2020 January TEMPO by William McDevitt

JANUARY 2020 IN THIS ISSUE Sessions & Performances at the 2020 NJMEA Music Conference in Atlantic City

Music Education And Social Learning Diversity & Inclusion NJMEA Member Spotlight NJMEA Salutes Its 2020 Master Music Teachers 2019 All-National Honor Guitar Ensemble School Administrator, Distinguished Service, Outstanding School Board, & Master Music Teacher Award Forms

The Official Magazine of the New Jersey Music Educators Association a federated state association of National Association for Music Education

EMPOWERING TEACHERS TODAY POWERS THE MUSIC OF TOMORROW As an educator, one of the most impactful ways to improve is by educating yourself. That’s why the Yamaha Educator Suite (YES) helps music teachers access professional development opportunities, music teacher resources, program health support, advocacy assistance and more. YES brings you a network of like-minded teachers, experts and professionals, who want to help you achieve your goals. Let us help you raise the bar. Go to YamahaEducatorSuite.com

Volume 74, No. 1 http://www.njmea.org

JANUARY 2020

FEATURES

DEPARTMENTS AND NJMEA BUSINESS

Music Education And Social Emotional Learning, The Art Of Teaching Muisc In Your Classroom, Scott N. Edgar and Robert Morrison, Quadrant Research

Advertisers Index & Web Addresses....91

Waiving Through A Window: A New Vision For The Music Curriculum, Frank Abrahams, Ed. D

Division Chair News........................ 6-20

Music Appreciation As An Opportunity For Inclusion, Diversity, And Democracy, Dr. Carol Shansky

Elementary And Early Childhood Sessions At NJMEA! , Amy Burns

NJMEA Member Spotlight , Maedean Kramer

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Utilizing Student-Centered Assessments, Shawna Longo

2020 State Conference

Music Teaching, Mending Walls, And Dismantling Barriers, Colleen Sears

Students Become Leaders! Including More Student Led Activities In A Large Ensemble Setting, Elisabeth Sato

Rhythm: We Need You In Theory!, Erik Lynch

Advocacy News From Our President-Elect, Lisa Vartanian

Hearts In Harmony, Nancy Robinson

Attention All Retired Music Educators: Would You Like To Be A Mentor?, Joyce Richardson

Saxophones Can Play In Tune, Ronald E. Kearns

Master Music Teacher Award...............78

Teach Them The Saxophone First, Ronald E. Kearns

Marching Band Festival.......................79

The 2019 All-National Honor Guitar Ensemble, Jayson Martinez

Jr. High/MS Choral Festival.................80

Feierabend Fundamentals, Missy Strong and Andrew Himelick

Jr. High/MS Band Festival................... 81

NJMEA Salutes Its 2020 Master Music Teachers

TEMPO Editor - Thomas A. Mosher 80 Jumping Brook Drive, Lakewood, NJ 08701 Phone: 732-367-7194 e-mail: tmosher@njmea.org Deadlines October Issue - August 1 January Issue - November 1 March Issue - January 15 May Issue - March 15 All members should send address changes to: mbrserv@nafme.org or NAfME, 1806 Robert Fulton Drive Reston, VA 22091 Printed by: Spectrum Printing Inc. 1-717-569-3200 https://www.spectrumprintpartner.com/

The New Jersey Music Educators Association is a state unit of the National Association for Music Education and an affiliate of the New Jersey Education Association. It is a nonprofit membership organization. TEMPO (ISSN 0040-3016) is published four times during the school year October, January, March and May. It is the official publication of the New Jersey Music Educators Association. The subscription rate for non-members is $20.00 per year. The subscription for members is included in the annual dues. A copy of dues receipts (Subscriptions) is retained by the NJMEA Treasurer. Inquiries regarding advertising rate, closing dates, and the publication of original articles should be sent to the Editor. Volume 74, No. 1, OCTOBER 2019 TEMPO Editor - Thomas A. Mosher, 80 Jumping Brook Drive, Lakewood, NJ 08701 Periodicals Postage Paid at Lakewood, NJ 08701 and additional entries POSTMASTER: Please forward address changes to: NAfME 1806 Robert Fulton Drive Reston, VA 20191

Board of Directors................................88 Editorial Policy & Advertising Rates...90 In Memoriam.................................. 86-87 Past-Presidents......................................90 President’s Message................................2 Resource Personnel............................. 89 Round the Regions......................... 82-85 FORMS AND APPLICATIONS See NJMEA.ORG

Click on the Desired Activity for downloadable copies of all their forms & applications

School Administrators Award...............74 Distinguised Service Award..................75 Outstanding School Board Award...76-77

ATTENTION MEMBERS Please go to nafme.org to record email and address changes.

NJMEA Music Conference Atlantic City February 20-22, 2020

president’s message Patrick O’Keefe

patrickaokeefe@gmail.com Website: http://www.njmea.org

appy New Year! I hope the winter break served as the perfect time to recharge after a rigorous first half of the school year, leaving you ready to continue your great work with our students across the state. It feels as though the past few months have been just as busy for NJMEA, and I would like to highlight some of the meetings and ongoing initiatives.

the last year. The intended outcomes include informing their own strategic planning process as well as to act as a resource for states’ own diversity work. Because NJMEA has created its own action steps to better serve our state in this area, this information can serve as a valuable resource to help guide us as we collect our own state-specific data. We look forward to receiving periodic updates and key findings early this year.

Eastern Division Meeting February Conference In October, the NAfME Eastern Division held its Fall meeting in Hartford, Connecticut. After last spring’s Eastern Division Conference in Pittsburgh, this meeting started laying the groundwork for the 2021 Conference. NJMEA Past President Jeff Santoro, President Elect Lisa Vartanian, Executive Secretary-Treasurer Debbie Sfraga and I comprised the New Jersey delegation, and we were very excited to see the facilities and plans set forth by our colleagues in Connecticut. This conference will take place April 22 - 25, 2021 and we encourage everyone to mark your calendars and attend. NAfME president Kathleen Sanz and CEO Michael Blakeslee were also in attendance, sharing updates from the national level. One thing of note, as it relates directly to our own strategic plan and state action steps, is a study on unconscious bias being done by Cook Ross.

It is my hope that by the time you read this article, you have already registered and made plans to attend our 2020 professional development conference in Atlantic City! If not, I appreciate your consideration as we hope to bring new and worthwhile offerings to help enhance and reinvigorate your teaching. I encourage you to look at the list of sessions and some featured presenters both in the magazine and online. With the accommodations of a larger venue, we look forward to being able to provide keynote speakers, more performances and exhibitors, as well as access to All State rehearsals and more. Keep In Touch As always, be on the lookout for information coming from NJMEA via TEMPO Express emails, the NJMEA website and social media. We are hoping to spotlight outstanding programs and educators, so please reach out to me (patrickaokeefe@gmail.com) if you have any questions, concerns, or suggestions.

Cook Ross Study NAfME has formed a partnership with Cook Ross, a consulting firm, to conduct a current-state study to gather and analyze qualitative and quantitative data about diversity, equity, inclusion and overall culture within the national organization. They have held focus groups, conducted surveys in person and online, as well as worked closely with the National Executive Board over TEMPO

JANUARY 2020

Degrees: Bachelor of Music, Bachelor of Arts, Master of Music, Master of Arts, Artist’s Diploma Music Education, Performance, Jazz Studies, Music Therapy, Theory/Composition Graduate String Quartet Residency Program

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Cali School of Music Training the creative leaders of tomorrow

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Contact Rebecca Vega for more information. Email: Rvega@caldwell.edu Phone: 973-618-3446

SPRING OPEN HOUSE | APRIl 25, 2020 • 11:00 AM

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Pursue Your Career in MUSIC Undergraduate and Graduate Degree Programs Classical Performance, Jazz Studies, Music Education, Music Management, Popular Music, Sound Engineering

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Be a Music Major for a Day! January 30 • February 13 April 23, 2020 To register: wpunj.edu/music To Schedule a Tour musicadmissions@wpunj.edu 973.720.3466

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TEMPO

THE NEW JERSEY MUSIC EDUCATORS ASSOCIATION a federated state association of NATIONAL ASSOCIATION for MUSIC EDUCATION

News From Our Division Chairs Administration & Advocacy Dennis Argul Jazz House Kids dennisargul@gmail.com

Administration The New Jersey Music Administrators Association held its first meeting of the general membership on Friday, October 4, 2019 at the Rutgers Club. After welcoming many new members and proceeding with the regular business of the session, President Lorenzetti welcomed Joe Akinskas and myself to present on the day’s topic: Coaching Conversations: Support for Veteran Teachers. Working with teachers on the ever-evolving craft of music education is a daunting task and many terrific ideas were discussed and valuable resources were shared among our peers. The concept of staying in touch with modern pedagogy and communication skills are vital to a healthy and vibrant music faculty. December 6 - Roundtable Discussion: Nontraditional Music Electives Facilitator: Robert Hamm February 7 - Social Emotional Learning in the Arts Facilitator: Shawna Longo April 3 - Engaging the Community: Ideas for Building Community Support Facilitators: Lisa Vartanian and Donna Sinisgalli June 5 - ArtsEdNJ and NJMAA – Sharing Resources and Tools Facilitators: Bob Morrison and Kira Camposs **Location: FEA/NJPSA – 12 Center Drive Monroe Township, NJ Most NJMAA meetings, which begin at 9:00 am, are held at the following location: Rutgers Club Livingston Dining Commons 85 Avenue E Piscataway, NJ 08854 (The club is on the second floor) Our membership is increasing each year and we are excited to welcome new administrators to our group. Please visit us at www.njmaa.org and share with your district administrators as well. For further information, please contact our Treasurer/Membership Chairman, Lou Quagliato, at: lquagliato@westorangeschools.org or (973)-669-5400 ext. 20570

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NEW JERSEY CITY UNIVERSITY

Rendering of NJCU’s exciting new Center for Music, Dance, and Theatre-CMDT and the University Performing Arts Center-UPAC, which will include a 500-seat theater, recording, dance and rehearsal studios.

YOU. MUSIC. NJCU. CAROLINE L. GUARINI DEPARTMENT OF MUSIC, DANCE & THEATRE Undergraduate and Graduate Degree Programs: Music Education, Classical and Jazz Performance, Music Business, Multiple Woodwinds, Musical Theatre, Composition Community Music School Dr. Amparo Fabra, Department Chair www.njcu.edu/mdt

JANUARY 2020

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THE NEW JERSEY MUSIC EDUCATORS ASSOCIATION a federated state association of NATIONAL ASSOCIATION for MUSIC EDUCATION

News From Our Division Chairs Advocacy Helping Parents Become Advocates For Music Education

How can you get the parents in your school community involved and active in your school’s music program? Start by sharing with them the information you want them to share with others in your school building, district, or community. Parents are the first to care about the quality of their child’s education. Students need access to the best educational experiences and to have qualified teachers in the classroom. Advocacy is simply sharing a moving arts education story with a decision maker that will have a strong impact. This is not difficult work, but it does take some time to develop relationships with decision makers. Here are some steps to help you develop parents into arts advocates. Facts for Your Parents The music plays a critical role in quality education. Research shows that music education: • fosters creativity and innovative thinking. • helps students communicate a variety of messages. • improves student achievement in other disciplines. • advances problem-solving and cognitive skills. • enhances cultural understanding. • increases attendance and graduation rates. Easy First Action Steps for Parents Encourage parents to start with advocacy they are comfortable with. Have parents think about why the music is important to their own child. • Share their support of music education with family and friends. • Keep on top of the latest music education research, policies, or practices. • Send copies of music education articles to district administrators and legislators. • Recruit others to advocate for your music program. Next Steps for More Experienced Advocates Parents who are passionate about their children’s music education will be your front line to administrators and legislators. Share with them information about state music advocacy or music education organizations. See if you can advance your parents down the advocacy continuum. • Meet with school board members and legislators to talk about the importance of music in education. • Write letters and articles for the local newspaper about music education and your program. • Join an advocacy network and respond to action alerts. • Develop relationships with school administrators and legislators. An impassioned parent can be the difference between a well-funded music department, and a teacher scrounging for supplies. They are one of your strongest tools in this fight. Make sure to help them wherever you can, and let their advocacy build your department! continued on page 10

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Creativity Scholarship Artistry

Make music••• Make a difference TCNJ THE COLLEGE OF NEW JERSEY

The College of New Jersey · Department of Music The Department of Music is an accredited institutional member of the National Association of Schools of Music as well as collegiate member of NAfME, the National Association for Music Education. Kiplinger ranks TCNJ as the #1 Best Value Public College in New Jersey in 2018, and U.S. News & World Report ranks TCNJ as the Best Public College in "Regional Universities North" category for 2018-19.

ACADEMIC & PERFORMANCE SCHOLARSHIPS AVAILABLE JANUARY 2020

Audition Dates

Programs of Study

November 13, 2019*

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January 25, 2020

*Early Decision

For more information visit

February 5, 2020 February 19, 2020 Join us for our annual "How to Give a Great Audition" Workshop for high 9 school students, teachers, and parents on November 23, 2019.

MUSIC.TCNJ.EDU Department of Music

The College of New Jersey P.O. Box 7718, 2000 Pennington Rd. Ewing, NJ 08628-0718 P: 609.771.2551 F: 609.637.5182 E: mymusic@tcnj.edu TEMPO

THE NEW JERSEY MUSIC EDUCATORS ASSOCIATION a federated state association of NATIONAL ASSOCIATION for MUSIC EDUCATION

News From Our Division Chairs Band Performance Nick Mossa nmossa16@gmail.com

The school year is well underway! I hope all of your winter concerts have been successful and you are now enjoying the freshness of new music and all the fun beginnings that come with the month of January. As we look ahead to the NJMEA Conference in Atlantic City, I want to take this opportunity to share information about the All-State Band including what has changed and what has stayed the same! The All-State Band auditions will be held at John P. Stevens High School on Saturday January 18, 2020. The snow date is Sunday January 19, 2020 at John P. Stevens High School. Many thanks to Andrew DeNicola and John Zazzali for hosting - year after year! The reading rehearsal will be at Bridgewater Raritan High School on January 30. We look forward to welcoming Bruce Yurko and Joseph Higgins from Rowan University to lead the groups for the reading rehearsal sessions. New Jersey is proud to welcome Dr. Paula Crider - Professor Emerita at the University of Texas to lead the 2020 All-State Wind Ensemble; and Dr. Timothy Rhea, Director of bands and musical activities at Texas A&M University to lead the 2020 All-State Symphonic Band. The students will have a phenomenal experience. You can review their concert programs in this issue of TEMPO. While you are at the NJMEA Conference, you should find it easy to share the All-State experience with these wonderful students and their conductors since they will be rehearsing on-site. One of the greatest advantages of having the bands here in Atlantic City is that you, the director, have much greater access to these rehearsals with these outstanding conductors and phenomenally gifted students. Personally, the time spent observing these rehearsals is just as valuable as many of the sessions I have attended over the years at this conference. I encourage you to take advantage of this opportunity! And if you are more inclined to support their achievement in a more formal setting, you can still attend the concert at NJPAC on Sunday February 23 at 3pm. Sponsoring directors should make every effort to attend the performance and support their students and their families. It is a crowning achievement for the student, their family, and their band program to perform at NJPAC with the state’s best high school musicians. We also look forward to offering high school and university band performances throughout the concert hours of our conference schedule as well as the many band academy sessions that will continue to offer a variety of development and learning through the conference. Atlantic City should allow for more vendors, spacious causeways, and greater conference attendance. I know it is a few more miles away for many, but the trip is worth it. I look forward to seeing you there!

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Talent. Passion. Community. No other school compares to Westminster Choir College’s collaborative approach to musical excellence. Guided by world-class faculty, our students develop the necessary skills essential for professional success.

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THE NEW JERSEY MUSIC EDUCATORS ASSOCIATION a federated state association of NATIONAL ASSOCIATION for MUSIC EDUCATION

News From Our Division Chairs Choral Performance Wayne Mallette wayne.mallette1@gmail.com

All-State Mixed Chorus enjoyed two moving concerts in Atlantic City and NJPAC in November. The incredibly musical and inspired direction of conductor Dr. Sandra Snow, supported by brilliant accompaniment by James Lubrano made this musical experience unforgettable for all students involved. Many thanks to Colin Britt, Julianna Lobiando, and Arielle Seigal who prepared the chorus for Dr. Snow. They gave up many hours to share their talent with the students. I am so grateful for the leadership of Patrick O’Keefe and Debbie Sfraga and the entire NJMEA board who worked tirelessly to help make this weekend a reality. Our managers, Matthew Lee and Matthew Wolf were spectacular. Their ability to help organize and execute such a monstrous production with such grace and patience is a gift to our students. A huge thank you to all, Michael Doheny (Housing Director), Hillary Colton (Head Chaperone), David Westawski (Transportation Head), Tyler Mills (attendance manager), Nancy Dickinson (Food and Beverage Manager), and every chaperone who worked with the production team, housing, and transportation teams in a very professional manner. I must also thank members of the Choral Procedures Committee, who ran the Governor’s Award auditions, attended an open Choral Procedures Committee meeting, held a reading session at the convention, and filled in anywhere help was needed. We all work hard but have a lot of fun, laughing and sharing stories. You should join us, next time! This year’s All-State Chorus journey is not yet over! Our All-State Treble Chorus will be performing at NJPAC for the NJMEA convention SUNDAY, February 23, 2015. The girls have already begun rehearsing with their conductor Nicole Snodgrass. They have made great progress in their rehearsals so far, and we are eagerly awaiting a wonderful performance! Please join us at the convention and the concert. I hope that you have been checking our activities at www.njmea.org for all information concerning All-State and Regional Choruses. The 2020 All-State Chorus Audition Bulletin will be available for you in early January. Please read carefully and be aware of deadlines!! We will host the video audition again this year on April 25, 2020. All-State Chorus is a great experience for your students to work with top directors, meet other students who love singing as much as they do, and learn challenging repertoire. Every year I hear from our singers that this experience has changed their lives! It is such a privilege to take part in this process. Please step up and get more involved!! Email me at wayne. mallette1@gmail.com. I would LOVE to get to know you better!

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THE NEW JERSEY MUSIC EDUCATORS ASSOCIATION a federated state association of NATIONAL ASSOCIATION for MUSIC EDUCATION

News From Our Division Chairs Guitar Education Jayson Martinez Jmarti37@webmail.essex.edu

My heart is full of joy! I had a wonderful time participating as one of the NAfME All-National Honors Ensemble Guitar Directors. I gained valuable pedagogical insight seeing Bill Swick work his magic with this year's guitar ensemble. The 2019 All National Honors Guitar Ensemble (ANHE) performed alongside five other All-National Honor Ensembles in Orlando, Florida. Mr. Swick currently teaches guitar for the twelve-time GRAMMY award-winning Las Vegas Academy of the Arts and is the guitar task force chair for Clark County School District in Nevada, the nation’s fifth largest public school district. Each one of the ensemble members were well-prepared and sounded amazing! I witnessed inspiring rehearsals and performances with the “3 Strings: UNLOCKED” ensemble, Modern Ensemble, Guitar Ensemble, Mixed Choir, Jazz Band, Concert Band and Symphony Orchestra. Furthermore, I am very proud of our New Jersey guitar students Matthew Fajardo, Jon’tera Ashburn, Stanley Barragan, Dhruv Iyengar, Bela Khanna, and Emily Huang, who participated in the 2019 National Guitar Honors Ensemble. These students represented Newark’s Arts High Schools and Edison’s John P. Stevens High School with performances of the highest caliber. Mark your calendars with this important update: On Saturday, April 4th 2019, our New Jersey High School Honors Guitar Ensemble will be performing at GuitarFest, hosted annually by William Paterson University. GuitarFest is a oneday guitar festival that occurs each spring. This annual celebration of the classical guitar is a focal point for guitar students and a showcase to the community for world-class artists of the classical guitar. Each year, GuitarFest presents one featured artist, whose performance in concert forms the centerpiece of the festival. It is an honor to announce that Celil Refik Kaya will be featured this year. International recording and performing artist Celil Refik Kaya is one of two three-time prizewinners of the Guitar Foundation of America International Guitar Competition, the youngest First Prize Winner of the JoAnn Falletta International Guitar Concerto Competition, and is a recording artist with Naxos Record label. Buffalo Philharmonic Orchestra conductor JoAnn Falletta commends Mr. Kaya as “a superb musician in every sense”. American Record Guide has called his performances “just perfect”, and numerous critiques from around the world applaud Mr. Kaya’s playing as being “seemingly effortless”. Lastly, the students of the William Paterson University Guitar Department will present a concert of solo and ensemble music. Seminars, master classes and other performances take place, creating an atmosphere of guitaristic and musical excellence. This is a perfect opportunity for our high school guitarists to experience the collegiate level of guitar education, with the intention of continuing their musical education after graduation. See you Saturday, April 4th at William continued on page 16

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THE NEW JERSEY MUSIC EDUCATORS ASSOCIATION a federated state association of NATIONAL ASSOCIATION for MUSIC EDUCATION

News From Our Division Chairs Paterson University. For future information, visit their website www.wpunj.edu.

Orchestra Performance Susan Meuse susanmeuse@gmail.com

Congratulations to the 2019 All State Orchestra and Mixed Chorus for two great concerts in November! I hope that many of you had the chance to hear these talented students perform. The Orchestra Procedures Committee would like to congratulate all of the students involved in the All State Orchestra, as well as thank all of the volunteers who worked very hard to make both concerts possible. First, we would like to thank our conductor, Brent Chancellor. We would also like to thank our two Managers, Sarah Donatelli and Deb Knisely, as well as our Percussion Coordinator Chris Janney. Without their hard work, rehearsals and performances would not have been a success. The committee would also like to thank rehearsal conductors, Jim Millar and Michael Avagliano for preparing the students ahead of time. Thanks to all of the sectional coaches, rehearsal hosts, and chaperones for helping the students have a positive All State experience. Thank you to the NJMEA Executive Board, particularly Debbie Sfraga, for doing a lot of extra work this year. And finally, a big thank you to Housing Coordinator Mike Doheny and Transportation Coordinator David Westawski who organized everything needed to get all of the students safely to and from Atlantic City. The middle school/junior high festival will take place on Wednesday, March 11 at Bridgewater Raritan Middle School. The application is currently on the website, so please email me with any questions. In addition, All State Orchestra auditions (both Intermediate and High School) will be taking place on Saturday, March 21st. If you are interested in getting involved with ASIO or ASO, please feel free to reach out to me!

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THE NEW JERSEY MUSIC EDUCATORS ASSOCIATION a federated state association of NATIONAL ASSOCIATION for MUSIC EDUCATION

News From Our Division Chairs

Retired Music Educators Joyce Richardson jsmusic@aol.com

Please join us on February 21, 2020 in Atlantic City during our Annual Luncheon as we honor our Master Music Teachers for 2020, Susan Mark, instrumental and Nicole Snodgrass. You will find their biographies in this issue of TEMPO. Congratulations to both of our awardees! New teachers might need a mentor in their specific teaching area. The New Jersey Retired Music Educators Association continues to seek volunteers from our retired members to serve as mentors for our novice teachers. I encourage our retirees to consider being a mentor to our music teachers who are entering the field. An article with information about being a mentor is found in this issue of TEMPO.

Special Learners Maureen Butler mbutler@mlschools.org

As 2020 began, many of us made resolutions for the New Year. It’s not too late to add one more: to ensure that we are meeting the needs of all of our students, particularly our special learners. If you are looking for insight and new strategies, resolve to attend the NJMEA conference in Atlantic City next month. There will be several sessions presented by members of our state Special Learners Committee, as well as other experts in the field. Additionally, our annual Roundtable discussion has proven to be an excellent resource. Bring your questions and concerns and you’ll receive advice and encouragement. Think about sharing your successful experiences with fellow participants, as well – we all benefit by supporting and learning from each other! Look for presentations by George Scott, too. A family therapist and statewide resource coordinator for the New Jersey Traumatic Loss Coalition, he will again be discussing the emotional well being of our students, and how emotional needs may be affecting students’ behaviors and learning. Hope to see you at the conference! In the meantime, if you have questions or concerns about TEMPO 18

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THE NEW JERSEY MUSIC EDUCATORS ASSOCIATION a federated state association of NATIONAL ASSOCIATION for MUSIC EDUCATION

News From Our Division Chairs the students that you teach, please contact me at the email listed above.

Technology

Dr. Andrew Lesser andrew.lesser@yahoo.com

Greetings, and Happy New Year! I am happy to announce that registration for the 10th annual New Jersey Student Technology Expo is officially open on the NJMEA website at the following link: https://njmea.org/classroom/technology/. The deadline for all school registrations is March 23rd. Project submissions for students will be open for registration on March 30th and due April 22nd. School registrations are $30 per district, with $10 for each individual student and an additional $10 if a student's work is submitted for adjudication. These fees are used to compensate our presenters, in addition to facility and prize costs. The Expo events will be held on the following dates:

Expo Central: Monday, May 18, 2020 @ Rutgers University Expo South: Tuesday, May 19, 2020 @ Rowan University Expo North: Wednesday, May 20 @ Montclair University

If you have any questions about the Expo, please feel free to contact me at andrew.lesser@yahoo.com. Also, I hope to see you all at the NJMEA Conference in Atlantic City, which will be held from February 20-22, 2020. The Technology Workshop will be held on Thursday, February 20th, so make sure you register for that specific workshop when you register for the conference. We will be having amazing presentations from fantastic speakers including Jim Frankel, Amy Burns, Shawna Longo, Marjorie LoPresti, myself, and more! As always, if you have any resources you would like to share, please contact me anytime! Any stories, anecdotes, or inquiries are also welcome on the forum as well. Technology is a vast resource that has become an ever-present part of not only education, but society in general. The years ahead promise to be full of new innovations that have the power to engage and amaze, so take advantage of these opportunities and I hope to see you at one of our many upcoming events.

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Music Education And Social Emotional Learning The Heart Of Teaching Music In Your Classroom

t’s Monday morning, and your students come into your room—some excited, some tired, some anxious, some relieved. Their faces tell the stories of everything that has happened to them before they see you. There is Tom who is worried about where the next meal will come from; Sara, who is worried about the fight her parents had last night; Alex who is struggling with body image; and, Kara, who is concerned about how she will get into the college her parents expect. These challenges are real, and for your students are all they can think about as we try to teach them music. We, as music educators, can help provide skills for students to confront these challenges. Challenges exist in ALL socioeconomic settings, at all ages, and for all people, they may be different (i.e., finding that next meal vs. getting into Juilliard), but they are all detrimental for students’ success. We have been frequently asked whether the challenges facing this generation are worse than previous ones. There are certain elements that I believe may lead to this assumption; however, it really does not matter. The challenges facing today’s students are real and derailing them—THEY NEED OUR HELP!

Scott N. Edgar and Robert Morrison Quadrant Research bob@artsedresearch.org So, What Do You Want ME to Do About It? I’m Just Their Music Teacher! These situations are a reality and will resonate with many teachers. Addressing these situations sounds like it belongs on the desk of the school counselor or mental health professional. The truth is your students rarely trust them—they trust YOU because you are their music teacher. You have likely taught them for multiple years in their favorite subject. While we should never go beyond the role of teacher into a counselor or therapist, THERE IS SOMETHING WE CAN DO TO HELP! We do not teach music; we teach children music. Because they trust us, we are in the perfect position to help them not only encounter the accidentals in music but to confront the accidentals in their lives with strength and skill. Social Emotional Learning (SEL) SEL is a construct being implemented across the globe intended to provide students with the SKILLS to confront their challenges by being self-aware, socially-aware, and to make responsible decisions. Broad instruction often takes the form of reflection, discussion, and lecture. Students can view this as

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forced, formulaic, and scripted. For SEL to be most effective, it needs to be embedded in the curriculum. For us, the music teacher can do this in a much more authentic way—through music. SEL should not feel like one more thing; it is THE thing. We teach music; we teach self-discipline; we teach collaboration. SEL is in our classrooms already; our job is to make it explicit, consistent, and structured.

Making Intentional Connections In New Jersey, a task force of arts educators and SEL experts have gathered to develop resources to help you in your process to embed SEL into your instruction. Formed in partnership between Arts Ed NJ and SEL4NJ this task force is combining the soon to be released New Jersey Student Learning Standards (NJSLS) in the Visual and Performing Arts and the Social and Emotional Learning Competencies adopted by the New Jersey Department of Education in 2017. The new NJSLS in the arts are based on the National Core Arts Standards, that is organized around the Artistic Processes, which are the cognitive and physical actions by which arts learning and making are JANUARY 2020

realized. Inspired by the 1997 National Assessment of Education Progress (NAEP) Arts Education Assessment Framework, the National Core Arts Standards are based on the artistic processes of: • Creating; • Performing/Producing/Presenting; • Responding; and Connecting. Each of the arts disciplines incorporates these processes in some manner. These processes define and organize the link between the art and the learner. The taskforce worked to connect the artistic processes to the SEL Competencies of: • Self: Self-Awareness and Self-Management • Social: Social Awareness and Relationship Skills • Responsible Decision-Making Understanding how the artistic processes intersect with the SEL competencies will enable music educators to intentionally activate and maximize these connections for the benefit of students. A recent report from the University of Chicago and Ingenuity entitled Arts Education and Social-Emotional Learning Outcomes Among K-12 Students noted that much of this could be understood by considering the framework of how students learn. This document quoted from the report, Foundations for Young Adult Success: A Developmental Framework, high-lighting the following two ways that students learn: 1) That the way children and youth develop competencies, beliefs, and behaviors are through developmental experiences, opportunities to act in the world and reflect on their experiences; and 2) experiences are most influential in shaping the course of development when they take place within the context of strong, supportive, and sustained developmental relationships with significant adults and peers. Developmental relationships and developmental experiences form the bedrock of SEL for our students. The key is whether or not these experiences are positive ones! The report further notes the developmental experiences that played a key role in education: Researchers identified ten developmental experiences that were particularly powerful contributors to youth learning and development, including JANUARY 2020

the development of social-emotional competencies. These ten developmental experiences include five action experiences (encountering, tinkering, choosing, practicing, and contributing) and five reflection experiences (describing, evaluating, connecting, envisioning, and integrating). Evidence from a range of disciplines suggests that the more students who have the opportunities to engage in these types of experiences, the more developmentally healthy and successful they will be. As music educators, can you think of how you create these five action experiences and five reflection experiences? If you are like most music educators, you can relate to every one of them. If you know these are important experiences to the developmental process, what can you do to make these experiences more meaningful? Taking an intentional approach to maximizing these educational experiences music educators will increase the educational impact these interactions have with students. By connecting the new arts standards to the SEL Competencies, along with examples of effective strategies, New Jersey music educators will have a road map they may use to aid in the SEL integration process. SEL and MUSIC We can help our students develop SEL skills by: • encouraging students to set their own musical goals • devising solutions for individual or group errors (instead of us always giving the answers) • navigating performance anxiety • understanding the power of music for social change We advocate for the benefits of music education, such as leadership, self-expression, and creativity. If we truly believe this, then this can be accomplished by teaching students to be the self- and socially-aware musicians they have the potential to be. When the awareness improves, so does the music and the community. SEL should not be viewed as something taking time from musical instruction; it can be done THROUGH musical instruction. Simple, embedded techniques such as: Group self-reflection of quality of performance—“Fist to five”—tell me how you did on that last performance, run, measure, etc. (Fist= terrible, Five fingers=perfect) helps students develop accurate self-assessment of their abilities. 23 TEMPO

Emotional vocabulary building—Helping students understand the emotion of music so they can articulate their own feelings beyond “fine” helps students develop their ability to accurately articulate their own emotions while finding examples in musical performance and repertoire. A poster of emotions with pictures of facial expressions would be a good addition to every classroom. Exit slips with a SEL-based prompt—Asking students questions such as: What is one musical goal you have for this week? What are your musical strengths/challenges? How do you respond to constructive criticism?, helps students reflect, individually, their motivation and self-awareness. Music education helps our students learn how to be dedicated, to persevere, and to work together. It is our job to help students see that these skills are not isolated to the music classroom. These are the skills they need to be successful outside of music and to confront their challenges with strength and skill. Music can be the preventative mental health our students need so they have the skills to confront the life challenges ahead of them. References Edgar, S.N. (2017). Music education and social emotional learning: The heart of teaching music. Chicago, IL: GIA Publications, Inc. Edgar, S.N. (2018). Music education and social emotional learning: The heart of teaching music—Student workbook. Chicago, IL: GIA Publications, Inc. Farrington, C. A., Maurer, J., McBride, M. R. A., Nagaoka, J., Puller, J. S., Shewfelt, S., Weiss, E.M., & Wright, L. (2019). Arts education and social-emotional learning outcomes among K–12 students: Developing a theory of action. Chicago, IL: Ingenuity and the University of Chicago Consortium on School Research.

Nagaoka, J., Farrington, C. A., Ehrlich, S. B., Heath, R. D., Johnson, D. W., Dickson, S., . . . Hayes, K. (2015). Foundations for young adult success: A developmental framework. Chicago, IL: University of Chicago Consortium on Chicago School Research. New Jersey State Board of Education (2017) New Jersey Social and Emotional Learning. Competencies and SubCompetencies, Trenton, NJ: New Jersey Department of Education. State Education Agency Directors of Arts Education. (2014). National Core Arts Standards. Dover, DE: State Education Agency Directors of Arts Education. Dr. Scott N. Edgar is in his eighth year as Associate Professor of Music, Music Education Chair, and Director of Bands at Lake Forest College. He received his Doctorate of Philosophy in Music Education from the University of Michigan, his Masters degree in Education from the University of Dayton, and his Bachelor of Music in Music Education degree from Bowling Green State University. Prior to his work in higher education he taught K-12 instrumental music in Ohio and Michigan. Dr. Edgar is the author of Music Education and Social Emotional Learning: The Heart of Teaching Music and is an internationally sought-after clinician on the topic. In addition to clinics, he also teaches graduate courses on Musical Social-Emotional Learning at VanderCook College of Music. Dr. Edgar is a Conn-Selmer Educational Clinician and VH1 Save the Music Foundation Educational Consultant. Dr. Edgar is a member of the National Association for Music Education, the American Educational Research Association, the College Music Society, Phi Mu Alpha Sinfonia Music fraternity and Kappa Kappa Psi Band fraternity. He lives in Lake Villa with his wife Steph, their son Nathan, and their cats Elsa and Wolfie. Robert B. Morrison is a nationally recognized leader arts education. He serves as the director of Arts Ed NJ, the statewide arts education advocacy organization responsible for the advancement of arts education for all New Jersey students. He is also the founder and CEO of Quadrant Research, one of the nation’s leading arts education research organizations where he has created a deep body of research and policy work. Mr. Morrison is recognized as a pioneer in the field of statewide arts education status and condition reporting on public school programs. He is the leader of the national Arts Education Data Project in partnership with the State Education Agencies Directors of Arts Education (SEADAE). He is also the founded nationally recognized Music for All where he remains chairman emeritus and was the first CEO of the VH1 Save The Music Foundation. Mr. Morrison’s advocacy work has earned him both a Prime-time EMMY and a Peabody Award, the New Jersey Governor’s Award for Arts Education and an honorary doctorate degree from the State University of New York. This article is adapted from a blog originally appearing on the National Association for Music Education website and is reprinted with permission from National Association for Music Education (NAfME). The original article published on September 16, 2019 can be found at: https://nafme.org/music-education-social-emotional-learning/

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Summer Music Studies 2020 W E E K- L O N G G R A D UAT E CO U R S E S FO R M U S I C E D U C AT O R S Renowned faculty from University of the Arts and content experts from across the country provide week-long graduate level instruction for teachers interested in expanding their pedagogical, technological, musical and instructional skills in all types of music classrooms. As a component of the Summer Music Studies Program, UArts offers a 33-credit Master of Music in Music Education program that can be completed in as few as three summers. A P P L I C AT I O N T O T H E M M I N M U E D FO R S U M M E R 2 0 2 0 I S N OW O P E N uarts.edu/sms WEEK 1 WEEK 2 WEEK 3 WEEK 4 ONLINE

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Waiving Through A Window: A New Vision For The Music Curriculum Frank Abrahams, Ed. D. Associate Dean and Professor of Music Education Westminster Choir College Princeton, New Jersey

n the Broadway musical Dear Evan Hansen1, teenager Evan suffers from a social anxiety disorder. His psychiatrist suggests that he write letters to himself that will help focus and calm him. Intending that Evan’s messages are positive, the doctor recommends a writing prompt that begins “Dear Evan Hansen, Today is going to be an amazing day, and here’s why.” However, for many music teachers, and the students in their classes, many days are not so fulfilling. Imagine Evan Hansen as the music teacher writing a letter. It might go like this: Dear Evan Hansen: Today is not a particularly good day. I haven’t slept all night. My lesson plan is flawed because I could not align the content that I felt compelled to teach, to the prescribed and approved curriculum. I am trying to meet my students where they are, honor their individuality, and illustrate global themes of social justice, diversity, and ethical practice. I want to engage their musical imaginations, intellects, and creativity in ways that are transformational and meaningful to them. But, my curriculum calendar says that today I must teach the evils of the augmented fourth. I feel that if I do not do that, the music education police will find me and then remove me from my students, strip away my license, and banish me to hall and bus duty forever. Sound ridiculous? Well, not really. The hegemonic practices that frame public schooling and particularly music education curricula in schools delimit access, inclusivity, diversity, and equity. They are often prescriptive and do not address essential questions like “Why teach this?” and “What does my teaching of

the content in the curriculum have to do with the students in my care?” Instead, these practices challenge the very essence of an education that should foster democratic ideals, a feeling of well-being, happiness, and result in music students who find experiences with music in school to be fulfilling. Instead, they reproduce a historic western pedagogic tradition that many students find boring and a waste of time. Many students believe that their teachers do not connect to their realities and that the prescribed music curriculum does not honor or value their heritages, identities, tastes, or values. Any discussion of access, inclusivity, diversity, or equity in music education (or any school subject) begins with the curriculum. In this essay, I propose a view of curriculum that fosters inclusion through collaboration (i.e., teachers with students) and promotes meaningfulness in ways that contribute to feelings of well-being. The curriculum is not a collection of lesson plans stored in a large loose-leaf binder and summarized in a small daily plan book. Nor is it the enactment of a Eurocentric music methodology. Instead, a curriculum should be organic and result from the collaboration of teachers and their students working together within a context of social capital. I define curriculum as the interaction of teachers and students in authentic and meaningful experiences, which both teachers and their students acknowledge as important. The purpose of the curriculum is to enrich and change the knowings, understandings, and perceptions that students and teachers have as individuals and as members of a sub‐set in society. The curriculum is content that results in an enlightened vision of what is important and what adds value to the world within

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the context of each person’s place inside and outside of that reality. Music as a fine art is not a subject unto itself. It is part of who we are as human beings. Howard Gardner suggested that it is an intelligence. The fact is that once we make music a subject, like all other school subjects, we make music into something it is not. There are aspects of music that can be learned and therefore taught. Those aspects expand musical intellect and provide the scaffolds for various kinds of musicing such as playing an instrument, composing a cover to a popular song, scribing an original musical composition into notation and the like. However, music is a phenomenon unlike any other that students would “study” formally in school. Music lives inside each of us, not in a music classroom. Music promotes what Aristotle called eudaimonia—happiness or well- being, human flourishing, and prosperity. Peter Webster noted that we do not engage with music the same way we did in the past, and asked, “Why do we still teach the same way?” Dewey said something similar when he wrote: “If we teach today’s children as we taught yesterday’s, we rob them of tomorrow.”2 We can no longer prepare students for a musical life in the past. Instead, we must prepare them for the now and future. Good teachers can develop and choose those experiences that are relevant and meaningful to and appropriate for the populations they teach. As a result, not every JANUARY 2020

child comes away from musical experiences in school or the community the same. What is the same, and unifies the outcome, is the desire on the part of the teacher and the students to engage in musical experiences that stimulate musical imagination, enhance musical intellect, nurture creativity, and celebrate music making through performance. These are the engagements that can be meaningful and significant, whatever that might be for each particular student. I chose Critical Pedagogy for Music Education as the philosophical framework for curriculum because critical pedagogy centers on each child as an individual, it recognizes that all education, including music education, is political and that those in power limit access for all. A critical pedagogy perspective honors diversity and advocates resisting the hegemony that causes the angst of teachers like the one in the opening vignette. The philosophy advocates for the marginalized, and desires to un-silence every musical voice. Advocates of Critical Pedagogy for Music Education ask four questions: Who am I? Who are my students? What might they become? What might we become together? Answers to these questions guide curricular decisions, lesson planning, and music making. It is an umbrella that encompasses issues of artistic citizenship, social justice, cultural relevancy, popular music pedagogy, informal music learning, and more.

While a critical pedagogue would see nothing wrong with setting standards, they would resist standardization and the notion that one size fits all. What follows are some learning outcomes to guide curricular decisions for music education. For the children it serves, a music education: 1. Develops habits of mind that promote meaningful, enriching, and significant engagements with music at all levels of child development and all stages of adult life. 2. Promotes pathways to musical understanding for the student that develops musical independence and a critical consciousness.3 3. Fosters connections among and between music and the various subjects taught in school (especially STEM4) such that students and their teachers see, acknowledge and appreciate the relationships and what each subject has to offer the other. 4. Applies the principles of constructivist and connectionist learning theories to the making of music in ways that generate the depth of understanding and foster well-being now and in the future. 5. Develops musical literacies beyond the ability to decode Western notation. 6. Engages musical imagination, intellect, creativity, and music making through performance in ways that help children to transfer

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these constructs to solve problems in music and all areas of life. 7. Nurtures the development of musical agency. 8. Fosters eudaimonia through intrapersonal connections that nourish physical, emotional, and spiritual wellbeing. 9. Promotes, through engagements with music, a commitment to ethical behavior, social justice, and artistic citizenship. 10. Embraces fun experiencing music in all of its genres and forms, and connects to a student’s musical heritage. While no single method is useful for every student in every context, achieving the outcomes above empowers children to seek out learning on their own. It extends the knowledge the teacher can provide. Further, such independent student explorations foster the cognitive constructs that are the pillars (imagination, intellect, creativity, and performance) of music teaching and music learning. Remembering that teaching and learning is a partnership, students and teachers together, enacting the curriculum described herein may foster a feeling of well-being and fulfillment for the teacher as well. Returning to our music teacher who now wrote: Dear Evan Hansen: In my students’ eyes, I saw a bright and shining glow when they performed their

original musical compositions for the class and me. One child said, “I felt like someone was listening and cared about my musical ideas.” They didn’t know about the augmented fourth, but they did know the feelings of happiness and of being fulfilled when they had the space to express themselves musically. I felt the same. It seemed like together, we were no longer waving through a window from the outside looking in. Instead, we were all on the other side. Today was an amazing day.

The following sources informed this essay: Abrahams, F. (2014). Starbucks doesn’t sell hot cross buns: Embracing new priorities for pre-service music teacher preparation programs. In M. Kaschub, & J. Smith (Eds.) Promising practices in 21st century music education (pp. 41-60). New York: Oxford University Press. Abrahams, F., & John, R. (2015). Planning instruction in music: Writing objectives, assessments, and lesson plans to engage artistic processes. Chicago: GIA. Abrahams, F. & John, R. (2017). Becoming musical. Chicago: GIA. Dewey, J. (1944). Democracy

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and education. New York: Macmillan Company. Gardner, H. (1983). Frames of mind: The theory of multiple intelligences (3rd ed.). New York: Basic Books. (Endnotes) 1. Dear Evan Hansen is a Broadway musical with music and lyrics by Benj Pasek and Justin Paul, and book by Steven Levenson. In 2019 it won six Tony awards, including Best Musical, Best Score, Best Actor, and Best Featured Actress in a Musical. “Waving Through A Window” is a musical number from the production. At the time of this essay, the musical was still running in New York and on National Tour. 2. John Dewey. Democracy and education. New York: Macmillan Company, 1944, p. 167 3. Paulo Freire, 1973 in Education for critical consciousness coined the term to mean the ability to “intervene in reality in order to change it.” 4. STEM stands for Science, Technology, Engineering, and Mathematics.

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Music Appreciation As An Opportunity For Inclusion, Diversity, and Democracy Dr. Carol Shansky New Jersey City University Jersey City, NJ

hen inclusivity, diversity and democracy are discussed in music education our focus is on the welfare and experience of our students. This is important, of course, as those that may have been marginalized in the past should be and feel included and those privileged in the past can only benefit from this interaction. I argue, however, that our repertoire and our academic work has not kept pace. Of course, many school concert programs are increasingly populated by arrangements of music from other cultures and there is an effort to incorporate world instruments in music classes. Here, I focus in particular on what we are teaching in Music Appreciation classes, particularly in high school. Most textbooks that support this subject are really western music history surveys, with some sidebars that highlight world or popular musics. In addition, many well-meaning teachers believe that this is what the objective should be of a class such as this. All of this just underscores the lack of inclusion, diversity and democracy in what we teach by elevating western classical music to the primary landscape of the book or class. In that case, to “appreciate” music really means to be versed in the achievements of a group that is often not representative of those in our classrooms. I do not suggest that we not teach our students the innovations of Bach, Beethoven or Brahms, but instead encourage music educators to draw connections between the music that students listen to and music to which they have not yet been introduced. But shouldn’t the school music classroom be a place where students learn about music that they don’t otherwise encounter? Don’t their science and history JANUARY 2020

classes do just that? After all, how many students are conducting experiments at home or studying World War I in depth while hanging out with friends? A silly argument, of course, because schooling is supposed to expand your knowledge. Frankly, every time someone follows a recipe in the kitchen they are conducting a form of chemistry, for instance. A music class should also seek to expand and build on your knowledge, but not to the prioritizing of some musical styles over others. Many music teachers report aggravation over how to teach Music Appreciation as their students find the classical music focus boring and unrelatable. How can we show them the beauty of Bach and the profundity of Beethoven without losing them by the third week? What really is the point of this class? What can possibly be accomplished in the time frame of the class? My intention here is to spark your imagination about the possibilities for a more inclusive and diverse Music Appreciation class and my suggested exercises are just that; suggestions that may guide your thought process. Music is found in cultures world-wide, so why not start with why people engage in musical practice starting with the students in the room? It’s unlikely that students do not listen to some music. What are they listening to and why? To increase inclusivity and democracy is to let the students take the lead in examining their own musical experiences and preferences. What do they want to learn about music? What are they curious about? Besides in their ear buds, where else do they encounter music? This can lead to rich discussions and paths to follow.

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Democracy assumes some measure of independence but at the same time requires positive group effort, including the exchange of diverse ideas and opinions as well as a group decision on how to proceed with a problem. This can be achieved through the creation of a musical composition. But, can we “let” our students do this if they have no musical background? How does one conceive of a musical composition? Using sampled sounds, students can work in groups to determine the order of sewing those samples together, thereby having an initial experience in composition as well as employing critical group practice. An aleatoric project would accomplish this as well. What you are teaching them is to begin to understand the music composition process, how their favorite music may have come about in addition to learning to respect diverse opinions and experiences through a democratic process. I like to approach music appreciation using themes that group different musics by what they have in common. (Full disclosure, I authored a textbook with this approach, but it is not my aim here to sell it. If you are interested, feel free to reach out to me). In this approach your students would study different types of music genres by what they have in common, rather than separating them because of how they’re different. Here are some ideas: • Music and Storytelling: Looking at music that has a nar-

rative reinforces skills learned in the English classroom, as well as compelling students to listen carefully to lyrics to determine if there is truly a narrative in place. Music Appreciation textbooks often include Schubert’s “The Erl King.” It certainly is a great piece and one worth introducing to your students. What is fascinating about it is how Schubert uses musical devices such as vocal range and tonal centers to reinforce the telling of the story. “The Devil Went Down to Georgia” by Charlie Daniels and the folk song, “Barbara Allen” are also examples of narrative in music. How do they, like Schubert, create a sense of place (the bluegrass violin provides the setting and the nature of folk singing gives us focus to feel inside the story). Using this concept as the central focus, your students not only learn about vocal range, tonality and the role of the accompaniment, but also folk and country-rock styles. By studying these varying pieces of music in tandem, you make democratic the learning experience. As musicians, we are familiar with the concept of program music wherein there are no words to tell the story and it is communicated through the instrumental writing. Rimsky-Korsakov’s “Flight of the Bumblebee” is a wonderful example, and we can be more inclusive and diverse by including pipa music from China, with a piece such as “Ambush on Ten Sides.” • Music and Politics: I mentioned teaching music apprecia-

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tion in high school at the start of this article. We want our high school students to be paying attention to politics and music, especially popular music, which has held a role in politics for much of its history. This is a great opportunity to discuss what popular music is and its role throughout human history. The “L’Homme Armé” song may be best known to music majors as the cantus firmus of Masses, but in fact the original song from the Renaissance period is possibly making a political statement about the Crusades as it may well have been sung by knights returning from the Holy Land. Historians are not sure about the meaning of the text, though, and its vague nature would open a chapter into text (lyrics) interpretation and could apply to some of Bob Dylan’s rich lyrics of the 1960s. American presidential campaign song history starts with our first president and the antiwar movement of the late 1960s to the early 1970s and is famous for the role music held in swaying public opinion. What is the role of music in our politics today? What are the issues, how does music today use the visual medium to make its point? Compare that to popular songs published during World War I and the nature of the sheet music cover art. If you’re concerned that you haven’t included classical music, an examination of the use of Wagner’s music by the Nazis is replete with political intent and Britten’s “War Requiem” was a statement on the JANUARY 2020

futility of war and the destruction it causes. Closer to home, “Threnody for the Victims of Hiroshima” by Penderecki is a statement on nuclear war that still resonates in today’s political climate. National anthems are a form of political music and the recent anniversary of “The Star-Spangled Banner” produced excellent materials that would make a great chapter as would the story of the South African and German national anthems, both of which had to go through transformation after societal and political upheaval. • Music and Drama: What is the musical that is going to be produced at your school this year? What is the background, who is the composer and what other musicals did they score? What is the nature of the alternation between dialogue and songs? What is the role of the dance aspect? This chapter is also an excellent chance to introduce aspects of opera, but again, alongside similar characteristics of musicals so that students can go from something more familiar to something possibly more remote. Given the basic structure, have your students construct their own opera, using existing music. This engages them to think about the connection between the song, narrative and action. Opera is not an exclusively Western form, however. Chinese opera and Japanese Kabuki are fantastic to see visually and would open your students’ ears to unfamiliar melodic and harmonic approaches. • Music and CommemoJANUARY 2020

ration: We honor our war dead with “Taps,” but it is a song with a history that is well worth studying. Classical composers such as Mozart and Verdi wrote Requiems and rock artists like Eric Clapton and Billy Joe Armstrong have composed personal songs of memorial. Study such as this can open a dialogue about how and what music represents us. What does the band play at the Memorial Day parade? How has parade music changed over the years? Marching is something the students are doing and it would be interesting for them to learn about the history of bands in our lives. These are but a few ideas and I’m sure that you can come up with your own as well as creative group exercises to support them. Catering the curriculum to be more inclusive would enable you to take advantage of topics in the school’s curriculum. Can you connect with the History, English or Modern Languages faculty and coordinate your lessons? Would a history teacher want to work with you on songs from the Civil War? If you were to do a chapter on songwriting, for maybe an entire semester, would someone from the English faculty be interested in helping with poetic verse? This approach would also enable you to engage with music practitioners in your community. What better way to address diversity than to invite someone from outside the school to present their music to your students? If students have a relative that is engaged in

musical practices from another country, you would increase inclusivity by having that person in. A thematic approach to music appreciation is, to me, one of the best ways that we can model inclusion, diversity and democracy. When students study different musical traditions side-by-side, the playing field is leveled and a type of democracy in learning is achieved. You are telling your students not only about important musical traditions, but demonstrating no judgment about what is “good” or “bad” music. I hope that this article has spurred thoughts about the ways to approach Music Appreciation and excited you about the possibilities of a class such as this. See where it leads you!

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Elementary And Early Childhood Sessions At NJMEA! Amy Burns Far Hills Country Day School aburns@fhcds.org

s an NJ elementary and early childhood music educator, I am so excited to see the featured presenters, and the numerous local elementary and early childhood music educators, listed to present at NJMEA this year. As you might have seen on the cover and in the pages of the October issue of Tempo, Denise Gagne, The Amidons, and Dr. John Feierabend are all featured presenters at NJMEA this year. Denise is the author of Musicplay, which is a curriculum for grades preschool through six that in addition to the written materials, hosts a terrific online supplemental program that has numerous fieldtested resources. The Amidons are contributors of the popular New England Dancing Masters Series, as well as numerous music books and recordings. Dr. Feierabend is the author of the First Steps in Music series and Conversational Solfege, both are research-based, field-tested approaches to helping students to become tuneful, beatful, artful, as well as teaching students to decode, read, and create music. In addition to these wonderful featured presenters, there are numerous sessions that elementary and early childhood music educators can attend to learn something new or rejuvenate their teaching. The list of

sessions is found on NJMEA’s website (https://njmea.org/wp-content/ uploads/sites/3/2019/11/SessionsPerformances.pdf ). I read through the descriptions and did my best to categorize them for early childhood music educators, elementary general music educators, and elementary choral educators. The categories are as follows: • John Feierabend’s Sessions • Denise Gagne’s Sessions • Sessions Focused on Movement/ Dance in Elementary and Early Childhood Music • Sessions focused on Elementary Choral Reading and Elementary Choirs • Sessions Focused on Elementary Recorder • Sessions Focused on Special Learners in Elementary Music: • Sessions Focused on Early Childhood and Preschool: • Sessions Focused on Elementary Songs and Games • Sessions Focused on Music Literacy, Improvisation, and Composition • Orff Schulwerk Sessions for Younger to Older Elementary Grades • Little Kids Rock Sessions • Music Technology Integration in the Elementary Music Classroom

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• Mindfulness/SEL/The Whole Musician in Elementary Music • Jazz and Elementary Music • Global Connections and Elementary Music • Cross-Curricular Connections in Elementary Music: • Urban Elementary Music Education: • Other Sessions Featuring Elementary Music Since the list of sessions can change before the conference, I have created this link found at http://bit. ly/34KTmTZ that have all of the current titles listed beneath the categories, so that I can make necessary changes as they occur. In addition, if you are a presenter and I have mistakenly left your session off this categorized list, please contact me at amywillisburns@gmail.com and I will update the list. It will be a very exciting conference for NJ early childhood and elementary music educators!

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Accepting Applications For New Jersey All-State Choir Conductor! Here's your chance to conduct some of New Jersey's finest young choral musicians.

CONDUCTOR SELECTION: NJ ALL-STATE MIXED AND WOMEN'S CHOIRS Current NAfME members in good standing. New Jersey Choral Educators.

Who is eligible?

1) Submit a video of your Choral Conducting not to exceed 12 minutes or FIVE Selections (Please include a list of these selections). For suggested Conducting example choices, please consult the NJ-ACDA High School Required Repertoire list on the All-State Choir Audition Page of www.NJMEA.org What is required? 2) A Proposed Mixed or Treble Chorus program not to exceed 35 minutes of music. Find Past NJ All State MIXED Chorus programs at www.rhschoirs.net 3) Your resume and a letter of intent which states why you feel you are the best candidate for this position.

Where do I send my materials?

Helen Stanley, Selection Committee Chairperson 540 West Avenue, Pitman, NJ 08071 Or submit your video and material via email hstanley326@comcast.net

What is the due date?

June 1, 2020 FOR 2021 ALL-STATE MIXED CHORUS OR 2022 ALL-STATE WOMEN’S CHORUS

A WORD ABOUT THE MATERIALS YOU SUBMIT… Please use your best judgment when submitting materials for consideration. Do NOT include CD’s or MP3’s only send DVDs, Flash Drives, or digital videos files. Please TYPE all materials – letter of intent, program and resume. A WORD ABOUT YOUR VIDEO We need to see you conduct, so make sure your video includes considerable evidence of your conducting! The panel cannot assess your conducting if your group is filmed from the rear of an auditorium and all that is seen is your back! Please submit a video with no more than FIVE varied selections; no more than 12 minutes in length. You may submit work representative of different ensembles in your school, but NO MORE THAN FIVE selections. Also, the choir performances you use may be your own school choir, but you can also use material from an Honor Choir or Community Choir that you have conducted.

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NJMEA Member Spotlight Maedean Kramer

t Far Hills Country Day School (FH), a preschool through grade eight private school in Central NJ, the music program consists of preschool through grade seven taking general music classes three days in a 10-day cycle, grade eight taking arts selectives once a week, and grade five taking additional instrument classes once a week. Those who want more arts offerings can perform in the Far Hills Philharmonic, the Far Hills Jazz Band, the four musicals produced throughout the year, and take lessons at the Far Hills Conservatory, all which occur before or after school. All of the general music classes perform in a holiday concert program, with the middle school (grades five through eight which is called the upper school at FH) performing in an additional spring concert, and the lower school (grades preschool through four) performing in grade plays and cross-curricular performances. The philharmonic, jazz band, and musicals perform in additional concerts and showcases held throughout the school year and the summer. At Far Hills, the music department prides themselves in giving every student the opportunity to make and “do” music. Whether that involves singing, playing an instrument, learning about music, producing music, and so much more, it is their goal that every student is able

to experience all aspects of music. Maedean Kramer has taught at FH for the past eighteen years, after previous years of teaching at a boarding school, as well as accompanying for music studios. She teaches grades five through seven general music classes, grade eight selectives (which can consist of chorus, music technology, music production, STEAM, and more), grade five instrument class, and is also the house director of grades five and six. As many other music educators do, Maedean wears a lot of hats and wears them all well. However, out of all of those hats, the one she takes most honor in is teaching general music to middle schoolers and being able to get all of her middle schoolers to perform to the best of their abilities at the concerts. This is not a simple task, especially with the changing voices of middle schoolers. In order for her to succeed with this, Maedean molds her general music classes into a safe place where all students can experience and learn music in positive and successful ways. Missy Strong, a NJ elementary music educator and last issue’s spotlight member, states in her sessions about neuroscience and music, the middle school music teacher has the job of “filling the vessel” that is given to them. This means that from the

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ages 0-7, the early childhood and elementary music educators are molding the child’s brain and creating this music vessel that can be very small to very large, depending on their music experiences they receive from home and at school. Maedean has the task of filling those vessels when they come to her in the fall. From watching her and working with her, Maedean just does that. During the fall, Maedean has her general music classes reviewing music theory concepts they have learned from their previous years in lower school music classes. She assesses their vessels to determine the best way to fill them. She uses the fall trimester to give the students opportunities to create, perform, and respond to music while using multiple modalities to reach all of her learners who have various sizes of vessels. When November approaches, she turns her general music classes into choral classes. She picks strong choral repertoire for the holiday concert with such great composers for middle school voices, such as Cristi Cary Miller, Andy Beck, Greg Gilpin, Roger Emerson, Linda Sobo, Mary McDonald, and more. When one looks into Maedean’s classroom during the concert preparation period, one sees all students engaged. Maedean will purposely pick music that brings out the best JANUARY 2020

in her middle schoolers. Choosing varied styles of repertoire with two to three-part singing which can be learned in about seven classes is key. She structures each fifty minute class with sectionals with the boys rehearsing while the girls work on the keyboards and then they flip, and for the last few minutes of class put the parts together. In middle school, they are so self-conscious about their voices. Providing a safe space to explore their changing voices is key. She stretches their comfort zone and finds ways to highlight student’s strengths. For those students who also play instruments, she will choose repertoire that have additional instrumental parts included so she can give students an opportunity to accompany their peers and display their talents. By the time of the concert, Maedean has a performance that showcases students singing, moving to and performing music in a variety of ways. After the concert season, Maedean turns her general music classes into learning about music. Her fifth grade continue to learn about reading and creating music, which leads into a composer study of Franz Liszt. Her sixth grade uses a brief study in Dr. Martin Luther King, Jr. to launch her lyrics unit, asking the question, “Do lyrics influence the music or does the music influence the lyrics?” Her seventh grade deep dives into a unit about the orchestra, which leads to either building an instrument from recycled materials or creating a presentation on one of the four instrument families. This leads to a composer study about Wolfgang Amadeus Mozart. She also incorporates muJANUARY 2020

sic production as the school is 1:1 Chromebooks and she has access to keyboards for each student. During the school year, all students will produce, collaborate and perform music using technology such as Makey Makey devices, and Soundtrap and Groove Pizza, as well as traditional methods. This allows all students the ability to create music in a way that is most comfortable for them, whether it be composing with traditional methods, enhanced methods using technology, or a combination of both. The spring brings about another concert and more integration between the arts and the curriculum found in their daily classroom studies. Again, Maedean assesses the students’ learning abilities, uses multiple modalities to teach them, and finds numerous ways to include music that connects to them. She does this while keeping the learning of music at the core. Finally, when the students reach grade eight, Maedean knows them so well that she can offer music selectives that she knows they will connect to and learn a great deal. These have included Chorus (for those who want to continue singing in parts and performing), musical theater (for those who want to act, sing, and dance on stage), STEAM (for those who want to create music using all of STEAM components), STOMP (for those who want to perform and create rhythmically), and Music Production (for those who want to create and produce music), to name a few. Middle school musicians are a special breed and those who teach them are amazing teachers. Maedean

Kramer is one of those amazing middle school music educators who can reach all of her students by providing programs that include singing, playing instruments, creating music, performing music, acting, dancing, connecting music across the curriculum, and more. She gives her middle schoolers numerous opportunities to learn and find their voice in a safe, musical environment. She is adored by her students and her colleagues. I know as she teaches my fifth-grade daughter. I am thrilled when my daughter tells me that her favorite class is music and her favorite teacher is Mrs. Kramer (I mean this from my heart as I also teach my daughter in her instrument class). When I asked her to give me more details, she told me, “I like Mrs. Kramer’s music room because it is where I can shine and feel great about myself.” As a mother, this is all I want for my child. As a music educator, I am proud and honored to work alongside of Maedean and continue to learn how to be a better music educator because of her work in the classroom.

If you know a teacher that we should spotlight, or a music program doing great things, let us know at patrickaokeefe@gmail.com and we can feature them on social media or in a future TEMPO! We would love to hear about the diverse and passionate practices happening throughout the state!

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Utilizing Student-Centered Assessments Shawna longo Durban Avenue School shawnalongo@gmail.com

ver the past few years, there has been a focus toward studentcentered classrooms and increased student engagement. Arts’ classrooms typically exemplify these focuses. That’s part of the reason why arts integration has picked up such “STEAM” (pardon the pun!). Integrating the arts with other contents is frequently used as a strategy for increasing student engagement. A key component to authentic arts integration is the equitable assessment of both content standards (arts and non-arts). It is through this assessment that teachers can collect data to track their students’ growth and attainment toward mastery of the standards. TRADITIONALLY CREATING ASSESSMENTS Most often, teachers create assessments. The teacher determines the task, criteria, and what they will measure. This assessment may be in the form of a rubric, checklist, or other evaluation tool. For example, when using a rubric, the teacher: 1. Defines the categories in the first column. 2. Assigns point values or mastery levels across the top row.

3. Creates the various components to define the level of mastery within each category. WHO’S WORK IS IT ANYWAY? But, why do we, as teachers, do this in isolation? I don’t know about you, but even when I go over the rubric in detail with my students when we are beginning a project, they don’t always hear every point or pay attention to the details within each box. Regardless of what I tell them, there will still be questions about what components need to be included within the project or what I will be “grading” them on. There is no true ownership of their work. This got me thinking…how can I empower my students while increasing their pride and connection to the standards and components that I will be assessing? TURNING THE TABLES The solution that I came up with was going to turn the tables. Why am I telling them what I want? How can I make assessments more student-centered? The answer was simple, albeit potentially scary for many teachers! In fact, I had a few colleagues ask me if I had lost my mind!

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I decided to have my students assist me in creating my assessments. Yes, you heard me right! The benefits were seen and felt immediately. • Students were more connected to the content. • Students were more invested in their success. • For the first time, there were no questions of what I was looking for or what they needed to do! BREAKING DOWN ASSESSMENTS There are three types of assessments. • Diagnostic Assessments are utilized to determine what the students already know. This will allow teachers to move forward and make informed decisions in terms of student knowledge, differentiation, and extensions. • Formative Assessments give teachers data on how the students are progressing through the lesson. Formative Assessments are “for” learning! Teachers need to know what their students have learned in order to effectively move forward with their lesson. • Summative Assessments give teachers data on what the students have learned. They are JANUARY 2020

“of” learning and take place AFTER instruction or at the end of a lesson or unit of study. WHAT CAN THIS LOOK LIKE? This idea of student-centered assessments can take any form. Personally, I have found great success when I have my students help me create their summative assessment and I then use the action or activity of creating the summative assessment as a formative assessment. Here’s what I mean… 1. I introduce a project/unit and guide my students through the various components, skills, and/or knowledge they will need to complete the project/ unit of study. 2. On the first day of instruction, I give my students a date that they will be expected to present or perform their projects. 3. Three or four days before the presentation/performance date, I begin class by having everyone sit in front of my white board. I serve as the facilitator and guide them in creating a list of the various components contained within the project. For the students, this serves as a review of what they should be including within their project. For the teacher, this serves as a way to measure if they understand the material (formative assessment). 4. After class, I take their list and turn it into a checklist or rubric depending on what I am looking for. I may even ask them what evaluation tool JANUARY 2020

would be best to measure the components that they have listed. If I give them a voice in selecting the appropriate evaluation tool, I frequently give them some options to choose from like a rubric, checklist, etc. 5. The next day, I give each student a copy of the assessment. We then complete peer assessments and self reflections using the rubric. This also gives us the opportunity to test it out before the final presentations/ performances. 6. The students use their self and peer assessments to reflect, revise and refine their work. THE OUTCOME By the time we get to the presentations or performances, my students are confident in their work! There are rarely any questions about expectations. There are a lot less questions about the grade they earn. And, gone are the “I didn’t know I needed that” statements. If you’re still a little unsure about trying this out, just take a deep breath. I am in no way “turning over the keys to my kingdom” shall we say. Through my guidance, my students’ have found their voice and increased the ownership of their learning. I’m not going to lie; most often the student-centered assessment mirrors exactly what I would have created in isolation. Remember, I’m guiding them through the process of creating it and I definitely help them along the way. And

sometimes, they come up with things that I had never thought of and I make a point to give them credit for that! I empower you to relinquish some of your teacher “power” and hand it over to your students. I think they will amaze you and the results will be a win-win all around! This article was originally written for Education Closet (www.educationcloset.com). Shawna E. Longo is the General Music (Music Technology) teacher and Arts Integration Specialist at Durban Avenue School, Hopatcong, NJ. She also serves as the Arts Integration & STEAM Specialist for TMI Education; Coach for Education Closet; and Ambassador for MusicFirst. She is a clinician and consultant for music education, arts integration, and STEAM. She is also a recipient of the 2019 Ti:ME Teacher of the Year Award, 2019 NJ Governor’s Award for Arts Education, 2018 NJMEA Master Music Teacher Award and 2016 Governor’s Educator of the Year for Hopatcong Middle School.

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NJMEA Salutes Its 2020 Master Music Teachers

ue Mark graduated Magna Cum Laude from West Chester University with a B.S. in Music Education. She was a double major on flute and voice, with a minor in piano. Along with holding Pennsylvania and New Jersey Teacher of Music Certifications, she also holds a New Jersey Elementary School Teacher certificate. Sue is in her 33rd year of teaching and currently teaches instrumental music at Rosa International Middle School in Cherry Hill, NJ, where she has been for the past 21 years. Her job responsibilities include directing bands, jazz band and orchestras, as well as teaching small-group lessons to over 280 wind, string

and percussion players. She is also a co-advisor and the layout designer of the school newspaper, The Raptor’s Roar. She is an active member of the NJMEA where she plays a supporting role in several activities throughout the year including South Jersey Band, Region Jazz, South Jersey and All-State Junior High Orchestra. She is also the NJ All State Orchestra Auditions Chair. Last year, Sue guest conducted the Region III Flute Choir. In 2018, she was guest conductor of the All South Jersey Junior High School Orchestra. She has also guest conducted the New Hampshire MEA Middle School Southeast District Festival Orchestra, as well as the All South Jersey Junior High School Band and Elementary Honors Band. Sue serves as the co-coordinator of the NJMEA Summer Workshop. She also presents workshops to colleagues throughout the state. These workshops focus on technology and communicating with students through the vast resources available today, along with using technology on a limited budget. Musically active outside of her regular teaching job as a woodwind player in local pit orchestras, Sue also is a keyboard

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player and vocalist in a pop/ rock cover band, Memories. She recently stepped back into her marching band shoes and took on an additional role as the assistant director/color guard instructor of the Cherry Hill HS West marching band. In her spare time, she is the mother of two awesome young men - DJ (recently married) and Bryan (a college senior) - and wife to her husband, Jim, who teaches instrumental music at Cherry Hill High School West. She lives in Washington Township and loves to spend time with her family on their boats (tubing and cruising), at their lake site and dock, and attending sports activities such as ice hockey, football and baseball. Sue has no intentions of slowing down any time soon. “My passion for teaching and instilling the love of music in my students is still as strong today as it was when I started. I can’t imagine doing anything else.”

JANUARY 2020

NJMEA Salutes Its 2020 Master Music Teachers

icole Snodgrass has been the choral director at Cherokee High School in Marlton, New Jersey for the past twenty-one years and is in her twenty-fifth year of teaching vocal music. During her time at Cherokee High School, her choirs are perennially featured musical guests at The White House in Washington, D.C. and Carnegie Hall in Manhattan, have appeared live in concert with the rock band Foreigner at the Camden BB&T Pavilion, have performed for the stadium fans of the Harlem Globetrotters, the Philadelphia Phillies, the Philadelphia Phantoms, as well as guest appearances at the Philadelphia Museum of Art and Grounds for Sculpture. Nicoles' JANUARY 2020

choirs have toured England, Ireland, San Francisco, New York City, Boston, and Charleston, South Carolina, and recorded several albums of their tour presentations. Her Concert Choir was invited to perform at the 2019 Louisiana ACDA conference in New Orleans. Her 2009 Girls Traveling Choir won the B101 Christmas Idol Radio Contest and received a $7,500 piano from Cunningham Piano Company. Many of her students have gone on to make their living in the field of music. She is honored to be the recipient of the 2020 NJMEA New Jersey Master Music Teacher Award as well as being selected as the 2020 Conductor of the New Jersey All-State Treble Chorus. Other recent accolades include Cherokee High School Teacher of the Year (2018), quarterfinalist for the Grammy Music Educator Award (2016 & 2017), conductor of the South Jersey Senior High Chorus (2015) and in 2014, she was chosen as one of Suburban Family Magazine’s “Outstanding Teachers.” Using her own gifts in mentoring students and other teachers, she has hosted and collaborated with world-class musicians to offer her students master classes with Grammy

Award winning singer Paul Phoenix, British a cappella vocal ensemble The King’s Singers, composers Ola Gjeilo and David Conte, and acclaimed choral directors Rollo Dilworth, Dr. Amanda Quist, Tom Shelton, Dr. Chris Thomas, and Gabriel Crouch. She commissioned British composer Michael Neaum to write a choral work which her choir premiered at Longwood Gardens as part of their 100th anniversary celebration. Educated at West Chester University, she studied choral conducting with Grammy award winning conductor Donald Nally. She has also received extensive training at Westminster Choir College where she studied choral conducting with Joe Miller, vocal technique and rehearsal techniques with James Jordan, voice pedagogy with Kathy Price, and she recently earned her Level I Kodály Certification. Snodgrass has sung professionally for more than twenty-five years. She has appeared as a guest soloist with the Ocean City Pops Orchestra, Brandywine Valley Chorale, and has performed choral works with the Pennsylvania Ballet and Delaware Symphony Orchestra. She has been the soprano soloist at Historic Old Pine Street Church in Philadelphia since 1996.

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The New Jersey Music Educators Association State Conference Atlantic City Convention Center Atlantic City, NJ February 20 -22, 2020

Boston Brass

Featured Performers

Denise Gagne Featured Presenter

The Amidons

Featured Presenters

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Joanne Lipman Keynote Speaker

John Feierabend Featured Presenter

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List of Sessions Paste the link below into your browser to view the session descriptions

https://njmea.org/2019/10/15/list-of-sessions-performances-for-the-2020-conference/

Understanding The Emotional Needs Of Learners Clinician: George Scott, Family Therapist. The Creative Director: An Interactive Open Rehearsal / Conducting Workshop Clinician: Joseph Higgins, Director of Bands, Rowan University. Assisted by: Rowan University Symphonic Band, Rowan University, Glassboro, NJ. Directed by: Joseph Higgins. What’s New For Jazz Ensemble: A New Music Reading Session Clinicians: Jeffrey G. Haas, Ridgewood High School, NJAJE Vice President; Joseph Verderese, Cresskill MS/HS, NJAJE Secretary; and Jeffrey Lesser, NJAJE Executive Director. Sponsored by: NJAJE, Hal Leonard Corporation, Alfred/Belwin Jazz, Jazz Lines Publications, Kendor Music, Doug Beach Music, Sierra Music Press, Walrus Music Publications, CL Barnhouse Co., Jalen Jazz, Neil A. Kjos Music Co. Assisted by: NJAJE Big Band. Directed by: Jeffrey G. Haas. Fix Your Clarinet Players’ Bad Hand Position: The Benefits Of Using A Clarinet Neck Strap Clinician: Tom Davidson, 8th Grade Band Director, Randolph Middle School. Middle School Concert Band Clinicians: Scott Collins, Teacher, Instrumental Music, Grades 6-8; Brian Woodward, Teacher, Instrumental Music, Grades 6-8; Jason Verblaauw, Teacher, Instrumental Music, Grades 6-8. Assisted by: Grade 6 Concert Band, Community Middle School /West Windsor-Plainsboro RSD, Plainsboro, NJ. Marching Percussion Arranging Clinician: Christopher Zwarych, Director of Bands, Hackettstown Middle School. Sponsored by: Innovative Percussion, Tapspace How I Made My Lemonade: A Look Back On The Roller Coaster Career Of Two High School Music Teacher Clincians: Stephanie Berger, Music Teacher/Choral Director, Cinnaminson High School; Deb Knisely, Music Teacher/Band Director, Cinnaminson High School.

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Fill Up Your Plate! A Back-To-Basics Approach To Choosing Repertoire Clinician: Matthew Guerrasio, Middle School Chorus, Egg Harbor Township. Bringing Fantastic Music-Specific Professional Development To Your District And How To Pay For It! Clinicians: Adam Warshafsky, Supervisor, Visual and Performing Arts, Montgomery Township School District; Fiona Borland, Director of Curriculum and Staff Development, Montgomery Township School District. Elementary Rehearsal Techniques Clinician: Carol Beadle, NYU Children’s Chorus Director and Liberty Corner Elementary School Music Teacher in Bernards Township. Effective Rehearsal Strategies For The Modern Marching Band Clinicians: Sean Ferguson, Assistant Band Director, South Plainfield High School; Megan Reilly, Rancocas Valley Regional High School, Marching Band Director. The Diversity Of Sisterhood: Exploring And Advocating For Choral Music By Women Of Color Clinicians: Vinroy D. Brown Jr., Adjunct Instructor of Sacred Music, Westminster Choir College; Director of Choral Activities, Morristown High School; Edryn J. Coleman, Director of Choral Activities, Oakland Mills High School. Music Education From Finland: Experiences, Exploration, Equity, And Excitement! Clinician: Argine Safari, Argine Safari, 2019 Fulbright Distinguished Teacher. Pascack Valley High School, Hillsdale. Recyclable World Instruments...For Preschool? Clinician: Nicole Olearchik, Early Childhood Music Teacher. Bringing World Music Into Ensemble Settings Clinicians: Carol Frierson-Campbell, Professor of ; Lauren FowlerMusic, William Paterson University Calisto, Director of Choral Activities, William Paterson University; Dylan Segalewitz, Senior music education (percussion) student, William Paterson University.

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List of Sessions Nurturing Intercultural Competence For Undergraduate Music Education Majors: An Exemplary World Music Pedagogy Course Clinicians: Sangmi Kang, Assistant Professor of Music Education, Westminster Choir College; John Lucado, Music Education Student, Westminster Choir College.

Clinician: John Feierabend, Retired Professor Emeritus Hartt School of Music, University of Hartford. Sponsored by: GIA Publications Inc.

My Bassoon Sounds Like [fill in the blank] Clinician: Harry Searing, bassoon instructor, Montclair State University & Manhattan School of Music Precollege Division.

12 STEPS TO MUSIC LITERACY USING CONVERSATIONAL SOLFEGE – Part One Rhythmic Foundation Clinician: John Feierabend, Retired Professor Emeritus Hartt School of Music, University of Hartford. Sponsored by: GIA Publications Inc.

Creativity, Engagement And Music Foreseen All While Using The Green Screen! Clinicians: Julia Henderson, Preschool-5 Vocal/ General Music Teacher; Karen Parker, K-5 Technology Integration.

First Steps In Music: Movement Development In The Early Years Clinician: John Feierabend, Retired Professor Emeritus Hartt School of Music, University of Hartford. Sponsored by: GIA Publications Inc.

Prepare, Practice, Present: A Sound Before Sight Approach To Recorder Clinician: Rachel Grimsby, Graduate student at Michigan State University.

First Steps In Music: Vocal Development In The Early Years Clinician: John Feierabend, Retired Professor Emeritus Hartt School of Music, University of Hartford. Sponsored by: GIA Publications Inc.

A Universal Approach To Music Education Clinician: Rachel Grimsby, Graduate student at Michigan State University.

Retirement-Near Or Far? Insights And Ideas Clinicians: Joe Akinskas, Adjunct Professor-Music Education, Rowan University, Cumberland Cty College; Ron Dolce, University Supervisor- Mason Gross School of the Arts - Rutgers University, Music Mentor- Cali School of Music- Montclair State University.

First Steps In Music: Vocal Development In The Early Years Clinician: John Feierabend, Retired Professor Emeritus Hartt School of Music, University of Hartford. Sponsored by: GIA Publications Inc. You Too Can Be A Winner With Beginners Clinician: Marguerite Wilder, Consultant, Clinician, Author and Editor for GIA Publications, Inc. and is a “Yamaha Master Educator”. She is also the Executive Director of the Feierabend Association for Music. Sponsored by: GIA Publications Inc. Meaningful Middle School Band Rehearsals Clinician: Marguerite Wilder, Consultant, Clinician, Author and Editor for GIA Publications, Inc. and is a “Yamaha Master Educator”. She is also the Executive Director of the Feierabend Association for Music. Sponsored by: GIA Publications Inc. Endangered Musical Minds Clinician: John Feierabend, Retired Professor Emeritus Hartt School of Music, University of Hartford. Sponsored by: GIA Publications Inc. 12 STEPS TO MUSIC LITERACY USING CONVERSATIONAL SOLFEGE – Part Two: Melodic Development TEMPO 42

Middle School A Cappella, No More Aca-Excuses! Clinician: William Alzaher, Vocal and Orchestral Music Teacher, Green Brook Public Schools. Assisted by: Alzapella, Green Brook Middle School, Green Brook, New Jersey, William Alzaher, director. Harmony Handbook: Repertoire And Resources For Children’s Choirs Clinician: Andy Beck, Director of Choral Publications. Sponsored by: MakeMusic. The Gift Of Music: New 2-Part Choral Repertoire Clinician: Andy Beck, Director of Choral Publications. Sponsored by: MakeMusic. Beyond Butterflies: A Reading Session For Treble Choirs Clinician: Andy Beck, Director of Choral Publications. Sponsored by: MakeMusic. Meet Me In The Middle: Choral Music For Middle School Voices Clinician: Andy Beck, Director of Choral Publications. Sponsored by: MakeMusic.

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List of Sessions Buckets, Boomwhackers And Beat Boards Clinician: Denise Gagne, Red Deer Montessor, Consultant for Musicplay. Super Fun Folk Dances Clinician: Denise Gagne, Red Deer Montessor, Consultant for Musicplay. Right Rhythms, At The Right Time, In The Right Place: Developing Rhythmic Accuracy And Fluency Clinician: Stephen Benham, Associate Dean of the Mary Pappert School of Music at Duquesne University. Sponsored by: MakeMusic. Beyond The Bow Hold: The Development Of Bowing Fluency And Artistry Clinician: Stephen Benham, Associate Dean of the Mary Pappert School of Music at Duquesne University. Sponsored by: MakeMusic. Special Learners In The String Classroom: How To Develop Strategies, Accommodations, And Opportunities For Diverse Learners Clinician: Stephen Benham, Associate Dean of the Mary Pappert School of Music at Duquesne University. Sponsored by: MakeMusic. One Method Book, Many Students: Differentiating Instruction For Beginners Clinician: Giovanna Cruz, Education Services Manager. Sponsored by: MakeMusic. How To Create A Zimbabwean Style Marimba Group Using Orff Instruments And Mallet Percussion Clinician: John Gronert, Instrumental Music Teacher S.E. Shull School Perth Amboy, NJ. Assisted by: S.E. Shull School Hot Marimba Group, S.E Shull School, Perth Amboy, NJ. Why Mindset Matters: Practical Strategies To Develop And Nurture A True Growth Mindset In Your Students And Yourself Clinician: James Doyle, Band Director, Roosevelt Intermediate School, Westfield, NJ. Balanced String Playing Clinician: Professor of Cello Rowan University. FIRST, WE SING! More Songs And Games For Kids (Part 2) Clinician: Susan Brumfield, Professor of Music Education, Texas Tech University. FIRST, WE SING! Songs And Games For Kids (Part 1) Clinician: Susan Brumfield, Professor of Music Education, Texas Tech University. JANUARY 2020

IT’S ALL IN YOUR HEAD: From Musical Literacy To Improvisation Clinician: Susan Brumfield, Professor of Music Education, Texas Tech University. Live Audio Production In The Music Technology Classroom Clinician: Vincent S Du Beau, Music Technology. Exemplary Concert Band Repertoire With Extended Techniques For All Grade Levels Clinician: Dr. Christopher G. Sumner, Director of Instrumental Music, Piscataway High School. Assisted by: Piscataway High School Wind Ensemble Piscataway High School, Piscataway, NJ. A Hands-On Approach To Teaching Improvisation Clinician: Denis Diblasio, Director of Jazz Studies & Composition at Rowan University. Bow Distribution As It Relates To Rhythm And Ensemble Issues In The String Orchestra Clinician: Caitlin Shroyer, Orchestra Director, West Essex Regional School District. Mindfulness In The Music Classroom Clinician: Melissa Welz, Vocal Music Teacher/ Choir Director. Video Assessments Made Easy With Google! Clinician: Erica Dietler-Basta, Orchestra Teacher. SEL/Mindfulness In The Music Classroom Clinicians: Bernadette Burke, Vocal Music Teacher, Union Township, NJ; Lauren McGinley, Vocal Music Teacher, Canarsie, Brooklyn (NYC). Composition And Improvisation In The Elementary Music Class Clinician: Kevin Sylveseter, Elementary Music Teacher, Leonia NJ. Ready For Year One? Things To Do NOW, NAIL Your Interview, And What Your Methods Class ISN’T TEACHING YOU Clinician: G. Andrew Wilkin, Band & Orchestra Director, Taylor ES & Jamestown ES. The Future Classroom Clinician: Ryan Gaumond, Beat Bus Program Director; Dorian Parreott, Retired; Casey Hounsell, Casey Hounsell - Asbury Park High School Music Teacher.

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List of Sessions Partnering Across The Globe: NJ To India Clinicians: Nina Schmetterer, Chorus Director 7/8, Monroe Twp. Middle School; Lisa Costantino, Chorus Director 6, General Music 1 - 3, Monroe Twp. School District. Middle School Choral Reading Session Clinician: Teri Weniger, Choral Director. Sponsored by: JW Pepper. Checking Cultural Climate At The Door: Improving The Cultural Climate Within Your Music Department Clinicians: Dr. Adrian D. Barnes, Assistant Professor of Music Education; Dr. Adam Kolek - Music Theory; Barbara Adams - Assistant Professor - Sound Reinforcement & Music Technology; Michael McAurther - Assistant Professor - Music Business. No Music Sub? No Worries! Letting Students Lead Their Meaningful Musical Experiences Clinician: Beth Rohaly, Instrumental Music, Smithville Elementary School. Differentiated Instruction In The String Classroom Clinician: Betsy Maliszewski, String Specialist, West Orange Public Schools. Using GarageBand To Teach Music Theory Clinician: Erin Camburn, Middle and High School Choral Director and Music Teacher. String Program Set-Up: A Timeline For Success Clinician: Betsy Maliszewski, String Specialist, West Orange Public Schools. Getting Started: A Unique Approach To The First Year In Band Clinician: Steve Smith, Educational Editor and Clinician for Hal Leonard. Sponsored by: Hal Leonard. Not Tuned At The Factory: Helping Your Students Become Self-Correcting Intonation Machines Clinician: Steve Smith, Educational Editor and Clinician for Hal Leonard. Sponsored by: Hal Leonard.

HS & MS, Co-Chair Music Dept. Haverford Twp. School District. Strategic Financial Planning For The 21st Century Band Director Clinician: Walt Straiton, Educational Support ManagerConn-Selmer Division of Education. MORE Innovative Uses Of Technology In The Orchestra Rehearsal Clinician: Joseph Brennan, Orchestra Director Haverford HS & MS, Co-Chair Music Dept. Haverford Twp. School District. Tech To Go Clinician: Amber Love, Music Education Technology Specialist. Snare Drum Rudiments: for Effective Teaching Techniques Clinician: John Gronert, Instrumental Music, World Drumming and General Music Teacher, Clinician, Professional Percussionist. Sponsored by: Ed Sueta Music Publications, Inc. Solutions For The Top Ten Challenges For Teaching Recorder Clinician: Lenna Harris, Retired General and Instrumental Music Teacher, Author, Clincian. Sponsored by: Macie Publishing Company. Special Techniques For Special Learners Clinician: Rina Sklar, Elementary Music Teacher. Sponsored by: Macie Publishing Company. On The Stage & On The Field : Emergency Repairs And Preventative Maintenance For Instrumental Music Educators Clinician: Joshua Stavola, Brass, Woodwind, and Orchestral String Technician. Beyond The Concert: Building Musicianship Through Performance Clinicians: Allegra Smith, Band Director, Twin Towers Middle School; Amanda Mita, Orchestra Director, Twin Towers Middle School. Bon Appétit! Orff Schulwerk, Process To Performance Clinician: Casey Goryeb, PreK-5 Music Teacher.

Roundtable Discussion: Focus On Special Learners Clinician: Maureen Butler, Music Teacher, Lake Drive School for Deaf and Hard of Hearing Children.

Embracing The Change: Integrating Hip-Hop Into Arts Education Clinician: Scott Burstein, Director of Teaching and Learning, Little Kids Rock.

We All Perform On The Same Stage - Improving The Ensemble Skills Of Your Secondary String Players Clincian: Joseph Brennan, Orchestra Director Haverford

Teaching Guitar Through Popular Music Education Clinician: Scott Burstein, Director of Teaching and Learning, Little Kids Rock.

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List of Sessions Popular Music Education And Modern Band Clinician: Scott Burstein, Director of Teaching and Learning, Little Kids Rock. A Cappella Arranging Tips And Tricks Clinician: Thomas Paster, Vocal Music Director, Northern Highlands Regional High School, Allendale. An Open Interactive Forum For Instrumental Music Teachers Clinicians: Barron Caromano; Music Teacher, Eisenhower Intermediate School, Bridgewater, NJ; Chris Dickson, Music Teacher, Eisenhower Intermediate School, Bridgewater, NJ. Creating The Advocacy Habit Clinicians: Rick Dammers, Rick Dammers, Dean, College of Performing Arts, Rowan University; Bob Morrison, Director, ArtsEdNJ; Founder and CEO of Quadrant Research; Rowan College NAfME Members Growing The Whole Musician Clinician: Alyssa DiNapoli, k-5 vocal/general. Developing The Complete Saxophonist Clinician: Michael Iapicca, Band Director. Sponsored by: Eastman Music Company. Student Collaboration And Creativity In The Music Classroom Clinician: Pamela Turowski, Music Director, BCITMedford, Advocacy Is Everyday: How To Be An Advocate In Everything You Do Clinician: John Mlynczak, Advocacy Chair, MMEA. Air On A G Suite: Google Tools For Music Education Clinician: John Mlynczak, Managing Director. Yes, You CAN Arrange That For Your Ensemble! Clinician: John Mlynczak, Managing Director.

Grammar & Preparatory School; Adjunct, Montclair State University. Chopping Down The Rhythm Tree: The Status Quo Has Got To GO! Clinician: Curtis Tredway, Associate Professor, University of Texas at El Paso. Better Ensembles With Technology You Already Own Clinician: Curtis Tredway, Associate Professor, University of Texas at El Paso. So...You Want To Host A Student Teacher Clinician: Amanda Newell, Adjunct Instructor, Westminster Choir College of Rider. Developing Musical Awareness, Skills And Understanding During General Music Classes. K-6. Clinician: Founder/Coordinator, El Sistema New Jersey Alliance. Developing Musical Awareness, Skills And Understanding During General Music Classes. K-6. Clinician: Dr. Eric Laprade, Director of Bands & Assistant Professor. Opening Doors To 21st Century Skills: Preparing Preservice Music Teachers For 21st Century Skills Clinician: Hyesoo Yoo, Assistant professor of music education; Sangmi Kang, Assistant professor of music education. Technology For The Music Educator - Not Just Another App Presentation Clinician: Derek Rohaly, Director of Instrumental Music, Mainland Regional High School. Job Fair Clinician: Robert J Hamm, NJ Music Administrators Association, K-12 Supervisor for Arts Education, East Windsor Regional School District.

Teaching Students With Special Needs: Using Music Technology Clinicians: Angela Guerriero, Associate Professor; Jodi Jianniney and Andrew Vensel, Music Educators.

Anatomy & Care Of The Teaching Voice Clinician: Dale Roeck II, Teacher of Vocal Music, Egg Harbor Township High School.

The Ringmaster: Programming, Rehearsing, And Conducting For The Beginning Band Clinician: Cape Henlopen School District Elementary Band Director.

Jazz For Young People – Hands-On And Swingin’ Out The Door Clinician: Sharon Burch, Music Education Specialist. Sponsored by: Hal Leonard Corporation.

Crank It Up! Clinician: Ardith Collins, Music Teacher, Columbia

Jazz AND Kids! Singin’ Swingin’ Fun! Clinician: Sharon Burch, Music Education Specialist. Sponsored by: Hal Leonard Corporation.

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List of Sessions Soundtrap & Noteflight: The Perfect Pair Clinician: Marjorie LoPresti, Digital Content Manager, MusicFirst. Sponsored by: MusicFirst. Tech Tools For Building Sight Reading Skills Clinician: Jim Frankel, Director, MusicFirst. Leveling The Playing Field: Coaching Your Students To Succeed At All-State Auditions Clinician: Jim Frankel, Director, MusicFirst. Differentiated And Data-Driven Instruction - Yes, It’s Possible! Clinician: Jim Frankel, Director, MusicFirst. Implementing Technology With Ensembles: It’s Easier Than You Think! Clinician: Jim Frankel, Director, MusicFirst. Your Class, Your Teaching, Your Materials in SmartMusic Clinician: Giovanna Cruz, Education Services Manager. Sponsored by: MakeMusic. Your Guide To Migrating From Classic To New SmartMusic Clinician: Giovanna Cruz, Education Services Manager. Sponsored by: MakeMusic. 3 Steps To Better Sight Reading With SmartMusic Clinician: Giovanna Cruz, Education Services Manager. Sponsored by: MakeMusic. Music For High-Tech Ears: What Do Children Hear? Clinician: Maureen Butler, Music Teacher, Lake Drive School for Deaf and Hard of Hearing Children. Teaching Music To Students With Autism Spectrum Disorder Clinician: Maureen Butler, Music Teacher, Lake Drive School for Deaf and Hard of Hearing Children. Hit The Ground Running: Incorporating Authentic SelfAssessment Into The Instrumental Classroom From Day One Clinician: Jill Gagliardi, Elementary Band Director, West Windsor-Plainsboro Regional School District. Passing The “Audition” Strategies For Applying And Interviewing For Teaching Positions Clinician: Robert J. Hamm, K-12 Supervisor for Arts Education, East Windsor Regional School District. Sponsored by: NJ Music Administrators Association. TEMPO 46

Next Steps In Urban Music Education Clinician: Katherine Brodhead, Supervisor of Visual / Performing Arts. Ukuleles: Four Strings And Unlimited Possibilities Clinicians: Sangmi Kang, Assistant Professor of Music Education at Westminster Choir College; Janet Cape, Associate Professor of Music Education at Westminster Choir College. How Far I’ll Go (Using Popular Media In The Early Childhood Classroom) Clinician: Kody Andreas, K-4 General Music Teacher, Spackenkill, NY. The Music Behind The Notes Clinician: Andrew Gekoskie, Music Director Orchestra X Project Professional Orchestra. Music Technology: Why Students Are Taking It And How THEY Will Build Your Curriculum Clinician: Vincent S. Du Beau, Music Technology. Paving The Way For Young Trumpeters: A Guide To Helping Them Sound Like Professionals Clinician: Rebecca Palmer, Director of Bands Monroe Township Middle School. Our Students LOVED These Songs (Mixed Choir) Clinicians: Hillary Colton, Director of Choral Activities at Hunterdon Central Reg. H.S.; Tom Voorhis, Director of Choral Activities at Ridgefield Memorial HS. Our Kids LOVED These Songs (Men’s and Women’s Choirs) Clinicians: Hillary Colton, Director of Choral Activities at Hunterdon Central Reg. H.S.; Tom Voorhis, Director of Choral Activities at Ridgefield Memorial HS. Developing Healthy Socialization In The Music Classroom: Classroom Management Without The Management Clinician: Scott Edgar, Associate Professor of Music, Lake Forest College. Implementation Of Social Emotional Learning In Music Education Classrooms: Activities For Personal And Interpersonal Growth Clinician: Scott Edgar, Associate Professor of Music, Lake Forest College. Social Emotional Learning (SEL) And Music Education Clinician: Scott Edgar, Associate Professor of Music, Lake Forest College.

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List of Sessions JOURNEY TO ELEMENTAL MUSIC: Pack Your Suitcases! Clinician: Michelle F Przybylowski, Music Teacher, AOSA Vice-President.

Introduction To DonorsChoose Clinician: Brian Braytenbah; Music Teacher, Middle School #7.

Tone, Intonation, And Other Flute Challenges For Middle School And High School Flutists Clinician: Dr. Karen Demsey, Professor of Music, William Paterson University.

Teacher Favorited, Student Approved Clinician: Jeron Stephens, Director of Vocal Music.

Sing Your Way Through Theory Clinician: Kris Adams, Professor, Berklee College of Music. Dalcroze And Yoga. What? Clinician: Dr. Carla Becker, Assistant Professor of Music Education. I Like To Move It! Movement Activities And Dances Children Love Clinician: Lisa Wichman, NJSMA Elementary Division Chairperson. “Instant” Percussion Ensemble! Clinicians: Yale Snyder, Percussion Specialist; Monroe Township School District; Gary Mallinson CJMEA President-Elect Percussion Specialist; Immaculata High School. Surviving EdTPA: Strategies For Success Clinicians: Joe Akinskas, Adjunct Professor-Music Education, Rowan University, Cumberland Cty. College; Dr. Rachel Brashier PHD Director of Music Education at the University of Wisconsin Stevens Point. Agile Centered Music Education: Fostering Student-Centered Instruction Clinician: Brian O. Ackles, Marcellus High School Vocal Music Teacher, Marcellus New York. Basic Solfège: A Progressive Approach To Inspire And Create Clinician: John Farnsworth, Lakewood Music Teacher. Keyboards For The Younger Grades: Teaching A WellBalanced Lesson Clinician: Judy Kagel, author and composer of the Keyboard Beginnings music series and curriculum. How To Talk To Your Percussionists Clinician: Dan Halpern, Band Director. BASically SAB: Choosing Music For Your Middle School Choir Clinician: Melissa Manzano, Area Coordinator of Fine Arts and STEAM, Vocal Music Teacher, West Deptford Middle School. JANUARY 2020

Teaching Keyboard Percussion Clinician: Greg Giannascoli, Coordinator of Percussion at New Jersey City University. Toward Endgames, Rockstars, And Lifelong Music Making: Literacy In And Out Of The Classroom Clinician: Cara Bernard, Assistant Clinical Professor of Music Education, University of Connecticut; Joseph Abramo Assistant Professor of Music Education, University of Connecticut. Cross Curricular Integration In The General Music Classroom Clinician: Andrew Lesser, Director of Instrumental Music, Wilbur Watts Intermediate School. Video Games In Music Education Clinician: Andrew Lesser, Director of Instrumental Music, Wilbur Watts Intermediate School. Making Musical Connections: String Orchestra for Special Learners Clinician: Brian J. Wagner-Yeung, Music Teacher. Making Connections: Using Repertoire To Enhance The Social Emotional Needs Of All Students. Clinician: Brian J. Wagner-Yeung, Music Teacher. Engaging All Learners: Tools & Techniques To Reach Different Types Of Learners In The Music Classroom Clinician: Brian J. Wagner-Yeung, Music Teacher. Behavioral Strategies: Approaches And Techniques For Special Learners In Musical Environments Clinician: Brian J. Wagner-Yeung, Music Teacher. Cross-Curricular Lessons: Keeping The Music Learning FIRST Clinician: Tony Rideout, Pre-K - 5 General Music Educator. Divide And Conquer: Using Chamber Music To Enhance The Instrumental Ensemble Curriculum Clinician: Tyler Wiernusz, Clearview Regional High School, Director of Bands. Assisted by: Clearview Regional High School Sax Quartet, Clearview Regional High School, Mullica Hill, NJ. 47 TEMPO

List of Sessions OMG! You Got A Job! Now What? Clinician: Pamela A. Massimini, Assistant Principal. What To Do With A Motley Crew (Of Instruments) Clinician: Carol Shansky, Professor of Music (Music Education Coordinator). Informal Learning Matters: International Singing Games Clinician: Sangmi Kang, Assistant Professor, Westminster Choir College. LGBTQ-Inclusive Practices In Elementary General Music Clinician: Rex Sturdevant, Elementary Music Teacher. Toward Meaningful Musical Inquiry: Embracing ProjectBased Learning In The General Music Setting Clinicians: Cara Bernard, Assistant Clinical Professor of Music Education, University of Connecticut; Rex Sturdevant, Owen Bologna. Why We Dance: Celebrating Cultures Through Movement In The General Music Classroom Clinician: Valerie Diaz Leroy, Teacher Trainer. Travel With Your Middle School Band Clinician: Nancy Robinson, Middle School Band Director. High School Choral Pedagogy & Reading Session Clinician: Dr. Mirna Y. Cabrera, Music Instructor. Middle School Choral Pedagogy & Reading Session Clinician: Dr. Mirna Y. Cabrera, Music Instructor. Latin American Folk Music In The Music Classroom Clinician: Dr. Mirna Y. Cabrera, Music Instructor. Urban Music Educators Symposium Clinician: Libby Gopal, East Orange Campus High School Choir Director.

Round Table: Scheduling Problems For Middle School Music Ensembles Clinicians: Meg Spatz, Band Director, Rahway City Schools; Amara Van Wyk, Band Director, Rahway City Schools. Social Justice In The Choral Classroom: Teaching Empathy And Social Awareness As Skills Through Choral Repertoire Clinician: Rebecca Saltzman, Choral Director at Ramsey High School. LOGISTICS! How To Successfully Plan For A Marching Band Season With “LESS STRESS” Clinician: Bo Kyung Park, Music Teacher, Irvington Board of Education. Meeting The Requirements For The edTPA During Your Field Experience: One University’s Approach Clinician: Lynann E. Schraer-Joiner, Associate Professor, Music Education and Assessment Coordinator, Kean University; Linda Green Adjunct Music Education Faculty, Kean University. Collaboration, Creation, Communication, And Critical Thinking: Music Making With Technology Clinician: Marjorie LoPresti, Music Teacher, East Brunswick High School. Music Education In A “1:1” Environment Clinician: Marjorie LoPresti, Music Teacher, East Brunswick High School. Transitioning From Music Student To Music Teacher Clinician: Robert Pispecky, Retired; Supervisor of Music, Art and Dance, Edison School District. Therapeutic Songwriting For Secondary Music Education Clinicians: Dr. Raymond Uy, Music Educator; Meg Lyding Musician and Artist. Mindfulness In Music: It’s Not Just For The Students! Clinician: Shawna Longo, Music Teacher.

Creating & Integrating A Music Technology Lab To Foster Student Creativity & Innovation Clinician: Tyler Adel, Band Director, Grades 5-8.

Social Emotional Learning Through Music Clinician: Shawna Longo, Music Teacher.

Teaching Music “Literacy” Clinician: Marissa Silverman, Associate Professor.

Music Technology For 21st Century Learning Clinician: Shawna Longo, Music Teacher.

I’m Teaching Strings? Transitioning From The Band & Choral Classroom To String Instruction Clinician: John Birckhead, Orchestra Director, Myles J. McManus & Joseph E. Soehl middle schools, Linden Township.

Let’s Jam! Engaging More Students Through Active MusicMaking Clinicians: Shawna Longo, Music Teacher; Marjorie LoPresti, Music Teacher, East Brunswick High School.

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List of Sessions Motivation For Recruitment And Retention Clinician: Dr. Raymond Reimer Uy Jr., Music Educator. Teaching From The Heart: Burnout Prevention And Repair Clinician: Clelyn Chapin, Doctoral Student.

The Ensemble Sound - How To Elevate The Performance Level Of Your Wind Musicians Clinician: Bo Park, Music Teacher, Irvington Board of Education.

Using Flipgrid For Goal Setting, Reflecting, Responding And Performing In The Music Classroom Clinician: Melissa Clark, String Teacher, Lawrence Township Public Schools.

A Young Teacher’s Guide To The Band And Orchestra: Deciding What To Teach And How To Plan For The School Year. Clinician: M. Gregory Martin, Associate Professor of Music Education / Associate Director of Bands.

Something To Crow About - The Sounds Of The Bassoon! Clinician: Jason Worzbyt, Professor of Bassoon/Associate Director of Bands - Indiana University of Pennsylvania.

Indian Music Techniques In The Classroom Clinician: Dr. Payton MacDonald, Professor, Music Department, William Paterson University.

Where Are All The Girls? Clinician: Jenna Makos, Teacher of Instrumental Music, Egg Harbor Township High School; Debbie Gianuzzi, Teacher of Instrumental and Vocal Music, Sparta High School.

Between The Beats: Are You Really Showing What You Want? Clinician: Jonathan Babcock, Texas State University, Professor.

Little Bits In The General Music Classroom Clinician: Anthony Otlowski, Music Teacher, Harrison Twp. Elementary School.

Student-Coached Chamber Ensembles In High School Orchestra Clinician: Elisabeth R. Sato, Metuchen High School Orchestra Director.

Recycling Music: Ecology And Social Justice Clinicians: Dr. Lisa DeLorenzo, Montclair State University; Dr. Marissa Silverman, Montclair State University.

List of Performances Concert Williamstown High School Wind Ensemble Williamstown High School Nick Fantazzi, Director Concert West Windsor-Plainsboro Wind Ensemble West Windsor-Plainsboro High School South Jesse Argenziano, Director

JANUARY 2020

Concert Delaware Winds Semi Professional Ensemble Jordan E. Kinsey, Director Concert Hightstown High School Wind Ensemble Hightstown High School Justin Halat, Director

Concert TCNJ Wind Ensemble The College of New Jersey Dr. Eric Laprade, Director Concert Bassoon Squad Montclair State University Sasha Gee Enegren, Director Concert William Paterson University Percussion Ensemble William Paterson University Payton MacDonald, Director

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Concert Monroe Township Percussion Symphony Monroe Township Middle/High School Yale Snyder, Director Concert Monroe Township Chamber Singers Monroe Township Middle School Nina Schmetterer, Director Concert New Jersey City University Chamber Singers New Jersey City University Robert Prowse, D.M.A., Director Concert Select Ensemble Chartertech High School for the Performing Arts Julie-Ann Green, Director Concert EOCHigh School Chamber Singers East Orange Campus High School Libby Gopal, Director Concert Tartantones Stuart Country Day School of the Sacred Heart Erin Camburn, Director Concert Vocale Ensemble Clearview Vocale Ensmeble Romel McInnis, Director Concert Highlands Voices Northern Highlands Regional High School Thomas Paster, Director

Concert Five Towns College Chamber Singers Five Towns College Marc Silverberg, Director

Concert William Paterson University Jazz Orchestra William Paterson University Dr. David Demsey, Director

Concert Oakcrest High School Select Choir Oakcrest High School Richard T. Tinsley II, Director

Concert S.E. Shull School Hot Marimba Group S.E. Shull School John K. Gronert, Director

Concert Kean University Concert Choir Kean University Dr. Mark Terenzi, Director

Concert New Jersey City University Percussion Ensemble New Jersey City University Greg Giannascoli, Director

Concert TCNJ Chorale The College of New Jersey (TCNJ) John P. Leonard, Director Concert William Paterson University Concert Choir with WP Jazz Orchestra William Paterson University Lauren Fowler-Calisto, Director

Concert West Orange High School Boys and Girls Step Teams West Orange High School William Y. Farley, Jr., Director Concert Clearview Sax Quartet Clearview Regional High School Tyler Wiernusz, Director

Concert Delaware State University Popular Music Ensemble Delaware State University Marty Denson, Director Concert Wall High School Guitar Ensemble Wall High School Keith Calmes, Director Concert Kean University Jazz Ensemble Kean University Vinnie Turturiello, Director

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2020 NJMEA State Conference Registration for the 2020 February Conference Prices for 2020 will remain the same as 2019!

Full Conference - Members- $170 Full Conference - Collegiate and Retired Members - $50 Single Day -Members- $135. Full Conference - Non-members- $350. Clinicians- $85. (All clinicians MUST register.) Add $10 for On-site registration. (There will NOT be a membership luncheon on Friday and the Friday Gala Concert is free, as usual.)

To Pre-Register

The Pre-Registration process will also be the same this year as last. You can follow the link below to our website and the Eventsquid page. You will need to know your NAfME log-in to start the registration process. Your NAfME membership must expire no earlier than 2/20/20. Please renew prior to registering to avoid problems!

Payment

There are three forms of payment. You will see forms of payment listed and you check one.

You may pay by: Credit Card - Upon completion of the form you will be asked if you want to “Finish and pay later or Pay Now. For credit card you select, Pay Now and you will be directed to the payment page. A $10 process fee will be added to all credit card registrations. If you need a receipt, either for you own records or to show your school, please print out the invoice page upon completion of registration.

Check – Upon completion of the form, you will choose the “Finish and Pay Later” button. You will not be charged the $10 processing fee. Print out the invoice, and send a check, made out to NJMEA, for the correct amount, with a copy of the invoice to:

NJMEA 1806 Hwy. 35, Ste. 201 Oakhurst, NJ 07755 Purchase Orders – You MUST register online first, choose the “Finish and Pay Later” button. Print out the invoice, give it to your Board Office and then have your school send the PO w/the invoice to the above address.

Pre-registration will end on Friday, February 7, 2020. The site will SHUT DOWN on that date. ALL PO’s MUST BE RECEIVED IN THE OFFICE NO LATER THAN Friday, February 7, 2020. There will be NO REFUNDS after Tuesday, February 11, 2020. To register: Go to njmea.org, click on the Conference Header, then Conference Information. You will find the link to the registration page there! JANUARY 2020

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Music Teaching, Mending Walls, And Dismantling Barriers Collenn Sears The College of New Jersey colleen.sears@tcnj.edu

his summer, Disney released a new version of 1941 film, Dumbo1. As much as I love the visual candy that is the cinematic world of Tim Burton, there was no way I was going to see that film. You see, it was the original Dumbo that broke my heart when I was a young girl, and in doing so, it taught me the meaning of empathy. I don’t know if I’ll ever fully recover from the “Baby Mine” scene in Dumbo. I remember nothing else from the film, but the image of Dumbo’s jailed mother reaching her trunk from the bars of her “mad elephant” cell to rock her baby tore my child heart to shreds. It was all that I could do to prevent the tight ball of grief and horror that had formed during this scene from escaping into an audible sob as I listened to the “Baby Mine” lullaby, and watched tears drip from Dumbo’s eyes as he relished the feel of his mother’s embrace...even if it was just from her trunk, before having to separate from her again. Even as a young girl, this scene destroyed me. It didn’t matter that I was watching a fictional, animated movie. The very notion of separation from family, connection, and the deepest kind of love was absolutely terrifying. I find myself thinking of that scene often, especially now. Not because of this summer’s remake, but rather because that heart wrenching scene in a fictional, animated film, has become a horrifying reality for many children living in the United States. As the new school year begins, many children entering our classrooms are children who are living the fear and/or traumatic reality of separation and profound loss. When we consider fear and trauma of this scale, the idea of teaching quarter notes, preparing for festivals and competitions, or logging practice minutes seems utterly absurd. How then, can we reconcile what and how we teach, with the trauma filled world that we and our students move through each day? What power do we have as music educators in the midst of such bleak times?

In the “Baby Mine” scene, Dumbo’s mother is walled away from the world and caged in a “mad elephant” cell. Yet the “Baby Mine” lullaby and a tiny opening in the barred window allowed baby Dumbo to be comforted by his mother’s trunk. Though the physical barrier of the cell remained, the lullaby became the vehicle for tenderness and love; a temporary softening of the cruel wall that kept a mother from her baby. The thing about barriers and walls is that they can be dismantled. The thing about music and art is they can help dismantle barriers and walls. Sounds cliche? There are countless examples of the barrier dismantling power of music and art. Check out the video of John Luther Adam’s Inuksuit, performed on both sides of the United States and Mexican border. Despite a towering physical barrier, musicians in the United States and Mexico connect with each other through sound and transcend the wall with music, performing as one ensemble. In another example, artists used the border wall as a fulcrum, installed seesaws that enable children on both sides to play together. In another recent instance, Yo-Yo Ma performed "Bach’s Unaccompanied Cello Suites" at the border, highlighting the power of music to unite and connect despite physical barriers. After his performance, Yo-Yo Ma stated, “It’s never art just for art’s sake.” It’s never just art for art’s sake. What might this mean for our music classrooms this year? How might we ground our content and our pedagogy in the stark reality of the world around us? How could adopting a “it’s never just art for art’s sake” philosophy help us honor student identities and dismantle barriers by situating what we perform in contemporary cultural context? What could this look like? “It’s never art for art’s sake” looks like having the courage to engage with the messiness of truth in our teaching. We might still play “A Movement for Rosa” or

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sing a carefully vetted African American spiritual with our choirs, but we owe it to our students and ourselves to approach those pieces with honesty and humility. In these cases, the art must serve as a vehicle for discussion about what we play, why we play it, and what it means to play it today. Questions like: What happened to people like Rosa Parks before they were celebrated as heroes? Who are the Rosa Parks of today? What does it mean to sing an African American spiritual now? What does it mean to perform a spiritual as a white person; as a person of color? How do we approach these works given the current racial climate in the United States? When our pedagogy is situated in contemporary context, we honor the identities of our students and show that we can appropriately engage with the complexity of our individual histories. With this approach, we dismantle walls of fake optimism that prevent us from delving into the most complicated and painful parts of our collective history. (Look no further than the descriptions of civil rights inspired music on JW Pepper and you’ll find no shortage of happy, optimistic, and triumphant endings.) When walls of fake emotion fall, we all become more humble, more human, and we open an important pathway for connection and understanding in our classrooms. Connection. Understanding. Like Dumbo and his mother in the “Baby Mine” scene, we have the power to use our art and our pedagogy to soften many types of barriers that exist in schools. Some barriers are easier to soften or remove than others, especially the ones we sometimes create ourselves: expensive field trips and/or pay to play fees that often don’t account for students with socioeconomic challenges, limited musical opportunities for students with special needs, or some phrases I uttered early in my career: “It doesn’t matter that you can learn by ear. You can’t read music well enough to join the band.” “Your grade just dropped because your parent didn’t sign off on your practice report.” Then there are the insidious, toxic barriers that can’t be seen. “Go back to your country,” whispered to LatinX students; “Terrorist,” whispered to Muslim students; fears of shootings, deportations, separations, and harassment. Walls of fear and trauma that have catastrophic effects. Devastatingly, these are the walls that are most difficult to dismantle because they require legal action and sustained public resistance.

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Perhaps the best we can do as music educators, is to use our art to reach through walls of fear, much like the trunk of Dumbo’s mom that reached through the bars of her cell to comfort her baby. Can we reach, just a little bit, and focus on creating gentle, empathetic, peaceful classrooms? Can we be acutely aware of the walls of fear that surround and oppress so many of our students on a daily basis and enact more compassionate pedagogy in response? Can we recognize that sometimes the most heroic action a student makes in a day is simply walking into the entrance of the school? The opening line of Robert Frost’s poem, The Mending Wall2 is “Something there is that doesn’t love a wall.” Let’s find as many somethings as we can in our teaching and in our music making that doesn’t love a wall. That “something” must be grounded in teaching beyond music just for music’s sake. Whether it’s having a discussion about current race issues as you are rehearsing a spiritual with a choir, or making a conscious effort to model empathy and foster human connection in your teaching; we can use the power and the time that we have in classrooms to be something or someone that doesn’t love a wall. We might not have the power to dismantle all of the barriers that break our hearts, but teaching music enables us to have some agency to reach through, and like Dumbo’s mother, “Baby Mine” lullaby, our students and their fragile hearts. (Endnotes) 1 Dumbo. Directed by Ben Sharpsteen. 1941, Burbank, California: Walt Disney Studio Productions, 1941. 2 Frost, Robert. “The Mending Wall.” North of Boston, David Nutt, 1914.

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Students Become Leaders! Including More Student Led Activities In A Large Ensemble Setting Elisabeth Sato Teachers College, Columbia University elisabethrsato@gmail.com

ow might we encourage more leadership from our students within a traditional large ensemble setting? As an orchestra teacher at the high school level, this is a question I frequently ask myself. I would like to share with you some of the instructional activities I included in my traditional large ensemble setting last school year to create more leadership opportunities for my students in high school orchestra. I hope to give you some new ideas to try in your own teaching setting! Sectionals Sectionals provide a great opportunity for students to take on leadership roles, and many music educators currently have students work in sectionals. By dividing students by instrument or instrument part, they can focus on any tricky passages within that specific part. Principal players or section leaders can take the lead by facilitating the rehearsal, which may also encourage peer learning and mentorship, especially within a mixed grade and level ensemble. On days when we had sectionals, I might have all students rehearse within their sections simultaneously or have only one or two sections rehearse in sectionals while the remaining

students in the orchestra rehearsed as a whole ensemble. Mini Orchestra Mission To take sectionals a step further, I included a new activity in my teaching last school year that I named the “Mini Orchestra Mission” and was originally suggested to me by a colleague. Instead of dividing students by instrument or instrument part, students were assigned to a mixed small ensemble consisting of all parts in the orchestra. They were provided with a “mission,” (I assigned specific sections from our concert repertoire), and had to rehearse and record the assigned sections and submit the recordings electronically at the end of the class period. Having the students record their playing may have also helped with rehearsal productivity. Each time we did this activity, I would try and vary the ensemble sizes and change the ensemble formations so the students would get the chance to work with different members of the orchestra. The Mini Orchestra Mission activity encourages students to play more independently, and in a sense, become their own leader. Instead of relying on a whole section, only one or two students might be playing the same part. Students must also work together to identify problematic ar-

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eas, rehearse their music together, and evaluate their own playing. By strategically forming the mini orchestras, you may even see new students become leaders! This activity was also very informational for me as the teacher because I could get a better sense of areas in our music that might require further attention. When I listened to each mini orchestra’s recording, I could hear specific sections in the music where students had trouble and use these recordings to help guide my own instruction. I would focus on these areas when we met again as a whole ensemble, or if I noticed a pattern in a specific instrument part, that area could become the focus for sectionals or small group lessons. Student Conductors Having students conduct gives them the chance to lead the entire ensemble and also learn a new skill. For an annual performance, the orchestra has performed the same tunes every school year. Since most students were quite familiar with these pieces, I decided to offer the upperclassmen the opportunity to conduct the performance since they were the most familiar with the tunes. I made a list of some of the tunes and created a sign-up sheet where JANUARY 2020

the students could choose the piece they wanted to conduct. When we worked on these pieces during our rehearsal period, the student conductors would step up to the podium one after the other, conduct their piece, and rehearse specific sections if they chose to. While the students conducted, I could move around the room and sit in different sections of the orchestra and play along. By doing this, I was also able to assist some students if they were having trouble with any of the pieces. Student-Coached Chamber Ensembles A new activity I included in my instruction last school year was student-coached chamber ensembles. Providing students with more chamber music opportunities was an area I wanted to include more of in my teaching, but always found to be difficult in the large ensemble setting. However, by structuring the experience, I was able to build this into my instruction. One of the aims for this activity was to provide more experienced orchestra students with an opportunity to take on a new leadership role and have a new type of learning experience, while less experienced students would have the opportunity to participate in a small chamber ensemble. Because this experience was new for the younger students, I thought it might be more beneficial to have a more experienced student as a coach to help guide the rehearsals. I assigned younger students in the orchestra to small chamber ensembles based on similar playing ability, and each ensemble was assigned at least one upperclassman student as a coach. Prior to the start of coaching sessions, I met with all student coaches to discuss score study and some strategies they could use when facilitating a small chamber ensemble rehearsal. For repertoire, I selected 4-5 level appropriate pieces of music for each ensemble and gave the ensembles the choice of what they wanted to play. The chamber ensembles rehearsed once a week during the regular instructional period. After each rehearsal, I asked students to submit a rehearsal reflection summary to summarize what they had focused on during that rehearsal. Also included in the reflections were items such as areas of improvement and successful and unsuccessful moments. The chamber ensembles rehearsed for just over three months. Within that time frame, I was able to arrange several informal and formal performance opportunities such as performing for the orchestra members during JANUARY 2020

class and traveling to another school in the district to perform. At the conclusion of the student-coached chamber ensemble experience, I scheduled an evening “final presentation” where the ensembles performed for their parents and guardians. The night was definitely a nice way to highlight all of the students and chamber ensembles! Conclusion Including more student-led activities such as sectionals, student conductors, and student-coached chamber ensembles into instruction can provide students with leadership opportunities in a traditional large ensemble setting. By participating in these activities, students can learn new skills and become more independent musicians. Including these into instruction can also be beneficial for the teacher because they provide an outside view of the ensemble that can help guide and influence future instruction. All of these activities can help students become leaders and contribute to new and meaningful music-making experiences.

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Rhythm: We Need You In Theory! Erik Lynch Verona High School elynch@veronaschools.org

love theory. Actually, I really love theory. More importantly, I am proud to say our students in Verona do as well. Theory is a powerful tool, and perhaps one of the most effective modalities at our disposal to help us connect with our students. My best musical days are invariably tied to theory: I love to study my scores and to analyze the harmonies (or lack of ), whether they are rooted in the traditional language of the Western European canon, or whether they are grounded in more modern, esoteric, and singular sonorities. The most invigorating part, however, is bringing the notation to life in band or at the piano in theory. In its truest artistic form, theory emancipates us, giving us the tools to make informed choices about the directions of our melodic lines, our conducting gestures, intensity of our climaxes, etc. However, it is imperative that we approach the discipline in musically and pedagogically sound ways. If we get caught into the “rules” of tonal harmony, or bogged down by prescriptive, paint-by-numbers curricula, theory can become bland, dull, and myopic (I hope our goals supersede a “5” on the AP exam). Most sadly in this manner, theory is neither musical or fun. So, I pose the question: Can we look at theory from a wider lens? If our lens is thin and narrow, we may foster a mindset in our students that “all” music follows the parameters of four-part voice leading, or that parallel octaves do not exist in music. Though our students might leave our class with a great knowledge of ii-V-I’s, they might have trouble articulating their thoughts on Steve Reich’s Nagoya Marimbas. Though the traditions of 18th century tonal harmony are important tools for musicians, they do not and can not encapsulate all music, as no single approach can. Disclosure notice: I am a drummer. I have been known to take rhythmic dictation of the windshield wipers on the cross campus buses at Rutgers, or to point out

an accelerando motive at my door when my egg drop soup arrives. Putting aside your preconceived notions about me, I will endeavor to continue. Theory has a serious problem that leading doctors have termed “VCS” (Vertical Chord Syndrome). We have all been trained to look vertically at a chord, stack it into thirds, and put down a roman numeral. Though this is certainly a functional skill, placing too much emphasis on this can take away from other pedagogically sound theoretical endeavors, including the analysis of form, growth/development, and melodic contour (to name just a few). But the most glaring omission is when we angle our lens away from rhythm. A Tchaikovsky Example Let us look together at an excerpt from Tchaikovsky’s "Symphony 5, Movement II".Take a look at the excerpt printed below:

Clearly the harmonic structure at the onset of this excerpt rests on the simple diatonic chords of D major. However, if we ignore the rhythm here we lose the true essence of Pyotr. Take a peek at the fifth printed measure,

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and we will see the graceful, delicate, and nimble way that Tchaikovsky uses the oboe slightly off the beat to answer the beautiful main theme in the 1st violin. By starting this oboe line on the third eighth note of the measure, Tchaikovsky creates an ethereal and effortless conversation that can not be captured by looking at the vertical chords. Tchaikovsky ingeniously and subtly uses augmentation and diminution to embellish the midpoint of the famous horn melody (obviously now sounding in the violins) that we all know and love. I do not believe that the IV6 and V7 chords here fully encapsulate Tchaikovsky’s intent, as his choice of rhythm is paramount. Rhythm in Our AP Classes at Verona Our theory classes often start with me at the djembe playing rhythms to the class that the students count back right away (and I do mean right away). To get the most of our time together (especially considering that we embrace a myriad of activities in one class period), I purposely do not have the students write down the patterns, as we are able to get much more concentrated practice in by counting aloud. I try to keep my ears as open as possible to what the students are counting back to me. If I hear they are not counting it back to me with precision, I may slow down the passage, or slightly accent/emphasize the portion they may have missed.

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We typically start the year with variations of basic 16th note rhythms. From there we tackle basic triplet rhythms, and from that point on, all bets are off: 6/8, 9/8, 7/8, hemiola, poly-rhythms, shifting meters,etc. You name it, we try it~ I am actually in pure amazement on how well my classes have handled these activities this year, and I am even more grateful that they apply these skills to their daily musicking. Finally, and with all transparency, I did question myself when I first began to integrate these activities into the class. I was quite nervous to attempt this considering the demand of the AP exam, and how busy they are already in our theory classes and beyond. However, a few years down the line I find that the ventures in rhythm prove to be transformative in my student’s musicianship.

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Advocacy News From The President-Elect Lisa Vartanian Paramus School District lvartanian@paramusschools.org

ear Colleagues, It's hard to believe the year is half over. By now, your winter concerts are fond memories, and you are gearing up for the second half of the year. As I reflect on the past six months serving as the NJMEA president-elect, the word "grateful" comes to mind. I am grateful for the opportunity to work with an outstanding NJMEA Board and meet amazing music educators around the state and nation. I am also grateful to learn from music partners such as Save the Music, the New Jersey Symphony Orchestra, the New Jersey Performing Arts Center, Arts Ed NJ, and Arts Ed Newark as they tirelessly work to create new and innovative music opportunities for our urban school districts. This month's report features arts advocacy news, an overview of the NAfME National Convention topics, a recap of the fall NJSO side-by-side concert, and information on how to connect with NJSMA Urban/Rural Committee members. ADVOCACY REPORT

The 2019 New Jersey Arts Education Annual Summary Report from Arts Ed NOW confirmed what a lot of us already knew: music and arts education is thriving in New Jersey! In September, Paramus High School had the honor of welcoming Governor Phil Murphy to celebrate National Arts in Education Week. During his visit, Gov-

ernor Murphy got an up-close look at the school's arts programming and facilities. Following the tour, he remarked that New Jersey has reached a milestone of 100% of our public schools offering arts programs. "And, by the way," he added proudly, "when I say we've achieved 100% universal access to arts programs, we are the only state in the U.S. to do that." Joining Governor Murphy was Robert Morrison, director of Arts Ed NJ, a nonprofit organization dedicated to promoting arts education in New Jersey. Morrison noted that participation in arts education among students has climbed from 65% in 2006 to 81% today. "That means 250,000 more students are engaged in the arts this year than a decade ago," said Morrison, calling the gains "incredible." He said, however, “Our work remains unfinished. To improve quality, we must address inequities that are present in our less affluent schools. This is an equity issue of great importance.” He said, “In a world where imagination, creativity and innovation are sculpting our future- ensuring we provide the inspiration for these skills for all students must be our goal.” Governor Murphy made note of the fact that a recent ranking of public schools by Education Week put New Jersey ahead of all other states. The Governor recalled his reaction to learning about New Jersey's #1 ranking. "There was no doubt in my mind that our arts programs are a major contributor to our students' success," he said. It was a great day for music and arts education in New Jersey, and a sign of even greater days to come! Information about the event taken from https://www.njtvonline. org/ Michael Aron, Chief Political Correspondent.

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National Association for Music Education Leaders Forum In November, the National Association for Music Education held its annual leadership conference. Music supervisors and directors from all over the country attended. The days were full of outstanding professional development focusing on the most critical and relevant topics in music education today, such as culturally and linguistically responsive music education, creativity and critical thinking in music education, and social and emotional learning in the arts. The following are just a few standout sessions from the conference: Creating a Culturally and Linguistically Responsive Music Education in Boston Tony Beatrice, executive director for the arts with Boston Public Schools, has spearheaded an initiative entitled, "The Culturally and Linguistically Responsive Music Education Decolonization Project." Among the project's most significant successes thus far is the decision to honor various cultures through the purchase of nontraditional instruments for schools such as Gamelan, Samba, and Taiko. Other best practices he shared were the creation of a research team to focus on composer diversity, and new opportunities for Hip-Hop culture to permeate throughout the curriculum. Creativity and Critical Thinking – It's for Every Musician! Anne Fennel, K-12 music program manager at San Diego Unified School District, is truly an inspiration. During her presentation, Anne discussed how the arts teach children invaluable skill sets, including critical, creative, and innovative thinking. She drew a direct line from arts education to the World Economic Forum's Future of Jobs Report, which identifies trends across 20 economies in 12 industry sectors. The report suggests that “between 2018 and 2022, 75 million current job roles may be displaced by machines and algorithms. But 133 million new jobs will emerge during that same period, and these emerging jobs will require new skills. In fact, by 2022, 42% of required workplace skills will have changed. The emerging jobs for 2022 will require two primary sets of skills: technological competency, such as programming and systems analysis; and distinctly "human" skills that JANUARY 2020

the arts provide to our children, such as emotional intelligence, creativity, and innovative and critical thinking.” (https://eab.com/insights/daily-briefing/workplace/thetop-10-emerging-skills-for-2022/ ) In other words, the arts are not only a vital part of a well-rounded education; they are critical to our students’ future success no matter what career or life path they follow. Anne emphasized that it is our job as music educators to intentionally teach the "how and why" of creativity and critical thinking, both of which are integrated into the National Standards. Supporting your Music Teachers' Musical/SEL Professional Development Dr. Scott Edgar presented several outstanding workshops during the NAfME Conference. He focused on ways music educators can contribute to social and emotional learning in the classroom in an authentic and musical way. I asked Dr. Edgar and Bob Morrison from Arts Ed NJ to write an article on social and emotional learning in music, especially for you, our NJMEA members. The article, "Music Education and Social-Emotional Learning: The Heart of Teaching Music in Your Classroom" is embedded in this edition of TEMPO magazine. In addition, I am excited to announce that Dr. Edgar will be speaking about his transformative work at the NJMEA Convention in February. Please be sure to check out his presentation. For further research on social and emotional learning, I encourage you to read Dr. Edgar’s book entitled, Music Education and Social Emotional Learning, and explore the work of Dr. Maurice J. Elias, Ph.D., Department of Psychology, Rutgers University. Dr. Elias, along with Bob Morrison and Alison Scott-Williams of the New Jersey Performing Arts Center, facilitated an outstanding NAFME workshop in November entitled, "Social Emotional Learning and the Arts: Exploring Connections and Implications." Project and resource information can be found at: • Getting Serious About SECD: https://secdlab.org/why-secd • Twitter: @SECDLab • Edutopia Blog: www.edutopia.org/profile/maurice-j-elias • SECD Lab Resources: https://www.secdlab.org/all-resources

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NJSMA Urban/Rural Music Educators Meeting On Saturday, November 16, NJMEA member and leader of the NJSMA Urban Liaison Committee, Katy Brodhead Cullen, sponsored the first Urban/Rural Music Educators Meet-Up. The goal of the meeting was to help build a network of urban/rural music educators from across the state and to share resources and best practices that can positively impact children in New Jersey. We had a great turnout! For more information about future Urban/Rural Music Educators meetings, please contact Katy Cullen at NJSMA Urban Liaison (urban@njsma. com).

If you know of any best practice examples in music education that are going on in the state, please contact me at lvartanian@paramusschools.org so we can feature them in upcoming articles. Thank you, teachers, as always, for your excellent work! Each day, YOU make a difference in the lives of our young musicians!

New Jersey Symphony Orchestra "NJSO All-Stars" Pilot Side-by-Side Collaboration at the NJPAC On Tuesday, November 12, I had the opportunity to see students from Clifton, Elizabeth, Newark, Orange, and Passaic County participate in the NJSO Concert for Young People entitled, "Fall Fireworks," and engage in a one-hour onstage side-by-side rehearsal with members of the NJSO. In preparation for the side-by-side concert, students learned Respighi's “Ancient Airs and Dances” and Williams' “Harry Potter.” NJSO is eager to replicate this model to serve other New Jersey urban districts. The NJSO will pilot a similar collaboration immediately following the May 26 Concert for Young People at NJPAC for up to 55 of the top 5th-8th grade students in the Newark Public Schools that received the Save the Music Foundation's instrument grants. If you want further details on the program, please visit https://www.njsymphony.org/education As I close, I want to encourage you to seek out your local performing arts centers and search what type of programs they offer, such as professional development sessions for educators. Centers also offer regular opportunities for your students, in the form of open rehearsals, young people's concerts, and side-by-side concerts. Performing arts centers, such as our partners at the New Jersey Performing Arts Center, want to serve their communities by offering high-quality programming for you and your students at affordable pricing.

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A D D TO L I F E ’ S

Harmony BECOME A MEMBER JOIN NOW Among the world’s largest arts education organizations, NAfME is the only association that addresses all aspects of music education. NAfME advocates at the local, state, and national levels; provides resources for teachers, parents, and administrators; hosts professional development events; and offers a variety of opportunities for students and teachers.

Membership options include: •

Active membership for full-time music educators, preK-college/university

•

Introductory membership for first-year teachers who were collegiate members during the previous fiscal year

•

Collegiate membership for pre-service music educators

•

Retired membership for retired music educators

•

Associate membership for part-time music educators and private studio teachers, music parents, music boosters, and other supporters

•

Corporate membership for businesses in the music industry

•

Tri-M® Music Honor Society for middle and high school music students

NATIONAL ASSO CIATION for MUSIC EDUCATION

nafme.org

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1-800-336-3768

memberservices@nafme.org

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Hearts In Harmony Nancy Robinson Linwood Public Schools nancyr obinson@linwoodschools.org

usic educators across New Jersey know that there are many students who would benefit from being a part of their school’s instrumental program, but do not have the financial means to rent or buy an instrument. And given today’s budget realities, many school districts no longer have the financial resources to provide instruments to those who are in need. In 2012, two Linwood Middle School Band students realized the need, and decided to do something about it. They founded Hearts in Harmony, a non-profit organization, to help students who love music, but can’t afford instruments. Recently, I had the chance the to talk with current Linwood Middle School Band student Elizabeth Ong, who recently took over running the organization, about Hearts in Harmony and the work these students do to help others. NR: Where/when did the ideas for Hearts in Harmony come from? Who were the founders? Elizabeth: Music lovers, Katie Rha and Michelle Moffa, founded Hearts in Harmony(HiH) in 2012. They realized there were many children who would love to play music but couldn’t afford to. NR: What is the mission of the organization? Elizabeth: To spread the love of music to others. NR: How did you become the leader? Elizabeth: Katie and Michelle had been looking for someone to take over HiH for a while. Even though I’m young, they realized that I could continue to lead HiH before I go to college. When I was approached about taking the organization over, I immediately knew this was a great chance to spread the love of music. I have been playing the piano since I was five, and have been playing the flute since I was eight years old. I can’t imagine not having music in my life! NR: What is your role in the group? Elizabeth: I am the president of HiH. I am in charge of recruiting members, updating our website, reaching out to the community for musical instrument donations, helping the members clean the used instruments, maintaining paperwork, and leading fundraising projects. I also reach out to area band directors so they can recommend to the organization students who need an instrument.

NR: How do people go about donating instruments? Elizabeth: They can contact heartsinharmonynj@ gmail.com or they go on social media. Our Facebook page is under Hearts in Harmony NJ. NR: Do you get help from any local businesses? Elizabeth: "Hambro’s House of Music" in Northfield repairs and stores the donated instruments we receive. Our member volunteers do the washing, drying and shining afterwards. NR: How many instruments have been donated over the years? Elizabeth: Over forty instruments have been distributed to kids who needed them! NR: Has the organization changed or evolved over the years? Elizabeth: HiH used to distribute instruments in the fall and then receive them back in the summer through the teachers. Now we permanently donate the instrument to the student until he/she does not need it anymore. NR: What is your goal for HiH while you are in charge? Elizabeth: For my first year I was just familiarizing myself with the organization. Now I want to raise awareness, receive more instrument donations, build relationships with local school bands, and do some fundraising for the organization. NR: Anything else you’d like to add? Elizabeth: I love music, and I want others to know what it feels like to be able to play an instrument of their own. Music is a universal language that can emit many emotions and thoughts, and it is an amazing experience to be able to speak this language and pass it on to others! As parents and music educators we know that teens are often depicted in the news and movies as being uncaring, bullies, or connected with school violence. It has been heartwarming to watch a group of teenagers be impacted by music so much that they responded to need and found a way to meet that need. Teenagers making a difference through music…. it’s what we educators always knew the power of music programs in our schools has the power to do.

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Attention All Retired Music Educators: Would You Like To Be A Mentor? Joyce Richardson, Retired Jsrmusic@aol.com

he New Jersey Retired Music Educators Association is initiating a mentoring program for both novice and veteran music teachers. There are a great number of retired music educators in the State of New Jersey with many years of experience, knowledge and expertise in various areas that could be shared with both new teachers and those with years of experience. These teachers often experience many problems in facing new situations, need advice, or are hesitant to confide in administration or their content area supervisor. Also, these educators could have a situation arise where advice may be very welcome from someone with years of experience and expertise. As a result, the retired music educators are invited to become mentors. There are various categories where music educators may become a contact by phone and/or email. I am compiling a list of retired educators who are willing to volunteer their time and expertise in order to share their ideas with fellow music educators in the field. The list will be updated as music educators add their names to the list as mentors. The various categories are listed below. A music educator who is seeking advice would be able to call or email the mentor with concerns. The mentor would then respond. The list of volunteers with email addresses would be displayed on the NJMEA website for accessibility. Please contact me at jsrmusic@aol.com if you would like to be listed as a mentor in any of the following categories:

MENTORING CATEGORIES Vocal/General Music Early Childhood-Pre-K

Church Choirs Children/Youth/Adult

Middle School Vocal/General Grades 6-8(9)

Preparing For Festival Audition Choral/Instrumental

Elemeantary Strings 3-5

Transitioning From One Position To Another: Instrumental To Choral Choral To Instrumental, Elementary To Middle High School To Elementary, Etc.

High School Strings (9) 10-12 Elementary Vocal/General Music Grades 1-5

Chamber Ensembles Curriculum Assessment According To Nj State Guidelines Community Performing Groups Choral/Instrumental Traveling With Groups Abroad Choral/Instrumental Preparing For Job Interview

High School Choral Grades (9) 10-12

Directing A Musical

Fundraising For Your Group

Middle School/Jr. High Strings Grades 6-8 (9)

Directing A Talent Show

Directing A Show Choir

Instrument Repair

Getting Involved With Tri-M

Music Technology – All Grades

High School Marching Band

Grant Writing

Instrumental/Vocal Jazz

Dealing With Parent Groups

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Saxophones Can Play In Tune Ronald E. Kearns Vandoren Performing Artist Conn-Selmer Performing Artist dcsax@aol.com

here’s a widely accepted myth that saxophone players play with poor intonation. It’s expected so there’s no reason to try to fix it. Some older horns were designed in such a way that fourth line D was not as well in tune as other notes. The reality is that minor adjustments made those horns play in tune without sacrificing their rich tone. Horns, mouthpieces, reeds and ligatures designed and manufactured over the past five years help even beginners play in tune. So, why do saxophone players play out of tune? The answer is poor focus and attention to pitch accuracy. Let’s look at the causes for poor intonation and some ways to fix it. The first step to good intonation is refining the embouchure and setup. I’ll start with the embouchure first. Some players, and unfortunately, some teachers think the embouchure should be changed as you move up and down the horn. This assumption is incorrect. If your embouchure is set, you can play the complete range of the horn including up to the altissimo in tune. During my clinics, I’ll place a chromatic tuner in front of me so that participants can see pitch consistency. I have

some watch my embouchure while others watch the tuner. As I go up and down chromatically they notice that my embouchure doesn’t shift and the pitch remains consistent. Sometimes I’ll use my setup on one of their instruments to demonstrate that it’s not the horn.

get notes out. The tip should be open enough to allow the reed to vibrate and create a full sound. You should see the tip of the reed match the tip of the mouthpiece when you lightly press it. Too much over or under the tip will lead to poor sound and poor intonation.

Because the setup is such an important part of the process, it’s important to understand the importance of using the proper setup. Since I’m a Vandoren Artist, I’m most familiar with Vandoren products but I give general information that applies to all reeds, ligatures and mouthpieces. An ill placed ligature, an incorrect strength reed and a mouthpiece with the wrong size tip or chamber can lead to poor sound quality and poor intonation. Each of these items must be in place correctly in order for you to get the most out of your embouchure. The Vandoren reed and mouthpiece guide helps you match your preferred reed and the best tip opening and chamber size. There’s too much to be explained here so I’ll give the general information that applies. As you’re playing you shouldn’t feel resistance or back up air. This is one of the reasons players “pinch” the reed closed or shift the embouchure in order to

A reed strength too soft will usually lead to playing flat and one too strong will produce a scratchy sound that usually goes sharp. Experiment and play until you hear the sound most pleasing to you. Once you hear that sound, play a scale with long tones and check each note against a tuner. Take enough mouthpiece into your mouth to allow the reed to vibrate freely. Generally, you don’t want your embouchure pressing the tip or taking so much in your mouth that the tip touches the center of your tongue. The way the mouth is shaped means that in order for your teeth to be even, you must push your bottom jaw forward. This gives you the basis to form your proper embouchure.

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With the number of tuning apps and digital tuners available, there’s no reason not to be able to develop good intonation. Part of your daily warmup should be playing with a JANUARY 2020

tuner. This will help you develop your pitch and tonal center. Once you discover it, you can mark your cork with a pen or marker and that will be the place for you to put your mouthpiece. If you change mouth-

pieces you may have to start the process of tuning and marking again but the embouchure should be set and the range of the horn should still be consistently in tune. The biggest reason for going through each of

these steps is to make sure that you don’t shift your embouchure. That’s where the problem of poor intonation begins.

Bachelor of Arts in Music Bachelor of Arts in Music (combined with a second major) Bachelor of Music Education Bachelor of Music in Performance For Open House and Audition dates, go to: www.gettysburg.edu/sunderman

www.gettysburg.edu/sunderman

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Teach Them The Saxophone First Ronald E. Kearns Vandoren Performing Artist Conn-Selmer Performing Artist dcsax@aol.com

henever I do clinics for bands I’m asked to help their saxophone students learn to play music their band is working on. Directors want me to show their students how to play the music in a specific style or use “jazz inflections.” The first thing I notice is that the students are having difficulty getting around the horn. The problems range from poor embouchure, improper posture, poor breathing and poor sound. At best all I can do is put a bandage on these problems and hope they can imitate what I’m doing to get through the selections. It causes me to reflect on what older players used to say, “he/she doesn’t know their horn.” That statement means that the player doesn’t know all of the nuances of playing the saxophone. So, what does the teacher need to do in order to help their students? First, if there’s a professional saxophone player around bring them in for coaching or private lessons. If that’s not possible, here are a few things that can be done. First, make sure they have equipment in working order. Have a qualified repair person check the instrument out. Leaks and misaligned keys can create problems that are easily fixed. Next, check their setup. Is the mouthpiece the one they need? Have them try out three or four mouthpieces and listen to see which one sounds best and feels most comfortable to them. This is going to be refined later but basically the mouthpiece that they can get the best sound from immediately is the best choice. I recommend starting with a size two or two and a half reed first. Have them play a few scales on that setup with a good ligature first. Once you have the initial setup have them play long tones. Most students won’t want to do that but it’s one of the most important things they can do. Everyone who has attended one of my clinics will tell you “it’s all about sound.” Start with the biggest sound you can so that like a diamond cutter you can chip away

the "rough" to get to the "gem". Once the student has mastered sound production you can refine the sound. No matter what style music is to be played a good full saxophone sound is needed. Discussing reed types and sizes, ligatures and mouthpieces would be a complete separate article so I’ll just say that a good setup is vital for good sound production. Vandoren has plenty of resources to help you match the best setup with your student. All styles of music require a good basic concept of what a saxophone should sound like so the selection of the right setup is to give your students the best materials to develop their concept. The first process in good sound development is playing long tones. My mother who was not a saxophonist or musician made me play long tones until my sound sounded good to her. Every time I pulled out my horn I had to play long tones. I discovered later that my mom was teaching me the lesson that formed my philosophy, it’s all about sound. I learned the importance of shaping the sound of each note and the importance of good intonation. Every good saxophone player must learn that lesson so start there first. Before you can learn to alter a note you must learn to produce the best sound on the note. I would hear my high school band director tell saxophone players not to use a “sub tone” but he never explained what it was. I later learned as a jazz player how to do it and recognized it as an altered tone affected by manipulating the embouchure. Related to good sound production is proper breathing. Wind instruments depend on wind or air flow. Air flow goes beyond playing individual notes, it also involves supporting lines and phrases. The idea of saxophones not being able to play in tune comes from poor embouchures

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Once you’ve done the things listed above stress the importance of practice. There is no close enough for music of any kind, it’s either right or wrong. Encourage your students to practice as a section or in groups of two or three. Between listening to themselves or other saxophone players they will begin to understand what the saxophone should sound like when played correctly. Far to often directors buy into misconceptions of the saxophone. With today’s technology and craftsmanship it is more difficult to play out of tune than it is to play in tune. Have your students start off checking their intonation with a chromatic tuner but then have them aurally discriminate pitches. Ear development is the most important thing for saxophone players and other musicians. Once your students have prepared themselves a guest artist like myself can come in and shape and polish the gem. It’s all about sound and concept!

and poor air support. Combine four whole notes into a one breath phrase followed by another four bar phrase on whole notes. This develops the concept of breath support for a full phrase that can be transferred to the music you’re teaching. The warmup should be directly associated with skills your players will need in real time playing. The next step is listening to model players and model saxophone sections. Whether it’s classical or jazz saxophone, YouTube and other internet sites have plenty of resources. Before you assign your students to listen to these videos or recordings screen them first to make sure they meet your standards. Regrettably, there are a lot of videos you don’t want your players to model. Vandoren has videos of their artists as well as links to the artists’ websites so you can start there. Conn-Selmer and other instrument manufacturers offer the same. You can trust them because they select artists who can demonstrate the quality of their equipment.

WORKBOOK

e OK KBO ing Effectiv WOildRing and nEvinaluGeatneral Music

for Building and Evaluating Effective Music Education in Ensembles

for Bu Educatio Music

TION,

EDI 2016

REVISED

2016 EDITION, REVISED

Workbooks for Building and Evaluating Effective Music Education The NAfME Workbooks for Building and Evaluating Effective Music Education include materials to help music educators evaluate the quality of their program, as well as tools to help music educators discuss teacher evaluation within the context of their music classroom with school administrators. Available in hard copy and digital, fillable PDF files, these workbooks also include materials to help assess student growth and to help identify specific music classroom practices that exemplify appropriate music teaching strategies. • • • • •

An overview on how to use the workbook How to evaluate the Opportunities to Learn in your program Guidance on measuring student achievement Evaluation worksheets An extensive series of appendices

Purchase your Workbook for Building and Evaluating Effective Music Education today: bit.ly/GMWorkbooks.

nafme.org

JANUARY 2020

1-800-336-3768

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The 2019 All-National Honor Guitar Ensemble Jayson Martinez Arts High School, Newark jmarti37@webmail.essex.edu

t is an honor to announce that six guitar students will represent the great state of New Jersey at the upcoming All-National Honor Ensembles event in Orlando, Fl. These guitarists are students at J.P. Stevens High School, Edison, under the direction of Raul Huaman, and Arts High School, Newark, under the direction of Jayson Martinez. During the 2018–19 school year, accomplished music students across the United States and overseas in military base schools practiced with dedication to gain a chair or part in their local, district, and state music honor ensembles. And now these acclaimed students will join the “best of the best” for the National Association for Music Education (NAfME) 2019 All-National Honor Ensembles November 7–10, 2019, at the Gaylord Palms Resort and Convention Center in Orlando, Florida. The Jazz Ensemble, Mixed Choir, Guitar Ensemble, and—new this year—Modern Band concerts will take place 7:00–10:00 pm, November 9th, and the Symphony Orchestra and Concert Band concerts will begin at 9:30 am , November 10th. The concerts are open to the public. Tickets are $10 and may be purchased online or onsite. Students were chosen through an audition process. The concert band and symphony orchestra will each have 119 and 121 instrumentalists respectively; the jazz ensemble 20 instrumentalists, the mixed choir 240 vocalists, the guitar ensemble 41 instrumentalists, and the modern band 16 performers. Selected students will be rehearsing a challenging repertoire in preparation for performing under the direction of six of the most prominent conductors in the United States: Tesfa Wondemagegnehu (Mixed Choir); Soo Han (Symphony Orchestra); Emily Threinen (Concert Band); Todd Stoll with Camille Thurman (Jazz Ensemble); Bill Swick (Guitar Ensemble); and Scott Burstein (Modern Band). All conductors have received top honors in their field and will spend several days rehearsing with students before the concert. The entire list of guitar students from participating states across the nation is on the next page.

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JANUARY 2020

The 2019 All-National Honor Guitar Ensemble State Roster First Name Liam Ryan Yian Juan Diego Jose Gabriel Jessie Nathan *Ella Silvia Louie Deven Taizja Dayna Christopher Karen Megan Kennedy John Nicolas Hannah Lance Steven Kirun William Jon’tera Stanley Matthew Emily Dhruv *Bela Ashley Matthew Abner *Varin *Jack *Jun Thrilok

Last Name Cashmore Chen Wang Del Toral Namnum Pineda Quintero Thurman Kwon Waigel Miller Thares Balding Broadnax De Dios D’falco Ervin Levanger McClendon Neo Pena Prater Reyes Sierra Treinen Kandle Ashburn Barrangan Fajardo Huang Iyengar Khanna Melendres Averyt Joseph Nakka Osborne Park Shivaraman

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Part Guitar Part 1 Guitar Part 2 Guitar Part 4 Guitar Part 3 Guitar Part 3 Guitar Part 4 Guitar Part 2 Guitar Part 3 Guitar Part 2 Guitar Part 4 Guitar Part 3 Guitar Part 4 Guitar Part 1 Guitar Part 1 Guitar Part 2 Guitar Part 1 Guitar Part 1 Guitar Part 2 Guitar Part 3 Guitar Part 4 Guitar Part 3 Guitar Part 3 Guitar Part 4 Guitar Part 2 Guitar Part 2 Guitar Part 1 Guitar Part 1 Guitar Part 2 Guitar Part 2 Guitar Part 4 Guitar Part 3 Guitar Part 4 Guitar Part 1 Guitar Part 3 Guitar Part 3 Guitar Part 1 Guitar Part 1 Guitar Part 4 Guitar Part 2

School City Flagstaff Tucson Irvine Doral Orlando Doral Orlando Lakeland Honolulu Louisville Minneapolis Minneapolis Las Vegas Las Vegas Las Vegas North Las Vegas Las Vegas North Las Vegas Henderson Las Vegas Henderson Las Vegas Las Vegas North Las Vegas Las Vegas Durham Newark Newark Newark Edison Edison Edison Albuquerque South Riding Ashburn Ashburn Ashburn South Riding South Riding

School State Arizona Arizona California Florida Florida Florida Florida Florida Hawaii Kentucky Minnesota Minnesota Nevada Nevada Nevada Nevada Nevada Nevada Nevada Nevada Nevada Nevada Nevada Nevada Nevada New Hampshire New Jersey New Jersey New Jersey New Jersey New Jersey New Jersey New Mexico Virginia Virginia Virginia Virginia Virginia Virginia

Teacher First Thomas Renee Whitney Alvaro Christopher Alvaro Christopher Robert Darin Michael Ruth Ruth Bill Bill Bill Brian Bill Brian Matthew Bill Matthew Bill Bill Brian Bill Marc Jayson Jayson Jayson Raul Raul Raul Genevieve Samuel Michael Michael Michael Samuel Samuel

Teacher Last Byers Shane-Boyd Tavlarides Bermudez Perez Bermudez Perez Phillips Au Kagan LeMay Lemay Swick Swick Swick Levanger Swick Levanger Nishimoto Swick Nishimoto Swick Swick Levanger Swick LaForce Martinez Martinez Martinez Huaman Huaman Huaman Leitner Wong Murphy Murphy Murphy Wong Wong

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Feierabend Fundamentals Andrew Himelick Towne Meadow Elementary School, Carmel, IN

here is an exciting and inspiring new resource available for music educators wanting to learn more about the programs and philosophy of John Feierabend. But first, a little history. For over 3 decades, John Feierabend has been creating and publishing resources to help teachers grow their students into what he has termed “tuneful, beatful, and artful” musicians. A tuneful, beatful, artful person can think and sing tunes, easily feel the beat and beat divisions in music, and connect to the expressive part of the music they hear and perform. Feierabend created “First Steps in Music” and “Conversational Solfege,” programs that are used in schools throughout the U.S. and around the world to assist a music educator in teaching students to become beatful, tuneful, and artful. It became obvious to Feierabend that teachers wanted in-depth training on how to use these two resources effectively in their classrooms. So, summer certification workshops were made available around the U.S. and later, internationally. As the popularity of his work grew, it also became clear to Feierabend that he could no longer spread the word on his own. Therefore, the Feierabend Association for Music Education (FAME) was established in 2012 to help spread and foster his work. In addition to this, Feierabend began training other master educators (called Endorsed Teacher Trainers) who could also teach certification courses. Missy Strong, elementary specialist in the Mt. Laurel Township, NJ schools, is one of those master educators and is also the current President-Elect of FAME. In 2012 she saw the potential of social media to bring music teachers from around the world together, and created the “Feierabend Fundamentals” Facebook page with Feierabend’s blessing. Her vision was that teachers

already using Feierabend resources and programs as well as those just learning about his work could have a place to ask questions and share ideas. Quickly, the Facebook page became popular and today has over 8,000 followers. From the amount of posts and discussion on the page, Strong could see there was a need for a single resource where many of the most common questions and items discussed could be addressed and fleshed out. It would be a “one-stop-shop” of all things Feierabend. A handful of other master teachers in the Feierabend camp (most of them Endorsed Teacher Trainers) were selected to write specific chapters about how Feierabend’s work could and should be understood, taught, and used. The practitioners chosen are experts from early childhood to college and beyond. This resource, “Feierabend Fundamentals: History, Philosophy and Practice” is available from GIA Publications. Feierabend and Strong are both editors and, along with ten other contributing authors, share their expertise across multiple music teaching areas in the book. The chapters are as follows: John Feierabend: A History First Steps in Music: A Research-Based Curriculum First Steps in Music in the Infant and Toddler Classroom Getting Started with a First Steps in Music Business First Steps in Music in the Elementary Classroom Conversational Solfege Explained Comparing Major Methodologies Conversational Solfege - Special Considerations Conversational Solfege in the Choral Setting Conversational Solfege in Instrumental Settings Assessment in First Steps in Music and Conversational Solfege

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Adaptations for First Steps and Conversational Solfege Building a Children’s Church Music Education Program Using the Feierabend Approach Conversational Solfege Upper Levels As is evidenced by the chapter list, Strong and Feierabend sought to cover as many areas of music education as possible. The intention was that anyone interested in learning the basics of Feierabend’s philosophy, resources, and programs could easily pick up the book and immediately begin to learn. While the in-person certification training offered by the FAME organization is the optimal way to interact with

JANUARY 2020

and learn Feierabend’s philosophies and methods, the book serves as an excellent introduction and help for teachers at any level of experience with his work. “Feierabend Fundamentals” is written for new and veteran teachers, teachers certified by the Feierabend Association for Music Education, college professors, and undergraduate and graduate college students. This book is a major contribution to the music education profession and is a significant step toward bringing this child-centered and powerful approach to an even larger community. As one looks at the above titles, it is obvious that this is a resource from which even those unfamiliar with

Feierabend’s work might start learning some of the basic tenets as well as a place where an experienced teacher familiar with Feierabend’s work could learn even more about helping their students to be “tuneful, beatful, and artful.” Andrew Himelick is an Elementary Music Teacher at Towne Meadow Elementary School, Carmel, IN and a FAME Endorsed Teacher Trainer for First Steps in Music and Conversational Solfege.

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School Administrator Award Awards and presentations are made annually to outstanding school principals and/or superintendents who demonstrate support for and commitment to high-quality arts education programs in their schools. The influence of such administrators is a major factor in improving music education in school systems across the state. One elementary school principal, one secondary school principal and one school district superintendent may be selected to receive this award. Individuals holding titles as assistant principal and assistant or associate superintendent also qualify. Administrators receiving awards will be notified by NJMEA and a presentation honoring them will take place at the Membership Luncheon at the February NJMEA State Conference.

C. The administrator must be an active advocate for arts education in the school and community. D. A financial commitment to music programs must be demonstrated in the school or school district. E. The administrator must show strong leadership, good school management, and good rapport with teachers, parents, students, and other school administrators. Nominators must submit the following for each administrator: 1. Completed School Administrator Nomination form verified and signed by the nominator. 2. Resume of nominated administrator. 3. Two letters of support, including one from the music education faculty in the administrator’s school or district. 4. A picture of the administrator suitable for publicity purposes. 5. Name and address of the administrator’s local newspaper, television and radio station where applicable. 6. Additional support materials such as press clippings if available.

Selection by the NJMEA committee will be based on the following criteria: A. The school or school district under the administrator’s supervision must have an exemplary music program, with a majority of the music staff holding NJMEA membership. B. The administrator must have served in the administrative position in the same school or district for no less than three years. Application must be postmarked by October 15th

School District _________________________________________________________ Send the form, photograph, and support materials to: Selection (check one) Elementary Principal __________ NJMEA Secondary Principal __________ 1806 HWY 35 Suite 201 Superintendent __________ Oakhurst, NJ 07755 Nominee’s Name ____________________________________

Title

_____________________________________________

School ____________________________________________

Telephone ____________________________________________

School Address ______________________________________________________________________________________________________ Please answer the following questions on a separate sheet in support of your selection. This form must be signed by the nominator and the administrator nominated and must be accompanied by a resume, two letters of support (one from a member of the music faculty), a publicity photo, and a list of local media and their addresses. 1. How long has the school or school district been under the administrator’s supervision? 2. Describe some of the features of the school or district under the administrator’s leadership that demonstrate how the music program is exemplary. Please include in your description answers to the following: a. Describe the music curriculum offerings and time allotment for students. b. How have music programs in the school/district been expanded or improved as a result of the administrator’s efforts? c. Have students or programs in the school or district won awards for achievement or recognition in the arts? 3. How has the administrator been an active advocate for music and arts education in the school and community? 4. How has this administrator demonstrated financial commitment to music programs in his or her school/district? 5. Give examples of the administrator’s strong leadership, good school management, and good rapport with teachers, parents and students. 6. Add any other information that supports selection of this administrator. Nominator’s Signature ______________________________________

Date ____________________________________

Administrator’s Signature ____________________________________

Date ____________________________________

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JANUARY 2020

Distinguished Service Awards The NJMEA Board of Directors has initiated a Distinguished Service Award for those members who have honored themselves with faithful service to music education in public, private, and parochial schools of New Jersey. Past and present members of the NJMEA Board of Directors are also eligible for the DSA since they have dedicated much time and effort toward State projects related to music education. The third and fourth DSA categories include individuals and organizations outside the field of Professional Music Education and NAfME officers on both the National and Regional level. The final decision on DSA recipients will be made at the November meeting of the NJMEA Board of Directors. The criteria below should be carefully read and studied to insure maximum consideration by the DSA Committee.

CRITERIA FOR SELECTION Eligibility: Any member, person or group who has not previously Recipients Can Be Nominated From Any One received the award. Of These Categories

Members who have accumulated a total of 25 years in the service of Music Education and have distinguished themselves through service to the regions and/or NJMEA. Eighty percent of the years must represent full time service in the schools of New Jersey. The member does not have to be currently active as a teacher.

Members who have ten years of meritorious service and outstanding leadership in Music Education as a member of the NJMEA State Board of Directors. It is not necessary to have accumulated these years in a continuous sequence.

Individuals and organizations outside the field of Professional Music Education in recognition of their service to Music Education.

National and Regional NAfME elected officials who have initiated programs and projects that have benefited our state members and Music Education on a national and regional level.

Nominations: The nomination plus required data must be submitted by an NJMEA member. The nomination is then endorsed by the DSA Committee and presented for acceptance to the NJMEA Board. However, the NJMEA Board may recommend or authorize the award if no nomination forms have been received from the membership by the DSA Committee. This board authorization must receive a 70% majority vote of the board membership. Number:

DSA Committee discretion (to be decided annually)

Presentation:

To the recipients by the NJMEA President or his or her designee at a mutually agreeable occasion such as the annual state workshop/conference, region meetings, region concerts or festivals, local concerts, and retirement affairs.

ESSENTIAL DATA The Following Information MUST Be Included: Nominee’s Name: ___________________________________

Title/Position: __________________________________________________

Telephone: ________________________________________

Home Address: # & Street _________________________________________

City/Town: ________________________________________

State & Zip: ____________________________________________________

Application must be postmarked by October 15th Please provide the following information on separate sheets in the listed sequence. 1. This application 2. Name, address, phone and affiliation of nominee or group. 3. Name, address, phone of nominator. 4. Attach a vita for the nominee or group that is as complete as possible. 5. Summarize the achievements, contributions, or service on which the proposed award would be based. Include any evidence that the nominee or group would be receptive to such an award. Please send two copies of these materials to: NJMEA 1806 HWY 35 Suite 201 Oakhurst, NJ 07755

JANUARY 2020

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Outstanding School Board Award The New Jersey Music Educators Association seeks nominees for the Outstanding School Board Award. NJMEA presents an award to a local school board at the Membership Luncheon during the February NJMEA State Conference. This award acknowledges and awards outstanding school boards who exemplify superior support and commitment for quality music programs throughout all the grades of the school district. Selection by the NJMEA committee is based on the following criteria: A local school board must demonstrate the following: A. A significant contribution in support of the development of the district music program. This should include superior programs of sequential, curriculum-based music education. B. Advocacy for music education within the school district. C. Financial support commensurate to support a superior music education program of general, choral and instrumental music. D. Willingness to accept the award if it is bestowed and to participate in publicizing it. Nomination: 1. Completed nomination form. 2. A statement from the School Board President or other officer of the school board in which a rationale is put forth for accepting consideration of the nomination. 3. A statement of support from the district superintendent which describes the district music education programs to be considered as evidence of achievement in music education. 4. A letter of support from two or more of the music teachers. 5. A letter of support from two local citizens, public officials or parents. 6. A black and white photograph of the school board suitable for publicity purposes including a list of their names as they are in the picture and the number of years they have served on the board.

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JANUARY 2020

Outstanding School Board Award This form should be completed by the local school district and the nominator. Name of school district ______________________________________________________ School district address

______________________________________________________

School district telephone number _______________________________________________

Please answer the following questions in support of your nomination. Use a separate sheet. 1. How long have the members of the school board served? (Give names and length of service.) How long is a single term? 2. Describe how the board has contributed to the development of music education within the school district. 3. Describe any exemplary music programs in the school district that have been developed and implemented under this board’s direction. 4. Have students or programs in the school district won awards for achievement or recognition in music? 5. How have members of the school board been active advocates for music and arts education? 6. Please add any other information that supports your nomination. Signatures: Superintendent of Schools _______________________________

Date

_____________________

School Board Chairperson _______________________________

Date

_____________________

District Music Coordinator _______________________________

Date

_____________________

Nominator

Date

_____________________

_______________________________

Application must be postmarked by October 15th Send the form, photograph, and support materials to: NJMEA 1806 HWY 35 Suite 201 Oakhurst, NJ 07755

JANUARY 2020

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Master Music Teacher Award To be eligible for consideration, the nominee must: A. have completed a minimum of ten years of music teaching in the schools of New Jersey (public, parochial, private or collegiate). B. be actively teaching and a member of NJMEA-NAfME for at least ten years. C. display teaching excellence, as the only other major criterion used in the selection process. Deadline: March 15th: Nominee: ________________________________________________________________________________________________ Street Address: ____________________________________________________________________________________________ City: __________________________________________

State: ______________________

Zip: _________________

Telephone: _____________________________________ E-mail address: _____________________________________________ Teaching position: _________________________________________________________________________________________ School Name: __________________________________________ Street Address: ______________________________________ City: __________________________________________

Zip: ________________ County: ______________________

Superintendent: ____________________________

Telephone: __________________ E-mail address: ________________

Principal: _________________________________

Telephone: __________________ E-mail address: ________________

Supervisor: ________________________________

Telephone: __________________ E-mail address: _________________

Nominator: _______________________________

Telephone: __________________ E-mail address: _________________

Please include with this form: 1. Academic background including degrees and certificates held. 2. Experience in the field of music including previous positions held, honors, and recognitions. 3. A minimum of two letters of reference supporting the candidacy 4. Additional supporting materials, including programs and articles. Do not send CDs or DVD’s. 5. The candidate’s teaching schedule, including number of students in each class, total enrollment in the school, specific periods and times, and detailed directions to the school. Please check the website at: http://www.njmea.org/MasterMusicTeachers.pdf to see who has received this award in the past. Mail this application, together with accompanying documents to: NJMEA 1806 HWY 35 Suite 201 Oakhurst, NJ 07755

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JANUARY 2020

New Jersey Music Educator’s Association Proudly Announces

“The 2020 State Marching Band Ratings Festival” “19th Annual” A unique opportunity for your Marching Band to perform in a Festival (rating only) setting. Quality Evaluation! Local Bands! Enthusiastic Audiences! State Sponsored! Non-Competitive! One time commitment! State Marching Band “Ratings” Festival Saturday, October 17, 2020, 4:30 pm: Wayne Hills High School Contact: Matthew J. Paterno 973-317-2060 (mpaterno@wayneschools.com)

Don’t miss out on this interesting addition to your present Marching Band activities! Sign- ups begin MARCH 1, 2020!

JANUARY 2020

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The 67th Annual Junior High/Middle School Choral Festival Application Form

School Name:

School Phone:

School Address:

City:

Director’s Name :

Zip: Home Phone :

Home Address: City:

State:

Zip:

Email: NAfME Membership #:

Expiration Date: _______________ (Please include a photocopy of your NAfME card)

Name of performing group: Voicing: Number of rehearsals per week:

(during school:

Number of singers: Please check the appropriate category below: (evening):

(before school):

(after school):

Will participate at Rowan University, (South Site) March 18, 2020: 9:15 - 1:30 pm: Will participate at Rutgers University, (North Site) May 27, 2020: 9:15 - 1:30 pm: We can arrive at:

We must depart no later than: Proposed Program (Time limit: Not to exceed 10-12 minutes, no more than 3 titles) THIS SECTION MUST BE COMPLETED AT THIS TIME! Please Print or Type Legibly

Selection (Maximum of 3)

Complete Name of Composer/Arranger

Voicing

1. 2. 3. (If any of the above titles are folk songs, please indcate country or region of origin) FEE: $150.00 per group (non-refundable) FESTIVAL DATES: (Limited to the 1st TEN (10) Groups on each date) DEADLINES: Monday, February 5, 2020 for Rowan University Wednesday, March 18. 2020 (Snow Date: March 19, 2020) Monday, April 15, 2020 for Rutgers University South Site: Rowan University TIME: 9:15 - 1:30 pm SEND TO: Donna Marie Berchtold, Registrar 545 South Buffalo Avenue Wednesday, May 27, 2020 Galloway Township North Site: Rutgers University South Egg Harbor, NJ 08215-1720 TIME: 9:15 - 1:30 pm EMAIL: firesongwed@gmail.com FESTIVAL HOST: Donna Marie F. Berchtold & Karen Blumenthal firesongwed@gmail.com Other information including directions and schedules will be mailed.

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ALL INCOMPLETE FORMS WILL BE RETURNED! MAKE CHECK PAYABLE TO NJMEA (Do not send cash) CHECKS MUST ACCOMPANY ALL REGISTRATION FORMS Purchase Orders Are NOT Accepted BE SURE TO INCLUDE A PHOTOCOPY OF YOUR NAfME CARD

JANUARY 2020

2020 NJMEA MIDDLE SCHOOL CONCERT BAND FESTIVAL APPLICATION Please write clearly with as few characters as possible, as it should appear in program/on plaque. Name of Performing Group: ________________________________________________________________________________ Director Name(s): _______________________________________________________________________________________ School Name: __________________________________________________________________________________________ School Address: ____________________________________ Town _________________________________ Zip: __________ School Phone: (______)_________________________ (Ext: __________) School Fax: (______)________________________ E-mail Address: ______________________________________@_________________________________________________ Home Address: _____________________________________________________ Cell Phone: (______)____________________ Number of Performing Students : ___________________ Grade Level(s): (circle)

Rehearsal Schedule (length, time of day, rehearsals/week): ______________________________________________ Your Program

Title

Warm-up Selection: ___________________________________________ 1st Adjudicated Selection: _______________________________________ 2nd Adjudicated Selection: _______________________________________

Composer/Arranger

________________________________________ ________________________________________ ________________________________________

Date and Site Selected (Please indicate 1st and 2nd choice, if applicable.)

( ) Tuesday, March 17, 2020 at Rowan University (Glassboro) ( ) Tuesday, March 31, 2020 at Bridgewater-Raritan MS ( ) Tuesday, March 31, 2020 at Summit Middle School We can arrive at: ___________________

We must depart no later than: __________________

Each band will have at least one 20-minute warm-up time prior to their performance. Stage time will be approximately 30 minutes including set-up, performance and exit. Clinicians’ taped and written critiques will be made available; in addition, clinicians will speak with band members following the performances as time allows. A participation plaque will be awarded to each band. All groups are encouraged to listen to the other ensembles performing. Mutual respect for all performances is absolutely necessary. A final letter will follow to participating directors with more information. A non-refundable fee of $150.00 per performing ensemble must accompany this application. Checks should be made payable to NJMEA. (No cash or purchase orders, please.) Directors must also include a copy of their current NAfME membership card. This application is due no later than ONE MONTH prior to your festival date. Please return completed applications to: Please direct questions to James Chwalyk, Festival Coordinator JANUARY 2020

James Chwalyk, Jr. 39 Newark Avenue Bloomfield, NJ 07003 james_chwalyk@lyndhurst.k12.nj.us (973)-477-6641 (cell phone)

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CJMEA

Central Jersey Music Educators Association cjmea.org

JMEA officially kicked off its year with the High School Band, Choir, Orchestra, and Percussion Ensemble auditions on December 14th at JP Stevens High School. Congratulations to all directors who had students accepted into the high school ensembles! This is a direct result of your hard work and dedication to quality music education. I’d like to thank our division chairs, Chris Vitale, Julianna LoBiondo, Arvin Gopal, and Yale Synder, as well as our band Audition Chair, Brian Toth and our choir Registration Manager, Barbara Retzko, for all of their hard work leading up to and on the day of auditions. So much goes on behind the scenes in order to ensure a smooth day for our directors and students. The CJMEA Board is grateful to everyone who assisted in any way during this event. Special thanks goes to Andrew Denicola, Matthew Lee, Brian Verdi, and John Zazzali from JP Stevens High School for hosting our auditions, as well as to the JPS Band Booster Club for organizing breakfast and lunch for our directors. Our concert season begins on Sunday, January 5th with the High School

Orchestra and Percussion Ensemble. The full calendar of events and locations is available on our website, www. cjmea.org. In an effort to assist with the professional development of music teachers in Region II, CJMEA will continue to offer grants to teachers/music programs: Grant awards typically do not exceed $750. Grant awards may be used to partially fund a project in conjunction with your school if we are not able to fully fund your proposed professional development. All checks will be written to a school account. We are unable to write checks directly to teachers, presenters, companies, music booster clubs, or other individuals/companies. Grants cannot be requested for the purchase of equipment or supplies unless it directly relates to the PD session being proposed. The grant proposal form is available on our website. We will continue to approve grant requests until the funds allocated for this school year have been spent. It is a wonderful accomplishment to successfully audition into a Region Honors Group. It’s especially impressive when students are able to do this four years in a row! This will be the 4th year that we will offer three $1000 scholarships to graduating seniors who have been members of a region ensemble all four years of high school. The scholarship application is available on our website. Please encourage your seniors to apply for these scholarships. CJMEA will once again hold a general membership meeting at the NJMEA Conference in February which will take place in Atlantic City this year! The Board and I look forward to seeing you then. In the meantime, please feel free to reach out to me or any other Board member if you have any questions or concerns. The contact

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information for every Board member is available on the website. We are here to promote a spirit of cooperation and fellowship among the music educators of this region and are always happy to hear from you. Wayne Mallette CJMEA President wmallette@cjmea.org

NJSMA

North Jersey School Music Association njsma.com

n behalf of the entire NJSMA Executive Board, I’d like to wish you a happy new year! As we enter this first part of 2020, we look forward to working with you to offer the students of northern New Jersey some amazing musical experiences. If you are new to Region I or have new contact information, please be sure send us your information via the Contact Update Form link on our NJSMA homepage. Thank you to Mark Donellan, Bob Gizzi, Judy Wilkes, Nicole Cascione, and Kim Nimmo of the Paramus School District Music Department for hosting our January auditions. Thank you also to Lisa Vartanian, Supervisor of Fine, Performing, and Practical Arts, for helping to secure all of the needed facilities. In an effort to make our ensembles more accessible to all students, we now have our ensemble forms and applications available in both English and Spanish. We are also proud to be able to offer assistance to students with financial need. Please see the Fee Waiver Application on the Band/Chorus/Orchestra pages of our website for more information. NJSMA is planning an informal social gathering for all members during the NJMEA Convention in Atlantic City. Be on the lookout for more detailed information that will be sent via e-mail later this winter. Please also JANUARY 2020

mark your calendars for our 2nd annual NJSMA General Membership PD Day on Monday, June 1, 2020. If you are interested in presenting a clinic on this day, please contact your respective division chair! Thank you to our executive board members, to all of the volunteers who dedicate many hours to chair, host, and manage our ensembles, and to the entire membership for your continued commitment to music education. Our students would not have the opportunity to participate in these enriching musical experiences without you! Diana May President, NJSMA president@njsma.com Band Division The Region I high school auditions will be held on Saturday, January 4, 2020, with a snow date of Sunday, January 5, 2020, at Paramus High School. We would like to thank Mr. Mark Donellan and Paramus High School for hosting auditions and the band division audition chair, Mr. Jeffrey Brown from Dumont High School. The High School Region Band rehearsals and concert will be held at Parsippany Hills High School. The concert will be on January 26, 2020, at 3:00 p.m. Jeffrey Grogan, Professor of Music at Oklahoma City University will conduct the Wind Ensemble and Michael Iapicca, Band Director at Parsippany Hills High School, will conduct the Symphonic Band. The Intermediate Band auditions (7-9) will be held on Saturday, February 8, 2020 with a snow date of Sunday, February 9, 2020 at Clifton High School. We would like to thank Mr. Bryan Stepneski and Clifton High School for hosting auditions and the band division audition chair, Ms. Michelle Christianson from Parsippany Hills High School. The Intermediate Region Band rehearsals will be held at John H. Walker JANUARY 2020

Middle School in Nutley. The concert will take place on March 8, 2020 at 3:00 p.m. at Madison Jr. School in Madison. Mr. Ryan Stroud, Director of Bands at Kinnelon High School, will conduct the Intermediate Symphonic Winds and the Intermediate Concert Band will be under the direction of Mr. Rick Fitzke, Band Director at West Essex Middle School. This year’s High School Region Concert Band Festival will be held March 17, 18, 19. Hosts include West Essex High School, Parsippany Hills High School, Northern Valley Old Tappan High School, and Bergenfield High School. The Middle School Concert Band Festival will be held April 1 at West Essex High School and Westwood Jr./Sr. High School. Thank you to all our hosts and all participating ensembles. Special thanks to our festival coordinators John Maiello, Jeff Brown, and Erik Donough. The seventh annual NJSMA Elementary Band Festival will take place on Saturday, May 2, 2020 at South Orange Middle School. Sixth graders from North Jersey who have been nominated by their directors will rehearse and perform a concert in a one-day festival. Directors who would like to suggest new high school or junior high school solos for future auditions are encouraged to do so. The process for having a new solo considered is to contact the band chairs and provide a copy of the music for them. Your suggestion will be submitted to a committee for review (NJ Band Procedures Committee for high school solos) and added to the rotation if deemed appropriate. Region I Band Procedures Representatives: Lewis Kelly, Max Taylor, and Jeffrey Bittner. Please check www.njsma.com for updated and detailed information. Lewis Kelly, Lyn Lowndes, Jennifer Wise Band Division Co-Chairs band@njsma.com

Chorus Division We hope that your year so far has been fruitful and enjoyable. The chorus division is giving you many opportunities for your students and we hope that you avail yourselves to them! The High School Chorus Festival took place December 3rd- December 5th and was a huge success! 24 choirs from 19 schools participating! We would like to thank Montclair State University, Teaneck H.S., and Chatham H.S. for hosting. Thanks also to Dr. Heather Buchanan, Dr. Matthew Webb, and Dr. Jason Vodicka for adjudicating! The High School Region Band and Chorus Auditions will be held on Saturday, January 4, 2020, with a snow date of Sunday, January 5, 2020, at Paramus High School. Orchestra (Intermediate and High School) Auditions will be held at Parkway Elementary School in Paramus. The Intermediate Band and Chorus auditions will be held on Saturday, February 8, 2020 at Clifton High School. (Snow date, Sunday, February 4, 2020.) We would like to thank Mr. Bryan Stepneski and Clifton High School for hosting the auditions and the chorus division audition chair, Ms.Cara Palomba from Schuyler-Colfax Middle School in Wayne. We are still looking for more people to help manage the Mixed and Treble Intermediate Choirs. If you can step up and manage, please do so! (E-mail us if you can help out in this capacity.) We would LOVE to have two people for each choir. The Intermediate Chorus Festival is scheduled for Friday, January 24, 2020 at Macopin Middle School in West Milford. Many thanks to Susan Kaczor for hosting! Spring Region Meeting: Last year, our annual membership meeting also included PD for the very first time and attendance was way up. We will be doing the same this year. Is there a topic

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you would like to see, something you would like to present, or a clinician we could obtain? We’d love your feedback and to make the day important to you! Contact us and let us know! Please check out the NJSMA calendar to keep up with events. You can also get some information through our FB page. We are looking forward to seeing you soon at festivals, auditions, rehearsals, and concerts! Deana Larsen and Austin Vallies, Chorus Division Co-Chairs chorus@njsma.com Orchestra Division The high school and intermediate orchestra auditions will be held on Saturday, January 4, 2020, with a snow date of Sunday, January 5, 2020, at Parkway Elementary School in Paramus. We would like to thank Jeff Cierniak, Loni Bach, and Sarah Wlazlowski for being this year’s Audition Chairs. We are excited to announce the conductors for both region orchestra groups. The high school Region Orchestra will be conducted by Jeff W. Ball, who is the director of music at Grand Street Campus Schools in Brooklyn, NY. The Intermediate Region Orchestra will be conducted by Justin Louie, who is the orchestra director at Woodrow Wilson Middle School in Clifton. If you are interested in presenting at our upcoming NJSMA PD Day on June 1st, please contact us at the e-mail address below. Jordan Peters & Russ Batsch Orchestra Division Co-Chairs orchestra@njsma.com Elementary Division The NJSMA Elementary Division is proud to offer exceptional events and workshops for elementary general music educators and their students. We thank all of our clinicians, volunteers and sponsors for the tremendous support throughout the year.

Upcoming events: “It’s Elementary, My Dear” Saturday morning PD event, co-sponsored with NJYC, will take place on Saturday, February 8, 2020 at Chatham Middle School, and features rotating workshops and an elementary choral reading session. Session presenters include: Kim Kanefke (Mendham Borough School), Francois Suhr (South Brunswick Public Schools), Jim Musto (NJ Symphony Orchestra) and Joanna Scarangello (NJYC Coro Vivo Director). Check back on the NJSMA website for details and registration information. The Fifth Annual Treble Choral Celebration will take place on Wednesday, May 27, 2020 at the Presbyterian Church in Morristown. Guest clinicians are Dr. Matthew Webb and Mrs. Deborah Mello. Teachers/directors are welcomed to observe the Choral Celebration. PD Certificates will be provided. Please email elementary@njsma.com to register as a participant or observer. Next year’s Annual Fall (Columbus Day) Workshop (October 12, 2020) will feature nationally renowned clinician, Amy Abbott (Music a la Abbott). This exceptional professional development day will include: a full day workshop with Amy Abbott (“Hook, Line and Sinker: Catching the Attention of the Upper Elementary Student,” and “Tried and True Singing Games for Grades K-6.”) a SWAG bag, great door prizes generously provided by your favorite music companies, a continental breakfast and buffet lunch, PD certificate and more! Registration will open in May, 2020. NJSMA Elementary Music Division welcomes all elementary music teachers in NJ (and beyond!) to attend the events and workshops mentioned above. Please consider volunteering as an Elementary Division committee member. All are welcome! Lisa Wichman and Carol Richardi Elementary Division Co-Chairs Elementary@njsma.com

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SJBODA

South Jersey Band And Orchestra Directors Association sjboda.org

JBODA will bring in the New Year with two very exciting concerts at Rowan University. On Sunday, January 5th we will present our Orchestra and String Ensemble concert. This is the 66th anniversary concert for the Orchestra which will be conducted by Mark Kadetsky (Egg Harbor Twp. Public Schools). The Junior High String Ensemble will be conducted by Michael Holak (Leonia Middle School). The managers for the Orchestra are Alex Rones (Bridgeton Public Schools) and Anita Collings (Egg Harbor Twp. Public Schools, retired). Jayne Weiner (Evesham Twp. Schools, retired) will manage the Junior High String Ensemble. The following Sunday, January 12th the Wind Ensemble and the Symphonic Band will perform in their 74rd anniversary concert. The Wind Ensemble will be conducted by William Stowman (Messiah College) and D. Michael Lynch (Cherokee HS) will conduct the Symphonic Band. The managers for this event will be Shannon Hughes (Northern Burlington County Regional MS), Kevin Gehringer (Magowan ES), and Courtney Daniels (Hammonton MS). Our concert hosts for these performances are Tim Schwarz and Joe Higgins. These concerts would not be possible without the commitment and dedication of our colleagues. Phil Senseney (Southern Regional Schools, retired) and Deb Knisely (Cinnaminson HS) did an outstanding job in providing our students with a positive audition experience. Patrick O’Keefe provided an excellent facility for our students, parents, and membership at the auditions which were held at Absegami HS. The first rehearsal for these ensembles were held at Cinnaminson HS and hosted by Deb Knisely. Deb did JANUARY 2020

a wonderful job in meeting the needs of our students. Our young musicians also benefitted from the efforts of Rhea Fernandes (Eastern Regional HS), our String Coordinator, and Amanda Lakits Porco (Hamilton Township Schools) our Senior High Band Coordinator. The Junior High Band auditions will take place on Saturday, January 25th at Southern Regional Middle School. Jennifer Hodgson and Andrew Wright will be our hosts. Audition information is available on our website. Rachel DiPilla (Milton Allen ES) and Joe Jacobs (Ventnor MS, retired) are the Junior High audition chairs. Joe Brausum (Berkeley Twp. ES) is our Junior High Band Coordinator. The concert will take place on March 1st at Fernwood Ave. MS. Marc Spatz will be our concert host. The rehearsals will take place at Mainland Regional HS with Derek Rohaly as our host. The conductors for the 43rd Annual Junior High Band Concert are Dan McGrath (Russel O. Brackman MS) and Doug Barber (Seneca HS, retired). The 13th annual Chamber Ensemble Concert will take place on Wednesday, February 4th at Penns Grove HS with Ken Rafter as our host. Jon Porco (Monongahela MS) is our Chamber Ensemble Coordinator. Our coaches this year are Christine Macaulay (Clara Barton ES), Clarinet Ensemble; Tyler Wiernusz (Clearview Regional HS), Tuba/Euphonium Quartet; Tom Maioriello (Clearview Regional HS), Percussion Ensemble; and Megan Carol (Symphony in C), Flute Quartet. We were still in need of coaches for the Brass Ensemble, Percussion Ensemble, Woodwind Quintet, and the Sax Quartet at the deadline for this article. Registration forms for our 27th annual Concert Band Festival are available on the SJBODA website. The festival, coordinated by Mike Armstrong (Deptford Township HS) and Jon Porco (Monongahela MS), will take place on Tuesday, March 3rd and Wednesday, JANUARY 2020

March 4th at Rowan University. The snow date will be Thursday, March 5th. The adjudicators will be Eric Laprade (TCNJ) and Lauren Reynolds (University of Delaware). Joe Higgins and the Rowan CNAfME will host this event. The 28th annual Elementary Honors Band Festival will take place on Saturday, April 25th at Absegami HS. Patrick O’Keefe will be our host. Our coordinators are Sue Moore (Mansion Avenue School) and Rachel DiPilla (Milton Allen ES). Registration forms are available on our website. Our 5th annual Elementary String Festival will take place on Saturday, May 2nd at Egg Harbor Township HS. Christine Macaulay (Clara Barton ES) will coordinate this event and Kate Wyatt (Egg Harbor Twp. Schools) will be our host. Registration forms are available on our website. The SJBODA Winter Meeting will take place on Friday, January 10th at 10:00 AM at Rowan University. All members are encouraged to attend. Please continue to check the website, maintained by Derek Rohaly (Mainland Regional HS) for the latest SJBODA .updates. We also invite you to follow us on twitter @sjboda and on Instagram @SJBODA_Official maintained by Adam Jarvela (Indian Avenue School). The SJBODA phone number is 609-457-0590. Joseph Jacobs Secretary, SJBODA

10-12) choirs. These auditions would not have been possible without the efforts of audition managers Cristin Introcaso (Senior High) and Cheryl Breitzman (Junior High) as well as Festival Coordinator Amy Melson. SJCDA is also grateful to the Woodstown Choir program for being such accommodating hosts for the auditions. Andrew Seigel from William Davies Middle School will be conducting this year’s Senior High Chorus, and Jessica Kolody from Highland Regional High School, will be conducting the Junior High Chorus. Their diverse and challenging programs can be viewed at www.sjcda.net. The first rehearsal was held on Saturday, December 7, 2019, at Lenape High School. This year’s festival will take place on January 25 and 26, 2020, at Washington Township High School’s PAC. The rehearsal managers for the choirs are Jennifer Weir (Senior High) and Robert DiLauro (Junior High). At this busy time of year, SJCDA has many people to thank for their generous help and support. Our gracious rehearsal hosts are Brendan Moore of Lenape High School and Dr. Chris Thomas of Rowan University. Joseph Zachowski at Washington Township High School will host both the Jr./ Sr. Festival in January and the Elementary Festival in March. Hope C. Knight, SJCDA President hknight@mtps.com

SJCDA

South Jersey Choral Directors Association sjcda.net

he South Jersey Choral Directors Association held their annual region chorus auditions on Saturday, November 17 at Woodstown School. Over 800 students auditioned for the Junior High (grades 7-9) and Senior High (grades 85 TEMPO

This column salutes the lives and careers of recently departed colleagues. It is the way NJMEA and NJRMEA can express appreciation for the work that they have done and the lives that they have touched. We mourn their passing and salute their contributions, which are the basis for music education in the state of New Jersey.

Karen L. Cuozzo Karen L. Cuozzo (nee Amend), 58, of Caldwell, N.J., passed away on Wednesday, Aug. 7, 2019. Karen was a music teacher in the Essex Fells and Bergenfield, N.J., school systems. She shared her love for music as a freelance organist for multiple churches.

Edward Green Edward Green, 83, died at Haven Hospice in JFK on August 30, 2019 after a long struggle with COPD. Born and raised in Elizabeth, NJ, he graduated from Oberlin College with a degree in Music Education and received a Master’s Degree of Arts from Columbia University. He furthered his education in music at Trenton State College. Edward served in the Army as a clarinetist in the USMA Band at West Point for three years, after which he taught instrumental music in Scotch Plains for thirtytwo years. With music and clarinet as his dual passions, he was regarded as a musician’s musician. He gave private lessons throughout his career, was a clarinetist in the Garden State Symphonic Band for over fifty years and was a past treasurer of the Musicians Union, Local 373. Edward was a resident of South Plainfield and a member of Wesley Methodist Church for fifty-six years. He served on the initial Cultural Arts Commission in town.

Jack Hontz The living breath Jack Hontz used for 86 years to educate, to serve, to teach, to sing and to play clarinet left his body on Monday, Aug. 5, 2019. Jack was raised in Lehighton, Pa. In his youth, the Zion United Church of Christ taught Jack to use his voice in praise.

Jack's breath was taken away when he met Scottie on a blind date at West Chester State College. That breathless romance animated a 62-year marriage. Graduating from West Chester with a degree in music education, Jack heeded the call to national service and volunteered for the United States Army. From 1955 to 1957, Jack deployed his trained breath in the Third Armored Division Band and the award-winning Third Armored Division Jazz Band in Fort Knox, Ky., and in Frankfurt, Germany. Jack first deployed his teacher's voice as the elementary band and chorus teacher for the schools in Green, Stillwater, Lafayette, Frelinghuysen and Newton. A few years later, Jack truly found his voice as the Newton High School band director. Throughout his 35 years as the Newton High School band director, Jack and his students provided a soundtrack for the greater Newton community through the marching band, wind ensemble, Maroon and White Band, clarinet choirs, saxophone ensembles, flute ensembles, and recorder consorts. Three decades of candlelight concerts, band trips, summer band program, band exchange trips, Memorial Day parades, holiday parades, fireman's parades, football games, the Miss America Parade in Atlantic City and the New York St. Patrick's Day Parade ensured that Jack's students found their voices in the life of their community. Newton High School permitted Jack to find his creative voice as well. Deploying his Rutgers master's degree and his professional diploma from Columbia University, Jack served as the chairman of the Fine Arts department and was awarded a $20,000 national grant to start a Humanities Program at Newton High School. Generations of students found their own creative expression in the Humanities Class by exploring cross-curricular units about the cultures of Africa and Asia, the "Changing Role of Women," and "Aging, Death and Dying." At the end of his career, Jack taught a World Cultures class that introduced students to live concerts, artists and world class museums. In 2004, Jack was inducted into the Newton

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JANUARY 2020

High School Hall of Fame. Throughout his life, Jack used his bass voice to praise God. Jack led the choir of the First United Methodist Church of Newton for 30 years.

Garfield Watkins Jones, Jr. Garfield Watkins Jones, Jr., 93 of Fredon Twp. passed away peacefully on Oct. 3 at the Veteran's Home in Paramus. Born in Scranton, PA in 1926 to Garfield, Sr. and Myrtle (Gill) Jones, Gar moved to Newton, NJ when he was 2. Gar graduated from Newton H.S and served in the army during WWII. After the war, Gar worked for G.W. Jones & Sons construction and helped build many homes in the Newton area. Gar then enrolled at Montclair State College where he was a music major. After graduation, he began a career as an instrumental music teacher. Gar taught at Blairstown, South Hunderdon Reg. H.S. and in the Jefferson, NJ public schools. Gar was a lifelong member of the First Presbyterian Church in Newton where he was active in the choir and also arranged music for brass ensemble for which he played tuba. Gar was a past member and conductor of the Franklin, NJ Fireman's Band and a founding member of the Waldwick, NJ Community Band. He enjoyed summers in Maine where he played in the Bar Harbor Band. Gar loved his dear wife Jane, their children, grandchildren and greatgrandchildren. And he loved music.

Daniel Ludovici Daniel, 84, of Westwood, passed away on Sunday, September 29, 2019. Before retiring, Daniel was a music teacher for the Emerson High School. He was an Army veteran who served our country proudly during the Korean War. Bruce A. Oltman Bruce A. Oltman, 72, of Vineland, NJ passed away at home on Tuesday October 8, 2019. Bruce was born & raised in Philadelphia, PA and has resided in Vineland for the past 30 yrs. Before retiring Bruce was employed JANUARY 2020

as a music teacher and band leader working at the Glen Landing School in Blackwood and later at the Sea Isle City & Avalon School Districts. He had also worked for a number of years as a casino dealer in Atlantic City. He was a member and Past Master of Vineland Masonic Lodge #69. He enjoyed following the Philadelphia Phillies & Eagles and was an avid fisherman & boater.

Richard D. Scott Richard D. Scott, longtime resident of Metuchen, NJ, passed away peacefully on Saturday, September 28, 2019 after a long struggle with Alzheimer's disease. He was 79 years old. Richard D. Scott was born in Decorah, Iowa on February 3, 1940 to the late Esther Mabel (nee, Berkler) Scott, and Lyman L. Scott. He grew up in Eldora, Iowa. Richard received his undergraduate degree in music education from the University of Northern Iowa, where he was an avid fan of Jazz and played the saxophone in many ensembles. After graduation, he attended the University of Michigan and received his M.A. in music. While there, he added bassoon to his expertise. He taught for one year at the University of North Dakota before returning to school to pursue his doctoral studies at the University of Illinois. When his course work was completed in 1969, he obtained an assistant professorship at New Jersey City University (formerly Jersey City State College). He received his Doctorate in Education in 1970 and in 1978, was promoted to full professor. Dr. Scott's career at New Jersey City University spanned forty years. He served as the department chair for Music, Dance and Theatre, for over a dozen years. Richard played bassoon in the faculty woodwind quintet and directed the concert band. He served on numerous college committees and was dedicated to providing the students with a high quality arts education. He initiated and taught several new courses for non-music majors. Dr. Scott was also a composer and writer. He reviewed classical concerts in the NY metropolitan area for The Jersey Journal. He composed pieces for concert band and a piece for band, orchestra, and chorus called "Proverbs." He also wrote numerous short stories and a mystery novel. As a Metuchen resident, Richard served the community in many capacities. He served three terms on the Board of Education, one term, as president. He served as coach for the Metuchen Town Soccer teams and coached Little League. He was also a political activist working on many local, state, and national elections, including coordinating the Middlesex County office of Jimmy Carter's 1981 campaign for president. Richard was also an active member of the Unitarian Church in East Brunswick, New Jersey.

87 TEMPO

NJMEA 2019-2020 Board of Directors Executive Board

Appointed Members

President, Patrick O’Keefe Absegami High School patrickokeefe@gmail.com

Administration & Advocacy Dennis Argul Jazz House Kids dennisargul@gmail.com

Past-President, Jeff Santoro W. Windsor-Plainsboro District jsantoro@njmea.org

Band Festivals/Classroom Music Nancy Clasen Thomas Jefferson Middle School nancydidi@hotmail.com

President-Elect, Lisa Vartanian Paramus School District lvartanian@paramusschools.org

Band Performance Nick Mossa Bridgewater Raritan High School nmossa16@gmail.com

Executive Secretary-Treasurer Deborah Sfraga, Retired debnjmea@aol.com

Choral/Opera Festivals Donna Marie Berchtold Retired firesongwed@gmail.com

Communications (TEMPO/Web) Thomas A. Mosher, Retired tmosher@njmea.org

Chorus Performance Wayne Mallete Scotch Plains-Fanwood District wayne.mallette1@gmail.com

Region Executive Members

NJSMA President, Diana May Randolph Township Schools president@njsma.com CJMEA President, Wayne Mallete Scotch Plains-Fanwood District wayne.mallette1@gmail.com

Chorus/Orchestra/Jazz Joseph Cantaffa Howell High School jcantaffahhs@hotmail.com

Collegiate/Research/Higher Ed. Colleen Sears The College of New Jersey quinnc1@tcnj.edu

SJCDA President, Hope Knight William Allen Middle School hknight@mtps.us

Conferences Marie Malara, Retired malara97@aol.com

SJBODA President, Ken Rafter Penns Grove High School rafterpghs@gmail.com

Corporate/Industry James Frankel jim@musicfirst.com

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Early Childhood Music Ed. Amy Burns Far Hills Country Day School aburns@fhcds.org Guitar Jayson Martinez Arts High School, Newark jmarti37@webmail.essex.edu

NJ Association For Jazz Ed. Joe Bongiovi Princeton Public Schools jbongiovi.njaje@gmail.com NJRMEA Joyce Richardson, Retired jsmusic@aol.com

Orchestra Festivals/Performance Susan Meuse Hammarskjold Middle School susanmeuse@gmail.com

Special Learners Maureen Butler Lake Drive School mbutler@mlschools.org

Technology Andrew Lesser Burlington County Schools Andrew.Lesser@Yahoo.com

JANUARY 2020

NJMEA RESOURCE PERSONNEL Area of Responsibility

Name

Email Address

Administrative Matters..................................................... Patrick O’Keefe............................................ patrickaokeefe@gmail.com All-State Chorus, Orchestra, Jazz Coordinator................ Joseph Cantaffa............................................ jcantaffahhs@hotmail.com All-State Orchestra Procedures Chair................................. Justin Louie............................................. ASOProcedures@gmail.com Association Business......................................................... Deborah Sfraga........................................................ debnjmea@aol.com Choral Procedures Chair................................................... Wayne Mallette......................................... wayne.mallette1@gmail.com Composition Contest......................................................... Andrew Lesser.............................................. andrew.lesser@yahoo.com Editor - TEMPO Magazine.............................................. Thomas Mosher....................................................... tmosher@njmea.org Jazz Procedures Chair......................................................... Joe Bongiovi............................................. jbongiovi.njaje@gmail.com Marching Band Festival Chair........................................... Nancy Clasen.................................................. nancydidi@hotmail.com Membership....................................................................... Deborah Sfraga........................................................ debnjmea@aol.com Middle/Junior High Band Festival................................. James Chwalyk, Jr. .................................... james.chwalyk.jr@gmail.com Middle/Junior High Choral Festival........................... Donna Marie Berchtold.......................................... firesongwed@gmail.com NJMEA Historian............................................................ Nicholas Santoro...................................................... n31b13@gmail.com NJMEA State Conference Exhibits Chair.......................... Nancy Clasen.................................................. nancydidi@hotmail.com NJMEA State Conference Manager................................... Marie Malara.......................................................... malara97@aol.com NJMEA Summer Conference........................................... Joseph Akinskas............................................... joea_njmea@comcast.net NJMEA/ACDA Honors Choir........................................... Pam Crockett...................................................... pcrockett@npsdnj.org November Convention – NJEA.......................................... Nancy Clasen.................................................. nancydidi@hotmail.com Opera Festival Chair................................................... Donna Marie Berchtold.......................................... firesongwed@gmail.com Orchestra Performance Chair.............................................. Susan Meuse.................................................. susanmeuse@gmail.com Research............................................................................. Colleen Sears............................................................ quinnc1@tcnj.edu Students with Special Needs............................................. Maureen Butler................................................. mbutler@mlschools.org Supervisor of Performing Groups....................................... Jeff Santoro.......................................................... jsantoro@njmea.org Tri-M................................................................................ Patrick O’Keefe............................................. patrickaokeefe@gmail.com REPRESENTATIVES/LIAISONS TO AFFILIATED, ASSOCIATED AND RELATED ORGANIZATIONS NJ American Choral Directors Association....................... Anne Matlack.......................... anne.matlack@choralcommunities.com Governor’s Award for Arts Education................................. Jeff Santoro.......................................................... jsantoro@njmea.org NJ Association for Jazz Education...................................... Joe Bongiovi............................................. jbongiovi.njaje@gmail.com NAfME............................................................................. Patrick O’Keefe............................................ patrickaokeefe@gmail.com NJ Music Administrators Association............................... Thomas Weber............................................ tweber@westfieldnjk12.org NJ Retired Music Educators Association........................... Frank Hughes.......................................................... flh4hof@gmail.com NJ TI:ME........................................................................... Andrew Lesser.............................................. andrew.lesser@yahoo.com Percussive Arts Society.................................................... Domenico Zarro................................................. DEZarro@optonline.net COMMUNICATION SERVICES/PUBLIC RELATIONS Executive Secretary-Treasurer.......................................... Deborah Sfraga.................................................. debnjmea1@gmail.com Editor - TEMPO Magazine............................................ Thomas A. Mosher..................................................... tmosher@njmea.org Web Master (njmea.org)................................................. Thomas A. Mosher..................................................... tmosher@njmea.org

JANUARY 2020

89 TEMPO

GENERAL ADVERTISING RATES

Note additional fees will apply if metal plates are required. Ads which exceed the specified sizes will be charged at next ad size. Full Page Two Thirds Page Half Page Vertical Half Page Horizontal One Third Page One Sixth Page One Twelfth Page

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EDITORIAL POLICY Articles may be submitted to the editor of this magazine by anyone who wishes to write about topics related to music or music education. All articles which are selected for publication will be proof read for content, spelling and grammatical errors. Authors who submit an article to TEMPO Magazine for publication agree to all of the following 1. the editor may edit all articles for content, spelling and grammar. 2. the printing of the article in TEMPO Magazine, the printing date, and placement are at the discretion of the editor. 3. permission is granted to reprint the same article in any National or State Music Education Association magazine on the condition that the author’s name and TEMPO Magazine are to be mentioned in all reprinted articles. 4. no exceptions will be made regarding items 1 through 3 above. 5. the author of the article may submit his/her article to additional magazines for publication.

NJMEA Past Presidents 1924 - 1926 1926 - 1930 1930 - 1930 - 1931 1931 - 1933 1933 - 1935 1935 - 1936 1936 - 1938 1938 - 1939 1939 - 1941 1941 - 1942 1942 - 1944 1944 - 1945 1945 - 1947 1947 - 1949 1949 - 1951 1951 - 1953

Josephine Duke R.W. Laslett Smith Jay W. Fay Wilbert B. Hitchner Thomas Wilson John H. Jaquish Clifford Demarest Mable E. Bray Paul H. Oliver K. Elizabeth Ingles Arthur E. Ward John T. Nicholson Frances Allan-Allen Philip Gordon Violet Johnson Samuel W. Peck Janet G. Gleason

1953 - 1955 1955 - 1957 1957 - 1959 1959 - 1961 1961 - 1963 1963 - 1965 1965 - 1967 1967 - 1969 1969 - 1971 1971 - 1973 1973 - 1975 1975 - 1977 1977 - 1979 1979 - 1981 1981 - 1983 1983 - 1985 1985 - 1987

Henry Zimmerman Agnes B. Gordown Leroy B. Lenox Elizabeth R. Wood Harold A. Brown E. Brock Griffith Robert C. Heath Edward Brown Rudolph Kreutzer Charles Wertman Stephen M. Clarke Herman L. Dash Buddy S. Ajalat Alyn J. Heim Robert Marince Anthony Guerere Joan Policastro

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1987 - 1989 1989 - 1991 1991 - 1993 1993 - 1995 1995 - 1997 1997 - 1999 1999 - 2001 2001 - 2003 2003 - 2005 2005 - 2007 2007 - 2009 2009 - 2011 2011 - 2013 2013 - 2015 2015 - 2017 2017 - 2019

Joseph Mello Dorian Parreott David S. Jones Anthony Guerere Sharon Strack Chic Hansen Joseph Mello Nicholas Santoro Frank Phillips Joseph Akinskas Robert Frampton William McDevitt Keith Hodgson Joseph Jacobs William McDevitt Jeffrey Santoro

JANUARY 2020

ADVERTISERS INDEX

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American College of Musicians Calderone School of Music

WEB ADDRESS

www.pianoguild.com

caldwell.edu

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Dillon Music, Inc. EPN Travel

epntravel.com

Kean University

Music in the Parks

kean.edu musauditions@montclair.edu musicintheparks.com

NJ City University Dept. Music, Dance & Theatre Rowan University Rutgers The State University Sunderman Conservatory of Music The College of New Jersey, Music Dept. West Chester University Westminster College of Rider University William Paterson University Yamaha

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calderoneschoolofmusic.com

Caldwell University

Montclair State University, Cali School of Music

PAGE

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rowan.edu/fpa/admissions

Back Cover 19 3 Inside Back Cover 7 13, 15

masongross.rutgers.edu

gettysburg.edu/gettysburg

tcnj.edu/music

wcupa.edu/music

rider.edu/wcc

musicadmissions@wpunj.edu

YamahaPercussion.com

Inside Front Cover

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MAKE A DIFFERENCE IN YOUR SCHOOL WITH NAfME

The National Association for Music Education (NAfME) is the largest network of music educators. Since 1907, NAfME has worked to ensure that every student has access to a well-balanced, comprehensive, and high-quality program of music instruction, taught by qualified teachers. NAfME provides resources for teachers, parents, and administrators; hosts professional development events; advocates at the local, state, and national levels; and offers a variety of opportunities for teachers and their students. Where Music Educators Belong Members of the NAfME community have access to a wide variety of professional opportunities, benefits, and resources, including: • • • • • • •

Amplify, NAfME’s member-exclusive online, peer-to-peer learning community where music educators across the country can connect, post discussion threads, and upload library resources. 80+ hours of professional development opportunities through NAfME Academy, an online platform that offers a breadth of webinars to further enhance teaching through dynamic, effective materials and learning opportunities. Updates on music education policy and how the Every Student Succeeds Act (ESSA) affects your music program. Membership for preservice music educators, with 700 Collegiate NAfME chapters nationwide, and access to resources exclusive to members and networking events with future colleagues. A wealth of innovative research studies within the music education profession. Complimentary annual subscriptions to NAfME’s various periodicals, including Teaching Music and Music Educators Journal, as well as the opportunity to have your blog published and shared via our biweekly e-newsletter. Opportunities for your students to participate in NAfME-sponsored events—including the All-National Honor Ensembles and the Student Composers Competition—and to create or join a Tri-M® Music Honor Society chapter in your middle or high school.

NAfME can make a difference for you, for your students, and for your school. Learn more at nafme.org, or contact Member Services at 1-800-336-3768, or at memberservices@nafme.org.

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2020 January TEMPO

Articles inside

Teach Them The Saxophone First, Ronald E. Kearns

The 2019 All-National Honor Guitar Ensemble, Jayson Martinez

Hearts In Harmony, Nancy Robinson

Rhythm: We Need You In Theory!, Erik Lynch

Saxophones Can Play In Tune, Ronald E. Kearns

Advocacy News From Our President-Elect, Lisa Vartanian

Students Become Leaders! Including More Student Led Activities In A Large Ensemble Setting, Elisabeth Sato

Music Teaching, Mending Walls, And Dismantling Barriers, Colleen Sears

Utilizing Student-Centered Assessments, Shawna Longo

Waiving Through A Window: A New Vision For The Music Curriculum Frank Abrahams, Ed. D

NJMEA Salutes Its 2020 Master Music Teachers

Music Education And Social Emotional Learning, The Art Of Teaching Muisc In Your Classroom, Scott N. Edgar and Robert Morrison, Quadrant Research

NJMEA Member Spotlight , Maedean Kramer

Elementary And Early Childhood Sessions At NJMEA! , Amy Burns

Music Appreciation As An Opportunity For Inclusion, Diversity, And Democracy, Dr. Carol Shansky