TRIAD - WINTER 2018

THE OFFICIAL PUBLICATION OF THE OHIO MUSIC EDUCATION ASSOCIATION

December 2018/January 2019 Vol. LXXXVl, No. 2

PDC Questions?

Find the answers at

OMEAPDC.COM For Everything 2019 OMEA PDC See you in Cleveland!

IN THIS ISSUE FROM THE EDITOR...

Editor: Eric West editor_of_triad@omea-ohio.org

6 Editor of TRIAD - Eric West

FROM THE PRESIDENT...

Design/Production: Amy Annico Director of Media & Publications media_director@omea-ohio.org

10 OMEA President - Kathleen McGrady

MASTERING THE CRAFT 18 22 26 28 30 34

BAND - Dr. Shelley Jagow CHORAL - Dr. Peter Jarjisian GENERAL MUSIC - Dr. Terri Brown Lenzo JAZZ - Mark Russo MULTICULTURAL - Dr. Jesse Leyva TEACHER EDUCATION - Sean Murphy

13 16 36 42 45 46

Corporate/Institutional Partnerships Ohio Foundation for Music Education Donor Form Higher Education News Ohio Arts Council - Jarred Small Ohio Alliance for Arts Education - Tim Katz Jazz Education Connection of Ohio - Mark Russo

PARTNERS, COMMITTEES, HIGHER ED

Advertising: David N. Adamson Director of Business Advertising/Exhibits business_manager@omea-ohio.org ONLINE PUBLISHING: WRL Advertising

2018 OMEA PDC SPECIAL SECTION 48 51 52 54 56 58 59 60 62 64 67 68

Invitation Professional Development Committee Selected Performing Ensembles OMEA PDC Clinicians Exhibit Hall Hours & Exhibitors Industry Showcase Sessions Graduate Research Forum Pre-Registration & Housing Forms IHCP & Ashland Programs Letter to Administrators for the 2019 OMEA PDC 25-Year Award Nomination Form TRIAD Publication Schedule & Advertising Index

TRIAD, the Official Publication of the Ohio Music Education Association, is written for music educators, college students preparing for a career in music education, and others who are interested in music education in both general and specialized areas. TRIAD is now a digital publication that can be found online at www.omea-ohio.org three times a year - with Oct/Nov, Dec/Jan, and April/May issues. All news releases should be sent to the editor.

All news releases received by the editor will be considered on the basis of news, value, and timeliness to the music education profession in the state of Ohio. All advertising space and business inquiries should be directed to the OMEA Director of Business. An Insertion Order or a Space Reservation Form must be submitted for ads to be printed. TRIAD reserves the right to reject any advertisement. The statements of article authors and/or advertisers are not necessarily those of the magazine or association, and the right to refuse any article/advertisement is reserved. OMEA is not responsible for the URL linking in this publication in terms of destinations or operation. All links are tested in advance for validity to intended sources, but potential distortions may occur beyond the control of OMEA and/or the URL link source. OhioMEA Online Publication Policy on Post-Publication Changes The Ohio Music Education Association places the highest importance in the integrity of our publications posted online. We realize that despite the competent efforts of the editor, authors, contributors, advertisers, and OMEA staff, posted content may have errors or desired alterations identified after the proofing process is completed. Once a publication is posted online, it will be considered as ‘final’ and no further changes, updates, or corrections will be made. The electronic archiving of our publications for official record is taken seriously and all online publications should be considered equitable to print venues, without alterable possibilities once posted for public viewing.

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OMEA INFORMATION NETWORK OMEA OFFICE P.O. BOX 1067 Massillon, OH 44648 330.833.5677 - Office www.omea-ohio.org Roger A. Hall Executive Director 330.833.5677-O executive_director@omea-ohio.org David N. Adamson Director of Business 440.552.6983-O business_manager@omea-ohio.org Amy L. Annico Director of Media & Publications 210.570.6632-O media_director@omea-ohio.org Gregory S. Taylor Director of Technology 614.395.5016-O technology_director@omea-ohio.org

OMEA TRUSTEES Kathleen McGrady President president@omea-ohio.org

OCMEA OFFICERS Adelaide Young OCMEA President ocmea_president@omea-ohio.org

Ann Usher President-Elect president_elect@omea-ohio.org

Lauren Zetts OCMEA President-Elect ocmea_president_elect@omea-ohio.org

Michael Crist Immediate Past-President past_president@omea-ohio.org

Brianna Potts OCMEA Secretary ocmea_secretary@omea-ohio.org

Daniel Ruckman Secretary secretary@omea-ohio.org

Lydia James OCMEA Editor ocmea_editor@omea-ohio.org

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

Colton Thomas OCMEA Treasurer ocmea_treasurer@omea-ohio.org

Wendi Davis Treasurer treasurer@omea-ohio.org 2018-2019 TRIAD EDITORIAL BOARD

Mark A. Hensler Director of Professional Development 513.240.1572-O pd_director@omea-ohio.org

EDITOR Eric West

GRAPHIC DESIGN/LAYOUT Amy Annico

Defiance High School

Ohio Music Education Association

William K. Guegold Director of Adjudications 330.592.0539-O adjudications_director@omea-ohio.org

PAST EDITOR Marc Parulekar

JAZZ Mark Russo

Pickerington North High School

Parma Community High School

BAND Jeff Gershman

MULTICULTURAL Lisa Wong

Capital University

Wooster College

CHORAL/VOCAL Brad Pierson

ORCHESTRA/STRINGS Michael Smith

University of Toledo

Perrysburg High School

CURRICULUM & ASSESSMENT Nathan Kruse

TEACHER EDUCATION Heather Russell

Case Western Reserve University

Cleveland State University

GENERAL MUSIC Terri Lenzo

TECHNOLOGY Brian Laasko

Ohio Northern University

McKinley High School

Dane Newlove Director of Adjudicated Event Materials and Awards 419.394.2232-O ae_materials_director@omea-ohio.org OMEA is an Affiliate of NAfME National Association for Music Education www.nafme.org Allied Organizations of OMEA: Ohio Alliance for Arts Education www.oaae.net Ohio Arts Council www.oac.state.oh.us Ohio Choral Directors Association www.ohiocda.org Ohio String Teachers Association www.ohiostringteachers.org Jazz Education Connection of Ohio www.jecohio.org

DECEMBER 2018/JANUARY 2019

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FROM THE EDITOR...

Eric West, OMEA Editor LOOKING AT THE WORLD FROM BACKSTAGE I like to look at the world from backstage. It started when I was very young. I was always looking behind things to see what was going on in the places I couldn’t, and sometimes shouldn’t, see. It was a curiosity to understand how things work. I still have it today. It is present in so much of my life that as I began to reflect on it, I found it really was a major driving force for much of my career and life choices. In high school, I was obsessed with learning music theory and understanding why music worked the way it did. And now I spend my days obsessing over why my choral ensembles make the sounds, both good and not good, that they do.

I’ve always liked taking things apart to see how they go together. Other people complain about buying new toys for their children in which the words “assembly required” are a part of the deal. I don’t. I love it.

Most of the fun of Christmas morning for me is/was putting together the toys that my children received.

When I first became a teacher, I had a very poor computer in my room that required a lot of attention from our technology person. He was annoyed and I was annoyed. I didn’t like that I didn’t know what was wrong or how to fix it. One day I sat down with my home computer, took it apart, and put it back together and now I know. I was fascinated looking inside the machine and seeing all of the parts working together to present what we normally see and work with on our screens. It’s amazing how much effort goes into something that we expect to be effortless.

As a music educator, I’ve been afforded a lot of opportunities to see things from backstage. Some figuratively and some literally. Seeing a musical theater 6

production at an angle that very few people get to see gives you a whole new appreciation on what it takes to present something of quality to an audience. Next time you are at a show, I highly recommend taking some time to try and observe all the things you’re not meant to observe. Try to get backstage after the show, take a look into the orchestra pit, pay attention to the scene changes and try to figure out exactly what is going on why these things happen.

My time serving on the OMEA Board of Trustees has given me some amazing opportunities that I don’t want to take for granted. This past fall I was privileged to attend a weekend of State Marching Band Finals hosted at two separate locations: Hilliard Bradley High School in Columbus and Welcome Stadium at Dayton.

Our Executive Director, Roger Hall, was kind enough to give me a tour of the whole operation. We went through the carefully constructed entrances for incoming marching bands. I saw where they unload equipment, the spaces where they warm-up, their staging areas and pre-placement areas. I was able to speak with so many people working these events, the adjudicators, the volunteer gate managers, they video production teams, the volunteers in the adjudicators break areas, and many more. After the tour, I wandered a bit.

I wanted to look at some things from angles that not everyone gets to see. My favorite places were up in the press box watching the bands while the adjudicators made their comments and by the exit gates as the bands were leaving the field from their performances. I loved the energy with which the adjudicators were giving praise and critique, rapidly reacting to all of the things they see and hear. I found myself smiling as I overheard the members of the marching bands excitedly TRIAD

discussing their performances as they exited the field.

What impressed me the most was all of the care and detail that went in to providing a first-class educational experience for both students and audience. I was astounded by the time and care that Jay Wardeska, Chris Carmean and all of their staff and volunteers put into every little detail of these events.

Similarly, last winter, I had the privilege at our professional development conference in Columbus. As an attendee, you don’t always notice the attention to all of the details that go from making this just a run-of-themill conference to one of the best educator professional development events in the state and one of the best music conferences in the country. Just taking a quick glance at the diverse list of sessions offered each hour should be enough to tell you that there is a lot of things going on backstage. I spent a little bit of time in about every one of the major areas of our conference. Mark Hensler and his staff, Dave Adams and his staff, they all put in the “over and above” effort on tons of things that I never made a conscious effort to notice. Even the signage and banners have all been designed to the highest level of professionalism. But that’s what makes the conference amazing. You don’t consciously

notice the amazing attention to every little detail, but you know that you are having a fantastic three days developing your skills as a musician and as an educator. You’re connecting and reconnecting with hundreds of people and using those connections to inspire and refocus your own efforts in the classroom. And you’re having a lot of fun while doing it. The people backstage have made sure that continues to happen year after year.

Attend our 2019 Professional Development Conference in Cleveland. Take some time to notice the work of the backstage crew. If you get the opportunity, take a look at things from a different angle. It will change your perspective in more than just the literal way.

Eric West is the Vocal Music Director for Defiance High School.

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

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

Topics over the years have centered on improving the musical experience for students and teachers.

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

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

• • • • • • • •

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

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

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

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

DECEMBER 2018/JANUARY 2019

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FROM THE PRESIDENT...

Kathleen McGrady, OMEA President

HAPPY NEW YEAR! As I sit down to write this, 2018 is coming to a close and 2019 is just around the corner. This always causes me to take just a few minutes to ponder my successes and failures of the previous years in anticipation of doing things differently, and hopefully better. When I think back on this year and all the connections that I have made through OMEA the one word that keeps coming back to me is grateful. I am so grateful for connecting my relationships with colleagues, students, and administrators and I look forward in the future to sharing thoughts and hopes for music education in Ohio. In the fall TRIAD, I mentioned how important it is to connect feelings, musical lines, and lives with those who have influenced our paths; connecting relationships with people is just as important.

Most job openings in music education are filled through networking and referrals, and making these connections is crucial. You automatically arrive with credibility when referred to someone you want to meet by a mutual friend. For example, while attending the MidWest Clinic in Chicago, I wanted to meet composer Michael Markowski. When the opportunity arose, it turned out we had a mutual friend. Michael connected me with a high school classmate who I had lost contact with over 40 years ago. “A Conductor’s Interpretive Analysis of Michael Markowski’s ‘The Cave You Fear’” was authored by Marc R. Dickey, PH.D., California State University, Fullerton School of Music, and fellow Clay High School alumni. In reality, that fact means nothing, but in the world of social dynamics, it’s gold!

We need to spend more time building relationships within and outside our current network of friends and colleagues and see where it leads. Michael led me back to my dear friend, Marc, who I had not been in contact with since 1974.

When thinking back on my teaching career, it really 10

wasn’t about the notes…it was about making connections and building relationships with our students.

Yo-Yo Ma states, “Music enhances the education of our children by helping them to make connections and broadening the depth with which they think and feel. If we are to hope for a society of culturally literate people, music must be a vital part of our children’s education.”

The OMEA Professional Development Conference serves as a reminder of the awesome professional relationships built with colleagues who may not be by our side every day, but are merely a phone call, email, or text message away. The conference is a great opportunity to be inspired and network with fellow educators in order to enrich our music programs.

There is nothing like being surrounded by scores of people who share common vision and commitment to kids and music. With that in mind, please take a moment to put January 31st-February 2nd, 2019 on your calendar to attend the OMEA Professional Development Conference (PDC) which will take place at the Huntington Convention Center in Cleveland.

May 2019 bring a year of connecting and building new relationships for each of us in our teaching each and every day. Thank you for all you do for music education in Ohio. You are making a difference!

Kathleen McGrady is a retired instrumental music educator after 34 years as Director of Bands at Springfield High School in Holland, Ohio and Northwood High School, in Northwood, Ohio where she was honored as “Teacher of the Year”.

She currently teaches Music Education courses at Eastern Michigan University and is a conductor/ scholarship representative for the Blue Lake Fine Arts Camp. She has served OMEA at the District, Region, and State levels, and most recently as the 2016 All-State Coordinator. Ms. McGrady is a graduate of Bowling Green State University and holds a master’s degree in Music Education from Vandercook College of Music. She was honored as the Ohio Music Education Association’s 2015 Music Educator of the Year.

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2018-2019 OHIO MUSIC EDUCATION ASSOCIATION CORPORATE / INSTITUTIONAL PARTNERSHIP The Ohio Music Education Association offers a partnership program to businesses, corporations, and colleges/universities. These organizations have made a special effort to support the activities of the music education profession in the State of Ohio. The quality of music education is highly valued by these caring partners. Your patronage of these educational advocates is strongly encouraged.

All listings as of 12/1/18.

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DECEMBER 2018/JANUARY 2019

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LEVEL ll - OMEA PATRON Akron, The University of

Capital University Conservatory of Music

Case Western Reserve University

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Muskingum University

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DECEMBER 2018/JANUARY 2019

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

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

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

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

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MASTERING THE CRAFT: BAND Unconscious Competence: Tools for Balancing Your Instrumental Ensemble Dr. Shelley Jagow; Wright State University

A primary goal of a music educator is to make themselves dispensable. Although we move into a new frontier experimenting with driverless taxis and transport systems, I doubt we will ever arrive at driverless classrooms. Yet, our ambition should be to teach students a skill reinforced to a point where they do not need us to constantly remind them of that skill but rather transfer the skill to a more autonomous action. In the four stages of competence identified by psychologists, the goal is to move students from unconscious incompetence (where they do not understand a concept or know how to apply a skill) to unconscious competence (where players have had so much practice with a concept and skill that the application of knowledge is “second nature”).

One concept that we desire our students to be able to move toward unconscious competence is balance.

The clarity of tonal music cannot be expressed without following basic principles of ensemble balance (when two or more tones combine with one another to achieve a complementary sound) and blend (when two or more tones merge with one another to achieve unity of sound).

BALANCE BY TONE COLOR Two tones may be identical in pitch, but may not blend because they are not identical in timbre. It is difficult to blend a bright sound with a dark sound, or 18

a reedy sound with a brassy sound. If each member of an ensemble is able to produce a characteristic tone, then it is much easier to attend to the issue of balance and blend. Share your “Top Ten” list of wind and percussion artists that you want your players to emulate — otherwise a player may select a random aural model from Youtube. Encourage students to consider taking private lessons, and at the very least urge them to attend a local university masterclass, concert, instrument day, or honor band.

BALANCE BY “LAW OF SOUND” Ed Lisk (1987) in Alternative Rehearsal Techniques illustrates the concept of balance in relation to “the basic law of sound”. Players should first concentrate on the quality dynamic level of the section and the ensemble. Once the dynamic volume is balanced, players should concentrate on matching quality of sound. Only when volume and tone quality are in balance can the subject of intonation be addressed with any efficiency.

Traditionally, many students who do not play a first-part feel they do not equally contribute or are as equally important as the first-part players. First-parts may be the most important from a melodic perspective, but second and third parts are more important from a harmonic perspective. Emphasize to students the importance of the sum of ALL parts to the whole.

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Lisk provides 3 Logical Steps to Effective Balance and Blend: If you hear yourself above all others, 1 of 3 things is happening: 1. You are overpowering or overblowing! Make the necessary adjustment. This initiates an auditory reaction to Balance. If you still hear yourself and you made the adjustment in #1, then: 2. You are playing with poor tone quality!

Make the necessary adjustment (embouchure, breath support, posture, reed, etc.) This initiates an auditory reaction to Blend and a physical reaction to embouchure and breath support. Poor tone quality will not blend with anything! If you still hear yourself and you made the adjustment in #1 and #2, then: 3. You are playing out of tune! Make the necessary adjustment by extending or shortening the length of your instrument. This initiates an auditory reaction to “Beatless Tuning” (Lisk, 1987, p. 70).

In order to achieve Lisk’s Law of Sound the students must know how to effectively listen. Instruct players not only to listen down for the lowest voice both in the ensemble and in their respective sections, but also ask them to listen to their trio. In other words, each student should make adjustments by carefully listening to the player on either side of them. When every member of the ensemble is actively listening to their trio, and getting “inside” each other’s sound, then most issues with tone, balance and blend can be immediately corrected.

BALANCE BY PYRAMID Teaching students to listen beyond their own printed music on the stand will increase their awareness of musical roles and how they need to play their own part for that particular moment in the piece. In simplistic terms, the more notes in your measure or the darker your part, then it is likely it is of melodic versus harmonic importance. And conversely, the fewer notes in your measure or the lighter your part, then it is likely your role is of harmonic versus melodic importance. McBeth’s pyramid of ensemble balance recognizes that the lower the voice line, the louder the volume. For example, horns must play DECEMBER 2018/JANUARY 2019

softer than tubas; flutes must play softer than saxophones; and first trumpets play softer than third trumpets; etc. Lower-voiced instruments reinforce tones of middle and higher-voiced instruments due to the natural harmonic overtones of lower instruments. Higher voices may be played softer because less volume is required for them to be heard over lower voices.

FIGURE 1: DOUBLE-PYRAMID BALANCE

One of the best ways to refer to McBeth’s pyramid balance is by looking at the woodwind and brass choirs (Figure 1) separately. The pyramid shows both the instrument and the assigned part in relation to its role in balance. A more simplified diagram (Figure 2) may be illustrated for your younger bands.

FIGURE 2: PYRAMID BALANCE (SIMPLIFIED FOR YOUNGER BANDS)

The closer to the base of the triangle that an instrument is located, then the more volume support it needs to provide in order to achieve proper ensemble balance. The Bass choir should provide the most volume support, followed respectively by the Tenor choir, Alto choir, and finally the Soprano choir.

(cont.)

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BALANCE BY INSTRUMENTATION The responsibility of instrumentation lies directly with the music director who should manage annual instrumentation needs with a minimum four-year projection chart. This allows a director to look ahead to see what students will be graduating and therefore what instruments need to be replaced. As a general rule, the brass instruments should never outnumber the woodwind instruments in a concert band. The average school concert band should be comprised of approximately two-thirds woodwinds and one-third brass. The woodwind:brass instrumentation ratio is somewhat different between the Concert Band and the traditional Wind Ensemble typically with one player per part. The ratio for a wind ensemble is approximately 3:2 (woodwind:brass), while the ratio for a concert band is closer to 2:1 (woodwind:brass). The clarinet choir is the foundation to a concert band, so the director should select repertoire based on the strengths and weaknesses of the clarinet section.

BALANCE BY NOTE LENGTH In general, long notes should be played softer, and shorter, successive notes should be played out more in order to adequately hear the moving line. This is somewhat of a simple, all-purpose approach, but nonetheless delivers the desired effect. The only word of caution is to be careful that the melodic lines are not so prominent that they are covering the essential harmonic and accompaniment lines.

BALANCE BY DYNAMICS Although dynamics are printed in ink, they are not etched in stone. Dynamics are only relative â&#x20AC;&#x201C; qualified only by fundamental issues such as instrumentation and balance, as well as stylistic and interpretive decisions. When rehearsing ensembles with limited instrumentation, it is practically necessary to rewrite the dynamics in the playerâ&#x20AC;&#x2122;s parts in order to offer musical honesty to the piece.

On unison ensemble crescendos, the lower voices/ instruments should crescendo slightly faster than the higher voices/instruments in order to maintain a solid balance during dynamic modulations. Failure to follow this approach will result in a crescendo that will sound top-heavy. An effective approach is to ask the lower voices to crescendo to almost 100% capacity, DECEMBER 2018/JANUARY 2019

the middle voices to crescendo to 75% capacity, and the higher voices to crescendo to only 50% capacity.

The ideal effect should result in a properly balanced sound. The reverse of this method should occur in an ensemble decrescendo. Balance of dynamics should be included as part of a warm-up routine.

BALANCE BY EQUIPMENT QUALITY In a perfect world a director would love to have every student playing on a professional model instrument complete with quality mouthpieces, bocals, reeds, etc. This ideal scenario would make the challenge of achieving blend with the ensemble much simpler. Although this is mostly an impossible scenario, there are some methods you can implement to achieve very similar results.

In your school you may find an array of various brands of mouthpieces, each with a different size bore, different tip opening, and different lay. Such variety aggressively challenges success at blend within a section, let alone within the entire ensemble. To combat the problem, communicate with parents explaining the rationale and advantage of having students perform on similar equipment, and most importanly on quality equipment. Ask parents to consider purchasing a recommended mouthpiece, ligature and reed combination. The money spent on a good quality mouthpiece alone could make a $300 instrument sound like a $1000 instrument. Make a presentation to your local school board who may be very willing to purchase several mouthpieces to lend to those who cannot afford to purchase their own quality mouthpiece. Of course, the selection of brands is a personal and professional decision that needs to be made by each director, but consult with your colleagues and local artists for recommendations.

Dr. Shelley Jagow (Wright State University; Dayton, OH) serves as Director of the Symphonic Band and Professor of Saxophone. Dr. J presents clinics, performances, adjudications, and serves as honor band conductor at state, national and international events. She is a contributing author to both GIA and Meredith Music Publications: Tuning for Wind Instruments, Developing the Complete Band Program, & Intermediate Studies for Developing Artists. www.shelleyjagow.com 21

MASTERING THE CRAFT: CHORAL And the Choral Director replied, “Whoops, I used to do that!”

Dr. Peter Jarjisian; Ohio University

“We learn the craft in order to serve the art,” is an inspiring quote attributed to Rosina Lhevinne, venerated piano teacher at the Julliard School. The responsibility to serve the music, to be what Erich Leinsdorf called “The Composer’s Advocate,” and to “do no harm” challenges us daily. How fortunate we are to have been lured to a life in music!

Retired but still breathing: here are some things I’ve been thinking on.

ANTICIPATION What a gift! Here comes a new phrase. As singer or conductor, how will you shape it? Does your face show anticipation? Record yourself. What do you look like as you inhale? What’s it feel like? Refreshing? Easy? Calm? Quiet? Let yourself breathe calmly (almost silently) as you prepare to share the fresh idea you have. Low breathing? Yes, of course, but no need to breathe noisily; just let the breath fall into the body, then share the story. Practice letting it happen. You’ll get all the oxygen you need, and you’ll likely sing with less tension. Over time, you’ll find yourself inclined to invite your inhalation earlier than one beat in advance. That’s preparing at a higher level!

SYLLABIC WEIGHT Remove pressure when singing subordinate syllables. So many singers give undo weight to secondary 22

syllables. Seeking good models? Listen to recordings

by Conspirare (Craig Hella Johnson) or The Sixteen (William Christophers). Treat yourself to a performance by Ohio’s own LancasterChorale (Stephen Caracciolo). Elegance!

ACTIVE DICTION I’ve never been more committed to intensifying (exaggerating) voiced consonants (M, N, L, NG; W, Y,). We do this all the time in conversation; can you hear Carol Burnett exclaim “Wonderful!”? What great presence! How early did she start that “W”? When you sing the word, “Glory,” do you use a snappy little “Gih” to catapult the word? As for unvoiced (d, t, s, k, etc.), allow the style appropriate to the genre to guide your choices. Lyric ballads? Dramatic theatrical choruses? Robert Fountain often encouraged, “Sing from where you moan!” Is there passion in your singers’ sound?

TELLING THE TRUTH How are the singers’ faces and bodies? Are they telling the truth? Which singers are? Which are not?

Process together how to be effective storytellers.

Reinforce their efforts. Is anyone enjoying themselves? Kathleen Turner in Send Yourself Roses writes, “One of the laws about acting is that the character cannot be lying. She must be authentic. Bad actTRIAD

ing is pretending. Good acting is believing. It is the absolute truth as you know it.” How many choral singers appear to be telling the truth? Ever hear a choir sing a spiritual with correct pitches, rhythms, dynamics—but no soul?

CONDUCTING What do your videos reveal? Does your gesture inspire the character of the sound about to be made, or are you only representing the “WHEN” of the music? I don’t advocate your leading the ensemble to be dependent on you; but you are not a metronome.

You’re collaborating with them to create or transmit an artistic idea.

How’s YOUR face? Is it changing so as to reflect the storytelling?

Releases on half-beats: What do YOU do when representing releases on half-beats?

No question, on some occasions using the extra gesture serves the music well. Other times, it appears disruptive. Consider the pros and cons of giving a separate gesture (an extra ictus). PROS: clarity, accuracy, togetherness. CONS: drawing undue attention to that brief moment in the larger motion of the phrase.

Possibly bringing a jerky quality to a legato style. To the listener, it can seem as though the release is more important than the musical line. By the way, is the consonant too loud? As an alternative, when representing releases on half-beats, develop the ability to show the moment of release as a clear but gentle rebound from the beat, while you continue your motion to the next ictus.

REHEARSAL Warm-ups: During choral warm-ups, what do you notice? Ideal posture? Bright eyes? Lifted cheeks?

Low breathing? Pure vowels? Appealing intonation?

A face that says, “I’m grateful that I get to sing today?” Many times I’ve observed teachers employing healthy exercises that are less than successful

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because the director isn’t guiding the singers’ attention. Yes, ease into a time of concentration, but teach them to vocalize attentively. Really pay attention to their faces as well as the sound. Be encouraging, but persistent and exacting, as you develop their love and skill. This is the time to teach them how to sing well, with beauty and versatility.

Tis a puzzlement: Do you talk during your preparatory gesture? When starting a phrase in rehearsal, if one says, “Ready, and ….“ or “Ready, sing….”, there is a good chance the ensemble should be inhaling at the same moment the conductor is saying the word “and” or “sing.” We’re forcing singers to begin without having the time and inhalation necessary to make their best tone. We’re actually imposing an obstacle to their success. Simply replacing the word “and” or “sing” with our own inhalation (and inviting face)—as if we were singing ourselves—will easily correct the unintentional barrier. In performance, we’ll want to begin without talking, so let’s practice “beginnings” in rehearsals. None of us had a conducting text that advocated speaking while giving preparatory gestures.

A reminder that “telling isn’t teaching.” So often, I’ve observed directors diagnose a problem correctly, prescribe a solution, but neglect to help the singers develop skill performing the solution. Modify the vowel? How? Diminuendo as you ascend? Can we take a moment to practice the sensation so we know what it may feel like? One of my teachers, Robert Page, often encouraged, “Confirm it in sound!” When we do, we’re teaching.

Enjoy the journey, friends!

Peter Jarjisian, DMA, Professor Emeritus of Choral Music, Ohio University; Adjunct Faculty, Hocking College; Director of Music, First United Methodist Church, Athens, Ohio.

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MASTERING THE CRAFT: GENERAL MUSIC This Jazz Man for Grades K-2: Integrating Singing, Improvisation, and Literature Dr. Terri Brown Lenzo; Ohio Northern University

This Jazz Man is an adaptation of the song “This Old Man.” Karen Ehrhardt is the author, and R.G. Roth is the illustrator. Ten musicians and their instruments are introduced according to the phrase structure of the song. Onomatopoeic text is included for the sound of each instrument. This provides opportunities for improvised singing and integration of English Language Arts Standards related to phonemes, rhyming, and syllables.

Brief biographies of each musician are included in the back of the book. These can be used to integrate additional standards in music and social studies. In keeping with the title, the book contains famous male musicians such as Louis Armstrong, Bill Robinson, Duke Ellington, and Charles Mingus. I also like to introduce female jazz greats, guiding students to create additional phrases to the song as desired.

The ultimate objective is for each student to sing individually. My young students and I have had enjoyable and successful experiences with these activities.

After reading and singing the book, students create stick puppets representing their own imaginary musicians.

The illustrations are rich in patterns and colors and offer examples for the students to follow. Visual arts standards could be integrated, and I encourage you to collaborate with an art teacher in your school or community.

Use of puppets is often helpful for scaffolding solo singing. I have found that students are very proud of the ones they make and are eager to introduce them during these activities.

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The plan follows a speech-to-song approach. Students begin by using their speaking voices in conversations with partners, followed by rhythmic speech, then singing voices. The procedures culminate in a question-and-answer format, in preparation for more advanced improvisation in future lessons. Students speak and sing in groups before being asked to respond individually. These activities would take place over several lessons.

OHIO MUSIC STANDARDS Kindergarten: 2PR, 3PR 1st Grade: 1PR, 2PR, 4PR 2nd Grade: 2PR, 4PR LEARNING TARGETS • I can speak in rhythm to a steady beat.

• I can sing with correct rhythms and pitches.

• I can improvise.

PROCEDURES 1. Review or introduce the song “This Old Man.” 2. Describe the book as having “new words to the same melody.” Speak or sing the text at the first reading, as appropriate for your students. As they learn the words, gradually let them take over until they are singing on their own as a group. Sing the book throughout this sequence as appropriate. I will refer to the song as “This Jazz Man” from this point.

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3. Creating the stick puppets: Have students create imaginary jazz musicians, using the illustrations for inspiration (Refer to image of book cover for an example). Collaborate with an art teacher or gather images from the Internet and other sources to make the puppets in your class. This could work well as a center activity. Use masking tape to attach the images to large craft sticks. Have students write their names on the back of their puppets or sticks.

Use puppets for the remaining activities.

4. Tell students choose partners or divide them into small groups. Ask them to introduce their musician/ puppets to each other using their regular speaking voices. What are their names, instruments, favorite games, movies, sports, foods, or colors? Create topics based on the interests of your students and ask for their suggestions.

5. Choose a topic, and guide students to use a full sentence that can be performed in eight beats, while you model with your own puppet. Ex: “Tell your partner what your jazzer likes to eat. Use a full sentence like this—My jazz man likes potato chips.”

Walk around the room to guide and assess as students share with partners.

6. Give students opportunities to share with the class.

7. The next step is for students to speak in rhythm to a steady beat. Choose a new topic and model using your speaking voice in rhythm over eight beats: “My jazz woman likes to play the drums.”

8. Students share with partners by speaking in rhythm over eight beats.

9. Give students opportunities to share with the class.

10. Demonstrate a question and answer format, using a variety of topics (#4). Address questions to the entire class and have them answer simultaneously with their unique responses. It is noisy, but students get to practice their ideas without fear of making a mistake in front of everyone.

• Teacher questions class using speaking voice in rhythm over eight beats (Ex: “Tell me. Tell me.

What do you eat?”).

• Class responds together in rhythm over eight beats: “My jazz man/woman eats _____.

11. Repeat #10 using different topics.

12. Ask students to do this as partners, taking turns asking and answering questions in rhythm. Suggest a variety of topics related to everyday life, as in #4.

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Students will often create their own topics, also.

Walk around the room to guide and assess. Ask successful pairs if they would like to share with the class. That will give courage to others.

13. After students become comfortable speaking in rhythm, model a melody for them, so they can begin to sing their responses. Use s-m; s-m-l, or another pattern in the key of “This Jazz Man” that is known to your students and that they can sing with confidence.

• Ex: “Tell me (s-m). Tell me (s-m). What’s your favorite color (s-s-m-l-s-m)?”

• “My jazz man/woman likes blue (s-s-m/mm-l-s-m).”

14. Students sing questions and answers with partners.

15. Give opportunities for pairs to sing to the class.

16. At this point, many students are often secure enough to sing solos to the class, and you can ask openended questions to encourage further improvisation.

“What else would you us to know about your jazz musician?” If student uses speaking voice, encourage use of singing voice.

17. Create a rondo for performance by alternating tutti singing of verses from the book with 16-beat question-and-answer improvisations by partners.

18. Celebrate!

Dr. Terri Brown Lenzo is entering her fourth year as an assistant professor of music education at Ohio Northern University where she teaches music education courses, directs senior capstone research, and is the adviser for OCMEA. She also teaches preschool music classes at the ONU Child Development Center.

Her current research involves the musical behaviors of preschool children during self-directed play.

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MASTERING THE CRAFT: JAZZ The Art of the Jam Session

Mark Russo; Constellation Schools, Parma Community High School

While on a gig the other night, a colleague and I started talking about local jam sessions here in town, and that a great deal of high school students was showing up to “hang.” This got me thinking of some things that I was taught at jam sessions as a budding jazz musician.

As a musician, the jam session is where everyone cuts his or her teeth. It’s a relatively informal event where instrumentalists play improvised solos and vamps on tunes, songs, and chord changes. Jam sessions can range from very loose gatherings of amateurs with a jam session coordinator or host to ensure that only appropriate-level performers take the stage, to sophisticated improvised sessions by professionals, which are sometimes intended to be broadcast live on radio, TV or edited and released to the public. The Jam Session is musicians who don’t normally play together ad-libbing music of some sort. ‘Jam’ connotes enjoyment.

‘Session’ points toward informality.

One source for the phrase “jam session” came about in the 1920s when white and black musicians would congregate after their regular paying gigs, to play the jazz they could not play in the “Paul Whiteman” style bands they played in. It was rumored that when Bing Crosby would attend these sessions, the musicians would say he was “jammin’ the beat”, since he would clap on the one and the three. Thus, these sessions became known as “jam sessions”.

The New York scene during World War II was famous for its after-hours jam sessions. One of the most famous was the regular after-hours jam at Minton’s 28

Playhouse that ran in the 1940s and early 1950s. The sessions at Minton’s were a fertile meeting place and proving ground for both established soloists like Ben Webster and Lester Young, and the younger jazz musicians who would soon become leading exponents of the bebop movement, including Thelonious Monk (eventually becoming Minton’s house pianist), saxophonist Charlie Parker, and trumpeter Dizzy Gillespie. The Minton’s sessions also had competitive “cutting contests”, in which soloists would try to keep up with the house band and outdo (or cut) each other in improvisational skill.

From the camaraderie to the learning process, musician’s young and old all benefit from jam sessions. It’s a great way to apply things that one has been working on in the practice room. As great as they are learning sessions, they can also be utter chaos if not organized correctly or musicians sitting aren’t considerate of the rest of the band OR the venue which hosts it. There is a bit of etiquette that goes along with attending a session and as much as I’ve encouraged my students to attend sessions to learn tunes and network with others, knowing what to do and how to do it are also important to remember. Here are a few tips to pass on.

First, sit in on your couple of tunes and then get out of the way. Two or three tunes at a time is a fair amount to play, but then step off the stand an let other players get a chance to play. In most cases, if a member of the house band is hosting, they will pass around a sheet of paper for you to put your name and a song you’d like to play. If you’re the only player on a rhythm section instrument there you can obviously stay up as long as TRIAD

you’re needed, but you really don’t need to solo on every tune. Horn players should trade off every couple of tunes or so and two or three horn players are enough at a time, and even a single horn player on a tune or two is a refreshing change. Guitarists and vibes players should think of themselves as “horns” unless they are the only comping instrument up on the stand at the time.

Second, say what you have to say in your solo and then get the heck out of the way. You don’t need to take multiple choruses, particularly when there are multiple players who want to take a solo on that tune. Just because the first soloist thought it was ‘COOL” to play 20 choruses of rhythm changes tune doesn’t mean that YOU should too. Remember Miles Davis’s advice to John Coltrane when Trane told Miles he had trouble stopping after he got going. Miles told Trane to, “try taking the horn out of your mouth.” There’s no need for tunes at sessions to go 10 or more minutes. Other musicians are waiting for their turn to play.

Next, if you don’t KNOW the tune, take a break and listen. I know a lot of people will sometimes just let someone else cover the head (or melody of the tune) for them and earball the changes to solo, but I don’t think this is appropriate. Even if you’ve got someone else to play the melody you never know what might happen.

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Maybe that guy gets a phone call just before the head out and you’ll be the one who needs to play the melody.

If you’re going to comp or walk a bass line you need to know the changes and form. There’s nothing worse than trying to blow a solo when the pianist and bassist aren’t agreeing on the chords and/or form. Personally, I think it’s better to sit out if you don’t have the tune memorized rather than read it out of a fake book. Use the opportunity to make note of the tune and memorize it for next week’s session.

This leads me to my next and final point. Practice at home, not on the session. Know and admit whether or not you can really “hang” with the musicians you’re playing with. By all means, sit in and take your turn.

That’s what an “open” jam session is all about, but if you’re holding back the other players with your inexperience do a little more listening and a little less sitting in. Humility goes a long way.

Mark A. Russo is director of bands at Constellation Schools: Parma Community High School. He is also a freelance jazz trumpeter/educator in the greater Cleveland area and has conducted clinics on jazz history and improvisation at the middle, high and collegiate level. Mr. Russo is an Edwards Trumpets and AR Resonance performing Artist.

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MASTERING THE CRAFT: MULTICULTURAL All Ears: Programming Music by Underrepresented Composers Dr. Jesse Leyva; Kent State University

At last year’s OMEA Professional Development Conference, I presented a session on programming concert band grade 2-4 works by underrepresented composers. During my presentation, I shared information and resources on how our profession can do a better job of choosing music that connects with a wider constituency of our students and communities.

While some gauge the success of a presentation on how well it was attended (I was fortunate to be joined by a healthy number of attendees), I believe my session was successful because of a surprising development: spontaneous, engaging, and honest dialogue among the music educators and pre-professionals in the room. It became clear that programming diverse music is a priority for all, and very challenging for many. It is with the same collaborative passion that I share highlights and resources on how we can diversify the music our students play and sing.

In the July 2000 edition of the Music Educators Journal, venerable conductor and music educator H. Robert Reynolds wrote an article entitled, “Repertoire IS the Curriculum.” As a young high school music teacher at the time, this article had a profound effect on how I approached programming for my students.

The encapsulating thought of Professor Reynolds’ article is that selecting repertoire is the most important decision we make as music educators. As I begin my seventeenth year in our career field, I understand 30

this to be one of the essential truths of our profession.

Programming can be daunting, stressful, and beyond challenging. Whether it is OMEA Large Group Adjudicated Events, a winter concert, school assembly, or other performances, we aim to select music that will meet our students’ abilities, while also stimulating musical growth. We are relentless about finding a perfect combination of varied repertoire so that our students are set up for success. While we tend to achieve variety in musical selections in terms of musical style, we often fall short with selecting music by composers of diverse backgrounds.

And here is where the roads of programming repertoire and underrepresented composers meet. Making sure that the music we select includes works by women and minority composers should not be an “extra” factor in our programming choices – it must become a normal consideration of student success.

Music connects us as human beings. We are most fulfilled as music educators when that connection reaches all of our students and community members.

I attended a conference a few years ago that featured some of the finest collegiate bands in the nation.

The performances were exceptional and well-received by enthusiastic audiences. Conference organizers and attendees however, soon made a surprising observation. Of the dozens of pieces performed, only one was composed by a female, and none were written a comTRIAD

poser of color. This was a hot topic of conversation at this conference, and there was widespread sentiment that the musical choices were unintentionally lacking in diversity and inclusion.

When I returned from the conference, I evaluated my programmatic choices. Despite serving on diversity task forces and performing research on minority composers, I was shocked to discover that I had only programmed one selection by an underrepresented composer. My very own repertoire choices were part of the problem.

“WHY?” First, challenges to the value of bands, choirs, and orchestras in our schools is nothing new. A manifesto, advocating for progressive change of music education, was published by the College Music Society in November 2014 (http://www.mtosmt.org/issues/ mto.16.22.1/manifesto.pdf). One of the main points of this manifesto is that bands, choirs, and orchestras in our school systems only provide music education

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for the top ten percent of a student body.

Many would dispute that participation in a school band, choir, or orchestra is an experience reserved for elite students only. We reach our communities in many ways. However, if our repertoire excludes women and composers of color, how can we argue that our music making is truly inclusive for all students?

“BUT HOW?” This was one of the first, and most frequent questions asked when ensuring we include curriculum by underrepresented composers. I found inspiration in a February 2017 article by National Public Radio entitled, “Why This High School Band Is Buying Music From Composers Of Color This Year” (https://www.npr.org/ sections/ed/2017/02/18/509133975/why-this-highschool-band-is-only-buying-music-from-composersof-color). As you read this article, you witness how a high school in Minnesota has implemented inclusion in repertoire selection – and what this means to the students who are studying and performing this music.

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By and large, the sheet music in our libraries is filled with music written by white males. It is our responsibility to diversify our libraries and add music composed by women and minorities. And contrary to widespread belief, there is a great deal of quality music composed by underrepresented composers, especially over the last few decades. Because much of this music is recently-composed, and therefore has yet to “stand the test of time,” many titles have not made their way to our state prescribed lists. For example, the 2017-2018 OMEA Large AE Repertoire List contained seventy-three works for high school band. Only four were written by women (5%), and only three were penned by composers of color (4%).

The junior high lists were not much better. Within that listing of eighty-nine compositions, one was by a female composer (1%) and nine were by composers of color (10%).

We must prioritize the music of underrepresented composers when adding repertoire to our library.

This will enable us to have options when choosing a work that does not need to be from the OMEA LG as we prepare for adjudication. There are many

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resources for finding this quality music for all grade levels. Links are included below.

Let’s work together to move our noble profession forward, to continue to provide the best music experiences possible for students, and make programming choices that are more inclusive of a diverse audience.

This is our mission as music educators.

LINKS • Rob Deemer’s “Composer Diversity Database” • Jodie Blackshaw: “Female Band Composers Works Grade 1-4” • American Composers Forum: BandQuest • Wind Repertory Project • Nicole Muffitt, MA Ethnomusicology (in progress) “An Annotated Bibliography of Music for Middle School Band with a Non-Western Emphasis” Dr. Jesse Leyva is Director of Bands and Associate Professor of Music at Kent State University, where he conducts the Wind Ensemble, teaches graduate and undergraduate conducting, and provides administrative leadership for the band program.

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MASTERING THE CRAFT: TEACHER EDUCATION Entrepreneurship in Music

Sean Murphy; Baldwin Wallace University

When does a student become a professional musician? When they get their first job? When the graduate from a college or university music program? When they get paid for their first gig? The ability to be a lifelong learner is simultaneously musicâ&#x20AC;&#x2122;s greatest gift and toughest challenge for those seeking a successful career in music. One can always aspire to greater heights of their own musical abilities. However, it is this same idea of unattainable perfection that prevents some from converting their artistic skill to income.

This mindset of musicianship as a profession, in addition to a passion, starts with small steps that can be facilitated by all educators. Students need to feel supported when they want to push the envelope with their artistic desires. Maybe they want to tackle a piece with a range that is beyond their current capacity. Perhaps they are interested in exploring some avant garde literature. Maybe they want to compose a work for a large performance medium. Students can achieve limitless success when they believe they are ready for a piece, contest, or performance. This starts with an educatorâ&#x20AC;&#x2122;s willingness to facilitate these desires, or in some cases push students to believe they are capable of more. Otherwise, we run the risk of beginning to instill the mindset that one will never be ready to succeed either in the concert hall or in the professional realm of music.

Those in higher education can further this notion by considering undergraduate course work as con34

tributing to the establishment of a successful entrepreneurial foundation. This is especially true for individuals seeking performance degrees, where the mindset is sometimes orchestra job or bust. When it comes to higher education in music we must ask ourselves, what is our obligation to the students we teach? Are we better off teaching our students the nuanced differences in the compositional practices of Obrecht compared to Ockeghem, or the concepts of advertising versus publicity?

To this end, one must compare the process of a music education with a startup enterprise. They say it takes an average of five years to get a business off the ground. This is why beginning to develop an entrepreneurial mindset the day a student walks across the graduation stage is four years too late.

Otherwise, the music community will be continued to be filled with stories of extremely talented performers who had to abandon their craft of music as a financial mechanism and turn toward a new career in real estate, health care, or technology. This is an all too common tale that can be eliminated by the framing of music as a profession versus a skill in these critical years of formal study.

This systematic preparation of developing an entrepreneurial mindset can be implemented in many ways. This can first be achieved by the creation of an individual brand as part of the educational process. Students should strive beyond just being a skilled performer. As previously outlined, one could TRIAD

spend a lifetime focusing on improving this skill alone, and not see a direct correlation to financial success. Rather, they should hope to create an area of specialization in some manner that results in a unique and employable sub section of their musical skill.

This brand development can then be further leveraged through media. Studying music should not double as license for technological ignorance. Basic web site building and social media skills are essential for the success of modern day musicians. Building a brand takes time and energy, and is more complex than simply making a Facebook page and then moving on. It takes research, like in any other academic field, to obverse current trends, experiment, implement strategies, and collect data on the success of online traffic to the multiple platforms that are required for success today.

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Building the performance skills and musical knowledge one needs to succeed takes time and energy. So too do the steps needed to grow the individualized skills for the business of musical performance. When these concepts are integrated into a holistic approach of study, the idea of entrepreneurship can be converted from a misunderstood and anxiety inducing sentiment, into a pillar in the foundation of oneâ&#x20AC;&#x2122;s musical education.

Sean Murphy currently serves as Assistant Professor of Arts Management and Entrepreneurship at Baldwin Wallace University, where he specializes in for profit music industry studies. Additionally, he is the owner of the publishing house Murphy Music Press.

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HIGHER EDUCATION NEWS CASE WESTERN RESERVE UNIVERSITY Dr. Nathan Kruse, Associate Professor and Coordinator of Graduate Studies in Music Education, authored a study published in Music Education Research entitled “The jumping flea diaspora: an ethnographic exploration of music and culture in a Hawaiian ‘ukulele club.”

CWRU Music Education hosted Dr. Cynthia Crump Taggart, Professor of Music Education at Michigan State University for a residency in September. Dr. Taggart led undergraduate seminars in assessment and early childhood music and a graduate seminar entitled “Knowing Who You Are and What You Bring: Carving out your Niche in the Profession.” She presented “Redefining Musicianship for Music Educators” for the Music Department Colloquium.

KENT STATE UNIVERSITY Faculty and students from the KSU School of Music had an active summer and fall of research and teaching.

Dr. Jay Dorfman co-edited the book “Pluralism in American Music Education Research: Essays and Narratives” (Springer Press, 2018). Dr. Dorfman also began a term as the Communications Chair on the Executive Board of the Society for Music Teacher Education.

Dr. Wendy Matthews gave presentations at the International Trumpet Guild conference in San Antonio, Texas and at the American School Band Directors Association conference. Dr. Matthews also published a chapter in the book “Assessing Student Learning in Music through Model Cornerstone Assessments” (Lanham, 2017).

Dr. Craig Resta and undergraduate student Montana Hollis will present Becoming the Best Music Teacher: How to Make the Most of Your Undergraduate Experience” at the 2019 OMEA Professional Development Conference. Dr. Resta will also present a panel session entitled “Another Path to Retirement: 36

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The Value of Earning a Doctoral Degree as a Mid-Career Music Teacher” with Dr. Chris Venesile, Dr. Deborah Devore, and alumni Dr. Katherine Ferguson and Dr. Joni Stoll.

Dr. Chris Venesile will assume the Chair for Vocal Jazz for the Ohio Choral Directors Association.

In this role, he will present sessions at the OMEA PDC on new music. He will also present sessions on connections between research and practice for choral ensembles, and on school musicals.

Emeritus faculty member Dr. Pat Grutzmacher continues to serve OMEA as Research Chair, and Dr. Resta is the editor of Contributions to Music Education, the OMEA research journal.

Doctoral student Laura Wiedenfeld was appointed Visiting Assistant Professor of Music Education at the University of Akron for the 2018-19 academic year.

On September 8th, Dr. John Franklin and the Marching Golden Flashes held High School Band Day. More than 100 students from 36 schools participated with the band in the stands and during halftime.

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OHIO STATE UNIVERSITY The Ohio State Symphonic Band, led by Dr. Scott A. Jones, released its first full-length recording, At home…the music of Andrew Boysen, Jr. Collaborative by design, the recording includes the Ohio State Men’s and Women’s Glee Clubs and graduate vocal soloists.

In May, the Symphonic Band embarked on seven-day tour of Pittsburgh, PA and the Washington, DC area.

The centerpiece of the tour was a shared performance with the US Army Band “Pershing’s Own” in the Rachel M. Schlesinger Concert Hall, in addition to shared performances with the Norwin High School Wind Ensemble, the George Mason University Wind Symphony and the Virginia Grand Military Band.

“The Brazilian Experience” education abroad course, led by Dr. David Hedgecoth, embarked on its second offering in May. During their twelve-day trip, students explored the culture of Brazil in Salvador, Bahia and Rio de Janeiro, performed nine concerts and attended several master classes. In July, Dr. Caroline Hartig, Dr. Russell Mikkelson and Dr. David Hedgecoth led “The Heart of Europe,” a performance-based

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course. Students attended a rehearsal and concert of the Vienna Philharmonic Orchestra; participated in a master class with Daniel Ottensamer, principal clarinet of VPO; and attended the International Music Mastercourses Festival in Cividale del Friuli, Italy with six days of intensive chamber rehearsals, individual and group lessons, in addition to peer performances and faculty artist concerts.

Dr. Kristina MacMullen and collaborative pianist Casey Cook performed with Mirabai, a professional women’s choral ensemble, at the Texas Choral Directors Association Annual Convention.

Last month, Dr. Robert Gillespie, supported by the Switzerland Musician Union Association, visited Geneva to work with string teachers, school administrators and politicians who oversee school music programs. He presented the status and profile of school string programs in America to recommend steps toward further expansion of string instruction in Switzerland.

UNIVERSITY OF DAYTON The faculty of music is pleased to welcome and announce our new faculty members in the music education, music therapy, music theory, and performance areas;

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Steven Hankle is an Assistant Professor of Choral Music and Music Education at the University of Dayton where he teaches choral music education classes and directs the University Chorale and Choral Union.

An active clinician and adjudicator, he has worked with choirs in California, Florida, Virginia, New York, Pennsylvania, Kenya, Africa, and Tijuana, Mexico. Dr. Hankle received both undergraduate and master’s degrees in music education and conducting from San Francisco State University and his Ph.D. in choral conducting and music education from Florida State University. He served as choral music and music education faculty at Penn State University, and successfully developed a new choral program at Mission High School in San Francisco, California.

Stefanie Acevedo serves as lecturer in music theory and technology. Her areas of expertise include music psychology and popular music studies; her research interests include musical expectation, musical form, musical categorization and segmentation, and pedagogical applications of cognitive/psychological research. She is interested in the analysis and cognition of common-practice, avant-garde, popular, and non-Western musics. Currently ABD in music theory at Yale University, her dissertation investigates listeners’

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harmonic expectations of popular music. She holds degrees in psychology, music theory, and music composition.

Joy Willenbrink is a board-certified music therapist and earned degrees from the University of Dayton (B.M. in Music Therapy) and Immaculata University (M.A. in Music Therapy, Certificate in Addictions Studies). Joy’s clinical experience is centered in mental health care of all ages, with specific focus on addiction, trauma, and grief recovery, as well as group music therapy for women. Scholarship foci include women’s music therapy groups, body-oriented treatment, and strengths-based treatment approaches.

YOUNGSTOWN STATE UNIVERSITY The Dana School of Music kicked off its 150th Anniversary Celebrations with a Jazz All-Stars concert that featured alums Sean Jones (trumpet), Ralph Lalama (tenor sax), James Weidman (keyboard), Phil Palombi (bass), and Darryl Pellegrini (drums). The event honored the legacy of Tony Leonardi, a founding member of YSU’s jazz program.

Dana is pleased to welcome Lecturer of Horn, Sean Yancer to the faculty. Mr. Yancer studied at the UniverDECEMBER 2018/JANUARY 2019

sity of Michigan where he completed a Masters degree in Horn performance. He also earned a BME from The Ohio State University and studied with William Purvis at SUNY-Stony Brook and Froydis Ree Wreke in Oslo, Norway. His performance experience includes full and substitute positions in many ensembles in the Great Lakes region, theatrical productions on Broadway and elsewhere, and appearances with Greater Cleveland Chamber Music, CityMusic Cleveland, and the American Music Festival.

Dr. Hae-Jong Lee, Associate Professor and Director of Choral Activities at Dana School of Music, guest-conducted the Noel Chorus and Noel Chamber Orchestra, Busan, South Korea in June 2018. He also presented a lecture at the Podium on the Edge, national biennial choral conference of Choral Canada in July 2018.

Dr. Daniel Keown, Assistant Professor of Music Education, and Melita Belgrave (University of Arizona) published the article “Examining Cross-Age Experiences in a Distance-Based Intergenerational Music Project: Comfort and Expectations in Collaborating With Opposite Generation Through ‘Virtual’ Exchanges” in Frontiers of Medicine.

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Jarred Small, OAC Arts Learning Coordinator As the first half of the school year wanes and we dash toward holiday performances and concert season, there always remains so much to do for students, parents, and administrators. But have you thought of opportunities to build into your own professional development? Check out the highlights below from the Ohio Arts Council (OAC) that are available now to help support your work as an engaged and proactive music educator.

ARTS LEARNING GRANT OPPORTUNITIES NOW AVAILABLE FOR EDUCATORS The OAC is currently accepting applications for all three of its arts learning programs, including TeachArtsOhio, Arts Partnership, and Big Yellow School Bus, aimed at funding a variety of purpose-driven experiences for educators and learners of all ages.

Now more than ever, educators and administrators are facing intense resource constraints. Expand your classroom toolkit by bringing unique arts learning experiences to your students and deepen the rigor and vitality of your standard curriculum and lesson planning. For context, the OAC board convened in July to approve 679 grants as part of the state fiscal year 2019 funding round. One hundred and three of these grants, totaling more than $1.3 million in funding, were for arts learning projects occurring during the 2018-2019 school year.

To learn more about these available grant opportunities, visit oac.ohio.gov (click on “Grants” and scroll down to “Arts Learning”) and contact Jarred Small via email (jarred.small@oac.ohio.gov) or phone (614-728-4481).

Application deadlines and requirements vary, so be sure to read through each program’s Guidelines located on the OAC website.

2018 ARTS IMPACT OHIO CONFERENCE Join the OAC for Arts And… Arts Impact Ohio 2018, taking place Dec. 5-6 at the Hilton Columbus Downtown.

The two-day event will deliver an in-depth look at how the arts intersect with a variety of other disciplines, including the arts and education, healthcare, addiction, veterans, disabilities, and others.

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Workshop sessions will address some of the most in-demand nuts-and-bolts topics facing arts educators, artists, and arts administrators, including: navigating the fast-moving world of social media; developing a valuable, high-impact artist residency; crowdfunding and other innovative development techniques; thriving and succeeding as a professional creative; and more! You’ll also experience live performances, learn about ground-breaking projects happening around the state, cultivate meaningful relationships, discuss ideas with your peers, and learn from thought leaders from around the state, region, and nation.

Visit oac.ohio.gov/artsimpactohio2018 for more information. We hope to see you there!

OHIO ARTS EDUCATION DATA DASHBOARDS NOW LIVE In September, the OAC joined the Ohio Alliance for Arts Education and the Ohio Department of Education (ODE) in launching the Ohio Arts Education Data Project, the next chapter of a four-year undertaking to provide a new look at arts education to help Ohioans better understand student access to arts instruction. Data is collected and reported by ODE’s Education Management Information System (EMIS), updated annually, and provides users with an interactive overview of where (and how) arts education is offered across the state, offering greater transparency, accessibility, and advocacy tools for use by educators and the public. Access the data dashboards at oac.ohio. gov/resources/ohio-arts-education-data.

Jarred Small serves as arts learning coordinator at the Ohio Arts Council, 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, orchestra, and guitar. Jarred holds a Bachelor of Music in Instrumental Music Education from Western Michigan University and a Master of Arts in Arts Policy and Administration from The Ohio State University.

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Tim Katz, OAAE Executive Director THE OHIO ARTS EDUCATION DATA PROJECT All Ohio students deserve high quality arts education that develops important skills needed to succeed in today’s competitive workforce. The arts are part of the state’s prescribed curriculum, and Ohio requires one arts credit (for eligible coursework between grades 7-12) for graduation.

Since 1989 the Ohio Alliance for Arts Education, Ohio Arts Council and the Ohio Department of Education, have worked together to gather data and report on the status of arts education in Ohio’s schools. Today we can deliver this information in real time. The Ohio partner agencies have engaged New Jersey-based Quadrant Research to support our efforts to put arts education information in the hands of those who care about it most, i.e., parents, local school boards, teachers, students, and other local stakeholders across the state.

Launched in September 2018, Ohio is proud to be among the first few states in the nation to provide an online arts education data system available to the public!

EXPLORE THE OHIO DASHBOARD The online dashboards, found at https://oaae.net/ ohio-arts-education-data-project-introduction/, allow the user to review school-level, district, county, and statewide arts education data. Interactive, color-coded dashboard displays show arts access and enrollment data as reported annually via the state’s Education Management Information System (EMIS) by Ohio’s traditional public and community (charter) schools, grades K-12. The data does not include any representation of arts instruction provided by non-school entities. Data from ensuing school years will be added over time, allowing the project to show the status of arts education over time. Demographic data is from the National Center for Education Statistics.

THE DATA FOR THE 2016-2017 SCHOOL YEAR SHOWS: 1. Most students (98.3%) have access to some form of arts instruction while 93% of students have access to both Music and Visual Art. DECEMBER 2018/JANUARY 2019

2. Eighty-four percent (84%) of all students participated in arts education courses. This represents more than 1,413,734 students.

3. Participation in Music (82%) and Visual Art (78%) were by far highest among the four artistic disciplines which include Theatre and Dance. Music and Visual Art are far more widely available in Ohio schools; out of the total student population, 1% participated in Theater, and less than 0.5% in Dance.

4. In 2017 there were 28,258 students, or 1.7%, who did not have access to any arts instruction. There were 117,750 students who did not have access to both Music and Art. However, between 2016 and 2017 there has been a 35% improvement (reduction) in the number students without access to any arts instruction.

5. Student participation varies greatly between traditional public schools and community (charter) schools. In traditional public schools, 86% of students are enrolled in the arts as compared to 60% for community schools.

6. The overall student-to-arts-teacher ratio in Ohio schools is 217 to 1. For Visual Art the ratio is 412:1; for Dance it is 762:1; for Music it is 427:1; and for Theater it is 933:1.

Summary data above from: “Arts Education Data Project - Ohio Executive Summary” Morrison, R., 2018. (unpublished at time of submission)

Tim Katz joined the staff of the Ohio Alliance for Arts Education (OAAE) in 2012 and has been the Executive Director since 2014. Before that, he served for 15 years as the Education Director of the Greater Columbus Arts Council.

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Mark Russo; Constellation Schools, Parma Community High School The Jazz Education Connection of Ohio is proud to present the 2019 Intercollegiate Jazz Ensemble, under the direction of Kris Berg, Director of Jazz Studies at Collin College. The JECO IJE is a prestigious ensemble consisting of some of the finest collegiate musicians from around the state. The ensemble will perform at the 2019 Ohio Music Educators Association Conference on February 1st in Cleveland, OH. One of the top-selling jazz composer/arrangers in the world, Kris Berg has been enhancing the programs and recordings of jazz ensembles from professionals to middle schools for years. While very popular in the United States, you can find groups from Japan to Germany to England who have enjoyed playing his charts.

A composer/arranger for Belwin Jazz, a division of Alfred Publishing, he has written charts for many artists, including Kurt Elling, Wayne Bergeron, and Delfeayo Marsalis, honors bands, colleges, and public school programs across the country. Kris is the author of the popular bass method book, BASS LINES IN MINUTES and also has big band charts published with Warner Brothers Music, Doug Beach Music, Bakers Jazz and More, Walrus Music, and Kris Berg Jazz. Kris’ newest project as composer/bandleader is available now. “Time Management” - The Metroplexity Big Band, is the impressive follow-up to their critically acclaimed CD, “This Time/Last Year”.

Kris has been the Director of Jazz Studies at Collin College near Dallas for 20 years and has taught jazz classes, directed ensembles and founded both the Collin Jazz Fest and the Texas All-Star Jazz Camp. Under his direction, Collin jazz ensembles have performed multiple times at the Montreux Jazz Festival in Switzerland, the Bahamas and festivals across the United States. Kris earned his Master’s and Bachelor’s of Music in Jazz Studies at University of North Texas where he directed jazz ensembles and taught big band arranging.

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An award winning bassist, Kris has appeared or recorded with the likes of Wayne Bergeron, Phil Woods, Kurt Elling, Peter Erskine, Delfeayo Marsalis, Bobby Shew, Doc Severinsen, Clark Terry, John Fedchock, and many others. Currently active as an artist/ clinician for Yamaha Corporation of America, he has appeared at jazz festivals and camps throughout the United States and is also endorsed by Acoustic Image Amplifiers and Bag End Loudspeakers. Recently, Kris Berg & the Metroplexity Big Band were featured performers at the Jazz Education Network (JEN) conference.

As a dedicated educator, Kris is consistently active directing honors bands both in Texas and abroad. He has been selected as guest director for the IAJE International Community College All-Star Jazz Band, the Montana, Oklahoma, Maine, Wyoming, Arizona, South Carolina, and Nebraska All-State Jazz Bands, the Texas Collegiate All-State Jazz Ensemble and the Texas Private Schools All-State Jazz Band. He has written articles for “The Instrumentalist” and “JAZZed” magazines. His popular arranging clinic for small jazz ensembles has been presented at the Jazz Education Network Conference, the Midwest Band and Orchestra Clinic, the Texas Music Educators Association conference, the Maine Music Educators Association conference and the Texas Band Masters conference.

Mark A. Russo is director of bands at Constellation Schools: Parma Community High School. He is also a freelance jazz trumpeter/educator in the greater Cleveland area and has conducted clinics on jazz history and improvisation at the middle, high and collegiate level. Mr. Russo is an Edwards Trumpets and AR Resonance performing Artist.

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DECEMBER 2018/JANUARY 2019

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OHIO MUSIC EDUCATION ASSOCI ATI O N

AN INVITATION TO THE 2019 OMEA PROFESSIONAL DEVELOPMENT

CLEVELAND 2019

“NORTH COAST” CONFERENCE

NORTH COAST

CLEVELAND, OHIO

PROFESSIONAL DEVELOPMENT CONFERENCE JANUARY 31 - FEBRUARY 2, 2019

JANUARY 31ST - FEBRUARY 2ND, 2019

The 2018 OMEA PDC was one of the most successful conferences in recent history. The word is out - the OMEA PDC is the place to be! Start planning now to be part of the 2019 PDC anchored in the beautiful Huntington Convention Center of Cleveland. Need help convincing your administrator? Check out the updated “Letter to Administrators” which presents the conference through the lens of the “standards for the teaching profession”.

Cleveland offers several unique opportunities for your conference experience. The Hilton Hotel is connected to the Convention Center and the recently remodeled Marriott Hotel (conference headquarters) is just across the street. The Hilton will play host to jazz events and performances including the ever-popular late night jazz events.

We are excited to have the Cleveland-based SAO Big Band joining the Thursday night lineup with a concert at 7:00 PM. The Marriott Headquarter Hotel will be transformed into “General Music World”, hosting GM sessions in the spacious, updated ballrooms. General Music attendees should also make plans to participate in the “Jump Start” sessions on Thursday morning starting at 9:30 AM (included with conference registration). These sessions are a result of attendee data indicating a desire to “hit the ground running” on Thursday AM, before the official opening of the PDC. NEW for 2019 - a “Musical Theatre” track (MT) with targeted sessions each day. These are part of the nearly 300 sessions to be presented by both national and homegrown clinicians. Julie Giroux, Anthony Leach, Scott Rush, Rebecca Macleod, Christopher Selby, Aimee Pfitzner, Jennifer Bailey and Chris Judah-Lauder are but a small sample of the great talent lined up for you.

We are excited to welcome the world-renown “Paragon Ragtime Orchestra”! The group is known for it’s authentic interpretation, historical preservation projects and recordings such as “Black Manhattan”. Members of this award-winning group will present sessions throughout the conference and the orchestra will perform a special concert on Friday afternoon. The performance on Friday will also include live accompaniment for classic silent films! Don’t miss it!

We are also pleased to host nearly 40 outstanding ensembles of all shapes and sizes - from vocal jazz to brass band to contemporary orchestra. TI:ME technology sessions, All-State concerts and a variety of networking/social opportunities guarantee another “must attend” event for Ohio music educators.

The exhibit hall in the Huntington Convention Center of Cleveland will offer the latest and greatest tools and merchandise from our partners in the music industry. The highly popular 30-minute transition time has allowed for improved networking and plenty of time to visit the exhibit hall!

Still undecided? Take a tour of the PDC website to read clinician spotlights; performing ensemble info; links to preregistration; Instructional-Hour Certificate Program (IHCP); Ashland graduate credit; housing reservations; special function request form; and more! Housing reservations and conference registration are available NOW.

2019 PDC Team Mark Hensler, Director of Professional Development pd_director@omea-ohio.org 48

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OHIO MUSIC EDUCATION ASSOCIATION

2019 PROFESSIONAL DEVELOPMENT COMMITTEE The 2019 OMEA Professional Development Conference

CLEVELAND 2019

Mark Hensler Director of Professional Development

ALL-STATE CHAIRS

NORTH COAST

Jason Branch Benjamin Meisel

PROFESSIONAL DEVELOPMENT CONFERENCE JANUARY 31 - FEBRUARY 2, 2019

CONTENT CHAIRS Tim Katz Advocacy

Jason Graham Band

Lisa Wong Choral

BethAnn Hepburn General Music

Reid Young Jazz

Andrew Hire Orchestra

LOGISTICS Kaye Nickoloff Clinician/Presider Check-In

Dale Nawrocki On-Site Registration

Amanda McMurtrie Ben McMurtrie Properties Co-Chairs

STANDING CHAIRS Stephanie Smith Adjudicated Events

Melinda Wallace Curriculum & Assessment

Linda Hartley Higher Education

Jon Waters OCMEA

Patricia Grutzmacher Research

Jesse Leyva Multicultural

Lalene Kay Special Learners

Rachael Fleischaker Teacher Evaluation

ALLIED ORGANIZATIONS Myles Bowers JECO

Tim Katz OAAE

Donna Collins OAC

Richard Schnipke OCDA

James Bates OSTA

Lesley Schultz TI:ME

DECEMBER 2018/JANUARY 2019

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2018 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE

SELECTED PERFORMING ENSEMBLES Professional Featured Ensemble

Community Ensembles

String Ensembles

The Brass Band of Columbus Baldwin Wallace Community Women’s Chorus

All-State Orchestra Bowling Green State University Philharmonia Columbus Symphony Youth Orchestras Junior Strings Contemporary Youth Orchestra Dayton Philharmonic Youth Orchestra Gahanna Lincoln High School Chamber Orchestra Westlake High School Chamber Orchestra

Children’s Chorus All-State Children’s Chorus Cleveland Orchestra Children’s Preparatory Chorus

High School & University Choral Ensembles All-State Choir Cleveland Orchestra Youth Chorus Firestone High School Symphonic Choir Hilliard Darby High School Symphonic Choir Baldwin Wallace Treble Choir Bowling Green State University Men’s Chorus Firestone High School Women’s Chorus

Jazz All-State Jazz Ensemble Gahanna Lincoln Jazz Band I Firestone High School Vocal Jazz Ensemble Stanton’s Reading Band University of Dayton Jazz Ensemble Westlake High School Jazz Ensemble I JECO Intercollegiate Jazz Ensemble SAO Big Band 52

High School & University Bands All-State Band Capital University Symphonic Winds Cuyahoga Falls High School Freshman Band Miami University Wind Ensemble Ohio University Wind Symphony Perry High School Symphonic Winds Tusky Valley High School Concert Band William Mason High School Wind Symphony

Other Ensembles Pickerington North Percussion Ensemble The Kent State University Clarinet Choir The University of Akron Horn Choir

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2019 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE CLINICIANS & CO-CLINICIANS (AS OF 11/1/18 & SUBJECT TO CHANGE) ADVOCACY Nicholas Basham Kristen Brown, Dustin Wiley Justin Caithaml Scott DiMauro Nicolas Dosman Linda Hartley Tim Katz Jarred Small ADJUDICATED EVENTS William Guegold Elizabeth Hankins Brian Stevens, Bill Thomas James Vaughn Jay Wardeska, Chris Carmean Jeanne Wohlgamuth BAND Chad Arnow Wendy Bauer-Reeves Rick Benjamin Michael Blutman Thomas Bough Leslie Cullen Kate Ferguson Julie Giroux Barry Hartz, William Bauer Benjamin Helton Shelley Jagow Galen Karriker Laurie Lafferty, Margaret Tung John Leister Samuel Minge, Laura Nichols Scott Rush Patrick Sheridan, Richard Canter, Josh Van Gorder Cynthia Swan-Eagan, Mike Eagan Travis Weller Marguerite Wilder, Mary Land Gail Zugger BROAD RANGE Paula A. Crider Barry Green CURRICULUM & ASSESSMENT Meredith Allen Jennifer Bailey Justin Caithaml Ashley Cuthbertson Wendy Matthews Heather Russell Thomas Zugger CONDUCTING Kevin Geraldi Brad Pierson

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CHORAL Amy Johnston Blosser Carrie Chunat Nicolas Dosman Greg Gilpin Karen Howard Buddy James Christopher Kiver Anthony Leach Brody McDonald Brandon Moss Bryan Nichols Chad Payton Ann Schertzer Julia Shaw Sarin Williams Kyle Zeuch CLASSROOM MANAGEMENT Jerome Welenc GENERAL MUSIC Jennifer Bailey LeslieAnne Bird, Megan Stilla Scott Burstein Marla Butke, David Frego Michael Christiansen Robert Ciesluk, Monica Ciesluk Dennis Giotta Lisa Heinrich Chris Judah-Lauder Herbert Marshall Cody McPherson Aimee Pfitzner Heather Russell BethAnn Hepburn, Roger Sams Roger Sams Dale Schubert Trishah Snowden Pamela Stover Holly Walton Theresa Young, Kristy Piper HIGHER EDUCATION Terri Lenzo Michael Peters, Suzanna Adkins Craig Resta, Christopher Venesile, Deborah Devore, Joni Stoll, Katherine Ferguson Christine Russell Margaret Thiele, Jonathan Waters, Greg Ramsdell INDUSTRY SHOWCASE Otto Gross Graham Hepburn John Jacobson Michael Levine Mark Munson Mike Olander Ryan Sargent James Stephens Joel Tellock

JAZZ Rick Benjamin Dale Hildebrand Joe Jahnigen Mike Kamuf David Kay, Erin Stevens James Leslie Mark Russo Mike Steinel Jerry Tolson MULTICULTURAL Rick Benjamin Donna Cox Karen Howard Anthony Leach Liza Meyers Craig Woodson Paschal Younge MUSICAL THEATRE Rick Benjamin Amy DeRodes, Dennis Cimo Jason Falkofsky Kerry Glann, Geoff Stephenson Matthew Spradlin Jay White, Christopher Venesile, Herbert Marshall, Jennifer Korecki OCMEA Maggie Bittner Aaron Given Nate Kruse Craig Resta, Montana Hollis John Rodesh, John Obringer Julia Shaw Anand Raj Sukumaran Matthew Talbert, Phillip Riggs Paul Young ORCHESTRA Robert Gillespie BettyAnne Gottlieb Elizabeth Hankins, Steve Cocchiola Jordan Koogler Rebecca MacLeod Felipe Morales-Torres David Pope Lois Clark Ramey Chris Selby Jeffrey Singler OTES Kristin Coen-Mishlan, Melissa d’Aliberti Rachael Fleischaker, Gary DeVault, Kristin Coen-Mishlan Jonathan Muro Scott Wilson

RESEARCH Regina Carlow Rachael Fleischaker, Lisa Koops Lisa Gruenhagen, Ed Duling Patricia Grutzmacher, Kristin Koterba Jennifer Kustec Andrew Rhodes Christopher Venesile, Emilio Jarufe SPECIAL FOCUS Josh Reynolds, Lauren Reynolds SPECIAL LEARNERS Leslie Cullen Ashley Cuthbertson Denise D’Arca Emily Hage Lalene Kay Thomas Resnick, Terri McCoy, Greg Donnellan, Beverly Miller Toby Rush Trishah Snowden, Holly Walton Gayle Wall Paul Young TI:ME Meredith Allen Sonya Ash Jenny Barham Evan Brown, Andy Wozniak Robby Burns Melissa Clark Anthony Conte Catherine Dwinal Brian Frey Kris Gilbert Dennis Giotta Marshall Haning Joe Jahnigen Stephen Keys Will Kuhn Benjamin Lupo, Jennifer Conklin Wendy Matthews, Karen Koner John Mlynczak Christopher Redd, Shaun Fontaine Floyd Richmond Toby Rush Lesley Schultz, Brian Frey Anand Raj Sukumaran Sean Taylor David Thompson Robert Ticherich, Denise Grupp-Verbon Carolyn Tritsch Ryan Van Bibber, Andrew Bennekamper Chad Zullinger

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Ohio Music Education Association EXHIBIT HALL VISITATION HOURS Location: Exhibit Hall C of the Huntington Convention Center of Cleveland Visitation Hours: Thursday, January 31 – 1:00 p.m. to 6:00 p.m.

Friday, February 1 – 9:00 a.m. to 5:00 p.m.

Saturday, February 2 – 9:00 a.m. to 12:30 p.m.

Attendees: Patronize Our Exhibitors!

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

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2019 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE January 31 to February 2, 2019, Cleveland, Ohio • Huntington Convention Center of Cleveland Exhibitors as of November 1, 2018 and subject to change.

Acoustica Akron, The University of American School Band Directors Association Ashland University Baldwin Wallace University Baroque Violin Shop Beyond The Classroom Tour & Travel Blue Lake Fine Arts Camp Bluffton University Bob Rogers Travel Bocal Majority Bowling Green State University Brightspark Travel Buckeye Brass and Winds Buddy Roger’s Music Buffet Crampon USA C&G Tours Capital University Conservatory of Music Carl Fischer Music Case Western Reserve University Cedar Point - Kings Island Century Resources, LLC CG3 Battery Fundraising, T A Benedik, LLC Cleveland State University College of Wooster Columbus Pro Percussion Concordia University Ann Arbor, MI Conn-Selmer, Inc. Contemporary Youth Orchestra Cousin’s Concert Attire Crowne Excellence Cut Time Daybreak Music DeMoulin Brothers & Company Denison University Dynasty/DEG Music Products EASTMAN Educational Tours, Inc. Elvy Sound Solutions Festivals of Music/Music in the Parks Fred J. Miller Inc. GBC Fundraising Getzen Company GIA Publications, Inc.

Great Day! Tours & Charter Bus Service Guardian Music and Group Travel Hal Leonard Harmony Bridge Heidelberg University School of Music J.W. Pepper Inc. Jupiter/Mapex/Majestic Kent State University Luck’s Music Library Macie Publishing/Ed Sueta Music Publications Make Me Dough Make Music, Inc. Malone University MarchingDotBook.com Marietta College Mattlin-Hyde Piano Co. McGraw-Hill Education Mercyhurst University Messiah College Miami University Music Dept.

Mollard Conducting Batons, Inc. Mount St. Joseph University Murphy Robes/Herff Jones Music & Arts Music Celebrations International Music Filing Solutions Music First Music for All Music is Elementary Music Travel Consultants Musical Gifts and Treasurers by Costume Holiday House Musical Resources Musicians Repair Service Muskingum University National Association for Music Education Noteworthy Tours, Inc. Oboe Chicago, Inc. Ohio Foundation for Music Education Ohio Northern University Ohio State University School of Music, The Ohio University School of Music Otterbein University Pageantry Innovations, LLC. Peak Performance Tours

Pearl Corporation Pee-Jay’s Fresh Fruit Pellegrino Music Center Peter Zaret & Sons Violins Phi Mu Alpha Sinfonia Premier Tour and Travel PreSonus Audio Electronics QuaverMusic.com Rettig Music, Inc. Rock & Roll Hall of Fame Royalton Music Center Singing Buckeyes Slippery Rock University Snap! Raise Solich Piano and Music Company Soundcheck Audiology Soundwaves Recording StageRight Corporation Stanbury Uniforms, Inc. Stanton’s Sheet Music Summit Choral Society Summit Tour & Travel, Inc. Super Holiday Tours The Midwest Clinic Tiffin University University of Cincinnati University of Dayton University of Mount Union University of Toledo, The US Army Bands Vandoren Wenger Corporation West Music Company Wittenberg University Woodwind & Brasswind Xavier University Yamaha Corporation of America Yankee Candle Fund Raising Youngstown State University Dana School of Music As of 11/1/18 and subject to change.

Attendees: Visit PDC Website for a booth # listing.

Link: https://omeapdc.com

Companies and institutions interested in exhibiting should contact: David Adamson, Director of Business Email: business_manager@omea-ohio.org • Phone: 440-552-6983 • Fax: 440-449-8793 DECEMBER 2018/JANUARY 2019

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2019 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE INDUSTRY SHOWCASE SESSIONS FRIDAY, FEBRUARY 1, 2019 TIME 8:00-9:00 AM

ROOM CC15

SESSION TITLE Raise Your Voice: Tips and Techniques for Student Singers

SESSION DESCRIPTION A panel of choral and voice faculty members from Bowling Green State University will offer practical suggestions for working with student singers.

PRESENTER

SPONSOR Bowling Green State University

8:00-9:00 AM

CC16

Advocacy in Action

Do you want to know what teachers and programs across the country are doing to advance music-making in their local communities? This session will explore some outstanding practical examples of local music advocacy.

James Stephens

Music For All

9:30-10:30 AM

CC15

Music (Studio) Rocks!

Join John in learning new songs, dances, and activities celebrating the vital role of music. John will demonstrate how using McGraw-Hill's Music Studio creates more focused students and efficient teachers!

John Jacobson

McGraw-Hill Education

9:30-10:30 AM

CC16

Harmony Bridge: Connecting Students to the Community through Small Ensembles

Harmony Bridge is an innovative and practical approach to establishing a small ensemble component within the school band program. It focuses on building musical independence, self-esteem compassion, and character.

11:00-12:00 PM

CC15

Folk Songs 4 Ways: Keep Students Guessing & Engaged

The NCCAS Artistic Process of Responding encourages development of a very important set of skills. This session will offer new and innovative ways to challenge student perception, analysis, and interpretation using variations on folk songs in the general music classroom. As they meet these very different versions of common songs, students come face to face with not only music literacy but also social and emotional skills needed to RESPOND as a lifelong learner.

11:00-12:00 PM

CC16

Easily Create Your Music Assignments with the New SmartMusic Notation Program

The educator version of New SmartMusic now has its own built-in web-based notation program, so you can quickly create exercises and assign them out to your students. Learn how easy it is for you to import, compose, arrange, edit, and transpose your music. Topics include: Importing and editing a MusicXML file; setting up a new score; entering notes with or without a MIDI keyboard; adding dynamics, markings, lyrics; and how to send out assignments to your students.

12:30-1:30 PM

CC15

5 Ways to Engage Hard to Reach Students

To explore the intersection of technology and popular music as powerful tools for increasing engagement and retention in upper elementary and middle grade students. To learn strategies for incorporating modern music, songwriting, digital composition, and much more! To walk away ready to meet your students where they are, using the music and devices in their possession to address age-appropriate concepts and skills while inspiring a connection to music that will last a lifetime.

12:30-1:30 PM

CC16

Turbocharge Student Practice and Results with SmartMusic

In this clinic we will discuss motivation theory and practice techniques including Mindset, Willpower, Flow, and Deliberate Practice as they apply to building a culture of practice with your students in and out of the classroom. Then we will demonstrate how to put these concepts to work and show examples of deliberate practice using SmartMusic as a tool.

2:00-3:00 PM

CC15

No Instruments?

No Problem? Body Percussion as an Intro to Improvisation

You don't have to have a full set of classroom instruments to give students an amazing musical experience. Open up the world of story telling, improvisation, and composition to your students using the instrument they carry with them - their bodies! Teachers will walk away with activities that can easily be used to enhance any lesson or serve as inspiration for lesson planning.

2:00-3:00 PM

CC16

Help Students Prepare for Auditions with SmartMusic

Almost all music teachers have had students audition for All Region or All State ensembles, honor groups or college scholarships. Whether or not your students are working with private instructors, you can put a system in place to help them learn their etudes and excerpts, and New SmartMusic can help. In this clinic we will explore how you can create music and upload it into New SmartMusic using MusicXML. Weâ&#x20AC;&#x2122;ll also look at creating graduated assignments to guide the studentsâ&#x20AC;&#x2122; practice. Using these assignments and a system of incentives, you can differentiate instruction and help every student in your class prepare for a positive audition experience.

3:30-4:30 PM

CC15

Not Enough Time?

Solution: MusicFirst's Online Resources for Assessment and Instruction

Cloud-based, affordable resources: accessible anywhere, anytime, on any internet-connected device. Choose the programs/skills from Music First's full-suite of programs (single-sign on), and integrate technology into any music curriculum - with lessons, tasks, and assessments (band, choir, orchestra, theory, composition, general music). Simplify your process, save time and expand your reach.

3:30-4:30 PM

CC16

Tips for Quick & Easy Instrument Repair

Learn to make minor repairs and adjustments to brass & woodwind instruments in the classroom. Diagnose and solve many common problems on your own. Receive guidance on stocking your own repair kits w/the best tools and supplies. Training includes: aligning piston valve, replacing key bumpers, route maintenance, restringing rotary valves, replacing and much more!

58

Mark Munson/Moderator, Emily Pence Brown, Myra Merritt, Jane Rodgers, Richard Schnipke, Christopher Scholl, Ellen Scholl

Michael Levine Harmony Bridge

Graham Hepburn

QuaverMusic

Ryan Sargent MakeMusic, Inc.

Graham Hepburn

QuaverMusic

Ryan Sargent MakeMusic, Inc.

Otto Gross

QuaverMusic

Ryan Sargent MakeMusic, Inc.

Mike Olander

MusicFirst

Joel Tellock

Music & Arts

TRIAD

OMEA GR ADUATE RESEARCH FORUM THURSDAY, JANUARY 31, 2019 9:30 A.M. – 3:30 P.M. WESTIN - VANDA SOUTH AND VANDA NORTH

FEATURED SPEAKER: DR. REGINA CARLOW Regina Carlow is Professor of Music, Regent’s Lecturer and the Associate Dean of the College of Fine Arts at the University of New Mexico where she teaches graduate courses in Music Education Research, Philosophy, and at the undergraduate level, Choral Methods and Music Education and Diversity. She is the artistic and founding director of the UNM Children’s Chorus, a 100-voice graded choir program for children ages 5-18. Regina moved to New Mexico in 2004 and has been working at the University of New Mexico and continues to work as an active researcher-teacher, a choral conductor, and a Kodály Teacher. Despite her constant toggling between arts administration and music education, Regina identifies culturally responsive pedagogy with a special emphasis on the power of non-auditioned choirs as her central focus in teaching, research, conducting and administrating. She has presented nationally and internationally on changing the paradigm in Choral Music Education including a session on Working with Beginning Singers at the 2017 NAfME conference in Dallas. In the spring of 2018, she commissioned and premiered 11 new works for children’s chorus based on NM Folk Music in a concert titled Bailen Bailen Parajitos: Children Sing The Music of New Mexico and is editor of a new choral series (Pavane) of the same name. In 2012 Regina worked closely with the Santa Fe Opera and internationally renowned composer Stephen Paulus to commission an opera for children based on the New Mexican folk tale “Shoes for the Santo Nino.”

Regina is the sole author of Exploring the Connection Between Children’s Literature and Music (Libraries Unlimited, 2010) and her Dissertation Hearing Others’ Voices: An Exploration of the Musical Experiences of Immigrant Girls in High School Choir was published in 2015 (Scholars’ Press)

SCHEDULE

9:30 A.M

10:00 A.M.

CONTINENTAL BREAKFAST DR. REGINA CARLOW – MUSIC EDUCATION, DIVERSITY, EQUITY AND INCLUSION IN 2019: KEEPING OUR DOORS OPEN!

NOON LUNCH BREAK

1:30-3:30 P.M.

GRADUATE RESEARCH ROUNDTABLE

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

Please indicate your plans to attend the continental breakfast by emailing Dr. Pat Grutzmacher at pgrutzma@kent.edu by Monday, January 28, 2019.

DECEMBER 2018/JANUARY 2019

59

PRE-REGISTRATION FORM

2019 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE Cleveland, Ohio • January 31 - February 2, 2019 TO PRE-REGISTER: 1.

2.

3.

Enclose Personal Check/Money Order or School Check payable to OMEA. No purchase orders accepted.

Send to: OMEA Conference Pre-Registration, P.O. Box 1067, Massillon, OH 44648 • Mail-in pre-registration must be postmarked by January 11, 2019. Postmarks after this date will not be accepted.

• All refund requests must be made in writing. Refunds after January 11, 2019 will be assessed a $15.00 processing fee.

• No refunds after January 23, 2019.

Online pre-registration is available until midnight, January 18, 2019 at www.omea-ohio.org.

PLEASE PRINT CLEARLY - NAME WILL APPEAR ON BADGE ALL INFORMATION BELOW IS REQUIRED - BADGES WILL BE MAILED USING THIS ADDRESS. MEMBER NUMBER:

EXPIRATION DATE:

FIRST NAME: _________________________________________

OMEA DISTRICT: _________

LAST NAME: ___________________________________________________

SCHOOL DISTRICT: ____________________________________________________________________ YEARS OF EXPERIENCE: _________ Home Address: _______________________________________________________________________________________________________ City: ______________________________________________________________________ State: _______________ Zip: _________________ Home Phone: ______________________________________________ School Phone: ___________________________________________ Personal Email Address: ________________________________________________________________________________________________ CHECK ALL THAT APPLY. ___ Elementary

___ Middle School/Junior High

___ Band

___ Choral

___ High School

___ General Music

___ College Faculty

___ Jazz

___ Orchestra

___ College Student ___TI:ME

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

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

NON-MEMBER

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

SATURDAY ONLY

OHIO MUSIC EDUCATION A SSO C I ATI O N

CLEVELAND 2019 NORTH COAST

PROFESSIONAL DEVELOPMENT CONFERENCE JANUARY 31 - FEBRUARY 2, 2019

_______ Pre-Registration $50 On-Site $60

*IHCP - The optional Instructional Hour Certificate Program (IHCP) requirements include six sessions, one concert and a written reflection. Registrants should update their IPDP to include OMEA IHCP participation and submit the plan along with documentation (see OMEA web- site) to their LPDC for approval PRIOR to attending the PDC. Participants will receive a 10-hour instructional certificate that may be converted into 1 CEU (this is not for college credit.) OMEA does not issue certificates of attendance.

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

Family member: ________________________________________________

OCMEA MEMBER

_______ Pre-Registration $50 On-Site $65

College/University Name: _____________________________________

RETIRED OMEA MEMBER

_______ No Charge

Family member: ________________________________________________

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

HOUSING FORM

2019 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE Cleveland, Ohio • January 31 - February 2, 2019 RESERVATIONS CAN BE MADE BY CHOOSING ONE OF THE FOLLOWING OPTIONS: All reservations require a credit card. No checks will be accepted.

Credit cards expiring 02/19 and earlier are not valid and will not be processed.

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

2.) FAX: 844-662-6124 - Do not mail after faxing.

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

DEADLINE FOR SPECIAL RATES IS JANUARY 8, 2019.

• • • • • •

No telephone reservations will be accepted by the Housing Bureau.

Photocopy this form if more than one room is required.

Only one room may be requested under each name.

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

Allow up to two weeks for an acknowledgement.

After January 8, 2019, rooms and rates are based on availability.

HOTEL RATES Hotel

Single

Double

Triple

Quad

Cleveland Marriott at Key Center

$159

$159

$159

$159

Westin Cleveland

$159

$159

$159

$159

Doubletree by Hilton Cleveland Downtown-Lakeside

$120

$120

$130

$130

Hampton Inn Cleveland Downtown

$124

$124

$124

$124

Hilton Cleveland Downtown

$169

$169

$194

$219

Drury Plaza Hotel Downtown Cleveland

$159

$159

$159

$159

Hyatt Regency at the Arcade

$165

$175

$180

$185

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

HOTEL PREFERENCE: 1. ����������������������������������������������������� 2. ����������������������������������������������������� 3. �����������������������������������������������������

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

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

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

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

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

List Names of all occupants

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

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

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

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

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

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

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

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

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

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

RESERVATION DEPOSIT:

ROOM TYPE PREFERENCE*:

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

Credit cards must be valid through February 2019 in order to be considered a proper guarantee.

  

American Express Visa Diner’s Club

 

Master Card Discover

Card #  Expir. 

/ 

Name: �������������������������������������������������������� Signature: �����������������������������������������

 Single - (1) guest  Double - (1) bed/2 guests  Double/double - (2) beds/2 guests  Triple - (2) beds/3 guests  Quad - (2) beds/4 guests  Wheelchair accessible * Room type preferences and special requests cannot be guaranteed.

CHANGES/CANCELLATIONS: Continue to use the OMEA Housing Bureau for all changes or cancellations through January 21, 2019 (4:00 p.m. EST) via internet, fax, email, or mail. After January 21, 2019, all new reservations, changes, and cancellations must go through the hotel. Do not contact the hotels directly until after January 21, 2019.

INSTRUCTIONAL HOUR CERTIFICATE PROGRAM • Are you planning to attend the 2019 PDC in Cleveland?

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

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

HERE’S HOW IT WORKS: 1. Pre-register for the Professional Development Conference by posted deadline, or register on site on January 31st, 2019 and choose the IHCP option.

2. Attend six sessions of your own choosing.

3. Attend one concert of your own choosing.

4. Electronically submit a post-conference reflection to the Director of PD by February 22, 2019.

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

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

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

STILL UNDECIDED? CONSIDER THE MANY BENEFITS OF ATTENDING THE PDC: • Attend relevant presentations on the latest research/trends in music education • Refresh and enhance your teaching skills • Explore the latest innovations in music technology • Network with master teachers, clinicians, colleagues and music industry leaders • Hear outstanding ensemble performances from across all disciplines SEE THE PDC WEBSITE, OMEA WEBSITE, TRIAD, AND SOCIAL MEDIA FOR UPDATES ON PRESENTERS, TOPICS, PERFORMING ENSEMBLES AND SPECIAL EVENTS. STILL NOT ENOUGH? IN NEED OF GRADUATE CREDIT? LOOK FOR THE ASHLAND CREDIT PAGE IN TRIAD OR ON THE PDC WEBSITE FOR DETAILS.

62

TRIAD

ASHLAND GRADUATE CREDIT PROGRAM • • • •

Are you looking for affordable college credit?

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

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

Why not take advantage of this special program designed specifically for music educators?

2019 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE Graduate Credit Option

$214 Earn one (1) semester hour of graduate credit by completing the requirements outlined below. This credit is being offered through Ashland University.

1. Pre-register for the Professional Development Conference by posted deadline or register on site January 31st, 2019. Click HERE for conference link.

2. Log on to Ashland University’s online registration system and enroll in the OMEA PDC course option.

3. Scroll down to “Founders School of Continuing Education”.

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

5. Scroll to “Click here for a full list of all our face-to-face classes with advanced filters”.

6. In the “Title” search box, type “OMEA” and hit “apply”.

7. Select OMEA 6150 V3 and follow prompts.

8. For more information, please visit the OMEA PDC website.

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

• Electronically submit a post-conference reflection to the Director of PD by February 22, 2019. The required format and rubric for this reflection will be available on the OMEA website. A reflection rating of Exemplary or Satisfactory (using rubric) fulfills the graduate credit requirement. The credit is offered on a S/U basis. All work must be submitted via email.

Please note: Registration for graduate credit will be available throughout the conference (online only).

This will allow you to take advantage of this great offer, even if you are unable to preregister.

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

DECEMBER 2018/JANUARY 2019

63

OHIO MUSIC EDUCATION ASSOCIATION

NORTH COAST 2019 PROFESSIONAL DEVELOPMENT CONFERENCE

Dear School Administrator: As a point of introduction, the Ohio Music Education Association (OMEA) is one of the largest state affiliates of NAfME, the National Association for Music Education. Celebrating its 86th anniversary in 2018, OMEA serves Ohio’s 1.8 million students in schools and universities across the state. Our membership includes over 2800 active music teachers, 900 collegiate members (prospective music teachers) and nearly 500 retired music teachers.

The 2019 OMEA Professional Development Conference (PDC), held in Cleveland, will take place from January 31 to February 2 at the Huntington Convention Center of Cleveland and nearby hotel properties. The OMEA PDC is the third largest music conference in the United States with nearly 300 sessions presented by nationally recognized master teachers demonstrating research-based, best practices in the field of music education. In addition, over 40 performing ensembles will present concerts showcasing the talents of Ohio’s students.

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

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

Please visit our website, omeapdc.com, to see the updates and details regarding the conference. This website provides information about registration, housing and parking, contact hours and graduate credit, as well as lists of performing ensembles and presenters. To access the complete conference schedule, please follow our event on Guidebook, which will be available around December 1.

Providing the opportunity for your music staff to attend this conference will have a direct and meaningful impact on the students in your district. If you or another administrator would like to attend the conference to checkout this opportunity first-hand, please contact my office at executive_director@omea-ohio.org. I would be happy to provide you with a pass for any single day of the conference and answer any questions regarding how OMEA can assist your music staff.

On the attached page are some metrics from last year’s conference, viewed through the lens of the Ohio Standards for the Teaching Profession.

OHIO MUSIC EDUCATION A SSO CI ATI O N

NORTH COAST 2019 PROFESSIONAL DEVELOPMENT CONFERENCE

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

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

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

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

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

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

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

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

OHIO MUSIC EDUCATION ASSOCI ATI O N

NORTH COAST 2019 PROFESSIONAL DEVELOPMENT CONFERENCE

OHIO MUSIC EDUCATION ASSOCIATION 2019 25-YEAR AWARD FORM

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

25 YEAR APPLICATION FORM — REQUIREMENTS Please fill out the application form and send it in by January 4, 2019.

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

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

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

4. Applicant must fill in the form below and mail/email by January 4, 2019 to:

Christy Nawrocki • 4698 Clayburn Dr. E., Grove City, OH 43123 Email: ChristyLNawrocki@yahoo.com 5. Awards will be made at the 2019 OMEA Conference in Cleveland, Ohio, on Saturday, February 2, 2019.

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

HOME ADDRESS: _______________________________________________________________________________________________________________________ CITY: _____________________________________________________________

STATE: _________________________________

ZIP:____________________________

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

STATE: _________________________________

ZIP: ___________________________

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

ALL OF MY TEACHING HAS BEEN IN OHIO _______ YES _______ NO If NO, list teaching locations outside of Ohio and number of years at each location. _____________________________________________ ______ Yes, I will attend the awards Ceremony and Reception Luncheon on Saturday, February 2, 2019. ______ No, I will not attend the awards Ceremony and Reception Luncheon on Saturday, February 2, 2019.

PUBLICATION SCHEDULE

TRIAD ISSUE October/November 2018 December ‘18/January ‘19 April/May 2019

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

DEADLINE DATE* August 6, 2018 October 1, 2018 February 11, 2019

POSTING DATE** October 1, 2018 December 3, 2018 April 8, 2019

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

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

ADVERTISERS/WEBSITES Baldwin Wallace University. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .43

Ohio Northern University . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Blue Lake Fine Arts Camp. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Organization of American Kodály Educators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Bowling Green State University. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Otterbein University . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41

Capital University Conservatory of Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

QuaverMusic.com. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44

Case Western Reserve University. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Rettig Music Inc. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IFC

Cleveland State University. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Royalton Music Center . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24

CMS Publications. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Smoky Mountain Music Festival. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47

College of Wooster. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Soundcheck Audiology. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47

Contributions to Music Education. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Stanton’s Sheet Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .49

Heidelberg University. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

Summit Tour & Travel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37

Kent State University. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

The Ohio State University School of Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Malone University. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

The University of Akron. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23

Marietta College . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

University of Dayton. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17

Miami University. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

University of Mount Union. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29

Musicians Repair Service. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

West Music Company. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40

Muskingum University . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35

Wittenberg University . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55

Noteworthy Tours. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Yamaha Corporation of America. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IBC

Ohio Foundation for Music Education . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

*BOLDFACE in index w/reference as Corporate Partner as of 11/8/18

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TRIAD