ALUMNI NEWSLETTER

DECEMBER 2017

NEW YEAR in MUED

Professors Publish

Alumni Spotlights

New Horizons Orchestra Flourishes

CCM Celebrates 150 Years

3-Summer Masters Program in 2018

CCM 

MUSIC EDUCATION
 SOUL-FEGE
A Journey from the Soulful Genres to the Classical

Dr. Eva Floyd created a DVD documentary for the Organization of

American Kodály Educators (OAKE) entitled “Soul-fege: A
Journey from Soulful Genres to the Classics” which showcases the
collaboration between the award-winning Voices of Unity (VOU)

SUMMER SCHOOL
CCM Music Education is preparing to
expand its offerings. Starting
Summer 2018, active music teachers
will be able to pursue graduate
studies in a new program designed
to expand the teaching toolkit while
staying on the job. Continued pg. 7
youth gospel choir from Ft. Wayne, Indiana and Dr. Floyd.  Using
Kodály-inspired pedagogical techniques, Dr. Floyd prepared
VOU for participation in the Laurea Mundi International Honor
Choir Festival in Budapest, Hungary conducted by Henry Leck.
The DVD and DVD-ROM appendix materials outline the short-
term instructional unit Dr. Floyd created for the project.

DEPARTMENT NEWS

Alumni Spotlight & Activities…….. 4


CCM Celebrates 150……………… 5

OMEA Leadership…………………. 6

New Horizons Orchestra………….. 6

CYWE in Ireland……………………. 6

Special Celebrations………………. 8 Official trailer for “Soul-fege” Continued on next page…

WORLD MUSIC
CCM Faculty Examines Pedagogy in New Book

Dr. Amy Beegle is co-authoring a book with Dr. Christopher Roberts (University of Washington) on teaching
World Music Pedagogy (WMP) in the elementary school. The book will be part of the Routledge World Music
Pedagogy Series in School and Community Practice that encompasses scholarship in music, education, and
culture. In the book, Dr. Beegle and Dr. Roberts discuss and describe the ways that the five dimensions of
World Music Pedagogy (Attentive Listening, Enactive Listening, Engaged Listening, Creating World Music, and
Integrating World Music) can serve as a framework for building children’s understanding of the benefits of
diversity.

Continued on next page…

CCM MUSIC EDUCATION

 DECEMBER 2017

Soul-fege’s appendix materials outline the short-term

instructional unit Dr. Floyd created for the project, which
focused on finding entry points for the introduction of new
terms, concepts, and skills within the choir’s comfort zone
(known to unknown). The experience-based instruction was
sequentially planned from the starting point of reading/
navigating a choral music score to being prepared to work
efficiently with the honor choir conductor in Budapest.  The goal
of the project was to implement instruction that reflected
Kodály’s vision of a good musician as articulated in his 1953
speech to students at the Liszt Academy—balanced
development of students’ technique, musical understanding, ear training, and heart—throughout the teaching
and learning process, ultimately making classical music accessible to singers with a strong background in
soulful music.

The DVD presents clips from rehearsals in Ft. Wayne, highlights from the choir’s international travels, and clips
from rehearsal and concert performance of the international honor choir festival in Budapest.  The DVD also
includes interviews with the Voices of Unity’s conductor Mr. White, the honor choir conductor Mr. Leck,
Hungarian music education specialist Dr. Kiss, and CCM choral music education faculty Dr. Floyd. The DVD
highlights parallels between Mr. White’s philosophy for the VOU choir and Kodály’s vision for music education.
In his summary of the Soul-fege Project Mr. White expressed his belief that this collaboration showcased the
diversity and versatility of both the VOU choir and the Kodály methodology by embracing each other’s cultures
and sharing that with the world.  The DVD will be released at the 2018 OAKE National Conference and will be
available on OAKE’s website (www.OAKE.org).




Dr. Beegle and Dr. Roberts’ WMP focuses on opening students’ ears and
minds to the sounds, functions, processes, and practices of musical cultures
within the context of elementary (primary) schools in the United States and
other countries where diversity-oriented education is valued. She explains that
World Music Pedagogy is unique among other methods for teaching world
music in that there is a strong focus on listening, as well as on the ways that
musicians of particular cultures teach and learn music. The book also
incorporates suggestions for tackling possible issues surrounding concepts
such as authenticity, transmission, and transculturation. Each chapter includes
learning episodes utilizing musical examples from the Smithsonian Folkways
Recordings collection, as well as interviews with practicing elementary school
teachers.  More information about the series can be found at Routledge.

3
WHERE ARE THEY NOW?
Halfway to a Reunion: The Class of 2012
• Mitchell Curry
 • Rebecca Macoskey
 • Drew Reynolds

Education Through Music (NYC) Shanghai Community International School MA/MBA at Southern Methodist University

• Shaun Day
 • Robby Moser
 • Wayne Shuker


Turpin High School Bands (Cinci) Business Executive Professional Actor, Vocal Coach (NYC)

• Sarah Grogan
 • Brian McDonough
 • Samantha Stewart


Cincinnati Choral Academy Kings High School Bands, Cincinnati Bedichek Middle School Orchestra (Texas)

• Kelly Jones
 • Andrew Mehraban
 • Mo Tompkins


General Music at Roberts Academy (Cinci) DMA at The Ohio State University Jazz Musician (New York)

• Lindsey Kleiser
 • Felipe Morales-Torres
 • Carlos Vargas


MM at Hochschule der Künste (Switzerland) Cincinnati Symphony Youth Orchestras Jazz Musician (Cinci)

• Andrew Krumm
 • Morgan Noon


Granville Village Schools Bands (Ohio) Pianist, Musical Director (Sandusky, OH)

• Bernardo Lopez
 • Brian T. Parido


MYCincinnati Clarke Middle School Bands (Georgia)

ALUMNI SPOTLIGHT
An Interview with Susan and Tom Hughes, CCM ‘72 and ‘73
How did you meet? We met outside of a classroom on a
Friday, following our first Theory quiz.  We were hard-
pressed to miss each other since we were in most of the
same classes.

What drew each of you to music education? Susan: I

have been teaching since I was in elementary school! I
would teach my fellow students song and dance routines,
so a career in music education was a natural extension of
what I was doing in school. Further experience with piano,
cello, a job as a church organist and choir director, all
worked to solidify this feeling. Tom: Music had always been a
passion of mine, having taken piano in elementary school, clarinet and saxophone in high school, and then
chorus.  It was when I was considering CCM that I realized that elementary music education was where my
focus should be, working with the youngest and affecting a positive experience for them that can be carried
into their daily lives.

Do you have a favorite or most influential memory from your undergraduate studies? Tom: Sometimes,
you don’t know how influential something is until you reflect on it many years later. This is the case with Music

CCM MUSIC EDUCATION

 DECEMBER 2017

Theory 101. That had to have been the most difficult course I took at CCM... Yet, it served as a fantastic
foundation for all aspects of performance and the understanding of music later in life. It must have really hit
that analytical portion of my brain that I utilized as I moved into a career in Information Management. Susan:
Methods classes. I used what I learned from all of them as I taught elementary general, choral, strings, and
band... These classes give you a basic and valuable understanding not only of the instrument, but an
appreciation for the people who play them. Especially memorable were my elementary music methods and
the choral conducting classes under John Lehman. His style of directing and managing a chorus has
influenced my own conducting to this day, for both young people and adults. Oh, and I sang a duet with Kathy
Battle. That was memorable!

Susan, what are some of the highlights of your career

as a music educator? Over my 30-year career in
elementary music, I was able to cross-connect music to
other subject areas—incorporating those themes into daily
lessons and grade level performances—and evolved music
to be part of the school discipline, and not just another
subject area.  Most importantly, as we received more
special needs students into the classroom, my lesson
plans and teaching methods had to be adjusted (often
without preparation) to ensure that those students
received the same value from music as their classmates… I pioneered the use of sign language in the
classroom for all students, incorporating its use into both choreography and instruction. At one OMEA
conference, there were over 200 attendees in my session, “Sing It! Sign It! Teach It!”, underpinning a growing
need for music educators to be able to teach to all students. Music can also be used to reach those students
who are struggling in other subjects.  I will always remember one fifth grader who could not read, yet he had
real affinity for music and rhythm.  By using rhythm to help him internalize letters and words, I was able to
accelerate his learning so that by the end of the fifth grade, he was reading right along with his classmates.

Other highlights include getting an envelope in the mail from a former student with a picture and recording of
him playing Carnegie Hall, receiving an e-mail saying that another student (Angela Ammerman, CCM ‘06) had
been named String Teacher of the Year for Virginia, and having 200 kids show up to sing a concert at the local
mall on a Sunday afternoon... And, with the support of the parents and administration, we eventually built out a
full Orff complement so that every child had a barred Orff instrument to use in class.  Wow!  Did that ever
transform and streamline my teaching!

By being part of the complete education of our students, I was honored with twice being named Educator of
the Year for my building, and was the first special area teacher named as Teacher of the Year for the entire
school district. It is stories such as these that provide the true highlights of any music educator’s career.

Tom, does your pedagogical training affect your current profession or worldview? Skills in leadership,
time management, project management, and public speaking are all traceable back to CCM. And, I was able to
leverage my passion for music in other ways, including serving on the board of the Cincinnati May Festival, co-

5
chairing and assisting in the production of the Saengerfest for the Cincinnati Bicentennial, and various
community theater projects. Having a common degree with Susan in Music Education has also allowed me to
help out by providing a sounding board, conducting, and assisting behind-the-scenes. Susan: I do have to say
that because Tom also has a degree in Music Education, he had a complete understanding of what I was trying
to accomplish, and I could not have done it without his support and patience. Tom: CCM is such a melting
pot... [you] meet and interact with people of all types and backgrounds, developing skills in how to collaborate
with others not quite like yourself, to achieve a common objective. I can’t think of any other institution that
presents you with that privilege, and is a core ingredient to understanding the world today.

How have you seen the music education profession change since your time as undergraduates? We are
at a juncture in music education where it has diverged to being either dropped altogether, along with the
other arts, or incorporated into the forefront as a major subject. The most successful programs are those that
have developed into being accepted as part of the core curriculum, taught by those trained in the subject area,
and reaching students of all abilities. It is up to us, as professional educators, to be diligent in helping parents,
administrators, educators, and students understand that music is not a frill, but a serious subject with cross-
discipline applicability, and one in which every child succeeds. Be open to letting your students strive for their
greatest potential.  One boy came to me wanting to play the violin. He had Tourette's, which is characterized by
involuntary movements among other vocal and physical tics. Yet, we discovered that when he put the violin up
to his chin, the tics went away. Following his year-end concert, he told Tom, “Mr. Hughes, I have Tourette’s and I
am going to play the violin forever!”  We are firm believers in “you get what you expect”, so set your
expectations high!

OMEA LEADERSHIP CYWE IN IRELAND

CCM Students, Faculty on State Board Performance Tour Planned for Summer 2018

Two CCM Music Education undergraduates are
currently serving on the OCMEA State Board:
• Colton Thomas, Treasurer
• Adelaide Young, President-Elect
Their roles involve planning and management for
state-wide opportunities for pre-service teachers,
including the upcoming OCMEA State
Conference.
Dr. Gottlieb served as OMEA Southwest Region
Chair from 2015–17 and continues to serve on the
committee, which oversees honors ensemble
opportunities and state-level adjudicated events.
For one week next summer, Dr. Ann Porter will travel
to Ireland with 60 students and parents from the
Cincinnati Youth Wind Ensemble. The band will
perform in three cities—Dublin, Cork, and Limmerick
—and participate in a clinic with Fergus O’Carroll,
band director and head of the Royal Irish Academy
of Music. Cultural excursions include the Cliffs of
Moor and dinner at a historic castle. Students will
also get to kiss the Blarney Stone, take an authentic
Irish dance course, and participate in traditional
Gaelic games. Students looking for a high-quality
extracurricular band experience can find out more
at: CCM Prep - Cincinnati Youth Wind Ensemble.

CCM MUSIC EDUCATION

 DECEMBER 2017

NEW
HORIZONS
Community Orchestra
Program Expands

Dr. BettyAnne Gottlieb

began the Cincinnati New
Horizons Orchestra in 2013
as an outlet for adults to rediscover the joys of music education. Four years later, the program has tripled in size
to 40 members who enjoy various performance opportunities in and around the greater Cincinnati region. For
Global Music Day 2017, the NHO was invited to perform at a commemorative event honoring Daniel Pearl, the
noted journalist who was killed in Pakistan and had previously played the violin. The ensemble also enjoyed a
fundraising partnership with Northside hotspot The Littlefield, which raised $400 for scholarships through an
NHO feature performance. The ensemble also provides opportunities for undergraduate music education
students to develop and practice strings teaching skills, including two annual internship positions. In addition
to sharing her knowledge with CCM students, Dr. Gottlieb has given presentations on adult music education
throughout the country and recently conducted the first-ever symphonic orchestra at the New Horizons
Orchestra Camp in Chautauqua, NY last June. You can learn more at : CCM Prep - New Horizons.

“SESQUICENTENNIAL”
CCM Celebrates 150 Years

CCM is presenting a series of special events and public performances designed to celebrate a tradition of
innovation and excellence 150 years in the making. Initial highlights include:

• Feb. 11 at 4:00pm: The CCM Chamber Choir presents the world premier of I Hear America Singing,
written by composer-in-residence Dale Warland (HonDoc 2008) in honor of CCM’s 150th anniversary.

• Feb. 15 at 8:00pm: CCM welcomes back Professor Emeritus Rodney Winther, former Director of Wind
Studies, to share his talents in a performance with CCM’s Wind Ensemble and Wind Orchestra.

• Feb. 18 : Love is in the air at this Valentine’s Day-Themed Concert, which celebrates 150 years of CCM
and UC love stories with performances by students, faculty members and more. If you met your significant
other on campus, then we hope you will join us for this special event.

• April 21, 2018: 150 years in the making, CCM presents a Showcase of Alumni Talent performing
alongside our stars-of-tomorrow.

Plans are also in the works for a special music education feature. Stay tuned for more information!

7
 DECEMBER 2017

NEW M.M.E. CURRICULUM

A Practical Degree in 3 Summers

Beginning June 2018, the CCM Music Education Division is PROGRAM REQUIREMENTS
planning to offer a new degree program (pending final
Core Music Education...........…….....8

approval) specifically designed for teachers who wish to remain
Curriculum & Assessment

active in the classroom while continuing their education.
Sociology & Psychology

This 3-summer, 5-week program will provide a high quality, History & Philosophy

specialized curriculum centered on the development of further Intro to Scholarship (Research)

music mastery and advanced pedagogy. The program is Core Music Studies...………......11-14

designed for all types of music teachers and, with cohorts of Theory Fundamentals (piano-based)

around 10 participants, is built with an intimate, individualized, Graduate Musicianship 

and rigorous environment in mind. Intro to Ethnomusicology

School Music Literature

Core music education coursework will be focused on
Ensembles or Applied Lessons

contemporary topics and practical skills, and teachers will be
Supportive Studies.............................8

able to choose from a wide range of electives to reinforce or
Specialized electives in:

expand their area(s) of expertise. Keeping in line with CCM’s
Choral Music

reputation for artistic excellence, teachers will also have the
Conducting

opportunity to refresh their piano skills, lead and perform in
Classroom Music (K-12) 

ensembles, or advance their personal performance technique
Instrumental (Band, Orch., Jazz)

through applied study. All courses and experiences will be led
Musical Theatre

by members of CCM’s renowned faculty, with experts coming
Pedagogy

together from multiple divisions of the conservatory.
Strings

Also available are enrichment opportunities unique to the Technology for Music Teaching

summer curriculum, including professional certifications for Urban Music Education

classroom music teachers in Orff-Schulwerk or Kodàly; a study- Capstone Project or Exam.................2

abroad experience including a survey of pedagogy examining Curriculum Design Project

world-renowned ensembles and programs in Europe, or a folk Oral & Comprehensive Exam

music and string techniques immersion in Ireland; and others in Total Credits................................30-33
the works.

The 3-summer masters promises to be an inspiring outlet for

OPTIONAL OPPORTUNITIES:

active music teachers looking to grow as artists and
Study-Abroad Experiences (Europe)
pedagogues.
Orff-Schulwerk Levels

Kodàly Certification

CCM MUSIC EDUCATION

 DECEMBER 2017

SAMPLE SCHEDULE FOR SUMMER MASTERS (5 wk.)

MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY

8:00 Theory/Piano Theory/Piano Theory/Piano Theory/Piano Theory/Piano

9:30 (Break) - - - -

9:45 Core MuED 1 Core MuED 2 Core MuED 1 Core MuEd 2 Core MuEd 1

11:15 (Break) - -

11:30 Music Lit Music Lit Music Lit

12:30 (Lunch) 11:45 (Lunch) 12:30 (Lunch) 11:45 (Lunch) 12:30 (Lunch)

1:30 Musicianship Musicianship Musicianship



Each summer will consist of a 5-week term. Schedules will be designed to allow for free time each afternoon
(M/W/F after 2:30p, T/R after 12:00p) to study, practice, and maintain personal or professional commitments.
All courses will occur in person and require residency in Cincinnati.


SAMPLE ELECTIVES HOW TO APPLY

Choral:



Advanced Choral Techniques

Prerequisites

Choral Conducting / Ensemble

Minimum of two years full-time teaching
Vocal Pedagogy

experience; completion of an undergraduate
Classroom Music:

degree in music education (or equivalent).
Secondary General Music

Improvisation & Composition
 Required Materials

World Music Ensemble
 • Current C/V or Resume 

Orff Levels / Kodàly Certification
 • Philosophy of Teaching (written)

Instrumental:
 • Submission of “best piece” writing sample

Advanced Baton & Rehearsal Techniques • Teaching video -or- a live/recorded audition
Advanced Instrumental Techniques

HOW TO APPLY

Elem./Int./Adv. String Pedagogy


String Methods for the Non-String Player
 

Keyboard Pedagogy for Secondary School
 Contact Dr. Ann Porter, Division Head

Alternative Ensembles & Multicultural Music
 to express your interest, ask questions, 

Jazz Ensemble & Improv Techniques 
 and begin the process of advancing your career
Marching Band & Drill Writing Techniques 
 as a music educator!
Arranging for String Orchestra

Healthy Musicianship

9
 DECEMBER 2017

SPECIAL CELEBRATIONS
Department News

NEW KIDS ON CAMPUS PROFESSOR PORTER

The CCM Music Education family is proud to Dr. Ann Porter was recently
welcome two new bearcat cubs this year! Meet Dr. promoted to full Professor!
Eva Floyd’s twin boys, Rowan and Reid: She has been leading the
division since 2011 and
continues to teach courses
in instrumental pedagogy.

25 YEARS A BEARCAT

Debbie Reynolds was recently recognized for her

exemplary service to the University of Cincinnati.
She has been the administrative force of CCM
Music Education for 16 years, having also served
in the dance, ensembles, and keyboard divisions.
Send her a thank-you and some love!

KEEP IN TOUCH
Reconnect with your alma mater! SHARE YOUR STORY

Dr. Ann Porter


Division Head & Band Specialist
 Innovating instruction? Presenting at conference?
ann.porter@uc.edu Building up programs? Click the button above to share
your story with the CCM community in The Village News.
Dr. Amy Beegle

General Music Specialist

amy.beegle@uc.edu

Dr. Eva Floyd


Choral Specialist

eva.floyd@uc.edu

Dr. BettyAnne Gottlieb


Strings Specialist

bettyanne.gottlieb@uc.edu Give back to CCM Music Education!

CCM MUSIC EDUCATION