VOLUME 75, No. 3
MARCH 2021
IN THIS ISSUE MUSIC IN OUR SCHOOLS MONTH NJMEA PRESIDENT-ELECT CANDIDATE NJMEA CONSTITUTION and BY-LAW CHANGES ARTICLE TOPICS: Inclusion/Diversity/Equity/Access Social/Emotional Learning Distance Teaching
The Official Magazine of the New Jersey Music Educators Association a federated state association of National Association for Music Education
MARCH IS ®
Learn about this year’s direction for Music In Our Schools Month® (MIOSM®), as we focus on lessons for second- and fifth-graders that help them learn elements of music through some classic children’s songs in English and Spanish. The lessons and songs, however, can be shared at many levels. All are available without charge to teachers for their use during MIOSM and beyond. Read about this year’s theme and the direction for Music In Our Schools Month in years to come; obtain lesson plans and other resources; and take part in the Biggest School Chorus in the World with American Young Voices by visiting nafme.org/MIOSM. Follow the hashtags #MIOSM and #MusicTheSoundOfMyHeart on Twitter and Instagram. Questions? Call 1-800-336-3768 or email memberservices@nafme.org.
Volume 75, No. 3 http://www.njmea.org
MARCH 2021
FEATURES
DEPARTMENTS AND NJMEA BUSINESS
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President's Message - Patrick O'Keefe
Advertisers Index & Web Addresses....64
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Editor's Message - William McDevitt
Board of Directors................................62
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News from Our Board of Directors
Editorial Policy & Advertising Rates...63
12 NJMEA President-Elect - Meet the Candidate - Wayne Mallette
In Memoriam........................................60
14 NJMEA Proposed Constitution and By-Laws Revisions
NJMEA Awards Information................56
18 Advocacy - Dennis Argul
NJMEA Marching Band Festival.........11
20 The Risk of Cultural Irrelevance - Bobby Hamm
Past-Presidents......................................63
24 Silver Linings in Hybrid and Distance Choral Music - Adam Good
President’s Message................................2
28 The Benefits of Early Childhood Music Across the Curriculum Amy M. Burns
Resource Personnel............................. 61
32 A Teacher Educator and Social Justice Advocate - Robert C. Jordan 36 Integrating Social-Emotional Learning into Music (Part 1) Shawna Longo 40 Social Emotional Learning (SEL) in the Music Technology Contest Colleen Ferry 44 My Love Affair with Harriet - Thomas McCauley 50 Understanding the Four Types of Practice - Dr. Joseph Montelione 52 Best Practices for the Guitar Classroom - Jayson Martinez 54
The 12th Annual New Jersey Young Composers Competition Finals Andrew Lesser TEMPO Editor - William McDevitt 1806 Hwy 35, Suite 201 Oakhurst, NJ 07755 Phone: 732-508-9770 e-mail: wmcdevittnjmea@gmail.com 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/
Round the Regions......................... 58-59
FORMS AND APPLICATIONS Please go to njmea.org Click on the desired activity for downloadable copies of all their forms & applications
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 75, No. 3, MARCH 2021 TEMPO Editor - William McDevitt C/O NJMEA, 1806 Hwy 35, Suite 201, Oakhurst, NJ 07755 Periodicals Postage Paid at Lakewood, NJ 08701 and additional entries POSTMASTER: Please forward address changes to: NAfME 1806 Robert Fulton Drive Reston, VA 20191
EMAIL/ADDRESS CHANGES Please go to nafme.org to record email and address changes.
president’s message Patrick O’Keefe
patrickaokeefe@gmail.com Website: http://www.njmea.org
As we reach the one year mark since the pandemic first started impacting our school routine last March, it is remarkable to reflect on all that has changed with regards to our profession and function. As music educators, we may have been impacted most of all, as our classrooms hinge on working together, ensemble mentality and a culture of togetherness - all things that were stripped away with remote learning. However, while so many aspects of our “normal” can not be replicated in a virtual or hybrid setting, it has been inspiring to witness the reimagination of what our classrooms can be as educators throughout the state strive to continue fostering the relationships with their students in ever-changing circumstances. In one short year we have been forced to become fluent in a language of technology, programs we never would have anticipated relying on a year ago. On behalf of the organization, I commend and thank you all for continuing to share ideas and collaborate. In some ways our network of teachers has never been so strong, despite being a partial product of survival, by constantly offering ideas, best practices or resources.
ment Conference. While we missed seeing everyone in Atlantic City, we were able to put forward a robust offering of topics that for the first time we can say will be available to view until the end of the school year. Never before has a conference attendee been able to take advantage of this volume of professional development, so thank you to Marie Malara and her team for planning and facilitating, Jim Frankel for so much work and guidance in shifting the conference to a virtual setting, and Debbie Sfraga for her efforts in the area of communication, registration and logistics. Additionally, I encourage you to utilize some of the lesson ideas included in this issue of Tempo. Thanks also to those that contributed. In looking to plan for the remaining school year, it is of great benefit to see what colleagues throughout the state are doing, and brainstorming ways to adapt those strategies for similar situations. Your creativity and willingness to share is appreciated. Also included in this issue is information on some upcoming changes that will require a membership vote, which will follow this publication. First, as current president elect Lisa Vartanian prepares to assume her role as president in June, we must look to who will next fill that role. To this end, information on candidate for President -Elect, Mr. Wayne Mallette, is included. We will also be faced with the transition to a new Executive Director. While the role remains the same in many ways, the change in title from executive secretary treasurer also requires membership approval. We look forward to highlighting the decades of work
Since the start of the 2021 calendar year, we have seen a variety of professional development opportunities come about as NJMEA has also had to adapt to virtual settings. Thank you to Susan Meuse, Diana May, Andrew Lesser, Wayne Mallette, Amy Burns and Hope Knight for hosting and moderating our January Roundtable Series, and additionally to all that attended to take part in the discussions. Hopefully by the time of this Tempo’s receipt you will have taken advantage of our 2021 Virtual Professional DevelopTEMPO
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Keep In Touch
of outgoing executive, Debbie Sfraga, in our next issue, and thank her for her decades of service and leadership as a part of NJMEA.
On behalf of NJMEA, thank you again for all you are doing for your students and communities. Though there may be more of a light at the end of the tunnel, new challenges continue to face us every day. Please reach out to any board member, or myself (patrickaokeefe@gmail.com), if you have any questions, concerns or suggestions.
As I mentioned in the last Tempo, the collaboration with our Eastern Division has continued virtually in communications with the NEB and NAfME. A reminder that another virtual professional development opportunity is being hosted by the Eastern Division and will take place on April 22 - 24. Continue to stay tuned to our social media for updates and communications regarding this conference.
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editor's message William McDevitt
wmcdevittnjmea@gmail.com Website: http://www.njmea.org
Maintaining sanity during a pandemic is difficult. As I started writing this column, I was listening to NPR. There was a university professor discussing his book on mental illness (unrelated to the pandemic). The discussion turned to the changes that have happened in the last year and how it truly does have a negative effect on mental state. As music educators, we are trained to constantly think of the next activity, the next lesson, the next rehearsal, the next performance. When all of that is taken away what do we do with ourselves? We're not really used to having free time. You can only binge watch TV for so long without going a little stir crazy. While I am in no way an expert on usage of time, retirement has helped me come up with some activities that not only pass the time, but also help to keep the brain working and healthy. Here are some ideas:
Read. I was not a big reader when I was in school so it never really captured me after school. When my time was short I almost came to loathe reading. Now that I have some time on my hands, I've started to read and I actually enjoy it. Since this "stay at home" time started, I have read 16 books in the Alex Cross series and I'm looking to keep going. The only bad thing is that I start to confuse myself and wonder why people are gathering together in groups. Then I realize that it's just a story and it's not happening today and I'm fine.
Create Music. Open the case, warm up the voice, or tickle the ivories. We all started in this profession because of our love of music. Many of us have stopped creating because we were too busy. I had a cooperating teacher once tell me that, once I started teaching, I would never play the clarinet again. For a while he was right. Then I started playing again and realized what I had been missing. It doesn't matter if you're in a group or just playing for yourself, there's a certain joy that we receive from creating music. There are so many websites (I love IMSLP) that have music readily available and sometimes with an accompaniment track (and sometimes free!).
Take a car trip. A nice drive gets you out of the house. You don't have to have contact with anyone else. If you're going to be out for a while, you can take a lunch with you. I like to drive down to the shore. Walking the boardwalk (weather permitting) clears my mind and opens my sinuses.
Exercise. You don't have to join a gym to exercise. You can walk. I have a route that I walk around my town that almost gives me the 10K steps that I need to get $20 back from my health insurance each month. All that I have to do is walk that route 12 times a month. Walking is great for mental health and physical health. It gives you time to clear your mind. I can usually solve all of the world's problems in my head in one single session! TEMPO
Start a hobby. I remember people telling me that I needed to take more time away from my job. "Start a hobby". I remember how rediculous I though that was. Once again, other people were smarter than me. Whatever you choose, a hobby can really take your mind away from wherever your stress happens to come.
Listen to music. Rediscover old favorites; find new styles, artists, composers; expand your listening library; ask others for suggestions. There are so many free or inexpensive options out there that don't require a subscription to listen. Find Online PD. View monthly NJMEA PD opportunities, sign up for the Eastern Division Conference, look for NAfME opportunities. There's so much out there - you can get suggestions or tutorials on anything you can think of. It is so important to mentally decompress before we return to something more normal. Try something. You might find yourself readjusting your priorities.
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THE NEW JERSEY MUSIC EDUCATORS ASSOCIATION a federated state association of NATIONAL ASSOCIATION for MUSIC EDUCATION
News From Our Board of Directors
Retired Music Educators Kathy Spadfino
kspadeb@aol.com Every time I speak with one of my retired colleagues we say to each other “I’m so glad I’m retired!” We realize what a tough year this is, and also how hard it will be to build your programs back next year – if we’re back to normal by September. I applaud all the hard work done by NJMEA to offer many online resources to help you in the classroom, and to present the NJMEA convention in February for inspiration. I am excited about a project being undertaken by our President-Elect, Lisa Vartanian that will function as a mentoring program to all first year teachers in 2021-2022. We have met with representatives of other states that already have this program, and have gotten many great ideas from them. Stay tuned for more updates, and please get in touch with me if you are retired and would like to mentor a new teacher in your specific area of expertise.
Special Learners
Maureen Butler
maureenbutlermusic@gmail.com A new calendar year traditionally is a time to reflect on what has gone on before and to make resolutions for the future. As educators, each January presents us with a good time to evaluate the educational growth of our students. But in a school year that’s been uniquely challenging for teachers and students, it’s even more important that we do so. How have your special learners been handling the demands of in-person, hybrid, and virtual learning? Have you been able to develop lesson plans and activities that take into account their special needs? If you feel that you need some additional strategies, here are three suggestions: 1. Check out the Special Learners and Music group on Facebook where you’ll find ideas and resources. 2. Explore the many webinars available at NAfME.org. 3. Plan to join NJMEA’s virtual conference in February, where workshops will help you develop skills to better incorporate the modifications and accommodations your students need.
As always, contact me at the above email address if you have questions about special learners, or if you’d like to see a specific topic addressed in TEMPO. TEMPO
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EVEN TEACHERS NEED TEACHERS 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 Yamaha.io/educatorsNJT
JANUARY 2021 VMADM159550_Even_Teachers_Need_Teachers_NJT.indd 1
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THE NEW JERSEY MUSIC EDUCATORS ASSOCIATION a federated state association of NATIONAL ASSOCIATION for MUSIC EDUCATION
News From Our Board of Directors
Technology
Dr. Andrew Lesser
andrew.lesser@yahoo.com www.andrewlessermusic.com YouTube: Professor Lesser
Hello, fellow music educators! I know it seems that we have a long way to go until the end of the school year, we should remember how far we’ve come under these truly extraordinary circumstances. My son turned one year old last January, and I keep thinking about how when he is old enough to attend school he’ll be reading about these events in his social studies textbooks. We are truly living history, and I dare say that the fabric of education will never be quite the same even after the COVID virus is under control. One major element of this change is how technology has played a major role in reshaping the nature in how we interact with students. I have been in communication with many teachers who have felt completely unprepared for this reality and I hope we at NJMEA have helped provide all of you with distance learning resources, strategies, and support during these unprecedented times. Even though nothing can take the place of face-to-face learning, I believe that effective music education can still take place when using the right tools. Speaking of which, I am proud to announce that we at NJMEA are in the process of creating a network for music teachers who run a tech program at their schools. We began by holding a roundtable professional development event on January 14th where we were able to share our ideas, materials, and concerns going forward. I look forward to more events similar to this; if you weren’t able to attend last January, please email me at njmeatechexpo@gmail.com Other news that I am happy to announce was the finals of the 2020-21 NJMEA Young Composers Competition. We had over twenty entries this year from some truly talented students, several of whom participated in our virtual interview and critique session held by committee member and judge Patrick Burns. Special thanks to our volunteers and judges: Bob Frampton, Scott Ordway, Serge Puchinsky, and Bruce Yurko. The audio of each finalist’s piece will be posted on the NJMEA website in the “Young Composers Competition” section of the “Festivals” tab. We look forward to next year’s competition; please email me at the above address if you have any inquiries. Finally, the date for the NJMEA Student Tech Expo is Friday, May 21st. We will be holding the event online this year; if you haven’t registered or need more information, please visit the NJMEA website under the “Festivals” tab. If you have any lesson ideas or success stories to share, please contact me so I can put them up on the website. In addition, please check out my website at www.andrewlessermusic.com for more information. I hope you have a wonderful conclusion to the school year, and let’s work together to give our students the best musical experiences we can! TEMPO
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JANUARY 2021
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SYMPHONY ORCHESTRA
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THE NEW JERSEY MUSIC EDUCATORS ASSOCIATION a federated state association of NATIONAL ASSOCIATION for MUSIC EDUCATION
News From Our Board of Directors
Administration Dennis H. Argul
dennisargul@gmail.com The New Jersey Music Administrators Association is inviting our colleagues to our two remaining sessions for the 2020-2021 academic year. Here are the NJMAA meeting dates and topics are the following: April 16: Engaging the Community: Ideas for Building Community Support – Facilitators: Lisa Vartanian and Donna Sinisgalli June 4: Traversing the ‘New Normal’: A Reflection on 2020-21-Roundtable – Facilitator: Jonathan Harris, NJMAA President If you are in a district where you are supervised by a ‘non-arts’ administrator, please share this information with them, and encourage them to reach out to NJMAA for more information and any assistance they may need. For more information, please visit: www.njmaa.org
Academy
PROFESSIONAL DEVELOPMENT FOR MUSIC EDUCATORS SUBSCRIBE TODAY TO THE NAfME ONLINE LEARNING PLATFORM
TEMPO
“NAfME Academy® offers convenience. The information is very relevant and presented by knowledgeable and authentic presenters.” —Alphonso, 27‑year music educator from Maryland 10 bit.ly/NAfMEAcademy | 1‑800‑336‑3768 | NAfMEAcademy@nafme.org
MARCH 2021
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The 20th Annual
NJ State Marching Band Festival 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 16th, 2021, 5:00 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, 2021
JANUARY 2021
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NJMEA President-Elect Meet the Candidate Wayne Mallette As a product of the New Jersey public schools, I had the fortune of being raised in a diverse neighborhood and being apart of a musical community that molded me into the music educator I am today. I still look back with fondness on my days in the Piscataway Township School Music Department. It was there I learned to perfect my musical craft and share it with the community I loved. My music teachers taught me the transformative power of music and helped foster my passion for music education. So when I became a music teacher, I was determined to do the same for my students.
velopment workshops for our membership. I was even privileged to lead a professional development roundtable discussion on creating Anti-Racist Music Classrooms.
As I continued to grow as an educator, I was mentored by veteran teachers in the field. I remember my first time helping out in the tabulation room at All-State Auditions. I was so nervous, but Kathy Spadafino and other choral music educators taught me the ropes and made me feel welcomed. Before I knew it, I was officially on the All-State Choral Procedures committee and found a community of passionate music educators I would continue to learn from.
I also believe that we should not merely return to "normal" after schools reopen. For too long, some of our music classrooms have been places of exclusion and oppression for those who do not fit in the confines of our western musical pedagogy. NJMEA can and should be an organization that creates pathways for underrepresented minority music teachers and students. By focusing our convention and our professional development workshops on broadening the scope of music education, we can empower teachers to create more inclusionary music classrooms. I would also like to see NJMEA institute a Diversity and Inclusion chair that will focus exclusively on creating more pathways for more Black and Brown music educators and ways to diversify our All-State ensembles.
Working on the All-State Choral Procedures committee has proved to be one of the highlights of my time with NJMEA. When I became All-State choral procedures committee chair, I had the honor of steering the new online audition process and making the process more welcoming to new teachers. This committee was also able to make our All-State experience less gender binary as we move into a more inclusive music performance model. As CJMEA President, I have had the opportunity to help lead this organization through the COVID-19 pandemic. Although we cannot hold our regular Region performances, we've provided online Professional DeTEMPO
As schools begin to return to in-person instruction, I believe that NJMEA will need to be an advocate for Music Education throughout the state of New Jersey. With possible budget cuts, NJMEA's presence throughout the state will be more necessary than ever. I hope to elevate NJMEA’s music education advocacy profile on the state and national level.
I believe that now is the time to act boldly and wholeheartedly embrace these endeavors. If given the honor of serving as President-Elect, I will embark on these endevors with hope in our future and a passion for the profession.
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NJMEA Proposed Constitution and By-Laws Revisions According to the NJMEA constitution, any changes to the Constitution or By-Laws are to be approved by 2/3 of active members who cast ballots (see Article VI - Amendments). Members who cast a vote in our upcoming election for President-Elect will also be asked to approvethe changes listed below. Please take a moment to review. Explanation of changes NJMEA is in the process of hiring an Executive Director. Historically the title of the person who has acted as our organization's Executive has been "Executive Secretary-Treasurer". Due to the title change, we must update the Constitution and By-Laws. Additionally, in an effort to formalize the hiring process, changes are being proposed to reflect a revised process. NJMEA CONSTITUTION and BY-LAWS (Revised 2021 2012) ARTICLE I - Name This organization shall be known as the New Jersey Music Educators Association (hereafter written as NJMEA), a federated State Unit of the National Association for Music Education, known as NAfME an affiliate of the National Education Association and the New Jersey Education Association. It is incorporated as a nonprofit independent corporation under Title 15, Sections 1-12 of the Revised Statutes of the State of New Jersey. The NJMEA is exempt from Federal Income Tax under Internal Revenue code 501 (c) (3). ARTICLE II - Purpose The purpose of this organization shall be to further all phases of music education, sponsor appropriate projects and activities, assist in the establishment of standards of music teaching and certification, and maintain communication with the members through TEMPO (the official magazine) and other means of communication. professional magazines. ARTICLE III - Membership Section 1 - Active Membership Active membership shall be open to all persons engaged in TEMPO
music education. Upon payment of the prescribed dues active membership shall provide the privileges of participation in the activities of the organization, including the right to vote and hold office. Active members shall receive copies of TEMPO and the official NAfME MENC publications. Section 2 - Retired Membership Retired membership shall be open to all former music educators who have retired from positions in music education. Upon payment of the prescribed dues retired members shall have all the privileges of active membership excepting the right of holding office. Section 3 - Student Membership Any student regularly enrolled in an accredited college or university in the State of New Jersey, who is not employed as a full-time teacher, may become a student member of the Association upon payment of the prescribed dues. Student members shall have all the privileges of active membership, excepting the right to vote and hold office. In accordance with the agreement of NJMEA, student members of the Association are also student chapter members of NAfME. Section 4 - Honorary Life Membership Honorary Life Membership may be bestowed upon members who, in the opinion of the Board of Directors, have given unique and noteworthy service to music education in the 14
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(NJMEA Constitution and By-Laws Revisions - cont.) state. There shall be no state dues for an Honorary Life Member in the NJMEA. ARTICLE IV - Government Section 1 - Officers The officers of NJMEA shall be President, Immediate Past President and President-Elect. Those officers shall be elected for a term of two years. Section 2 – Executive Director Executive Secretary-Treasurer The Executive Director Secretary-Treasurer shall be hired by appointed by the President with the approval of the Executive Committee, and be employed through contract with NJMEA and the Board of Directors. Section 3 - Executive Committee The Executive Committee shall consist of the officers named in Article IV, Section 1, plus the presidents of Region I, II and III/Vocal and III/Instrumental. Executive Committee members shall be elected for a two year term, concurrent with the terms of the officers. Members of the Executive Committee may hold only one (1) office on that board. The Executive Director shall be a nonvoting ex-officio member of the Executive Committee. Section 4-Board of Directors The Board of Directors shall consist of the officers named in Article IV, Section 1, the Executive Committee members named in Article IV, Section 2, and 16 additional directors appointed by the President with the approval of the Executive Committee. These directors, representing each Region, shall serve two year terms. Section 5 -Committees The President shall appoint other chairpersons and committees as necessary. Section 6-Elections Elections of officers for Election for President-Elect of NJMEA shall take place electronically in the spring of every other year. The nominating committee, appointed by the President, shall include two representatives from each region, the Past President, and the President-Elect. In addition to the nominating committee, any active member may nominate an active member for candidacy. All outside nominations must be received by the Executive Secretary by October 15, who shall then forward them to the nominating committee. The nominating committee will present a list of no more than two canJANUARY 2021
didates per office to the Board of Directors at the December board meeting. This list will be published in the March issue of TEMPO. A majority of votes cast shall elect a candidate. The term of office shall begin on July 1 following the election. Section 7 - Campaigning NJMEA opposes organized campaigning or solicitation of funds for campaigning for an elected office. A violation of this guideline may result in disqualification of a candidate. Section 8 - Vacancy A person shall be appointed by the President upon approval of the Executive Committee. ARTICLE V - Meetings Section 1 - Annual Meeting There will be an annual meeting of the general membership of NJMEA. This meeting will be announced one month in advance to the membership. Section 2 - Executive Committee Meetings Meetings shall be held during the school year at times and places which are in the best interest of the NJMEA. The Executive Committee is empowered to make emergency decisions whenever necessary. Section 3 - Board of Directors Meetings Meetings shall be held during the school year at times and places which are in the best interest of the Board of Directors. A quorum, defined as more than half of the Board of Directors, shall be required for the transaction of business. ARTICLE VI - Amendments The Constitution may be amended by an approved vote of two thirds of those active members who cast ballots electronically providing proper notification of said amendment has been made either by publication in TEMPO or by special notice mailed to the active membership.
By-Laws ARTICLE I -Duties of Officers Section 1 - President The President shall preside at all meetings and be responsible for the general administration of the duties of the chief executive office of NJMEA. The President shall, during his/her term of office, serve as the official representative of the New Jersey Unit of the National Association for Music Education in accordance with Article IV, Section 4 & 5 of the NAfME constitution. 15 TEMPO
(NJMEA Constitution and By-Laws Revisions - cont.) Section 2 - Immediate Past President The Immediate Past President shall serve as advisor to the President, Supervisor of Performing Groups, and shall have such other duties as may be assigned by the President. Section 3 - President-Elect The President-Elect shall assume the duties of the President in case of the disability or absence of the President. The President-Elect may assume other duties as assigned by the President. Section 4 – Executive Director Executive Secretary-Treasurer The position of Executive Director is a salaried employee of the organization, hired by the Executive Secretary Treasurer is a two-year position appointed by the President with the approval of the Executive Committee Board. The Executive Director shall receive a contract and be evaluated annually by the Executive Committee. The Executive Director Executive Secretary-Treasurer shall record all minutes of official meetings and keep all official records. He/She shall be responsible for the payment of bills and official obligations of the Association and shall sign all checks drawn on funds of the Association; for the receipt of membership dues and presentation of a financial report to the general membership. The Executive Director Executive Secretary-Treasurer may audit biennial meetings of the State Presidents National Assembly and assist the President in preparation of an annual budget. The Executive Director Executive Secretary-Treasurer should be bonded at the expense of the Association in the amount of the probable limits of the treasury. A salary honorarium shall be decided upon by the Executive Committee given annually by the Board of Directors for the fulfillment of these duties. The Executive Director Executive Secretary-Treasurer shall be directly responsible to the President of the Association. Section 5 - Executive Committee The Executive Committee shall administer the business of NJMEA and shall have responsibility for its general program of activities. In addition, the Region Presidents will serve as the official line of communication between the state and the region affiliated activities. Each member of the Executive Committee shall receive one vote with the exception of the Region III Presidents (choral/ instrumental), each of whom will have .5 vote. Section 6 - Board of Directors The Board of Directors shall administer the educational and TEMPO
musical programs of NJMEA according to the Constitution and By Laws. Each director designated as chairperson for a specific program shall report to the President. ARTICLE II - Regions Defined To carry out the requirements of the Constitution and ByLaws, the state has been divided in three regions:
Region I - (North Jersey) Counties of Bergen, Hudson, Essex, Morris, Passaic, Sussex and Warren Region II -(Central Jersey) Counties of Union, Somerset, Mercer, Hunterdon, Monmouth, Middlesex Region III -(South Jersey) Counties of Ocean, Burlington, Camden, Gloucester, Salem, Cape May, Atlantic, and Cumberland ARTICLE III - Funds
Section 1 - Dues All dues shall be paid by the member to NAfME. The state portion of the dues may be raised $2.00 annually without a ballot of the membership. A membership list will be periodically sent to NJMEA by NAfME. Section 2 - Monies received Any monies received from any source whatsoever shall be rendered to the Executive Director Executive Secretary-Treasurer and properly receipted. A complete financial report will be submitted to the Board of Directors within thirty days of completion of an activity. Section 3 - Disbursement of Funds Funds of NJMEA shall be disbursed by the Executive Director Executive Secretary-Treasurer in accordance with an annual budget adopted by the Executive Committee. Bills submitted with the proper voucher and receipts will be reviewed and approved for payment monthly by the Executive Committee. Section 4 - Audit A monthly statement will be presented at each meeting of the Executive Committee and the Board of Directors. At the Summer Reorganizational meeting, a complete statement covering activity of all separate funds for the fiscal year ending on June 30th will be presented. An appointed committee of three (not to include the President or Executive Director Executive Secretary-Treasurer ) shall audit the accounts and present the Audit report to the Board at the September meeting. A reckoning shall be submitted to the accountant that will be sent to the Internal Revenue Service before November 15th. 16
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(NJMEA Constitution and By-Laws Revisions - cont.) ARTICLE IV - Publications Section 1 - TEMPO TEMPO (ISSN 0040-3016) is the official publication of the New Jersey Music Educators Association. It is published four times during the school year. Advertising revenue is collected and bills are paid by the Executive Director Treasurer of NJMEA. The Editor of TEMPO is appointed each year by the President with the approval of the Board of Directors and holds a non-voting position on the Board of Directors. ARTICLE V -Limitation of Responsibility of Elected Officers No member of the Board of Directors of NJMEA shall be required to accept personal financial responsibility for duly authorized bills or obligations, or for suits or litigations which may develop from authorized activities of the organization carried on in good faith and in pursuit of the objectives, purposes, and activities prescribed or authorized by the Constitution and By-Laws of the NJMEA. ARTICLE VI - Fiscal Administrative and Membership Year The fiscal and administrative year shall be from July 1 through June 30. Membership is for a twelve month period after dues are received at the National Office of NAfME. ARTICLE VII - Student Eligibility Section 1 - Student Rules The following rules shall govern the eligibility of students to audition for membership in the All-State Performing Organizations sponsored by this association. A. A student must be a faithful member of the corresponding school musical performing organization, and must receive the endorsement of the director of that group. The student must remain an active member in good standing of the school performing group throughout the All-State experience.
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B. If the school does not have a corresponding organization, the student may qualify for the All-State organization providing he/she receives the endorsement of a music teacher who is a member of NAfME. C. The student must secure the endorsement of his/her parent/guardian and school principal. An instrumental student also must receive the endorsement of the Region President. All students must pay the required fee prior to the audition. Section 2 - Teacher Requirements The student’s eligibility is further dependent upon the fulfillment of the following requirements by his/her music teacher: A. The teacher is a member of NAfME. B. The teacher will attend auditions and serve as an adjudicator, supervisor, or as assigned by the audition chairperson. The only acceptable substitute in this category shall be a teacher who is an NAfME member, with the prior consent of the audition chairperson. C. All members of the Board of Directors are exempt from sub-section “b” above. ARTICLE VIII - Rules of Order Robert’s Rules of Order shall govern all business meetings of the NJMEA. ARTICLE IX - Amendments The By-Laws may be altered or amended in the same manner as that provided in the Constitution, Article VI. ARTICLE X - Dissolution Statement Upon the dissolution of the corporation, the Board of Directors shall, after payment of all liabilities, dispose of all assets of the Corporation exclusively for the purposes and in such manner or to such organization or organizations organized and operated exclusively for charitable, educational, religious or scientific purposes as shall at the time qualify for exemption under section 501 (c) (3) of the Internal Revenue Code of 1954.
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Advocacy Dennis Argul dennisargul@gmail.com
Music educators at all grade levels are keenly aware of how important it is for them to be visible and vocal advocates for their program – but most feel overwhelmed with just doing the best job they can every day for their students. Taking on the role of advocate often feels like the “one more thing” that they just cannot do. But being an effective advocate may be easier than most teachers think. If you read through this list carefully, you will find that many of these things are an integral part of what you already do. If we can even do one of these things, we have made a critical contribution to their profession and to the significant role music plays in the education of our students:
not take your perspective into consideration if you’re not there to voice it. • Attend and participate in your school staff meetings.
Share What You Are Doing • Make sure parents at your school know what is happening in your classes. • At the elementary level, ask for a regular space in the school newsletter to highlight what is going on in music classes. Try to get on the agenda for a parent organization meeting to talk about your program & answer questions. • At the middle school & high school level, you might be able to establish an email list of parents to inform them about your classes and about ways that they might be able to assist. If you have a Booster organization, make sure they are the ones who have that information. • Make sure your principal and assistant. principal are aware of your events. • Make sure you include your Board of Education members as well as your State Senator and Representative in your publicity efforts as well. Even if they never come, receiving the invitation lets them know you are out there.
Be Visible • Display student work at your school, • in the office area where it can be seen by administrators and everyone who visits • in the hallways • Make sure your displays are accompanied by some basic information. This is your chance to inform as well as display. • Display student work in the community. • Perform • Make sure that your feeder schools are included in your publicity efforts. • Seek out alternate venues for student performances. • High school groups performing at their feeder elementary schools make a compelling case for elementary students to consider music and drama electives. • Join at least one decision-making committee at your school. • The saying, “Out of sight, out of mind” is true. In the very hectic, fast-paced world of schools, decisions made about site-based issues that affect your classes and the arts will TEMPO
Be knowledgeable about the benefits of Music on the lives of your students! • Go to the websites for national arts organizations and look for their “Advocacy” sections. All have a wealth of information about their content areas as well as the arts in general. • Attend workshops, conference and clinics to get more information on advocacy strategies and ideas to bring to your program. • Share with your colleagues!
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WEST CHESTER UNIVERSITY
Wells School of Music
12 39 200+
DEGREE PROGRAMS PERFORMING ENSEMBLES CONCERTS ANNUALLY
PURSUE YOUR PASSION
at WEST CHESTER UNIVERSITY musicinfo@wcupa.edu | wcupa.edu/music
All Steinway School
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The Risk of Cultural Irrelevance: Irrelevance: A Reality Check of Student Access to Statewide and Regionwide Ensembles Bobby Hamm, K-12 Supervisor for Arts Education East Windsor Regional School District rhamm@ewrsd.k12.nj.us
The life benefits students receive by participating in a Music Ensemble are undeniable. There is consensus that all students have access to the option of participating in the ensemble of their choice. When we examine the reality, we find evidence to the contrary. The same is true for students to have the opportunities to participate in Regional and All-State honors ensembles A review of student participation in NJMEA High School All-State and Region ensembles, from 2009 to 2020 (pre-COVID), estimates that the majority of students who audition for and participate in these ensembles come from NJ public schools that are majority white, and economically advantaged. When participating at the AllState level, during the same time period, those students performed musical literature mostly from composers who are White American males. In the 2019-2020 school year, statewide about 46% of the total high school aged student population was considered white, with a continued downward trend. Considering this point, why is All-State and Region ensemble participation not reflective of total student population. The NJMEA committee for Inclusiveness, Diversity, Equity, and Access (IDEA) has conducted a data review, seeking answers to this, and working to establish a baseline data source, to help inform decisions. This data was presented to the NJMEA Board in January 2021. This research includes only Public Schools (tax payer funded), both School Districts and Charter Schools.
Performance Literature of All-State Ensembles from 2009 to 2020 In the past decade, a review of the performance literature, (386 pieces by 261 unique composers), performed TEMPO
by nine All-State level ensembles. Primarily, the background of the composers was examined, with respect to the composer’s gender, race, origin country, and language of text for vocal selections. • • • •
90.4% male composers 87.1% white composers 53.4% American composers 51% of vocal selections performed in English
Student Participation in Non-Traditional Ensembles An NJMEA membership survey was conducted, seeking information on student participation in non-traditional ensembles. The limited results (24 valid responses), suggest very limited student opportunities, let alone participation. The data also indicates that these ensembles “emerge” from classroom music settings.
Review of Student Participation in All-State and Region Ensembles 2009-2020 We looked at available All-State and Region Ensemble student participants (defined as both auditionees and performers), with an equity lense. Student participant racial and economic demographics were estimated, based on the district’s overall demographics, for that year, based on publicly available NJ Department of Education data. Note, “Districts” means a Public School District, or Charter School. 20
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Based on estimated demographics of participants, is tricts of Socio-economic groups reflective of the total student participation reflective of the total State or State or Region Socio-economic groups? Region student population demographics? No. Consistently, the majority of districts representNo. Across the All-State and Region level groups, ed across All-State and Region groups, have student popBlack and Hispanic students participation is not reflec- ulations under 25% who qualify for Free and Reduced tive of the total High School student population, in all Lunch (Group 1), or populations of 25% to 50% who categories (performers and auditionees). Anecdotally, we qualify for Free or Reduced Lunch (Group 2). Looking believe these estimates may be “on the high side” for at the 10 year trend, the total count of Districts with a Black and Hispanic students. During SY 19-20 estimates population that qualifies for Free or Reduced Lunch that found that students who are considered Economically is under 25% is decreasing. During the time period: Disadvantaged (based on Free or Reduced Lunch eligibility), is also not reflective of the total High School student • Statewide, there is an annual average difference of population in All-State and Region level ensembles. 29 points above the statewide total for Districts in Group 1 compared to the other groups, where there is a consistent negative annual average difTo put the data into perspective, the estimates indiference. cate: • The average difference for Region groups is a similar pattern, where Group 1 is on average 20% • There were 27 instances where zero Black stuhigher than the average for regions, and the other dents were represented in groups, one group begroups have a consistent negative annual average ing the All-State Jazz Choir. difference. • 15 instances where zero Hispanic students were represented in groups. • On average statewide, for the time period there is Again, when counting the instances looking at how almost 70% annual average difference between often representation of districts is in a five point range White and Black participants, and almost 60% (above or below) of the state wide demographic percentannual average difference between White and age, for a particular year, over the course of time: Hispanic participants. • Only one year is represented Districts in range at least 20% of the time. Considering the percentage of time estimates • All years are over 50% below range over the were within a five point range (above or below) of the groups, with most years being over 60% below state wide demographic percentage, for a particular range. year. Over the course of the time period: • All years are at least 25% above range. • Region summaries are a similar pattern. • Each year, there are at least 50% of instances (defined as a group compared to the statewide range) that are below the state wide demographic. Looking at school year 2019-2020 (pre-COVID), • Each year, there are at least 30% of instances that assuming students whose District was represented in a are above the state wide demographic. Region level Instrumental Group had access to partici• There was only one year that 15% of instances pate (defined as an auditionee or performer), based on were in range with the state wide demographic. economic groups: • Looking at the Regions, the pattern is similar. • 233,849 total high school students, whose districts are less than 50% economically disadvanBased on the Districts represented in All-State and taged, had access. 81.84% of the total high school Region groups, is the percentage of represented disstudents in that group. JANUARY 2021
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• 31,747 high school students, whose districts are greater than 50% economically disadvantaged, had access. 27.32% of the total high school students in that group. • 84,443 (72.68%) high school students whose districts are greater than 50% economically disadvantaged did not have access to participate in a Region level Instrumental Group Based on District representation in All-State and Region Groups, is the percentage of represented districts of Majority Racial Demographics reflective of the total State or Region Majority Racial Demographics? No. Consistently Districts represented in All-State and Region groups, are those whose student population is majority White. Districts represented in All-State and Region groups are not reflective of the number of districts whose student population is majority Black or Hispanic. . • Majority White Districts have an annual average difference of 20% higher than the number of majority White Districts, statewide. • Majority Black Districts have an annual average difference of about 8.5% below the number of majority Black Districts, statewide. There are several years where there is zero representation of majority Black Districts. • Majority Hispanic Districts have an annual average difference of about 8% below the number of majority Hispanic Districts, statewide. Again, there are several years where there is zero representation of majority Hispanic Districts. • Considering during the time period, there is about an 89% gap between Majority White District representation, and Majority Black District representation, and a 70% gap to Majority Hispanic District representation. The evidence is clear regarding estimated student participation, during the time period: Students who participate in All-State and Region ensembles are majority White, from districts with few students considered Economically Disadvantaged (based on Free or Reduced Lunch), and come from districts that are Majority White.
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Review of NJMEA Teacher Distribution We looked at NJMEA Music teacher distribution across Districts, again in public schools (including Charter schools), based on SY 2019-2020. This was examined by Demographic and Socio-Economic groups, and compared to the total number of Music Teachers in the state. District Representation: When compared to overall membership data, how represented are NJMEA members, when Districts are grouped by Racial and SocioEconomic demographics? Is there at least one NJMEA per District? Overall about half of Districts, both Statewide and Regions, have at least one member, where representation is not equally distributed across demographic groups. This is most pronounced when viewing districts by Black student populations (in groups by quarters based on student population). Meaning, if we consider “in range” being there at least one member in each district in the group, the count is 0 out of 4 times in range. Individual Representation: When compared to overall membership data, how many individual NJMEA members are teaching in Districts as viewed by Racial and Socio-economic demographic groups? The data shows membership at 1,363 teaching members, with a total of 3,676 Music Teachers statewide; about one-third of all Music Teachers are members. Again, we find inconsistencies when viewing the distribution across Racial demographic groups. Defining “in range” as one-third of teachers being members, we find when looking at the Black student population, in groups by quarters based on student population, are in range half of the time, statewide. We do find socioeconomic groups are consistently in range, both statewide and in regions.
Summary When taking it into consideration all the data, we see a clear lack of access to NJMEA All-State and Region level ensembles for students in specific demographic groups. Those groups lacking access are students from districts 22
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that are majority Black and Hispanic , and students who come from districts with an Economically Disadvantaged population of over 50%. Additionally, those students who do perform with All-State groups perform literature of mostly White American male composers. We find across students of NJMEA members, there is limited participation in non-traditional ensembles. Members are distributed inconsistently across districts, when viewed by racial demographic groups.
• Collect, report, and analyze actual student demographics for all NJMEA and Region sponsored student ensembles. • Conduct a Music Participation Equity Survey with volunteer members, with data collected on their school/district’s participation based on racial/economic demographics.
Reality Check: Addressing the Elephant in the Room
• Compare the demographics of your ensemble to the total population of your school/district. If you do not have access to this information, ask your administrators; someone in your district has it! Information is also available on state-reported school performance reports. • Review your Concert Literature from the past several years • Encouraged your Music Teacher friends, who may not be NJMEA members to join. • Identify steps you can take to remove financial barriers (including instrument rental/purchase costs) so more students can participate in Music programs.
This data affirms a larger issue: Black, Hispanic, and students from Economically Disadvantaged backgrounds have limited access to many of our All-State and Region ensembles. When we ask why this is the case, there is a need to examine ensemble based Music Education programs happening in schools. It is critical to have the data, but we now need to ask why this is happening, and find ways to remedy the situation. Without remedy, the long term implications to Music Education are many students from traditionally underserved communities not participating in our programs. Additionally, when we factor in the current reckoning with race our country and society is currently experiencing, there is real risk of our programs becoming culturally irrelevant. Considering we all genuinely want all students from all backgrounds to actively participate in our programs, these words sound harsh. We must address the elephant in the room.
Individual Music Teachers can take steps such as:
Music is for all. It is our responsibility as educators to ensure access for all students. It can be done, and it is my hope that we work to achieve this dream. To review the full data report, scan this QR code:
So What Can We Do? We need to know why. Why is there a lack of access to All-State and Region wide ensemble for traditionally underserved students? Understanding the data is the beginning. “Balcony level data” is useless unless individual teachers, schools, districts take actions to increase access to Music Education for all students. The data report makes two recommendations for further research, through NJMEA:
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Silver Linings in Hybrid and Distance Choral Music Adam Good Choir Director, East Brunswick High School adam.good@ebnet.org
Choir rehearsal on Zoom or Google Meet, with kids muted. Or 5 students out of 40 in the select honor choir spread out as far as possible in the rehearsal room. Not exactly an ideal choral program, right? The good news: with more vaccinations, there's hope that we'll have more students in school. The bad news: masks and social distancing will be with us through the rest of the school year and likely into the future. Singing at home, alone, or while wearing a mask while 6-10 feet apart can make students feel like they are singing solo, which is NOT what they signed up for. Students may not hear others well enough at such distance and are unlikely to feel musically supported. For students whose schooling is online only, choir means singing at home, alone, to a computer. This is a solo endeavor, not a choral experience. There are some silver linings through the clouds and uncertainty of the shifts from in-person school to distance learning and varying hybrid scenarios. This article aims to share successful strategies for hybrid and online vocal music instruction with less stress. The most significant silver lining for me and my students: my continued commitment to engage students in meaningful music learning and music making has helped them build stronger musicianship skills and even deepened their love of singing and for music overall. At East Brunswick High School in New Jersey, the first marking period used "concurrent hybrid instruction." Small groups of students were in class on a rotating basis, while others were online at the same time. About half of the students opted for full-time distance learning. Since November, all students have been learning remotely. In the words of JF, an EBHS choir student, "I appreciated being able to sing in small groups when we were able to physically go into school because singing online is so drastically different from singing in person. It is also motivating to be in an environment where singing is enTEMPO
couraged, unlike being at home. Being in smaller groups is also beneficial because it forces us to be more confident in our voices and allows more focused feedback." Without the security or singing with a larger group, these high school choral students have built confidence with engaging unison pieces, rounds, and canons, along with a more limited set of pieces in four parts. Would we like to do more challenging repertoire? Of course! However, the goal of every choral music program is to teach the fundamentals of good ensemble singing. As educators first, we need to meet students at a level that makes them comfortable and then build. Ma, he’s singing in the bedroom again! Can’t he just sing in the shower like everyone else? As JF pointed out, singing alone at home is not at all like a typical choral experience. Sometimes, singing creates friction in homes where everyone is trying to find quiet, private space to learn or work. Here are some ideas to help your vocal music program remain vital during the pandemic (and beyond). Choir Karaoke First, teachers need to provide students online access to two sets of audio tracks for each piece via Canvas. One recording is a model performance to be used for individual student practice. The other track is just the accompaniment. During class Zoom meetings, the teacher plays the accompaniment track while singing. Students are muted but are encouraged to sing along. (Having students sing along with microphones via Zoom is not recommended due to latency.) The teacher makes a point to record and post segments of these online rehearsals for students to practice independently with "Mr. Good's 24
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Karaoke." In this way, creating an archive of resources for students is not really a ton of extra work since the archive contains segments of regular instructional periods. Audio tracks and video conferencing are fundamental technologies for most teachers now, so this strategy may work for most teachers regardless of which online classroom or web platform is used.
station – that handles multitrack audio recording and music notation files imported as MIDI tracks. Soundtrap works for both rehearsal and recording. Specifically, students access a shared project for each section of the choir that contains the accompaniment and reference vocal part. Each student adds their own voice as a separate track. Student JM describes some of the benefits of using a DAW like Soundtrap for rehearsal: "It's Multi-Track Choir for Rehearsal and helpful for me to listen to other vocal models to find out “Virtual” Performance what works and doesn't work. Being able to listen back to my own progress and hear other people's voices is also The EBHS choral students use Soundtrap as part of valuable, as I can have a better understanding of what I the MusicFirst suite for choral rehearsal and virtual per- can improve so that we can create the best possible prodformance. Soundtrap is a DAW – Digital Audio Work- uct."
To move toward a "virtual" performance, the teacher balances the tracks in Soundtrap, removes the accompaniment, then exports the finished "voice part." The process is repeated for each voice part (SATB or SSAA), then finalized tracks are imported to a master recording, with the accompaniment and each voice part on separate tracks. Student videos are captured during Zoom rehearsals. This is a lower-tech, low-stress approach to creating the "virtual performance." The video clips recorded using Zoom are complied with audio from Soundtrap in iMovie. Teachers with access to higher-tech and maybe help from a colleague can increase the quality of virtual performances by mixing audio tracks in programs like Logic, Protools, or Ableton Live, then compiling the fiJANUARY 2021
nal video in Adobe Premiere or Final Cut Pro. Virtual performances are indeed great for the students, family, and community. Before investing a ton of time, energy, and stress into creating a "virtual performance," remember that it is not an authentic educational experience for the choral student. However, using a DAW to provide a framework for students to record, tune, and match vowels is an educationally appropriate approximation of the choral experience, given the limitations of distance learning. If you're feeling overwhelmed by the tech and hours required to pull together the audio and video, reach out to colleagues or your supervisor for help. Students may even be able to help! 25 TEMPO
Structuring Online Rehearsals Synchronous online classes should feature chunks of time in which students rotate among online rehearsal activities, theory and ear training practice, and listening/ response assignments. In a typical online class, 2 or 3 sections of the choir do listening and response activities or use programs like MusicTheory.net, Sight Reading Factory, or PracticeFirst for 20-30 minute blocks. This frees up the teacher to "rehearse" online with another section. All the while, technology serves to facilitate musical performance skills, historical and theoretical knowledge acquisition, and to nurture effective outcomes. Social and Emotional Learning Social and Emotional Learning (SEL) is an essential component of creating community in distance and hybrid learning. Through some SEL training, the EBHS music department has learned and share ways to create space for students to connect musically and interpersonally. To integrate the SEL competencies like self-management and social awareness into the artistic process, teachers post weekly questions and reflections, usually with a listening excerpt, and tied to the repertoire students are learning. Of equal importance, each online class features recurring "social time." Choral students crave community. Providing time and space for interacTEMPO
tion keeps them eager to log in for the next class. Student JM sums it up: "I've been able to best connect with others by working in sections, with a set time to bond and create something together, both in musical and fun activities. Additionally, Monthly Morale Days (community building time for all choral students together) have definitely helped in getting to know more about everyone." Fun activities for choral groups include creating and sharing playlists. Student AL has "been sharing many playlists with my friends since I feel as though it is easier to share emotions/"vibes" through music than it is with words. Many times, my friends and I make playlists based on our mood at a particular moment. Sharing music this way makes it feel as though we are experiencing the same moments together." Recruiting and Retention In an SEL-oriented choral program, the goal is to create a strong community, build relationships through singing, and empower students to spread the word through the school. During a typical year, students post colorful flyers in the hallways, make announcements during classes, create commercials for school TV, and hold interest meetings. This year, students are using social media as the main outlet for advertising. They have also created text messaging chains to let other kids outside the program know about upcoming events like 26
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auditions, concerts, etc. In the words of student YR, "I think that we attract younger students into high school choir as well as recruit students already at the high school by highlighting the family-like and community-oriented nature of choir, as well as the many opportunities it can provide for leadership and broadening your musical experience." You can’t pour from an empty cup! Through these most unusual times, continue to find ways to care for and nurture yourself. Shut the lid to the laptop at the end of the teaching day, and remove school email from your phone. For me, truly and completely unplugging from school has been freeing now that work life and home life have collided. Continuing with the idea of unplugging, I do what I can to get outside and away from electronics. When the weather prevents going outside, staying in to plan and cook a large meal has been cathartic. The end result of nurturing yourself is the best reward. By renewing our own energies, we can maintain the creativity and dedication to help students keep music and singing in their hearts and homes. Adam Good is the choir director at East Brunswick High School. Since 2015, he has been an active member of the P4H Global Educators Professional Development Conference in Cap-Haitien, Haiti. Adam holds a Bachelor of Science in Music Education from Kutztown University of Pennsylvania, and a Masters Degree in Choral Conducting from Ithaca College where he studied with Dr. Janet Galván.
Virtual Learning Resources for Music Educators NAfME Societies and Councils have compiled distance learning and professional development resources from their own original teaching experiences, music educators in their school districts, universities, communities, peers, or other trusted sources. Available to NAfME members at no cost to help you keep teaching, learning, and making music through coronavirus disruptions.
Learn more at bit.ly/ VirtualTeachingLearningMusicEd or visit nafme.org.
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The Benefits of Early Childhood Music Across the Curriculum Amy M. Burns NJMEA Early Childhood Chair Far Hills Country Day School amywillisburns@gmail.com
The National Association for Music Education (NAfME) states that all children from ages before birth to eight are ready for diverse forms of music engagement and music learning. Their position is that each child has the right to a music program of play-based, developmentally appropriate musical engagement taught by a professional early childhood music educator.1 This position is based in research that supports that all children are born with an ability to make music and that diverse forms of music learning and engagement begin for all children before birth.2 A Child’s Brain on Music: When Should a Child Begin to Learn Music? Zoltán Kodály (1882-1967) was a Hungarian composer, ethnomusicologist, educator, and the inspirer of the Kodály approach to music education. His widespread approach included certain factors such as music is a core subject, music literacy is universally possible as linguistic literacy teaching with the best quality music, only highly-trained music educators teach even the youngest of children, the best instrument is the student’s voice, and to begin music as early as possible. When he was asked at what age music education should begin, he stated, “Nine months before the birth of the child”. Later he refined his answer: “I would go further: the musical education of the child should start nine months before the birth of the mother”.3 From ages 0-3, a child’s brain develops rapidly. When reading music educator Dr. Missy Strong’s article titled, Neuroscience and Music Education: Why What We Do Is So Important published by SmartMusic, we learn that “a baby is born with about 100 billion neurons, each with approximately 2,500 synaptic connections. By the time a TEMPO
child is three years old, it is close to 15,000 per neuron.”4 Dr. Edwin Gordon (1927-2015), a music researcher, teacher, author, editor, lecturer, and developer of Gordon Music Theory Learning, affirmed that by the time a child is five years old, the brain “reaches approximately 90 percent of adult size…unless cells form complex neural networks and negative blocking is avoided, unused cells are pruned and not recaptured. Peak times for learning are diminished.”5 These findings can be motivating, as well as intimidating, to any teacher of early childhood, especially those who teach preschool and kindergarten. How we teach and speak to our students will affect their brains’ neural networks. Dr. John Feierabend, a music educator, researcher, author, editor, lecturer, and developer of First Steps in Music and Conversational Solfege, relates music and brain development in the early childhood years to those of planting and nurturing seeds. It is during these critical times that music educators can positively grow or drown a child’s musical ability. If a music educator is given packets of seeds, some from high quality stores and others from low-quality stores, and we give them the best care possible, many will thrive and some will still become worse for the wear. However, if we are given one packet of seeds and nurture them in varying conditions, the ones that are nurtured with the best quality care will flourish to their complete potential. Those who do not receive the good care will not thrive nor grow to their fullest potential. Though there are exceptions, when nurturing a child’s musical exposure from ages 0-5, we as music educators can give the students repetitive and positive, high-quality musical experiences that will bring the children to their fullest potential.6
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The Positive Effects of Early Childhood Music Across the Curriculum When having a trained music educator teaching early childhood music classes and bringing children to their fullest musical ability, these effects will impact the learning across the curriculum. Research shows that music and the brain are often connected when it comes to speech, language, emotional grounding, auditory processing, and sensory integration. Plato once said, “Music is a more potent instrument than any other for education.”7 Speech and Language
Birthday (tuneful), they can dance at their child’s wedding (beatful), and express sensitivity when listening to music (artful).11 Through his infant curriculum, teachers are helping the parents and infants bounce, clap, tap, and experience the steady beat together. By the age of three, when the children are in music class without their parents, they can maintain the steady beat. His approach is based in research of how children learn. Therefore, he connects learning music with how the brain processes sounds and tones. Keeping a steady beat at such a young age is important for the developing brain. The study conducted by Northwestern’s Auditory Neuroscience Laboratory found biological evidence linking the ability to keep a beat to the neural encoding of speech sounds. The association of beat keeping and reading has a possible common foundation in the auditory system. They conclude that it may be that the rhythmic skills exercise the auditory system leading to strong sound-to-meaning associations that are important when learning to read.12
When babies are born, they understand language as if it were music due to the tonal sounds and rhythmic aspects of language are similar to music. The early childhood years of ages zero through six are important as children are learning how to unscramble sounds through listening, speaking, thinking, and eventually, reading, and writing.8 This is one of the reasons that the Too Small to Fail initiative has formed. In this initiative, pediatricians prescribe new parents to “talk, read, sing, play, and bond Emotional Grounding, Auditory Processing, with their babies from birth” because this encourages a and Sensory Integration baby’s brain and language development. Research has shown that almost 60 percent of children in the United A brain’s corpus callosum is the connection between States start kindergarten unprepared, lagging behind their the two cerebral parts of the brain, transmitting neural peers in critical language and reading skills.9 messages between both the right and left hemispheres of the brain. The corpus callosum has been called the “SuMusic has a great impact on learning a language perhighway for Learning” because if the two hemispheres throughout all ages. When congresswoman Gabrielle Gif- are not talking to each other, a child could struggle with fords was injured in 2011, it resulted in a significant brain learning challenges, such as speech delays, social emoinjury that led to aphasia, a neurological condition that tional learning, attention and focus issues, and lack of affects speech. Giffords relearned how to speak through communication. For this reason, it is beneficial for chilmusic therapy. Meaghan Morrow, a music therapist and dren in the early childhood years to participate in “cross certified brain injury specialist, used treatments that in- the midline” activities to exercise the communication cluded melodic intonation therapy. Through the power between the two hemispheres. These activities focus on of neuroplasticity and music therapy, music helped re- movements that cross the midlines of left to right, top to train Giffords’s brain’s pathways to access language and be bottom, front to back, and vice versa.7 able to speak again.10 Cross the midline activities can be performed with Language and reading skills have also been linked to infants. By having the caregiver perform simple nursery the ability to keep a steady beat. In Dr. Feierabend’s First rhymes and finger plays with their child, they can encourSteps in Music approach to teaching music to children age the midline activities. An example is performing the ages 0-7, music educators strive to help their students be- popular nursery rhyme, “This Little Piggy”. The caregiver come tuneful, beatful, and artful. This means that music is inclined to perform the rhyme using the baby’s fingers teachers consider the thirty-year plan when teaching their or toes that are on the same side as them. For example, students so that when they grow up, they can sing Happy if the baby is lying down, the caregiver might begin the JANUARY 2021
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NOTES rhyme using their right hand and the baby’s left hand, since they are facing each other. Crossing the midline 1 NAfME, "Early Childhood Music Education," NAfME, 2019, would mean to repeat the activity and the caregiver would accessed August 10, 2019, https://nafme.org/about/position-stateuse their right hand while performing the rhyme on the ments/early-childhood-music-education/. baby’s right hand. 2 Stefan Koelsch et al., "Electric Brain Responses Reveal Gender Differences in Music Processing," NeuroReport 14, no. 5 (2003): , doi:10.1097/00001756-200304150-00010; Stefan Koelsch, "Toward a Neural Basis of Music Perception – A Review and Updated Model," Frontier in Psychology 2 (2011), doi:10.3389/fpsyg.2011.00110.
For older students, crossing the midline would mean having the students keep the steady beat while using their right hand to tap their left knee, and then using their left hand to tap their right knee. Movements can also include, 3 Lois Choksy, The Kodály Method I (Upper Saddle River: Prenbut are not limited to, toe touches with right hand to left tice Hall, 1999), 16; Klara Kokas, "Kodály's Concept of Music Edufoot and vice versa, shoulder taps with the left hand tapcation," Bulletin of the Council for Research in Music Education 22, ping the right shoulder and vice versa, and so much more. no. Fall (1970), accessed August 9, 2019, https://www.jstor.org/ These activities are important in helping a child’s brain to communicate across their corpus callosum. This communication is essential for allowing the two hemispheres to talk to each other. This is vital for higher level skills such as reading and writing. If classes such as music and PE are concentrating on crossing the midline activities, then students have a better chance to develop these higher level skills. Music and the brain have a close partnership. In Sally Goddard Blythe’s book The Well Balanced Child, she describes music as the child’s second language. The first language is movement. Movement then moves into language as the baby discovers their surroundings. Before a child can speak, they babble with sounds that have tones, pitches, rhythms, and inflections. This all builds up to them learning to speak the language that is being spoken to them at home, and later on in life, to read and write. ****
stable/40317114?read-now=1&seq=1#page_scan_tab_contents; Daniel Salbert, "Collecting Repertoire for Kodály-inspired Music Lessons in Dutch Elementary Schools," July 14, 2015, accessed August 9, 2019, https://www.researchcatalogue.net/view/154479/154604. 4 Missy Strong, "Neuroscience and Music Education: Why What We Do Is So Important," July 22, 2019,accessed August 9, 2019, https://www.smartmusic.com/ b l o g / n e u ro s c i e n c e - a n d - m u s i c - e d u c a t i o n - w h y - w h a t - we do-is-so-important/?utm_content=buffer7d5e1&utm_ medium=social&utm_source=facebook&utm_campaign=daily_ post&fbclid=IwAR2MEtgz-rYuFlYBgAIeRhGfBVdI9XElJWiq0CgqoddVB85Ot2CMBAgPh64.
Edwin E. Gordon, Music Learning Theory for Newborn and Young Children: 2013 Edition (Gia Publications, 2013). 5
John Feierabend, M, "Music and Intelligence in the Early Years - Feierabend Association for Music Education: A Tuneful, Beatful, Artful Learning Community," 1995, accessed August 9, 2019, https://www.feierabendmusic.org/music-and-intelligence-in-theearly-years/. 6
Alene Villaneda, "CORPUS CALLOSUM: Your Child's Superhighway for Connecting the Emotional & Logical Sides of the Brain," Integrated Learning Strategies, May 03, 2019, accessed August 10, 2019, https://ilslearningcorner.com/2016-06-corpuscallosum-childs-superhighway-connecting-emotional-logical-sidesbrain-better-learning/?fbclid=IwAR2UCIqerCOsgyxIdjCTjJ85Ru SD4aQ02-0Ci2_X_WWoURwkclqF8M315t0; Alene Villaneda, "Why Crossing the Midline Activities Helped This Child Listen to His Teacher," Integrated Learning Strategies, May 08, 2019, accessed August 12, 2019, https://ilslearningcorner.com/2015-11-why-crossing-the-midline-activities-helped-this-child-listen-to-his-teacher/. 7
Music uses the same neural circuits as articulating speech. The rhythm, tones, pauses, and words of music uses the same neural circuits for language. When music is included in a school’s curriculum at the earliest of ages, then a child is not only becoming musically inclined, but they are being set up to have a better chance for communicating, developing social emotional learning, auditory processing, and eventually, reading and writing skills. 8 Edwin E. Gordon, Music Learning Theory for Newborn and This, in turn, sets students up to open their minds for Young Children: 2013 Edition (Gia Publications, 2013); Lili M. Lehigher learning skills that they will experience throughout vinowitz, "The Importance of Music in Early Childhood," General their school years and beyond. Music Today 12, no. 1 (1998), doi:10.1177/104837139801200103. **** TEMPO
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"Our Mission," Too Small To Fail, accessed August 10, 2019, http://toosmall.org/mission; Jane Park Woo, "People First - Talk, Read, Sing, Repeat. A Pediatrician's Prescription to Parents.," Clinton Foundation, accessed August 10, 2019, https://2018.clintonfoundation.org/peoplefirst/too-small-to-fail/?utm_source=Clinton Foundation&utm_campaign=293dba4eeb-20190618TSTF_ ia&utm_medium=email&utm_term=0_3e0b4430e6-293dba4eeb158797125&fbclid=IwAR0vaXCVWcUaK9kISkukJQWGSQUuw3PCuiBvd7bOwq3cLwY_FeVBvvLdifQ.
Science X. Staff, "The Importance of Keeping a Beat: Researchers Link Ability to Keep a Beat to Reading, Language Skills," Medical Xpress - Medical Research Advances and Health News, September 17, 2013, accessed August 14, 2019, https://medicalxpress. com/news/2013-09-importance-link-ability-language-skills.html?fb clid=IwAR23NN9o7kLDQAuGVKE3bg9vUKj8UJWJH61WDXS JdjenNMx19yFeVO4ApZ0.
Katie Moisse et al., "Gabby Giffords: Finding Words Through Song," ABC News, November 14, 2011, accessed August 12, 2019, https://abcnews.go.com/Health/w_MindBodyNews/gabby-giffords-finding-voice-music-therapy/story?id=14903987, Peter Rubin, "How Does Music Affect Your Brain? Every Way Imaginable," Wired, March 22, 2019, accessed August 12, 2019, https://www. wired.com/story/tech-effects-how-does-music-affect-your-brain/?fb clid=IwAR3MBk27YoRaP78wBpqNTwj63kmXDDrEfucajy8iYWL DF2YOF08OUVn1XZE.
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Amy M. Burns is the Early Childhood Chair for NJMEA and teaches preschool through grade four general music, grade 5 instrument class, grades 4-8 band, and directs the after-school conservatory at Far Hills Country Day School, a preschool through grade 8 private school in Far Hills, NJ. She is also the recipient of the TI:ME Teacher of the Year Award, the NJMEA Master Music Teacher Award, the Governor’s Leader in Arts Education Award, and the NJ Non-Public Teacher of the Year Award.
John M. Feierabend, "Music and Movement for Infants and Toddlers: Naturally Wonder-full," Music and Movement for Infants and Toddlers: Naturally Wonder-full - John M. Feierabend - GIA Publications, 1996, accessed August 14, 2019, https://www.giamusic.com/music_education/feier_infants.cfm. 11
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A Teacher Educator and Social Justice Advocate: Observing a Master Teacher Robert C. Jordan Teachers College Columbia University
Abstract I became acquainted with Dr. Lisa DeLorenzo when reading Sketches in Democracy: Notes from an Urban Classroom. This book presents a riveting account of her choice to teach general music in a newly formed, urban high school during a year-long sabbatical from Montclair State University. Her compelling story encouraged me to arrange a semester-long teaching observation of her secondary general music course with periodic semistructured interviews. During the semester, DeLorenzo’s students and I reflected on three exemplar music lessons integrated with social justice themes. In doing so, DeLorenzo prepared her preservice teachers for the challenges of public-school teaching including how to apply issues of social justice to the music classroom and how to meet difficulties with compassion and creativity. This article portrays my experiences with Dr. DeLorenzo and her preservice teachers focusing on how her teaching invited us to challenge and transform our pedagogies. Keywords: Higher education, interview, lesson planning, Montclair State University, music teacher educator, pedagogical renewal, secondary general music methods, social justice teaching, teacher observation, teacher/student power relationships, transformation A Teacher Educator and Social Justice Advocate: Observing a Master Teacher On the first day of class, Dr. Lisa DeLorenzo asked her undergraduate music education students to take a piece of paper and describe a time when a teacher used words that hurt them or shut them down. Students shared experiences of abusive applied instructors or classroom teachers who criticized their engagement and TEMPO
learning styles. Next, DeLorenzo directed, “Take the paper, and crumple it up! Now, throw it at this target on the dry-erase board…throw it as hard as you can!” I watched, beaming, as wads of paper whirred through the air from surprised yet enthusiastic students. “Do you feel better?” she asked, explaining the activity: “Your words as a teacher have a great deal of power.” This experience gave me an inkling of how she modeled a key theme in the course: the music classroom as a safe space. DeLorenzo’s activity introduced her students to a semester-long pedagogical transformation centered around recognizing and interrogating teacher power. As the semester continued, I became increasingly aware that the examination of power, privilege, and justice is what educators need as we respond to unprecedented challenges. For me, this examination generalizes to COVID-19 and the Black Lives Matter protests of 2021 which have highlighted inequities and injustices in ways that are inescapable. Consequently, I feel obliged to reimagine my practice towards social justice. I looked to DeLorenzo for inspiration to change my pedagogy, and this article presents what I found. I became acquainted with DeLorenzo, Professor of Music Education at Montclair State University, when reading Sketches in Democracy: Notes from an Urban Classroom (DeLorenzo, 2012). This book presents a gripping account of her yearlong sabbatical from music teacher education to teach general music in a newly formed, urban high school. Her compelling story encouraged me to reach out in hopes of arranging an observation. She felt that her secondary general music methods course would be an ideal opportunity for me to learn more about intertwining music pedagogy and social justice. “The goal of the course is to advance [my students’] thinking/practice about teaching from a social justice perspective.” She 32
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continued using corresponding themes from Sketches: “I generally try to blend theory with practice so there is a lot of music making along with discussions about pedagogy and the adolescent learner.”
from secondary music teacher to university music teacher educator.
Acknowledging and Sharing Power
Because my teacher role was starting to look more like DeLorenzo’s, I asked how she prepares to teach for social justice. DeLorenzo described her preparation as a promise:
During our first class, DeLorenzo shared these thought-provoking statements: • We teach students who bring rich backgrounds to the classroom. • We are teaching students to be change agents. • The context of music—it’s historical, cultural, and social dimensions—is often considered extraneous to the music itself. To contextualize our reflection on these statements, DeLorenzo presented two videos. The first, a documentary exposed misinformation surrounding protests led by Black students during the Soweto Uprising1. Next, we watched a video featuring Sydney Chaffee, an advocate for social justice teaching. In summation, Chaffee said, [School] has to mean more than "I teach my subject." School has to be about teaching people to change the world for the better. If we believe that, then teaching will always be a political act. We can't be afraid of our students' power. Their power will help them make tomorrow better. But before they can do that, we have to give them chances to practice today. (TED, 2017)
Combined, these videos encouraged me (and presumably DeLorenzo’s students) to begin considering what it might mean to teach music for social justice—to look critically at pedagogy and the balance of power in our classrooms and communities. Our first examination of teacher/student power concluded when DeLorenzo’s students discussed the assigned reading, Raywid’s (1995) “A Teacher’s Awesome Power.” They surveyed each time the word “power” was used while DeLorenzo recorded main ideas from their discussion on the dry-erase board. Students reviewed their compiled discoveries silently and reflected on the following relationships: (a) between themselves as students and their former teachers, (b) between themselves as students and DeLorenzo, and (c) between themselves as teachers and their future students. Similarly, my journaling during this silence considered my changing role JANUARY 2021
Intertwining Pedagogy and Social Justice
I promise them that I will teach them to the best of my knowledge … that I will use the most up to date teaching methods … that they will be prepared to teach general music at the secondary level and what that entails … that they will learn about the behaviors and the dispositions of middle school or high school students … that they will have concrete teaching ideas. (L. DeLorenzo, personal communication, 2020)
DeLorenzo begins her planning with the big question: What do I want my students to know at the end of this course? She considers which competencies, habits of mind, and philosophical groundings her preservice music educators need. From these, she generates five to six essential questions that will guide her in planning the overall arch of the course, e.g., “How can we use music to bring about social change?”, or “How can technology help adolescents shape and express their own complex musical ideas?” These (and more) questions steered the design of three exemplar music composition lessons that formed the heart of the course. DeLorenzo presented these lessons through the social justice lens of climate change guided by this essential question: “What is the connection between nature and music?” To get us started, DeLorenzo distributed graphs2 presenting climate change data: melting ice, rising sea levels, increased wildfire activity, habitat destruction, and unusual weather patterns. She invited us to consider climate change’s disproportionate effect on minoritized people and explore how this awareness might be expressed through music. She asked, “How could you assign pitches to the highs and lows of the graph?” Using a mobile phone piano app, students selected pitches, chromatically centered, and created a “data” melody. Because students had previously created diatonic data melodies, DeLorenzo began the next lesson by lis33 TEMPO
tening to several post-tonal compositions. This activity and resulting discussion sensitized students’ ears to the many compositional choices available. DeLorenzo asked students to record their data melodies using GarageBand and develop their compositions using contrasting timbres and digital audio loops. After students shared their compositions, DeLorenzo posed the following question: “In what ways could we use these pieces to acknowledge the ravages of climate change to the public? Otherwise we can’t become change agents.” Students discussed an increased awareness of their agency in reversing the effects of climate change and helping those most affected. DeLorenzo revealed her planning process to her students and modeled how they might similarly design lessons. In an after-class discussion with me, DeLorenzo acknowledged that sometimes her students struggle to grasp the abstract concepts at play when teaching music through social justice lenses, especially the socio-cultural implications of teaching music history. To help, she places “emphasis on the depth of teaching [in] a social justice context. Those are the tools of my trade. It really doesn’t matter what I would be teaching. Any strategy would have some of those elements.” She thought for a moment, then said, “It looks like I’m teaching only one thing, but I’m really teaching many things.” A Cascade of Questions Like DeLorenzo, it may have looked like I was teaching only one thing in my secondary ensembles, but I was teaching many, i.e., critical reflection and democratic methods for student-led repertoire selection and rehearsal design. When I shared these tools of my trade with DeLorenzo, our mutual interest in teacher education reform emerged in a cascade of questions: “How do we introduce unfamiliar methodologies to our preservice teachers without being considered ivory-towered?” I continued, “How will our students innovate if they don’t see their mentors innovate first?” DeLorenzo responded with more questions: “Do I prepare my students to assimilate into a public-school system, or do I prepare them to have problems with material they teach?” She clarified that her students’ methodologies may not synchronize with administrator or parent expectations. Distilling these questions, I asked, “How do music teacher educators prepare preservice teachers to meet reasonable public-school expectations and respond to problems with grace, empathy, TEMPO
and innovation?” According to DeLorenzo, teacher educators are responsible for sharing high-quality, innovative content and pedagogies with students. Some content will be unfamiliar, but generally, music teacher educators present content that students understand or will learn in a comprehensive musicianship course. “I'm not teaching them music,” she explained, “I’m teaching them pedagogy.” Teacher educators should model how to plan music making experiences that invite practical application of content, e.g., when DeLorenzo’s students developed their climate change data melodies with digital audio loops. How Do We Know If We’re Successful? DeLorenzo’s course culminates with an intensive project: student pairs co-design three sequential music composition lessons through one social justice lens (e.g., poverty, ecology, war, protest, or spirituality). Her students show growth when they collaborate and ask critical, thought-provoking questions. She evaluates student work carefully: “I don't ever want to give them a grade without saying why, what I liked, how much I appreciated the work they did.” She emphasizes written comments saying, “I feel if they put their time and effort into it, that's what they deserve.” DeLorenzo evaluated the 20-year trajectory of her general music methods courses and acknowledged that inquiry- and project-based methods were always central, but when she first began her university teaching, the themes for units were more traditional, e.g., composers, historical periods, and compositional techniques. She credits her colleague Dr. Marissa Silverman for the transition to social justice themes in the methods courses. She hopes that her students embrace the idea that history classrooms are not the only spaces for social justice themes. She finished saying, “Musicians are a huge part of the social justice movement [on] many different issues. I think that is fascinating, and I would think they would find that fascinating too.” Afterthoughts At the end of the semester, the students had created a brilliant collection of lesson plans intertwined with social justice. DeLorenzo inspired me to infuse my practice with inclusive, culturally responsive methods including thoughtful selection of materials, teaching partners, and 34
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authentic problem-based projects, and I hope to allow space in my curricula for student choice of content and experiences. DeLorenzo’s students and I left her classroom committed to reimagining our teaching towards social justice using the new tools of our trade. Notes 1
Beginning on June 16, 1976, Sowetan students challenged the introduction of Afrikaans as an instructional language in South Africa. Upwards of 20,000 student protestors were met with severe police brutality. Mortality estimates run as high as 700 students. 2
The graphs in question can be found at https://nca2018. globalchange.gov/chapter/1/#fig-1-2
For Further Reading DeLorenzo, L. C. (2019). Teaching music: The urban experience. Routledge. DeLorenzo, L. C. (2016). Giving voice to democracy in music education: Diversity in social justice. Routledge. DeLorenzo, L. C. (2012). Sketches in democracy: Notes from an urban classroom. Rowan and Littlefield Education.
• W • H hy It’s E y • R giene ssentia l e • G search u • S idance ocia l-Em Le • A arning otiona l dvo c • A ctio acy n
References DeLorenzo, L. C. (2012). Sketches in democracy: Notes from an urban classroom. R&L Education. Raywid, M. A. (1995). A teacher’s awesome power. In Ayers. W. (Ed.), To become a teacher: Making a difference in children’s lives (pp. 79-85). Teachers College Press. TED. (2017, November). Sydney Chaffee: How teachers can help kids find their political voices [Video]. TED Conferences. https://www.ted.com/talks/sydney_ chaffee_how_teachers_can_help_kids_find_their_political_voices/transcript?language=en
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Music Education Advocacy Resource Kit for Fall 2020 bit.ly/NAfMEMusicEdAdvocacyResources (case-sensitive)
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Integrating Social-Emotional Learning into Music (Part 1) Shawna Longo Durban Avenue School, Hopatcong Borough Schools shawnalongo@gmail.com
“The relevant question is not if an arts practice will affect a social-emotional competency, but how that will happen and what arts educators can do to improve the odds that the impact is positive.” ~Arts Education and Social Emotional Learning Outcomes
With all that has been going on in our world throughout the past year, social and emotional learning (SEL) has never been more relevant and necessary within our classrooms. The integration of social and emotional learning with music (or, for that matter, any arts content) is a synergistic pairing. The term synergistic means the connecting of two or more parts that produce a combined effect greater than the sum of their separate effects. When we integrate or connect social and emotional learning with music in our classes, we are able to impact our students more than either of those contents can do alone. What is social and emotional learning? SEL is the process through which children and adults acquire and effectively apply the knowledge, attitudes, and skills necessary to: • Understand and manage emotions, • Set and achieve positive goals, • Feel and show empathy for others, • Establish and maintain positive relationships, and • Make responsible decisions. You will notice that SEL not only applies to students but also adults. It is important to understand that if adults (teachers and administrators) are not comfortable with, understand, and intentionally practice and model SEL skills, they are less likely to effectively and successfully integrate activities within their classrooms (or buildings) that assist the students in practicing those skills and attitudes, as well as knowledge surrounding SEL. TEMPO
Self, Others, & Decisions According to CASEL, these five goals can be combined to create three areas of focus: SELF, OTHERS, and DECISIONS. Let’s break down these three areas and the competencies that lie within each. There are two competencies that fall under the SELF-category: Self-Awareness and SelfManagement. Self Awareness: • Identifying emotions • Linking thoughts and feelings • Integrating personal and social identities • Examining beliefs and biases • Self-confidence • Self-efficacy Self-Management: • Stress management and coping skills • Self-discipline • Self-motivation • Goal setting • Planning and organizational skills • Collective agency There are two competencies that fall under the OTHERS-category: Social Awareness and Relationship Skills. Social Awareness: • Perspective-taking • Empathy • Respect for others • Acknoledging diverse social norms • Recognizing situational demands and opportunities • Social interdependence 36
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Relationship Skills: • Effective communication • Social engagement • Relationship building • Teamwork • Cultural competency • Collaborative problem-solving
These activities align directly with the five CASEL competencies and will give you a great start on your way to intentionally embedding SEL into your music classroom.
And last, one category falls under the DECISIONS-category: Responsible Decision Making. Responsible Decision Making: • Identifying social problems • Evaluating • Reflecting • Ethical responsibility • Analyzing interpersonal and institutional impacts • Co-creating a sense of belonging As you read these categories and their defining competencies, I hope that bells are going off in your head and you heard yourself saying, “Oh, music class already does that!” And, you are right. Music class does offer these skills, attitudes, and knowledge in an authentic way. But, as the teacher, we must be INTENTIONAL in how we approach and shine light on these connections between SEL and music. Aligning SEL Competencies with the Artistic Process The five SEL competencies of Self Awareness, Self Management, Social Awareness, Relationship Skills, and Responsible Decision Making align perfectly with the artistic processes of Creating, Performing, Responding, and Connecting. These four artistic processes are the pillars of New Jersey’s 2020 revised Visual & Performing Arts Standards. We, as music teachers, can intentionally embed SEL into practice within our classes through the following activities: • Reflective practice journals • Setting goals (individual and class/ensemble) • Continual re-evaluation of goals and progress • Analyze emotions/feelings as a performer and audience member • Communicate emotions/feelings through music • Collaborate with others • Make choices while creating/performing music
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Aligning through Essential Questions & Enduring Understandings An incredible resource created right here in New Jersey that is getting international attention is the www.selarts.org website and project. If you haven’t taken some time to peruse this website, I highly encourage you to carve out some time and do so, now! The website not only features a link to our revised standards, but also the matrix of connections between the four artistic processes and the SEL competencies. Please note that all NJ Visual & Performing Arts curriculums need to be revised to include the newly adopted standards AND the SEL Framework by September 2021. Here is an example of the intersection of CREATE with SELF AWARENESS: Consolidated Enduring Understanding and Essential Questions: • EU – Creative ideas and inspiration can emerge from a variety of sources. Creativity is a life skill that can be developed. • EQ – How do artists generate creative ideas? Self-Awareness Competencies (1 and 2): • Recognize one’s feelings and thoughts. • Recognize the impact of one’s feelings and thoughts on one’s own behavior. • Recognize ones personal traits, strengths and limita tions. 37 TEMPO
Anchor Standard for Create - CR1.1. Generate and conceptualize artistic ideas and work. Self-Awareness/Create Enduring Understanding: • EU: One’s feelings, thoughts, personal traits, strengths and challenges influence the creative process. • EU: Recognizing the impact of one’s feelings and thoughts on the creative process. Self-Awareness/Create Essential Question: • EQ: How does the awareness of one’s strengths, challenges, feelings, and thoughts influence the generation of creative ideas? The selarts.org website will also be providing lesson ideas for how teachers can effectively embed SEL into arts classes. If you’ve had a successful experience with SEL in music, I encourage you to submit your lesson plan to the website to share it with your colleagues. Embedded, Intentional, & Sustained I leave you with three very important words to live by when integrating SEL into your music classroom: EMBEDDED, INTENTIONAL, and SUSTAINED. You must intentionally embed social and emotional learning into your music class and sustain that practice. This isn’t just one lesson that “checks the box.” SEL needs to be an intentionally embedded practice that is sustained throughout the year within your music class.
**** 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 The Institute for Arts Integration & STEAM; and an Ambassador/Consultant for Music First, Hal Leonard, and Jamstik. With 19+ years of teaching experience, Mrs. Longo holds a Bachelor of Music in Music Education degree from The Catholic University of America in Washington, DC; a Master of Public Administration in Arts Administration from Seton Hall University in South Orange, NJ; Supervisor/Curriculum Director’s certification from Rutgers University in New Brunswick, NJ; and certification as an Arts Integration Specialist (Level 1) as well as certification as an Arts Integration Leader (Level 2) from The Institute for Arts Integration and STEAM. She is a clinician and consultant for music education, music technology, social emotional learning, arts integration, and STEAM. She is also a recipient of the 2021 Governor’s Educator of the Year for Durban Avenue School, 2019 Mike Kovins Ti:ME Music Technology Teacher of the Year, 2019 New Jersey Governor’s Award in Arts Education, 2019 Teach Rock Star Teacher Award from The Rock and Roll Forever Foundation, 2018 NJMEA Master Music Teacher Award, and 2016 Governor’s Educator of the Year for Hopatcong Middle School. Twitter: @shawnalongo
Resources: www.selarts.org CASEL - www.casel.org SEL4NJ - https://sel4nj.org/ Music for All SEL Support Team - https://education.music forall.org/sel/ “Music Education and Social Emotional Learning: The Heart of Teaching Music” book by Dr. Scott N. Edgar “Music Education and Social Emotional Learning: The Heart of Teaching Music” student workbook by Dr. Scott N. Edgar “The ABCs of My Feelings and Music” book by Scott and Stephanie Edgar
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Social Emotional Learning (SEL) in the Music Technology Context Colleen Ferry Gilmore J. Fisher Middle School, Ewing, NJ cferry@ewingboe.org
While we may be unsure of what school will look like for the remainder of the 2020-21 year, it is important to recognize how essential music classes have been and continue to be for our students’ social and emotional wellbeing. The purpose of this article is to illustrate the great potential that music technology enrichments specifically have to promote students’ Social Emotional Learning (SEL). While I am focusing on this specific type of music class, it is important to note that all music classes at every grade level have a positive impact on students. Many music teachers were tasked with engaging and motivating their students through hybrid and/or remote learning. This is made challenging by numerous factors including resources at students’ homes, different learning needs, support systems at home, and the psychological side effects that quarantine and separation from school may have already had on students. Music classes are unique in that they naturally provide an outlet for creativity, a place to build close positive relationships (Edgar, 2017), as well as social and emotional growth all of which are crucial during an especially challenging school year. Through teaching music technology in alternating hybrid and remote scenarios, I have seen how beneficial music enrichments can be for students and a place to naturally incorporate SEL. It should also be noted that this type of enrichment class was highly adaptable to either scenario. The five core competence areas of SEL are: Selfawareness, self-management, responsible decision making, social awareness and relationship skills (CASEL, 2019). Self-awareness is the ability to understand your own emotions and thoughts and how they impact how you behave. Students develop self-awareness as they create personal projects that express their personality, culTEMPO
ture, opinions and feelings. Many students who were enrolled in my class had not had previous music experience, so this was also an opportunity for them to discover an interest in making music using digital tools. For example, students spent time exploring BandLab where they found they could easily combine loops and create music on their own. In another activity, students created personal playlists to connect songs to significant events in their life. This required identifying emotions they felt, and emotions conveyed in music and creating a playlist to express them. Self-management includes managing emotions, planning and organization skills and setting goals. When working on one of our most involved projects, which was creating and recording a podcast, students had to plan and organize the format of their podcast and plan ahead their talking points. Students were given a suggested project timeline to assist them in time management, but during remote learning days had to practice self-discipline and self-motivation in order to work on the project. Responsible decision making includes making mindful choices, and also refers to finding solutions to problems, making reasonable judgements, recognizing consequences, and understanding the impact one’s actions can have on others. When working in pairs and groups on projects, students came up with creative solutions and techniques to get around working together while being apart. Finally, and possibly most important during remote and hybrid learning, are social awareness and relationship skills. Students benefit greatly from having time to socialize and build positive relationships with fellow students, and I saw more students become progressively more open and comfortable with classmates throughout the semester 40
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as they discovered shared interests or even taste in music. Social awareness is the ability to take others’ perspectives, identify other’s strengths, and show empathy and support for each other. An early project we made using BandLab was making a song to use an alarm clock. Students had the option to share these with the class, and were quick to provide positive comments and encourage their peers to share. Going forward, more and more students were open to sharing projects and expressing themselves more extensively through projects. The fifth core competency is relationship skills which refers to practicing teamwork, developing healthy relationships, communicating clearly, and work in contexts with diverse learners. Music classes are almost always inclusive, and have many different types of learners together which does not happen in other classes. This challenges students to understand the diversity of their class, and work with everyone in a respectful manner. When learning about composition using Noteflight, we composed a
piece as a class. Students were able to give input about the melody, instrumentation and tempo and had to agree on these decisions as a class. For the projects and activities mentioned, students will need a device with internet. The following websites and applications were used, and are free to use: BandLab for Education, Noteflight, Chrome Music Lab, Nearpod, Google Apps. Please feel free to reach out to me at cferry@ewingboe.org if you would like lesson plans for the activities referenced. References CASEL. “What is SEL?” (2019). Retrieved from https://casel.org/what-is-sel/ Edgar, S. (2017). Music education and social emotional learning: The heart of teaching music. Chicago, IL: GIA Publications Inc.
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THE HARTT SCHOOL SUMMERTERM 2021
Copyright in the Educational Setting Marcus Thomas Empower your Students by Creating a Nurturing Classroom Environment Nate Strick Jazz for the Common Pianist Greg Babal Jump Start: Energizing Student Leadership and Programming within your Music Program Scott Glaser
SESSION 1 JUNE 28–JULY 2 8:30 a.m.–4:30 p.m. A General Music Ukulele Curriculum Ken Trapp Jazz for the Common Pianist—NEW Greg Babal Jump Start: Energizing Student Leadership and Programming within your Music Program—NEW Scott Glaser 2 credits, half-day, 8 a.m.–noon SESSION 2 JULY 5–9 8:30 a.m.–4:30 p.m. Connecticut Arts Institute Dee Hansen July 5–8, 9 a.m.–3 p.m. Flute, Clarinet, and Saxophone Refresher Andrew Studenski 2 credits, half-day, 8 a.m.–noon Double Reeds Refresher Michael Raposo 2 credits, half-day, 1–5 p.m Piano Tuning I, II, & III Kenneth Lawhorn I Want to Be a Producer, or How to Produce Any Size Musical for Junior High or High School—NEW Kristin Huffman Copyright in the Educational Setting—NEW Marcus Thomas Upper Strings Refresher Ryan Ford 2 credits, half-day, 8 a.m.–noon
Lower Strings Refresher Ryan Ford 2 credits, half-day, 1–5 p.m.
SESSION 5 JULY 26–30 8:30 a.m.–4:30 p.m.
SESSION 3 JULY 12–16 8:30 a.m.–4:30 p.m.
Diverse Learners in the Music Classroom Heather Wagner
Instrumental Conducting Clinic Glen Adsit and Edward Cumming
Enhancing the Speaking Voice—NEW Robert Davis 2 credits, half-day, 8 a.m.–noon
Folk Song and Dance Around the World Lillie Feierabend
Arranging for Choral and A Cappella Singing—NEW Andrey Stolyarov
K-12 Choral Music Teaching Edward Bolkovac and Julie Hagen
Concert Percussion for Music Educators—NEW Ben Toth 2 credits, half-day, 8 a.m.–noon
The Music and Literacy Connection Dee Hansen
World Percussion for Instrumental and Vocal Music Educators—NEW Ben Toth 2 credits, half-day, 1–5 p.m. Empower Your Students by Creating a Nurturing Classroom Environment —NEW Nate Strick SESSION 4 JULY 19–23 8:30 a.m.–4:30 p.m. Analysis of Music Documentaries —NEW Mehmet Dede Teaching Children to Create and Conduct Music Glen Adsit
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THE HARTT KODÁLY CERTIFICATION PROGRAM (Pending approval for in-person instruction) John Feierabend, Edward Bolkovac, Connie Greenwood, Jeff Rhone, Gabor Viragh THE FEIERABEND ASSOCIATION FOR MUSIC EDUCATION (FAME) First Steps in Music® Connie Greenwood Conversational Solfege™ Beginning John Feierabend
Movement-Based Active Learning Through Orff Schulwerk: A Process Developed by Phyllis Weikart Penny Mahoney Band Instrument Maintenance Glen Grigel High Brass Refresher Cathryn Cummings 2 credits, half-day, 8 a.m.–noon Low Brass Refresher Haim Avitsur 2 credits, half-day, 1–5 p.m.
School String Fleet Maintenance Glen Grigel
Conversational Solfege™ Advanced John Feierabend
The University of Hartford will continue to follow State and CDC guidelines for the health and safety of students, faculty, and staff. Please check the website for updates about a mix of in-person, hybrid, and remote workshops.
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My Love Affair with Harriet Thomas McCauley John J. Cali School of Music Montclair State University
Commissioning a new work from a composer is an exciting adventure for both teacher and students. Having taken part in several such projects, I was thrilled when given the opportunity in the Spring of 2009, through a generous donor, to help bring another new piece into the world. The result of which was Harriet, and this is the story of how we got together. The commission was made possible through a wonderfully generous man. Mark Hudig (the donor), Robert Aldridge (then the Director of the Cali School of Music), and I met to discuss possible grantees. Although other names were discussed, I lobbied heartily for the Louisiana-native, O’Neal Douglas. I first became aware of O’Neal Douglas’s work when he appeared at the Midwest Clinic in Chicago in the early 1990’s as Assistant Conductor of a great high school band from Memphis, Tennessee. He wrote a piece especially for that performance: Vigil: For Those Who Do Not Know. Incredibly moved by the piece, and although the work remained unpublished, I contacted Douglas to ask if I might perform his Vigil with an honor band I had been contracted to conduct. Since then, I consider myself fortunate to have performed this work several times, in addition to his piece “Raging Water.” Dr. O’Neal Douglas has been mentored by and studied with well-known and respected composers and teachers, including David Gillingham, Jere Hutcheson, and Augusta Read Thomas. He earned a D.M.A. in composition from Michigan State University, holds a M. M. degree in composition from Central Michigan University, and credits his teachers and mentors for inspiring him to compose. Having had very little formal training in composition prior to his graduate degree work, his lessons with David Gillingham were revolutionary for the emerging composer. Gillingham “…has a way of seeing where TEMPO
you are headed, and then helping you to get there…”; his ability to help students “build a bridge” from where they are to where they want to be, according to Douglas, are his greatest strengths as a teacher. Likewise, Jere Hutcheson helped push Douglas “out of his comfort zone” to explore more about himself as a composer and a human being, and to help him view the compositional process as a “…complex reflection of who I am…”. The depth and breadth of Douglas’ work is a testament to his tenacity, dedication, ingenuity, and humanity. Although he was not well known at the time, Douglas’ compositional voice was—and is—most definitely needed, particularly in view of the sometimes banal, cookiecutter, mass-produced, “educational” music of the modern wind band published on a yearly basis. So, Douglas and I met at the Midwest Clinic the following December to talk about the commission. Remarkably, we were thinking along similar lines in terms of the “content” for the work. Originally, I thought it pertinent to base the composition on Reverend Dr. Martin Luther King’s “I Have a Dream” speech. However, Douglas mentioned that he had wanted to create a work inspired by the life and work of Harriet Tubman “for some time,” and was “waiting for the right time to begin working out the details…”. Since it had not been done before, and since the subject matter was so close to the composer’s heart, we agreed that Harriet Tubman would be the inspiration for this commission. Working together with Douglas proved to be inspiring and life-altering. Throughout the entire composition process in the months that followed, he contacted me early and often with details about the piece. Open and willing to consider any suggestions, he valued my input. His high level of professionalism, commitment, and engaged creativity allowed his then work—and all 44
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subsequent work—to sing and to sing loudly. In addition to his rigorous training as a composer, Douglas is a fine trombonist and has been a fulltime public school band director. Because of these experiences, his unique insights about each instrument in the wind ensemble, their pallet of colors, and the unique sound combinations that only the modern-day wind band can produce were utilized in the fullest ways possible. Indeed, Harriet was the beneficiary of all of his experience, musicianship, training, and care. The sources of a work of art, whether by inspiration or materials used, are only a small part of the many processes involved in creating something meaningful and lasting, primarily because such a large percentage of the creative process is subliminal. Still, an examination of the materials used in the creation of a musical composition is at least a small portal into mind and creative spirit of its composer. It is with those limitations in mind that I share the musical materials that make up Harriet. The score to Harriet is dedicated to “The Cali School of Music Commissioning Project for the Montclair State University Wind Symphony, Thomas McCauley, Conductor. World Premiere Performance, Friday, April 23, 2010, in the Alexander Kasser Theater.” The instrumentation is as follows: Piccolo 4 Flutes 2 Oboes 2 Bassoons Contrabassoon Clarinet in Eb 4 Clarinets in Bb 2 Bass Clarinets in Bb 2 Alto Saxes Tenor Sax Baritone Sax 4 Trumpets in Bb 4 Horns in F 4 Trombones (3 Tenor, 1 Bass) Euphonium (2 or more preferred) Tuba Double Bass Piano Timpani
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Percussion 1: Brake Drum, Glockenspiel, Vibraphone Percussion 2: Triangle, Maracas, Chimes, Xylophone Percussion 3: Suspended Cymbal, Tam-Tam, Hi-Hat, Cymbals, Claves, Crotales Percussion 4: Tambourine, Wind Chimes, Marimba Percussion 5: 4 Tom-Toms, 2 Conga Drums, Crash Cymbals Percussion 6: Bass Drum Douglas provides the following program note in the score. I provide it here in its entirety: From childhood throughout my adult life there have been many people from history that I have looked upon as heroes, people who have exhibited courage and a selflessness that goes well beyond the normal boundaries. One of these people is Harriet Ross Tubman, born Araminta Ross (18221913). It was always amazing to me that she escaped to freedom but then took on the responsibility of returning to where she had escaped from to free others to a better life. With slave catchers and bounty hunters on the lookout she put herself in danger many times to help others. Most of Harriet Tubman's work helping slaves to the north was done by means of the “Underground Railroad,” a large network of people who gave help to fugitive slaves to get to the Northern states of the U.S. or Canada. The system was not actually underground or a railroad but got its name because of its methods. The system did however use railroad terms to describe certain aspects. Rest stops were called stations or depots, people in charge of stations were called stationmasters, and people in charge of moving people from one station to another were called conductors, for which Harriet Tubman was the later. Tubman also became referred to as "Moses", named after the biblical man who led the Jewish population from Egypt. Tubman would later serve as an anti-slavery advocate, participate in the women's rights movement, and serve as a nurse, scout, and spy for the Union Army. When Harriet Tubman arrived at plantations she used coded songs/spirituals to gather, group and give instructions to slaves for travel northward. These coded songs originated in the churches of African-American slaves. Songs like “Wade in the Water” provided escape instructions in the lyrics. The title of the song is actually an instruction to keep bloodhounds from scenting their tracks. “Follow the Drinking Gourd” not only contained hidden instructions, but also conveyed a de45 TEMPO
tailed map of how to reach Canada. The "Drinking Gourd" referred to the constellation the Big Dipper. Slaves knew that if they followed it they were headed north. Another favorite song of Harriet Tubman, “Go Down Moses” was used as a signal to let slaves know that she was in the area and that a trip northward was being planned. I chose to use this song as thematic material for this composition because of its compelling nature and its familiarity. Other melodic and harmonic elements of "Harriet" are based on the melodic and harmonic structure of “Go Down Moses.” I have been waiting for the right opportunity to write a composition inspired by Harriet Tubman for years so when Dr. Thomas McCauley approached me with the possibility I immediately accepted the commission. I've known Dr. McCauley for about fifteen years now and every project we have collaborated on has been a fantastic, spiritual experience. Tom always brings a vibrant dynamic to the music that goes well beyond just the notes on the page, and he is a class act. One of the main sources of Harriet comes from the spiritual, Go Down, Moses; sewn into the fabric of the work, this melody comes alive across the pages of the three-movement piece.
throughout the compositional process. In Harriet, however, Douglas’s approach was different. Douglas elaborates: I usually start with a figure that isn’t yet a fully composed melody. With Harriet, I had a pre-written, full melody, with an associated harmony. So, instead of building the primary theme piece by piece as my writing progresses, revealing the full melodic idea, I already knew what the full melody was going to be. So, there was a lot of working backwards from the full reveal and deconstructing the melody the further back I went. Harriet is approximately 12 minutes in length, and the program supplied by the composer follows: Movement I. Araminta's Escape Harriet Tubman was born Araminta Ross. After her escape she took on the first name Harriet and used her married name of Tubman. My aim in this 1st movement was to represent what must have been a dangerous, terrifying, and anxiety ridden first escape. There are short quotes from the song “Go Down Moses” throughout. For the last section of this movement I used the song “Go Down Moses” to represent her liberation into a new life and her resolve to help others to freedom. Movement II. Stranger in a Strange Land This movement represents the solitude of being away from home and family. It was during this time that she finds work to fund her return trips and makes intricate plans to return to Maryland to help free her family and others.
This spiritual’s process of selection was thorough and significant. While researching materials for use, the coincidental connection between Tubman’s nickname, “Moses,” and the spiritual above haunted the composer. After assessing the components of the spiritual’s adaptability, particularly with regard to the ever-present interval of the minor 6th, Douglas decided that Go Down Moses needed to serve as a major building block in the construction of Harriet. It is worth noting that much of Douglas’s wind band music centers around small, specific, musical “cells,” which are manipulated in varied and interesting ways TEMPO
Movement III. Moses The beginning of this movement returns to the tension and anxiety of participating in the escapes of other slaves including family members, through the "Underground Railroad." The title is a reference to the fact that many referred to Harriet Tubman as “Moses.” In the middle and ending sections of this movement there is a return to the song “Go Down Moses,” sung by the ensemble members along with the percussion section and then later played by the full ensemble.
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“Araminta’s Escape” is rhythmically challenging, explosive, and gutty. Harriet Tubman’s birthname, Ariminta Ross, titles this movement. Elaborating on the note above, Douglas notes: To begin the first movement, I wanted to convey the drama, anxiety, and outright fear that must have been associated with escaping and being chased, not knowing if she would make it or be caught and/or killed. Douglas accomplishes his goal, as the opening explosion of sound frantically arrests listeners. There is nothing subtle about the opening salvo. The use of both 7/8 and 5/8 simultaneously presents rhythmic insecurity and stability. At times, the music often nearly halts, representing someone “…having to stop for a moment to catch a breath, or being still and suspended, waiting to hear if the hunters were near.” The language used to help performers depict the score are more personal and illustrative than is typically utilized to mark intent, for example, “Relentless”, “Suspended, hovering”, and “Groovacious!” This movement concludes with a full version of the spiritual;
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notably, this section Douglas composed first. He then, “worked backwards using some of the aforementioned materials derived from the original melody” to formulate the whole movement. “Stranger in a Strange Land,” the second, more plaintive and contemplative movement (marked, “Sullen”), is a haunting counterpart to its nearly chaotic precursor: …I wanted a slower pace. The melodic material is derived from the interval of a minor 6th, the interval between the first two notes of the melody from Go Down Moses. I was after a texture that evoked relief to have gotten away, but also a sense of melancholy, thinking about the fact that she had left behind family and friendships. In the ending of this section, I was still after the calming texture, slightly embedded with an undertone that the dangerous task of helping others escape was coming. Note the importance of the minor 6th from the beautiful English Horn solo (mm 25-42):
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The combination of the sparse accompaniment and the singing nature of the above-shown melodic line haunts the whole of the second movement. One of my favorite moments in this movement occurs at letter “C”, when the English Horn begins the final phrase of the theme, but this time joined by an equally haunting obligato in the solo bassoon. The soft, subtle, almost unsettling ending of this movement is equally potent and effective as the violent and chaotic nature of the ending of the prior movement. “Moses,” the third and final movement, acknowledges the afore-mentioned nickname Tubman acquired during her many trips while leading an untold number of enslaved people north on the so-called Underground Railroad. This movement begins much like the first movement, symbolizing Harriet’s “resolve to return and help others escape the cruelty of captivity.” Douglas weaves together the thematic material from the second movement with the spiritual, and does so in remarkably innovative ways, which includes a wonderfully rhythmically challenging solo for Eb soprano clarinet (“cued” in the Bb clarinet part). About one third into this movement, the composer asks the entire ensemble to sing a verse of Go Down Moses in its entirety. The decision to do this was not arrived at easily: Originally, I had written this section in an instrumental, choir-like fashion. After consulting with Dr. McCauley, I decided to have the ensemble actually sing the song in a quasi-call and response feeling. I was worried about a vocal section in a band piece, but it worked well, and the section is extremely haunting and effective, especially after all of the turmoil that occurs before it. At the premiere Dr. McCauley’s group sang the section wonderfully; the best singing I’ve ever heard from a group of instrumentalists. Once I got that far I knew I needed some type of loud exclamation of at least the original theme. From there the idea was to finish the piece with a fast coda in the same style as the beginnings of both the first and third movements. Since its premiere at Montclair State University in 2010, I have performed Douglas’ Harriet numerous
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times: I programmed it with the 2013 New Jersey AllState Wind Ensemble, performed it an additional two times with my group at Montclair State University, and, most recently, the Montclair State University Wind Symphony performed Harriet on the concert program we presented for the 2019 College Band Directors National Association Conference, held at Arizona State University in Tempe, Arizona. A recording of that concert performance can be found at https://banddirector. com (our archived concert recording can be found under the “Concert Band” heading). While reading this, one may be asking: Why write now about a commission that happened over a decade ago? My answer: Because many in the United States of America are finally waking up, for more than just a few days at a time, to the systemic inequality present in the judicial system, the economy, and in the ways in which people who are other than white are sometimes treated by society at large. Although Harriet was commissioned, composed, and performed long before the death of George Floyd and the #BlackLivesMatter movement, it is time—past time, really—to seriously consider programming and performing Harriet, and other compositions which reflect our society to help reveal its history. This sort of programming should be done as a matter of common practice, and not just as an occasional nod to what has come to be known as inclusivity, or only as a part of an itinerate, late-to-the-party, education-system based recognition of social injustice and inequality that has existed for centuries in our country. The fact that you are reading a special article dedicated to a wind band piece inspired by the life and work of Harriet Tubman is a testament to the fact that works by and/or inspired by people from often underrepresented groups are not yet standard programming practice. My hope is that, one day, they will be. The more, and the sooner, we begin commissioning, programming, and performing pieces by, or inspired by, people from underrepresented groups, the sooner such groups will cease to be demarcated as underrepresented, and the sooner we, as large ensemble teacher/conductors can, in our own small ways, help our country create a more perfect union…one student, one rehearsal, and one performance at a time.
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Understanding the Four Types of Practice Dr. Jospeh Montelione Florida Tech University montemusic@gmail.com
“How do you get to Carnegie Hall?” We all know the answer, of course, is to practice! But what is practicing? Is it the repetition of an exercise? Is it drilling a difficult excerpt? Not necessarily—as an educator, I believe it is essential to teach students how to recognize the four types of practicing. Most students know what to practice but lack the ability to identify the correct type of practice. Identifying the correct type of practice will make efficient use of their practice time to yield their desired result. As we well know, practicing is the mindful, efficient use of time spent improving technique and mastering artistry. In most cases, younger students are challenged with making the most of their practice time. They play their part with a scale or two thrown in, then perhaps something fun if there’s still time allocated to practicing. In fact, many will play an exercise or a musical excerpt repeatedly until they feel they “get it right,” at which point they either move on to something else or pack it up. This way of practicing—through drilling music and rote exercises—may result in some improvement, but it will not yield sustainable, concrete ownership of the technique needed to express the inner artist. There will always be an abundance of sheet music to practice; because of this, students believe that this is where their focus should lie. While it clearly is important to practice the assigned ensemble piece, merely getting better at that particular piece of music will not address the fundamental needs the student must have in order to build a solid musical foundation. Whether the student is hoping to improve, or if they’re there just for fun, regardless of their reasons for being or belonging, students need to learn “how to practice” and not necessarily “what to practice.” In other words, they need to practice “smarter” and not “harder.” This is most effective when the student understands the different types of practicing. TEMPO
There are four different types of practicing—Discovery, Conditioning, Reinforcement and Repertoire. Discovery is where the most amount of time should be spent when a student chooses to practice. In a private lesson, the teacher will take the time to explain and showcase a variety of concepts on how to achieve a goal. The hope is that by the end of the lesson, a student will, in theory, understand “how” to do it. Discovery is realizing how to apply the concept/theory into a reality, and typically involves a student’s weakest area of playing. For example, if an area of weakness is sound and the exercise is long tones, then Discovery involves a student playing a long tone until the desired sound matches the ideal sound. At this point, it is not about playing the long tone, it is about discovering how to match the sound in the student’s head and using the long tone as a means to help get him or her there. Educators need to explain to students that discovery doesn’t necessarily condition a student’s body for peak performance. Rather, it only allows a student to actualize a new concept taught by an instructor—this is due to the majority of time spent on a passage or exercise ending up being a complete failure. Yet, the failure helps the student propel closer to mastering the preferred result. So, once a student has grasped the discovery level, they move on to Conditioning. Conditioning is the process of taking the discovered concept and acclimatizing a student to perform in the newly discovered way of playing. Conditioning involves a mind focused on replacing the old habit into a new habit. I strive to condition students into only playing in the newly discovered way—this is not achieved by focusing on the mistake or the failed attempt, rather it is achieved by detaching from the old and yielding to the process of how to play in the new way. In the condition phase of practicing, obstacles are the things students see when they take their mind off of the new way of playing. 50
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Remember that the conscious mind can only focus on one thing at a time and conditioning is about practicing how to focus on the new way of playing without allowing any distractions clutter the mind. If successful, the new way of playing will become a new habit. Once it becomes a habit (as a result of conditioning) then a student can move on to the Reinforcement phase of practicing. Reinforcement is the act of repeating something “over and over” again. This is where most students get into trouble—they think that practicing is reiterating something repeatedly until they “get it,” and then, in some cases they don’t ever truly attain the goal and ultimately quit. The biggest problem here is that they often are repeating something recurrently that is actually flawed, thinking that the repetition will “fix it,” but the only thing that they are actually habituating is how to play something incorrectly. It is only after the discovery of how to play something, followed by conditioning a new habit, that repetition should be employed. Now, as students repeat this new, healthy habit, they need to understand that they have a choice. They either repeat the conditioned technique enough times to “get it right” (tricky) or repeat it enough times so that it can never go wrong—students should endeavor to do the latter, thus ensuring the new skill becomes an extension of their voice. Only then is the student ready to utilize this technique into Repertoire. The first three stages of practicing can easily be employed into learning a piece of music. Here is where we shift gears. The main purpose of practicing (and the previous three stages) is to have complete ownership over the technical challenges of one’s musical instrument—so
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much so, that when it is time to work on Repertoire, the focus is on the music itself. As educators, recall that the conscious mind can only effectively focus on one thing at a time, so when students are practicing music, the focus should be solely on the music. Most of the time, I see students struggle with a piece—not because the music is challenging, but because they have deficiencies in their technique. The goal prior to practicing repertoire is to have complete ownership over technique to be able to focus on how to communicate the music. Frustration, in these instances, can be demoralizing to the student. Students must be taught to never become frustrated with themselves, as frustration leads to anxiety. If anxiety is developing in the practice room, then the student is effectively practicing being anxious. Then, when it is time to perform, anxiety will unfurl because that is what has been practiced. In Repertoire, the students’ mind should be focused on how to interpret the music and not the technique to play the instrument. At this point, the instrument should be an extension of the student’s body and not get in the way of what is intended to be expressed artistically. Teach the student to relax; this stage is supposed to be fun. We don’t work music. We play music. **** Joe Montelione has been on the trumpet faculty for Blue Lake Fine Arts Camp, New England Music Camp, National Trumpet Competition, and Music Academy International’s Trentino Music Festival in Primiero, Italy. He is currently on the faculty of Florida Tech University where he teaches trumpet and directs the jazz band.
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Best Practices for the Guitar Classroom: Using Moveable Major Scales for Improvisation Jayson Martinez, M. Mus; M. EdLd NAfME/NJMEA Guitar Education Chair jmarti37@webmail.essex.edu
Guitar teachers who wish to include improvisation in their lesson plans often find themselves at an impasse. It can be difficult to know exactly where and how to start introducing the concept. Since your schedules are full, finding the time to research techniques can also be a problem. Yet, since teaching improvisation helps students find connections between other musical elements such as harmony, chord progression, structure, rhythm, and intonation, building it into your lesson plans increases your effectiveness as a guitar pedagogue. Moreover, improvisation is an important musical concept for students to grasp as early as possible. Thus, in order to fully deliver a comprehensive music education, improvisation, along with sight-reading, theory, history, and composition should be included when discussing best practices for the guitar classroom. Fortunately for guitar students, improvisation techniques can be fun to learn, especially since the guitar is a very unique instrument due to its moveable nature. Essentially what this means is that once students learn one scale pattern in just one single key, they can move that pattern to any other area of the fretboard in order to improvise in other keys. Many guitar educators introduce improvisation concepts primarily by teaching the five moveable pentatonic scale patterns, and for good reason. The pentatonic scales can be used in almost every single song, are easy to learn, and sound great over every chord change in a key. Additionally, it is also also beneficial
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to teach guitar students the moveable major scale patterns as well, thus expanding the palette of musical possibilities. The Major Scale is the cornerstone of all western harmony and when we describe all other scales, it is always in relation to this scale. Further, the naming conventions for chords and all forms of harmony come from this scale. Since all other scales are thought of in relation to the major scale, it is important for students to learn not only to play and utilize them, but to understand them theoretically as well. Although there are a myriad of patterns for the emerging guitarist to learn, below are my personal favorite major scale patterns that my students utilize for learning improvisation. There are six major patterns that we initially use in my classroom. The first three start with the root on the sixth string, while the latter three begin on the fifth. For clarity, the rootsix string scales are written in A major, while the root-five string scales are written in D major. Tablature and left hand fingerings are also provided. Above all, remember to reinforce to the students that learning any scale by itself is not enough. Understanding when to utilize the scale and over which chords is just as important as knowing the scale itself. Furthermore, knowing all the scales ever created in the history of music will do the students absolutely no good unless they know how to utilize them and under which musical circumstances to apply them.
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Explore Emotions: This improvisation technique helps students understand Perhaps the most significant best practice in the classroom the value of playing from their heart. Have students think is for guitar teachers to motivate their students to practice ev- about which sounds and melodic structure reflect emotions. ery aspect of making music. In the interest of improvisation, Have everyone agree on an emotion to convey and then have below are three key activities that assist in attaining this goal. each student, in turn, play a series of notes (or a single one) that reflect that emotion. Have them pay attention to the note length and rhythm that pertains to the specific emotion Call and Response: This technique involves one student playing one bar of you all want to convey. music. Start out with something very basic, such as one pitch Although the moveable scales serve as a starting point to played with a rhythmic variation. The other students repeat the measure, matching the dynamics and style as closely as understanding improvisation, teaching it is not about forming possible.You can alter this exercise by playing an incomplete a structured learning technique. Since so much of it involves phrase, and having another student complete it. However, feeling and spontaneity, showing your students fun ways to make sure that each student who follows continues the call explore with music can help them develop and incorporate using the same number of beats in the measure. For back- their own personality into the music they play. Improvising is ground music, use a backing track from Youtube in any major seemingly a dark art that is hard to explain. In reality though, we are all successful improvisers already. key and assign a specified moveable major scale pattern. Each of us improvises using language every day. We sponFree Form: taneously reassemble words and phrases to express ourselves In this exercise, assign your students a specific moveable and communicate with others. Improvising on the guitar rescale pattern to utilize. Designate that each student should ally is much the same process. The technical aspects of guitar play a certain series of notes from the scale, using varied improvisation and music are different to those of grammar phrasing. Develop a method of cues so that every student and syntax. But just as anyone can improvise using language, will know when to play their specific series. Set a tempo and so too can anyone improvise on guitar. start by giving cues to students. The idea here is to let the students listen to how free form improvisation works and to allow their creativity to flow. Improvisation Activities
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The 12th Annual New Jersey Young Composers Competition Finals Andrew Lesser, Ed.D. Technology Chair, NJMEA Chairman, NJ Young Composers Competition andrew.lesser@yahoo.com www.andrewlessermusic.com
The 12th annual New Jersey Young Composers Competition (NJ-YCC) finals were held online on Saturday, January 30th, 2021 and aired at the virtual New Jersey Music Educators Conference in February. Students from all over the New Jersey area submitted original compositions in both instrumental and vocal divisions. Finalists were interviewed by competition judge and NJ-YCC Committee Member Patrick Burns of Montclair State University. Judges and committee members include Serge Puchinsky (Montclair State University), Scott Ordway (Rutgers University), Bruce Yurko (Rowan University), and Bob Frampton (Past-President, NAfME Eastern Division, Retired). Finalists included the following students:
Grand Prize “An Angry Young Man” Composed by Hayden Marciszewski Rumson-Fair Haven High School
Instrumental Division
Vocal Division
“Trio in F Minor” Composed by Aadhitya Raam Ashok John P. Stevens High School
“Dawn from Canticum Canticorum” Composed by Gavin Tomasco Morris Hills High School
“Providence” Composed by Connor Morrissey Absegami High School
“Tribute to the Trail of Tears” Composed by Barron Brothers Hopewell Valley Central High School
Recordings of each finalists' compositions are now posted on the NJMEA website under the Young Composers Competition link. Applications for the 2021-22 competition will also be posted on the website in the Fall of 2021. Congratulations to all who participated, and we look forward to receiving more exemplary submissions for our next competition. We are also looking for volunteers to participate in the committee of next year's competition. You do not need to be a professional composer to be part of the committee. If you would like further information, please contact Dr. Andrew Lesser, NJ-YCC Chairman at andrew.lesser@yahoo.com. TEMPO
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NJMEA Awards all Award applications available at https://njmea.org/awards SCHOOL ADMINISTRATOR AWARD
DISTINGUISHED SERVICE AWARD
Awards are presented 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.
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 in New Jersey.
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 NJMEA February State Conference.
Past and present members of the NJMEA Board of Directors are also eligible for this award since they have dedicated much time and effort toward state projects related to music education. Additional award categories include individuals and organizations outside the field of professional music education and NAfME officers on both the National and Regional levels. Award recipients will be honored at a mutually agreeable occasion such as state workshops, region meetings, concerts or festivals, and retirement affairs.
OUTSTANDING SCHOOL BOARD AWARD
MASTER MUSIC TEACHER AWARD
Awards are presented annually to outstanding Boards of Education who exemplify superior support and commitment to quality music programs throughout all of the grades and schools of their school district.
Master Music Teacher Awards are presented annually to members of NJMEA based on the following:
Criteria for this award include support of superior programs of sequential, curriculum-based music education; advocacy for music education within the district; and financial support commensurate to support superior programs of general, choral, and instrumental programs within the district. Boards of Education receiving awards will be notified by NJMEA and a presentation honoring them will take place at the NJMEA February State Conference.
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- completion of a minimum of ten years of teaching in the schools of New Jersey (public, private, parochial, or collegiate).
- currenty actively teaching and a member of NJMEA and NAfME for at least ten years. - display of teaching excellence.
Members of the NJ Retired Music Educators Association will visit candidates during their teaching day to conduct interviews and observe the programs and methods of selected candidates. Nominees for this award are then presented to NJMEA Board of Directors for approval.
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NJSMA
North Jersey School Music Association www.njsma.com Congratulations on making it to March! I am so proud of all the dedication and resilience I have seen within our field as we face and work to overcome the many new challenges we encounter. I am especially proud of the free sharing of ideas, resources, and professional development in Region I and throughout the state. Please continue reading to see what we have planned!! Diana L. May, President, NJSMA Chorus Division We hope that you are feeling in control of your year at this point. While we are unable to offer you our usual ensembles this year, we are still interested in supporting you as best as we can during these crazy unprecedented times. Thanks to those that attended our Choral Workshop with Dr. Brandon Williams! We will be scheduling some Zoom get-togethers soon. Please be sure to check out our website for updated information and contact us at any time for help/ support and any suggestions that you may have. Austin Vallies and Deana Larsen, Chorus Division Co-Chairs, chorus@njsma.com Band Division Hello! The NJSMA Band Division will be holding both student and teacher sessions throughout the year via Zoom to assist in getting through what is a very abnormal year. We have been in touch with local professionals, local community bands, and many of our talented members who are more than willing to offer their knowledge and expertise. Student Masterclasses - NJSMA will be hosting student workshops given by music professionals from our area. Possible topics TEMPO
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include “Performance Anxiety”, “Brass Techniques”, “World Percussion”, “Music Careers”, and “AP Test Prep” as well as instrumentspecific workshops. Most of the classes will run during the week from 4:00 to 5:00 PM or during the day on Saturdays. If you have a teacher that may be interested in providing this service for the Region, please contact us. Also, if you have any specific topic requests, please contact us as well. Teacher Workshops - In January, Chris Bernotas joined us for a workshop on Flex Band. In February, Oscar Perez shared information to help with teaching online jazz ensembles. During the spring, we look forward to workshops with Dr. Shelley Axelson and Dr. Tom McCauley on topics such as conducting and ensemble work. Current NAfME membership is required for all workshops. All of the information pertaining to the above initiatives can be found online at the region website, www.njsma.com. We are hopeful that we will be able to continue our full program offering in the school year 2021-2022. If you would like to get more involved with the NJSMA organization, there are many opportunities available. We are always looking for schools to host rehearsals, concerts and festivals in addition to individuals to conduct, manage, and volunteer for the many different jobs that need to be accomplished on a yearly basis. Anyone interested in conducting one of the region bands should complete the application found on the website. Please feel free to contact us with any questions or concerns you may have. We look forward to working with you this year Lewis Kelly, Lyn Lowndes, and Jennifer Wise, Band Division CoChairs, band@njsma.com Orchestra Division While we can’t hold ensembles and events in our normal manner, we thank you for reaching out to us and allowing us to support you this year! We want to thank Brian Worsdale and Dr. Stephen Benham for presenting professional development sessions for NJSMA. We would also like to thank the orchestra directors who have attended our virtual happy hour events. We will continue to host these opportunities for colleagues to share ideas and experiences with one another. Please continue to check your email for scheduling of future virtual events. As always, please reach out to us if you have any questions, concerns, or ideas to share! Jordan Peters and Caitlin Shroyer, Orchestra Division Co-Chairs, orchestra@njsma.com Diversity & Inclusion NJSMA continues to look for ways to increase the diversity of program offerings, create ways to support students from low-socioeconomic backgrounds, and provide professional development opportunities for members who are teaching in urban and rural schools. This spring, we will be organizing a virtual Happy Hour and guitar masterclass. Stay tuned for finalized dates and reach out to be included on the mailing list or to become involved with planning. Katy Brodhead Cullen, Diversity & Inclusion Liaison, diversity@njsma.com Elementary General Music Division Are you feeling stranded on an island during the pandemic? The North Jersey School Music Association Elementary Division is sending a 'rescue party!' One Saturday morning of each month from MARCH 2021
10:00 -11:30 a.m., the Elementary Division of NJSMA is hosting a free Zoom "SOS!" Saturday Online Sharing Session. Join us for a casual morning of Sharing Our Successes/Struggles; Swapping Online Strategies, Socializing On Screen, and more. At our January workshop, Bob Morrison, from Arts Ed NJ, shared guidance and information from the University of Colorado Aerosol Study. Other presentations included successful activities for virtual, hybrid and in-person Music Class. February’s theme was "Movement and Dance during a Pandemic!" (for virtual or socially distanced, in-person classes) We shared adapted folk dances, creative movement activities, scarf, ribbon, tennis ball routines and more! Future monthly workshop topics are TBD at the time of this publication. Please check our website or the NJMEA facebook page for registration links and workshop details.
These free workshops are provided courtesy of the North Jersey School Music Association; Region One of NJMEA/NAfME. We will navigate these 'rough waters' together to support and share with others in the 'same boat!’ Lisa Wichman and Karen Andruska, Elementary General Music Division Co-Chairs, elementary@njsma.com
CJMEA
Central Jersey Music Educators Association www.cjmea.org I hope this finds all of you doing well. It is hard to believe that the world was turned on its ear a year ago by the COVID-19 Pandemic. Since then, we’ve all had to adjust to this new normal of online/hybrid teaching. Whichever form you find yourself working in, we want you to know that CJMEA is here to support you in any way possible. I want to congratulate all of our CJMEA Division Chairs on the hard work they have done in organizing informative and enlightening online PD Sessions. We started in December with a PD Session featuring Richard and Cheryl Floyd. This instrumental session was sponsored in part by Yahama and organized by Intermediate Chair Sandy Olson. Heather Mount organized a PD session for elementary choral teachers by Amy Burns. As we entered 2021, Arielle Seigal brought some of the brightest JANUARY 2021
voices in choral music education from around the country to a panel discussion about remote choral teaching. Yale Snyder, our Percussion Chair, organized a discussion by Nathan Daughtry. I had the distinct pleasure of moderating a conversation on creating an Anti-Racist music classroom featuring Dr. Jocyce McCall of the University of Illinois and Dr. T. Andre Feagin (Central Washington University). We are continuing to organize a few more sessions, so please stay tuned! All of these sessions were designed to give you the fuel you need to get you through these crazy covid times! We hope they give you the tools you need to transform your teaching. We are now accepting applications to run for CJMEA board members. The positions that are open for nominations are President-Elect, Treasurer, and Secretary. If you are interested in running for one of these positions or would like further information, please email Yale Snyder (YalePerc@aol.com). Don’t forget, CJMEA will once again offer grants to teachers/ music programs: • Grant awards will typically not exceed $750. • Grant awards may be used to partially fund a project in conjunction with your school if we cannot fully support your proposed professional development. • All checks will be written to a school account. We cannot write checks directly to teachers, presenters, companies, music booster clubs, or other individuals/companies. • Grants cannot be requested to purchase equipment or supplies unless it directly relates to the PD session being proposed. The grant proposal form and other important information is available on our website. www.cjmea.org We will continue to approve grant requests until the funds allocated for this school year have been spent.
SJBODA
South Jersey Band and Orchestra Directors Association www.sjboda.org Applications for the SJBODA Cheryl Rothkopf Memorial Scholarships were accepted in January. Cheryl Rothkopf was a music teacher at the Hainesport School who passed away in October. SJBODA received over $5,500 in donations in memory of Cheryl. These funds will support our students by providing scholarships for the next three years. The orchestra scholarship virtual interview took place on February13th and the band virtual interview took place on February 20th. Lori Ludewig (Collingswood & Oaklyn schools) was our scholarship chair. The names of the scholarship committee members and the scholarship recipients will appear in the May Tempo. The SJBODA Spring Breakfast meeting is scheduled for Wednesday, May 27th at 9:00 AM at Seven Star Diner but this could be replaced by a virtual meeting that would take place during that week. Please contact Ken Rafter at 609-457-0590 or sjbodapresident@gmail.com if you plan to attend. Please continue to check the Web site, maintained by Derek Rohaly (Mainland Regional HS), for the latest SJBODA updates. 59 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.
Robert William Bednar Robert William Bednar, 78, of Ramsey died peacefully on December 4th, 2020. A self proclaimed "workaholic" Bob began earning money for his college tuition at the age of sixteen when he formed his band, "The Mid Knighters". He hustled booking jobs at local venues and entertaining college crowds by rocking out on his tenor saxophone. His love of music led him to Wilkes College where he earned his teaching degree. In 1964 he accepted a job with Dover Public Schools, and there he met the love of his life, Kathy. In 1966 they were married and in 1968 moved to Ramsey where they were both employed by the Ramsey School District. It was here that Bob toiled tirelessly to build a marching band program, establish a semi-yearly hoagie sale, introduce and produce musicals, and conduct the jazz and concert bands. For over thirty years he encouraged, inspired, and shared his love of music with his students. Bob was a true educator and never stopped learning himself. He attended Teachers College, Columbia University to earn his Masters. He subsequently supervised the Fine Arts department in Ramsey.In 2002 Bob retired from the Ramsey School system but quickly failed this retirement when he took a job as music professor at Caldwell University in Caldwell, New Jersey. There he taught and served as department chair until his successful retirement in 2007. In his retirement years he enjoyed time with his family. Bob's memory will be cherished and kept alive by his beloved wife of 54 years, Kathy, his daughter Andrea and her husband Brian, his grand daughters Elizabeth and Monica along with his friends who are his family.
Cheryl Y. Horsey Cheryl Y. Horsey, 66 of Millville, went to be with the Lord on Wednesday after an extended illness at the Inspira Medical Center of Vineland. Born in Millville, Cheryl was a lifelong resident. Cheryl attended Millville Senior High School and graduated in 1972. She then attended Westminster Choir College, and graduated in 1976. Cheryl then worked for the Millville Board of Education as a music teacher, and retired after 33 years of service. She was a wonderful teacher, and had spent time at both Wood School and Bacon School in the district. TEMPO
Cheryl was an active member of the Bethel A.M.E. Church in Millville and served as a Steward, Trustee, Church Secretary, Musician and Choir Member. Music was a huge part of Cheryl's life and her favorite song was, "Sweet, Sweet Spirit. She is survived by: son, Andre; grandson, Joland; sister, Angela Sanchez; brother, Raymond Horsey Jr.; She was predeceased by her parents; Raymond and Gertrude; sister, Lesley Horsey; brother Joseph Horsey Sr.
Virginia Ann Moravek Virginia Ann Moravek 77 of Somerset, NJ died Wednesday December 23, 2020. Virginia graduated from Perth Amboy HS in1960 and is a member of the School’s Hall of Fame of which she was most proud. She was dedicated to the art of music and fine choral singing her entire life. Ginny or Miss M, as she was also known, had a career in music education spanning some forty seven years, thirty seven of which were in the Edison Township Public School at John P Stevens High School. Additionally she taught at James Monroe, Clara Barton, Ben Franklin and Cedar Hill Prep schools. An accomplished pianist, Ginny received a BA and MEd in Music and Music Education at Douglass College and Rutgers University respectively. She also completed extensive graduate studies at Westminster Choir College. At JP Stevens HS, Virginia’s choirs excelled in all aspects of classical choral repertoire and the choral art. Her choirs traveled throughout the United States and Canada and while touring they performed in Montreal, Boston, New York, New Jersey, Virginia, Pennsylvania, Maryland, Washington DC and California. They were also privileged to perform at Carnegie Hall as well as The Kennedy Center. Virginia was an active leader in choral associations having been President of the Central Jersey Music Educators Association, New Jersey American Choral Association and Eastern Division of the ACDA. She received many awards, among these the Distinguished Service Award from NJMEA as well as the Master Teacher Award. Virginia was pre-deceased by her Parents Joseph Sr. and Sophie as well as Brothers Joseph Jr. and Robert. Surviving are her nieces Mary Ellen Moravek- Olpp, Paula Moravek, Susan Moravek, Joanne Moravek- Caswell, Tama Campbell, Janel Griffin, Dore Murray and many loving cousins.
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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.............................. Sarah Franchino.......................................... 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............................................. William McDevitt....................................... wmcdevittnjmea@gmail.com 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............................................. Casey Goryeb ............................................. casey.goryeb71@gmail.com 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............................................. William McDevitt...................................... wmcdevittnjmea@gmail.com
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61 TEMPO
NJMEA 2019-2021 Board of Directors Executive Board
President
Patrick O’Keefe
Past President Jeff Santoro
Absegami High School patrickaokeefe@gmail.com
W. Windsor-Plainsboro District jsantoro@njmea.org
President-Elect Lisa Vartanian
Paramus School District lvartanian@paramusschools.org
Executive Secretary-Treasurer NJSMA, President
CJMEA, President
Randolph Twp. Schools president@njsma.com
Scotch Plains-Fanwood District wayne.mallette1@gmail.com
Diana May
Wayne Mallette
Retired debnjmea@aol.com
SJCDA, President
SJBODA, President
William Allen Middle School hknight@mtps.us
Penns Grove High School rafterpghs@gmail.com
Hope Knight
Ken Rafter
Chorus/Orchestra/Jazz Joseph Cantaffa Howell High School jcantaffahhs@hotmail.com
NJ Association For Jazz Ed. Joe Bongiovi Princeton Public Schools jbongiovi.njaje@gmail.com
Administration & Advocacy Dennis Argul dennisargul@gmail.com
Collegiate/Research/Higher Ed. Colleen Sears The College of New Jersey quinnc1@tcnj.edu
NJRMEA Kathy Spadafino Retired kspadeb@aol.com
Band Festivals/Classroom Music Nancy Clasen Thomas Jefferson Middle School nancydidi@hotmail.com
Conferences Marie Malara Retired malara97@aol.com
Orchestra Festivals/Performance Susan Meuse Hammarskjold Middle School susanmeuse@gmail.com
Band Performance Nick Mossa Bridgewater Raritan High School nmossa16@gmail.com
Corporate/Industry James Frankel jim@musicfirst.com
Special Learners Maureen Butler Retired maureenbutlermusic@gmail.com
Choral/Opera Festivals Donna Marie Berchtold Retired firesongwed@gmail.com
Early Childhood Music Ed. Amy Burns Far Hills Country Day School aburns@fhcds.org
Technology Andrew Lesser Burlington County Schools Andrew.Lesser@Yahoo.com
Chorus Performance Wayne Mallete Scotch Plains-Fanwood District wayne.mallette1@gmail.com
Guitar Education Jayson Martinez Arts High School, Newark jmarti37@webmail.essex.edu 62
Webmaster Matthew Skouras Bergenfield High School MARCH 2021 mskouras.njmea@gmail.com
Appointed Members
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Deborah Sfraga
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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
JANUARY 2021
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
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
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Montclair State University, Cali School of Music
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Rowan University Department of Music Susquehanna University University of the Arts - Summer Music Studies
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