VOLUME 75, No. 4
MAY 2021
Lisa Vartanian Patrick O’Keefe
NJMEA President 2021-2023
NJMEA Past-President 2021-2023
Wayne Mallette NJMEA President-Elect 2021-2023
IN THIS ISSUE NJMEA Secretary/Treasurer Retires TEMPO Turns 75! Crescendo Foundation Information NJMEA Guitar Ensemble Information
The Official Magazine of the New Jersey Music Educators Association a federated state association of National Association for Music Education
We’re Moving! After July 1, 2021 our new address will be:
New Jersey Music Educators Association 300 W. Somerdale Avenue, Suite C Voorhees, NJ 08043-2236 Please notify your Business Administrator!
Volume 75, No. 4 http://www.njmea.org
FEATURES 2
President's Message - Patrick O'Keefe
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Editor's Message - William McDevitt
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Thank You! Debbie Sfraga - Patrick O'Keefe
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News from Our Board of Directors
17 2021-2022 All-State Solo List 18 Crescendo Foundation Giving Opportunities 22 President-Elect Updates - Lisa Vartanian 26 Advocacy - Dennis Argul 32 Technology and Music Education for the Deaf: A Retired Teacher Looks Back - Maureen Butler 36 Grant Hunting for Music Teachers: Tips for a Successful Search - Polina Mann 38 Integrating Social-Emotional Learning into Music (Part 2) Shawna Longo 40 Tips for Fostering Diversity In Your Music Program Isaiah C. Mason, M.M. 44 The Practice Plan - Dr. Joseph Montelione 46 NJMEA Guitar Ensemble Audition Information - Jayson Martinez
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/
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DEPARTMENTS AND NJMEA BUSINESS Advertisers Index & Web Addresses....60 Board of Directors................................58 Editorial Policy & Advertising Rates...59 In Memoriam........................................56 NJMEA Awards Information................50 NJMEA Marching Band Festival.........20 Past-Presidents......................................59 President’s Message................................2 Resource Personnel............................. 57 Round the Regions......................... 52-54
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. 4, MAY 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 enter the final stages of this school year, and I write what is my last message as President, I find myself extremely grateful to have been a part of your leadership team. The past two years in this role have afforded me many opportunities, and while in this case it seems to have lasted much longer than just two years, I will undoubtedly miss serving in this position and working with so many inspiring educators, students and colleagues. To say we have had challenges over this period would be an understatement, but I am proud of the work of this Board and the direction in which we are headed. Before I mention some upcoming projects, I would be remiss if I did not thank the many people for their support and contributions over the course of my term. Thank you first to Jeff Santoro for your guidance and patience. I have great respect for your leadership and feel very fortunate to have worked alongside you and learned so much over this time. Thank you to Debbie Sfraga not only for the aid you have given to me, but the years of commitment you have offered our organization and profession. There are not many people who possess a resume of service like you do, so on behalf of all of us, thank you and congratulations on your NJMEA retirement. I would like to thank my Board of Directors for their work, especially in facing many challenges head on. We successfully reimagined and brought the February Conference to Atlantic City, and then reimagined once more to offer a virtual experience this year. We have diversified PD opportunities and led round table discussions in attempts to bring our members together remotely. We strengthened partnerships TEMPO
with many affiliates like the New Jersey Symphony Orchestra in the development of masterclasses, and the National Federation of High School Associations and Arts Ed NJ to present our membership with the most up-to-date guidance on remote, hybrid, and inperson learning and return-to-classroom safety precautions. Even in these final months, we have put many new projects in place to take us into the next school year. While there were several events that had to be cancelled in their traditional form, you kept working for our members, and I thank you. I am so excited to be able to speak to a couple new initiatives as well. By now, I’m hoping you have seen announcements about our new Mentorship Program. Originally conceived through our strategic plan, it is finally coming to fruition. This program will be a great way to support first and second year teachers and strengthen our network of educators, pairing veteran members with those new to the profession. If you are interested in being a part of this endeavor, please look for the communications on our website or social media, or feel free to send me an email so I can send you to the right place. The Crescendo Foundation was formed by a team of my predecessors in 2014 intending to provide financial assistance to music education efforts in our state. Driven again by our strategic plan and our action steps related to the committee work on Inclusion, Diversity, Equity and Access, the NJMEA Executive Board has named a new Board of Directors for the Foundation and made a leadership gift with plans to alleviate the monetary obstacles for qualified students wishing to participate in All-State ensembles. This is 2
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just the first step and tip of the potential iceberg, but I encourage you to read more about this effort later in the issue. Each year, a delegation from each state MEA travels to Washington D.C. as a part of NAfME’s National Assembly, where we meet with congressional offices to advocate on behalf of music education. Unfortunately, this could not take place last summer as a result of the pandemic, and while we will still may be unable to come together in person this year, members of our NJMEA Board participated in a series of meetings throughout March as a part of NAfME’s Virtual Hill Day. Thank you to Lisa Vartanian for helping to organize and lead these efforts. We were able to thank many of our New Jersey Senators and Congresspeople for their support on Covid relief and its support of education, as well as advocate for budget appropriations when it comes to the Every Student Succeeds Act. As you know, many of these budgetary considerations are more crucial now than ever, impacting Title I funding and professional development support. Thanks to all board members that represented us in these conversations. Congratulations to Bill McDevitt, who was approved to succeed Debbie Sfraga with the title of Executive Director. After conducting a lengthy search,
Bill was approved by the Executive Board and I believe we are fortunate to have someone with his experience, commitment and knowledge help be a part of the team to continue leading us forward. Along with Lisa Vartanian, who will be stepping in as President, we are in good hands. Our profession has endured and adapted to significant change over the past year and a half. This change was constant and required the utmost flexibility. Many of our classrooms may not ever look the same, as we integrate new tools and technologies, strategies and best practices around engagement and creation. As the immediate future continues to present many questions, take advantage of this wonderful network of educators and leaders and continue to advocate for yourselves, your programs, and your students. After being put in a position to connect with so many of you over the past several years, I am eager to continue those conversations as Past President and work on your behalf. Enjoy the summer, take much deserved time to rest and regroup, and thanks again.
February 1961 A general trend toward rising salaries in many New Jersey schools is leaving some teachers behind. A new survey of school salaries by the New Jersey Education Association shows over 11,000 teachers – one-fourth of all those in the state – who are paid less than $5,000 a year. It also shows, however, a rising number of teachers who earn $8,000 or more a year. The typical New Jersey teacher, after 14 years of teaching experience, is earning $5,930 a year.
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editor's message William McDevitt
wmcdevittnjmea@gmail.com Website: http://www.njmea.org
If you look at the cover of this issue, you will notice that this is the 75th volume of our state publication. That means that we have had a state publication for 75 years! I took a few days and went through the archives at the NJMEA office to get a sense of where we have been as an organization and publication. I found some really interesting things. Throughout this issue, you will find boxes like the one below that include excerpts, quotes, statements, tidbits, observations, etc. that at one time appeared in an issue. I was fascinated by how far we have come as a society and as an organization. Some of the things that I found were definitely a reflection of contemporary thinking, but (many times thankfully) have evolved. I am happy to see where we are as an organization. Our archives go back to 1954. The publication appeared as a tabloid style print. It was the "Official Bulletin - Department of Music of the New Jersey Educators Association." It became a booklet style publication in 1960, and finally a magazine in 1974. While the archives are not complete, I managed to piece together a list of past editors, with some missing pieces.
1954-1955 1960-1972 1972-1973 1973-1976 1976-1987 1988-1997 1997-2020 2020-2021
Harold A. Brown Herman L. Dash Chester L. Cable Richard D. Scott Jeffrey G. Ellinwood Chic Hansen Thomas A. Mosher William McDevitt
As we transition this summer to a new State Executive, we will be moving the NJMEA office. TEMPO will continue to be published out of this office. As always - if you have any suggestions about things that you would like to see in out professional publication, please let me know. Finally, a personal thank-you to Debbie Sfraga for her service and dedication to NJMEA and the music teachers and students in the State of New Jersey. Through some very difficult times, Debbie kept our organization solvent and allowed the otganization to move forward. Because of her, the Presidents and past members of the Executive Board were able to their jobs. I truly value your friendship and wish you many happy years of retirement!
Spring 1967 “During the last 10 years, according to the American Music Conference, the number of school-age musicians has increased more than 300 percent. Almost all schools now have music instruction and performance programs. Music is becoming such an established part of educational experiences that more than half of our states now have state music supervisors.”
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Interesting Finds Fall 1962 - Featured a review of a band piece by a promising young composer - Francis McBeth Spring 1963 - Listed the sessions for the First Atlantic City Football Band Clinic Fall 1965 - TEMPO added "feature writers" (articles) to the publication Fall 1967 - Did you know that TEMPO used to publish the names and addresses of members? February 1974 - 26th Annual NJMEA Opera Festival was anticipating a chorus of more than 800 November 1974 - All-State Orchestra was filmed for broadcast on NJ Public Broadcasting January 1976 - Plans for the MENC National Convention in Atlantic City were announced May 1977 - The Bridgemen Drum and Bugle Corps participated in the NJMEA Convention March 1978 - The official song for Music in Our Schools Week was "I Believe in Music" by Mac Davis November 1979 - The first Master Music Teacher Award was presented January 1987 - An article on Computer Technology was titled "Hardware: Apple vs Commodore" January 1997 - The partnership with NJ Performing Arts Center was announced MAY 2021
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Thank You! Debbie Sfraga If you have ever been to our professional development conference, attended an NJMEA festival, sponsored a student for All-State, or just dealt with renewing membership, Debbie Sfraga played a part in the process somewhere along the way. Debbie’s commitment and experience with our organization is hard to match, with a career of region and state work that spans the past 41 years. Contributing volunteer hours in many roles through the beginning of her teaching career, Debbie has most recently served as our NJMEA Executive Secretary Treasurer since 2000 - and will retire at the end of this school year.
While holding these positions, sometimes simultaneously, Debbie also became involved in the Region I board. In 1980, she began her involvement with HS Band auditions and also became Recording Secretary. During this time, she conducted several region ensembles. In 1987, Debbie became the coordinator of the November Atlantic City conference sessions for NJMEA, which was a position she held for two years before being elected the NJMEA Recording Secretary in 1989. In July of 2000, the Executive Board added the treasury to her list of responsibilities and Debbie became the first Executive Secretary Treasurer, the position she holds today.
Debbie first began her teaching career in 1976 working for Music for America and teaching instrumental music in parochial schools. Her public school resume began a year later and would eventually include teaching high school choir, middle school band, high school band, and general music. Debbie was initially employed at North Arlington High School and then Tinton Falls Middle School before coming to Ocean Township Middle School where she was the band director from 2000 - 2016 when she retired from public school teaching. In the first decade of her career, Debbie began teaching instrumental lessons at Seton Hall while on maternity leave, where she would begin a tenure first as adjunct faculty before becoming full time, teaching classes like music theory, music civilization and methods classes in addition to the ensembles. It was at this time that Debbie began directing the Pep Band, something she is still proud to be doing today.
After holding a list of jobs like this over the course of so many years, we sat down with Debbie and reflected over some of the history she was a part of.
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*** After 34 years working on behalf of NJMEA and being a part of so many projects, what is your most proud moment? Wow. There isn’t really one specific moment that comes to mind, but being able to manage the growth of NJMEA is something I’m very proud of. We really have grown so much as an organization, so seeing us become one of the largest MEAs in the country, and putting NJMEA in the category of a true non-profit association. What has been the biggest challenge for you in managing NJMEA for these several decades? With the structure we have in place, there is a new president every two years, so I would have to say navigat6
MAY 2021
ing the different leadership styles of each president I’ve worked with - and there have been many. What has been your fondest memory? In 2005 we had the opportunity to represent NJMEA at the European Music Educators Conference in Traviso, Italy. Several of us presented sessions and worked with the educators there. It was an amazing trip. Why have you stayed so long? I truly believe this in organization and what it does for teachers and students, and honestly really do love working with all of the people and volunteers. What have been the biggest changes that you have seen since you started on the Board? There has been a lot of change. There was a time when we restructured the Board entirely, going from a 30 piece board that met monthly and was the voting body until it was decided we would have an Executive Board, and that became the voting body. Another huge shift was when we moved out of someone’s house and got the office. That was a big step for us.
What do you believe to be the more important thing that NJMEA offers its members? I think being an organization that is available to support the members and always striving to provide the best. This could be the best conductors, the best conference sessions, or whatever it might be. What are you going to do with all of your free time? I hope to travel much more. I have always wanted to visit all of the National Parks, so am hoping to get a chance to start on that list! *** On behalf on NJMEA, a huge thank you and congratulations to Debbie for all of her work and unwavering commitment to our teachers, students and organization over her career. We often consider the educational aspect of our MEA with the ensembles and professional development, many times not realizing that every offering has a business component to it. Registrations, hotel and conference center contracts, insurance, payments and so much more. Debbie has kept our organization legally safe and solvent, and been the strong voice of reason when something is not possible or sustainable. We wish you the best!
Fall 1967 In reference to the Tanglewood Symposium that convened in August of 1967: Twenty music educators selected to participate in the symposium from public school systems, colleges and universities declared on the closing day (August 2) that “music teachers must be concerned with all kinds of people and therefore all kinds of music, embracing rock, the finest concert music, and music of other cultures. The electronic media have exploded the dimensions of music in America.”
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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 As we come to the end of a very trying year for our profession, the Retired Music Educators want you all to know that we are with you and waiting eagerly for a return to a new “normal” in the fall. Some of us have supervised student teachers, helping them through a teaching experience without actually conducting! Region, AllState and National ensembles have happened remotely. We can’t wait to hear and make music again! One positive note is that NJRMEA will be working with NJMEA in creating a Mentoring program that will begin in the fall. You should have received a TEMPO express with a questionnaire about this. Please fill it out and submit if you are interested in being a mentor, or just contact me at kspadeb@aol.com. Better days are coming!
Technology
Dr. Andrew Lesser
andrew.lesser@yahoo.com www.andrewlessermusic.com YouTube: Professor Lesser
Hello, fellow music educators! It seems like a lifetime ago, but this school year has truly been a historical journey for music educators all over the country. Looking back at how we began last year, none of us could ever foresee the ramifications of what would result from this pandemic. I truly hope all of you have kept yourselves safe and healthy during this incredible ordeal and that we can look forward to a return to, for lack of a better word, normalcy, in September. Speaking of which, many music educators ask me what will be the face of music education in the future. I believe that educators and administrators will try and keep the positive benefits that we have learned (and sometimes forced into) from distance learning and remote instruction while attempting to improve the challenges that have resulted from this situation. The proverbial technology genie has been let out of the bottle, and I’m sure that many of the resources and materials that have been introduced will continue to serve music teachers long after the pandemic has been eradicated. Even though we’re still busy planning for the end of our respective school years, it’s never too early to think about the opportunities that will be available in 2021-22. We will continue to hold both the NJMEA Young Composer’s Competition and the NJMEA Student Tech Expo, hopefully with several on-ground events. There are other exciting proposals heading our way too; keep checking out the Technology page of the NJMEA website for updates and new information. And, as always, if you are looking to assist at any of these events or just want to get involved, please feel free to contact me anytime at andrew.lesser@yahoo.com. Here’s to the end of a truly unique school year, and may the lessons that we have learned serve our students into the future.
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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 I have been working with Robert Hamm, K-12 Supervisor, Arts Education & Library for the East Windsor Public Schools for a number of years as members of both NJMEA and NJMAA. Robert and I are members of the IDEA committee which was formed under Jeff Santoro’s tenure as President of NJMEA and continued now with Patrick O’Keefe as a part of the Strategic Plan for NJMEA. Robert has done an incredible job of collecting important information to guide us all in our next steps as we address the Inclusion, Diversity, Equity and Access challenges in our state. Tell me about your journey in music education? How did you end up as a Supervisor? Music has always been “home” for me, and it was always my desire to help build “musical homes” for students. After teaching Band and Elementary General Music for 11 years, I earned my administrative credentials and was hired in Neptune Township School District as the Supervisor for the Arts, then moved to my current position, East Windsor Regional School District, again as Supervisor for Arts Education. I’ve been an administrator for the past 7 years. How did you become interested in this IDEA data collection? As an administrator, I’ve developed a passion for tracking student participation, and how it impacts the overall program (special thank you to Mr. Rusty Palmer, Band Director, friend, colleague from NTSD). Initially the committee focused on review of the performance literature. I started working on that piece first. After we saw the outcome, we felt we needed to dive deeper into actual student participation. We determined that even though we would not be able to have actual student demographics, having an established estimate, based on the demographics of the districts represented in the All-State or Region Ensembles, painted a picture of student participation over the past 10 years. Tell us a little bit about the project The NJMEA IDEA (Inclusion, Diversity, Equity, Access) reviewed the following data sources to create a baseline to inform decision making. These sources included All State Performance literature from 2009 to 2020, Non-Traditional Ensemble participation, review of All State and Region student participation from 2009 to 2020, and Music Teacher distribution. How did you go about collecting and putting together the information? We reached out to the NJMEA ensemble chairs, and Region Boards, requesting student participation and audition information from 2009 to 2020 (pre-COVID). We also reviewed past programs, researching background information of various composers, used publicly available District demographic information from the DOE, NJMEA membership data, and made an OPRA request for the total number of Music teachers in various districts. What directed your focus? The focus was developing as complete of a picture as possible, using the available information. We looked to see how the demographics of represented districts impacted the estimated demographics of student participants. The focus was creating a valid “equity lens” to see where areas are that we can improve our outreach. The question being, how reflective are estimated participant demographics, when compared to state-wide and region overall student population demographics. We looked at the four largest racial demographics: White, Black, Hispanic, Asian; and students considered Economically Disadvantaged, as determined by Federal Free or Reduced Lunch eligibility. TEMPO
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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 What can you identify as areas that need to be addressed based on the data you’ve collected? The data clearly shows the need to expand outreach to many traditionally underserved student populations. The estimated student participation was not reflective of the overall 9-12 student population. However, it is important to note that we analyzed data for students who participated in an “above and beyond” musical activity. That being said, there is a clear need to “peel back the onion” and determine why districts that serve traditionally underrepresented student populations are underrepresented in NJMEA sponsored student programs. To do this, there is a need for all districts to determine how inclusive their music programs (and in particular ensemble programs) are of all student demographics. How are you planning to use this data at your district level? How can it be used at the school level (for our peers and colleagues) and at the State level (NJMEA and others)? This data report is a “balcony level” view of one aspect of Music Education in NJ. With that mind, it’s my opinion that any balcony level data set is useless until individual educators take concrete actions to change that data for the better of their students. It is my recommendation that individual educators and schools use the processes outlined in the data report as a model, to review their own data. All public schools maintain student demographic data. If you are not sure how to find it, or can not access it, reach out to your Administration. Demographics are also available on the annual School Report Cards. By simply reviewing your school and district overall student demographic data, and comparing that to student demographics of your ensemble. The key question, how reflective are your ensemble’s student demographics, when compared to the total student population? For example, if the school’s total population is 90% demographic A, and 10% demographic, your ensemble is 90% demographic B and 10% demographic A, your ensemble is only drawing from the smallest student group in the entire school. This is an extreme example of the ensemble not being reflective of the school. As we approach next school year, and we begin our ensemble recruitment process, use your demographic data to target your efforts. If you find your ensembles not reflective of specific demographic groups what can you do to improve those numbers? For example, if your instrumental group has a low population of Economically Disadvantaged students, why is this case? Can they not afford the instruments? Are there steps you can take or advocate for increased access to instruments? •
What do you see as your next steps? The report makes two recommendations for further research to be supported by NJMEA, and made publicly available: • Collect NJMEA (All State and Regions) Ensemble Equity Data with actual student demographics during SY 21-22 (pending COVID normalcy). - Events that students participate as a school-group director would complete a demographic survey of the ensemble membership (not revealing specific student identifying info) - Events that students participate as individuals, either audition or recommended, students would be asked to complete a demographic survey, with an option to chose not to participate • Music Participation Equity Survey: asking volunteer members to review and submit individual school and district Music Programs with an Equity Lens. - Performance Literature Review - Student participation demographic survey (not revealing specific student identifying info)
The New Jersey Music Administrators Association is inviting our members to our remaining session for the 2020-2021 academic year: June 4: Traversing the ‘New Normal’: A Reflection on 2020-21-Roundtable – Facilitator: Jonathan Harris, NJMAA President Also, 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 TEMPO
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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
Orchestra Performance Susan Meuse
susanmeuse@gmail.com After a year of not having any All-State events, I am pleased to announce that there will be auditions for the 2021 All-State (High School) Orchestra. Because there were no Region auditions this year, all string students in grades 9-11 are eligible to audition for the 2021 All-State Orchestra. The auditions are completely online, and the information can be found on the NJMEA website. Audition videos are due the first week in June, and the event will take place in the Fall. While we don’t know if it will be in person or virtual, the 2021 All-State Orchestra will be a valuable experience for students selected. At this time, no decisions have been made for the 2022 ensembles, so please regularly check the NJMEA website, TEMPO, and TEMPO Express for more information on dates and audition requirements.
Choral Performance Wayne Mallette
wayne.mallette1@gmail.com It has been quite a year. And while we can see the light at the end of the tunnel, we know many of us in the music world are still trying to navigate our way to the end of the year. We are happy to let you know that we are moving forward with the 2021-2022 All-State Choral Season! By now, you should have received the email information concerning auditions and the potential options for the All-State Season. Students will upload their auditions as we have done in the past using Audition Forms. We will make the audition packet available in June so you students will be able to practice the audition material over the summer. You will be able to upload student videos between September 1-28. We are excited that Dr. T.J. Harper from Loyola Marymount (Mixed) and Dr. Brandon Williams from Rutgers University (Treble) will be joining us to conduct the All-State Ensembles. If we have learned one thing because of this pandemic, we have learned to be flexible. If things need to be adjusted for any reason, we will continue to give you updated information as necessary. I must end this report on a bittersweet note. I have decided to step down as the chair of the Choral Performance Committee. Being a part of this committee has been one of the highlights of my teaching career. Watching the students up close from around the State making beautiful music together has been a blessing that I will cherish for a lifetime. I will also like to extend my deepest gratitude to the Choral Procedures Committee. Each of you esteemed educators sacrifice your time to help shape the All-State experience, and I can’t thank you enough for all you have done. I am excited about the direction we are heading in, and I know you will continue to open the doors for many more students to get involved in the All-State Choir experience. So this is by no means good-bye, I’ll still be around! And I promise you, I will never forget my choral roots. Walk on, walk on, with hope in your heart, and you’ll never walk alone.
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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 Band Performance
Nick Mossa
nmossa16@gmail.com Greetings all! We are nearly at the end of the road for our 2020/2021 school year and I’m sure it is a road many of us will not wish to travel again! Many programs around the State have endured radical transformations in the spirit of maintaining, and at times spontaneously creating, a valuable musical experience for our band students. We are not out of the woods just yet, but there is a significant optimism that exists on the horizon for us and our programs. With the summer months waiting just around the corner, here are a few ideas to ponder: Many of our band students of all ages have suffered set-backs on their instruments. Students may not be as far in the lesson books as they are “supposed to be”, performance standards may have dipped, practice hours may have lessened, or any number of detriments may be present that have affected your students and program. My professional advice is to let it go. Next year, all band students deserve our unconditional support and our very best practices to help revive their fascination in music, motivation, creativity, and provide the social environment that is such a crucial aspect of the value that band provides. I do not mean to suggest we abandon our musical standards and ambitions entirely, but I believe we should start by meeting students where they are to inspire their participation and excitement once again and musical excellence should be secondary. You may disagree, but I would caution you then to consider that we have no way of knowing everything about all of our students’ experiences in the last calendar year and band may need to be, now more than ever, something more than just a place by which excellence is achieved for your students next year. Food for thought! Additionally if your experience teaching band in the past school year has been anything like mine, you may find that you have been without meaningful musical experiences for far too long. I’m talking about the types of moments or memories that elevate you, remind you why you were inspired to teach band, bring you fulfillment and joy, and most importantly those moments balance out all of the stuff that comes with the not-so-glamorous parts of the job (I am sure you do not need me to elaborate on that!). I believe we have those moments to look forward to again in the next school year but it is important that we recognize the need to recharge and refresh ourselves this summer so that we may be ready to create those moments for our students and our programs again. If you are one who typically frets about concert dates, packs the summer months with professional development opportunities, or spends all summer planning and practicing with the marching band, perhaps now is as good a time as any to prioritize some healthy relaxation. We will best serve our students if we are mentally and physically refreshed to take on the challenges that await us all next year. They are counting on us! Finally, NJMEA is thrilled to be providing All-State Ensemble opportunities for our students in the 2021/2022 school year. Please keep an eye on your TEMPO Express emails and the NJMEA website for the latest updates and happenings as conditions evolve. The 2021/2022 All-State Band Repertoire List should be included in this issue. Please observe that the 2021/2022 AllState Band Repertoire List is different from the 2021 All State Orchestra Wind & Percussion Audition Repertoire which is set to be completed this month. Should you have any questions please feel free to reach out to me via email. I wish you and your programs all the best as we near the end of this incredible school year and look ahead to the start of next year. Be well! .
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2021-2022 All-State Solo List Instrument
Solo
Composer
Publisher
Piccolo
Concerto in C
Vivaldi
International 2782
Flute
Sonata (Mvts 1, 3, and March)
Hindemith
Schott ED2522/HL49003799
Oboe
Sonata
Poulenc
Chester Music CH62711/HL14025930
English Horn*
Divertissment
Bozza
Southern SS268/HL0377388
Eb Clarinet*
Concertino (Bb Clarinet Version)
von Weber
Carl Fischer W1893
Bb Clarinet
Solo de Concours Rabaud (No page 1. Lento 16th note = 63)
Southern SS282/HL03773903
Eb Alto Clarinet*
Sonata in a minor (Bass Clarinet edition)
Marcello
Southern SS159/HL03773764
Bb Bass Clarinet
Sonata Opus 40a (Andante tranquillo and Allegro Vivo only)
Kibbe
Shawnee Press
Contra Clarinet*
Sonata in a minor (Bass Clarinet edition)
Marcello
Southern SS159/HL03773764
Bassoon
Sonata in f minor
Telemann
International 1151
Bb Sop. Sax*
Incantation and Ritual
Gates
To The Fore Publishing
Eb Alto Sax
Sonata
Jacobi
Bourne 121009
Bb Tenor Sax
Sonatina
Schmidt
Western International AV138
Eb Bari Sax
Septieme Solo de Concert
Singelee
North Eastern Publications
Bb Trumpet
Concert Etude
Goedicke
Universal Music Corp.
Horn
Morceau de Concert
Saint-Saens
Alfred TS0002
Trombone
Contest Piece
Alary
Cundy/Carl Fischer CU754
Bass Trombone*
Sonata for Bass Trombone
Wilder
Margun/Shawnee
Euphonium
Rhapsody
Curnow
Winwood Music
Tuba
A Stylized Suite
Salotti
Schaffner Music
Harp*
Concerto for Harp
Handel
Schirmer/Hal Leonard HL50502290
Piano*
Sonata Opus 13 (Mvt 1)
Beethoven
G. Henle Verlag HN1348
Timpani
Adagio-Allegro (from Exercises, Etudes, and Solos for Timpani)
Carroll
Batterie Music CF BT 1500
Mallets
Yellow After the Rain
Peters
Try Publishing Company 1082
Snare
Etude No. 8 from 12 Studies for the Drum (Douze Etudes)
Delecluse
Alphonse Leduc AL23410
Keyboard
Etude No. 9 (from Audition Etudes)
Whaley
Meredith Music
Battery Percussion
*Instruments will be used as needed. MAY 2021
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The Crescendo Foundation is a Not For Profit Corporation initially formed by leadership of the New Jersey Music Educators Association, who serves as the registered agent. The Association’s mission includes the advancement of music instruction in New Jersey’s educational institutions at all levels that provide in-service and enrichment opportunities for music educators, as well as sponsoring various festivals and All-State performing groups for K-12 students. As a result, the Foundation’s goal is to provide financial support to underserved students and communities to create access to the aforementioned festivals and performing groups. In this first phase of giving, funds will go to a scholarship model geared towards students aspiring to participate in All-State ensembles.
The Scholarship Framework
Through data assessment, it has been identified that All-State ensemble participation is not reflective of statewide total population demographics when comparing race and socio-economic status. The scholarship opportunities from the Crescendo Foundation gifts will allow students to apply for financial support to assist with any or all of the fees associated with participation including: • Audition Fee - $25 • Participation Fee - $35 • Housing - $315 As part of the All-State experience and upon acceptance, students are housed together throughout the performance weekend. Scholarship opportunities would be available to cover the entire cost of this invaluable experience. In subsidizing these costs for qualified students and easing the burden of financial access, it is the hope of the Foundation that our All-State programming will become more inclusive, diverse and equitable.
We Need Your Help We acknowledge that the Foundation’s ability to realize the plans outlined in the Scholarship program will require the generous support of the community. The initial phase of the program will require $50,000 which aims to assist 150 students over the course of the next three years in the areas of All-State Orchestra, Choir, Band and Jazz. All-State ensembles contribute to a total of 6 concerts annually in both Atlantic City and Newark. The vision for the Foundation is to eventually go beyond the scope of All-State ensembles to positively support several aspects of music education programming both at the State and Region levels, making this an important first step. All gifts are tax deductible and there are many ways and opportunities to support this important effort. We thank you in advance for your support of our state’s students and providing transformative experiences outside of their school programs.
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Giving Opportunities Large Ensemble Concert Sponsorship - $5,000 • All State Orchestra and Mixed Chorus, Atlantic City • All State Orchestra and Mixed Chorus, New Jersey Performing Arts Center, Newark • All State Symphonic Band, Wind Ensemble and Treble Chorus, Atlantic City • All State Symphonic Band, Wind Ensemble and Treble Chorus, NJPAC, Newark Concert Sponsorship - $2,500 • All State Jazz, Atlantic City • All State Jazz, New Jersey Performing Arts Center, Newark Crescendo Giving Level - $1,000 Sforzando Giving Level - $500 Arts Advocate - $250 Friends of the Arts - $100 Other $_____________ All gifts and giving levels will be recognized in programs for that school year and program cycle, including concerts listed above, as well as NJMEA conference materials. All gifts are tax deductible. Checks should be made payable and sent to: The Crescendo Foundation 300 W Somerdale Road, Suite C Voorhees, NJ 08043-2236 Please include contact information and appropriate name listing for program printing.
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Proudly Announces:
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 1ST, 2021st
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President-Elect Updates Lisa Vartanian Paramus School District lvartanian@paramusschools.org
On March 10, Bob Morrison from Arts Ed NJ and I had an opportunity to meet with Governor Murphy's office to encourage further public guidance for Performing Arts. We talked specifically about the interpretation of EO220 for performing arts and how it applies to inschool performances. Playing music, dancing, acting with an audience is allowed under the proper safety and health guidelines. We also thanked the office for putting out a statement to Support Arts Education during "Arts in our Schools Month." Governor Murphy's office supports arts education and is eager to continue to support our mission.
During March, the leadership team of NJMEA participated in Virtual Hill Month. While we could not be together to travel to Capitol Hill and meet with our representatives in person, NAfME coordinated this program to assist music educators from all across the nation to be more active music education advocates at the local, state, and federal levels during Music In Our Schools Month®. Patrick O'Keefe, Jeff Santoro, Diana May, Dennis Argul, Hope Knight, and I attended meetings with the offices of Senator Bob Menendez, Senator Cory Booker, Representatives Donald Norcross, Donald Payne, Bonnie Watson Coleman, Andy Kim, Christopher Smith, Josh Gottheimer, and Albio Sires. During our meetings, we shared the mission of the NJMEA and talked about our concerns and interest regarding music education, including the need for more education funding in a covid relief package, continuing support in the appropriations process, and support for the Reopen and Rebuild America's School Act. Our team did an outstanding job advocating for you, our schools, and our students. Thank you to our NJMEA leadership team for working with me to ensure our teachers and students receive the funding and support they need to be successful now and in the future.
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Arts Ed NJ Update The Coronavirus Response and Relief Supplemental Appropriations Act (CARES II) was signed into law on December 27, 2020. This new COVID relief bill extends or modifies several provisions in the Coronavirus Aid, Relief, and Economic Security (CARES I) Act passed in March 2020. Most districts will receive FOUR TIMES the amount of money than what they received in the first round last summer! These funds may be used to support arts education! The new relief bill authorizes $81.9 billion for the Education Stabilization Fund. The bulk of that funding falls under Elementary and Secondary School Emergency Relief. For this document, we will refer to this generically as CARES II Funding. CARES II will receive an additional $54 billion on top of the $13 billion allocated under CARES I last year. With additional help on the way, now is the time to plan with school administrators about how this funding can support arts education. Reach out to your building principal to discuss the necessary resources to conduct art classes safely in-person. The principal will either have spending authority on the funds or will be able to help submit a request for artsrelated purchases at the district level. Be prepared to suggest some ways these funds may 22
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be used to support arts education. There are fifteen (15) numbered categories of allowable use from the statute. The following includes several ideas and the corresponding category number for each. Instruments, Supplies, and Materials to Help Ensure Health and Safety • Individual instruments for each student to eliminate sharing (3,5) • Individual mouthpieces for each student (3,5) • Rental programs so that each student will have their instrument (3,5) PPE, Cleaning Supplies and Sanitation • Appropriate cleaning and sanitizing materials (7) • Sonic instrument cleaners • Mouthpiece cleaner • Ensuring Health and Safety (3,5) • Additional instruments/mouthpieces, so students are not required to share • Addressing the NFHS research studies' recommendations. • Performer masks • Choral masks • Instrument masks and bell covers • Appropriate airflow upgrades in arts classrooms (13,14) • Headsets and amplifiers for educators and others • Plastic Brackets • Ear Guards • • • •
Supplies to sanitize and clean facilities (7) Hand sanitizer Disinfectant wipes Disinfectant spray Facility Considerations
• Appropriate airflow upgrades in art classrooms, including ventilation improvements with a particular focus on rooms without windows (13,14) • Ensure proper ventilation for all arts classrooms (13,14) • Supplies and materials to make instructional environment meet recommended standards (barrier tape, portable carts, tents/pop-up canopies for outdoor instruction, platforms/mobile stages, pipes & drapes, folding chairs/folding tables related materials) (15)
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Instructional Support • Tools and resources for distance education/learning (9) • Training for arts educators to create virtual ensemble performances/productions/exhibitions. • Software programs to assist students with guided practice and self-assessment while learning how to play their instruments in a virtual learning environment • Software programs to help students with arts learning • Software programs for video editing and music editing • Music licensing for virtual productions • Online memberships to virtual libraries, streaming platforms, and virtual performances/field trips • Supporting low-income students with resources to help them with online learning (4,9) • Instruments and Instrument supplies such as reeds, rosin, trumpet grease, etc. • Online private or group lessons with master teaching artists in partnership with local arts organizations • Provide tutoring programs outside regular school hours to address student needs. (11) • Group instruction in various arts disciplines • Fund out of school time arts training programs with local arts organizations • Activities to address the unique needs of low-income children or students, children with disabilities, English Language Learners, racial and ethnic minorities, students experiencing homelessness, and foster care youth, including how outreach and services delivery will meet the needs of each population (4) • Development of a peer coaching program • Establishment of partnerships with local, regional, and statewide arts, culture, and historical organizations to utilize current or develop programming • Provide internet access for students struggling to learn remotely (9) • Provide additional staffing to expand beginner programs to reach students who were unable to participate in art instruction during the 20/21 school year Summer Programs • Planning and implementing activities related to summer learning and supplemental after-school programs, including providing classroom instruction or online learning during the summer months and addressing the needs of low-income students, students with disabilities, English Language Learners, migrant 23 TEMPO
•
• • • • • •
students, students experiencing homelessness, and children in foster care. (11,12) Enrichment activities including those relating to dance, music, theatre, and visual art (music example: guitar, keyboard, mariachi, music technology, ukulele, melodica, drum circles, steel drum band,etc.) Delivery of services during extended school year programs and summer enrichment programs for all students (11) Band, Music, Theatre, Dance, Visual Art camps Parks and Rec programs Big Brother, Big Sister programs School district summer enrichment programs Fund in-district summer arts programs/Saturday programs
• Introduction to music, dance theatre, and visual art induction programs before the opening of school • Fund arts enrichment summer camps and preprofessional summer training programs • Supplement tuition for out-of-district pre-college summer programs. • Fund student internships with local arts organizations/ companies Planning • Developing and implementing plans for the next school year. (1,2,5, 8) • Professional development time to plan for return to school • Professional development time to plan and coordinate performances
• Deliver extension activities outside regular school hours to support a successful return to school (11)
May 1960 Excerpted from a borrowed article entitled “Rigged Listening”: “After having spent a lifetime of teaching boys and girls to listen to good music, then discovering that they would select the rock ‘n roll type of “musical garbage” for listening, was discouraging. How could children who play the music of the great masters in our fine school bands and orchestras turn to a 3-minute progression of I, IV, V chords being sung by some “backyard singer” who knows absolutely nothing about singing? Is it possible that in our generation more than a century’s worth of music education aimed at improving our American Cultural Standards shall be lost? “ January 1966 Interview question to NJ Orchestra Director – “What do you think of Rock and Roll, the Twist, Shindig, and the Beatles?” Response – “Personally I do not care for this so-called music, but it seems to be a part of the young ‘Pepsi Cola Generation.’ In addition to the dances you mention we might add the Jerk, Swim, Frug, and the Freddie. As I understand the Twist is out and no doubt many of the above will give way to new creations. Divest the Beatles of their wigs and wiggles and what have you left? For the good of our very young let’s hope they bow out as quickly as they came in.”
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AUDITIONS Spring 2021: Jan. 26 Feb. 2, 9, 13, 16, 23, 27 Mar. 16, 23, 30 April 6, 20
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rmative Action institution. A Member of Pennsylvania ‘s State System of Higher Education. 8001-MUSI-0820-CL MAY 2021 Millersville University is accredited by the National Association of Schools of Music (NASM). Millersville University is an Equal Opportunity/Affi 25 TEMPO
8001_MUSI_PMEA News Ad_7.5x10.indd 1
7/31/20 12:19 PM
Advocacy Dennis Argul dennisargul@gmail.com
NHFS and ArtsEdNJ – Perfect Together! The National Council of the National Federation of State High School Associations (NFHS) approved Arts Ed NJ as an NFHS affiliate member. The board of directors for the National Federation for State High School Associations approved Arts Ed NJ’s application to be designated as the NFHS performing arts affiliate for New Jersey. The New Jersey State Interscholastic Athletic Association (NJSIAA) is the athletics affiliate for the state. The designation allows Arts Ed NJ to provide more support and resources for performing arts activities, including extracurricular and after school programs, and to advocate on their behalf at the state level and representation at the national level. Arts Ed NJ has been collaborating with the NFHS since April of 2020, working closely on policies, research, and publications to support performing arts during the pandemic, including support for the International Coalition Performing Arts Aerosol Study at the University of Colorado and University of Maryland. The affiliation inspired the creation of the inaugural New Jersey State Solo and Ensemble Contest. Additional collaborative initiatives with other NJ based arts education organizations, including coordinated speech and debate, theatre, and educator recognition programs, will be announced in the coming months for the 2021/2022 school year. “The NFHS is very excited to welcome Arts Ed NJ to the National Federation of State High School Associations,” stated Dr. James Weaver, Director of Performing Arts and Sports at the NFHS. “Arts Ed NJ and their leadership has been instrumental on the national level as we navigated the impacts of the global pandemic. The strength of the NFHS comes from its member associations that work together on a national scale to problem solve and tackle the big issues facing performing arts. Arts Ed NJ is a great addition to the NFHS and we look forward to working together.” TEMPO
For this issue of Tempo and the Advocacy article, I interviewed Dr. James Weaver and Bob Morrison, Director of Arts Ed NJ, to discuss this affiliation and how it will impact music education in the state moving forward. What is the National Federation of High School Associations? JW: The NFHS has been around since 1921. We are the national organization that works with state high school activity programs and helps them with rule creation, standardized contest formations, we nationally oversee high school activity programs with our 51 state high school organizations and our 20 other affiliate organizations, with about 12 million plus students that are involved in high school activity programs across the US. We rely on our state association members to be the driving force of what’s best in their state, but we provide the resources that help them become as successful as they can be. Bob, how did you come to work with the NFHS? BM: It actually started on a webinar. The webinar when I first met James was on the webinar that was put together in preparation for the “What Now and How?” webinar that Music for All put on. I had been familiar with the Federation over the years and in my work previously with Music for All, but they haven’t historically been as active as they are now. I think we’ve seen a visible uptick in their activity in the music and arts space, especially since James came on. I learned about what they were doing with the aerosol study and heard some of the preliminary findings. I found his was really important work they were doing and wanted to know what we can do to support it. As a result, we were a contributor financially to the aerosol study because we thought it was so important and from that just started sharing information about what we were working on in NJ because at that time we were just standing up our September Ready Task Force and really getting under the hood of all the great information and guidance that they were putting and out seeing what was happening in some of the other areas. Through those con26
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• 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 d • A vocacy ctio n
Music Education Advocacy Resource Center To help you plan your teaching and support your music education advocacy efforts, NAfME offers the following resources: •
Guidance for administrators and other decision-makers
•
National statement supporting arts and music education
•
Research on the effects of COVID-19 on the rehearsal hall
•
Music education and social-emotional learning resources
•
Instrument cleaning guidelines
•
NAfME Local Advocacy Action Plan
•
NAfME Civic Action Field Guide
bit.ly/NAfMEMusicEdAdvocacyResources (case-sensitive)
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versations, about two months in, I started asking, ‘well who is your affiliate in NJ?’ He told me he didn’t have an affiliate in NJ. Well, given all the ways we are interacting now, it seems like maybe we should consider being your affiliate. We talked about it and the process that was involved in putting in the application and everything had to go through their Board and be vetted. But it really all started with that webinar and a meeting of like minds through that process and it grew very organically from there. JW: Yes,I agree. Dennis, one way I describe it is the NFHS in the music world is we are the largest national organization that you’ve never heard about. We are involved in a whole lot of things that no one really knows because it all kind of works in the background. As Bob has pointed out, the pandemic really changed a lot of these things for us because now we are able to reach out in more areas to be more collaborative in areas where we might not have been before. Is Arts Ed NJ going to be the first arts organization under the umbrella of NFHS? JW: No. In our association we have multiple different kinds of members. The NFHS is a national reflection of the membership that it built. As members we have athletic only associations, we have our activities associations which are athletics and artistic groups in one association, which is how it is in South Dakota which is where I’m from. There are about 25 or 26 states where that is the case. Texas is a good example. There are others like Georgia which has athletics with speech and theater, but doesn’t oversee music in Georgia. West Virginia oversees athletics and music, but doesn’t oversee speech and theater. With Arts Ed NJ , they are a music only affiliate for us, which is great because they have a focus and will bring a whole different kind of energy to the NFHS. So they are not the first artistic one, but are probably the first that’s not an MEA or another association. However, with all the stuff you are doing to bring in the contests and festivals it’s a really natural fit for us to be connected with Arts Ed NJ. BM: We are also working with our Speech and Debate folks and the other theater organizations to make sure that the work they do we can connect them to the Federation and to new opportunities. Connecting them to opportunities that they weren’t even aware of like some of the awards that are available for some of the different areas of theater, speech, debate and music. Some of our folks were not aware so how can we engage them into the process, and how can we make sure that they can benefit from the affiliation as well. We look at it as ‘how do we utilize the relationship to benefit all of arts education and all of the other organizations that are part of our membership?’ JW: That’s a good point because Arts Ed NJ isn’t just music, TEMPO
it’s all the arts. BM: We have the Theater Associations, we have the Dance Associations, Speech and Debate and a lot of them are also tied into our Governor’s Awards. There are a number of things that we are considering but we are at the very beginning of the affiliation and getting a full understanding of all the benefits that membership provides. What are the potential benefits of the affiliation? JW: I think that one of the biggest things that the NFHS provides our member organizations is the ability to network and the ability to do professional development at the state organizational level. Hopefully Bob has experienced this as we have begun our journey, we have monthly calls with all the Directors of Music from all across the country at the state level. We have the same for Speech, Debate and Theater. We also have a Performing Arts Conference every Fall, we write the national Speech and Debate topic that is debated on policy debate every year, we have a plethora of professional development opportunities that is open for all member organizations. We have a tier 1 and tier 2 credentialing component for music and it all comes with continuing education units. For resources for state associations, we help out with copyright compliance issues which are very complex and changing all the time. We have a gold standard for educational copyright compliance for teachers, but that also includes state association administrators, Principals, coaches, and Directors. As we dig deeper, we have an awards program that highlights music teachers, speech teachers, Heart of the Arts awards. All of them have tiers as well which goes from state, section level and national level awards. We also have section meetings. We divide the country into eight sections. All the members in that section get together and talk about all the things going on in their particular geographic area of the country. We are working on other projects about what things will look like when we get back to school, and other projects that are in the moment. Those kinds of projects come up a lot. Having those types of resources that our members share with our other members is invaluable. BM: “I would say an example of that is our Solo and Ensemble Festival. We would have never been able to pull this off, or even to be aware of the ideas if we were not involved in these conversations back in the Spring and Summer. Because I was there as people were talking about what they were doing and how they were doing it, and at the same time getting information that more and more regional and all state performing opportunities were being taken off the table here in NJ, that then begged the question, ‘is there something we could do?’ Because we were in those conversations and I understood what was going on with the copyright side with allowing people to do virtual events, and 28
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NAfME GRASSROOTS ACTION CENTER
Add Your Voice to the Legislative Process On the NAfME Grassroots Action Center page, you can: • • •
Support music education in federal education policy Get involved with the legislative process Engage your members of Congress
NAfME Public Policy staff regularly provide updates to the education funding process and legislation that directly impacts music education funding and access. On this page you can find ready-to-send letters that you can customize and submit to your members of Congress to take action on issues that affect music education. Go to bit.ly/NAfMEgrassroots (case-sensitive) and take action today.
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through the networking being able to connect with Wisconsin and have a conversation about being able to license the repertoire list so that we can have a clearance that we can use to be a part of the Festival. That’s just one example of where this all might go. There are certainly some other things regarding additional activities and we are having conversations with people from around the country regarding the marching band situation and how might that benefit any of our affiliated work with the NJ Marching Band Directors Association as they continue to expand their work and what does that mean for our instrumental directors. So, there’s a lot of opportunity and a lot of new areas that we can grow into as we emerge from where we are in this Covid crisis right now into what things will look like, with the goal that all of our students have the opportunity to actively participate in a performing arts education as part of their scholastic education. JW: Bob took the words out of my mouth. We really do hang our hats on helping our states create opportunities for participation. Every kid who wants to participate should be able to find that avenue to participate. We want to focus that as our main mission on what we’re trying to do at the state and national levels and what we can do to support that. Sometimes it’s advocacy, and we have really taken a turn towards advocacy these last few years. But, it’s not always about advocacy. It is sometimes about creating a new opportunity. I give Bob and Arts Ed NJ a lot of credit for starting the Festival, which is a huge opportunity for students. They are going to get a national caliber adjudication experience and see what that is like and see where their performance stacks up and what that feedback looks like. To me that’s a huge opportunity and experience those kids will be able to take with them moving forward for a long time and it will benefit the program where those kids attend as well. What is the collaboration and cooperation between the athletic and arts associations at the state levels? JW: When the pandemic started, we started having meetings every ten days as arts administrators. Now it has moved to once a month because we have a better understanding of how things are going. For the first few meetings, we would spend the first 45 minutes of an hour meeting just talking about what was going on in the states. Those conversations were invaluable because everyone shared their experiences and that became a great community building component for everyone. This allowed for a space for everyone to learn from everyone through that experience. When it comes to what happens in the athletic world, we have a week separation with the performing arts and athletic side as far as meetings. They mostly work autonomously from each other, but they do have impacts on each other as well. I am of the opinion, and maybe I’m the minority right now, but I think that TEMPO
whatever is good for athletics is good for performing arts, and what’s good for performing arts is also good for athletics. We have a lot to learn from all sides and I think that helps to strengthen some of the networking relationships that we have. BM: Yes, and I think that is the point. It opened up avenues back in the Fall where some of our large, independent athletic conferences were saying that marching bands couldn’t participate. I was immediately able to call Colleen (Maguire, COO of the NJ State Interscholastic Athletic Association/NJSIAA) and ask her if this is coming from the NJSIAA and she said absolutely not. So I was able to reach out to the individual conference and tell them it didn’t make any sense as to why they would exclude these students. Next thing you know our marching bands which were interested in participating were then allowed to participate. I think it’s the ability to have that level of communication when misinformation comes out that we get it straightened out. Now it is about finding where are the areas of collaboration and where are some things we can work together on and share information on. Where might we be able to enlist their support on something that is a priority of us. That’s somewhere where there is tremendous opportunity to see where the NJSIAA and ArtsEdNJ can collaborate together in certain areas. I think it is important to point out that NJSIAA has some leeway because they are addressing after school activities. Our work is both in school and after school. So, the after school activities areas we will certainly be providing leadership on. The in school areas which we also have been providing leadership on also falls under the purview of the Department of Education. Athletics does not necessarily fall under their purview where curricular arts instruction does. We have to play in both worlds now to make sure our in school is happening appropriately with the development of standards and even guidelines for in school activities particularly in this Covid environment, as well as the role we are playing in overseeing the after school activities which prior to now were off on their own, What we are trying to do now is provide leadership in that space so that the folks don’t feel like they are off on an island all by themselves. ArtsEdNJ is here to serve them the same way NJSIAA is there to serve athletics. JW: Having that communication between the two organizations, in my opinion, only helps both organizations. How will our members get more information about the benefits of the NFHS and Arts Ed NJ affiliation? BM: Certainly, we will get all the information out regarding the opportunities with NFHS to all our affiliated organizations and through our Steering Committee meetings and leadership organizations. All the statewide arts organizations have a seat on those leadership organizations. We will be able to share out the 30
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opportunities available through the association. By the time this issue is out we will have the information available on our site as well for all to be able to get more information about NFHS and our collaboration. JW: We communicate all through our state associations, which I think is a powerful way for the NFHS to operate. We will send information to Bob at Arts Ed NJ and he will disseminate it in ways that he knows will reach his members in the most effective way.
with NFHS and our friends over at NAfME where we will address teacher well being, student SEL, ‘zero to hero’ music, where music will be flexibly composed to grow along with your program, how to handle school equipment, rentals and inventory, how to reimagine classroom procedures, how to not lose students in breaks between 5th and 6th grades and 8th and 9th grades, how to restart programs at high schools. In Phase 3 we will get to the matters with going back to school. A return to music education which we believe will be all encompassing.
What are some other projects that NFHS is working on which will impact us here in NJ through Arts Ed NJ? JW: As you know the aerosol project which we have been working on since the beginning of the pandemic, we have been working with the states and 125 international coalition and I like to think that the work on that study has put music back in schools where it might not have been allowed. We are also now working on CO2 emission levels to see if we can correlate CO2 emission levels to aerosol emission levels and see what that means to ventilation components within a school. Also, can we use a pretty inexpensive CO2 monitor to measure the aerosol correlation levels. We are also looking at what does volume of space mean to time limits. We are also able to expand the amount of time we will be studying these items through the end of June. We are also going to be able to share the aerobic simulation component which will affect dance instruction. There is a lot of data that was gathered and now we are working on putting it together as it is quite complex as it deals not only with how much aerosol is being emitted but also how much is emitted while you move around the space. We are also working on the ‘Big Ideas’ Project which is the return to music education project. Phase 1 will be out my the middle of March and it will focus on scheduling, how to talk with your administrators about scheduling, how to talk with your school boards about budgeting, what to do with pull out lessons, how to communicate with counselors about scheduling, how to handle summer programs, campus performances, what do curricular travel opportunities look like, how do you reassess your students when they are back in class, how do you advocate for your music programs, ArtsEdNow campaign and CARES Act funding. Then we address what to do for recruiting and retention, how to set up a beginner program, how to do recruitment performances, should we have a four instrument beginner model, and that’s all Phase 1! It will be put on three formats, One format will be a mini webinar format with multiple webinar interviews which are 5-7 minutes in length, we will have infographics materials available for them to use in person or in school, and we will have the long form document for people to take a really deep dive. Phase 2 is going to be more collaborative
As reference above by Dr. Weaver, here is the Return to Music Resources page:
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https://www.nfhs.org/articles/return-to-music-resources-helping-teachers-administrators-students/ Dr. James Weaver is the Director of Performing Arts and Sports for the National Federation of High School State Associations. He has been a teacher and administrator at the district, state, and national level. As the Director of Performing Arts and Sports, Dr. Weaver oversees student participation, professional development, and awareness of performing arts activities throughout the nation’s 19,500+ high schools. Dr. Weaver has been a part of several national projects for performing arts educators including serving as the co-chair of the International Performing Arts Aerosol Study, creating copyright compliance resources, and developing national trainings for performing arts adjudicators. Dr. Weaver specializes in educational administration and leadership focusing on professional development and teacher job satisfaction and retention. Dr. Weaver has degrees from Concordia College - Moorhead, Northern State University, and the University of South Dakota Robert B. Morrison is Founder and CEO of Quadrant Research, the nation’s leading arts education research organization where he has created a deep body of research and policy work. Mr. Morrison is recognized as a pioneer in statewide arts education status and condition research. He serves as the managing partner for the groundbreaking New Jersey Arts Education Census Project, completing the first statewide census for arts education in every school building. Mr. Morrison is leading similar research projects as director of the National Arts Education Data Project for the states including of Arkansas, Arizona, California, Colorado, Delaware, District of Columbia, Florida, Georgia, Iowa, Michigan, Minnesota, Missouri, Nevada, New Hampshire, New Jersey, New York, North Carolina, Ohio, Oklahoma, Pennsylvania, Tennessee, Texas, and Wisconsin. These efforts have directly impacted millions of students. Mr. Morrison also serves as the director of Arts Ed NJ, the statewide arts education advocacy organization responsible for the advancement of arts education for all New Jersey students. Mr. Morrison is also the founder of Music for All where he remains chairman emeritus. He was the first CEO of the VH1 Save The Music Foundation, where he developed the model and scaled the program to impact thousands of schools and hundreds of thousands of students. He served as the Director of Market Development for the NAMM, where he helped create the Mr. Holland’s Opus Foundation and was recognized for his work add the arts as a core subject to the nation’s education goals.
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Technology and Music Education for the Deaf - A Retired Teacher Looks Back Maureen Butler NJMEA Special Learners Chair maureenbutlermusic@gmail.com
At the time I’m writing this, a new school year is halfway over, and for the first time in 25 years I have not been actively teaching. I retired in June of 2020, and as I look back, I think about how much has changed in those years in the fields of technology, education, and hearing loss. As it has improved so many areas of our lives, technology has transformed vital communication for the deaf and hard of hearing population - access to sound through improved hearing aids and cochlear implants, access to media through subtitles and captions, and improved access to family and friends and the world at large through the internet and video and text. That’s before we even needed to consider virtual learning as a viable format for instruction in our schools. Technology (regrettably, not available for all yet) has helped us continue to provide music education during a time of global pandemic. Today, you may have deaf or hard of hearing students in your music classes who have benefited from this technological growth. Indeed, twenty-five years ago, many of them would not have been included in your music class because of the limitations of technology. When I first began teaching at the Lake Drive School for Deaf and Hard of Hearing Students in Mountain Lakes in 1995, our large student body came from all over northern New Jersey. Students and staff utilized sign language, most students wore analog hearing aids, and a mere handful wore cochlear implants. Today, many families choose to send their children, aided by cochlear implants or digital hearing aids, to their own school districts. Much has changed in the span of twenty-five years, including an increased focus on an auditory/oral approach that capitalizes on improved access to sound. Let’s take a look at the some of these improvements and see how we can better include students with hearing loss in our music classes in hybrid, virtual, or in-person settings. TEMPO
Hearing aids and cochlear implants The newest digital hearing aids have come a long way from analog hearing aids that amplified all sounds equally. The latest models use directional microphones to recognize the location of the primary signal, as well as timing differences to distinguish primary sound from background noise. Additionally, better technology analyzes sound to determine which sounds to filter out. In my work with hearing-aid users, I’ve noticed significant difference in what they are now able to hear, distinguish, and appreciate in the music room. For example, students seem to be better able to perceive differences in pitch and in melodic direction, although much depends on the severity of the hearing loss and other factors that may impact their perception and interpretation of sound. Getting to know your students with hearing loss will help you understand what skills are available to them, and how to modify your expectations of their abilities. The development of the cochlear implant has had a huge impact on deaf education. These devices consist of internal and external components, and, like hearing aids, have become increasingly smaller and sophisticated. You may have noticed some of your students wearing a speech processor behind or above the ear, which receives sound and converts it to FM radio signals. These signals are transmitted to the implant embedded under the skin, and then travel to an electrode array that has been inserted in the cochlea. The auditory nerve fibers are stimulated and send the sound information to the brain. Results are seen after dedicated time and practice, as the brain begins to make sense of the auditory input it receives. In 1995, the criteria for children to have this surgical procedure was quite restrictive and precluded the availability of it for most children. Today a large percentage of children with 32
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What is Social Emotional Learning? Why is it important for students? How does music education make a difference? Now more than ever, music education is critical for all students. One significant impact is how it helps students with social emotional learning. This brochure includes key talking points for music education advocates to use as they communicate with decision-makers about the place of music education in any school setting. It answers: •
How are music educators well-suited to help students develop socially and emotionally?
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What does research tell us?
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How can public policy support music education and Social Emotional Learning?
Download your brochure at bit.ly/MusicEduSEL Questions? Email advocacy@nafme.org
nafme.org MAY 2021
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a hearing loss are candidates for the procedure, and many parents choose this option. The strides that children make who are surgically implanted with these devices are impressive, and as the technology improved, I saw better and better results in terms of what they were able to appreciate and achieve in music class. I believe that the wide variety of sound sources typically found in our music rooms helps their brains learn and process input. It is important to note, however, that this device was designed for speech perception, and not music. Although advances continue to be made, your students may not have access to the wide range of frequencies that comprise music. They may be limited in their ability to distinguish melodies and timbres of different instruments, and to match pitch. However, this amazing technology has helped to make music accessible and enjoyable for students with hearing loss, and many have had successful experiences playing instruments, singing, and listening to music. Media in music class We have become so accustomed to the plethora of resources available to us that it’s hard to imagine a time when we didn’t have them. Yet twenty-five years ago the music room looked quite different. To help students with a hearing loss understand the world of music, I relied a great deal on movement activities, including scarves, ribbon sticks, and dances. Their understanding of tempo, dynamics and genres was based on how we moved, rather than on what they heard. When I taught about instruments of the orchestra, I relied on photographs and recordings (think vinyls and cassette tapes!). When the internet finally arrived, there were music sites with pictures of instruments and short audio clips of dubious quality. When I showed videos, there were no subtitles or captions, so I stood in front and interpreted the content into sign language. Last spring, when virtual school replaced in-person learning, there was an array of online resources to choose from, including music sites with games, lessons, interactive activities, and worksheets as well as video clips of musical instruments, orchestras, bands, and musicians. I found that although some would not be understood by my students who relied on sign language, I found a lot that worked for many of them. I also used Loom to TEMPO
record myself signing lessons and activities. Since I had access to two laptops, I was able to record lessons demonstrating how to use activities on other websites. One laptop was open to a web-based activity, and the other recorded myself demonstrating and using sign language to explain the activity. If you are looking for activities for your students with hearing loss, remember that they rely on lipreading and facial expression, so choose videos that make it easy to do so. If you are teaching virtually and using a screen share mode to explain how to do an activity, make sure you are in the video or find an alternate way to communicate your voiced instructions - with written instructions, or through a one-on-one meeting. Videos of animated characters will be impossible to lipread, although depending on your students’ reading level, subtitles may help. Moreover, although most videos are subtitled, there are still some that aren’t, so be sure to use only captioned media. It may help to analyze your activities by asking yourself these questions: “Would I be able to understand this with limited or no sound?” “Will this be a successful and meaningful activity for all my students?” Two examples of sites that worked well with my students with a hearing loss are Chrome Music Lab and Incredibox. Both of these sites enable children to experiment with sounds by manipulating visual elements. Students can manipulate sounds and experiment with rhythm, pitch, beat, and voices, and the visual representations help them to understand musical elements as they manipulate them. My work with deaf and hard of hearing students was both challenging and rewarding, and I was thrilled to incorporate newer technology when it arose. Whatever you choose to utilize, I hope that your work with these children will be as rewarding for you, as you find new ways to develop and enhance their understanding of music.
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Free Curriculum Units for the Music Responding Standards Created through the Teaching with Primary Sources program of the Library of Congress Focused on helping educators connect to the Library of Congress’s digitized archives, and helping teachers learn how to incorporate primary sources into the classroom, NAfME has created curriculum units connected to the Library’s vast resources in music, including audio, video, still images, and sheet music files. •
Band: middle and high school
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Orchestra: middle and high school
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Chorus: middle and high school
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Music Theory and Composition: high school
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General Music: K, 2, 5, and 8
The Band, Orchestra, and Chorus units are arranged by each level in the Performing Ensembles standards—Novice, Intermediate, Proficient, Accomplished, Advanced. The Music Theory/Composition units are arranged by each level in their standards—Proficient, Accomplished, and Advanced. The General Music units are available at the Kindergarten, 2nd, 5th, and 8th grade levels. Orchestra
ing Unit,
Respond
d Level
Advance
Download the newest curriculum units at bit.ly/LOCcurriculum.
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ory Resp
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Level
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of (NAfME n/The lum ProjectEducation States A Curricu for Music the United tion ss of s l Associa of Congre y Source the Nationa Library Primar g with and the Teachin
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A Curriculum Project of the National Association for Music Education (NAfME) and the Library of Congress of the United States Teaching with Primary Sources
Project of (NAfME) A Curriculum Education for Music States (LOC) Association of the United the National of Congress and the Library Primary Sources Teaching with
A Curriculum Project of the National Association for Music Education (NAfME) and the Library of Congress of the United States Teaching with Primary Sources
nafme.org | 1-800-336-3768 MAY 2021
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Grant Hunting for Music Teachers: Tips for a Successful Search Polina Mann St. Rita School, Hamden, CT pmann.stritaschool@gmail.com
Have you ever wanted to get more instruments or supplies for your classroom but not sure how and don’t have a budget? Maybe you have thought about applying for a grant but not sure where to look or how to apply for one? As teachers of a special area, we are often overlooked for funding, leaving us with few resources for our students. As someone who began her grant hunting journey last year and managed to win several grants, I would like to tell you that the grant opportunities are out there. With a little digging and diligence you can find something, and apply for a grant in almost any teaching situation. Here are some tips if you are interested in finding, applying and receiving grant money for your classroom: 1. Do Your Research-I would start with a general search for grants such as just “grants for teachers”, “grants for music teachers”, and/or do a grant search in your state and see what the search engine gives you. Oftentimes there is a long list of grants per click and I would advise you to go through as much of that as you can to see if you come across anything your school can qualify for. 2. Check, Check, Check-Once you find a grant of interest, check to see if the grant is still available as there are many websites still left over from years past for grants that no longer exist. If it is active, check the deadline as well as who can apply-public school teachers, private school teachers, teachers who work for a non-profit, etc. 3. What Do You Need?-Check the application requirements as well as what you need to apply-an essay, a lesson plan, a video, a picture, etc. If you are part of TEMPO
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4.
5.
6.
7.
a non-profit tax exempt organization, please ask your business office for the tax ID and tax exempt form so that you can submit this with your application. I would ask for other paperwork as necessary with this application such as proof of tax exempt status, proof of Title 1 funding, etc. Know What You Want-research the items, prices, SKU numbers, vendor, etc. that you will need for your grant. Some grants may ask for only the items and the vendor but some get very specific. Knowing what items you want, how many, who they will benefit and how. The more specific the plan, the more you can advocate for your grant! Know Your Situation-this may sound obvious but this isn’t always the case. For example, a Catholic school is considered to be a private school which is also parochial school. A charter school is considered to be a public school but operates independently of the public school system and usually has non-profit status. Knowing what type of school you are in as well as what status it has with the IRS can often qualify or disqualify you for a grant. Another important thing to check is Title 1 funding. While often given to public schools, charter schools and Catholic schools can also apply for this. If a school receives such funding, it qualifies as a Title 1 school which can also make it eligible for certain grants. Proofread and Spellcheck-This one goes without saying. Make sure to proofread your work and run it by a friend or colleague before sending it in. Having an extra set of eyes look at this also doesn’t hurt. Hold on to the Memories-Grant committees like to see your passion for the classroom. Try to think of a time that you made a difference in the classroom, students were successful in their lesson, you connected MAY 2021
with a student/parent, etc. Use this experience to talk about the learning that happens in your classroom. 8. Don’t Forget a Title!-Many organizations love a creative, catchy title since they read so many applications. If the application asks for a title, make sure you spend some time crafting something original so that your request stands out. 9. Keep a Record-Keep a list of all grants you have applied for so that even if you do not win anything this year, you can always reapply. Also, print out the applications you send in, mark them with the application date, and keep everything in a big folder. Trust me it will come in handy when you receive a congratulatory email and know which grant it is that you won. 10. Thank You and Follow Up-I always send a personalized thank you note to each sponsor who gave my school a grant. Some grants ask for a write up of how
the funds were used which is also important to provide. Where possible, send pictures of your students using the equipment/software that you purchased to let the donors see their dollars at work first hand. 11. Keep an Open Mind-If the grant does not benefit your school music program, can it benefit someone else or some other endeavor you are a part of? Perhaps an after school program, a summer camp, a youth program at your church? Never hurts to think outside the box! I hope that this was helpful for you. For information on various grants, you can find my Instagram handle: grantsformusicteachers. I post a new grant opportunity every week so make sure to check often so that you do not miss potential new opportunities! Good luck!
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Integrating Social-Emotional Learning into Music (Part 2) Shawna Longo Durban Avenue School, Hopatcong Borough Schools shawnalongo@gmail.com
In Part 1 of this article, I laid a foundation of what social-emotional learning is and how it authentically connects to music. Remember – SEL is the process through which children and adults understand and manage emotions, set and achieve positive goals, feel and show empathy for others, establish and maintain positive relationships, and make responsible decisions. In a school setting, SEL is an educational process through which skills for life effectiveness are intentionally taught and modeled in a safe, supportive, and culturally responsive environment. The five core competencies are: • Self-Awareness • Self-Management • Social Awareness • Relationship Skills • Responsible Decision Making According to CASEL, these five goals can be combined to create three areas of focus: SELF, OTHERS, and DECISIONS. There are two competencies that fall under the SELF-category: Self-Awareness and Self-Management. Social Awareness and Relationship Skills fall under the OTHERS-category. And, Responsible Decision Making comprises the DECISIONS category. Thinking more broadly with the three areas of focus (self, others, and decisions) can help you focus on when, how and where you will embed SEL into your classes. It can also help the students gain a firmer grasp on the five core competencies by shining light on who or what is affected. When we intentionally embed SEL within our music classes everyone benefits. It should be a sustained practice - not just a box to check on a lesson plan. Below you will find a number of questions that musicians ask organized by the five SEL core competencies. You will note that some questions may fall under more than one competency. A muTEMPO
sician, composer, conductor, or others could ask these questions in the field of music. They can serve as a great place to start if you aren’t sure where to begin bringing SEL intentionally within your classroom. Self-Awareness - Musicians Ask… • What do I need to do next? • Is this coming out the way I planned? Is that okay? • Does my work relay what I intend? • What do I need to change? • Is this how I want this to look/sound/feel? • How can I fix this? • How much more should I do? • How do I feel right now with my progress thus far? • What is influencing my choices? • Why is this work important/unimportant to me? • What are my talents in this? My limitations? • How does this work help me to understand myself better? • What can this work teach me about my thinking and myself? Self-Management - Musicians Ask… • How far have I come? How far do I need to go? • What do I need to work on next? • When can I practice and for how long? • What is the purpose of this work? • What do I want to accomplish or understand? • What tools, media or people do I need access to? • What limitations or roadblocks might I face? Social-Awareness - Musicians Ask… • How do others experience the arts? • What do I think about another person’s work? • How do others create? • How do I interpret this? How does this compare to the 38
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artist’s purpose? • How do others interpret my creation? • How can I connect my work to others’ work? • How is music used to communicate to others? • Why does the composer/musician choose to convey this message? • What cultural, ethical, or social influences are present in this work? Relationship Skills - Musicians Ask… • Who influences my choice making? • How do others create or compose? • How can we use music to communicate? • How can I critique others’ music? • How can I use others’ critiques about my music? • What is this musician/composer’s perspective? • How can I show my perspective? Responsible Decision Making - Musicians Ask… • What tools, people, and/or resources do I have to help me with this work? • How can I solve this problem? • How can I work with what I have? • How can I use this work to help others? • How does this work help me understand more about myself, other people, and the world around me? • How can I critique this work? • How can I modify this work? • How can I utilize other’s critiques about this work? The questions above can be used with students across all grade levels (K-12 and beyond!). The earlier we start bringing questions like these into students SEL and musical vocabulary, the better we can prepare them to lead successful lives beyond our school walls. Here are a few examples of how they can be used in your classroom using teaching strategies that are probably already occurring on a regular basis: • “Do-now” • Music Journal • Practice Journal • Writing Prompt • Reflection – before, during, or after rehearsal, the creative process, or a performance • Exit Ticket • And many more!!
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I hope that these questions help you begin or expand your journey with SEL in Music. I encourage you to visit the SEL Arts website (www.selarts.org) as it contains a wealth of information that is growing daily! And remember, all NJ Visual & Performing Arts curriculums need to be revised to include the newly adopted standards AND the SEL Framework by September 2021. The SEL-focused questions presented above can also assist you in these curriculum revisions. Resources: www.selarts.org CASEL - www.casel.org SEL4NJ - https://sel4nj.org/ The Inspired Classroom – www.teachseal.com 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 **** 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 39 TEMPO
Tips for Fostering Diversity in Your Music Program Isaiah C. Mason, M.M. North Brunswick Township School District imason@nbtschools.org
In this modern push for equity and inclusion, many teachers are reflecting on how they can make their music programs more diverse and accessible. While a graduate student at Temple University, I completed a study where I asked New Jersey band directors what they believe are the factors that lead to, or prevent, diversity in music programs. As teachers work to have their programs reflect the racial demographic of our schools and communities, they can consider the findings of this study and how they can be applied to the music classroom. I reviewed the responses of the study and selected common themes that I hope can be taken back to your schools. Make your Program Culturally Relevant No one can argue that to be an effective teacher, content knowledge and pedagogical prowess must be present. American universities work to make sure their teachers are knowledgeable in the content of the western classical canon while simultaneously teaching pedagogical skills that are meant to teach music from the same canon. Naturally, many teachers are comfortable teaching this style of music and are not experienced in finding music that fits the desires, interests, and cultures of their diverse student body. Students are attracted to activities where they feel welcomed and the music that we choose is a factor in how welcomed they potentially feel. With the ever changing needs of our students, it is our job to evolve with them. For music educators, that may look like creating an ensemble outside of your traditional, classical ensemble, like a vocal jazz ensemble, a pops orchestra, or a latin-cuban ensemble. It may also look like choosing literature that accurately portrays the styles of music that are relevant to your students’ cultures and inTEMPO
terests. Allowing your program to be culturally relevant can encourage participation of students from all cultures. Create a Schedule that Best Serves the Students Often, teachers have input in their schedule but do not have direct say over when their ensembles and lessons meet. However, it is still important to advocate for a schedule that works for your program and students. When students miss rehearsals they fall behind, become discouraged, and could eventually quit. That student is now a loss to the music program potentially for the rest of their time in school. Unless transportation is guaranteed, try to avoid having rehearsals before or after school. Some families cannot provide transportation and do not join the music program as a result. If it is unavoidable, advocate for extra bussing. For classes during the day, try to avoid scheduling your classes during reading, math, and Advanced Placement (AP) courses. These classes are often prioritized by administration and teachers are less likely to support the students missing class. Minority students are more likely to require special education services and often have scheduling issues as a result. Creating separate lesson blocks where most students, who receive special services, are available will encourage even more student participation. Fixing some of these scheduling issues may allow for students to participate in your music program guilt free. Make sure your Band Represents the Students Representation is key in encouraging student participation regardless of the activity. When students can imagine themselves succeeding in your ensemble, they 40
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are more likely to join. First, having staff members that reflect the student body is crucial. It was found that students choose teachers of the same race as their role models at a higher rate than teachers of a different race. When hiring teachers, keep in mind that it is easier for students to relate to people who look like them. That being said, staffing is almost always out of the teachers’ control and does not help teachers who are already in the classroom. You can still relate to your minority students without being a minority teacher. You can represent your students by allowing your program to reflect their cultural interest and background. Making your program culturally relevant may mean arranging music by a certain artist or as simple as letting students discuss their musical interest with the class and listening to videos. This does not always mean performing spirituals for the sake of representation, but it does mean teaching accurate history and context while making sure to elevate every style of music to the same level of importance. There are already preconceived notions, with certain cultures, about the importance of music education in schools. Many cultures have music built into its fabric but maintain the separation between music and education. Having a parent meeting gives you a chance to exhibit how your program can be relevant academically and artistically while gaining parental support. Recruit with Every Student in Mind Recruitment season is often the most enjoyable for the students and staff. They get to see performances from older students in their district, watch videos about the success of the music programs, or get out of class for instrument demonstrations. Imagine being in these exciting situations and feeling excluded because you cannot relate to any of the demonstrations. In many cases, directors do not recruit with underrepresented groups in mind. Diversifying your recruitment strategies can lead to a more diverse band without having to do too much extra work. For example, you could send home letters and email parents in multiple languages. When having your ensemble perform, in the effort to recruit, avoid your classical ensembles and bring your ensembles that your students can relate to or choose culturally relevant repertoire during recruitment assemblies. When showing videos of professionals playing certain instruments or singing certain songs, make sure to show varying MAY 2021
genres with minority performers. As more minority students join your program, others will follow because they see students who look like them and can now envision themselves in this activity.. When recruiting is over, take the same tools and embed them into the fabric of your program. No one likes false advertisements! Provide Resources when Possible If you are a teacher, you understand how to make your budget stretch - if you have a budget at all. Minority students are often the students not able to afford extra-curricular activities. Unfortunately, instrumental music programs are the only activities that have a continuous price tag attached. Instruments are expensive and many families do not see the justification for making this investment especially when they do not understand the importance of music based activities. In a perfect world, you will be able to set up a meeting with your principal, ask for instruments, and have them shipped to your school in a week. Realistically, you may have to be your own saving grace. I have often been overwhelmed when thinking about expanding my inventory because I had a waiting list of 20 students and not enough money to buy 20 instruments. I spent time fighting the building administration or district administration to purchase the instruments on my students’ behalf because I felt “the money should not come out of my budget.” That line of thinking did not have the effect imagined. Even if you can only buy two instruments every year with the budget I have, that means two students have the opportunity to participate in your ensemble. Over time, you will have enough inventory to provide instruments for one of your grade levels in its entirety. In the meantime, reach out to your community for instrument donations. Reach out to colleagues in other districts to see if they have unused instruments lying around they are willing to part with. Reach out to colleges and ask if they can spare a few of their secondary instruments. Every instrument counts because it directly leads to another student participating. Every program is different and every program has its own limitations. As you read these tips, remember there is more than one way to skin a cat. These thoughts are either new information or served as reminders for concepts you already know. Either way, we are all in this fight to make music education more accessible for all of 41 TEMPO
our students. We must all work together to make music education equitable. These tips can be the building blocks. References Bond, V., & Russell, J. (2019). Music teacher educator perceptions of and engagement with culturally responsive education. Bulletin of the Council for Research in Music Education, (221), 7-28. https://www.jstor.org/ stable/10.5406/bulcouresmusedu.221.0007
Hamann, D., & Walker, L. (1993). Music teachers as role models for African-American students. Journal of Research in Music Education, 41(4), 303-314. http:// www.jstor.org/stable/3345506 Mason, I. C. (2020). Recruitment and minority participation in Middlesex County, NJ 4-12 band programs. ProQuest Dissertations & Theses Global. (2486195586). http://libproxy.temple.edu/login?url=https://wwwproquest-com.libproxy.temple.edu/dissertations-theses/recruitment-minority-participation-middlesex/ docview/2486195586/se-2?accountid=14270
Dever, B., Raines, T., Dowdy, E., & Hostutler, E. (2016). Addressing disproportionality in special education using a universal screening approach. The Journal of Negro Education, 85(1), 59-71. doi:10.7709/jnegroeducation.85.1.0059
Fall 1962 "The Instrumentalist has found it necessary to reprove some of its advertisers. It finds itself embarrassed when some of it, the Twist, shindig, and the Beatles own advertisements show what its readers consider poor musical technique or conduct. It urges its advertisers to be particularly careful about embouchures, hand positions, and proper method of carrying an instrument."
Winter 1970 An off-the-cuff comment by Dr. Wiley Housewright, suggesting that President Nixon sponsor a rock festival at the White House as a means of closing the generation gap, became the lead for an Associated Press column used by major dailies throughout the United States. Other papers stressed Dr, Housewright’s view of “music as a humanizing force that can unite us in a divided age,” and his statement that “art is nonexclusive” and can embrace all kinds of music from Bach to Beethoven to rock.
MAY 1975 From an article entitled “The General Music Disaster in America”: Recent investigations show that a basic weakness in the general music situation boils down to the lack of stimulating teachers who can make the general music experience interesting as well as meaningful for young people, and especially for those at the middle school level. Here is where music education must focus its thrush in order to prevent the perpetuation of illiterate citizenry in music. We must face up to the prospect that the general music class may be abolished in the next decade or two if we do not.
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January 1989 “The CZ-101 and CZ-1000 are ‘multi-timbral’ synthesizers. This means that when used with MIDI they can play up to four different timbres at the same time.” November 1989 “After turning on the computer and inserting the correct disks, the user merely points to an ‘icon’ or picture of an application and presses a button on the ‘mouse,’ a cute little device that fits under the hand and rolls around on the desk.” May 1990 “Question: How would you compare charting on paper to using the computer?” “Answer: It is much faster to chart on paper but the computer is more accurate and allows for more creativity. However, the computer itself does not create.” January 1993 “If you have a Mac ‘Powerbook’ 145 (or greater) laptop you can plug a standard Mac MIDI interface into the serial/modem port just like a desk-top Mac.”
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The Practice Plan Dr. Joseph Montelione Florida Tech University montemusic@gmail.com
The final stage of effective, efficient practicing is to work with the student to develop a practice plan. The plan should consist of setting goals, scheduling daily time for practice, listening to music, developing questions to ask the instructor, working out fundamentals and playing through repertoire.
Discovery (examples of areas that could still need to be figured out) Range Endurance Triple Tonguing Multiphonics
1. You’ll Have the Time To Practice When You Make The Time To Practice: It is important that educators encourage students to schedule a regular time to practice. It doesn’t have to be for a long period of time. I tell my students to strive for shorter more frequent daily practice every day. Practicing 20 minutes every day is so much more efficient and effective than practicing an hour a day every couple of days. Practicing 20 minutes every day as opposed to an hour every couple of days is more efficient and effective because 1.) our mind and attention span can only last a certain amount of time before it starts to wander—better focus will yield better results and it’s a lot easier focusing for 20 minutes than it is for 60 minutes. 2.) doing it daily helps develop the muscle memory needed to more easily execute musical ideas.
Conditioning (examples of areas from discovery but still need to develop new habits) Double Tonguing Articulating Soft Short Low Notes Single Tonguing Major Scales
2. Categorize Practicing: The four main stages of practicing are Discovery, Conditioning, Reinforcement and Repertoire. I encourage my students not to move to the next stage without properly mastering the previous stage. Some bad examples are practicing repertoire that is beyond a student’s technique, reinforcing concepts not yet mastered, being able to play a new concept once and thinking you have it without conditioning your body and mind to create a new habit. I tell my students to place aspects of their technique into each stage so their mind can be better focused. For example:
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Reinforcement (examples of areas that are conditioned but still need to be reinforced) Single Tonguing Major Scales 3. Make It Easy: Remember that the conscious mind can only focus on one thing at a time. For each one of the areas that need to improve, I encourage my students to set small attainable goals. Setting small attainable goals yields faster results. Concentrate on that goal and do not allow any sort distraction to turn into frustration. If students find themselves becoming distracted, I encourage them to take a break and come back to it later. Taking a five-minute break and coming back to it is much more effect than putting the instrument back in the case. 4. Listen and Question: One of the most important if not the most important aspect of practicing, and most often overlooked aspect, is to listen to music. Listening to music does not mean, playing music while doing homework, or in the car or while engaging in any other activ44
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ity. Listening to music involves time spent focused solely on absorbing the sound without any other distraction. It is vital that practicing musicians listen to music to be inspired by the professional sound so they can develop their own sounds. Plus, the reason why listening to music is the most important aspect of practicing is because students must know what they want to sound like and the only way for them to know is to be inspired by the sound of a professional musician. In addition, as students are listening, I encourage them to develop questions to ask. Questions such as how the musician performing on the recording executes a particular area of interest, i.e. sound, articulation, musical shape, etc. Students need to understand that asking questions will help tailor their lessons to what will be most effective in the practice room.
Then, after the ten minutes have past, the student can either move on to another completely different section or go back to the first section worked on in the first ten minutes. The idea is to not repeat the same section back to back, thus building small chunks of passages into larger sections of the piece over the course of 60 minutes.
5. Repertoire (Any piece of music that needs to be learned i.e. Band Piece A or Orchestra Piece B). For Repertoire, I strive to assign music that is within or just slightly above what students are capable of handling. It is possible to engage in Discovery, Conditioning and Reinforcement while working on a piece of music. For example, the first 8 measures in Band Piece A is within a student’s technical grasp but that particular combination of notes and rhythms need attention. So, a student would begin to discover the patterns of the rhythm as well as the intervallic association between notes and coordinate the muscles needed to condition your body to play them the correct way. Then they would reinforce that phase again and again until it can’t go wrong.
• Ask Questions: The more detailed and specific the question, the more detailed and specific the answer.
I always introduce a new student to the “ten-minute rule.” In the first ten minutes, practice a small section, and only that section for ten minutes. Then when ten minutes has passed, no matter the outcome of that section, move on to work on another section of the piece.
Final Thoughts • Know the different types of practicing: Discover, Condition, Reinforce, Repertoire • Set Goals: The conscious mind can only concentrate on one thing at a time. Pick attainable goals that can be achieved in a practice session.
• Daily Practice: Remember to listen and be inspired by the ideal sound of a professional, workout fundamentals and then practice your repertoire, incorporating small amounts of consistent daily practice. Shorter, more frequent daily practice is better than longer weekly practice sessions and will help in efforts to becoming a life-long music performer-advocate. **** 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.
May 1986 “While we must accept the reality of marching band as a part of our programs, we do not have to make it a major obstacle to musicianship.”
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2022 GuitarFest NJMEA Honors Guitar Ensemble Audition Information The NJMEA Honors Guitar Ensemble Audition will take place in person on Saturday, December 11th, 2021 from 9:00am - 1:00 pm at The College of New Jersey in Ewing, NJ (Music Building). Those accepted as Honors Guitar Ensemble members (see dates on website: www.njmea.org) must attend all rehearsals and prepare music with our conductor for the 2022 GuitarFest at William Paterson University. Concert dress is semi-formal. The non-refundable Audition Fee is $20.00 per student. Each participating student must fill out an application and, if accepted, must pay the $50 acceptance fee. Applications can be found on the NJMEA website and will be due by November 30, 2021. More info, e-mail only - jmartinez@nps.k12.nj.us. All students must perform on a nylon string classical guitar (no steel string acoustic or electric guitars) Audition Requirements for students in grades 9-12 • Solo Piece: El Abejorro by E. Pujol- which can be found in this issue and at www.njmea.org • Ensemble Excerpt found on NJMEA.org Website (Guitars in Classroom portal) • Scale Requirement: Choose two (2) out of the four following scales: F-sharp melodic minor, E major, C-sharp melodic minor, E major, edited by Abel Carlevaro. These scales can be found in this issue and at www.njmea.org Students will be judged on a point system for correct notes and rhythms, tone quality, musicality: dynamics, phrasing, interpretation and overall quality of preparation for prepared piece, ensemble excerpt, scale and sight reading.
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El Abejorro Etude Vivace
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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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the region. Thank you for listening; we all needed to speak to someone that truly understood our frustration and sadness and remained optimistic as you did so. Thank you for continuing to be professional and caring individuals; it is evident that we truly care about what and who we teach. We are grateful that you are willing to share your time and talent with many of us across the region. As we are hoping to return to a more normal school year in 2021-2022 we will be looking for host schools for our rehearsals and concerts. Please reach out to us if you are able to host! Austin Vallies and Deana Larsen, Chorus Division Co-Chairs, chorus@njsma.com
Band Division The NJSMA Band Division has held successful student and teacher sessions throughout this past school year via Zoom. We would like to thank the following individuals for sharing their talents with our Region:
NJSMA
North Jersey School Music Association www.njsma.com What a year it has been! Despite the many challenges, we have found creative ways to persevere and continue to provide meaningful music education for our students. I am incredibly proud of the many dedicated music educators of North Jersey! We are all hoping to have fewer limitations and, therefore, a return to some sense of normalcy next year. We are also closely monitoring the changing guidelines and planning for a variety of scenarios for next year. Each year, NJSMA holds a General Membership Meeting in the spring. This year’s meeting will be held virtually via Zoom on the evening of Monday, June 7th. You will have the opportunity to vote for the NJSMA positions of PresidentElect and Recording Secretary at this meeting. More specific information will be shared via email and on our NJSMA website closer to the date. I hope to see you there! Be well and best wishes for a smooth end to your school year as well as a rejuvenating summer! Diana L. May President, NJSMA Chorus Division We are grateful that many of us are vaccinated and starting to get back to normal. We truly hope that we can all close the book on this school year and return to normal in September of 2021. This pandemic has negatively affected many of our precious ensembles and classes yet we all found a way to persevere. Be sure to treat yourself well and give yourselves a heartfelt pat on the back. Thank you for sharing ideas and activities that worked for you with other music teachers in TEMPO
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Chris Bernotas, Alfred Publishing Matthew Paterno, Wayne Hills High School Dr. Shelley Axelson, Montclair State University Oscar Perez, Montclair State University Dr. Thomas McCauley, Montclair State University
As we get closer to hopefully a more normal year, 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 everyone as we work towards a better 2021-2022 school year! Lewis C. Kelly, Lyn Lowndes, and Jennifer Wise, Band Division Co-Chairs, band@njsma.com
Orchestra Division We would like to thank all of the North Jersey Orchestra Directors who participated in our virtual events this year! We have enjoyed the opportunity to share ideas and build community with our colleagues through various “Virtual Happy Hour” events. Our professional development sessions presented in January and February were well-attended and informative. Both clinicians, Brian Worsdale and Dr. Stephen Benham, enjoyed the opportunity to collaborate with the directors in our region. We look forward to developing new opportunities for the orchestra students in our region as it becomes safe to meet inperson again! Jordan Peters and Caitlin Shroyer, Orchestra Division Co-Chairs, orchestra@njsma.com MAY 2021
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 for members who are teaching in urban and rural schools. We look forward to organizing more opportunities for your and your students in the future! Plans include support for students who qualify for free or reduced lunch to access region audition music; regional showcases that incorporate guitar, music technology, and non-traditional ensembles; and more. Thanks to all who joined our Urban/Rural Music Ed Happy Hours this winter and spring! Best wishes for the rest of the school year and a safe and healthy summer. Katy Brodhead Cullen, Diversity & Inclusion Liaison, diversity@njsma.com
Elementary General Music Division Elementary music educators from all regions of New Jersey attended NJSMA Elementary’s three SOS!* Saturday Online Sharing Winter Workshops. (*Sharing Our Successes/ Struggles; Swapping Online Strategies, Socializing On Screen, and more). The workshops were a tremendous success and extremely well-received by all participants. 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 routines and more! The focus of our March SOS! workshop was “Adapting and Modifying Singing Games during a Pandemic.” Presenters shared successful alternatives and adaptations of favorite singing games to be used for in-person teaching, virtual and/or asynchronous situations. Plans for future SOS! Workshops are underway. We will continue with the Zoom format until it is safe to gather in person again as a musical community. Please check our website page (http://njsma.com/elementary/elementary home.html) or the NJMEA facebook page for workshop dates, information and registration links 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
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CJMEA
Central Jersey Music Educators Association www.cjmea.org We hope you all are still holding steady as we bring this school year to a close. We all know that this is not the kind of year that any of us could have ever imagined, but I hope you were able to see glimmers of joy and silver linings to sustain you in the darkest moments. We had our final round of professional development series since the last issues. We want to thank Chris Vitale for hosting "An Integrated Approach to Concert Ensemble Fundamentals" with Robert Selaiden from Leander High School. We want to also thank Grace Lee for hosting An Orchestra Workshop with Brian Balmages for an orchestra PD and Yale Snyder for hosting “A Total Percussion Workshop for Elementary Band Directors” with Gary Mallison. 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. This is my final Round the Region report as CJMEA President and I want to end this report by thanking all of the fantastic music educators in the CJMEA community. Your love for your craft and your students have motivated and propelled you to do the impossible this year. I could have never imagined being CJMEA President during a pandemic. And while this is not anywhere near the type of year I had in mind, I am so grateful for the chance to be apart of this community while we reimagined what CJMEA can be. Thank you to this amazing CJMEA Board for your hard world and diligence. You have proven that you cannot only 53 TEMPO
organize stellar concerts, but you can also put on world-class professional development sessions! You will be in great hands with our President-Elect Yale Snyder leading the way. We are excited to share some of our new developments for next year, so stay tuned! Also, please check our website periodically for updates concerning next year’s events. Have a wonderful summer and we’ll see you in September.
We are also in the process of auditioning promising Seniors interested in pursuing music and/or music education in college for one of our annual scholarships. The scholarships are $3000 each and we will be announcing the winners during the live stream concert in May. Hope Knight President, SJCDA
Wayne Mallette President, CJMEA
SJBODA
South Jersey Band and Orchestra Directors Association www.sjboda.org
SJCDA
South Jersey Choral Directors Association www.sjcda.net SJCDA (Region 3) hosted a virtual choir experience for more than 450 students in grades 4-12 in February. Students attended three one hour zoom sectionals run by various participating choral teachers throughout the South Jersey region. Each of the choirs (Elementary, Junior High, and Senior High) worked on their own piece. In addition to the typical combined number the Junior and Senior High choirs offer every year, a full combined number for all three choirs was also prepared. The rehearsals were lively and well attended. It was quite a joy to see so many of my colleagues offering a few hours on one or more Saturdays to help see our honor choir project come to fruition. The recordings from each of the students were submitted and approved by their teachers and the concert performance is being put together by our South Jersey colleague and fellow teacher at Egg Harbor Twp. High School, Richard Tinsely. The concert will consist of five choral performances and will be live streamed early in May. More information on the date, time, and location will be available on our website www. sjcda.net soon.
Congratulations to Soncera Ball (Point Pleasant Borough HS) who received the 2021 SJBODA Cheryl Rothkopf Memorial Orchestra Scholarship and Arianna Reischer (Eastern Regional HS) who was the recipient of the Band Scholarship. The Orchestra Scholarship Committee members were Jiannan Chang (Rowan University), Carrington Thompson (Haddonfield Public Schools), and Manny Martinez (Cedar Creek HS). The Band Scholarship Committee was comprised of Joe Brausam (Mill Pond ES), Ron DiDonato (Memorial MS, Retired), and Adam Jarvela (Indian Avenue School). Lori Ludewig (Collingswood & Oaklyn Schools) was our scholarship chair. We wish these students and all of our seniors continued success in their future endeavors. The SJBODA Spring Meeting will be virtual and is scheduled for Wednesday, May 27th at 6:00 PM. Election of officers and a preview of what to expect for the 2021-2022 school year will take place. Please contact Ken Rafter at 609-457-0590 or sjbodapresident@gmail.com if you have any questions. Please continue to check the website, maintained by Derek Rohaly (Mainland Regional HS), for the latest SJBODA updates. Ken Rafter President, SJBODA
May 1954 Mary Pickford was guest of honor at the Region I Band Concert which was held at Fairleigh-Dickinson College on February 21. Miss Pickford was presented a special citation by the college for her contributions to the arts.
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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.
Douglas C. Beavers Former Chester, NJ resident Douglas Cecil Beavers, 84, died peacfully on March 12, 2021 at his home in Hillsborough Twp, NJ. He was an exceptional father, Pop Pop, brother, educator, coach, friend, musician, and athlete. He had a lifelong passion for learning but was best known for the encouragement and love that he brought to every person he met. Doug attended Oldwick Grammar School, a three-room school located across the street from his father's garage and automobile service station (Beavers Garage), and graduated, along with his seven classmates in 1950. He went on to attend North Hunterdon Regional HS, graduating in 1954. While at North, he was very active in the athletic and music programs. Doug earned his bachelor's degree in music at Trenton State College. While at Trenton State, he was elected President of his senior class in 1958. His first teaching job was as Band Director of High Bridge HS. Three years later, he became the Choral Director and Assistant Football Coach at Randolph HS. From 1964-1965, he served as Choral Director and Assistant Football Coach at West Morris Central HS. For the next ten years he served as Music Coordinator/Band Director at Roxbury HS. It was during his time at Roxbury that he received his M. Ed. from The College of NJ. The last 17 years of his teaching career were spent at West Morris Mendham HS as the Fine Arts Supervisor/Choral Director. Doug is survived by his loving wife of 58 years, Janet Breland Beavers; and his devoted children.
Peter Korey Peter Korey, 68, of Jackson Twp., NJ, was born in New Brunswick, NJ on December 10, 1952 to George and Pauline (Botton) Korey. He grew up in East Brunswick, NJ, later relocating to North Brunswick, NJ in 1964, and attended New Brunswick High. He graduated from Newark State College (Kean University) in 1974 with a Bachelor of Arts in Music Education and Trenton State College (The College of NJ) in 1980 with a Master of Arts in Music Composition. Peter had a multifaceted career as a musician and educator. He began his teaching career at New Brunswick High school, later moved to Union High School, Bridgewater East High School, St. Thomas Aquinas High School and finally to Manalapan High TEMPO
School where he retired in 2005. The North Brunswick native went on to appear with bands and notorieties around the country, including the Jimmy Dorsey Orchestra led by Lee Castle, Warren Covington and the Tommy Dorsey Orchestra, the Sammy Kaye Orchestra led by Roger Thorpe, Les Elgart, Tony Bennett, Margaret Whiting, in addition to multiple off-broadway tours. Peter also led his own highly successful big band, Pete Korey, and his Big Band, and arranged music for a wide variety of ensembles such as the New Jersey Pops Orchestra and various concert, jazz, marching and brass bands. He was a member of the New Jersey Music Educators Association, American Federation of Musicians, the All-Shore Band Directors Association, and the International Trumpet Guild. Peter is survived by his wife of 26 years, Eileen; a daughter, Adrianna and two sons, Brendan and William.
Geraldine C. Wagoner Geraldine C. Wagoner, 88, passed away peacefully in August 2020. She was born in 1931 in Illinois. She grew up in Illinois, Wisconsin, North Carolina and Iowa, where she played the organ at her father served as a minister. This early passion for music continued as she majored in Flute at Central College. Geraldine married Roy Wagoner upon graduation and for the next 15 years supported him in service to churches in the Reformed Church in America in Poughkeepsie, New York; Fair Lawn, New Jersey; and West New York, New Jersey. During this time, Geraldine studied flute at the Juilliard School in NYC. She subsequently received a master’s degree in Music Education from Montclair State University, and also studied the Carl Orff process of music education in Salzburg, Austria. For 30 years, Geraldine taught music, piano, flute and woodwinds, and trained choruses of hundreds of students in the Edison, West New York, Englewood, and Ridgewood, New Jersey, schools. She also taught students private music lessons and coached them in auditions for the National Guild of Piano Teachers. She also taught graduate students at New York University while fulfilling a Teaching Fellowship and was a member of the National Association for Music Education for over 50 years. During her retirement, she moved from New Jersey to Williamsburg, where she lived for 15 years and continued her support of the arts. Geraldine had many interests, including travel, genealogy, opera, watercolor painting and wine tasting. Survivors include her two children and spouses and grandchildren. 56
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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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57 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 Mallette Scotch Plains-Fanwood District wayne.mallette1@gmail.com
Guitar Education Jayson Martinez Arts High School, Newark jmarti37@webmail.essex.edu 58
Webmaster Matthew Skouras Bergenfield High School MAY 2021 mskouras.njmea@gmail.com
Appointed Members
TEMPO
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
MAY 2021
Josephine Duke R.W. Laslett Smith Jay W. Fay Wilbert B. Hitchner Thomas Wilson John H. Jaquish Clifford Demarest Mable E. Bray Paul H. Oliver K. Elizabeth Ingles Arthur E. Ward John T. Nicholson Frances Allan-Allen Philip Gordon Violet Johnson Samuel W. Peck Janet G. Gleason
1953 - 1955 1955 - 1957 1957 - 1959 1959 - 1961 1961 - 1963 1963 - 1965 1965 - 1967 1967 - 1969 1969 - 1971 1971 - 1973 1973 - 1975 1975 - 1977 1977 - 1979 1979 - 1981 1981 - 1983 1983 - 1985 1985 - 1987
Henry Zimmerman Agnes B. Gordown Leroy B. Lenox Elizabeth R. Wood Harold A. Brown E. Brock Griffith Robert C. Heath Edward Brown Rudolph Kreutzer Charles Wertman Stephen M. Clarke Herman L. Dash Buddy S. Ajalat Alyn J. Heim Robert Marince Anthony Guerere Joan Policastro
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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