Spring 2017: Volume 36, Issue 3

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

Loren C. Veigel

Not Your Grandparents’ Choral Concert . . . . . . . . . . . . . . . . 5

Richard Schnipke

Five Modern Must-Havesfor the Choral Director’s Bookshelf . . . . . . . . . . . . . . . . . . . . . 9

Brandon Moss

OCDA Mentorship Program . . 10

Leadership Roster . . . . . . . . . . . . 15

AdvertisersCapital University . . . . . . . . . . . . . 8

Capital University ConductingWorkshop . . . . . . . . . . . . . . . . . . . . 4

CMS Publications . . . . . . . . . . . . 11

Dalcroze EurhythmicsWorkshop . . . . . . . . . . . . . . . . . . . . 2

JW Pepper . . . . . . . . . . . . . . . . . . . . 3

OCDA Summer Conference . . . 13

OCDA Summer Conference Registration Form . . . . . . . . . . . . 14

Otterbein University . . . . . . . . . . . 7

Soundwaves . . . . . . . . . . . . . . . . . . . 5

Stanton’s Sheet Music . . . . . . . . . . 6

Xavier University . . . . . . . . . . . . . . 9

From Your President

A Gi for Yourself … and YourChoirs. You Derve It!AS THE ACADEMIC and church season wanes,most choral directors face the happy thoughtof a break—at least a lessening of pressure—and a time to re-charge and prepare for thenext season looming on the horizon. You’veheard me “preaching to the choir” all year, urg-ing every member of OCDA to include our Summer Conference in theirplans. When a young member said to me, “New directors see mentorship asan e-mail, and resources as a Google search,” I realized how very importantit is for directors of every age to recognize the value of personal contact andprofessional collegiality. As I’ve stressed in earlier articles, there is no sub-stitute for the educational and personal growth afforded by sharing timewith professional friends.

Register now! OCDA Summer Conference, on the beautiful campus ofOtterbein University, is scheduled for June 19–21, 2017. Registration mate-rials are herein, and available on the website, ohiocda.org. I assure you thatparticipation in this conference will be one of the most valued gifts you giveyourself, and your choirs, during summer break. Don’t miss it! Conferencechair Christopher Dent has also arranged excellent housing opportunitieswhich can be found on the website—including on-campus housing at an ex-tremely affordable rate.

Our headliners this year will include Stacey Gibbs, one of America’smost dynamic young conductor/composers, who will share his extensivework in African-American choral literature as well as lots of great music.Stacey has promised to bring us a new, Ohio-dedicated arrangement, whichSummer Conference participants will have the opportunity to use pre- publication! Joining Stacey will be Tim Sharp, ACDA’s national ExecutiveDirector and a fabulous conductor. Tim will be available for OCDA mem-bers to learn more about our organization; he will direct selected literaturewith the conductor’s chorus; and he will speak about innovation, in ACDAand in the arts in general. ese two dynamic gentlemen are sure to ignitefires of creativity within the minds of all attending.

Registrants will also hear clinics by several renowned Ohio choralists.Ann Usher will share expertise on developing children’s voices, Amy John-

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SPRING 2017 table of contents 3

ston Blosser will demonstrate thechoice and development of excel-lent literature with her own BexleyVocal Ensemble, and Peter Jarjisianwill share a unique and excitingsetting of MLK’s “I Have a Dream”speech. e conference will includeseven choral performances. In ad-dition to the Bexley Singers (BexleyHigh School), we will hear eCardinal Chorale (Cambridge), acommunity group of high schoolstudents under the leadership ofCharles Snyder; e Young Profes-sional Choral Collective (Cincin-nati), an adult community choir di-rected by Kelly Ann Nelson; Sum-mit Choral Society’s Children’sPerformance Choir (Akron),Heather Cooper, director; and, ofcourse, our own Children’s HonorChoir, under the direction of Dr.

Ann Usher (Cleveland OrchestraChildren’s Chorus), and our HighSchool Men’s and Women’s HonorChoirs, led this year by Dr. GayleWalker (Otterbein University) andDr. Peter Jarjisian (Ohio University,retired).

Your registration includes allclinics and performances above;five reading sessions with packetsof music provided for all; confer-ence luncheon and meeting, wherethe OCDA Distinguished ServiceAward will be presented; the all-conference party, sponsored byBob Rogers Travel; exhibits; round-table discussions by interest area;and, of course the chance to shareideas and camaraderie with col-leagues from all over Ohio. A newoffering is planned this year forundergraduate choral students

and new directors: during breaks,panels of highly experienced Ohiodirectors will be available for youto meet. is is a chance to askquestions and to establish furthermentorship.

Special thanks to Eric West, ourIT coordinator, for always keepingour website up to date; and toChristopher Dent, conferencechair, for handling all arrange-ments at Otterbein. Keith Tankers-ley sets up all of our exhibits, andTim Cloeter does a great job edit-ing this state newsletter. RichSchnipke, President Elect, workswith all of our R & R chairs to pres-ent great music through our read-ing sessions.

is represents my final articleas your President. Allow me to ex-press my deep appreciation to the

entire OCDA Board for their in-valuable support, and for the ex-tensive work they do to keep ourorganization in a position ofstrength and health. We are one of

the most effective and active statesin all of ACDA, thanks to you! Ialso thank all the members ofOCDA for this opportunity toserve you. ACDA is my favorite or-

ganization, and its members areprecious colleagues to me. I havebeen honored by your trust.

See you at Otterbein in June! d

SPRING 2017 table of contents 4

Capital University Conservatory of Music

MAKE PLANS NOW FOR SUMMER 2017!

Special Workshopin Choral Conducting

International Judge, Clinician and Conductor

DR. KATALIN KISSFaculty, The Kodály Institute

Artistic Director of Ars Nova

July 17-21, 2017 • 8:45 a.m. to Noon Daily

Demonstration Choir: Advanced Women’s Ensemblefrom Licking Heights High School

WorkshopFee: $150

1 Semester Graduate Credit: additional $150

For information, contact Anne Mikan,Adult and Graduate Education Recruitment, at 614-236-6199 or amikan@capital.eduCOLUMBUS, OHIO

e information found in this arti-cle was originally presented at the2016 OMEA Professional Develop-ment Conference.

FOR DECADES, choral directors havefollowed fairly standard concertand programming models. Many ofus arrange our choirs on risers in atypical formation and have themsing varied programs of repertoirespanning multiple time/style peri-ods. Many programs work inchronological order, starting withan up-tempo Baroque or Classicalpiece and moving through variousselections that demonstrate thechoir’s ability to interpret thismusic in the most accurate, histori-cally correct, and expressive man-ner. Programs often then concludewith a spiritual or a piece of worldmusic that is rhythmically interest-ing and energetic.

While educationally this modelis very sound, one does wonder if itengages contemporary singers and

audiences in a way that is meaning-ful and relevant. In our currentdigital world, people are exposed toimages and sounds at an unbeliev-able rate. With this in mind, con-ductors need to work diligently tocreate programs that are not onlysung beautifully, but also keep oursingers and audiences excitedabout our art. Following are practi-cal ideas to consider when plan-ning your next concert or season.

Program OrderWhen something is easily pre-dictable, it is less engaging to peo-ple. ink about watching a movieand coming to realize the plot isone more iteration of a story youhave already seen dozens of times.Attending a traditionally pro-grammed concert can feel similar.Breaking this mold takes someplanning and creative thinking, butit can be done to great effect. Agood place to start is by asking thefollowing questions:

• Do we alwaysneed to endwith a spiri-tual, or could it go elsewhere inthe program?

• Can non-traditional sets be cre-ated that include multiple tem-pos, time/style periods?

• If multiple choirs are performingon the same concert, can they allbe incorporated throughout theprogram, instead of having eachchoir come to the risers, sing aset, and leave?

Visual InterestWith the incredible number of im-ages coming in and out of our view,contemporary audiences are be-coming increasingly visual. Creatinga visually interesting concert experi-ence can help to engage attendeesand also enhance the music making,therefore allowing the program tohave a greater aesthetic impact.

Performances can be enhancedvisually in a number of ways. First,consider your venue and how one

Not Your Grandparents’ Choral Concert: Creating Engaging Programs for Today’s Singers & Audiences

Richard Schnipke, Prident Ele

SPRING 2017 table of contents 5

might utilize the entire space.Singers can be placed in various lo-cations throughout the hall to pro-vide audiences with a variety of vi-sual and sonic experiences duringthe program. Utilizing not only themain stage area but aisles, bal-conies, a cat walk, the lobby, theback of house, the orchestra pit,etc. can be helpful. Also, having thechoir(s) use multiple formationscan add a great deal of visual ap-peal. ese varied standingarrangements can also support thechoir musically and/or provide amore authentic performance of theselected repertoire. We have all at-tended concerts when choirschanged from a section formationto a mixed arrangement. Considerways to make these practical, musi-

cal logistics enhance the programby making it more artistic and in-teresting. inking about the his-torical or cultural context of apiece of music can also providegreat inspiration for choral staging.For example, imagine the possibili-ties when considering the differ-ences in the original performancesof a Baroque double choir anthem,an English madrigal, an Africanfolk song, or an Indian raga. Letthe music be your guide and let thechoirs’ formations help provide themost authentic, expressive per-formance possible.

With the accessibility of tech-nology in most modern perform-ance venues, the option of utilizingdigital imagery in our programs isa reality. Collaborating with art,

digital media, film, and/or theaterprograms can not only help yourconcerts become more visually ap-pealing, but also allow for cross-curricular partnerships.

emesDesigning thematic concerts canhelp to engage audiences whileproviding a rewarding creative out-let for conductors. emes can bebased on whatever inspires you.Consider things like composers,nationalities, texts, life events, ani-mals, relationships, etc. A themegives you the creative flexibility toprogram together musically dis-parate pieces for textual reasons,and also to build interesting musi-cal and emotional arcs. Addition-ally, these types of concerts can

SPRING 2017 table of contents 6

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Tying it TogetherOne of the keys and biggest chal-lenges of creating programs thatare artistically and musically en-gaging is the logistics. Structuringconcerts in a way that provides theaudience with the feeling that theyare part of an artistic event (notjust a choir concert) is of utmostimportance. Very few people enjoythe portions of a traditional con-cert that have to do with watchingpeople and equipment movearound the stage. e challenge weface is minimizing these aspectsand/or incorporating them into theoverall flow of the concert. Consid-ering musical key relationships can

allow you to move seamlessly fromone piece to the next without ap-plause or interruption; incorporat-ing narration between selections orsets can provide the audience withcrucial information while coveringlogistical changes of personnel orequipment; utilizing instrumental-ists helps to provide variety in bothmusical timbre and visual picture;creating instrumental (keyboard,wind, string, or percussion) inter-ludes can offer another opportu-nity for covering logistical changesor for providing a musical transi-tion that prepares for the key orstyle of the next choral piece.

While rewarding for the audi-ence, musicians, and conductor,putting all of these things togetherdoes require a fair amount of plan-ning. Designing concert “flow

charts” that give the performers lo-gistical information about per-formance order, staging directions,and transitions (both musical andlogistical) is crucial. Also, makingextra time to rehearse all of the lo-gistics is an absolute necessity.While we may have all of thesespecifics worked out in our minds,it does take time for the students tounderstand and internalize our vi-sion. During rehearsal, studentsoften find solutions or offer sugges-tions for problems that were notanticipated in the original planning.

While creating this type of programming takes time and en-ergy, the effort to provide moreartistic, meaningful, and engagingconcert experiences for both ourstudents and audiences is a worthyendeavor. d

SPRING 2017 table of contents 7

otterbein.edu/musicOtterbein is an accredited member of the National Association of Schools of Music (NASM)

Music at OtterbeinSTAND OUTDegrees O�ered:

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Contact: Claire Brock, 614-823-1504, cbrock@otterbein.edu

Building your future...one note at a time

Upcoming Audition Dates:

SPRING 2017 table of contents 8

ato ersity ConservCapital UnivMAKE PLANS NOW FOR SUMMER 2017!

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IF YOU ARE ANYTHING like me, yourshelf is filled with books dedicatedto various facets of a choral direc-tor’s job—choral and vocal peda-gogy, conducting gesture, reper-toire, intonation, inspiration, etc. Ihave collected many over my yearsas a student and a professional, andI have even been given some hand-me-down classics in our field fromsome of my professors. I go tothem often! e last few years haveprovided no shortage of new booksbeneficial to our work as choral di-rectors, and I seek here to highlight

five such volumes that I personallyrecommend as outstanding re-sources.

Finding Ophelia’s Voice, Opening Ophelia’s Heartby Lynne Gackleis amazing resource is a re-search-based guide to “nurturingthe adolescent female voice,” as itssubtitle explains. Gackle seems toleave no stone unturned as she ex-plores and explains (in accessibleterminology) modern research inboth pedagogy and voice science

that addressesthe biologicaland psychological developmentthat adolescent females undergo,the classification and placement offemale singers, teaching tech-niques, and finding quality choralliterature for treble choirs. Goinginto great depth on each topic,Gackle continually brings the focusback to the singers themselves,whom she refers to as “Ophelias,” asin Hamlet’s tragic heroine Ophelia.Gackle’s wish, however, is that all ofour singing Ophelias lead empow-

Five Modern Must-Haves for the Choral Director’s BookshelfBrandon Mo, Srary

SPRING 2017 table of contents 9

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ered, happy lives and that the toolsher book gives to those of us whoteach young women can greatlyhelp this. One of the book’s appen-dices provides 13 pages of reper-toire suggestions for a variety ofvoicings and difficulty levels. Pub-lished by Heritage Music Press, thebook also features a DVD whichshows Gackle working with youngsingers, both as individuals in clas-sifying voices and also as an ensem-ble working on vocal techniques.

Brothers, Sing On!by Jonathan PalantBrothers, Sing On! is the tenor-bassanswer to Gackle’s book. Focusingon men’s choruses, it covers thehistory of the phenomenon,anatomy of the male voice, catego-rization and placement of voices(especially at adolescence), choraltone and intonation, repertoire,and even administrative issuessuch as auditions, fundraising, andtravel. Some of the psychological

aspects of singing in men’s cho-ruses are mentioned in the chapteron recruitment, which also featuresmany great ideas and tips. Writingin a question-and-answer format,Palant not only provides a lot ofcontent himself, but he also seeksanswers from over 30 experts, cov-ering a wide variety of men’s cho-rus experiences at many differentage levels. As in Gackle’s book, ap-pendices include lists of repertoireboth for older and younger choirs,

SPRING 2017 table of contents 10

HAVING TAKEN THE JOB at the University of Toledoin 2015, I am still feeling like a bit of a “newbie” inthe state of Ohio. One of the first things I learnedabout this state, however, was how kind and gen-erous our OCDA members are with their timeand their talents. I immediately felt welcomed tothe state and I have already been fortunateenough to make some great friends in the area.is experience has served to remind me of ex-actly how valuable friends, supportive colleagues,and mentors are in our lives as teachers.

It is with this mindset that I eagerly acceptedthe chair for the OCDA Mentorship Programthis year. I remember well what it was like duringmy first years in the classroom: I was 22 yearsold, teaching students only a few years youngerthan I. I was in a school in a tough neighborhoodin North Las Vegas taking over a program thathad been largely neglected before my arrival.While I didn’t fully understand this at the time, Iwas completely and utterly unprepared and un-qualified to be in that classroom. Now as I men-tor pre-service teachers, I am keenly aware thatit is impossible for us college professors to equipstudents with everything they will need to sur-

vive, let alone flourish, in their first years in theclassroom.

I will go further and say that one of the bestlessons I have ever learned as an educator, and re-ally as a person, is that the more I learn, the moreI realize I don’t know. ere are countless dayswhen I call friends and colleagues, still in searchof mentors to help guide me through the multi-tude of decisions that face me. Who among usdoesn’t need someone to be there to support andhelp us along the way?

e OCDA Mentorship Program exists to sup-port not only conductors and teachers in the earlystages of their careers, but also all choral profes-sionals who are looking for a boost, some newideas, or moral support. e program pairs theseindividuals with mentors who can offer expertise,wisdom, and experience. We are currently compil-ing lists of OCDA members seeking to serve asmentors or seeking to be mentored. You can regis-ter for this program on the OCDA website here:http://ohiocda.org/interests/mentorshipapp.

For any questions or additional informationplease contact me at your convenience:Bradley.Pierson2@utoledo.edu. d

OCDA Mentorship Program: Call for Participants!

as well as 10 sample concert pro-grams supplied by real directors.e book is published by HalLeonard.

Renaissance Music for the Choral Conductorby Robert J. SummerIt is my personal opinion that Ren-aissance music has been neglectedin choral programming for a whilenow. ere are many possible rea-sons for this, but I have heard di-rectors say on more than one occa-sion that fear is involved. After all,modern research in performancepractice of this era is complex, andthe way many of us were taught tosing Renaissance music may nolonger be accepted as the best way.

Robert J. Summer’s book helps toassuage these very fears. He digsthrough decades of research for usand provides us with concise andaccessible information on select-ing, rehearsing, and conductingRenaissance music, with historicalperspectives, full descriptions ofthe development of major genresand forms, composer biographies,and even in-depth tips for hostinga madrigal dinner! He highlightshis tips on conducting and scorestudy with several example piecesthat run the gamut of styles, forms,and time period within the era. Ap-pendices include several roundsand catches to whet your singers’appetites, as well as a discographyof excellent recordings of Renais-

sance music. Published by Scare-crow Press, Summer’s book is amust-have for any choral directorwho is intimidated by music fromthis era.

A History of Western Choral Musicby Chester L. AlwesActually comprising two separatevolumes totaling nearly 1,000pages, this invaluable resource canbe either used as a reference bookor read cover-to-cover (if you havea while!). Flexibly organized—oftenby time period, sometimes by geo -graphy, other times by genre—Alwes’ books feature countless mu-sical examples, charts, tables, andartwork to illustrate his discussion.He highlights major trends

SPRING 2017 table of contents 11

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throughout history (for example, atable of choral symphonies or a listof major compositions based onFaust), but he also stops to cover ingreat detail significant works ofchoral literature (numerous tableslisting movements of extendedworks with key relationships, ca-dences, scoring, etc.). I am fasci-nated each time I pick up thesebooks, whether I am reading aboutthe origins of the mass, the entirechapter dedicated to the choralwork of J.S. Bach, or the mostmodern trends of what Alwes calls“e New Simplicities.” One mayexpect a work of this magnitude tobe inaccessible to most readers, butthese books are not. ey seem de-signed for the working choral di-rector so as to inform performancewith any number of historical per-spectives. Both volumes are pub-lished by Oxford University Press.

A Conductor’s Guide toChoral/Orchestral Repertoire by Dennis Shrock and James Moyere concept of this book has beendone before, but this is the mostcomplete, wide-ranging, and up-to-date one of its kind I have seen. Asits cover page states, the book lists1,200 works for chorus and instru-ments by 250 composers from peri-ods throughout history. e meatof the book is organized by com-poser, listed alphabetically by lastname. Each entry features an anno-tated list of works by this composerfor chorus and orchestra, includinginformation on duration, dates ofcomposition and premiere, text,scoring, and publisher, citing multi-ple editions when applicable. Per-haps of more use to the workingconductor are the appendices,which organize the contents of thebook by scoring (both choral andorchestral), duration, and textualtheme. For example, if I were look-

ing for a work 10–20 minutes longin English, I could turn to p. 258and scan down the titles, lookingfor pieces in English and then usingthe index to look up more informa-tion about each piece. Or, if I knewI only had strings available andwanted a piece from the Classicalera, I could turn to p. 250 and lookthrough the list of works for juststrings and chorus, categorized byera. e text appendix lists worksby liturgical season or by categoriesof psalms, nature, and music aboutmusic. is reference book is pub-lished by GIA Publications.

Maybe you have some of thesebooks on your shelf already. If not,consider checking one or more ofthem out. ey have provided andcontinue to provide me with ideas,insight, inspiration, and answers tomore questions than I can think toask. Perhaps they can do the samefor you! d

SPRING 2017 table of contents 12

Tim Cloeter, Editor • cloetet@bgsu.edu • 419-372-8288 office • 262-527-8151 cell

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.

Registration materials online:

www.ohiocda.org

Graduate Credit Available Reduced Student Registration Rate

Questions? Contact: Christopher Dent, Conference Chair

ocdaconference@gmail.com 614.208.6778

2017 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 9, 2017). Fill out the registration form and return as indicated below. The registration must be postmarked by June 9, 2017, in order for the pre-registration fees to apply. After June 9, 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 9 deadline. A refund will be made if a written cancellation is received by June 9, 2017. 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 9, 2017) Late Registration (postmarked after June 9, 2017) ______ $154 ACDA member ______ $184 ACDA member ______ $228 non-member (includes membership*) ______ $258 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 ______ $89 student non-member (includes membership) ______ $119 student non-member (includes membership) * New member price reflects $21 discount, which equals the amount of OCDA dues for one year! Other Items of Interest

______ $9.00 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 19 ______ June 20 Select room: _______ single occupancy $39.00 per person, per night _______ double occupancy $25.00 per person, per night _______ linens (optional)- please add one-time fee of $12.00 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) (Referring member receives a $10 rebate on registration to the conference.)

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Leadership Roster

PridentLoren Veigel2851 Sherwood Ave NWMassillon, OH 44646lveig@sssnet.comH: 330-837-8371C: 330-685-2558Voices of Canton, Inc.Witte Travel

V.P. (Past Prident)Dara Gillis5205 Cascade DrPowell, OH 43065dbgillis1@yahoo.comO: 740-833-1010 x4355C: 614-327-1073Delaware Hayes High School

Prident EleRichard Schnipke413 Strafer St.Cincinnati, OH 45226schnipker@xavier.eduO: 513-745-2832C: 614-325-9661Xavier University

SraryBrandon Moss1759 Canvasback LaneColumbus, OH 43215brandonlmoss@gmail.comC: 614-499-8089O: 614-801-6554Central Crossing High School

TreasurerKent W. Vandock8192 County Road DDelta, OH 43515kwvandock@gmail.comH: 419-822-5716O: 419-445-5579C: 419-270-5396Archbold Local Schools

NW Region ChairBeth Vaughn1015 Crystal Meadows Ct.Findlay, OH 45840

bethvaughn@me.comO: 419-354-0100 x1154C: 419-303-4582Bowling Green High School

SW Region ChairKellyAnn Nelson650 Walnut St.Cincinnati, OH 45202kellyann.nelson@cincinnatiboychoir.orgC: 616-405-5742Cincinnati BoychoirYoung Professionals Choral Collective

SC Region Chair Zebulon Highben156 Amazon PlaceColumbus, OH 43214zhighben@muskingum.eduO: 740-826-8103H: 614-641-7706Muskingum University

NE Region ChairTyler Skidmore1045 N. Jefferson St. Unit CMedina, OH 44256skidmort@medinabees.orgtyler_skidmore@yahoo.comC: 330-590-0075Medina High School

EC Region ChairWei Cheng5651 Shadowbrook Dr.Columbus, OH 43235chengw@denison.eduO: 740-587-8506C: 513-265-0217Denison University

Information Thnology CoordinatorEric West417 Jefferson AvenueDefiance, OH 43512ewest@defcity.orgO: 419-784-2777C: 419-439-1763Defiance High School

Conference Commiee ChairChristopher R. Dent4503 Edgarton DriveGrove City, OH 43123dent.50@osu.eduC: 614-208-6778Indianola Presbyterian Church

Elementary Ftival ChairJulie Strebler583 Malvern Rd.Akron, OH 44303jstrebler@coventryschools.orgC: 330-554-4605O: 330-644-3004Coventry High School

Children’s Honor Choir ChairJennifer Call22550 Westchester Rd.Shaker Heights, OH 44122jcall@ochoristers.orgH: 216-417-5196O: 440-774-4079C: 440-454-2813Oberlin Choristers

High School Honor Choir ChairAnn Johnson9297 Cliff Springs TrailColumbus, OH 43240singerann82@gmail.comO: 614-417-5100 x2529C: 614-218-2965Whitehall Yearling High School

Exhibits ChairKeith Tankersley3832 Carberry Dr.Dublin, OH 43016keithatankersley@gmail.comC: 740-417-0112O: 740-833-1010 x4355Delaware City Schools

Newsler EditorTim Cloeter1082 Fairview Ave., Apt. N3Bowling Green, OH 43402cloetet@bgsu.edu

O: 419-372-8288C: 262-527-8151Bowling Green State University

HistorianAmy Gelsone1334 Winghaven RoadMaumee, OH 43537ajgelsone@yahoo.comC: 419-276-0744Anthony Wayne High School

Membership ChairDoug O’Neal277 S. 17th St.Columbus, OHrdohio@gmail.comH: 614-271-3684O: 740-657-4276Olentangy Liberty High School

Student Chapter RepDaniel Curtis Cox314 E. John St.Maumee, OH 43537dancox@bgsu.eduC: 419-708-5354Bowling Green State University

Mentorship ChairBrad Pierson4 Tremain Dr.Toledo, OH 43620Bradley.Pierson2@utoledo.edubradleyscottpierson@gmail.comC: 702-561-1653O: 419-530-4558University of Toledo

RiredVacant

Repertoire & Standards ChairsC HILDR E N’S C HOIR & C OMMUNIT Y YOU TH

Jeremy David249 Bowden LaneSpringdale, OH 45246jeremydavid@foresthills.eduC: 609-284-8826Maddux Elementary School

YOU TH/ST UDE N T

Jeremy D. Jones112 Lantern Ridge RoadOxford, OH 45056jonesj5@miamioh.eduO: 513-529-6009C: 615-584-1792H: 513-280-5001Miami University

J UNIOR HIGH/MIDDLE S C HO OL

Libby Hainrihar1105 Rambling Brook WayDelaware, OH 43015libby_hainrihar@yahoo.comO: 937-578-6200 x6355C: 740-972-6522Marysville High School

HIGH S C HO OL

Kristen Snyder2061 Jones RdGranville, OH 43023snyderkc@gmail.comC: 614-806-5747O: 740-587-8105 x5020Granville High School

C OLLEGE/UNI V E R SIT Y

Marie Bucoy-Calavan222 Melbourne Ave.Akron, OH 44313mbucoycalavan@uakron.edumariebucoy@gmail.comC: 909-268-8673O: 330-972-5211University of Akron

SHOWC HOIR

Emily Garlock6027 Triple Crown Drive Medina, OH 44256especialjazz@gmail.comgarlocke@bbhcsd.orgC: 418-512-3750O: 440-740-4879Brecksville-Broadview Heights HighSchool

VO C AL JAz z

Chris Ilg2767 Matthew LaneMedina, OH 44256chrispilg@gmail.comC: 330-241-2005Highland High School

WOME N’S C HORUS

Kristina MacMullen315 Weigel Hall1866 College Rd.Columbus, OH 43202macmullen.1@osu.eduC: 517-902-7524O: 614-292-9926e Ohio State University

ME N’S C HORUS

Jason Falkofsky10410 Plymouth Ave. Garfield Hts., OH 44125 jfalkofsky@att.netjfalkosfky@ignatius.eduC: 216-548-4898O: 216-651-2199Saint Ignatius High School

ETHNIC & MULTIC ULT UR AL

Lynda Hasseler1 College and MainColumbus, OH 43209-2394lhassele@capital.eduO: 614-236-6243Capital University

C OMMUNIT Y C HOIR S

Tim and Tracy Carpenter945 Caribou Run LaneMitford, Ohio 45150Carpenter_tim@milfordschools.orgCarpenter_t@milfordschools.orgtntcarp@clermontfestivalchorale.orgC: 513-886-1606 (Tracy)C: 513-885-1606 (Tim)Milford High School and Middle SchoolClermont Festival ChoraleMilford First United Methodist Church

MUSIC/WOR SHIP

Daniel Parsley817 5th St. NW, Apt. 9Canton, OH 44703dparsley@faithumchurch.orgdan.fumc@gmail.comC: 513-477-9936O: 330-499-6040 x28Faith United Methodist Church

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