ISSUE TWO
TRIAD D E C E M B E R 2 0 2 0 / J A N U A RY 2 0 2 1
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TABLE OF
C O N T E N TS 4
FROM THE EDITOR: Dr. Terri Brown Lenzo
8
FROM THE PRESIDENT: Dr. Ann Usher
FEATURE ARTICLE
18
PROVIDING EMOTIONAL SUPPORT FOR STUDENTS DURING A PANDEMIC:
AN INTERVIEW WITH A COUNSELING PROFESSIONAL - Heather Marsh
MASTERING THE CRAFT
22
CULTURALLY RESPONSIVE EDUCATION - Tai Knoll
28
TECHNOLOGIES FOR REMOTE TEACHING AND LEARNING - Dr. Darren LeBeau & Dr. Kate Ferguson
34
TIDYING UP YOUR EARLY CHILDHOOD REPERTOIRE LIST - Dr. Lisa Huisman Koops
38
EARLY CHILDHOOD MUSIC EDUCATION:
A POSITION STATEMENT OF THE NATIONAL ASSOCIATION FOR MUSIC EDUCATION
43
TEACHING EARLY CHILDHOOD MUSIC IN THE TIME OF COVID-19
REPORTS, REVIEWS & UPDATES
45
2021 WINTER VPDC: VIRTUAL PROFESSIONAL DEVELOPMENT “CONNECTION” - Mark Hensler
49
2021 WINTER VPDC: VIRTUAL EXHIBITOR PARTICIPANTS
51
NEWS YOU CAN USE FROM THE OHIO ARTS COUNCIL - Jarred Small
53
OCDA PROFESSIONAL ASSOCIATION REPORT - Brandon L. Moss
55
TRI-M: SHARING PASSION FOR MUSIC WITH THE COMMUNITY - Justin Caithaml
57
HIGHER EDUCATION - KENT STATE UNIVERSITY
11
CORPORATE INSTITUTIONAL PARTNERS
16
OHIO FOUNDATION FOR MUSIC EDUCATION SUPPORT FORM
58
PUBLICATION SCHEDULE & ADVERTISING INDEX
TRIAD, the Official Publication of the Ohio Music Education Association, is written for music educators, college students preparing for a career in music education, and others who are interested in music education in both general and specialized areas. TRIAD is now a digital publication that can be found online at www.omea-ohio.org three times a year - with Oct/ Nov, Dec/Jan, and April/May issues. All news releases should be sent to the editor. All news releases received by the editor will be considered on the basis of news, value, and timeliness to the music education profession in the state of Ohio. All advertising space and business inquiries should be directed to the OMEA Director of Business. An Insertion Order or a Space Reservation Form must be submitted for ads to be printed. TRIAD reserves the right to reject any advertisement. The statements of article authors and/or advertisers are not necessarily those of the magazine or association, and the right to refuse any article/advertisement is reserved. OMEA is not responsible for the URL linking in this publication in terms of destinations or operation. All links are tested in advance for validity to intended sources, but potential distortions may occur beyond the control of OMEA and/or the URL link source. OhioMEA Online Publication Policy on Post-Publication Changes - The Ohio Music Education Association places the highest importance in the integrity of our publications posted online. We realize that despite the competent efforts of the editor, authors, contributors, advertisers, and OMEA staff, posted content may have errors or desired alterations identified after the proofing process is completed. Once a publication is posted online, it will be considered as ‘final’ and no further changes, updates, or corrections will be made. The electronic archiving of our publications for official record is taken seriously and all online publications should be considered equitable to print venues, without alterable possibilities once posted for public viewing.
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INFORMATION
N E T WO R K EDITOR: DR. TERRI BROWN LENZO
OMEA OFFICE P.O. BOX 1067 Massillon, OH 44648 330.833.5677 - Office www.omea-ohio.org
editor_of_triad@omea-ohio.org
DESIGN/PRODUCTION: AMY ANNICO Director of Media and Publications media_director@omea-ohio.org
ROGER A. HALL Executive Director executive_director@omea-ohio.org
ADVERTISING: BILL WITTMAN
Director of Business & Trade Show Operations business_director@omea-ohio.org
BILL WITTMAN Director of Business & Trade Show Operations business_director@omea-ohio.org
TRIAD VOL. LXXXVIII, NO. 2
TRIAD EDITORIAL BOARD Immediate Past Editor - Eric West Band - Heather Marsh Culturally Responsive Education - Dr. Lisa Wong Orchestra/Strings - Roberto Iriarte Student Assessment - Dr. Lisa Martin Teacher Education - Dr. Heather Russell Technology - Brian Laasko
AMY L. ANNICO 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 THOMAS Director of Adjudications adjudications_director@omea-ohio.org DANE NEWLOVE Director of Adjudicated Event Materials and Awards ae_materials_director@omea-ohio.org OMEA is an Affiliate of NAfME National Association for Music Education www.nafme.org Allied Organizations of OMEA: Ohio Alliance for Arts Education www.oaae.net Ohio Arts Council www.oac.state.oh.us Ohio Choral Directors Association www.ohiocda.org Ohio String Teachers Association www.ohiostringteachers.org Jazz Education Connection of Ohio www.jecohio.org
OMEA TRUSTEES DR. ANN USHER President president@omea-ohio.org
OCMEA OFFICERS VIKTORIA STRAKA OCMEA President ocmea_president@omea-ohio.org
DANIEL RUCKMAN President-Elect president_elect@omea-ohio.org
RACHEL KRUEGER OCMEA President-Elect ocmea_president_elect@omea-ohio.org
KATHLEEN MCGRADY Immediate Past-President past_president@omea-ohio.org
KATIE JOHNSON OCMEA Secretary ocmea_secretary@omea-ohio.org
ROBERT ANTONUCCI Secretary secretary@omea-ohio.org
JACOB BUTZIN Membership Chair jbutzin12@icloud.com
DR. TERRI BROWN LENZO Editor of TRIAD editor_of_triad@omea-ohio.org
TAI KNOLL Communications Director tlknoll@bgsu.edu
MICHAEL KELLY Treasurer treasurer@omea-ohio.org
OCMEA STATE ADVISER WENDI BECHTOL-DAVIS davis@cory-rawson.org
DECEMBER 2020/JANUARY 2021 | 3
F RO M T H E E D I TO R Dear Readers: Welcome to another informative issue of TRIAD! Please consider corresponding with the authors to initiate a conversation about their topics or to thank them for their work. A preview: FEATURE ARTICLE “Providing Emotional Support for Students During a Pandemic: An Interview with a Counseling Professional” contains strategies obtained from an interview of Tara Hagan, LPCC, by author Heather Marsh. RESOURCES FOR EARLY CHILDHOOD MUSIC EDUCATION Several resources for early childhood (birth – age nine) music education are included in this issue. Dr. Lisa Huisman Koops has provided guidance that teachers can use when examining and maintaining their repertoire lists: “Tidying Up Your Early Childhood Repertoire List.” PREK MUSIC EDUCATION STANDARDS While the State of Ohio does not currently provide preschool or prekindergarten music education standards, you can refer to the NATIONAL ARTS STANDARDS. 4 | TRIAD
WORLD MUSIC PEDAGOGY (WMP)— A PATHWAY TO CULTURALLY RESPONSIVE EDUCATION Tai Knoll studied in Morocco, then developed a curriculum based on her experiences. See “Exploring Moroccan Music Through Experiential Learning.” Previous TRIAD articles regarding WMP include Robbins (Spring, 2020) and Lenzo (Fall, 2017). You may also refer to the Routledge Music Pedagogy Series for seven volumes addressing WMP: Early Childhood Education, Elementary Music Education, Secondary School Innovations, Instrumental Music Education, Choral Music Education, School-Community Intersections, and Teaching World Music in Higher Education. TECHNOLOGIES: Dr. Darren LeBeau and Dr. Kate Ferguson have compiled an extensive list of technologies that can be used by teachers working in all music education domains. SEEKING NEW DIRECTIONS? NEED A VISION FOR THE FUTURE? The Ohio Choral Directors Association has numerous resources available. Read the report by President Brandon Moss.
OHIO NORTHERN UNIVERSITY
PROGRAMS IN 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 • Bachelor of Fine Arts in Musical Theatre • Arts Administration Minor with ample internship offerings • Music Minor • Outstanding opportunities for double majors
Terri Brown Lenzo, Ph.D., is an assistant professor of music education at Ohio Northern University. She holds degrees from The University of Cincinnati College-Conservatory of Music, The University of Iowa, and Kent State University. Dr. Lenzo has 26 years of experience teaching PK –12 students, having worked as a 5-12 band director and as a WHAT PERCENTAGE OF OHIO’S K-12 general music teacher in public and private schools STUDENT POPULATION IS ENROLLED IN and in entrepreneurial settings. Her research MUSIC COURSES? I think you’ll appreciate this statistic! Read interests include early childhood music education, “News You Can Use from The Ohio Arts Council” use of Orff Schulwerk in band settings, and music by Arts Learning Coordinator Jarred Small and integration by classroom teachers. learn where to find additional data. HOW CAN TRI-M MUSIC HONOR SOCIETY BENEFIT YOUR STUDENTS? Read “Tri-M: Sharing Passion for Music with the Community” written by State Tri-M Adviser Justin Caithaml.
Enjoy, and be well! Terri Brown Lenzo, Ph.D. Editor of TRIAD
YOUNGSTOWN STATE UNIVERSITY DANA SCHOOL OF MUSIC
AUDITION DATES* SATURDAY, JANUARY 23, 2021 SATURDAY, FEBRUARY 20, 2021 SATURDAY, FEBRUARY 27, 2021 *We are currently planning on hosting virtual auditions. The Dana School of Music offers degrees in performance, composition, music education, and music recording, all through the guidance of our world-class faculty and 150-year tradition of musical excellence.
QUESTIONS:
330.941.2346 ysu.edu/music Y O U N G S T O W N S TAT E U N I V E R S I T Y
Cliffe College of Creative Arts
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F RO M T H E P R ES I D E N T Welcome to the winter edition of TRIAD. What a fall this has been! I hope you are staying physically and emotionally healthy during these difficult days. We can only hope that a vaccine for the COVID-19 virus will soon be widely distributed so that we can all get back to making music together in person by next fall. In the meantime, we’ve got masks and bell covers, hand sanitizer, social distancing, and virtual interactions when we crave personal connections. Throughout it all, music educators across the state are doing amazing things to keep our students at all levels engaged in music education. December may bring us updates to the Colorado study into the aerosol transmission of COVID-19 by wind instrumentalists, vocalists, and actors. I encourage you to regularly visit the NFHS website at:https://www.nfhs.org/articles/unprecedentedinternational-coalition-led-by-performing-artsorganizations-to-commission-covid-19-study/, along with their FAQ page. If you’re a Twitter user, follow Dr. Shelly Miller, one of the lead researchers for this study at @ShellyMBoulder–she regularly posts valuable information which can help us all stay safe in our classrooms. We are looking forward to the winter OMEA Virtual Professional Development Conference February 4-6, 2021. Over 45 prerecorded sessions will be released Thursday morning for on-demand viewing and 20+ 8 | TRIAD
live sessions will take place on Saturday. Concert sessions of selected performing ensembles will be available to watch during the conference only. Be sure to check out all of the offerings in the Guidebook app and tune in! OMEA staff Mark Hensler, Bill Wittman, and Amy Annico, along with Executive Director Roger Hall, have worked tirelessly to provide this wonderful event, and we thank them for their efforts. Bill Thomas, Greg Taylor, Jay Wardeska, and the Adjudicated Events Committee have also worked very hard to provide virtual solo and ensemble opportunities for our students both this fall and in the spring. If you did not get the chance to participate with your students in November, please consider submitting videos for the March event. The new Flex Class may be just the opportunity you’re looking for under these unusual circumstances. Watch the OMEA website and your emails for details on Large Group Adjudicated Events in April/May. As the holidays and winter break approach, I hope you can invest in some self-care along with rest and relaxation. No matter if you are a first-year teacher or a seasoned veteran, every educator has struggled this year to adjust to the limitations imposed by the pandemic, our own stress and anxiety as well as our students’, and the loss of the community of musicmaking, even if you’ve been able to teach in person. This is trauma. This is hard. We are all doing the
You are cordially invited... To attend our Virtual Alumni and Friends Reception during the OMEA 2021 Virtual Professional Development Conference on Friday, February 5.
School of Music
For details, please visit uakron.edu/omea • Register for the reception • Access the School of Music’s “virtual booth” • Find special events, including: From Beginning to Blend: A practical approach to beginning low brass success Dr. Elisabeth Shafer and Dr. Christopher Blaha, clinicians.
Lunaris Graduate Woodwind Quintet
• Outstanding programs, ensembles, and facilities • Numerous performance opportunities • Masterclasses and residencies by acclaimed guest artists • Affordable tuition and generous scholarships • Internationally renowned faculty-musicians
DEGREE PROGRAMS Bachelor of Music (B.M.) • Music Education • Performance • Accompanying
• Theory/Composition • Jazz Studies
Bachelor of Arts in Music (B.A. in Music) Bachelor of Arts in Music with Business Cognate Master of Music (M.M.)
Meet Zippy! Friday, Feb. 5 during the Alumni and Friends Reception, and add the School of Music’s new social media picture frame to your photo. Find us on Facebook: The University of Akron School of Music
Scholarship Auditions Monday, Feb. 15, 2021 Saturday, Feb. 20, 2021 Friday, March 5, 2021 By appointment
In person or virtual auditions available. Call 330-972-7590 or visit uakron.edu/music for more information.
The University of Akron School of Music Dr. Marc Reed, Director 330-972-7590 • music@uakron.edu www.uakron.edu/music
The University of Akron is an Equal Education and Employment Institution www.uakron.edu/eeo ©2021 The University of Akron
The University of Akron
Buchtel College of Arts and Sciences
best we can, and some days that does not feel like it is nearly enough, but it is. Celebrate your successes, reach out to a friend to talk, bake another load of bread, or maybe plan one more Zoom happy hour. We must believe that this will pass, and while we know things will likely never be exactly the same, music education will remain alive and well. Remember, together we are stronger!
Ann Usher is the associate dean for the Arts and Humanities Divisions of Buchtel College of Arts and Sciences and professor of music at The University of Akron in Akron, OH, where she teaches graduate and undergraduate courses, supervises student teachers, and coordinates the music education program. She has served OMEA in many capacities, including district president, conference co-chair, on the AE Committee from 1999-2013, and as the inaugural director of the All-State Children’s Chorus in 2014. Dr. Usher recently retired after her twentieth season as director of the Cleveland Orchestra Children’s Chorus. Active as a clinician and adjudicator, she holds a bachelor of music education degree from the University of Northern Iowa, as well as a master of music degree in choral conducting and a doctorate in music education from Kent State University.
BRIAN MEYERS, EDITOR (CONTRIBUTIONS@OMEA-OHIO.ORG)
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!
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CORPORATE INSTITUTIONAL PARTNERS LEVEL III PRESIDENT’S CLUB In these challenging times the Ohio Music Education Association truly appreciates the support of those organizations, listed below, who have become Corporate or Institutional Partners in our efforts to support Music Education throughout Ohio. The OMEA Corporate/Institution Logo may be displayed for the purpose of identification as an Ohio MEA Corporate Partner.
Alfred Music
Peripole, Inc.
P.O. Box 10003 Van Nuy, CA 91410-0003 http://www.alfred.com/
PO Box 12909 Salem, OR 97309 https://www.peripole.com
Bob Rogers Travel
Quaver Music
3440 Lacrosse Lane Naperville, IL 60564 http://www.bobrogerstravel.com
65 Music Square W Nashville, TN 37203 http://www.QuaverMusic.com
Bowling Green State University
Royalton Music Center
College of Musical Arts Moore Musical Arts Center Bowling Green, OH 43403 http://www.bgsu.edu/music
10167 Royalton Road Unit A North Royalton, OH 44133 http://www.royaltonmusic.com
Make Music, Inc.
1315 Boardman-Canfield Road Boardman, OH44512 http://www.solichmusic.com
7007 Winchester Circle #140 Boulder, CO 80301 http://makemusic.com
Noteworthy Tours, Inc. 231 West Washington Row Sandusky, OH 44870 http://www.noteworthytours.com
Ohio State University School of Music, The 110 Weigel Hall, 1866 College Rd. Columbus, OH 43210 http://music.osu.edu
Solich Piano and Music Company
Wenger Corporation 555 Park Drive Owatonna, MN 55060 http://www.wengercorp.com
Yamaha 6600 Orangethorpe Avenue Buena Park, CA 90620 http://www.usa.yamaha.com
DECEMBER 2020/JANUARY 2021 | 11
CORPORATE INSTITUTIONAL PARTNERS LEVEL II OMEA PATRON In these challenging times the Ohio Music Education Association truly appreciates the support of those organizations, listed below, who have become Corporate or Institutional Partners in our efforts to support Music Education throughout Ohio. The OMEA Corporate/Institution Logo may be displayed for the purpose of identification as an Ohio MEA Corporate Partner.
Akron, The University of
Fred J. Miller Inc.
School of Music, Guzzetta Hall 260 Akron, OH 44325-1002 http://www.uakron.edu/music
8765 Washington Church Rd Miamisburg, OH 45342 http://www.fjminc.com
Ashland University
Kent State University
401 College Avenue Ashland, OH 44805 http://www.ashland.edu/music
1325 Theatre Drive Kent, OH 44242-0001 http://www.kent.edu/music
Bluffton University
Miami University Department of Music
1 University Dr., #58 Bluffton, OH 45817 http://www.bluffton.edu/music
501 S. Patterson Ave, 109 Presser Hall Oxford, OH 45056
Capital University
Muskingum University
One College and Main Columbus, OH 43209 http://.capital.edu/Conservatory/
10 College Drive, P.O. Box 1837 New Concord, OH 43762 http://www.muskingum.edu/music
Case Western Reserve University
Ohio Northern University
10900 Euclid Ave. - 201 Haydn Hall Cleveland, OH44106-7105 http://music.case.edu
525 South Main Street Ada, OH 45810
Educational Tours, inc.
Otterbein University Department of Music
PO Box 257 Holt, MI 48842 http://www.tours-eti.com
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http://miamioh.edu/cca/academics/departments/music/
https://www.onu.edu/academics/music-education
1 South Grove St. Westerville, OH 43081 http://www.otterbein.edu/music
CORPORATE INSTITUTIONAL PARTNERS LEVEL II OMEA PATRON University of Toledo, The
Youngstown State University
Dept. of Music MS 605 2801 W. Bancroft St. Toledo, OH 43606-3390 http://www.utoledo.edu/al/svpa/music
Dana School of Music One University Plaza Youngstown, OH 44555 http://www.ysu.edu/dana
Wittenberg University 632 Woodlawn Ave. Springfield, OH 45504 http://www5.wittenberg.edu/academics/ music.html
CORPORATE INSTITUTIONAL PARTNERS LEVEL I OMEA SPONSOR College of Wooster
Malone University
Scheide Music Center Wooster, OH 44691 https://www.wooster.edu/departments/music/
2600 Cleveland Ave. NW Canton, OH 44709 http://www.malone.edu/music
Heidelberg University School of Music & Theatre
University of Mount Union
310 East Market Street Tiffin, OH 44883 http://www.heidelberg.edu
1972 Clark Avenue Alliance, OH 44601 http://www.mountunion.edu/music
J.W. Pepper Inc. 6330 E 75th Street, Suite 122 Indianapolis, IN 46250 http://www.jwpepper.com
DECEMBER 2020/JANUARY 2021 | 13
Congratulations to our noteworthy ensembles The Ohio State University Chorale • Symphony Orchestra Trombone Ensemble • Wind Symphony
UNDERGRADUATE AUDITION DAYS for the 2021–2022 academic year Saturday, Dec. 5, 2020 Saturday, Jan. 23, 2021 Saturday, Feb. 13, 2021 Watch music.osu.edu for Spring and Summer Outreach Program updates
Enjoy their performances as part of the virtual Professional Development Conference, February 2021
SCHOOL OF MUSIC music.osu.edu
Fully digital, totally interactive, flexible music program. Grades PK–8
PK–8 music program, is updated with more songs, more activities, test bank questions, and more great content accessible on the Savvas Realize™ platform.
To learn more about programs for Ohio, reach out to:
emily.white@Savvas.com 14 | TRIAD
Savvas.com 800-848-9500
Copyright © 2020 Savvas Learning Company LLC All Rights Reserved. Savvas™ and Savvas Learning Company™ are the exclusive trademarks of Savvas Learning Company LLC in the US and in other countries.
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interactive MUSIC, a fully digital
owu.edu/PerformingArts
global PERSPECTIVE. individualized attention. Major Programs
Ensembles and Opportunities
Theatre Theatre Education Music Music Education
Improv Comedy Chamber Ensembles Choral Arts Jazz Ensemble Marching Bishops
Minors Music Performance Composition Dance Theatre
Musical Theatre & Opera Workshop NY Arts Program Orchestra Symphonic Wind Ensemble Theatrical Productions
Events OWU Honor Ensemble Festival for Band, Choir, and Orchestra (February 13, 2021) Spring Theatre Production: Twelfth Night, 2020 (late April 2021) OWU Summer Music Camp (June 27 - July 2, 2021)
2021 Audition Dates for Music, Theatre, and Dance: February 6, 15, 28. Scholarships are available for prospective majors and minors who audition onsite or remotely. owu.edu/PerformingArts
Support the Mission of the Ohio Music Education Association with a donation to the Ohio Foundation for Music Education.
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 2020.
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
Send this completed form with check to: Ohio Foundation for Music Education Attn: Roger Hall, Executive Director 8227 Audubon St. NW Massillon, Ohio 44646
18 | TRIAD
FEATURE ARTICLE
PROVIDING EMOTIONAL SUPPORT FOR STUDENTS DURING A PANDEMIC: AN INTERVIEW WITH A COUNSELING PROFESSIONAL Heather Marsh There’s no question that we are living in unprecedented times. Thinking back to this time last year almost seems like a fairy tale of mask-less bliss. There are so many challenges associated with this pandemic that there’s not a single person whose life is not being affected. We are struggling as adults, and it only makes sense that the struggles our students are experiencing are even greater. How can we, as music educators, support our students through the most difficult of times? I thought it best to seek guidance from a professional who could offer some insight on the impact of the pandemic on youth. Licensed Professional Clinical Counselor (LPCC) Tara Hagan of Hagan Counseling Services in Troy, Ohio provided her thoughts on the subject via an e-mail interview.
QUESTION 2: WHAT ARE SOME SIGNS EDUCATORS CAN LOOK FOR THAT INDICATE A STUDENT COULD BE HAVING AN EMOTIONAL CRISIS? Hagan: “Children and teens respond to stress in many different ways, but some indicators to look for may include: excessive crying or an increase in irritability in younger children, difficulty separating from caregivers/parents, appetite changes, sleep changes, increased irritability or “acting out”/ defiant behaviors in teens, poor academic progress and refusal to work, struggling to concentrate or focus, lack of motivation, avoiding activities the student once enjoyed, use of alcohol, tobacco, or drugs, and isolating or disengaging from peers.”
QUESTION 1: WHAT ARE THE BIGGEST CHALLENGES YOU SEE STUDENTS FACING DURING A PANDEMIC? Hagan: “In addition to the loss of academic gains, the pandemic is affecting the mental health of students. It is likely that we will see students struggle significantly with regulating emotions due to stress. A significant number of students receive mental health services within the school environment, and due to students being out of school for an extended period of time, many were not receiving these services consistently, if at all. The impact of the pandemic is based on individual experience. If a parent lost a job or a child lost a family member to COVID, there can be a significant emotional reaction, but it’s also important to remember that all loss is significant. Even missing homecoming or an extra-curricular is very relevant to a child.”
QUESTION 3: WHAT CAN AN EDUCATOR DO TO HELP A STUDENT EXPERIENCING AN EMOTIONAL CRISIS? “Teachers should check in on students often, both academically and emotionally. Teachers can provide a safe and supportive space for students in a world that feels very uneasy. Focusing on relationship-building between students and teachers is a great way to buffer the stress related to the pandemic. Providing reassurance of safety and listening to concerns is helpful, while also identifying students who may need additional support and referring them to school support staff, if necessary.”
DECEMBER 2020/JANUARY 2021 | 19
QUESTION 4: DO YOU HAVE ANY STRATEGIES A TEACHER COULD IMPLEMENT FOR STUDENTS DURING TIMES OF UNCERTAINTY–ESPECIALLY DURING REMOTE LEARNING? Hagan: “Keep a routine—make consistent time for connecting with students. Encourage socialization, and provide a sense of community, even remotely. Children and teens learn from watching adults, and how we, as adults, respond to stress and the impact of the pandemic will impact students. If we are responding negatively, our students will respond negatively. If motivation and attention are an issue, start small and help students build confidence with their school work.” QUESTION 5: WHAT THOUGHTS DO YOU HAVE FOR TEACHERS WHO MAY BE PERSONALLY STRUGGLING DURING THESE TIMES? Hagan: “Maintaining routines that include self-care are important, as well as connecting with others who are a positive support in their lives. A consistent schedule of eating, sleeping, and exercise can help reduce the negative effects of the pandemic. I have always said that in addition to being a teacher, you are a coach, counselor, nurse, parent, etc., and the aspects of all of these roles with students can be exhausting and overwhelming. Make sure you are taking time to “refill your cup.” While life feels very uneasy to our students, it feels very uncertain to us as well, so focusing on the aspects of our lives that we can control can be very helpful.” APPLICATION FOR MUSIC EDUCATORS I’ve found that the key to all of this is to support yourself first. We are a light in the dark for many students. We are the ones they miss—the activities and normalcy that they crave—so make sure your emotional needs are being met before trying to assist your students. I was in a pretty dark place through a lot of this. Trying to navigate everything and missing my students devastated me. I had to find time for reflection and find someone to talk to…colleagues, friends, family, a professional. Recognize your struggles first, and don’t let your emotional pain leak to your students. Worries such as retention and recruitment, stall in program progress, money, health issues, family 20 | TRIAD
disappointments, lack of normal routine and activity can wreak havoc on our emotional well-being. Students also need positivity. There is so much turmoil in life these days, much of it being fueled by social media, which is a place our children live more often than they should. We all need hope during challenging times, and giving students a feeling of hope can make a huge difference. Be honest about the situation, and don’t give false hope, but don’t add stress to students that they shouldn’t have to bear. Maintain as much of your routine and expectations as you possibly can, but have some grace. Most students want your expectations to remain the same–make exceptions for the ones who need them. Communicate with students enough to know who needs modifications and extra support. Keep communication open. Try to communicate with students as often as possible. Reach out every day with a Remind text, an e-mail, or a phone call for highrisk students. Make sure students know that you are there to support them. A lack of communication can lead to a feeling of isolation and disconnect—for you and for your students. There is little certainty in the world right now, but one thing we can count on for sure, is that we need to support one another. Our students need us, and we need them. If there was ever a time that kids need teachers, it’s now. They need our reassurance, our love, our support, and our guidance. If we can provide these things now, we may come out even better than we were to start when life as we knew it resumes.
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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CULTURALLY RESPONSIVE EDUCATION
EXPLORING MOROCCAN MUSIC THROUGH EXPERIENTIAL LEARNING Tai Knoll As a pre-service music teacher, I value a comprehensive and well-rounded music education that is inclusive and dynamic–an education that introduces students to the global world they live in and fosters compassion and understanding of cultures different from their own. However, a year ago, I did not fully understand how I could provide that for my students and how I could do so in a respectful and sensitive way that did not “other” or appropriate the culture I was attempting to honor. That desire to learn more about teaching world musics drove me to pursue answers through an interdisciplinary project that combined music education and ethnomusicology. In this article, I’ll be sharing my honors project, Exploring Moroccan Music Through Experiential Learning, which I completed during the 2019-2020 school year under the mentorship of Dr. Christopher Witulski and Dr. Lisa Gruenhagen. MY EXPLORATION OF MOROCCAN MUSIC & CULTURE Starting in the fall of 2019, I researched Moroccan melodic and rhythmic modes and musical traditions, explored teaching world musics from the perspectives of music educators and ethnomusicologists, and investigated effective strategies to construct unit lesson plans. During this time, I also learned Moroccan instruments including the nira, which is a rim-blown flute shown in Figure 1 and the bendir, a frame drum shown in Figure 2.
FIGURE 1: RIM-BLOWN FLUTE
This helped me to develop familiarity with Middle Eastern melodic modes, rhythmic patterns, and with general techniques on these instruments. FIGURE 2: BENDIR
In the winter of 2020, I travelled to Morocco for the course Music and Healing in Contemporary Morocco led by Dr. Christopher Witulski. Our class spent two weeks in Fez with our host families and went on excursions to Marrakech, Meknes, the Sahara Desert, and more. For most of our stay, we studied at the American Language Institute in Fez (ALIF) Riad in the Old City of Fez. While in Fez, I had the privilege of taking private lessons from two professional Moroccan musicians, both Brothers of the Hamadsha Ensemble. I received instruction on the nira and the bendir. These lessons involved echoing and imitating melodic or rhythmic phrases modelled by the musicians. Body language was our only means of communication, as they did not know English, and I did not know Arabic. With the consent of the musicians, I recorded our lessons so that I could reference them at any time. Once we returned to the States, I began transcribing the rhythms and melodies learned from my lessons so they could be shared or taught to fellow musicians and/ or to students. The process of transcribing was tedious but rewarding. I ultimately transcribed two passages of music. I transcribed the rhythms performed during my bendir lessons, all in groupings of five beats, ultimately pulling six different patterns from my recordings. The second transcription project featured a popular Moroccan melody and a drum accompaniment. The melodic transcription was considerably more difficult than the rhythmic dictation; regardless, it was an DECEMBER 2020/JANUARY 2021 | 23
extremely valuable experience. It gave me a greater understanding of the musical structure. FINDINGS FROM MY EXPERIENCE I learned that Moroccan music is communal. It is taught through exploration and community—not in a classroom. The music is often learned through repeated exposure and experimentation of the performer, rather than through traditional notation. The music making is extremely improvisational with performers adding intricate ornamentation to otherwise simple melodies. While it was apparent that every performance had a set structure or order with defined melodies, each one differed with the inclusion of improvisatory, ornamental playing from performers and audience members. The audiences play an essential and participatory role in performances. For example, clapping is a prominent method of crowd engagement. Sometimes listeners clap alongside the musicians, and sometimes they layer new rhythms that contrast with what the musicians are performing. Dance and movement are also popular forms of audience engagement. It’s common, and even expected, for audience members to embody the music to show how it moves them. Music without movement is uncommon and problematic in certain Moroccan musical traditions. The musicians and their audiences are in constant communication. The performance is holistic and interactive, meaning that no two performances will ever be the same. APPLICATION TO THE CLASSROOM Upon returning to the States, I started constructing a unit overview under the guidance of Dr. Gruenhagen. This served to culminate the experiences and skills that I acquired through my research both at home and abroad. I decided to create the unit overview because I wanted to share my experiences and the knowledge that I acquired in a meaningful way, where students could be active and engaged participants in the learning through performance and composition. Creating a unit overview that was comprehensive, cohesive, and as authentic as possible in this setting, required some critical considerations of instructional methods. Some of those considerations included: Acknowledgement of My Role as the Teacher: Recognizing that I am not a native of the culture. My credibility comes from my research, but I can never truly provide an absolutely authentic 24 | TRIAD
experience. However, I can anticipate what students may struggle with based on my own experiences as a student while in Morocco, which will streamline the instructional material and inform the type of support my students will need throughout the unit. Notation (or Lack Thereof): In my experience, notation was not utilized to share, teach, or to perform music. I decided to interweave the pedagogical experiences from abroad and the traditions of the West by combining notation and improvisation exercises. In this way, I could differentiate instruction for those who require visual aid or notation and those who require aural or rote learning. Transcriptions: Through transcriptions, I am able to share music that I performed or observed while in Morocco. While it is not representative of all Moroccan musical traditions, it is representative of my experience and the insight that I wish to share with my students. Improvisation & Composition: Since Moroccan music is highly improvisatory within an established structure, I believe it is important to allow students to experience this through improvisation activities where students are free to create their own rhythmic patterns within pre-established guidelines. The same goes for composition. The Importance of Imitation: It is important that this unit provides students authentic aural and visual models through recordings so students can learn what absolutely authentic music sounds like or looks like before they can enact an imitative performance themselves. Cross-Curricular Opportunities: I found it fitting to create a cross-curricular element to the unit, connecting music and social studies standards. This adds a layer of student engagement and allows students to see the value and purpose of the lesson beyond the four walls of the music room. Five Phases of World Music Pedagogy: The final, overarching consideration when creating my unit lesson plan was the integration of the five phases of World Music Pedagogy (Campbell, 2016). The
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five phases include attentive listening, engaged listening, enactive listening, creating world music, and integrating world music. I constructed this unit with the intention to address each phase in an appropriate way that scaffolds curriculum, including rhythmic and melodic exploration, movement and dance, imitative exercises, composition and improvisation, exploration of traditional and creative notational systems, and discussions regarding music and culture in Morocco. The past year has been truly life changing. From my travel to Morocco to completing this unit overview and everything in between, I have learned so much about myself and about a topic that I am so passionate about— teaching music. My experiences have changed my perspective of world musics, ways in which we present and represent cultures in the classroom, and music education as a whole—helping me grow as a scholar, a musician, and as an educator. I have developed a deep passion for experiencing, understanding, and sharing different cultures through music. My study in Morocco has opened my eyes to the pedagogical and personal
values of exploring world musics in the classroom and has solidified my belief in experiential learning as a tool for understanding and sharing such unique and diverse cultures. If you would like to view my research in its full form, please following this link: https://scholarworks. bgsu.edu/honorsprojects/481/
REFERENCE
Campbell, P. S. (2016). World Music Pedagogy. In C. R. Abril & B. M. Gault (Eds.), Teaching general music: Approaches, issues, and viewpoints (pp. 89-109). Oxford University Press.
Tai Knoll is a senior at Bowling Green State University, studying music education and flute performance. During her time as a student, Tai has had the opportunity to assist and teach the BGSU Academy Band, Music Plus Program, OCMEA Peer Teaching Program, various high school band camps, St. Aloysius Catholic School Bands, Wauseon Elementary School music classes, and private music lessons. Tai currently serves as communications director of the OCMEA State Board, editor and historian of Sigma Alpha Iota-Gamma Omicron, and president of the BGSU Flute Club.
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MASTERING THE CRAFT TECHNOLOGY
TECHNOLOGIES FOR REMOTE TEACHING AND LEARNING Dr. Darren LeBeau & Dr. Kate Ferguson Last spring, music teachers nationwide were faced with the challenge of remote instruction. Teachers and students of all ages submerged themselves into a technologybased world. As educators navigated the waters of this new normal, they found themselves engaged in a world of online, digital, and application-based instruction. In this article, you will find a list of some technologies and strategies that emerged during these unprecedented times, along with a brief description of each. Additionally, a hyperlink has been provided for each resource. There are many online resources for learning fundamentals and for creating music. These applications and web-based platforms are applicable to band, orchestra, general music, and choral classes. Along with music technology resources, there are a number of organizational, assessment, and communication tools educators can use with their students now and after the current pandemic. We should remember that person-to-person interaction, connection, and the collaboration that an ensemble class provides cannot be replaced by these technologies; however, they can supplement or enhance the learning and the experience for students. When considering use of online resources, educators should be aware of the Children’s Online Privacy Protection Act (COPPA) created in 1998. COPPA is the law dealing with how websites, applications (apps), and other online operators collect data and personal information from students under the age of 13. The act has a number of requirements that technology companies making apps and online tools for students under the age of 13 must adhere to. Some of the most important of these are to provide notice and to get parental consent before collecting information from students, to have a clear and comprehensive privacy policy, and to keep information they collect from students confidential and secure. As you choose technologies to be used in your classrooms, be sure to choose those that have been reviewed by your district technology coordinator, and consider the following points: 1) Stick to tools designed with education
in mind, especially if students are going to sign up and create accounts. 2) Be mindful about how students are required to sign up, enter personal information, or share anything online. 3) Always provide information to parents about what tools you are using in the classroom. 4) Avoid apps, games, or websites that seem focused on advertising. MUSIC LITERACY Technology for music literacy can support what students have been learning in an ensemble or in a music class. Along with reinforcing concepts and possibly allowing students to fill in gaps of missed material, these platforms and applications can be used during remote learning and in the physical classroom. Musictheory.net covers a wide variety of topics in basic music theory. The exercises vary and can test theory comprehension. The platform allows teachers to limit or to expand the testing criteria, allowing for differentiation within your class. Students are able to share their results via email. Being able to quickly assess and monitor student comprehension of a given concept allows the teacher to help meet the needs of individual students and to easily document their work. Noteflight is music notation software that allows students to compose, record, assess, and share music on any device. There is an extensive library of musical scores and lessons to create and adapt assignments. Students can use this resource to create a simple melody or to complete full composition assignments. Flat.io is an online music notation platform that provides the tools you need to make your own musical compositions. Students have the ability to write, listen, share, and to discover music scores. Additionally, the flat. io add-on in Google Slides allows teachers to add musical examples directly to their presentations without needing to cut and paste from a different location. DECEMBER 2020/JANUARY 2021 | 29
8Notes.com offers free sheet music for more than 25 musical instruments. Students can access lessons on piano chords and drum beats from popular songs. The resources include an online guitar tuner and chord charts, which feature audio files. Teachers can create an assignment that requires students to choose from the provided music. They can play along with the piece and hear both the melody and the accompaniment while they play. The Rhythm Trainer can be used to learn to practice basic rhythms. There are two types of exercises: 1) Click on the rhythm you hear, and choose the sound that matches, or 2) Click on the rhythm you see, and choose the sound that matches. At the end of the session, students can email results to the teacher. Students enjoy turning the short exercises into speed games and competitions between their classmates. CURRICULUM AND ASSESSMENT PLATFORMS There is a great opportunity through these curriculum and assessment platforms to have students create, learn, perform, share, and access their music. The programs can work alone or in conjunction with one another to create an effective remote-learning experience. In addition to creating music, students can share their work with teachers, peers, and the greater music community if they so desire. SmartMusic is interactive music software that has been designed to transform the way your students practice, and the assessment feature provides instant feedback to help them improve their skills as a musician. This online application allows individuals to play, practice, and perform a diverse range of titles. Recording and creating their own repertoire for a virtual recital is an excellent use of this technology. Sight Reading Factory is a cloud-based service that allows teachers or students to customize and generate unlimited sight reading examples instantly. Available options allow for differentiation based on difficulty, meter, key signatures, and rhythmic demand. Exercises can be assigned, and students can record their performances of the exercises. Teachers can listen to their work and provide feedback. Flipgrid allows teachers and students to make video clips. Teachers can create a video grid in order to ask questions or to pose discussion topics. Flipgrid can easily be used to have the students create introduction videos of themselves, or they can play or sing an excerpt of music to share with their peers. Part of the fun is watching the material posted by their classmates and being able to respond with a video message. 30 | TRIAD
Acapella is a music-maker app for Apple devices. You can use it to collaborate with any musician around the world. It is used as a multitrack tool to create framed music videos. Students can sing or play several tracks of themselves that overlap, or they can coordinate with friends and classmates to make music. Their performances can be shared through email or on social media. Many social media posts can be found of performers who have used Acappella to create music videos where they sing or perform multiple parts simultaneously. These creations can be part of your classroom or virtual concert presentation. Edpuzzle is a platform where teachers can adapt a video from YouTube or one uploaded to the site by embedding their own questions or audio to create an assessment. Videos can be assigned to students, and analytics are produced for the teacher. As a teacher, you can create an instructional video for your students on any topic and overlay questions throughout to check for understanding or to encourage further thought. NETWORKING AND PROFESSIONAL DEVELOPMENT The school closures forced many music teachers to explore technology in the music classroom despite the fact that many teachers did not initially feel comfortable with remote learning. Educators and leaders within local, state, and national organizations have created resource guides that can be found on their websites. Specific examples of outstanding support can be found from the Ohio Music Education Association (OMEA), the National Association for Music Education (NAfME), and Music for All (MFA). Music teachers have collaborated, shared ideas, and supported one another like never before, and relied on some specific Facebook groups to facilitate their camaraderie. The following is a list of Facebook groups in which you may want to participate. • E-learning in Music Education • Google Classroom for Music Teachers • Teaching During Covid-19 • Music Educators Creating Online Learning • Ohio Choral Directors Association • American Choral Directors Association • Band Directors • Band Directors of Ohio • Music Teachers • I’m a General Music Teacher • Teaching Online Orchestra-19 Ideas • Orchestra Teachers
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The creation of and participation in music-related webinars increased throughout the spring of 2020. Music teachers and students were able to access information, discussions, lectures, and even camps through web-based presentations and webinars. Most of the recent webinars have been free for teachers and students. A simple Internet search on your specific interest will likely result in several options. You can find anything from professional instrumental warm-up demonstrations, to leadership training, to the marching arts, to barbershop singing. There are many examples of professional development opportunities that have been presented at this time. Remote learning should not be a substitute for ensemble playing or for the experience of being in a music classroom. Although the last school year ended in a way that no one had foreseen, educators, parents, and students pulled together to maintain a solid educational experience. Hopefully, after being immersed in this technological world, educators can go back into the classroom with more tools in their arsenals. As we continue through this school year, our previous experiences and expanded knowledge in the tools of remote learning will enhance our classroom instruction.
Dr. Darren LeBeau started teaching in 1989. Prior to coming to Revere Local Schools in 1998, he was the assistant band director at Barberton City Schools and Claymont City Schools. Dr. LeBeau earned both his master’s degree and bachelor’s degree in music education from The University of Akron, and his Ph.D. is from Kent State University. He is an active OMEA Adjudicator for Marching Band, Solo and Ensemble, and Large Group Adjudicated Events. He has also served OMEA as a host for high school and middle school Large Group AE and the annual Revere Marching Band Invitational Adjudicated Event. Dr. Kate Ferguson is a music teacher in the Akron Public Schools. Currently in her twentythird year as an educator, Ferguson previously served in the Crestwood Local and Cuyahoga Falls City School Districts. She holds a bachelor’s degree in music education from Kent State University, a master’s degree in music education from the University of Akron, and a Ph.D. in music education from Kent State University. Ferguson is an active member of the OMEA and has served as an adjudicator and host for Large Group and Solo & Ensemble Events.
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EARLY CHILDHOOD EDUCATION
MASTERING THE CRAFT
TIDYING UP YOUR EARLY CHILDHOOD REPERTOIRE LIST Dr. Lisa Huisman Koops In The Life-Changing Magic of Tidying Up, professional organizer Marie Kondo (2011) advises those wishing or needing to de-clutter their lives to follow a process of gathering all the items in a category (books, clothes, papers, etc.) in one place, holding each item to check if it “sparks joy” (p. 41), and making a decision to keep or part with the item based on the joy test. Those items that are retained are stored in a systematic way, and other items are “thanked” (p. 60) and given or thrown away. I have been teaching early childhood music classes for over fifteen years, and it is past time for me to “KonMari” (Kondo, p. 2) my repertoire pool; KonMari is a term that can be used as a verb for decluttering according to Marie Kondo’s principles. I began in 2003 with a set of 25-30 songs and chants that fit the expectations of the setting in which I was teaching at the time, and have gradually added selections until I now have closer to one hundred that I cycle through. I realized, though, that just as in the case of an over-stuffed closet, many of these one hundred songs and chant rarely get pulled out, and others do not fit anymore. In this column I will describe my process of tidying up my early childhood repertoire list with the hope that it may help others to undertake a similar process. First, it is important for each teacher to consider the criteria by which to judge the repertoire, based on one’s teaching setting and students. I teach in an early childhood program that is based on the Music Play approach to early childhood classes (Valerio, Reynolds, Bolton, Taggart, & Gordon, 1998), so my criteria includes a repertoire set with diverse meters and modes. Many, but not all, of my songs for the youngest class (birth to age 2) are songs without words, following Music Play and Gordon’s guidelines
(Gordon, 2003). With the older group (2- to 4-yearolds), I mix in songs with text. I seek to teach the early childhood classes from a culturally responsive approach (Lind & McKoy, 2016), so this is another factor in shaping my repertoire tidying. In recent years, scholars and educators have helped the early childhood and general music communities to recognize that there are a number of songs with derogatory or painful histories and undertones that should be removed from the early childhood repertoire (Ermolaeva, 2019; Urbach, 2019; Waller-Pace et al., 2020), such as Five Little Monkeys and Camptown Races. 1 The problematic material is sometimes in the form of original lyrics that are explicitly racist and have since been changed. Some teachers have responded by saying that if they do not use the lyrics, the music is still okay. Other teachers argued that the history of the song is obscured. Some also worried that there would not be any music left to sing if we remove that which is considered offensive. The counter-arguments to these ideas include the premises that: • music is powerful and meaningful; • individuals may associate lyrics with tunes even if a teacher does not use the original words or any words; • using music with a racist or oppressive history reinforces rather than dismantles systemic racism and oppression; and • there are plenty of other songs we can use! I have chosen to heed the call to action by removing culturally offensive and oppressive songs from my repertoire and not using those tunes without words, either. For more on the debate surrounding childhood songs and links to racism and oppression, see Ermolaeva (2019) and Urbach (2019). Engaging with
1 A crowd-sourced list maintained by music educator Martin Urbach can be found here: https://docs.google.com/spreadsheets/d/113kfyv68Pv_Afk9GefvPfdc9eXNhqRrdck7IfJEJGa4/edit#gid=1214992227
DECEMBER 2020/JANUARY 2021 | 35
the resources and the Facebook page of the non-profit organization Decolonizing the Music Room (WallerPace & Batislaong, n.d.) is another way for teachers to seek to become more culturally responsive in their teaching, a journey that moves far beyond repertoire. An additional way I seek to teach responsively is through considering the protagonists of the songs we sing. For instance, many of the songs use the pronouns “he, him, and his” for the main characters in the repertoire, including drums, dinosaurs, giraffes, and more. I have begun alternating “she, her, and hers” and “they, them and theirs” within songs that use pronouns, along with the original “he, him and his.” Next, consider the amount of repertoire that is appropriate to your setting. Some families who participate in our program enroll for one semester, while others attend for up to three years, or even more with subsequent children. I try to have about ten songs per year that are used all year, fifteen that are used first semester and a different fifteen second semester, and additional five songs for seasons (fall, winter, spring, summer). This adds up to about sixty songs. Following that general formula, I attempt to introduce about five songs in any category that are new year to year, for those families who remain longer. My one hundred songs no longer seem like an unreasonable number, but I know there are selections that I have not used in years, and other beautiful songs yet to be discovered and introduced. The third step is to take a repertoire list and check how it fits the criteria and the needs outlined in the first two steps. In addition to these check-points, a modified KonMari (Kondo, 2011) test can be applied: does this song or chant “spark joy” (p. 41) or meet a need for you as a teacher, for your students and their families, and for your school or organization? There are plenty of songs and chants in the world. In my opinion, our time with children is too short to work with material that is shallow or gets on our nerves. There have been excellent repertoire selections that met the context of my teaching setting that I introduced but then found to be annoying in some way. In a few other cases, a parent has mentioned how much they dislike a certain song, usually because it gets stuck in their head during class and stays there all week. As much as possible, I weed out these selections that 36 | TRIAD
don’t “spark joy” in favor of repertoire that does. An important parallel to this discussion is the realization that repertoire may be enjoyable for you as a teacher for a while, but then a time comes to set it aside for a few years and return to it later. If you have put certain selections away in the past because you just could not sing it one more time, this may be a good moment to consider bringing them back into the rotation. When you have culled some of the repertoire and set it aside, it is time to find some new songs and chants. The criteria from step one may be helpful in seeking out new material. Speaking to other teachers in your school or organization, children’s families, and fellow teachers is a helpful way to learn new songs. Attending workshops and conferences is another prime way to acquire new material for the classroom. Composing your own songs, or composing with children, is a beautiful way to add meaningful repertoire to the early childhood music classroom. Marie Kondo (2011) has specific instructions and rationale for storing and displaying the household goods and objects that one chooses to keep. For song and chant repertoire, it may also be helpful for teachers to think about how to store, organize, or display that material. Some teachers may have recordings of all repertoire and organize it in audio programs and playlists. Others might keep a shelf of songbooks with chosen repertoire marked. Kodály teachers have developed an approach to organizing and storing repertoire called a “retrieval” (https:// songretrieval.weebly.com/resource-links.html). During some years I have posted a list of favorite repertoire in the classroom as a reminder to me and the students and their families. Taking time to pause, examine, “tidy,” and refresh our pool of repertoire is an important part of teaching. Likewise, it is vital to regularly reflect on classroom routines, broad curriculum, materials, and many other facets of teaching. I am looking forward to returning to my fall classes with a new database of repertoire lists, a sheaf of new songs and chants, and open eyes and ears for further additions to the shared musical experience with the young children and their families in our program.
REFERENCES
Ermolaeva, K. (2019). Dinah, put down your horn: Blackface minstrel songs don’t belong in music class. Gen. https://gen.medium.com/ dinah-put-down-your-horn-154b8d8db12a Gordon, E. E. (2003). A music learning theory for newborn and young children. Chicago, IL: Gia Publications. Kondo, M. (2014). The life-changing magic of tidying up: The Japanese art of decluttering and organizing. Berkeley, CA: Ten Speed Press. Lind, V. R., & McKoy, C. (2016). Culturally responsive teaching in music education: From understanding to application. New York: Routledge. Urbach, M. (2019). “You might be left with silence when you’re done”; The White fear of taking racist songs out of music education. Medium. https://medium.com/@martinurbach/you-might-be-leftwith-silence-when-youre-done-the-white-fear-of-taking-racistsongs-out-of-89ecdc300ee5 Valerio, W., Reynolds, A. M., Bolton, B. M., Taggart, C. C., & Gordon, E. (1998). Music play: The early childhood music curriculum guide for parents, teachers, and caregivers. Chicago, IL: GIA Publications. Waller-Pace, B. & Batislaong, L. (n.d.) About us: Our mission. Decolonizing the Music Room. https://decolonizingthemusicroom. com/mission Waller-Pace, B., Batislaong, L., & McCauley, M. (2020). Making good choices: How can teachers better research repertoire for the classroom? [Professional Learning Workshop]. The NAfME Online Professional Learning Community. https://vimeo. com/419122217
Editor’s Note: This article has been adapted from the original by the author and reprinted with permission from NAfME: Koops, L. (2019). Tidying up your early childhood repertoire list. General Music Today, 33(1), 45-46. DOI: 10.1177/1048371319863788
Dr. Lisa Huisman Koops, professor, area head, and coordinator of graduate studies in music education at Case Western Reserve University, specializes in early childhood music, general music, and world music education. She researches musical parenting and the interplay of enjoyment and agency in musical play. Koops is the author of Parenting Musically (Oxford University Press, 2020). She is the recipient of a 2017 GRAMMY Museum foundation grant for her research. Koops teaches early childhood music classes at The Music Settlement in Cleveland.
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EARLY CHILDHOOD EDUCATION
MASTERING THE CRAFT
EARLY CHILDHOOD MUSIC EDUCATION: A POSITION STATEMENT OF THE NATIONAL ASSOCIATION FOR MUSIC EDUCATION Editor’s Note: This statement was reprinted with permission from NAfME. NAfME POSITION: As the National Association for Music Education, we believe all young children have the capacities for music learning. Thus, each has the right to a musical childhood that includes play-based, developmentally appropriate musical engagement that is responsive to gender, ability, and culture, and provided, guided, or supplemented by a professional early childhood music educator. ISSUE: Aural music learning begins for a typicallydeveloping fetus at approximately 5 months gestation. From before birth throughout early childhood (i.e., through 8 years old), all children are primed for diverse forms of music engagement and music learning. That reality is not always reflected in current policies and practices, many of which reveal flawed assumptions that children are too young to make music or engage in, need, or benefit from music learning within an early childhood care or education setting; or that time spent on young children’s music learning would be better used preparing them for, or engaging them in, other academic disciplines. Additional flawed assumptions are that only a small number of persons possess musical ability, or that ability is determined either by parents’ level of music achievement or being born into a ‘musical’ family, or that disabilities (e.g., hearing impairments, intellectual disabilities, physical challenges) interfere with possibilities for music learning.Decades of research refuting such flawed assumptions includes studies from fields such as music education, anthropology, ethnomusicology, psychology, sociology, biology/physiology, childhood studies, and music therapy. The research supports that diverse forms of music learning and engagement begin
for all children before birth. Thus, music education should be considered intrinsic to infancy and childhood and worthy of time invested. RATIONALE: Children use music and music ideas in both observable and unobservable ways–in their routines, play, and relationships–that contribute positively to their aesthetic, expressive, emotional, intellectual, social, physical, spiritual, and creative development. Interacting with adults who notice, affirm, scaffold, and extend children’s musicking can foster young children’s learning about themselves and others, as well as their overall development. By offering intentionally responsive, play-based, developmentally appropriate music engagement opportunities, adults honor young children’s agency for music making. Such opportunities must be integral in education settings serving young children, including homes, home-based or centerbased care and intervention programs, preschools, prekindergartens, and elementary schools. SUMMARY: NAfME supports all young children having access to a wide variety of play-based music experiences, both unstructured and structured, incorporated into various types of learning opportunities such as one-onone, choice time, integration with other areas of the curriculum, group music-making, and music listening. To offer the most powerful route to sustained music engagement, parents, caregivers, and teachers should notice, invite, and model joyful and creative musicking. Young children should enjoy consistent and abundant opportunities for music engagement with adults and other children who seek to develop diverse forms of music expression, which include singing, rhythmically DECEMBER 2020/JANUARY 2021 | 39
chanting, moving, creating, improvising, making and manipulating a variety of sounds and materials, and talking about their music interests, preferences, and ideas with others. Early childhood music educators best support young children’s music engagement by sustaining expertise in their practice and research, creating and selecting optimal resources, and building partnerships with parents, childcare centers, and early learning organizations. ADVOCACY STEPS: The national and state leadership of NAfME advances early childhood music education by: • Championing high quality initial preparation for all music educators that includes early childhood music content and fieldwork in teacher certification programs; • Providing early childhood music professional development for music educators, early childhood teachers, and care providers; • Educating policymakers about the vital role of music in all young children’s learning environments; • Lobbying at federal and state levels for inclusion of, and funding for, appropriate early childhood music education in all young children’s care and education settings; • Creating partnerships with organizations focused on early childhood and early childhood music education; • Supporting new research pertaining to music in early childhood; • Collaborating with researchers, policymakers,
parents, and educators to apply early childhood music research to policy and practice. • NAfME members advance early childhood music education by: • recognizing that all children come to musical opportunities in early care and education environments with music capacities, ideas, preferences, and interests; • sustaining and fulfilling young children’s rights to a musical childhood; • applying early childhood music research to policy and practice; • securing high quality, developmentally appropriate, and culturally responsive musical experiences for young children in care and education settings; • insisting on qualified early childhood music educators for young children and supporting music-specific education for early childhood practitioners; • staying informed about policies that affect early childhood music programs, and sharing that knowledge with colleagues, parents, community members, and other stakeholders; • encouraging professional associations to advocate on behalf of appropriate early childhood music education; • seizing every opportunity to honor young children’s music capacities and engage musically with them.
National Music Education Standards for PreK Note from the Editor: While the State of Ohio does not currently provide preschool music education standards, you can refer to the National Music Standards (2014): https://www.nationalartsstandards.org/sites/default/files/Music%20at%20 a%20Glance%20rev%2012-1-16.pdf
40 | TRIAD
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42 | TRIAD
EARLY CHILDHOOD EDUCATION
MASTERING THE CRAFT
EARLY CHILDHOOD MUSIC EDUCATION: TEACHING EARLY CHILDHOOD MUSIC IN THE TIME OF COVID-19. ADDENDUM TO THE EARLY CHILDHOOD POSITION STATEMENT
Editor’s Note: This statement was reprinted with permission from NAfME.
NAfME POSITION: As the National Association for Music Education, we believe all young children have the capacities for music learning. Thus, each has the right to a musical childhood that includes play-based, developmentally appropriate musical engagement that is responsive to gender, ability, and culture, and provided, guided, or supplemented by a professional early childhood music educator. As stated in the original position statement: Children use music and music ideas in both observable and unobservable ways—in their routines, play, and relationships—that contribute positively to their aesthetic, expressive, emotional, intellectual, social, physical, spiritual, and creative development. Interacting with adults who notice, affirm, scaffold, and extend children’s musicking can foster young children’s learning about themselves and others, as well as their overall development. Musicking1 refers to the myriad ways people engage in musical life, from performing music, to being audience members, to composing music or producing music, and everything in between. Broadening our ideas about musical interactions can help educators and families recognize the many ways musicking can help us during this time of COVID-19. During this time of social distancing, increased concerns about children’s aesthetic, expressive, emotional, intellectual, social, physical, spiritual, and creative development are valid, and music experiences, therefore, are especially critical. However, children primarily learn through their interactions with others, and COVID-19 has affected those interactions—whether by limiting the number of people a child encounters or by changing how caregivers and other children may interact with a child. It is imperative that children still have access to a wide variety of playbased music experiences, both unstructured and structured,
incorporated into various types of learning opportunities such as one-on-one, choice time, integration with other areas of the curriculum, group music-making with appropriate physical distancing, and music listening. It is still possible to offer intentionally responsive, play-based, developmentally appropriate music engagement with modifications to protect the health of children and their families and in compliance with local directives for various contexts—in person, using hybrid models, and virtually. Working in collaboration with the Early Childhood Music and Movement Association, the NAfME Early Childhood Special Research Interest Group and General Music Council have created guidance for educators who work with children ages birth to elementary school. This consists of: (1) General guidance regarding coping with changes brought by COVID-19 such as information on setting students and families up for success and tips for technology use with young children; (2) Context- and activity-specific guidelines and activities suggestions, including suggestions for parent/ child music classes; and (3) Standards-based guidance for elementary-aged students including a focus on social and emotional learning. We will update this information periodically as new information emerges.
Recommended citation: Rutkowski, J., Salvador, K., & Koops, L. H. (Eds). (2020). Teaching Early Childhood Music in the Time of COVID-19: Addendum to the Early Childhood Music Position Statement: https://nafme.org/wp-content/ uploads/2020/09/ Teaching-Early-Childhood-Music-in-theTime-of-COVID-19-NAfME-Position.pdf 1Small, C. (1998). Musicking. Wesleyan University Press. DECEMBER 2020/JANUARY 2021 | 43
We are Wittenberg.
Make music at a university that cares.
2020-2021 Audition Days Dec. 11, 2020 | Jan. 18, 29, Feb. 6, 15, 20, 26, 2021 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)
2021 WINTER VPDC: VIRTUAL PROFESSIONAL DEVELOPMENT
“CONNECTION”
Mark Hensler, Director of Professional Development & (Virtual) Conference Management con·nec·tion, (/kəˈnekSH(ə)n/), noun • a relationship in which a person, thing, or idea is linked or associated with something else. As we approach our annual professional development conference, it is hard to take in all that has transpired this year. Electronic meetings, virtual instruction, virtual performances, and video file management procedures have become routine. Ohio’s resilient and adaptive educators have answered the call to make music education an important part of the virtual/hybrid teaching environment. As I speak to friends and colleagues from around the country, I often hear comments such as “I can’t wait to get back in the classroom” or “I really miss seeing my students and colleagues in person”. The heart of music education revolves around making these connections - with each other, with the students, and with the music itself. • emotional connections are created when a bundle of subjective feelings come together to create a bond between people. These bonds often grow from and are strengthened by mutual experiences. The annual PDC has long been a place for networking, reunions, and inspiration. It’s a great opportunity to connect with friends and mentors and to gain the momentum needed to see you through the end of the year. Take a moment and think about a session, concert, or other experience that you shared with someone during a PDC. Maybe an alumni reception or late-night jazz event. Calling up these personal connections can help to sustain us - and our organization - as we go about our daily work and lives.
• the action of linking one thing with another: connection to the internet Google classroom, Clever, Zoom, Acapella, Garage Band, Sibelius, Finale, SmartMusic, etc. How important has technology and the internet become in educating the students of today? How important has it become for maintaining contact with loved ones, colleagues, and students? In this sense, making a connection has become more important than ever. For nearly 90 years, OMEA has provided professional development for Ohio’s music educators. What strength it must have taken to begin this process in the midst of the Great Depression. Our predecessors have faced incredible adversity since forming “OMEA” DECEMBER 2020/JANUARY 2021 | 45
in 1932. The challenges faced by the OMEA of today are another connection to those who have come before us. To foster these connections, be sure to visit the OMEA Facebook page for “Four O’clock Flashback Friday” featuring “Convention Memories”. These images provide a visual connection to our storied history including clinicians, performers, and OMEA members through the years. You might even see someone you know! The winter Virtual Professional Development Connection, (VPDC), will take place from February 4-6, 2021. Those who attended the fall VPDC are automatically registered for this event - no action needs to be taken. Registration remains at $49 for those joining us for the first time. The free contacthour certificate option will be available again along with the Ashland graduate credit program, (separate fee and registration required). A few changes have been made based on attendee, clinician, and staff feedback. ALL on-demand content
at
will be released at the same time on the morning of Thursday, February 4. This content will be viewable through March 4. Synchronous, (live), sessions will ALL be scheduled for Saturday, February 6, and recorded for addition to the on-demand library following the event. Performing ensembles, selected through blind audition for the 2021 “live” event, will present nightly “concerts”. These concerts will be available for limited on-demand viewing through Sunday, February 7. Several special “guest” ensembles will also be joining us. Be sure to check the PDC website for a very special announcement coming soon! Mark your calendar now and plan on joining the VPDC team and hundreds of other music educators for this unique event. Registration is now open on the OMEA home page, (www.omea-ohio.org). For questions and suggestions, please send your messages to omeavirtualpdc@gmail.com. Please join us in February and start making new connections at the VPDC!
MUSIC
Malone University
PROGRAMS
B.A. in General Music B.S. in Music Education Certificate in Piano Pedagogy Certificate in Voice Pedagogy
EnSEMblES
University Chorale, Amplified Chamber Choir, Pioneer Spirit Marching Band, Symphonic Band, Jazz Ensemble, Piano Ensemble, Chamber Ensemble
AUDITIOn DATES
See a schedule at www.malone.edu/music.
SCHOlARSHIPS
Scholarships are available for majors and non-majors. Malone University is an accredited institutional member of the National Association of Schools of Music.
Canton, Ohio | 330.471.8231 | www.malone.edu/music
DECEMBER 2020/JANUARY 2021 | 47
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Contact Chris Bowmaster to learn more! marietta.edu/music-department 740.376.4847 • ccb002@marietta.edu 48 | TRIAD
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EXPERIENCE THE DIFFERENCE SLIPPERY ROCK UNIVERSITY DEPARTMENT OF MUSIC DEGREE CHOICES:
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For more information contact: Department of Music Colleen Gray, chairperson 224 Swope Hall Slippery Rock University Slippery Rock, PA 16057 Office: 724.738.2438 Email: colleen.gray@sru.edu www.sru.edu/music www.facebook.com/srumusicdept
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NEWS YOU CAN USE FROM THE OHIO ARTS COUNCIL Jarred Small, OAC Arts Learning Coordinator The Ohio Arts Council (OAC) is excited to highlight some updates and opportunities available to help support music educators as they continue to engage, inspire, and lead learners of all backgrounds and abilities through a school year that has thus far been nothing short of extraordinary. NEW UPDATES FROM THE OHIO ARTS EDUCATION DATA PROJECT The OAC, in collaboration with the Ohio Department of Education, Ohio Alliance for Arts Education, and Quadrant Research, is pleased to have recently released data detailing K-12 arts access, enrollment, and other figures from the 2018-2019 school year via the Ohio Arts Education Data Project interactive data dashboard. This data is combined with data from the 2016-2018 school years to produce a more longitudinal picture of the status of arts education in Ohio schools. With the release of this new data, our ability to track and analyze trends now becomes easier, more meaningful, and allows for significant findings and takeaways. For example, while there were slight increases and decreases between school years 2016-2019, student enrollment in arts courses remained mostly steady, and more students were enrolled in music courses than other arts disciplines. However, in that same amount of time (2016-2019), the number of students enrolled in music courses decreased by 13,950, with overall music enrollment holding relatively steady at approximately 73 percent of Ohio’s total K-12 student enrollment. You can read more about the Ohio Arts Education Data Project and explore the interactive data dashboard at: www.oac.ohio.gov/Resources/Ohio-Arts-Education-Data. GRANT APPLICATIONS AVAILABLE FOR 2021-2022 SCHOOL YEAR While music educators wrap up the first half of the 2020-2021 school year, the OAC has geared up to begin accepting grant applications supporting projects for the
following 2021-2022 school year. As educators and administrators continue adjusting, adapting, and testing new and innovative methods of teaching and learning, the OAC invites you to consider ways in which available grant programs may be able to support your plans, whether remote, in-person, or hybrid, for next school year. You can view available grant programs and their Guidelines at www.oac.ohio.gov/grants. One grant program currently accepting applications for projects occurring next school year is TeachArtsOhio. Now in its third year as a formal program of the agency, TeachArtsOhio is the OAC’s flagship school-based artist residency program. TeachArtsOhio brings schools and community organizations together with teaching artists to share engaging, personal, and high-quality arts learning experiences. You can read more in the TeachArtsOhio Guidelines at www.oac.ohio.gov/grants (scroll down and click the “Arts Learning” accordion header). TeachArtsOhio applications for projects occurring during the 2021-2022 school year are due by Feb. 1, 2021, and other OAC grant applications are due throughout late winter and early spring. For more information, contact Jarred Small via email (jarred.small@oac.ohio.gov) or phone (614-7284481). The OAC wishes all of Ohio’s music educators the very best as we collectively find ways to create, engage, innovate, and lead in pursuit of musical excellence.
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. DECEMBER 2020/JANUARY 2021 | 51
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
Independent Minds, Working Together www.wooster.edu
• 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
OCDA PROFESSIONAL ASSOCIATION REPORT Brandon L. Moss, OCDA President By the time you read this, you will have already been through an incredible half-year of teaching— virtual, hybrid, and everything in between. Teachers are a steady presence in our students’ lives, and this year, our adaptability is a big part of what we model. I know you have spent countless hours learning new teaching models and technologies in order to prepare for this year, and I commend you for your commitment to your students. Likewise, the Ohio Choral Directors Association is committed to you as a choral professional, providing support and resources during this time and beyond. This past fall, we offered New Directions, a webinarbased professional development series on topics of interest and relevance to our state’s choral directors. In September, Marci Major and Hannah Knauss discussed Choral Connections: Prioritizing People & Process; in October, Marques L.A. Garrett presented Beyond Elijah Rock: The Non-Idiomatic Choral Music of Black Composers; and in November, Kelsey Burkett and Mario Clopton-Zymler moderated a Town Hall meeting on Anti-Racist Practice and Decolonization of Choirs. We will present more webinars throughout 2021, so watch your email and our website, www.ohiocda.org, for more information. At our fall board meeting, our board approved two new standing committees for Diversity and Professional Development. I look forward to working with the new chairs and their committees on ways that OCDA can best and most effectively represent and offer initiatives for all choral directors throughout our state, regardless of where they teach or what type of program they have. These committees are recommendations of our Visioning Committee, which is looking to assess OCDA’s outreach as we move into the future. If you have ideas for these new standing committees, please email me at brandonlmoss@gmail.com. During this entire year, OCDA, through our national partnership with ACDA, is granting $5 memberships to
all collegiate student members, so if you work with preservice choir teachers, please encourage them to take advantage of this offer! Also, in February, OCDA will offer a virtual reading session via J.W. Pepper’s ePrintGo app. Selected by our Repertoire & Resources chairpersons, the focus of the titles in this session with be diversity and music by BIPOC (Black, Indigenous, and People of Color) composers. More information will be available on our website. Finally, our 2021 summer conference and its honor choir events are still programmed to happen as of this writing. We will evaluate the situation with regard to COVID-19 in the early months of 2021 and make any necessary calls or changes then. The OCDA Summer Conference is scheduled for June 21-23 at Otterbein University. Clinicians include Janet Galván, Jacob Narverud, and Zebulon Highben. The Children’s Honor Choir, for unchanged voices in grades 4-8, is a popular part of this conference, and on June 21, we will hold the High School Men’s and Women’s Honors Choirs, directed by Sandra Mathias and Richard Schnipke. Please check our website for any updates and details, and I hope, wish, and pray that I get to see you all there!
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. DECEMBER 2020/JANUARY 2021 | 53
Every Kid Needs a Champion
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Alabama’s own Homewood HS Patriot Band, guided by the strong leadership of their directors, raised an astounding $112,890 this year to perform in the 2021 Tournament of Roses Parade. Sign up for free at www.snap-raise.com
TRI-M: SHARING PASSION FOR MUSIC WITH THE COMMUNITY Justin Caithaml, State Tri-M Adviser As we find ourselves over halfway through the 2020-2021 school year, you might be wondering how the Tri-M Music Honor Society can continue to support your music department within the uncertain realities of COVID-19. First of all, please make sure you have activated your chapter for the current school year by going to musichonors.com and clicking “Activation Form� in the menu at the top of the page. The national Tri-M website, musichonors.com, has a dedicated page of COVID-19 resources, with a list of virtual volunteering opportunities, virtual meeting ideas, and even suggestions for how to hold a virtual induction ceremony. I would highly recommend these resources to chapters across the state as we continue to advocate for the value of music education in our communities. Even though music education may seem different this school year, it is important to remember the value our students find in being recognized as leaders in the music department through Tri-M. In preparing to write this column, I asked one of the seniors in the chapter I advise at Midview High School to reflect on her experiences in Tri-M throughout high school. I believe her words should guide us as advisors to clarify why this transformative program is so important in the lives of our students.
As I reflect on what being a member of Tri-M means to me, it is very evident that it has played a very significant role in shaping the person that I am today. In schools, I tend to see that the emphasis is placed on sports and academic success. However, one thing I realized is that the football games, pep rallies, and other events would not be as fun without the band and of the other ensembles. This is just allegorical to what Tri-M means to me: school would mean nothing without music in it. Tri-M has given those of all academic backgrounds, social groups, and those of all walks of life the opportunity to share a common love. Tri-M not only allows us as musicians to connect and grow alongside one another, but share our passion with the community. I am forever grateful for the opportunity to share my love for music with my community. As always, if you have any questions about starting a Tri-M chapter at your school or would like support in maintaining and growing a chapter that already exists, please do not hesitate to send me an email at jcaithaml@midviewk12.org. As we continue this school year, let us work to empower our students to share their passion for music with the community each and every day.
Justin Caithaml currently teaches 7-12 choir at Midview Local Schools and is completing a Master of Arts in Music and Music Education at Teachers College, Columbia University. He serves as the state advisor for the Tri-M Music Honor Society and is fully certified in Orff-Schulwerk. In addition, he serves as President of the Board of Directors at the Ohio Alliance for Arts Education. DECEMBER 2020/JANUARY 2021 | 55
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HIGHER EDUCATION KENT STATE UNIVERSITY The Kent Wind Ensemble, under the direction of Dr. Wendy K. Matthews, interim director of bands, has been selected to participate in the 2021 Virtual Professional Development Conference. As this year will be a virtual format, the ensemble is preparing a prerecorded video performance. The ensemble will be joined by new faculty member, Dr. Darin Olson, associate director of bands. A follow up to the Music Play early childhood curriculum has been published by GIA featuring one original composition and two adapted activities by Dr. Butch Marshall. Kristin Coen-Mishlan has returned to the music education faculty as a part-time instructor after a year in Texas. Doctoral student Beth Ann Hepburn became a member of the Executive Committee for the Ohio Alliance for Arts Education. Hepburn is also the lead music mentor for the Ohio Department of Education’s new teacher Cohort for the Fine Arts. We are so proud of the students, faculty, and staff of the Hugh A. Glauser School of Music for maintaining a high standard of excellence during the COVID-19 crisis. While we missing seeing each other in the halls and classrooms, the shared dedication to moving music education forward has been inspirational.
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