Fall 2016

1970
1960
1943
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1945
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years of
excellence
in music education
OKLAHOMA
MUSIC
FALL 2016

P. 2 OKLAHOMA MUSIC: FALL, 2016 www.okmea.org

OKLAHOMA MUSIC: FALL, 2016 www.okmea.org P. 3

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
www.nsumusic.com
@nsumusic

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
www.okmea.org.
Correspondence to:
Oklahoma Music
Editorial Office
email: Editor@oklamus.org
(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

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

November 11-12
March3-4
TO SCHEDULE AN AUDITION:
www.okcu.edu/music
ocumauditions@okcu.edu
405.208.5980
2016-17
ScholarshipAuditions
WANDA L. BASS SCHOOL OF MUSIC
Feb.3-4

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

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
Editor@oklamus.org
Publication is not guar-
anteed, but we will use
as many as possible.

OnJanuary18
TheOklahomaMusicEducatorsAssociation
willbe
SEVENTY-FIVEYEARSOLD
and
YOU
areinvitedtoourfour–day
BIRTHDAY
celebration
of3/4ofacenturyof
excellentmusicinstructioninourschools.
SpecialEventsfor
FormerPresidentsandOfficers
RetiredMembers
Recognitionofmemberswithlongservice
Sendyourideasforthecelebrationto
PresidentAlexClaussen
aclaussen1@gmail.com

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

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
’

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,
www.astaok.com. 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.

Here are the links you need to access All-State Information on the OkMEA web site
New Teachers: http://www.okmea.org/info_for_new_teachers.html
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: http://www.okmea.org/BAND.html
All-State Mixed Chorus: http://www.okmea.org/mixed_chorus.html (Includes Women”s Chorus)
All-State Children”s Chorus link:: http://www.okmea.org/CHILDREN_CHORUS.html
All-State Orchestra: http://www.okmea.org/orchestra.html
All-State Jazz Ensemble: http://www.okmea.org/jazz.ensemble.html
Intercollegiate Band: http://www.okmea.org/intercollegiate_band.html
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.

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.

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

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

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!
www.oyomusic.org 405.232.1199
NON-AUDITION
PROGRAMS NOW AVAILABLE
Visit www.oyomusic.org 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
www.oyomusic.org/concerts.
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

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

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 okmea.org or contact Ryan Edgmon,
All–State Band Chair.
DATES
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

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 okmea.org 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 www.okmea.org
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 jhomea@suddenlink.net.
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
for
OKLAHOMA MUSIC
SEPTEMBER 1 for the
October Extra
NOVEMBER 1 for the
(on-line) issue

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

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
Editor@oklamus.org
Publication is not
guaranteed, but we
will use as many
as possible.

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 okmeachildrens.org. 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

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

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
DATES
2016
NOTABLES FROM THE
NOT-TOO-DISTANT PAST

1989

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, www.okmea.org. 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 (www.oklacda.org).
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 (www.okmea.org). 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.

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-
llc@gmail.com.
1
Diamonds. Lyrics by Sia Furler
2016-2017
for
OKLAHOMA MUSIC
SEPTEMBER 1 for the
October Extra
NOVEMBER 1 for the
(on-line) issue

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: ryanedgmon@att.net
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
Emergency Audition (after October 1, 2016)
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 www.okmea.org 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

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OKLAHOMA SCHOOL MUSIC
NEWS SPRING, 1992

1990 HALL OF
FAME

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-
makers@gmail.com) 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

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)

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

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

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