Winter 2018: Volume 37, Issue 2 Contents From Your President . . . . . . . . . . . 1 Richard Schnipke The Changing Female Voice (Yes—Female!) . . . . . . . . . . . . . . . . 2 Kristina MacMullen Help! I Have 5 Choirs of Varying Abilities and I’m Losing My Mind Planning for Them . . . . . . . 5 Frank Bianchi Recruiting the Male (Non-)Singer . . . . . . . . . . . . . . . . . . 8 Jason Falkofsky Upcoming Events . . . . . . . . . . . . 10 Leadership Roster . . . . . . . . . . . . 15 Advertisers Bob Rogers Travel . . . . . . . . . . . . . 7 CMS Publications . . . . . . . . . . . . . 9 Cousins Concert Attire . . . . . . . . . 4 OCDA Children’s Honor Choir . . . . . . . . . . . . . . . . . . . . . . . . 11 OCDA High School Honor Choir . . . . . . . . . . . . . . . . . . . . . . . . 12 OCDA Summer Conference . . . 13 OCDA Summer Conference Registration Form . . . . . . . . . . . . 14 Otterbein University . . . . . . . . . . . 3 Soundwaves Recording . . . . . . . . 2 Stanton’s Sheet Music . . . . . . . . . . 6 From Your President Conferenc, Conferenc, Conferenc In ThIS SeaSon of confeRenceS, I enjoyed seeing many of you at the OMEA Professional Develop- ment Conference in Columbus, and I look for- ward to seeing more of you at the ACDA Central and North Central Divisional Conference in Chicago! While these winter months in Ohio can be challenging in terms of our local climate and the busyness that adjudicated events, festivals, concerts, competitions, mu- sicals, tours, etc. bring, I always look forward to reconnecting with friends and colleagues, and finding inspiration at these meetings. Congratulations to all of our OCDA members who performed with their choirs and/or served as clinicians at OMEA conference! Also, know that Ohio is well rep- resented at the ACDA divisional conference by event co-chair and ACDA Central Division President Mark Munson (Bowling Green State University) and performances by e Capital University Chapel Choir (Lynda Has- seler), the Miami University Men’s Glee Club (Jeremy Jones), and the Columbus International Children’s Choir (Tatiana Kats). At this point, the warmth of summer probably seems like a lifetime away for most of us, but I encourage you to mark your calendars and reserve June 18–20, 2018, for the OCDA Summer Conference at Otterbein University! I’m thrilled to announce that our headliners for this year will be Hilary Apfelstadt and Jake Runestad. Many of us know and love Hilary from her 17 years on the faculty at e Ohio State University and her fairly recent term as ACDA National President. Currently, she serves as Elmer Isler Chair of Conducting at the University of Toronto. Dr. Apfelstadt is a renowned conductor and author with special expertise in conducting peda- gogy, rehearsal techniques, professional leadership, and Canadian reper- toire. I’m glad that we in the OCDA will have the opportunity to reconnect with her this summer and benefit from her wealth of knowledge and practi- cal experience. Jake Runestad is one of the most widely performed and commissioned living choral composers in the United States. He has been dubbed a “choral rock star” by American Public Media and his music has been called “highly imaginative” by the Baltimore Sun and “stirring and uplifting” by the Miami Herald. Here in Ohio, several of our colleges and universities recently had OCDA President Richard Schnipke
Transcript
Winter 2018: Volume 37, Issue 2
ContentsFrom Your President . . . . . . . . . . . 1Richard Schnipke
Conferenc, Conferenc, ConferencIn thIs season of conferences, I enjoyed seeingmany of you at the OMEA Professional Develop-ment Conference in Columbus, and I look for-ward to seeing more of you at the ACDA Centraland North Central Divisional Conference inChicago! While these winter months in Ohio canbe challenging in terms of our local climate andthe busyness that adjudicated events, festivals, concerts, competitions, mu-sicals, tours, etc. bring, I always look forward to reconnecting with friendsand colleagues, and finding inspiration at these meetings. Congratulationsto all of our OCDA members who performed with their choirs and/orserved as clinicians at OMEA conference! Also, know that Ohio is well rep-resented at the ACDA divisional conference by event co-chair and ACDACentral Division President Mark Munson (Bowling Green State University)and performances by e Capital University Chapel Choir (Lynda Has-seler), the Miami University Men’s Glee Club (Jeremy Jones), and theColumbus International Children’s Choir (Tatiana Kats).
At this point, the warmth of summer probably seems like a lifetime awayfor most of us, but I encourage you to mark your calendars and reserve June18–20, 2018, for the OCDA Summer Conference at Otterbein University!I’m thrilled to announce that our headliners for this year will be HilaryApfelstadt and Jake Runestad. Many of us know and love Hilary from her17 years on the faculty at e Ohio State University and her fairly recentterm as ACDA National President. Currently, she serves as Elmer IslerChair of Conducting at the University of Toronto. Dr. Apfelstadt is arenowned conductor and author with special expertise in conducting peda-gogy, rehearsal techniques, professional leadership, and Canadian reper-toire. I’m glad that we in the OCDA will have the opportunity to reconnectwith her this summer and benefit from her wealth of knowledge and practi-cal experience.
Jake Runestad is one of the most widely performed and commissionedliving choral composers in the United States. He has been dubbed a “choralrock star” by American Public Media and his music has been called “highlyimaginative” by the Baltimore Sun and “stirring and uplifting” by the MiamiHerald. Here in Ohio, several of our colleges and universities recently had
OCDA President Richard Schnipke
the opportunity to work with Jakethrough our OCDA College andUniversity Commissioning Consor-tium, from which Jake’s “PleaseStay” was conceived. In addition tohis accolades as a composer,Runestad is also an accomplishedconductor, with engagements in-cluding Carnegie Hall, Los Angeles’Disney Hall, and the Sydney OperaHouse, as well as residencies atmultiple universities across theU.S. I look forward to Jake sharinghis music, his compositional tech-niques, and his insight as a com-poser/conductor with our OCDASummer Conference attendees!
e Summer Conference alsowill feature performances by ourOCDA Women’s, Men’s, and Chil-dren’s Honor Choirs. Gayle Walker(Otterbein University) will conductthe men, Peter Jarjisian (Ohio Uni-versity, emeritus) will conduct thewomen, and Kristina MacMullen(e Ohio State University) willserve as the Children’s HonorChoir conductor. I hope you willencourage your students to takeadvantage of the opportunity towork with these wonderful people!Evaluation of applications for Ohioperforming ensembles is currentlyin process and we look forward to
hearing several of our state’s finestensembles perform at the confer-ence. As always, the conferencewill feature several reading sessionslead by our OCDA Repertoire andResources Chairs, as well as round-table discussions, exhibitors, andour annual conference party, spon-sored by Bob Rogers Travel.
More information pertaining tothe 2018 Summer Conference, in-cluding a registration form, is in-cluded in this newsletter. I lookforward to connecting personallywith you in Columbus and Chicagothis month and at Otterbein inJune. Happy conferencing! d
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In my thIrd year of teaching, I at-tended Dr. Lynne Gackle’s interestsession addressing the female voicechange. Remarkably, this was un-charted territory to me. In my un-dergraduate methods class, wespent the majority of our “voicechange” discussion dealing with themale voice change. We reviewed
the most well-known resources, di-vergent philosophies on the matter,and pedagogic considerations, andthen moved on to the next topic.
Gackle’s session was revolution-ary to me. Her research was revo-lutionary to our field. She acknowl-edged the importance of tending tothe female voice change. She of-
fered a codifiedstructure in un-derstanding thestages, and also provided a frame-work for diagnosing and distin-guishing the various phases. I cansay that her session proved to bethe single most valuable session Ihave ever attended in my sixteen
e Changing Female Voice (Yes—Female!)Kristina MacMullen, R&R Chair for Women’s Choirs
years of teaching. I still use princi-ples of her work at Ohio State. Al-though largely settled in their voicechange, many of our first-year stu-dents still present changing voicecharacteristics. I would like tospeak to the importance of voicetesting all of your students, and tothe importance of teaching themthe technical changes that they canexpect as they walk through thisunstable time.
Much like external maturationin the adolescent, the invisible andaudible changes only heighten astudent’s self-consciousness. Often,a student experiencing the normalsymptoms of a healthy voicechange can mistake these chal-lenges for lack of ability. If studentsare armed with information, theycan anticipate the inevitable bumps
in the road, and will be more likelyto sing through the voice change. Irecommend that, at the middleschool level, teachers take the timeto individually voice test every stu-dent. I understand that you mayfeel reluctant to spend a hefty por-tion of time on this activity, but Iencourage you to consider it an in-vestment in your program that willyield longitudinal dividends. In myfinal year as a middle schoolteacher, I faithfully voice testedevery single one of my 350 stu-dents. Once your students knowthe drill, it will move very quickly.With continued practice, you willbecome fluent and able to distin-guish particular stages efficiently.is will, however, only come withpractice.
In my experience, the majority
of choristers in most public-schoolchoral programs are sopranos andaltos. Consequently, many of usfind ourselves recruiting tenorsand basses every year. For variousreasons, this is a perennial consid-eration. We are all very familiarwith the attention paid to this topicat most conventions—sessions re-lated to recruiting young men arealmost certain to be included onthe schedule. In contrast, have youever seen a session offering recruit-ment strategies for young women?Similarly, we also see much atten-tion paid to the male voice change,and far less time attending to thefemale voice change. If the majorityof our constituents are female,shouldn’t we be all the more mind-ful of the experience through one oftheir most vulnerable and unstable
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otterbein.edu/musicOtterbein is an accredited member of the National Association of Schools of Music (NASM)
times of life as a singer? In my ex-perience, doing so normalizesvocal “issues” (breathiness, loss ofaccuracy, instability) associatedwith voice change, and gives theyoung singer hope that they havemuch to which they can look for-ward as a vocalist. Yes, they are in-deed a work in progress!
Getting StartedBegin by educating yourself. If youare not familiar with Gackle’s work,there is a terrific video on YouTubethat offers the entire session. (Youmay also find this video by search-ing “Understanding the AdolescentVoice Lynne Gackle.”) It is a distilla-tion of her work, and also featuresrecordings of the various stages.For a more in-depth study, considerGackle’s book, Finding Ophelia’sVoice, Opening Ophelia’s Heart,published by Heritage Music Press.You can also find various articlesrelating to the topic authored byGackle with a simple Googlesearch. I suggest Gackle’s article,“e Adolescent Female Voice:Characteristics of Change andStages of Development,” featured inthe 1991 March issue of the ChoralJournal, as a terrific resource in-cluding useful charts and diagrams.
Educating Your Singersis is a critical step. Take time inyour regular rehearsal to addressthe entire ensemble regarding voicechange. I assure you that your stu-dents will be rapt! is is relevantand meaningful information thatbrings some sense to their day-to-day experience. Talk them throughthe physiological changes. Describethe various stages. Predict thesymptoms. Imitate the sounds.ey will relate! Finally, create acard/sheet with the various stagesassociated with their gender, andask them to participate in diagnos-ing their stages of development.
Voice TestingGackle offers a framework toachieve accurate identification of
the various stages. She begins byasking students to sing “My Coun-try ’Tis of ee,” noting their navi-gation of the leap of a fifth. is be-gins your work as a detective.While this step is very useful, Ieventually elected to begin at steptwo simply to save time. Certainly,I could only afford to do this as Ibecame more adept at recognizingthe signs of vocal mutation.
Step two involves identifying astudent’s “Speaking FundamentalFrequency” (SFF). is is achievedby having students speak from oneside of the room to the other. Youcan have them use the alphabet orcount. ey simply need to raisetheir voice. Often, when speakingquietly students will use a pitchthat is lower than their true SFF. Byrequiring a student to speak moreloudly, one is able to more accu-rately assess the student’s SFF. Cor-relate the determined SFF with thestage to which it corresponds.
Next you must determinewhether or not the student has de-veloped a passaggio (or passagios),also referred to as registerbreak(s)/lifting point(s). Whenfully mature, the female voice willhave two register breaks. e firstappears between G4 and B4, andindicates that a student is in StageIIA. e second appears betweenD5 and F#5, and indicates that astudent is in Stage IIB of their voicechange. e lower passaggio ismost apparent. e second is lessextreme. Begin by asking a studentto sing a scale in C major on thevowel “ah.” Note the characteristics(clarity, breathiness, resonance,presence of vibrato). If you hear thedevelopment of the first register
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shift, move to the key of G major,and repeat the exercise. One lift in-dicates Stage IIA. Two indicateStage IIB.
Other ConsiderationsIt is important that we also utilizeother clues in the process of identi-fication. Does the student moreclosely resemble a child physically?Do they more closely resemble anadult? Evaluation of external ap-pearance is not a foolproofmethod, yet it can substantiate asuspicion. Bear in mind, however,that each student is entirelyunique, and, in my experience, ca-
pable of defying the norm. Certainly, any time that we ad-
dress gender-specific issues in theclassroom, we must be considerateand aware of our students who donot identify as binary. e field oftransgender vocal development isnew and uncharted. I believe thatwe will see continued developmentin understanding the longitudinalresults of gender transition. Untilwe have more established out-comes and expectations regardingthe result of hormone treatments,compassion and a thoughtful ap-proach will go far in caring for allof your students, regardless of gen-
der expression and identification.A little encouragement will al-
ways go far with your students.Teach them to embrace the beautyand instability of their own per-sonal evolution. Allow individualsto elect a different voice part if theydeem it necessary. Ask that theysee you when they perceive achange in their instrument.Quickly voice test them again, andconfirm/negate their suspicions. Itis always a wonderful experience tohear each of your students individ-ually. Enjoy the process and thehonor of walking through this piv-otal experience with them. d
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I haVe been out of a public schoolclassroom for almost 12 years now,but I’ve been fortunate over theyears to still work with high schoolstudents. I do miss the daily chal-lenge of teaching musical skills tostudents of all abilities and learninglevels. For a good part of my careerI was teaching seven choirs of vari-ous abilities at the high schoollevel—at times almost 500 studentsa day. ere were days I thought Iwould lose my mind trying to keepup with all the ensembles andmake sure each ensemble could ad-vance (if they chose) to the nextlevel of proficiency. Here are sometips that helped me keep my sanitywhile maintaining a comprehensive
course of study for my studentsand program.
1. First and foremost, plan ahead.Set realistic goals based on theability of each group you have.Meet them where they are musi-cally and take them to the nextlevel. I would have goals for each ofmy choirs as to what I wantedthem to know at the end of a quar-ter, semester, and year. I would testthem often to make sure theyachieved those goals.
2. Make sure your students all un-derstand musical language. Teachthem to read both treble and bassclefs. Test them often. When youdirect them, talk music to them.
For example,“We’re begin-ning on page three, second system,beat three—on the G.” Or betteryet, ask them what the letter nameof the note is where you want tobegin. How many counts does thatnote get? And so forth.
3. Set a sequential plan of what youwant each ensemble to learn andknow by the end of the quarter, se-mester, and year. I would have a bigannual chart on my wall, color-coded for each choir. At the begin-ning of each week I’d list what skillswe would cover, which included in-tervallic and rhythmic skills. isway I could track the work and
HELP! I Have 5 Choirs of Varying Abilitiesand I’m Losing My Mind Planning for emFrank Bianchi, Northeast Region Chair
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progress of each ensemble. We’dhave an ‘interval du jour’ for eachclass. I’d write that interval on theboard. We’d sing it as part of ourwarm-ups and I’d ask the studentsto circle it every time it occurred intheir scores as we were working.
4. Make sight-reading a part ofyour everyday rehearsal—not justsomething you address two weeksbefore contest. Use the repertoireyou’re teaching and incorporate itinto your lesson. It doesn’t reallytake up that much time and the re-turn on the investment is monu-mental. Long before OMEA re-quired sight-reading as part of theadjudication process I was teachingreading skills to all of my studentsand testing them often. It just waspart of what we did.
5. Check the progress of your stu-dents often. is can be as simpleas a quick five-question quiz on ahalf sheet of paper given as soon asthe bell rings and addressing what-ever concept you’re working on. Ididn’t wait for them to get settled atthe start of class. My class startedthe second the bell rang and mystudents knew that if they werehanded a piece of paper with 5questions (answer spots) on it whenthey walked in the room, they’dbetter be in their seats, name on thepaper and ready for the first ques-tion when that bell rang. is quizcould be as simple as: M3 or m3, P4or A4, major or minor triad, minoror diminished triad, root positionor first inversion. One concept at atime, one week at a time.
6. Write out your warm-ups forevery class and vary them everyday, week, and month. Keep arecord of them. ere are literallyhundreds of ways to say the samething. Find them. Write themdown and keep track of whatyou’ve taught. I have kept a book ofwarm-ups I’ve used and have sepa-rated them into categories to teachspecific concepts. Often, I woulduse the same warm-ups for all ofthe groups and just modify theirdifficulty based on the level of theensemble. e warm-ups weregeared specifically to teach sequen-tial vocal techniques.
7. Take the time to choose reper-toire that helps reinforce the con-cepts you are teaching. Teach age-and skill-appropriate literature.
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Keep a filing cabinet of music la-beled as to class (AA, A, B, C),level, and skill(s) that each piececan be used to teach.
ese are just a few of the thingsthat worked for me during the 30years I taught high school. I was al-
ways mindful of the fact that I wasone of the only teachers in thebuilding that got to see my studentsfor more than one or two years, andI would always remind myself of thefact that I was teaching my studentslife-long skills and a love of musicthat would allow them to make
music for the rest of their lives. Mygreatest joys in teaching came inmy classroom—not on a stage—when that one student’s face lit upwith the “I got it” look.
Enjoy the journey with your stu-dents. It’s one that I’ve cherishedfor a lifetime. d
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the recruItment of males tochoral ensembles garners attentionand generates discussion amongchoral directors of all levels. At anygiven music conference, clinics andworkshops dedicated to this topictypically fill rooms at or past capac-ity with ensemble directors eager tohear the newest breakthrough strat-egy or sales pitch to employ so thatthey may better persuade moremales to join their choruses. Like-wise, trade journals regularly fea-ture articles devoted to this issue,with most focusing on youngersingers at the junior high and highschool levels. Touted recruitmentstrategies typically encompassrepertoire choices, rehearsal tech-niques, doing everything in yourpower to make choral singing ap-pear more stereotypically mascu-line, and—especially for the mixedensemble director—the use of fe-male members of the chorus asleverage. While the latter twostrategies are questionable, they arenonetheless frequently recom-mended, especially for the school
choral program. However, thesestrategies neglect an important fac-tor in the choice to join an ensem-ble: the perspective and intention ofthe potential male recruit.
Research suggests that maleswho choose to participate in a cho-rus do so because they enjoysinging and perceive themselves tobe good singers. Traditional re-cruitment strategies, therefore,may only be effective with thosemales who possess a preexisting in-terest in singing. In my experience,these males are few and are likelyalready in your ensemble. But whatabout those males who have noself-perception (or worse, a nega-tive self-perception) of their musi-cal ability or have never consideredjoining a chorus? is is a much alarger pool of potential choralsingers. How can we better encour-age them to join and find success ina choral ensemble?
roughout my career, thechoirs I have directed (includinghigh school, collegiate, and churchchoirs) have all contained a rela-
tively high per-centage ofmembers whohad little to no background or in-terest in singing or in music priorto joining the choir. Such situa-tions, as you can imagine, comewith a unique set of challenges. erewards, however, are tremendousfor all involved, especially for theindividual who has newly discov-ered the contribution he can makewith his voice.
Here are some recruitment do’sand don’ts, based on my experiencein recruiting males who may havenever considered joining a chorus,or are reluctant to do so.
First, don’t ask a potential recruit,“Do you sing?” e typical answeris a definitive “no.” is shuts downthe conversation and negates fu-ture consideration by the individ-ual. Instead ask, “What activitiesare you participating in now?” isshifts the focus from what the indi-vidual thinks he is capable of towhat he is participating and inter-ested in. During the course of the
Recruiting the Male (Non-)SingerJason Falksky, R&R Chair for Men’s Choirs
conversation you can then begin toask about musical interests and askif he has ever sung in a choir before.
Do acknowledge and anticipate thechallenges recruits may experience.No one wants to feel inadequate,unprepared, or caught by surprise.roughout the rehearsal processthe more you can explain the diffi-culties they may experience the lessapprehensive they will feel. Foradolescent males, this may meanacknowledging their changingvoices and the sounds they may ormay not be able to make. For theolder male singer, this may be ac-knowledging the confusion theymay experience with music read-ing. Consistently reassure them
they will be given the tools to besuccessful.
Do help new singers to feel suc-cessful early on. Even if they onlysing one correct note or if theyonly clap two out of four quarternotes accurately during that firstrehearsal, their accomplishmentneeds to be recognized and lauded.
Don’t talk sports. Well, don’t talksports exclusively. Not all males aresports fanatics. Ask your potentialrecruits about their interests first,or maybe what their favoriteclasses are, where they may work,where they like to go on vacation,et cetera, and continue your con-versation from there. As choral di-rectors, we should be interested in
the whole person and how he willuniquely contribute to the ensem-ble, rather than stereotyping. (As abonus, the more you know aboutyour ensemble members the betteryou can relate and adapt rehearsaltechniques and strategies to theirprevious experiences.)
Do assign each new chorister to achoir mentor who will be able tohelp him navigate his first fewweeks in chorus and answer hisquestions.
Don’t underestimate the power offree donuts or pizza. Host open re-hearsals or have current membersinvite friends to sit in on re-hearsals. End those rehearsals witha quick social with donuts, pizza,
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Now you can purchase the actual OMEA sight-singing contest pieces for
2000 and later, composed by Dr. C. M. Shearer. These quality compositions
are perfect for intensive skill-building practice. The music conforms to OMEA
guidelines for age, group, and skill levels. What’s more, these pieces are truly
musical and can even be used for concert performances.
Texts are age, meter, and verbiage appropriate and include all measure
numbers and expression markings. Everything is here for a complete
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The Ohio Music Education Association choral sight-reading contest music
or some other snack. is allowspotential recruits to experiencewhat a rehearsal is like and after-ward interact with you and theother members of the ensemble.Even if they don’t join, you can atleast use the opportunity to intro-duce yourself and invite them to at-tend a future performance.
Finally, do recruit constantly. It’snot just a beginning- or end-of-the-year activity. It is an ongoingprocess. Sometimes it can even bean ongoing process to recruit oneindividual. I have had a number ofstudents who joined a choral en-semble in their junior or senior year
but my recruiting efforts with themstarted when they were freshmen.
is is by no means an exhaustivelist, but I hope that it has given yousome food for thought. Happy re-cruiting! d
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.
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Upcoming Events
February 2018acda central & north central division conferenceFebruary 14–17, 2018, Chicago, ILacdacentral.org
June 2018ocda summer conferenceJune 18–20, Columbus, OHohiocda.org
220120188 SSUSUMMSUMMESUMMER SUMMER CCONCONFCONFECONFERCONFERECONFERENCONFERENCCONFERENCECONFERENCE June 18-20, 2018 Otterbein University Westerville, Ohio
FEATURING · Performances by outstanding choirs from throughout Ohio · Reading sessions offering music selected by Ohio Repertoire and Resources · Opportunities to watch conductors/clinicians work with the High School and Children’s Honor Choirs· Opportunities for early-career choral conductors to chat with veteran conductors in one-on-one or small group “brainpicking” sessions.
CLINICIANS INCLUDE:
Dr. Hilary Apfelstadt, Elmer Isler Chair of Conducting University of Toronto
Jake Runestad, composer and conductor Children’s Honor Choir Conductor:
Kristina Caswell MacMullen, Associate Director of Choral Activities The Ohio State University
Registration materials online beginning in February:
www.ohiocda.org
Graduate Credit Available – Reduced Student Registration Rate
Questions? Contact: Christopher Dent, Conference Chair [email protected] 614.208.6778
2018 OCDA SUMMER CONFERENCE REGISTRATION INFORMATION
Registration fees include parking, the Tuesday business luncheon, the Tuesday evening social event, and reading session music (guaranteed only for workshop participants registering by June 1, 2018). Fill out the registration form and return as indicated below. The registration must be postmarked by June 1, 2018, in order for the pre-registration fees to apply. After June 1, a higher fee structure is in place (see below). Reading session packets cannot be guaranteed for those who do not pre-register by the June 1 deadline. A refund will be made if a written cancellation is received by June 1, 2018. After that date a deduction of $80.00 will be made. The option to earn graduate credit through Otterbein University is available for pre-registrants only. If you would like to receive graduate credit information, please indicate this in the appropriate space on the registration form below. A current copy of your teaching license must be either mailed in with your registration form or brought with you to the conference. Mail payment and Registration Form to: Christopher Dent, OCDA Summer Conference Coordinator, 4503 Edgarton Drive, Grove City, OH 43123. E-mail or call Christopher with questions: [email protected], 614-208-6778. Make checks payable to the Ohio Choral Directors Association.
Name ______________________________________________________________County________________________________ ACDA Membership # _________________Email address __________________________________________________________ Address __________________________________________________________________________________________________ Street City State Zip School, Church, or Business (to be listed on badge)________________________________________________________________ Home or cell phone __________________________________ Business phone ________________________________________ First-Time Conference Attendee? Yes No Pre-Registration (postmarked by June 1, 2018) Late Registration (postmarked after June 1, 2018) ______ $154 ACDA member ______ $184 ACDA member ______ $258 non-member (includes membership) ______ $288 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 ______ $119 student non-member (includes membership) ______ $149 student non-member (includes membership) Other Items of Interest
______ $11.00 I am interested in purchasing a box lunch for the Lunch Roundtable Discussions. Please circle your meal option: Ham Turkey Roast Beef Veggie (Interest areas include: College/University, High School/Jazz/Show, MS/Jr. High, Elementary/ /Boys, Church/Community)
______ I am interested in receiving graduate credit information.
ON-CAMPUS RESIDENCE HALL LODGING
Rooms are air-conditioned. Linens are optional (see below) and include sheets, a pillowcase, and towels. No pillows are provided. Select date(s): ______ June 18 ______ June 19 Select room: _______ single occupancy $41.00 per person, per night _______ double occupancy $26.00 per person, per night _______ linens (optional)- please add one-time fee of $14.00 to total $___________ TOTAL CONFERENCE PAYMENT (Make checks payable to OCDA)
How did you hear about our conference opportunity?
____ Website ____ OMEA Conference ____ Referred by current OCDA member ____________________________ (member name)
