TRIAD - WINTER 2019 by Ohio Music Education Association

ISSUE TWO

TRIAD D E C E M B E R 2 0 1 9 / J A N U A RY 2 0 2 0

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DECEMBER 2019/JANUARY 2020

TRIAD D E C E M B E R 2 0 1 9 / J A N U A RY 2 0 2 0 VOL. LXXXV II, NO. 2

EDITOR: Terri Brown Lenzo editor_of_triad@omea-ohio.org

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

ADVERTISING: Bill Wittman Director of Business & Trade Show Operations business_director@omea-ohio.org

TABLE OF

C O N T E N TS 4 6

FROM THE EDITOR: DR. TERRI BROWN LENZO FROM THE PRESIDENT: KATHLEEN MCGRADY

10 14 18 22

MASTERING THE CRAFT ORCHESTRA: ORCHESTRAL PROGRAMMING - ROBERTO IRIARTE BAND: THE QUEST FOR CONSTANT IMPROVEMENT - HEATHER MARSH STUDENT ASSESSMENT: CONTENT-RICH, COMPREHENSIVE APPROACHES FOR MUSIC TEACHERS - DR. LISA MARTIN CULTURALLY RESPONSIVE EDUCATION: INCLUSIVE PROGRAMMING - DR. LISA WONG

CREATING NEW PATHWAYS TO MUSICIANSHIP MY JOURNEY TO THE FIERABEND CURRICULA - LAURA HARTZLER

OHIO ARTS COUNCIL RESOURCES PROVIDED BY THE OHIO ARTS COUNCIL: ARTIST RESIDENCY GRANT AND OHIO TEACHING ARTIST ROSTER - JARRED SMALL

OCDA 34 WHAT GUIDES YOUR REPERTOIRE SELECTION PROCESS? - BRANDON L. MOSS

HIGHER EDUCATION CAPITAL UNIVERSITY, COLUMBUS STATE COMMUNITY COLLEGE, KENT STATE UNIVERSITY, OHIO NORTHERN UNIVERSITY, UNIVERSITY OF DAYTON

41 46 49 51 66

CORPORATE INSTITUTIONAL PARTNERS CME CALL FOR EDITORIAL BOARD NOMINATIONS OHIO FOUNDATION FOR MUSIC EDUCATION SUPPORT FORM 2020 OMEA PDC SPECIAL SECTION PUBLICATION SCHEDULE & ADVERTISING INDEX

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TRIAD INFORMATION NETWORK OMEA OFFICE

OMEA TRUSTEES

TRIAD EDITORIAL BOARD

P.O. BOX 1067 Massillon, OH 44648 330.833.5677 - Office www.omea-ohio.org

Kathleen McGrady

Heather Marsh

Roger A. Hall

President-Elect president_elect@omea-ohio.org

Executive Director executive_director@omea-ohio.org

President president@omea-ohio.org

Ann Usher

Michael Crist

Bill Wittman

Immediate Past-President past_president@omea-ohio.org

Director of Business & Trade Show Operations business_director@omea-ohio.org

Robert Antonucci

Amy L. Annico

Terri Brown Lenzo

Director of Media & Publications media_director@omea-ohio.org

Gregory S. Taylor Director of Technology technology_director@omea-ohio.org

Mark A. Hensler Director of Professional Development & Conference Management pd_director@omea-ohio.org

William K. Guegold Director of Adjudications adjudications_director@omea-ohio.org

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

Secretary secretary@omea-ohio.org

Band

Brad Pierson Choral/Vocal

Mark Russo Jazz

Lisa Wong

Culturally Responsive Education

Roberto Iriarte

Orchestra/Strings

Dr. Lisa Martin

Student Assessment

Editor of TRIAD editor_of_triad@omea-ohio.org

Heather Russell

Wendi Bechtol-Davis

Brian Laasko

Treasurer treasurer@omea-ohio.org

OCMEA OFFICERS Lauren Zetts

OCMEA President ocmea_president@omea-ohio.org

Viktoria Straka

Teacher Education Technology

OMEA is an Affiliate of NAfME National Association for Music Education www.nafme.org Allied Organizations of OMEA:

OCMEA President-Elect ocmea_president_elect@omea-ohio.org

Ohio Alliance for Arts Education

Montana Hollis

Ohio Arts Council

www.oaae.net

OCMEA Secretary ocmea_secretary@omea-ohio.org

www.oac.state.oh.us

Zoe Bruce

www.ohiocda.org

Membership Chair bruce.38@wright.edu

Abby Smith

Communications Director smith.2300@wright.edu

Ohio Choral Directors Association Ohio String Teachers Association www.ohiostringteachers.org

Jazz Education Connection of Ohio www.jecohio.org

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 2019/JANUARY 2020

F RO M T H E E D I TO R This issue will be posted during a busy time of performances and grading, but I hope that is followed by time to rest and reflect. We will also be looking forward to the remainder of the school year, and the resources in this issue can be helpful for planning future classes. An interesting sequence has emerged from the content—from developing a teaching philosophy and embracing a new teaching approach, to programming, assessment, and professional development.

Creating New Pathways to Musicianship: Finding the Joy in Music Making

Laura Hartzler, author of “My Journey to the Feierabend Approach” recounts life experiences that have shaped her teaching philosophy and that have led her to combine standards-based instruction and aesthetic experiences in her lessons. She describes her early career: “I dove in, teaching right out of my textbooks but soon found myself unfulfilled. Where was the fun and joy? The music experience I was giving my students felt forced and not authentic. My students knew what a quarter note was and could read music on a staff, but they weren’t excited about music” (p. 27). Readers will learn how her use of the Feierabend approach and training courses helped her find a solution. 4

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Programming: Student-Centered Approaches

Three authors have provided information about programming, and all of them express a studentcentered philosophy. In “Inclusive Programming,” Dr. Lisa Wong states that “Our students and our audiences deserve to be immersed in music rich in varied perspectives; such inclusive programming demonstrates that all musical perspectives are valued as components of our collective global culture” (p.23). Online databases of the Institute for Composer Diversity are offered as resources for working toward this goal. Roberto Iriate asks, “Are your students in the forefront of your thoughts when choosing the literature?” (p.11) while offering guidance for orchestral programming. Brandon Moss describes three main considerations for choral programming: 1. Does it fit the performance or chosen theme? 2. Is it appropriate for the choir I direct? 3. Is there a variety of styles and diverse representation of composers? (p. 35). Although Iriarte and Moss have addressed orchestral and choral programs respectively, they have also provided general recommendations that can be applied by teachers working in other areas of music education.

“Student Assessment: Content-Rich, Comprehensive Approaches for Music Teachers”

Welcome to Dr. Lisa Martin of Bowling Green State University who is joining TRIAD as editor of content for student assessment. She has provided strategies for conducting comprehensive and authentic assessments that include performance skills, along with “multiple cognitive and creative processes at different points in the learning experience” (p. 19).

“The Quest for Constant Improvement”

Heather Marsh highlights some of her professional development experiences and explains how her students have benefitted from them. In summation, she states, “Okay, here comes the big one. The one that has shaped my teaching more than anything” (p. 15). Hint—this may be different than what you are expecting!As

always, contact me with ideas you’d like to share or with topics that would be helpful for you and for your students. Deadline for the May/June issue is February 10th. See you in Cincinnati! Editor Terri Brown Lenzo, Ph.D.

Terri Brown Lenzo, Ph.D., is entering her fifth year as an assistant professor at Ohio Northern University. She has 26 years of experience teaching PK –12 students, having worked as a 5-12 band director and as a general music teacher in public and private schools and in entrepreneurial settings. At ONU, Dr. Lenzo teaches courses in music education, music appreciation, supervises student teachers, directs capstone research, and is the adviser for OCMEA. Her research interests include culturally responsive education, popular music, sociology of music education, and early childhood music education.

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 a better music teacher. Topics over the years have centered on improving the musical experience for students and teachers. • • • • • • • •

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!

DECEMBER 2019/JANUARY 2020

F RO M T H E P R ES I D E N T Welcome to 2020!

As I sit down to write this, it is sometimes a challenge to project out three months to the publication date and create a timely message. I can’t really open with “I hope you are enjoying the beautiful fall foliage” because when you’re reading this, we will be well into the “bleak midwinter,” and we will hopefully be enjoying the beautiful white snow. As we welcome 2020, I am reminded that we have all been inspired by something or someone; an experience or person who has helped motivate us to be who we are today and what we want to be tomorrow. As educators, we have a need to constantly improve ourselves so we can inspire the minds and musicians of the future. With this in mind, I would like to thank and congratulate Wendi Bechtol-Davis, State Treasurer and OCMEA State Chair, for all her hard work and dedication on the state-wide OCMEA Fall Workshop held in October. An incredible panel of dynamic and engaging speakers presented sessions which provided a tremendous opportunity for our collegiate members to learn from experts and network with future colleagues. At the opening welcome of the conference, Wendi asked the collegiate members to introduce themselves and the question Why-? What motivation brings you 6

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here today? The answers were thoughtful, sensitive, and responsive. As I stood back and listened, I remember as a college student being asked to explain why I wanted to teach music and what motivated me to work with young people. In my interviews, I regurgitated all the things I was supposed to say and these were the things, at the time, that I thought I really believed in. We have heard and seen the following statements over and over again: Music education is a necessary means by which all students can express themselves and discover their own emotions. Music gives us opportunities to grow emotionally, mentally, and physically while also providing a support system of peers. It also provides necessary life skills such as selfdiscipline, self-expression, responsibility, patience, and teamwork, but in my mind the bottom line is that music education is a way to instill a love of music that will carry on for the rest of our lives, and the beauty of this is, that there was an inspiring music educator or mentor who cared deeply about their students. Every music educator should be enthusiastic, passionate, and caring about music and the arts. Lastly, I believe that teaching music is the most rewarding profession and being able to share my love of music with students has been the most amazing experience of my lifetime. So, just as Wendi asked the

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OCMEA membership Why-? I encourage you to think about your motivation and your Why-? and to please stay true to your ideals. The OMEA is excited to welcome a host of fabulous clinicians and headliners to bring rejuvenation, energy, inspiration, and practical techniques to our vast community of music educators. Our featured performing ensembles and All-State concerts will showcase some of Ohio’s finest student musicians. With that in mind, please take a moment to put January 30th -February 1st, 2020 on your calendar to attend the OMEA Professional Development Conference (PDC) which will take place at the Duke Energy Convention Center in Cincinnati. Please take time to renew your mind and to refresh yourself by attending the 2020 PDC. Meet up with your peers and colleagues, and remind yourself again why you teach kids the art of music.

noteworthy.

In closing, it is my sincere wish that you have an enlightening and educational experience at our PDC, while making new acquaintances and reuniting with others. Thank you for caring about students and for sharing your music! I look forward to seeing each of you in Cincinnati. Kathleen McGrady is a retired instrumental music educator after 34 years as Director of Bands at Springfield High School in Holland, Ohio and Northwood High School, in Northwood, Ohio where she was honored as “Teacher of the Year.” She currently teaches music education courses at Eastern Michigan University and is a conductor/ scholarship representative for the Blue Lake Fine Arts Camp. She has served OMEA at the district, region, and state levels, and most recently as the 2016 All-State Coordinator. Ms. McGrady is a graduate of Bowling Green State University and holds a master’s degree in music education from Vandercook College of Music. She was honored as the Ohio Music Education Association’s 2015 Music Educator of the Year.

SCHOOL OF MUSIC UNDERGRADUATE AUDITION DAYS FOR THE 2020-2021 ACADEMIC YEAR Thursday, December 5 2019 Saturday, January 25, 2020 Saturday, February 8, 2020 Opera & Lyric Theatre presents

INTO THE WOODS – for school groups Friday, March 27 • 10:30 a.m.

CENTRAL OHIO FLUTE ASSOCIATION FESTIVAL April 4

SPRING VISIT DAY – for all high school students April 17

DOUBLE REED HONORS INVITATIONAL April 18

YOUTH SUMMER MUSIC PROGRAMS June - July 2020

Admissions and Outreach details at music.osu.edu

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State and federal dollars through the Ohio Arts Council support artistic resources throughout the state.

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M AST E R I N G T H E C R A F T

ORCHESTRA: ORCHESTRAL PROGRAMMING ROBERTO IRIARTE, HUDSON CITY SCHOOLS

When one attends a professional orchestra concert, the program is often: overture, concerto, intermission, symphony, or large work. While this is an excellent variety and has proven successful over time, there has been some criticism across the orchestral world that this format is stale and antiquated. As a result, professional orchestras are incorporating a variety of genres, adding video to accompany movie scores, and integrating more pops programming, including jazz, Broadway, and rock/pop artists, in addition to the traditional concert soloists we have come to expect at an orchestra concert. While this works for the professional orchestra, where the players have complete skill sets for anything in the repertoire, we, the school music directors, must be mindful of the skill sets of our students and of time constraints in rehearsal and practice schedules. One of the most joyfully agonizing parts of being a school orchestra director is laboring over choosing the perfect pieces for our students. As we enter the heart of the school year, here are some questions to consider based on my experience with programming: You may already have all of your programs decided for the year. How did you come to those conclusions? Are your students in the forefront of your thoughts when choosing the literature? Are you undecided about the next program? Here are some ideas to guide you in choosing literature to best suit your students,

while meeting them at the door and taking them to new places now and in the future.

Outcome:

The most important goal in choosing literature needs to be: What can the students successfully perform at their highest potential while joyfully expressing the music and being challenged technically and musically? We must suppress our conductor egos and choose what best fits our students, not what we have on our wish lists of warhorses and dream programs. Select a variety of graded works based on where your students are and where they have the potential to go, coupled with where you are capable of taking them. Reflection of these parts of the equation requires honest assessment of the students’ and the conductor’s skill sets. This may require a third-party opinion in order to make a realistic and truthfully unbiased assessment. Consider these areas to investigate when perusing and listening to scores:

Key:

A program in all G and D becomes monotonous to the listener, even if they don’t know why. There are many wonderful works in other keys such as A, F, Bb, and beyond, plus minor keys that focus on different finger patterns and sounds in order to develop your students’ vocabularies. Do not fear the flats! DECEMBER 2019/JANUARY 2020

Flats are fun and provide contrast to the vast amount of literature in sharp keys. You can then correlate the warm-ups and skill development to these pages in your method book and/or scale/arpeggio patterns for any key.

Rhythm/meter:

In addition to 4/4, there are bow distribution challenges to 3/4, while compound meter causes the bow focus to change to hooks in addition to the triple sub-division of the beat. These are all concepts we should be teaching to align with the Ohio Music Standards. Ostinatos, dotted rhythms, and syncopated rhythms can be found throughout the literature to introduce, review, and refine rhythm concepts—thus, adding to the knowledge base of the students.

Skill Set – Technical and Musical:

Overall, the program must satisfy the students, the audience, and the conductor. This can be a daunting task. Consider the grade level (beginner, intermediate, advanced) to decide how many minutes of music can you successfully prepare within your rehearsal schedule. Assess what skills the students possess and what additional skills they will need to succeed on the program. In the end, the students must feel successful in order to maintain engagement in the orchestra. When the conductor chooses their favorite pieces without considering the students, it can end in disaster with both parties becoming frustrated. Build their technique by correlating skill building to the repertoire needs over time. Focus on matching works to your students. For example, if you have a strong cello/bass group, spend time seeking out works to challenge them. If you have violas, feed them! If you have weak second violins, challenge them, focus on them, and build them up. There are works of all levels that can be satisfying to the students, audience, and conductor.

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Variety:

Select a variety of pieces for the concepts you want your students to focus on. Seek works that give substance to all sections of the orchestra. Choosing literature to focus on only one or two sections throughout the program defeats kids. Seek challenging pieces or passages for all sections. Choose from a variety of genres and time periods for a varied program, or choose a themed program. Taking the students and the audience on a historical ride through musical time periods by pointing out the connections from one composer to the next keeps everyone engaged. It is possible to mix master composer works on a program with works by modern living composers. Students can be challenged to cite similarities and differences from J.S. Bach to Richard Meyer or from Richard Strauss to John Williams. Embrace the Classical Period by teaching spiccato early and often. Pieces by Haydn, Mozart, and Beethoven can be used to engage and enrich your students’ lives once spiccato is part of their skills. Incorporate modern styles such as movie music, pop, rock, and jazz. They are American music! We know our students like these genres and like to be challenged by them, but resist the temptation to feed only their favorites. Be prepared to give spoken program notes (brief!) to your audience about all your works. Overall, be objective and honest in your approach to choosing works that engage, satisfy, and grow your students. Have fun together with the skill building and performing for a great season of concerts! Roberto Iriarte is the director of orchestras at Hudson Middle and High Schools and also directs jazz ensembles at Hudson High School, where he has taught since 1996. He is a member of the Cleveland Pops Orchestra, the Canton Symphony Orchestra, and the Akron Symphony. He holds music education and performance degrees from Kent State University and a master’s in orchestral performance from Temple University.

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Bring your best and brightest to Heidelberg University for the first Honor Festival. • Honor Band under the direction of Jon Waters • Honor Choir under the direction of Greg Ramsdell

• January 20, 2020 • $25 fee (includes lunch, dinner and t-shirt) Heidelberg University School of Music & Theatre | Tiffin, Ohio | 419.448.2073 | www.heidelberg.edu/honorfestival DECEMBER 2019/JANUARY 2020

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M AST E R I N G T H E C R A F T

BAND: THE QUEST FOR CONSTANT IMPROVEMENT HEATHER MARSH, ARCANUM-BUTLER LOCAL SCHOOL DISTRICT

Growth: The Early Years

When I was a younger and less experienced musician, I survived simply on passion, excitement, and the opportunity to be a band director. I attended college, earned good grades, did some networking, worked for several highschool band camps, taught privately, and felt like I had prepared myself as well as anyone possibly could. Then, I started my first job. And, well, there is a whole lot more to this career than meets the eye. When I took my first band to concert band contest, I thought they were ready and polished, and that a superior rating was in the bag. When things didn’t go the way I expected, I was shocked and confused. I ended my first year feeling a little lost and defeated. It took me a few years to figure out how to center myself and to teach myself how to get the most out of my students. I know that many young directors feel this way, so in this article, I want to explore the path I have taken to “master the craft” of band directing. A key element here is to realize and accept that if you’re doing this right, there’s no such thing as mastering the craft. My journey has involved constant selfimprovement, and the only way to become a master is to be a lifelong student. Once I got over the fact that I didn’t know it all after one year of teaching, I decided that I needed to reach out for some help. I started by seeking out people who had programs that I admired. I

asked lots of questions, watched others teach, and checked out a variety of methods and procedures. I adopted ideas that I really liked and started to make them my own. I am a firm believer in not reinventing the wheel, but I also love to put my own spin on things. Not everything that you see someone else do can be relevant to your situation, but if you like an idea, you can always find a way to make it work for you and your students.

Growth through Observation & Application

While I decided that it was important to observe other teachers, I also wanted to watch high caliber performances like DCI groups and college ensembles. I started by attending these events by myself and tried to take mental notes about marching and playing styles, conducting techniques, and creative concepts. I loved this for my own benefit, and I did get a lot of good ideas, but things really changed when I exposed my students to these types of groups. I regularly show my students DCI videos during marching band season to elaborate my points about marching style and body work. I organize a trip for the band to see a live DCI show. I suddenly found that I could try to explain and instill these ideas until I was blue in the face, but the light-bulb moment occurred when students could see examples of the techniques and begin to emulate what they DECEMBER 2019/JANUARY 2020

observed. I have to admit that overhearing my students discuss the great phrase releases in this year’s Bluecoats show made my band director heart pretty happy. Students need exposure to these types of things. It opens their eyes to new levels of potential.

Growth through Leadership Training

Students also greatly benefit from training in leadership. Don’t overlook this one, because a strong or weak group of seniors can make or break a school year! I once asked my leaders to break into sections and help the younger members with marching techniques. They split into groups, and after about two minutes, they were all staring at me because they had no idea what to do next. After this, I made it my mission to start working on leadership. The foundation of my leadership focus isn’t about band at all; it’s the realization that you get back what you put into something. Success isn’t given, and it’s not about luck; it’s about working hard and maintaining self-discipline. I kindly remind my leaders when their behavior isn’t reflective of good leadership, and I praise them when it is! I take my leaders, and sometimes the whole band, to see Scott Lang speak every year. If you haven’t been exposed to the world of Scott Lang, I highly recommend checking out his website. My students also set goals at the beginning of every school year. They make the goals, and they explain how we will achieve them. We post them on huge posters in the band room, and I reference them every single chance I get. Ownership is a very important concept and being accountable for the goals you set for yourself is a great leadership characteristic—one that I try to instill in every student I teach.

Growth through Adjudication

Okay, here comes the big one. The one that has shaped my teaching more than anything. About nine years ago, I decided to become an OMEA adjudicator. I started by adjudicating solo and ensemble events and later added marching band. Most recently, I have begun adjudicating concert bands. This has had an incredible impact on my teaching. It has changed the way I look at band directing and has given me a much deeper understanding of the expectations and elements of a successful performance. It has changed my mindset and my standards for my students. I look at my teaching now through a different lens and with a deeper understanding of the core elements of highlevel performance. I often make recordings of my groups and self-adjudicate our performances. I take notes; I scribble in my scores; I listen and re-listen. I understand that being a judge isn’t for everyone, but you don’t have to become a judge to be an adjudicator. You can do this on your own. Adjudication training sessions are open to all directors at the professional conference and at the summer marching band sessions. The dates for these sessions are available on the OMEA website under Adjudicated Events. You can learn so much just by observing and listening! I highly recommend educating yourself about the adjudication process—it’s a game changer. This is key in the quest for constant improvement: Don’t stop being a student. You can’t be the master of anything you haven’t committed yourself to learning. Being a band director is hard work, but just a little extra effort can completely transform the musical experience for you and for your students.

Heather Marsh is in her 14th year of teaching, currently serving as the director of bands in the Arcanum-Butler Local School District. She has served OMEA as a district treasurer, vice president, president, member of the OMEA Band Music Selection Committee, and has been an OMEA adjudicator since 2010.

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M AST E R I N G T H E C R A F T

STUDENT ASSESSMENT: CONTENT-RICH, COMPREHENSIVE APPROACHES FOR MUSIC TEACHERS DR. LISA MARTIN, BOWLING GREEN STATE UNIVERSITY

In our data-driven society, there is an increasing expectation for teachers to document hard evidence of student performance and growth. The current emphasis on accountability can be particularly overwhelming for music teachers, who are typically responsible for assessing more students than the average classroom teacher. How can music teachers balance the demand for data with limited time and resources? What practical approaches to assessment make sense in the music classroom? This article will unpack the answers to these and other questions, offering music teachers ideas for how to effectively manage assessment expectations while also making the assessment process more meaningful to both teachers and students. How We Assess in Music Music teachers typically assess students using both achievement and non-achievement criteria. Achievement criteria capture some type of knowing or doing specific to the content area. For example, written quizzes (e.g., gauging student knowledge on musical terminology) or performance-based assessments (e.g., playing tests) both yield achievement-oriented assessment data. Non-achievement criteria include things like attendance, participation, and even practice charts. These criteria do not directly measure student growth in the content area, and yet researchers have determined that such criteria commonly account for a larger proportion of a student’s final grade

in music. As a result, student grades in music are often inflated, failing to accurately reflect students’ content knowledge and performance skills in the music classroom (Pellegrino, Conway, & Russell, 2015; Russell & Austin, 2010). In order to improve the value of the assessment process, music teachers must reconsider this approach, instead focusing more upon music-specific achievement that is attributable to students’ classroom learning experiences. Accomplishing this goal in the face of limited resources, however, begins with crafting an efficient plan that encompasses a range of assessment types. Creating an Assessment Plan The Ohio Department of Education (2012) outlines three categories of cognitive and creative learning processes embedded within the K-12 music standards: • Perceiving/knowing/creating • Ex. 2CE: Identify instruments used in Western and world music ensembles • Producing/performing • Ex. 6PR: Improvise over drones or simple chord progressions • Responding/reflecting • Ex. 5RE: Form and express personal opinions about a musical performance and show respect for the opinions of others. Given the broad scope of learning outcomes associated with this range of standards, there is no shortage of opportunities for music-specific, DECEMBER 2019/JANUARY 2020

achievement-oriented assessments. However, when collecting assessment data, music teachers tend to focus upon producing and performing. This often translates to formal, summative assessments, such as playing tests. While these types of assessments are valuable, they can also be time-intensive to administer, particularly for those music teachers responsible for a large number of students. Performance-based assessments also provide just a snapshot of students’ skills and understandings at one moment in time; therefore, music teachers should consider diversifying their assessment plans to authentically capture a variety of skills and knowledge, addressing multiple cognitive and creative processes at different points in the learning experience. Approaching assessment with these key points in mind will yield a more comprehensive picture of what students know and are able to do (Brummett & Haywood, 1997). Toward Comprehensive Assessment To create a comprehensive approach to assessment that is also manageable, music teachers must diversify what, when, and how they assess. The What: What skills are you assessing? Regularly assess student growth in each of the three main categories of cognitive and creative learning processes. Again, it is not just about playing tests. Identify learning outcomes across knowing, performing, and responding to determine what content, skills, and affective experiences will yield the most valuable data, and create assessment opportunities that authentically complement those goals. For example, an individual post-concert reflection is a useful tool for

gauging response and affect. Creating reflection prompts that solicit students’ thoughts about their growth as musicians over time can provide data that is longitudinal in nature. As another example of a non-performance-based assessment, you can quickly measure student knowledge on note names or fingerings using tools such MusicRacer. The When: When, and how often, are you assessing? Measure student progress at various points during the learning process, using both summative and formative assessments. Summative assessments occur at the end of the learning process. Conversely, formative assessments occur during the learning process, giving the teacher information to guide subsequent instruction. For example, exit slips can be a quick, effective way to check in with students about how well they connected with class content. Using these periodically throughout a semester can offer a variety of useful data. Another example of a formative assessment could be to have students informally rate their level of success on a given musical task, using their fingers to show how well they felt they did. Collecting this type of data over time can help music teachers craft subsequent formal assessments that better match students’ needs. The How: How are you collecting assessment data? Include a variety of assessment types to determine developing knowledge, skill, and/or affect in music. Traditional assessments, such as paper-and-pencil quizzes, can be an effective way to gauge students’ content knowledge on things like musical terminology, and administering these assessments online can help streamline the grading process. However, traditional assessments are best suited

Exit Slip Example 3 things I learned today are…

2 things I found interesting are…

1 question I still have is….

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How to use more air to better support my voice

Different types of moving warm-ups

Ways I can move while singing

I sing better after a moving warm-up!

My range extends after a moving warm-up!

Should I do moving warm-ups every time I plan to sing?

for “what” knowledge. To measure “how” knowledge, teachers should implement authentic assessment tasks that directly connect to what they are being asked to do in the classroom. For example, to authentically assess a student’s ability to assemble their instrument properly, you would have them physically show you this process, rather than have them describe the process to you. Self-assessment is another useful way to diversify your data collection, and this method can also enhance a sense of autonomy within the students. Conclusion Assessments provide teachers with invaluable information about where students are at in the learning process. Varying the assessment process does not need to be overwhelming; it can be seamlessly woven into what music teachers are already doing in their classrooms. By working to keep assessments content-specific, achievementoriented, and diverse, teachers can capture the full range of student growth in music.

References Brummett, V.M., & Haywood, J. (1997). Authentic assessment in school music: Implementing a framework. General Music Today, 11(1), 4-10. Ohio Department of Education K-12 Music Standards (2012). Retrieved from http://education.ohio.gov/Topics/ Learning-in-Ohio/Fine-Arts/Fine-Arts-Standards Pellegrino, K., Conway, C.M., & Russell, J.A. (2015). Assessment in performance-based secondary music classes. Music Educators Journal, 102(1), 48-55. Russell, J.A., & Austin, J.R. (2010). Assessment practices of secondary music teachers. Journal of Research in Music Education, 58(1), 37-54. Dr. Lisa Martin currently serves as Assistant Professor of Music Education at Bowling Green State University, where she teaches undergraduate and graduate music education courses. Prior to her appointment at BGSU, she taught middle school band and orchestra for nine years in Illinois and Colorado. Her research interests include music teacher identity development, assessment practices in music education, and music teacher evaluation.

MUSIC AT MUSKINGUM

DECEMBER 2019/JANUARY 2020

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M AST E R I N G T H E C R A F T

CULTURALLY RESPONSIVE EDUCATION: INCLUSIVE PROGRAMMING DR. LISA WONG, COLLEGE OF WOOSTER

The Ohio Music Education Association refers to this column as “multicultural,” focusing on the inclusion of “multicultural” music within our programs. The American Choral Directors Association labels this particular category of music as “Ethnic/ Multicultural,” offering “Repertoire and Resources for Ethnic/Multicultural Music.” While I am pleased to see important discussions regarding inclusive pedagogy taking place in conferences, interest sessions, board meetings, social media, and the like, we must do more to dispel the exoticism inherent in this outdated category. In its place, I propose a new repertoire category, “Inclusive Programming,” a multi-perspective approach that actively encourages programming music of underrepresented composers. Certainly, all of our repertoire categories - Contemporary, Youth, Vocal Jazz, etc. – must also include works of underrepresented composers; an Inclusive category would serve as a resource for directors seeking to program music composed by women, underrepresented racial groups, and LGBTQIA+ individuals.

Why not Ethnic/Multicultural?

In order to celebrate Black History Month, Director B programs a concert of Spirituals. Her remaining concerts throughout the year contain no pieces from this genre. Do these fictitious directors harbor malintent? Probably not. However, Director A others an entire population by setting Ghana outside of the primary culture; comparisons are not drawn in an examination of many cultures, but solely in relation to a primary culture. Ghana is observed as perhaps distant and foreign rather than as part of the interconnected global community. Similarly, in “Around the World” types of programs, Director B also others an entire population by programming Spirituals only during a particular time of year while ignoring this genre at all other times. (For those unfamiliar with “other” as a verb, Merriam- Webster defines it as “to treat that culture as fundamentally different from another class of individuals, often by emphasizing its apartness.”) Our students and our audiences deserve to be immersed in music rich in varied perspectives; such inclusive programming demonstrates that all musical perspectives are valued as components of our collective global culture.

Director A programs a concert of popular American works and opts to include one piece Why must programming be inclusive? from Ghana; her hope is that the singers and Why not “blind” programming? audience members may learn a bit more about A recent viral social media post regarding another culture. a well-known white, male composer who sold DECEMBER 2019/JANUARY 2020

additional music through a major publisher under a fictitious female, Japanese name sparked outrage from the music community. Amidst the outrage, however, several directors argued that they prefer to look for the highest level of music and to allow diversity to occur organically. If you share this viewpoint in programming for your ensembles, I challenge you to look back on your last five concert programs. How many works did you program that were written by women? How many by composers of color? How many by LGBTQIA+ composers? No one is arguing that we should lower the quality of our repertoire in order to include a higher level of diversity. Rather, we must even the playing field, actively promoting the music of underrepresented composers so that their music has a chance of ending up in front of a director. As one example of many: this summer, I received a large stack of choral music from a commercially successful music publisher. Within this stack of 80 pieces, only four of the works were written by women. Four out of 80. Five percent. (And one woman had two pieces, so only three different female composers were represented.) The Ohio Music Education Association and the Ohio Choral Directors Association have a tremendous responsibility to get the music of underrepresented composers into the hands of our members. Our students and our directors must be able to see themselves and society at large represented in the music they perform.

Where to Start?

SUNY Fredonia’s Institute for Composer Diversity is an advocacy and resource-rich organization for those seeking to diversify perspectives within their repertoire choices. Believing that every concert program can allow for greater diversity, the Institute recommends the following for each concert and/or concert season, noting there should be overlap within the following categories: • 25 – 35% works by living composers • 15 – 25% works by women composers • 15 – 25% works by composers from underrepresented racial, ethnic, or cultural heritages

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The Institute website features a searchable database that introduced me to a wealth of composers I had never otherwise encountered. One can select from various genres, composer demographics, living composers, etc. There is also a page for those using the website to add new composers to the database. I applaud the Institute and its Director, Rob Deemer, on their remarkable success in bringing this fruitful resource into the foreground.

What are you singing this year?

I hear this question all the time at conferences. If you’re like me, you’ve likely programmed so much music for the year that your mind goes embarrassingly blank when someone asks this question! Let’s get this information onto our OCDA repertoire lists. If you’d like to participate: 1. No later than April 22, 2020 please send me at least one complete concert program from 2019-20. You are free to send more than one program, if you’d like. 2. Include your name, school/organization name (ex. Smith High School Treble Chorus), and your program titles, composers, and publishers in a Word document. (I kindly request that you do not forward a copy of the actual concert program, hoping that I will re-type the pertinent information.) 3. In May of 2020 I’ll compile a list, including school/organization and director names. Please forward your programs to Lwong@wooster. edu. I look forward to seeing the progress we’re making in Ohio, and hope this compiled list might serve as an additional resource as we begin programming for 2020-21.

Dr. Lisa Wong is Director of Choruses for The Cleveland Orchestra as well as Associate Professor of Music at The College of Wooster.

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C R E AT I N G N E W PAT H WAYS TO M U S I C I A N S H I P

MY JOURNEY TO THE FEIERABEND CURRICULA LAURA HARTZLER, BATH LOCAL SCHOOLS One of the highlights of my childhood summers was spending a week at my church camp. In many ways, the camp was typical. Campers could swim, canoe, hike, do crafts, and play outdoor games. One of the ways the camp was extraordinary was the music. Music was thoroughly ingrained into every part of the day. The morning swim had a song, prayers were sung before meals, there was music in worship, silly songs after dinner, and the culmination of the musical day was a campfire.During the campfire, partner songs, rounds, musical storytelling, clapping, dancing, part-singing, and improvisation were normal parts of the worship.In those moments, while smiling until my face hurt, I experienced the wonder and thrill of community music making Fast-forward not quite 15 years. As I stood in my first classroom and reflected on those moments around the campfire, I knew I needed to teach my children all about music. I also wanted my children to make joyful music. I just had no idea how to do so. My principal showed me the brand new music books they had just purchased that included CDs, transparencies, and supplemental books. He jokingly stated I had everything I needed to teach music there in front of me. I dove in, teaching right out of my textbooks but soon found myself unfulfilled. Where was the fun and joy? The music experience I was giving my students felt forced and not authentic. My students knew what a quarter note was and could read music on a staff, but they weren’t excited about music. After two years teaching music, I spent several years out of the music classroom before returning. Our two young children were part of an early childhood music class, and in these classes, their joy and delight in musiking was evident. Seeing my

children experience the joy of musiking made me determined to bring a similar joy to my instruction. I actively began to search for a curriculum or method where I could teach the music content area standards, have students who sing well, move to the beat, and also make joyous music. After searching for several years, I attended a session with Dr. John Feierabend at the OMEA Professional Development Conference. He discussed his music curriculum First Steps in Music. First Steps in Music follows an eight-part workout designed to help students become tuneful, beatful, and artful. The first part of the workout develops a child’s singing voice, while the second part of the workout guides children in discovering the artful part of music and the perception of beat. We ended the session with a beautiful movement activity where the lights were lowered, and we all pretended to be stars in the night sky. I was moved to tears as I was reminded of the awe I felt at the campfires of my youth. The following day, I attended another session with Dr. Feierabend where he discussed Conversational Solfege, a 12-step approach to music literacy. Conversational Solfege promotes a sound-before-sight approach to teaching literacy. I was thrilled to see that even when teaching literacy, much of the method involves movement, games, and singing. Dr. Feierabend advocated for music literacy to be a part of every music class, but he said it should be no more than 10 minutes of the class. The rest of the class should be “doing” music! I was pretty sure I had discovered a way of teaching about which I could be passionate. I ordered both First Steps in Music and Conversational Solfege as soon as I returned from DECEMBER 2019/JANUARY 2020

the conference. I began to introduce parts of First Steps to my kindergarteners. Although the introduction was going well, I was anxious to attend a training. I felt like I had parts of a puzzle, but I needed the other pieces to see the whole picture. My only hesitation was that the trainings for First Steps in Music and Conversational Solfege One were a week long each and would require me to travel and stay away from home. The sacrifice both in cost, time away, and the challenge for my husband being a single parent for a week were significant. While checking out the Feierabend Fundamentals Facebook page, I was able to connect with a teacher trainer and worked with her to bring the First Steps in Music training to my school. This allowed me to only spend one week away for the Conversational Solfege One training. I feel like these two weeks of course work were probably the two most valuable of my career. I was able to fill in my missing puzzle pieces and learn how the steps of the process fit together. More importantly, I began to realize that if I want my students to be musical in their futures, I need to give them the tools now. If I want my students to sing lullabies to their babies, feel comfortable dancing at their weddings, and clap to the fight song at a ball game, I need to teach all those skills, but more importantly, I need to help cultivate a love of

music that is enduring. One year after taking my training courses, I feel like I am only at the beginning of my journey, but I see amazing changes in my students. More of my students sing with a lovely light head voice and move to the beat. My students can identify patterns aurally and read and write them in duple and triple meters, as well as in solfege. I am very proud of the skills they are acquiring, but my favorite moments are when they get so thoroughly wrapped up in their music making that they lose all of their inhibitions and just make joyful music. When we finish a folk dance and the kids just erupt with joy and beg to do it again, or when I finish singing a song tale and there is a moment of hushed wonder—these are the moments I treasure.

Laura Hartzler has taught elementary music and kindergarten at Bath Local Schools for 18 years. In addition to teaching, she also directs the children’s choirs at First Mennonite Church in Bluffton, Ohio. She coordinates First Steps in Music and Conversational Solfege classes in Lima, Ohio in the summer. She also teaches piano lessons and Music Together®.

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O H I O A RTS CO U N C I L

RESOURCES PROVIDED BY THE OHIO ARTS COUNCIL: ARTIST RESIDENCY GRANT AND OHIO TEACHING ARTIST ROSTER JARRED SMALL, OAC ARTS LEARNING COORDINATOR

The Ohio Arts Council (OAC) is excited to highlight some updates and new opportunities available to help support music educators as they engage, inspire, and lead learners of all backgrounds and abilities in unique arts learning experiences.

In-School Artist Residency Grant Program Now Accepting Applications

If it’s winter, it’s grant season at the OAC. Now in its second year as a formal program of the agency, TeachArtsOhio is once again accepting applications. As the OAC’s flagship in-school artist residency program, TeachArtsOhio brings schools and community organizations together with teaching artists to share engaging, personal, and high-quality arts learning experiences. Since piloting the program during the 2015-16 academic year, TeachArtsOhio has provided 89 Ohio schools and school districts with funding totaling more than $2 million to collaborate with professional teaching artists to supplement arts instruction and curricula. I invite you and your colleagues to read more in the TeachArtsOhio Guidelines at oac.ohio.gov (click on “Grants” and scroll down to “Arts Learning”), and contact me via email (jarred.small@oac.ohio.gov) or phone (614-728-4481). Applications for projects occurring during the 2020-21 school year are open now and due by Feb. 3, 2020. I encourage you to consider what a

TeachArtsOhio grant award involving your school community and a professional artist could look like.

Ohio Teaching Artist Roster Now Live

The Ohio Teaching Artist Roster, a firstof-its-kind online resource and initiative in Ohio, is now available for use by educators and administrators to assist in identifying high-quality teaching artists who can lead artsintegrated and academic content standardsaligned creative opportunities for students, including performances, workshops, and longer-term artist residencies (including the OAC’s TeachArtsOhio program). This online roster represents Ohio artists who demonstrate artistic excellence; the ability to integrate academic content; effective classroom management and student engagement; and strong communication with education, arts, and cultural partners. The Ohio Teaching Artist Roster is a partnership among several statewide arts education organizations including the Ohio Arts Council, Ohio Alliance for Arts Education, OhioDance, Center for ArtsInspired Learning, and VSA Ohio. These partner organizations share administrative maintenance responsibilities and manage the roster and related professional development opportunities. Teaching artists on the roster undergo an extensive application review and approval DECEMBER 2019/JANUARY 2020

process before being accepted. Teaching artists commit to receiving ongoing professional development related to their placement on the Ohio Teaching Artist Roster on matters critical to success in collaborating with schools, educators, and learners of diverse abilities and backgrounds. Professional development is planned and implemented in concert with the rosterâ€™s five partner organizations. The Ohio Teaching Artist Roster is searchable by art form and focus, geography, and other key criteria and includes artists from every corner of the state. Musical artists on the roster include those with expertise in composition, songwriting, Russian folk and traditional music, West African drumming and dance, guitar, Flamenco, and many other musical disciplines that are sure to interest students in diving deeper into musical inquiry and curiosity.

To access the online Ohio Teaching Artist Roster or to learn more, visit oac.ohio.gov/Resources/OhioTeaching-Artist-Roster.

Jarred Small serves as arts learning coordinator at the Ohio Arts Council (OAC), a state agency that funds and supports quality arts experiences to strengthen Ohio communities culturally, educationally, and economically. He began his career as a music educator in the public schools of southwest Michigan, where he taught band, choir, and guitar. Jarred holds a Bachelor of Music in instrumental music education from Western Michigan University and a Master of Arts in arts policy and administration from the Ohio State University.

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OHIO CHORAL D I R ECTO RS AS SOC I AT I O N

WHAT GUIDES YOUR REPERTOIRE SELECTION PROCESS? BRANDON MOSS, OCDA PRESIDENT

What Guides Your Repertoire Selection Process? One of the most important facets of our jobs as choir directors is the selection of repertoire. In my position, I spend weeks on this, starting with big piles of possibilities and ultimately making selections based on three guiding questions: 1.) Does it fit the performance or chosen theme? 2.) Is it appropriate for the choir I direct? 3.) Is there a variety of styles and diverse representation of composers? Too often, I feel we surrender most of our decision-making to #1 but not as much to #2 or #3. Think about it; how many times have you realized that a piece was beyond the choir’s ability? How much of the music has been in the same style or written by mostly “dead white guys?” We must consider all of these elements to ensure we are providing the best possible experiences for both singers and audiences. I realize how overwhelming this can be, so what follows are a few tips for choosing literature. Selecting Music for Your Choir I think the biggest mistake a choir director can make is to select a piece because you really like it or have great memories of singing it yourself. Sometimes this works out, but very often it is too difficult for your choir. Instead, figure out what they are capable of, and choose accordingly.

For example, if the tenors are not strong, avoid pieces with difficult tenor passages, or maybe choose SAB music. Attend Reading Sessions, but be Aware I highly recommend attending reading sessions, especially those that OCDA hosts at conferences. They help introduce you to new music and current trends. However, be aware of who is sponsoring. If it is a publisher, understand that the company is pushing titles they want to sell. If it is a professional organization, listen to how clinicians talk about the pieces they present. I once attended a session on “easy high school music” where the clinician had programmed all the titles at his school, which had two directors and a full-time accompanist. Most of it was way too difficult for my students. His idea of easy and mine were two wildly different things. Choose a Variety of Styles and Historical Periods For the last several years, I have collected data on the repertoire performed at my region’s state-level large group event. Between 2016 and 2018, only 5% of the pieces were from the Renaissance. Music from the Baroque, Classical, and Romantic Eras did not fare much better. An overwhelming majority of the programming was composed within the last 30 years. We owe it to students to expose them to DECEMBER 2019/JANUARY 2020

music from throughout history, as well as music representing a variety of styles. Make a Pledge to Program Composers from Underrepresented Groups On the other hand, most published music from before the last 30 or so years was written by white men. This does not reflect the make-up of our students, so we must commit to programming more music by composers from historically underrepresented groups. Sadly, you may have to dig a bit, but the wealth of excellent music available definitely makes the search worthwhile. Remember that the selection of repertoire is vitally important, and the process requires the

utmost care and consideration. The repertoire guides your teaching, provides meaning where it is programmed, and represents what is most important to you in your work. Choose wisely!

Brandon Moss serves as Director of Choirs at Central Crossing High School in Grove City, where he teaches five choirs. He is also Director of Music and Chalice Choir at First Unitarian Universalist Church in Columbus. Moss recently served as President of OMEA District 15 and has twice chaired the Ohio All-State Choir. He holds degrees from Otterbein University and The Ohio State University, where he is completing the Doctor of Musical Arts degree in Conducting.

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Music Education at The College of Wooster

The College of Wooster offers comprehensive studies in Music Education, culminating in a Bachelor of Music Education degree and Ohio teacher licensure. Our students are mentored by expert musicians and educators, and graduate with a solid foundation of performance skills, content knowledge, and practical experience.

• Classroom observations and teacher assistance in your first semester at Wooster • Small class sizes allow for personalized attention • Expert training in instrumental, choral, and general music teaching techniques

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• Perform each semester in ensembles dedicated to musical excellence • Study in a rich liberal arts environment alongside diverse and supportive peers

Visit: www.wooster.edu Contact Dr. Lisa Wong, Associate Professor of Music at Lwong@wooster.edu

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H I G H E R E D U CAT I O N

HIGHER EDUCATION Capital University

The Conservatory of Music announced in August the Opera Columbus/Capital University Resident Artist Program which brought three vocal artist-teachers and one coach to the Columbus area for 20192020. In addition, the Voice Area, led by Dr. Chad Payton will be selecting students for a Spring 2020 Voice Area Showcase in New York City. These students will benefit from music industry master classes, movement classes, and offer a performance for industry professionals. This past May, Dr. Lynda Hasseler was the conductor of the 2019 Michigan All State Choir. In June, the Chapel Choir and members of the Choral Union presented festival concerts in the Netherlands and Belgium featuring the music of Jake Runestad who shared the podium. In August, Dr. Hasseler presented sessions as the headliner for the Pennsylvania Choral Directors Association Summer Conference. Capital University’s Opera and Music Theatre Department presented Jason Robert Brown’s musical, Parade, under the direction of Professor Josh Borths. This Tony award winning musical explores injustice in America, forcing audiences to confront hard truths through an empathetic score and powerful storytelling. The Capital University Symphonic Winds under the direction of Dr. Jeff Gershman were awarded 2nd place in the College/University Division of the Band/

Wind Ensemble Performance Category of the 2018-19 American Prize. The University Bands featured composer John Mackey on the 18th Band Festival in November. This multi-faceted event provided over 500 high school students from across Ohio and beyond the opportunity to work with international recognized composers and conductors on the beautiful Capital University campus.

Columbus State Community College

Columbus State Community College is pleased to announce the appointment of Kie Watkins as Director of the Jazz Ensemble. Elizabeth Scinto has begun her first full year as Director of Chorus. Two other faculty members have long tenures with their ensembles; Emma Easton began working with the Columbus State Gospel Vocal Ensemble in 2006 and Thomas Lloyd is celebrating his 20th anniversary as Director of Columbus State Concert Band. Earlier this fall, composer Rocco Di Pietro had a retrospective of his work presented in New York City featuring the Mivos Quartet.

Kent State University

The Kent State School of Music will be well represented at the 2020 OMEA Professional Development Clinic. Faculty members Jay Dorfman, Butch Marshall, Wendy Matthews, Craig Resta, and Chris Venesile, and Joni Stoll will all be presenting sessions and participating in other panels and events. Dr. Venesile will conduct a performance of the Nova Jazz Singers. Dr. DECEMBER 2019/JANUARY 2020

Matthew Holm will conduct a performance of the KSU Percussion Ensemble. Dr. Jay White will also present a session on vocal health in musical theatre singing. Current graduate students Will Kish, Rachael Fleischaker, Kristin Coen-Mishlan, Laura Wiedenfeld, and BethAnn Hepburn are also scheduled to participate in sessions and research presentations. We look forward to the annual alumni reception on Friday at 6:15! Dr. Jay Dorfman took part in a panel session about online music education at the International Council of Fine Arts Deans conference in Austin, Texas in October. Dr. Dorfman also had an article manuscript accepted for an upcoming issue of the Journal of Popular Music Education, along with a co-authored article in TRIAD. Dr. Wendy Matthews was the guest conductor for the OMEA District 6 Middle School Honor Band. She will present a session on assessment at the International Society for Exploring Teaching and Learning Higher Education Pedagogy Conference. She will also be the guest conductor for the Duplin County High School Honor Band in North Carolina. Our music education programs will be represented at exhibit booth 1331 at the Midwest Band & Orchestra Clinic in Chicago this December. We invite all alumni, friends, and anyone interested in our programs to stop by the booth, and to attend the annual College Night festivities. We look forward to seeing you in Chicago and in Cincinnati for the OMEA PDC!

Ohio Northern University

Ohio Northern University hosted the OMEA District III fall meeting, which included a student leadership seminar and a director’s workshop presented by Fran Kick. Forty-five directors and over 100 students attended the event.

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University of Dayton

Dr. Toby Rush (Music Theory and Technology) has announced an update to Braille Music Notator, a free online utility designed by Dr. Rush for creating and editing braille music scores. Braille Music Notator displays braille scores graphically, using traditional music symbols but retaining the character and flow of braille music. In this way, it allows sighted musicians an accessible way to create elegant braille scores. Though the utility was designed primarily for sighted users, it is compatible with screen reading software, making it fully accessible to users with visual impairments. Dr. James Hiller and Dr. Susan Gardstrom (Music Therapy) presented a research study titled “The impact of singing engagement on food intake of individuals with Alzheimer’s disease and related dementias: A multi-site, repeated measures study” at the 11th European Music Therapy Conference in Aalborg, Denmark in June 2019. Dr. Donna Cox (Choral and Sacred Music) presented at the International Conference on Arts in Society in Lisbon during the summer, the National College Music Society conference in Louisville, and the International Society of Music Education in Nepal. Dr. Cox is the guest conductor for the OMEA District 12 High School Honors Choir. Dr. Eric Street (Piano) taught in Dublin, Ireland this May and June as site coordinator for UD’s Education Abroad program. He travelled to Ghent, Belgium to the 51st International Horn Society Symposium to premiere his trio for soprano, horn, and piano, “In Flanders Fields.” The piece was commissioned by Peter Kurau, principal horn of the Rochester Symphony and professor of horn at Eastman School of Music. The soprano was Dr. Pamela Kurau, who coordinates Voice at SUNY Geneseo, New York. The score of “In Flanders Fields” will be available through Wehr’s Music House.

CORPORATE INSTITUTIONAL PARTNERS

LEVEL III - PRESIDENT’S CLUB Bluffton University

Music Travel Consultants

1 University Drive, Bluffton, OH 45817 battlec@bluffton.edu www.bluffton.edu/music

5348 W. Vermont St. Suite 200, Indianapolis, IN 46224 jennifer.vierling@musictravel.com www.musictravel.com

Bob Rogers Travel

Noteworthy Tours, Inc.

3440 Lacrosse Lane, Naperville, IL 60564 info@bobrogerstravel.com www.bobrogerstravel.com

P.O. Box 1665, Sandusky, OH 44871 travel@noteworthytours.com www.noteworthytours.com

Bowling Green State University

Ohio State University School of Music, The

College of Musical Arts - Moore Musical Arts Center Bowling Green, OH 43403-0292 www.bgsu.edu/music

110 Weigel Hall, 1866 College Road Columbus, OH 43210 music@osu.edu music.osu.edu

Buddy Roger’s Music

QuaverMusic.com

6891 Simpson Avenue, Cincinnati, OH 45239 bill@buddyrogers.com www.buddyrogers.com

1706 Grand Avenue, Nashville, TN 37212 info@QuaverMusic.com www.quavermusic.com/preview

C.A. House Music

Rettig Music, Inc.

52335 National Road ESt., Clairesville, OH 43950 melissac@cahousemusic.com www.cahousemusic.com

510 Clinton St., Defiance, OH 43512 cindy@rettigmusic.com www.rettigmusic.com

Conn-Selmer

Royalton Music Center

P.O. Box 310, Elkhart, IN 46515 marketing@conn-selmer.com www.conn-selmer.com

10167 Royalton Rd. Unit A, North Royalton, OH 44133 m.malko@royaltonmusic.com www.royaltonmusic.com

Festivals of Music

Super Holiday Tours

1784 West Schulykill Road, Douglassville, PA 19518 rmicco@edprog.com www.festivalsofmusic.com

116 Gatlin Ave., Orlando, FL 32806 hskiver@superholiday.com www.superholiday.com

Music & Arts

Yamaha Corporation of America

5295 Westview Drive, Frederick, MD 21703 tracy.katz@musicarts.com www.musicarts.com

6600 Orangethorpe Avenue, Buena Park, CA 90620 hhugues@yamaha.com www.usa.yamaha.com

DECEMBER 2019/JANUARY 2020

CORPORATE INSTITUTIONAL PARTNERS

LEVEL II - OMEA PATRON

Akron, The University of

Music is Elementary, Inc

School of Music, Guzzetta Hall 260, Akron, OH 44325-1002 music@uakron.edu www.uakron.edu/music

5220 Mayfield Road, Cleveland, OH 44124 rguzzo@musiciselementary.com http://www.musiciselementary.com

Ashland University 401 College Avenue, Ashland, OH 44805 music@ashland.edu www.ashland.edu/music

Capital University Conservatory of Music One College & Main, Columbus, OH 43209 tzugger@capital.edu www.capital.edu/music

Case Western Reserve University 10900 Euclid Avenue, Cleveland, OH 44106 music@case.edu http://music.case.edu

Muskingum University 163 Stormont Street, New Concord, OH 43762 music@muskingum.edu www.muskingum.edu/dept/music

Ohio Northern University 525 South Main Street, Ada, OH 45810 r-hoersten@onu.edu www.onu.edu/music

Ohio Wesleyan University 61 S. Sandusky Street/Music Department Delaware, OH 43015 rdedward@owu.edu music.owu.edu

Cleveland State University

Otterbein University

2121 Euclid Avenue MU332, Cleveland, OH 44115 music@csuohio.edu www.csuohio.edu/class/music

1 South Grove Street, Westerville, OH 43081 ddavenport@otterbein.edu/cbrock@otterbein.edu www.otterbein.edu/music

Educational Tours, Inc.

University of Dayton

P.O. Box 257, Holt, MI 48842 eti@tours-eti.com www.tours-eti.com

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

Kent State University

West Music

1325 Theatre Drive, Kent, OH 44242 schoolofmusic@kent.edu www.kent.edu/music

1212 Fifth Street, Coralville, IA 52241 smarchuk@westmusic.com www.westmusic.com

Marietta College

Youngstown State University â€“ Dana School of Music

215 Fifth Street, Marietta, OH 45750 arf005@marietta.edu www.marietta.edu/music-department

One University Plaza, Youngstown, OH 44555 regoldberg@ysu.edu www.ysu.edu/music

Miami University 501 S. Patterson Ave, 109 Presser Hall, Oxford, OH 45056 music@miamioh.edu music.miamioh.edu 42

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EXPLORE MUSIC AT MOUNT UNION Bachelor of Arts | Bachelor of Music

BEvibrant

Scholarships available for majors, minors, and participants in the band, choir, orchestra, and keyboard areas.

Scholarship Audition Dates November 2, 2019 January 20, 2020 February 15, 2020 February 17, 2020 February 22, 2020

(800) 992-6682 mountunion.edu/music

The Edward E. MacTaggart Department of Music

Become

Schedule auditions for both Music Majors and Non-Music Majors for ensemble participation by calling to set up an individual audition appointment.

A MUSICIAN, AN EDUCATOR, A LEADER

BACHELOR OF MUSIC Music Education Vocal Performance Music Therapy

BACHELOR OF ARTS Music Musical Theatre

DECEMBER 2019/JANUARY 2020

We are Wittenberg.

Make music at a university that cares.

2019-2020 Audition Days Nov. 8, Dec. 6, 2019 | Jan. 20, 24, Feb. 8, 17, 2020 To schedule a scholarship audition, visit www.wittenberg.edu/music/audition. For more information about our music programs and scholarships, contact Dr. Daniel Kazez, dkazez@wittenberg.edu, Professor of Music and Music Audition Coordinator, tel. 937-327-7354 (or 800-677-7558, ext. 7354)

CORPORATE INSTITUTIONAL PARTNERS

LEVEL I - OMEA SPONSOR

Baldwin Wallace University

Ohio University School of Music

275 Eastland Rd., Berea, OH 44017 music@bw.edu www.bw.edu

440 R. Glidden Hall, Athens, OH 45701 kasler@ohio.edu www.finearts.ohio.edu/music

College of Wooster

Soundwaves Recording

Scheide Music Center, Wooster, OH 44691 lwong@wooster.edu www.wooster.edu/departments/music/

4708 Surfside Drive, Huron, OH 44839 dan@soundwaves.org www.soundwaves.org

Heidelberg University School of Music & Theatre

University of Mount Union

310 East Market Street, Tiffin, OH 44883-2462 cdusdiek@heidelberg.edu/ppage@heidelberg.edu www.heidelberg.edu

1972 Clark Avenue, Alliance, OH 44601 miskeljp@mountunion.edu www.mountunion.edu/music

J.W. Pepper

University of Toledo

6330 E. 75th St. Suite 122, Indianapolis, IN 46250 indianapolis@jwpepper.com www.jwpepper.com

2801 W. Bancroft St. MS605, Toledo, OH 43606 utmusic@utoldeo.edu www.utoledo.edu/al/svpa/music

Malone University 2600 Cleveland Ave. NW, Canton, OH 44709 mhaines@malone.edu www.malone.edu/music

DECEMBER 2019/JANUARY 2020

Contributions to Music Education The Juried Journal of the Ohio Music Education Association Scholarly Inquiry into Music Teaching and Learning Since 1972 CME Editorial Office (Craig Resta) Kent State University School of Music Wb: http://contributions.omea-ohio.org Em: contributions@omea-ohio.org Ph: 330-672-4803

CME Business Office (William Wittman) Ohio Music Education Association Wb: http://www.omea-ohio.org Em: business_director@omea-ohio.org Ph: 740-975-3753

Call for Editorial Board Nominations (2020-2024) Contributions to Music Education is a refereed journal published by the Ohio Music Education Association. A primary purpose is to highlight the importance of social science research, as related to progressive music teaching and learning in school contexts. With a history of 45+ years and 435+ articles in 44 volumes, CME has supported scholarly investigation into music education since 1972. The print journal is available in over 45 states in the US, and numerous countries internationally. Digital search and content are distributed through the major academic databases JSTOR, PROQUEST, EBSCO, ERIC, RILM and OML. Published 1-2 times yearly for nearly five decades, CME is currently produced as an annual print and digital double issue.

Contributions to Music Education seeks nominations for regional, national, and international members of the editorial review board. Candidates are selected primarily for recognized expertise in the field of music education and research. Members are seated by May 2020 for a 4-year term, from September 2020 to 2024. Background and Qualifications • Nominees should be current or retired music teacher educators or professors at the collegiate level. • Graduate level teaching experience with an understanding of research writing procotols is preferred. • Nominees should have a record of peer-reviewed research publication in the field of music education. • Prior experience as a member of a journal editorial review board is also useful and preferred. Duties and Responsibilities • Conduct thorough blind reviews of manuscripts submitted to CME for publication consideration. • Return reviews in a timely way, with detailed and helpful feedback to author/s, by the specified date. • Encourage qualified authors to submit research manuscripts to Contributions to Music Education. • Provide input and advice on multiple facets of scholarly evaluation and related protocols at CME. Application and Review • Interested applicants should send a curriculum vitae and one-page letter of background and interest. • Prepare the digital submission as a single PDF, with the cover letter followed by curriculum vitae. • Candidates will be selected by review of the CME Editorial Board, Editor, and Associate Editor. • After materials review and vote, applicants will be notified of results and standing by the CME Editor. Application materials will be accepted from November 1st to December 15th 2019.

Please email dossiers (single PDF with letter and CV), or address questions to –– Dr. Craig Resta, Editor of Contributions to Music Education, at <contributions@omea-ohio.org>.

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PURSUE YOUR PURPOSE

Hugh A. Glauser School of Music

MUSIC STUDY AT KENT STATE

UNDERGRADUATE DEGREES: BACHELOR OF ARTS BACHELOR OF MUSIC BACHELOR OF SCIENCE*

GRADUATE DEGREES:

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: Arts Entrepreneurship Audio Recording* Jazz Studies Music Music Technology* World Music

MASTER OF ARTS MASTER OF MUSIC DOCTOR OF PHILOSOPHY Programs of Study:

Conducting (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 (M.M.) Chamber Music | Collaborative Piano

AUDITIONS, VISITS AND UNDERGRADUATE PROGRAMS

Janine Tiffe and Kishna Davis Fowler Recruitment Coordinators 330-672-2172 | schoolofmusic@kent.edu

SCHOLARSHIPS AND TRANSFERS Dana Brown Assistant to the Director dabrown@kent.edu

GRADUATE PROGRAMS Michael Chunn Graduate Coordinator mchunn@kent.edu

*Offered exclusively at the Kent State Stark Campus.

WWW.KENT.EDU/MUSIC

WE WEARE ARE building your future...one note at a time.

building your future...one note at a time. DEGREES OFFERED • Bachelor of Music Education • Bachelor of Music in Performance • Bachelor of Arts Concentrations in General Studies, Theory and Composition, History and Literature and Jazz Studies • Bachelor of Arts in Music and Business Concentrations in Audio Production, Arts Administration and Music Management

2020 Audition Dates Sat., Jan. 18 | Sat., Feb. 8 Tues., Feb. 18 | Sat., March 21 Contact: Claire Brock, 614.823.1504, cbrock@otterbein.edu

Only Otterbein.

otterbein.edu/music Otterbein is an accredited member of the National Association of Schools of Music (NASM)

DECEMBER 2019/JANUARY 2020

BLUELAKE.ORG

IT STARTS HERE.

2020 PIANO DANCE VISUAL ARTS ORCHESTRA JAZZ BAND THEATER HARP CHOIR

TWO WEEK SESSIONS FOR GRADES 5-12 JUNE - AUGUST 2020

Now accepting applications Scholarships & financial assistance available

fine arts camp

50 | TRIAD BLUE LAKE FINE ARTS CAMP 300 E. CRYSTAL LAKE RD. TWIN LAKE, MI 49457 SINCE 1966 800.221.3796 231.894.1966

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 2019.

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: Roger Hall 8227 Audubon St. NW Massillon, Ohio 44646 DECEMBER 2019/JANUARY 2020

OHIO MUSIC EDUCATION A S S OC I AT I O N

CINCINNATI

2020

PROFESSIONAL DEVELOPMENT QUEEN CITY CONFERENCE JANUARY 30 - FEBRUARY 1, 2020

AN INVITATION TO THE 2020 OMEA PROFESSIONAL DEVELOPMENT “QUEEN CITY” CONFERENCE CINCINNATI, OHIO JANUARY 30TH - FEBRUARY 1ST, 2020

Can you say “collaboration”? The 2020 OMEA PDC is the place to be as we partner with our friends from “The Lion King” and the “Cincinnati Pops Orchestra” at Music Hall. Start planning now to be part of the 2020 PDC anchored in the beautiful Duke Energy Convention Center. Need help convincing your administrator? Check out the “Letter to Administrators” which presents the conference through the lens of the “standards for the teaching profession” (www.omeapdc.com). We are excited to partner with the world-renown “Cincinnati Pops Orchestra”, offering a conducting session from director John Morris Russell and several instrumental technique sessions. You can also attend an open rehearsal of the Pops on Friday morning at Cincinnati’s beautifully remodeled Music Hall. The Pops has also offered discounted tickets for attendees for their Gershwin concert (www.omeapdc.com). Returning for 2020 - the Musical Theatre track (MT) with targeted sessions each day including a fun, interactive session to teach attendees choreography from “The Lion King”. The Aronoff Center has also offered discounted tickets for this show from Wednesday evening through Sunday. Look for the links on the omeapdc website but don’t delay – seating is limited. The Hyatt Regency Hotel (headquarter hotel) is just across the street from the Convention Center and will house All-State Choirs, orchestra performances, research forum, late night jazz events, and more. The Duke Energy Center north wing will be transformed into General Music World, hosting GM sessions in the spacious session rooms with plenty of room for movement. We are pleased to announce the return of the General Music Jump Start sessions on Thursday morning starting at 9:30 AM. We are also excited to present a clinic-concert by “The Louisville Leopard Percussionists” on Friday afternoon. Jump Start has been expanded to include TI:ME sessions and additional offerings – all included free with your registration. These sessions are a result of attendee data indicating a desire to “hit the ground running” on Thursday AM, before the official opening of the PDC. We are also pleased to present over 60 performances from outstanding ensembles of all shapes and sizes - from vocal jazz to full orchestra. NEW for 2020 will be an ensemble stage in the registration area to welcome attendees and guests with live music and the addition of HALL C for Jazz and Choral performances and reading sessions. Over a dozen demo sessions, TI:ME technology sessions, All-State concerts and a variety of networking/social opportunities guarantee another must attend event for Ohio music educators. The SOLD-OUT exhibit hall in the Duke Energy Center will offer the latest and greatest tools and merchandise from our partners in the music industry. The highly popular 30-minute transition time has allowed for improved networking and plenty of time to visit the exhibit hall. Still undecided? Take a tour of this website (www.omeapdc.com) to read clinician spotlights; performing ensemble info; links to preregistration; Instructional-Hour Certificate Program (IHCP); Ashland graduate credit; housing reservations; special function request form; and more. Housing reservations and conference registration are available NOW. 2020 PDC Team Mark Hensler, Director of Professional Development and Conference Management DECEMBER 2019/JANUARY 2020

You are cordially invited...

To attend our Alumni and Friends Reception during the OMEA 2020 Professional Development Conference in Cincinnati, Friday, January 31, 6:15 p.m. Visit The University of Akron School of Music at Booth #421 and attend these special events:

The University of Akron Wind Symphony

School of Music Wind Symphony

Thursday, Jan. 30, 2 - 3 p.m. Duke Energy Center CC Grand BR A Dr. Galen Karriker, conductor

The University of Akron Bassoon A Roo

Friday, Jan. 31, 2 - 3 p.m., Duke Energy CC 263 Cynthia Cioffari, conductor

The University of Akron Concert Choir

Friday, Jan. 31, 3:30 - 4:30 p.m., Hyatt HY ABC Dr. Marie Bucoy-Calavan, conductor

Enhanced Instruction through Efficient Score Study Developing a Practical Score Study Process

Bassoon A Roo

Friday, Jan. 31, 2020, 9:30 - 10:30am, CC 233 Dr. Andrew Feyes, clinician

The Voice at Its Best: Resources to Help Solo Singers Excel Friday, Jan. 31, 2 - 3 p.m., Hyatt HY Buckeye Dr. Laurie Lashbrook, clinician

Steel Band Basics: Performance Techniques for Steel Band at All Levels

Concert Choir

Saturday, Feb. 1, 8 - 9 a.m., CC 260 Matthew Dudack, clinician

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

The University of Akron School of Music The University of Akron

Buchtel College of Arts and Sciences

Dr. Marc Reed, Director 330-972-7590 music@uakron.edu www.uakron.edu/music

Teaching for Independence: Connecting Sight and Sound for Musical Accuracy and Literacy Saturday, Feb. 1, 12:30 - 1:30 p.m., CC 252 Dr. Christine Russell, clinician

HIGH SCHOOL CLINIC WEEK, FEB. 24-27, 2020 Band Clinic

Monday, Feb. 24, E.J. Thomas Hall, 198 Hill St. Guest clinician Dr. Linda Moorhouse, associate director of the School of Music, The University of Illinois, and president of The American Bandmasters Association. Concerts at 3:15 and 6:30 p.m. are free and open to the public.

Orchestra Clinic

Wednesday, Feb. 26, E.J. Thomas Hall Guest conductor Victor Yampolsky, director of orchestras at Northwestern School of Music. Free closing concert at 7:30 p.m.

Invitational Vocal-Choral Festival

Thursday, Feb. 27, E.J. Thomas Hall Guest clinician Dr. Paul Rardin, chair of choral music and the vocal arts department at Temple University. Concerts at 11 a.m. and 3 p.m. are free and open to the public.

Scholarship Auditions

Saturday, Jan. 25, 2020 Saturday, Feb. 8, 2020 Monday, Feb. 17, 2020 Call 330-972-7590 or visit www.uakron.edu/music to sign up!

THE 2020 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE COMMITTEE MARK HENSLER

Director of Professional Development ALL-STATE COORDINATOR

LOGISTICS

Micah Ewing

Dale Nawrocki - On-Site Registration Kaye Nickoloff - Clinician/Presider Check-In Matt Warner - Properties Chair Teresa Cosenza & Tim Niederkorn - Performing Ensemble Coordinators Scott Nave - Conference Photographer

ALL-STATE “ACCEPTD” COORDINATOR Jason Branch

ALL-STATE REGION COORDINATOR Steven Cocchiola

ALL-STATE CHILDREN’S CHORUS CO-CHAIRS

STANDING CHAIRS

Angela Santangelo & Brian Frey

Jay Wardeska - Adjudicated Events Linda Hartley - Higher Education Jesse Leyva - Multicultural Wendi Davis - OCMEA Patricia Grutzmacher - Research Rachael Fleischaker - Teacher Evaluation Lalene Kay - Special Learners Melinda Wallace - Curriculum & Assessment Christina Nawrocki - 25-Year Award Recognition Linda Fox-Miller - Awards Coordinator Karen Smith - Retired Music Educator Chair

ALL-STATE JAZZ ENSEMBLE CO-CHAIRS

ALLIED ORGANIZATIONS

Avious Jackson & Ed Protzman

Myles Bowers - JECO Jarrod Hartzler - OAAE Brandon Moss - OCDA James Bates - OSTA Donna Collins - OAC Lesley Schultz - TI:ME

Sarah Kozlowski & Angela Perrine

ALL-STATE BAND CO-CHAIRS Jim Blankenship & Micah Ewing

ALL-STATE CHOIR CO-CHAIRS Chelsea Hilliard & Rick Hand

ALL-STATE ORCHESTRA CO-CHAIRS

CONTENT CHAIRS Jarrod Hartzler - Advocacy Susan Bass - Band Chamber Ensembles - Jodi Smith Lisa Wong - Choral Sessions Jason McKee - Choral Ensembles BethAnn Hepburn & Julia Kandel - General Music Reid Young - Jazz Andrew Hire - Orchestra Jerry Noble & Chris Tanner - Percussion

OHIO MUSIC EDUCATION A SSO CIAT ION

CINCINNATI

2020

PROFESSIONAL DEVELOPMENT QUEEN CITY CONFERENCE JANUARY 30 - FEBRUARY 1, 2020

DECEMBER 2019/JANUARY 2020

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

Bachelor of Music Education (BME) Bachelor of Arts (BA)

Arts Management & Entrepreneurship Music: Liberal Arts (Academic or Applied)

BELIEVE IN YOUR NEXT NOTE... WE DO. CONSERVATORY Your determination. Our expertise. C ONSERVATORY Together, weâ€™ll transform your passion into purpose of MUSIC and your creative expression into artistry. of MUSIC

Baldwin Wallace University, Berea, Ohio 44017

bw.edu/conservatory

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

PRE-REGISTRATION FORM

2020 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE Cincinnati, Ohio • January 30 - February 1, 2020 TO PRE-REGISTER: 1. 2.

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 10, 2020. Postmarks after this date will not be accepted. • All refund requests must be made in writing. Refunds after January 10, 2020 will be assessed a $15.00 processing fee. • No refunds after January 24, 2020. Online pre-registration is available until midnight, January 17, 2020 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

OMEA MEMBER

___ High School

___ General Music

___ College Faculty

___ Jazz

_______ 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

___ Orchestra

OHIO MUSIC EDUCATION ASSOCIATION

CINCINNATI

2020

PROFESSIONAL DEVELOPMENT QUEEN CITY CONFERENCE JANUARY 30 - FEBRUARY 1, 2020

_______ 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 website) to their LPDC for approval PRIOR to attending the PDC. Participants will receive a 10-hour instructional certificate that may be converted into 1 CEU (this is not for college credit.) OMEA does not issue certificates of attendance.

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

Family member: ________________________________________________

RETIRED OMEA MEMBER

Family member: ________________________________________________

_______ No Charge

_______ Total # Attending Retired Music Educators Breakfast on Friday Morning

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

2020 OMEA Professional Development Conference

EXHIBIT HALL VISITATION HOURS Duke Energy Convention Center - Cincinnati Exhibit Hall A Thursday - January 31 - 1:00 pm to 6:00 pm Friday - February 1 - 9:00 am to 5:00 pm Saturday - February 2 - 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 everyoneâ€™s best interest for attendees to interact with this supportive body. It is a win-win!

N H S I N GI G SIG T

pieces for sight-singing contest positions EA M O al tu ac e th se Now you can purcha d by Dr. C. M. Shearer. These quality com OMEA se po m co nforms to r, 2000 and late practice. The music co pieces are truly g in ild bu illsk ive ns te more, these are perfect for in and skill levels. Whatâ€™s ances. p, ou gr e, ag r fo es in rform guidel be used for concer t pe musical and can even l measure opriate and include al complete pr ap e iag rb ve d an , here for a Texts are age, meter kings. Ever ything is ar m with n sio es pr ex d to a first-division rating ts numbers an en ud st ur yo ke Ta rience. musical learning expe positions available! m co the finest practice est music oral sight-reading cont ch n tio cia so As n io at The Ohio Music Educ m ailable for purchase fro for 2000 and later is av CMS PUBLICATIONS

3136 Englewood Dr. 4 Silver Lake, OH, 4422 re: To order, please click he

www.cmspublications.com

| TRIAD

HOUSING FORM

2020 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE Cincinnati, Ohio • January 30 - February 1, 2020 RESERVATIONS CAN BE MADE BY CHOOSING ONE OF THE FOLLOWING OPTIONS:

HOTEL RATES Single

Double

Triple

Quad

Hilton Cincinnati

$165

$175

Hyatt Regency

$165

$184

The Cincinnatian

$139

Homewood Suites

$139

2.) FAX: 513-621-2156 - Do not mail after faxing.

Westin Cincinnati

$135

3.) MAIL: Send a completed form (one copy per room) to: OMEA Housing Bureau 525 Vine Street, #1200 Cincinnati, OH 45202 4.) QUESTIONS? EMAIL: Housing@CincyUSA.com

Hampton Inn & Suites

$129

All reservations require a credit card. No checks will be accepted. Credit cards expiring 02/20 and earlier are not valid and will not be processed.

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

DEADLINE FOR SPECIAL RATES IS JANUARY 7, 2020. • • • • • •

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 7, 2020, rooms and rates are based on availability.

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

Name: �� Address: �� City: �� State: �� Zip: �� Phone: �� Fax: �� Email Address: ��

Hotel

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

HOTEL PREFERENCE: 1. �� 2. �� 3. �� Arrival Date: �� Departure Date: �� List Names of all occupants (List all occupants' arrival and departure dates if different.)

��

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

RESERVATION DEPOSIT:

* Room type preferences and special requests cannot be guaranteed.

All hotels require a credit card for guarantee. Requests received without credit card information will not be processed. Please fill out the credit card information entirely. Credit cards must be valid through February 2020 in order to be considered a proper guarantee.

CHANGES/CANCELLATIONS:

 

Do not contact the hotels directly until January 10, 2020. The hotels will be processing the reservations into their systems on January 8 and 9.

American Express Visa

 

Master Card Discover

Continue to use the OMEA Housing Bureau for all changes or cancellations through January 7, 2020 (4:00 p.m. EST) via internet, fax, email, or mail. After January 7, 2020, all new reservations, changes, and cancellations must go through the hotel.

OHIO MUSIC EDUCATION AS S O CI AT I O N

Card #  Exp. 

/ 

Name: �� Signature: ��

CINCINNATI

2020

PROFESSIONAL DEVELOPMENT QUEEN CITY CONFERENCE JANUARY 30 - FEBRUARY 1, 2020

OHIO NORTHERN UNIVERSITY

DEPARTMENT OF MUSIC Fully accredited by the National Association of Schools of Music

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Offering the following degree programs: • Bachelor of Music in Music Education • Bachelor of Arts in Music with concentrations in Sound Recording & Technology, Music Theory & Composition, Music History & Literature, or Applied Studies • Music Minor • Outstanding opportunities for double majors

fnd auditi o

2020 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE January 30 to February 1, 2019, Cincinnati, Ohio • Duke Energy Center of Cincinnati Exhibitors as of November 22, 2019 and subject to change. Akron, The University of Alfred Music All-Ohio State Fair Youth Choir & Band American School Band Directors Association Ashland University Baldwin Wallace University Ball State University School of Music Barbershop Harmony Society Baroque Violin Shop Best Music Publications Beyond The Classroom Tour & Travel Blue Lake Fine Arts Camp Bluffton University Bob Rogers Travel Bowling Green State University Breezin’ Thru Inc. Brightspark Travel Buddy Roger’s Music Buffet Crampon C&G Tours Capital University Conservatory of Music Case Western Reserve University Cedar Point - Kings Island Century Resources, LLC CG3 Battery Fundraising, T A Benedik, LLC Cleveland State University College of Wooster Columbus Pro Percussion Concordia University Ann Arbor, MI Conn-Selmer, Inc. Cousin’s Concert Attire Crowne Excellence Custom Fundraising Solutions Daybreak Music DeMoulin Brothers & Company Eastern Michigan University School of Music & Dance Eastman Educational Theatre Association Educational Tours, Inc. Educational Travel Adventures Festivals of Music/Music in the Parks Foundation for the Advancement of String Education

Fox Products Corporation Fred J. Miller Inc. Germantown Violin Company GIA Publications, Inc. Great Day! Tours & Charter Bus Service Green Horn Project, The Guardian Music and Group Travel Hal Leonard Hang Ups Jewelry Designs Heidelberg University School of Music & Theatre International Trumpet Guild J.W. Pepper Inc. Jazz Education Connection of Ohio/ Columbus Jazz Arts Group Jupiter/Mapex/Majestic Kent State University Kincaid’s Is Music, Inc. Kjos Make Me Dough Make Music, Inc. Malone University Marietta College Mercyhurst University Miami University Music Dept. Mount St. Joseph University Mount Vernon Nazarene University Murphy Robes/Herff Jones Music & Arts Music Filing Solutions Music First Music for All Music is Elementary, Inc. Music Travel Consultants Musical Gifts and Treasurers by Costume Holiday House Musical Resources Musicians Repair Service Muskingum University National Association for Music Education Noteworthy Tours, Inc. Oboe Chicago, Inc. Ohio Foundation for Music Education Ohio Northern University Ohio State University School of Music, The Ohio University School of Music

Ohio Wesleyan University Otterbein University Pageantry Innovations, LLC. Pearl Corporation Pee-Jay’s Fresh Fruit Pellegrino Music Center Peripole, Inc. Peruchia LLC dba The Tuba Exchange QuaverMusic.com Rettig Music, Inc. Rock & Roll Hall of Fame Royalton Music Center Slippery Rock University Solich Piano and Music Company Stanbury Uniforms, Inc. Stanton’s Sheet Music State University of New York at Fredonia School of Music Stoller Fundraising String Play for All String Riffs Summit Tour & Travel, Inc. Super Holiday Tours Tiffin University TpT Music Crew United States Marine Bands University of Cincinnati University of Dayton University of Mount Union University of Toledo, The UR Tours and Events US Army Bands West Music Company Willis Music Wittenberg University Wright State University School of Music Xavier University Yamaha Corporation of America Yankee Candle Fund Raising Yankee Fundraising LLC Youngstown State University Dana School of Music

DECEMBER 2019/JANUARY 2020

OHIO MUSIC EDUCATION ASSOCIATION

CINCINNATI

2020

PROFESSIONAL DEVELOPMENT QUEEN CITY CONFERENCE JANUARY 30 - FEBRUARY 1, 2020

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 88th anniversary in 2020, 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 teachers. The 2020 OMEA Professional Development Conference (PDC) will be held in Cincinnati, from January 30 to February 1 at the Duke Energy Convention Center and nearby hotel properties. 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. In addition, over 40 performing ensembles will present concerts showcasing the talents of Ohio’s students. 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 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 updates and details regarding the conference. This website provides information about registration, housing and parking, contact hours and graduate credit, as well as lists of performing ensembles and presenters. To access the complete conference schedule, 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 checkout 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 a typical conference, viewed through the lens of the Ohio Standards for the Teaching Profession. 60

| TRIAD

OHIO MUSIC EDUCATION ASSOCIATION

CINCINNATI

2020

PROFESSIONAL DEVELOPMENT QUEEN CITY CONFERENCE JANUARY 30 - FEBRUARY 1, 2020

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 take responsibility for engaging in purposeful professional development and positively impact the teaching quality, improvements and student achievement in their school.

DECEMBER 2019/JANUARY 2020

OHIO MUSIC EDUCATION A S S OC I AT ION

CINCINNATI

2020

PROFESSIONAL DEVELOPMENT QUEEN CITY CONFERENCE

OHIO MUSIC EDUCATION ASSOCIATION 2020 25-YEAR AWARD FORM

JANUARY 30 - FEBRUARY 1, 2020

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 3, 2020. 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 3, 2020 to:

Christy Nawrocki • 4698 Clayburn Dr. E., Grove City, OH 43123 Email: ChristyLNawrocki@yahoo.com 5. Awards will be made at the 2020 OMEA Professional Development Conference in Cincinnati, Ohio. 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 1, 2020. ______ No, I will not attend the awards Ceremony and Reception Luncheon on Saturday, February 1, 2020.

| TRIAD

DECEMBER 2019/JANUARY 2020

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OMEA GRADUATE RESEARCH FORUM THURSDAY, JANUARY 30, 2020 9:30 A.M. – 3:30 P.M. HYATT HOTEL - FINDLAY’S ROOM FEATURED SPEAKER: DR. RUTH BRITTIN, PROFESSOR AND COORDINATOR OF MUSIC EDUCATION AT THE UNIVERSITY OF THE PACIFIC IN STOCKTON, CA

Ruth Brittin is Professor and Coordinator of Music Education at University of the Pacific in Stockton, California. She teaches graduate and undergraduate courses to music education majors and graduate courses to music education and music therapy students. Dr. Brittin moved to Pacific in 1997 after eight years as Chair of Music Education at Syracuse University. Ruth’s teaching and research interests span instrumental music and elementary general music. Ruth has served on the editorial review board of Journal of Research in Music Education, was editor of Update: Applications of Research in Music Education for 12 years, and editor of International Journal of Music Education for the International Society for Music Education (ISME) for six years. She reviews regularly for journals such as Psychology of Music and Research Studies in Music Education and represents the USA for the ISME Research Commission. Many of Ruth’s studies involve music preference and perception, including topics ranging from cultural perceptions in music to how children can learn about the Holocaust through music education to rehearsal techniques and repertoire choices. She has brought her research expertise and perspective to graduate programs across the country as an invited speaker. She hails from Texas (Texas Tech University), taught in the Dallas metroplex, and received her PhD in Music Education at Florida State University. Ruth has engaged in a wide array of music education outlets. She has written the teacher manuals for The Yamaha Advantage, a band method book published by Carl Fischer, is an active clinician, adjudicator, and performer with wind ensembles, orchestras, and chamber music, has composed music for band and children’s choirs, has been a Suzuki mom for over 20 years, is engaged in approaches such as The O’Connor Method and Little Kids Rock with her students, and has taught and studied music education settings as diverse as jazz, bluegrass, and El Sistema. SCHEDULE 9:30 a.m. 10:00 a.m.

Continental Breakfast Dr. Ruth Brittin - Understanding and Exploring a World of Research in Music Education

Researchers in music education are active across the globe, and this session explores issues of reading, conducting, and disseminating research with an international perspective. How is music education similar and different across the world? How do researchers in different countries and cultures focus on music education? Are research priorities and approaches similar or different from those in the USA? What are some of the logistical considerations when collaborating or corresponding with scholars from other places or with divergent perspectives? This session includes examples of productive and inspiring research available through international music education organizations such as ISME. Noon Lunch break 1:30– 3:30 p.m. Graduate Research Roundtable Welcome to all preK-12 and collegiate educators, 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 contacting Dr. Pat Grutzmacher at pgrutzma@kent.edu by Monday, January 27, 2020. DECEMBER 2019/JANUARY 2020

PUBLICATION SCHEDULE

TRIAD ISSUE October/November 2019 December ‘19/January ‘20 April/May 2020

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

DEADLINE DATE* August 5, 2019 October 1, 2019 February 10, 2020

POSTING DATE** October 7, 2019 December 2, 2019 April 6, 2020

*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: Terri Brown Lenzo • editor_of_triad@omea-ohio.org DESIGN/PRODUCTION: Amy Annico • 440-941-4269 • media_director@omea-ohio.org ADVERTISING: Bill Wittman • 740-975-3753 • business_director@omea-ohio.org

ADVERTISERS/WEBSITES Akron, The University of.................................................................................................................................................................................................................52 Baldwin Wallace University............................................................................................................................................................................................................54 Blue Lake Fine Arts Camp.....................................................................................................................................................................................................................................................................48 Bowling Green State University.......................................................................................................................................................................................................7 Case Western Reserve University..................................................................................................................................................................................................32 CMS Publications.....................................................................................................................................................................................................................................................................................56 Contributions to Music Education....................................................................................................................................................................................................................................................... 5 College of Wooster..........................................................................................................................................................................................................................37 Heidelberg University School of Music & Theatre......................................................................................................................................................................13 Kent State University.......................................................................................................................................................................................................................47 Malone University.............................................................................................................................................................................................................................36 Marietta College.............................................................................................................................................................................................................................. 43 Miami University Music Dept........................................................................................................................................................................................................... 17 Musicians Repair Service.....................................................................................................................................................................................................................................................................64 Muskingum University...................................................................................................................................................................................................................... 21 Noteworthy Tours, Inc.....................................................................................................................................................................................................................50 Ohio Arts Council...................................................................................................................................................................................................................................................................................... 9 Ohio Northern University.................................................................................................................................................................................................................58 Ohio State University School of Music, The..................................................................................................................................................................................8 Ohio Wesleyan University Music Camp.........................................................................................................................................................................................13 Otterbein University.........................................................................................................................................................................................................................47 Rettig Music, Inc............................................................................................................................................................................................................................. IFC Royalton Music Center......................................................................................................................................................................................................................29 Stanton’s Sheet Music............................................................................................................................................................................................................................................................................ 63 Summit Tour & Travel, Inc................................................................................................................................................................................................................................................................... 25 University of Dayton........................................................................................................................................................................................................................33 University of Mount Union.............................................................................................................................................................................................................. 43 West Music Company.......................................................................................................................................................................................................................28 Wittenberg University...........................................................................................................................................................................................................................................................................44 Yamaha Corporation of America..................................................................................................................................................................................................IBC * Bold signifies a Corporate/Institutional Partner

OCTOBER/NOV EMBER 2019 | 85

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