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VOLUME 76, No. 1


IN THIS ISSUE ARTICLES: Elementary Technology and Storytime Social/Emotional Learning and Equity Technology for Live Connectivity NJMEA Tech Expo and Young Composers All-State Band and Orchestra Requirements Region/State Jazz Requirements Crescendo Foundation

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

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8/24/20 3:18 PM

Volume 76, No. 1



President's Message - Lisa Vartanian


President-Elect Updates - Wayne Mallette


Past President Updates - Patrick O'Keefe


Executive Director's Message - William McDevitt


News from Our Board of Directors

DEPARTMENTS AND NJMEA BUSINESS Advertisers Index & Web Addresses....72 All-State Band Solo List.......................11 All-State String Info.............................48 Board of Directors................................71 Crescendo Foundation..........................22 Editorial Policy & Advertising Rates...71

26 The 11th Annual NJMEA Student Technology Expo - Andrew Lesser

In Memoriam.................................. 65-68

28 Yay Storytime! - Thomas Amoriello, Jr.

MS/JrHi Orchestra Festival..................22

32 Best of the Elementary Music Technology Discovered During the Pandemic - Amy M. Burns

NJMEA Awards....................................58

36 Exciting New Music Technology for Live Connectivity and Performance- Dr. Fred Kersten

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

38 Social-Emotional Learning Through an Equity Lens - Shawna Longo 42 We're All in This Together - Maureen Butler 44 Keeping Up Your Craft - Michael McCormick 46 Creating and Connecting - Dr. Carol Rena Shansky 56 The 13th Annual NJ Young Composers Competition - Andrew Lesser TEMPO Editor - William McDevitt 300 W. Somerdale Road, STE C Voorhees, NJ 08043 Phone: 856-433-8512 e-mail: wmcdevittnjmea[at] 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[at] or NAfME, 1806 Robert Fulton Drive Reston, VA 22091 Printed by: Spectrum Printing Inc. 1-717-569-3200

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 76, No. 1, OCTOBER 2021 TEMPO Editor - William McDevitt C/O NJMEA, 300 W Somerdale Rd, STE C, Voorhees NJ 08043 Periodicals Postage Paid at Lakewood, NJ 08701 and additional entries POSTMASTER: Please forward address changes to: NAfME 1806 Robert Fulton Drive Reston, VA 20191

NJMEA Past-Presidents........................71 Region/State Jazz Info..........................52 Resource Personnel............................. 64 Round the Regions......................... 60-63 Year-End Financial Statement................7

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

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

president's message Lisa Vartanian

lvartanian[at] Website:

Virtual Hill Month, Eastern Division Meetings, and National Assembly 2021

Hello New Jersey Music Educators! Welcome to the 2021-2022 school year. As I write this message, summer is coming to an end, and the plans for inperson learning are beginning. During the summer months, I hope that you had a chance to refill your buckets with rest, relaxation, and mindfulness practices so that you are recharged and reenergized for the new school year ahead. As I reflect on the 2020-2021 school year, I am full of gratitude for the incredible work you, our music educators, accomplished. I am thankful to those teachers and leaders that led virtual professional development sessions. We all learned a great deal from those meetings and came away with best practices that helped navigate the many teaching scenarios we faced. You have all gone above and beyond to keep music education thriving during this time. Although virtual, our community of music educators worked closer than ever before to brainstorm, think 'out of the box,' and find the most creative ways to reach our students. In every case, you found a way to make it work- and work exceptionally well. The enormous efforts, creativity, and perseverance everyone demonstrated were genuinely extraordinary to see. As we begin our work for this new school year, we officially welcome our new Executive Director, William McDevitt, to the New Jersey Music Educators Association. Over the past few months, Bill has worked closely with our former director, Debbie Sfraga, to ensure a smooth transition. Once again, we thank Debbie for her years of dedicated service to the NJMEA, the Eastern Division, and NAFME and appreciate her willingness to be a continual resource to our team. TEMPO

During the spring and summer months, the NJMEA leadership team was busy attending state and national meetings. As part of NAFME’s Hill Month, we met with congress to share concerns and interests regarding music education, including the need for more education funding in the COVID relief package and support for the Reopen and Rebuild American's Schools Act. Additionally, in June, the leadership team of NJMEA attended the Eastern Division meetings, as well as the National Assembly sponsored by NAFME. The meetings successfully conveyed that music education is vital for all students in our state and nation. Summer NJMEA Conference: Recharging Our Digital Batteries Summer Conference Coordinators Casey Goryeb and Jodie Adessa prepared an outstanding virtual summer conference in August with state-level speakers, round table discussions, breakout sessions, and workshops. Thank you again, Casey and Jodie, for providing us with resources and tools to prepare us for the new school year! Professional Development As we head into the new year, we are excited to offer several professional development opportunities, both in-person and virtual. These professional development workshops will allow us to explore some best practices we learned along the way and how to take those best practices and reimagine and expand them. 2


NJMEA State Conference We have tentatively scheduled an in-person conference that will take place in Atlantic City, NJ, on February 24-26, 2022. Virtual Office Hours This year, the NJMEA board will offer bimonthly meetings and office hours via Zoom for teachers to help navigate the 2021-2022 school year. Look out for Tempo Express emails with those invitations.

several days focusing on establishing a shared understanding of equity, examining discourse through the lens of equity, and creating a repository of resources that can support the ongoing work. The NJMEA continues to have a seat at the table at the following state-level meetings: Esser Funding Meetings, September Ready Reports 1 and 2, AntiRacist Arts Educator Talks, Actualizing Equity in Music Education, Virtual Hill Month, and the NAFME National Assembly. Mentorship Program

NJMEA Honors Guitar Ensemble On May 23, Mr. Jayson Martinez, NJMEA Guitar Chair, hosted a Virtual Guitar Project entitled Stepan Rak's "Rumba." This project, sponsored by the Virtual Guitar Orchestra and Augustine Foundation, offered teachers and students the opportunity to continue learning and making music despite the challenges associated with the COVID-19 pandemic. Thanks to Mr. Jayson Martinez for his passion and vision for the program and Stephen Griesgraber, the Augustine Foundation, Uros Baric, Mak Grgic, and the entire Virtual Guitar Orchestra team. This year, the NJMEA Honors Guitar Ensemble will perform live and in person at William Paterson's 'GuitarFest.' Auditions will take place in December at The College of New Jersey. The ensemble will perform pieces by Andrew Forrest, Mark Houghton, and Jurg Kindle. The New Jersey Guitar Orchestra is scheduled to debut this fall. The NJGO, which includes alumni from the Honors Guitar Ensemble, will perform commissioned works at the Kaufman Center in 2022.

Last year, we established a mentorship program for the first time in the state. The mentorship program will launch this fall for first and second-year teachers in partnership with our New Jersey Retired Music Education Association. Crescendo Foundation In the spring of 2021, NJMEA established a newly formed Board of Directors of the Crescendo Foundation. The Foundation is designed to support music education throughout New Jersey by providing financial assistance to students and communities in need. In the first phase of our effort, the Foundation will alleviate the financial barriers within our various programs and All-State ensembles by creating scholarship opportunities for young musicians. To this end, the first-year goal is to raise a minimum of $50,000 and favorably position the Foundation to enhance the music experience for hundreds of students throughout the state. As I close, I wish you a wonderful school year!

Advocacy The NJMEA is committed to working with the state to ensure equal access to music education. With that, the leaders of the NJMEA are members of the NAfME Equity Committee. We are working hard to continue to make intentional efforts to identify systems, policies, and practices that create barriers to equity in music education. This summer, we spent OCTOBER 2021

Lisa Vartanian



President-Elect Updates Wayne Mallette Scotch Plains-Fanwood School District mallette.njmea[at]

It is my pleasure to write to you as President-Elect. While I have been affiliated with the NJMEA Board for a few years in various roles, I look forward to learning from all of you in this new position. I’ve been a music educator for nearly 20 years, first as the choral director at Summit High School and now as the Supervisor of Fine and Performing Arts for the Scotch Plains-Fanwood school district. In that time, I’ve seen how powerful music education can be in the lives of students. I have become increasingly interested in creating more transformative spaces for students of color and other underrepresented community members. As we return to in-person learning, I believe that we should not merely return to "normal.” Too long, some of our music classrooms have been places of exclusion and oppression for those who do not fit in the confines of the western musical pedagogy. NJMEA can be an organization that creates pathways for underrepresented minority music teachers and students. In this role as President-Elect, I will be serving on


the IDEA (Inclusion, Diversity, Equity, and Access) committee that NJMEA has formed. I hope to bring a diverse opinion and fresh perspective to this work. I also plan to make it applicable and tangible for all to use. This summer, I was heartened as I sat in meetings at the NAfME National Assembly. The country’s music educators are taking a hard look at our practice and how we can make our classrooms more accessible. New Jersey is right at the top of those states making actionable steps towards more inclusive classrooms. I look forward to working with our NJMEA President, Lisa Vartanian, to bring her vision for equity and inclusion for all to the forefront of what we do. This work will be difficult and will always require a call for critical reexamination. But if we do what is best for ALL of our students, this challenging work will be worth it. If I can be of any help to you this year, please don’t hesitate to reach out. I look forward to working with all of you. Best of luck with the start of the 2021-2022 school year.



Past President Updates Patrick O'Keefe Absegami High School patrickaokeefe[at]

During the onset of the pandemic in spring of 2020, the NJMEA Executive Board strategized a variety of ways to try and support teachers and students during a suddenly changed educational landscape of fully remote learning. One of the projects that came out of these various initiatives was a five week masterclass series, where NJSO personnel worked daily with students across the state, eventually reaching dozens of districts and hundreds of student musicians from a wide variety of backgrounds. After realizing the success both organizations met in pooling resources for this project, discussions began around formalizing a partnership moving forward. We realized that right in our own backyard we have this established institution with an array of resources and a shared mission of supporting music education, specifically in underserved communities. Connecting that with our vast network of educators and school systems seemed like an obvious next step, with mutual benefits.


We are so proud to announce this formal partnership with the New Jersey Symphony Orchestra, and look forward to both strengthening existing programs and building new ones. Some of these action steps include bringing NJSO personnel into our All State programming to create enhanced experiences for our students, as well as to continue masterclasses for students of all backgrounds and abilities, both virtual and in person. We will also incorporate the NJSO in providing professional development opportunities for our educators. This is a very exciting time for us, and we encourage you to be on the lookout for information on NJSO projects, as you may find them useful in your own classrooms. With their community involvement and education programs, the NJSO is so much more than a performance ensemble, and we look forward to continued work together on behalf of music education for many years to come.



NJMEA State of the Organization executive director's message William McDevitt

wmcdevittnjmea[at] Website:

I am happy to report that the state of our association is strong! After weathering a very difficult year for many reasons, we can see all aspects of our organization preparing for a return to in-person activities while continuing to monitor guidelines for teachers and students. NJMEA, along with its partner organizations, has distributed the most up-to-date safety guidelines to its membership through social media accounts, the NJMEA website, and quarterly TEMPO publications. We have listened to the numerous concerns of our members and whenever possible incorporated those concerns into determining the direction of the organization. In July, I became the first Executive Director of the New Jersey Music Educators Association. I would like to begin by thanking Debbie Sfraga for her years of service and dedication to NJMEA. It is because of her work that we can say that our organization is strong. Personally, I would like to thank Debbie for her years of guidance and friendship. She made the transition for me very smooth. With that transition came a relocation of the NJMEA Office from Oakhurst to Voorhees. Our new home is smaller, but efficient. We realized in the past year that Zoom lessened the necessity for an office that could hold meetings of 25 people. The new office can hold in-person Executive Board Meetings, when necessary, house our history, store conference supplies, and run the business of the organization all while decreasing rental fees. If you look at the next page, you will see a financial statement for this past fiscal year. While the loss is not TEMPO

great, it’s not as bad as it could have been. Debbie had the forethought to apply for a grant and received $20,000 that decreased our losses. Membership down, but on the rise. This is being realized by every state in the country. NAfME reported huge losses of members over the past year but is also reporting that renewals are starting to happen. While memberships do not make up a major part of our budget, they do indirectly impact everything that we are able to do as an organization. Because of this, NJMEA has signed on to the NAfME “Membership Growth Incentive Initiative”. The goal is to increase membership by individuals that have not been members for a period of more than two years. There is a financial incentive for NJMEA to participate. We will be starting our role in this initiative shortly. Watch our social media accounts for details. As we move forward, please note the following contact changes: NJMEA 300 W Somerdale Road, Suite C Voorhees, NJ 08043 (856) 433-8512 (856) 229-7424 (Fax) I am proud and honored to be returning to the organization in this new position. I believe that the work that we all do is important and necessary for the future or our kids and the society that they will inherit. Please feel free to call if you ever have questions or concerns or need some clarification. 6


From the Office of the Executive Director NJMEA Year-End Financial Statement William McDevitt wmcdevittnjmea[at]

ORDINARY INCOME/EXPENSE July 2020 - June 2021 INCOME Advertising in TEMPO AS 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 Grant Guitar Festival Marching Band Festival Middle School Band Festival Middle School Choral Festival Middle School Orchestra Festival NAfME Rebates Smile Donation - Amazon Tech Expo TOTAL INCOME EXPENSE AS Bands AS Chorus AS - COJ AS - SSA/Bands AS Jazz AS Orchestra AS Intermediate Orchestra Bank Fee OCTOBER 2021

24,365.00 0 0 0 0 0 0 0 0 380.00 0 18,583.75 20,000.00 0 0 0 0 0 32,768.02 15.88 950.00 97,062.65 0 1,961.45 0 0 0 0 728.99 0

EXPENSE - Continued Board Meeting Meals Board Mileage Board of Directors Eastern Division Planning Mtg Elementary Honors Choirs Governors Awards Grants 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 Tech Expo TEMPO Uncategorized Expenses Workshops TOTAL EXPENSE

0 7.60 30,420.41 0 0 200.00 1,000.00 0 0 0 0 0 0 0 28,585.10 0 4508.20 -275.08 32,000.08 2230.75 757.52 31,532.05 0 0 132,928.10

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

-35,865.45 907.14 8,599.40






News From Our Board of Directors Administration Dennis Argul dennisargul[at] Greetings from the New Jersey Music Administrators Association and its Executive Board members: President: Jonathan Harris, Northern Valley Regional HS District President Elect: Lisa Swanick, West Essex Regional School District Past President: Matthew Lorenzetti, Linden Public Schools Treasurer: Louis Quagliato, West Orange Public Schools Secretary: Patricia Rowe, Moorestown Township Public Schools NJMAA looks forward to an informative and relevant schedule of meetings and working with our teachers in the field to assist and facilitate instruction. Here is the schedule of meetings for our general membership: 10/1/21 Roundtable: Getting Back to Business - Recruiting, Rebuilding and Restoring 12/3/21 Diversity and Equity - Facilitator: Latasha Casterlow-Lalla, Passaic Public Schools 2/4/22 Developing a District Arts Education Plan - Facilitator: Laura Bassett, Bridgewater-Raritan Reg School Dist 4/1/22 A Multifaceted Approach to SEL in the Arts - Facilitator: Shawna Longo, Hopatcong Borough Schools 6/3/22 Roundtable, Topic TBA NJMAA would like to thank the following outgoing Board of Directors for their many years of dedicated service: Joe Akinskas, Ron Dolce, Robert Hamm, and Bob Pispecky. Additionally, we welcome back our returning members Thomas Weber, Westfield Public Schools, Jason Leshowitz, Clifton Public Schools and Dennis Argul (Retired). Lastly, NJMAA would like to welcome our two new members to the NJMAA Board of Directors: Laura Bassett, Bridge water-Raritan Regional School District and Latasha Casterlow-Lalla, Passaic Public Schools. For further information or assistance, contact our Treasurer, Lou Quagliato: lquagliato[at] (973)-669-5400 ext. 20570

Advocacy Libby Gopal libby.gopal[at] Welcome back fabulous educators! I am honored to be the NJMEA Advocacy Chair and look forward to utilizing my experience as an urban educator to continue to shine a light on the life-altering power of music. As the choir director at East Orange Campus High School, I am constantly looking for ways to empower and motivate my students through their choral education. Advocating for equitable access to high quality music education for all K-12 students is critical. I am happy to serve as a sounding board and resource to you during this school year. Please feel free to reach out to me via email (libby.gopal[at] or introduce yourself to me during any of our future events.





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News From Our Board of Directors Band Performance Nick Mossa nmossa16[at] Greetings! I hope your first few steps into the new school year have been positive and that you and your students are in a better place than you were this time last year! We are excited to be planning a commuter event for the 2022 All State Bands and you may inform your students to prepare for live auditions and a wonderful in-person experience. With that said, as conditions in schools around our state continue to develop and adapt to changing COVID-19 health & safety protocol, so too will the organization of the all state event to allow for the best possible experience for all involved. The following information is therefore tentative: The auditions are scheduled for January 22 at JP Stevens HS. We are also planning two live reading rehearsals scheduled for February 10 and 16, a full-day rehearsal on February 25, and the concert at 3pm on February 26 at the New Jersey Performing Arts Center (NJPAC). We expect to be welcoming Professor Jay Gephart of Purdue University to lead our 2022 Symphonic Band and Ray Cramer to lead our 2022 Wind Ensemble. Prof. Gephart will be working with New Jersey All State students for the first time while Ray Cramer will be leading the New Jersey All State Wind Ensemble for a second time having previously been with us in 2008. Both directors are excited to be working with our amazing students and NJMEA is equally excited to be offering our students the opportunity to work with them! You may expect to receive updates from the NJMEA website and TEMPO Express emails, our two main outlets for communication, as we move forward towards our event and for all other band-related communications. Whether you sponsor students for All State Band or not, I hope that you are afforded the opportunity to enjoy making music with students again this school year. Perhaps normalcy is still some ways away, but we can at least acknowledge the distances we have travelled in the past year and all the challenges overcome to arrive here today, and embrace the year ahead for what it should be - a positive step forward for bands in our New Jersey schools. Best of luck to you and your students this year!

Choral Festivals Donna Marie Berchtold firesongwed[at] At the time of this writing, we have scheduled the 67th Annual NJMEA Middle School/Junior High Choral Festivals at Rowan University and Rutgers University for the Spring of 2022. Planned dates are: March 17, 2022 – Rowan University – 9:00 AM – 1:00 PM May 25, 2022 – Rutgers University – 9:00 AM – 1:00PM Donna Marie Berchtold, chairperson, and Karen Blumenthal, co-chair, will coordinate the Festivals. We will continue to follow the news regarding COVID Health Concerns. Please check future issues of TEMPO or online at



2021-2022 All-State Band Solo List Instrument





Concerto in C


International 2782


Sonata (Mvts 1, 3, and March)


Schott ED2522/HL49003799




Chester Music CH62711/HL14025930

English Horn*



Southern SS268/HL0377388

Eb Clarinet*

Concertino (Bb Clarinet Version)

von Weber

Carl Fischer W1893

Bb Clarinet

Solo de Concours Rabaud (No page 1. Lento 16th note = 63)

Southern SS282/HL03773903

Eb Alto Clarinet*

Sonata in a minor (Bass Clarinet edition)


Southern SS159/HL03773764

Bb Bass Clarinet

Sonata Opus 40a (Andante tranquillo and Allegro Vivo only)


Shawnee Press

Contra Clarinet*

Sonata in a minor (Bass Clarinet edition)


Southern SS159/HL03773764


Sonata in f minor


International 1151

Bb Sop. Sax*

Incantation and Ritual


To The Fore Publishing

Eb Alto Sax



Bourne 121009

Bb Tenor Sax



Western International AV138

Eb Bari Sax

Septieme Solo de Concert


North Eastern Publications

Bb Trumpet

Concert Etude


Universal Music Corp.


Morceau de Concert


Alfred TS0002


Contest Piece


Cundy/Carl Fischer CU754

Bass Trombone*

Sonata for Bass Trombone






Winwood Music


A Stylized Suite


Schaffner Music


Concerto for Harp


Schirmer/Hal Leonard HL50502290


Sonata Opus 13 (Mvt 1)


G. Henle Verlag HN1348


Adagio-Allegro (from Exercises, Etudes, and Solos for Timpani)


Batterie Music CF BT 1500


Yellow After the Rain


Try Publishing Company 1082


Etude No. 8 from 12 Studies for the Drum (Douze Etudes)


Alphonse Leduc AL23410


Etude No. 9 (from Audition Etudes)


Meredith Music

Battery Percussion

*Instruments will be used as needed. OCTOBER 2021



News From Our Board of Directors Choral Performance Mike Doheny michaeldoheny70[at] Whenever frontline heroes are thanked and appreciated, it is my humble opinion that teachers should always be included in that list. I do not need to tell you of the challenges we’ve all faced, not only in having to deliver our content in ways we never imagined, but in keeping our emotional connections with our students. So many of our music students rely on those connections to get through their school day. For all of the pivots you had to make, and for all of the extra miles you went to make sure your students stayed mentally engaged and emotionally safe, you are to be applauded and celebrated! With all of that in mind, I say welcome back and Happy New School Year! First and foremost, I hope that you and your family and friends are healthy. I hope you had a chance to relax and recharge this summer. As we face our future, we are probably praying for a return to normalcy, but think of the new skills and tactics we’ve learned! Many of us have much more experience now at conducting an online rehearsal, audio-engineering a choral performance, and producing rehearsal and performance videos. While none of us would probably admit we’ve enjoyed our recent educational circumstances, these new talents we’ve gained and these new approaches to choral music education will undoubtedly shape the future of our art form. Choral music, like the rest of the world, is also being profoundly influenced by societal change. We all must constantly ensure that the services we provide are inclusive of and accessible to all, and that the music we perform and the people we have in our ensembles and on our podiums must be an accurate reflection of the world around us. The New Jersey All State Chorus is committed to this mission. Keeping your NAfME and ACDA memberships current is more important than ever, as both organizations are providing choral musicians with beneficial tools and resources. I am thrilled to serve the All State Chorus in my new role as Choral Procedures Chair. My membership in the 1987 New Jersey All State Mixed Chorus changed the trajectory of my life and I am forever grateful! Thank you to Wayne Mallette for giving me this opportunity and for your invaluable guidance and leadership over the last several years. Best of luck to Wayne as he moves on to even bigger and better things! After a year without All State Chorus, we are proud to be offering New Jersey’s talented young singers an opportunity this year. This will be a transition year for sure, and our 2021-2 ensembles will be operating a little differently as we take our first steps toward an eventual return to normalcy. Our Mixed Chorus, under the direction of Dr. TJ Harper of Loyola Marymount University, will perform an abbreviated virtual program in December 2021, and our Treble Chorus, under the direction of Dr. Brandon Williams of Rutgers University, will perform an abbreviated live program at NJPAC in February 2022. With these fine conductors at the helm, and the support and encouragement of our NJMEA choral community, I have no doubt that these transitional experiences will be historic and inspiring! As always, we owe a special thank you to Rick Retzko for creating and maintaining the online audition and management process.. And thank you to the entire Choral Procedures Committee for your tireless work and commitment: Hillary Colton, Viraj Lal, Kristen Markowski, Arielle Siegel, Romel McGinnis, Cheryl Breitzman, Libby Gopal, Matthew Lee, our newest member, Kahlil Gunther, and our historian Barbara Retzko. You are a dream team and I look forward to this adventure with all of you! As we begin to emerge from our pandemic shells and attempt to rejoin each other as a choral music community, I look forward to seeing you at performances, conventions, and all of those wonderful things we once took for granted. Please feel free to reach out to any of us on the Choral Procedures Committee if you have any questions or need some support. I wish you a successful and rewarding school year! TEMPO 12


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News From Our Board of Directors Guitar and Expanded Ensembles Jayson Martinez Jmarti37[at] This past school year, the Virtual Guitar Orchestra (VGO) and Augustine Foundation joined forces with the New Jersey Music Educators Association, as well as twelve other MEA’s across the country, to offer teachers and students the opportunity to continue learning and make music despite the challenges associated with the COVID-19 pandemic. The goal was to create and record guitar ensemble pieces that would highlight the beauty of our repertoire, while inspiring all music programs to continue to make music. Our project, a piece by Stepan Rak entitled “Rumba” accomplished that goal and was a fantastic success! The NJMEA Honors Guitar Ensemble and all its affiliates extend their sincere gratitude to Stephen Griesgraber & the Augustine Foundation, Uroš Baric, Mak Grgic, and the entire Virtual Guitar Orchestra team, for the video production of “Rumba”, which premiered in May via YouTube. You have all done a tremendous job to make sure that this collaboration worked out as well as if things were done live and in person! Special congratulations are extended to our participating students: Arpana Srinivas, Ashley Padilla, Dylan Ling, Ethan Fletcher, Joey Hooper, Jon’tera Johnny Ashburn, Khushi Vora, Lauren Damiano, Liam Carroll, Lucy Gomez, Maha Kanakala, Marianne Galsim, Owen Wang, Patricio Olivero, Qin Ming-Jing , Rachel Krumholtz, Soorya Iyer, Stanley Barragan,William Krebs. Through it all, your rigor and perseverance has culminated to this historic occasion. Above all, thank you New Jersey music educators, stakeholders, parents, and students for your tireless efforts, hard work, and dedication! Next up is our NJMEA Honors Guitar Ensemble Audition, which takes place live and in person, on Saturday, December 11th, 2021 from 9:00am - 1:00 pm at The College of New Jersey in Ewing, NJ (Music Building). Those accepted as Honors Guitar Ensemble members must attend all rehearsals and prepare music with our conductor for the 2022 GuitarFest at William Paterson University. Audition Requirements for students in grades 9-12: All students must perform on a nylon string classical guitar (no steel string acoustic or electric guitars) Solo Piece: “El Abejorro” by E. Pujol Ensemble Excerpt: found on Website (Guitars in Classroom portal) Scale Requirement: Choose two (2) out of the four following scales: F-sharp melodic minor, E major, C-sharp melodic minor, E major, edited by Abel Carlevaro. These audition requirements can be found in the May 2021 TEMPO issue and at Questions? Email me at jmarti37[at]



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News From Our Board of Directors K-12 Ed Tech & Innovation Shawna Longo shawnalongo[at] Hello and welcome to a new school year! For those that don’t know me, I am Shawna Longo and I am very excited and honored to serve in this role on the NJMEA Board of Directors. Over the past 20 years, I have taught almost everything within K-12 including Band, Chorus, Orchestra, Jazz Band, Marching Band, Music Technology, Piano, Guitar, and General Music; and I also have administrative experience. Much of my research and experience as an internationally recognized Arts Integration & STEAM Specialist, can also be found in my newly published book with Oxford University Press, titled – “Integrating STEM with Music,” that I co-wrote with Zachary Gates (Music Technology Teacher at East Brunswick High School). I look forward to serving as a resource to our membership. Please do not ever hesitate to reach out with questions or to share an amazing experience that you are having in your classroom! I plan to push out ideas and examples of innovative teaching practices regularly through my TEMPO articles as well as through NJMEA’s social media outlets and TEMPO Express. If you have an innovative or technology driven event coming up, I’d love to know about it and help you with promotion! Thank you and I am excited to begin this work together!

PreK-8 General Music Amy Burns aburns[at] Happy Fall! I hope that everyone has started off the school year well, or as well as can be expected. This past summer, I worked with elementary music educators teaching them about free resources to use during the pandemic, how to utilize technology with various elementary approaches (Orff Schulwerk, Dr. Feierabend's First Steps, Kodály, and Project-Based Learning, found in the book titled, Using Technology with Elementary Approaches, Oxford, 2020), as well as how to utilize Seesaw in the best way possible. All of this was highlighted in the summer YouTube episodes titled, "Best of #Elmused Pandemic Tech". Check them out today and keep an eye out for more online professional development focused on elementary general music in the near future!



AT SUSQUEHANNA BACHELOR OF MUSIC Music Education Performance Composition BACHELOR OF ARTS IN MUSIC Offering convenient opportunities to double major.





News From Our Board of Directors Retired Members/Mentorship Kathleen Spadafino kspadeb[at] Welcome everyone to a (hopefully!) normal school year. For some music educators, it’s the first year of their career. For some of us, it’s the first year we are NOT working, and enjoying retirement. If you are reading this issue of TEMPO, you are still a member of NJMEA and therefore eligible to become a member of NJRMEA. I sincerely hope that you will join us! First, we would like to thank our past president, Joyce Richardson-Melech for her leadership and guidance for the past two years. Our new president, Ron Dolce, has many great ideas for us in the coming year. More details coming soon in TEMPO! Ron Is working to have a link to NJRMEA on the NJMEA website so we are easier to find, and to see what we are up to. Also, many of us have already signed up to be a mentor for NJMEA’s new Mentoring program debuting this fall. Our new NJMEA president Lisa Vartarian, Patrick O’Keefe and I have reached out to other MEA’s around the country to help develop our own procedure. This program will be open to all first year teachers. So – whether you are a brand new teacher or a brand new retiree, NJMEA has lots of programs and resources for you! If you would like to be a mentor, please email me – kspadeb[at], and If you have any questions about NJRMEA, please contact Ron at rdolce561[at]

Special Learners Maureen Butler maureenbutlermusic[at] By this time each year, we are typically acquainted with our special learners, and have begun to make adaptations and modifications for them. In this very atypical year, however, you may have more questions and concerns than usual as students readjust to the classroom. Our state Special Learners committee, consisting of Steven Braun, Lucia Marone, Trina McCartney, Glennis Patterson, Lauren Shanahan, 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. You’ll find conferences and online courses posted there, as well as other helpful information. Our ability to network and support each other will make all the difference in the year ahead!







News From Our Board of Directors Inclusion/Diversity/Equity/Access Katy Brodhead Cullen njmea.idea[at] Greetings! Having spent the past three years as the Diversity & Inclusion Chair with the North Jersey School Music Association (NJSMA), I am excited to take on the role of NJMEA Inclusion, Diversity, Equity, and Access (IDEA) Committee Chair. In his May 2021 TEMPO article, Dennis Argul highlighted the important work of Robert Hamm and the IDEA committee to compile a data report on music education in our state. This comprehensive report captured what many of us know and experience from our classrooms: music opportunities are not accessible to all of the students, educators, and schools across New Jersey. As we enter the 2021-2022 school year, the IDEA Committee will be reflecting upon this data and asking the question, "How can we, as an organization, promote and embody practices of inclusion, diversity, equity, and access for all of our students and all of our educators?" Through this work, I look forward to collaborating with each of our regions and learning from you: the outstanding music educators across our state. We will continue to inform you of updates from the committee as they become available, and we invite you to join the conversation by emailing NJMEA.IDEA[at] The full NJMEA IDEA Committee Data Report can be viewed on the NJMEA website at this link: professional-resources/idea-committee/. I look forward to the year ahead!

Jazz Education Miguel Bolivar mbolivar.njaje[at] As the new president of NJAJE, I'm excited to continue the great work of jazz education in New Jersey! We were able to get our region ensembles to perform virtually last spring and hope to now continue to transition back to normal with a live conference, festivals, and concerts. The board is hard at work to make sure this happens for our students and membership involved in Jazz education around the state!






News From Our Board of Directors Orchestra Performance/Festivals Susan Meuse susanmeuse[at] As we begin a new school year, I hope that everyone is finding a way to keep music thriving in our schools. I know last year was very challenging for everyone, so I’m happy to share some good news as we start a new school year. Congratulations to all of the students who were accepted into the 2021 All State Orchestra. The first ever online auditions have been completed thanks to the hard work by our dedicated Auditions Chair, Sue Mark. The Procedures Committee would like to thank Sue and everyone that was involved in the process from beginning to end. We are excited to be able to offer a virtual experience for these students as they will be working with conductor, Dr. Christopher Cicconi from Towson University. I would also like to welcome our new Procedures Co-Chairs, Liz Sato and Craig Stanton. They are in the process of taking over for Sarah Franchino who just had a baby girl. Thank you to Sarah for all of her hard work and congratulations!! Finally, I am happy to announce that as of now, we are planning to have the Middle School/Junior High School Orchestra Festival again this year. It will be on Wednesday, March 9 (snow date March 16) at Bridgewater-Raritan Middle School.

NJMEA Middle School/Junior High School Orchestra Festival Wednesday, March 9, 2022 Snow Date: Wednesday, March 16, 2022

Bridgewater-Raritan Middle School 128 Merriwood Rd., Bridgewater, NJ, 08807 Any Middle School or Junior High School Orchestra in NJ is eligible to participate. School director must be a NAfME/NJMEA member. Please fill out the application on the website: TEMPO 22




The Crescendo Foundation is a Not For Profit Corporation initially formed by leadership of the New Jersey Music Educators Association, who serves as the registered agent. The Association’s mission includes the advancement of music instruction in New Jersey’s educational institutions at all levels that provide in-service and enrichment opportunities for music educators, as well as sponsoring various festivals and All-State performing groups for K-12 students. As a result, the Foundation’s goal is to provide financial support to underserved students and communities to create access to the aforementioned festivals and performing groups. In this first phase of giving, funds will go to a scholarship model geared towards students aspiring to participate in All-State ensembles.

The Scholarship Framework

Through data assessment, it has been identified that All-State ensemble participation is not reflective of statewide total population demographics when comparing race and socio-economic status. The scholarship opportunities from the Crescendo Foundation gifts will allow students to apply for financial support to assist with any or all of the fees associated with participation including: • Audition Fee - $25 • Participation Fee - $35 • Housing - $315 As part of the All-State experience and upon acceptance, students are housed together throughout the performance weekend. Scholarship opportunities would be available to cover the entire cost of this invaluable experience. In subsidizing these costs for qualified students and easing the burden of financial access, it is the hope of the Foundation that our All-State programming will become more inclusive, diverse and equitable.

We Need Your Help We acknowledge that the Foundation’s ability to realize the plans outlined in the Scholarship program will require the generous support of the community. The initial phase of the program will require $50,000 which aims to assist 150 students over the course of the next three years in the areas of All-State Orchestra, Choir, Band and Jazz. All-State ensembles contribute to a total of 6 concerts annually in both Atlantic City and Newark. The vision for the Foundation is to eventually go beyond the scope of All-State ensembles to positively support several aspects of music education programming both at the State and Region levels, making this an important first step. All gifts are tax deductible and there are many ways and opportunities to support this important effort. We thank you in advance for your support of our state’s students and providing transformative experiences outside of their school programs.



Giving Opportunities Large Ensemble Concert Sponsorship - $5,000 • All State Orchestra and Mixed Chorus, Atlantic City • All State Orchestra and Mixed Chorus, New Jersey Performing Arts Center, Newark • All State Symphonic Band, Wind Ensemble and Treble Chorus, Atlantic City • All State Symphonic Band, Wind Ensemble and Treble Chorus, NJPAC, Newark Concert Sponsorship - $2,500 • All State Jazz, Atlantic City • All State Jazz, New Jersey Performing Arts Center, Newark Crescendo Giving Level - $1,000 Sforzando Giving Level - $500 Arts Advocate - $250 Friends of the Arts - $100 Other $_____________ All gifts and giving levels will be recognized in programs for that school year and program cycle, including concerts listed above, as well as NJMEA conference materials. All gifts are tax deductible. Checks should be made payable and sent to: The Crescendo Foundation 300 W Somerdale Road, Suite C Voorhees, NJ 08043-2236 Please include contact information and appropriate name listing for program printing.



The 11th Annual NJMEA Student Technology Expo Andrew Lesser, Ed.D. Chairman, NJ Young Composers Competition andrew.lesser[at]

The 11th Annual NJMEA Student Technology Expo was held virtually for the first time on Friday, May 21st. Students representing grades 6–12 submitted their musical pieces using programs designed to create music in non-traditional formats. The first-ever Student Music Tech Expo was held on March 15, 2011. The goal was to provide a venue to showcase students’ creativity and accomplishments, starting with the premise of a “music tech science fair.” Due to the onset of COVID-19, the event was held virtually to continue the tradition and opportunities for students to present their works. Students presented their works in the following categories: Original Composition, Covers/Loops/Remixes, and Production/Engineering. Projects were judged by Ethan Heim (New York University), Barbara Adams (Rowan University), and Bryan Powell (Montclair State University). Submissions of files were held courtesy of MusicFirst. Special thanks to the following individuals who volunteered their time to serve on the NJMEA Student Expo Committee: Marjorie LoPresti, Bill Grillo, Scott McCarron, and Vincent Du Beau. Also, thanks to our judges and presenters, Ethan Heim, Barbara Adams, and Bryan Powell, and to MusicFirst for hosting the submissions. Information for the 2022 NJMEA Student Tech Expo will be posted on the NJMEA website under the “Festivals” link. If you would like additional information or are interested in being a part of the committee, please email us at njmeatechexpo[at]

The following students were selected as winners of each category: Original Composition Winner (Middle School Division) Nick Murillo, Franklin Middle School Original Composition Winner High School Division) David Sigman, Hopewell Valley Central High School Original Composition Winner (High School Division) Julian Ossa, Metuchen High School Covers/Loops/Remixes Winner (Middle School Division) Vicente Meza-Jimenez, Franklin Middle School Covers/Loops/Remixes Winner (High School Division) David Sigman, Hopewell Valley High School Production/Engineering (High School) Zach Pyle, Delsea Regional High School Student’s Choice Award Luke Kiernan, West Windsor-Plainsboro High School









WHERE PERFORMING ARTS COME ALIVE! For information on auditions, performance scholarships, and our numerous choral and instrumental ensembles, please go to: All ensembles and scholarships are open to non-music majors




Yay Storytime! Music Themed Children's Picture Books for the General Music Classroom Thomas Amoriello, Jr. Flemington Raritan School District thomasamoriello[at]

The Yay Storytime! Musical Adventures with Children's Picture Books series has been a popular blog featured on NAfME's Music in a Minuet during the last two years attracting social media attention via Twitter and Facebook. The author invites the NJMEA membership to visit the series via the site and check out a sample here and the following links!

Author Moira Rose Donohue who states, "Though a disability stunted his growth and left him with a hunched back, William Henry "Chick" Webb did not let that get in the way of his musical pursuits. Even as a young child, Chick saw the world as one big drum, pounding out rhythms on everything from stair railings to pots and pans. His love of percussion brought him to the big time as an influential big band leader. This picturebook biography details the life of black American jazz drummer Chick Webb, who in the 1930s led one of the big bands of the swing era, earning him the nickname the "King of the Savoy." Stompin' At The Savoy, How Chick Webb became the King of Drums was released in January 2021 and would make a great addition to your virtual or in-person classroom.

Scatting, swing, jazz clubs, live music, battle of the bands, and "found sounds" cover the musical literacy aspect of your book about jazz drum figure Chick Webb, can you envision a teacher including Stompin' AT the Savoy in a lesson plan? What could you imagine as an elementary class lesson plan to look like? I have no background in education, so I can’t offer thoughts on a lesson plan. But I think there are lessons that can be gleaned from Stompin’ at the Savoy in several different subject areas. HISTORY (Great Depression)—Clubs like the Savoy where Chick Webb played were very popular in the 1930s. Why? At that time, people wanted to escape the struggles they faced after Great Depression and the stock market crash of 1929. Many people were out of work and couldn’t afford food and shelter. (Jim Crow Laws) Jim Crow laws permitting racial segregation were in effect back then. Black people were not allowed to go to clubs that were for White people only. But Moe Gale’s Savoy Ballroom was different - people of both races were welcome to dance on the same dance floor at the same time! CREATIVE WRITING - Stompin’ at the Savoy uses the literary device of onomatopoeia throughout the story. Students can identify uses and also try to come up with words to describe other musical sounds. Students can also look for instances of alliteration in the story. It helps to make the words sound more musical. MUSIC - Students can try out a drumming rudiment— paradiddles - that they can practice with pencils, hands or drumsticks. RIGHT-left-right-right, LEFT-right-left-left. It takes a bit of practice to be able to do it fast! DANCE - The Lindy Hop was the favorite dance of the time. Dancers like Frankie Manning and Norma Miller danced the Lindy Hop at the Savoy. It’s derived from a dance called the Charleston. Students can learn a basic Lindy Hop step (stepkick, step-kick).



"A Tisket, A-Tasket" (1938) Chick Webb and Ella Fitzgerald- Ella Fitzgerald, Benny Goodman, Duke Ellington and Gene Krupa are jazz giants that Webb rubbed elbows with and make it into your book. All of the names mentioned were legendary virtuosi at their craft, as "King of Drums" Webb was an equal at his medium of the drums? Chick Webb interacted with these greats: he was helped by band leader and composer Duke Ellington; discovered the great singer Ella Fitzgerald; competed against Benny Goodman’s band; and bested drummer Gene Krupa on May 11, 1937. Drummers that came later, like Buddy Rich, recognized Chick Webb’s innate talent. So why wasn’t Chick Webb as well-known as some of these others? Sadly, Chick Webb’s health problems resulted in his death when he was only in his early 30s. He didn’t have the opportunity to make as many recordings as those other famous musicians. I have long been a fan of Big Band music. But I had never encountered Chick Webb’s band until I watched the Ken Burns’ documentary about jazz music. Once I saw Chick’s life-loving grin and listened to his pounding drumbeat, I had to learn more. But finding information about him was difficult. Luckily, I had help from several super-hero librarians.

cause he loved it. His mother couldn’t afford drumsticks so he used wooden spoons. After earning money by selling papers, he bought his first drum set. But he couldn’t reach the bass pedal, so he had to it make taller. Chick was competitive and driven to make his band the best it could be. I found that both relatable and inspiring. He demanded perfection from his musicians and from himself. And even after he lost a band contest, he didn’t give up—in fact, he took on an even bigger band—Benny Goodman’s. And that contest was what I focused on. Of course, you will have to read it to find out how that band battle went! What can you tell us about the illustrator Laura Freeman, her relation to jazz and the story and inspiration for the art? Many people don’t know that the writer and the illustrator of a picture book don’t have contact with each other until the book is in its final stages, so I can’t speak for Laura Freeman and her process except to say that I have been a fan of her work for some time. However, after the book was released, I learned that, like me, she loves old black-and-white movies from the 1930s. And we both listened to Chick’s music while we were working. I also learned that she had a special connection to the Savoy club—her father actually danced there! Laura’s art creates movement and music on each page. There are musical notes everywhere. Some are obvious; so are so well hidden that I didn’t see them until after I had the hard copy of the book in my ends. Take a look at the stoop he fell down as a child, and at his shirt when he went to school. Please talk about your virtual readings and presentations in 2021 that are surrounding your book, Stompin' at The Savoy, How Chick Webb Became the King of Drums?

I’m so glad you asked! Launching a book during the pandemic is a challenge because I can’t have in-person signings and school Topics including poverty and a disability are a part of visits. However, Tombolo, my favorite independent bookstore here Webb's biography , "Being small didn't change the size of in St. Petersburg, Florida, hosted a wonderful event for me on Chick's dreams." He even modified his drums to accommo- January 18, 2021. It included my brother-in-law, vocalist Dan Yates, singing the title song! You can watch a recording at https:// date is height. Your thoughts on his perseverance? Thanks for recognizing that Chick’s story is one of persever- And on February 20, 2021, I will be presenting an event at the ance! When I learned about the challenges he faced because of Enoch Pratt Free Library in Baltimore, Maryland. They helped an affliction that left him no taller than an average eight-year- me with my research. I will post the Zoom link on my website, old boy, I was inspired and knew I had to write his story. Chick, when it’s available. I will post about started drumming to strengthen his back. He kept drumming be- other events when they are scheduled, so check back! OCTOBER 2021


Yay Storytime Children's Picture Book Articles Listed childrens-picture-books-part-two/ books/ Amoriello Jr. is the Past Chair of the NAfME Council for Guitar with-childrens-picture-books-part-ten/ Education and is also the former Chairperson for the New Jersey Music Education Association. Tom has taught guitar classes for the Flemington Raritan with-childrens-picture-books-part-nine/ School District in Flemington, New Jersey, since 2005 and also teaches at Hunterdon Academy of the Arts. He has earned a Master of Music Degree in with-childrens-picture-books-part-eight/ Classical Guitar Performance from Shenandoah Conservatory and a Bachelor of Arts in Music from Rowan University. Currently he is pursuing a Doctor of Music Education degree from Liberty University. Tom is the author of the with-childrens-picture-books-part-seven/ children’s picture books A Journey to Guitarland with Maestro Armadillo and Ukulele Sam Strums in the Sand. He recently has made two heavy metal LP with-childrens-picture-books-part-six/ and EP recordings with a stellar roster of musicians including former members of Black Sabbath, Whitesnake, Megadeth, Ozzy Osbourne, Yngwie J. Malmsteen’s Rising Force, and Dio that were released on H42 Records in Germany childrens-picture-books-part-five/ and Sliptrick Records in Latvia. He is also a music journalist for Boston Rock Radio and contributes to Jazz Guitar Today. Visit for with-childrens-picture-books-part-four/ more information.






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Best of the Elementary Music Technology Discovered During the Pandemic Amy M. Burns Far Hills Country Day School aburns[at]

This past school year has been one with numerous challenges. From teaching remote to restructuring our entire curriculum, it has made many teachers feel like their first year of teaching all over again. One tool that most elementary music teachers had to adapt to was the addition or the further inclusion of technology in their classrooms. For many, it was the only way they would be able to connect to their students if they could not be live in the classroom. It brought about many challenges. However, it also brought about many new opportunities that when we come back to a normalcy in our classroom, we might want to bring in these new tools. Here are some that many elementary music educators commented on that were positive additions to their classrooms this year and could see using them in the future. Free Tech Tools What I am mentioning here are the tools that we added to make our classrooms adapt to the fact that we could not share items, like instruments, manipulatives, and more. Therefore, we discovered some free tech tools to work around those restrictions and could continue to be used in our future teaching scenarios. • Wheel of Names ( - If you have not checked out wheel of names, definitely explore this site. You can make wheels with all of your students’ names in each class. You can then customize the look of the wheel, the speed of the wheel, the music it plays, the applause it gives, and whether it removes the name after it lands on it. Since you can add text or pictures, I have various wheels from an arioso wheel (where I used four emojis and the students have to create a song based on the emojis), a note reading wheel (where I took screen shots from of the notes on the treble clef staff ), and a rhythm wheel TEMPO 32

(where I took screenshots from rhythmrandomizer. com and the students would perform the pattern that they landed on). This tool can be used in any classroom scenario because you can save the wheels and use them whenever you need (see figure 1).

Figure 1:

• Virtual Instruments - I have written and presented about virtual instruments many times this year. Virtual instruments were a game changer because numerous schools issued devices to the students due to the pandemic. They now had a device, but they could not play or share instruments. The solution to this was to have virtual instruments, so that their device became the instrument. Here are some excellent virtual instruments that your students could use immediately: • - This free site is fabulous. The creators continuously spoke to music educators throughout the year to ask what they needed and improved the site based on their needs. The site currently has diatonic, pentatonic, xylophone colors, boomwhacker colors, monotone colors, and chromatic bars. • - Music educators have created and OCTOBER 2021

shared many virtual instruments. By performing a quick search, you can find numerous instruments to share with your students to use in class. To level up the activity, have your older elementary students learn some of the basics of coding and have them code their own instrument.

Figure 2: Virtual Instrument Closet

more. Canva has various versions from free to pro, but it also has an educator’s version where you get more tools than you would with the free version. Canva also has the ability to connect to your bitmoji so you can intuitively add it to your slide and you can record audio, add video, create a slideshow, create a video, create gifs, and so much more. One example in my classroom is performing the movement activity, “Statues in the Park.” There are many variations to this like “Dancing Freeze”, but the gist of it is you play various styles of music, the students move to the music, and you pause it numerous times so that they can freeze like a statue. I adore using statue cards and displaying them on screen for the students to easily see from anywhere in the classroom. My statue cards have been mostly stick figures, as the ones included in my book, Using Technology with Elementary Music Approaches. However, I really wanted to use statue cards so that the students could see themselves represented in the pictures. I went to Canva and searched out various movement poses from people found all around the world (see figure 3). These are wonderful visuals for the students to emulate, as well as see themselves in the photographs. Canva is free and I truly believe that it is a game changer in the music classroom.

• My google slides instrument closet (https://docs. CCkCOM-A1v7tBBquWlEW-5iityYU/copy) - I created this last year and shared it as a google slide forced copy and as a Seesaw Activity (see figure 2). • Virtual instruments can continue to be used as a supplement for classrooms that do not have enough instruments, for music educators who are on a cart Learning Management Systems (LMS) and pushing into the classroom, and for students to Learning Management Systems became a necessity experience instruments that they might not normal- during remote learning as it was the way that we could ly have access to. give students materials, assignments, retrieval practice, and more. These LMS can continue as they are a great way for students to access work from home, to continue their ukulele and recorder studies, to create work with multiple modalities (i.e., Seesaw gives students 6 different tools to use to create), be in contact with the teacher, and turn in work at any time. Continuing to use Google Classrooms, Seesaw, Canvas, Schoology, MusicFirst, and more, give students more opportunities to explore and work on their music assignments.

Collaborative Music Making Sites There are many collaborative music making sites that are accessible and intuitive to use by elementary students. Canva ( The first one that comes to mind is Chrome Music Lab’s As one music educator stated in June of 2021, “Can- Song Maker ( va is a game changer!” Canva is that one-stop shop where Song-Maker/). The teacher can share a song where the you can find pictures, elements, graphics, and more to students have to fill in the melody. For example, they create your manipulatives, slides, virtual classrooms, and could create a melody like “Bounce High Bounce Low” Figure 3: Canva Statue Cards



and leave out “la” (see figure 4). The students can use this to listen and add “la” in the appropriate place. Then, add a drum line and share it back to the teacher and with their classmates. There are also sites like Noteflight Learn ( and Flat (https://flat. io/). Though their education versions are not free, they give the students the ability to collaborate on musical compositions. Plus, sites like Soundtrap EDU (https:// and Bandlab EDU (Bandlab EDU is free, allow students to create and make music together. This past year, when the students were remote, concurrent, or in class social distancing, these collaborative music making tools were wonderful. I also allowed the students to use the chat function and their discussions about their music were eye-opening. Though this might not be a feasible option for everyone, it is an option that levels up the music making process as students can work with not only their peers in their classroom, but can connect to students in other classrooms and schools to create and make music.

There are plenty of more technology tools that came from our teaching during a pandemic that can be utilized in our future teaching scenarios. I have been creating numerous YouTube episodes titled, “Best of #Elmused Pandemic Tech” which explore more tools. Please feel free to check them out here: My philosophy is one that if technology gives you the opportunity to do something that could not be done traditionally, and it will connect with your students, then it is worth the effort to try it. It always comes back to your goal with the students and if technology is a tool that can assist with the goal. Want to find the links in this article in one place? Go to, click on NJ Tempo October 2021. Amy M. Burns has taught elementary general music for over 25 years at Far Hills Country Day School, a preschool through grade eight private school in Far Hills, NJ. She is the Preschool-8 General Music Chair on the NJMEA Board. She has authored four books on how to integrate tech into the elementary music classroom. She has presented many sessions on the topic, including four keynote addresses in TX, IN, St. Maarten, and AU. She is the recipient of the 2005 TI:ME Teacher of the Year, 2016 NJ Master Music Teacher, 2016 Governor’s Leader in Arts Education, and the 2017 NJ Nonpublic School Teacher of the Year Awards. Her most recent publication, Using Technology with Elementary Music Approaches (2020), published by Oxford University Press (OUP) is available from OUP and Amazon.

Figure 4: Chrome Music Lab Song Maker "Bounce High Bounce Low"




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Exciting New Music Technology for Live Connectivity and Performance Dr. Fred Kersten Lecturer, Boston University



5G for Music Education

Imagine conducting your band rehearsal from your bedroom on Saturday morning with all your students performing from their homes in almost instantaneous response. No more laborious hours in front of the computer tweaking sent on individual files from performers who have recorded from a pilot file you sent on to develop a virtual ensemble for viewing by the community and parents. Or, a jam session from members of your jazz ensemble, performing together from their homes as a Sunday afternoon live concert for any one to attend from your school district. The audience will come to the performers! Check out an example at: remote-jamming-over-internet/ New technology, that provides opportunity for instantaneous communication with others over distance is here, and, it will provide so many opportunities for musical interactions between students. Teachers can immediately teach lessons from afar as they play examples for their students to model. Interaction lessons, where multiple students can play as quartets or ensembles, will be a possibility. Cloud-based “live” orchestras can be created over distance. Artists can develop concerts and perform from their home studios. They can sell tickets and the audience can “visit them” for their concerts. What is the technology that will allow this? How immediate is the possibility for its inclusion? What will be needed for its outreach to participants? This article will answer these questions and provide an illustration of the advantages of its inclusion, as it becomes a viable tool for music teachers.

It is Here! Live 5G networks are starting to proliferate in the United States at an increasing rate. These opportunities will allow for the transfer of data at an increased speed, with increased bandwidth for Internet purposes. Lower levels of latency between senders and receivers will be possible. With a send/receive lag of approximately 3 milliseconds performers can play together in a natural manner. The past virtual ensemble techniques utilized during COVID included laborious hours of recording musical examples and audio editing voluminous files to sync and provide a composite composition. Such activity will not be further needed. Once connectivity has been established, the performers can rehearse, woodshed, talk, sing, and teach as if they were in the same room. Playing as an ensemble will not be a problem. Intonation can be immediately adjusted to compensate if one player is sharp or flat. Nuances of interpretation, and variances of tempo, by other players can become a source of flexibility for interpretation of the composition. A higher level of musicality will result thus banishing the woodenness of recent virtual ensemble conglomerate performances. How Does 5G Work and What is its Status? Simplistically, 5G transfers come from the “Cloud” and the data transmits from numerous “cells” that blanket the receiver’s locale. Because there are more cells for each area, the speed of 5G data is incrementally higher than the current venue of 4G. Each 5G cell, however,



covers a smaller area, which can limit the access by the and receiver, or, provide “pockets” where data may not be received. 5G possibilities are increased as providers are networked to provide for increased connectivity over a larger area. Coda Ericsson Technology Ericsson 5G technology ( en/blog/2019/3/real-time-music-collaboration-with-5g ) suppliers are increasingly involved in delivering opportunities for musical communication. Their created linkage is providing systems that have developed into a highly connected network. Predominantly based over seas, this network is now supporting a real-time totally online Internet orchestra that is conducted by Joana Carneiro, principal conductor for Orquesta Sinfonica Portuguesa. Joana is from Portugal and has conducted some of the world’s most acclaimed orchestras in a career stretching back more than twenty years. Joanna, (2021) indicates in WEBNEWS, “never before has she conducted without being able to make direct eye-to-eye contact with all her musicians. That is until 5G came along!.” (https://www. ) Besides the opportunity for large ensemble interaction, there is much promise for international collaboration between not only large ensembles but chamber groups and vocal/operatic performances as well.

The New Horizon for Instant Musical Communication Employing new technology opportunities such as 5G and ElkLIVE will provide an incredible possibility for instant connectivity between musicians, audiences, and musical performances. Hardware, and “Cloud” highways of increased efficiency, are currently under development and will assist in building opportunities for instant musical collaboration. Working with these tools, the musical data highway will become a new opportunity for extensive individual and group musical interaction. Imagine the possibility of: A US 12-year-old piano student playing duets with his/her artist teacher in France. A high school girls’ trio rehearsing together from their bedrooms. Two high school bands, from different districts, practicing together weeks earlier then their scheduled festival and playing in sync as they work on tempos and interpretation. So many awesome possibilities for constructive music education interaction! Feedback Requested

What are your thoughts?? The author of this article Aloha-ElkLIVE would welcome your response. What experiences have you had with live interactive performance? What opporAloha (now ElkLIVE) ( ) has been in tunities do you see for improvement of music education beta stage development for many years. This company in the future through its usage? has just now joined the commercial ranks and is now available for public utilization. Employing a hardware- Contact: Dr. Fred Kersten fredkers[at] based system, ElkLIVE is able to provide a low-latency opportunity for live musical performance that can be fred-kersten/ utilized over a respectable distance. Recently, because of COVID restrictions, the San Francisco Opera Company Reference has been using ElkLIVE to rehearse for upcoming performances. An example video of their rehearsal may be NEWS, MAY 04, 2021. Ericsson 5G and Vodafone Poraccessed at: tugal ensure Joana Carneiro’s orchestra doesn’t miss a 52a0&t=4s This video illustrates the immense possibil- beat. (Accessed 7/30/21). Retrieved from ity for music practice with individuals located over many distant from each other. Additional examples of and-vodaone-power-5g-orchestra possible live performance interaction may be located at: OCTOBER 2021


Social-Emotional Learning Through an Equity Lens

Shawna Longo Durban Avenue School, Hopatcong Borough Schools shawnalongo[at]

In my previous two articles last year, I laid a foundation of what social-emotional learning is and how it authentically connects to music. In 2020, CASEL revised their definition of SEL, as well as their “CASEL Wheel,” in order to advance educational equity and excellence. This revised definition supports a more culturally responsive classroom and school.

tion through continual evaluation, and equity. As you will see from the graphic below, the five core competencies remain the same.

“Social Emotional Learning (SEL) is an integral part of education and human development. SEL is the process through which all young people and adults acquire and apply the knowledge, skills, and attitudes to develop healthy identities, manage emotions and achieve personal and collective goals, feel and show empathy for others, establish and maintain positive relationships, and make responsible and caring decisions. SEL advances educational equity and excellence through authentic school-family-community partnerships to establish learning environments and experiences that feature trusting and collaborative relationships, rigorous and meaningful curriculum and instruction, and ongoing evaluation. SEL can help address various forms of inequity to empower young people and adults to co-create thriving schools and contribute to safe, healthy, and just communities.” In the above two-paragraph definition, I have italicized the changes that CASEL made to its original definition of SEL in order to highlight the key additions. You will notice that it is broader in scope and offers a more holistic view of where and how SEL occurs. It also promotes the inclusion of family and community, adult SEL (aka teachers), curriculum and instruction, reflec-

According to CASEL, these five competencies, or goals, can be combined to create three areas of focus: SELF, OTHERS, and DECISIONS. There are two competencies that fall under the SELF-category (in orange) as they are introspective, or looking inward: SelfAwareness and Self-Management. The focus on “SELF” has shifted to IDENTITY. Social Awareness and Relationship Skills fall under the OTHERS-category (in green) as they pertain to how we interact outwardly. Their focus has shifted to AGENCY. And, Responsible Decision Making comprises the DECISIONS category (in yellow) which impact ourself and others. The shift here has moved toward BELONGING. This “new” definition elevates identity, agency, and belonging as critical pillars of SEL.



The major difference is the inclusion of four rings around the five core competencies. These rings, or settings, promote a systemic approach to SEL by including ALL parties at all levels. The intent is that this work should start in the classroom through SEL instruction and classroom climate. Schoolwide culture, practice, and policies drive the next ring by merging classroom initiatives through common themes and practices. It then progresses outside of our school walls to bring families and caregivers into the process through authentic partnerships. And, finally it builds its systemic approach with the inclusion of the community through aligned learning opportunities. Using this model, anyone and everyone in the students’ lives are connected and play an important role in the academic AND social emotional development of ALL students.

music class to encourage your students’ growth as a sustained practice, you can also use SEL as a lever to foster equity in your classroom and promote the cultural assets that all students bring. “Create conditions that support students in developing self-awareness and self-management to discuss personal and group strengths and biases, social awareness and relationship-building skills to foster cross-cultural relationships, and responsible decision-making skills to reflect on and address the impacts of racism and other forms of inequitable treatment.” CASEL: Emerging Insights on Advancing Social and Emotional Learning as a Lever for Equity and Excellence. August 2020, p1. https:// CASEL has provided a comprehensive list of guiding questions for educators to use when reflecting upon how Fostering Equity through SEL and Music they can foster equity in the classroom through the five In addition to intentionally embedding SEL into our core competencies. See the graphic below.



Through these practices, we can establish a commu- Resources: • nity that encourages a growth mindset. This can occur • The Center for Arts Education & Social Emotional through the creation of a safe space to make mistakes, Learning – put weaknesses on display, and learn from them. We also • CASEL - want to provide opportunities for students and teachers • CASEL Releases New Definition of SEL: What You to celebrate their own success and reflect on areas for imNeed to Know - provement. This can be effectively done through class uploads/CASEL-Releases-New-Definition-of-SEL_discussions or journaling. I encourage you, as the teacher, What-You-Need-to-Know.pdf and your students to keep a journal for the purpose of • Guiding Questions for Educators: Promote Eqtracking and reflecting upon your social emotional develuity Using SEL - opment. The journal entries can be formal or informal sites/3/2019/03/Guiding-Questions-for-Educatorsand include the following practices: Promote-Equity-Using-SEL-12.17.19.pdf • Reflective prompts – can be related to personal or Shawna E. Longo is the General Music (Music Technology) teacher and group practice (preparation) or performances, related to Arts Integration Specialist at Durban Avenue School, Hopatcong, NJ. outside or professional performances, or based on musical She also serves as the Arts Integration & STEAM Specialist for TMI elements included in a score and how they relate to the Education; Coach for The Institute for Arts Integration & STEAM; Lead audience’s emotional response or experience Consultant for Essential Elements Music Class (Hal Leonard); and an • Questions – to promote internal reflection as re- Ambassador/Consultant for Music First and Jamstik. With 20+ years lated to the 5 core competencies and how they relate to of teaching experience, Mrs. Longo holds a Bachelor of Music in Music the artistic processes (see for Essential Ques- Education degree from The Catholic University of America in Washington, DC; a Master of Public Administration in Arts Administration from tion ideas) Seton Hall University in South Orange, NJ; Supervisor/Curriculum Di• Daily Gratitude – reflect and list one thing that rector’s certification from Rutgers University in New Brunswick, NJ; and you are grateful for today, this can be as simple as “I am certification as an Arts Integration Specialist (Level 1) as well as certificagrateful that the classroom teacher picked up his/her stu- tion as an Arts Integration Leader (Level 2) from The Institute for Arts Integration and STEAM. She is a clinician and consultant for music dents on time today.” education, music technology, social emotional learning, arts integration, and STEAM. She is also a recipient of the 2021-2022 Sussex County Teacher of the Year, 2021 NJ State Teen Arts Festival Arts Educator of the Year Award, 2021 Governor’s Educator of the Year for Durban Avenue School, 2019 Mike Kovins Ti:ME Music Technology Teacher of the Year, 2019 New Jersey Governor’s Award in Arts Education, 2019 Teach Rock Star Teacher Award from The Rock and Roll Forever Foundation, 2018 NJMEA Master Music Teacher Award, and 2016 Governor’s Educator of the Year for Hopatcong Middle School. Twitter: [at]shawnalongo





We're All In This Together:

Fostering a Team Approach When Teaching Special Learners Maureen Butler


Since the start of the new school year, we have been reacquainting ourselves with former students, meeting new students, and experiencing a (hopefully) more typical school year than last year. By now, too, we’re beginning to recognize the needs of our special learners. Some have been classified; we’ve seen either their full IEP or its summary, and we know what strategies are recommended for each student. We may also have noticed or identified some behaviors in students who have not been classified yet, and have put them on our mental “radar.” This year, some behaviors we are seeing might be exacerbated because of the difficulties of the past year; some are indicators of an underlying condition, and some may simply be difficulties readjusting to the new routines of classroom life. How do we determine if a behavior is related to a disability, or separate from the disability? Some music teachers feel that they’re alone; they have questions or concerns and don’t know where to turn for help. Whether you are an experienced or first-year teacher, the only music teacher in your building or one of several, it’s helpful to be aware of the team of professionals on your staff that can be a valuable asset as you try to include all students in your class. Throughout my teaching career, I learned to rely on my colleagues’ expertise when I had questions about some of my special learners. *** Angelina* was one of my students who was regularly seen by an occupational therapist (OT). In my class, she was having trouble covering the holes of the recorder, something that many children struggle with at first. However, her real problem was that she had trouble sensing where the holes were - she was not getting enough tactile feedback. Her OT recommended surrounding each hole with layers of glitter glue to improve her awareness of where the holes were, and

this helped Angelina - and it didn’t hurt that she loved the rainbow colors! An OT is able to look at the tasks we assign our students, and analyze the components that may be difficult for some. In doing so, they can come up with a plan to help students be successful. They can help you develop strategies for students with visual spatial issues who have difficulty distinguishing the lines and spaces on a staff, or those with small motor issues who have trouble coordinating fingering, and would be a good resource when selecting an instrument for a student to learn. *** Sarah enjoyed music class, and wanted to dance, but had difficulty sequencing the order of the moves in order to copy them. She would watch my demonstration of simple dance moves, and nod her head eagerly, but had trouble putting one move after the other, even while watching me. She also had difficulty with side-stepping, which was a part of a simple dance routine her class would be performing in our holiday show. Her physical therapist (PT) incorporated these tasks into Sarah’s regularly scheduled therapy sessions. By breaking down the moves into smaller steps and working on them together, over time Sarah was able to perform the dance moves in the correct sequence. Her self-confidence grew, and she was thrilled to show her skills to her family and friends. Like the OT, the PT analyzes physical tasks; with their specific knowledge of students’ physical abilities and limitations, they design activities that help children develop the ability to master skills. Both the OT and PT are aware of sensory processing disorders that may be affecting student behavior in our classes. They can let us know if children are hypersensitive (overreactive) or hyposensitive (underreactive) to sound, visual input, or tactile input from our music classes



that might have a negative effect on them. I’ve always been *** amazed with the insights I gain after a discussion with these Mateo, who had autism spectrum disorder, enjoyed muprofessionals, and they in many ways shaped how I prepare sic but was refusing to cooperate in many settings in school. for, teach, and react to all students, not only those with special His special education teacher devised a behavior manageneeds. ment plan to be followed in her own classroom, as well as in allied arts, physical education, and therapy sessions. This plan *** included positive rewards for following teacher expectations, Luis was a new student who arrived mid-year. He was and was highly motivational for Mateo. quiet and nervous, and didn’t want to participate in any acThe special education teacher who works with students tivity. I didn’t push the issue the first day, giving him time to daily can be a great resource for you. They can share inforadjust to his new surroundings. Afterwards, I spoke with one mation about how their student learns, how their disability of the school’s mental health professionals who informed me affects learning and behavior, triggers that may set off misthat Luis had anxiety issues compounded by a difficult home behaviors, and strategies to help them succeed in your class. life. She reinforced my desire to let him get acclimated and *** gently encourage him to take part in the lesson. Eventually Lucy came to every class with a personal paraprofessionLuis became more comfortable and began to participate ap- al. In addition to learning disabilities, she had difficulty folpropriately and confidently in my class. lowing classroom procedures and was easily distracted. Her Social workers, psychologists, and counselors can help paraprofessional sat close to Lucy, redirected her as needed, us understand student behaviors, devise strategies to address and reminded her about different classroom procedures. She them, and counsel us as we work to ensure that all our stu- assisted her with reading and writing activities, pointing out dents develop and grow. They can be an important liaison the lyrics of a song as we sang, and helping her with workwith parents, as well. sheets. One-on-one paraprofessionals can help us understand the communication, social, and learning issues of their student. They are aware of the child’s day-to-day emotions and reactions, and can make us aware of anything out of the ordinary that might be affecting student behavior. For students with physical disabilities, they can help hold and manipulate rhythm instruments or model a steady beat. They can give valuable insight about how their student functions in other classroom settings and with other students as well. *** Additionally, foster connections with your colleagues who are allied arts and physical education teachers. They may be seeing some of the same behaviors that you are, and can share strategies that they’ve found successful. As music teachers, we’re happy to assist when a colleague reaches out to us for help; don’t hesitate to ask others. When we reach out to the team of professionals who work with us, we all can help all students learn and flourish in our classes. *Note: Student names have been changed for confidentiality purposes.



Keeping Up Your Craft:

The Benefits of Ensemble Performance for Conductors Michael McCormick Holmdel High School


Many music teachers do some form of teaching outside of their classroom. Teachers will often direct shows out in the community, perhaps direct a community or church choir, lead a local band or orchestra, or teach lessons on the side. It can be incredibly important, both for financial stability and personal enjoyment, to teach music outside of your own classroom. But I propose that we as teachers of music should also be on the receiving end of musical direction. Perhaps instead of exclusively leading all these other ensembles, we should “practice what we preach” and go sing in those choirs, play in those bands and orchestras, and perform on stage in those shows. There are an infinite number of benefits to being on the other side of the baton. 1. New Rehearsal Strategies I suppose the most obvious reason for being a member of an ensemble is to see and learn rehearsal techniques from another conductor. I absolutely love attending interest sessions and workshops, but they are typically a one-and-done experience that are oftentimes surrounded by several other workshops. Even with writing copious notes, it can be hard to remember everything that the clinician offered in their session. Although, sitting in a weekly rehearsal, you get to see another conductor teach with a particular method on a regular basis. This not only allows you to learn new techniques, but you can see them in action and know their lasting impact on the ensemble. 2. New Repertoire I am someone that absolutely loves going to reading sessions at conferences and getting free pieces of music. But, I can count on one hand the number of times I actually programmed a piece that I heard at a reading session. Reading sessions just don’t give us enough time to appreciate the nuances and subtleties of a piece. Although, if we are perform-

ing in an ensemble, we get to work on an entire concert program for weeks or months. This gives us time to dive deep into the music and make an informed decision on whether or not it would be a good piece for our own ensembles. 3. Remember Frustrating Experiences We are all familiar with getting frustrated in leading an ensemble. Maybe you’re having trouble getting a chord tuned correctly, a tricky rhythm is taking too long to nail down, or the balance just doesn’t sit the right way, but do you remember what it feels like to be IN the ensemble when those things happen? If you don’t, it can be difficult to relate to how students can feel defeated, frustrated, or even angry when things aren’t going well in a rehearsal. Similarly, we may not remember what things bother us that conductors do. For example, I have always despised when a conductor says “one more time” when it really means “one more time... unless I change my mind.” Because of this, I try to avoid saying it to my ensembles as much as possible. Maybe there are some things that you do in rehearsal that you simply forgot were annoying because you haven’t experienced them in quite some time. 4. Show Your Love for Ensembles Your students will appreciate knowing you also enjoy being IN an ensemble and not just in front of one. By being in an ensemble, we can show our students that we too are learning, practicing, and performing the craft that we are teaching. If you don’t show you enjoy singing in a choir or playing in an orchestra, why should your students enjoy it? And beside that, students get excited to see your performances! I am constantly having students inquire about the concerts I sing in, and they are always so delighted to hear recordings and see videos of my other choirs.



5. Networking By performing in a community based or professional ensemble, you get to meet people from all walks of life. From professionals working in non-music fields, to other music teachers and plenty of professional musicians that perform very regularly. You can call on those fellow music teachers to organize collaborations with other schools/groups. Professional musicians could come to your ensembles and give masterclasses, do workshops, or be a resource for private lessons. And those ensemble members that work in other fields can offer assistance in teaching your students how you can combine their love of music while pursuing another career.

Performing in an ensemble brings new friendships, connections, and mentors that can last a lifetime. If you have ever thought about joining an ensemble since beginning your teaching career, I highly recommend it. There are plenty of options ranging from ensembles that rehearse every week all year long, to some ensembles rehearsing on a per-project basis. Even if you only participate in an ensemble for a portion of the year, or once every couple of years, it can bring a number of benefits to your teaching. Go out and find an ensemble today!

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Creating and Connecting:

The Latin American Ensemble at New Jersey City University's Caroline L. Guarini Department of Music Dr. Carol Rena Shansky Assistant Professor/Coordinator of Music Education Caroline L. Guarini Department of Music, Dance and Theater New Jersey City University, Jersey City, NJ New Jersey City University’s Caroline L. Guarini Defocused on preparing the students to teach this music once in partment of Music, Dance and Theatre Department boasts the field. Too often, Latin American music is lumped togetha student demographic that is approximately 73% Hispanic er as a monolithic style, which does not respect the varied and African-American and the University has for many years approaches to music making in the countries that make up been proud to note that it is a Hispanic-serving institution. Latin America. To counter this, Prof. Morales-Matos focuses The department doesn’t pay only lip-service to these statison the variety of musics in these countries, providing stutics but they are embedded in our academic programming. dents with a keen awareness of the importance of inclusion The Jazz Studies program has a particular focus and expertise and belonging in music education. This extends to considin Latin Jazz and students in the Music Education program eration of the music of their own cultures, and he challenges have the advantage to study the mozaic of Latin American students to bring in music that they may have grown up musics through participation in the NJCU Latin American with, that their family engaged in or is otherwise meaningEnsemble. This group is led by master percussionist and ful for them. By doing this, he reinforces to these pre-service Broadway artist Prof. Rolando Morales-Matos. teachers that many students today are not aware of the muThe Latin American Ensemble was started in 2016 at the sic of their heritage, an important lesson as there is often an request of the department chair, Dr. Min Kim, as a means of assumption by educators that students automatically know capturing the unique performance and teaching experience what these songs and dances are. For example, if a student’s of Prof. Morales-Matos and impart it to the students in the family origins are in Italy, he encourages them to research school. Open to all students in all majors, Prof. Morales- and discover (if they don’t already know) the vernacular muMatos developed an approach that allows for different in- sic from there and bring it to the ensemble for study. There struments (he even had a singer once!) and different levels may have to be some adjustment to the music to fit the parof student readiness each semester. The result mirrors what ticular instrumentation of the Latin American ensemble, but music educators find in the field, adjusting for new students that in itself is a lesson in style and adaptation. In addition, it and changes in section balance in ensembles, thus creating illustrates to the music education majors in the ensemble of a real-life experience for students while they are still in the a valuable lesson in the Core Standard area of Connecting. degree program. At first offered to Music Education students Students are encouraged to play their secondary instruoutside of their required classes. Participants reported that it ments in the ensemble. While this enables them to have extra was one of the most impactful experiences of their time in time to improve their skills, it also highlights to them what school. It then became an option to the chamber ensemble it will be like for their future students who are just develrequirement for Music Education majors in Spring 2021. oping skills and playing in a school ensemble. Further, stuThe work done in the Latin American ensemble repre- dents playing instruments that are not typically found in a sents a hands-on learning approach to understanding and Latin music-based ensemble such as this can participate, but applying the Core Standards for Music. While Performing the students must write arrangements (with Prof. Moralesand Responding is understood through their applied lessons Matos’ guidance) to incorporate that instrument. Questions and performance ensembles, the two Artistic Processes that about idiomatic tendencies and the roles held by bass or they may not be as aware of, Creating and Connecting, can treble instruments are addressed as part of this process. This offer a challenge to new teachers and are confronted here in is another invaluable aspect to their training as many of the a hands-on paradigm. students in the music education program are likely to start TEMPO 46 OCTOBER The curricular approach to the ensemble is very much their careers at schools that have incomplete ensemble2021 instru-

mentation, so students can apply what they have learned in their academic classes to an active ensemble situation. Improvisation is a key area that students work in and become comfortable with. As a component of the Core Standards for Music (Creativity), it is an area that many preservice (and dare I say, in-service) find daunting. Through progressive exercises that reinforce their music theory class work, students can improvise in the ensemble’s performances. For many, this is the first-time improvising, especially in public performances. Students comment on each other’s arrangements and solos. This peer-review is valuable and always done with respect and support. The result is a community atmosphere that they will want to replicate in their future classrooms. The contribution of music that is not Latin American in origin encourages the development of strong skills in adaptation and arrangement in considering how a given piece of music can work with the instruments more typical of Latin American group. But, no one is turned away, and everyone’s culture is respected. Prof. Morales-Matos believes that there are two areas that represent people: music and food. He refers to the contributions of music for the ensemble as a “potluck” where “everyone brings a dish.” Students are asked to investigate the origins of the music they work on to understand it beyond the notes on the page, which instructs them in how they, as teachers, can create lessons in the Core Standard Artistic Process of Connecting. The students are indeed lucky to have Prof. Morales-Matos as their director. He is an internationally known performer, performing with artists such as Paquito D’Rivera, Dave Valentin, Willie Colon, Ron Carter, Celine Dion, Michael Bolton as well as numerous film soundtracks and classical


works. In 2006, Prof. Morales-Matos was the recipient of Drum Magazine’s World Beat Percussionist of the Year Award and since 1997, he has been the percussionist and Assistant Conductor of the Tony Award-winning Broadway musical, “The Lion King.” He brings a rare depth of experience to the students at NJCU, paired with his concern for their training and education. His bio is much longer and can be seen at: There is no doubt that the experience working with the Latin America Ensemble is a very positive one for students. They report feeling more confident in their abilities in improvisation and arranging as well as benefitting from working with students from a variety of musical and cultural backgrounds. The number of students originally taking the ensemble outside of their required classes is a testament to its impact and value to music education majors. Learning to perform Latin American music does not have to be restricted to college music majors. For those K-12 teachers interested in introducing Latin American music to their students, rhythm work would be an effective means of introducing this music. Teachers should focus on rhythm and rhythmic patterns as that is so central to most of the musics of this area. An example of how to approach this would be to work on several rhythm samples, then with a video or audio track of a song or dance, have them improvise selecting from those rhythms. Dances and the melodies of songs are based on particular rhythmic patterns, and this would be a fine introduction to the music and culture of the tapestry known as Latin America. If you are interested in seeing videos of the NJCU Latin American Ensemble, visit their Facebook page: https://www.


All-State Orchestra High School Scales Revised 05/04/20

All scales are to be memorized. Please no vibrato. Judges/Audition Chair will select which scale(s) is/are to be played. A metronome tempo will be given before each scale. Students will not receive extra points for additional octaves or a faster tempo. Do not repeat tonic within the scale. Repeating highest note is acceptable.

VIOLIN All 12 major scales (C, G, D, A, E, B, F#, Db, Ab, Eb, Bb, F) 3 octaves, 8 slurred to a bow as 8th notes, with the quarter note = 120mm A Melodic minor B Melodic minor C Melodic Minor The 3 minor scales above must be played in the following manner: 3 octaves separate bows as quarter notes with the quarter note = 120mm

VIOLA-CELLO All 12 major scales (C, G, D, A, E, B, F#, Db, Ab, Eb, Bb, F) 3 octaves, 8 slurred to a bow as 8th notes, with the quarter note = 120mm D Melodic minor E Melodic minor F Melodic Minor The 3 minor scales above must be played in the following manner: 3 octaves separate bows as quarter notes with the quarter note = 120mm

BASS All 12 major scales (C, G, D, A, E, B, F#, Db, Ab, Eb, Bb, F) 2 octaves*, 4 slurred to a bow as 8th notes with the quarter note = 96mm A Melodic minor C Melodic minor F# Melodic Minor The 3 minor scales above must be played in the following manner: 2 octaves* separate bows as quarter notes with the quarter note = 96mm *No octave drop.



All-State Intermediate Orchestra Scales Revised 05/04/20

All scales are to be memorized. Please no vibrato. Judges/Audition Chair will select which scale(s) is/are to be played. A metronome tempo will be given before each scale. Students will not receive extra points for additional octaves or a faster tempo. Do not repeat tonic within the scale. Repeating highest note is acceptable.

VIOLIN 9 Major scales: D, Eb, E, F in 2 octaves; G, Ab, A, Bb, C in 3 octaves Separate Bows: each note will be played as a quarter note with the quarter note = 104mm. Slurred Bows: 8 notes slurred to a bow, as 8th notes, with the quarter note = 104mm.

VIOLA 9 major scales: G, Ab, A, Bb, in 2 octaves; C, D, Eb, E, F in 3 octaves Separate Bows: each note will be played as a quarter note with the quarter note = 104mm. Slurred Bows: 8 notes slurred to a bow, as 8th notes, with the quarter note = 104mm.

CELLO 9 major scales: G, Ab, A, Bb, in 2 octaves; C, D, Eb, E, F in 3 octaves Separate Bows: each note will be played as a quarter note with the quarter note = 104mm. Slurred Bows: 8 notes slurred to a bow, as 8th notes, with the quarter note = 104mm.

BASS 9 major scales: G, E, F, Ab, in 2 octaves*; A, Bb, C, D, Eb in 1 octave* Separate Bows: each note will be played as a quarter note with the quarter note = 84mm. Slurred Bows: 4 notes slurred to a bow, as 8th notes, with the quarter note = 84mm. *No octave drop.



2021-2022 All-State High School Orchestra Solo List Please check the solo list at for up-to-date information. The online list supercedes lists printed in this magazine. Cadenzas are never required in any solos.






Concerto No. 1 in C Major First Movement Excerpt 1: m57 - m81 Excerpt 2: m205 - m230



Suite No. 2 in D minor Prelude & Gigue Excerpt 1: Prelude m36 - m48 Excerpt 2: Gigue m1 - m32; no repeat


BASS Scarlatti

Sonata No. 2 in C minor First & Secomd Movements Excerpt 1: 1st mvt - m1 - m7 beat 1 Excerpt 2: 2nd mvt - PU to m13 - m20


2021-2022 All-State Intermediate Orchestra Solo List Cadenzas are never required in any solos.



VIOLIN Nardini

Concerto in E minor First Movement


VIOLA Telemann

Sonata in A minor Third & Fourth Movements


CELLO Squire Bouree Fischer Complete work BASS Beethoven Sonatina Schirmer Complete work (fr Solos for the Double Bass Player, ed. Zimmermann)




Oct. 28, 2021


Fall 2021 Nov. 16, 30

Spring 2022 Jan. 25 Feb. 1, 8, 12, 15, 22 & 26 Mar. 1, 15, 22 & 29 April 12


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2022 Region Jazz Bands Junior Jazz Band Audition Requirements (Grades 7 - 9) All Solo Etudes, Scales, Applications, and Locations may be found on the NJAJE Website: ***IMPORTANT DATES FOR ALL REGIONS*** Audition Date: Monday, March 14, 2022 Rehearsals: March 21 & 28 (4 – 8 PM) April 1 & 2 (9 AM - 3 PM) Concert: April 3 (3 PM) ***Audition Requirements for ALL INSTRUMENTS***

SOLO - All students are required to prepare the solo listed below in its entirety. All Solo etudes may be downloaded from the NJAJE Website:

SCALES / STYLES - Saxes, brass, piano, guitar, and bass students are required to prepare the scales listed below. Scales are listed in WRITTEN pitch. All scales should be played in a swing style. Drummers are required to demonstrate the ability to keep time in the styles listed below. Scale sheets & basic drumset patterns may be downloaded from the NJAJE Website:

SIGHT READING - All students are required to perform a short excerpt never previously seen. Students will be given 30 seconds to look over the piece before playing.

All Saxophones: *Required solo: NJAJE Junior Saxophone Etude No. 4A *Scales [ALL SCALES MEMORIZED]: Alto/Bari : G & D Blues - 2 Octaves, A Blues - 1 octave. G & A Dorian mode - 1 octave, D Dorian mode - 2 octaves. Tenor : C, D, & G Blues - 2 octaves. C & D Dorian mode - 2 octaves, G Dorian mode - 1 octave. Trumpet: *Required solo: NJAJE Junior Trumpet Etude No. 4A *Scales [ALL SCALES MEMORIZED]: Blues & Dorian mode C, D, & G - 1 octave. Trombone: *Required solo: NJAJE Junior Trombone Etude No. 4A *Scales [ALL SCALES MEMORIZED]: Blues & Dorian mode C, F, & Bb - 1 octave. Piano: *Required solo: NJAJE Junior Piano Etude No. 4A *Scales [ALL SCALES MEMORIZED and 2 HANDS]: Blues & Dorian mode C, F, & Bb - 2 octaves. Guitar: *Required solo: NJAJE Junior Guitar Etude No. 4A *Scales [ALL SCALES MEMORIZED]: Blues & Dorian mode C, F, & Bb - 2 octaves. Bass: *Required solo: NJAJE Junior Bass Etude No. 4A *Scales [ALL SCALES MEMORIZED]: Blues & Dorian mode C, F, & Bb - 2 octaves. Drums: *Required solo: NJAJE Junior Drum Etude No. 4A *Styles [ALL STYLES MEMORIZED]: Swing (slow w/brushes, medium w/sticks, fast w/sticks), Jazz Waltz, Shuffle, 8th Note Rock, 16th Note Rock (Funk), Latin (Samba). Students must be able to play 2, 4, & 8 bar phrases with a fill at the end of each phrase. *Free Improvised Solo included as part of the solo etude. Students should demonstrate creativity, technique, and musicality.



2022 Region and All State Jazz Bands Senior Jazz Band Audition Requirements (Grades 9 - 12) All Solo Etudes, Scales, Applications, and Locations may be found on the NJAJE Website: ***IMPORTANT DATES FOR ALL REGIONS*** Audition Date: Monday, March 14, 2022 Rehearsals: March 21 & 28 (4 - 8 PM); April 1 & 2 (9 AM - 3 PM) Concert: April 3 (3 PM)

• • • •

***Audition Requirements for ALL INSTRUMENTS*** SOLO - All students are required to prepare the solo listed below in its entirety. All Solo etudes may be downloaded from the NJAJE Website: SCALES / STYLES - Saxes, brass, piano, guitar, and bass students are required to prepare the scales listed below. Scales are listed in WRITTEN pitch. All scales should be played in a swing style. Drummers are required to demonstrate the ability to keep time in the styles listed below. Scale sheets for all instruments may be downloaded from the NJAJE Website: IMPROVISATION - All students are required to play an improvised solo demonstrating creativity, technique, & musicality. *Saxes, brass, piano, guitar, and bass students must improvise a solo over 2 choruses of Blues in F or Bb concert using the Jamey Aebersold "New Approach to Jazz Improvisation, vol. 1." Student will pick a card to determine key. *Drum improvisation is included as part of the solo etude.

SIGHT READING - All students are required to perform a short excerpt never previously seen. Students will be given 30 seconds to look over the piece before playing. Saxophones: *Required solo: NJAJE Senior Saxophone Etude No. 4A NOTE - Bari Sax: Students will play the entire saxophone etude using the bottom lines in the ossia section. *Scales [ALL SCALES MEMORIZED]: Alto/Bari: C, G, D Blues - 2 octaves, A Blues - 1 octave. G & A Dorian & Mixolydian modes - 1 octave. C & D Dorian & Mixolydian modes - 2 octaves. Tenor: F, C, G, D Blues - 2 octaves. G Dorian & Mixolydian modes - 1 octave. F, C, D Dorian & Mixolydian - 2 octaves. Trumpet: *Required solo: NJAJE Senior Trumpet Etude No. 4A NOTE - Lead Trumpet: Students will play the entire trumpet etude using the top lines in the ossia section. *Scales [ALL SCALES MEMORIZED]: C, D Blues - 2 octaves; F, G Blues - 1 octave. C Dorian & Mixolydian modes - 2 oct.; D, F, G Dorian & Mixolydian modes - 1 oct. Trombone: *Required solo: NJAJE Senior Trombone Etude No. 4A *Scales [ALL SCALES MEMORIZED]: Bb, C Blues - 2 octaves; Eb, F Blues - 1 octave. Bb Dorian & Mixolydian modes - 2 oct; C, Eb, F Dorian & Mixolydian modes – 1 oct. Bass Trombone: *Required solo: NJAJE Senior Bass Trombone Etude No. 4A *Scales [ALL SCALES MEMORIZED]: Bb, C Blues, Dorian & Mixolydian modes - 1 octave (begin below the staff.) Eb, F Blues, Dorian & Mixolydian modes - 2 octaves (begin below the staff.) Piano: *Required solo: NJAJE Senior Piano Etude No. 4A *Scales [ALL SCALES MEMORIZED and 2 HANDS]: C, F, Bb, and Eb Blues, Dorian, & Mixolydian modes - 2 octaves. Guitar: *Required solo: NJAJE Senior Guitar Etude No. 4A *Scales [ALL SCALES MEMORIZED]: C, F, Bb, and Eb Blues, Dorian, & Mixolydian modes - 2 octaves. Bass: *Required solo: NJAJE Senior Bass Etude No. 4A *Scales [ALL SCALES MEMORIZED]: C, F, Bb, and Eb Blues, Dorian, & Mixolydian modes - 2 octaves. Drums: *Required solo: NJAJE Senior Drum Etude No. 4A *Styles [ALL STYLES MEMORIZED]: Swing (slow w/brushes, medium w/sticks, and fast w/sticks), Jazz Waltz, Shuffle, 8th Note Rock, 16th Note Rock (Funk), Latin (Samba). Styles must be memorized. Students must be able to play 2, 4, & 8 bar phrases with a fill at the end of each phrase.



2022 Region Jazz Choir Vocal Jazz Audition Requirements (Grades 9 - 12) All Solos, Scales, Audio Tracks, Applications & Audition Submission Guidelines may be found on the NJAJE Website: ***IMPORTANT DATES FOR ALL REGIONS*** Audition Video Submission Deadline: Monday, February 28, 2022, BY 11:59 PM Rehearsals: March 21 & 28 (4 - 8 PM) April 1 & 2 (9 AM - 3 PM) Concert: April 3 (3 PM) Audition Video Information

• • •

Auditions are accepted via YouTube only. Applicants must include all components of the audition on ONE VIDEO without edits.

Complete Instructions for compiling and submitting the audtion video can be found on the NJAJE Website:

• •

Each application video must contain the following audition materials in the order below: 1. SLATE: student’s full name & school 4. Chromatic Scale 2. Low Major Scale 5. Solo 1 3. High Major Scale 6. Solo 2

Videos and online registration must be submitted NO LATER than 11:59 PM 2/28/2022. Low Major Scale:

(sung a cappella on “AH”, ♩ = 80 approx. – starting pitch provided, or use your own pitch source)

ü ü

(sung a cappella on “AH”, ♩ = 80 approx. – starting pitch provided, or use your own pitch source) (sung a cappella on “AH”, ♩ = 80 approx. – starting pitch provided, or use your own pitch source)

Solo 1: ü ü ü

Soprano – G, Alto – D, Tenor – G, Bass – C

Chromatic Scale: ü

Soprano – C, Alto – F (student may choose to descend first) Tenor – D, Bass – G (student may choose to descend first)

High Major Scale: ü

***Audition Requirements***

Solo 2: ü ü ü

Soprano/Tenor – G - D (and descending), Alto/Bass – C - G (and descending) (P5 only)

Must be sung in one of the two keys provided. Must be accompanied (Student may use either the track provided online or their own accompanist. If choosing the latter, accompaniment must be consistent with recorded track.) Student may include vocal stylings to demonstrate understanding of jazz style. Must be sung in the key provided. Must be accompanied (Student may use either the track provided online or their own accompanist. If choosing the latter, accompaniment must be consistent with recorded track.) Student may sing the solo in any of the following manners: Ø Sing as written Ø Sing the melody as written with student’s own syllables Ø Sing an altered version of the melody using syllables of the student’s own choosing. Ø Sing an entirely improvised scat solo.





The 13th Annual New Jersey Young Composers Competition Andrew Lesser, Ed.D. Chairman, NJ Young Composers Competition andrew.lesser[at]

The 13th annual New Jersey Young Composers Competition is now accepting submissions for 2022. Information and applications are available on the NJMEA website under the “Festivals” tab. Students from grades 8-12 (including those graduating in 2022) from the state of New Jersey may submit their original compositions in both instrumental and vocal divisions. Finalists will be contacted individually and invited to participate in an interview and critique session which will be held at the NJMEA Conference in Atlantic City in February 2022. Details on the date and time of the finals will be forthcoming. Recordings of past finalist compositions are posted on the NJMEA website under the Young Composers Competition link. Please review the guidelines and rules for participating. All students must be sponsored by an NJMEA/NAfME member to qualify. Competition Guidelines 1. Applicants must be New Jersey residents and must be sponsored by a current NJMEA/NAfME member. 2. Students may submit multiple selections in each category. However, a $20 application fee is required with each selection. Each entry must have a separate completed application form and entry fee in order to be considered for eligibility. 3. All compositions must have a title or opus number, and all names must be omitted from the score, program note, and audio file so that submissions may be judged anonymously. 4. Students must include a brief program note that includes the composition title with composer name omitted, describing the composer’s intention of the work. 5. All scores must be submitted as PDF’s using a standard notation program, such as Sibelius or Finale. No handwritten scores will be considered for entry. 6. All measures must be numbered in the score. 7. Students must submit an audio recording of their composition in MP3 or WAV. format, a PDF (digital copy) of their score and PDF of composition description/program note. Submissions without recordings or PDF score will not be considered for entry. 8. While the applicant will retain ownership of their submission, all submissions will be kept by the NJMEA. No materials will be returned to students. NJMEA reserves the right to use student submissions for publicity and/or display. Finalist compositions will be posted on the NJMEA website. 9. Submissions must be no longer than 7 minutes in length and within the difficulty range of a high school level ensemble (Grades 2-4) TEMPO 56


Evaluation Criteria Evaluation of all submissions will be received by NJMEA approved Competition Judges. This panel will judge all works according to the following guidelines: • Originality: Demonstrating a personal/unique style showing individual creativity. • Compositional Technique: Must have identifiable form, structure, and development. Correct usage of musical notation and score markings. • Accessibility: Must be playable by student ensembles on limited rehearsals. • Compositional Maturity: Knowledge of medium, effective use of instruments/voices, and look of professionalism in score and recording. • Overall Appeal: Must be innovative, imaginative, and enjoyable.

Competition Policies • In the case of a tie, the highest and lowest scores will be eliminated and the overall score recalculated. If there is still a tie after the recalculation, then both entries will be accepted into the finals and receive the same placement. • If a single participant receives multiple placements in the finals, then the judges will accept the piece with the highest score. • The judges have the right to request changes to any vocal and instrumental piece that contains potentially inappropriate or offensive material (i.e., lyrics, program notes, etc.). In addition, participants who do not demonstrate ethical or moral behavior during all aspects of the competition may be disqualified through a vote by the NJ-YCC Committee. • The Grand Prize winner will consist of the piece that receives the highest score in both divisions. • Prizes will be determined based on availability by the NJ-YCC Committee. • The NJ-YCC Committee has the right to change or alter these policies at any time on a case-by-case basis.

Suggestions for Students and Teachers • Remember that the submission must be able to be played by a student ensemble on limited rehearsal time. Make sure to adhere to the difficulty level and length specifications listed in the guidelines. • Parts must adhere to the generally accepted instrument and voice part ranges for elementary through high school ensemble music. • Remember, neatness counts! An excellent piece will lose credibility if the score is sloppy or shows careless errors. • Consider all aspects of a good piece when writing: dynamics, articulation, variety of melodic and harmonic ideas, orchestration and timbre, etc. • Above all, this piece should be personal and meaningful to you. You must consider your creative ideas above anything else combined with your musical knowledge.

We are also looking for volunteers to participate in the committee of next year's competition. You do not need to be a professional composer to be part of the committee. If you would like further information, please contact Dr. Andrew Lesser, NJ-YCC Chairman at andrew.lesser[at]



NJMEA Awards all Award applications available at SCHOOL ADMINISTRATOR AWARD


Awards are presented annually to outstanding school Principals and/or Superintendents who demonstrate support for and commitment to high-quality arts education programs in their schools. The influence of such administrators is a major factor in improving music education in school systems across the state.

The NJMEA Board of Directors has initiated a Distinguished Service Award for those members who have honored themselves with faithful service to music education in public, private, and parochial schools in New Jersey.

One Elementary School Principal, one Secondary School Principal, and one School District Superintendent may be selected to receive this award. Individuals holding titles as Assistant Principal and Assistant or Associate Superintendent also qualify. Administrators receiving awards will be notified by NJMEA and a presentation honoring them will take place at the NJMEA February State Conference.

Past and present members of the NJMEA Board of Directors are also eligible for this award since they have dedicated much time and effort toward state projects related to music education. Additional award categories include individuals and organizations outside the field of professional music education and NAfME officers on both the National and Regional levels. Award recipients will be honored at a mutually agreeable occasion such as state workshops, region meetings, concerts or festivals, and retirement affairs.



Awards are presented annually to outstanding Boards of Education who exemplify superior support and commitment to quality music programs throughout all of the grades and schools of their school district.

Master Music Teacher Awards are presented annually to members of NJMEA based on the following:

Criteria for this award include support of superior programs of sequential, curriculum-based music education; advocacy for music education within the district; and financial support commensurate to support superior programs of general, choral, and instrumental programs within the district. Boards of Education receiving awards will be notified by NJMEA and a presentation honoring them will take place at the NJMEA February State Conference.

- completion of a minimum of ten years of teaching in the schools of New Jersey (public, private, parochial, or collegiate).

- currenty actively teaching and a member of NJMEA and NAfME for at least ten years. - display of teaching excellence.

Members of the NJ Retired Music Educators Association will visit candidates during their teaching day to conduct interviews and observe the programs and methods of selected candidates. Nominees for this award are then presented to NJMEA Board of Directors for approval.

What Is Social Emotional Learning? How are music educators well-suited to help students develop socially and emotionally? What does research tell us? Now more than ever, music education is critical for all students. One significant impact is how it helps students with social emotional learning (SEL). This brochure includes key talking points for music educators, school administrators, and school boards to connect music education and social emotional learning. For example: •

Teachers can create a classroom environment that is student-centered and driven by students’ social and emotional needs.

School administrators can support certified music educators’ professional growth with professional development in SEL.

School boards can ensure adequate mental health resources are available for students and staff to support teachers in implementing SEL.

Read more in this free resource to help advocate for music education for all students. Download your brochure at Questions? Email



that I served as Audition Chairperson before I became a Band Division co-chair. After many years of a break, I was able to conduct an ensemble and then started the Presidential cycle. From someone who has served in multiple positions, I can tell you that I always was welcomed and had someone ready to assist when needed. As individual parts, we all make the organization work. Whether you are a new teacher or a veteran, there are great resources everywhere in our region. Please don’t hesitate to reach out to any board members with questions or guidance. All of our contact information is posted on the website. Good luck as you continue with the year and I look forward to seeing you in person again soon! Christopher DeWilde NJSMA President president[at]


North Jersey School Music Association I hope that you have had a smooth start to your school year. As we all continue our journey back to “normal”, the region is committed to providing the most authentic musical experience possible. The online calendar is up to date with all scheduled activities for the 2021-2022 school year. The calendar and other pertinent info can be viewed at our website ( We are trying to keep our contact info for all members of the region up to date. There is a link on the website where you can add your contact information or update it if you are already receiving emails. This system is the most efficient way to communicate with everyone in a timely manner. I would like to publicly thank Diana May for all of her work serving as President for the past 2 years. She guided us through a series of events that no one ever imagined and will continue to be an asset to our organization as Past President. Also, another thank you to Sue Kaczor who has served multiple years as our Recording Secretary and has now stepped down. Your dedication to the region is greatly appreciated! I would also like to welcome our newest Executive Board members, Anthony Lanzerotti (President-Elect) and Chris Zwarych (Recording Secretary). We look forward to both of them working with us to continue the excellence that has been established. We are always looking for volunteers to assist in every aspect of the organization. I began as the Corresponding Secretary when we still mailed everything to our members! After TEMPO 60

Band Division We hope your first days back to school have been rewarding and successful and that you and your families are all healthy. Please visit the NJSMA website ( and look under the Band Division section. You will see this year's solos for both High School and Intermediate Region Bands. We are currently working on plans for student auditions and hope to have updates out on that shortly if not already posted. 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 along with 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. Last, but certainly not least, we would like to thank Jen Wise for her years of hard work and dedication within NJSMA and the NJSMA Band Division. We welcome Michelle Christianson, Band Director from Parsippany Hills High School to be the newest Band Division Co-Chair. Michelle Christianson, Lewis C. Kelly, Lyn M. Lowndes Band Division Co-Chairs, band[at] Orchestra Division We hope that everyone has enjoyed a well deserved summer break! We are looking forward to planning this year’s Region 1 Orchestra events! Just a reminder, Intermediate Orchestra is grades 6-8 strings only. Intermediate Orchestra auditions will continue to be held on the same day as High School Orchestra auditions (January 8, 2022). Please check OCTOBER 2021

the NJSMA website for important calendar updates, deadlines, and audition information. As we return to in-person music-making opportunities for our students, the Orchestra Division is looking for volunteers to host and manage along with coordinating rehearsals, performances and festivals. Now is the time to become involved in presenting these long missed opportunities for our students! The orchestra community of North Jersey becomes stronger with each director who volunteers, and our students benefit! Please reach out to volunteer. If you are new to Region 1 or your contact information has changed in the past year, please contact us at orchestra[at] We are looking forward to collaborating with all of you this school year! Jordan Peters and Caitlin Shroyer, Orchestra Division Co-Chairs, orchestra[at] Choral Division Hello! Welcome to the 2021-2022 school year! As we type this article for you, we are still reeling with the effects of the Coronavirus and the Delta Variant. We are hoping that things will be normal as we progress through the 2021-2022 school year. As a reminder, the former “Junior High” ensembles are now referred to as the “Intermediate” ensembles. Singers in 6th, 7th, 8th, and 9th grade will be eligible to audition for the Intermediate Chorus. 9th graders will also still be eligible to audition for the Senior High Region Chorus. Please check the NJSMA website for important calendar dates and deadlines for the Intermediate and Senior High Chorus auditions and rehearsals. We know that this year will be extremely challenging for all of us - we are hoping that everyone will be patient and continue to help out as needed. Our goal is to plan things out as if things are normal so that events are in place. We are hopeful that we will be able to resume our usual schedule of events but are very aware that things are changing quickly and we do not know what will happen as the year progresses. Please be patient as we navigate through this together! We are always looking for people to get more involved; we are especially looking for people to host and manage our Region Choirs. Please let us know if you can step up and do so. We are especially in need of sites willing to host rehearsals and concerts. As always, feel free to contact us with any questions or concerns that you have. Austin Vallies and Deana Larsen, Chorus Division Co-Chairs, chorus[at] Elementary Division The NJSMA Elementary General Music Division is proud to offer exceptional events and workshops for elemenOCTOBER 2021

tary general music educators and their students. During this time of uncertainty, we will continue to offer workshops via Zoom, with the hope of returning to in-person professional development (“It’s Elementary, My Dear workshop) in early 2022. Our Annual Fall (Columbus Day) Workshop has been postponed until October 2022, and our yearly Elementary Choral Celebration will return in May of 2023. Are you feeling stranded on an island during the pandemic? The North Jersey School Music Association Elementary Division is sending a 'rescue party!' This fall, NJSMA Elementary is hosting three SOS! Saturday Online Sharing Workshops. Free for active NAfME members, NJSMA SOS! Workshops are held via Zoom on Saturday mornings from 10:00 -11:30 a.m. - September 18, 2021: “Back to School Ideas...during a Pandemic” - October 15, 2021: “Fall Ideas…during a Pandemic” - November 13, 2021: “Winter Ideas…during a Pandemic” Please check our website ( elementary home.html) or the NJMEA facebook page for registration links and workshop details. All NJMEA Elementary General Music Educators are invited to participate as we share our successes, struggles, support and stories with one another. We will navigate these 'rough waters' together to support and share with others in the 'same boat!’ Lisa Wichman and Karen Andruska, Elementary General Music Division Co-Chairs, elementary[at]


Central Jersey Music Educators Association I hope everyone is doing well and had a relaxing and restful summer! After many months of uncertainty, it is my hope that this school year allows us to come back together and continue doing what we all love: making music with our students and providing them with unforgettable memories and opportunities. I am truly humbled and honored to begin my new role as the President of CJMEA and working with the great music educators in the state. We have many exciting things planned for this year and I am very excited to get started. We held our CJMEA elections this past Spring and I want to wish a sincere congratulations to our elected officers: Joe Elefante (Rahway School District) as our President-Elect, Michelle DaGrosa (East Brunswick School District) as our Secretary, and David Westawski (West Windsor-Plainsboro) 61 TEMPO

who was re-elected as our Treasurer. We are looking forward to having them on the board and all of the great things they will bring to the organization. I would also like to extend my thanks to Heather Mount for her many years of service as our K-8 Division Chorus Chair as well as to proudly welcome Helen Kernizan (Ocean Township School District) who will be taking over that position this year. We are planning for a year of in person auditions and performances. Please check the CJMEA website to stay up to date for information regarding auditions and registrations. Our High School Auditions are planned for December and our Intermediate Auditions are planned for January. Over the past year during the pandemic, CJMEA held a virtual series of PD sessions on Zoom for each division which were a huge success. Going forward, we are planning on continuing that series of virtual events throughout the year. There will be plenty of opportunities to learn from some of the top educators in our field right from your computer for PD hours. There are many opportunities for our members to get involved with CJMEA. We are always looking for rehearsal and concert hosts for our Region Ensembles and Honor Bands as well as managers of the ensembles. If you are at all interested in becoming involved, please email the appropriate division chair as we would love to have you work with us! I wish all of you and your students a wonderful school year! If you ever have any questions, concerns, or ideas for CJMEA, please always feel free to email me at anytime.

colleagues and share ideas about the upcoming school year. Our 64th Annual South Jersey High School Choral Festival will be held at Investors Bank Performing Arts Center at Washington Township High School on January 29th and 30th, 2022. Our Senior High conductor is Rob DiLauro from Seneca HS , and our Junior High conductor is Cristin Introcaso of Collingswood High School. Auditions for these choirs will be held on Saturday, November 13th at Woodstown High School. Our 39th Annual South Jersey Elementary Festival Choral Concert will be held at Investors Bank Performing Arts Center at Washington Township High School on March 5th, 2022; the choir will be conducted by Eric McGlaughlin of G. Harold Antrim Elementary School. Full concert programs for all three honors choirs as well as bios of our conductors are available on our SJCDA website. The South Jersey Choral Directors Association offers man opportunities for choral music teachers to participate, and in doing so, expand their knowledge as music educators. We encourage all music teachers to get involved with the honor choirs and take advantage of the professional development opportunities offered. We look forward to another exciting year working with the teachers and students of vocal music throughout South Jersey and encourage you to check our website for the latest updates. David Taylor SJCDA President dtaylor[at]

Yale Snyder CJMEA President percussion[at]


South Jersey Band and Orchestra Directors Association


South Jersey Choral Directors Association The South Jersey Choral Directors Association (SJCDA) Board of Directors worked throughout the summer to plan our activities for the 2021-2022 school year and we are looking forward to a successful year of choral activities in Region III. We kicked off the year with our annual General Membership Meeting and Reception at our new venue: White Horse Winery on September 13th, 2021. Conductors for our honors choirs presented their programs and the executive board shared updates, new members and helpful general information for all SJCDA members in attendance. In addition, our membership will get the opportunity to network with their

After the craziness of last year, I am sure that we are all looking forward to a year that will give us more opportunities for our students to rehearse and perform together. As our programs kick off this fall, let us remember to be flexible and meet our students where they are. Then we can propel them forward on their journey as budding or blossoming instrumentalists. It will take time and patience to close the learning gaps that opened up last year in many of our districts. May this school year bring your programs an increase in membership and a massive amount of student growth. Please be sure to check our website, maintained by Derek Rohaly (Mainland Regional HS) for the most recent updates. If you have any questions or ideas you would like to share with me for the good of the region, please email me at



sjbodapresident[at] We look forward to meeting face to face for the SJBODA Fall Membership meeting on October 6th at 9:00 at Seven Star Diner in Sewell. Lori Ludewig SJBODA President sjbodapresident[at] Welcome Back! We are excited to announce that we plan on having all of our usual events this year take place in person. Our first membership meeting for this school year will be held on Wednesday, October 6, 2021. This breakfast meeting will take place at Seven Star Diner in Sewell at 9:00 AM. Please notify Lori Ludewig (609-457-0590 or sjbodapresident[at] if you are able to attend. Audition information and our online registration process will be explained. Our modified junior high band audition requirements for this year will be discussed in detail. The new officers elected at our spring meeting are Sue Mark, President-Elect (Cherry Hill Public Schools), Joe Jacobs, Secretary (Ventnor MS, retired), Rich Beckman, Treasurer (Cherry Hill Public Schools), and Phil Senseney, Auditions Chair (Southern Regional MS, retired). Ken Rafter (Penns Grove HS) will serve as Past President and Lori Ludewig (Collingswood/Oaklyn) is our President. Auditions for the 2022 All South Jersey Orchestra, Wind Ensemble, Symphonic Band and Junior High String Ensemble will take place on Saturday, December 11, 2021 at Absegami HS. Patrick O’Keefe will host this event. Deb Knisely (Cinnaminson HS) is the Senior High auditions chair. Applications and directions are available on our website. The first rehearsal for these ensembles will take place on Saturday, December 18th at Cinnaminson HS. Deb Knisely will be our host.


Our 2022 Orchestra conductor is Bruce Yurko (Rowan University). Joe Brennan (Haverford Township School District) will conduct our Junior High String Ensemble. The Wind Ensemble will be conducted by Robert W. Smith (Troy University) and Tyler Wiernusz (Clearview Regional HS) will conduct the Symphonic Band. Rhea Fernandes (Eastern Regional HS) is our string coordinator and Amanda Porco (Hamilton Twp. Schools) is our high school band coordinator. The Junior High Band auditions will take place on Saturday, January 29th at Southern Regional Middle School. Jennifer Hodgson and Andrew Wright will be our hosts. Audition information is available on our website. Joe Jacobs (Ventnor MS, retired) is one of the Junior High auditions cochairs. There was a vacancy for the other co-chair position at the time this article was submitted. Joe Brausum (Mill Pond ES) is our Junior High Band Coordinator. The South Jersey Band and Orchestra Directors Association offers many opportunities for instrumental music teachers to expand their involvement and expertise as music educators. We provide excellent vehicles for professional development including conducting and managing our ensembles. Many teachers have gained wonderful ideas and strategies by observing rehearsals and meeting with colleagues. You can enhance your school music program to include excellent performing opportunities for your students and ensembles. We encourage all music teachers to take advantage of the wonderful resources offered by SJBODA this year. Please contact Lori Ludewig at sjbodapresident[at] or 609-457-0590 for additional information. We encourage you to check our website, which is maintained by Derek Rohaly, (Mainland Regional HS) for the latest SJBODA updates. We wish everyone an exciting and successful year.




Email Address

Administrative Matters....................................................... Lisa Vartanian..................................... lvartanian[at] All-State Chorus, Orchestra, Jazz Coordinator................ Joseph Cantaffa................................... jcantaffa[at] All-State Orchestra Procedures Chair...................... Craig Stanton & Liza Sato.................................... asoprocedures[at] Association Business....................................................... William McDevitt....................................... wmcdevittnjmea[at] Choral Procedures Chair.................................................. Michael Doheny..................................... michaeldoheny70[at] Composition Contest.......................................................... Andrew Lesser............................................ andrew.lesser[at] Inclusion/Diversity/Equity/Access............................... Katy Brodhead-Cullen..............................................njmea.idea[at] Jazz Procedures Chair....................................................... Miguel Bolivar............................................ mbolivar.njaje[at] Marching Band Festival Chair........................................... Nancy Clasen................................................. nancyclasen[at] Membership..................................................................... William McDevitt....................................... wmcdevittnjmea[at] Middle/Junior High Band Festival................................................. ...................................................................................................... Middle/Junior High Choral Festival............................ Donna Marie Berchtold........................................ firesongwed[at] NJMEA Historian............................................................. Nicholas Santoro ..................................................... n31b13[at] NJMEA State Conference Exhibits Chair.......................... Nancy Clasen................................................. nancyclasen[at] NJMEA State Conference Manager.................................... Marie Malara ......................................................... malara97[at] NJMEA Summer Conference.............................................. Jodie Adessa................................................... jodieadessa[at] NJMEA Summer Conference............................................. Casey Goryeb............................................ casey.goryeb71[at] NJMEA/ACDA Honors Choir........................................... Kaitlyn Reiser.......................................................... kreiser[at] November Convention – NJEA........................................... Nancy Clasen................................................. nancyclasen[at] Opera Festival Chair.................................................... Donna Marie Berchtold........................................ firesongwed[at] Orchestra Performance Chair.............................................. Susan Meuse................................................. susanmeuse[at] Research.............................................................................. Colleen Sears............................................................ quinnc1[at] Students with Special Needs............................................. Maureen Butler................................... maureenbutlermusic[at] Supervisor of Performing Groups..................................... Patrick O’Keefe........................................... patrickaokeefe[at] Tri-M.................................................................................. Lisa Vartanian ..................................... lvartanian[at] REPRESENTATIVES/LIAISONS TO AFFILIATED, ASSOCIATED AND RELATED ORGANIZATIONS NJ American Choral Directors Association....................... Kaitlyn Reiser ......................................................... kreiser[at] Governor’s Award for Arts Education............................... Patrick O'Keefe ............................................patrickaokeefe[at] NJ Association for Jazz Education.................................... Miguel Bolivar............................................. mbolivar.njaje[at] NAfME............................................................................ William McDevitt .......................................wmcdevittnjmea[at] NJ Music Administrators Association............................... Jonathan Harris ...........................................................harrisj[at] NJ Retired Music Educators Association............................ Ronald Dolce ........................................................ rdolce561[at] NJ TI:ME........................................................................... Andrew Lesser............................................ andrew.lesser[at] Percussive Arts Society......................................................... Joe Bergen ................................................joe[at] COMMUNICATION SERVICES/PUBLIC RELATIONS Executive Director/TEMPO Editor................................. William McDevitt...................................... wmcdevittnjmea[at] TEMPO Express................................................................. Andrew Lesser ............................................ andrew.lesser[at] Webmaster........................................................................ Matthew Skouras ...................................... mskouras.njmea[at]



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.

Elaine Virginia Barber Elaine Virginia Barber (nee Bate), age 84, of Fort Myers, passed away on June 28, 2021. Born in Trenton, New Jersey, Elaine was a 1954 graduate of Trenton Central High School. She went on to earn a bachelor's degree from Trenton State College and a master's degree from Temple University. While residing in New Jersey, she worked as a music teacher/band director in the Allentown, New Jersey public schools from 1958-1959, the Trenton Public Schools from 1960-1964, and the Franklin Township School District in Somerset, New Jersey from 1964-1980. Moving from Trenton to Orlando, Florida in 1980, she worked for the Hertz Corporation before returning to teaching in 1989. From 1989 to her retirement in 2000, she was an Instructor of Humanities at Valencia Community College in Orlando. Daughter of the late Cyril and Mary Bate, she was preceded in death by her husband, Richard Barber; a sister, Dorothy Arnott; a brother, Robert Bate; brothers-in-law Scott Arnott and William Barber; and sisters-in-law Shirley Barber, Mona Barber, and Rose Bate. She is survived by her son, Christian Barber, a sister-in-law and brother-in-law, Joan and Ed Fillman, along with several nieces and nephews and great nieces and nephews. Marthe Page (Howell) Brandt Marthe Page (Howell) Brandt, 78, passed away peacefully at home in Manchester, New Jersey on July 1, 2021. Marthe was born in Elizabeth, NJ, resided in Jackson, NJ, for the majority of her life, and ultimately retired in Manchester. A lifelong musician and educator, her love of teaching reached private music students, the Oak Hill Academy Nursery School, Saint Thomas Christian OCTOBER 2021

Academy, and the school districts of Matawan, Farmingdale, and Jackson, where she served first as an elementary school instrumental music teacher, proudly leading one of New Jersey's only elementary-level marching bands and later as the founding band instructor of the Christa McAuliffe Middle School. Active in theatre communities all across New Jersey, Marthe will be remembered for her contributions to all areas of the arts. She frequently played as a guest organist in many churches across the state. She was a member of the local musicians' union and worked professionally across NJ. Marthe was predeceased by her parents, father August "Kenneth" Axford Howell and mother LaVonne Bidwell Smith. She is survived by her husband, Charles Robert Brandt, her daughter, Meredith Page Brandt-Shields, her son-in-law, Allen James Shields, her granddaughter, Page Theresa Shields, and numerous beloved family members. Sean F. Clancy Sean F. Clancy, on March 28, 2021, of Bellmawr. Age 29. Devoted and Amazing son of Carrie (nee Reyes) and the late Francis Clancy. Loving brother of Brian Clancy (Danyelle). Beloved uncle of Conan. Cherished grandson of Leona (nee Alsdorf ) Clancy. Dear nephew of Stella Clancy and William Clancy. Sean was a music teacher at the Lees Avenue Elementary School in Pleasantville. Sean also taught music at Bellmawr NJ School District as well as Harmony and Verona School Districts in North Jersey. Sean was extremely talented and involved in many venues: Professional Chorister/Vocalist at Haddonfield United Methodist Church, in Philadelphia Symphonic; NY Philharmonic, Manhattan Concert Productions, Brothers in Harmony Member. Sean loved the Marching Arts and was a member of Black Watch Guard, and coached Cinnaminson High School Guard and Wash65 TEMPO

ington Township High School. He also marched with Cadets Drum Corp and got to tour many US states during this time period. Sean packed SO MUCH LIFE into very little time with us and we all will forever miss his bright light.

Edward Gabriel DiFrancesco Edward Gabriel DiFrancesco, 84, died on April 11, 2021 in Camden, New Jersey. Born on March 6, 1937 to Dominic and Anna (nee Soma), Edward grew up in South Philadelphia where he attended St. Monica's Elementary School and Southeast Catholic High School (Bishop Neumann). Inspired by the career of his late uncle, renowned jazz guitarist Eddie Lang for whom he was named, Ed developed a life-long love of music. When he was young he saved money to purchase a jazz book of famous players, of which he was very proud. For a time he worked as a sales person at 8th Street Music. Ed became a proficient guitar and piano player and played private parties as a guitarist in a band. Ed went on to earn his music education degree at Combs College of Music in Philadelphia. He later earned his master's degree in music education at The New Jersey Teachers College (now Rowan University). Ed was an elementary music teacher in the Camden School District where he instructed thousands of students in instrumental performance; he retired in 2013 after 49 years. Ed is survived by his brother Anthony, children Edward (Kim Pawloski), Robert (Rose Smith), and Nancy (Rich Cortes), his eight grandchildren and three great-grandchildren. Barbara Marie Egge Barbara Marie Egge, 64 of Plainwell, MI passed away peacefully on Sunday, May 9, 2021 at home surrounded by love ones. Barbara was born April 10, 1957 in Denville, NJ to John Joseph Masar and A. Elizabeth Masar (Wendt). Barbara and her husband Donald Allen Egge were married 42 years. Barbara is survived in addition to Donald by daughter Emily and son-in-law Pawel Konczyk, son Joshua and daughter-in-law Brynn, and four grandchildren. A native of Montville, NJ, Barbara is predeceased by her parents and sister Judith Perrson.

As a long-time music educator, Barbara touched the lives of countless children in her home state of New Jersey and Michigan. Barbara started her teaching career in Kinnelon, NJ and continued serving students in Randolph (NJ) Public Schools. After relocating to Michigan, Barbara continued her teaching career at Gull Lake Community Schools, Richland, MI. Barbara concluded her education career at Franklin Township School, Quakertown, NJ teaching elementary through middle-school general and choral music. Barbara earned a Bachelor of Science in Music Education from William Paterson College, Wayne, NJ and Masters of Arts in Teaching in the Elementary School from Western Michigan University. Barbara’s passion for vocal and piano music extended beyond her professional career and was pursued through numerous outlets. Dorothy K. Griggs Dorothy K. Griggs, 94, of Whippany, New Jersey, passed away on Sunday, May 30, 2021. Dorothy was born on August 7, 1926, in Jersey City. She was the daughter of the late William F. and Katherine (Lehnert) Bischoff. She was raised in West New York, where she graduated from Memorial High School in 1943. She furthered her education at State Teachers College, Trenton, and earned a BS degree in 1946. Dorothy started her teaching career at Montvale/Hillside NJ Public Schools, where she worked as a music teacher for grades K-8 from 1946 to 1950. She later taught music in the elementary grades for the Hanover Township Public Schools from 1967 to 1991. Her career in education earned her The Governor's "Teacher of the Year" award in Hanover Township, 1986-1987. She was also a volunteer piano accompanist for the Florhamaires choral group in the 1960s. Dorothy, known as "Dot," was petite in stature but had an enormous capacity for friendship and empathy. Even after her retirement from teaching, her former students, spotting her in the community, would approach her and tell her how much her music class meant to them. Dorothy loved to cook and took great pleasure in trying new recipes for her appreciative family. She was predeceased by her beloved husband, William L. Griggs, in 2016. She was the loving mother of Katherine Griggs, Susan Bailey (Donald), Robert Griggs (Janice Kastner), William Griggs (Pilar Ramirez), Donna Tokumaru (Glenn) and



cherished Grandma of Wesley Bailey, Rachel Bailey, Jaeda Tokumaru, Nate Tokumaru, and Pamela Salamanca. She was dearly loved by her cousin JoAnn McKay and sister-in-law, Gloria Thompson. Suzanne H. Hunt Newton - Suzanne H. Hunt, age 90, peacefully passed away on Sunday, June 20, 2021 at Bristol Glen Retirement Community. Born on September 9, 1930 in Newton to the late Ralph Marshall and Gladys Vera (Wilson) Hutchison, Mrs. Hunt graduated from Newton High School in 1948 and received her Bachelor's degree and Master's degree in Education from Trenton State College. She had resided in Newton before moving to Sussex in 1972, when she married her husband, William, before moving to Bristol Glen in Newton. Mrs. Hunt had been employed as a music teacher for the Sparta Junior High School for 34 years prior to her retirement. She was past president of New Jersey State Delta Kappa Gamma Society and an active member of Delta Kappa Gamma Society, Epsilon Chapter. Mrs. Hunt was a member of the Sussex County Retired Educators Association, New Jersey Retirees' Education Association and NEA-R. Mrs. Hunt had been a member of the First Presbyterian Church of Sussex and the Sussex County Oratorio Society. She was predeceased by her husband of 44 years, William M. Hunt in 2016 and her sister, Jane Hutchison Myers in 1990. Mrs. Hunt is survived by her brother, Ralph Hutchison of Pittsburgh, PA; her sister, Mary Louise Hutchison of Newton; and many nieces and nephews. Funeral services will be held at 1 p.m. on Friday, June 25, 2021 at the Pinkel Funeral Home, 31 Bank Street (Route 23), Sussex. Interment will follow at Fairview Cemetery in Wantage. Friends may pay their respects to the family on Friday an hour prior to the service from 12 noon to 1 p.m. at the funeral home. In lieu of flowers, the family requests that memorial donations may be made to the First Presbyterian Church of Sussex, 21 Unionville Avenue, Sussex, NJ 07461. Online condolences may be offered to the family at


Arlene Sue Muller Arlene "Sue" Muller of Harvey Cedars, NJ passed away on April 26, 2021 in the presence of her husband, daughters and grandchildren. Sue was born in Bloomfield, NJ to Tallis and Molly Eager and lived there her entire childhood with her beloved sister Anita Beckwith to whom she is now reunited. Sue leaves behind her loving and devoted husband Paul Muller of 60 years. A graduate of Caldwell College with a BA is Music and Education and a MS in Urban Education, from Trenton State College (The College of New Jersey), Sue had a love for learning, music, American Musical Theater and travel. Sue made it her life's work to encourage a love of the performing arts in her students as a Junior High School music teacher in Newark, Cranberry and Trenton, NJ. While in Trenton, she worked with world renowned dance and theatre companies such as Alvin Ally, Jacque D'Amboise and the McCarter Theatre of Princeton to motivate and encourage her students to reach for their dreams. Sue also leaves behind her daughters Susan Weiss, and Aileen Casey, along with their husbands Fred and Scott; five grandchildren, Molly Marr, her husband Clayton, Frederick Weiss (known as JJ), Caileen, William and Jade Su Casey as well as three great grandchildren Paul, Cora and Barrett Marr and nieces, nephews, cousins and beloved friends. Peter George Tomasi Tomasi, Peter George, age 77, of Hawthorne NJ, passed away on Sunday, May 9, 2021. Born and raised in Paterson, Peter graduated from Eastside HS and he continued his education at NY College of Music (now NYU) and earned a BA degree. Peter met the love of his life at a dance. They fell in love and married on March 25, 1967. After a short stay in Fair Lawn they moved to Hawthorne where he lived the rest of his life. Throughout Peter's life he worked in the music industry first as a Music Teacher/ Band Director at Irvington HS and Midland Park HS. Peter went to work for Jupiter Band Instruments as Regional Sales Manager for the Northeast, where he worked until retirement. Peter was a member of the Ridgewood concert band where he played clarinet and served as president of the group for many years. Peter was the beloved 67 TEMPO

husband of Carol A. (nee Koningswood) Tomasi. Loving father of Peter George Tomasi, III of Hawthorne and John Stephen Tomasi and his wife Jessica (nee Wittner) Tomasi of North Haledon. Grandfather of Evan John Tomasi, Lorelai Grace Tomasi, and Cassidy Emmanuelle Tomasi. Son of the late George Richard Tomasi and the late Katherine J. (nee Polizzotto). Brother of Margaret (nee Tomasi) Garbarino and her late husband Richard, and George R. Tomasi and his late wife Linda (nee Maurer) Tomasi. He is also survived by many nieces, nephews, great-nieces, great-nephews and great-grand-nieces. Verna Engel Zelaney Verna Engel Zelaney was born in 1933 in Phila., Pa and grew up in Cheltenham, Pa. She was a 1951 graduate of Cheltenham High School and received a Bachelor of Science Degree in Music Education from Temple University and did post graduate work in music at Westminster

Choir College, Princeton, NJ. She began her teaching career as an Elementary Music teacher in the Cheltenham Township Schools for 7 years and then for 25 years in the Delran Township Schools as an Elementary and Middle school teacher and as the High School Choral Director. She also taught music for 5 years at Westfield Friends School in Cinnaminson, NJ. She was a member of the American Guild of Organists, Association of National Pastoral Musicians, Alumni Board of the Esther Boyer College of Music and Dance, Diocese of Trenton Festival Choir, The Greater South Jersey Chorus, and Burlington Entertainers. She is survived by daughter Karen Zelaney of Palmyra NJ. She is also survived by her sister Roberta (Bain) Malone of Akron, Ohio; brother: Clarence (Corky and Joanne) Engel of Laporte, Pa; nieces: Candice and Kyndra Malone, Amie (Andrew) Germain; nephew: Wade Malone, and two great nieces and two great nephews. She was predeceased by her son David Zelaney.

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

Music Education Advocacy Resource Center (case-sensitive) TEMPO 68


DID YOU KNOW? From research and teacher education to leadership opportunities and best practices in your specific music teaching area, NAfME Societies and Councils are here to help you move ahead in your music education career. NAfME Societies and Councils provide expert, committed, representative leadership for all key areas of music education.

Learn how NAfME Societies and Councils can support you as a music educator. • • • • • • • • • • • • • • • •

Society for Music Teacher Education (including 12 Areas of Strategic Planning and Action or ASPAs) – Society for Research in Music Education (including 15 Special Research Interest Groups or SRIGs) – Council of Past National Presidents Council of State Editors Council of State Executives Council for Band Education Council for Choral Education Council for General Music Education Council for Guitar Education Council for Innovations Council for Jazz Education Council for Music Composition Council for Orchestral Education Council of Music Program Leaders Collegiate Advisory Council Music Honor Society Advisory Council (Tri-M®)

Visit (case-sensitive) Questions? Please contact Kim Henry: National Association for Music Education I 1806 Robert Fulton Drive, Reston, VA 20191 I I 1-800-336-3768



NJMEA 2021-2023 Board of Directors Executive Board

President Lisa Vartanian

Past President

Paramus School District lvartanian[at]

Patrick O’Keefe

President-Elect Wayne Mallette

Scotch Plains-Fanwood District mallette.njmea[at]

Absegami High School patrickaokeefe[at]

Executive Director

NJSMA, President

CJMEA, President

Anthony Wayne Middle School president[at]

Monroe Township Schools percussion[at]

Christopher DeWilde

Yale Snyder

William McDevitt

Retired wmcdevittnjmea[at]

SJCDA, President

SJBODA, President

Northern Burlington Reg HS dtaylor[at]

Collingswood/Oaklyn Schools sjbodapresident[at]

David Taylor

NJMEA Board of Directors - Appointed Members

Lori Ludewig

K-12 Ed Tech and Innovation Shawna Longo Durban Avenue School shawnalongo[at] Music Industry James Frankel jim[at]

Administration Dennis Argul Retired dennisargul[at]

Choral Performance Michael Doheny Winslow Township High School michaeldoheny70[at]

Advocacy Libby Gopal East Orange Campus HS libby.gopal[at]

Chorus/Orchestra/Jazz Joseph Cantaffa Howell High School jcantaffa[at]

Orchestra Performance/Festivals Susan Meuse Hammarskjold Middle School susanmeuse[at]

Band Festivals/NJEA Liaison Nancy Clasen Thomas Jefferson Middle School nancyclasen[at]

Conferences Marie Malara Retired malara97[at]

PreK-8 General Music Amy Burns Far Hills Country Day School aburns[at]

Band Performance Nick Mossa Bridgewater Raritan High School nmossa16[at]

Guitar/Expanded Ensembles Jayson Martinez Newark Arts High School jmarti37[at]

Retired Members/Mentorship Kathy Spadafino Retired kspadeb[at]

Choral Festivals Higher Ed./Research/Collegiate Donna Marie Berchtold Colleen Sears Retired The College of New Jersey firesongwed[at] TEMPO 70 quinnc1[at]

Special Learners Maureen Butler Retired maureenbutlermusic[at] OCTOBER 2021


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

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

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


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

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

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 2019 - 2021

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 Patrick O'Keefe



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KEITH KYEWALABYE Class of 2021 Major: B.A. in Biology Minor: Music Internship: Cancer research internship at MD Anderson Campus Participation: Marching Band University Chorale Commencement Speaker

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