2017 January TEMPO

JANUARY 2017

Focus On Arts Education, pp. 38-44

Eastern Division Conference Information, pp. 22-35

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

…

WHY

“The clinic experience was by far the best part of our festival experience.

The hands-on approach really sticks with my students rather than just a bunch of written comments. They get instant feedback and can apply that feedback right then and there instead of waiting until we get back home at our next rehearsal.”

— Doug Sydow, Washington High School

“I like the fact that there are three judges and you have the comments from different people. There can always be a variety of opinions but if three people state the same thing then it brings more validity to a matter. You also always have judges who are respected and accomplished in their field.”

— Delia Montenegro, Briarcliff High School

“The staff is great, the venues are outstanding and the performances are well organized. I have done many festivals with various companies over the years. I find the online registration, adjusting features, and financial features very good. It makes my job much easier compared to some other festivals I have attended.”

—Timothy Keane, Terryville High School

WHERE… FOM17_Ad Design.indd 3

PERFORMANCE DATES ARE AVAILABLE ONLINE AT festivalsofmusic.com | 800.305.7565 | info@festivalsofmusic.com

8/29/2016 6:10 PM

Volume 71, No. 2

http://www.njmea.org

FEATURES 22-35

NAfME Eastern Division Information

Focus on Arts Education - pages 38-44 38 Dig The Well Before You Need The Water: Advocacy And You!, Nicholas Santoro 40 Arts Ed Now: A Call To Action, Kira Campo & Kristin Wenger 42 The Impact Of The New Jersey Arts Education Partnership: 10 Years In The Making!

Kira Campo & Kristin Wenger 44 The Census Is Coming, The Census Is Coming!, Bob Morrison

JANUARY 2017 DEPARTMENTS AND NJMEA BUSINESS Advertisers Index & Web Addresses.......87 Board of Directors.................................84 Division Chair News.......................... 6-21 Editorial Policy & Advertising Rates......86 From The Editor......................................4 In Memoriam.................................. 82-83 Past-Presidents.......................................86 President’s Message.............................. 2-3 Resource Personnel................................85 Round the Regions.......................... 80-82

46 Google: Music Teacher Tips & Tricks, Marjorie LoPresti 48 Great Day With Denise Gagne!, Amy Burns

50 A Conversation With Argine Safari: NJ 2017 Teacher Of The Year, Marjorie LoPresti

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Analysis Of A Music Affective Behavior Scale, Andrew Lesser

Equity And Diversity In Music Education: Toward A Critical Trait Theory, Raymond Reimer Uy, Jr. Developing A Well-Rounded General Music Curriculum, Mari Schay What Do Young Children Really Need? Ask “Old MacDonald,” Abby Connors

62 An Article For Jazz Educators: An Interview With Guitarist Kevin Eubanks, Thomas Amoriello

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NJMEA Calendar January - March 2017 NJ All-State Chorus Conductors Needed

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

TEMPO Editor - Thomas A. Mosher 80 Jumping Brook Drive, Lakewood, NJ 08701 Phone: 732-367-7194 e-mail: tmosher@njmea.org Deadlines: October Issue - August 1 January Issue - November 1 March Issue - January 15 May Issue - March 15 All members should send address changes to: mbrserv@nafme.org or NAfME, 1806 Robert Fulton Drive Reston, VA 22091 Printed by: Kutztown Publishing Co., Inc. 1-800-523-8211 kpc@kutztownpbl.com

FORMS AND APPLICATIONS See NJMEA.ORG

“Forms and Documents” for downloadable copies of all forms & applications

School Administrator Award.................. 71 Outstanding School Board Award..........72 Distinguished Service Awards................. 76 Master Music Teacher Award.................75 State Marching Band Ratings Festival....77 Middle School Concert Band Festival.... 78 Jr. High/MS Choral Festival...................79 NAfME Membership............................. 88

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 71, No. 2, JANUARY 2017 TEMPO Editor - Thomas A. Mosher, 80 Jumping Brook Drive, Lakewood, NJ 08701 Periodicals Postage Paid at Lakewood, NJ 08701 and additional entries POSTMASTER: Please forward address changes to: NAfME 1806 Robert Fulton Drive Reston, VA 20191

NAfME Biennial Eastern Division Conference April 5-8, 2017 Atlantic City, NJ

president’s

message WILLIAM McDEVITT 856-794-6800 x2539 billnjmea@aol.com Website: http://www.njmea.org

I

am writing this issue’s message as I am waiting for the NJ All-State Chorus and Orchestra Concert at NJPAC in Newark to begin. I am sitting here and remembering the amazing experience that I received as a member of the All-State Chorus more than 35 years ago. I don’t think that, back then, I ever understood the amount of work that goes on behind the scenes to make one of these concerts happen. I truly appreciate the work of anyone that had any role in one of these concerts; from the teachers preparing the students for auditions to those that judged; from those that rehearsed the ensembles before the concerts to those that made sure that the students had water during rehearsals; from those that have been helping for years to those that experienced their first All-State Ensemble. You are all appreciated.

The performances are always the culmination of an incredible amount of work. This year conductors Rollo Dilworth (Chorus) and Gregory Prichard (Orchestra) provided wonderful musical experiences for our students. I thank all of you for making my experience 35 years ago and the experience of our current students an educational and thoroughly rewarding experience.

I cannot continue without specifically thanking a number of individuals for their outstanding work in putting these programs together. Choral Performance Chair Kathy Spadafino and Orchestral Performance Chair Susan Meuse organized these ensembles from day one.

Their committees and teams of managers and chaperones saw to the needs of the conductors and students as seasoned professionals. Coordinator Joseph Cantaffa has been a wonderful resource putting together the Atlantic City and NJPAC rehearsals and performances. Debbie Sfraga and Mike Doheney did the pre-arrival work at the hotel and coordinated meals and housing for the students in Atlantic City.

ALL-STATE JAZZ BAND AND HONORS JAZZ CHOIR

TEMPO

NOVEMBER CONFERENCE As always, the planning for the music portion of the NJEA Convention brought about great success. Nancy Clasen has been planning the sessions for years and has been our liaison to NJEA. The variety of sessions offered and the depth of information that was presented was what we have come to expect.

On the Thursday evening of the NJEA Convention, the NJ All-State Jazz Band and Honors Jazz Choir performed at the Claridge Hotel Theater. The Jazz Band was under the direction of Mark Taylor and the Jazz Choir was under the direction of Randy White. These ensembles both did a spectacular job, and then repeated it at NJPAC on the following Friday. Special thanks go out to NJAJE President Mike Anzuini and his staff, including Jazz Band Manager Doug Barber and Jazz Choir Manager Steve Bishop.

The NJPAC was especially unique this year with its move to the Chase Room at NJPAC. It was an intimate space reminiscent of jazz clubs in NYC. 2

EASTERN DIVISION It’s hard to believe that any music teacher in the State of New Jersey could possibly be unaware of the Eastern Division Conference in Atlantic City. If you happen to be unaware, just look through this magazine. The board members of all of the states of the NAfME Eastern Division have met several times and selected professional development sessions and performing ensembles for the conference.

Committee members have selected members for the All-Eastern Ensembles. Contracts have been signed. The schedule has been prepared. Evening entertainment and keynote speakers have been secured.

The only thing that we have left to do is wait for the doors to open. We are confident that this will be one of the most amazing professional development opportunities that out state has ever offered to our membership as well as the members of NAfME’s Eastern Division and the entire United States. Browse through this issue and look at what’s going to be happening in April. We hope to see all of you there!

FEBRUARY CONFERENCE Remember that we will not have a February Conference this year because of the Eastern Division Conference.

I wish you all a great second semester and hope to see you in April!

JANUARY 2017

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Editor’s Message Thomas A. Mosher 732-367-7194 tmosher@njmea.org Website: http://www.njmea.org

T

his is a big year for NJMEA as we are sponsoring the NAfME Eastern Division Conference in Atlantic City, April 5-8, 2017. It has been a long time since the Eastern Division has held their conference here. This is a great opportunity for all of our NJMEA members to be able to attend one of the largest conferences in the country and we know it will be excellent because Marie Malara is producing it along with her fantastic cadre of helpers.

If you have never attended a National or Eastern Conference, this is your chance. Atlantic City is a lot closer for all New Jersey members than traveling to most of the other states that have hosted it in the past.

Pages 22-35 of this issue will provide you with much of the information you may want to view of what is being offered. You can even see a day by day listing of events by going to www.nafme-eastern.org and clicking on the appropriate links. Rita Moreno will be a featured keynote speaker; New York Voices and The United States Air Force Band and Singing Sergeants will perform for us; and there will be a special entertaining evening of silent movies with the music performed on the World’s Largest Organ in Boardwalk Hall.

There is no February Conference this year, so this is an event you do not want to miss!

Also in this issue on pages 38-44 is a Special Focus on Arts Education section which has been put together by your Advocacy Chair, Nicholas Santoro and members of “Arts Education Now.” Nick has been working hard to keep all of our members informed about the advocacy issues in our state. NJ has been extremely fortunate to have a group like “Arts Education Now” working on our behalf to keep music alive and well in our schools.

The emails for Kira Campo, Kristin Wenger, Bob Morrison and Nick Santoro are listed along with their articles. Please take the time to send them an email, thank them for their efforts on your behalf, and ask any questions you may have concerning advocacy and how you can become more involved.

As Nick says in his article, become involved in music advocacy in your district BEFORE problems occur. It is important to illustrate to your parents, school board and administration how important music is in the lives of all of our students and to keep all of our music programs alive and thriving.

NJMEA Past Editors Harold Brown Herman Dash TEMPO

Chester Cable Richard D. Scott 4

Jeffrey G. Ellinwood Chic Hansen JANUARY 2017

MASON GROSS EXTENSION DIVISION SUMMER CAMPS AND INTENSIVES 2017

MUSIC DANCE FILMMAKING VISUAL ARTS THEATER Explore, create, and perform under the guidance of New Jersey’s most distinguished teaching artists at the state’s premier arts conservatory, Mason Gross School of the Arts, Rutgers University.

MUSIC

VISUAL ARTS

Jazz Institute Symphonic Wind Band & Chamber Music Camp ASTA/NJ Chamber Music Institute

Design Intensive Media Art Intensive Drawing & Painting Intensive

DANCE

THEATER

Rutgers Summer Dance Conservatory

Rutgers Summer Acting Conservatory

DIGITAL FILMMAKING

CHILDREN’S ART DAY CAMP

Rutgers Digital Filmmaking Camp AVID Media Intensive

Kids Create

85 George Street, Rehearsal Hall 101, New Brunswick 848-932-8618 | summercamp@mgsarutgers.edu www.masongross.rutgers.edu/extension/summer-programs JANUARY 2017

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

News From Our Division Chairs Administration Ronald P. Dolce 732-574-0846 rdolce561@aol.com

Wow! Half of the school year is completed. Winter concerts are done and we hope that most of you have had a time to rest over the winter break and were able to spend some time with friends and family and refresh the mind as well as the soul.

It is hard to believe that the second half of the school year is about to begin as we prepare for the spring musical, concerts and trips.

The administrators have been preparing for the workshops to come this spring. We have already completed two workshops of the five scheduled this year for the general membership. Our first workshop in October, “Nuts And Bolts: Advice On How To Be Successful As An Arts Supervisor” presented by Peter Griffin, Supervisor of Music from the Hopewell Valley School District. A power point presentation was shown with suggestions to the membership about the different aspects of being a music supervisor. Many suggestions that were contributed by the membership made for an interesting meeting.

Our second workshop, held in December, “Making The Case For Dance And Theater,” presented by Louis Quagliato from the West Orange Public Schools assisted by Ron Dolce, retired music administrator, Rahway Public Schools, gave the membership a look at how dance and theater programs may be held in their schools. Many questions were asked by the members and contributions for discussion were given about how these programs were existing in their programs.

Our February 3, 2017 meeting/workshop will be facilitated by Joe Akinskas as he presents “Arts And Special Education”.

This workshop will explore ways in which the music supervisor can help the music teacher with possible ways to work with special needs students in their music classroom. Guests will be invited with their administrator to this meeting and seating is limited. Members of the higher education community will also be invited so a discussion can be held about the needs of the music teacher and the special need students in their classroom.

The NJMAA meetings are held at the “Rutgers Club” on the campus of Rutgers University in New Brunswick. The meetings begin at 9:00 am with hospitality breakfast at 8:30 am. If you have not joined as yet, it is not too late. Check out our website at www.njmaa.org for information.

NJMAA continues to reach to the supervisors, program directors, building administrators and coordinators of music to become active members of the association. Being able to share knowledge with colleagues can only strengthen the music programs in our schools and help us to understand issues and concerns that we face throughout the school year. As members, we are each a resource of information and this information can be easily shared to help solve any problem or concern.

Come join us and become a member. Share your thoughts and become a resource as we support an important part of the education of our students. continued on page 8

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2016–2017 AUDITION DATES Saturday, November 12 Saturday, December 10 Sunday, January 22 Sunday, February 19 Sunday, March 19

rowan.edu

Department of

JANUARY 2017

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

News From Our Division Chairs Band Performance Al Bazzel 856-358-2054 fenwayfollwer5@comcast.net

Auditions for the 2017 All-State Bands will take place on Saturday, January 21st, at JP Stevens High School. The snow date for the auditions is Sunday, January 22nd. The first rehearsal will be on Thursday, February 2nd at South Brunswick High School from 5:00-9:00 p.m.

The snow date for the first rehearsal is Thursday, February 9, 2017.

Students will be receiving emails from their region officials confirming eligibility. Application forms must be submitted online. Students will need to print and complete the signature page and return it to their sponsoring director along with their audition fee. Sponsoring directors will also need to complete a directors form found on the NJMEA website. More information will be distributed at the region auditions.

The 2017 All-State Band Concert will be held on Saturday, February 25, 2017 at the New Jersey Performing Arts Center in Newark.

Keith Brion, Music Director of his own New Sousa Band, will conduct the wind ensemble. Richard Blatti, Director Emeritus, School of Music and Professor Emeritus, Conducting and Ensembles from The Ohio State University, will conduct the symphonic band. We look forward to seeing you at the rehearsals and concert at NJPAC. Any solo suggestions must to be submitted to Bruce Yurko, Solo Chair, or corresponding region representatives. The recommendation must include a copy of the solo, the solo it should replace, and rationale for the change. The region representatives for the committee are: Region I – Darrell Hendricks, Lewis Kelly, Gregory Mulford; Region II- Brian Toth, Chris Vitale, John Zazzali; Region III- Nichole Delnero, Phil Senseney and Tom Rafter.

Choral Festivals

Donna Marie Berchtold 609-476-6241 x1013 berchtoldd@hamiltonschools.org

The 64th Annual NJMEA Middle School – Junior High Choral Festival Dates are scheduled for the spring of 2017. Donna Marie F. Berchtold, chairperson, and choral/instrumental director at the William Davies Middle School, Mays Landing, along with Karen Blumenthal, choral director at Von E. Mauger Middle School, Middlesex, NJ will co-coordinate and host the Middle School Choral Festivals again for this year.

The Festivals are currently scheduled to be held at two separate locations. The first event (South Site) will be held at Rowan University on March 1, 2017. The deadline for applications is February 3, 2017. The second event (North Site) will be held at Rutgers University on May 24, 2017. The deadline for applications is April 24, 2017. The time of each event is 9:15 – 1:30 pm.

The application forms are on the NJMEA web site, however, they can also be found in this January edition of TEMPO Magazine.

A maximum of ten (10) registrations will be accepted at each site. The Registration Fee per school group will be $150.00 for either site.

Each participating choral group will receive written and aural evaluations by the adjudicators, along with a plaque from NJMEA which recognizes the commitment and involvement by the school, its chorus, and the director(s).

Any schools interested in participating in either of these events, should be sure to complete the application form in this January issue of TEMPO magazine, or online at www.njmea.org.

Anyone with questions or concerns may contact Donna Marie at: berchtoldd@hamiltonschools.org, 609-625-6600, x 1013, or 609-2267751. continued on page 10

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discover.create.grow.

•

In-School Residencies: Early Childhood, Theater, Dance & Jazz

•

After School Arts Training: Dance, Jazz, Film & Musical Theater

•

Live Performances: Field Trips to NJPAC

•

Assembly Programs at your school

•

Summer Programs: Dance, Jazz, Hip Hop & Musical Theater

•

Professional Development for Teachers

Major support provided by: ADP • Atlantic, Tomorrow’s Office BD • Berkeley College Jennifer A. Chalsty McCrane Foundation, Inc., care of Margrit McCrane • Merck Company Foundation Prudential Foundation • PSEG Foundation Marian and David Rocker • Sagner Family Foundation United Airlines The Victoria Foundation • Wells Fargo Women’s Association of NJPAC

JANUARY 2017 7.5 x 10 b/w Ad_arts Ed_TEMPO NJMEA_Jan.indd 1

973.353.7058 • njpac.org/education • artseducation@njpac.org 9

TEMPO

11/2/16 10:44 AM

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

News From Our Division Chairs Choral Performance Kathleen Spadafino 732-214-1044 kspadEB@aol.com

All-State Mixed Chorus enjoyed two wonderful concerts in November. The incredible and inspiring direction of conductor Rollo Dilworth, in collaboration with accompanist Anthony Rafaniello, made this musical experience unforgettable for all students involved. Many thanks to our preparation conductors Tom Voorhis, Wayne Mallette and Patick Hachey, who volunteered many hours sharing their talent with our students. Our Atlantic City experience was super smooth this year, despite changes in venue for the performance. Joe Cantaffa, our production manager, kept everyone on task and with the help of Michael Saias, got us everything we needed immediately. I cannot thank our managers, Michelle Sontag and Matthew Lee, enough for the zillions of hours they spent making sure our chorus members were safe and supervised. The Choral Procedures Committee ran the Governor’s Award auditions and an open Choral Procedures Committee meeting, where everyone’s voice was heard as we discussed future issues. Michael Doheny and Debbie Sfraga (housing coordinators), Hillary Colton (head chaperone) and David Westawski (transportation) worked seamlessly with production, chaperones and students in a most professional manner. Because of everyone working together Friday afternoon, a potentially chaotic schedule was smooth and relaxed. Good work, team!

But wait, there’s more! The All-State Treble Chorus will be performing at NJPAC on Saturday, February 25th along with the AllState Bands. This concert will still happen even though there is no NJMEA convention. Rehearsals for the Treble Chorus have already begun with preparation conductors Hillary Colton, Jamie Bunce and Matthew Lee. The chorus will meet their conductor Eleanor Daley at the concert weekend in East Brunswick. Please contact me to chaperone or attend the concert.

Remember – Eastern NAfME Division is happening in Atlantic City, April 5-8, 2017! Early registration is open now!! We have fabulous clinicians and choirs representing choral excellence in New Jersey! Come and cheer on your colleagues!

I hope that you have been checking the All-State Chorus section of the website – www.njmea.org. The 2017 All-State Chorus Audition Bulletin will be available for you in late January. Please read all the information and be aware of deadlines! If it is your turn to judge (that means your last time was 2013) please clear your calendar for these dates – Saturday April 22nd and Saturday April 29th.

We will email you another reminder. All-State Chorus is a great experience for your students to meet others who love singing as much as they do, challenging repertoire and a chance learn from top conductors. Every year I hear from our students that this experience has changed their lives! It is such a privilege to take part in this process. Please email me at KSpadEB@aol.com and get involved!

Early Childhood Education Amy Burns 973-493-5797 aburns@fhcds.org

There are many upcoming professional development opportunities for early childhood and elementary music educators. Two events to bring attention to are: • February 25: New Jersey School Music Association (NJSMA) Elementary Division will host a Saturday morning workshop that will offer several rotating sessions, featuring inspiring clinicians and topics. http://www.njsma.com/elementary/elemencontinued on page 12 taryhome.html TEMPO 10

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

News From Our Division Chairs • April 5-8: The 2017 Eastern Division Conference in Atlantic City will feature some amazing elementary/early childhoodfocused presenters such as John Jacobson, Missy Strong, Lisa Wichman, Craig Knapp, Abigail Connors, Cherie Herring, Elizabeth Bucura, Sharon Burch, and so many more! Don’t miss this wonderful event hosted by NJMEA! Register today at http://www.nafme-eastern.org/index.php In addition, this past fall NJSMA held a wonderful workshop featuring Denise Gagne, The Copeland Grade 6 Orff Ensemble, and The Two Ukes. A post-event wrap up of the workshop is found in this issue’s article titled, “Great Day with Denise Gagne!”. If you would like to view a webinar that features the highlights from this webinar, and where you can earn 1 PD for viewing it and writing up a summary about it, then please feel free to email me at aburns@fhcds.org to ask for more details.

Guitar Education Thomas Amoriello tom@tomamoriello.com 908-342-7795

Happy 2017! This will be another great year to encourage your students to give the guitar a try!

I would like to thank guitarist Kevin Eubanks for granting an interview exclusive to TEMPO Magazine that you can read in this issue. I would also like to apologize to Bradley Colten for misspelling his last name as Colton in the October 2016 TEMPO Article, Lost and Found: Guitar Manuscripts in the Library of Congress.

Thank you to all of the educators who attended my ukulele workshop, Four Strings of Joy at the NJEA Convention in Atlantic City on November 11, 2016.

It is important to please spread the word to the teachers who you know in NJ and mark your calendars for May 6, 2017 as this will be the 4th annual NJMEA Guitar Festival at The College of New Jersey in Ewing, NJ which will feature the chosen students conducted by Loren C. Fortna as well as a featured guest artist recital from classical guitarist Candice Mowbray. http://www.candicemowbray.com/ Please see the October issue of TEMPO or visit the Guitars in the Classroom Portal at njmea.org for more information about the 2017 NJMEA Honors Guitar Ensemble Auditions.

2017 NJMEA Honors Guitar Ensemble Auditions: February 11, 2017 at The College of New Jersey (Music Dept.), 2000 Pennington Rd., Ewing, NJ 08628 Ewing, NJ 9:00-1:00 pm (snow date Sunday, Feb. 12th @ Bayonne High School, 667 Avenue A, Bayonne, NJ 07002 12:00-3:00 pm) Rehearsal 1: April 1, 2017 from 9:00-12:00 pm at:JP Stevens High School, 855 Grove Ave, Edison, NJ 08820 (snow date, at: Bayonne High School, 667 Avenue A, Bayonne, NJ 07002, April 2nd from 4:00 -7:00 pm) Rehearsal 2: April 29, 2017 from 9:00-12:00 pm at: Bergen Academy, 200 Hackensack Ave, Hackensack, NJ 07601.

Rehearsal 3: May 6, 2017 at The College of New Jersey (Music Dept.), 2000 Pennington Rd., Ewing, NJ 08628 Ewing, NJ 11:00-11:45 am.

Performance May 6, 2017 @ TCNJ (no snow date)

Ensemble Performance 12:00 pm Student Showcase 12:30 pm Guest Artist 1:00 pm Personnel:

Loren C. Fortna, conductor; NJMEA Guitar Festival Directors: Thomas Amoriello & Keith Calmes

Please feel free to share any classroom guitar news with tamoriel@frsd.k12.nj.us TEMPO 12

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JANUARY 2017

Creativity Scholarship Artistry

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The College of New Jersey • Department of Music The Department of Music is an accredited institutional member of the National Association of Schools of Music as well as a collegiate member of NAfME, the National Association for Music Education. Kiplinger’s ranks TCNJ as the #1 Best Value Public College in New Jersey in 2016 and U.S. News & World Report ranks TCNJ as the Best Public College in the “Regional Universities-North” category for 2015-16.

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The College of New Jersey 2000 Pennington Road Ewing, NJ 08628

13 TEMPO

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

News From Our Division Chairs Opera Festival

Michael Kallimanis 973-208-3004 MrKOrchAuditions@aol.com

A Wonderful Day at the….Opera!

The 2016 All-State Opera Festival concert took place Saturday, November 19, 2016 at Paramus HS, hosted by Chorus Director Nicole Cascione. A full day of events was capped off with the concert featuring arias, choruses and orchestral movements from various operas. Theresa Carlomagno, Northern Valley Regional HS at Old Tappan, was the highest scoring student from auditions held Friday, Oct. 28, 2016.

She sang “The Black Swan,” from Gian Carlo Menotti’s The Medium. For her efforts, she was awarded the C. Scripps Beebee Scholarship of $500 and the Governor’s Award for Arts Education in Opera. Elisabeth Kuipers, Eastern Christian HS, was the second highest scorer with a distinction of “Honorable Mention.” This festival is the only high school program of its kind in the United States (as far as it is known), and the only NJMEA-sponsored program that provides a cash award from the Beebee Scholarship fund.

The highlight of each year’s festival is the morning master class given by a World Class Opera star. Wendy White, a 23-year veteran of performing leading roles on the Metropolitan Opera stage, gave the 35 students in attendance an incredible insight to her musical journey in addition to the mechanics of vocal technique. Six students performed for Wendy White: Theresa Carlomagno, Elisabeth Kuipers and Erin Chang, Hillsborough HS; Hannah Smith, Tenafly HS; Angie Lovato and Grace Meharg, both from Hawthorne Christian Academy.

Four chorus numbers were performed in the concert. To start off, Nicole Cascione conducted a rousing rendition of “The Star Spangled Banner,” followed by “Van, pensiero,” (Nabucco, Verdi), conducted by Chad Flynn, Pompton Lakes HS Chorus Director. Another ensemble number was “The Humming Chorus,” (Madama Butterfly, Puccini), conducted by Haddonfield Memorial HS Chorus Director, Polly Murray. Chad Flynn also conducted the Grand Finale, “Libiamo ne’ lieti calici” (La Traviata, Verdi) with Theresa Carlomagno in the role of Violetta and 2014 scholarship winner/Governor’s Award recipient, Joshua LeRose, singing the role of Alfredo. Joshua is a graduate of Paramus HS and currently a Voice Performance major at Rutgers University.

Anne Paynter, Hawthorne Christian Academy Chorus Director, took on the responsibility of festival solo accompanist and Carl Faust, Fort Lee School District, handled accompanying the chorus numbers. Both accompanists followed the students to a T which in turn embellished their performances.

The Paramus HS Orchestra, Judith Wilkes, Director, has been the Orchestra-in-Residence since the festival moved to Paramus some 10 years ago. Another orchestra director expressed an interest in performing, so the New Milford HS Orchestra, Julia Berenshtein, Director, joined the event. New Milford performed the “Prelude to Act I,” of La Traviata (Verdi) and “Hopak,” from The Fair at Sorochinsk (Mussorgsky). Paramus played “Madamina,” from Don Giovanni (Mozart) and “Sempre libera degg’io,” another selection from La Traviata.

For the future, we will need to find another host school for the two-day event. Paramus is very active in hosting County and Region auditions and it is tough to juggle so many activities the music teachers host at their school. We thank Judy Wilkes and Nicole Cascione, in her second year there, who took over for the now-retired Stevie Rawlings, for providing their school as our makeshift opera house! Another problem we run into is the festival concert being on the same day as Region III Chorus auditions so a date change may be in the works. Originally, the festival took place in the spring but there was a major conflict with school musicals. If you would like to host or have suggestions on a concert date, please contact me!

Thank you to all who made the 2016 Opera Festival a success!

continued on page 16

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JANUARY 2017

The Caroline L. Guarini Department of

Music, Dance and Theatre The Caroline L. Guarini Department of Music, Dance and Theatre is an accredited institutional member of the National Association of Schools of Music (NASM) and a collegiate member of The National Association for Music Education (NAfME).

Degree Programs

Contact

Undergraduate

Min Kim, D.M.A. Chair The Caroline L. Guarini Department of Music, Dance and Theatre (201) 200-2025 mkim@njcu.edu

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B.A. in Music Education B.A. in Music Theatre B.A. in Music Business B.M. in Classical Studies B.M. in Jazz

Graduate ¡ ¡

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M.A. in Music Education M.A. in Performance (Classical, Jazz and Multiple Woodwinds) M.M. in Composition

njcu.edu/mdt

JANUARY 2017 2039 John F. Kennedy Blvd, Jersey City, NJ 07305 15 TEMPO

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

News From Our Division Chairs Orchestra Performance Susan Meuse 732-613-6890 susanmeuse@gmail.com

Congratulations to the 2016 All-State Orchestra and Mixed Chorus for two great concerts in November! The students’ hard work really paid off in their performance of such high level music. I hope that many of you had a chance to come to one of the concerts! The Orchestra Procedures Committee would like to congratulate all of the students involved in the All-State Orchestra. We would like to thank all of the people who worked very hard to make both concerts possible. First, we would like to thank our conductor, Gregory Pritchard whose talent inspired these students. We would also like to thank our two Managers, Sarah Donatelli and Jessica Stewart, as well as our Percussion Coordinator Chris Janney. Without their hard work, the rehearsals and performances would not have been a success. Also, we would like to thank Production Manger Joe Cantaffa and Production Assistant Michael Saias who made everything happen and run very smoothly! Thanks to all of the sectional coaches, rehearsal hosts, and chaperones for helping the students have a positive All-State experience. And finally, a big thank you to Housing Coordinators Debbie Sfraga and Mike Doheny and Transportation Coordinator David Westawski who organized everything needed to get all of the students safely to and from Atlantic City.

We are in the process of making some changes to the orchestra festivals this year. The middle school/junior high festival will take place on March 8th at Bridgewater Raritan Middle School. The high school orchestra festival will also be taking place in March with a date and location tba. Be on the lookout for a TEMPO Express with final details and the application.

Also in March will be the All-State Orchestra auditions (both Intermediate and High School). They will be taking place on Saturday, March 18th. At this time the Procedures Committee will be meeting to discuss future conductors, solos, and scale requirements. As always, if you are looking to get involved or would like to share some ideas, please let me know!

Retired Music Educators Kathleen Spadafino 732-214-1044 kspadEB@aol.com

This February there will be no NJMEA conference, so therefore no Master Music Teachers were observed last year. However, now is the time to think about nominating an outstanding NJMEA colleague for our 2018 Master MusicTeacher. Your nomination form, which can be found in this issue of TEMPO as well as on the NJMEA website, is due by March 15, 2017. Put it on your calendar of things to do now so that you can collect your materials to submit by the due date. We all know many great music educators; we talk about them and their work often. Take the time to nominate one this year!

Our first executive committee meeting was held on October 5. Our committee members beside myself are Frank Hughes, president-elect; Beverly Robinovitz, past president/secretary; Dorian Parreott, treasurer; Paul Oster, Ron Dolce, Judy Verrilli and Joyce Richardson-Melech. If you are interested in joining our committee, please contact me for further information.

Our only general meeting of the year will be on Wednesday, May 10, 2017 at 10:15 a.m. Site to be announced – please check the March TEMPO and your newsletter. Plan to join us to re-connect with old friends and discuss the state of music education in New Jersey.

Wishing you and your family a healthy and happy year! We hope to see you April 5 – 8 at the Eastern NAfME Division Conference, or at our meeting in May. continued on page 18

TEMPO 16

JANUARY 2017

CALI SCHOOL OF MUSIC

Educating the creative leaders of tomorrow

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developing musicianship and professional skills in ensembles, masterclasses with world-renowned artists, clinical experiences, internships, teaching  experiencing the cultural riches of New York City nearby 

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

montclair.edu/music

Celebrating the 10th Anniversary of the John J. Cali School of Music Montclair State University, Montclair, NJ Contact us: 973-655-7610; musauditions@montclair.edu

JANUARY 2017

17 TEMPO

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

News From Our Division Chairs Special Learners Maureen Butler 973-299-0166 mbutler@mlschools.org

In 2015 NJMEA recognized the need to address the topic of special learners by creating a position on the Board, and I’ve been been happy to represent the needs of these students since then. Now, I’m thrilled to announce that five teachers have agreed to join me to form a Special Learners committee whose focus is to provide outreach and support to music teachers throughout New Jersey. Members include Steve Braun from the Center of Lifelong Learning and the Academy Learning Center; Lucia Marone from the Vineland district; Trina McCarthy from Holmdel; Glennis Patterson from Roxbury; and Brian Wagner from Brooklyn. All of them have had significant experience teaching students with special needs, and are providing valuable contributions to our discussions. Thanks to all of them for agreeing to participate in this committee!

If you have questions or concerns about the students you teach and would like help from any of our committee, please contact me at the email address above. Similarly, if you have any topics you’d like to see addressed in TEMPO, send those ideas to us as well.

Summer Workshop Joe Akinskas akinskas@rowan.edu Summer Workshop Coordinator

Summer Workshop X I am pleased to announce that Summer Workshop X will take place on Tuesday, August 1, 2017, on the campus of The College of New Jersey.

Session Ideas & Presenters needed: At the conclusion of the last nine workshops, participants were asked to respond to an online program survey. The workshop committee utilizes the timely responses as the basis for development of the next event.

The survey results are attached below for everyone’s review, and to serve as a basis for generating the Workshop X agenda. If you see a recommendation that you can facilitate let me know.

Our early deliberations are focused on presenting extended-concentrated sessions in all areas. If you are interested in developing a session, please complete and return the presenter request form, via email, to njmeasummerworkshop@comcast.net or akinskas@rowan.edu , on or before April 1, 2017.

I would also like to take this opportunity to thank last summer’s presenters who truly exemplify the high level of talent we are fortunate to have in New Jersey, and who are willing to share their talents and techniques with our statewide constituency. Take a minute to access our website on the NJMEA conferences link, to scan the pictures which reflect an enjoyable and productive day.

We look forward to another beneficial day for all in attendance. Think summer! continued on page 20

TEMPO 18

JANUARY 2017

Will. Power.

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wpunj.edu/music • musicadmissions@wpunj.edu 19 TEMPO

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

News From Our Division Chairs And the survey says…

You asked. We listen.

What would you like to see at next year’s NJMEA Summer Workshop that you did not see this year/have not seen in the past? ~ Musical Theater and AP Music Theory sessions ~ I would love to see more sessions focused on working with special needs children, offering specific lessons for various grade levels, especially with autistic students. I would also love to see a session led by a teacher who doesn’t have their own classroom; how they make it work off of a cart. ~ How to teach group ensembles with different levels ~ Recruitment and retention of students in performing arts programs. Electives are becoming more competitive and required electives are making it hard to keep students involved in choir and/or band all four years. How can music teachers keep programs in the forefront in the eyes of administrators, guidance, parents and students? ~ I know we have standards to address and curriculum should be based on them to an extent, but what do studies show are the best elements for a quality music program. If there is a person who did a study on this or collected data from the most successful programs and found out the common elements it would be cool to know what was found. ~ Maybe something on creating your own TPT shop would be nice! ~ I prefer the “teacher led” tech workshops ~ Productive HS PowerPoints to accent the day to day teaching....in any strand; band, choir or general music. ~ Found the J.W. Pepper presentation very helpful and would like it to become an annual offering. Choral music choices were excellent! ~ Ideas for SGO’s in music ~ I loved the focus on African American Spirituals. Maybe next year there can be another focus on a different genre that can enhance music teaching -- film music? Madrigals? American folksong? Or, maybe explore music related to a certain topic -- geography, an emotion, a philosophy, historical event / time, literature… ~ I would love to have someone who is TECH SAVVY demonstrate how to use You Tube videos in elementary vocal music class. A list of age appropriate videos would be great, too. Also, a “make and take” workshop for stations for elementary vocal music class. (Easier said than done, cost wise!) Also, it might be fun to have someone show photos of various vocal music classrooms and see how other teachers organize and decorate. ~ I would love to see a session about activities for students with disabilities, specifically Autism (the WIDE range!) for the SECONDARY level.

I find that most sessions about teaching music to students with disabilities only address the elementary level. ~ How to deal with students who are VERY difficult from a behavior standpoint ~ Keep adding more percussion workshops. Bucket drumming was great. Those classes are very inspiring for teaching general and instrumental music, especially when you aren’t a percussionist. ~ A curriculum for shortened classes in Instrumental and General Music. ~ How to address the performance of sacred music in a public school setting. ~ A session on starting a hand bell ensemble could be interesting to explore. ~ Content for district shortened 10-week General Music courses in middle school ~ How to use the Orff process with ABA classes ~ I needed more hands on training of the smart music software. ~ I would like to see a session about fundraising! My school limits the fundraisers that we can do, so we are mostly limited to doing simple bake sales/candy sales. I hear whispers about fundraising all the time, but would like a discussion. Also in this vein, maybe creating/working with a parent organization! I’d also be interested in seeing a moderated discussion about recruitment/retention. Since I am only in year 3, I know there are still a lot of mistakes I am making that, if fixed, could help my numbers grow. I would be interested to see: what are the numbers/percentages like for gym pull-out schools? Class pull-out schools? Choir classes? etc. ~ Beginner instruments…how to produce a sound on beginner instruments ~ I would like to see more the same with regard the previous question. Also, I think that there should be some emphasis on community groups and their related issues. We are the only discipline in a school district that is publicly visible with our concerts, programs, and football games and such. No other academic subject has that visibility. Community groups, I believe, are an extension of that and is an overlooked part of our profession. Community bands, chorus’, theater groups that do musicals, etc. are very popular, but we don’t seem to give them their due.

TEMPO 20

JANUARY 2017

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

News From Our Division Chairs Technology

Marjorie LoPresti 732-613-6969 marjorielopresti@gmail.com

Do you teach music with technology? Do your students students compose and arrange? Plan to attend the “7th Annual NJ Student Music Tech Expo.” This student-centered, science fair style event features exhibits of adjudicated student works as well as hands-on workshops and performances. The event is open students in grades 3-12, and is open to students of all NJMEA members.

Throughout the day, students will explore electronic music-making in hands-on workshops with tech gear, receive training from music industry professionals, and get up close to the action during performances. Student ensembles featuring electronic/technology-based music are invited to perform. “The Expo” will culminate with an awards ceremony to recognize the exemplary works submitted by student participants.

Student projects may be submitted in advance, and will be evaluated by professional composers using a festival rating scale (gold, silver, bronze). Categories include remixes, multimedia, and applied technology projects. Students attending the Expo will have the opportunity to review and rate projects along with the pros, then vote for “best in show.”

Mark your calendar now: “Expo North” will be held on Monday, May 15, 2017 at Rutgers, and the “Expo South” will be on Thursday, May 18, 2017 at Rowan. Visit the Technology link at njmea.org for more info. Registration will open March 1, 2017.

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It’s dynamic at The Valley.

With a variety of undergraduate music degrees and a Master of Music Education, more than 20 ensembles, and spectacular performance, practice, and recording facilities, LVC celebrates and supports music like few other colleges.

Annville, PA | Since 1866

JANUARY 2017

Lebanon Valley College® 101 North College21 TEMPO Ave. Annville, Pennsylvania 17003-1400 1-866-LVC-4ADM (1-866-582-4236) admission@lvc.edu www.lvc.edu

The 55th NAfME Eastern Division Biennial In-Service Conference Managed by the New Jersey Music Educators Association Atlantic City, NJ April 5-8, 2017 NJMEA is pleased to host the 55th NAfME Eastern Division Biennial In-Service Conference. This year’s conference, which will replace the annual NJMEA State Conference held in February, will take place at the beautiful and spacious Atlantic City Convention Center and Sheraton Hotel, Atlantic City, NJ from April 5-8, 2017. In addition to the Technology, General Music, Choral, Collegiate and Instrumental (Band, Orchestra and Jazz) Academies, this year’s conference will once again feature an outstanding array of nationally renowned clinicians and performing ensembles representative of the Eastern Division’s finest ensembles. The Eastern Division Composition Competition, Tri M Leadership Academy, Research Poster Sessions, Lobby Concerts and a large exhibit hall boasting a wide array of musical instruments and materials will round out the offerings.

Especially exciting for our membership will be the featured Keynotes and Concerts. Rita Moreno, Thursday’s Keynote Speaker, is best known as Anita in West Side Story, a role that earned her an Oscar for Best Supporting Actress, making her the first Latina actress to win the honor and one of only eleven people to have received the four major entertainment awards—Emmy, Oscar, Tony and Grammy. Steven Ball, Organist for the World’s Largest Organ, will perform a silent movie presentation in Boardwalk Hall on Wednesday evening while the internationally acclaimed jazz vocal group, New York Voices, lights up the evening on Thursday. The United States Air Force Band and Singing Sergeants, the Air Force’s premier musical organization, will present an exciting concert on Friday evening. The Air Force Band honors those who have served, inspires American citizens to heightened patriotism and service and positively impacts the global community on behalf of the U.S. Air Force and the United States of America; a concert that you will not want to miss! The conference concludes Saturday with the All-Eastern Performing Ensembles. Enjoy outstanding performances by 600+ of the best student musicians from the Eastern Division states.

Join your Eastern Division colleagues from Connecticut, Delaware, Europe, Maine, Maryland, Massachusetts, New Hampshire, New Jersey, New York, Pennsylvania, Rhode Island, Vermont, and Washington, DC. for this outstanding professional development opportunity.

Conference information, including hotel accommodations and registration can be found at www.nafme-eastern.org. Be sure to use the links provided to obtain the best hotel rates! Program and performance information can also be found on the NAfME-Eastern website. Download the “GUIDEBOOK APP” to your digital device and bring it with you to AC to browse the conference offerings, plan your schedule, receive real time updates and connect with attendees! (The complete program will be up on Guidebook in February.)

The following pages include a preview of the many sessions, clinicians and performing ensembles which will be a part of this exciting event! Hope to see you on the boardwalk in Atlantic City this April!

TEMPO 22

JANUARY 2017

2017 Eastern Division Conference SESSIONS - Presenters in Alphabetical Order Sessions are listed by the day being presented at http://nafme-eastern.org New Jersey Music Administrators Association Collegiate Forum – Joe Akinskas NJ Music Adminstrators Association Open Forum on Instruction – Joe Akinskas NAfME-Eastern Division Guitar Educators Meeting

– Thomas Amoriello Stick-to-itiveness: How and Why to Practice Conducting – Shelley Axelson Leading the Way to Proficieny Through the Arts

– Susan Barre Chrome+GAFE+Music Educator=An Innovative Way to Teach Music! – Susan Basalik Front-Loading Your Repertoire – Christine Bass Responding to Student Compositions by Encouraging Creativity – Nancy Beitler Building a Community Through a Community Chorus – Steven Bell Effective Warm Up Strategies: The First 10 Minutes

– Chris Bernotas The Band Director as a Musical M.D. – Chris Bernotas Composition, Creativity and Recorders: Perfect Together – Rebecca Birnie Strategies for Assessing the Multitudes in General Music – Rebecca Birnie Routes and Resources for World Choral Music

– Vanessa Bond How We Teach Is As Important As What We Teach

– Peter Boonshaft Inspired Teaching – Peter Boonshaft Warm-up and Ensemble Development Exercises that Work – Peter Boonshaft Cheeks, Lips, Fingers, Tongue: Nuts & Bolts of Brass Success – Aaron Booz The Technique is Subservient to the Music – Darryl Bott Innovative Uses Of Technology In The Orchestra Rehearsal – Joseph Brennan We All Perform On the Same Stage – Joseph Brennan Wander the World with Vocal Warm-Ups!

– Lynn Brinckmeyer Cloud-based Asset Management for Directors

– Paul Brown

JANUARY 2017

Embodied & Expressive: Enhance Performance With Body Mapping – Heather Buchanan Games, Stories, and Songs: Capturing Little Musicians

– Elizabeth Bucura Project-Based Musicianship for Secondary General Music – Elizabeth Bucura Building Internal Musicianship for Better Teaching

– Nathan Buonviri An Introduction to Scat Singing for Kids! – Sharon Burch Salsa for Kids! A Kid-Friendly Introduction to Latin Jazz

– Sharon Burch Free Technology Resources For Elementary Music Educators – Amy Burns Lesson Plans: Elementary General Music Classroom with iPads – Amy Burns Saddle Up Your Music Class... Giddy Up, SAMR!

– Amy Burns Move with Style – Suzanne Burton Breaking the Sound of Silence: A Teacher Conversation Group – Suzanne Burton Dalcroze Eurhythmics in the General Music Classroom

– Marla Butke Enhancing the Choral Art Through Dalcroze Eurhythmics – Marla Butke Music for High-Tech Ears: What Do Students Hear?

– Maureen Butler Sign Language Fun for Music Class and Chorus

– Maureen Butler Drumming Up World Music: West African Rhythms and Songs – Steve Campbell The Rhythm is Here! A World Music Journey in Rhythm and Song – Steve Campbell Beginning Improvisation and Composition for Classroom Guitar – Mike Christiansen So, You’re The One That Will Be Teaching the Guitar Class – Mike Christiansen Ukulele: Four Strings, So Many Possibilities!

– Mike Christiansen Turning Drummers Into Percussionists! – Chris Colaneri My Ladies Loved These Songs – Hillary Colton

23 TEMPO

2017 Eastern Division Conference Effective Assessment in Heterogeneous Ensemble Settings – Deborah Confredo Meaningful Ensemble Adjudication Experiences

– Deborah Confredo R.A.M.P. Up! Remote Access Music Partnerships

– Deborah Confredo Music and Movement Activities from Around the World – Abigail Connors Exploit the Power of Arts Education – Richard Coulter SMTE Business Meeting – Kimberly Councill Starting With The End in Mind – Kimberly Councill FINALE 101: Learn the Essentials to Get You Going

– Giovanna Cruz Getting Started With the New SmartMusic

– Giovanna Cruz Need Quantitative Data? Use SmartMusic

– Giovanna Cruz You Have the Newest FINALE But Are You Using It Like FINALE? – Giovanna Cruz Developing Musical Independence in Young String Players – Andrew Dabczynski Fixing Broken Baroque: Approaching Baroque in String Class – Andrew Dabczynski Of Course You Can Teach Strings! Strategies for New Teachers – Andrew Dabczynski The Big Picture: Learning & Interdisciplinary Connections – Andrew Dabczynski Vocal Health in the Choral Classroom – Anna D’Achille Hands On Conducting Workshop for Music Educators

– Sandra Dackow Releasing the Potential of the Young Orchestra

– Sandra Dackow Cold? Come Warm Up with B and Dr. D!

– Joseph d’Auguste Teaching Beginning Jazz Improvisation

– David Demsey Scaling the Clarinet: Raising Fundamentals to New Heights – Christopher Di Santo A Highly Effective Instrumental Program – Todd Doan One for Singing...and Singing for All! – Sandra Doneski Don’t Warm-up Your Choir: VOCALIZE Them Instead!

– Nicolas Dosman Easy Computer Music Programming with Scratch

– Joshua Emanuel Welcome to the Gahu: Ghanaian Dance?-Drumming

– Joshua Emanuel TEMPO 24

Seeds Matter – Chiho Feindler Building the Middle School Choral Program

– Brent Fisher Elementary Band! How Do I build a Successful Program.

– Ben Fong Music Rich Writing Activities in the General Music Classroom – Loren Fortna Composing and Arranging for Guitar – Loren C. Fortna Please Fret, But Don’t Worry: Starting Guitar/Ukulele Class – Loren C. Fortna Improved Choral Intonation Through Voice Matching

– Lauren Fowler-Calisto Living the Dream - Survival and Celebration of Retirement – Paul Fox Elementary Music Instruction Fit For a Kid! – Jim Frankel Engagement and Accountability: The Solution is in the Cloud – Jim Frankel Inspiring Creativity and Community with Technology

– Jim Frankel iPads, and Android, and Chromebooks ? Oh My!

– Jim Frankel Leading Young Instrumentalists Toward Musical Diversity – Carol Frierson-Campbell A Creative Space: Conducting (& Building) Creative Singers – David Fryling A Student Centered Approach to H.S. Jazz Band Rehearsal – Matthew Gallagher Making Them Musical: Warming-up For Choral Musicianship – Amelia Garbisch Practical Pathways: Accesible Electronic Improvisation

– Zachary Gates “Putting Out Fires” – Thomas N. Gellert The Three C’s - Collaborative Composition Classroom

– Kris Gilbert Killer Strategies to Teach Music History in the Classroom – Daniel Glass How to Build Individual Skills In An Instrumental Ensemble – Eugenia Goldman Project-Based Learning in the Large Ensemble: Yes, You Can! – Jennifer Greene Music Student to Music Teacher: Nail Down That Job!

– Peter Griffin Hot Marimba Music for Mallet Percussion and Orff Instruments – John Gronert

JANUARY 2017

2017 Eastern Division Conference Snare Drum Rudiments: Effective Teaching Techniques

– John Gronert What’s New for Jazz Ensemble?: A New Music Reading Session – Jeffrey Haas Beyond Performance: Making Deeper Connections in Ensembles – Dan Halpern Round Up a Partner in Elementary Music

– Robert Hamm Choral Engagement Through Developmental Skills and Repertoire – Steven Hankle Teaching Methods for Urban School Beginning Chorus

– Steven Hankle Shifting the Fulcrum: A New Model for Choral Excellence – T. J. Harper Orff Schulwerk Without Xylophones – Beth Hepburn Purposeful Pathways : Starting the Journey K-1

– Beth Hepburn 21 SMARTBoard Superpowers for Musicians

– Cherie Herring Go GREEN! 5 Collaborative Project Ideas Using Green Screens – Cherie Herring Tots and Technology: Are You Sitting Down?

– Cherie Herring Growing as Artists while Working as Teachers

– Joseph Higgins Music In Motion: An Interactive Conducting Masterclass – Joseph Higgins Laban Movement Analysis: Expressive Conducting Pedagogy – Eric Hinton Improvisation in the Choral Classroom – Joy Hirokawa Teaching Vocal Technique in Rehearsal – Joy Hirokawa ‘Speed Interviewing’ - Refine Your Skills to Get A Great Job – Sandra Howard MaKey MaKey Music – Brendan Hughes Music Therapy: A Career for You? A Career for Your Students? – Bryan Hunter Rock As You “Roll”: Teaching Music From A Cart

– Danielle Ingram Higher Order Thinking: It’s As Simple As Do Re Mi

– John Jacobson Music of Our Roots: Singing the Songs of Our Heritage

– John Jacobson Teaching Mallet Instruments – Peter Jarvis Keyboard Techniques for Young Fingers in the Classroom – Judy Kagel

JANUARY 2017

Jazz Improvisation in Elementary Band? All in Good Time – Tom Kamp CNAfME Out-Teach: Music with Chinese Shadow Puppetry – Michele Kaschub From Idea to Premiere: Composing Original Works in Choir – Michele Kaschub What the Kids Taught Me About Teaching Music Today

– Michele Kaschub Active Music Making, A Link to Early Literacy Skills

– Jo Kirk Music Making with Joy & Purpose! – Jo Kirk Tip Toe to Do-Si-Do, a Movement Sequence for Greater Success – Jo Kirk Music Literacy in the Elementary Choral Rehearsal

– Craig Knapp Demystifying Music Theory and Helping Your Students Succeed – Adam Kolek Managing Your Classroom and Students Too: Time for a Reboot? – Keith Koster When Your Dream Job Isn’t Available: Teaching in Other Areas – Keith Koster Get Them Up and Singing! – Maedean Kramer Hip-Hop and Rap in Middle School Music?!

– Elizabeth Lagerstrom Standards Are Coming! Introducing Standards-Based Grading – Elizabeth Lagerstrom Classroom Management Made Easy – Valerie Leroy The Pedagogy Puzzle: Kodály and Orff Meet QuaverMusic – Valerie Leroy Cross Curricular Integration in the General Music Classroom – Andrew Lesser Just the Music Teacher – Shawna Longo Your Music Tech Toolbox: Making Wise Choices for Instruction – Marjorie LoPresti Military Music of the American Civil War – Jim Ludlam Differentiated Instruction In The String Classroom

– Mary (Betsy) Maliszewskii Maintaining Diversity Across the MultiLevel String Classroom – Mary (Betsy) Maliszewskii Successful Teacher Evaluations within Strong String Programs – Mary (Betsy) Maliszewskii Top 10: Incorporating 10 Minutes A Week of Music & Entertainment – Stephen Marcone Bring Back The Harmony Into Your Music Classroom

– Adrianna Marshall

25 TEMPO

2017 Eastern Division Conference Guitar: The Perfect Addition to Your Music Department – Glen McCarthy What To Do With The Guitar Player In Your Jazz Band

– Glen McCarthy American Song: How Jazz Choir Enhances School Choral Program – Kevin McDonald Flipping the Music Classroom ? More than Just Go Practice – Kathleen Melago I Wish I’d Known Then What I Know Now

– Stephen Miles Advocating for a Music Technology Curriculum

– John Mlynczak Creating, Responding, and Connecting – John Mlynczak A Musical Community for Special Learners: Bridging the Gap – Marguerite Modero Fostering Language and Literacy Through the Music Curriculum – Lauren Mulholland Breaking it Down - Adapting Music for Special Learners

– Maureen Murphy-Fernandez Using Composer Skype Sessions to Make Meaningful Connections – Jenny Neff Retention: Keeping Our Best Musicians through Graduation. – David Neves Everything is Awesome When You Use Legos in Music Class! – Amanda Newell Zoo Keeper and Warden No More: A Proactive Approach to Classroom Management – Amanda Newell Orff Ensemble for the Elementary Performer

– Patrick O’Keefe Contemporary A Cappella: Getting To The Next Level

– Thomas Paster Putting Your Best Foot Forward: Your 1st Marching Band Job! – Matthew Paterno Sequencing Jazz and Blues in Elementary Vocal Music

– Joel Perry Music Technology for the Middle School

– Kimberley Peschi Pop, Soul & Orff – Thomas Pierre Sing, Say, Move, Play, Create: Authentically Engaging Warm Ups – Thomas Pierre Transistioning From Music Student to Music Teacher

– Robert Pispecky Guaranteed Musical Success with Literacy Tools & Techniques – Adam Potter TEMPO 26

Exploring Sound & Improvisation

– Michelle Przybylowski “You Earned An A!” Assessment in the Music Classroom – Sharin Rello Tips and Tricks for Easy Instrument Repairs

– Pete Riccardo Think Small for Big Results- Benefits of Chamber Ensembles – Barbara Santoro Low Brass Recruiting and Retention – Dale Schubert Audio Basics for the Music Educator: Is this Mic On?

– Daniel Schultz Google Classroom for Newbies! – Daniel Schultz PASSION and PRACTICALITY How to Keep Both in Our Teaching – Timothy Schwarz Improve Band Performance with Socially-Conscious Repertoire – Colleen Sears Commissioning Music: An Easy and Exciting Process!

– Michael Semancik Beyond Practice Tracks: Technology for Choral Conductors

– Jennifer Sengin Discovering Talent: Recruiting Students Who are New to Choir – Jennifer Sengin Sequential Instruction for Musicality in Choral Rehearsals – Jennifer Sengin Elementary Grade Plays: Get Them Up on Stage!

– Callie Shafto Special Techniques for Special Learners – Rina Sklar “I Made It Up” Composing in Grades K - 2

– Janice Smith A Story in Five Songs – Janice Smith Beyond Sound Effects: A CRASH Course in Film Scoring – Janice Smith Duets, Duos and Pairs: Composition Projects for Two

– Janice Smith Create, Perform, Respond, and Connect: Stronger Together – Alden Snell Improving Instruction Through Improvisation

– Alden Snell Total Percussion JAM: Engaging Percussionists From Day One! – Yale Snyder Jazz Rehearsal Game Plan – Dean Sorenson Do You Truly Teach The Skill of Watching the Conductor? – Nancy Strelau The Most Important Gift We Give Our Students

– Nancy Strelau JANUARY 2017

2017 Eastern Division Conference Getting Started With Conversational Solfege

– Missy Strong RECORDERS: Not Weapons of Mass Destruction

– Ed Sueta There’s No Place Like Home: Playing with Improvisation – Lisa Sullivan Eye to Eye With the Orchestra for Choral Conductors

– Julia Thorn Flexible Band Arrangements to Promote Musicianship

– Pamela Turowski Live Art: a Paradigm for Inclusive Performing Arts Education – Rebecca Tyree How a Non-Auditioned Men’s Choir Can Improve Your Program – Thomas Voorhis Making Musical and Lifelong Connections for Special Learners – Brian Wagner Tools and Techniques to Engage Special Learners in Music – Brian Wagner Oh-boe! Not Another Double Reed Seminar

– Kaitlyn Walker Student-Led Collaborative Rehearsals in the Large Ensemble – Adam Warshafsky Building a Strong Foundation in an Elementary String Program – Nicholas Wehr Set Up Your Beginner String Students for Success!

– Jayne Weiner Preparing Jazz Scores For Student Ensembles

– Neil Wetzel

“Keep Calm.....and Teach Kindergaraten Music!”

– Lisa Wichman GAME ON! Games for Singing, Movement and Musicianship – Lisa Wichman Violin/Viola Bowing Basics for the Novice String Player

– Jennifer Wiley Be Careful What You Teach, It Might Be Learned

– Brandon Williams Classroom Management with Engagement

– Matthew Williams A Comprehensive Guide to PRAXIS Music Test Preparation – Debbie Lynn Wolf If You Can Sing It, You Can Play it!

– Gregory Woodbridge Towards a Pedagogy. III: Assessing and Evaluating Creativity – Kim Yannon Towards a Pedagogy... II: A Creative Learning Community – Kim Yannon Teaching the Art of Music for Meaningful Student Assessment – David Zerull

PERFORMING ENSEMBLES - Ensembles in Alphabetical Order

BANDS John P. Stevens HS Wind Ensemble, NJ – Andrew DeNicola Montclair State University Wind Symphony, NJ

– Thomas McCauley Nassau-Suffolk Honor Band, NY – Mandy DeShrage North Hills High School Wind Ensemble, PA

– Leonard Lavelle

JANUARY 2017

Norwin High School Wind Ensemble, PA – Timothy Daniels Randolph High School Wind Ensemble, NJ – Dawn Russo Ridge High School Wind Ensemble, NJ – Daniel Zugale The Atlantic Brass Band, NJ – Michael Armstrong The College of New Jersey Wind Ensemble, NJ

– David Vickerman

27 TEMPO

2017 Eastern Division Conference CHOIRS Central Bucks High School East Select Choir, PA

– Christopher Villante Concordia Singers of the Nittany Valley Children’s Choir, PA

– Lou Ann Shafer East Brunswick High School Concert Choir, NJ

– Zachary Gates Haverford High School Chamber Singers, PA – Marsha Core Haverford High School Combined Choirs, PA – Marsha Core Indiana University of PA Chorale. PA – Ryan Beeken James I O’Neill High School Women’s Choir, NY

– Christopher Sheehan John P. Stevens High School A cappella Ensemble, NJ

– Matthew Lee Lower Dauphin High School Women’s Select Choir, PA

– Elizabeth Colpo Montclair State University Singers, NJ – Heather Buchanan North Andover High School Scarlet and Black Singers, MA

– Sara Durkin North Penn High School Chamber Singers, PA

– Matthew Klenk North Penn High School Women’s Choir, PA

– Matthew Klenk Temple University Concert Choir, PA – Paul Rardin University of Southern Maine Chamber Singers, ME

– Nicolas Dosman Wellesley High School Rice Street Singers, MA

– Kevin McDonald

ORCHESTRAS

East Brunswick High School Combined Chamber Orchestra, NJ – Arvin Gopal Harriton High School Chamber Ensemble, PA

– Jessica Villante Hershey Symphony Festival Strings, PA – Sandra Dackow John P. Stevens High School Chamber Orchestra, NJ

– Brian Verdi New Jersey Youth Orchestra, NJ – Jeffrey Grogan Pennbrook & Pennfield Middle Schools The P2 Select

String Ensemble, PA – David Pimentel Randolph Middle School Con Brio Select Orchestra, NJ

– Hsiao-Yu Lin Griggs SMALL ENSEMBLES Manalpan Englishtown Regional Schools ManalaPANS, NJ

– David Geltch Monroe Township Middle School Percussion Ensemble, NJ

– Yale Snyder S.E. Shull School Hot Marimba Group, NJ – John Gronert William Paterson University Hobart Trio, NJ

– Kathleen Butler-Hopkins William Paterson University Percussion Ensemble, NJ

– Jarvis Peter

JAZZ BANDS North Allegheny Jazz Ensemble I, PA – Todd Stefan Pennbrook Middle School Jazz Ensemble, PA – Peter Neu Penndale Middle School Jazz Ensemble, PA – Robert Kennedy The University of the Arts “Z” Big Band, PA

– Matthew Gallagher West Milford Township High School Jazz Ensemble, NJ

– Matt Gramata William Paterson University Jazz Orchestra, NJ

– David Demsey

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2017 Eastern Division Conference WORLD’S LARGEST ORGAN/SILENT MOVIE Wednesday Evening The largest pipe organ ever built, based on number of pipes, is the Boardwalk Hall Auditorium Organ in Atlantic City, New Jersey, built by the Midmer-Losh Organ Company between 1929 and 1932. The organ contains seven manuals, 449 ranks, 337 registers, and 33,114 pipes. It weighs approximately 150 tons.

Although the instrument has not been fully functional since the 1944 Great Atlantic Hurricane, the 15-20% that has recently become operational has begun to be heard for the first time publicly in many decades. The organ was played in September 2013 during the Miss America pageant, its first public performance in 40 years. Since May 2014, free half-hour noon concerts followed by free half-hour tours are offered Monday through Friday from May through October, excluding holidays. As of May 2015, in-depth “behind the scenes” tours are available weekly on Wednesdays at 10 a.m. throughout the year.

Both organs of the hall (the Ballroom features a 4/55 Kimball opus 7073) have begun to slowly return to the regular musical life of the building as their mechanical condition permits.

The current restoration project led by the Historic Organ Restoration Committee (HORC, a 501c3 organization) is a $16M project entirely funded by donations from the general public and charitable foundations and is scheduled to complete the restoration of both organs

by July 1, 2023. Since the inception of the project, 2014 is the first year that the restoration effort has been fully funded. The restoration effort focuses on the re-leathering of the entire instrument as well as the correction of damage to pipework and mechanical systems sustained from construction and water in the intervening years. The upper chambers (Fanfare, Echo, and String III divisions) had long been inaccessible due to the presence of asbestos, which has recently been removed.

HORC estimates that as much as 50% of the main organ may be operational by the summer of 2016 if the project continues to receive such favorable public reception and funding.

Steven Ball was named titular organist on July 1, 2013. As of March 26, 2015 HORC is conducting an international search for a full-time curator for both instruments. On September 1, 2015 Nathan Bryson became the fifth Curator of Organs at Boardwalk Hall. Full restoration of the organ is estimated to cost up to $13 million.

In September 1998, a part of the organ (the Right Stage chamber) was restored to playable condition. Afterwards, a recording session took place, which captured the organ’s record holders (the 64′ DiaphoneDulzian, and the 100″ Tuba Imperial and Grand Ophicleide). This was made possible by a $1.17 million grant from the New Jersey Sports and Exposition Authority, which was used to return the Right Stage Chamber of the Main Auditorium organ and the entire Ballroom (Kimball) Organ to playable condition.

Due to lack of planning and oversight and the carelessness of workmen during the renovation of the Boardwalk Hall, much damage was done to the organ. Pipes were removed, bent, and stepped on. (Organ pipes are made from soft alloys based on lead, so it is very easy to dent or crush them.) Windlines to various pipe chambers were cut, with no effort to identify the lines, nor any plans to re-route or repair them. The relay for the left stage chamber was cut out without regard to its restoration, and various switching and control cables were cut.

The 5-manual console connection was cut. Also, cement dust entered the switching contacts, magnets and the organ pipes. All this left the entire organ damaged and the Right Stage chamber, which was 98% operational in 1998, was completely disabled. The relay of the Ballroom Organ was also removed in a careless way, which rendered that organ unplayable as well. It has currently been returned to service and is now featured in an annual silent film series

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2017 Eastern Division Conference NEW YORK VOICES – Thursday Evening New York Voices marked their 25th Anniversaryin 2013 and they show no signs of slowing down. This critically acclaimed vocal group has refined their musical story to a high art. They are known for their close knit voicings, inspired arrangements and unparalleled vocal blend. Their chameleon-like musicianship allows them to move seamlessly from setting to setting, be it orchestral/big band to the intimate trio lineup. With deep interests rooted in jazz, Brazilian, R & B, classical, and pop, their music mixes traditional sensibilities with more than a dash of the unexpected. They are first call from great arrangers and conductors like Don Sebesky, Michael Abene, Keith Lockhart, and Rob Fisher who all know and admire the complexity of what they do and want something out of the ordinary, something extraordinary. Like the great jazz vocal groups that have come before — Lambert, Hendricks and Ross; Singers Unlimited, and The Manhattan Transfer — they are firmly a part of that legacy and are dedicated to passing it on to generations to come.

The anniversary year opened with the release of New York Voices Live with the WDR Big Band Cologne on Palmetto Records. This project is a collection of past favorites, current in-rotation tunes, and brand new arrangements. The Big Band charts were all done, except for one, by the incomparable Michael Abene, the producer of their debut CD on GRP. The WDR — the highly respected Big Band based in Cologne, Germany — pairs perfectly with NYV’s musicality and might. They closed 2013 with the much-anticipated and ravely reviewed Holiday project, Let it Snow. The recording is chock full of holiday favorites and a few lesser known gems presented in a wide variety of settings; a cappella, big band, orchestral and trio. Darmon Meader co produced it with the great Elliot Scheiner (also the producer of NYV’s studio big band CD, Sing, Sing, Sing). Jazz Times’ Scott Albin wrote, “Let it Snow is one of the best jazz-related Christmas CDs in many a year.”

Formed by Darmon Meader, Peter Eldridge, Kim Nazarian, Caprice Fox, and Sara Krieger, New York Voices had their first performances in 1988. Darmon, Peter, Kim, and Caprice attended Ithaca College in NY and were part of an invitational alumni group formed to tour the European Jazz Festival circuit in the summer of ‘86. In 1989 they would sign their first record deal with GRP Records and release their self titled debut album, New York Voices. The group received rave notices and quickly received domestic and international recognition in the jazz world. From ‘89 to ‘94, they released four CDs on the GRP label: New York Voices, Hearts of Fire, What’s Inside, and The Collection.

While recording for GRP, they underwent personnel changes. In 1992, Sara Krieger retired her chair, and after auditioning over 60 vocalists from all over the United States, the group found Lauren Kinhan. There was an immediate chemistry, allowing the group to make a quick transition and become the “new” New York Voices. Lauren’s first musical contributions can be heard on NYV’s third CD, What’s Inside, released in May 1993. In early 1994, Caprice Fox left the group, forever fixing NYV as the quartet it is today.

In addition to their own CDs, NYV has made many guest appearances on recordings and live performances that have earned them critical acclaim and demand in a variety of settings. You can find their performances on such CDs as the Grammy Award winning Count Basie Orchestra with New York Voices, Live at Manchester Craftsmen’s Guild (MCG Records), the Latin Grammy Award winning Brazilian Dreams with the great Paquito D’Rivera, the contemporary classical Visions Within (Robert Lepley EarthBeat Records), Heirs to Jobim (BMG Records), Don Sebesky’s, I Remember Bill (BMG), Jim Hall’s By Arrangement (Telarc), A Love Affair - the Music of Ivan Lins (TELARC), Louisiana Purchase (DRG), and many more. They have had the pleasure of TEMPO 30

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2017 Eastern Division Conference performing with a number of influential jazz artists including Ray Brown, Bobby McFerrin, Nancy Wilson, The Count Basie Orchestra, George Benson, Jon Hendricks, Annie Ross, The Manhattan Transfer, the Boston Pops, The Metropole Orchestra, Ivan Lins, Paquito D’Rivera, and many more.

In early 1997 they traveled down a different road, paying tribute to Paul Simon with New York Voices Sing the Songs of Paul Simon. They explored a variety of styles to express new turns on this singer/songwriter’s rich songbook. “All Music Guide” said, “The arrangements are brighter and brassier than Simon’s originals, but there’s a real charm to the performances that makes it a thoroughly entertaining experience.”

In 2001, New York Voices released their sixth CD, Sing, Sing, Sing. After many years of performing with the Count Basie Orchestra, the group wanted to address the great Big Band songbook and offer their own spin. With Darmon doing the lion’s share of the vocal and big band arrangements, they hired the producing talents of Elliot Scheiner to capture the music and mix it with his exquisite precision and ears. As reviewed by Don Heckman of the LA Times, “The title track quickly lays down what to expect from the balance of the program: complex, interwoven vocal lines, interactive improvising and brisk ensemble accompaniment. And revivalist swing fans -- both players and listeners -- would do well to check out the Voices’ capacity to bring a contemporary quality to classic material without sacrificing the essence of either.”

In the last eight years, the Pops Symphony culture has called upon them to develop programs. The Boston Pops knocked first and commissioned a few big band-style adaptations. Then a full-length holiday show followed that toured extensively in 2005. Finally, the Boston Pops got the Baby Boomer program started and the rest is history. NYV has added to all these programs over the years allowing them to dive into the gorgeous landscape of symphonic settings and build a new following of music appreciators. Janelle Gelfand of the Cincinnati Enquirer said, “The group’s incomparable blend, hip delivery and great arrangements resulted in one swinging party.

Their four-part harmonizing was so close, it was hard to tell where one voice ended and another began.”

2007 marked the release of their sixth studio CD, A Day Like This. They went back to their roots of mixing things up; Brazilian influences, swinging trio numbers and a couple big band romps.

They also included a handful of original songs from the members: that has always been a strong suit for this multi-talented ensemble.

All About Jazz LA said, “a sumptuous collection of vocal harmonic heaven... the vocals are a “Whitman’s Sampler” of various flavors and tastes, richer than a dark chocolate bon bon.”

NYV has traveled the globe with their elegant music, amazing audiences the world over with their impeccable voices and stunning arrangements. “Live, they’re just as impressive to witness,” says Mathew Lurrie of Time Out Chicago. “We dare say there may be no better way to understand the wit and wink of jazz harmony than via these Voices.”

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Along with their extensive concert performances and recording schedules, NYV also works in the field of education, giving workshops and clinics to high school and college music students throughout the world. In 2009, they opened the New York Voices- Bowling Green State University Vocal Jazz Camp. It is a wildly successful venture that admits students from all over the world at different ages and stages in their musical lives. NYV have cultivated a philosophy of teaching over their storied career and have designed a roster of electives that students choose from while also participating in one of four jazz choirs directed by one of the New York Voices and the all camp piece directed by Greg Jasperse. It is a six-day summer intensive that is instructive while also being personal and nurture based.

Individually, the four members are involved in a variety of projects including solo performances and recordings, teaching, writing and arranging. To learn more about NYV or the individual members, please visit Newyorkvoices.com.

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2017 Eastern Division Conference UNITED STATES AIR FORCE BAND & SINGING SERGEANTS – Friday Evening CONCERT BAND

The United States Air Force Concert Band is the premier symphonic wind ensemble of the United States Air Force.

Stationed at Joint Base Anacostia-Bolling in Washington, D.C., it is the largest of six musical ensembles that comprise The United States Air Force Band. Featuring 53 active duty Airmen musicians, the Concert Band performs throughout the United States via biannual tours, live radio, television and Internet broadcasts, as well as at local concerts across metropolitan Washington, D.C. Additionally, Concert Band members perform in smaller chamber ensembles at official military and civilian functions, education outreach events and local concert venues.

The Concert Band performs a wide variety of music ranging from classical transcriptions and original works to solo features, light classics, popular favorites and patriotic selections. Remaining true to the Air Force’s pioneering spirit, the ensemble is renowned as a champion of new works for band, with dozens of world premieres to its credit. It is in constant demand by many of the world’s most highly-respected professional musical organizations, including the American Bandmasters Association, Music Educators National Conference and The Midwest Clinic.

As part of The U.S. Air Force Band, the Concert Band honors those who have served, inspires American citizens to heightened patriotism and service, and positively impacts the global community on behalf of the U.S. Air Force and the United States. The excellence demonstrated by these Airmen musicians is a reflection of the excellence displayed by Airmen stationed around the globe. Each member is proud to represent all Airmen, whose selfless service and sacrifices ensure the freedoms we enjoy as citizens of the United States of America.

THE SINGING SERGEANTS

The Singing Sergeants is the official chorus of the United States Air Force. Stationed at Joint Base Anacostia-Bolling in Washington, D.C., the group is one of six musical ensembles that comprise The U.S. Air Force Band. Featuring 23 active duty Airmen musicians, the Singing Sergeants presents more than 200 performances annually performing a wide range of musical styles, from traditional Americana, opera, and choral standards to modern Broadway and jazz. The Singing Sergeants regularly perform with their instrumental combo and in smaller configurations, such as duets, Barbershop quartets and specialized musical ensembles, at military and civilian ceremonial and diplomatic functions, education outreach events and local concerts throughout metropolitan Washington, D.C. Originally formed as a men’s chorus in 1945 from the rank and file of The U.S. Army Air Forces Band, the Singing Sergeants became the first premier military chorus to integrate women in 1973. Today, the group’s members often perform for the Department of Defense and other high-level military and civilian functions, using music to bridge language and cultural differences and helping advance positive diplomatic relations through song. The chorus is regularly featured at regional and national music education conferences, including the American Choral Directors Association, the Music Educators National Conference and Chorus America. At varied venues, the Singing Sergeants reach a diverse audience with the beauty and power of music.

As part of The U.S. Air Force Band, the Singing Sergeants honors those who have served, inspires American citizens to heightened patriotism and service, and positively impacts the global community on behalf of the U.S. Air Force and the United States. The excellence demonstrated by these Airmen musicians is a reflection of the excellence displayed by Airmen stationed around the globe. Each member is proud to represent all Airmen, whose selfless service and sacrifices ensure the freedoms we enjoy as citizens of the United States of America.

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2017 Eastern Division Conference RITA MORENA – Keynote Speaker Rita Moreno is a Puetro Rican actress, of West Side Story (1961) fame, who throughout her career has broken new ground for Latinos in entertainment.

Synopsis Born Rosa Dolores Alverio on December 11, 1931, in Humacao, Puerto Rico, Rita Moreno is best known as Anita in West Side Story in 1961, a role that earned her an Oscar for Best Supporting Actress, making her the first Latina actress to win the honor.

Moreno also appeared on the children’s shows Sesame Street and The Electric Company, and is one of only 11 people to have received the four major entertainment honors— Emmy, Oscar, Tony and Grammy awards.

Early Life Born Rosa Dolores Alverio on December 11, 1931, in Humacao, Puerto Rico, Rita Moreno has broken new ground for Latinos in the field of entertainment throughout her career. Moreno began her career in show business at an early age. She appeared on Broadway and in her first film role in her early teens, and left school around the same time.

Career Highlights Moreno is perhaps best known for her work in West Side Story (1961), a modern musical inspired by Shakespeare’s Romeo and Juliet. A versatile performer, she had to sing, dance and handle very dramatic scenes during the course of the film. She won an Academy Award for best supporting actress for her portrayal of Anita, the tough but vulnerable girlfriend to the Sharks’s gang leader—becoming the first Hispanic actress to win a Best Supporting Actress Oscar.

After her success with West Side Story, Moreno took on a range of interesting roles on stage and in films. She performed with the likes of Marlon Brando, Jack Nicholson and James Garner. Her career took another interesting turn in the 1970s, when she joined the cast of The Electric Company, a children’s television program. She stayed with the program for six seasons and became known for her trademark catchphrase: “Hey, you guys.” She and the rest of the cast won a Grammy Award in 1972 for the show’s soundtrack.

Only a few years later, Moreno won a Tony Award (best featured actress in a play) for her work in Broadway’s The Ritz (1975). Accolades didn’t stop there for Moreno. She went on to win two Emmy awards for guest appearances on The Muppet Show (1977) and The Rockford Files (1978). She is one of only 11 people to have received the four major entertainment honors—Emmy, Tony, Oscar and Grammy awards (also known as the EGOT).

Moreno again impressed critics with her turn as a no-nonsense nun on the cable television series Oz from 1997 to 2003. Today, she continues to act in feature films, make guest appearances on television, and sing and perform in theatrical productions.

Personal Life Once romantically linked to Marlon Brando, Moreno married Leonard Gordon in 1965. The couple has a daughter, Fernanda, and two grandchildren. Her husband died in 2010 at the age of 90.

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2017 Eastern Division Conference How to Register for the 2017 Eastern Division Conference!

All Pre-registrations must be done online.

The links at the bottom of these directions will take you directly to the registration form.

To Pre-Register • You need to know the email address associated with your NAfME Membership • You need to know your NAfME ID Number • Once you log in the rest is simple, just fill in the fields and click on the events you

want to attend.

Payment There are three forms of payment. All three are listed under Payment Method.

You must click on the arrow to see all 3.

You may pay by: 1) Credit Card – Everything is done in one click. You will receive a confirmation at the email you

logged in with immediately after registering. You will receive nothing else until approximately 2 weeks before the Conference when you will receive an email with further instructions.

Pre-registration by credit card will remain open until April 3, 2017!

2) Check – Complete the form as indicated, print out the confirmation and send a check for the correct amount, made out to NJMEA, to:

NJMEA 1806 Hwy. 35, Ste. 201 Oakhurst, NJ 07755 Pre-registration by checks will end March 10, 2017. All checks must be Received no later than March, 15, 2017. You will receive an email approximately 2 weeks before the Conference with further instructions.

3) Purchase Orders – You MUST register online first. Choose the PO form of payment, print out the confirmation and have your school send the PO w/the confirmation to the above address.

Pre-registration by Purchase Orders will end February 1, 2017. All payment for PO’s must be received by April 1, 2017. NO purchase orders will be accepted after this date or on-site. You will receive an email approximately 2 weeks before the Conference with further instructions.

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2017 Eastern Division Conference Exception: The following MUST Pre-register by mail- First Year Teachers, Collegiate NonMembers, and Single Day Non Members. To be considered a First Year teacher you must: 1) have been a Collegiate NAfME Member in 2015-16, membership expiring June 30, 2016 and 2) be in your First year of teaching directly out of college, becoming a Regular NAfME Member after July 1, 2016.

You must follow this link to a paper registration form and mail it to: NJMEA 1806 Hwy. 35, Ste. 201 Oakhurst, NJ 07755 The Full Conference is Thursday, April 6 & Friday, April 7, 2017, with a Pre-Conference Day on Wednesday, April 5th. All Eastern Concerts end the Conference on Saturday, April 8, 2017.

The Full Conference price INCLUDES the Academies on Wednesday.

TO Pre-register for the Full Conference as an Active NAfME Member, a NAfME Collegiate member, a NAfME retired member or a non-member: Go to nafme-eastern.org Click on Pre-registration

TO Pre-register for a Single Day as a member, collegiate member, retired member or non-member: (You cannot attend on Wednesday only as it is the Pre-Conference ) Go to nafme-eastern.org/ Click on Preregistration for the fomr

2017 Fee Schedule

Registration Type

Pre-Registration

On-Site

Active NAfME Member

$180

$205

First Year Teacher

$130

$155

Collegiate NAfME Member

$50

$75

Retired NAfME Member

$75

$100

Single Day NAfME Member

$130

$130

Non-Member

$350

$375

Collegiate Non-Member

$100

$125

Single Non-Member

$250

$275

Family Members

$75

$75

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35 TEMPO

Discover your music potential!

Bachelor of Arts Degree in Music Certification K-12 Music • Outstanding Liberal Arts Program • Accredited by Middle States Association • Multidisciplinary Minor in Music Industry • Performance Opportunities – Wind Ensemble – University Chorale – Jazz, Woodwind and Percussion Ensembles – Popular Music Ensemble – Opera and Music Theatre • Marching Band (coming 2017)

your defining moment Program and Scholarship Auditions Available to majors and non-majors!

• Scholarship & Entrance Audition Saturday, February 25, 2017 • Marching Band Audition Limited scholarships available!

Saturday, February 11, 2017

UNDERGRADUATE OPEN HOUSE

APRIL 29, 2017 • 10:00 AM RSVP: caldwell.edu/rsvp

For information on the program and to schedule an audition contact Rebecca Vega at 973-618-3446 or rvega@caldwell.edu.

caldwell.edu

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EDUCATORS

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School purchase orders accepted

All of our friendly, knowledgeable representatives are easily reached via email and voicemail.

THE AREA’S LARGEST SELECTION OF INSTRUMENTS AND ACCESSORIES WITH TWO LOCATIONS TO SERVE YOU!

JANUARY 2017

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Focus on Arts Education Dig The Well Before You Need The Water: Advocacy AndYou! Nicholas Santoro NJMEA Advocacy Chairperson n31b13@gmail.com

T

he following is a loose transcript of a phone call I received a few years ago from an NJMEA member from South Jersey: Caller: Hi Mr. Santoro, this is XX XXXX from XXX School District. I just heard that the Board of Education will be discussing cutting our entire music program at tomorrow evening’s Board meeting, and I was wondering if you could attend the Board meeting as the Advocacy Chair of NJMEA and tell them that this is a bad idea.

The next 40 minutes was spent discussing strategies to use to deal with this grave situation, some of which I would like to share with you.

LIKE POLITICS, ALL ADVOCACY IS LOCAL

Advocacy is not something you do when there is a problem – it is something you do every minute of every day. The normal operation of your program, your interactions with fellow teachers, administration, parents, alumni and community all have an effect on your advocacy efforts.

Let’s start with your school. If you teach in an elementary school, you have an advantage in that you must interact with every staff member in your building. General Music teachers usually see every student in the school each week. Instrumental teachers will interact with fourth/fifth grade teachers, along with support staff. How you present yourself, especially when you have to deal with the daily road bumps of testing, assemblies, field trips, etc. will determine how those in your building view your pro-

gram. Most of the staff have no idea what you do in your classes –all they know is that you take their students while they are on their prep or in a team meeting, and that you will present a Spring Concert.

In middle school and high school, you may only see students who select to be in the music program or are with you for a cycle. You become more isolated from the rest of the faculty by the nature of your program and the location of your room (by the gym!). This will require you to get out of your room and become more than “the music person”. If the only time you are seen in the Main Office or Guidance Office is when you have a problem, then you have a problem.

Here are some strategies to consider to build an advocacy base in your building: • Offer a list of music vocabulary that you use at each grade level so the classroom teachers can add them to their WORD WALL • Offer to do a short presentation at a Faculty Meeting on what happens when they are on their Prep – use Boomwackers with the faculty – do a Drum Circle – sing a partner song – do a short lesson on how to count in 4/4 • Find out the musical background of those in your building, include the support staff • Find out if their children are involved in music.

• Ask your students if their parents have a background in music

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ADVOCACY IN THE DISTRICT

Most districts now have someone assigned to operate the website for the school and district. Many staff members have their own pages on the school website where they can post information on the happenings in their classroom. If your district has such a person, you should be in constant contact with them, passing along information and “good news” about your program. Do not wait for them to ask you what is happening – be proactive in getting the word out to the community. Include stories about your students who may be involved in school related musical activities. You can pass along quick emails announcing that “Christina has been selected to sing with the Rutgers Children’s Choir”. It should be more than putting a trophy on the counter in the Main Office.

I was fortunate to have been a Music & Art Supervisor in two districts where the arts were heavily supported. Even with that support, I and my staff had to be diligent in insuring that Central Office and the Board of Education were aware of everything that was happening in music and art. The Superintendents of each district knew that before any decision was made that might negatively affect the music program, they had to deal with the parents, and more importantly, the students in the program.

Regarding the phone call that began this article, I explained that no Board of Education or Central Administration would entertain comments made by an outsider about their district. They would not respond to staff speaking about saving their JANUARY 2017

Focus on Arts Education program (their job), but they would respond to parents speaking on how music and the arts have served their children. More importantly, Boards of Education would absolutely respond to students speaking about what their involvement in music has meant to their education. Unfortunately, if the only time parents and students appear at a Board meeting is when there is a problem, then it may be too late. A constant presence of parents and students trumpeting the wonderful happenings of the program just might stall any thought of program cuts before they get to a Board meeting. There is a district in South Jersey where a group of Band Parents attend EVERY Board meeting in their red Band shirts. They sit in the back of the room and the Central Office and Board members are aware of their presence – very powerful. At each level, you could offer to bring a three minute performance to start a Board Meeting – third grade recorder ensemble, music tech project, vocal quartet, All-State students.

If the district supports an activity, have students attend a Board meeting to publicly thank the Board for their support. In addition, have students send thank you notes to Central Office and the Board for their support of an activity. If a Board member attends a performance, make sure you acknowledge them at the performance (if possible) and with a hand written note.

ADVOCACY IN THE COMMUNITY

Your presence in the community will also yield positive results. Here are some ideas: • Have a group of elementary school students sing for the Senior Citizens meeting • Provide music during voting for the school budget • Provide music for the Tree Lighting.

• Offer to send small ensembles to perform at local service organization meetings..

• Keep in touch with alumni and have them at the ready.

• Invite alumni to speak at a Board JANUARY 2017

meeting on how their participation in music positively affected them in college.

• Send invitations and comp tickets to real estate offices for concerts and school musicals • Keep your district-approved web site up to date – people who are researching your district will visit RESOURCES

New Jersey is fortunate to have the New Jersey Arts Education Partnership as the official Advocacy organization for the arts

community. I serve on the Steering Committee for the Partnership, along with representatives from the other arts education organizations (visual art, theatre, dance) and other major organizations such as the State Council on the Arts, various County Arts Agencies, NJPAC, Young Audiences, NJ Principals and Supervisors Association and the NJ Symphony. The Partnership has tremendous resources for your use on their website www.artsednj.org. Please refer to other articles in this issue of TEMPO for more information on the NJAEP and the resources available.

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Focus on Arts Education Arts Ed Now: A Call To Action Kira Campo, Program Development Manager Kristin Wenger, Director, NJ Arts Education Partnership

N

ew Jersey’s Arts Ed Now campaign officially launched on September 12, 2016 during national Arts in Education Week. Presented by the New Jersey Arts Education Partnership (NJAEP), NJ State Council on the Arts, the Geraldine R. Dodge Foundation, and Americans for the Arts, Arts Ed Now is a multi-year campaign designed to increase participation in arts education in schools across New Jersey. Much like New Jersey’s previous statewide arts advocacy campaign, ARTS FOR EVERYKID, which was launched in the early 1990’s, Arts Ed Now is designed to furnish individuals with tools to advocate more effectively. The campaign message, active creative learning is good for all students and good for New Jersey, is meant to underscore the importance of arts education to our lives, and, in particular, the lives of New Jersey’s youth.

Studies show that students who participate in arts education do better in school and in life. The longer students are engaged in arts education, the better the outcomes are overall. To heighten the outcomes in New Jersey, Arts Ed Now is focused on increasing participation in every school in the state. Unfortunately, not all NJ students have the same access to arts education to be able to participate at high levels – or increase existing participation. Despite state education standards, many schools lag behind in offering all four disciplines of dance, music, theater and visual arts.

To achieve better results, the campaign set the following goals by year 2020:

• All NJ students will have access to arts education • Increase the number of schools providing more than two art forms • Increase arts participation in elementary and middle schools to 100%

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• Increase participation in high schools to 60% • Increase school engagement with community resources • Develop a statewide network of local stakeholders

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Focus on Arts Education Ambassadors are encouraged to learn more and download campaign materials on the website ArtsEdNow.org. Arts education advocates are also encouraged to contribute to the Arts Ed Now Facebook Group. Printed materials are also available for anyone who wants to launch Arts Ed Now in their school, organization, or community. Campaign stickers, posters and fact sheets can be requested by emailing info@socialimpactstudios.com The website is designed as an activation hub for everyone involved in promoting the campaign. Visitors to the site can see how their school stacks up in providing arts education and get active right away in the campaign. Practical tools on the site can help ambassadors raise awareness, change policy or create their own local campaign to make change. Colorful infographics and memes can be easily downloaded and shared. In addition, the website also features a collection of stories and ambassador profiles, with examples that highlight actions taken by Local Heroes to promote the campaign.

This collection, while already inspiring, will grow as the campaign grows, to reflect the many ways in which teachers, parents, students, administrators, and other community leaders show support for Arts Ed Now. “So many arts advocates across the state are already doing great work to increase participation in the arts,” said Bob Morrison, Director NJAEP. “We want to highlight those efforts and build on them to reach new potential advocates, who will be able to become strong local ambassadors with the help of Arts Ed Now.” Social media channels served a key role in the campaign launch, and will remain a vital part of the campaign strategy. By the end of campaign launch week, the total social media reach for campaign activity was more than 4 million unique viewers with over 14 million timeline deliveries. Since launch week the hashtag #ARTSEDNOW continues to be shared daily, and ambassadors are encouraged to participate through social media by sharing in new themes monthly.

Check out the latest right here: http://artsednow.org/arts-ed-now/ The launch of Arts Ed Now was truly a statewide effort, with ambassadors throughout New Jersey taking part in the celebration.

With support from individuals and organizations, who embraced and promoted the campaign goals as their own, the impact of the launch was significant in both breadth and depth. Additional partners of the campaign include: Art Educators of New Jersey, ArtPride NJ, Dance NJ, NJ Department of Education, NJ Music Educators Association, NJ Principals & Supervisors Association/Foundation for Educational Administration, Speech & Theatre Assoc. of NJ, and creative partner Social Impact Studios. Additional partners include the Education Law Center, New Jersey Education Association, New Jersey School Boards Association and the New Jersey PTA. NJTV is a campaign media partner.

The considerable support Arts Ed Now has received to date is timely. A poll conducted by the Eagleton Center for Public Interest Polling at Rutgers University in September revealed that 95% of New Jersey residents believe that arts education is important for JANUARY 2017

K-12 students. However, only 30% of residents have taken an action to support arts education in the schools. This disconnect speaks to the need for a statewide campaign that can assist all citizens in New Jersey to advocate more frequently and more effectively.

More info can be found here: http://artsednow.org/new-eagleton-poll-shows-statewide-support-arts-education/#more-6192 Here are some specific action steps you can take: • Communicate with parents about the campaign and its goals.

Explain how your school or district is participating and invite them to explore the website. www.ArtsEdNow.org.

• Participate in the “Yesterday an arts student…” and invite students to participate in the “Today an arts student…” collection on social media.

Tip: Download the sign. Take and share photos. Follow along with the hashtag #ArtsEdNow. • Add Arts Ed Now to your own social media to connect it with your work. Make sure to include the hashtag #ArtsEdNow. • Hold a flash mob/pep rally at your school to engage students in the campaign. This could be virtual if you have an active online presence. Timed “Tweet-a-thons” are a great way to engage people who use Twitter.

• Include ArtsEdNow factoids and infographics in concert programs.

• Engage Tri-M Honors Society members to create localized ArtsEdNow activities and/or incorporate ArtsEdNow into existing activities and events.

• Host a “pizza night” to engage parents and students in the campaign. Workshop how people can use www.ArtsEdNow. org to become an active advocate.

• Make local versions of the Arts Ed Now logo and include in your own materials.

• Put an “ad” on your website and in materials to promote Arts Ed Now. Encourage people to explore resources and tools on the website www.ArtsEdNow.org • Use the “meme” graphics to celebrate arts teachers on social media.

Include #ArtsEdNow and link to the website www.

ArtsEdNow.org.

Tip: Great if you want to send a shoutout on Social Media!

• Get printed stickers, posters and fact sheets mailed directly to you.

Request materials at info@socialimpactstudios.com • Join the Arts Ed Now Facebook Group to contribute your ideas and connect with other ambassadors.

Active creative learning is good for all students and good for New Jersey. LET’S DO MORE.

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Focus on Arts Education

The Impact Of The New Jersey Arts Education Partnership: 10 Years In The Making!

Kira Campo, Program Development Manager Kristin Wenger, Director, NJ Arts Education Partnership

2017

marks the 10th Anniversary of the New Jersey Arts Education Partnership (NJAEP). It seemed fitting that we reflect on the work of the organization, its impact and the road ahead.

In March 2004 the New Jersey State Council on the Arts (NJSCA) hosted the Arts Education Summit Meeting, Creating a Strong Voice for Arts Education Advocacy in NJ, providing a forum for a creative and collaborative dialogue among representatives of the arts and education communities.

Discussions included: the current landscape of and resources for arts education; the challenges for the field; an examination of different, successful models for arts and education advocacy and the need to build consensus on next steps.

Many of the same representatives, including the Department of Education, the Geraldine R. Dodge Foundation and Arts Education Professional associations, came together in July 2004 under the umbrella of Arts Plan NJ through the Arts Education Working Group and theme team. The Group reinforced the work that came out of the Arts Education Advocacy Summit.

In its final report, the Working Group pointed to major progress on a number of fronts: the Core Curriculum Content Standards (CCCS) in the Visual and Performing Arts adopted as a mandate; high school graduation requirements include a credit requirement in the arts; the state has defined the arts as dance, music, theatre and visual arts and has identified specific licensing requirements in each of the arts disciplines; and professional development requirements for both teachers and administrators in all of the core curriculum content areas.

The Group drafted new objectives to address current conditions, needs and opportunities and decided to continue the commu-

nication and collaboration and to address the key issues identified.

Following a year of meetings, dialogue and documentation and the prospect of more information to come from the NJ Arts Education Census project, the Group took the next step to coalesce an arts education advocacy platform in New Jersey.

The New Jersey Arts Education Partnership was developed during 2006 and officially launched in September 2007. The creation of NJAEP produced great enthusiasm from the field and moved it forward with a true sense of purpose and ambition.

The mission of the New Jersey Arts Education Partnership is to provide a unified voice for a diverse group of constituents who agree on the educational benefits and impact of the arts, specifically the contribution they make to student achievement and a civilized, sustainable society.

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Focus on Arts Education

This mission is carried out by developing a clearinghouse for information and best practices, providing opportunities for people to come together on topics of interest and initiating advocacy opportunities to effect public information and policy on arts education issues.

The Partnership is the unifying organization and central resource for arts education information, policy and advocacy in New Jersey.

The New Jersey Arts Education Partnership is designed as a statewide arts education advocacy model for the 21st century bringing together stakeholders and applying new technologies and communication strategies with “best practices” to create a vibrant and valued organization to advance arts education in New Jersey.

The good news is, arts education has a very strong foothold in the state of New Jersey. In 1996 the State Board of Education adopted the first set of Core Curriculum Content Standards (CCCS) in the arts.

In short, districts are expected to provide opportunities for learning in four arts disciplines: dance, music, theater, and visual arts through sequential arts instruction provided by qualified teachers from grades K-12.

In 2007, the NJAEP was established as a cosponsored project of the Department of Education, the Geraldine R. Dodge Foundation and the New Jersey State Council on the Arts to ensure access to the arts for all students and that these standards were thoroughly understood, and implemented throughout the state.

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Since that time we have: • Conducted exhaustive research documenting arts education in every school, including: * 3 statewide school by school census reports (2007, 2012 and 2017), which led to the restoration of arts education programs for some 75,000 students. The third census will be released in 2017; * Added the arts to the NJ School Performance Reports and created interactive Arts Education Report Cards (2014/2015); • Disseminated that research widely; • Protected Arts Education as a core subject in the New Jersey Core Curriculum Content Standards; • Facilitated the revision of the NJ Visual and Performing Arts Standards (2009); • Coordinated process to pass grade weighting legislation mandating that the arts are weighted equally with other subject areas; • Included the arts as part of the information used to determine the top high schools used by both New Jersey Monthly and Inside New Jersey Magazines; Facilitated the Visual and Performing Arts Education Standards revision process; • Conducted annual school board candidate surveys on arts education; • Strengthened local arts education programs through direct support services; • Identified Model Schools in the Arts; • Became a central clearinghouse of information for all arts education resources and services in New Jersey; • Worked closely with a diverse group of stakeholders, all of whom uphold arts education for New Jersey’s children as a critical part of their mission and expanded relationships with all key statewide education groups; • Became the presenting organization

for the Governor’s Awards in Arts Education; • Provided professional development for teachers and school administrators; • Launched the ARTS ED NOW campaign reaching over 4 million in the first week; • Became part of the Americans for the Arts State Policy Pilot Program with nine other states.

What does this mean? NJAEP has a very clear, very detailed understanding of the status of arts education in New Jersey – the trends, the opportunities, the obstacles, and the potential for our schools and students. NJAEP has worked tirelessly to understand the arts education landscape, and has become the leading expert in this field.

Moreover, New Jersey is one of the top states in the nation with comprehensive data on arts education in our schools. This is due in large part to the work undertaken and executed by NJAEP. NJMEA has been part of the NJAEP since the beginning and continues to be a essential part of the work. Please join the conversation by visiting the artsednj.org website, like us on Facebook, sign up for our monthly newsletter and join ArtsEdNow.org.

The New Jersey Arts Education Partnership (NJAEP) is the unified voice for arts education in New Jersey. NJAEP was originally founded in 2007 as a cosponsored program of the New Jersey State Council on the Arts, with additional support from the Geraldine R. Dodge Foundation, New Jersey Department of Education and Music for All Foundation. The Prudential Foundation, and ArtPride New Jersey Foundation have provided additional support. The mission of the NJAEP is to provide a unified voice for a diverse group of constituents who agree on the educational benefits and impact of the arts, specifically the contribution they make to student achievement and a civilized, sustainable society. Additional information is available at www.artsednj.org.

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Focus on Arts Education The Census Is Coming, The Census Is Coming!

Bob Morrison Director, NJ Arts Education Partnership

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he New Jersey Arts Education Census for the 2015/2016 school year will be released later this year as part of the 2017 Arts Education Summit to be held in September of 2017.

This will be the third Arts Education Census report in a cycle of reporting that started with the 2005/2006 school year and was repeated with the 2010/2011 school year. This fiveyear cycle of reporting is now used to augment the School Performance Report data released annually starting in 2014.

For the 2015/2016 Arts Education Census, 99.1% of the nearly 2,400 public and charter schools in the state participated in the project.

The release of the new Arts Education Census this year will include new ways to interact with the data.

In addition to the summary report of the findings the data for individual schools will be presented in a infographic dashboard to allow individuals to interact with school level information on items such as time of instruction, per-pupil arts spending, course offerings, policies, teacher professional development and connections to community cultural organizations.

The new Arts Education Census will also shepherd in a new version of the Model Schools in Arts Education Project as we look for ways to celebrate schools and communities where arts education is flourishing but also celebrate schools making progress

toward strengthening programs. We will be sharing more details about this program in the coming months.

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45 TEMPO

Google: Music Teacher Tips & Tricks Marjorie LoPresti 732-613-6969 marjorielopresti@gmail.com

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o many music educators are harnessing the power of Google Tools for organization, collaboration, student engagement, and assessment. Gmail, Drive, Calendar, Forms, Sheets, and Slides have transformed the way we work and share information. Some teachers are creating Sites (websites), and have YouTube channels. A large number of school districts have embraced Google, and are providing teachers with Google Classroom for blended learning and organization. While Classroom is a subscription-based service that your district must sponsor, Google is constantly adding and updating free features, and has some “experiments” available for trial. Here are a few tips and tricks that may help with your classroom, at zero cost to you.

Google Drive Students can use almost any phone, tablet or Chromebook to record performances. For assessment purposes, students can record audio and/or video of themselves and share it with you via Google Drive. No emailing and downloading files is necessary, and each file has an automatic timestamp of when it was shared. Many middle and high school choral and instrumental teachers are using this method to check student progress and for assessment. Students can make the recordings during school or at home. As the teacher, be sure to set parameters to make sure that students are giving an authentic performance, such as including an audible metronome, tuning the instrument, and that the camera angle includes fingering, bowing, or body posture.

Google Forms = Online Quizzes Google Forms is an amazing tool for gathering information or creating surveys. If you have never created a Form for students using Google, the quiz feature is a great reason to to give it a try. When creating a Form, click on the cog to get the settings menu and make it a quiz.

After entering questions, click “answer key” at the bottom of the screen. You provide correct answers, and add feedback about why

that answer is the best choice. Importantly for music educators, you can add audio, which is hard to find in an online quiz maker. Save the audio clips to Google Drive, then link the audio in the question.

The quiz taker will get a new tab in which to listen to the clip before answering. Like all Google Forms, once results are in, you have the option to review one quiz at a time, or to have Google generate a spreadsheet of results.

Google Doodle Archive Simply search “google doodle archive” or go to https://www. google.com/doodles/. All of the previous Google Doodles, including interactive activities will be at your fingertips. Searching “theremin” brings up Clara Rockmore and an online interactive theremin. Among the results for “guitar” is Les Paul, and an on-screen strummable guitar. “Piano” brings up Bartolomeo Cristofori with an animation of the action inside a piano. Searching for “synthesizer” brings up an on-screen miniMoog and recording tool in honor of Bob Moog. All of the games are available too, in case you missed the addictive Halloween cat game!

Google Cultural Institute Google Arts & Culture The Google Cultural Institute is still in beta (testing phase), but it promises to bring museums and performances to everyone through the web. By navigating to https://www.google.com/culturalinstitute/ beta/project/performing-arts, an array of world-class performances are a click away. Current offerings include a backstage tour of the Sydney Opera House, dance, jazz, and classical music performances.

There are links to resources including the sheet music collection of the British Museum and music from around the world. As with all things Google, expect this library or resources to continue to grow.

Online Music Making JAM with Chrome JAM with Chrome is an interactive web application that allows friends in different locations to play music together in real time

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through their Chrome browser, making it an ideal tool for teachers with access to Chromebooks. Users can choose from one of 19 instruments and up to 4 people can JAM together in a session.

Chrome Music Lab (Chrome Experiment) Chrome Music Lab was developed for Music In Our Schools Month. It’s a collection of simple online apps that let anyone of any age explore how music works. As collaborations between musicians and coders, they include open-source code and use web audio. Users may encounter some flaws, since it’s an “experiment”--not a fully tested app. Some aspects are not working properly as of this writing, and there are errors including a Circle of Fifths that names D# Major and c minor as equivalent. The apps themselves are more appropriate for elementary and middle school students. Older students may find the visual explanation of harmonics, the jumping oscillators, and piano roll useful as a starting place. For some fun, try the voice spinner--record clips into the interface, and run them faster, slower, or backwards.

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Great Day With Denise Gagne!

Amy Burns Far Hills Country Day School aburns@fhcds.org

Denise began her workshop with warm-ups for the body and voice. She demonstrated her app, Vocal Warm-ups for Singers or Choir (https:// itunes.apple.com/us/app/vocal-warm-ups-forsingers/id597200553?mt=8). This is a great app for any singer or chorus from elementary to college. My favorite aspect of this app is that there is always one jazz warm-up with each set of warm-ups listed in the app.

Denise then spoke about the Sub Tub that she is creating and will be available for sale next year. It will include games, manipulatives, etc, for those days that you are unexpectedly out and need to leave quick plans. This sub tub will have numerous materials that can be used at any time of the school year.

Figure 1: Photo by Jennifer Spence

T

his past October, the Elementary Division of the North Jersey School of Music Association (NJSMA) held a workshop that featured music educator, author, and clinician, Denise Gagne. Many of us have used several of Denise’s materials from Musicplay to her recorder materials, to her apps, to so much more (http://shop.musicplaytext.ihoststores.com/default. aspx). She has a plethora of early childhood and elementary materials for the music classroom that are student-tested and work well for any classroom environment. Recently, Denise launched Musicplay Online (http://musicplayonline.com/), which is an amazing supplemental website for the Musicplay curriculum. She has placed audio files, manipulatives, pdf files of items for download, videos, music creation activities, interactive instruments, and more, on this website. This website is subscription-based; however, if you attend her workshops, she gives you a three-month subscription for free.

Finally, when I attend a Denise Gagne workshop, I love that she never presents the same workshop twice. She always switches it up and keeps it fresh. As a presenter, I greatly admire that, as it is very tough to do!

Musicplay PreK Part 1 Fall Denise introduced her new, student-tested, Musicplay PreK curriculum (http://shop.musicplaytext.ihoststores.com/category. aspx?categoryID=119). She demonstrated some great activities such as, “Three Little Monkeys” to emphasize high and low sounds; “Monkeys” to emphasize actions and can be advanced to include partners; “Let’s Play Instruments” to pass out instruments in a 7/8 meter; and so much more! She has many songs that have the students experiencing the steady beat, high and low sounds, loud and quiet sounds, and fast and slow. Her book comes with the CD and the digital resources. I downloaded them all after the workshop and was thrilled to find videos of her with the PreK students performing many of her activities. This assists the teacher with learning how to accurately teach and perform the songs found in the book.

Teach Music Reading With Boomwhackers Denise showed her resource, Teaching Music Reading With Boomwhackers (http://shop.musicplaytext.ihoststores.com/productinfo.aspx?productid=345). This book is very unique because there are not many boomwhacker resource books where the goal is to teach music reading. Denise uses a sequential process to take your students in grades two to five through learning 55 musical examples. Denise tested these activities with third graders and had great success with them. During the workshop, we thoroughly enjoyed her boomwhacker rendition of “Chop Sticks.”

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Recorder Resources Denise has many resources for the recorder such as The Complete Recorder Resource Kits (http://shop.musicplaytext.ihoststores. com/category.aspx?categoryID=52). Her recorder materials cover a great range from beginner to advance using traditional to original materials. She also has very affordable apps for students to use at home. During the workshop, we performed some examples from the apps, Learn & Play Recorder Volume 1 (https://itunes.apple.com/ us/app/learn-and-play-recorder/id543660617?mt=8) and Learn and Play Recorder Volume 2 (https://itunes.apple.com/us/app/learn-andplay-recorder-2/id850408047?mt=8).

The Two Ukes Throughout the day, we enjoyed performances by The Two Ukes, who are Jody Adessa and Casey Goryeb. Jody and Casey are two NJ music educators who on top of teaching, arrange and play music at local venues. They are quite talented as their harmonies and singing voices blended together beautifully. In addition, they changed from ukuleles to banjos to give a different sound and feel.

Activities Denise had us up and moving throughout the entire day. When we finished, we were exhausted in the best way possible. We had learned so many new dances and activities for our students, as well as reviewed many favorite songs.

The Two Ukes; photo by Jennifer Spence

Copeland Grade Six Orff Ensemble Directed By Ardith Collins

Webinar Of Highlights I created a one-hour webinar of highlights from this day that was offered for 1 PD credit for elementary NJ music educators this past fall/winter. For those who are NJMEA/NAfME members, if you watch the webinar and write-up a summary, you can receive 1 hour of PD. Please email me at aburns@fhcds.org if you missed the chance to view the webinar and I will send you the link.

Copeland Grade Six Orff Ensemble photo by Jennifer Spence

This ensemble was a fantastic group of sixth grade general music students performing numerous selections that showed the students singing, performing on instruments, and moving to music. I loved the versatility of these students as they switched instruments during the song selections and took great care in listening to each other. They performed with a beautiful balance as well with good enthusiasm. Congratulations to Ardith and her fabulous sixth graders!

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Conclusion The entire day was inspirational! I personally thank Chair Lisa Ludwig Wichman, who made the day flow so smoothly. In addition, great thanks to Carol Richardi -Co-Chair/Registrar, Jodie Trappe Adessa, Karen Andruska, Laurie Arslanyan, Ken Barry, Emma Brondolo, JP Butcher, Kiera Casper Chiarino, Debbie Cicchino, Ardith Collins, Nicolette Corrado, Anna Maria Ferrone, Catherine Flynn, Rachel Fountain, Casey Goryeb, Kim Kanefke, Rebecca Jacobsen, Irene Tsotsoros Lahr, Deborah Norris Mello, Glennis Patterson, Tara Ann Postigo, Katy Ann Reiser, Mark Richardson, Donna Fiorito SanGiovanni, Jennifer Drechen Spence, Christine Reda-Sulling, Kelly Lydon Wisneski, and so many more who made this day happen.

Finally, a huge thank you to Denise Gagne. She inspires and shows all of us through her work that we need to keep teaching music to young children because it makes a great difference in their lives!

Amy M. Burns (aburns@fhcds.org) has taught PreK-grade 4 general music for 20 years at Far Hills Country Day School. She has authored 3 books on how to integrate tech into the elementary music classroom. She has presented many sessions on the topic, including 2 keynote addresses in TX and AU. She is the recipient of the TI:ME Teacher of the Year, NJ Master Music Teacher, & Governor’s Leader in Arts Education Awards.

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A Conversation With Argine Safari NJ 2017 Teacher of the Year Marjorie LoPresti 732-613-6969 marjorielopresti@gmail.com

A

rgine Safari teaches vocal music at Pascack Valley High School.

In addition to her role teaching choirs and music theory, Argine is an accomplished conductor, pianist, vocal coach, and clinician. NJMEA could not be prouder to have one of our own representing and advocating for all New Jersey educators and their students as New Jersey State Teacher of the Year. In addition to receiving a six-month paid sabbatical, use of a rental car for official travel, a new laptop, and a Smartboard, Argine has been nominated for 2017 National Teacher of the Year.

Recently, Argine generously made time for an extended conversation about what makes the difference for her as a music educator, and how she makes a huge impact on her students and colleagues.

ML: In your acceptance speech in Trenton, you spoke about the impact that seeing a performance of La Traviata with Placido Domingo had on you. How old were you then? Was that the moment when you got hooked on vocal music?

AS: Absolutely. I was 13 years old. I cannot ever forget the feelings, the emotions that I felt when I first saw La Traviata. And the acting, the singing, were just superb. I think what helped the experience was just that--the quality of the performance. It’s not just about listening to any music, but listening to a masterpiece of music performed by top-notch performers. I think the combination of all of that plus the acting is an incredible experience.

ML: You described that moment at the opera as being filled with awe and wonder. How do you pass that on to your students?

AS: There are three things that I really make sure that I share with my students to help create a special atmosphere: • Big masterpieces--real music that is not only well written but meaningful in many ways--historically, or by great composers.

• I show them quality performances--things that they probably don’t get to see or hear on their own. Teenagers these days don’t

really turn on the radio and listen to opera or symphonic music, or anything like that, but they don’t know what they’re missing out on. That’s one thing I try to open the doors on, so they can hear real music, and masterpieces they are missing out on.

• I always prepare the students to hear the performance by making a connection to what they know and feel passionate about already. I always tell them what the story is about, who the composer is, and a little story from the composer’s life. I use anything like that to get them hooked and make a connection with them.

When students hear a performance like that because you created a special atmosphere, it has a lasting impact.

Right now, for instance, I’m collaborating with the English and Theatre teachers on Romeo & Juliet. When I heard that the Metropolitan Opera is doing a new production of Gounod’s Romeo & Juliette with world class performers, I knew I had to do this crossdisciplinary project! We hope to craft something really special for the students by making connections between Romeo & Juliet and West Side Story so the students can relate to it. The theatre class will perform some of the original Shakespeare Romeo & Juliet, and my students will perform some of West Side Story. In addition, there will be a workshop and a master class with the professional tenor James Valenti. The project will culminate with a trip to the Met to see the performance of the Gounod Romeo & Juliette featuring Diana Damrau and Vittorio Grigolio. I think it’s the projects like this that get the kids hooked: they get the connection and they feel it, and all preparation also gets them ready to handle an opera in five acts.

Most importantly, the connections they make along the way make the whole project come to life and leave a lasting impression.

ML: Your resume shows that you were a devoted music student in Armenia, then went on to conservatory in Moscow. But then you ended up in Brooklyn and got a business degree. Tell me the story of how you came to America, and where the business degree fit in. Or did it?

AS: When I emigrated, I was in the middle of a doctorate and had a young child. Things happened really fast. Everyone around me was telling me I was crazy for wanting to do music. Not that I was really influenced by the people around me that much, but I knew that I needed to improve my language skills. Being someone who wants to get the best opportunities out of whatever I do, I decided to go to college and study language. I was always taught to finish what I started, so getting a degree came logically. Everyone was talking about finance, business, and management, and I was good at that. While I was in school, I started music gigs at night--teaching privately, play-

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ing shows and conducting. After graduating from college, I got several offers. I worked in insurance, as a financial advisor, and on Wall Street. That was a blessing, because I realized how much I hated it. I wanted to get back to music, what I really love doing.

ML: How does your background impact your students?

AS: I’m really very social and open, but I don’t like to talk about my past that much.

It could be that I always felt like an outsider, having been a refugee. I only bring my experience into the classroom when I feel it will benefit the teaching or to inspire students.

I try to help them see they have all these opportunities in front of them and they should work their hardest to achieve what they want and to pursue their dreams. I made lots of mistakes, but that’s what made my journey of finding myself so powerful and profound.

ML: Were there any teachers or other mentors who inspired you?

AS: I don’t know where I would be now without those teachers, and I had quite a few. My biggest and first inspiration was from when I was freshman, in music college in Armenia. My harmony and ear-training teacher saw something in me that I didn’t see in myself. I was a music theory major.

She told me that I was somebody special, and pushed me so far. I wrote an extensive paper on the historical significance and development of “prelude” as a musical form.

From that time on, she had extremely high expectations of me and gave me different assignments from the other students. That was the moment that I knew I had to do something more, go that extra mile, and push myself farther. She never stopped talking about me as an example to other students and teachers. It was because of her that I applied to the conservatory in Moscow. She really believed in me.

In Moscow, I had tremendous professors. My piano professor was so dedicated to her students, and was there day and night.

My musicology professor and I are still in touch. She invited me to be the keynote speaker at the conference at the Moscow Conservatory this past February. I was the only representative from the United States.

It was quite an honor. She is a world-renowned musicologist who has written hundreds of books and publications, and she’s a tough cookie. While I was in conservatory, I got married and had my daughter. A week JANUARY 2017

after my daughter was born, she called me to congratulate me and to confirm an appointment by saying, “I’ll see you tomorrow with 15 more pages.” I was working on my doctorate at the time. There were no excuses with her, and she pushed me so hard. At the same time, she would constantly admire her students. She would be the first one to tell you how wonderful you are and how much she wanted to be a student in your class.

How cool is that? After my presentation in February, she took my hands and told me again how much she would like to be a student in my class. My eyes were full of tears-this was the teacher I aspired to be. She was always there for her students throughout their lives by phone or by email, no matter how busy she was. She was a teacher I always adored, and who now is asking for my advice, my opinions.

ML: What did you learn about how to be that kind of teacher for your students?

AS: I think the role of the teacher is to help students find that special quality within themselves. So many times we see students in our classrooms who are shy, don’t believe in themselves, don’t believe that they are able to do anything special. It is our job to find that special talent in each one of them. Just like Michaelangelo said when he was carving the marble to let the “David” out. The statue was in there the whole time. I wouldn’t have the courage or drive to do this for my students if my teachers did not do this for me. Talking in today’s terms, having different expectations for each student based on individual talents and needs is aligned with differentiation. Some students need higher expectations, and others need you to not push too hard that they shy away.

ML: You seem to have boundless energy. How do you recharge?

AS: I never really felt the need to recharge, but there are times that I’m super exhausted; like at the end of a day or after a concert, when you feel you’ve accomplished something. The tiredness comes up on you after the stress and exhilaration of a concert or big performance. I usually sit down, think through the day, each moment, the excitement, to live in that moment a bit longer, and recapture that energy. If something doesn’t go so well, I do the same thing to analyze it and plan for positive results after a negative experience, finding what I can learn and what my students can learn.

ML: What advice do you have for other teachers who are looking for ways to connect with their students better?

AS: For me, the first step to engage with my students is to get to know the students, their worries, their dreams, their fears, their aspirations. When I know my students better, I can help them better. A big concern for our profession is that so many people are not comfortable getting on stage and performing. We need to instill in our students positive energy and positive thinking about themselves by knowing more about them and understanding them better. We have an advantage. Not every teacher in other academic areas has the same wonderful opportunities with the students that we have, like in after school rehearsals, concerts, and field trips. We get to see our students in a completely different light. Most of the time, we get kids who want to be in our classrooms. This gives us an advantage in getting to know them better so we can help them better.

My second piece of advice is to absolutely never give up. To absolutely believe in the kid who we think may not be able to accomplish certain things, at least not yet. Believe that they still have a chance.

You never know how you are affecting this kid. Have higher expectations than students have for themselves and make them believe in themselves. You never know how much they might be able to do. It’s hard because you have so many kids in your classroom and you’re trying to get to know and accommodate every kid. But we shouldn’t predetermine how far they can go.

Teachers in our field have the added challenges of maintaining our programs, with funding and making sure that students get scheduled properly. The main focus and main concern for us is to help every child develop and find their own voice, believe in themselves, and help open doors so they see that there are so many opportunities. We need to stay focused and consistent, even when there are schedule conflicts and students don’t show up for rehearsal. Don’t ever believe that your program is an afterthought or not important. Keep that passion of music going. That’s the one thing that keeps me going and transforms my students’ lives. I see them change just through the music.

&

51 TEMPO

Analysis Of A Music Affective Behavior Scale Andrew Lesser, Ed.D. Candidate City of Burlington Public Schools andrew.lesser@yahoo.com

T

he increasing amount of importance placed by state and national standards on relevance in public school education has been mirrored by the upper echelons of affective taxonomies (Bloom, 1956; Krathwohl, 1964; Marzano & Kendall, 2008). As assessments of arts education are currently not measured by any mandated state or national exams, alternative forms of evaluation have been developed by researchers to assess creative work.

An accepted method of formative and summative assessment is the student portfolio, which can be measured for both artistic growth and the development of a final product. This method has become largely acceptable due to its ability to generate instant feedback, though the criteria for its assessment is still largely subjective (Hargreaves & Robinson, 1996).

However, portfolios are typically designed to satisfy curricular requirements usually mandated by state or national standards. Because of this, a disconnect can sometimes occur between material that is required by the Department of Education and educating the child to develop an appreciation for music that extends beyond the classroom. As such, discovering individual factors that serve to motivate students to build creative skills is increasingly important in arts education.

To assess the attitudes and values of a select group of students within a public elementary school, I developed an affective scale consisting of 30 “Likert” items and administered it to 32 sixth grade students.

Their responses, which were recorded anonymously, provided insight as to the personal ideals of these students as related to their views of music and music education.

Factors Considered in Designing the Test The questionnaire was designed to be completed by elementary school students

in sixth grade. Language for the directions and each item were clearly notated with a lack of technical jargon. All individual items were composed as stem-statements, defined

by Abeles (2016) as perspectives toward the attitudes described in the text. The response scale was constructed in a similar fashion to Mellor & Moore (2013), in which five Likert scale responses were used (see Appendix A).

The responses were designed as Strongly Agree (5), Agree (4), No Opinion (3), Disagree (2), and Strongly Disagree (1). The use of numbers as opposed to abbreviations for each response was used for clarity as I determined abbreviations to be too sophisticated for elementary school students. This is similar to Mellor & Moore’s 2013 study, in which numbers were used for responses in Likert scales administered to children with an age range of 6–13 years.

Statements were generally short and consisted of both positive and negative connotations. Items were randomly ordered in the following categories: personal musical preferences, family support in music, music effect on emotional states, music as social stimulus, and attitudes concerning music in school. These statements were all constructed originally but were influenced by questionnaires described in Abeles (2016). The organization of questions into these specific categories is notated in Table 1.

Description of Student Sample Students were sampled from classes selected from quasi-random selection. The public school containing the sample consisted of 427 students representing grades 3 through 6. Of those 427, 109 in the population were in sixth grade. The population of sixth graders were divided unevenly into six separate classes. Two classes, consisting of 14 and 18 students, were randomly chosen by the researcher to participate in the study.

Students were asked to complete the test as

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part of a research assignment and were informed the test would be completely anonymous and would not affect their grade in music class. Of all students present for the test, none refused to participate.

The student sample represented a diversity of race and gender. While these demographic factors were not notated on the test, students with Caucasian, AfricanAmerican, Asian, and Indian heritage participated in the study. The average age of the participating students was 12 years old, and all were assumed to be of good physical health and emotional stability when taking the test.

Students were given the test as part of their normal General Music class rotation schedules. Students were told to take their time and be thoughtful with their answers as it would be included as part of a research study. While administering the test, I observed that all the students were engaged and clearly demonstrating critical thinking about each answer. This was due to the time each student took before completing the test, which ranged from five to ten minutes. Students were not observed looking at other tests to see what their classmates had written, but were focused on their own individual tests.

When each student finished the test, I instructed them to turn the paper face down so I could not see any of their answers. I placed each completed test on a desk, and when all completed tests were handed in, I shuffled them to eliminate any knowledge of the individual participants. In addition, I required all students to use No. 2 pencils that I provided to prevent any unique marks that could potentially identify the individual test-taker.

Summary of Analysis The questionnaire was administered to two sixth grade classes with a total number of 32 participants. Upon analysis of each JANUARY 2017

individual scale, three participants did not complete all of the statements and one notated two answers for a single question. These four tests were invalidated, resulting in a total amount of 28 authentic tests. Each statement was calculated for the item mean, which is displayed in Table 2. In addition, the maximum discrimination method (D max) was calculated for the internal criterion of 25% of the high and low groups.

The D max represents 25%, or a sample of seven of the highest and lowest total scores on the questionnaire. Calculations were made for D max as reported by Abeles (2016) as D max = . Seven tests representing both the lowest and highest total scores were identified for D max calculation, represented in Table 2, for a total of 14 tests.

Analysis shows that the item mean ranged between 1.85 and 4.10. The lowest mean came from item #28, which stated that the respondent would one day like to pursue a career in music education. Two items, #16 and #22, represented the highest mean, which respectively questioned the respondent’s emotional state when listening to music and their desire to listen to music with members from their social circle.

The D max analysis ranged from .10 to .71. Points of the lowest discrimination index occurred in items #2 (.10), #7 (.17), and #17 (.14). Item #2 focused on the respondent’s emotional state in the ability to concentrate when listening to music. Item #7 centered on family relationships when listening to music, and item #17 asked if the respondent enjoyed downloading music from the Internet on a regular basis.

The highest points of the discrimination index occurred in item #4, #19, #20, and #30. While item #4 focused on the respondent’s desire to play a musical instrument, the other three items referred to personal views of music, including their perceptions of their own musical abilities and views concerning music’s worth in the world.

The mean of the total discrimination index for all 30 items was .45.

Suggestions for Revision Out of the 30 items presented on the questionnaire, three items did not pass the discrimination index’s minimum of .20. As presented in Table 1, each question was categorized into one of several themes highlighting various aspects of perceptions regarding music in education, society, and personal practices. The three questions, items #2, #7, and #17 were drawn from separate categories, including musical effect of emotional states, family support in music, and personal musical preferences, respectively.

It is possible that items #2, and #7 were beyond the respondent’s control, as being able to concentrate while listening to music and doing homework may not be a function of personal preference, but rather an innate ability. Additionally, listening to music with one’s family may also be beyond the control of the respondent, though other questions, such as item #9 and #11, are similar, and both were calculated with a D max of .32.

Item #17, however, was a definite point of personal taste, although the term “on a regular basis” could be misinterpreted and can potentially be omitted in future revisions. Items #2 and #7 could also be revised to contain more personal control, such as “I like to listen to music while doing homework” (Item #2) and “I like to listen to music with my family” (Item #7). These revised questions place JANUARY 2017

a greater emphasis on personal perspectives, such as in item #22, “I like listening to music with my friends”.

Item #28, “I would like to one day teach music to people”, received the lowest mean (1.85), though it also scored a D max of .35.

This item could also have been misinterpreted as becoming a music teacher or simply teaching others music in an informal context.

The item could therefore be revised to state, “I would like to help others learn music”, or “I would like to become a professional music teacher one day”. Items #16 and #22 received the highest mean (4.10), though each question originated from a separate category.

It appeared that there was no dominant category of items that accounted for specific levels of mean or discrimination, whether high or low. The total mean of the 30 items was 2.95, showing a relative middle of the road response between all participants.

It is also possible that the participants were influenced by the internal desire of “doing well” or pleasing the instructor, even though they were instructed that the tests would be completely anonymous and would not be a factor in their class grades. Results of the test may be different if the questionnaire was administered by a different instructor, even one who is not a music specialist, or in a different environment. Allowing the students to take the questionnaire home and return it on the following day could also have influenced results, although this would potentially destroy the validity of the test due to possible outside interference, such as family members or other students.

Future replications of the affective scale should be administered with revisions to the questions that scored minimal discrimination indices, and should be given to different groups of students. Having students of different elementary grade levels take the test would also be useful in gathering additional data.

Conclusion Creating effective evaluation tools for affective perceptions is a continually evolving process, especially when attempting to ascertain the perspectives of young people. Many factors must be considered when designing affective scales; most importantly, the specific language and jargon must be catered specifically to the age level of the participants. In addition, familiarity between the participants and the administrator may play a part in the overall responses, both positive and negative.

This affective scale was designed to ascertain the perceptions of sixth grade students regarding music and music education in a public school setting. Results showed that there was an overall wide range between answers, though certain questions should be rephrased if future replications are to take place. Using data from this and other similar questionnaires, music teachers could potentially adapt their curriculum and teaching style to fit the needs of these specific students. As such, students could perceive the relevance between music and their daily lives, and therefore become more intrinsically motivated to achieve academic and personal success.

Continued on next page 53 TEMPO

References

Abeles, H. (2016). Assessing affective behavior in the arts. [PowerPoint slides]. Retrieved from https://youtube/GbVUZ7-c5as Abeles, H. (2016). Item analysis of Likert attitude scales. [PowerPoint slides]. Retrieved from https://online.tc.columbia.edu/webapps/ portal/frameset.jsp?tab_tab_group_id=_2_1&url=%2Fwebapps%2Fblackboard%2Fexecute%2Flauncher%3Ftype%3DCourse%26id%3D _4997_1%26url%3D Bloom, B. S. (1956). Taxonomy of educational objectives. Vol. 1: Cognitive domain. New York: McKay. Hargreaves, D. & Robinson, S. (1996). Teachers’ assessments of primary children’s classroom work in the creative arts. Educational Research, 38(2), 199–211. doi:10.1080/0013188960380207 Krathwohl, D.R., Bloom, B.S., & Masia, B.B. (1964). Taxonomy of educational objectives: Handbook II: Affective domain. New York: McKay. Marzano, R. & Kendall, J. (2008). Designing and assessing educational objectives: Applying the new taxonomy. Thousand Oaks, California: Corwin Press.

Mellor, D. & Moore, K. (2013). The use of Likert scales with children. Journal of Pediatric Psychology, 39(3), 369–379. doi:10.1093/ jpepsy/jst079

Table 1: Organization of Statement Categories Statement Category

Item #

Personal Music Preferences

8, 12, 13, 15, 17, 18, 19, 20, 21, 24, 25, 30

Family Support in Music

7, 9, 10

Musical Effect on Emotional States

2, 3, 16, 23, 26, 27

Music as Social Stimulus

11, 22, 29

Attitudes Concerning Music in Education

1, 4, 5, 6, 14, 28

Table 2: Analysis of Music Affective Behavior Scale Statement #

Item Mean

D max (25%)

16

4.10

.60

1

3.07

.42

17

3.50

.14

2

3.32

.10

18

3.17

.50

3

3.71

.53

19

3.35

.67

4

2.50

.67

20

2.78

.67

5

2.75

.46

21

2.60

.42

6

3.89

.57

22

4.10

.35

7

3.35

.17

23

2.85

.53

8

3.64

.35

24

3.46

.53

9

2.89

.32

25

2.82

.50

10

2.75

.25

26

3.75

.57

11

2.60

.32

27

3.42

.25

12

2.21

.50

28

1.85

.35

13

2.92

.64

29

2.42

.46

14

2.35

.64

30

3.46

.71

15

2.64

.57

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Appendix A General Music Affective Questionnaire Lesser, Instructor Please circle the appropriate number for each answer. Remember, these questions are completely anonymous, so please be honest and thoughtful with your answers.

Strongly Disagree Disagree 1 2

No Opinion Agree Opinion 3 4

Strongly Agree 5

1. I think music is important to my educational development.

1

2

3

4

Strongly Disagree Disagree 1 2

No Opinion Agree Opinion 3 4

Strongly Agree 5

16. Listening to music makes me happy.

5

1

2

3

4

5

2. Listening to music while doing homework helps me concentrate.

17. I like to download music from the Internet on a regular basis.

1

2

3

4

5

3. Listening to music helps make me feel better when I am sad.

1

2

3

4

1

2

3

4

5

5

5. I am looking forward to taking a music class next year.

1

2

3

4

1

2

3

4

1

2

3

1

2

3

1

2

3

4

5

4

5

4

5

10. My family likes the kind of music I enjoy listening to.

1

2

3

4

5

11. I like to go to musical events outside of school alone or with my family.

1

2

3

4

5

12. I would like to have a career that involves music in some way.

1

2

3

4

5

4

5

13. Music is a large part of who I am as a person.

1

2

3

14. I would like to spend more time doing musical activities in school.

1

2

3

4

5

15. I would rather listen or play music that any other activity.

1

2

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3

4

2

3

4

5

4

5

4

5

19. I like dancing and moving to music.

1

2

3

20. I am good at musical activities, such as performing on an instrument or singing.

21. I enjoy learning new things about music.

1 2 3

9. My family supports my participation in music.

1

5

8. I like to sing when I’m alone or in a group.

7. My family and I like to listen to music together.

3

5

6. Music is boring and not worth studying in school.

2

18. I like to visit music-related websites.

4. I would like to start playing or continue playing a musical instrument next year.

1

5

1

2

3

4

5

4

5

4

5

22. I like listening to music with my friends.

1

2

3

23. I like to express my thoughts and feelings through music.

1

2

3

4

5

4

5

24. Music making allows me to be creative.

1

2

3

25. I like to write music, including words to songs, in my spare time.

1

2

3

4

5

26. Listening or playing music calms me down if I am angry.

1

2

3

4

5

4

5

27. Music has a large effect on my personality.

1

2

3

28. I would like to one day teach music to people.

1

2

3

4

5

29. I make connections to other people through music.

1

2

3

4

5

4

5

30. Music can help make the world a better place.

1

2

3

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Equity And Diversity In Music Education: Toward A Critical Trait Theory Raymond Reimer Uy, Jr. Hanover Township Public Schools raymond.uy@hanovertwpschools.org

A

mong the solutions to subvert oppression in education is the use of dialogue (Freire, 2005). When viewing equity through the lens of trait theory, however, Bowman’s (2009) assertion, that “Every ‘solution’ (resolution?) creates new conditions that in turn implicate new problems” (p. 6), becomes manifest. Dialogical actions between students and teachers as a solution for oppression in a choral ensemble, for example, might create different inequities and discourage a diversity of personality. Following is a preliminary attempt to overlay a trait theory filter on a critical pedagogy lens.

To Whom Do We Listen?

New questions and problem statements emerge when dialogue is implemented in a classroom: To whom are we listening? What are the subordinate and superordinate groups in a choral ensemble? Teachers might unwittingly prioritize groups based on personality factors.

Before understanding how students with certain personality profiles are oppressed in a vocal music classroom, it is first necessary to define some of the principal components of trait theory and delineate its role in music and education.

Trait Theory Psychologists use trait theory to frame various dimensions of personality. Jung’s (1923) research provided some of the earliest examples of organization and classification of personality traits in the field of psychology. Each of the personality types that Jung described involves some form of introversion or extraversion attitude, coupled with additional functions. Following Jung, many psychologists have contributed to human personality research through a trait theory framework.

Kemp (1996) noted that extraversion-introversion is the personality dimension that is most researched (p. 36) and most widely accepted in psychology (p. 35).

Trait Theory In Music Kemp (1996) found that musicians usually show a tendency toward introversion, characterized by an inward focus of energy and an emotionally sensitive nature that undoubtedly plays a role in interpreting and performing music. With regard to rehearsal, introverts prefer to practice privately and independently in solitude (Kemp, 1996; Cain, 2012). These “sweet spots” (Cain, 2012, p. 124) are restorative niches (Little, 2000) for students, suggesting clues about how educators might construct their classroom to optimize the learning environment for students of diverse personality types.

Trait Theory In Education Since few in the classroom might have the responsive extravertedstable personality that will actively engage in dialogue (Myers, 1996), teachers will often overlook the views of the remainder of the students.

Cain (2012) suggested that education does not traditionally support introverted personality types. The emphasis on group projects, termed “the new groupthink” (p. 75) can lead to “social loafing” (p. 89), in which some students will cede the bulk of the workload to others.

Independent work, however, allows introverts to communicate with others on their own terms using individual creativity (Storr, 1976, p.

80). Many secondary music education programs, however, are still constructed using a large ensemble template.

Trait Theory In Music Education A majority of voice students fit under personality profiles associated with extraversion (Ray, 1999). Extraverts tend to have outgoing and group-dependent underlying traits (Cattell, 1973) that traditional music programs support. At the secondary level, MacLellan (2011) found significantly higher rates of extraversion among high school choir students when compared to high school norms. Students with this personality type might have a positive emotional response to public performance situations, and favor the group work dynamic inherent to choral ensembles.

Although researchers identified extraversion among vocal music students (MacLellan, 2011; Ray, 1999), Kemp (1996) recognized introversion as a common personality trait among musicians. At first glance, these conclusions might seem incongruous. The separate assertions regarding extraverted voice students and introverted musicians, however, do not contradict one another. Rather, these findings might suggest that some characteristic in vocal music programs precludes many introverted musicians from participation.

Personality-Based Inequities In The Choral Classroom Traditional choral environments feature directors who often serve as authoritarians during rehearsal and performance. They interpret the music and tell students how it should be performed. The director is ultimately the performer, and the student singers are merely the instruments that the director plays. Inequities are readily apparent.

Dialogic solutions can create new problems. Implementing dialogue to subvert oppression might only prioritize those who fit a specific personality profile. In a choral classroom, dialogical contributions by the extraverted-stable group are more likely to be heard by the teacher, while many other voices fall silent. Although intended to be a democratic practice that includes student voices, dialogue can unintentionally create additional hierarchical levels. The voices at the

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bottom—those of the introverts—might never be heard. Such a hierarchy, in which a small group has dominance over the larger group, can be termed an oligarchy. Although choral oligarchies might not be as oppressive as an autocracy, a hegemonic culture still persists, featuring the extraverted-stable group at the top.

The impact on students might ripple into the community. Longterm values of a music education, including creativity and leadership (Arts Education Partnership, 2012, p. 5), might be nurtured more in students who are directly engaged with the teacher through verbal interactions. This reward scheme is ingrained in the culture. The community might continue to reinforce an inculcated habit of primarily rewarding extraversion.

Possible Solutions It is worthwhile to adopt and adapt critical pedagogy methods when considering inequities among various groups based on personality dimensions. Since introverts fear domination (Storr, 1963), a student-centered approach has the potential to invalidate authoritarian structures. Although many music programs emphasize group activities, additional options for independent work can inspire learning and innovation for introverted personality types (Cain, 2012). The opportunities for individual work that computer projects can facilitate, for example, might appeal to introverts. Williams (2011) suggested that 80% of student populations are non-traditional music (NTM) students who might prefer technology-based music courses to performance-based ensembles. Many students prefer to use technology as a means to work directly and immediately with music, and feel rewarded when applying individual creativity to govern musical choices (Kemp, 1996; Taylor, 1988).

Conclusion Dialogic solutions to inequities in a choral music classroom create new inequities. When dialogue occurs in the classroom, teachers must consider to whom they are (or are not) listening. When applying trait theory to a classroom that has adopted dialogical actions, a new hierarchy becomes apparent, featuring extraverts at the top and introverts at the bottom. One possible solution is to reconstruct a vocal music classroom to also include student-centered, independent work. twenty-first century technology provides an opportunity for such work, and might also attract additional students. As reflected in American equity issues writ large, the path toward an oppression-free ideal may be a perpetual work in progress.

Jung, C. G. (1923). Psychological Types (H. G. Baynes, Trans.).

London, UK: Harcourt.

Kemp, A. E. (1996). The musical temperament: Psychology and personality of musicians. New York, NY: Oxford University Press.

Little, B. R. (2000). Free traits and personal contexts: Expending a social ecological model of well-being. In W. B. Welsh, K. H. Craik, & R. H. Price (Eds.), Person-environment psychology: new directions and perspectives (pp. 87-116). Mahwah, NJ: Psychology Press.

MacLellan, R. (2011). Differences in Myers-Briggs personality types among high school band, orchestra, and choir members. Journal of Research in Music Education, 59(1), 85-100. doi:10.1177/0022429410395579 Myers, D. G. (1996). Exploring psychology (3rd ed.). New York, NY: Worth.

Ray, J. A. (1999). Hemisphericity and personality types as applied to the instruction of college voice students. (Doctoral dissertation).

Retrieved from ProQuest Digital Dissertations. (UMI No. 9949398).

Storr, A. (1963). The integrity of the personality. Harmondsworth, UK: Penguin.

Storr, A. (1976). The dynamics of creation. Harmondsworth, UK: Penguin.

Taylor, J. A. (1988). Computers in music and music instruction: The joys of hardware and the woes of software. Design for Arts in Education, 89(5), 50-55. doi:10.1080/07320973.1988.9935526 Williams, D. B. (2011). The non-traditional music student in secondary schools of the United States: Engaging non-participant students in creative music activities through technology.

Journal of Music, Technology, and Education, 4(2), 131-147. doi:10.1386/jmte.4.2-3.131_1

References Arts Education Partnership. (2012). Music matters: How music education helps students learn, achieve, and succeed. Retrieved from http://www.aep-arts.org/wp-content/uploads/ 2012/08/Music-Matters-Final.pdf Bowman, W. (2009). Professional knowledge: Imagining the obvious as if it weren’t. Action, Criticism, and Theory for Music Education, 8(1), 1-12. Retrieved from http://act.maydaygroup.org/articles/ Bowman8_1.pdf Cain, S. (2012). Quiet: The power of introverts in a world that can’t stop talking. New York, NY: Crown Publishers.

Cattell, R. B. (1973). Personality and mood by questionnaire. San Francisco: Jossey-Bass.

Freire, P. (2012). Pedagogy of the oppressed (30th Anniversary ed., M. B. Ramos, Trans.). New York, NY: Bloomsbury.

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Developing A Well-Rounded General Music Curriculum Mari Schay Earl Boyles Elementary mari_schay@ddsd40.org Reprinted from Oregon Music Educator

I

am a percussionist. As a kid, I always had a beat in my body, which usually oozed out through my fingers and toes, irritating those around me. I was never in choir, and I never understood why anyone would want to be. I never sang in the shower. Nothing.

I assumed I would be a band director, but the job I found was elementary general music, kindergarten through eighth grade.

Singing was part of my curriculum when it supported something else - a game, an Orff arrangement, or a concert. We did a lot of rhythm reading, played recorders, played Orff instruments, played games. The kids didn’t seem to want to sing, and that suited me just fine.

Several years and three schools later, I asked my graduating sixth graders what they liked and did not like about music class.

To my shock, they said they wanted to learn more songs! Shortly thereafter, I had a student teacher ask me if I even knew how to teach singing. Double blow. Time to re-evaluate.

I started looking into singing, really researching the pedagogy around teaching elementary school singers and delving into repertoire. The more I learned, the more I realized I had made a fundamental error in my thinking. I started developing my own voice so that I could develop my students’ voices.

I created a list of folk songs every student should know and divided it up by grade level, I learned warm-ups, repertoire, and teaching strategies. I bought singing toys. I developed a singing rubric and strategies for assessing singers. I worked to created a “culture of singing” in my school, as Patty Bourne calls it.

And now, in year nineteen, singing is where it belongs in my curriculum: at the center. My students love to sing - yes, even the fifth grade boys - and so do I! But, once 1 wrapped my mind around singing as an integral part of my curriculum,

I realized that I really did not actually have a curriculum, as such. Instead, I had a series of activities that more or less developed music skills. There was nothing intentional or sequential and I did not really have an end-goal in mind as students headed off to middle school.

Once I made that realization, I knew I had a lot of work to do. am still doing that work, and assume I will always continue to revise and update my curriculum and the way I deliver it. I’d like to share some of what I have learned in the hopes that it will help someone else with the process. These are just my thoughts and strategies, just one way to go about the very important job of developing and maintaining a weil-rounded music curriculum.

Follow a routine. In my classes, we follow the same routine every day: sing- read - play.

The singing routine is: • warm up with a toy (echo a slide whistle, vocally imitate the movement of a slinky, have a conversation in whale talk); • two vocal warm-ups that address a specific singing skill (blend, consonants, vowel shape); • sing a unison song; • sing in harmony (round, partner song, or octavo) - third grade and up.

The reading routine varies, but we will either work on rhythm reading, pitch reading, or symbols and vocabulary.

The playing routine is simiiar to the singing routine: ■warm up with fingering exercises (recorder), echo rhythms (drums), scale patterns (Orff instruments), or something else appropriate to the instrument we are playing; • work on a specific goal, such as part of an ensemble in unison, a specific part of a recorder song, or a new chord on ukulele;

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• individual practice time with a specific goal; • add the new skill to the old ones to create some sort of mini-performance/ wrap-up.

• Your routine will differ from mine. It’s not so important what the routine is, just that you have one in place and that the students know what it is.

Start at the beginning and the end and work your way toward the middle. What do you think your youngest students will know and be able to do on day one? What do you want your oldest students to know and be able to do on the last day before middle school?

What are the key skills you want students to develop by the end of each grade? What is the progression of skills from that first day of kindergarten to the last day of fifth grade?

Let’s look at rhythm reading as an example. At the beginning of kindergarten, about half of my students can keep a reliable steady beat. At the end of fifth grade, I want my students to be able to use traditional counting syllables to read all note values from whole notes to beamed sixteenth notes and to have an understanding of triplets, eighth rests, and syncopation. So, 1 have developed a progression as follows: Kindergarten - establish, maintain, and identify a steady beat; echo simple fourbeat rhythms; identify the difference between beat and rhythm.

First grade - use rhythmic solfege to read a four-measure phrase of quarter notes, quarter rests, and beamed eighth notes while maintaining a steady beat; compose and perform a four-measure rhythmic phrase using known rhythmic values; expose students to beamed sixteenth notes and half notes and rests.

Second grade - use rhythmic solfege to read rhythms from whole note through beamed sixteenth notes in quarter-based JANUARY 2017

time signatures; compose and perform a four-measure rhythmic phrase using known rhythmic values.

Third grade - re-introduce the same rhythmic components using traditional counting syllables; read fluently; use reading skills to learn new music independently; as a class, play three different rhythms in ensemble.

Fourth and fifth grade - continued practice with known rhythmic elements; introduce new elements as needed for repertoire (syncopation, eighth rests, eighth/sixteenth combinations, triplets, etc.); use reading skills to learn new music independently; as a class, play ensembles with as many different rhythmic layers as repertoire demands.

Every student should find a musical passion. This means exposing students to a wide variety of music skills and opportunities so that they can be successful at some aspect of music. In addition to singing and reading, a wide variety of instruments should be introduced, including melodic instruments (recorder, keyboard), rhythmic instruments (World Music Drumming, drum circles), harmonic instruments (guitar or ukulele), and ensemble instruments (Orff instruments and marimba). Ideally, students will achieve some level of mastery on each of these instruments starting in third or fourth grade.

Then, toward the end of the year, give students the opportunity to specialize or become “experts” on one instrument. Choose an ensemble that has recorder, ukulele/guitar, Orff/marimba, and unpitched percussion parts and let each student choose which they want to play. I am always amazed at how well-balanced these ensembles typically are and how accurately kids can pick a part that matches their ability level. Giving kids the opportunity to choose their instrument gives them ownership over the music and allows them to feel confident as a musician while allowing for a tremendous amount of differentiation.

Deliver instruction with passion, intensity, intentionality, and joy. It is not enough to provide opportunities. I recently read that people don’t quit jobs, they quit bosses.

This relates to teachers: kids don’t love subjects, they love the teachers of those subjects.

We must be positive and encouraging while still being sincere. We must find a way to enjoy our students and enjoy their learning.

We must remember that, even though we have taught a song forty times in ten years, today is the students’ first time to learn it. In my district, the curriculum director reminds us that we must focus on each student’s journey. Every single child deserves to love music.

They will only develop that love if they are taught with passion.

This is hard to accept, but if your students don’t like music, or some aspect of music, then you are not teaching the way they deserve to be taught. If your students groan when you ask them to sing or are destructive when you bring out the drums, then there is something about your instruction or delivery that is reinforcing those attitudes. For your own sake and for the sake of your students, it is essential that you be self-critical enough to identify your weaknesses (while celebrating your strengths) and work to overcome them. Talk to colleagues; research new strategies; video your teaching; ask trusted students for input; ask your principal to let you observe another teacher; ask for an extra observation. Do whatever it takes to keep all aspects of your curriculum and instruction at the best level you can achieve.

We have all had the experience: What do you do? I’m a teacher. What do you teach?

Elementary music. Oh, that must be so much fun!

If your answer isn’t, “yes, it is,” then figure out what you need to change so that, even on the worst day of the year, when you are tired and grouchy, you can still remember that you have a great job and that you can make a positive impact on every child.

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59 TEMPO

What Do Young Children Really Need?

Ask Old MacDonald Abby Connors Early Childhood Music Specialist Connors419@aol.com

T

he other day, while singing “Old MacDonald” with a class of three-year-olds, I found myself wondering how many times I’ve sung this song. Must be in the thousands, I thought. Well, I just did some calculations. Multiply approximately ten times a day, three or four days a week, times say fifty weeks a year, for (excuse me while I gulp some coffee, glug glug) years… okay. Turns out to be 749,000.

Wow. That makes me feel as old as… well, you know.

But “Old MacDonald” has been around a lot longer than I have. In fact, archaeologists believe that the song actu- w ally predates agriculture. (An early cave painting depicts an old man, a cow, and a tiny figure shouting, “Again!”) So I’m not the first music teacher, or even the first adult, to find herself singing “Old MacDonald” to infinity and beyond.

Do I ever get bored with “Old MacDonald”? Oh, I passed “bored” about (glug, glug) years ago. With time, though, I transcended my boredom and achieved what I can only call a meditative state. Instead of wasting valuable time resenting this song’s slow but inexorable destruction of some of my favorite brain cells, I decided to see what I could learn from this experience.

I learned that “Old MacDonald” satisfies important emotional and developmental needs for young children. For instance: 1. Young children need lots of repetition. My students will sing “Old MacDonald” over and over, with unceasing enthusiasm, until I stop them so we can move on to another activity, or until “music time” is over and I need to go to

another classroom. If it were up to them, they’d be singing it till the cows come home (heh heh). Oddly enough, although it’s possibly the Number One children’s song of all time, they rarely remember the name. Even when they call out for “Farmer,” “Moo,” or “Old Obama,” though, I know what they mean.

Repetition helps children learn, of course, but it also fills deeper needs. It gives them the self-confidence that comes with knowing something, with mastering something. It gives them a feeling of belonging as they repeat the well-worn

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words with their classmates. And it relieves stress – for a few minutes they can relax with a familiar activity which is comforting and undemanding. You could say that “Old MacDonald” is the musical equivalent of a teddy bear.

2. “Old MacDonald” gives lots of children a chance to have a turn. Quicker than you can ask, “What’s another animal on the farm?” a roomful of tiny hands fly up (with a “ME! ME!” here and a “ME! ME!” there). In Early Childhood Land, having a turn is a very big deal. Having a turn means you are personally acknowl-

Bachelor of Arts in Music Bachelor of Arts in Music with a Double Major Bachelor of Music Education Bachelor of Music in Performance For Open House and Audition dates, go to: www.gettysburg.edu/sunderman

www.gettysburg.edu/sunderman

JANUARY 2017

edged by the teacher; your name is called out; everyone listens to you; and in this case, the whole group joins in to sing about the animal you’ve chosen. Having a turn is an affirmation of both your individuality and your membership in the group; you feel valued and valuable. You learn that you can feel safe and accepted while participating and contributing to the group. Whenever possible, I try to go around the circle and give each child a turn. (A major bonus, of course, is that children learn that sometimes, it’s someone else’s turn.)

3. “Old MacDonald” allows, and even encourages, children to be silly. I hear you – they don’t need much encouragement, right? Maybe a better way to put it is that the song allows young children to be themselves, and their natural selves are inclined to be silly much of the time.

They like to make silly sounds like “oink” and “quack.” They like to bounce around

JANUARY 2017

and flap their wings and make funny faces. And they like to be loud sometimes.

Even the most “developmentally appropriate,” “child-centered” school provides limited opportunities for all-out silliness, and rightly so. In early childhood, there’s often a very thin line between silly fun and uncontrollable hysteria. And yet young children have a very real need for activities in which they can be as silly as they want to be, not only to let off steam, but to express their joy, their creativity, and their excitement as they explore the world and their own capabilities. A young child’s world is a very exciting place!

Finally, “Old MacDonald” has taught me that what may seem boring to me isn’t boring to them. Songs I’ve sung almost every day of my adult life, simple, repetitive, monotonous songs like “Old MacDonald,” are my students’ favorite songs.

I need to resist the been-there-done-that, same-old-same-old attitude we grownups

are prone to, and dive right into their fresh, bright, noisy, sometimes scary but always amazing world.

Often, when I start to sing “Old MacDonald” with a group of young children, I’ll hear one of their little voices chirping, “Oh, I LOVE this song!” Singing along with a favorite song is one of life’s most sustaining little joys. And helping children to appreciate that joy is a privilege.

Old MacDonald, I salute you. Long may you farm!

Abby Connors is an early childhood music educator and award-winning author who has presented on many subjects.

Her newest book is “Shake, Rattle and Roll: Rhythm Instrument Activities and More for Active Learning” (Gryphon House, 2015).

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An Article For Jazz Educators: An Interview With Guitarist Kevin Eubanks Thomas Amoriello Fleminton Raritan School District tamoriel@frsd.k12.nj.us

I

t is safe to say that as bandleader for The Tonight Show With Jay Leno from 1995-2010, jazz guitarist Kevin Eubanks is probably the most visible figure in the history of his instrument style. The jazz guitar was never featured in such a spotlight before. At its peak, the late night show ratings averaged 5.7 million viewers.

As a native of Philadelphia, Eubanks can be listed alongside many Philly jazz guitar figures (and educators) such as Eddie Lang, Pat Martino, Jimmy Bruno, Dennis Sandole, Joe Sgro, Joseph Federico and Tom Giacabetti, all from the City of Brotherly Love. If you are unfamiliar with some of these names then you are in for a treat.

Eubanks began his studies at the Settlement Music School in Philly and then studied at Rutgers with jazz educator Ted Dunbar, eventually completing his studies at the Berklee College of Music in Boston, graduating with a B.A. in composition.

He then went on to perform and record with jazz icons such as drummer Art Blakey, bassist Dave Holland, violinist Jean-Luc Ponty and guitarist Stanley Jordan. Eubanks joined the famous late night show as guitarist in 1992, when Branford Marsalis was the music director and before he took over three years later when Marsalis stepped down.

The guitar in jazz has occupied many roles, such as the lead stylings of Charlie Christian, the “Four-to-the-bar” rhythm comping of Freddie Green, the octave technique of Wes Montgomery, the chord melody solos of Johnny Smith and Joe Pass, and the modern shredding of John McLaughlin. Over his long and successful career, Kevin has played comfortably in all of these styles without being an imitator. To put it simply, Kevin Eubanks can play the guitar very well.

You served as Artistic Director of the Thelonious Monk Institute’s Jazz in the Classroom program. What was your role and what was a rewarding experience that comes to mind?

For two years I served as Artistic Director of the Thelonious Monk Institute’s Jazz in the Classroom program. Traveling to different high schools in the Los Angeles area and a few cities around the country, I had a great opportunity to work with and learn from younger students involved with the arts. My general role was as teacher/coach. I tried to expand the perception of jazz in the minds of the students by inviting all of the students that were involved in any of the school’s arts programs to join us. By us, I mean the jazz department. I invited instrumentalists, vocalists, dancers, artists, actors, etc. The challenge was to create an all inclusive work/song/ presentation, in an hour and thirty minute comprehensive artistic session, that utilized the creativity and open-mindedness of all the students. I coached and encouraged the students to use their talent creatively, trust in each other and the willingness to work together to enjoy the entire process. It was amazing to see the communication and how much could be done in such a relatively short time. Jazz is truly an amazing art form. It can range from the mind of a soloist to an entire arts program of contributing students. It is so important for a student’s growth in all areas of life, not just in music, to grasp the importance of creative solutions to problems one faces as a young person and eventually as an adult. My final question to the entire student arts body was one I unfortunately was never around to hear their answers. No matter. The important thing was if they would consider the question long after I was gone. I always asked, ”What if anything did you learn today based on how and what we accomplished in this room, in this auditorium, and what might be possible tomorrow, outside of this room, outside in the world? If YOU can’t find the solutions, no one will. The future of this world really is in your hands.”

I grew up with music my whole life. It was in my house, in my heart, and it was in the streets, and with it came a lot of compassion, fun, socialization, education and yes, respect. Things are very different now, aren’t they?

You were a member of Art Blakey and the Jazz Messengers in your early 20’s and you performed with him at the Montreux Jazz

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Festival and appeared on a live recording. At that moment, you probably considered that to be your “big break.” How did this experience prepare you for your future high profile gigs, and what did you learn from the legendary drummer and band leader?

It was my first time being in a great band with a legendary artist like Art Blakey. Yes, it was a huge break. I got to meet so many young musicians that were destined to be major contributors to the art form, like James Williams (piano), Wynton (trumpet) and Branford (sax) Marsalis, Bill Pierce (sax). My brother Robin (trombone) was also in the band. It also made it possible to draw the attention of other great band leaders whom I would eventually work with. It was after that tour with the Jazz Messengers that I decided to move to New York. When you’re traveling with someone like Art you learn so much on and off the stage. One of the most important things was understanding the difference between life and music being the expression of life. As I grew and hopefully evolved, the music would follow in turn. What you do off stage inevitably finds its way to the stage. Good and bad! I also began to learn that while you can practice the notes, you can’t practice the unknown. It’s the creativity, the unknown which makes it an art form. It’s hard to explain how you learn while touring with musicians like Art Blakey. It’s more like going to a very creative school. Class is always in session. It’s one of the beautiful things about jazz. You get to work with and learn from musicians twice your age and share the artistic moment. A cultural kind of learning as well as a technical one. Beautiful. Playing with Art certainly did help prepare me for my future career, and I wish I could succinctly put it into words, but the truth is I can’t. I think it’s more an cumulative effect. It’s not just one thing in particular. I guess the saying, “You gotta see a man to help you be a man.” It was deep. And it got deeper once I moved to the greatest school in the world, New York City, thanks to Art Blakey.

It was at Berklee College that Branford Marsalis knocked on my apartment door and said, “Hey man, Art Blakey is in town (Boston) at Lulu White’s, and he’s looking for a guitar player. Let’s go man!” I went.

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I proudly taught at the Settlement Music School for 5 years at their Camden, NJ branch. You studied music at SMS as a child growing up in Philadelphia. What is a fond memory of SMS, and how did that help prepare you for college? Do you want to bring some recognition to a former teacher there?

I took violin lessons at Settlement from Lillian Cynburg. I played for seven years before I regretfully stopped playing at the age of 14. Absolutely one of my big musical regrets. Settlement taught me the value of practicing and preparing for the lesson next week.

It helped me to focus on something tangible. That’s not easy at such a young age. Since my mother has a masters degree in music education, going to college was simply expected. I guess college was just more of the same at a much more intense level. You studied and prepared yourself for class. It was an extension of Settlement Music School in my mind. I took it all for granted, though I did not take it lightly. I practiced hard on violin and guitar. I should have never stopped playing violin. However I now see how fortunate I was in being able to even take lessons and to have parents that encouraged and expected me to continue to study and progress. In those days, the 70’s, public schools and institutions like Settlement made music a stablemate in our neighborhoods. Simply having children carrying instruments back and forth, playing recitals, proms and dances was extremely important. I had no idea at the time just how valuable it was. I grew up with music my whole life. It was in my house, in my heart, and it was in the streets, and with it came a lot of compassion, fun, socialization, education and yes, respect. Things are very different now, aren’t they?

You graduated with a BA in composition from Berklee College of Music in Boston. How important was attending and finishing music school, and was Berklee an intense experience for you?

Being at Berklee was a very, very interesting and intense period.

I would imagine it’s pretty much the same for any young person leaving home and all that comes with a new sense of independence.

College represents so many things. I knew right away that it was up to me to make it matter or not. I met so many people that would later become very important to me personally and to my career. All I wanted to do was practice and jam and learn, learn, learn. It was so encouraging to hear so many wonderful musicians from all over the world. I loved it. I also loved making my own decisions about everything. It wasn’t only about music. It was also a personal growth period. I was at ‘that’ age and I loved the adventure. It was at Berklee College that Branford Marsalis knocked on my apartment door and said, “Hey man, Art Blakey is in town (Boston) at Lulu White’s and he’s looking for a guitar player. Let’s go man!” I went.

What was your practice schedule like during your “discovery period”? Now? Do you have a regular warm up/maintenance routine?

My schedule was a simple one. Practice until I was too tired to continue. Now? I have periods when I practice very intensely just because it feels great to do so, but not like back then. Back then the discovery was completely brand new. So terribly exciting. These days there’s so many things one has to deal with as life affects your time 63 TEMPO

and focus. However I love it when I get involved in projects that bring back some of that newness and excitement. It’s still a beautiful experience. It still makes me forget about time. It’s still an adventure, but as we know, there’s nothing like the first period of discovery. Or is it?

There certainly is no lack of talent in this world. What I am very curious about is how so many different people can sound the same. I do not believe it’s natural. I think it’s environmental.

The rewards of sameness and fitting in. How can so many different individuals have the same tone, the same sound, the same musical phrases, the same story? How is that naturally possible?

Do you consider yourself a guitar collector? What excites you about your current custom model?

I’m not a collector. Which is not to say I don’t have too many guitars, I do. I acquired them over many years, and here and there I do use most of them. I really have three that are my main ones.

What I love about having them custom made is that I learn about tone and how the smallest adjustment can make the instrument feel so comfortable. It’s definitely a luxury I’d hate to give up…lol. Having said that, the real guitarist in me likes to believe that I can make music even if the guitar was made from plastic and rubber bands. I’m just sayin’, the sound might be from the guitar and the amp, but the heart and inspiration has to come from you! And it’s all about making the world feel something from your soul. Let’s not get it twisted.

Suggested Listening

You are the author of The Creative Guitarist published by Hal Leonard. What advice do you have for young musicians trying to find their voice on their respective instrument?

Practice and play as much as you can with other musicians.

Whenever possible play with people that are better than you. Keep in mind better is sometimes a relative term. You decide for yourself.

There are some great schools to study at, although I believe that a very high percentage of your music education should be self taught in addition with some type of school. It’s natural to have your own sound and a unique musical personality when it comes from inside of YOU! Work intense and have fun. A lot of fun.

The Dancing Sea Wave Hope

Summertime Resolution Essence

Do you listen to historic jazz guitar recordings often? What are a few that have a special place in your heart?

Anything with Wes Montgomery.

Do you have a current or future project that you would like to share with readers?

A new recording, which I think in time I might consider one of my personal favorites. Release date is the spring of 2017.

Most readers of TEMPO Magazine are music educators and band leaders themselves. Do you have some words of wisdom or an idea you would like to share?

How would you define the current state of the guitar in jazz music?

I see more and more opportunity for guitar players to play so many different types of music. It’s probably the most popular instrument in the world other than the voice. I humbly suggest that if you have your own sound, especially in jazz, you might enjoy your musical adventure more. I’ve audited classes in various colleges in the US, Canada and Europe. There certainly is no lack of talent in this world. What I am very curious about is how so many different people can sound the same. I do not believe it’s natural. I think it’s environmental. The rewards of sameness and fitting in. How can so many different individuals have the same tone, the same sound, the same musical phrases, the same story? How is that naturally possible?

In my opinion it’s an inherent danger of music education or any kind of education without creativity and compassion and imagination. It’s perhaps a symptom of telling you what to think instead of encouraging you to have your own thoughts. (Don’t get me started…)

First I would like to say I’m so honored and proud to be a part of the family of music educators and band leaders. I’m sure you all have wisdom you could share with me. Yes, every blessing counts. In return I’d like to add to the circle by stating something I’ve learned about myself along the journey. Perhaps your students might benefit from it. “You don’t have to fit in, but you do have to be fit.”

We are grateful that Kevin Eubanks has granted an interview to our music education journal, focusing on the musician and guitarist. I am proud to say that this may be his first interview without being asked about Jay Leno! As you can imagine his late night celebrity career has been well documented and can be researched from other past interviews. The photos of Kevin Eubanks are credited to Raj Naik.

Thomas Amoriello is the Guitar Education Chairperson for the New Jersey Music Education Association and also serves on the NAfME Council for Guitar Education as the Eastern Division Representative. He teaches guitar for the Flemington Raritan School District and Hunterdon Academy of the Arts. He is the author of the children’s picture book A Journey to Guitarland with Maestro Armadillo, available from barnesandnoble.com.

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department of music MASTER OF EDUCATION IN MUSIC EDUCATION Classes begin in Fall 2017 Designed specifically for working professionals, Kutztown University’s M.Ed. in Music Education program can be completed fully online or partially on campus and offers students the flexibility needed to balance work, school, and personal obligations. Graduates will possess the tools needed to work as advanced practitioners and leaders of music education in K-12 schools.

Coursework covers topics in music education issues and trends, learning processes, instructional design, research applications, musical analysis, musicology, and technology.

• Flexible transfer policy (up to 9 credits) • Small class sizes • Begin in Fall, Spring, or Summer – study part-time or full-time • Graduate assistantships available

FOR DETAILED PROGRAM INFORMATION, OR TO APPLY TODAY, VISIT: www.kutztown.edu/MusicMEd

For information on all Department of Music programs, events, and ensembles, contact Dr. Jeremy Justeson, Chair: 610.683.4550 or justeson@kutztown.edu JANUARY 2017

65 TEMPO

2016– 2017 Calendar

Please See Calendar Updates at NJMEA.Org Upcoming Events/More Events TEMPO will print the NJMEA Calendar for the months up to the next publication issue.

Please check the website “Events” for the most up-to-date information.

DATE

EVENT

TIME

JANUARY 01/06/17 01/06/17 01/06/17 01/06/17 01/06/17 01/07/17

CJMEA HS Honor Band Rehearsal 6:00 - 9:00 PM CJMEA HS Orchestra Rehearsal 8:30 - 5:00 PM CJMEA HS Percussion Ensemble Rehearsal 5:00 - 9:15 PM NJMAA Executive Board Meeting 9:00 - 11:00 AM SJBODA Senior High and Junior High Orchestra Rehearsal 9:00 - 5:00 PM CJMEA HS Honor Band Rehearsal 9:00 - 1:00 PM

01/07/17 01/07/17 01/07/17 01/07/17 01/07/17 01/08/17 01/08/17 01/08/17 01/08/17 01/09/17 01/09/17 01/10/17 01/10/17 01/12/17 01/12/17 01/13/17 01/13/17 01/13/17 01/13/17 01/14/17 01/14/17 01/15/17 01/15/17 01/16/17 01/18/17 01/18/17 01/18/17 01/18/17 01/19/17 01/20/17 01/20/17 01/20/17 01/20/17 01/21/17 01/21/17 01/21/17 01/21/17

CJMEA HS Orchestra Rehearsal 8:30 - 5:00 PM CJMEA HS Percussion Ensemble Rehearsal 9:00 - 5:00 PM NJSMA HS Band Choir Orchestra Auditions 8:00 - 5:00 PM SJBODA Senior High and Junior High Orchestra Rehearsal 9:00 - 4:00 PM SJCDA Jr/Sr High Chorus Rehearsal 9:00 - 1:00 PM CJMEA HS Orchestra & Percussion Ensemble Concert 3:00 - 5:00 PM CJMEA HS Orchestra Rehearsal 10:00 - 1:00 PM NJSMA HS Band Choir Orchestra Auditions (Snow Date) 8:00 - 5:00 PM SJBODA Senior High and Junior High Orchestra Concert 3:00 - 5:00 PM NJSMA Executive Board Meeting 5:30 - 9:00 PM SJCDA Board of Directors Meeting 7:00 - 9:00 PM NJMEA Executive Board Meeting 6:30 PM NJMEA Full Board Meeting 5:00 - 6:30 PM NJSMA HS Choir Rehearsal 6:00 - 9:00 PM SJCDA Jr/Sr High Chorus Rehearsal 9:00 - 1:30 PM CJMEA HS Band Rehearsal 9:00 - 5:00 PM CJMEA HS Honor Band Rehearsal 6:00 - 9:00 PM SJBODA Wind Ensemble and Symphonic Band Rehearsal 9:00 - 5:00 PM SJBODA Winter Membership Meeting 10:00 - 11:00 AM CJMEA HS Band Rehearsal 9:00 - 5:00 PM SJBODA Wind Ensemble and Symphonic Band Rehearsal 9:00 - 4:00 PM CJMEA HS Band Concert 3:00 - 5:00 PM SJBODA Wind Ensemble and Symphonic Band Concert 3:00 - 5:00 PM Martin Luther King Jr. Day NJAJE Board of Directors Meeting 8:00 AM NJSMA HS Band Rehearsal 6:00 - 9:00 PM NJSMA HS Choir Rehearsal 6:00 - 9:00 PM SJBODA Chamber Ensemble Rehearsal 6:00 - 8:30 PM NJSMA HS Choir Rehearsal (Snow Date) 6:00 - 9:00 PM CJMEA HS Honor Band Rehearsal 6:00 - 9:00 PM CJMEA HS Chorus Rehearsal 9:00 - 5:00 PM Middle School/Junior HS Orchestra Festival 3:00 - 9:00 PM SJCDA Jr/Sr High Chorus Rehearsal 5:30 - 9:30 PM All-State Band Auditions 9:00 - 1:00 PM CJMEA HS Chorus Rehearsal 9:00 - 1:00 PM CJMEA HS Honor Band Concert 8:00 - 9:00 PM SJCDA Jr/Sr High Chorus Rehearsal (Snow Date) 9:00 - 1:30 PM

DATE 01/22/17 01/24/17 01/24/17 01/25/17 01/25/17 01/26/17 01/26/17 01/27/17 01/27/17 01/27/17 01/28/17 01/28/17 01/28/17 01/28/17 01/28/17 01/28/17 01/28/17 01/29/17 01/29/17 01/30/17

EVENT

TIME

All-State Band Audition (Snow Date) 9:00 - 1:00 PM NJSMA HS Band Rehearsal 6:00 - 9:00 PM NJSMA HS Choir Rehearsal 6:00 - 9:00 PM NJSMA HS Band Rehearsal (Snow Date) 6:00 - 9:00 PM SJBODA Chamber Ensemble Rehearsal (Snow Date) 6:00 - 8:30 PM CJMEA HS Honor Band Concert (Snow Date) 8:00 - 9:00 PM NJSMA HS Choir Rehearsal 6:00 - 9:00 PM CJMEA HS Chorus Rehearsal 4:30 - 9:30 PM NJSMA HS Band Rehearsal 8:00 - 5:00 PM SJCDA Jr/Sr High Chorus Rehearsal 6:00 - 9:30 PM CJMEA HS Chorus Rehearsal 9:00 - 1:00 PM NJSMA HS Band Rehearsal 9:00 - 5:00 PM NJSMA HS Choir Concert 3:00 - 4:30 PM NJSMA HS Choir Rehearsal 9:00 - 1:00 PM SJBODA Junior High Band Auditions 9:00 - 1:00 PM SJCDA 59th Annual Jr/Sr High Chorus Festival 8:00 - 10:00 PM CJMEA HS Chorus Concert 3:00 PM NJSMA HS Band Concert 3:00 - 4:30 PM SJCDA 59th Annual Jr/Sr High Chorus Festival 3:00 - 5:00 PM SJCDA 59th Annual Jr/Sr High Chorus Festival (Snow Date) 3:00 - 5:00 PM

FEBRUARY 02/01/17 02/02/17 02/03/17 02/03/17 02/04/17 02/04/17 02/04/17 02/05/17 02/05/17 02/06/17 02/07/17 02/07/17 02/07/17 02/08/17 02/09/17 02/09/17 02/09/17 02/11/17 02/11/17 02/11/17 02/11/17 02/12/17

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NJSMA HS Orchestra Rehearsal (Strings Only) 6:00 - 9:00 PM All-State Band Rehearsal 5:00 - 9:00 PM HS Orchestra Festival 3:00 - 9:00 PM NJMAA General Membership Meeting 9:00 - 11:00 AM CJMEA Inter. Band/Choir/Orch/Perc Ens. Auditions 9:00 - 5:00 PM NJSMA JHS Band Choir and Orchestra Auditions 8:00 - 5:00 PM SJBODA Junior High Band Auditions (Snow Date) 9:00 - 1:00 PM All-State Treble Chorus Rehearsal 1:00 - 5:00 PM NJSMA JHS Band Choir/Orchestra Auditions (Snow Date) 8:00 - 5:00 PM NJSMA Executive Board Meeting 5:30 - 9:00 PM NJSMA HS Orchestra Rehearsal (re seat) 6:00 - 9:00 PM SJBODA Chamber Ensemble Rehearsal 6:00 - 8:30 PM SJBODA Junior High Band Rehearsal 4:00 - 7:00 PM SJBODA Chamber Ensemble Concert 7:30 - 9:30 PM All-State Band Rehearsal (Snow Date) 5:00 - 9:00 PM NJSMA JHS Orchestra Rehearsal (Strings Only) 6:00 - 9:00 PM SJBODA Chamber Ensemble Concert (Snow Date) 7:30 - 9:30 PM CJMEA HS Chorus Rehearsal (Snow Date) 9:00 - 1:00 PM CJMEA Inter. Band, Orchestra Reading Rehearsal 9:00 - 1:00 PM CJMEA Int. BCO /Perc Ens. Auditions (Snow Date) 9:00 - 5:00 PM NJMEA Honors Guitar Ensemble Auditions 9:00 - 1:00 PM CJMEA HS Chorus Concert (Snow Date) 9:00 - 3:30 PM

JANUARY 2017

2016– 2017 Calendar

Please See Calendar Updates at NJMEA.Org Upcoming Events/More Events TEMPO will print the NJMEA Calendar for the months up to the next publication issue.

Please check the website “Events” for the most up-to-date information.

DATE 02/13/17 02/13/17 02/14/17 02/14/17 02/15/17 02/15/17 02/15/17 02/16/17 02/17/17 02/18/17 02/18/17 02/19/17 02/21/17 02/23/17 02/23/17 02/23/17 02/23/17 02/23/17 02/24/17 02/24/17 02/24/17 02/24/17 02/24/17 02/24/17 02/24/17 02/24/17 02/25/17 02/25/17 02/25/17 02/25/17 02/25/17 02/28/17 02/28/17 02/28/17

EVENT

TIME

NJSMA JHS Band Rehearsal 6:00 - 9:00 PM SJCDA Board of Directors Meeting 7:00 - 9:00 PM NJSMA High School Orchestra Rehearsal 6:30 - 9:00 PM NJSMA HS Orchestra Rehearsal 6:00 - 9:00 PM NJSMA JHS Band Rehearsal 6:00 - 9:00 PM NJSMA JHS Orchestra Reseat and Full Rehearsal 11:00 - 5:00 PM SJBODA Junior High Band Rehearsal 4:00 - 7:00 PM NJSMA HS Orchestra Rehearsal (Snow Date) 6:00 - 9:00 PM NJSMA HS Orchestra Rehearsal 6:00 - 9:00 PM CJMEA Inter. BO Reading Rehearsal (Snow Date) 9:00 - 1:00 PM NJSMA HS Orchestra Rehearsal 8:00 - 5:00 PM NJSMA HS Orchestra Concert 3:00 - 4:30 PM SJBODA Junior High Band Rehearsal 4:00 - 7:00 PM All-State Band Rehearsal 12:00 - 10:00 PM All-State Treble Chorus Arrives In East Brunswick 6:00 PM All-State Treble Chorus Rehearsal 7:00 - 10:00 PM NJMEA Executive Board Meeting 12:00 PM NJMEA Full Board Dinner 5:00 PM All-State Band Procedures Committee Meeting 4:00 - 6:00 PM All-State Band Rehearsal All-State Choral Procedures Committee Open Meeting 2:00 - 3:00 PM All-State Treble Chorus Rehearsal CJMEA Inter. Band Rehearsal 5:00 - 9:00 PM CJMEA Inter. Chorus Rehearsal 5:00 - 9:00 PM CJMEA Inter. Orchestra Rehearsal 5:00 - 9:00 PM Eastern Divsion Planning Meeting All-State Band and Treble Chorus Concert 3:00 PM CJMEA Inter. Band Rehearsal 9:00 - 1:00 PM CJMEA Inter. Chorus Rehearsal 9:00 - 1:00 PM CJMEA Inter. Orchestra Rehearsal 9:00 - 1:00 PM CJMEA Inter. Percussion Ens. Rehearsal 9:00 - 1:00 PM NJSMA JHS Band Rehearsal 6:30 - 9:00 PM NJSMA JHS Band Rehearsal (Snow Date) 6:00 - 9:00 PM SJBODA Junior High Band Rehearsal (Snow Date) 4:00 - 7:00 PM

MARCH 03/01/17 03/01/17 03/02/17 03/03/17 03/03/17 03/03/17 03/03/17 03/03/17

NJSMA JHS Band Rehearsal (Snow Date) NJSMA JHS Choir Rehearsal NJSMA JHS Choir Rehearsal CJMEA Inter. Band Rehearsal CJMEA Inter. Chorus Rehearsal CJMEA Inter. Orchestra Rehearsal CJMEA Inter. Percussion Ens. Rehearsal NJMAA Executive Board Meeting

JANUARY 2017

6:30 - 9:00 PM 6:00 - 9:00 PM 6:30 - 9:00 PM 5:00 - 9:00 PM 5:00 - 9:00 PM 5:00 - 9:00 PM 5:00 - 9:00 PM 9:00 - 11:00 AM

DATE 03/03/17 03/03/17 03/04/17 03/04/17 03/04/17 03/04/17 03/04/17 03/04/17 03/04/17 03/04/17 03/04/17 03/05/17 03/05/17 03/05/17 03/05/17 03/05/17 03/05/17 03/06/17 03/06/17 03/07/17 03/07/17 03/07/17 03/08/17 03/08/17 03/08/17 03/09/17 03/09/17 03/10/17 03/10/17 03/10/17 03/11/17 03/11/17 03/11/17 03/12/17 03/12/17 03/13/17 03/13/17 03/13/17 03/14/17 03/15/17 03/17/17 03/18/17 03/18/17 03/19/17

EVENT NJSMA JHS Band Rehearsal SJBODA Junior High Band Rehearsal CJMEA Inter. Band Rehearsal CJMEA Inter. Chorus Rehearsal CJMEA Inter. Orchestra Concert CJMEA Inter. Orchestra Rehearsal CJMEA Inter. Percussion Ens. Rehearsal NJSMA JHS Band Rehearsal SJBODA Junior High Band Rehearsal SJCDA Elementary Chorus Concert SJCDA Elementary Chorus Festival CJMEA Inter. Band Concert NJSMA JHS Band Concert SJBODA Junior High Band Concert SJCDA Conductor Selection Committee Meeting SJCDA Elementary Chorus Concert (Snow Date) SJCDA Elementary Chorus Festival (Snow Date) NJAJE State Festival Preliminaries NJSMA Executive Board Meeting NJAJE State Festival Preliminaries NJSMA JHS Orchestra Rehearsal SJBODA Concert Band Festival NJAJE State Festival Preliminaries NJSMA JHS Choir Rehearsal SJBODA Concert Band Festival NJAJE State Festival Preliminaries NJSMA JHS Orchestra Rehearsal (Snow Date) CJMEA Inter. Percussion Ens. Rehearsal NJAJE State Festival Preliminaries NJSMA JHS Orchestra Rehearsal CJMEA Inter. Chorus Rehearsal CJMEA Inter. Percussion Ens. Rehearsal (Snow Date) NJSMA JHS Orchestra Rehearsal CJMEA Inter. Chorus & Percussion Ensemble Concert NJSMA JHS Orchestra Concert NJAJE Region I, II, III Jazz Band Auditions NJSMA JHS Region Choir Rehearsal SJCDA Board of Directors Meeting NJMEA Executive Board Meeting NJSMA JHS Region Choir Rehearsal (Snow Date) NJSMA JHS Choir Rehearsal ASO/ASIO auditions NJSMA JHS Choir Rehearsal NJSMA JHS Choir Concert

TIME 8:00 - 5:00 PM 4:00 - 7:00 PM 9:00 - 1:00 PM 9:00 - 1:00 PM 3:00 - 5:00 PM 9:00 - 1:00 PM 9:00 - 1:00 PM 9:00 - 5:00 PM 9:00 - 1:00 PM 4:00 - 6:00 PM 9:30 - 6:00 PM 3:00 - 5:00 PM 3:00 - 4:30 PM 3:00 - 5:00 PM 4:00 - 6:00 PM 9:30 - 6:00 PM 5:00 - 10:00 PM 5:30 - 9:00 PM 5:00 - 10:00 PM 6:00 - 9:00 PM 9:00 - 3:00 PM 5:00 - 10:00 PM 6:00 - 9:00 PM 9:00 - 3:00 PM 5:00 - 10:00 PM 6:00 - 9:00 PM 5:00 - 9:00 PM 5:00 - 10:00 PM 8:00 - 5:00 PM 9:00 - 1:00 PM 9:00 - 1:00 PM 8:00 - 5:00 PM 3:00 - 5:00 PM 3:00 - 4:30 PM 4:30 PM 6:00 - 9:00 PM 7:00 - 9:00 PM 5:00 6:00 - 9:00 PM 8:00 - 5:00 PM 9:00 - 5:00 PM 3:00 - 4:30 PM

67 TEMPO

2016– 2017 Calendar

Please See Calendar Updates at NJMEA.Org Upcoming Events/More Events TEMPO will print the NJMEA Calendar for the months up to the next publication issue.

Please check the website “Events” for the most up-to-date information.

DATE 03/20/17 03/20/17 03/21/17 03/22/17 03/23/17 03/25/17 03/25/17 03/27/17 03/29/17 03/30/17 03/31/17 03/31/17

EVENT CJMEA HS Concert Band Festival NJAJE Region I, II, III Jazz Band Rehearsal CJMEA HS Concert Band Festival CJMEA HS Concert Band Festival CJMEA HS Concert Band Festival NJRMEA Executive Board Meeting ASO/ASIO auditions Snow Date NJAJE Region I, II, III Jazz Band Rehearsal NJSMA High School Band Festival NJSMA High School Band Festival NJAJE Region I, II, III Jazz Band Rehearsal NJMAA General Membership Meeting

TIME

DATE

6:00 - 10:00 PM 4:00 - 8:00 PM 6:00 - 10:00 PM 6:00 - 10:00 PM 6:00 - 10:00 PM 10:15 AM 4:00 - 8:00 PM 4:00 - 8:00 PM 9:00 - 11:00 AM

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EVENT

TIME

&

JANUARY 2017

JANUARY 2017

69 TEMPO

WEST CHESTER UNIVERSITY of PENNSYLVANIA

School of Music Explore a career in music at the School of Music at West Chester University, accredited with the National Association of Schools of Music (NASM) in the following degree programs: B.M. Music Performance (instrument, keyboard, voice, jazz) B.M. Music Education (instrument, keyboard, voice) B.M. Music Theory and Composition (option for concentration in Music History) B.M. Music with Elective Studies in an Outside Field (option for Outside Field in Music Therapy in conjunction with Immaculata University) Additionally, with department consent, students may be admitted to a 5-year dual-major in two music degrees. Students must demonstrate performance level on their primary instrument and maintain a 3.0 cumulative GPA to be considered.

Minors Offered for Music Majors Jazz Studies Music History

Minors Offered for Non-Music Majors Music Music Performance

Check out our Applied Music, Music Education, and Music Theory, History, and Composition Departments online, including faculty bios, course offerings, and requirements.

wcupa.edu/music

NASM

National Association of Schools of Music

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JANUARY 2017

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

C. The administrator must be an active advocate for arts education in the school and community.

D. A financial commitment to music programs must be demonstrated in the school or school district.

E. The administrator must show strong leadership, good school management, and good rapport with teachers, parents, students, and other school administrators.

Nominators must submit the following for each administrator: 1. Completed School Administrator Nomination form verified and signed by the nominator.

2. Resume of nominated administrator.

3. Two letters of support, including one from the music education faculty in the administrator’s school or district.

4. A picture of the administrator suitable for publicity purposes.

5. Name and address of the administrator’s local newspaper, television and radio station where applicable.

6. Additional support materials such as press clippings if available.

Selection by the NJMEA committee will be based on the following criteria:

A. The school or school district under the administrator’s supervision must have an exemplary music program, with a majority of the music staff holding NJMEA membership.

B. The administrator must have served in the administrative position in the same school or district for no less than three years.

Application must be postmarked by October 15th School District _________________________________________________________ Send the form, photograph, and support materials to: Selection (check one) Elementary Principal __________ NJMEA Secondary Principal __________ 1806 HWY 35 Suite 201 Superintendent __________ Oakhurst, NJ 07755 Nominee’s Name ____________________________________

Title

_____________________________________________

School ____________________________________________

Telephone ____________________________________________

School Address ______________________________________________________________________________________________________ Please answer the following questions on a separate sheet in support of your selection. This form must be signed by the nominator and the administrator nominated and must be accompanied by a resume, two letters of support (one from a member of the music faculty), a publicity photo, and a list of local media and their addresses.

1. How long has the school or school district been under the administrator’s supervision?

2. Describe some of the features of the school or district under the administrator’s leadership that demonstrate how the music program is exemplary.

Please include in your description answers to the following: a. Describe the music curriculum offerings and time allotment for students. b. How have music programs in the school/district been expanded or improved as a result of the administrator’s efforts? c. Have students or programs in the school or district won awards for achievement or recognition in the arts?

3. How has the administrator been an active advocate for music and arts education in the school and community?

4. How has this administrator demonstrated financial commitment to music programs in his or her school/district?

5. Give examples of the administrator’s strong leadership, good school management, and good rapport with teachers, parents and students.

6. Add any other information that supports selection of this administrator.

Nominator’s Signature ______________________________________

Date ____________________________________

Administrator’s Signature ____________________________________ Date ____________________________________

JANUARY 2017

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Outstanding School Board Award The New Jersey Music Educators Association seeks nominees for the Outstanding School Board Award. NJMEA presents an award to a local school board at the Membership Luncheon during the February NJMEA State Conference. This award acknowledges and awards outstanding school boards who exemplify superior support and commitment for quality music programs throughout all the grades of the school district.

Selection by the NJMEA committee is based on the following criteria: A local school board must demonstrate the following: A. A significant contribution in support of the development of the district music program. This should include superior programs of sequential, curriculum-based music education.

B. Advocacy for music education within the school district.

C. Financial support commensurate to support a superior music education program of general, choral and instrumental music.

D. Willingness to accept the award if it is bestowed and to participate in publicizing it.

Nomination: 1. Completed nomination form.

2. A statement from the School Board President or other officer of the school board in which a rationale is put forth for accepting consideration of the nomination.

3. A statement of support from the district superintendent which describes the district music education programs to be considered as evidence of achievement in music education.

4. A letter of support from two or more of the music teachers.

5. A letter of support from two local citizens, public officials or parents.

6. A black and white photograph of the school board suitable for publicity purposes including a list of their names as they are in the picture and the number of years they have served on the board.

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JANUARY 2017

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

Name of school district ______________________________________________________ School district address

______________________________________________________

School district telephone number _______________________________________________

Please answer the following questions in support of your nomination. Use a separate sheet.

1. How long have the members of the school board served? (Give names and length of service.) How long is a single term?

2. Describe how the board has contributed to the development of music education within the school district.

3. Describe any exemplary music programs in the school district that have been developed and implemented under this board’s direction.

4. Have students or programs in the school district won awards for achievement or recognition in music?

5. How have members of the school board been active advocates for music and arts education?

6. Please add any other information that supports your nomination.

Signatures:

Superintendent of Schools _______________________________

Date

_____________________

School Board Chairperson _______________________________ Date _____________________

District Music Coordinator _______________________________ Date _____________________

Nominator _______________________________ Date _____________________

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

JANUARY 2017

73 TEMPO

Distinguished Service Awards The NJMEA Board of Directors has initiated a Distinguished Service Award for those members who have honored themselves with faithful service to music education in public, private, and parochial schools of New Jersey. Past and present members of the NJMEA Board of Directors are also eligible for the DSA since they have dedicated much time and effort toward State projects related to music education. The third and fourth DSA categories include individuals and organizations outside the field of Professional Music Education and NAfME officers on both the National and Regional level.

The final decision on DSA recipients will be made at the November meeting of the NJMEA Board of Directors. The criteria below should be carefully read and studied to insure maximum consideration by the DSA Committee.

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

Of These Categories

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

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

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

4.

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

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

Number:

DSA Committee discretion (to be decided annually)

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

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

Title/Position: __________________________________________________

Telephone: ________________________________________

Home Address: # & Street _________________________________________

City/Town: ________________________________________

State & Zip: ____________________________________________________

Application must be postmarked by October 15th Please provide the following information on separate sheets in the listed sequence.

1. This application 2. Name, address, phone and affiliation of nominee or group.

3. Name, address, phone of nominator.

4. Attach a vita for the nominee or group that is as complete as possible.

5. Summarize the achievements, contributions, or service on which the proposed award would be based. Include any evidence that the nominee or group would be receptive to such an award.

Please send two copies of these materials to:

NJMEA

1806 HWY 35

Suite 201

Oakhurst, NJ 07755 TEMPO 74

JANUARY 2017

Master Music Teacher Award To be eligible for consideration, the nominee must:

A. have completed a minimum of ten years of music teaching in the schools of New Jersey (public, parochial, private or collegiate).

B. be actively teaching and a member of NJMEA-NAfME for at least ten years.

C. display teaching excellence, as the only other major criterion used in the selection process.

Deadline: March 15th: Nominee: ________________________________________________________________________________________________ Street Address: ____________________________________________________________________________________________ City: __________________________________________

State: ______________________ Zip: _________________

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

Zip: ________________ County: ______________________

Superintendent: ____________________________

Telephone: __________________ E-mail address: ________________

Principal: _________________________________

Telephone: __________________ E-mail address: ________________

Supervisor: ________________________________

Telephone: __________________ E-mail address: _________________

Nominator: _______________________________

Telephone: __________________ E-mail address: _________________

Please include with this form: 1. Academic background including degrees and certificates held.

2. Experience in the field of music including previous positions held, honors, and recognitions.

3. A minimum of two letters of reference supporting the candidacy 4. Additional supporting materials, including programs and articles. Do not send CDs or DVD’s.

5. The candidate’s teaching schedule, including number of students in each class, total enrollment in the school, specific periods and times, and detailed directions to the school.

Please check the website at: http://www.njmea.org/MasterMusicTeachers.pdf to see who has received this award in the past.

Mail this application, together with accompanying documents to:

NJMEA

1806 HWY 35

Suite 201

Oakhurst, NJ 07755

JANUARY 2017

75 TEMPO

NJ ALL-STATE CHORUS CONDUCTORS NEEDED The New Jersey Choral Conductor Selection Committee is in the process of choosing a conductor for the 2018 Treble Chorus.

CONDUCTOR SELECTION: NJ ALL STATE CHORUSES Current NAfME members in good standing.

New Jersey Choral Educators.

Who is eligible?

What is required?

Submit a DVD of your choral conducting of THREE selections - not to exceed 12 minutes - (please see below for required selections - include a list of these selections), a proposed program not to exceed 30 minutes of music, your resume, a letter of intent which states why you feel you are the best candidate for this position, and a list of your concert dates (members of the committee may come to observe you at work!)

Please indicate the group for which you would like to be considered

Where do I send my materials?

Barbara Retzko, Selection Committee Chairperson 45 Dayton Crescent Bernardsville, NJ 07924

What is the due date?

March 31, 2017 Anything postmarked after this date will be returned to sender.

Why not make this the year you submit your application?

What happens next? The conductor selection committee will review the submitted materials. Once the DVDs have been reviewed, all paperwork is read and assessed. The rubrics are collected, scores tallied and the lowest score is chosen. We use the same numeric scoring system as in the NJ All-State Chorus auditions.

The chairperson does not participate in the scoring, but acts to organize the packets, give process direction to the committee members and provides the results to the Choral Procedures Committee. The chairperson does not share any information regarding the materials submitted and the panel is requested to keep their reviews confidential. To date, this system has worked with great success.

A WORD ABOUT THE MATERIALS YOU SUBMIT *You must submit one selection from the NJ-ACDA high school required repertoire list. (Below is the link to the list.) https://docs.google.com/spreadsheets/d/1e6f8GGUg05z7z6RehQjDUnYXhz8adA56t7dzuNtWku4/htmlview?pli=1 or go to NJACDA.com under events and high school festival. *Second piece - from your school repertoire, your school group. *Third piece – your choice – any ensemble. (Region, County, Honors) The required piece and the second piece MUST be your school ensemble.

Your conducting must be visible throughout the recording.

If you wish to be considered as the Mixed Chorus conductor, your 3 pieces should demonstrate Mixed Chorus repertoire.

If you wish to be considered as the Treble Chorus conductor, your 3 pieces should demonstrate Treble Chorus repertoire.

Please use your best judgment when submitting materials for consideration. Ask colleagues to review your work. Bring in all kinds of people to give you feedback! Consult the All-State conductors who have gone before you for critique and advice. Remember that we are looking for a conductor, so it does not work to your advantage if your DVD does not include considerable evidence of your conducting!

The panel cannot assess your conducting if your group is filmed from the rear of an auditorium and all that is seen is your back! You may submit work representative of different ensembles in your school, but NO MORE THAN THREE selections.

Please TYPE all materials. Handwritten materials will not be considered.

Good Luck! We look forward to hearing from you.

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JANUARY 2017

New Jersey Music Educator’s Association Proudly Announces:

“The 2017 State Marching Band Ratings Festival” “16th Annual” A unique opportunity for your Marching Band to perform in a Festival (rating only) setting.

Quality Evaluation!

Local Bands!

Enthusiastic Audiences!

State Sponsored!

Non-Competitive!

One time commitment!

State Marching Band “Ratings” Festival Saturday, October 14, 2017, 5:30 pm. Wayne Hills High School Contact: Matthew J. Paterno 973-317-2060 (mpaterno@wayneschools.com)

Don’t miss out on this interesting addition to your present Marching Band activities!

Sign- ups begin MARCH 1, 2017!

Limit of 16 bands and there has traditionally been a waiting list!

JANUARY 2017

77 TEMPO

2017 NJMEA MIDDLE SCHOOL CONCERT BAND FESTIVAL APPLICATION Please Print Clearly – (with as few characters as possible, as it should appear in program and on plaque)

Name of Performing Group:

Director’s Name:

School Name: School Address: School Phone: (

Town: )

Zip:

(Ext:

) School Fax: (

)

E-mail Address: Home Address:

Home Phone: (

Number of Performing Students:

)

Grade Level(s) (circle) 5 6 7 8 9

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

Your Program: Title Composer/Arranger Warm-up Selection:

1st Adjudicated Selection:

2nd Adjudicated Selection:

Date and Site: (Please indicate 1st and 2nd choice if applicable)

( ) Tuesday, February 28, 2017 at Summit Middle School

( ) Wednesday, March 22, 2017 at Rowan University, Glassboro

( ) Tuesday, April 4, 2017 at Bridgewater-Raritan Middle School

We can arrive by:

We must depart no later than:

Each band will have a 20 minute warm-up time prior to their performance. Stage time will be approximately 30 minutes including set-up, performance and exit. Performance selections are of the director’s choice. Clinicians’ recorded and written critiques will be made available; in addition, clinicians will speak with band members following the performances as time allows. A participation plaque will be awarded to each band.

Ratings will be given upon request. You may bring your own lunches. All bands are encouraged to listen to the other ensembles perform. Mutual respect for all performances is absolutely necessary.

A non-­refundable fee of $150.00 per performing ensemble must accompany this application. Checks should be made payable to NJMEA. (No cash or purchase orders, please.) Directors must also include a copy of their current NAfME membership card. The application due no later than ONE MONTH prior to your festival date.

More information will be mailed upon receipt of your application. Please return completed applications to:

James Chwalyk, Jr. 39 Newark Avenue Bloomfield, NJ 07003

Please direct any questions to: James Chwalyk, Festival Coordinator: james_chwalyk@lyndhurst.k12.nj.us

973-477-6641 (cell phone)

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JANUARY 2017

The 64th Annual Junior High/Middle School Choral Festival Application Form

School Name:

School Phone:

School Address:

City:

Director’s Name :

Zip: Home Phone :

Home Address: City:

State:

Zip:

Email: NAfME Membership #:

Expiration Date:

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

(during school:

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

(before school):

(after school):

Will participate at Rowan University, (South Site) March 1, 2017: 9:15 - 1:30 pm: Will participate at Rutgers University, (North Site) May 24, 2017: 9:15 - 1:30 pm: We can arrive at:

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

Selection (Maximum of 3)

Complete Name of Composer/Arranger

Voicing

1.

2.

3.

(If any of the above titles are folk songs, please indcate country or region of origin) FEE: $150.00 per group (non-refundable) FESTIVAL DATES:

(Limited to the 1st TEN (10) Groups on each date) DEADLINES: Friday, February 3, 2017 for Rowan University Wednesday, March 1, 2017

Monday, April 24, 2017 for Rutgers University South Site: Rowan University

TIME: 9:15 - 1:30 pm SEND TO: Donna Marie Berchtold, Registrar

William Davies Middle School Wednesday, May 24, 2017

1876 Dennis Foreman Drive North Site: Rutgers University

Mays Landing, NJ 08330 TIME: 9:15 - 1:30 pm EMAIL: berchtoldd@hamiltonschools.org FESTIVAL HOST: Donna Marie F. Berchtold

berchtoldd@hamiltonschools.org

Other information including directions and schedules will be mailed.

JANUARY 2017

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

79 TEMPO

CJMEA

Central Jersey Music Educators Association cjmea.org

As we approach January, CJMEA is excited about the coming high school region concerts. Our December auditions for the high school region band, choir, orchestra, and percussion ensemble are concluded and rehearsals are underway!

Congratulations to all directors with students that were accepted into one of these ensembles. This is a testament to your fine teaching and dedication.

I would be remiss if I didn’t give my heartfelt thanks to all teachers and college students that spent the day with us at the high school auditions as judges, moderators, monitors, tabulators, registrars, and other positions. Because of your hard work and willingness to give up a Saturday, thousands of students were able to have a positive experience through their region audition. While not every student is able to be accepted into a region ensemble, our hope is that every student grows as a musician through the process of preparing for and playing an audition.

Thank you for your time.

The CJMEA board would like to remind everyone that beginning this year, CJMEA will be awarding grants for music-specific professional development to take place in your school district. This is a wonderful opportunity for your district to provide you and your music colleagues

PD that is focused on topics that will directly impact your music instruction.

We encourage you to work with your administration in filling out an application, which can be found on our website, www. cjmea.org As the United States approaches the inauguration of a new President, I cannot help but reflect upon the past couple of months and some of the things my students have expressed to me both out of excitement and concern. Election outcomes aside, I hope you’ll agree that none of us are all-knowing enough to be certain of what the future holds. What I do know is that now, more than ever, our students need their teachers to be strong for them as they face that uncertainty. We are so fortunate that as music teachers, we are able to give them that strength through something that all of our students, no matter their beliefs, can find solace, comfort, and agreement in. Thank you for being a music teacher. The world needs more of you!

Please make sure you continue to check the website. All intermediate audition materials and information are posted with auditions coming up in February. As always, if you have any questions, please feel free to reach out to me at awarshafsky@cjmea.org. Have a wonderful holiday season!

NJSMA

North Jersey School Music Association njsma.com

This year’s annual High School Chorus Festival on December 6th-8th was a smashing success. We had over 20 choirs perform over the three day festival. It is a great opportunity for the region’s High School Ensembles to showcase their talents and learn from each other. Special thanks to Barbara Klemp at Chatham High School, Heather Buchanan at Montclair State University, and Steve Bell at Teaneck High School for Hosting each of the three events. Also, our extreme

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gratitude to Jason Bishop, Heather Buchanan, Patrick Gardner and Brandon Williams for adjudicating the events.

The NJSMA Chorus Division is proud to announce our conductors for this year’s region choir concerts. Conducting the High School Mixed Choir is Ms. Anna D’Achille from Morris Hills High School and the Women’s Choir will be under the baton of Jason Bishop of Drew University. The High School concert will take place at Morris Knolls High School on Saturday, January 28th.

The Junior High Treble Choir will be conducted by Lisa Bagley of Westwood Regional Middle School, and the Mixed Choir will be led by Laura Kosmich of Leonia Middle School. The Junior High Choir Concert will take place on Sunday, March 19th at Bloomfield High School.

As always, we are constantly asking for assistance from the region choir teachers in the many jobs it takes to help run these events and many others. If you would like to host, manage, conduct, accompany, coordinate auditions, or even help on the region board, we will always take help. Please contact the chorus division at Chorus@NJSMA.com Early Childhood Elementary November-January Webinar Amy Burns

I am so happy to feature a webinar of highlights from the recent North Jersey School of Music Association’s (NJSMA) Denise Gagne Workshop for NJMEA elementary music educators! The highlights feature songs, dances, and activities from a variety of Denise’s series. In addition, you will view an excellent performance from the 6th grade Copeland Orff Ensemble directed by Ardith Collins and a performance from The Two Ukes (Jody Adessa and Casey Goryeb). This webinar will be available for the months of November through February. To view it, please email Amy Burns at aburns@fhcds. org with your NJMEA/NAfME membership number and expiration date. If you would like 1 PD credit per webinar, please write Amy a summary of the webinar and JANUARY 2017

answer the question, “What was your favorite highlight from Denise’s workshop?”

Upcoming Events for Early Childhood/ Elementary NJ Music Educators: Amy Burns

February 25th: NJSMA will host a Saturday morning “Come Grow with Us” workshop that will offer several rotating sessions, featuring inspiring topics and clinicians. This workshop is co-sponsored with the New Jersey Youth Chorus. Details and registration will be on the NJSMA website in the near future.

March: Another wonderful NJSMA Elementary Music Educator “Sip ‘N Share” - date/location-TBD April 5-8: The 2017 Eastern Division Conference in Atlantic City will feature some amazing presenters such as John Jacobson, Missy Strong, Lisa Wichman, Craig Knapp, Abigail Connors, Cherie Herring, Amy M. Burns, Elizabeth Bucura, Sharon Burch, Maedean Kramer, Callie Shafto, and so many more! Don’t miss this wonderful event managed by NJMEA! Register today at http://www. nafme-eastern.org/index.php May 23rd: 2nd Annual Elementary Choral Celebration at Drew University.

Details and registration form on NJSMA Elementary webpage.

All NJ music educators and music education majors are invited to attend the NJSMA workshops and events. Please visit the NJSMA webpage or contact Lisa Wichman, NJSMA Elementary Music Division Chairperson

SJBODA

South Jersey Band And Orchestra Directors Association sjboda.org

SJBODA will bring in the New Year with two very exciting concerts at Rowan University. On Sunday, January 8th we will present our Orchestra and String Ensemble concert. This is the 63rd anniversary concert for the Orchestra which will be conducted by Michael Ludwig (Montclair University). The Junior High JANUARY 2017

String Ensemble will be conducted by Matthew Dell (Rowan Youth Orchestra). The managers for the Orchestra and String Ensemble are Lia Boncouer, Shannon Bradley, Mariah Cottrell, and Lisa Harkisheimer. All four of these ladies are members of the Rowan University NAfME Collegiate Chapter. The following Sunday, January 15th the Wind Ensemble and the Symphonic Band will perform in their 71st anniversary concert.

The Wind Ensemble will be conducted by Joe Higgins (Rowan University) and Mark Kadetsky (Fernwood Ave. MS) will conduct the Symphonic Band. The managers for the Wind Ensemble are Erika Zeiters (Millville Public Schools) and Christopher Evans (Middle Township Public Schools).

Anita Collings (retired, Egg Harbor Township Schools) and Jon Porco (Absegami HS) will manage the Symphonic Band.

Our concert hosts for these performances are Sal Scarpa and Rick Dammers.

These concerts would not be possible without the commitment and dedication of our colleagues. Phil Senseney (retired, Southern Regional Schools) and Deb Knisely (Cinnaminson HS) did an outstanding job in providing our students with a positive audition experience. John Stanz and Rhea Fernandes provided an excellent facility for our students, parents, and membership at the auditions which were held at Eastern Regional HS. Our percussion equipment managers for all of our events this year are Karyn Park (Williamstown MS) and Deb Knisely (Cinnaminson HS).

The first rehearsal for these ensembles was held at Absegami HS and hosted by Jon Porco. Jon did a wonderful job in meeting the needs of our students. Our young musicians also benefitted from the efforts of Rhea Fernandes (Eastern Regional HS), our String Coordinator, and Amanda Lakits (Hamilton Township Schools) our Senior High Band Coordinator.

The Junior High Band auditions will take place on Saturday, January 28th at Southern Regional Middle School. Jennifer Hodgson and Andrew Wright will be our hosts. Audition information is available on our website. Tony Scardino (Indian Mills MS) and Joe Jacobs (Ventnor MS)

are the Junior High audition chairs. Joe Brausum (Lacey Township HS) is our Junior High Band Coordinator. The concert will take place on March 5th at Fernwood Ave. MS. Mark Kadetsky will be our concert host. The rehearsals will take place at Mainland Regional HS with Derek Rohaly as our host.

The conductors for the 40th Annual Junior High Band Concert are Shannon Hughes (Northern Burlington County MS) and Andrew Seigel (William Davies MS).

The 10th annual Chamber Ensemble Concert will take place on Wednesday, February 8th at Cedar Creek HS. Jon Porco (Absegami HS) is our Chamber Ensemble Coordinator and concert host. Our coaches this year are Sam Brooks (Glen Landing MS), Flute Quartet; Beth Rohaly (RM Bacon ES), Woodwind Quintet; Nick DiSalvio (Westampton MS), Sax Quartet; Mike Lynch (Cherokee HS), Brass Quintet and Tim Trout (Rosenauer and Switlik ES), Tuba/Euphonium. We were still in need of a Clarinet Ensemble coach at the deadline for this article.

Registration forms for our 23rd annual Concert Band Festival are available on the SJBODA website. The festival, coordinated by Mike Armstrong (Deptford Township HS) and Jon Porco (Absegami HS), will take place on Tuesday, March 7th and Wednesday, March 8th at Rowan University. Rick Dammers and the Rowan CNAfME will host this event.

The 25th annual Elementary Honors Band Festival will take place on Saturday, April 29th at Shawnee HS. Patrick O’Keefe will be our host. Our coordinators are Sue Moore (Mansion Avenue School) and Bill Trimble (Wenonah ES).

Registration forms are available on our website.

Our 2nd annual Elementary String Festival will take place on Saturday, May 6th at Fernwood Ave. MS. Rhea Fernandes (Eastern Regional HS) will coordinate this event and Jocelyn Moore (Egg Harbor Twp. Schools) will be our host.

Registration forms are available on our website.

The SJBODA Winter Meeting will take place on Friday, January 13th at continued on next page

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10:00 am at Rowan University. All members are encouraged to attend. Please continue to check the website, maintained by Derek Rohaly (Mainland Regional HS) for the latest SJBODA updates. The SJBODA phone number is 609-457-0590.

Joseph Jacobs Secretary, SJBODA

SJCDA

The South Jersey Choral Directors Association held their annual region auditions on Saturday, November 19th, at Salem County Technical School. Stephanie Berger, from Cinnaminson High School, will be conducting this year’s Senior High Chorus, and Joseph Zachowski, from Washington Township High School, will be conducting the Junior High Chorus.

The first rehearsal was held on Saturday, December 3rd, at Lenape High School.

This year’s festival will take place on January 28th and 29th at Eastern Regional High School.

On Monday, September 19th, SJCDA held a kick-off gathering at “Villari’s Lakeside Restaurant” in Sicklerville, New Jersey. This fall membership meeting was intended to get acquainted with new teachers, and generate energy and excitement for the new school year. This is an excellent opportunity to provide those educators with a support system of seasoned music directors and a network of vocal music resources. It has become our goal to get to know the music educators in our region and connect them with all SJCDA has to offer. If you happen to be reading this article and would like to know more about our organization and are from Region 3, please contact me directly for further information: Nancy Dickinson (SJCDA President) Bunker Hill Middle School, ndickinson@wtps.org.

&

Photo courtesy of American Youth Philharmonic Orchestras, Tie Xu, photographer

South Jersey Choral Directors Association sjcda.net

Help your students become the music educators they were meant to be.

Start a NAfME Collegiate chapter- Where music educators belong. Your students will: – Gain professional credibility – Get insight into the professional world – Expand their network of professional contacts – Open doors to job opportunities – Discover new teaching methods and techniques – Develop leadership skills

For chapter materials, visit nafme.org/collegiate/getstarted or call 800-336-3768.

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JANUARY 2017

MILLERSVILLE UNIVERSITY DEPARTMENT OF MUSIC

AUDITION DATES Jan 31 Feb 7 Feb 11

Feb 14 Feb 21 Feb 25

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PERFORMERS • EDUCATORS • ENTREPRENEURS CALL MUMUSIC 717-871-4701 CALL WARE 717-871-7600

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FOR MORE INFORMATION www.experienceMUmusic.com http://www.artsmu.com

83 TEMPO

NJMEA 2016-2017 Board of Directors Executive Board President, William McDevitt Vineland High School billnjmea@aol.com 856-794-6800 x2539

Appointed Members Administration Ronald Dolce Retired rdolce561@aol.com 732-574-0846

Corporate/Industry Ron Beaudoin rbeau1959@gmail.com 301-662-2010

Advocacy Nick Santoro Retired n31b13@gmail.com 732-246-7223

Early Childhood Music Ed. Amy Burns Far Hills Country Day School aburns@fhcds.org 973-493-5797

President-Elect, Jeff Santoro W. Windsor-Plainsboro District jsantoro@njmea.org 609-716-5000 x5262

Band Festivals/Classroom Music Nancy Clasen Thomas Jefferson Middle School nancydidi@hotmail.com 973-766-5343

NJ Association For Jazz Ed. Mike Anzuini Steinert High School manzuini.njaje@gmail.com 609-631-4150 x3412

Executive Secretary-Treasurer Deborah Sfraga Ocean Township Schools debnjmea@aol.com 732-686-1316

Band Performance Albert Bazzel Winslow Twp. Middle School fenwayfollower5@comcast.net 856-358-2054

Communications (TEMPO/Web) Thomas A. Mosher, Retired tmosher@njmea.org 732-367-7195

Choral/Opera Festivals Donna Marie Berchtold William Davies Middle School berchtoldd@hamiltonschools.org 609-476-6241 x1013

Orchestra Festivals/Performance Susan Meuse Hammarskjold Middle School susanmeuse@gmail.com 732-613-6890

Chorus Performance/NJRMEA Kathy Spadafino, Retired kspadeb@aol.com 732-214-1044

Special Learners Maureen Butler Lake Drive School mbutler@mlschools.org 973-299-0166

Chorus/Orchestra/Jazz Joseph Cantaffa Howell High School jcantaffahhs@hotmail.com 732-919-2131

Technology Marjorie LoPresti East Brunswick High School marjorielopresti@gmail.com 732-613-6969

Past-President, Joseph Jacobs

Ventnor Middle School jjacobs@veccnj.org 609-335-6429

Region Executive Members

NJSMA

President, Russ Batsch Madison High School batschr@madisonpublicschools.org 973-593-3117 ext 7190 CJMEA President, Adam Warshafsky Montgomery Twp. School District awarshafsky@mtsd.us 609-466-7602 x6203 SJCDA President, Nancy Dickinson Bunker Hill Middle School ndickinson@wtps.org 856-881-7007 x5136 SJBODA President, Patrick O’Keefe Smithville School o’keefep@gtps.k12.nj.us 609-748-1250 X4661

Guitar Tom Amoriello Flemington Raritan Schools tamoriel@frsd.k12.nj.us 908-284-7650

Collegiate/Research/Higher Ed. Rick Dammers Rowan University dammers@rowan.edu 856-256-4557 Conferences Marie Malara Sayreville Middle School malara97@aol.com 732-525-5290 x2370

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JANUARY 2017

NJMEA RESOURCE PERSONNEL Area of Responsibility

Name

Email Address

Administrative Matters......................................................William McDevitt.............................................................billnjmea@aol.com All-State Band Coordinator................................................Donna Cardaneo............................................................ dcardaneo@aol.com All-State Chorus, Orchestra, Jazz Coordinator.....................Joseph Cantaffa................................................... jcantaffahhs@hotmail.com Association Business............................................................ Deborah Sfraga.............................................................. debnjmea@aol.com Band Procedures Chair.........................................................Matthew Spatz................................................matthew.spatz@millburn.org Choral Procedures Chair................................................... Kathleen Spadafino..............................................................kspadeb@aol.com Composition Contest.........................................................Robert Frampton....................................................rtframpton@comcast.net Jazz Procedures Chair......................................................... Michael Anzuini................................................. manzuini.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 ................................. berchtoldd@hamiltonschools.org NJMEA Historian.................................................................Nick Santoro............................................................... n31b13@gmail.com NJMEA State Conference Exhibits Chair............................. Nancy Clasen....................................................... nancydidi@hotmail.com NJMEA State Conference Committee.................................. Ron Beaudoin......................................................... rbeau1959@gmail.com NJMEA State Conference Manager.......................................Marie Malara................................................................malara97@aol.com NJMEA/ACDA Honors Choir............................................. Pam Crockett........................................................... pcrockett@npsdnj.org NJMEA Summer Conference..............................................Joseph Akinskas.................................................... joea_njmea@comcast.net November Convention – NJEA............................................ Nancy Clasen....................................................... nancydidi@hotmail.com Opera Festival Chair......................................................... Michael Kallimanis........................................... MrKOrchAuditions@aol.com Orchestra Procedures Chair................................................... Susan Meuse......................................................... susanmeuse@gmail.com Research.............................................................................. Rick Dammers..........................................................Dammers@rowan.edu Students with Special Needs................................................ Maureen Butler........................................................mbutler@mlschools.org Supervisor of Performing Groups...........................................Joseph Jacobs................................................................ jjacobs@veccnj.org Tri-M................................................................................William McDevitt.............................................................billnjmea@aol.com REPRESENTATIVES/LIAISONS TO AFFILIATED, ASSOCIATED AND RELATED ORGANIZATIONS NJ American Choral Directors Association............................ Carol Beadle................................................ carol.dory.beadle@gmail.com Governor’s Award for Arts Education.....................................Joseph Jacobs................................................................jjacobs@veccnj.org NJ Association for Jazz Education....................................... Michael Anzuini.................................................manzuini.njaje@gmail.com NAfME.............................................................................William McDevitt............................................................ billnjmea@aol.com NJ Music Administrators Association..................................Robert Pispecky..................................... Robert.Pispecky@edison.k12.nj.us NJ Retired Music Educators Association........................... Kathleen Spadafino............................................................. kspadeb@aol.com NJ TI:ME............................................................................ Rick Dammers.......................................................... dammers@rowan.edu Percussive Arts Society........................................................ Domenico Zarro.....................................................DEZarro@optonline.net

COMMUNICATION SERVICES/PUBLIC RELATIONS Executive Secretary-Treasurer............................................... Deborah Sfraga....................................................... debnjmea1@gmail.com Editor - TEMPO Magazine.............................................. Thomas A. Mosher..........................................................tmosher@njmea.org Web Master (njmea.org)................................................... Thomas A. Mosher..........................................................tmosher@njmea.org

JANUARY 2017

85 TEMPO

GENERAL ADVERTISING RATES

Note: additional fees will apply if metal plates are required.

Ads which exceed the specified sizes will be charged at next ad size.

Full Page Two Thirds Page Half Page Vertical Half Page Horizontal One Third Page One Sixth Page One Twelfth Page

All Measurements In Inches (7.5 x 10) (7.125 x 6.66 or 4.625 x 10) (4.625 x 7.5) (7.5 x 5) (2.5 x 10 or 4.625 x 5 or 7.125 x 3.33) (2.25 x 5 or 4.625 x 2.5) (2.25 x 2.5)

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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

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

1951 - 1953 - 1955 - 1957 - 1959 - 1961 - 1963 - 1965 - 1967 - 1969 - 1971 - 1973 - 1975 - 1977 - 1979 - 1981 -

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

Janet G. Gleason 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

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1983 - 1985 1985 - 1987 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

Anthony Guerere Joan Policastro 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

JANUARY 2017

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Join NAfME to help you keep step FOR YEARS TO COME.

When you become a member of National Association for Music Education (NAfME), you’re joining the largest and most active group of music educators in the country – addressing all aspects of music education and supporting quality instruction from elementary to college levels. With us, you’ll have access to a wide variety of programs, discounts and services to help orchestrate success in the classroom, raise your professional standards, and advocate for keeping music education in our schools.

Join today, visit www.NAfME.org/join.

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