Spring 2018: Volume 37, issue 3

ContentsFrom Your President . . . . . . . . . . . 1

Richard Schnipke

Making Every Moment Count . . 3Wei Cheng

It Begins With a QualityChart! . . . . . . . . . . . . . . . . . . . . . . . . 6

Jeff Clark

Our Singers Are the Inspirationfor Success . . . . . . . . . . . . . . . . . . . . 8

Brad Naylor

Upcoming Events . . . . . . . . . . . . 10

Leadership Roster . . . . . . . . . . . . 14

AdvertisersBob Rogers Travel . . . . . . . . . . . . 11

CMS Publications . . . . . . . . . . . . . 2

Cousins Concert Attire . . . . . . . . . 5

Make Me Dough . . . . . . . . . . . . . . 7

OCDA Summer Conference . . . 12

OCDA Summer Conference Registration Form . . . . . . . . . . . . 13

Otterbein University . . . . . . . . . . . 6

Soundwaves Recording . . . . . . . . 9

Stanton’s Sheet Music . . . . . . . . . . 4

From Your President2018 Summer Conference is Upon Us!A quick look at the schedule for our exciting up-coming Summer Conference (June 18–20) willassure every OCDA member of the conference’sbenefits! e conference activities will provideprofessional growth for directors of all choirs,and a wonderful opportunity to network and re-connect with colleagues from across the state inthis more intimate conference environment.

We are thrilled to welcome Jake Runestad and Hilary Apfelstadt as thisyear’s conference headliners. Jake is one of our country’s leading choralcomposers, known for his innovative yet accessible compositional style. Inaddition to his work as a composer, Jake is also regularly engaged through-out the US and abroad as a guest conductor and clinician. He will bring hisperspective as a composer/conductor to our conference, sharing his newestmusic, revealing his compositional process, and providing insight for com-missioning new works and for collaborating with living composers.

Having just retired this past month as Director of Choral Activities at theUniversity of Toronto, Dr. Hilary Apfelstadt is excited to reconnect withOhio friends and colleagues. Many of us know Hilary well from her 17 yearsat e Ohio State University, where she served as Coordinator of the Gradu-ate Conducting Program, Director of Choral Activities, and eventually Asso-ciate Director of the School of Music. She is well known throughout the USand Canada for her leadership in our profession, having served as ACDA na-tional president. Hilary’s body of work includes publications, research, andpresentations pertaining to professional mentorship, choral leadership,Canadian repertoire, women’s choirs, and conducting and rehearsal peda-gogy. She will share a wealth of knowledge on many of these topics as well aslead a conducting masterclass with our conference attendees.

is year’s conference will feature several wonderful performing choirs.Our opening session will begin with a concert by the Granville High SchoolWomen’s Chorus, under the direction of Kristen Snyder. On Mondayevening, we will hear the Bay High School Choraleers, directed by DevonGess, followed by our OCDA Women’s and Men’s Honor Choirs. isyear’s Men’s Honor Choir is conducted by Otterbein University’s Dr. GayleWalker and the Women’s Honor Choir is led by Ohio University Professor

OCDA President Richard Schnipke

Emeritus Dr. Peter Jarjisian. OnTuesday afternoon, ColumbusChildren’s Choir Artistic DirectorJeanne Wohlgamuth will conduct aperformance of the New WorldSingers, the CCC’s flagship ensem-ble. On Wednesday afternoon, wewill be treated to a performance byOCDA’s Children’s Honor Choir,led by Dr. Kristina MacMullenfrom e Ohio State University.Kelsey Burkett’s 8th GradeWomen’s Choir from MemorialMiddle School in Hilliard will openthe Wednesday afternoon concert.

As is our tradition, reading ses-sions for all types of choirs, se-lected by our OCDA Repertoireand Resources Chairs, will take

place throughout the conference.Music for high school, juniorhigh/middle school, elementaryschool, church, community, col-lege/university, and single genderchoirs will be provided to all con-ference attendees through the gen-erous support of J.W. Pepper. Dr.Ron Blackley of Ashland Universitywill also present a session of“Choral Gems,” focusing on won-derful, standard choral repertoirethat should be part of everyone’schoral library. A new reading ses-sion/clinic will also be presentedthis year by OCDA R&R ChairsBrody McDonald, Chris Venesile,and Jeff Clark, pertaining to specialconsiderations for performing

music from the contemporary acappella, vocal jazz, and showchoir idioms.

Luncheon roundtable discus-sions, organized by R&R area, willbring together conductors of simi-lar choirs to discuss challenges,successes, and future OCDA initia-tives. All registrants are also in-vited to the Conference Luncheonand Business Meeting, wheremembers of your OCDA board andexecutive committee will providean overview of workings of the or-ganization. And, our Mondayevening Gemütlichkeit and Tues-day All-Conference Party (spon-sored by Bob Rogers Travel) willgive participants an opportunity to

Spring 2018 table of contents 2

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S GHTIS N N

G GI I

For chorAl conductorS, thestruggle to build a successful andvibrant ensemble is a constantchallenge. It is only heightened in aschool setting, where the choir ros-ter often changes each semester.On top of that, it can really stingwhen students who have workedwith you for years, and have be-come first-rate singers and leaders,graduate! ese situations, alongwith handling challenging personalattitudes, skill levels, and experi-ence levels, have helped me learnto be a better conductor and leader.I am a firm believer in the cliché:when life gives you lemons, makelemonade. None of these issuesshould keep us from striving to en-sure our singers shine on stage.

I have not perfected dealingwith the ups and downs of leadinga choral program. But I havelearned from all of my experiences,and I hope that sharing some ofwhat I have learned over the yearsmight prove useful.

Every attitude counts. We do somuch more than just classroomteaching to build the ensemble.People often compare choral en-sembles with athletic teams. ere

are many reasons that China’s na-tional soccer team has not beenable to compete on the world’sstage; in my opinion, one of thereasons is that they have not yetlearned how to operate as one: theystill play like 11 individual players.As choir directors, we want to loveour students so much that we giveour all, as much as we can. We dothis, in large part, by being positiveand supportive. However, one per-son’s negative attitude can affectthe people around him/her, evenimpeding our own working effi-ciency. Professionalism, the ideathat we are working together andare responsible for one another,needs to be taught, with frequentreminders and nurturing. I encour-age upperclassmen to model thisattitude for freshmen and sopho-mores. If your older choir mem-bers embrace this added responsi-bility, the entire choir benefits.

Sometimes our graduatingsingers experience “senior syn-drome,” and get distracted from theleadership role. It is our job tomaintain a positive classroom—that is our number one responsibil-ity! And part of the responsibility isreminding every student, even sen-

iors in theirfinal weeks, thatwe are best onlywhen we work together. I talkabout this a lot, because it shouldbe an ingrained part of our worktogether as musicians.

Bonding experiences are an-other key way to build a feeling ofoneness. We should talk to themabout the music, but we should alsoask for and listen to their thoughts.Choir retreats are a lot of work, buttime away from the structuredclassroom environment creates aspace where singers are more com-fortable to open up to the musicand one another. Our society worksagainst human interaction. We canspend the entire day on our phones,not talking or interacting withother people. Choral singing is agreat place for students to experi-ence interaction and empathy foreach other. A lot of times, after thebeginning of the rehearsal, I ask mystudents to take a short moment of“meditation” or do a humming ex-ercise on a long note, encouragingthem to leave their busy minds (ortroubled emotions) out of the re-hearsal room, so we can tune theirenergy into “one voice.”

Making Every Moment CountWei Cheng, East Central Region Chair

Spring 2018 table of contents 3

connect and network in more re-laxed, informal settings.

As you can see, the 2018 OCDASummer Conference is going to be a

wonderful event, not to be missed.If you have not already registered, Ihighly encourage you to do so. Allmy best wishes for a wonderful

summer, full of time to recharge,relax, and plan for an incredible2018–2019 season. I hope to seeyou at Otterbein June 18–20! d

Spring 2018 table of contents 4

Every rehearsal counts. We are al-ways busiest at the beginning andend of the year. It is crucial tobegin each year with a successfulaudition week, which sets up agreat start of the semester. And alltoo often the end of the semesterhas us frantic, focused on tighten-ing the final measures, ensuringtransitions between certain piecesgo smoothly, getting posters andprograms made, and covering allthe logistics of concert production.We need to ensure, however, thatrehearsals in the middle of the se-mester don’t get overlooked. Oncethe semester is up and rolling (nor-mally after second week of school),we can slip into auto pilot, usingthe same warm ups and routines tolearn notes and text. While rou-

tines are welcome, we should al-ways inject something new to add abit of excitement into each re-hearsal. How can we do somethingdifferent and creative? How can wemake the learning process less ho-mogeneous? If we treat every re-hearsal as equally important, ourensemble will grow more quicklyand more profoundly over the se-mester.

Every effort counts. Every choraldirector is different—each has apersonal way of rehearsing. Manyof us teach notes and text first, fo-cusing on music-shaping and re-finement later. While there is noth-ing wrong with this process, I cau-tion you to manage your timewisely. I have watched as people

spend too much time learningnotes, without leaving enough timeto make music. Learning correctpitches and diction is of course es-sential, but it is just as essential toteach music making, even if it isjust five measures in each re-hearsal. Since the voice is an inter-nal instrument, part of the learningprocess is muscle memory, and youwant musicality to be part of thatmemory from day one. I encouragemusic teachers to teach singersvocal technique, dynamics, andnotes simultaneously.

Less experienced singers tend tolearn musical notes through repeti-tion. Instead of simply drillingnotes over and over, layer in otheraspects of the music (e.g. dynam-ics, vocal technique, the shape of a

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phrase, learning where the climaxis, etc.) to increase rehearsal effi-ciency. You will be setting founda-tions of musicality indirectly intoyour singer’s musical genes.

Here are three technical issues Iconsistently hear in choirs, that canbe quickly fixed in a pinch.

Sustained note: Singing a longnote does not mean “standing still.”is kind of temporary “rest” is soeasy to do, just like taking a pit stopduring a long run. When singing along sustained note, continuallyengage your air support to main-tain pitch tuning and move themusical phrase forward. Often-times, inexperienced singers with-hold energy on a note longer than 4beats, resulting in a straight tone,lacking color and direction. Weoften neglect the technique behindsinging the long note. We must payequal attention to the accompany-ing layers to ensure the melodicmaterial shines. Sometimes, whena note is held for two or moremeasures, I ask for a crescendo anddiminuendo to add color and sus-tain intensity.

Ascending leaping notes: Choirsoften struggle with ascending leap-ing intervals. Either the higher noteis under pitch, or the focus of thesound is lost. Many factors con-tribute to this issue, such as poorair support, delay in taking thebreath, poorly formed vowels, orpoorly executed consonants. Fixingthis is simple: a) sing less on thelow note, and instead focus on thehigher note. Resist expending toomuch energy and time on the lownote, leaving no space or time toproperly prepare the higher note.b) In the leap between a low andhigh note, the beginning consonantcan get in the way of the well-pro-duced vowel. Ask the section withthe high note to sing only thevowel, allowing the other voices toprovide the consonants of the

word. is should allow for awarmer, more rounded sound onthe high note.

Sluggish, low-energy singing: isis a subtle problem, but happensmore often than we think. Arethere times your choir sounds notbad, but you know something ismissing? Maybe the choir is slow-ing down, or the energy isn’t quiteat the level you imagined, or per-haps the whole piece just soundssluggish. Everything in the score isthere, but the sounds needs a bit ofsalt and pepper to jazz it up. Ener-gizing the initial consonant of piv-otal notes (either by speeding it upor exploding the initial sound)makes a world of difference. Piv-otal notes include syncopatednotes, notes falling on the down-beat, notes marked staccato. Ask-ing the singers to “spit” the conso-nant out faster will erase lazinesswhile adding energy and clarity tothe passage.

ese tips are just a few ways to fixchoral problems. To some, theymight sound too obvious or trivialto pay attention to, but implemen-tation can lead to dramatic im-provement. It’s not easy to build agreat team, and harder still tomaintain one. e challenge is con-stant, but we learn and improvefrom these challenges. Do not let asingle rehearsal go by without hav-ing an end goal, and doing all youcan to achieve it. Only when ourstudents can think and speak thesame musical language will weknow that we are making an im-pact on their musical lives. d

Spring 2018 table of contents 5

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“cAn’t we juSt sing the latest songfrom [insert latest animated Disneyfeature/musical theatre hit/poptune-infused movie here]?”

As if show choir doesn’t alreadyget a bad rap in our world, it makesthings even more difficult when thearrangement doesn’t serve thechoir. Too many times, I will seeboth the competitive and non-competitive pop ensemble worktirelessly to refine something that isinherently lacking the very refine-ment they are trying to polish.

What makes a quality “show”arrangement and how do we findthe proverbial “diamond in the

rough?” Well Mr. Aladdin, sir, let usinvestigate.

Know your strengths. If you areshort on men, teach the SAB voic-ing rather than the SATB to avoidsplitting your guys. ey will singout more if they feel they have thesupport of their “bros,” and if theylearn the single part with confi-dence, then teach the divisi. But onlyif you have the horsepower to do so!

Got a great soloist? Find a piecethat would fit their range to show-case them. Remember, you can al-ways turn that unison opening lineinto a solo.

Alter har-monies (yes,you may re-voice!) as needed to ensure sonori-ties lock with your choir’s uniquevocal presence. Sometimes I havetaken the alto part and turned itinto a soprano descant line onrepetitive choruses. e worstthing you can do is repeat the samechorus the same way over and overagain!

e latest isn’t always the great-est. We love that our studentsknow the latest hit pop tune andhave an interest in learning it! I

It Begins With a Quality Chart!Jeff Clark, R&R Chair for Show Choir

Spring 2018 table of contents 6

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think it is important that we ac-knowledge the music and continueto advocate for them to enjoy it.However, not every piece is ripe forlearning it the next day in choirclass. Be candid and frank: let yourstudents know that your choir maynot be able to perform that piecelike they heard it on the radio. Or,bring it back to them and say,would this piece have harmoniesfor us to work on? What can welearn by rehearsing this piece?

en it’s time to do your home-work. Is there a recent hit that hasa quality arrangement available?Does it stay true to the original butalso have choral elements thatwould be beneficial for your en-semble’s unique needs and level ofexecution?

Make it your own. Check the tessi-tura of the piece. Will it fit your en-semble? Are altos and tenors stuckon the same note for the entirepiece? Does it repeat too much?Chances are, it does, and you willneed to make some cuts to ensureproper pacing (yes, this is permit-ted as long as it doesn’t change theoverall integrity of the chart!).Need a dance break? Have thechoir tacet during the chorus andfeature the band instead.

Does it have quality text? Sure,that new piece is catchy! Ask your-self though, is this a piece that willstand the test of time? Can I do itagain many years down the road?e “flash in the pan” hit today canoften be forgotten tomorrow. Look

for quality lyrics that can engagefurther discussion and promote adeeper understanding. If the lyricsare pretty standard but you love thetune, look elsewhere to see whatother educational moments can bepulled from it. Does it have a cooldance break you want to use to fea-ture your group? Great! Make sureyou work breath support/enduranceas well as dynamics so that thesinging always remains paramountand the students maintain focus torefining the elements of singing.

A good song is a good song, and abad song is a bad song. Now comesthe time I sound like a grumpy oldman. Not every song today is a wellwritten piece of music. Sometimesthere is a lack of a good melody and

Spring 2018 table of contents 7

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no matter what you do to it, it isputting lipstick on a pig. Does ithave a singable melody with a goodrange? What exactly attracts you toit? Can you live with hearing thatsame song for several months? Weowe it to our students to make surethat the pop tune of our choosingpromotes healthy vocal techniqueand has teachable moments. Some-times that latest hit just doesn’toffer much!

Custom may not always be theway to go. In my discussions with

directors, I have found that manyoften look to custom charts fortheir pop and show arrangementsinstead of stock—especially com-petitive ensembles. Hal Leonardarranger Mark Brymer says “thoseof us arranging ‘stock’ arrange-ments work very hard to enablechoirs to sound their best whensinging. It involves strategicchoices of song keys, understand-ing what voicing will sound themost solid, and dozens of otherfactors we’ve learned by doingthousands of arrangements and

working with choirs of all ages.Keep in mind that the ‘custom’ partof your song choice can beachieved with unique costuming orchallenging choreography.”

In the end, remember that carefulevaluation of each piece will go farin your long-term success withyour selection. More time spent onthe front end will reduce anyheadaches with getting that qualitychart! d

Spring 2018 table of contents 8

At the concluSion of my first yearof teaching at Ohio University, Ifind myself grateful for the “crowdof witnesses” that have encircledme and our growing and thrivingchoral program in Athens. It trulydoes take a village, and the vil-lagers—for many of us, our stu-dents—are the energetic inspira-tion that fuels the success of ourchoirs. In addition to being con-ductors, we are also directors (in-deed our organization is the Amer-ican Choral Directors Association,not American Choral ConductorsAssociation), and there are manyimportant ways we can direct ourstudents toward success, leader-ship, and achievement.

Student InitiativesOne of the principal ways to en-courage students’ ownership of

their own choral experience isthrough your support of their ini-tiatives: the fundraisers, bake sales,awareness campaigns, retreats, t-shirt designs, and other creative or-ganizational projects are a greatopportunity for students (depend-ing upon their age and acumen) totake the lead. Your chief role can beone of connector—to vendors, toadministration, and to financialand persona resources that will en-able their project’s success. Be-cause I teach at the collegiate level,I was able to be an artistic director,largely on a week-long spring-break tour organized almost en-tirely by the student executiveboard of the Singing Men of Ohio.ere were bumps along the way,but the benefits of student growthand leadership far outweighedthem. A misspelled poster is a

small price topay for an ele-mentary choirfundraiser that teaches an 11-yearold her voice has value. When yousupport student initiatives, yourstudents will feel you have theirbacks and value their ideas andability. Come concert time, thosefeelings and their energy will flowback into their performance!

Engagement with the ChoralCommunityI grew up in an outstanding K-12choral environment; still, the mo-ments that solidified my path to-ward a career in choral music werenot the ones in my school’s choralroom. While the rehearsal room iswhere your students learn the nec-essary skills for success in a choir,travel and connection to the

Our Singers Are the Inspiration for SuccessBrad Naylor, R&R Chair for Student Activiti

broader choral community arewhere their memories are made,and their future lifetimes of songmade certain. For me, it was a 7th-grade regional choir where I got tosing in a tenor section of 30 beauti-ful voices, focused entirely onshared musical excellence. It’sthose eye-opening conference orworkshop experiences that willpersist in your students’ memories.No doubt you’ve got a “turningpoint” memory of your own. I en-courage you to urge your studentstoward these experiences—a sum-mer OCDA honor choir, a localfestival, or a travel opportunity—that will engage them with ourwider choral community and helpthem find their place in the largersinging world.

Student Teacherse choral classroom is a terrificopportunity to teach teaching.Whether you are the DCA of aprogram with dozens of choralmusic education students or a K-5general music teacher, your class-room is a place where choir stu-dents are learning to lead. When Idirected an elementary girls chorusduring my graduate school years I

found that making a positive exam-ple of students was enormouslybeneficial. Done in the right way,identifying those students who aremodels for excellent pitch, tone,rhythm, or even behavior by havingthem demonstrate their excellenceto others can be esteem-buildingand exert positive peer pressure onothers to give their best. Beginningin middle school (and dependingupon your particular students),students can be section leaderswith musical responsibilities totheir peers. If possible, have yourmiddle schoolers visit a high schoolrehearsal so they can learn how the“big kids” do it and bring goodhabits back to junior high. As ageand maturity grow, so should re-sponsibility. Our choral music edu-cation students at Ohio enjoyedSkyping with working music edu-cators all over the country, askingquestions about what the first yearis like, how they manage theirclassrooms, and advice about get-ting started as a choral director.

What Not to Delegate to StudentsAcknowledging that each choraldirector organizes their program in

a unique way, there are two bigareas of the program I would bewary of delegating to students:repertoire and attendance/disci-pline. After I finished my master’sdegree I taught for two years at aboarding school in Massachusetts.I stepped into a tradition in whicheach summer the “top” choir sub-mitted a list of pop songs to the di-rector to be arranged as the 9-songconcert program for the upcomingyear. I spent my summer with bad80s Euro Pop and three-chordangsty grunge music and the Falltrying to wrestle the students intoVivaldi Gloria for December. It wasnot my favorite year of teaching.e next year we did madrigals andpart songs (and still a few pop acappella tunes) and ChichesterPsalms in December. It got better.But when I left two years later to goback to school, the tug-of-war overwho chose the repertoire was farfrom over. You are the expert in theroom on what music is pedagogi-cally valuable. Early, ethnic, elec-tronic, and exciting music of peda-gogic value must come beforewhatever tops students’ Spotifyplaylists. Even when a sophomoretenor’s mother calls you complain-

Spring 2018 table of contents 9

ing about omas Weelkes (yes,she did), trust your gut!

Especially with younger stu-dents, you—or better yet, an objec-tive system—should track your stu-dents’ attendance. Your syllabus isyour contract, which spells out ex-

pectations and consequencesclearly. e consistency with whichyou adhere to these norms willbreed confidence in your leader-ship. Having students monitor eachother’s attendance can quicklybreed resentment and animosity in

an environment that seeks har-mony.

Best wishes as you take a breakfrom your villagers this summer,and plan for how best to channeltheir energy come fall! d

Spring 2018 table of contents 10

tim cloeter, editor • cloetet@bgsu.edu • 262-527-8151

OCDA News, the official publication of the OhioChoral Directors Association, is published threetimes annually and is distributed without charge tomembers of the Association as well as to selectedmembers and officers of the American Choral Direc-tors Association. Distribution is by PDF file that is e-mailed and posted at ohiocda.org. OCDA reservesthe right to determine inclusion of materials submit-ted and to edit all materials proposed for distribution.

Copy and Ad Submission Deadlines: September 15for the Fall Issue, January 15 for the Winter Issue, andApril 15 for the Spring Issue.

Advertising Rates: a full-page ad is $135 per issue, ahalf-page ad is $80 per issue, and a quarter-page ad is$45 per issue. A 15% discount is offered on the pur-chase of three consecutive ads; other discounts areavailable. Please contact the editor for exact ad sizesand other specifications.

Upcoming Events

June 2018ocdA Summer conferenceJune 18–20, Columbus, OH

ohiocda.org

Spring 2018 table of contents 11

Registration materials online beginning in February:

www.ohiocda.org

Graduate Credit Available Reduced Student Registration Rate

Questions? Contact: Christopher Dent, Conference Chair ocdaconference@gmail.com 614.208.6778

2018 OCDA SUMMER CONFERENCE REGISTRATION INFORMATION

Registration fees include parking, the Tuesday business luncheon, the Tuesday evening social event, and reading session music (guaranteed only for workshop participants registering by June 1, 2018). Fill out the registration form and return as indicated below. The registration must be postmarked by June 1, 2018, in order for the pre-registration fees to apply. After June 1, a higher fee structure is in place (see below). Reading session packets cannot be guaranteed for those who do not pre-register by the June 1 deadline. A refund will be made if a written cancellation is received by June 1, 2018. After that date a deduction of $80.00 will be made. The option to earn graduate credit through Otterbein University is available for pre-registrants only. If you would like to receive graduate credit information, please indicate this in the appropriate space on the registration form below. A current copy of your teaching license must be either mailed in with your registration form or brought with you to the conference. Mail payment and Registration Form to: Christopher Dent, OCDA Summer Conference Coordinator, 4503 Edgarton Drive, Grove City, OH 43123. E-mail or call Christopher with questions: ocdaconference@gmail.com, 614-208-6778. Make checks payable to the Ohio Choral Directors Association.

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REGISTRATION FORM

Name ______________________________________________________________County________________________________ ACDA Membership # _________________Email address __________________________________________________________ Address __________________________________________________________________________________________________ Street City State Zip School, Church, or Business (to be listed on badge)________________________________________________________________ Home or cell phone __________________________________ Business phone ________________________________________ First-Time Conference Attendee? Yes No Pre-Registration (postmarked by June 1, 2018) Late Registration (postmarked after June 1, 2018) ______ $154 ACDA member ______ $184 ACDA member ______ $279 non-member (includes membership) ______ $309 non-member (includes membership) ______ $74 retired member ______ $104 retired member ______ $119 retired non-member (includes membership) ______ $149 retired non-member (includes membership) ______ $89 non-member spouse (does not include membership) ______ $119 non-member spouse (does not include membership) ______ $44 student member/1st year teacher ______ $84 student member/1st year teacher ______ $79 student non-member (includes membership) ______ $109 student non-member (includes membership) Other Items of Interest

______ $11.00 I am interested in purchasing a box lunch for the Lunch Roundtable Discussions. Please circle your meal option: Ham Turkey Roast Beef Veggie (Interest areas include: College/University, High School/Jazz/Show, MS/Jr. High, Elementary/ /Boys, Church/Community)

______ I am interested in receiving graduate credit information.

ON-CAMPUS RESIDENCE HALL LODGING

Rooms are air-conditioned. Linens are optional (see below) and include sheets, a pillowcase, and towels. No pillows are provided. Select date(s): ______ June 18 ______ June 19 Select room: _______ single occupancy $41.00 per person, per night _______ double occupancy $26.00 per person, per night _______ linens (optional)- please add one-time fee of $14.00 to total $___________ TOTAL CONFERENCE PAYMENT (Make checks payable to OCDA)

How did you hear about our conference opportunity?

____ Website ____ OMEA Conference ____ Referred by current OCDA member ____________________________ (member name)

Spring 2018 table of contents 14

Pridentrichard Schnipkerschnip@bgsu.eduBowling Green State University

Vice (Past) Pridentloren Veigellveig@sssnet.com Witte Travel

Prident EleBrandon Mossbrandonlmoss@gmail.comCentral Crossing High School

SraryZebulon highbenzhighben@muskingum.eduMuskingum University

Treasurerkent w. Vandockkwvandock@gmail.comArchbold Local Schools

EC Region Chairwei chengchengw@denison.eduDenison University

NE Region ChairFrank Bianchifbianchi@bw.eduBaldwin Wallace Conservatory

NW Region ChairBeth Vaughnbethvaughn@me.comBowling Green High School

SC Region Chair john Mcclainjmcclain@capital.eduLogan High School

SW Region ChairBrian pottspottsb@wyomingcityschools.orgWyoming City Schools

Conference Chairchristopher r. dentchristopher.r.dent@gmail.comIndianola Presbyterian Church

Exhibits Chairholly lewis pembertonHollyLewisPem@gmail.comWorthington Kilbourne High School

Membership ChairMarla Butkembutke@otterbein.eduOtterbein University

IT Coordinatoreric westewest@defcity.orgDefiance High School

Newsler Editortim cloetercloetet@bgsu.eduMasterworks Chorale of Toledo

Mentorship ChairBrad piersonBradley.Pierson2@utoledo.eduUniversity of Toledo

HistorianAmy gelsoneajgelsone@yahoo.comAnthony Wayne High School

Rired ReprentativeBen Aylingb-ayling@onu.eduOhio Northern University (ret.)

Student Chapter Reprentativedaniel landisdancox@bgsu.eduBowling Green State University

Elementary Ftival Chairjulie Streblerjstrebler@coventryschools.orgCoventry High School

Children’s Honor Choir Chairjennifer calljennifer.call@cim.eduCleveland Institute of Music

High School Honor Choir ChairAnn johnsonsingerann82@gmail.comWhitehall Yearling High School

Repertoire & Resources Chairs

Youth AreaArea Coordinator: Doug O’Neal

S C HO OL C HILDR E N

jeremy davidjeremydavid@foresthills.eduMaddux Elementary School

C OMMUNIT Y C HILDR E NVacant

JR . HIGH/MIDDLE S C HO OL

Bryan nicholsbnichols@uakron.eduUniversity of Akron

SE NIOR HIGH S C HO OL

doug o’nealrdohio@gmail.comOlentangy Liberty High School

Lifelong AreaArea Coordinators: Tim & Tracy Carpenter

C OMMUNIT Y

tim and tracy carpenterCarpenter_tim@milfordschools.orgCarpenter_t@milfordschools.orgClermont ChoraleMilford First United Methodist Church

MUSIC IN WOR SHIP

daniel parsleyparsledt@mail.uc.eduSt. Timothy’s Episcopal Church

Leadership Roster

Collegiate AreaArea Coordinator: Marie Bucoy-Calavan

C OLLEGE/UNI V E R SIT Y

Marie Bucoy-calavanmbucoycalavan@uakron.eduUniversity of Akron

ST UDE N T AC TI V ITIE S

Bradley naylornaylorb@ohio.eduOhio University

Repertoire-Spific AreaArea Coordinator: Kristina MacMullen

C ON TE MP OR ARY A C APPE LL A

Brody McdonaldBrody.mcdonald@ketteringschools.orgKettering Fairmont High School

ETHNIC: DEV E LOPIN G VOIC E S Vacant

ETHNIC: IN TE R ME DI ATE/ADVAN C E D VOIC E S

lynda hasselerlhassele@capital.eduCapital University

ME N’S C HOIR S

jason Falkofskyjfalkofsky@ignatius.eduSaint Ignatius High School

SHOW C HOIR

jeff clarkshwchr78@aol.comVO C AL JAZ Z

chris Venesilecvenesil@kent.eduWOME N’S C HOIR S

kristina MacMullenmacmullen.1@osu.eduOhio State University

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