMBLE DUETS The AE Committee is looking forward to the addition of duets state-wide for solo and ensemble at the junior high level. Included below are specifics for the new events. The adjudicator score may be in concert pitch or it must be for the instrument being played. To clarify: If a trumpet score is provided, the performer cannot play the trumpet part on horn.

Suggested Groupings: 1. any two voices for vocal duets 2. any combination of flute, oboe, clarinet, bass clarinet, bassoon.

3. any combination of saxophones 4. any combination of brass 5. any non-melodic percussion combination 6. any melodic percussion combination 7. any combination of strings As always, don’t hesitate to contact me or members of the Adjudicated Events Committee with questions. Let’s have a terrific Winter/Spring Adjudicated Events Season!

Stephanie K. Smith is the Director of Instrumental Music at Teays Valley High School in Ashville. She holds degrees from The Ohio State University and Capital University and has been a music educator since 1990. She frequently serves as an OMEA Adjudicator and was presented the 2015 Columbus Symphony Orchestra’s Secondary Music Educator Award. Ms. Smith’s professional affiliations include NAfME, the National Honorary Band Fraternity Phi Beta Mu, the International Women’s Brass Conference and the North American Brass Band Association.

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HIGHER EDUCATION NEWS BALDWIN WALLACE UNIVERSITY Baldwin Wallace Conservatory of Music 2018 summer music programs include: String Camp, Piano Camp, Band Camp and Music Theatre Camp for students in grades 4-9 during June. CSI: Conservatory Summer Intensive invites high school students to explore careers in music while investigating college music study for ten days in July.

VOI: Voice & Opera Intensive invites students planning to pursue vocal performance or opera studies at the collegiate level for a week of study and MTO: Music Theatre Overtures provides juniors preparation for their college music theatre auditions both in July. The BW Summer Institute for Music Teaching and Learning will again offer professional development classes for music educators during June and July.

BW proudly welcomed two new tenure-track faculty members this year: Christina Fuhrmann, Professor of Music and Editor of the Bach journal and Beth Burrier, associate music director of the music theatre program.

The BW Symphonic Wind Ensemble with conductor Brendan Caldwell will host a high school wind ensemble festival at Carnegie Hall (NYC) February 12. The festival will culminate in a public performance of the BW ensemble and invited high school ensembles.

In celebration of the 50th anniversary of the Broadway premiere of HAIR, BW music theatre and the Beck Center will present HAIR, the musical that introduced rock and roll to Broadway, February 9 to 25 at the Beck Center.

BW’s main-stage opera is Cimarosa’s Il matrimonio segreto March 22 to 25 at the Kleist Center. The 86th Bach Festival will be April 20 to 22 featuring Saint John’s Passion and special guest artists the Kenari saxophone quartet.

The “spring fling” joint production between BW music theatre & arts management and Playhouse Square will be TICK, TICK… BOOM, an early, semi-biographical work of Johnathan Larson (RENT), April 27 to 29 at Playhouse Square’s Helen Theater.

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CASE WESTERN RESERVE UNIVERSITY CWRU doctoral students Marsha Kincade, Nicholas Marzuola, Elizabeth Tracy, and recent CWRU graduate Dr. Christa Kuebel presented research projects at the Symposium on Music Teacher Education in Minneapolis, MN in September, 2017.

CWRU Music Education hosted Dr. William Fredrickson, Professor of Music and Associate Dean for Operations at Florida State University, as Scholar-in-Residence in October, 2017. Dr. Fredrickson presented talks for undergraduate and graduate music education seminars, including “Eye Contact for the Teacher/Conductor/Musician” and “Developing a Research and Creative Activity Agenda as a Tenure-Track Music Faculty Member.” He also delivered a Music Department Colloquium on “Perception of Musical Tension.”

Dr. Nate Kruse, Associate Professor and Graduate Coordinator of Music Education, presented research at the Symposium on Music Teacher Education, entitled “Working on the Railroad, Vacationing with Zombies, and Resisting an Agenda: Structure and Plasticity in a Vernacular Music Course.” Dr. Kruse co-authored the chapter “Researching virtual music worlds: Music teaching and learning in a space of public/private domain” with Dr. Kari K. Veblen in The Routledge Companion to Music, Technology, and Education. Dr. Kruse also authored the chapter “For a lifetime: Becoming (and remaining) musical in adulthood” in the GIA Publications book Becoming Musical.

Dr. Lisa Huisman Koops, Associate Professor and Area Head of Music Education, presented her research on parenting musically at the CWRU Department of Music Colloquium, the Society for Ethnomusicology’s Annual Meeting, and the Music Education Colloquium at the University of Colorado Boulder.

COLUMBUS STATE COMMUNITY COLLEGE Columbus State Concert Band Fall Concert, under the direction of Thomas Lloyd, presented the local premieres of two works commissioned by consortiums of schools including Columbus State. The band performed the third movement of Timothy Mahr’s Symphony No. 1 and “Shenandoah” arranged by Donald Grantham, the latter commissioned by the College Band Directors National Association and a consortium. Since 2005, Columbus State has been actively involved in the commissioning of new works for band. Composer Ian Corbett traveled from DECEMBER 2017/JANUARY 2018

Kansas City to conduct the first performance of “Charisma” with the Columbus State Concert Band at the King Arts Center. Consortium commissions followed including Roger Cichy’s “Pandemonium,” “Twilight of the God’s” and “Whispering of Fields Unsown” both by Andrew Boysen, Jr., “Avelynn’s Lullaby” by Joel Puckett, “Zephyr” by Julie Giroux, and “Connacht Rhapsody” by David Holsinger. Thomas Lloyd traveled to C.B.D.N.A. conferences to hear the premiere of those works and to meet with the composers. Further commissions have included “David Avshalomov’s “Vignettes,” and transcriptions of the final movement of Beethoven’s Piano Concertos No. 1 and 3 from New Hampshire composer Paul Erwin.

The spring semester schedule for the Columbus State Concert Band includes a joint concert on March 20 with the Columbus State Jazz Ensemble, conducted by Rick Brunetto, and a Spring Concert on May 1st featuring the finale of the Mozart Double Piano Concerto with Rose Zuber and guest artist Ailene MacKay.

KENT STATE UNIVERSITY This fall Kent State welcomed Kristin Koterba, Sarah Mattern, Angeline Shelton, and Laura Wiedenfeld as new students in our thriving PhD program in Music Education.

We also welcomed several new faculty to the School of Music: Professor Kristin Coen-Mishlan (Music Education), Dr. Matthew Holm (Director of Percussion Studies), Dr. Jungho Kim (Director of Orchestra and Conducting), Joanna Patterson Zakany (viola), and Amitai Vardi (clarinet).

Dr. Craig Resta presented sessions at both the College Music Society conference and the NAfME National In-Service Conference this fall.

Dr. Christopher Venesile and Dr. Ed Duling presented a research poster about Pedagogical Content Knowledge at the Society for Music Education Symposium in Minneapolis, Minnesota. Dr. Jay Dorfman also presented a research poster at SMTE about rock band professional development courses.

Dr. Venesile, Dr. Dorfman, Dr. Resta, Dr. Debbie Devore, Dr. Jesse Levya, Professor Kristin Coen-Mishlan, Professor Erin Vaughan (Kent State-Stark), alumnus Dr. Joni Stoll, and doctoral students Bryan Helsel and Rachael Fleischaker will present research and practical sessions at the 2018 OMEA Professional Development Conference in Columbus. Professor Emeritus Dr. Patricia Grutzmacher, the OMEA Research Chair, will host the OMEA Graduate Research Forum. We are thrilled to welcome our friends and 41

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alumni to the School of Music reception on Friday evening during the OMEA conference.

The All-Star Choir Festival was held on October 15 & 16 with over 175 students from 27 high schools in attendance. This year’s featured choir was the Kent Roosevelt HS Choralworks, under the direction of KSU alumnus Corey Fowler, and the festival featured performances by the KSU Chorale, Women’s and Men’s Choruses, and our Nova Jazz Singers. Kent State’s Saxophone Day was held on November 19 featuring performances and master classes with KSU faculty members Dr. Noa Even and Bobby Selvaggio, and guest artist Chris Creviston of Arizona State University.

UNIVERSITY OF AKRON The School of Music congratulates clarinet professor Kris Jones, who retired at the end of the 2016-17 school year, and is pleased to welcome Stanislov Golovin (clarinet) and Mayumi Kikuchi (piano) to the full-time faculty.

Faculty Emeritus George Pope will be awarded the National Flute Association Distinguished Service Award recognizing his accomplishments and contributions including service as past President of the organization. Pope will receive the award at the Orlando convention in August.

Recent highlights: • September 9, UA Bands hosted 600 area students at High School Band Day • September 23, The University of Akron Bands hosted the Zips Invitational featuring 11 bands • September 28, Wynton Marsalis performed live in concert with Jazz at Lincoln Center Orchestra • November 1, Annual Collage concert featuring soloists and ensembles from throughout the school • December 2, the Ohio Band Directors Conference (OBDC), with guest composer Richard Saucedo, and guest conductor Dustin Seifert.

The University of Akron’s 38th Tuba Christmas will take place on December 9 at noon and 2:30 p.m. in EJ Thomas Hall. Contact Tucker Jolly at (330) 923-9586 for additional information.

The Annual Invitational Vocal-Choral Festival will be held on Friday, February 2nd. The event provides opportunities for high school singers to work with UA voice faculty Dr. Laurie Lashbrook and Dr. Frank Ward, and Director of Choral Studies Dr. Marie Bucoy-Calavan.

Attending the OMEA conference this year? Look for these UA events: DECEMBER 2017/JANUARY 2018

• BassoonaRoo, Thursday 3:30pm • Symphonic Band, Friday 5:00pm • UA Alumni Reception, Friday 6:30pm • “Brick by Brick: Building the Foundation of Your Band with a Better Tuba Sound,” led by Chris Blaha, faculty tubist, Saturday 9:30am • “Brass Quintet as an Opportunity to Develop Student Brass Players,” led by UA Faculty Brass Quintet, Saturday 12:30pm

UNIVERSITY OF DAYTON Dr. Sharon Davis Gratto, a champion of world choral music and the Dayton arts community, has been appointed to the Graul Chair in Arts and Languages at the University of Dayton and is the first woman to serve in that position.

Gratto, who has lived and taught music in Germany, Spain and Nigeria, created and directs the UD World Music Choir. She hopes to develop new initiatives to connect the arts and languages, such as reviving language-specific music recitals for both voice and language students, which would allow the latter to experience the language they are studying through campus arts events.

Dr. Heather MacLachlan was elected Chair of the Gender and Sexualities Task Force section of the Society for Ethnomusicology. As Chair, she leads a group of scholars who are committed to studying and acting on behalf of historically marginalized people.

Dr. Samuel Dorf co-chaired a special session of the American Musicological Society’s Music and Dance study group and the LGBTQ+ study group on Dancing Queer Musics in Rochester, New York.

Menotti’s gripping opera The Consul was performed by the Dayton Opera in October. First performed on Broadway in 1950, this Pulitzer Prize–winning work communicates a theme of the state versus the individual that resonates even today. Dr. Patrick Reynolds conducted and voice faculty Dr. Minnita Daniel-Cox, Dr. Ryu-Kyung Kim, and Professor Andrea Chenoweth Wells were featured performers. The Dayton Philharmonic featured several instrumental faculty; including Dr. Arnow, Dr. Vore, Kara Camfield and Aaron Brant.

Dr. Donna Cox and the UD gospel choir, the Ebony Heritage Singers performed at three Catholic high schools in the New York area during fall break. Cox was the guest conductor for the Westmoreland County (PA) Junior High Chorus Festival and presented a workshop at the NAFME conference in Dallas.

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UNIVERSITY OF TOLEDO The University of Toledo Music Faculty is pleased to introduce Dr. Matthew Forte who joins us as Assistant Professor of Music History and Director of Orchestral Studies.

Matthew is a recent graduate of Michigan State University, where he studied with Kevin Noe, received both master’s and doctoral degrees in orchestral conducting, and served as music director of the Michigan State University Concert Orchestra. Matthew currently serves as cover conductor for the St. Louis Symphony, and was a Jorge Mester fellow at the American Academy of Conducting at Aspen in the summers of 2014 and 2015.

In April of 2018, Toledo will welcome internationally renowned composer Ola Gjeilo to campus where he will serve as our Guest Composer for our 2018 Spring Festival of New Music. The UT combined choirs and orchestra will perform his “Sunrise Mass” in concert on Firday, April 6th. In addition to leading workshops on campus, Gjeilo will work with the 2018 High School Honor Choir on Saturday, April 7th. This ensemble is open to high school students from across Ohio through the recommendation of their director.

time for ukuleles in your classroom?

The University of Toledo is just three Steinways away from reaching its long-standing goal of becoming an All-Steinway School, which means that UT will be offering our current and future students the finest pianos on which to practice and perform. To help us achieve that goal, join us for our annual All-Steinway Gala on Sunday, November 12 at 3pm, featuring current students, faculty and alumni. All proceeds benefit our All-Steinway initiative.

WRIGHT STATE UNIVERSITY Dr. In-Hong Cha, Professor of Violin and Orchestral Conducting, was nominated for a Latin Grammy in the category of Best Classical Album with “Textures from The North of South” as conductor of The Orquesta Sinfonica De Venezuela.

Steven Aldredge, Piano and Composition, won the ELCA Choral Composition Competition for the 500th anniversary of the Lutheran Church’s worldwide commemoration in Sioux Falls, SD. Amanda Roberts, Collaborative Pianist, won the 2017 National Hammer Dulcimer Championship held at the Walnut Valley Festival in September.

Play now. Play for life.

Start your ukulele program today!

westmusic.com 44

Need more info?

ContaCt us at 800-397-9378 or educationconsultants@westmusic.com!

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Bachelor of Music (BM) Music Composition Music History & Literature Music Performance: Keyboard, Strings, Voice, Brass, Percussion Music Theatre Music Theory Music Therapy

Bachelor of Music Education (BME) Bachelor of Arts (BA) Music: Liberal Arts (Academic or Applied)

BELIEVE IN YOUR NEXT NOTE... WE DO. CONSERVATORY of MUSIC Baldwin Wallace University, Berea, Ohio 44017

Study with the best. From faculty who are artists and scholars committed to your success.

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Baldwin Wallace University does not discriminate on the basis of race, creed, age, disability, national origin, gender or sexual orientation in the administration of any policies or programs.

A Message from NAfME North Central Division President Leyla Sanyer

Leaders from the North Central Division of NAfME have met in recent months to chart a way forward for us as a great division in music education.

We discussed projects and purposes for ourselves as liaisons between the state organizations and the NAfME national office. Watch for lists of interested clinicians/speakers. We have also made discussion and work on issues surrounding the concepts of diversity, inclusion, equity and access. There are many terrific ideas in our division for how we can make progress on dealing with difficult educational issues through changes in philosophy, policy, and school design.

Here are some initiatives and focus happening in the 10 North Central states:

and developing teachers workshop for years 1-5 for educators. IMEA will pay for subs for 1st year teachers. There is a lot of video work on professional development and also help with marketing and advertising.

Iowa (IMEA)… …will have fine arts standards ready for adoption this November. Leadership has been invited to be a part of the committee to help teachers understand the standards, which are adopted from the national standards.

IMEA is working on supporting diversity/inclusivity in the schools, as well as starting a dream grant to support innovative efforts by teachers.

Illinois (ILMEA)… …is working with arts alliance on ESSA adoption.

Leadership has been successful in getting a fine arts indicator in ESSA that will be weighted by 2020.

They are using an every three-year stakeholder survey to get feedback on ILMEA direction. Professional development is exploding. ILMEA is involved in writing the new arts standards and offering an emerging leaders weekend.

Michigan (MMEA)… …is working on a 3 year board restructure. They have started with 36 people and are investigating committee structure. MMEA is working hard to engage more with music educators in the Upper Peninsula, and is investigating additional PD offerings in that geographic region. Technology is allowing them to do better. Major focus is still on student programming and professional development as they begin a membership campaign.

Indiana (IMEA)… …is presenting the Southern Indiana Symposium, which included three general music workshops, and the Indianapolis PS workshop. This is a beginning

Minnesota (MMEA)… …worked with many arts education organizations to influence the ESSA state plan. There is a specific mention of the arts and music as an essential part of a

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well-rounded education. The Minnesota Board of Education is updating the Arts Standards this coming year with a work group of practicing educators.

MMEA is working to identify weaknesses and blind spots as we strive to include all students. For example, changes were made from men’s choir and women’s choir to SSAA and TTBB. Nebraska (NMEA)… …leadership is working on by-law changes. Educators and committees are also struggling with copyright compliance. They are working with the people who are doing the video/audio. NMEA is also very busy looking for a new executive director and preparing for a music conference with a new person on board.

North Dakota (NDMEA)… …has developed a working relationship with their Department of Public Instruction. They are working on dealing with a career and tech track versus a scholarship track. Considering ESSA language, leadership is struggling on how to respond to foreign language being considered as academic, but the arts and music are still on the fringes in this respect.

Ohio (OMEA)… …has seen the state superintendent of schools visiting music classrooms and planning to attend the state conference. The Ohio DOE has released an ESSA plan. OMEA has built a strong relationship with the Dept. of Education. OMEA is also working on copyright issues through Tresona Solutions. The state conference in Columbus will be held on Feb. 8-10, 2018.

DECEMBER 2017/JANUARY 2018

South Dakota (SDMEA)… …has seen the Educational Department approve the ESSA language as currently stated. They will now work on adding more quality indicators including the arts. SDMEA leadership are contacting the BOE to have their voice heard. Membership, workshop and better support for rural areas round out the work of the group. One day workshop was attended by 30 members and 11 non-members.

Wisconsin (WMEA)… …is presenting a professional development conference themed Well-Rounded with Music. Advocates for Music Education are planning a Drive In Day for Feb. 7, 2018. The CMP Project celebrates 40 years.

The 2017 WMEA Standards are posted. WMEA will run an Emerging Leaders Workshop every 2 years.

The Center for Music Education is facilitating workshop, professional development and advocacy.

Please don’t hesitate to reach me with any suggestions, questions or ideas for NAfME North Central Division leadership.

Leyla Sanyer North Central President 2016-2018 northcentralpresident@gmail.com

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Tim Katz; OAAE Executive Director

EVERY STUDENT SUCCEEDS ACT The Ohio Department of Education (ODE) submitted its ESSA plan on September 15, 2017, and will now wait for the U.S. Department of Education (U.S. DOE) to review and respond to it.

The U.S. DOE has been reviewing the sixteen states’ ESSA plans submitted in April, and has approved the plans for Arizona, Connecticut, Delaware, the District of Columbia, Illinois, Louisiana, Maine, North Dakota, New Jersey, New Mexico, Nevada, Oregon, Tennessee, and Vermont. Massachusetts, Michigan, and Colorado still need to be approved.

According to Alyson Klein at Education Week, the U.S. DOE required Louisiana and Delaware to change the way that achievement in science was factored into their accountability systems, but overall most state plans were approved, even though the U.S. DOE noted some objections to them.

The U.S. DOE also approved some state plans that certain education advocates believe could have been more comprehensive. Arizona’s plan, for example, gives a lower weight to reading and math scores of students who have recently enrolled in a school, causing some advocates to fear that these students will not receive the attention they need to achieve at higher levels.

Ohio is among the 33 states that submitted plans 48

in September 2017. Superintendent of Public Instruction, Paulo DeMaria, changed the Ohio Department of Education’s original timeline for submitting Ohio’s ESSA plan to the U.S. DOE in April 2017 after stakeholders protested that the plan did not reflect what was said at the public outreach meetings. Among the several components of the plan that stakeholders questioned, was the continued emphasis on testing as a basis for Ohio’s accountability system, the lack of accountability measures that better reflect the whole school experience, and a lack of vision and goals for Ohio’s education system.

The delay provided another opportunity for education advocates to make more recommendations to revise the ESSA plan. The OAAE, for example, recommended that the plan correct the state graduation requirements, which had omitted the arts requirement, and insert support for a “well-rounded education” in several parts of the plan. Most of OAAE’s recommendations were included.

STRATEGIC PLAN FOR EDUCATION IN OHIO As Ohio’s ESSA plan was being developed, it became apparent that the federal ESSA template, which was aligned to federal rules and laws, and even Ohio’s laws, were preventing any real substantive education reforms from being proposed in the plan.

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the heidelberg advantage

Heidelberg is one of Ohio’s most reasonably priced private music and theatre schools. As a bonus, our students receive applied lessons for free, saving you thousands of dollars!

Scholarships Over $450,000 in scholarships available for students in all performance areas, both majors and non-major participation awards. For best scholarship consideration students must audition before April 1, 2018. For more information about scholarships and the audition process, visit www.heidelberg.edu/music or email Dr. Carol Dusdieker at cdusdiek@heidelberg.edu.

Audition Dates • Friday, November 3 • Monday, January 15 • Friday, January 26 • Monday, February 19 • Saturday, February 24 • Friday, March 2 • By appointment

Degrees Offered Bachelor of Music in Performance, Education, Composition/Theory or Music Industry Bachelor of Arts in Music (traditional or popular) Theatre (musical theatre, acting or tech)

Heidelberg University School of Music & Theatre | Tiffin, Ohio | 419.448.2073 | www.heidelberg.edu/music

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

2018 OMEA CONFERENCE Columbus, Ohio

FACULTY SESSIONS

ALUMNI RECEPTION

Dr. Minnita Daniel-Cox

Friday, February 9

Diction for Spirituals

6:15â&#x20AC;&#x201C;7:45 p.m.

HY Knox

Thursday, February 8 2 p.m.

HY Madison

Also, visit us at our Exhibit Area Booth #321.

Dr. David Sievers Teaching Instrumentalists to Sing: The Importance of Vocal Study for All Musicians

BACHELOR OF MUSIC

Thursday, February 8 5 p.m.

HY Fairfield

Dr. Sharon Davis Gratto Want to Teach Outside the United States?

Here Is Information to Help You Proceed!

Friday, February 9 11 a.m.

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NASM-ACCREDITED DEGREE PROGRAMS Music Composition Music Education Music Performance Music Therapy

BACHELOR OF ARTS IN MUSIC Music Studies Concentration Jazz Studies Concentration Ethnomusicology Concentration

2017-18 AUDITION DATES

December 2 | January 20 | January 27

An article by Patrick O’Donnell in Cleveland-area paper, The Plain Dealer, described the revised ESSA plan as including, “few changes that anyone will directly notice in classrooms.”

In response to stakeholder calls for less testing and more comprehensive reforms, Superintendent of Public Instruction Paolo DeMaria announced in March 2017 the creation of a test advisory committee to review state mandated testing, and a framework for developing a new strategic plan for Ohio’s schools.

The recommendations of the test advisory panel led Superintendent DeMaria to recommend in June 2017 eliminating the 4th and 6th grade social studies state tests. This provision was included in Am. Sub. HB49 (R. Smith) Biennial Budget, and is now in law.

But some of the panel’s other recommendations to reduce the number of graduation tests, including American History, Government, and those used to evaluate teachers, including locally developed tests at the elementary level in the arts, social studies, and science, will have to wait until the legislature changes current law. Locally developed tests used to evaluate teachers, for example, “make-up nearly 80 percent of the more than 200 hours of standardized tests students have to take over their 12 years of school.” (Patrick O’Donnell quoting Superintendent DeMaria at the June 2017 State Board of Education meeting.)

DECEMBER 2017/JANUARY 2018

Ohio’s Strategic Plan for Education is being developed by six workgroups, coordinated by an Oversight Team and Stakeholder Advisory Group that reports to the Superintendent’s Steering Committee.

The six workgroups are focusing on the following areas: -Early learning and literacy (preparing our youngest children for success in school); -Standards, assessments and accountability (measuring what students know and are able to do and evaluating schools); -Excellent educators and instructional practices (excellent teachers, teaching and school management); -Student supports and school climate and culture (supporting students and offering a comfortable environment that maximizes their learning); -High school success and postsecondary connections (clear academic expectations and smooth transitions to higher education and work).

Tim Katz joined the staff of the Ohio Alliance for Arts Education (OAAE) five years ago, and has been the Executive Director since 2014. Before that, he served for 15 years as the Education Director of the Greater Columbus Arts Council.

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OHIO MUSIC EDUCATION ASSOCIATION

COLUMBUS 2018 CAPITAL CITY

PROFESSIONAL DEVELOPMENT CONFERENCE

AN INVITATION TO THE 2018 OMEA PROFESSIONAL DEVELOPMENT “CAPITAL CITY” CONFERENCE

FEBRUARY 8-10, 2018

As we prepare this invitation in September, can you believe that housing requests and registrations are already pouring in for the 2018 PDC? The central location of the event and the quality of the facilities are sure to make this one of the highest attended conferences in recent years. You and your colleagues know that the 2018 OMEA Professional Development Conference is the place to be! Need help convincing your administrator? Don’t miss the new “Letter to Administrators” (p. 68) that takes a look at the conference through the lens of the standards for the teaching profession.

Columbus offers several unique opportunities for your conference experience. First, everything is connected under one roof. There is no need to venture outside in the chilly air (unless you plan to enjoy some of the city’s great nightlife afterhours). The recently remodeled convention center has given Columbus a secure spot on the national stage. The Hyatt hotel will also have a fresh, new look and the beautiful downtown Hilton will play host to our jazz events and performances. Don’t worry - the ever-popular late night jazz events will still be held at the Big Bar on 2!

The PDC team has carefully selected nearly 300 sessions with a mix of national and homegrown clinicians. Dr. Tim, Larry Livingston, David Rayl, Diana Hawley, LeighAnn Garner, Bob Phillips and William Owens are but a small sample of the great talent we have lined up for you. We have also increased the offerings for our retired members including a drum circle and a session on navigating the digital world of OMEA. The PDC will feature over fifty outstanding ensembles of all shapes and sizes - from Orff to Flute Choir. The additional space in Columbus allows the All-State groups to rehearse on site, providing for improved logistics and the opportunity for you to peek in on rehearsals (during scheduled times, of course). TI:ME technology sessions, All-State concerts and a variety of networking/social opportunities guarantee another “must attend” event for music educators.

The exhibit hall in the Greater Columbus Convention Center will offer the latest and greatest tools and merchandise from our partners in the music industry. Feedback from 2017 indicated that the change in session times was a big hit with attendees. 2018 builds on this success with one-half hour between all sessions! The extra time will allow for more visits to the hall, smoother transitions, and networking.

Make your plans NOW to join us in Columbus, February 8-10 for the 2018 Capital City Conference. Still undecided? Take a tour of the PDC website (www.omeapdc.com) spotlighting more of the outstanding presenters, performing groups, preregistration link, the Instructional-Hour Certificate Program (IHCP), Ashland graduate credit, housing reservations, reception request form (special functions), and more.

2018 PDC Team Mark Hensler, Director of Professional Development pd_director@omea-ohio.org 52

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CONSERVATORY OF MUSIC 1 COLLEGE AND MAIN COLUMBUS, OHIO

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(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 nearly 50 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:

Monday, February 17, 2018 Saturday, February 19, 2018 Saturday, March 10, 2018

www.capital.edu/music

614-236-6254

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

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SIGN UP FOR GRADUATE SUMMER PROGRAMS 2018 COMPLETE BAND DIRECTOR WORKSHOP: June 19-22 SUMMER SESSION I: June 25-July 13 SUMMER SESSION II: July 16-27 (Instrumental and Jazz) SUMMER SESSION II: July 16-August 3 (Kodály)

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W www.wooster.edu

Music Scholarship Audition Dates: December 1-2, 2017 January 26-27, 2018 â&#x20AC;¢ February 2-3, 2018

OHIO MUSIC EDUCATION AS S OCIATION

2018 PROFESSIONAL DEVELOPMENT COMMITTEE The 2018 OMEA Professional Development Conference

COLUMBUS 2018

Mark Hensler Director of Professional Development

CAPITAL CITY

ALL-STATE CHAIR

PROFESSIONAL DEVELOPMENT CONFERENCE FEBRUARY 8-10, 2018

Keith Hallas

CONTENT CHAIRS Tim Katz Advocacy

Jeff Gershman Band

Kent Vandock Choral

BethAnn Hepburn General Music

Reid Young Jazz

Elizabeth Hankins Orchestra

Bill Thomas Percussion

Paul Schrameck Small Ensembles

LOGISTICS Dale Nawrocki On-Site Registration

Kaye Nickoloff Clinician Presider Check-In

Alex Brough James DeFrancesco Properties Co-Chairs

STANDING CHAIRS JD Latorre Adjudicated Events Patricia Grutzmacher Research Melinda Wallace Curriculum & Assessment

Linda Hartley Higher Education Rachael Fleischaker Teacher Evaluation Kathleen Milford Retired

Stephen Lytle OCMEA Lalene Kay Special Learners

ALLIED ORGANIZATIONS Myles Bowers JECO Trista Emmons OSTA DECEMBER 2017/JANUARY 2018

Tim Katz OAAE Donna Collins OAC

Richard Schnipke OCDA Lesley Schultz TI:ME 55

2018 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE ALL-STATE CONDUCTORS

OMEA ALL-STATE CHILDRENâ&#x20AC;&#x2122;S CHORUS - PATRICK K. FREER OMEA ALL-STATE ORCHESTRA - JAMES MICK OMEA ALL-STATE BAND - ALFRED L. WATKINS OMEA ALL-STATE JAZZ ENSEMBLE - BRAD LEALI OMEA ALL-STATE CHOIR - SANDRA SNOW

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More than $475,000 in music scholarships available regardless of major Music scholarships awarded up to full tuition

2017-2018 Audition Days Dec. 1, 2017 | Jan. 15 and 26, Feb. 10, 19, 24, 2018 To schedule a scholarship audition, visit www.wittenberg.edu/music/audition.

Apply for admission by December 1st, scholarship audition request deadline: December 15th Apply for admission after December 1st, scholarship audition request deadline: February 1st

For more information about our music programs and scholarships, contact Emily Burnett, Administrative Assistant and Music Audition Coordinator, burnette@wittenberg.edu,tel. 937-327-7341 (or 800-677-7558, ext. 7341).

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Undergraduate Degrees: BACHELOR OF ARTS BACHELOR OF MUSIC BACHELOR OF SCIENCE*

Graduate Degrees: MASTER OF ARTS MASTER OF MUSIC DOCTOR OF PHILOSOPHY

Programs of Study:

Programs of Study:

Composition (B.M.) Contemporary Popular Music* (B.A.) Instrumental Performance (B.M.) Jazz Studies (B.A.) Music (B.A.) Music Education (B.M.) Music Technology (B.S.)* Piano Performance (B.M.) Voice Performance (B.M.) Undergraduate Minors:

Audio Recording* Jazz Studies Music Music Technology* World Music

Conducting Band or Orchestra (M.M.) Choral (M.M.) Ethnomusicology (M.A.) Music Composition (M.A.) Music Education (M.M.) – Entirely Online!

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

WE ARE PROUD TO INTRODUCE FOUR NEW FACULTY MEMBERS:

MATT HOLM, D.M.A.

ASSISTANT PROFESSOR AND DIRECTOR OF PERCUSSION STUDIES

JUNGHO KIM, D.M.A.

ASSISTANT PROFESSOR AND DIRECTOR OF ORCHESTRA

AMITAI VARDI, M.M.

ASSISTANT PROFESSOR IN CLARINET

JOANNA PATTERSON ZAKANY

ASSISTANT PROFESSOR IN VIOLA

AUDITIONS:

* Offered at Kent State University at Stark

JESSE LEYVA

W W W. K E N T. E D U/M U S I C Kent State University, Kent State and KSU are registered trademarks and may not be used without permission. Kent State University is committed to attaining excellence through the recruitment and retention of a diverse student body and workforce. 17-COTA-00390-030

RECRUITMENT COORDINATOR jleyva@kent.edu 330-672-2172

2018 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE SELECTED PERFORMING ENSEMBLES Anderson High School Symphony Orchestra Anthony Wayne Symphonic Winds Bexley High School Vocal Ensemble Boardman High School Jazz Ensemble 1 Capital Junior Winds Capital University Chapel Choir Chagrin Falls Middle School Orchestra Dublin Coffman High School Chamber Orchestra Elysian Trombone Consort Fairland High School Concert Band Granville High School Chamber Orchestra Granville High School Jazz Band Grove City High School Symphonic Band The Guardian Angels Jazz Group Hilliard Darby Symphonic Choir Hilliard Tharp Tiger Band Jackson Middle School Symphonic Winds Jacob Coy Middle School Una Voce Kings High School Jazz Band Lakota East High School Eastside Voices Lakota East High School Symphonic Winds Lancaster High School Percussion Ensemble

DECEMBER 2017/JANUARY 2018

Northern Hills Bassoon Ensemble Ohio University Jazz Ensemble I Original Downhome Jass Band Otterbein University Concert Choir Perrysburg High School Select Strings The Cardinal Chorale The College of Wooster Chorus The Ohio State University Flute Troupe The Ohio State University Wind Symphony The Ohio State University Women’s Glee Club The Ohio Trombone Quartet The University of Akron BassoonaRoo The University of Akron Symphonic Band Thomas Worthington High School Women’s Chorale Toledo Symphony Youth Orchestra Concert Strings University of Mount Union Concert Choir West Elkton Intermediate Arrow Ensemble Winds of Ohio Wright State University Percussion Ensemble Wright State University Saxophone Quartet Youngstown State University Percussion Ensemble Youngstown State University Wind Ensemble

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2018 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE CLINICIANS ADVOCACY Kristen Brown Justin Caithaml Scott Di Mauro Aaron Given David Hedgecoth Shelley Jagow Tim Katz Marshall Kimball Denese Odegaard Dustin Wiley ADJUDICATED EVENTS Chris Carmean Scott Eversdyke Kimberlee Goodman William Guegold Elizabeth Hankins Michael Lisi Katherine McIntosh Stephanie Smith Brian Stevens Pamela Thiel James Vaughn Jay Wardeska BAND Ryan Alexis Chip Birkner Christopher Blaha Angela Davoll Beth Fabrizio Andrew Feyes Shawn Goodman Barry Hartz Shelley Jagow Scott Jones Katherine B. Jones Paul Kimpton Jesse Leyva Mario Marini Gerald Noble Chris Oâ&#x20AC;&#x2122;Hara William Owens Marc Parulekar Aaron Rex Brian Shaw Matthew Spradlin Gary Stith Michael Sweeney Sally Wagner 58

BROAD RANGE Linda Hartley Tim Lautzenheiser Larry Livingston Kent Vandock CURRICULUM & ASSESSMENT Joan Eckroth-Riley Aaron Given David Hedgecoth BethAnn Hepburn Tim Katz Paul Kimpton Shannon Nicholson Denese Odegaard Jodie Ricci Matthew Spradlin Thomas Zugger CHORAL Amy Johnston Blosser James Bowyer Lynn Brinckmeyer Marla Butke Frank Eychaner Patrick Freer Cyndee Giebler Kerry Glann Elizabeth Hainrihar Benjamin Lupo Brandon Moss David Rayl Jacob Reed Jordan Saul Ann Schertzer Julia Shaw Suzanne Walters Robert Ward Jay White Jeanne Wohlgamuth

GENERAL MUSIC Wendy Barden Marla Butke Susan Cook Valerie Diaz Leroy Shoshanah Drake Joan Eckroth-Riley Mindy Essex LeighAnn Garner Cyndee Giebler Diana Hawley Daniel Keown Jo Kirk Sandy Lantz Chelsea McCallum Lauren McDougle Cody McPherson Heather Russell Josh Ryan Roger Sams Dale Schubert Samantha Smith Trishah Snowden Erin Vaughn Holly Walton HIGHER EDUCATION Matthew Garrett Lisa Martin Paul Mayhew Craig Resta Jordan Saul Ryan Scherber David Sievers JAZZ Myles Bowers Bill Burns Zach Compston Shawn Goodman Dale Hildebrand Angelo Kortyka Steve Kortyka Craig Woodson Michael Yonchak MULTICULTURAL Angela Ammerman Minnita Daniel-Cox Carlos Elias Lauren McDougle Paschal Younge

OHIO COLLEGIATE MUSIC EDUCATION ASSOCIATION John Barrett Sharon Gratto Christa Kuebel Michael Leone Larry Mulligan Denese Odegaard Paul Young ORCHESTRA Angela Ammerman Wendy Barden Erin Broadhurst Seth Gamba Robert Gillespie Kathleen Horvath James Mick Kevin Nordstrom Bob Phillips Craig Resta Jeremy Woolstenhulme RESEARCH Kristin Coen-Mishlan Jay Dorfman Jay Dougherty Dawn Farmer Lisa Gruenhagen Daniel Keown Roberta Lamb Herbert Marshall RETIRED David Bell Deborah Devore Kathleen Milford Craig Woodson

SPECIAL LEARNERS Tim Katz Lalene Kay Thomas Resnick

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Ohio Music Education Association EXHIBIT HALL VISITATION HOURS Location: Exhibit Hall A of the Columbus Convention Center Visitation Hours: Thursday, February 8 – 1:00 pm to 6:00 pm Friday, February 9 – 9:00 am to 5:00 pm Saturday, February 10 – 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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2018 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE February 2018, Columbus, Ohio • Greater Columbus Convention Center Exhibitors as of October 2, 2017 and subject to change.

Acoustica Akron, The University of Alfred Music American School Band Directors Association Ashland University Baldwin Wallace University Ball State University School of Music Beyond The Classroom Tour & Travel Blue Lake Fine Arts Camp Bluffton University Bob Rogers Travel Bocal Majority Bowling Green State University Brightspark Travel Buddy Roger’s Music Capital University Conservatory of Music Case Western Reserve University CCIS / Discover Student Travel Cedar Point - Kings Island Cedarville University Century Resources, LLC Charms Office Assistant Cleveland State University College of Wooster Columbus Pro Percussion Conn-Selmer, Inc. Cousin’s Concert Attire Culver Summer Schools & Camps D’Addario Daybreak Music DeMoulin Brothers & Company Disney Performing Arts Dynasty/DEG Music Products EASTMAN Educational Tours, Inc. Elvis Presley’s Graceland Encore Performance Tours Festivals of Music/Music in the Parks Fox Products Corporation Fred J. Miller Inc. Getzen Company Gordon Bernard Calendar Company

GRAMMY Museum Foundation Great Day! Tours & Charter Bus Service Hal Leonard Hawaii State Tours Heidelberg University School of Music J.W. Pepper Inc. Jazz Education Connection of Ohio/ Columbus Jazz Arts Group Jupiter/Mapex/Majestic Kent State University Luck’s Music Library LudwigMasters Publications Make Music, Inc. Malone University Marietta College Marshall University Mattlin-Hyde Piano Co. McGraw-Hill Education Mercyhurst University Miami University Music Dept.

Mollard Conducting Batons, Inc. Morehead State University Mount Vernon Nazarene University Murphy Robes/Herff Jones Music & Arts Music Celebrations International Music Filing Solutions Music First Music for All Music is Elementary Music Travel Consultants Musical Gifts and Treasures by Costume Holiday House Musicians Repair Service Muskingum University / Dept. of Music National Association for Music Education New Era/Crowne Excellence Noteworthy Tours, Inc. Nuvo Instrumental LLC Ohio Foundation for Music Education Ohio Northern University Ohio State University School of Music, The Ohio University School of Music

Otterbein University Pearl Corporation Pee-Jay’s Fresh Fruit Pellegrino Music Center Permus Publications QuaverMusic.com Rettig Music, Inc. Rock & Roll Hall of Fame Royalton Music Center/Professional Suite Scenic Solutions LLC Segue Consulting Partners SightReadingFactory.com Slippery Rock University Snap! Raise Solich Piano and Music Company StageRight Corporation Stanbury Uniforms, Inc. - Midwest Band Stanton’s Sheet Music Stoller Fundraising String Riffs Summit Tour & Travel, Inc. Super Holiday Tours Thiel College Tiffin University Tone Deaf Comics Unison.School Cedar River Tech 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 WGI Sport of the Arts Woodwind & Brasswind WorldStrides OnStage 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 DECEMBER 2017/JANUARY 2018

61

OHIO MUSIC EDUCATION A SSOCIATION

COLUMBUS 2018 CAPITAL CITY

PROFESSIONAL DEVELOPMENT CONFERENCE FEBRUARY 8-10, 2018

2018 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE INDUSTRY SHOWCASE SESSIONS

The 2018 Industry Showcases are being finalized as this TRIAD issue closes for publication on time. This schedule will be posted on the PDC website, https://omeapdc.com and also on the 2018 Guidebook, a free download to your phone or tablet. This is a very exciting listing of presenters/topics and you will want to be sure and review the offerings in advance so you don’t miss an opportunity. Do check these two sources prior to the 2018 Conference!

OHIO MUSIC EDUCATION ASSOCIATION 2018 INDUSTRY SERVICE AWARD RECIPIENTS You are invited to the Opening Ceremony of the OMEA Exhibit Hall at the 2018 OMEA State Professional Development Conference to witness the 2018 Industry Service Award presentation. OMEA is pleased to make awards to OMEA’s Allied Organizations: Ohio Choral Directors Association, Ohio Alliance for Arts Education, Jazz Education Connection of Ohio, Ohio String Teachers Association, and T:IME who will combine to execute the ceremonial ribbon cutting to open the Exhibit Hall for the 2018 OMEA Columbus Professional Development Conference.

This presentation will take place at the entrance to Exhibit Hall A of the Columbus Convention Center on Thursday, February 8, 2018 at 12:55 p.m. Everyone is invited to attend this recognition of our valued Allied Organizations for their exceptional efforts to the benefit music education in Ohio and OMEA!

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TRIAD

OMEA GR ADUATE RESEARCH FORUM

GRADUATE RESEARCH ROU N D T A BL E Thursday, February 8, 2018 10 a.m. – 3:30 p.m.

Hyatt Hotel - Harrison Room

Featured Speaker: Dr. Roberta Lamb Roberta Lamb retired from the Dan School of Drama & Music, Queen’s University, Kingston, Ontario, July 2016. She was cross-appointed to the Faculty of Education and Department of Gender Studies. She remains a docent in Music Education at the Sibelius Academy, Helsinki University of the Arts, Finland, where she advises graduate students in music education. During her tenure at Queen’s (1988-2016), Lamb organized the university faculty union with the help of likeminded colleagues (1995). Her most important contribution to the union was writing an equity article to address hiring and retention of women, LGBTQ, Indigenous, and people of colour; however, she remained active in the union advocating for better working conditions for all. Lamb was a founding member of Gender Research in Music Education, and, according to one of her high school teachers, a feminist before the word existed. In addition to her scholarly writing, she is most proud of her work to establish the Symphony Education Partnership (1993-2015) in Kingston, Ontario and her project for teaching university students how to teach ukulele to grade 6 & 7 students in the Limestone District School Board. Lamb earned her undergraduate (1974) and master’s degrees (1979) from the University of Portland (Oregon) and her doctorate from Teachers College, Columbia University (1987). She taught in the Oregon City Public Schools before moving to New York (1982). When feminism proved too controversial for music education jobs in the U.S., she took a position at Brandon University, Manitoba, Canada (1985). Now Lamb volunteers as the music lady with a local toddler playgroup and with Rural Schools Matter, lobbying governments to keep local schools open. She also teaches meditation classes in Kingston. She and her partner, artist Judy Springer, live in the village of Camden East in an 1845 limestone school house with the original bell in the cupola.

SCHEDULE

9:30 a.m

10:00 a.m.

Continental Breakfast Dr. Roberta Lamb – “My Life, Your Life, Our Life: The Past, Present, and Future of Feminism in Music Education”

Noon Lunch break

1:30-3:30 p.m. Graduate Research Roundtable 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, February 5.

DECEMBER 2017/JANUARY 2018

63

PRE-REGISTRATION FORM

2018 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE Columbus, Ohio • February 8-10, 2018 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 19, 2018. Postmarks after this date will not be accepted.

• All refund requests must be made in writing. Refunds after January 19, 2018 will be assessed a $15.00 processing fee.

• No refunds after January 31, 2018.

Online pre-registration is available until midnight, January 26, 2018 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

___ College Faculty

___ Jazz

___ Orchestra

___ College Student ___TI:ME

___ Your school pays any portion of your conference expenses OMEA MEMBER

_______ Pre-Registration - $145 _______ With IHCP - $155 On-Site Registration - $165 With IHCP On-Site Registration - $175

NON-MEMBER

_______ Pre-Registration - $225 _______ With IHCP - $235 On-Site Registration - $250 With IHCP On-Site Registration - $260

SATURDAY ONLY

OHIO MUSIC EDUCATION A S S O C I ATI O N

COLUMBUS 2018 CAPITAL CITY

PROFESSIONAL DEVELOPMENT CONFERENCE FEBRUARY 8-10, 2018

_______ Pre-Registration $50 On-Site $60

*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 web- site) 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.) OMEA does not issue certificates of attendance.

NON-TEACHING FAMILY MEMBER _______ Pre-Registration $40 On-Site $50

Family member: ________________________________________________

OCMEA MEMBER

_______ Pre-Registration $50 On-Site $65

College/University Name: _____________________________________

RETIRED OMEA MEMBER

_______ No Charge

Family member: ________________________________________________

In lieu of a registration fee, retired members are asked to consider a donation to the Ohio Foundation for Music Education in the form of a recognition or memorial. http://www.ohiofoundationformusiceducation.org/Donation/online.html

64

TRIAD

HOUSING FORM

2018 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE Columbus, Ohio • February 8-10, 2018 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 03/18 and earlier are not valid and will not be processed.

1.) INTERNET: www.omea-ohio.org Do not mail a form after submitting online.

Do not email this form.

2.) MAIL: Send a completed form (one copy per room) to: OMEA Housing Bureau c/o Experience Columbus 277 W. Nationwide Blvd. Ste. 125 Columbus, OH 43215

DEADLINE FOR SPECIAL RATES IS JANUARY 15, 2018.

• • • • • •

No telephone reservations will be accepted by the Housing Bureau.

Photocopy this form if more than one room is required.

Only one room may be requested under each name.

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

Allow up to two weeks for an acknowledgement.

After January 15, 2018, rooms and rates are based on availability.

HOTEL RATES Hotel

Single

Double

Triple

Quad

Hyatt Regency

$179

$189

$199

$209

Hilton

$169

$169

$179

$179

Drury Inn - Standard

$145

$145

$155

$155

Drury Inn - Suite

$155

$155

$165

$165

Hampton Inn

$164

$164

$176

$188

*Rates quoted above are subject to 16.75% tax (Subject to change).

HOTEL PREFERENCE: 1. ����������������������������������������������������� 2. ����������������������������������������������������� 3. ����������������������������������������������������� Arrival Date: ������������������������������������������� Departure Date: ��������������������������������������� List Names of all occupants in the room

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

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

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

1. ������������������������������������������������������

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

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

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

3. ������������������������������������������������������

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

4. ������������������������������������������������������

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

RESERVATION DEPOSIT: 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 March 2018 in order to be considered a proper guarantee.

  

American Express Visa Diner’s Club

 

Master Card Discover

Card #  Expir. 

/ 

Name: �������������������������������������������������������� Credit cards are not charged in advance. You will be asked to present a credit card or method of payment upon arrival.

DECEMBER 2017/JANUARY 2018

ROOM TYPE PREFERENCE*:

 Single - (1) guest  Double - (1) bed/2 guests  Double/double - (2) beds/2 guests  Triple - (2) beds/3 guests  Quad - (2) beds/4 guests  Wheelchair accessible * 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 30, 2018 (4:00 p.m. EST) via internet or mail. After January 30, 2018, all new reservations, changes, and cancellations must go through the hotel. Cancellation fees may apply. Do not contact the hotels directly until after January 30, 2018. * Deadline for mail-in forms is January 8, 2018. * Deadline for changes is January 20, 2018.

65

INSTRUCTIONAL HOUR CERTIFICATE PROGRAM • Are you planning to attend the 2018 PDC in Columbus?

• 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)?

1.

2.

3.

4.

5.

HERE’S HOW IT WORKS: Pre-register for the Professional Development Conference by January 19th, 2017, or register on site on February 8th , 2018 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 23, 2018. (Required format will be available on the OMEA website.)

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

REMEMBER: 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, OR VISIT THE OMEA PDC FOR DETAILS AT OMEAPDC.COM.

66

TRIAD

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?

2018 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE Graduate Credit Option - No fee increase for 2018!

$209 Earn one (1) semester hour of graduate credit by completing the requirements outlined below. This credit is being offered through Ashland University.

• Pre-register for the Professional Development Conference by Jan. 19th or register on site on Feb. 8th , 2018 (visit www.omea-ohio.org for conference link).

• Log on to Ashland University’s online registration system (www.ashland.edu) and enroll in the OMEA PDC course option.

• In the center of the page, select “Academics” and then “Founders School of Continuing Education”.

• On the left, select “Programs”, then select “Professional Development Services”.

• On the right, click on “District Login”.

• User name is Omea, PIN is Omea • Select OMEA PD CONF 2018 and follow prompts.

• For more information, see the “2018 Ashland Registration Instructions” on the OMEA PDC website (omeapdc.com).

1. Attend twelve (12) PDC sessions of your own choosing.

Your selections may include no more than four (4) concerts.

2. Electronically submit a post-conference reflection to the Director of PD by February 23, 2018. The required format and rubric for this reflection will be 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.

Please note: 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.

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

DECEMBER 2017/JANUARY 2018

67

OHIO MUSIC EDUCATION ASSOC IATION

COLUMBUS 2018 CAPITAL CITY

PROFESSIONAL DEVELOPMENT CONFERENCE FEBRUARY 8-10, 2018

Dear School Administrator: As a point of introduction, the Ohio Music Education Association (OMEA) is one of the largest state affiliates of NAfME, the National Association for Music Education. Celebrating its 85th anniversary in 2017, OMEA serves Ohio’s 1.8 million students in schools and universities across the state. Our membership includes over 2800 active music teachers, 900 collegiate members (prospective music teachers) and nearly 500 retired music educators.

The OMEA Professional Development Conference (PDC), held this year in Columbus, will take place on February 8-10 at the Convention Center downtown. The OMEA PDC is the third largest music conference in the United States with nearly 300 sessions presented by nationally recognized master teachers demonstrating research-based, best practices in the field of music education. Sessions often include live demonstrations with students of various ages. In addition, over 40 performing ensembles will present concerts showcasing the talents of Ohio’s students. It is noteworthy that committees comprised of active teachers from across the state choose sessions and performing ensembles and the session’s represent the “best of the best” in teaching pedagogy. The acceptance rate for performing ensembles alone is only 25% of the submissions.

The OMEA PDC partners with the Technology Institute for Music Education to provide every teacher in attendance with access to clinics and demonstrations of the latest music education technology. Included in the registration fee ($145 for members) is access to the largest music trade show east of the Mississippi. Displays and demonstrations by nearly 250 exhibitors from across the United States allow teachers to see the new products available in the music industry.

With a few additional steps, teachers may use their conference experience to earn CEU’s (nominal additional registration expense) and graduate level continuing education credit (additional expense) for their licensure requirements.

Please visit our website, omeapdc.com to see the details of the conference. This website provides information about registration, housing and parking as well as lists of performing ensembles and presenters. To access the conference schedule and review session titles and descriptions, please follow our event on Guidebook, which will be available around December 1.

Providing the opportunity for your music staff to attend this conference will have a direct and meaningful impact on the students in your district. If you or another administrator would like to attend the conference to check out this opportunity first-hand, please contact my office at executive_director@omea-ohio.org. I would be happy to provide you with a pass for any single day of the conference and answer any questions regarding how OMEA can assist your music staff. On the attached page are some metrics from this year’s conference, viewed through the lens of the Ohio Standards for the Teaching Profession.

OHIO MUSIC EDUCATION ASSOC IATION

COLUMBUS 2018 CAPITAL CITY

PROFESSIONAL DEVELOPMENT CONFERENCE FEBRUARY 8-10, 2018

Ohio Standards for the Teaching Profession 1. Teachers understand student learning and development and respect the diversity of the students they teach.

• 7 hours of instruction regarding developmental characteristics of various age groups.

• 4 hours relating to students’ diverse cultures, language skills & experiences • 5 hours of sessions that address students with disabilities and at-risk students 2. Teachers know and understand the content area for which they have instructional responsibility • Band – 31 hours • Choir – 27 hours • Orchestra – 16 hours • Jazz – 9 hours • General Music – 43 hours 3. Teachers understand and use varied assessments to inform instruction, evaluate and ensure student learning.

• 11 hours of instruction on curriculum and assessment 4. Teachers plan and deliver effective instruction that advances the learning of each individual student.

• 7 hours of instruction related to the learning needs of all students • 30 hours of technology sessions, showing teachers how to use resources effectively 5. Teachers create learning environments that promote high levels of learning and achievement for all students.

• 15 hours dedicated to creating learning situations in which students work independently, collaboratively or as a whole class 6. Teachers collaborate and communicate with students, parents, other educators, administrators and the community to support student learning.

• 10 hours of sessions showing teachers how to collaborate effectively with other teachers, administrators and their local community 7. Teachers assume responsibility for professional growth, performance and involvement as an individual and as a member of a learning community.

• In total, nearly 300 hours of instruction are available over the three- day period, giving teachers the opportunity to assume responsibility for engaging in purposeful professional development and positively impact the teaching quality, improvements and student achievement in their school

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OHIO MUSIC EDUCATION ASSOCIATION 2018 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 5, 2018.

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 5, 2018 to:

Christy Nawrocki • 4698 Clayburn Dr. E., Grove City, OH 43123 Email: ChristyLNawrocki@yahoo.com 5. Awards will be made at the 2018 OMEA Conference in Columbus, Ohio, on Saturday, February 10, 2018.

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 10, 2018. ______ No, I will not attend the awards Ceremony and Reception Luncheon on Saturday, February 10, 2018.

DECEMBER 2017/JANUARY 2018

71

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 72

TRIAD

STANTON’S SHEET MUSIC knows that you’re on Facebook®!

So please “Like” Stanton’s on Facebook® and keep in touch!

If you enjoy music puzzles, catch one of these every Sunday:

RP3

REBUS PUZZLE PICTURE PEOPLE ©

By Dan Clark

Can you identify the Musician’s name depicted in pictures?

Performers • Groups • Conductors • Composers • Arrangers Hint: + Classical Composer

+

___+__

=?

_ _ _ _ _ _ + _ _ _ _ _*

Get a New Puzzle every Sunday on Stanton’s Facebook® page!

STANTON’S SHEET MUSIC 2018 TIME TABLE FOR TEACHERS • • • DATES TO REMEMBER • • •

• TODAY - ORDER H.S. Choral Octavos & H.S. Band Scores on trial, as well as Solos & Ensembles for Adjudication • JANUARY 2-15 - ORDER Judge’s Copies for High School Vocal & Instrumental Solo and Ensemble Adjudication • JANUARY 13, 2018 - ATTEND STANTON’S Church Choral Reading Clinic (9:00-12:30) Livingston UMC in Columbus • JANUARY 15-30 - ORDER Judge’s Scores for H.S. Large Group Band, Orchestra & Choral Adjudication • JANUARY- APRIL - Pick-a-Date Shop at STANTON’S to clean up Adjudication needs & get Spring Concert ideas galore!

• FEBRUARY 1-28 - ORDER Judge’s Copies for Middle School Vocal & Instrumental Solo and Ensemble Adjudication • FEBUARY 8-10 - ATTEND OMEA Columbus Convention - Go to STANTON’S booth, Orchestra & Jazz Reading Clinics • FEBRUARY 19 - ENJOY President’s Day STANTON’S will be CLOSED • MARCH 1-15 - ORDER Judge’s Scores for High School Large Group STATE Band and Choral Adjudication • APRIL 1-15 - ORDER Judge’s Scores for Middle School Band, Orchestra & Choral Large Group Adjudication

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

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

*Answer - Ant+On Reuben+Stein = Anton Rubenstein

PUBLICATION SCHEDULE

TRIAD ISSUE October/November 2017 December ‘17/January ‘18 April/May 2018

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

DEADLINE DATE* August 8, 2017 October 3, 2017 February 13, 2018

POSTING DATE** October 3, 2017 December 5, 2017 April 10, 2018

*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: Eric West • 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 Akron, The University of. . . . . . . . . . . . . . . http://www.uakron.edu/music. . . . . . . . . 25

Music Is Elementary. . . . . . . . . . . . . . . . . . . . . http://musiciselementary.com. . . . . . . . . 59

Baldwin Wallace University. . . . . . . . . . . . . . http://bw.edu/conservatory. . . . . . . . . . . . 45

Muskingum University . . . . . . . . . . . . . . . . . http://www.muskingum.edu/dept/music .19

Blue Lake Fine Arts Camp. . . . . . . . . . . . . . . http://www.bluelake.org. . . . . . . . . . . . . . . 12

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

Bowling Green State University . . . . . . . http://www.bgsu.edu/music. . . . . . . . . . . . 7

Ohio Northern University. . . . . . . . . . . . . . . http://www.onu.edu/music. . . . . . . . . . . . . . 8

Capital University. . . . . . . . . . . . . . . . . . . . . . http://www.music.capital.edu. . . . . . . . . . 53

Otterbein University. . . . . . . . . . . . . . . . . . . http://www.otterbein.edu . . . . . . . . . . . . . 31

Case Western Reserve University . . . . . . . http://music.case.edu. . . . . . . . . . . . . . . . . . . 22

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

Cleveland State University. . . . . . . . . . . . http://www.csuohio.edu/class/music. . . 42

Royalton Music Center. . . . . . . . . . . . . . . . . http://www.royaltonmusic.com. . . . . . . . 26

CMS Publications . . . . . . . . . . . . . . . . . . . . . . . http://www.cmspublications.com. . . . . . 42

Soundwaves Recording. . . . . . . . . . . . . . . . http://www.soundwaves.org. . . . . . . . . . . 37

College of Wooster, The. . . . . . . . . . . . . . . . http://www.wooster.edu/music. . . . . . . . 54

Stanton’s Sheet Music. . . . . . . . . . . . . . . . . . . http://www.stantons.com. . . . . . . . . . . . . . 73

Contributions to Music Education. . . . . . . http://www.contributions.omea-ohio.org. . . 11

Summit Tour & Travel. . . . . . . . . . . . . . . . . . http://www.summittourtravel.com. . . . . 29

Fiesta-val/Spectrum of Richmond. . . . . http://www.fiestaval.com. . . . . . . . . . . . . . 32

The Ohio State University . . . . . . . . . . . . . http://www.music.osu.edu. . . . . . . . . . . . . . 4

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

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

Kent State University. . . . . . . . . . . . . . . . . . http://www.kent.edu/music. . . . . . . . . . . . 57

University of Mount Union . . . . . . . . . . . . http://www.mountunion.edu/music . . . 31

Malone University. . . . . . . . . . . . . . . . . . . . . http://www.malone.edu/music . . . . . . . . . 4

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

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

Wittenberg University. . . . . . . . . . . . . . . . . . . . https://www.wittenberg.edu/academics/music . . 56

Miami University . . . . . . . . . . . . . . . . . . . . . . http://www.miamioh.edu/music. . . . . . . 21

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

Musicians Repair Service. . . . . . . . . . . . . . . . http://www.mrsakronohio.com . . . . . . . . 70

Bold signifies a Corporate/Institutional Partner

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TRIAD

We Take Full

Responsibility — For Music Education — Music education is a cornerstone of the Yamaha philosophy. We advocate at national, state and local levels for every child’s right to music education.

We also sponsor music education programs that inspire music participation from preschool through college. Because we know that music education doesn’t just make someone a better musician, it makes them a better person.

Sign up for our Music Educator newsletter at YamahaSupportED.com