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Fall 2016

Oklahoma Music - Fall 2016 Edition

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Fall 2016

  1. 1. 1970 1960 1943 19501948 1945 1944 1942 751980 years of excellence in music education OKLAHOMA MUSIC FALL 2016
  2. 2. P. 2 OKLAHOMA MUSIC: FALL, 2016
  3. 3. OKLAHOMA MUSIC: FALL, 2016 P. 3
  4. 4. P. 4 OKLAHOMA MUSIC: FALL, 2016 NORTHEASTERN STATE UNIVERSITY DEPARTMENT of MUSIC Music Degree Programs Bachelor of Music Education • Instrumental • Vocal Bachelor of Arts in Music (Professional) • Jazz Studies • Performance Bachelor of Arts in Music (Liberal Arts) • Musical Arts • Music (Business) Tahlequah, OK Campus 2017 Priority Audition Dates for Scholarship and Program Admission January 27 February 17 March 24 The NSU Department of Music is fully accredited by the National Association of Schools of Music @nsumusic
  5. 5. OKLAHOMA MUSIC: FALL, 2016 P. 5 Report change of address to NAfME and Oklahoma Music All copy for publication must be received by the deadlines listed on OkMEA web site: July 1, November 1, and March 1. Oklahoma Music is published September, December, and April of each year. Annual subscription price is $10.00 for adult nonmembers and $5.00 for student nonmem- bers . Complete information about OKLAHOMA MUSIC at Correspondence to: Oklahoma Music Editorial Office email: (Electronic copy preferred.) PO BOX 1070 Wagoner, OK 74477 Phone: (918) 485–1943 CONTENTSOKLAHOMA MUSIC Fall, 2016 Volume 23, No. 1 An official publication of the Oklahoma Music Educators Association, a federated state association of National Association for Music Education Fall, 2016 The Winter 2016 issue of OKLAHOMA MUSIC is published in December. Deadline for all materials is November 1. Please note that the Asst. Editor of OKLAHOMA MUSIC is Katie Robertson. Directory of Advertisers.............................................................. Back Cover Contents OkMEA President Claussen............................................................................6 OkMEA President–Elect Dawson...................................................................8 OkMEA Past–President Raiber.....................................................................12 OkMEA State Director Huffer.................................................................22, 27 Choral VP Potts........................................................................................... 18 Band VP Cassaday........................................................................................20 Orchestra VP Markes................................................................................... 14 Higher Education VP Lamb..........................................................................24 Elementary VP McDonald............................................................................26 All–State Mixed Chorus Chair Bielich..........................................................30 All–State Orchestra Chair Chan...................................................................30 All-State Instrumental Edgmon...................................................................32 Features Assistant Editor Robertson.........................................................................36 Editor Chapman..........................................................................................38
  6. 6. P. 6 OKLAHOMA MUSIC: FALL, 2016 Alex Claussen OMEA President Music Education and Legislation. This Information Affects YOU. Welcome back! I hope you have had a restful summer and a super start to your year. This is such an exciting time to be a music teacher in Oklahoma! We have plenty of challenges but we have also had several recent positive changes and more are most certainly on the horizon. A year ago I was filling you in on the latest legislative actions that included the push for what would come to be known as ESSA and the need for our federal legislators to keep language intact supporting music as a core subject. I mentioned how exciting it was that our state leadership was looking into more realistic testing expectations. Well, my friends, not only did ESSA pass, but it passed listing music as a core subject and with language in support of music. EOIs are now a thing of the past and the removal of the quantitative portion of TLE was an additional welcome relief last spring! After repeated revenue failures, drastic reductions to ed- ucation, legislation supporting school vouchers/education savings accounts, legislation supporting deregulation of minimum salaries, teacher background checks, and teacher certification and legislation to raise teachers’ salaries while reducing benefits, the public education monster has been awakened! Nearly seventy current and past educators filed to run for public office, and a majority who faced prima- ries came out victorious. Thank you, especially to OkMEA members and band directors, Eric Hall from Ada and Joe Wilhelm from Grove who made the decision to run. Eric won his primary and will be on the ballot in November for his district senate seat. Charles Chapman (OkMEA editor), Katie Robertson (OkMEA Asst. Editor), James South (NAfME Southwest Di- vision Immediate Past-President), Michael Raiber (OkMEA Immediate Past-President, and current NAfME Southwest Division President-Elect); and Anne Dawson (OkMEA President-Elect) joined me for the annual NAfME National Leadership Assembly in Washington, DC in June. A very important aspect of National Assembly is Hill Day; a day in which the national leadership and the leadership from each state descend on Capitol Hill to hold meetings with our congressmen and congresswomen to share the impor- tance of music education. Your Oklahoma delegation met with Rep. Tom Cole and a staffer from Jim Bridenstine’s office this year. In our meetings, we discussed the benefits of music education, shared personal stories of how school music has impacted our students, learned that Tom Cole had played trombone as a young student and encouraged the increase of funding for Title I, II, & IV in ESSA, with a special focus on Title IV. At $500 million, the president’s request for Title IV was far under the authorized level of $1.6 billion. This is the part of ESSA that provides Student Support and Academic Enrichment Grants (SSAEG), which can be used in part to improve access to music education. Our request included information that detailed how access to this grant money will promote student success through access to music education and specifically will help pro- vide music education to underrepresented, disadvantaged, and minority student populations. Because the president’s budget also provided language recommending SSAEG be a competitive grant program, we explained that by making this grant money only available through competitive grant requests, we will be limiting the very school districts we feel could benefit the most from this resource. Many urban and rural school districts do not have the resources to apply for competitive grants, and through fully funding SSAEG, the need for competitive targeting is eliminated. Our sincere hope is that our message will make a difference. In order to help, I will be following up with these offices and encourage you to reach out to your representative and our senators Continued on p. 10
  7. 7. OKLAHOMA MUSIC: FALL, 2016 P. 7 November 11-12 March3-4 TO SCHEDULE AN AUDITION: 405.208.5980 2016-17 ScholarshipAuditions WANDA L. BASS SCHOOL OF MUSIC Feb.3-4
  8. 8. P. 8 OKLAHOMA MUSIC: FALL, 2016 Anne Dawson OMEA President– Elect Out with The Old, In with The New. These Changes Affect YOU. As summer comes to a close, not only do we say goodbye to our vacation time but also to No Child Left Behind. With the passage of Every Student Succeeds Act (ESSA) last year, we music educators should rejoice at the progress made as music education is now designated as an essen- tial component of a student’s “well rounded” education. With this passage, politicians have now confirmed what we have always known. The most important provisions for music education as named in ESSA are: • A New and Clear Intent to Support Our Nation’s Schools Through a Well-Rounded Education: This is a change from No Child Left Behind, which focused heavily on the academic success of students narrowly defined as reading and math. • Enumeration of Music as a Well-Rounded Subject: Replacing the Core Academic Subject language from NCLB, this language clearly articulates that music should be a part of every child’s education, no matter his personal circumstances. • Requirements for Well-Rounded Education: Schools will now be able to assess their ability to pro- vide a well-rounded education, including music, and address any deficiencies using federal funds. • Flexibility of Title I funds to support a well-rounded education. All Title I programs, both school-wide and targeted, are now available to provide supplemental funds for a well-rounded education, including music. • More Professional Development for Music Edu- cators: Funds from Titles I, II and IV of ESSA, may support professional development for music educators as part of supporting a well-rounded education. • Flexible Accountability Systems: States must now include multiple progress measures in assessing school performance, which can include such music education-friendly measures as student engagement, parental engagement and school culture/climate. • Protection from “Pull Outs”: The new ESSA discour- ages removing students from the classroom, including music and arts, for remedial instruction. Now the hard work begins. It’s time once again to let our legislators know how important it is that ESSA is fully fund- ed. Although 1.65 billion dollars have been authorized for funding of Title IV, Part A (Student Support and Academic Enrichment Grants--SSAEG), the President’s Fiscal Year 17 Budgets request only recommends $500 million for the grant. This would not allow school districts to make the improvements needed in our school music programs. In ad- dition, the President’s budget recommends turning SSAEG into a competitive grant program. This could essentially hurt our smaller school districts and those that lack the capacity to apply for funding. On Hill Day, the day that is designated for our NAfME representatives to visit with our state legislators, approx- imately 300 NAfME delegates marched to Capitol Hill to advocate for music education. Attendees included officers from all fifty states, ninety–seven collegiate participants, VIP delegates including Crossroads Quartet and Barber- shop Harmony Society, country music artists Kristian Bush and Charlie Worsham, members of the Country Music Association, 2016 Grammy Music Educator of the Year Phillip Riggs and many others. Over 200 total meetings were conducted on Capitol Hill that day. Alex Claussen, Michael Raiber and I met with Congressman Tom Cole and discussed the necessity for fully funding Title IV, Part A, of ESSA. He assured us that the funding amount suggested will be much more than the $500 million, and we left feeling Continued on page 10
  9. 9. P. 10 OKLAHOMA MUSIC: FALL, 2016 Please let them know how crucial it is fully to fund ESSA, and to make funds provided in SSAEG available for all school districts. Please make plans now to join us at our Fall Confer- ence, October 20, at Oklahoma City University, and at our Winter Conference in Tulsa, January 19-21, as we celebrate our seventy–fifth year! Your executive board has been working on several projects guaranteed to make our Diamond Anniversary Conference special for our mem- bership! Maybe Jerry will be handing out free diamonds at registration… As an organization, OkMEA is here to serve you, so I encourage you to reach out whenever you need help, and please be willing to offer suggestions to help us serve you better in the future. We strive to improve the quality and support of music education for all students in our great state through providing high quality professional devel- opment opportunities, mentoring, advocacy, life-changing musical experiences for our students and teachers, and influencing legislation at the state and national levels. Our Executive Board works tirelessly to meet these goals and as President, I am honored to serve you, and feel blest to be surrounded by such a passionate and talented group of professionals. Immediate Past-President Michael Raiber and President-Elect Anne Dawson are two exceptional leaders, and it is truly a joy to work closely with them as we move OkMEA forward. Lastly, I would like to take a moment to thank Charles Chapman for his incredible service to our organization for the last twenty–five years as Editor. As many of you know, after serving in many capacities, including OkMEA President, Southwest Division President, and Chair of the (MENC) National Council of Editors, he has decided it is time to take his coda, and retire his position as OkMEA Edi- tor and Web Administrator. Please take a moment to thank him for his incredible service and congratulate him on his retirement from OkMEA! Bravo, Maestro! OMEA NAfME OkMEA President Claussen, cont. OMEA NAfME cautiously optimistic. However, it is our responsibility to make sure that our elected officials know how important this funding is to our programs. I am asking that each of you email or call your legislator and stress to him/her that Title IV, Part A, of ESSA receive full funding. Now is not the time to sit back and wait to see what happens. Let’s be active in making decisions! OkMEA President-Elect Dawson In preparation for the Seventy–Fifth celebration of OkMEA’s founding, the Editor, (who— no—was NOT present at the first meeting,) would like to include memorabilia from as early as possible in the winter issue. If you have any pic- tures of music educa- tion events taken before 1990 or so, and would like to share them, send high-quality scanned copies to the editor, at Publication is not guar- anteed, but we will use as many as possible.
  10. 10. OKLAHOMA MUSIC: FALL, 2016 P. 11 OnJanuary18 TheOklahomaMusicEducatorsAssociation willbe SEVENTY-FIVEYEARSOLD and YOU areinvitedtoourfour–day BIRTHDAY celebration of3/4ofacenturyof excellentmusicinstructioninourschools. SpecialEventsfor FormerPresidentsandOfficers RetiredMembers Recognitionofmemberswithlongservice Sendyourideasforthecelebrationto PresidentAlexClaussen
  11. 11. P. 12 OKLAHOMA MUSIC: FALL, 2016 Michael Raiber OMEA Past–President President SW Division NAfME Two Questions about Diversity, Equity, Ac- cess, and Inclusion in Music Education Recent events at the national office of NAfME have brought a very important issue to the forefront. I do not plan to discuss the unfortunate exchange that occurred between former NAfME Executive Director, Michael Butera and those attending a meeting at the National Endow- ment for the Arts focused on diversity, equity, access and inclusion. I will note, however, that this incident was not the beginning of an issue that needed to be addressed by NAfME national, but rather a symptom of our inability as professional music educators adequately to address two foundational questions. The first is a philosophic question and, given our American sense of democracy and equality, is not usually debated to any great extent. The question is: • Should all students (Pk-12) have access to high quality music education regardless of their race, socio- economic background, religion, ethnicity, geographic location, sexual orientation, and/or disabilities? I would hope that as professional music educators, we all agree that no student should be denied access to the many benefits of high quality music education based upon any of these demographic identifiers. With that agreement, we must move away from philosophy and on to practice if we are to accomplish our goal. So, the second question is: • Do all students (Pk-12) have access to high quality music education regardless of their race, socioeco- nomic background, religion, ethnicity, geographic location, sexual orientation, and/or disability? This is a large question! Thinking of it in the abstract is difficult and is not likely to accomplish much. I would rather work through this question on a more personal level. Let’s include some context that may bring some clarity to my address of this question. • Do all students in Oklahoma … • Do all students in my community… • Do all students in my school… • Do all students in my classroom... It is not easy nor is it often enjoyable for me to wrestle with the answers to these questions, but it is absolutely neces- sary for me to address each with as much interest, informa- tion, and veracity as possible. My interests must not only include all the stakeholders with whom I have contact, but should also include those who are not part of my sphere of influence or me theirs. To reaffirm my philosophical position in our first question, I must ask, “Why are there students who are not included? What should I do about it? What can I do about it?” At the same time, I must also meet the needs of the stu- dents who are currently included. I cannot consider this as an either/or scenario where I choose to meet the needs of any single group, but rather a both/and situation where I must be as effective and inclusive as possible. To accomplish such a feat, I must be informed. This in- cludes information about the students, families, and com- munities with whom I am engaged and those with whom I wish to be engaged. I must also gain information about best practice for inclusive music education. I must read informa- tion provided me by those who investigate these practices and report their findings. I must be able to take this infor- mation and apply it to the context in which I am working, making necessary accommodations and adjustments along
  12. 12. OKLAHOMA MUSIC: FALL, 2016 P. 13 the way. I need to gain increasing in- formation about how to engage music learners in a number of different ways. If I understand that learners have a wide variety of backgrounds, abilities, and interests, I must develop mech- anisms for this diversity to enrich the music-making environment in which I work. The veracity of my work in this regard must lead me to be accurate, reliable, authentic, and valid. I cannot rely on unsubstantiated ideas to inform any part of my knowledge, skills or dis- positions regarding my teaching. It is therefore, incumbent upon me to find reliable sources of information. This will require me to engage with members of both my local community (e.g., learners, parents, community members) and my professional com- munity (e.g., researchers, administra- tors, colleagues) in meaningful ways. I must use my professional discretion to manage what I learn and make reliable, informed decisions about what I choose to do and why I choose to do it. As I make these decisions, I must be authentic. This includes me, but is not focused entirely on me. It includes my students, but is not entirely focused on my students. It includes not only what happens musically at school, but also what happens musically within the community and in my students’ lives outside of school. I am charged to find ways to embrace these diverse view- points and understandings and help learners use them in authentic ways. In doing so, all in our classrooms or rehearsal halls can discover a valid place for music in their lives that is informed and thoughtful. The issues we face as a profession regarding diversity, equity, access, and inclusion are not as small as a single incident. There are no neat, simple answers to address the questions that come from any honest investigation of these issues. The issues are many and the ways in which to address them are ‘messy.’ So, if you are willing, ask yourself these questions and follow the path you forge. I cannot promise anything other than you will get dirty and you will make mistakes along the way. In the end, you will grow from the experience. Should enough of us engage in this process and take action based upon what we find, perhaps in the future we will be able to answer our second question in a manner more worthy of our profession. OMEA NAfME Above: Oklahoma Delegation visits Rep. Tom Cole’s office OCTOBER CONFERENCE OCTOBER 20 OKLAHOMA CITY UNIVERSITY 75TH BIRTHDAY WINTER CONFERENCE JANUAY 18 - 21, 2016 TULSA ’
  13. 13. P. 14 OKLAHOMA MUSIC: FALL, 2016 Peter Markes Vice–President Orchestra Division We are the Leaders! We can’t lead others until we lead ourselves. This is one of the Laws of Leadership that Dr. Tim Lautzenheiser offers us. This aspect of leadership must first be a choice, and like most choices, it bears habit. Too often the adult lead- ers (that’s us!) forget that we are the leader. We must lead ourselves in every aspect within our control. This begins with professional dress, language, and composure. Speak well and respectfully. Look at students when stating their name. Add Mr. or Ms. for an added bonus – you will both feel great! Be the role model, and your level of leadership will subtly become instilled in your followers. With new leadership habits formed (or old ones renewed), lead yourself through as much professional development as possible. In our busy lives as music teachers, the reality is that we must consciously make time for it. Take the time to record and watch yourself in rehearsal. Be honest with yourself here: are you really communicating what you thought you were communicating. Read – I suggest Peter Boonshaft’s Teaching Music with— (take your choice here…there is Passion, Purpose, and Promise). Rafe Esquith’s Teach Like Your Hair’s on Fire is another great pick-me-up. Remember that stack of professional journals too. Plan to attend our OkMEA conferences. It is this time with colleagues that we perhaps gain the greatest benefit. We are all in the trenches, and sharing our ideas is the best way we can continue to grow personally and professionally. In October, OkMEA will partner with OK-ASTA to present the ASTA-OK Teacher of the Year! Nominations may be made by ASTA members, and the deadline is September 1. More details are available on the ASTA-OK website, We will also have a new music reading session, so be sure to bring your instruments! The Winter in-Service Conference orchestra sessions are still works in progress, with clinician ideas developing. In the works is a visit from the lead author for Habits of a Successful String Musician, a session on the interpersonal aspect of our music education, as well as a gear session with the folks from D’Addario. I welcome any teachers to offer your suggestions regarding our professional develop- Next Year”s CONFERENCE DATES Fall Conference: October 20, 2016 Oklahoma City University OKC Winter Conference: 2017: JANUARY 18—21: TULSA ment in-service opportunities. If you have seen an espe- cially effective presentation at the Midwest Clinic, TMEA or TODA, or a national ASTA or NAfME conference, please pass on the info—we can all benefit from your experience.
  14. 14. OKLAHOMA MUSIC: FALL, 2016 P. 15 Here are the links you need to access All-State Information on the OkMEA web site New Teachers: Dates for application deadlines, audition dates, notification dates, performance dates, are on one pdf formatted page, downloadable from any of the All-State Organization pages. All-State Band: All-State Mixed Chorus: (Includes Women”s Chorus) All-State Children”s Chorus link:: All-State Orchestra: All-State Jazz Ensemble: Intercollegiate Band: Most application deadlines are in September. Do not wait to look at this information. OkMEA All-State Information Save the Date! Occasionally Mother Nature impedes the work of All–State audi- tions. Several years ago, some directors failed to enter the OMEA audition contingency date in their school’s calendars, and caused additional problems for an already burdened emergency audition staff. BAND AND ORCHESTRA DIRECTORS MUST REMEMBER TO RESERVE SATURDAY, DECEMBER 10 ON YOUR SCHOOL CAL- ENDAR NOW, TO AVOID YOUR STUDENTS’ NOT BEING ABLE TO AUDITION. If weather causes dangerous travel, the President of OMEA has authority to move preliminary auditions to this contingency date. No other alternate audition is allowed, so SAVE IT.
  15. 15. P. 16 OKLAHOMA MUSIC: FALL, 2016 N ATIO N A L A SSEM B LY Below: Oklahoma Delegation at Capitol for Hill Day Above: Pres.-Elect Dawson and Past-Pres. Raiber inside The Library of Congress Pres.-Elect Dawson wins valuable door prize at convention hall Left: Violinist with the Army Band playing for NAfME convention dinner.
  16. 16. OKLAHOMA MUSIC: FALL, 2016 P. 17 O F N A fM E 2016 Left: President Claussen at Army Band HQ, with Rob- ert Goodner, trum- peter with the Herald Trumpets of the Army Band. President Claussen in convention lobby with Tom Muller, Oregon; and Lisa Rayner, South Carolina Above: Dawson thoughtfully contemplates a future in NAfME politics at the national memorial to Saint Eleanor. Left: Pres.- Elect Dawson arrives for lunch with the Obamas
  17. 17. P. 18 OKLAHOMA MUSIC: FALL, 2016 Shermie Potts Vice–President Vocal Division Do You Even Know What You’re Doing? Each summer I look back over the past year and take stock of what activities, lessons, and events seemed successful and/or beneficial for my students, then decide what things I should tweak for the good of the students, the program, and the school. Occasionally, something that always worked great in the past stops working. This is a hard pill for experienced ed- ucators to swallow. Have you not spent years honing your skills? Have you not solved that problem long ago? We must realize that sometimes the needs of students change because of reasons which are out of our control. This is why a teacher can never stop learning and growing. If you do, you become obsolete. I distinctly remember a master teacher telling me early in my career that he had no idea what he was doing. I looked at him incredulously. This struck fear in me. I like to be in control. If he does not have control, how will I ever have control? He appeared to have control. Was it an act? No, he had enough knowledge and experience to be able to try different avenues to solve problems. He accepted that no day was ever like the previous day; no student reacts exactly like another; and no manual of what to do in every situation exists. There are no absolutes in teaching, only more learning. The most important thing a master teacher can do is to keep learning. Talk to other music educators constantly. Engage in dialogue about what worked and did not work. If you see teachers succeeding, pick their brains—even if they are football coaches. I struggled early in my teaching to motivate the unmotivat- ed students. As a student, I always tried my best, and I was annoyed that I had to find ways to motivate someone to succeed. Who does not want to succeed? I learned it was people afraid to fail. I sought advice and was told to engage on a personal level with those students. Invest time in them and convince them they are worthy of success, and that failure is not a label, but part of the process of success. This tactic brought success to the student, the program, and me as a teacher. Students who had trouble interacting in other classrooms were never a problem. When they walked in the choir room, they visibly relaxed, and sometimes verbalized a contented sigh. They were home and we were family. They could be themselves without judgment. This past year I noticed a marked difference in many of the students as they entered the room. They did not silently celebrate their upcoming hour of joy. They walked in like it was just another classroom, another hour of school. They did not take note of their new surroundings, because their focus was not where they were and how they felt about it. We expect children and teenagers to be egocentric. This is why getting to know them has worked as motivation, but their egocentrism has evolved. The needs of the students are changing. Students today are not worried about what one kid said to them in the hallway. They are bombarded with messages from all over the world on their personal devices. They are consumed with what every person on the planet will think of their every word, look, piece of clothing, thought and activ- ity. They are at the age that they think they have to please their peers, but they have made their peers everyone with an Internet connection. When they enter our classroom, they are not free of judgment. Even as we sing, they worry about what messages are coming in, what they might miss, what someone may have said about them or what a celeb- rity they revere in their feed has said. They are completely distracted with these thoughts even when they are not looking at their phones. Many have trouble focusing on the pleasure of singing and making music with others. They do not feel a sense of community and peace. They are unable mentally to disconnect with the world outside of the choir room. This is the new problem that has developed. A new solution needs to be found. After school was out, we asked our football coach to talk
  18. 18. OMEA NAfME to the performing arts teachers. We knew he had turned around our team’s attitude in a short amount of time, and we felt we needed the secret. The head coach and one of the assistants sat down with us and explained what they had done and why. They told us what worked and where they got off track. I had brought a pen and paper to the meeting to appear professional, and I ended up taking four pages of notes. It was the best professional development I have had outside of a music convention, and it was not an official professional development. If you want to talk to someone about motivating kids to their full potential, talk to a football coach. Good news! Our head coach, Kyle White, has agreed to talk to all of us at the Fall Conference. Yes, it is in the mid- dle of football season. He understands that we all do the same thing: build better people. He uses football. We use music. This session is not to be missed. The Fall In-Service Conference is set for October 20, at Oklahoma City University. Plus, we will read through many of the pieces recently added to the OSSAA Prescribed Music List. The committee added over 400 new titles, so it would behoove you to get a head start on reading them. See you there! 405.232.1199 NON-AUDITION PROGRAMS NOW AVAILABLE Visit for information about Festival Strings and Rockin’ Strings JOIN US FOR A FREE CONCERT! Guest Artist Concert with Dr. Sophia Ro October 23, 2016 • 2:00PM FALL CONCERT SERIES October 23, 2016 • 5:00PM November 6, 2016 • 3:00PM WINTER CONCERT SERIES December 4, 2016 • 2:00PM December 4, 2016 • 5:00PM Music educators are always invited to join us for free during our regular season concerts. Ask for a guest form at the box office. For more concert information, please visit 2016-2017 Deadlines for copy/photos for OKLAHOMA MUSIC SEPTEMBER 1 for the October Extra NOVEMBER 1 for the winter/conference issue MARCH 1 for the spring (on-line) issue
  19. 19. P. 20 OKLAHOMA MUSIC: FALL, 2016 Darby Cassaday Vice–President Band Division “Plan Your Work and Work Your Plan” Plans are essential. They are keys to shaping the future as we envision it. Recently, I had the good fortune to hear Charlie Bartrug, retired Oklahoma band director, present things he had learned during his successful career. One of the nuggets of wisdom he shared was to “plan your work and work your plan”. In the rapid pace of the school year, full of endless non-musical tasks, it can be challenging to devote time to planning your rehearsals. This is a vital com- ponent to our success as effective educators and conduc- tors. This must become a priority among the endless emails and meetings if we are to maximize the precious time we have with our students. What does a good plan look like? Good plans are: Spe- cific, Measurable, Accessible, Realistic, and Timely (SMART). Good plans are documented to help ensure you think them through, remember them, and adjust them when needed. Good plans are communicated with students, parents, and administrators. Good plans are developed on three levels: long–, medium–, and short–range. Long-range plans are for three or four years. Your curricu- lum is long range. Specific details may include tone, range, articulations, rudiments, specific scales, and more. Begin compiling a broad list of qualities you want to teach and experience with your students through the literature you perform. Consider specific composers, styles, meters, key centers, etc. Medium–range plans include the specific skills and experiences you want for your students during a semester or year. Zero in on specific skills, methods of evaluation, and appropriate goals. Create deadlines for the upcom- ing year. Choose your literature. Consider your goals and exposure to different styles, composers, techniques, and more. Choose music that reinforces fundamentals you expect your students to know. Review academic and school calendars and set your per- formance dates accordingly. Take into account all outside events that will affect performance readiness. (i.e. testing) Plan music that can be taught within the limitations of your actual schedule. Create a time-line for when you expect to rehearse each section of the music in order to have it ready for your performance. All students require sequence and repetition to master new skills. These are essential and cannot be skipped. Students must get from where they are to where they will be one step at a time. Repetition is required to establish lasting understanding or develop new skills. Repetition can mean sequence, cycle, restatement, retelling, reproduction, or renewal. If you try to bypass these steps, you will dis- courage your students and exasperate yourself. Embrace this crucial part of the teaching process and plan time for it. Score study is an essential at this level of planning. Score study is the most important component in your rehearsal preparations. We must know our scores and develop men- tal images of the pieces we plan to share with our students and audiences. Formulate plans to achieve your image. Note expected performance challenges your students may encounter and develop strategies to teach these areas. Develop drills that incorporate skills needed to perform the literature and include these drills early in the rehearsal process. The advantage of doing this work during the summer and other breaks becomes apparent once the haste of the school year begins. Short–range plans are daily or weekly. These are your lesson plans. Each day is a small step toward the medi- um– and long–range plan. These should be made one to two weeks in advance. Account for time that must be spent
  20. 20. OKLAHOMA MUSIC: FALL, 2016 P. 21 OMEA NAfME on non–musical tasks (attendance, announcements) and musical tasks (warm up, technique drill, sight–reading, liter- ature, etc.). Communicate regularly with students, monitor their progress consistently, and make changes as needed on a weekly basis to help alleviate unwelcome surprises. (SMART) Planning will give you a sense of security and purpose going into any rehearsal. It will focus the rehears- al time and keep you on the path to your vision. My worst rehearsals, regardless of grade level or ensemble, are al- ways the ones for which I have a vague plan or none. Your comfort means you can be patient, flexible, and purposeful. Instead of teaching in “survival mode,” you can be thought- ful in your instructions and allow students time to respond. Deliberate teaching is efficient and productive teaching. Looking ahead to January, I would like to thank you ev- eryone who submitted recordings for honor band consider- ation. Thank you for putting your students and yourselves out there for critique. We had many high–quality submis- sions and we are certain to have excellent performances at the January Convention! The Band Division’s sessions are shaping up nicely for the October and January In-Service Conferences. We will cover a variety of topics, including the use of electronics and technology in the band room, effective concert band rehearsal strategies for all levels, and instrument pedagogy. There is sure to be something for teachers of all levels! As a courtesy reminder, note the entry deadline for All- State auditions is September 24, with a $15 entry fee. The late deadline is October 1, with a $45 entry fee. Any- thing after this date will carry a $100 emergency entry fee and must be accompanied by an emergency entry form. All–State Jazz auditions will be held on November 19 at Midwest City HS. First round auditions will be held at district sites on November 5. Final round auditions will be held December 3, at Westmoore HS. Be sure to block De- cember 10 as the Contingency Date in the event December 3 brings inclement weather. For further details, visit the Band Division page at or contact Ryan Edgmon, All–State Band Chair. Next Year”s CONFERENCE DATES Fall Conference: October 20, 2016 Oklahoma City University OKC Winter Conference: 2017: JANUARY 18—21: TULSA
  21. 21. P. 22 OKLAHOMA MUSIC: FALL, 2016 Jerry Huffer OMEA State Director Important Information for The Coming OkMEA Year Summary of 2016/2017 Deadlines, Audition-Conference Dates Deadline for HS OKMEA All-State Auditions September 24 ($15) 2nd Deadline for HS OKMEA All-State Auditions October 1 ($45) Emergency Deadline, All-State HS Ensembles after Oct 1 ($100) HS Choir Audition Dates October 29 and November 12 HS Band Audition Dates November 5 and December 3 HS Jazz Ensemble Audition Date November 19 HS Orchestra Audition Date December 3 HS Band and Orchestra Contingency Date December 10 CTSWS Deadline for pre-registrations September 24 ($30) CTSWS 2nd Deadline for pre-registration October 1 ($35) Deadline for Children’s Choir Auditions October 1 ($5) 2nd Deadline for Children’s Choir Auditions October 5 ($15) Emergency Deadline for Children’s Choir Auditions October 20 ($100) Summary of 2016-17 All-State and Conference Dates: 2016 Fall In-Service Conference October 20 – Oklahoma City University 2017 Winter In-Service Conference January 18 - 21 – Cox Business Center, Tulsa 2017 All-State Children’s Choir January 18 - 20 – Tulsa Downtown Doubletree 2017 Intercollegiate Band January 18 – 19 - Tulsa Downtown Doubletree 2017 All–State HS OKMEA Ensembles January 19 - 21 – Hyatt Regency & PAC All-State High School Organizations registration fee is $79. Registration deadline for All-State Chorus Members is December 10 (postmarked) All-State Instrumentalists deadline is December 16 (postmarked). All-State Children’s Chorus deadline date for member
  22. 22. OKLAHOMA MUSIC: FALL, 2016 P. 23 registration is November 28. Be sure to put the above pre-registration deadline dates on your calendars. The downtown convention hotel is the DoubleTree, with a room rate of $110. The high school all-state hotels include the Hyatt Regency ($114), Downtown Marriott Courtyard ($114) and the Fair- field Inn, Brady District ($110). Hotel Codes for online room registration will be available in the student membership contract information or you may call the hotels for your OKMEA Reservation. High School All-state Chairs this year include Ryan Edg- mon, Wind Symphony; Shawn O’Kelley, Symphonic Band; Steveanne Bielich, Mixed Chorus; Wes Singleton, Women’s Chorus; Doug Styers, Jazz Ensemble; Sarah Chan, Or- chestra and Co-Chairs of the All-State Children’s Chorus include Karissa Parkhurst and Amy Wright. High School All-State Auditions: Read Carefully (1) Check online at or your All-State Chair’s article for entry procedure. (2) Follow the online entry procedure. (3) Audition payments must be mailed to OKMEA Office, 636 S Bacone St, Muskogee, 74403. (4) Mail $15 audition fees (check or PO only) postmarked by September 24. (5) Mail $45 late audition fees (check or PO only) postmarked by October 1. (6) Note on purchase orders the total number of stu- dents auditioning. (7) OKMEA no longer accepts requisitions or purchase requests as payment. (8) Requisitions and purchase requests will be returned as non-payment. (9) Checks or Purchase Orders are accepted as payment for auditions& registrations. Explanation: School districts are refusing to accept requisi- tions and purchase requests. They will only make payment if the invoice is accompanied by a ‘school district’ or ‘activ- ity’ purchase order number. Please make every effort to send a check or PO# with all audition entries Pre-registration fees for the January Winter In-Service Members - $90 Non-Members $120 First Year Teachers, Retired Teachers, Collegiate Members and Guests $50. On site registration (at the conference,) registration fees are: Members - $105 Non-Members - $13 First Year Teachers, Retired Teachers, Collegiate Members and Guests:$60. We encourage you to make nominations for Exempla- ry Teacher, Hall of Fame, Young Music Educator and Administrator of the Year awards, given at our 2017 Conference. The deadline for applications is September 15. There are many deserving teachers in Oklahoma. Detailed information is on the okmea web site at If the OKMEA Office can assist you in anyway, please contact us. T The office phone is (918) 683-2422 Fax is (918) 683-0832 Cell phone is (918 360-7228 Email is Statistics from the 2016 Conference Atten- dance Members................................................530 Non-Members..........................................93 First Year Members..................................57 Retired Members......................................29 Guests......................................................96 Clinicians, Conductors, Board..................58 Collegiate...............................................156 Exhibitors...............................................271 TOTAL 1290 Financial Report for Last Fiscal Year is found on page 27. 2016-2017 Deadlines for copy/photos for OKLAHOMA MUSIC SEPTEMBER 1 for the October Extra NOVEMBER 1 for the winter/conference issue MARCH 1 for the spring (on-line) issue
  23. 23. P. 24 OKLAHOMA MUSIC: FALL, 2016 Brian Lamb Vice–President Higher Education All Souls Matter This has been an emotionally devastating year. Racial Tension. Distrust and Mistrust. Terrorism at home and abroad. Mass shootings are now a daily occurrence. We live in a dangerous society where people now express their fears by doing harm to other people. And people shake their heads and wonder what we can possibly do about this. We watch the news and see young men shot by police officers while they are pinned to the ground. We see police officers, who are simply doing their jobs, murdered by a sniper in retaliation for violence experienced elsewhere. We see a nightclub full of customers murdered because of the fears that come from hatred, ignorance, and nonaccep- tance. And every night, with more news like this, our hearts ache. More lives are snuffed out. Black Lives Matter. All Lives Matter. But really, all SOULS matter. What do we do? How do we respond? If you are like me, you immerse yourself in music. Music gives us solace, it helps us experience and process our grief, and it brings comfort and hope out of despair and hurting. My dear friend, David Maslanka, writes this in his program note for his piece, Remember Me: The journey of transforming personal pain is the journey of transforming the pain of the world. For many years I have experienced an urgent desire to understand the roots of violence. I have read extensively on war—the American Revolution, the Civil War (Lincoln, slavery, and the echoes that continue to the present day), the wars of the Twentieth Century, especially World War II and the Holocaust. Confronted with the deaths of five million Jews we don’t know what to do. Confronted with a single death we can open in compassion and sorrow. (At this point, Maslanka recounts an affidavit from the Nuremberg trials that describes a “comparatively minor” mass execution at Dubno, Ukraine. In the affidavit, the wit- ness gives specific details of an old woman holding a small child in her arms, comforting the baby before they were all killed.) Maslanka continued after the affidavit, On reading this I was deeply drawn in, without knowing where I was going or why. I knew that something of this had to be spoken through me in musical sound. Musical vibration heals. There was the realization that this music was for the little child. The child’s life remembered in this way is that life redeemed; it is evil transformed; it is my own life transformed and redeemed. All SOULS matter! And how do we feed our souls? How do we nourish our souls? How do we express the human condition that emerges from our imagination, creativity, and soul? Through the ARTS! My colleague, Ted Honea, deliv- ered a convincing and convicted presentation on Music Ad- vocacy at the 2015 OkMEA Convention. He gave numerous and substantive reasons for us to embrace the idea that the most valuable and important justification for music and arts education in our school curricula is that the arts help us develop our whole person, our souls, and that without an education grounded in the arts, we do not develop emotion- al maturity. I agree! In the most recent email blast from NAfME, there was a link to an article titled, Three Awful Things that Hap- pen When Children are Denied Daily Arts Instruction in Schools. In his article, Tony Mazzocchi points out that, without an arts education, children grow up believing that people are born creative, because they don’t have training and opportunity to know that creativity and appreciation for beauty are aspects of our soul that can be developed. He
  24. 24. OMEA NAfME also emphasizes that the achievement gap widens, be- cause affluent families can pay for arts experiences outside of limited school experiences, but it’s generations of financially disadvantaged youth—mostly students of color—who will never reach their potential as creators and innovators and who will never realize their passion due to a narrowed curriculum in schools. In other words, the very areas where desperation, hope- lessness, and fear perpetuate the problems we hear about in the news every day, are the same areas where we need a comprehensive arts education the very most. Our state is experiencing a tremendous budget crisis. We are seeing school music jobs cut in many districts, and in some cases, we are witnessing the elimination of arts ed- ucation from K-12 education programs. People want to tell us it’s about budgets and money and funding. They don’t understand that education in music and the arts is price- less! And we keep missing the point completely when we justify the arts based on improved test scores, teamwork, punctuality and responsibility. Without music and the arts we aren’t whole. Our souls and our spirits are not nurtured, grown, and cultivated. We have a generation of hurting, fearful, and angry people retaliating against one another without regard for other souls. ALL SOULS MATTER!!!!! Pre-OkMEA All-State Chorus, 1931. If you have any pictures of music education events taken before 1990 or so, and would like to share them, send high-quality scanned copies to the editor, at Publication is not guaranteed, but we will use as many as possible.
  25. 25. P. 26 OKLAHOMA MUSIC: FALL, 2016 Leah McDonald Vice–President Elementary Division as, where she taught elementary music and was a frequent presenter at TMEA. Debbie currently teaches at Ralph Downs Elementary in Putnam City, and we are thrilled that she is an Okie now! In January, we welcome Artie Almeida and Leigh Ann Garner to our state! *NEWSFLASH* West Music will have a booth at our January Conference! It has been years since West came to OkMEA—I hope you come with POs in hand! (I realize we are in a budget crisis - wishful thinking, I know.) I stumbled upon an article via Facebook a few days ago that caught my eye—a middle school music teacher was explaining his method and helpful hints for remembering students’ names. The premise of the article is that quality instruction can only happen when relationships are estab- lished between teachers and students, and knowing some- one’s name is the first step in a relationship. I have always felt strongly that we should learn students’ names. Last year was my first year in a brand new school. I learned all 520 names, which is a normal quota for me, although my previous school housed 1300 students, and I knew about 90% of those names, whether I had them Formstack for Elementary Auditions I am pleased to announce that beginning this fall, all au- ditions for Children’s All State Chorus will be submitted through an online platform called Formstack. Katie Rob- ertson has developed the form for our purposes. (Thank you, Katie!) There are many things to love about this new development, but I will only list three: 1. The form will not “submit” unless all fields are filled—in- cluding that darn NAfME card! No more forgetting a copy of our card and paying the price. 2. All audition recordings will be scored—no more hoping and praying that your CD works in the player the judges are using. 3. No more mailing fees, registered mail, and long post office lines. We will still mail in payment, but that is the only physical mail required. All deadlines remain the same. (See the Chairs’ article for a list of those deadlines.) An online tutorial video will be available via This video will show you, in detail, how to submit your auditions. Another great change is that our harmonization vocalise will change each year. The “mahs” and Jubilate will remain unchanged, but the “loos” will have a different melody each year. This levels the playing field for all students. An actual vocalist will sing all practice tracks for the audition, instead of the clanging keyboard we have all come to hear in our dreams, and that keyboard will be a realistic, tuned piano, as well—the same piano used for our CTSWS and All State tracks, in fact. These changes were all discussed and agreed upon during our January Elementary/Middle Business meeting at the OkMEA In–Service Conference. Please let me know if you have any questions. I appreciate everyone who gave input during that meeting, and encourage everyone with a stake in Children’s All State to attend in the future. Our October and January In–Service Conference opportunities are shaping up to be wonderful! In October, Debbie Oakes will present Ta-Da! Making Music Class Fun! This session will focus on methodology for teaching good vocal technique in a fun and engaging way. Debbie is a recent Oklahoma transplant, coming from Tex- Continued on p. 28
  26. 26. OKLAHOMA MUSIC: FALL, 2016 P. 27 BALANCE AND INCOME STATEMENT FOR OKMEA For the Period Ending June 30, 2016 Current Assets Cash $66,356.65 Money Market $10,134.82 Hartford $82,019.31 Total Current Assets $158,510.78 Current Liabilities Total Current Liabilities $0.00 Equity Ending June 30, 2015 $148,786.98 Current Income 9,723.80 Total Equity-Ending June 30, 2016 $158,510.78 REVENUE OKMEA Conference $105,646.67 25.47% OKMEA Music Festival 277,744.19 66.95% Member Dues 25,501.00 6.15% Oklahoma Music Journal 5,967.50 1.43% TOTAL REVENUE $414,859.36 OPERATING EXPENSE OKMEA Conference Expenses $136,121.18 33.60% OKMEA Music Festival 165,245.19 40.79% Operations 77,780.90 19.20% Oklahoma Music Journal 25,988.29 6.41% TOTAL EXPENSES $405,135.56 TOTAL INCOME 9,723.80
  27. 27. P. 28 OKLAHOMA MUSIC: FALL, 2016 OMEA NAfME in class or not. I don’t say this to brag, but I do say it to encourage all of us to make greater connections with our students. Name recognition is not only helpful in my classroom routine, but also when I do morning or after school duty, when I run our morning assemblies each day, or simply when I walk the hallways. Hearing one’s name, especially when you think the person in front of you doesn’t really know it, is a magical thing. Back when I was a first and second grader at Northern Hills Elementary here in Edmond, I loved music. It was my favorite thing—I looked forward to it all week, and I LOVED to answer questions in that class, since I took piano and grew up in a musical home. (I’ve never been the wallflow- er.) Imagine my dismay,then, when my very kind but rather dotty music teacher NEVER remembered my name—ever. My heart hurt! I wanted to be the student she could always call on, the “One” she would always remember instead of one of the many. Fast forward to fourth grade, when I was introduced to our new music teacher, Mrs. Leah Ries! My music teacher not only knew my name, but she shared my name—one that really wasn’t all that common! Ries could see my enthusiasm for her content area, and fostered that excitement, in part by calling my actual name. It definitely made an impact, and she continues to mentor me via Face- book, all the way from Minnesota. My method for learning names is simple. First, I ask teach- ers NOT to send their students with name–tags. Name– tags actually hinder me in my quest to learn, because I end up reading instead of internalizing. At some point in each of the first three lessons of every grade, we play a name game, where students say their own name, or the names of their neighbors. I listen carefully. Then, I tell them I am going to quiz myself, and they can only help me if I ask for assistance. I go around the circle (or down each row, if you prefer), saying each name while I am looking directly into each student’s eyes and face. Sometimes I say it three times, if it presents a problem for my memory. I do this quickly in the following two les- sons, and by the fourth lesson of the school year, I usually have most names down fairly well, even for my kinder- garten classes, which are filled with students I’ve never met before. I also use a simple seating chart based on the symbols displayed on my musical rug. In theory, this should help me distinguish between identical twins in the same class, or the perennial Kaley/Kaitlyn/Kalyn problem, and it does the trick most of the time. Learning student’s names and using them is powerful. Many of my colleagues tell me “I’ve just never been good with names”, or “I just have too many students - I don’t even try.” That makes me sad for students, who deserve to hear their music teacher say their name aloud, just as Mrs. Ries did for me after such a long wait. McDonald, Elementary, continued Next Year”s CONFERENCE DATES Fall Conference: October 20, 2016 Oklahoma City University OKC Winter Conference: 2017: JANUARY 18—21: TULSA NOTABLES FROM THE NOT-TOO-DISTANT PAST
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  29. 29. P. 30 OKLAHOMA MUSIC: FALL, 2016 OkMEA OkMEA NAfME NAfME OKLAHOMA MUSIC EDUCATORS ASSOCIATION NATIONAL ASSOCIATION FOR MUSIC EDUCATION ALL STATE 2017 Mixed Chorus Steveanne Bielich ALL STATEl2017 ORGANIZATION CHAIRS OMEA Another summer has come and gone, and a new school year is beginning. I hope everyone is well rested and ready to encourage and inspire students to do wonderful things this year. I would like to thank several people for working this sum- mer in preparation for this year. Kevin Zinn for creating and producing the rehearsal CDs; Janis Dawson, Terry Attebery, Ron Wallace, Wes Singleton, David Hillis, Ann Dawson, and Diana Carter for their time and assistance in proofing the CDs, and Charles Chapman for the pronuncia- tion guides. The entry processes is basically the same as last year. You are still required to mail hard copies of entry form and payment (check or purchase order) to Jerry Huffer and complete the online entry. Please take the time to view the online entry form and follow the instructions that are on the OkMEA website, As in the past, it is strongly suggested that you complete your forms early to allow for any issues that may arise. Please take the time to fill them out completely and correctly. Please remember to visit the website often. Audition infor- mation, rules and procedures, new and updated information will be available at your convenience and posted on the website. The 2017 Mixed Chorus committee includes Steveanne Bielich (Chair), Diana Carter (2018 Chair), and Wes Singleton (2019 Chair). We are pleased to have Gary R. Schwartzhoff from the University of Wisconsin-Eau Claire as the 2017 OMEA All-State Mixed Chorus clinician. Selections for 2017 Auditions Regina Coeli, by Mozart. Publ. G. Schirmer/Hal Leonard/ HL50324750 Ubi Caritas, by Ivo Antognini. Publ. Colla Voce/41-96660 Vox Populi, by Giedrius Svilainis. Publ. Alliance Music/ AMP 0802 Plenty Good Room, by Rene Clausen. Publ. Santa Bar- bara Music/SBMP 536 The complete repertoire list has been provided to the Okla- homa music stores. CD order forms may be downloaded from the OCDA website ( Deadline for the audition applications is September 24th. Please check the website for information regarding late or emergency entries. First Round Audition Date: Saturday, October 29, at Quad Sites. Second Round Audition Date: Saturday, November 12, at the University of Central Oklahoma. REMINDER!!! All teachers who have students audition- ing are required to work on the audition days. You will be asked to judge, monitor rooms, tabulate, or perform anoth- er assigned duty at each event. Every job is essential to make the audition process run smoothly and efficiently. My contact information can be found in the Directory of Officers on the OkMEA website ( Please contact me if you have any questions. I look forward to serving you and your students and I hope to see you at the fall conference on October 20 in Oklahoma City. ALL STATE 2017 Orchestra Sara Chan I am excited to be serving as your All-State Orchestra Chair for the seventy–fifth anniversary year of the Okla- homa Music Educators Association’s Winter Conference. Seventy-five is a Diamond Anniversary, and this year all of our students will shine like diamonds. Playing in a music ensemble is an example of, as Aristotle says, the “whole being greater than the sum of its parts”. This is true for individual instruments and for the people in the ensemble. Music reaches beyond race, gender identity, religion, socio-economic class, political affiliation and every other way a society can categorize individuals. When you are a member in a music ensemble, none of those labels matter; instead we come together in mutual respect and understanding to create something beautiful for the greater good. The world needs more of this; it is something worth fighting for and worth preserving for the next seventy-five years.
  30. 30. OKLAHOMA MUSIC: FALL, 2016 P. 31 So, dear students, no matter who you are or where you are from work hard, reach high, and “shine bright like a diamond”1 The Oklahoma Music Educators Association is pleased to announce that Douglas Droste will be the conductor of the 2016-2017 All-State Orchestra. Droste was the Director of Orchestral Studies at Oklahoma State University in Stillwa- ter, Oklahoma. He is currently the Director of Orchestras and Associate Professor of Music at Ball State University in Muncie, Indiana. 2016 - 2017 OkMEA ALL-STATE ORCHESTRA AUDITION MATERIAL: The string audition material will contain a scale, an etude,orchestral excerpts, and sight reading. Scale: Prepare all major scales, memorized, 3 octaves, slur two quarter notes (quarter note = 90) in the follow- ing format: each note is played once ascending and one descending with the top note not repeated. See example below. Note: Double Bass will play only two–octave scales. The use or nonuse of vibrato on the scale will not add or subtract points. Violin, Viola, Cello: ascending: CDEFGABCDEFGABC- DEFGABC descending: BAGFEDCBAGFEDCBAGFEDC Bass:ascending: CDEFGABCDEFGABC descending: BAGFEDCBAGFEDC ETUDE: Prepare the etude listed below for your instru- ment. Violin: 42 Studies or Caprices, by Kreutzer, Schirmer edition, (Singer), #30 pp. 48-49, moderato, quarter note = 108. Fingerings marked are required. Viola: 41 Caprices, Opus 22, by Campagnoli, Peters Edition, #24, pp. 28-29. Allegro sections, quarter note = 80; adagio sections, quar- ter note=55. In double-stop sections play the top note only. Fingerings marked are required. Cello: 170 Foundation Studies, Volume 2, by Schroeder, Carl Fischer edition (02470), #129, pg. 88-89, quarter note = 124. Fingerings marked are required. Double Bass: 57 Studies in Two Volumes for String Bass, Volume 1, by Storch-Hrabe, edited by Zimmerman, (International, 1034), #14, pp. 13-14, quarter note = 100. Fingerings marked are required. EXCERPTS: We will distribute audition excerpts from the OMEA All-state music to directors at the OMEA Fall In– Service Conference in October. Excerpts will be mailed on the following Monday to all directors not in attendance at this meeting. SIGHT–READING: Sight–reading is required at the audition. Each student will be given a thirty–second study period, during which they may shadow–bow or finger their instruments, but may not make any noise. Points may be deducted or the student may be disqualified for excessive finger–tapping. SPECIAL INSTRUCTIONS: The student must follow the scale pattern indicated above. In addition, the student must follow the printed fingerings and bowings indicat- ed in the specific edition of the etude(s). If the student uses an alternate scale pattern, etude fingering, or bowing during the audition, the judges will deduct points. Students DO NOT need to purchase original parts for excerpts. Students DO need an original etude book at the audition, but they may play off of the distributed copies of excerpts. Directors: Please note that all directors who have stu- dents participating in the auditions are required to be at the audition and to be available to assist judges, moni- tors, or in other capacities as needed. If you know of any string specialists new to our state who would be willing to help with the auditions, please email Sarah Chan: sjchan- 1 Diamonds. Lyrics by Sia Furler 2016-2017 Deadlines for copy/photos for OKLAHOMA MUSIC SEPTEMBER 1 for the October Extra NOVEMBER 1 for the winter/conference issue MARCH 1 for the spring (on-line) issue
  31. 31. P. 32 OKLAHOMA MUSIC: FALL, 2016 ALL STATE 2017 BANDS Ryan Edgmon Gina Thompson (Mustang) and I will serve as the All State Wind Symphony Chairs. Steven D. Davis, Director of Bands and Wind Ensembles at the University of Missouri- Kansas City will be our 2017 clinician. Shawn O’Kelly (Owasso) and Rusty Chevalier (Skia- took) will serve as the All State Symphonic Band Chairs. Beth Peterson, Clinical Professor of Music from The Uni- versity of Illinois will conduct this ensemble. All elements of this year’s audition process will remain the same as the previous year.  ADDRESS ANY QUESTIONS CONCERNING ALL-STATE BAND ENTRIES TO:  DOWNLOAD FIRST-ROUND ETUDES FOR 2016-2017 ALL–STATE BANDS from the links on the OkMEA web site. Important Band Division dates for 2016-2017 1st Entry Deadline: September 14, 2016 ($15.00 per student) 2nd Entry Deadline: October 1, 2016 ($45.00 per student) Emergency Audition (after October 1, 2016) ($100.00 per student) 1st Round Band Auditions: November 5, 2016 at region sites. 2nd Round Band Auditions: December 3, 2016 at Westmoore High School Bad weather contingency date: December 10, 2016, at a location that will be announced if needed. This date is invoked only by the OMEA President, and all students must audition on December 3, unless that audition is canceled by his decision, in which case all students audition on Decem- ber 10. Please remember to fill in all areas of the registration forms, including the complete contact information and primary instrument for yourself and all directors from your school. This information is vital when scheduling judges/ monitors. It is also recommended that you periodically check for any updates or revisions to this information.  Jazz Ensemble forms are posted on the OkMEA’S web site Jazz Ensemble page. NOTABLES FROM THE NOT-TOO-DISTANT PAST
  32. 32. OKLAHOMA MUSIC: FALL, 2016 P. 33 ·t£61U!oi3~:)!qJ U!UOPUgAUO:)l~UOP~UJNtIW gq11~pgUIlOµgdl!OqJ~lpdd~J VS!qUgqMS~M199~:)S!qJOSlU!Od qi3!qgq1JOgUOAlgms·SUOPUgA -UO:)l~UOP~Upu~'l~UO!i3g1'gl~lS AU~UluopgUIloµgd'dnoJi3S,UgUl -OMl:)glgsgql'SU~!lPgJ·lSgql pu~'l!OqJ~llgdd~JYgql'dnoli3 pgX!Ull:)gpSS,UgMOg·Al!l~nb pu~gZ!SU!MOli301pgnupuo:)SUl~l -i3Old:)!SnUlS.looq:)s~sln.Lgq.L ·~sln.L U!1991~:)S,UgMOgJO19pU!~Ul -glgqllOJSgµlUgoulUgS19lJ~glgql pu~9Z61U!SlSglUO:):)!SnUlgql UOMU!~i3~g:)UOlooq:)sqi3!q~sln.L gq.L·slu!odgU!U-AUOJql!M'Pl!ql S~Mggi3o)fsnw·lOlpgdUlO:)lSg~gU lpql'Al!J~:)UOdS~AU~UlS~SgUlP gglql'Slu!od£~1pg1O:)Sl~llUgJ ~sln.L·SlUgpfilSS!qpu~UgMOg 10JA101:)!A~S~MlSglUO:)gq.L ·sUOlgd~q:)l!gqlpu~Slu~d!:)~d gqllOJS~:)u~UlIlndlnOJglgMglgql gl!qM'q:)~o:)A~P-gUO~UOlUgM S101~1:)gdsgql'3/17]OO1j:JSDs]nL 'lgd~dSMgUIooq:)sgql01i3U!P10:) -:)y·p~Olg~lO:)Sµdgqluoglgql pglPA~llSlOllll:)gds~LpUllSlUgpfilS OOZ19AOJOdnOli3V·~Z61JO AllWAPllgU!'UllUIlONU!PlgqSllM lSgluO:)gllllSlSl!JS,UgMOg·SlSgl -UO:):)!SnUlgllllSAPllgIIISsg:):)ns l!gqlAqpglllllSUOUlgpSllMUlllli30ld :)!SnUlIll1Oq:)looq:)Sqi3!HlllllUgJ llSIn.LgqlJOAl!lllnbqi3!qgq.L ·qnDtllgcIogl{.LpgIlll:)UPSS! Iooq:)Sqi3!HIllllUgJIIIl!Otpl:)gpS gq.L·S,0£61APllggqlU!looq:)S qi3!HIllllUgJl~pgqSHqlllSgSllM 'Sllllglgdoi3U!UlloµgdpUlli3U~dgld JOgsodJndgql10JAl!llP19U1l~ql SSllPII'qnlJlllgdOgq.L·Slooq:)s qi3!qllsln.LgqlU!gmuglS,UgMOg lnoqi3nolqlpgnupuo:)S~llglgdoJO g:)UllUIlOµgdgq.L·3JOjDUJd·S·W·H S,UllAmnspUllugqHDpgUl1Oµgd SlUgpnlSS,UgMOg~Z61UI ·Sl!Oq:Jlooq:JS qi3!qs,llsln.LJOIlllUl01J!uUlnlllpUll SlUgpfilSpgpnpu!1jDJSS3W31jLJO g:JUllUIlOµgdgqlS,Ot61gq1AqpUll 'UOP!Plll1IIgUl~:JgqS!q.L·1jDJSS3W S,PPU~HJOsuoplodS~UllspqJ gq1pg·Ul1OµgdSlUgpfilSS,UgMOg tZ61JOIlllJgqlUI·looq:JSqi3!qgq1 IIIOOZ19AOJOSOloq:JIIpllqUOOS -£1- 19U1UlnS19A1lgM..gµJglSgqlpgpUgUU UgMOg0061JO19U1UlnSgqlUI ·)flOAMgN'PUllIUno;)U!:)!S -nUlJOAlOlllAlgSUO:JllllllUgUlUUdgp g:J!OAgqlJOP~gqpglu!oddllSUM gqJn0J-AlugMlJOgi3llgqllV·puuISI gpoq"M'g:JUgp!AOldpUllAl!J)flOA MgNU!g:J!OApg!PfilSgH·sIooq:)s i3U!i3U!SllllOlU!uopll:)npgIllJ!snw lSl!JS!qpgAP:JglpUllgllllS)flOA MgNUlglSgMU!u10qSllM(L~61 -£L8I)UgMOglll:JSOgi310gD 3}!7fijJv~>t}C ·uOP!ui30:)glJOAquOMglU SlUgUlqsHdUlO:):JllpUllgJHS,UgMOg 'lUgp!SgldJNtIWAIUOS,llUlOqllP[O pUlluopll:)npg:J!SnUlJtllOq:JU!gm~y lUgU!UlOldAIllluoP~uIIsy·AllllUg:) ~JO19mnbII10Jlqi3nlllgqglgqM '~SIn.L01pgAOUlUgMOg'Ull~! -q:)!WU!pUllSgl~lSpgl!Un.Ulg1SUg -quougqlU!199~:JInJssgJ:)nsII19l -JY·lgguo!d:J!SnUlIlllOq:JUll:JµgWV UllSllMUgMOglll:JSOg~lOgD m!S".J.3f2!Un31V1S'VUJOYVJ)O U.J.31S"3tn1j1110S''uo39.J.l1dS'"7uVJ1bfig lUap!s.ud:JN3Ws.ewoqeplO :N3M.OHHV:JSO3DH03D pU~'lOi3!Aql!MUop!sodMgUS!q lnoqll19SgH·Iooq:JSqi3!HIllllUgJ l~Sl!Oq:)gqlpgl:)npuo:)UgMOg 'l:)µlS!Pgq110JUlnln:)µJn:J:J!SnUl gqli3U!S!Algdns01UOPWpllUI·SlUgp -filS000'6119AOS~MlUgUlIIOlUg Iooq:JS:JHqndSl!pUll'(Al!J llUloqllI)fOullqllgi3~I000'Llnoqll) 'suoslgd000'11119AOJOAlP IIgUlPlllql1llSllM~sIn.L·slooq:JSllS -In.LgqllOJ:)!snwJO10S!AlgdnSJO uop!sodgqlldg:J:J~01U01XllIJ19pUll -I!qdlUgpUglUµgdnslooq:JSllSIn.L Aqpg)fSllSllMUgMOgtZ61UI vS")11J.,0+3f20JVjs:U3rnofl, ·lUgUlUlldga :J!snwIooq:JSgqlJOPllgqSll10qlY uuYU!Ulli3!-q:J!WJOAl!SlgA!Un.gql 01pgAOUlgqOZ61uI·SlUlldpp~d pUllsnoqlI~lgAgSi3U!AlOAU!Ugl -JOlI'si3UOl~-i3U!SIIAl!UnUlUlO:Jgi3~I i3up:Jnpuo:JpUll'~llSgq:J10pUllSOl -oq:JAl!UnUlUlO:)IIi3U!Z!Ulli31Opgglll -UguomsodS!q.L·u~i3!q:J!W'luHd JOAlPi3U!MOli3gqlU!101:)gl!a:J!S -nwAl!UnUlUloJS~uop!sodgnb!un IIpgldg:):JllUgMOg')flOAMgN'Slg)f -uoApu~'In:)p:JgUuoJ'P10JUllllSJO sIooq:JS:JHqnd gqlU!l!Oq:J ~U!q:Jllg119ljll 'L161UI ·S~gAltllgAgS 10JSgSSllP 19U1UlnSgq1U! lqi3nlllpUllpo -qlgUl19A1lgM.. gqlJOglll:JOA -plli3uol-gJHII gUltl:)gqUgMOg ·s,0061gqlJO Sgpll:Jgpgglql lSl!Jgql~uµnp sgSlno:)19U1 -UlnsInJssg:J -:Jnslqi3nll1 SlgMOlIoJS!q pu~19AllgM.. ·UglPnq:J 01i3U!Pllgl lqi3!Si3U!q:Jllgl 10JpoqlgUl IIpgS!AgpOqM 19q:)~gl:)!SnUl looq:JSIISllM 19A~gM..gµJglS ·In:)p:JgU -UOJU!looq:JS OKLAHOMA SCHOOL MUSIC NEWS SPRING, 1992
  33. 33. P. 34 OKLAHOMA MUSIC: FALL, 2016
  34. 34. OKLAHOMA MUSIC: FALL, 2016 P. 35 1990 HALL OF FAME
  35. 35. P. 36 OKLAHOMA MUSIC: FALL, 2016 The Next Word OMEA Asst. Editor Katie Robertson The Adventures of “Little Chuck” Over the past several months, I have been learning about my Editor responsibilities from the great Chuck Chapman. Recently, at the State Editors’ meeting in Washington DC, he introduced me as “Little Chuck” to the group. It was wonderful to meet with other editors from around the country. Ella Wilcox, Manager of Editorial Communications, and Catherina Hurlburt, Communications Manager, spent the day presenting several ways that we can help promote the work of NAfME and our own state MEA organizations using a variety of resources such as websites, Facebook, Twitter, and even Instagram. I have already started a new OkMEA Twitter account (@OkMEA_Org) – be sure to follow us and tag us in your music–related posts! Every time I receive a notice about a job opening, I post it on our Twitter account, which also connects to our Facebook (facebook. com/okmea1) page. I share grant and professional devel- opment opportunities as well as other important news from NAfME on both platforms. I am striving to keep you up–to– date with information between publications. Another project I am working on is Formstack. This sum- mer we accepted Honor Group Applications online instead of snail mail. With the online submissions, the Vice Presi- dents were able to send the materials to the judges imme- diately after the deadline passed, which will allow them to notify accepted groups by August 1, instead of September 1 this year. We are also using Formstack for Honor Award Nomi- nations and Children’s All-State Audition Applications this year. It will be such a relief for the Children’s All-State Chairs because they will no longer have CDs that do not play, missing application information, and hours of data en- try. Plus, teachers can submit all of their information online instead of having to spend hours at the post office! It is an excellent solution for all involved with the Children’s All- State process. I look forward to finding more ways to use Formstack with our organization. In addition to these projects, I have been assisting Chuck with the editing articles for the magazine, and will be putting together the August recruitment brochure. I also am in the process of designing a new OkMEA website that will launch in January. I plan to include a Leadership Portal on the website that will house all of our important documents including meeting minutes, motions passed, job descrip- tions, and other information for the All-State Chairs and Vice Presidents. Hopefully, it will help smooth the transition between officers. I want the new website to be a functional resource for the members. If there is something you would like to see on the website, send me an email (pcmusic- and I will do my best to incorporate your ideas. I am very excited to embark on this new journey with OkMEA. Chuck has been the Editor for twenty–five years, and I know there is much to learn before I take the reins. Thank you for your support and patience during this transition time. [Ed. note: OkMEA is VERY fortunate to have found this lovely, competent professional, full of energy and ideas. Please give her every support, and you will be amazed.] Facing page: The Editor’s fist issue, Spring 1992, with intricate art nouveau masthead he thought (incorrectly) was very classy. This was also the issue celebrating OMEA’s 50th Birthday. Judy Safely, President; and Skip Klingman featured in two photos. OMEA NAfME
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  37. 37. P. 38 OKLAHOMA MUSIC: FALL, 2016 OkMEA OkMEA NAfME NAfME OKLAHOMA MUSIC EDUCATORS ASSOCIATION NATIONAL ASSOCIATION FOR MUSIC EDUCATION The Besst of The Lasst Word OMEA Editor Charles Chapman [As a nod to our coming seventy-fifth convention and birthday, we will be running items from past issues, along with early pic- tures. The editorial below is ten years old, but like many of our problems in music education still apropo for today’s problems.) RESEARCHERS FIND THAT EXPERIENCE IN MATH MAY RAISE STUDENT SCORES IN MUSIC! [This is a tongue–in–cheek editorial published in OKLAHOMA MUSIC in 1996.] Recent research has indicated that if students are ex- posed to math at an early age, it may positively affect their later performance in music. These results are part of a re- cent public relations news release by the Math Educators National Conference (MENC), in cooperation with the industries who support math education, gathered under the The Math Industry Council (MIC). This public information effort is designed to increase the number of schools that offer math as a regular discipline in the school curriculum. Educators have long suspected that there may be a link between math, (a discipline many consider to be a “frill,” because most adults don’t use this skill in everyday life), and music, which from the beginning of formal education has been considered part of the ‘core curriculum.” In today’s schools, where space in the curriculum is se- verely limited by lack of funding, and changes are gen- erated each week by academic fads, many subjects not considered “core curriculum” have a difficult time maintain- ing their traditional places in the balanced education of our students Disciplines usually considered in this “core,” are music, art, dance, and theatre. They have won this status because of their central importance in the history of human culture, their importance as one of the unique modes in which humans think and symbolize their existence (sometimes called intelligence), and their continuing relevance to the adult lives of students after they complete their educations. On the contrary, the study of mathematics beyond the simple arithmetic computations needed for everyday life is believed by many educators to be essentially wasted academic time. Only a very small percentage of the adult population bothers to maintain their already ephemeral skills in algebra, trigonometry, and geometry, which their teachers attempted to develop in high school. There is also no evidence that math contributes in any way to the success or failure of the public school athletic program, the nation’s number one education priority. One hard–nosed Oklahoma school administrator respond- ed to the press release as follows: It is important for these math teachers to understand that when budgets are close, this is a time when we have to get back to basics. We would like to offer math, but we just can’t afford it anymore. Maybe the students could study it privately. If there is any hope for the continuing study of math in America’s public schools, it will only be because it can be proven that experience in this subject contributes to success in more valuable academic endeavors—such as music. A large number of celebrities have rallied to the math cause. Math organizations have published posters, with film and TV stars testifying to the beneficial effect math study has had in their lives. Those who maintain that a good education should be the balanced study of every important human endeavor must awaken to the practical world. This world may just have outgrown its need for math. Most music teachers agree that basic, general knowledge of simple math is perhaps something that every student should develop. But they also fail to see how, with too much math cluttering our curriculum, our public schools will be able to inaugurate badly needed upper level, advanced music classes, such as study of the medieval modes and 1980 (OkMEA President election)
  38. 38. OKLAHOMA MUSIC: FALL, 2016 P. 39 OMEA NAfME Gregorian Chant notation. It will be difficult to continue to offer much more than “bare bones” math experience. One possibility is that math, at least in elementary and middle school, might alternate schools days with physical educa- tion. [Editor’s Note: The above is, of course, a “satire.” Please consider its two morals. 1. Whenever we base the existence of music in the curriculum on any foundation other than the rationale that we study music because music is an important human endeavor, we have lost ground in the battle for academic equality. If the study of music exists primarily as an aid to success in other disciplines, then music is not necessary, but adjunct. And yet— 2. Music education should embrace any action or position nec- essary to survive in a poorly—balanced curriculum until fairer financial and philosophic skies appear. If it is necessary for us to ride on the coattails of more fortunate disciplines whose existence is essentially unquestioned, then we probably should do so—for now.] NOTABLES FROM THE NOT-TOO-DISTANT PAST
  39. 39. P. 40 OKLAHOMA MUSIC: FALL, 2016 You’re ALL invited to our 75th Anniversary Convention, January 18 to 21 DIRECTORY OF ADVERTISERS NORTHEASTERN STATE UNIVERSITY....................................................................... 4 OKLAHOMA CITY UNIVERSITY.................................................................................. 7 OKLAHOMA STRINGS............................................................................................... 13 OKLAHOMA YOUTH ORCHESTRA19 UNIVERSITY OF OKLAHOMA.......................... 2 SOUTHWESTERN OKLAHOMA STATE UNIVERSITY.................................................. 3 UNIVERSITY OF OKLAHOMA...................................................................................... 2 UNIVERSITY OF SCIENCE AND ARTS OF OKLAHOMA.............................................. 9 OKLAHOMA MUSIC PO BOX 1070 Wagoner, OK 74477