2020 October TEMPO

VOLUME 75, No. 1

OCTOBER 2020

IN THIS ISSUE ARTICLES: Advocacy in the Era of Covid-19 Reinvigorating the Remote Learning Choir Leaving Anyone Behind?

Elementary Music Activities for Various Teaching Scenarios Thinking About Starting a Guitar Program?

Flip Your Classroom Using Seesaw to Foster Music Performance Self-Efficacy

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

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Volume 75, No. 1 http://www.njmea.org

OCTOBER 2020

FEATURES 2

President's Message - Patrick O'Keefe

4

Editor's Message - William McDevitt

6

News from Our Board of Directors

DEPARTMENTS AND NJMEA BUSINESS Advertisers Index & Web Addresses....60 Board of Directors................................58 Editorial Policy & Advertising Rates...59 In Memoriam.................................. 54-57

16 President-Elect Updates - Lisa Vartanian

Past-Presidents......................................59

19 NAfME Tri-M Music Honor Society

President’s Message................................2

20 Advocacy in the Era of Covid-19 - Dennis Argul 24 Reinvigorating the Remote Learning Choir - Matthew C. Lee

Resource Personnel............................. 53 Round the Regions......................... 50-52 Year-End Financial Statement..............48

28 Leaving Anyone Behind? - Maureen Butler 32 Elementary Music Activities for Various Teaching Scenarios - Amy Burns 38 Thinking About Starting a Guitar Program? - Jayson Martinez 42 Flip Your Classroom - Shawna Longo 46 Using Seesaw to Foster Music Performance Self-Efficacy - Micki Stukane

TEMPO Editor - William McDevitt 1806 Hwy 35, Suite 201 Oakhurst, NJ 07755 Phone: 732-508-9770 e-mail: wmcdevittnjmea@gmail.com Deadlines October Issue - August 1 January Issue - November 1 March Issue - January 15 May Issue - March 15 All members should send address changes to: mbrserv@nafme.org or NAfME, 1806 Robert Fulton Drive Reston, VA 22091 Printed by: Spectrum Printing Inc. 1-717-569-3200 https://www.spectrumprintpartner.com/

The New Jersey Music Educators Association is a state unit of the National Association for Music Education and an affiliate of the New Jersey Education Association. It is a nonprofit membership organization.

TEMPO (ISSN 0040-3016) is published four times during the school year: October, January, March and May. It is the official publication of the New Jersey Music Educators Association.

The subscription rate for non-members is $20.00 per year.

The subscription for members is included in the annual dues.

A copy of dues receipts (Subscriptions) is retained by the NJMEA Treasurer. Inquiries regarding advertising rate, closing dates, and the publication of original articles should be sent to the Editor.

Volume 75, No. 1, OCTOBER 2020 TEMPO Editor - William McDevitt C/O NJMEA, 1806 Hwy 35, Suite 201, Oakhurst, NJ 07755 Periodicals Postage Paid at Lakewood, NJ 08701 and additional entries POSTMASTER: Please forward address changes to: NAfME 1806 Robert Fulton Drive Reston, VA 20191

FORMS AND APPLICATIONS Please go to njmea.org Click on the desired activity for downloadable copies of all their forms & applications

EMAIL/ADDRESS CHANGES Please go to nafme.org to record email and address changes.

president’s

message Patrick O’Keefe

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

Welcome to the 2020-2021 school year! While I’m sure much has changed even since the time of this writing, I hope you have settled into your classrooms, virtual or otherwise, after an exciting start to the school year reconnecting with your students. I think it is safe to say no one would have envisioned Fall of 2020 to look this way, however I am finding myself constantly inspired and motivated by all of the creative and collaborative ways our members have responded to so much change over the past several months.

As we look forward, I think it is important to take time to thank the many leaders that have committed countless hours through the late spring and summer working with partners to advocate, plan, share best practices, and prepare professional development in efforts to best serve our members. Thank you to Jeff Santoro, Lisa Vartanian, Dennis Argul and the dozens of educators that contributed in many capacities to the work done by Arts Ed NJ in creating the September Ready guidance. Thank you to Bob Morrison for his leadership and relentless advocacy efforts on behalf of all arts educators. We have found ourselves in a higher level of communication than ever before with partners and affiliates like Arts Ed NJ, NFHS, NAfME, NJSO and more during this period of research and reimagination. I hope you were able to participate in our August webinar series that served as a professional development component to these efforts, with speakers on topics that included SEL, Culturally Responsive Teaching, and Technology, as well as several music contents. Thank you to everyone that played a part in the organization, planning and presentation of those sessions.

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With regards to professional development, you should be aware that our in person February Conference has been canceled. While our Executive Board did not make this decision lightly, we had to consider the restrictions and guidance many districts are under with regards to release time, PD budgeting, and field trips for performance groups, in addition to some logistical unknowns of the future around gatherings and facilities. Having said that, please take advantage of the virtual professional development that we will continue to offer throughout the school year. While there are clear components to an in-person conference that can not be replicated virtually, it is our hope that these sessions will better serve you during this time.

As the school year unfolds and undoubtedly continues to surprise us, an ongoing, asynchronous model may be more beneficial in providing support. I am very proud of what we were able to offer in Atlantic City this past February and look forward to returning in 2022 under Lisa’s leadership.

Our classrooms may look different, our schedules may have shifted, and surely our creativity may have been challenged, but I am confident that the students across the state will continue to grow and benefit from the passion and support from our music educators.

As we navigate this year together, I encourage you to reach out to myself or any board member with concerns or new ideas. Thank you for all you do.

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OCTOBER 2020

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editor's message William McDevitt

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

"I Don't Know How They Did It"

How Far We Have Come

I have the greatest respect for all of you that are in the classroom right now - dealing with the normal issues and the addition of Covid regulations, adjustments, worries, apathy, and everything else that it brings (I don't think that I would be a very good participant if I were in the same situation). The amount of creativity that has happened over the last 6 months is unbelievable. I have watched in awe as you have adapted teaching to an online format and turned your homes into classrooms.

Our subject is probably one of the most difficult to adapt to on-line learning. We are used to diagnosing and correcting what we see and hear in milliseconds and that does not transfer well to a computer screen and speaker.

The amount of learning that happens when as few as two people play or sing together cannot be replaced, and while ensemble video and audio piecing is a great tool, it can never replace sitting next to others, listening and trying to fit in appropriately.

Moreover, we know the special relationship that students have with their music teacher. They know that they can come to us and find an empathetic ear, a kind suggestion, and a realistic feedback on what we hear - something that cannot be supplanted by social media.

I hope that, 20 years from now, somebody looks back on these words with the same amount of respect and empathy with which I write and and agrees with me - "I don't know how they did it".

I was thinking a few days ago, how far we have come.

I can't imagine what we would have done during my early years of teaching. "Internet" wasn't a word. "Zoom" was a TV show that aired on PBS in the 70's.

My first experience with a "computer" was my senior year of high school when the course "Computer Math" consisted of 3 "terminals" in the back of the room that dialed into the BOE "computer" using a telephone. It's entire existence was for processing BOE payroll.

At the end of my college years, I purchased a Commodore 128. It had no internal memory. Data was loaded and saved on a cassette recorder. I'm sure that a many of you remember waiting for AOL to load from the dial-up connection. I don't even remember what AOL really did back then but the disc was free!

When I started teaching the Apple IIe became a fixture in education. Apple's plan was to flood schools with a relatively inexpensive desktop computer. The computer's limited capabilities left us watching our colleagues in Math and English soar past us with "Computer Assisted Instruction". I remember seeing a demonstration of the first version of Pyware. It didn't do much but it did print neat charts - much better than the scribbles when we did them by hand.

Thirty years later, you are teaching kids online. While it is not the best of situations, you have adapted to the situation and continued to show the creativity, resiliency, and validity of our profession. You are truly my heroes for what you do.

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OCTOBER 2020

Keep Up-to-Date with all of the latest covid information and regulations for the Arts in our schools at: www.artsednj.org/covid19 OCTOBER 2020

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

News From Our Board of Directors Administration

& Advocacy

Dennis Argul

dennisargul@gmail.com Welcome to All Music Administrators and Educators!

The New Jersey Music Administrators Association would like to extend their welcome and welcome back to all our colleagues in the state! At the time of this writing there are many different versions of what the start of the 2020-2021 academic year will look like in terms of live, hybrid and/or remote instruction, but what we know is, ALL of us will be working hard to bring an engaging, authentic and exciting music education to all our students, no matter the platform for that communication!

NJMAA would like to congratulate our newly elected President, Mr. Jonathan Harris, District Supervisor of Related Arts for the Northern Valley Regional HS District, and President-Elect, Ms. Lisa Swanick, Supervisor of Fine, Performing, and Practical Arts for the West Essex Regional School District, on their new positions with the Association. We would like to thank Mr. Matt Lorenzetti, Supervisor of Fine & Performing Arts and Gifted & Talented Programs for the Linden Board of Education, for his consistent leadership these last two years and look forward to his guiding role as Past President.

Returning Executive Board Members, (Treasurer/Membership) Louis Quagliato, Director of Visual and Performing Arts for the West Orange Public Schools and (Webmaster) Ms. Patricia Rowe, Supervisor of Arts & Technology for the Moorestown Township Public Schools, who has also been elected as Secretary for the association, are hard at work with the new leadership in scheduling meaningful and relevant meeting sessions for our members to grow together in the craft of Administration.

It is always important as a musician, music educator and administrator to stay proactive, informed, and flexible.

As such, here are the scheduled sessions for the 2020-2021 academic year, although given the nature of the amorphic scenarios with the various teaching and learning conditions, these are subject to change: October 2, 2020

Back to School Roundtable Discussion Facilitator: Matthew Lorenzetti, Linden Public Schools, NJMAA Past President

December 11, 2020 SEL Crosswalk

Facilitator: Bob Morrison, CEO ArtsEdNJ February 5, 2021

Collegiate Connection Facilitator: Joe Akinskas, NJMAA Board of Directors

April 16, 2021 Engaging the Community: Ideas for Building Community Support

Facilitators: Lisa Vartanian, NJMEA President Elect and Paramus Public Schools and

Dr. Donna Sinisgalli, Orange Public Schools June 4, 2021

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Traversing the ‘New Normal’: A Reflection on 2020-21 – Roundtable Discussion Facilitator: Jonathan Harris, NJMAA President and Northern Valley HS District 6

OCTOBER 2020

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

News From Our Board of Directors At the time of this writing, all meetings are being planned as remote sessions. Information will be shared with our membership via email in a timely fashion.

NJMAA would like to remind everyone how important it is to have all NJ districts connected and engaged so that we can assist in providing administrators responsible for the oversight of music programs and faculty with as much information and guidance as possible to ensure a high quality music education for ALL students. Please be sure to share membership information so that NJMAA can do the best we can do in assisting you all in that all-important process.

Membership information, registration form, and more can be found at our website at: www.njmaa.org If there are any questions or concerns, please feel free to contact me at my personal email: dennisargul@gmail.com Let’s do our best to have a great year!

Band Performance

Nick Mossa

nmossa16@gmail.com

Greetings all! The confirmation that we will be unable to provide Region or All State Band activities for the 2020/2021 school year coupled with the ever evolving school safety conditions means that our instructional models and the outlook for our band students in this school year is unlike any that have come before. Although there are myriad supporting documents, research reports, apps, educational tools, and programs to buy and throw in front of our students and school communities, I think it is important to ensure that our role as arts educators remains consistently defined by the right values.

By now you likely have settled into whichever version of instruction you were tasked with organizing to start the year, and you may be looking ahead to a different version of instruction very soon if you have not already changed, or if you are changing at all! Who knows, by the time this is published we may have completely different state mandates for teaching through the rest of the year! Regardless, whether it is through screens or masks, I want to remind you that music making is critically important to our students’ lives and it is my hope that as we look ahead to the rest of the school year the community of band educators in our state remain steadfast in their instruction with guiding values that maintain what is special and important about being in ensemble music.

Our guiding values should start with njartsstandards.org - the new state standards outlining successful arts education practices. Please familiarize yourself with them if you have not yet done so. Beyond that, it is my professional opinion that maintaining what students find special and valuable about your classroom should take priority when you are formulating your instructional plans either on your own or with colleagues and/or supervisors. That could mean different things for different programs - and that is ok! Above all, I would caution the band director that blindly try to replicate or force the traditional band experience without considering any alternatives just because it is all we have ever done. There is surely another way to organize your program to fit within the current instructional model that still creates meaningful opportunities for arts education for students, even if it means they are not sitting in rows all together playing Holst at 8:00am in your band room!

All in all, my message is to remain steadfast and motivated because all students deserve to have a valuable music making experience with each other and with you, regardless of their background, school community, and instructional delivery model. My recommended outlook for the school year starts with acknowledging that we cannot guarantee future plans, and then accepting a willingness to be flexible with our instruction that is guided by prioritizing the student experience, the values of our activity, and our standards. If you are at times tired, frustrated, and/or disappointed know that you are not alone — just jump on social media for thirty seconds and you’ll see that — but our students are counting on us to be there for them. Best of luck to you and your students!

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OCTOBER 2020

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

News From Our Board of Directors Orchestra

Performance

Susan Meuse

susanmeuse@gmail.com Normally at this time, I would be writing that I hope everyone is off to a great start to a new school year. Hopefully that is true, but nothing right now is normal. At this time, we all find ourselves in new and unfamiliar situations. Unfortunately, the same is true for NJMEA and All State Orchestra. After many long and detailed discussions, the Executive Board has decided to cancel all events for this school year. That includes 2020 ASO auditions, 2021 auditions, festivals, and 2021 ASIO. (At this time, there is no decision for 2021 ASO.) The Orchestra Procedures Committee spent a lot of time discussing possible virtual options, and the NJMEA Board listened to and discussed many of these ideas. Everyone involved has the best interest of students in mind while discussing and making decisions. The only safe and fair option for now is to cancel these events. Hopefully by the end of this school year, things will be looking more optimistic towards moving back to normal!

Choral Festivals

Donna Marie Berchtold

firesongwed@gmail.com The 67 th Annual NJMEA Middle School – Junior High Choral Festival Dates - At the time of this writing, we have placed a hold on the Festivals at Rowan University and Rutgers Universities until we have more discussions with each University, and various choral directors as a result to the Corona Virus Global issue.

Donna Marie Berchtold and Karen Blumenthal will reach out to the Middle School Choral Directors. Please check future issues of TEMPO magazine, or online at www.njmea.org . Opera Festival - Nothing to report at this time. - TBA Anyone with questions or concerns may contact Donna Marie at: firesongwed@gmail.com.

Retired Music Educators

Kathy Spadfino

kspadeb@aol.com NJRMEA is a constant supporter of NJMEA and all music educators, including retired, current and newbies just getting started. As we navigate our way through these Covid times, our retired members are ready to help with a friendly word, mentoring, and encouragement. Just don’t ask us to do fancy things with technology! We enjoyed the move to Atlantic City for the February conference, and are eager to see how we all emerge from this unprecedented period. Stay healthy and believe in the music!

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OCTOBER 2020

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

News From Our Board of Directors Special Learners

Maureen Butler

maureenbutlermusic@gmail.com

By October of a typical school year, we are acquainted with our special learners, and have begun to make adaptations and modifications for them. With the additional challenges we face in this particular school year, you may have more questions and concerns than usual.

Our state Special Learners committee, consisting of Steven Braun, Lucia Marone, Trina McCartney, Glennis Patterson, Brian Wagner-Yeung, Barbara Weiner and myself have considerable experience in this field, and can help. If you have any questions about special learners, please contact me at the email address above and the committee will be happy to help.

Another good resource is the “Special Learners & Music” group on Facebook, administrated by Brian Wagner-Yeung. In these challenging times, it can be reassuring to know that music teachers are facing similar situations, and our ability to network and support each other can make all the difference in the year ahead.

Technology

Dr. Andrew Lesser

andrew.lesser@yahoo.com www.andrewlessermusic.com

YouTube: Professor Lesser

Greetings, fellow music educators! Well, I don't think any of us could have anticipated the challenges that this year has brought us, not only as music educators, but as human beings. The lack of face-to-face social interaction, live performances, and concern for our physical and emotional health has changed our lives and forced us to think outside the box in order to continue providing the highest quality music education possible for our students.

Now more than ever, technology has played an even greater role in helping to facilitate our work. Online meetings through Zoom, Google Meet, and other platforms, along with the widespread use of classroom tools such as Google Classroom, Moodle, Canvas, Blackboard, and more have become "the norm" as we all try to navigate what is to come for the 2020-21 school year.

This is why it is now more important than ever to band together as a community so we can support each other. NJMEA has already taken steps to provide you with online resources which are accessible through the NJMEA website. We have also partnered with organizations such as Arts Ed NJ and The New Jersey Symphony Orchestra to bring new ideas to help arts education continue flourishing even during these difficult times.

With that in mind, the NJMEA Student Tech Expo and the NJ Young Composers Competition will continue as planned.

At this time, it is unknown as to what capacity these events will be held, but I can assure you that your students will have the opportunity to showcase their work. Please visit the NJMEA website for more details, and watch out for Tempo Express e-mails in the near future. Speaking of which, if you would like to get involved with either the Tech Expo or the Composer Competition committees, please contact me at the above information. We would love to have you on board!

Finally, I want to personally wish all of you good health and safety as we continue to forge ahead through this crisis. As Pete Seeger once sang, "We shall overcome"!

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OCTOBER 2020

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

News From Our Board of Directors Choral Performance

Wayne Mallette

wayne.mallette1@gmail.com Welcome to the 2020-2021 school year! I do not need to be a psychic to know that this year will not be like any other year. Whether you are teaching in a Remote Learning situation or in a Hybrid Model, this year will be rocky and feel uncertain. While we know that music teachers are resourceful and resilient, it is important to recognize that you are also human.

A few things to remember: 1. Put your oxygen mask on first. Before you help others, it is important to take care of yourself. Many times we feel guilty for taking care of ourselves, but it is not selfish to bur rather self-care. Make self-care a priority so you can be the best teacher possible.

2. Get to know your students. Now is the time to get to know your students even better. Most of us this year will not have the pressure of a winter concert, so focus on getting to know students and SEL (Social-Emotional Learning) work. Take this time to work on building a relationship with your students and care about them as people, not just as Choral musicians. This investment will pay off greatly.

3. When all else fails, at least be nice. Everyone is stressed out these days. If a student or a fellow teacher or administrator has a short temper with you, just take a deep breath and try not to take it personally.

A word about All-State Choir. The decision to cancel the All-State Choirs was not made lightly. We thought through many options, but considering the health and well-being of the students and being ever cognizant of your stress level, we felt it would be in the best interest of everyone to cancel this year. We apologize for any inconvenience or disappointment this may have caused you and your students.

I want to thank the members of the Choral Procedures committee who went over and above and who were extremely flexible as we went through many changes concerning the auditions. This year we will bid a fond farewell to several of our Choral Procedure committee members. From Region I, Steve Bell has retired and has stepped down from the committee. And from Region II, Julianna LoBiondo will be stepping down as she is beginning graduate school. They have each contributed so much to the AllState Choir over the years and are grateful for their years of service. We wish them the best of luck. Joining our committee from Region I will be Kristen Markoski from Montvale High School. And from Region II will Arielle Siegel from Monroe Township High School. We are excited to have their perspective and input in shaping the future of the New Jersey All-State Choir! Rounding out the committee will be our returning members, Historian Barbara Retzko, Region I: Libby Gopal and Viraj Lal, Region II: Matthew Lee and Hillary Colton, and Region III: Cheryl Breitzmen, Michael Doheney, and Romel McInnis.

This year, we are working on offering virtual choral workshops to offer to you and your students to keep you motivated and inspired. We will send out more details concerning these events in November. In the meantime, please take care of yourself and each other.

Relationships before rigor. Grace before grades. Patience before programs. Love before lessons. Brad Johnson, Educator.

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

News From Our Board of Directors Guitar Education

Jayson Martinez jmarti37@webmail.essex.edu

First and foremost, I hope that this article finds you all healthy and in good spirits. Indeed, the Covid-19 pandemic has halted our gatherings and performances. Worse still, many of our fellow music colleagues have either lost their teaching positions or will be reassigned in some capacity for the upcoming school year. Although there is a multitude of uncertainties, our grief and distress will recede with time and grace. Thus, let us continue to be positive and plan, as best we can, for our upcoming school year and virtual events, with the goal of providing excellent music education as our utmost priority. The purpose for this communication is to provide information regarding specific plans and matters pertaining to the 2020-21 New Jersey Honors Guitar Ensemble.

NAfME All-National Honors Guitar Ensemble Let’s begin with some encouraging and heartfelt news. This year, four of our NJMEA Honors Guitar Ensemble students, Rachel Krumholtz, Maha Kanakala, Siddhant Mane, and Will Krebs, were accepted into the 2020 NAfME All-National Honors Guitar Ensemble! Congratulations to their teachers as well for tireless efforts in preparing their students for this wonderful accomplishment. Together we will extol their virtues!

Keep in mind that, most certainly, the ANHE Festival will be virtual, considering the current health concerns and conditions in Florida. However, I am certain that NAfME will still showcase a magnificent and unforgettable event, nonetheless. Looking forward, the next 2021 ANHE Festival is slated to take place in California. Thus, let’s continue to prepare our students and have NJ representation each and every year at the national level!

Partnership with the Augustine Foundation An exciting partnership with the Augustine Foundation and various All-State Honors Guitar groups across the country, including our New Jersey Honors Guitar Ensemble, is commissioned for our upcoming school year. Augustine and their VGO team will produce a Virtual Orchestra video for all ten All-State/ Honors Guitar ensembles this year, whether or not in-person events can occur. The plan is that a grant from the Augustine Foundation will lead to productions of virtual ensemble videos, one per state involved. All the directors/teachers will need to do is commit to preparing their students, collect and provide the individual video files. Our video production will serve for both the GuitarFest submission and the Augustine initiative. More information on this topic is forthcoming.

The following directors and states are also slated to be involved: Matt Nishimoto and Brian Levanger of Nevada, Rob Pethel of Georgia, Benjamin Broughton of South Carolina, Dennis Davis of Kentucky, John Zevos of New Hampshire, Kevin Vigil of Virginia Ruth Lemay of Minnesota.

During our preliminary conversations, Kevin Vigil wisely pointed out that having a large number of these videos with a uniformly high-production quality would be a great advocacy tool when promoting All-State Guitar Ensembles to other MEAs nationwide. Further, partnerships with foundations and philanthropists are essential for grant proposals, especially for monetary fundings for future guitar festivals. Thus, let’s work together to not only give the students something fascinating to look forward to, but also to keep collaborating with the Augustine Foundation.

OCTOBER 2020

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

Welcome back to the 2020-2021 school year! Whether you started your year in a hybrid or distance learning model, I know that you are diligently working and engaging with your music students keeping the arts alive and thriving in your schools.

In the middle of these uncertain times, I am so thankful for your incredible commitment to the important work we do. When I go online, I see all the music education pages and all the teachers reaching out via social media and helping each other with lesson plans, teaching resources, and webinars. And it makes me feel confident that we will get through this, and that our students will continue to learn and grow. It's our nature to persevere and to work in partnership, and it's what makes us a fantastic music education community.

September Ready Report, Arts Ed NJ This year I was reminded of the power of partnership when I worked on the September Ready report with Arts Ed NJ. Following the June 29 release of the New Jersey Department of Education's guidance for reopening schools, Arts Ed NJ unveiled a comprehensive, 126-page document offering practical guidance for K-12 school administrators and arts educators seeking to provide meaningful arts instruction for their students.

The document was the product of a collaborative effort involving more than 130 arts administrators, educators, practitioners, and association leaders. It highlights strategies, plans, and solutions needed to deliver arts instruction in a way that addresses, first and foremost, critical health, safety, and well-being considerations for students, faculty, and staff. It is a critical resource for these times.

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New Jersey: First in Nation to Provide Educators with Social and Emotional Framework Tied to Arts Education Arts Ed NJ https://www.artsednj.org/

With the unveiling in June of The Arts Education & Social and Emotional Learning Framework, New Jersey is now the first state in the nation to provide a formal roadmap illustrating how the arts foster and often amplify social and emotional learning. More importantly, the framework shows how educators can effectively embed social-emotional learning into their arts curriculum.

"This new framework shows beyond any doubt that arts education provides students with opportunities to exercise their SEL skills," stated Dr. Maurice Elias. A professor of psychology at Rutgers University and director of the Rutgers Social-Emotional and Character Development Lab, Dr. Elias served as a co-chair of the Social and Emotional Learning and Arts Education Taskforce that developed the framework. "As students exercise their SEL skills, they reach and meet arts standards in a deeper, more integrated way than they otherwise would. This website is a must-bookmark for anyone concerned with arts education or SEL, or the well-being of our students."

Social-emotional learning is a process intended to provide students with the knowledge, attitude, and skills needed to understand and manage emotions, confront challenges and make responsible decisions. The focus is on self-awareness, social awareness and self-confidence.

The arts, by their very nature, are a catalyst for students' social and emotional development.

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OCTOBER 2020

Core competencies for social-emotional learning were adopted by New Jersey in 2017. The Social and Emotional Learning and Arts Education Taskforce convened

by SEL4NJ and Arts Ed NJ, dedicated 18 months to creating this new framework to illuminate the intersection between arts education and social-emotional learning.

The goal was to define how to embed social-emotional learning into instruction, with the overarching goal of enhancing arts education. As school districts move towards the implementation of the newly adopted Student Learning Standards in the Visual and Performing Arts, the Arts Education & Social and Emotional Learning Framework will be a critical resource.

For more information about the Arts Education and Social and Emotional (SEL) Framework, visit http://selarts.org. For more information about the 2020 New Jersey Student Learning Standards for Visual and Performing Arts, visit https://njartsstandards.org

Arts Advocacy Spotlight Libby Gopal East Orange School District

Heading into my second year as President-elect for the NJMEA, I stand amazed by the incredible music educators I meet through webinars, workshops, and committee work. Last year, I had the opportunity to meet Mrs. Libby Gopal, Music Educator at the East Orange School District and NJMEA member. At the state level, Libby is on the All-State Choral Procedures Committee, is one of the North Jersey Schools Music Association Treble Choir Managers, and served as a member of the NJ Music Education Large Ensemble Task Force. She also serves as a clinician for both the NJMEA and NJ-ACDA. As the New Jersey American Choral Directors Association's Inclusivity Chair, Libby is responsible for creating urban outreach initiatives and generating resources for educators seeking help empowering their underserved students in music education in her region. I wanted to learn more about this vital work, so I sat down with Libby for a brief interview. The interview helps shine a light on Libby's incredible work and provides ideas for replicating her advocacy role in other areas across our state.

OCTOBER 2020

Why was it essential for NJACDA to create an Inclusivity Chair position?

In 2017, the NJACDA President, Dr. Christopher Thomas, approached me about chairing a brand-new position on the state board: Inclusivity Chair. Dr. Thomas strongly believed that diverse representation was imperative if we were to move forward as an organization. He helped me imagine what "inclusivity" could mean in the choral arts. With this charge, I started brainstorming what an inclusive, choral learning experience could look and feel like. Thus, the NJACDA Voices United Choir Festival was born.

This NJACDA Inclusivity initiative aims to create an in-depth, authentic learning experience that focuses on reaching out to underrepresented, at-risk minority students and including them in a festival that celebrates their multiethnic backgrounds. Nestled between Newark, Irvington, and Orange, my high school - East Orange Campus High School - seemed a natural choice for hosting the festival. Via this initiative, it was my vision to inspire and empower our underrepresented student voices by featuring multiethnic works and fostering camaraderie among other students and teachers from Title 1 school districts. After several conversations and school planning committee meetings, Dr. Ann Matlack donated her services as a guest clinician in 2017. She believed in the vision of the festival and provided valuable feedback for the 2018 Voices United Choir Festival.

What are the common challenges and opportunities teachers and districts face in this work?

What resources/strategies have you leveraged to overcome some of the challenges?

One challenge is the lack of opportunities for urban educators to share strategies and successes. In 2017 I submitted a proposal to present a session at the 2018 NJMEA conference entitled, "A cheat sheet for urban music teaching success." The session was created to foster space for urban educators to come together at the state level, ask questions, and share ideas that could work for our students. Since then, I have led several urban music educator roundtable discussions for NJMEA and NJACDA. A lack of resources and funding is another recurring theme in urban education. To help educators combat this

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issue, a list of grant resources was presented and discussed at the NJACDA 2019 Summer Conference at Rutgers University and digitally shared (https://njacda.com/fall2019-newsletter/). In terms of informational resources, Dr. David Mwangi, Patrick O'Donnell, and Matthew Barone provided me with free resources and instructional videos to include in the NJACDA eLearning Newsletter (https://prezi.com/view/TWu3yCgSCjxYQH6vIHBG/). Another set of helpful resources came from a collaboration with Dr. Ann Matlack and Kason Jackson to compile materials and content to use with students to engage them in meaningful conversations about race and racism (http://njacda.com/).

What are the things that you are doing to effect change in your chair position?

My purpose, which drives my actions in this position, has always been the same: to inspire, empower, and provide educational resources to teachers. Since becoming the Inclusivity Chair, I have conscientiously increased my networking efforts. Dennis Argul, Katy Brodhead, and Lisa Vartanian have provided a slew of resources and educational grant opportunities that I have meticulously compiled onto my NJACDA Grant Resource page. Katy Brodhead, Kason Jackson, Meg Spatz, Peter Tamburro, Monique Retzlaff, and Latasha Casterlow have all at one point or another participated in the NJMEA/NJACDA Urban Music Educator Roundtable discussions and have influenced future discussion forums. Dr. Dumpson has been a wonderful mentor and clinician in East Orange and recently reached out to discuss urban outreach initiatives. Dr. Anthony Leach was our guest clinician for the Voices United Choir Festival in 2019. Dr. Ferdinand enriched our 2019 NJACDA Summer Urban Music Educator Roundtable discussion and continues to be a great inspiration.

School partnerships are the key to effective advocacy. I started cultural exchange programs in 2009 before the inclusivity chair position existed. South Brunswick High School's orchestra program partnered with East Orange Campus High School to perform classical masterpieces and contemporary urban music with a chamber orchestra. The partnership lasted from 3 to 4 years. Since then, I have partnered with West Orange High School and Carteret High School's choir programs and planned a cultural exchange program with Tenafly High School when the pandemic hit.

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When I was awarded my first ACDA Fund For Tomorrow Grant in February 2019, Dr. Dilworth partnered with me to provide the East Orange Campus High School students and the Western High School for Girls (Baltimore) a day of choral workshops, a "student for a day" experience, providing mini private lessons, and organizing a mass sing-along during the "Elaine Brown Day" celebration at Temple University. The goal of the experience was to inspire at-risk minority students to apply for post-secondary careers and vocal music experiences.

Moving forward, Dr. Dilworth agreed to be our 2020 clinician for the Voices United Choir Festival. Due to the pandemic, conversations are now evolving towards a virtual platform. As part of the Arts Advocacy Now panel discussion and Small Group Work Session, my Inclusivity Co-Chair and I were able to discuss with music educators from across the state what worked well during distance learning and how we can move forward as a profession. The input gathered from the Choir Small Group Session will fuel the virtual offerings the inclusivity team puts forth during the 2020-2021 school year.

What positive steps have you seen in your tenure thus far?

In 2018, the Voices United Choir Festival expanded to accommodate eight schools from West Orange, South Orange, Newark, East Orange, and Passaic. To expand our reach and infuse new ideas, Dr. Thomas encouraged me to grow the Inclusivity team. Kason Jackson, choir director at Carteret High School, was a natural choice.

With a newly expanded team, Kason and I started leading NJACDA and NJMEA roundtable discussions for urban educators. In August 2019, I was awarded the ACDA Fund For Tomorrow Grant so I could fund the festival for the 2019 school year while expanding the scope of the original festival by bringing in a guest clinician, Mr. Vinroy Brown, to host a performance-based lecture on the history of African American Choral Literature featuring the Westminster Choir College Jubilee Singers. We are currently exploring how we can virtually offer a similarly enriching and empowering experience for the 2020-2021 school year. I am grateful for the opportunity to help enact change at the state level and hope to provide as many opportunities as possible for our teachers and students who have been left out of the educational narrative.

For more information, please contact Libby Gopal at libby.gopal@eastorange.k12.nj.us 18

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Advocacy

in the Era of Covid-19 Dennis Argul dennisargul@gmail.com

For this month’s contribution in Advocacy, I interviewed Mr. Bob Morrison, Founder/CEO at Quadrant Research and Arts Ed NJ, who has been the spearhead of all the efforts in the area of Arts Education and Advocacy for the State of NJ and his diligence led to the preparation of the ‘September Ready - Fall 2020 Guidance for Arts Education.’

DA: Bob, we know that Advocacy for the arts is a touch enough job in an everyday ‘normal’ life…what makes it even tougher in these ‘Covid’ days where we find ourselves?

BM: Advocacy under normal circumstances is really not that difficult. It’s a discipline that has to be developed. It’s like a muscle and if you use the muscle it gets stronger and you can use it in more ways. If you ignore it, it shrivels up, so then when you go to use it, you go ‘hey what happened to my muscle?’ Well, you haven’t been using it, so it weakened.

Advocacy is the same way. I talk in terms of advocacy being not something you do, but something you are. It becomes embedded as to how you operate under normal circumstances, as opposed to ‘teach, teach, teach, ok now advocacy’ while you are teaching you are being an advocate. While you are communicating with your peers and administrator you are also advocating for your program. So, the more you’re exercising that process in educating people about what it is you are doing in your program, how your program is impacting students, how it’s contributing to the school community, how it’s contributing to the broader community, the better you become.

What makes now challenging as it relates to advocacy, is that there’s so many unknowns. As a result of that, new information is coming up every day that challenges whatever current sets of assumptions are that people have, like whether or not we can have our kinds of programs. It makes it a little more difficult because for our programs to be held successfully we have to have certain things put in place. Some of the TEMPO

things we have control over, like mitigation strategies. We also have to get information on things that we don’t necessarily have total control over, like if I’m a choir teacher teaching in a small room, with no windows and poor ventilation, ‘what can be done to make that space inhabitable for a vocal program?’ The answer to that question is probably, ‘nothing.’

There may not be anything that you can do to that space, so then that leads to the next question, ‘if that space won’t work, then where can the choir go?’ Can we go to the auditorium, can we go outside? So, there are things you as a music educator will have control over, and there will be things you will need help with. Being able to go to your Supervisor, your Principal, your Superintendent and say, ‘yes, we can have this program, but we need your help to have an appropriate environment for us to be able to successfully do this.’ It’s a different kind of advocacy. In this instance your using advocacy to ensuring proper conditions for you to be able to run your program. I think those are new challenges for our educators.

First to be informed on what are the mitigation strategies, then what are the ones you have control over and can address, and finally what are the ones you cannot necessarily control and need help with. Then, be willing to ask for the help.

DA: Bob, what advice can you share for those music educators who are perhaps a little less self-motivated with their individual advocacy and they may not have an arts leader in their district? What are the possible steps those educators can take in their schools/districts to advocate for their programs and students?

BM: I think it’s always best to advocate for your program using supporting information, data, and facts. Use the documentation that we’ve put out. The September Ready report is full of information on how to provide instruction in the variety of scenarios that may play out for us: in school with restrictions, a hybrid model, and completely remote. Also, 20

OCTOBER 2020

take a look at the memos we’ve been putting out to Superintendents and Principals across the state because the information has been vetted, is based on science, and in addition to that, it is coming from the National Federation of State High School Associations, which is the governing body for the New Jersey School Interscholastic Athletic Association.

They are providing the guidance that high school athletics in New Jersey will be following and that same entity is providing us with guidance and information as to how to safely conduct our Performing Arts programs. It’s taking the educator out of saying ‘this is what I believe’ or ‘this is my opinion’ puts it into the hands of the governing association which provides for more credibility. Use that information, guidance, and resources to help you make the case so that you do not feel like you are making the case on your own.

As long as you are advocating for students, I think it is okay to be respectful but also a little on the aggressive side in order to educate people and at the same time I would look for colleagues that you can advocate with. Look for allies in your building and district that you can bring into the equation.

Also, see if there are external allies, whether that’s a parent or perhaps a school board member who has a student in the program, you can do that as well. First it is yourself, then it is your close allies, then see if there are others in the community that would be able to speak out on behalf of the program.

At the end of the day, it is for the students. As long as the focus remains on the students and doesn’t get put on adult issues, the better chance you have at being successful. It doesn’t mean you are always going to be successful, and it doesn’t necessarily mean that every administrator is convertible. That is the way you should approach it. Be respectful and see where that takes you.

the Governor’s office, the Superintendents’ Association, the Principals’ Association, the Boards Association, the PTA and NJEA. We collaborate and coordinate amongst all those organizations so that we remind them and keep them informed on the importance of an arts education for every student in our state and support the role that the arts have as a core subject and a requirement for every student. We really serve in that umbrella capacity, collaborating very closely with the individual arts disciplines, dance, music, theater, and visual arts.

NJMEA is a part of Arts Ed NJ. It has a seat at the table and provides input and guidance on areas that we make priorities.

DA: What will the collaboration between NJMEA and Art Ed NJ look like once school is back in session?

BM: Well, it is ongoing, and it will continue to be ongoing because everything is changing. Right now, we are dealing with issues such as how hybrid models are going to be implemented. We are hearing from teachers in the field about being taken out of their classroom and put into other areas, and that is an issue. So then we now need to engage with the appropriate agencies in order to address that, whether that is NJEA to alert them to the fact of how some of their members are being used outside of their area of certification, or addressing it with the New Jersey Department of Education about the fact that it might be difficult if not impossible for a school to meet the standards if the students aren’t receiving the instruction to achieve those standards. So, by getting information from the field, and from the individual organizations, we are able to address issues as they come up. Right now, because the situation is so unpredictable and so unstable, we are paying close attention to what is happening in individual districts and we are relying on both the individual educators and associations DA: What is the role of Arts Ed NJ in all of this? to tell us what’s going on, and if there are problems.

We had one instance with a district in southern New JerBM: Arts Ed NJ started originally as the New Jersey Arts sey where the district said they were not going to teach the Education Partnership back in 2007 and was renamed Arts arts at all. Well, in New Jersey you can’t to that. You’re not Ed NJ when we became a non-profit back in 2015. The role allowed to do that. As soon as we were made aware of it, we of Arts Ed NJ is to create proper conditions so that arts learn- intervened with the Department of Education and they intering can take place across the state. That’s it….that’s the goal. vened with that district.

We do that through monitoring state policies, working on We found a problem coming from a county health deconvenings on major issues like Social Emotional Learning partment down in Burlington County where they said, ‘you’re in the Arts or development of standards, putting out public not allowed to play instruments and you’re not allowed to facing for the arts in the area of advocacy such as the ARTS sing’ and they told that to all the high schools. All of a sudden, ED NOW campaign, surveying school board candidates to the schools are asking, ‘wait a second, where is this coming see what their positions are when they are running for office from?’ When we received that information, we were able to and then collaborating with the Department of Education, confirm it in writing and then went to the appropriate auOCTOBER 2020

21 TEMPO

thorities in Trenton so that they could intervene and then that county rescinded those recommendations. It’s a little bit of a game of ‘whack-a-mole’ right now, where you never know where the next issue is going to pop up, but we need to know when it does pop up so that we can engage the appropriate organizations and authorities to be able to address it. I don’t see that changing. As we get into the beginning of the year, once everyone knows how they are coming back, and again it changes every day, then things should settle down. Then we will be working to support folks that are in hybrid learning with questions on ‘how do I do this effectively?’ We will be working with the associations on what are good strategies and techniques, largely which are worked out in the September Ready report. Or, if we are remote, what do we do. We are also on the lookout for things that will undermine the integrity for the ability to deliver sequential arts learning that meets the standards for our students.

Over the next twelve months we have a very unique and powerful opportunity to, through the curriculum revision process, intentionally embed SEL into the curriculum rewrites. It’s an incredibly important time and opportunity for us to seize the power that music and the arts have in activating SEL in our students, and that will position us well for how our programs develop over the next several years.

DA: This has been another enlightening session with you Bob! Is there anything that I didn’t ask or bring up that you thought I would, and if so, would you like to at this time?

BM: The one thing I would say is that everyone’s situation is going to be different. We put out guidance and we put out recommendations for how to conduct programs in a way to reduce risk. But it’s not ‘everyone do it the exact same way’ because everyone’s circumstances are different. The question is ‘how do I create an environment where it will work?’ That’s DA: You mentioned SEL in your answer and we know that the effort behind the guidance. If I can’t make it work here, the updated NJ Student Learning Standards were just recently can I do it someplace else? Can I get tents? Is there another (finally) approved and that there are accompanying SEL stan- space? But don’t sit in your room and say ‘I can’t do it’ and dards with a well-designed ‘crosswalk’ for our teachers and ad- throw up your hands. This was designed to help lead you ministrators. How can our colleagues use these new standards and through a process that would allow you to identify the proper SEL crosswalk to promote advocacy for music? conditions for you to provide instruction for your students and program. The guidance is very solid, but we need to look BM: Well, there is one especially important thing and at it through the lens of our own circumstances. Our job right that is, over the next twelve months everyone is going to have now is ‘how do we make it work in a way that reduces risk?’ to revise their current curriculum. In that district curriculum and that needs to be the priority. revision project to come into alignment with the new Arts I will tell you this, if our kids are in school, then the arts Education standards, it should be done through the lens of should be in school, with the proper mitigation strategies. the SEL framework that we’ve established so that you can em- Lastly, when our kids are in school, and music is in school, bed the SEL elements into the curriculum when the revision and we see our students, we need to create. They need to be is being written so you don’t have to go back and retrofit it. able to make music together, because it’s the one thing we So, when your district decides to update and revise, ask to can’t do remotely. We’ve learned a lot of things we can do be on the writing team. Make sure you volunteer and make well remotely, but we learned that remotely we cannot play sure that they are using the new SEL framework as the lens to together, and we cannot sing together. So, when we are toembed the SEL into the new arts education curriculum. That gether, we need to do those things, and focus on the things we will effect how you write your lessons and how you infuse can do remotely for another time. them into your instructional units you use in the school. This is important because SEL is going to be the priority for our educators and our administrators. It was an emerging priority before the pandemic and once the pandemic hit it was like someone strapped booster rockets onto SEL and now it is the priority for everyone. Because of the unique role that music and the arts have in activating SEL within our students it’s imperative that we document that within our curriculum and that we educate our administrators to that.

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OCTOBER 2020

The New Jersey Association for Jazz Education presents the 16th Annual

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Please join us as we honor the 2020 NJ Jazz Education Achievement Award recipient

Earl Phillips OCTOBER 2020

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Reinvigorating the Remote Learning Choir:

Ideas for making online learning meaningful and efficient Matthew C. Lee Choir Director, John P. Stevens High School matthew.lee@edison.k12.nj.us

As I was reading the “NJ September-Ready Arts Education” document from artsednj.org, it re-dawned on me that every teacher in the state has had to figure out how to make their music classes meaningful while staying connected. Below I have brainstormed a few things that I will be trying this Fall, provided that school is either a hybrid model or entirely online. When students are made responsible for their own learning, real growth can be achieved.

This is by no means meant to apply to everyone in every situation; you may choose to modify or completely change the ideas listed below.

IDEA A: Learning Repertoire in Chunks and Layers Have you or someone you know attempted to put together a virtual choir video, only to find that students are breathing where they’re not supposed to, singing the incorrect notes and/or rhythms, and not singing very musically? Didn’t you ever wish you could address the musicianship of their music making in a meaningful, thorough, yet efficient way? In this approach to learning repertoire online, students are given the chance to take responsibility for their own proficiency and understanding of the music.

Below are suggested steps, and can take place over the period of a few weeks. Rinse and repeat for different segments and pieces.

Step 1 - Sing a short excerpt of the piece with accurate notes and rhythms (neutral syllable, solfege, or count singing) along with the practice track TEMPO

Step 2 - Sing the same excerpt with accurate notes and rhythms AND correct diction, modeled after teacher instruction video Video Step 3 - PERFORM with accurate notes, rhythms, diction, AND phrasing; including word stress, dynamics, and cut offs as indicated on the prepared score and as discussed over Zoom Rehearsal and/or a conducting/ modeling video, depending on whether or not you are meeting in person with students.

Step 4 - After a discussion about the expression and message of the piece that you have chosen, students are now assigned a video in which they prepare their “virtual choir” submission using all of the guidelines that they have worked on in the previous steps.

Sometimes, asking for videos from students can be like pulling teeth; you can complete these steps small group Zoom meetings. If this is not possible due to technology, students can send in recordings using their phone.

Assessment piece: Pass/Fail; Randomly spot check student work (give feedback when possible). After 3-4 cycles: Have students peer-review their small segments, or ask section leaders or responsible choir members to review the people in their voice part.

This approach can also be applied to a solo line of repertoire. Let’s say that in September you aren’t ready to have them learn a 4-part harmony piece just yet. You’d rather focus on getting them to sing accurate notes, rhythms, using good singing diction and demonstrat24

OCTOBER 2020

ing a sense of line. Have them do the same activity, with This lesson can take place asynchronously, or over more or less steps, using “My Country ’Tis of Thee” or a group discussions. You could even host a “listening parsimilar melody which they can pick up easily. ty” where the teacher screen-shares the song that students submitted prior to the meeting (Teachers should also prescreen all videos submitted by the students.)

IDEA B: Depending on the size of the class, this may take several Sight Reading in context of repertoire class meetings to get through. Hopefully students will be It’s easy to assign a daily or weekly Sightreadingfactory. encouraged to open a discussion with one another based com assignment, but how does that have to do with the on the songs that they submit for this sharing project.

Ask students to pick a song that is 1) Significant music they are performing? to them 2)school-appropriate. Have them submit a YouTake selected segments from their music and identify sections where each part could feasibly sight-read, Tube link through a google form. With the link, they given their starting note. Maybe choose a piece of music should include: Written portion - 3-4 sentences each: that sight-read-able for the purpose of giving students a chance to succeed on their own.

1) Teach part of a song by rote through video or Zoom rehearsal.

1) What is it that you like about this song?

2) What does the message of the song talk about?

3) What does this song mean to YOU? 4) If someone were listening to this for the first time, what might you tell them to listen for?

2) Assignment: have them sing the part they learned The following week, you can return to this song and using a practice track or video, then make them responsible for learning the next few measures on their own. They apply the following extensions: can use solfege, or any other method [including plunking 1) Find another artist’s rendition of this song (a cover). on a piano or trying their best to pick it up from youWhat key elements does the other person change? tube] to learn the next segment.

How is the overall effect of the song changed?

2) Which rendition do you prefer? Why? 3) Students record along with the backing track (which will have a metronome, and their part highlighted. Optional: During their Assigned independent study seg- FURTHER EXTENSION: Create your own cover, either of the song you submitment, have the highlighted part drop out). This will take ted in the original prompt, or of another song. Think knowledge and proficiency in a notation software about the elements that you can change, such as tempo, 4) Alternatively, assign them 4 measures or less of the melody, key, instrumentation, texture, harmonies, overall song that you have chosen and ask them to figure out mood, mode (turn a major song into minor? Minor into how to sing it. In their submission ask them how they major?)

This may be forwarded with examples of how songs learned it. This of course may depend on the level of your can change in feeling based on the manipulation of these learners. elements (for example: Married Life from Pixar’s “Up”, or Nursery Rhymes in Minor).

Idea C: While you talk about this assignment you can also discuss Part of Your Musical World what each of these elements mean (what is texture? How does a key signature work?)

If you want to take a break from working on repertoire, it may be helpful to take a glance into the musical Idea D: worlds that students come from. For many students, muA cappella mini-projects sic exists in two categories - there’s the music from school, and the music that they listen to out side of school. Why With the rise of shows and movies like The Singnot bring the two together?

OCTOBER 2020

25 TEMPO

Off and Pitch-Perfect, Contemporary a cappella may be the form of this piece? a crucial part of your choir program, or it may be virtu10) How can you recreate what you hear on the origially nonexistent. So much of what we do in choir can nal recording but using only voices? be applied to contemporary pop a cappella singing and 11) NEXT STEP- Can you add your own spin to your arranging. arrangement? How might you make it unique?

This project will allow your students to create original arrangements while still using listening skills and requirThis could be an idea for the awkward post-wintering collaborative teamwork. Results may vary based on break lull, or even used as a feature for your concerts! the skill level of the individual students.

You could even incentivize them by saying that exemplary projects can be featured in a group rehearsal OR in Using Sound Trap (Subscription required) or A cap- a virtual concert. pella (phone-friendly, Free version enables you to create I would encourage, that in the age of remote learning, 1-minute videos) or GarageBand (if students have access you meet with the students in small groups, (maybe after to iOS/Macbooks), students can either: they have decided their groups) and help them get started (but don’t help too much.) The projects that they may A) Create entirely new a cappella arrangements by come up with may range from full a cappella producharmonizing pop songs Or tions to melody & body percussion, but that is ok! The B) Find an a cappella rendition of a song and perform point isn’t to discover the next ICHSA or BOCA group, it without referring to written sheet music. but to encourage students to use their ears, brains, and each other in order to create something new. I would also The emphasis on “without sheet music” is impor- encourage getting familiar with the software mentioned tant since you may have that one student who can write above so that you can help walk them through it. This symphonies with no problem. There are also TONS of also is contingent on your students’ access to technology. user-submitted transcriptions and arrangements available on websites such as MuseScore. Asking students to make their own arrangements or mimic pre-existing arrange- —— ments require planning, teamwork, and critical thinking.

For students who don’t know where to begin, ask them the following questions to “jog” their brains: I don’t know about you, but I am definitely itching to try something new this Fall that is meaningful but not te1) In the recording, how many instruments are play- dious. This past Spring, I included so many assignments ing? How many singers are there? that felt like busy-work; I am trying my best not to fall 2) Listen to the original recording and count again; into this trap again. If you have ideas of your own I’d love can you focus on a different layer this time than to hear them; I live and die by the principle of not havyou did last time? ing to reinvent the wheel at every turn. I have had to also 3) Can you hear the bass line? wrap my mind around the idea that this will become the 4) Is there percussion involved? new normal and we’ll have to make it work. We always 5) Are there higher harmonies involved? Is there an do. other singer, or instrument that complements the melody, but higher?

6) Are there lower harmonies involved? Is there anMatthew Lee is the Choral Director at John P. Stevens High other singer, or instrument that support the lower School in Edison, NJ where he directs 5 ensembles. He is the end?

NJACDA R&R Chair and involved in the NJMEA All7) Can you sing along with the melody?

State Choral Procedures Committee.

8) Can you sing along with another instrument or singer that is NOT singing the melody?

9) How many sections are there to this song? What is TEMPO

26

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Leaving Anyone Behind?

Virtual and Hybrid Learning Challenges for Special Learners Maureen Butler maureenbutlermusic@gmail.com

It would be an understatement to say that the distance learning model we experienced last spring was a challenge for everyone concerned. Students faced such issues as lack of technology, varying degrees of parental support and insufficient instructional time as well as financial issues leading to concerns about medical bills and meals.

Although some students had a support system in which they were able to continue to learn, many fell behind with teachers of the arts reporting that a substantial number of students either didn’t turn in their assignments or didn’t respond at all.

As we’ve moved into another school year facing the same challenges, with hopefully more confidence, more technological facility and with more resources at our fingertips, this is a good time to evaluate how our special learners have fared and are faring in the current learning environment. For many of those students who face challenges in ordinary classroom situations, the experience last spring may have resulted in learning deficits, social and emotional setbacks and a lack of necessary therapies.

For many special learners, music can be a place to shine - to create, to express themselves and to participate meaningfully in group settings. Moreover, many of the activities we do, including singing, playing rhythm instruments and recorders, or performing rhythmic patsching/clapping/snapping patterns reinforce the skills students are developing with physical, occupational and/ or speech therapists. How can we ensure that students will continue to develop musically and meaningfully in the coming year? At the time of this writing, it seems that most school districts in New Jersey have adopted a hybrid model of learning. Whether we are using virtual learning or a hybrid model of distance and in-person TEMPO

learning, how can we consciously integrate the needs of all of our students into our lessons, rather than as an afterthought, so that no one will be left behind?

Let’s look at some issues your special learners may have with the following:

Virtual Resources You have undoubtedly found and used many websites, games, and videos to help teach content and have your students practice what they’ve learned. Are these resources accessible to all your students?

• Are the notes on the staff large enough for all learners? Can they be enlarged for those with visual impairments? Students with spatial-recognition deficits may struggle with decoding notes on a staff; consider colorcoding to adapt materials and resources for them.

• Is there a lot of visual clutter that is distracting for students with learning disabilities or visual sensory disorder? If so, choose materials that are simpler in content, adapt materials for them, or provide an alternate activity.

• Are the instructions too fast-paced? Instructions and pacing of some videos and games may be too quick for many of your special learners. Choose videos that can be slowed down, games and other resources that can be paused, and those that present information in smaller increments.

• Are your resources accessible for your Deaf and hard of hearing students? They will have difficulty under28

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standing speech of animated characters. Even those with cochlear implants or hearing aids who typically seem to function capably in your classroom may struggle. Look for videos, games and websites with captions and/or visual instructions. Be sure that students can see your face to interpret your facial expression and read your lips. If you are screen-sharing resources in a video format where students cannot see your face, find an alternate way to ensure that all your students understand your directions.

parent masks or face shields will allow students to see everyone’s face and increase their ability to understand you.

Students with social and emotional delays may have difficulties understanding the intent behind what others are saying. Be aware that your voice can transmit stronger emotions than you intend; without access to your facial expression, children may get the wrong idea.

• Are students physically able to do the work? Many of our activities involve small motor movements; consider the abilities required to play the recorder, type on a keyboard, clap or drum rhythms, and modify your lessons if necessary.

For students who have a sensory processing disorder that includes tactile input, masks can be a significant distraction. Keep in mind that this is not merely discomfort or annoyance that is being experienced by the student; their hypersensitivity is due to the inability of their brain to regulate and process sensory information - in this case, almost anything that touches them. You may find that these students may also have difficulty with frequent use of hand sanitizers.

For students whose sensory processing impairment involves the sense of smell, the strong smells from frequent cleaning of rooms and materials may also represent a stumbling block to learning.

Moreover, students may find the return to school (even sporadically) overwhelming, with its high level of sensory input. Be aware of the specific needs of your students and adapt your room and activities to minimize sensory overload.

Hybrid Learning The lack of a consistent routine, troubling for many students, will be challenging to our special learners, as well. Many students with autism, for example, need a sense of predictability in order to be successful. Navigating different routines and different sets of rules and experiences each day represents a significant challenge.

Extra time may be needed each day to settle into the day’s routine, so be aware of that whether you are teaching synchronously at home, or in-person at school. In either setting, be clear with your schedule and expectations for your lesson and create a visual schedule that can be adapted for each day.

Children whose challenges include social interaction and communication delays will have had setbacks in these areas. They will have to regain what was lost last year, while experiencing limited or sporadic interaction with others this year. If you are teaching in person you may have noticed behaviors stemming from anxiety, as well. You may need to be prepared to address issues that may arise as students resume learning to interact with their peers.

Masks

Sensory Issues

Other Considerations •Be sure to access 504 and IEP plans, especially for new students, so that you’re aware of children’s’ challenges as well as your own responsibilities. If you still have questions, network with the classroom teacher, special services director, related therapists and when possible, parents.

•Alter the content, pacing and expectations for any special learners in your class. Students and families may be overwhelmed with the amount of tasks they have, so keep that in mind, as well.

All students struggle with the requirement to wear •Provide hands-on activities, and try not to deal in face masks, but special learners will have other difficul- the abstract. Use direct teaching and direct modeling of ties with them. Students with a hearing loss, assisted by activities using video meetings or recorded lessons. hearing aids or cochlear implants, rely on lip-reading and facial expressions to understand what is spoken. Trans•Allow time for students to express their emotions OCTOBER 2020

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- the fears, frustrations, difficulties that they are experiencing.

•When possible, schedule one-on-one video chats, both to help with challenges and to clarify expectations. You may also wish to record group meetings and send them to students to review afterwards.

•Provide lessons that will be joyful and meaningful music-making experiences.

Remember that teacher attitude is key in any challenging situation, and strive to present a positive attitude. While not downplaying concerns and fears, let’s try to foster a sense of resilience in all our students.

Reassure children that the grown-ups are all trying to keep everyone safe. As we know, music can be a comfort and a joy in life; let’s continue to share this truth with our young students as we create musical experiences that will help them learn and flourish inside and outside of music class.

• W • H hy It’s E y • R giene ssentia l e • G search uida • S ocia nce Lea l-Emo • A rning tiona l d • A vocacy ctio n

Note: If you have questions or concerns about your special learners, please contact me at maureenbutlermusic@gmail.com

Resources Arts Ed New Jersey: September Ready Fall 2020 Guidance for Arts Education

Music Education Advocacy Resource Kit for Fall 2020

Archived webinar: Alice Hamell - Teaching Students with Disabilities during Covid-19. https://vimeo. com/401153247 Webinar: Stress and Anxiety in Young People with Autism and Other Developmental Disabilities: Support for Covid-19 and Beyond; Christopher Lynch, June 24, 2020 Teaching Lessons to Students with Special Needs, Brian Wagner-Yeung https://nafme.org/teaching-lessonschildren-special-needs/

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bit.ly/NAfMEMusicEdAdvocacyResources (case-sensitive)

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Elementary Music Activities for Various Teaching Scenarios Amy M. Burns NJMEA Early Childhood Chair aburns@fhcds.org

It has been a whirlwind for education over the past seven months. We all have experienced teaching scenarios from distance learning with no technology, distance learning with devices, a hybrid model of in-person and online learning, and learning in school with various restrictions. Below are some activities that I have performed in various elementary teaching scenarios that I hope will help you with your current teaching situation.

In-Person on a Cart Many elementary music educators returned to teaching on a cart. Some had already been doing this and others had to leave their music rooms behind due to the school’s new teaching restrictions. Here are some activities and sites that can be helpful.

- Virtual Instruments: If your students have 1:1 devices they can open a virtual instrument on their devices and perform music. Whether or not you can use acoustic instruments, virtual instruments are usually free and can be utilized intuitively. Some examples are GarageBand (https://apps.apple.com/us/app/garageband/ id408709785) and Tim Purdum’s Xylophone Orff app for iOS devices (https://apps.apple.com/us/app/xylophone-orff/id1092959126), or searching through the

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coded instruments found at scratch.mit.edu on a device that can open a browser such as Chrome Web Browser (or a device like a Chromebook). Scratch has an amazing coded Orff instrument that can be shown in diatonic or pentatonic scales created by Mr. Geyer, as well as drums, and recorders. *Tip: When you are using a virtual instrument website, make sure that it is not based in Flash, as that will be discontinued at the end of 2020.

- Rhythm Play-Along Videos: If you can project onto a screen, then utilizing rhythm play-along videos can allow you to teach the rhythm patterns found in

the videos, and then have the students perform them using instrument kits or body percussion. A playlist of rhythm play-along videos can be found on my YouTube channel (Amy Burns - https://www.youtube.com/ playlist?list=PLO2UG241-fB63suVbxj2Bx02LIvomKE1o). *Tip: If your school does not allow YouTube to be shown, try sites like viewpure.com, safeyoutube.net, safeshare.tv, or others to clean up the videos from any advertisements or comments.

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- Instrument Kits: Though this takes some time to put together, inexpensive instrument kits can be made from the following items: cups (for drums), pencils (for rhythm sticks and drum sticks), scarf (for movement), the infamous pool noodles (cut to size for sand blocks), plastic eggs with beans taped together (for egg shakers), pipe cleaners (for pitch explorations), and cut up straws (for creating rhythm patterns with stick notation). Also, a small staff and some small objects to place as notes on the staff could be in there as well, depending on the age group of the children. Finally, a bag or container to hold and label the instrument kits. If you go to teach remotely, the students can bring the kits home with them. There are premade ones found at Sweet Pipes (https://sweetpipes. com/product-category/individual-music-kits/) and West Music (https://www.westmusic.com/personal-elementary-music-kits/). Though these have a price tag that might not be budget-friendly, they do give you some ideas for making your own. *Tip: Ask the classroom teachers if they can store the instrument kits in their students’ cubbies. This assists you with fewer items to carry to the classrooms, as well as gives the teachers ideas for utilizing them in their daily activities.

make the stations into categories of woods, metals, shakers, and drums.

- Movement: If you are like me, you like to have movement throughout your lessons. Whether you favor Dr. Feierabend’s Move It activities (GIA publications) or like to have students keep the beat with the music, or try to connect movement to the students through their favorite artists like Koo Koo Kanga Roo, the movement will have to be adapted. As much as I liked having the students dance together, that will probably have to wait.

However, teaching movements within their space will still be applicable. My suggestion is to have movement activities where they follow you and then ask them what movements they can do within their “bubble space”. Give your older elementary students the problem to solve and see what they come up with for movement. *Tip: For dances, teach the moves individually to the students. Then, leave a video of the dance on their online platform learning tools like Seesaw (app.seesaw.me) or Google Classroom (classroom.google.com) and ask the students to access it from home and teach their family the dance.

Hybrid In-Person in the Music Room

Many elementary music educators are teaching in schools with students as well as teaching students who are This scenario involves you teaching from your class- online and not physically present in your classroom. This room with students, following many restrictions set in can be a very exhausting teaching scenario and I would place. highly encourage you, if you can, to teach one lesson that can be uploaded to the online platform without too much - Classroom instruments: Depending on what has editing. Here are some ideas on how to do this. been told to you, you might or might not be able to use your classroom instruments. If you are, disinfecting them - Video Conferencing Tools: The students might after each class will be required. If you can, try dividing have permission to log in to your classroom via Google up the instruments and placing them in stations around Meets (meets.google.com), Zoom (zoom.com), Microthe exterior of the room. For example, I have four stations soft Teams (https://www.microsoft.com/en-us/microof instruments in my classroom. One class can only use soft-365/microsoft-teams/group-chat-software), etc. This the instruments in Station 1. The next class can only use opens the door to many privacy concerns; however, you the instruments in Station 2. This assists me when the might be told to teach like this. If so, have the device’s time allotted for cleaning might not be extensive enough camera pointed at you. Assign a very mature student to be for me to thoroughly clean the instruments. If I have sta- your classroom helper who can monitor the device so it tions, then I can clean those instruments when I have a stays focused on you. Also, disable the chat feature, or set break or wait until the end of the day. up limitations that the chat is used only for those whose *Tip: I mixed and matched instruments for each sta- bandwidth is not allowing them to use their camera so tion so they included pitched percussion as well as class- that they can use the chat to ask questions. room percussion instruments. Another idea would be to OCTOBER 2020

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- Online Platforms: If you are teaching in a hybrid situation where some students will be in the classroom with you and some will access your class online through a platform like Seesaw, Google Classroom, Canvas (canvas.com), Schoology (schoology.com), Flipgrid (flipgrid. com), etc., then I encourage you to try to make one lesson and not two separate lessons. This is easier said than done. Some examples are to study a composer and their music and leave websites and videos of that composer on the online platform; study a song and game in person and to use MusicPlay Online (musicplayonline.com-Denise Gagne’s curriculum) or MusicFirst Jr (http://musicfirstjr. com/) and leave that same game on their online platform (both have videos and supplements that you can use if you subscribe); or study rhythm or melodic patterns in class and leave YouTube videos (look at the tip above to turn them into clean, ad-free, comment-free links) for them to record themselves performing along to on their online platform. *Tip: The goal with hybrid should be to connect with your students while making sure you take care of your own social-emotional needs. As teachers, we tend to put our students first. In this scenario of hybrid, which lends itself to the teacher creating two separate classrooms and two separate lessons every day, we need to remember that we must take care of ourselves so that we are there and healthy for our students and our families.

sic Class Online (eemusiclass.com), to name a few. When teaching asynchronously, an elementary music educator would leave materials or videos on the online platform for the students to listen to and respond. A few examples would be: >Taking a link in Musicplay Online’s Preschool Learning Module, which has activities and videos embedded into it, and placing the link into Seesaw. The student (or parent) logs into Seesaw, sees the journal post with the link, clicks on the link, and performs the activities from playing an interactive music game to singing along with the music videos. >Creating a group (formally grid) in the video social educational platform of Flipgrid and creating a topic where the students are to video themselves singing a song.

In Flipgrid, you can easily share the topic with Google Classroom as an assignment. The students log in from home to their Google Classroom, see the assignment, click the link, and it leads them to Flipgrid with the instructions to video themselves singing the song. The teacher can leave feedback, as well as allow others to see their classmate’s videos to leave feedback. The teacher is the gatekeeper and controls all settings to their group. >Using Google Slides or a similar platform to leave a lesson that consists of a choice board or a video on each slide of you singing, moving to music, etc., and asking the students to sing along.

Distance Learning with Technology

- Synchronously: In this scenario, the teacher is teaching live using a communication platform like Zoom, Google Meets, Microsoft Teams, etc., and the students log in at a certain time of day to join the teacher in their online classroom. In the spring, this was being done from home. In our current times, it still could be done as such, or the music educator is in their classroom “zooming” into the students’ classrooms or the students’ homes, or both. >Create an outline that you use for each class with variants, in the same way that you would start each class with a welcome song and end with a goodbye song. Using Dr. Feierabend’s First Steps in Music (GIA publication) is a great way to set up a routine that you can vary, but would not have to create from scratch for each class. >Have digital materials (like google slides, a digital whiteboard, etc.) and have live materials (instruments, flashcards, pictures, books, etc). As with our live classes, have multiple tools for teaching as opposed to only one

Many schools started the year remotely and the music teacher is either teaching synchronously or asynchronously. Both of these scenarios have pros and cons. Here are some tips and activities for teaching either, assuming the students have the technology.

- Asynchronously: In this scenario, the students are logging into an online learning platform such as Seesaw, Google Classroom, Schoology, Flipgrid, Canvas, or more music-centered online platforms, curriculum, or supplements are being used, such as MusicFirst (musicfirst. com), MusicFirst Jr, Musicplay Online, Quaver (quavermusic.com), interactive MUSIC (Realize) powered by Silver Burdett with Alfred (savvas.com and look under Disciplines>Music), McGraw Hills’s Spotlight on Music (https://www.mheducation.com/prek-12/explore/musicstudio/spotlight-on-music.html), Essential Elements MuTEMPO

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way to share manipulatives. >Use tools like Kahoot! (kahoot.com) or Gimkit (gimkit.com) as retrieval practice methods to review note names, rhythms, melodic sequences, etc. >For older elementary students, show them how to use Flipgrid during class and then have them use class time to go to Flipgrid and record themselves singing, playing the recorder, or finishing an assignment you have given them to complete during class. Flipgrid is free and gives the students choices on how they would like to record from using the video camera, to cover themselves with an emoji, to performing behind a whiteboard. >Bring in a guest musician. Many want to “zoom” in live to speak with the students. This past spring, I was able to bring in the Buffalo Philharmonic Orchestra’s English Hornist and Oboist, Anna Mattix.

directly source the sound from your device into their devices, how to add a microphone, and more. The more you know about the tool you are using to teach, the more confident you will feel when teaching live. *Tip 3: Download videos and songs, if possible, instead of using the internet to play videos and songs during the live class. This will give you one less item to worry about. *Tip 4: Record a few classes in case you need sub plans. You can edit portions of each class together to create a few sub plans so that the person covering for you just needs to share their screen and hit play.

Distance Learning without Technology When schools had to go to remote learning quickly, they did not have enough time to provide devices for each student so that they could learn online from home. Unfortunately, this is still the case for many school districts.

Students might be given a device, but without the internet, they cannot log in to an online classroom to learn.

Therefore, the music educator needs to reform their activities.

- Utilize websites that can quickly and easily create word searches, BINGO games, and more, for the students to complete at home. Some good ones are bingomaker. com and wordsearchable.com. *Tip 1: Have a second monitor. A second monitor - Create your own BINGO sheet that has musical acwill assist you well as you can share your screen or a video tivities for them to complete. These can range from creatof music and still see the students. When I did this with ing an instrument to performing a movement activity to Zoom, the students would shift to the second monitor as researching your family’s musical backgrounds and interI shared my first monitor. ests.

- Perform a Google search for worksheets of naming notes on a staff to rhythm math. Karen Garrett’s website, musictechteacher.com has many pdfs that can be easily downloaded, printed, and shared.

- If the student can accept a thumb drive to plug into their device, place digital manipulatives on the thumb drive from videos and songs, to a video of you teaching a lesson for them to participate.

Motivation *Tip 2: Learn the ins and outs of the program you are I heard many times this past spring from numerous edusing. Find the preferences or settings so you can research ucators that they could not keep their students motivated how to share the screens quickly and effectively, how to to turn in assignments or come to class. One way that OCTOBER 2020

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I motivated my students was with digital badges. When they accomplished an activity or assignment, I would reward them with a digital badge. The badges ranged from a “good job” to a recorder star for their recorder belt. The more they earned, the more I displayed them on their online learning platforms. I enjoyed using the free version of Canva (canva.com) to create wonderful digital badges.

Using Technology with Elementary Music Approaches These are just some ideas for the various teaching scenarios we could experience this school year. Currently, a book that I have written that was published by Oxford University Press titled, Using Technology with Elementary Music Approaches, can assist with all of these scenarios. This book has lessons that integrate into Dr. Feierabend’s First Steps in Music approach, the Kodály approach, the Orff Schulwerk approach, as well as ideas for Project-Based Learning (PBL). The overviews of each approach were written by NJ music educators who are gurus in their fields: Dr. Missy Strong (Dr. Feierabend’s First Steps), Glennis Patterson (Kodály), Ardith Collins (Orff Schulwerk), and Cherie Herring (SC music educator) assisted me with the PBL portion.

The book was written pre-quarantine, so there is a supplemental website that holds the manipulatives found in the book for you to use and download, as well as tutorial videos to show you how to use the apps listed as well as how to adapt them to these current teaching scenarios.

For example, when I wrote about stations in the book, you can go to the supplemental website and I will show

you how to adapt the activity from stations to 1:1 devices in multiple teaching scenarios. I wrote this book to assist all elementary music educators with integrating technology into their music classrooms but keeping their teaching approach as the focus and center of the curriculum. The Kindle and paperback versions are available on Amazon.

Have a great school year. Please stay safe, take care of yourself, and enjoy your students!

Amy M. Burns has taught elementary music education and technology for over 20 years at Far Hills Country Day School.

She has written numerous articles and books on the topic. She is the recipient of the TI:ME Teacher of the Year, NJ Master Music Teacher, NJ Governor’s Leader in Arts Education, and the NJ Non-Public Teacher of the Year Awards. She recently appeared on PBS’s Caucus NJ with Steve Adubato and has had her fourth book published by Oxford University Press.

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Thinking About Starting a Guitar Program?

Jayson Martinez, M. Mus; M. EdLd NAfME/NJMEA Guitar Education Chair jmarti37@webmail.essex.edu

As the guitar gains popularity in school settings, we tend to see more music teachers taking on the exciting task of offering a guitar class. Utilizing guitars in the classroom provides a powerful means for teaching music to young students. Not only does starting a guitar program improve engagement in the classroom, it is a great way to develop a transcendental music program. This article highlights several insights, resources, and tips from various guitar instructors around the country on how to start a successful guitar class in any school. A special thanks is extended to the NAfME Guitar Council for sharing there wisdom and knowledge.

In sum, by following the recommendations and further investigating the upcoming sites and resources, your guitar program will flourish and become an essential asset in your school’s educational plan.

Overcoming the Financial Challenge One aspect of the guitar is the sheer versatility of the instrument. Students can use guitars to play both melodies and harmonies. However, the most significant challenge of starting a guitar program is financial. Depending on the school’s budget, guitars can be quite expensive. Further, in an ideal guitar program, each student will play his or her own instrument. Beyond purchasing guitars, there will also be additional costs for storage and accessories. Yet, there are a number of ways in which teachers can ease this financial burden. These include music fundraising events, community and business partnerships, music education grants, and fundraising websites. Regardless of the hefty price tag for starting a program, the educational and experiential benefits for children are well worth it. For further information, research the suggestions presented in the Guitar Foundations of America site guitarfoundation.org.

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Best Practices for Elementary Students Regarding teaching young students in a class setting, students can use either a 1/2 size nylon-string guitars, ukulele, or guitarele. These instruments are typically the best size for children and the nylon strings are not as painful on little fingers as steel strings. A very basic reason to use nylon strings is that it is less strenuous on beginners’ fingers. Also, it is easier for the classroom teacher to see the students’ fingers in order to make corrections when they are learning chords and notes.

For further information, it is suggested to look into the guitarsintheclassroom.org site, for starters.

Classroom Setup, Procedures, and Storage The way in which a classroom is arranged is of vital importance for delivering the most effective instruction. Students should be able to easily access any necessary materials, sit comfortably, and view any instructional materials along with the instructor. For instance, some guitar colleagues prefer to arrange student chairs into three rows. Chairs in the same row are spaced by about four feet to allow room for students to feel comfortable moving around without banging into a neighboring guitar. Further, teachers can use the three rows for establishing effective procedures for guitar instru tion.

Important procedures to consider include general care and safety for guitars, getting and putting away guitars, and what students do if they need to set guitars down for a moment. Other possible procedures to consider may be how students will perform for the class and how they can work with a partner or in small groups. Every music classroom is different, but one thing is certain: guitars will occupy a lot of space. There are many methods of storing guitars so be sure to peruse all available options before committing to a storage method. These storage methods include wall hangers, traditional guitar stands, multi-guitar stands, custom-built guitar 38

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stands, and keeping guitars in cases or gig bags. For more information pertaining to classroom setup and storage ideas, visit guitarstorage.com and guitarcurriculum.com

Curriculum Speaking of guitar curriculum, all of the information in this article is inconsequential if the teachers and students involved do not have an outstanding curriculum. One of the top available curriculum for teaching guitar to students is Sound Innovations for Class Guitar. The method includes both teacher and student editions. Further, Sound Innovations for Class Guitar contains a developmentally appropriate sequence of lessons that are arranged into four units of study. Each lesson includes precise procedures, assessments, and lesson extensions all while addressing the Core Music Standards. The method also comes with additional teaching resources such as instructional tips, unit assessments, and audio/video examples that will greatly aid any music teacher, but especially teachers who are not terribly confident in their own guitar ability.

Another valuable curriculum is established by Alan Hirsh and the Austin Classical Guitar. In 2004, after three years working in public schools, Austin Classical Guitar recognized the need for an improved system for schoolbased guitar education comparable to established programs in choir, orchestra and band. Launched online in October 2008, Austin Guitar Curriculum is now used internationally by hundreds of teachers serving tens of thousands of students. A comprehensive teacher resource that includes a searchable library of original, pedagogically-sequenced ensemble literature, sight reading, and audio and video tutorials and aids, the Austin Guitar Curriculum espouses a powerful core educational philosophy of “expressive, beautiful music-making from the very first day.”

It is worth noting that the Austin Classical Guitar Society’s educational outreach program has carried out studies that prove that guitar programs encourage more students to participate in the arts. Furthermore, their studies show that the students who take guitar classes are not the same ones enrolled in band, choir, and orchestra, but instead the guitar classes make music available and attractive to a completely new population of students.

includes a very well organized teacher guide and rubrics for assessment. Also recommended is the Essential Elements for Guitar Book 1, by Will Schmid and Bob Morris, Hal Leonard Publications. Essential Elements has an easy to follow note reading unit with songs students enjoy.

Two great texts for the progressing guitar students are Enjoy Playing the Guitar, Books 1 and 2 by Debbie Cracknell, Oxford University Press and Second Year Guitar H.O.T. (Hands-On -Training) by Leo Welch and Nancy Lee Marsters, published by Class Guitar Resources.

Some guitar ensemble resources include: Guitar Ensembles, Intermediate Level by Nancy Marsters, Leo Welch, and Romana Hartmetz published by Class Guitar Resources. Playing Guitars Together by Debbie Cracknell published by Oxford University Press, Christopher Parkening Guitar Method, Vol. 1 published by Hal Leonard, Music for 3 or 4 Guitars ed.

Paul Gerrits, published by Les Editions Doberman-Yppan, Fredrick Noad Guitar Anthology: The Renaissance Guitar and The Classical Guitar published by Hal Leonard, Sight Reading for the Classical Guitar, Level I-III by Robert Benedict, Alfred Music Publishing. Furthermore, a plethora of guitar ensemble repertoire may be accessed at guitarcurriculum.com

Why Teach Classical?

By the time the students learn the fundamentals of guitar at the elementary and middle school levels, the students should immerse themselves further in classical guitar studies.

There are many reasons to teach classical guitar technique to high school students. First, a four-year program that culminates in two years of a classical guitar ensemble enables the maximum number of students to participate. Additionally, a classical guitar program gives students proper technique and a foundation on which they can build. Those wishing to play rock, blues, or metal will have strong skills that transfer to those genres. Classically trained musicians develop discipline and mastery of technique with the potential of building complex virtuosity.

Teaching Guitar Workshop

For teachers starting a guitar program, and for those who wish to extend a current program, guitar teachers recommend the national Teaching Guitar Workshops (TGW). The success of Text Suggestions several guitar programs across the country is credited in part For the novice students, many fellow teachers recom- to participation in these workshops, which are offered and mend H.O.T. Hands-On–Training First Year Guitar by Nancy sponsored by the National Association for Music Education Lee Marsters, published by Class Guitar Resources. The text (NAfME), the Guitar and Accessories Marketing Association OCTOBER 2020

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(GAMA), and the National Association of Music Merchants (NAMM). Teaching Guitar Workshops offer training each year at locations across the country to music educators interested in beginning or expanding school guitar programs.

Since its inception in 1995, over 3000 music educators have participated in the workshops. GAMA has reported that over 1.28 million students have learned guitar in school because of TGW. Their objective is to help music teachers start or enhance classroom guitar programs. The workshops are extremely informative and provide an abundance of resources for beginning guitar teachers.

Online Guitar Education Since the Covid-19 pandemic is keeping us isolated for the foreseeable future, the importance of physical space is diminished when it comes to guitar lessons. Luckily, there are many online guitar lesson resources and structured teaching models that can serve as a useful tool for teachers and students. The following compiled list of sites are recommended by many guitar teachers.

1. Fender Play 2. Artistworks Guitar Little Kids Rock 3. TrueFire Guitar Little Kids Rock transforms lives by restoring, expanding, 4. JustinGuitar and innovating music education in our schools. Their net- 5. JamPlay work of thousands of K-12 teachers across 45 states leads a 6. Orange Learn national movement that brings innovative and inclusive mu- 7. Jamorama sic education to students. Using genres including rock, pop, 8. JamTrack Central Latin, and rap, the program empowers teachers to build mu- 9. Guitar Tricks sic programs as diverse as the kids they serve. The students see 10. Yousician themselves reflected in their classes, which strengthens their connection to their school, their peers, and their community. This article highlights but a fraction of resources that are Little Kids Rock also donates necessary instruments, and cur- available for creating and establishing a successful guitar proriculum, meeting a key need of many school music programs. gram. With support from your administrators and key stakeMore than 500,000 kids currently participate in Little Kids holders, you’ll be on your way to launching your own guitar Rock programs nationwide. Since 2002, the organization has program in no time. reached more than 1,000,000 students with highly-inclusive and culturally relevant music education.

Virtual Learning Resources for Music Educators NAfME Societies and Councils have compiled distance learning and professional development resources from their own original teaching experiences, music educators in their school districts, universities, communities, peers, or other trusted sources. Available to NAfME members at no cost to help you keep teaching, learning, and making music through coronavirus disruptions.

TEMPO 40 Learn more at bit.ly/VirtualTeachingLearningMusicEd or visit nafme.org. half-page print ads_8.5x5.5

OCTOBER 2020

BE A PART OF NAfME: WHERE MUSIC EDUCATORS BELONG Join today: nafme.org/collegiate

• • • • •

Take part in professional development opportunities Network with music educators nationwide Include impressive leadership skills on your resume Add your resume to the NAfME Career Center Advocate for your profession and your future students at the local and national level

OCTOBER 2020

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collegiate@nafme.org | 800-336-3768

Flip Your Classroom Shawna Longo Durban Avenue School shawnalongo@gmail.com

One of the most common complaints from teachers is that they never have enough time with their students. One approach to leverage class time more effectively is the flipped classroom model. Through the use of technology with teacher-created instructional videos and interactive lessons, traditional class time can occur at home. The direct instruction becomes the “homework.” Class time can now be spent giving students the guidance and assistance they need to apply their learning through quality differentiation and engaging in collaborative learning with their peers. This teaching strategy is quite timely given our current situation with COVID-19. It can serve you well for blended learning and help give you a structure for handling how you reach all students regardless of whether you are in school, distance learning, or some variety of the two!

So, what does a flipped classroom look like? Let’s compare the characteristics of a traditional classroom to a flipped classroom.

As teachers, how many times have we had students return to school with their “homework” either not completed or completely off base? With a flipped classroom approach, teachers are able to use class time to assist students and guide their application of learning while making more connections.

Putting Bloom’s Taxonomy to work!

Using a flipped classroom approach puts the revised Bloom’s Taxonomy directly into practice. Moving the REMEMBERING and UNDERSTANDING levels to occur outside of the classroom gives you more time to focus on the higher level cognitive demands of APPLYING, ANALYZING, EVALUATING, and CREATING within the classroom when the students really need assistance and guidance.

It will also open up time for more collaboration between students, which can be difficult outside of the school day.

TRADITIONAL CLASSROOM: • Teacher instructs/leads • Students take notes • Students follow guided instruction • Teacher gives assessment • Students have homework to apply their learning FLIPPED CLASSROOM: • Teacher creates pre-recorded videos, podcasts, webi nars, books, and/or website with materials to guide instruction.

• Students view the lesson at home and complete guiding questions, activities, assignments, or assess ments.

• In class, or distance learning, the next day, students work on what they learned the night before which will take learning to the next level.

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Technology makes it even easier

of your class for a period, or missing an extended amount Many classrooms today use some form of a digital class- of school time due to vacation, all instruction is available to room, whether it is Google Classroom, SeeSaw, MusicFirst them - anytime, anyplace (with internet access of course!).

Classroom or other learning management system (LMS). Teachers can spend less of their planning time creating and These platforms make using a flipped classroom model much pulling together make-up work or guessing what they might easier! It allows teachers to store and assign pre-recorded vid- cover during an extended absence. Once a routine is estabeos or create interactive lessons. The LMS will also track stu- lished and communicated to the students and parents, the dent submissions of assignments; so, no more “the dog ate my teacher can just give the student a friendly reminder directing homework” or “you must have lost it because my son/daugh- them to the pre-recorded instruction and assignments in their ter turned it in.” All assignments are time stamped (date and digital classroom or LMS. time) when the students hit “submit.” Accountability and tracking are evidenced, which are essential for student assess- What are some of the benefits? ments and teacher evaluation.

There are numerous benefits to using a flipped classroom: • Students gain a deeper understanding of concepts, applications, and connections to content.

Don’t get stuck in a rut!

I don’t know about you, but there are times when I get • Students receive the support they need – differentiabored teaching the same concepts over and over, year after tion – on assignments within the classroom and year, or in some cases, every marking period. Sometimes it school day. can feel a bit like “Groundhog Day” and make me feel stag- • Students take the lead creating long-term intrinsic nant as an educator. When you utilize a flipped classroom, motivation. teachers can pre-record their direct instruction once and reuse • The role of the teacher is strengthened. the same videos the next time you have to teach that concept. • More efficient use of time: in school and at home.

Organization is key here – label the videos, create folders, and • Encourages peer learning through collaboration. make the most out of your precious prep time down the road! • Encourages purposeful use of technology.

• Allows time for and fosters creativity.

• Students can practice becoming independent learnHow do I record my instruction?

Making a recording of your-self teaching has never been ers. easier. You don’t need a fancy camera. All you need is your • Engagement is increased for the students and teacher. cell phone, tablet, or computer – and everyone owns at least • The teacher can save their voice as the lecture is put one of these! Editing can also be simple or not necessary at to rest! all. No one is grading you on your performance. Just be you as a teacher…think of your camera as your students! A couple of tips – put a stuffed animal by the camera lens that you can look at and talk to OR get a friend to hang out with you and act like a student behind the camera. There are also many free apps and programs to help with editing or use as a teleprompter. Personally, I suggest iMovie for editing and Teleprompter Lite – both are free iOS apps.

Student absences easily made-up!

A perfect union with Arts Integration and STEAM So how does a flipped classroom fit with arts integration and STEAM? Simply put – perfectly. With any arts integration or STEAM lesson, you have to teach core concepts FIRST in both contents (the arts and non-arts) BEFORE you integrate the contents to create something new. Using a flipped classroom allows the teacher to introduce and establish a baseline of content as homework the night before an arts integration lesson is going to take place. And, if there isn’t time in your schedule to co-teach an arts integration or STEAM lesson, you can pre-record the arts content for the non-arts teacher.

Another common teacher complaint is make-up work.

When students are absent, they come back to school and want to know what they missed. Well, they are already a day (or so) behind. And, because they missed that day(s), they may not understand today’s concepts, so add on another day! By Make the shift using a LMS and a flipped classroom approach, the “what’d By flipping the direct instruction on baseline content to I miss?” question is gone. Whether they are sick, pulled out homework, the teacher is able to make better use of their class OCTOBER 2020

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time to foster, assist, and guide the assimilation of learning.

Typically, students don’t need help understanding the core, or baseline, concepts. They need guidance and encouragement when the teacher wants them to collaborate with their peers and/or expects them to make direct connections between concepts.

Time is no longer the issue Even if you start small, you will see the immediate benefits. One of the most visible and precious benefits is that of more time! More time to guide your students, foster their creativity, and watch them grow into invested independent learners.

This article was originally written for The Institute for Arts Integration & STEAM (www.educationcloset.com).

Shawna E. Longo is the General Music (Music Technology) teacher and Arts Integration Specialist at Durban Avenue School, Hopatcong, NJ. She also serves as the Arts Integration & STEAM Specialist for TMI Education; Coach for The Institute for Arts Integration & STEAM; and Ambassador for MusicFirst. She is a clinician and consultant for music education, arts integration, and STEAM. She is also a recipient of the 2019 Ti:ME Teacher of the Year Award, 2019 NJ Governor’s Award for Arts Education Leadership, 2019 TeachRock Star Teacher, 2018 NJMEA Master Music Teacher Award and 2016 Governor’s Educator of the Year for Hopatcong Middle School.

MARCH IS

Learn about this year’s direction for Music In Our Schools Month® (MIOSM®), as we focus on lessons for second- and fifth-graders that help them learn elements of music through some classic children’s songs in English and Spanish. The lessons and songs, however, can be shared at many levels. All are available without charge to teachers for their use during MIOSM and beyond.

Read about this year’s theme and the direction for Music In Our Schools Month in years to come; obtain lesson plans and other resources; and take part in the Biggest School Chorus in the World with American Young Voices by visiting nafme.org/MIOSM. Follow the hashtags #MIOSM and #MusicTheSoundOfMyHeart on Twitter and Instagram.

Questions? Call 1-800-336-3768 or email memberservices@nafme.org.

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Using Seesaw to Foster Music Performance Self-Efficacy: A Tool for Face to Face and Virtual Teaching Micki Stukane (She/Her) Wall Intermediate School mjstukane@gmail.com

Seesaw is a web and app-based learning platform that connects teachers, students, and parents through a student’s digital portfolio. Using the various features of Seesaw to create a digital performance portfolio, teachers may help foster music performance self-efficacy in face to face and virtual teaching. Performing is a large aspect of music making that sometimes acts as a gate keep due to fear or lack of comfort and prevents some students from participating in music. If a music teacher could improve a student’s music performance self-efficacy and help them believe that they can be successful in performance, more students may be involved in music programs.

On Seesaw, students and teachers are able to share and document work from the classroom in a face-to-face or virtual setting. The platform allows students to document their learning in a number of formats: drawings, text, pictures, videos, voiceovers, and more. Parents are able to access their own student’s digital portfolio from a web browser, or through the parent-app, and even interact with the content through “likes” and comments. With the class stream, students are even able to view and interact with each other’s work, similar to social media. Unlike social media, however, a Seesaw classroom stream is only visible to the teacher and students and can be curated by the teacher through the approval settings.

Self-efficacy, as defined by Albert Bandura’s Social Cognitive Theory, is a person’s judgment or belief in their capabilities to succeed, complete a task, or accomplish a certain performance level.1 Perceived self-efficacy does not have to do with the skills someone actually has, but rather what they believe they can do with the skills they possess. Music performance self-efficacy specifically addresses a person’s belief of their ability to perform music.2 A low self-efficacy may cause a person to undermine themselves and fail to complete a task, regardless of their capabilities to do so. In relation to TEMPO

music performance, a student is more likely to be successful in a performance if they have a positive belief in their performance skills.3 Because self-efficacy has been shown to be malleable4, it is possible for a teacher to help foster music performance self-efficacy, and Seesaw provides the tools to do so.

Self-efficacy is affected and influenced by four different sources: mastery experiences, vicarious experiences, verbal persuasion, and physiological state. Mastery experiences can include prior and perceived successes, as well as prior and perceived failures. Mastery experiences in performing don’t need to happen in front of a large crowd to have a lasting effect on a student. With Seesaw’s recording and uploading capabilities, performance videos or voice-over audio can be recorded by the teacher or student right in Seesaw or uploaded as a file. These recordings can be in-class or at-home performances that become visible in the class stream, and visible to any parents who have accounts linked to their student.

When teacher-approval settings are enabled, the teacher can review student work prior to it being visible to others, ensuring that students are sharing their most successful work.

Vicarious experience is based on a person’s observations of a peer with whom they identify. Positive vicarious experiences can be supported on Seesaw with the class stream feature. Once approved by a teacher, students will be able to see each other’s work and performances within the stream.

Students may gauge their own ability to succeed based on the successes of their peers. If students are able to see exemplary examples within the class stream, this may encourage their beliefs about their own ability to complete the same task. Because of the teacher-approval settings, the teacher can make sure that only successful completions of the assignment are visible to others.

Verbal and social persuasion is when a person tries to persuade another or encourage another that they are able to 46

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achieve what they seek. Verbal and social persuasion can be focused on through the commenting and “likes” feature in Seesaw. Teachers, students, and parents can all comment on a student’s work and performances, depending on the settings put in place by the teacher. Just like work submissions, a teacher is able to approve or delete any comments left on a students’ work prior to it becoming visible. A great exercise to use with students elementary through high school, is to encourage them to go through other students’ submissions on an assignment and leave a “specific positive feedback comment” on at least two other students’ work. Students can use phrases such as “I like…” and “I notice…”, plus musical vocabulary, to leave these types of comments. This exercise aligns with Anchor Standard #9 of the National Core Art Standards: Apply criteria to evaluate artistic work. Not only will students benefit from practicing critique and evaluation, but students’ music performance self-efficacy can be supported with these positive comments.

Physiological state refers to when a person uses their physical state as a judgment of their capabilities, such as nervousness or excitement. Physiological state in relation to music performance self-efficacy could be as simple as a student feeling nervous when performing. Assignments can be adapted accordingly to accommodate for students who may not want to be seen or heard when performing. If a student is uncomfortable showing their face in a video recording, they can use the audio recording features to record a performance.

A teacher can also keep assignments from going into the class stream, so it is not viewable to other students. With the new at-home learning codes there is even the option to use all of Seesaw’s features without any class stream. This means all students will only see their own work, and not others.

It is important to note that self-efficacy is task and situation specific. This means that students’ self-efficacy in math may be different than a students’ self-efficacy in music. This even applies to skills and tasks within subject areas. This means student’s music performance self-efficacy may be different from the music learning self-efficacy.5 Understanding that self-efficacy is task and skill-specific helps a teacher better prepare activities and utilize teaching tools, to properly target specific skills. For example, Seesaw shows promise for helping develop music performance self-efficacy, but it may not be as useful if a teacher is trying to target music composition self-efficacy.

Although performing is only one musical skill, it is one that has been and will continue to be a skill strongly affected by school closings and virtual learning. Seesaw provides an OCTOBER 2020

opportunity for performing to still take place in various learning situations. Seesaw can be accessed for free by any teacher or student on Chromebooks, laptops, computers, and even via apps on iPads and smartphones. It is very user friendly for students, parents, and teachers. Additional information and free online training can be found on the Seesaw website: https://web.seesaw.me/training. There are also teacher Facebook groups such as Seesaw Teachers and Seesaw for Music Teachers, where teachers can collaborate and ask questions.

Bandura, A. (1986). Social foundations of thought and action.

Englewood Cliffs, NJ: PrenticeHall.

1

Zelenak, M. S. (2015). Measuring the Sources of Self-Efficacy Among Secondary School Music Students.

Journal of Research in Music Education, (4), 389.

Retrieved from http://search.ebscohost.com.ezproxy.lib. usf.edu/login.aspx?direct=true&db=edsbl&AN=RN36 5396873&site=eds-live 2

McCormick, J., & McPherson, G. (2003). The role of self efficacy in a musical performance examination.

Psychology of Music, 31, 37-51. doi: 10.1 177/0305735603031001322 McPherson, G. E., & McCormick, J. (2006). Self-efficacy and music performance. of Music, 34,322-336. doi: 10.1 177/0305735606064841 3

Muñoz, L.B., & Jojoa, S.T. (2014). How Setting Goals Enhances Learners’ Self-Efficacy Beliefs in Listening Comprehension. HOW, A Columbian Journal for Teachers of English, 21(1), 42–61.

4

Ritchie, L., & Williamon, A. (2011). Measuring distinct types of musical self- efficacy. Psychology of Music, 39(3), 328–344.

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From the Office of the Executive Secretary-Treasurer NJMEA Year End Financial Statement Deborah Sfraga debnjmea@aol.com

ORDINARY INCOME/EXPENSE July 2019 - June 2020 INCOME Advertising in TEMPO ASAAS Ch/Bands-Hou/Meal/Trans AS Inermediate Orchestra AS Bands AS Chorus - SATB AS Chorus - SSA AS Coordinator AS Jazz AS Orchestra Composer Competition Elementary Honors Choir Festival February Workshop Guitar Festival Marching Band Festival Middle School Band Festival Middle School Choral Festival Middle School Orchestra Festival NAfME Rebates Smile Donation - Amazon Uncategorized Income TOTAL INCOME

37,470.00 117,481.16 220.00 16,609.40 11,713.00 6,614.40 224,578.37 1,365.00 4,795.00 740.00 3,640.00 209,665.56 435.00 8,194.00 1,200.00 1,650.00 750.00 50,223.00 5.00 3,460.92 700,809.81

EXPENSE AS Bands AS Chorus AS - COJ AS - SSA/Bands AS Jazz AS Orchestra AS Intermediate Orchestra

25,045.76 24,075.44 241,702.60 131,992,04 2,630.89 5,365.30 728.99

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EXPENSE - Continued Bank Fee Board Meeting Meals Board Mileage Board of Directors Eastern Division Planning Mtg Elementary Honors Choirs Governors Awards Marching Band Festival Middle School Band Festival Middle School Choral Festival Middle School Orchestra Festival NAfME Summer Leadership NJRMEA November NJEA Convention Office Space Orchestra Festival Middle School Payroll Tax Expense Reconciliation/Discrepancies Salaries and Wages State Conference TEMPO Uncategorized Expenses Workshops TOTAL EXPENSE

22.87 2,281.49 3,578.54 34,759.49 1,002.44 3,337.88 400.00 5,537.41 743.63 624.00 200.00 8,047.47 100.36 2,011.22 20,755.58 88.47 3,712.99 22,025.43 28,500.08 165,621.24 45,220.61 3,460.92 257.76 739,780.04

Net Ordinary Income Other Income - Interest Other Expense - CC Fees/Fed Witholdings

-38,970.23 676.46 9,582.04

NET INCOME

-47,875.81

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OCTOBER 2020

Now, More than Ever, We Need You to Renew Your Membership Our profession and the Arts have been decimated by the COVID-19 virus, but NJMEA and your national association, NAfME, have been working tirelessly to help you through these rough times. Although NJMEA has cancelled all of our activities through the February Conference, we are hoping that we can start up again in the Spring with our orchestra and chorus auditions. We will be offering a series of virtual webinars throughout the year to help you inspire and advance your virtual teaching and will continue to keep you informed on all of the latest developments in the teaching of music.

As you look at the financial report for the 2019-20 year you will see that NJMEA spent a significant amount more money than it took in. There are several reasons for this. On the income side we lost all of our All-State Chorus and Orchestra audition fees, lost the revenue from advertising for one TEMPO magazine and our membership dues showed in $8,000 decrease. This decrease means that we lost approxi-

OCTOBER 2020

mately 275 members last year. On the expense side, we had a significant increase in housing and meals for the February AllState Bands and Treble Chorus due to moving them to Atlantic City. NJMEA will have no income for 2020-21 except for the $29 dues that we receive per member from NAfME and whatever revenue we receive for TEMPO advertising, which, as I write this, is less than previous years.

Being a part of NAfME/NJMEA is more than just joining because your student wants to try-out for All-State or you would like to attend the February Conference. It connects you to all of the other teachers in your state and country who share your love of music and teaching. Now, more than ever, you need that connection, and we need you. NAfME did not raise their portion of the dues this year, which is $100 and NJMEA, which hasn’t raised it’s portion of the dues($29) in more than 20 years, so please, when your renew notice comes up, RENEW YOUR MEMBERSHIP!

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NJSMA

North Jersey School Music Association www.njsma.com Welcome to a new school year in these unprecedented times! The COVID-19 pandemic certainly creates new challenges for music educators, but I don’t know anyone more capable of thinking creatively and working collaboratively to overcome these challenges than this group of dedicated educators!

As we start this new school year, I’d like to welcome back Dave Walsh (Leonia MS) as Treasurer and Nick McGill (Hanover Park HS) as Publicity Chair. I’d also like to thank two members who have recently stepped down from the NJSMA Executive Board. Carol Richardi, who served tirelessly as an Elementary Division Co-Chair, and Russ Batsch, who served on the board in many capacities including President and Orchestra Division Co-Chair, for many years. Our region has certainly benefited from all of your hard work and dedication. Best of luck to you both!

It is my pleasure to now introduce our new Executive Board members. Karen Andruska (retired, Franklin Lakes District) has joined Lisa Wichman as Elementary Division Co-Chair and Caitlin Shroyer (West Essex HS) has joined Jordan Peters as Orchestra Division Co-Chair. Welcome and thank you!

As I referenced above, this school year presents new challenges. Unfortunately, our Region Ensembles that typically audition and perform in the winter months will not be able to occur this year due to the ongoing pandemic. As I shared in August via email communication to all NJSMA members, the Region Ensembles have been cancelled for the 2020-2021 school year. Furthermore, the plans we had to begin a Region TEMPO

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Guitar Ensemble and a festival for on-traditional ensembles have had to be postponed.

Throughout our organization, our division chairpersons are hard at work preparing to bring you and your students the very best musical experiences we can provide within the current safety parameters. Please take a few moments to read below to learn about all of the exciting events planned for our region. Finally, if you would like to become more involved or need assistance, please feel free to contact me or anyone on the NJSMA board. We would be willing to help in any way possible. Thank you and have a great school year!

NJSMA has a COVID-19 Resources page on our website. It is updated continually with resources that have been vetted by our executive board. This page has already received over 500 views so be sure to take a look if you haven’t already!

Monday, October 5th at 6:00 PM - Join us for our first ever virtual General Membership Meeting. At this meeting we will share details about out plans for enrichment opportunities for our Region I students and directors with current NAfME memberships.

Do you have new contact info? Visit our homepage and click on the "Faculty Contact Update Form" to ensure you get on out mailing list.

Band Division We hope your first days back to school have been rewarding and successful regardless of the challenges we are all facing! As we are sure you are well aware of, all NJMEA and NJSMA Honor Ensembles are on hold and/or cancelled for this school year. That does not mean that the Band Division will not be there to support you and your students! We are looking at three specific areas where we can help you and your students grow this upcoming school year: COVID-19 Survey - Please look out for an email in late September that will ask for information regarding your districts reopening plans and COVID-19 related procedures.

This survey will include all grade levels of band, including 4th and 5th grade. Our goal is to try and compile as much information as we can so that we can share it with other directors in Region I. The survey will initially be anonymous, so please look for it and share with the other band directors in your district. Especially those 4th and 5th grade directors that would not already be getting Region Band emails.

Masterclasses - We are working with local community bands and professional musicians to provide virtual masterclasses for students of all age and ability levels. If you have a teacher that may be interested in providing this service for the Region, please contact us. Also, if you have any specific topic requests, please contact us as well.

Teacher Workshops - The Band Division Co-Chairs are looking for educators to provide virtual professional development workshops for your benefit. Like the masterclasses, if OCTOBER 2020

you have any suggested educators or topics, please contact us.

All of the information pertaining to the above initiatives can be found online at the region website, www.njsma.com.

We are hopeful that we will be able to continue our full program offering in the school year 2021-2022.

Finally, we would like to welcome our three All-State Band Procedures Chairs for this year: Jeffery Brown from Dumont High School, Max Taylor from Vernon Township High School, and Amy Wilcox from Northern Valley High School at Old Tappan. If you have any questions regarding the All-State ensembles or solos, please contact them. If you would like to get more involved with the NJSMA organization, there are many opportunities available. We are always looking for schools to host rehearsals, concerts and festivals in addition to individuals to conduct, manage, and volunteer for the many different jobs that need to be accomplished on a yearly basis. Anyone interested in conducting one of the region bands should complete the application found on the website. Please feel free to contact us with any questions or concerns you may have. We look forward to working with you this year.

Lewis C. Kelly, Lyn M. Lowndes, and Jennifer Wise, Band Division Co-Chairs, band@njsma.com

board! This year will look very different for all of us. Region and All-State events have been canceled. Without the immense amount of work that these events require, we would like to use this year as an opportunity to reflect and plan for the future of the orchestra division. In the absence of faceto-face events for teachers and students, we would like to schedule virtual opportunities for our division with a focus on strengthening the community of orchestra directors in North Jersey. Without travel expenses and scheduling concerns to consider, we are hoping to invest in professional development opportunities for our directors to connect with respected leaders in the profession. For our students, we hope to hold virtual masterclasses with professional musicians and encourage collaboration between school districts.

In order to best serve the division and connect students and teachers across Region 1, please complete the Google Form survey sent to all directors on our email list. If you have not received this email, please reach out to orchestra@njsma. com. We look forward to collaborating with all of you this school year!

Jordan Peters and Russ Batsch, Orchestra Division CoChairs, orchestra@njsma.com

Chorus Division The chorus division has enjoyed offering you Region Ensembles, Festivals, and more recently, Professional Development for our choral directors at our NJSMA spring meeting.

While we will not be able to do any of that for 2020-2021, we encourage you to check the NJSMA website for items related to teaching music during these crazy times. We are very much looking forward to returning to normal when it is safe to do so.

Please make sure your contact information is up to date!.

You can update information through our website. Please make sure it's accurate as that is the only way we will be able to communicate with you for a while.

As always, feel free to contact us with any questions. We are hoping that you have a productive and healthy year!

Austin Vallies and Deana Larsen, Chorus Division CoChairs, chorus@njsma.com

The NJSMA Elementary Division is proud to offer exceptional events and workshops for elementary general music educators and their students. When we can safely gather and sing together, we will resume our in-person workshops and festivals. Check back on our website for updates.

Heartfelt thanks to Carol Richardi, who served as Elementary Division Co-Chair for many years. Carol retired from teaching in May and is also retiring from her position on the NJSMA Board. We wish her happiness in this new chapter of her life.

Please welcome Karen Andruska who will serve as Elementary Division Co-Chair. Karen (retired, Frank Lakes District) has served as an Elementary Division committee member and registrar for many of our events.

We have postponed this year’s Annual Fall (Columbus Day) Workshop until 2021. Save the date: Monday, October 11, 2021, featuring nationally renowned clinician, Amy Abbott,” Music a la Abbott”. (“Hook, Line and Sinker: Catching the Attention of the Upper Elementary Student,” and “Tried and True Singing Games for Grades K-6.”) NJSMA Elementary Music Division welcomes all elementary music teachers in NJ (and beyond!) to attend this workshop.

Lisa Wichman and Karen Andruska, Elementary Division Co-Chairs, elementary@njsma.com

Elementary Division

Orchestra Division We hope that everyone has enjoyed a well-deserved summer break! As we begin a very uncertain school year, please make sure that we have your correct email address by completing the Faculty Contact Update Form on the NJSMA website.

We would like to introduce our new co-chair, Caitlin Shroyer! Caitlin is the orchestra director in West Essex Regional School District. She has previously taught in Cranford, NJ and Houston, TX. We are thrilled to have her on OCTOBER 2020

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CJMEA

Central Jersey Music Educators Association www.cjmea.org As we enter into the 2020-2021 school year, we enter it with uncertainty and caution. Last year ended in a way that no one could have predicted and this year promises to be just as tumultuous. CJMEA is working to support you as you go through this unprecedented year.

Please visit our recently updated our webpage www. cjmea.org! A huge thank you to our Webmaster Trevor Snyder for his hard work in creating this new website. We hope the new site will be easier for you to navigate when searching for resources.

The CJMEA Executive Board has made the decision to cancel our Region Ensembles for the 2020-2021 school year.

While we wanted to hold these events, given the impact the COVID-19 pandemic has had on school systems throughout the state we felt we could not create events that would give our students a comparable musical experience.

Knowing that this year will be turbulent, we are planning to provide you with virtual Professional Development that will help you navigate these times. We are also working on several Online Masterclasses and Festivals for your students.

We plan to bring in some of the best music educators and performers from around the country to provide you and your students with the ideas and tools that will help you all take our music-making to the next level. The details of the events will be communicated in the next several weeks. So please stay tuned and continue to check out our website for updates.

Have you ever wanted to get more involved with Music Education throughout the state? On October 17th at 12 noon we will be hosting a CJMEA Leadership Virtual Workshop Session. Come learn how you can be a leader and have a voice in the state through CJMEA. If you are interested in attending this event please register on our website. If you have any questions please email our President-Elect, Yale Snyder (YalePerc@aol.com).

While we may not be able to meet in person this year, we as a CJMEA Executive Board are here to support you. If you have any questions or need any support, do not hesitate to reach out.

SJCDA

South Jersey Choral Directors Association www.sjcda.net

or choir festivals for the 2020-2021 school year. In lieu of our typical events, we have decided to offer virtual choir experiences for our collective students. Based on what we heard from our membership, we will begin the process of searching for virtual conductors at the end of September. Student participation will be a combination of previous honor choir membership and teacher recommendation. The rehearsal dates are TBD, considering we want to give our membership some time to adjust to this school year and we do not need to secure physical spaces.

The scholarship competition we hold every year will still proceed. Information and application paperwork will be shared on our website, sjcda.net later this fall. Please be sure to check our site regularly for updates. If you are new to the region or would like to receive emails from our organization, please make sure to complete the registration form that can be found on our website.

SJBODA

South Jersey Band and Orchestra Directors Association www.sjboda.org Welcome back! The COVID-19 pandemic has impacted the events of SJBODA. Our fall membership meeting will be a virtual meeting that will take place in October. The exact date and time will be announced in an email to the membership. Information on accessing the meeting can be found on our website or by contacting Ken Rafter (609-457-0590 or sjbodapresident@gmail.com).

Auditions for the 2021 South Jersey Orchestra, Wind Ensemble, Symphonic Band and Junior High String Ensemble have been cancelled. The Junior High Band auditions have also been cancelled. A decision regarding the status of the Concert Band Festival, Elementary Honors Band, and Elementary Honors String Ensembles will be decided by January.

The executive board is exploring the possibility of offering our senior students the opportunity to perform in a chamber ensemble. This event would take place in the spring. Details including location, dates, and auditions or nominations, will be announced this winter on our website.

The difficult decisions that are being made will certainly impact your students and programs but we will continue to explore future possibilities and options for our performing ensembles as this pandemic continues. We wish all of our members a productive and safe school year.

SJCDA (Region 3) made the decision to cancel our honTEMPO

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NJMEA RESOURCE PERSONNEL Area of Responsibility

Name

Email Address

Administrative Matters..................................................... Patrick O’Keefe............................................ patrickaokeefe@gmail.com All-State Chorus, Orchestra, Jazz Coordinator................ Joseph Cantaffa............................................ jcantaffahhs@hotmail.com All-State Orchestra Procedures Chair.............................. Sarah Franchino.......................................... ASOProcedures@gmail.com Association Business......................................................... Deborah Sfraga........................................................ debnjmea@aol.com Choral Procedures Chair................................................... Wayne Mallette......................................... wayne.mallette1@gmail.com Composition Contest......................................................... Andrew Lesser.............................................. andrew.lesser@yahoo.com Editor - TEMPO Magazine............................................. William McDevitt....................................... wmcdevittnjmea@gmail.com Jazz Procedures Chair......................................................... Joe Bongiovi............................................. jbongiovi.njaje@gmail.com Marching Band Festival Chair........................................... Nancy Clasen.................................................. nancydidi@hotmail.com Membership....................................................................... Deborah Sfraga........................................................ debnjmea@aol.com Middle/Junior High Band Festival................................. James Chwalyk, Jr. .................................... james.chwalyk.jr@gmail.com Middle/Junior High Choral Festival........................... Donna Marie Berchtold.......................................... firesongwed@gmail.com NJMEA Historian............................................................ Nicholas Santoro...................................................... n31b13@gmail.com NJMEA State Conference Exhibits Chair.......................... Nancy Clasen.................................................. nancydidi@hotmail.com NJMEA State Conference Manager................................... Marie Malara.......................................................... malara97@aol.com NJMEA Summer Conference............................................. Casey Goryeb ............................................. casey.goryeb71@gmail.com NJMEA/ACDA Honors Choir........................................... Pam Crockett...................................................... pcrockett@npsdnj.org November Convention – NJEA.......................................... Nancy Clasen.................................................. nancydidi@hotmail.com Opera Festival Chair................................................... Donna Marie Berchtold.......................................... firesongwed@gmail.com Orchestra Performance Chair.............................................. Susan Meuse.................................................. susanmeuse@gmail.com Research............................................................................. Colleen Sears............................................................ quinnc1@tcnj.edu Students with Special Needs............................................. Maureen Butler................................................. mbutler@mlschools.org Supervisor of Performing Groups....................................... Jeff Santoro.......................................................... jsantoro@njmea.org Tri-M................................................................................ Patrick O’Keefe............................................. patrickaokeefe@gmail.com REPRESENTATIVES/LIAISONS TO AFFILIATED, ASSOCIATED AND RELATED ORGANIZATIONS NJ American Choral Directors Association....................... Anne Matlack.......................... anne.matlack@choralcommunities.com Governor’s Award for Arts Education................................. Jeff Santoro.......................................................... jsantoro@njmea.org NJ Association for Jazz Education...................................... Joe Bongiovi............................................. jbongiovi.njaje@gmail.com NAfME............................................................................. Patrick O’Keefe............................................ patrickaokeefe@gmail.com NJ Music Administrators Association............................... Thomas Weber............................................ tweber@westfieldnjk12.org NJ Retired Music Educators Association........................... Frank Hughes.......................................................... flh4hof@gmail.com NJ TI:ME........................................................................... Andrew Lesser.............................................. andrew.lesser@yahoo.com Percussive Arts Society.................................................... Domenico Zarro................................................. DEZarro@optonline.net COMMUNICATION SERVICES/PUBLIC RELATIONS Executive Secretary-Treasurer.......................................... Deborah Sfraga.................................................. debnjmea1@gmail.com Editor - TEMPO Magazine............................................. William McDevitt...................................... wmcdevittnjmea@gmail.com

OCTOBER 2020

53 TEMPO

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

Catherine E. Anzuini

Catherine E. Anzuini, 68, of East Windsor, passed away peacefully Friday, June 12, 2020 at Penn Medicine University Medical Center of Princeton at Plainsboro. Born in Princeton; she was a resident of Hightstown and East Windsor her entire life.

Cathy was a graduate of Hightstown High School Class of 1969. She was a lifetime member of the First Presbyterian Church of Hightstown and was retired after teaching music and theatre for 42 years for the East Windsor Regional School District.

Predeceased by her parents and brother; Lester and Carolyn Ervin and Robert Ervin. Cathy is survived by her husband of 46 years, Richard Anzuini, four children; Michael (Sandra) Anzuini, Gina (Daniel) Ellinger, Carolyn (Jonathan Seidel) Anzuini and Steven (Kayla) Anzuini and six grandchildren; Ella Rose, Thomas, Isaac, Zachary, Rhett and Abby.

Private family services were held at Brainerd Cemetery in Cranbury. In lieu of flowers, donations may be made to a memorial scholarship that will be established in Cathy’s name at Hightstown High School. You may contact ceanzuinimemorialfund@gmail.com for information about making a donation.

put students first, and sometimes even took on a parental role with an early morning phone call to make sure students attended their 8:00am class. He was a driving force that touched thousands of people along the way... students, parents, faculty and those who became close friends.

Another passion of Darryl’s was to build and fly RC model airplanes. He would try to get people to join him on his trips to the flying fields, sitting on the chairs and savoring a nice cigar while enjoying the sunset. Darryl loved food, especially during his favorite holiday, Thanksgiving. He would host many Thanksgiving feasts with seemingly enough food to feed the Town of High Bridge. There was always ample food for people to take home at the end of a great dinner with friends. Darryl’s friends were his family, and they always held a special place in his heart.

Darryl is preceded in death by his parents Clyde and Vera Bott.

He is survived by his longtime partner and husband Jonathan Bascones-Bott. and by his dear brother Lonnie Bott and wife Patricia Bott, of Prosper, TX; seven cherished nieces and nephews, Matthew, Andrew, Jennifer, Christopher, Ryan, Katie, and Kayleen. Additionally, he is survived by his two rescue dogs, Amelia and Wylie and the cats Wilber and Orville... demonstrating his love of animals and his heroes in flight.

Joel Craig Davis Darryl Joseph Bott

Darryl Joseph Bott, age 64, passed away peacefully at home on May 23, 2020, after battling lung cancer. Born in Paterson, NJ, Darryl resided in High Bridge, NJ for the last 23 years.

Darryl Bott was an incredible, compassionate human being.

His love for music and teaching impacted incalculable lives throughout his career. Darryl’s public school music career spanned many years. He served as Director of Bands in West Essex and as Director of Bands and Lead Teacher for the Roxbury, NJ school system. His consistent winning concert, marching and jazz bands were well respected throughout New Jersey and the North East.

After retiring from public school teaching, Darryl took on the responsibilities of building a strong music program at the Mason Gross School of the Arts, at Rutgers University. There, he served as Deputy Director of the Music Department and later was named Director of Bands. He always TEMPO

Dr. J. Craig Davis, 55, died March 31, 2020 at his home in Garfield, NJ. He was born on June 30, 1964 in Sylacauga, Alabama to Heflin and Rilla (Peerson) Davis. Craig attended BB Comer Memorial High School in Sylacauga, Jacksonville State University, Ithaca College, and The Eastman School of Music, where he earned the Performer’s Certificate in Trumpet Performance, Master of Music in Trumpet Performance, and Bachelor of Music in Music Education. After post graduate courses at the University of Cincinnati College-Conservatory of Music, he completed doctoral studies and was awarded the Doctor of Musical Arts in Trumpet Performance from The Juilliard School of Music.

In addition to his position as Director of Bands and Brass Coordinator at William Paterson University, he served on the faculties of Princeton University, Furman University, The Interlochen Center for the Arts National Music Camp, and New Jersey Symphony’s Greater Newark Youth Orchestra. Prior to his college appointments, he taught public school in New York State.

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A freelance trumpeter and conductor in the New York Metropolitan area, Craig performed with the New Jersey Symphony, Cincinnati Symphony Orchestra and Pops, Cincinnati Chamber Orchestra, and Rochester Philharmonic, and served as guest conductor and clinician throughout the United States. He was a member of the World Association of Symphonic Bands and Ensembles, College Band Director’s National Association, International Trumpet Guild, National Association for Music Education, and on the Board of Directors of the New Jersey Band Association.

Predeceased by his parents, Don Peerson (uncle), and Lynn Peerson Butts (cousin), Craig is survived by Joyce Peerson (aunt), Linda Deedra Jackson, Lisa Johnson, David Livingston, Deborah McGee, and Joe Kirk Peerson (cousins), and all of the colleagues, friends, and students whose lives he influenced through his teachings. Craig will be laid to rest alongside his parents at the Macedonia Baptist Church Cemetery in Holman Crossroads, Alabama.

musician to the very end playing with many dance bands such as the George Moyer Orchestra, the Frankie Testa Orchestra, Jonathan's Big Band, the Joe Dale Band, the Midiri Brothers Band and the John Clark Big Band. He really enjoyed playing in the orchestra pit for many and various high school musicals. Dave was also very much the athlete. He played baseball in the 1950's as a member of Bridgeton's entry in the Police Athletic League of Cumberland County, played in the men's fast-pitch softball league in the 1960's, and also played tennis for Bridgeton's team in the Tri-County Tennis League. During his teaching career, he played softball and football in the over-thirty men's leagues in Pennsville. Dave is survived by his wife of 46 years, Lynda (nee Fontanella); his daughter and sonin-law, Lynda Marie and Stuart Phillips of Rocky Mount, NC; his son and daughter-in-law, David H. III and Mary Claire Dilks of Providence, RI; his daughter and son-in-law, Jennifer and Walter Krystopik of Jackson, NJ; and his grandchildren, Lauren and Owen Phillips, Jasper Dilks, Anna Cahir, and Ava Krystopik. In addition to his parents, Dave was pre-deceased by his daughter, Jessica, and his brother, Charles (Frank) Dilks.

David H. Dilks David H. Dilks, 83, of Glassboro, formerly of Pennsville and Bridgeton, passed away on December 8, 2019 at Jefferson Hospital, Washington Twp. Dave was born to the late David and Thelma (Hignett) Dilks in Bridgeton on May 17, 1936. At the age of seven, his father bought him an old cornet which foretold a long and illustrious career in the field of music. While in Junior High School, Dave started his own band, the Junior Jivers, which performed for local community functions. In high school, where he became known as the "Harry James of Bridgeton High," he created a sextet, playing for Saturday night Canteens at the school and many dances and other affairs in the community. While still in high school, Dave played in many church services, performed on the Ted Mack Amateur Hour T.V. Show and ultimately participated in the New Jersey All-State Orchestra in his junior and senior years. Upon graduation, Dave enlisted in the Army and served as a bandsman for three years during which he was part of the "Rolling Along Show of 1957" which toured the world performing shows wherever there was a military base. During that period of service, he attended the Navy School of Music (Army Detachment) and performed twice on Ed Sullivan's "Salute to the Army" show in 1956 and 1957. After his discharge, Dave enrolled in the School of Music at Glassboro State College where he was awarded the Medallion Award for Outstanding Musicianship, a Bachelor's Degree in Music Education and New Jersey Teacher Certificates for music and mathematics. Upon graduation, he accepted employment with the Pennsville Public School District serving first as a middle school band director, then high school band director, followed by Fine Arts Supervisor, and finally Director of Curriculum and Instruction, all of this during a 47-year period with retirement in 2009. In the 1980's, Dave also served as Director of the Glassboro State College Concert Band and Marching Band.

In 1967, Dave earned a Master's Degree in music education after completing graduate work at Temple University and Glassboro State while, later in his career, earning a doctorate in educational leadership at Seton Hall University. He remained active as a performing OCTOBER 2020

Edward Lewis Ford, Jr.

Edward Lewis Ford, Jr. was born April 20, 1951 in Perth Amboy, New Jersey. He was the second of three children born to the late Edward Lewis Ford, Sr. and Lucille Gibbs Ford. Edward entered eternal rest the morning of June 23, 2020.

Edward grew up on Grant Street in Perth Amboy and attended its public schools. After graduating from Perth Amboy High School (PAHS) in 1968, he attended Jersey City State College (now New Jersey City University). As a student, he pledged Iota Phi Theta Fraternity, Incorporated. He graduated with a degree in music education in 1973. He continued his education at New York University where he completed the required credits for a Master's degree in philosophy.

Edward found joy in musical arts and quickly turned his love of listening to music and whistling to playing musical instruments.

He learned to play violin in his youth and played tuba in the PAHS Marching Band. This love of music also extended to his first job as the instrumental music teacher at Camden Middle School in Newark, NJ. It was the school's first year in existence and Edward established the Instrumental Music Education Program. While teaching at Camden Middle School, he met a beautiful 5th grade teacher, Gayle Jo-Ann Rowlette. The two dated and joined in holy matrimony on June 4, 1977. This union produced two sons, Edward Lewis Ford III (born in 1981) and Eric Rowlette Ford (born in 1985).

Edward's family was the center of his world. He cherished the love they shared and worked to ensure they had everything they needed.

He left teaching in 1982 to care for his ailing father. After his father passed away in 1983, he began working as a claims adjudicator for the state of New Jersey Department of Disability Determinations. He worked there until his retirement in 2010.

Even though he no longer taught music, it still continued to play a big role in his life. When the Jazz bug bit him, he quickly 55 TEMPO

learned to play the tenor saxophone. He honed his craft by "standing on the bandstand" at jam sessions throughout NJ to play with other talented musicians. His band, the Infinity Jazz Quartet, played venues throughout New Jersey and New York, entertaining public crowds and private parties, receptions & gatherings. His sons would accompany him to gigs throughout the years. Eric would DJ between sets and Edward would MC his shows. The music he provided, the relationships he made and the camaraderie he had in the musical community were a source of great joy.

He is survived by his loving, caring and dedicated wife Gayle; mother-in-law Dorothy Rowlette; two sons and daughters-in-law, Edward and LaTanya Ford and Eric and Charla Ford; granddaughters Bria and Brielle Ford; sisters Judy Ford and Jan Ford Chisolm; family friend Jeffrey Hudak; brother-in-law Lester Chisolm; niece Laura Ford; godsons Morgan Carey and Brandon Carey and a host of cousins, loving family and friends.

Thomas Frank Gaye Brick - Thomas Frank Gaye left us to join the Lord on May 13, 2020 at the age of 71. Thomas was born on April 20, 1949 in Bronx, NY to Charles and Louise (Augustine) Gaye.

At a very young age his family moved to Scotch Plains, NJ where he was raised. He graduated from Scotch Plains-Fanwood High School in 1967. He met his future wife while in high school.

He and Patricia Evelyn Anilonis were married in 1971 (on May 22nd of this year they would have celebrated their 49th wedding anniversary).

He continued his education first in Florida and then graduated from Monmouth University in 1974 when his first child, Jennifer Haley was three months old. He became a music teacher in Brick, NJ. In 1977 his son, Christian Thomas was born and he started working towards his Master's Degree from The College of New Jersey in Trenton. He graduated with a Master's in Music and Band Conducting in 1981 when his third child, Ashley Alexandra was seven months old.

He was a teacher for 28 years. During that time, he had a strong conviction to make his students realize the importance of the arts.

He enjoyed many years of teaching and directing the middle school band. He also played saxophone and sang in many local bands over the years. When he retired, he took great pleasure playing for the elderly at many rehab and retirement facilities throughout NJ. Music was his life and hobby. Spending time with his family was a priority for him. He was a devoted husband, father and grandfather (Pop Pop) to his six grandchildren. He loved his buddy, his rescue dog, Bear from North Carolina. You could see them walking thru the neighborhood every day.

He was predeceased by his loving parents, Charles and Louise Gaye and his dear in-laws, Raymond and Evelyn Anilonis.

He is survived by his devoted wife, Patricia; his wonderful children, Jennifer Lazzari (Dario), Christian (Amber) and Ashley Kolesar (Joseph); his six grandchildren, Jillian, Logan Addison and Mason Lazzari, Parker and Wyatt Kolesar, all who he loved dearly. Also TEMPO

surviving are his brother-in-law, Donald Anilonis (Deborah); sisterin-law, Sharon Serro (Mike); his sister, Linda Mohrdieck (Frank) and all of their children, Kristine and Mark Anilonis, Rebecca, Michael, Keith Heather and Ryan Serro and Deborah, Lisa and Frank Mohrdieck.

Irwin Grace

Hillsdale - Irwin Grace, of Hillsdale, NJ, passed away on March 9, 2020 at the age of 94. Irwin was born on September 14, 1925, in Brooklyn, NY to Morris and Rose (Goldman) Greis. His parents had immigrated to America from Jewish settlements within the Russian empire, and spent the years of the Great Depression working in sweatshops and moving the family from one cold-water flat to another.

He graduated from Brooklyn Technical High School, and was a draftsman before establishing a career in music education. After earning a bachelor's at City College of New York, a master's in musicology at New York University, and a Doctorate at Columbia University, Irwin taught music appreciation and music history at Kean College (formerly Newark State) for more than 30 years.

In addition to his lifelong love of music and teaching, he enjoyed traveling the country and the world with Sybil, his wife of 62 years.

He also cherished spending time with his beloved grandchildren, who affectionately nicknamed him Grumples. He was predeceased by his older sister, Frances (Grace) Taub, and is survived by his wife, Sybil (Safrin) Grace; sons Louis, Jeremy and Adam; daughters-inlaw Lucy Walker Grace, Hilda Cook Grace, and Lisanne Renner; grandchildren Benjamin, Phoebe, Eliane and Julian; niece Joanne Taub and her spouse Marc Krellenstein; and nephew David Taub.

Michael Gardner Letso

Lavallette - On Tuesday May 12, 2020, Michael Gardner Letso of Lavallette, NJ, loving husband, brother, father, uncle, and grandfather, went to be with the Lord. He was 57 years old.

Also known as Mike to some his friends, he was born on May 4, 1963 to Peter and Winifred Letso in Plainfield, NJ. Mike graduated from Kean University in 1995 with a bachelor's degree in music education. He spent the next 24 years teaching music in Marlboro Township Public Schools where he was beloved by both his students and fellow teachers. On June 24, 2000 he married the love of his life, Tracey Ann Tegeder, and they raised two sons together, Derek and Chase.

His children, nieces and nephews, and especially his students developed a deep love of music from "Uncle Mike" and "Mr. Letso".

Michael is predeceased by his parents Peter and Winifred. He is survived by his sister Debra Pace, his brothers Peter Letso and Robert Letso, his wife of nearly 20 years, Tracey Letso, his son Derek Johnson and his wife Morgan, his son Chase Johnson, many nieces and nephews, and 3 grandchildren, Kayla, Luke, and Matthew.

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Edward T. Perretti

Edward T. Perretti passed away at the age of 80 at his home surrounded by his family on April 15, 2020.

Born in 1939, Ed was a lifelong resident of his beloved city of Paterson, N.J. As a graduate of its public school system, Ed went on to pursue his love of music. Having graduated Montclair State College, he soon found himself drafted into the US Army where he spent four years as a military chapel choir director. Upon his return home, Ed began what would become his over-half-a-century involvement in education. He joined the faculty at Eastside High School as the choral music teacher, then to Emerson High School in the same capacity while completing his master's and doctorate degrees in education.

Upon his retirement from the classroom, he continued to serve as mentor and supervisor of future educators at Bloomfield College and William Paterson University.

Edward was not only a devoted educator, but a gifted and talented operatic tenor. Under the tutelage of the famed voice coach Armen Boyajian, also a former resident of Paterson, Perretti amassed a repertoire of over forty leading tenor roles.

His last performance was with The Orchestra of St. Peter by the Sea in 2019, singing the roles of Alcendoro and Benoit in Puccini's La Boheme led by his former student, Father Alphonse Stephenson.

It is said that he was the only tenor in recent history known to have sung every Verdi opera written on a professional stage!

He is survived by his two beloved sons, Joseph and Timothy and their families, cousins and friends from every walk of life, and all those whom he touched with either a melodic line, a comical story, or a word of encouragement.

John Nicholas Tarantino John Nicholas Tarantino, professional trumpeter and educator who influenced generations of students to love music, 88, died Feb. 26, 2020 at his home in Stirling, N.J.

He was born on March 1, 1931 in Paterson, N.J., to Nicholas and Elvira (Nazzaro) Tarantino. John attended Passaic Valley HS, The Juilliard School, enlisted in the US Army and was accepted to the West Point Military Band, followed by Bachelor's and Master's degrees and doctoral studies at Montclair State University. He married Halina Mroz on April 18, 1959.

He was a music educator with the West Orange public schools for 35 years, a professional freelance trumpet player, and served as president of the American Federation of Musicians, Local 16.

Surviving in addition to his loving wife of 60 years, are sister Dolores (Tarantino) Scerbo and her husband Ezio; son Christopher Tarantino and daughter-in-law Mindy (Scheierman); son Eric Tarantino; daughter Alyssa (Tarantino) Dominique and son-in-law Robert; three granddaughters, Ines, Gianna and Maeve, grandson Marc, nieces, nephews, and countless students whose lives he touched through music.

OCTOBER 2020

Elizabeth Harris Tirrell Hillsborough - Elizabeth Harris Tirrell, 95, of Hillsborough, NJ, passed away peacefully on May 1, 2020 in Bridgewater, NJ from complications of Corona virus.

Elizabeth was born in Newark, NJ on March 16, 1925 to Dr. Michael Harris and Mary Kelly Harris. Elizabeth is preceded in death by her parents, siblings, husband, Robert E. Tirrell, Jr., and a son, Robert E. Tirrell, III. She is survived by 6 children, Anthony and wife Marie, Peter, Marsia, Margaret, Phillip and wife Sandra, and Charles and wife Barbara, as well as her 7 grandchildren and 7 great-grandchildren.

She graduated from Montclair University, Montclair, NJ with a Bachelor's degree in English, and later pursued a Master's degree in Music at Rutgers University. Elizabeth was an elementary music teacher in in the Bridgewater-Raritan School System for 25 years, retiring in 1990. She loved classical and choral music, and was a long-time member of the choir at the Church of the Immaculate Conception in Somerville, NJ. She was also actively involved in several other choirs and chorus' in New Jersey before she retired.

John "Jack" Van Antwerp John “Jack” Van Antwerp, 77 years old, of Oak Ridge, NJ, passed away on Tuesday, January 28, 2020.

Jack was born on February 13, 1942 in Hackensack, NJ to the late James and Marjorie (Crisp) Van Antwerp. He graduated from Ridgefield Park High School and Montclair State College. Jack served our country as a member of the Air National Guard during the Vietnam War. He married Barbara E. Rogers on November 20, 1966 and shortly thereafter settled in the Milton section of Jefferson Township where they raised their two sons.

For 40 years, Jack was a music teacher at Valley Middle School in Oakland, where he inspired countless students with his humor, compassion, love of music, and zest for life. So many of his students remember him fondly for helping them maintain a sense of humor and perspective throughout their difficult middle school years. After he retired, Jack became an active community member; he loved playing in the Jefferson Township Community Band, singing with the High Point Harmonizers barbershop vocal group, and socializing with his many beloved friends and neighbors in Elro Park.

Jack was a proud and dedicated father and grandfather, and loved sharing his passion for music and life with everyone in his family. He loved watching his children and grandchildren perform in concerts, plays, and sports, and he entertained all with his memorable stories. He is survived by his beloved wife Barbara, his loving sons Daniel Van Antwerp and his wife Jessica of Northampton, Pennsylvania, and David Van Antwerp and his wife Christina of Middlesex, NJ; his cherished grandchildren Andy, Megan, Laura, Max, and Nicole Van Antwerp; his dear brother Donald Van Antwerp and his wife Kathy; lovingbrother-in law Jack Rogers and his wife Joan of Houston, Texas, as well as several nephews and cousins.

57 TEMPO

NJMEA 2019-2021 Board of Directors Executive Board

President

Patrick O’Keefe

Past President Jeff Santoro

Absegami High School patrickaokeefe@gmail.com

W. Windsor-Plainsboro District jsantoro@njmea.org

President-Elect Lisa Vartanian

Paramus School District lvartanian@paramusschools.org

Executive Secretary-Treasurer NJSMA, President

CJMEA, President

Randolph Twp. Schools president@njsma.com

Scotch Plains-Fanwood District wayne.mallette1@gmail.com

Diana May

Wayne Mallette

Retired debnjmea@aol.com

SJCDA, President

SJBODA, President

William Allen Middle School hknight@mtps.us

Penns Grove High School rafterpghs@gmail.com

Hope Knight

Ken Rafter

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

NJ Association For Jazz Ed. Joe Bongiovi Princeton Public Schools jbongiovi.njaje@gmail.com

Administration & Advocacy Dennis Argul dennisargul@gmail.com

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

NJRMEA Kathy Spadafino Retired kspadeb@aol.com

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

Conferences Marie Malara Retired malara97@aol.com

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

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

Corporate/Industry James Frankel jim@musicfirst.com

Special Learners Maureen Butler Retired maureenbutlermusic@gmail.com

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

Early Childhood Music Ed. Amy Burns Far Hills Country Day School aburns@fhcds.org

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

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

Guitar Education Jayson Martinez Arts High School, Newark jmarti37@webmail.essex.edu 58

Webmaster Matthew Skouras Bergenfield High School OCTOBER 2020 mskouras.njmea@gmail.com

Appointed Members

TEMPO

Deborah Sfraga

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EDITORIAL POLICY Articles may be submitted to the editor of this magazine by anyone who wishes to write about topics related to music or music education. All articles which are selected for publication will be proof read for content, spelling and grammatical errors.

Authors who submit an article to TEMPO Magazine for publication agree to all of the following 1. the editor may edit all articles for content, spelling and grammar.

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5. the author of the article may submit his/her article to additional magazines for publication.

NJMEA Past Presidents 1924 - 1926 1926 - 1930 1930 -

1930 - 1931 1931 - 1933 1933 - 1935 1935 - 1936 1936 - 1938 1938 - 1939 1939 - 1941 1941 - 1942 1942 - 1944 1944 - 1945 1945 - 1947 1947 - 1949 1949 - 1951 1951 - 1953

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

OCTOBER 2020

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

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

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

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

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

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