FROM THE DESK

From the Executive Director

Jay Wardeska, Executive Director

Jay Wardeska, Executive Director

National Highlights Shaping the Future of Music Education

This fall has been filled with meaningful conversation and strategic collaboration with our state and national partners about the future of music and arts education. Together with educators, policymakers, researchers, and other nonprofit organizations we continue to examine emerging trends, share innovative practices, and confront the challenges facing arts programs today. Through these relationships, several common themes have emerged that underscore both the urgency and the opportunity of the work ahead.

Evolving National Perspectives on the Arts and Education

OMEA is an advisory member of the Arts Education Partnership (AEP) At the annual AEP Convening in September, arts organizations from around the country discussed how arts education is increasingly tied to the bigger picture of school and workforce training. In many states, the conversation is shifting toward how the arts can help students grow into adaptable, creative thinkers—skills that matter and are marketable no matter what path they choose after graduation. This way of thinking reinforces the place of music and the arts at the center of the curriculum. These national discussions provide an opportunity for us to rethink and strengthen our advocacy efforts here in Ohio.

Nationwide states and communities are opening more doors for students by building stronger connections among K–12 schools, cultural and arts organizations, higher education, and the creative industries. With Ohio’s arts sector contributing billions to our state’s economy each year, we have an opportunity to tap into the talent, expertise, and energy of this vibrant arts industry. The question in front of us is how do we design programs that reflect the needs of today’s learners—whether they live in rural, suburban, or urban communities—and how can stronger collaboration across sectors help address challenges around access, equity, and curriculum?

Another theme that has repeatedly appeared is the need to promote the fact that arts education plays a central role in preparing students for modern careers—not just in the arts, but in any field that values creativity, communication, and problem-solving. This broader framing of content is influencing policy discussions nationwide and shaping the strategies arts organizations are using to increase their impact. It is a message we must hone and amplify here in Ohio.

Shared Challenges and Collaborative Responses in Performing Arts Education

This fall’s in-person meeting of the National Federation of State High School Associations (NFHS) Performing Arts associate members offered a chance for leaders to compare experiences and talk openly about the challenges they’re facing. While each state has its own context, the issues described were strikingly similar: finding ways to recruit and retain teachers in performing arts programs, supporting educators who are stretched thin, navigating legal and compliance requirements, and keeping pace with fast-changing technologies.

Most discussions focused on ways in which organizations can help each other find workable ways to address these topics. Across the U.S., new technology is shaping rehearsal practices and event logistics, new program models are helping keep students engaged, and advocacy efforts are raising the visibility of the arts.

What became clear through these discussions with our friends is that many of the challenges facing the arts today are national in scope—and that collaboration, rather than isolated problem-solving, is leading to the most meaningful progress. This reinforces the value of ongoing communication among state associations as we work to protect and expand student access to high-quality performing arts experiences.

Expanding Program Models Through Strategic Partnerships

Our new partnership with Music Will resulted in this fall’s first OMEA Modern Band workshop which was held at Pickerington High School North. More than 30 teachers signed up to spend a full day diving into hands-on strategies to help bring this unique, contemporary, student-centered approach to music-making into their classrooms.

Throughout the day, teachers explored the core skills that define the Modern Band model—using guitar, keyboard, drum set, bass, and voice—along with improvisation, songwriting, and groove-based ensemble techniques. The Music Will clinician guided participants through activities they could immediately use with their students, emphasizing accessibility, creativity, and culturally responsive teaching. Teachers also received a wide range of classroom-ready materials, including lesson plans, play-along tracks, and curricular resources, along with credits toward obtaining additional instruments and teaching tools for their programs.

What made the day especially valuable was the balance between musicianship and pedagogy. Participants didn’t just learn how to play or teach a new instrument; they practiced ways to structure rehearsals, support beginners, build strong and safe classroom culture, and design instruction that encourages every student—not just the musically experienced—to participate and succeed. By the end of the day, teachers left with usable strategies they could implement immediately.

Research shows that schools that add Modern Band programs don’t see a drop in participation in their traditional ensembles. Instead, these programs tend to reach students who might not otherwise take part in band, choir, or orchestra. Studies from Music Will and the Modern Band National Center point to a consistent trend: Modern Band expands the number of students involved in music rather than competing with established traditional programs. In many cases, students who start in Modern Band gain the confidence, skills, and desire to explore other musical opportunities in their schools.

Workshops like this one reflect movements in Ohio and across the country to diversify music offerings and create more entry points for students. As districts look for ways to reach new learners whose musical interests often fall outside the traditional ensembles, partnerships like ours with Music Will help expand the possibilities. A Modern Band doesn’t replace existing ensembles; instead, it enhances and expands them by welcoming new students into music-making and strengthening the overall musical program of a school.

Plans are in the works now for another Modern Band 101 Workshop and potentially a Modern Band 102 in the coming year.

Regional Conversations and Organizational Alignment

This fall OMEA hosted the NAfME North Central Division. In Cleveland, we welcomed elected leaders and executive staff from Indiana, Iowa, Michigan, Minnesota, Nebraska, North Dakota, South Dakota, and Wisconsin. The agenda created an opportunity to exchange perspectives on policy shifts, teacher licensure, membership engagement, and engagement with the national association. Although each state operates differently, many of the questions confronting music education—sustaining teacher workforce, updating governance practices, and leveraging technology to improve operations—proved. We ended the weekend meeting with a visit to the Rock and Roll Hall of Fame.

Artificial Intelligence and Its Emerging Role in Arts Education

One of the most rapidly changing topics among national partners involves the role of artificial intelligence in the arts and arts education. AI is no longer a distant curiosity; it now figures prominently in policy conversations and professional practice discussions.

There is growing concern about protecting artistic integrity, safeguarding intellectual property, and providing equitable access to AI tools. Music educators are questioning how AI-generated content should be handled in classrooms and performing ensembles, how assessment practices must evolve, how AI impacts adjudicated events, and what ethical guidelines must be established to protect students and composers/creators.

At the same time, many see a potential for AI to support instruction, expand creative opportunities, and help alleviate administrative burdens. AI-powered tools can assist in providing individualized feedback, adapt materials for diverse learners, and introduce students to new and emerging fields within the creative industries. As arts organizations anticipate the future, there is a clear recognition that navigating AI safely and productively will require careful policy development, ongoing professional learning, and effort keeping up with the landscape of the quickly evolving technology.

OMEA is preparing to support our members in this work through specialized professional development, curated resources, and updated guidance designed to help music educators understand both the risks and the possibilities associated with AI.

Economic Factors Shaping Conference and Event Planning

In prior TRIADs I have highlighted how inflation in the events and hospitality industries remains a significant and ongoing challenge for OMEA. The cost of nearly every service tied to conference planning has risen at rates far beyond normal year-to-year adjustments. National industry reports estimate that food and beverage costs have increased between 20–35% since 2019. This is due largely to a volatile supply chain and labor shortages. Hotel and lodging rates have climbed 15–25% in most major markets, with some urban centers reporting even higher jumps as tourism and travel are coming back for Americans. This will be noticeable to you when comparing the cost of one night of hotel in Cleveland in 2025 versus the cost of the same type of room in 2026. Additionally, audiovisual services have seen cost increases of 10–20%, driven by increasing equipment prices, and higher labor rates. These increases along with higher transportation and service fees across the board, have placed considerable pressure on our professional development conference budget.

These rising costs are part of the broader economic trends affecting labor, utilities, supply chains, and the service industries that support our work. As a result, we are rethinking long-term contracts, adjusting event formats, and exploring new funding models to maintain accessibility for attendees and our membership at large. We remain committed to providing the kind of world class professional development and services to which our members have become accustomed.

Despite these challenges, OMEA is committed to doing everything possible to avoid passing additional costs on to our members. Over the past year, the organization has explored and implemented several strategies to maintain current registration fee levels while still delivering what is sure to be another high-quality conference. This includes expanding sponsorship, developing creative funding partnerships, negotiating multi-year agreements when possible, and carefully reviewing every element of conference operations for both efficiency and value. These efforts are important for OMEA to balance financial responsibility with the needs of our educators and to ensure the Professional Development Conference remains accessible and rewarding for as many members as possible.

Conclusion

OMEA is at the table in the national conversation about the future of arts and music education. The work occurring across our state—and the partnerships we are cultivating beyond it—reminds us why OMEA exists: to ensure that all students have access to high-quality music instruction delivered by licensed, well-supported music educators. The work we have done this fall reflects that mission in action.

Our statewide efforts, from the Modern Band workshop to the conversations taking place with our regional and national colleagues, continue to strengthen the pathways through which students engage with music. These initiatives help broaden what comprehensive school music programs can look like—general, instrumental, and choral—and they remain focused on the value of meeting students where they are while maintaining the high academic and musical expectations.

Even with the current inflation in the events and hospitality business, OMEA has remained focused on supporting educators by trying to preserve accessibility to the Professional Development Conference and other essential programs. Through careful planning, expanded sponsorships, and thoughtful financial stewardship, we continue to protect the resources our teachers rely on.

Our successes demonstrate the strength of our association and the shared commitment of music educators across Ohio. As we move forward, OMEA remains dedicated to advocating for comprehensive, well-resourced music programs that allow every student to learn, create, and participate in meaningful musical experiences. OMEA’s current momentum is a powerful reminder that when we stay focused on our mission and work together, we advance not only our individual programs, but the future of music education in Ohio.

Thank you for all you do every day making a difference in the lives of students.

Jay Wardeska serves as the Executive Director of OMEA and the Ohio Foundation for Music Education (OFME). He has served OMEA in a variety of leadership roles including District President, All-State Ensembles Chair, All-State Task Force Chair, and Adjudicated Events Chair. He also served as an adjudicator for solo and ensemble, large group, and marching band. Currently a PhD Candidate at The Ohio State University, he holds degrees from Kent State University (M.M.) and the University of Mount Union (B.M.E.). Jay taught music in the State of Ohio for over 30 years and was named the 2013 National Band Director of the Year by the National Association for Music Education (NAfME) and the U.S. Army Band. He currently serves as the music director of the Brass Band of the Western Reserve and is an active guest conductor. Additional acknowledgements include membership in the NAfME U.S. Army All-American Band Directors Academy, Grammy Quarterfinalist for Music Educator of the Year, Medina County Arts Council Service to the Arts Award, the National Band Association Citation of Excellence, and the National Excellence in Teaching Award. He is also a Martha Holden Jennings Foundation Scholar.

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