VOLUME 80, No. 3
MARCH 2026
MARCH IS MUSIC IN OUR SCHOOLS MONTH® Find out how you can celebrate in your school and community!
MUSIC IN OUR SCHOOLS MONTH nafme.org/MIOSM | #MIOSM | #UnitedThroughMusic
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The Official Magazine of the New Jersey Music Educators Association a federated state association of the National Association for Music Education
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Volume 80, No. 3 https://www.njmea.org MARCH 2026
FEATURES
DEPARTMENTS AND NJMEA BUSINESS Advertisers Index & Web Addresses....45
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President's Message - Yale Snyder
Board of Directors................................ 43
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President-Elect's Message - Anthony Lanzerotti
Editorial Policy & Advertising Rates.....44
10 News from the Board of Directors
In Memoriam....................................... 34 Marching Band Festival 26.....................7
20 Elementary Music Takeaways from the NJMEA Conference Amy M. Burns 22 Every Body Dance Now! Laura Montanari
NJMEA Awards..................................... 41 NJMEA Past Presidents........................44 Resource Personnel.............................. 33
26 Where are the Children's Choirs? Jessica Harrison Calderon
Round the Regions............................... 35
28 A Case for the Blues in the Modern Music Classroom Andrew Zhang
FORMS AND APPLICATIONS Please go to njmea.org
TEMPO Editor - William McDevitt 300 W. Somerdale Road, STE C Voorhees, NJ 08043 Phone: 856-433-8512 e-mail: wmcdevittnjmea[at]gmail.com Deadlines October Issue - August 30 January Issue - December 1 March Issue - February 1 May Issue - April 11
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. Inquiries regarding advertising rate, closing dates, and the publication of original articles should be sent to the Editor. Volume 80, No. 3, March 2026 TEMPO Editor - William McDevitt C/O NJMEA, 300 W Somerdale Rd, STE C, Voorhees NJ 08043
Click on the desired activity for downloadable copies of all their forms & applications
EMAIL/ADDRESS CHANGES Please go to nafme.org to record email and address changes.
President's Message Yale Snyder Monroe Township Schools snyder.njmea[at]gmail.com
of the conference was welcoming Dr. Peter Boonshaft as our keynote speaker. As my former undergraduate teacher at Hofstra University, it was truly a full-circle experience for me. His address was powerful, moving, and deeply affirming of the work we do each day. He reminded us not only of the technical and pedagogical excellence we strive for, but of the human impact of our profession, the relationships we build, the confidence we nurture, and the lifelong memories we help create. It was, without question, one of the finest keynote presentations in NJMEA history and a moment I will always treasure. The Friday Night Gala Concert by Brasilian Vibes brought incredible energy to the conference. The room was electric, there were smiles everywhere, rhythms that moved the entire audience, and yes, an unforgettable moment when the president was invited on stage to participate! I can only hope that footage does not resurface on any highlight reels anytime soon! What made the evening especially memorable for me was watching our All-State students fully immersed in the experience. They were on their feet, clapping, dancing, laughing, and completely engaged. It was one of those rare moments when professional musicians and student performers shared the same unfiltered joy. The energy in that ballroom was unlike anything we have experienced in years, and it reminded all of us that music is not only about precision and excellence, but about connection and celebration. We were also honored during the gala to welcome our colleagues from Arts Ed NJ, who joined us to present the Governor’s Awards. Thank you for your partnership and for the advocacy work you do each day to elevate arts education across New Jersey. Your presence at the conference reinforced the importance of collaboration as we continue to champion opportunities for all students. Our All-State ensembles performed with remark-
The NJMEA 2026 State Conference is now in the books and took place February 19-21, 2026, in Atlantic City. It stands as one of the most meaningful and rewarding experiences of my professional career as my first one as NJMEA President. Having the opportunity to lead this organization during such a powerful gathering of educators and students is something I will never forget. I am deeply grateful, genuinely humbled, and profoundly inspired by what we experienced together. From the opening session through the final performance, there was a palpable energy throughout Atlantic City. Hallways were filled with conversation and connection. Sessions were purposeful, practical, and inspiring. Student performances were electrifying. Our conference theme, Catch the Groove, Fuel the Passion, Grow the Future, was not simply a tagline, it was fully realized in every room and every interaction. To every educator who attended, thank you. Your commitment to professional growth and to your students is what makes NJMEA strong. I hope you returned to your schools energized and equipped with ideas that will directly impact your classrooms and rehearsal spaces. The sessions were outstanding, and the quality and variety were truly impressive. There was something for everyone, regardless of grade level, discipline, or years of experience. Our collegiate chapter did a fantastic job and even presented two sessions, demonstrating both leadership and professionalism. I extend my sincere thanks to all our presenters for sharing their expertise, as well as to the entire NJMEA Board of Directors for their thoughtful work in selecting the very best sessions to offer our membership. Reconnecting with colleagues and welcoming new educators into our community served as a powerful reminder that NJMEA is, at its core, about people, shared purpose, collaboration, and the belief that music education transforms lives. One of the most personally meaningful moments TEMPO
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able artistry and professionalism. While we were deeply disappointed that the performance at New Jersey Performing Arts Center had to be canceled due to the snow, I remain incredibly grateful that we were able to share a meaningful and memorable concert together on Saturday morning in Atlantic City. The resilience and maturity demonstrated by our students in the face of disappointment spoke volumes about their character. We were privileged to welcome Dr. Wayne Mallette, Eastern Division President, whose leadership and friendship continue to strengthen our organization. It was also a pleasure to host Jazzmone Sutton, NAfME Senior Manager of State Advocacy, whose work at the national level supports and amplifies the efforts happening here in New Jersey. None of this would have been possible without the extraordinary individuals working behind the scenes. Marie Malara, our Conference Manager, and her entire team, deserves special recognition. The scope, complexity, and precision required to produce an event of this magnitude are extraordinary. From coordinating schedules to managing presenters, performances, logistics, and countless moving parts that most attendees never see, Marie and her team operate with remarkable professionalism and tireless dedication. Their attention to detail, calm leadership under pressure, and unwavering commitment to excellence are the foundation upon which this entire conference is built. Quite simply, the NJMEA State Conference does not happen without Marie Malara and her exceptional team. Our Executive Director, Bill McDevitt, is the glue that holds NJMEA together. His steady guidance, insti-
tutional knowledge, and quiet leadership sustain this organization year-round. Bill’s ability to navigate challenges, support our board, and ensure continuity across every aspect of NJMEA’s work is invaluable. Much of what he does happens behind the scenes, but his impact is visible in every success we celebrate. NJMEA is stronger because of his dedication, wisdom, and unwavering commitment to our mission. To our NJMEA Executive Board and President-Elect Anthony Lanzerotti, thank you for your leadership, collaboration, and support throughout every step of the process. As we enter the final months of the school year, I am excited for all that lies ahead, spring concerts, adjudicated festivals, community performances, and the culminating events that showcase the incredible growth of our students. This is the season when the hard work of daily rehearsals becomes visible to families and communities, and I look forward to celebrating the accomplishments happening across our state. Serving NJMEA in the role of President is an honor I do not take lightly. I am deeply grateful for the trust you have placed in me and for the opportunity to work alongside such dedicated music educators. If I can ever be of assistance to you, please know I am only a call or e-mail away. Thank you for your passion, your professionalism, and your unwavering commitment to students. Together, we will continue to Catch the Groove, Fuel the Passion, and Grow the Future.
Yale
Coming in TEMPO - May 2026 2026 NJMEA Conference Pics NJMEA Award Winners NJ All-State Student Lists All-State Solo Lists
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President-Elect's Message Anthony Lanzerotti Woodrow Wilson Middle School lanzerotti.njmea[at]gmail.com
It was great to reconnect with so many dedicated music educators during our recent music conference in Atlantic City. Events like this remind us how strong and passionate our community is when we gather to share ideas, celebrate student achievement, and look ahead to the future of music education in our state. One of the highlights of the conference was the amazing work of our clinicians and school performing ensembles. Their sessions and performances showcased not only outstanding musicianship but also the dedication of educators who guide and support these students every day. Seeing young performers bring their talents to the stage confirmed why music education remains such a vital part of our schools. Throughout the conference, I had the pleasure of speaking with many members of our association. These conversations were thoughtful, energizing, and focused on a shared common goal. Our work as educators goes
far beyond the classroom; it includes building partnerships, supporting colleagues, and ensuring that music remains accessible to all students. As President-Elect, I am committed to working closely with our executive team to strengthen the ways we serve our state and our school communities. I would also like to extend my sincere appreciation to Yale Snyder, David Westawski, and William McDevitt for their constant guidance and support. Their leadership and experience have been invaluable, and their commitment to music education in our state remains a priority. I’m grateful for the connections made at this year’s conference and look forward to what we will accomplish together in the months ahead.
Anthony
SAVE THE DATE 2027 NJMEA State Conference February 18-20, 2027 Atlantic City Convention Center
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REGISTRATION OPENS MARCH 1 S T 2026 Email annepascale@wayneschools.com to register *FIRST COME FIRST SERVE*
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News From the Board of Directors Band Performance Jesse Argenziano njmeaband[at]gmail.com This year’s All State Band and Treble Choir put on phenomenal performances at the NJMEA convention Saturday February 21 and we hope you were able to attend that weekend to share the experience. Each group received a well-deserved long standing ovation. It is unfortunate that we had to cancel the NJPAC performance due to the inclement weather. Our ensembles were led by: Patrick Hachey (Roxbury High School) conducting the Treble Choir, Dr. T. André Feagin (Central Washington University) directing the Wind Ensemble, and Dr. Kevin Holzman (University of Cincinnati) leading the Symphonic Band. If anyone got a chance to see any of them in rehearsals, it was a fantastic display of music education from master conductors and pedagogues. The program was most entertaining, well-diversified, and professionally executed by the musicians. Congratulations to Alex Fullam, trombone, from Roxbury High School, and James Krempasky, Euphonium, from Bridgewater Raritan Regional High School who were the recipients of this year’s Governor's Awards. A big “thank you” to all the directors/sponsors for their help in auditions, selecting the students for these groups and working through the audition process. Regarding auditions, we will make sure the communication is 100% clear when preparing All State Band forms after your Region Auditions. Your ongoing support and dedication behind the scenes is what makes these life-changing ensembles a reality and memorable experience for our students. Shawn Nagpal (Monroe Twp.), Val Kuntz (Williamstown), and TJ Brungard (South Brunswick), need to be recognized for all the time and effort they put into preparing and running auditions. Please also join me in thanking Allan Daleus (Watchung Hills), All State Band Procedures Chair, who led this massive process from beginning to end with such ease, and finally our prior Procedures Chair, Tyler Wiernusz (Clearview), for his help with auditions and being a liaison during our transition. Looking forward to next year, the 2027 All State Band List should be available soon. You can access it directly by visiting https://www.njmea.org/all-state-band/auditions-1.
Choral Festivals Donna Marie Berchtold firesongwed[at]gmail.com What a pleasure it was to see many of you at the recent NJMEA Conference in Atlantic City! The sessions and concerts I attended were so exciting and informative! The students in our state are very fortunate to have such dedicated teachers in their lives. Moving forward I wanted to share information regarding the NJMEA Middle School Junior High Choral Festivals for this year. The 71st Annual NJMEA Middle School – Junior High Choral Festival dates are scheduled for the spring of 2026. Karen Blumenthal and I will coordinate the Festivals again. The Festivals are currently scheduled to be held at two separate locations. • The first event (South Site) will take place at Rowan University on Thurs. March 19, 2026. The deadline for applications is February 6, 2026. (Event time: 9:00 AM – 1:30 PM). REGISTRATIONS ARE CLOSED. • The second event (North Site) will be held at Monroe Township Middle School on Wed. April 29, 2026. The deadline for applications is March 13, 2026. (Event time: 9:00 AM – 1:30 PM). We curently have 5 choirs registered with only 5 opening ramaining. Any schools interested in participating should be sure to complete the application form available online at www.njmea.org. Anyone with questions or concerns may contact Donna Marie at: firesongwed[at]gmail.com TEMPO
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News From the Board of Directors PreK-8 General Music Amy M. Burns aburns[at]fhcds.org The recent NJMEA conference was a wonderful gathering of educators from across the state. The conference opened with the Elementary Academy’s featured presenters, Lillie Feierabend and Bill Henry of Mr. Henry's World, whose sessions helped kick off a strong lineup of elementary and middle school general music workshops focused on methodology, movement, instruments, repertoire, games, and assessment. Looking ahead, the NJSMA Elementary Choral Celebration on May 27, 2026, has just two performance slots remaining — one in the morning and one in the afternoon. On June 2, 2026, NJSMA will host its Annual K–12 Professional Development Day Workshops and Luncheon ($25 for NJSMA members; $55 for other NAfME members), featuring sessions on choral rehearsal strategies, bucket drumming, and favorite elementary music activities. Educators in CJMEA interested in general music involvement are encouraged to connect, as efforts continue to expand general music opportunities in NJMEA's southern division.
Choral Performance Brian Williams NJAllStateChoir[at]gmail.com Thank you all so much for all of your support in this year of choral music at the state level. We were all blown away by the Treble Choir led by our very own Patrick Hachey in February. Any All-State experience does not happen without the dedication and expertise of a small army. Special thanks to Thomas Schreck and Jess Kolody for their brilliant leadership as choir managers. Krista Sweer for her exquisite piano playing, his insight into his own writing and the repertoire as a whole. Joe Cantaffa for being the genius behind all the production operations. Nancy Dickinson for her tireless and brilliant work as Housing Director. Bill McDevitt for all his work behind the scenes to make sure everything runs as smoothly as it does. Yale Snyder for his continued guidance and leadership as our President. Lastly, an immense thank you to all of you who chaperoned and gave of your time, we could not have done it without you. The All-State Choral Procedures Committee extends its sincere thanks to Matt Lee, Matt Wolf, and Mel Daneke of Viridian Productions for their outstanding work in producing the new recordings of The Silver Swan. Their professionalism and attention to detail have created a high-quality resource that will serve this year’s auditions and future students alike. We are also deeply grateful to the talented singers who generously lent their voices to the project. Their artistry and commitment have helped create a lasting contribution to our choral community. We are ready to go for auditions for next year’s ensembles, please make sure you look at our website (https://www.njmea. org/all-state/chorus) to get all of the information you need. We look forward to working with you to produce another amazing season in 2026 - 2027. If you have any questions or would like to reach out, please contact Brian Williams or Ken Bryson at NJAllStateChoir[at]gmail.com.
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News From the Board of Directors Accessible Music Education Maureen Butler maureenbutlermusic[at]gmail.com What an amazing conference we had this year! It was a banner year for Accessible Music, as there was an all-time high of 19 sessions that focused on this important topic, including: inclusion in ensemble and theater settings; autism; neurodiversity; dysregulation; non-speaking learners; recommendations for auditions; networking with paraprofessionals; behavioral strategies; and working with Deaf and hard of hearing children. New this year were two eye-opening sessions about the important yet often overlooked topic of teachers with disabilities and/or chronic illness. Our annual Roundtable discussion consisted of a full hour of questions and concerns from teachers and insightful answers from our panel. It’s always so encouraging to experience firsthand the eagerness of members of our field who continue to learn, gain insight, and develop new techniques and strategies. If you missed any of these sessions and want to know more about their content, contact me and I can direct you to the right resource person. Our Accessible Music Education Committee is always glad to help.
Diversity/Equity/Inclusion/Access Isaiah C. Mason deia.njmea[at]gmail.com It was great to connect with you all at our 2026 Annual State Conference! The DEIA Committee hosted several sessions and engaged in meaningful conversations centered around Diversity, Equity, Inclusion, and Access. The conference is always an excellent reminder of how many talented and dedicated music teachers work in our state! As we celebrate Music in Our Schools Month, the DEIA Committee encourages you to consider how you can be as inclusive as possible in your celebrations. The NAfME ” MIOSM Activity Ideas to Involve Your School and Community” page offers multiple examples of achieving this goal while reaching a diverse community of stakeholders. You can google search the page. The DEIA Committee is available to assist in your efforts. Feel free to email deia.njmea@gmail.com to learn more about our various initiatives, how to join our team, or ways we can support you and your program.
Orchestra Performance/Festivals Elisabeth Sato orchestra.njmea[at]gmail.com First, I would like to thank all who helped put the 2026 NJMEA Conference together, all who attended, and all who presented! We were very excited that Annie Ray, Orchestra Director and Performing Arts Department Chair at Annandale High School in Annandale, Virginia, and the 2024 GRAMMY Music Educator Award winner, was able to attend and present three stellar sessions at this year’s conference. This was a great conference, and I look forward to seeing everyone next year! TEMPO
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News From the Board of Directors As we enter March, we are once again preparing for the All State Orchestra and Intermediate Orchestra auditions. Both ASO and ASIO auditions will take place at JP Stevens High School in Edison on Saturday, March 21. Thank you to Brian Verdi and Justin Lee for hosting the auditions. You can find more information about auditions on the NJMEA website. We are also busy preparing for the Middle School and High School Orchestra Festivals. The HS Festival will take place at Metuchen High School on Tuesday, March 3, and Chris McEwan will be hosting the event. The MS Festival will take place at Bridgewater-Raritan Middle School on Wednesday, March 18, and Caty Butler will be hosting. We want to thank Kyle Ritenauer for adjudicating the HS Festival and Helen Cha-Pyo for adjudicating the MS Festival. Finally, at the end of April, the ASIO will begin rehearsing and Michael Avagliano will be our conductor. We look forward to his exciting program!
Retired Members Kathleen Spadafino kspadeb[at]aol.com NJRMEA enjoyed a breakfast meeting on Friday, February 20 at the Sheraton as part of the NJMEA conference. New members as well as “the regulars” shared our current activities. President-Elect Anthony Lanzerotti introduced himself to the group. We discussed future ways to meet and share our love of music. We also went on Facebook and liked the NJRMEA Facebook page – New Jersey Retired Music Educators Association. We then looked at our contacts and invited people to join, which is necessary in a private page. Please check out the Facebook page and see what retired folks do after teaching. Please give suggestions for new ways to share – plug your event!
Administration/K-12 Ed Tech Shawna Longo shawnalongo[at]gmail.com The NJMEA Music TechFEST Committee is proud of the projects that students submitted. You can hear all of the amazing student project submissions, including the winners in each category, by heading over to the NJMEA website - https://www.njmea.org/music-technology-expo Winning compositions included: Mix Competition 1st Place: Ethan Callahan (Delsea Regional High School) 2nd Place: JhaMir Smith (Delsea Regional High School) 3rd Place: Elijah Robinson (Delsea Regional High School) Original Compositions or Songs 1st Place: Ella Ralph (Pitman High School) 2nd Place: Cameron Spicer (Pitman High School) 3rd Place: Antonio Rojas (Pitman High School) To learn more about how you may be able to include your students next year, feel free to reach out to me via email or directly to Vincent DuBeau (vdubeau[at]delsearegional.us).
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News From the Board of Directors
ADMINISTRATION: Our last general membership meeting was on February 6th and featured a roundtable discussion with New Jersey college and universities representatives of their music education programs. Our next joint meeting with AANJ will occur on Friday, March 20th at The Rutgers Club. Check your email for more information and/or details of the event.
Collegiate/Higher Ed/Research Marissa Silverman silvermanm[at]montclair.edu Happy spring, New Jersey music educators. I’m not sure how you all feel, but, for me, this winter felt long. About spring’s emergence after a long winter, poet Emily Dickinson wrote: “Dear March—Come in—/How glad I am—/I hoped for you before—/Put down your Hat—/You must have walked—/How out of Breath you are—/Dear March, how are you, and the Rest—/Did you leave Nature well—/Oh March, Come right upstairs with me—/I have so much to tell—” Doesn’t Dickinson’s spring seem so hope-filled? So, we choose to embrace hope, to live through and lean into the possibilities that early spring affords. At this point, the 2026 NJMEA Conference is in the rear-view mirror. I am grateful to the submissions received and am even more grateful to the presenters. Research posters examined and surveyed topics such as music “literacy” and notation, music education assessment strategies, social-emotional development connected to music teaching and learning, trauma-informed music pedagogies, needs and strategies for teaching students in need of instructional support services, music teacher professional development, advocacy, and more. The titles of some of the presentations were: “Embodied Approaches to Musicianship: Exploring the Impact of Structured Movement on Beginner Brass Instruction”; “Postcards from Summer: Rest, Reflection & Resonance”; “Music Education and Chinese New Year”; “Musical Play as Pedagogy and Social Practice: Fostering Culture, Community, and Social and Emotional Learning in Elementary Music Education”; “‘Eating the Rice I Planted by Myself’: Prismatic Pedagogy Through Instrument-Making”; and “How Trauma-informed Music Teaching Matters: A Case Study.” Additionally, at the 2026 NJMEA Conference, the Collegiate Division, especially the 2025-2026 e-Board—Clark Mitchell, President (Rutgers University); Nikki Hayden, Vice President (TCNJ); Kai Cleary, Secretary (Rutgers University); Min Hwang, Treasurer (Rowan University); and Sean Masino, Social Media Coordinator (Rutgers University)—did an amazing job by, in addition to running a packed breakfast meeting, holding two sessions: “Improving Engagement: Growing Tri-M and Collegiate Chapters into Communities” and “Posting With A Purpose: Navigating Social Media in the Music Classroom.” Thank you to all the presenters, whether preservice or inservice music educators! So, now it’s time to get ready for next year’s gathering. I will send out a Call for Research Papers—the selected of those would be presented during a poster session at the 2027 NJMEA Conference. Stay tuned. Additionally, I’d like to find out what I can do for New Jersey music teachers. Moreover, I love visiting schools. So, please reach out if you need support. I’ll do my best to help. As Christina Rossetti wrote: “There is no time like Spring, /When life’s alive in everything...” Enjoy every tulip!
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News From the Board of Directors
Advocacy Arwen Kapusta arwenkapusta[at]gmail.com It was wonderful to see so many of you at the conference in February. The NJMEA conference always sparks a fire in me, and I truly appreciate all of the conversations, connections, and courses that were part of my conference experience. Thank you to everyone who was able to participate in our series of advocacy training courses available. And very special thank you to the wonderful Jazzmone Sutton who joined us from NAfME to provide two invaluable courses: Using Storytelling to Shape Our Advocacy Efforts and Advocacy Strategies for the Music Educator. New Jersey Music Educators are so lucky to have two exciting months back-to-back: Conference in February and Music in Our Schools Month (MIOSM) in March. Consider asking the mayor in your town to make a proclamation in honor of MIOSM. Or even just ask your building principal. You can find a sample proclamation on the NAfME website or take advantage of all that AI has to offer to create your own. A proclamation is a great way to let your community and school know about MIOSM and educate them on the importance of music in our schools. Finally, as you begin to move into the final quarter of the school year, take a moment to reflect on your music program. How has your program been supported this year, and what kind of support could make a positive difference or impact for next year? What has been your biggest challenge this year, and where have you and your students seen the greatest success? What policies and decisions have affected your program, for better or for worse this year? Taking the initiative to ponder on what you have versus what you need could help you to plan and stage your future advocacy goals. If you have a few moments, scan the QR code to consider a few more advocacy questions and provide some valuable feedback. Your feedback will help shape our future advocacy offerings at the NJMEA conference as well as our advocacy communication with our membership. As always, reach out with any questions or concerns.
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Scan here to answer advocacy survey questions.
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JANUARY TEMPO 2022
Concerts for Young People In the 2025–26 season, the New Jersey Symphony will debut two Concerts for Young People programs that support and enhance classroom learning. These programs are aligned with New Jersey State Standards and created specifically for students in grades 3–5. Each program features an engaging host and an interactive performance experience. Teachers receive a comprehensive learning package that includes classroom resources, audio clips, presentation slides, and other materials to supplement instruction before and after the concert.
Tchaikovsky’s The Sleeping Beauty
Mozart’s The Magic Flute
Morristown → Thursday, March 19 at 10 am Mayo Performing Arts Center
Rahway → Wednesday, March 18 at 10 am Union County Performing Arts Center
Presented in collaboration with New Jersey Ballet
Presented in collaboration with Undead Arts
Englewood → Thursday, March 19 at 10 am Bergen Performing Arts Center Newark → Tuesday, March 24 at 10 am New Jersey Performing Arts Center
$10 TICKETS | RESERVE TODAY! For more information contact: nsrinivas@njsymphony.org or 862.401.4515 Made possible by funds from the New Jersey State Council on the Arts, a partner agency of the National Endowment for the Arts.
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We are proud to partner with leading New Jersey arts organizations to bring these exciting performances to life.
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Elementary Music Takeaways from the NJMEA Conference Amy M. Burns Far Hills Country Day School NJMEA PS-8 General Music Chair aburns[at]fhcds.org
Following the Elementary Academy, many participated in multiple elementary and middle school general music sessions spanning topics from movement to classroom management, instruments in the classroom, resources, music games, assessment tools, centers, SEL, world dances, songwriting, world drumming, and practical ideas for Boomwhackers, ukuleles, recorders, and barred instruments. Sessions also explored grade-level specific strategies, literature to use with children, and ways to support all learners through creative music-making.
Our recent conference was a tremendous success, beginning with the Elementary Academy’s inspiring sessions from our featured presenters, Lillie Feierabend and Bill Henry of Mr. Henry's World. Their work set the tone for a wide range of elementary and middle school general music sessions that explored teaching methodologies, movement, classroom instruments, repertoire, games, assessment strategies, and practical ideas teachers can bring directly into their classrooms.
Teacher Voices and Takeaways It was great to hear from those who attended with some of their favorite takeaways. Many shared that the sessions across the three days built naturally upon one another. Saturday’s sessions helped synthesize the dancing activities, games, research, and teaching strategies explored earlier through the lens of advocacy and meeting the daily needs of students. Many left inspired to expand their classroom libraries with book recommendations from Lillie, whose sessions were frequently described as engaging, musical, and deeply practical. Sessions led by Carol Swinchoski — especially the Canons & Building Harmony in Your Instrumental Ensembles — were especially impactful. The Fan Favorites session with Christine Nowmos brought energy and joy, while instrument-focused sessions allowed teachers to actively make music alongside presenters. Some noted that sessions such as On the Move in Your Elementary Music Room provided activities they could implement immediately when returning to the classroom the following week. And the folk dancing session, How to Host a Family Folk Dance with Lillie and Even More Global Grooves: A Celebration of Lesser-Known Multi-Cultural Dances! 2026 Edition with Lisa Wichman gave participants numerous community-building activities that they
Lille Feierabend
Lillie’s sessions focused on folk dances and the vocal components of the 8-step format found in First Steps in Music for Preschool and Beyond, highlighting the importance of joyful singing, movement, and intentional sequencing. Mr. Henry’s sessions centered on building strong foundations when introducing ukulele and recorder with elementary students, emphasizing accessibility, success, and musical confidence from the very first lesson. TEMPO
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could use with their students in the classroom or on a family folk dancing event. Many also appreciated the balance of pedagogy and practicality across the conference. Rhythms and Rotations: Creative Centers in Elementary General Music with Amy Paz offered concrete structures for differentiation, and her collaborative session with Juliette Panzitta, Playing With Purpose: A Music Classroom Approach to SEL Through Musical Play, Emotional Regulation, and Social Connection, helped us all embed socialemotional learning into daily instruction.
Instrument sessions also continued to be a highlight. Ian White introduced new approaches to elementary ukulele instruction, supported by instruments generously provided by Kala Brand Music Co., with some educators even leaving with ukuleles to bring back to their classrooms. One of the Saturday sessions with Sarah Healey, Beyond the Method Book, resonated strongly for beginning instrumental instruction. Many valued practical strategies for helping students produce their first sound, prioritizing rhythm, and ensuring early success for every learner. Across all these sessions, a consistent theme emerged: music teachers want ideas that are practical, musical, developmentally appropriate, and feasible within real classroom constraints — and this conference delivered. Resources That Extend the Learning One of the strengths of the conference was the emphasis on sharing resources beyond the session room. Many presenters provided slide decks, websites, handouts, and online communities so teachers could continue exploring the ideas introduced. Please check the NJMEA Community Facebook Group for a post encouraging the presenters to reshare their resources/sites/etc. Looking Ahead
Bill Henry of Mr. Henry's World
Additionally, the Research Poster Session offered insights that bridged research and classroom practice, while roundtable discussions — addressing topics such as accessibility and burnout — highlighted the pressing realities music educators navigate each day.
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The momentum from this conference reminds us that when teachers are given time to learn, create, and share together, the impact reaches far beyond the conference walls and directly into classrooms and students’ musical lives. I hope to see you at future elementary and middle school general music professional development events. Please check my report earlier in this online magazine to see what is coming up soon.
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Every Body Dance Now! Re-inviting Dance and Creative Movement in Every Music Classroom and Ensemble Laura Montanari Montclair State University montanaril[at]montclair.edu As you read the title of this article, I hope you sang (whether out loud or silently) the song associated with it and, in doing so, channeled the iconic voice of Martha Wash of C&C Music Factory. While my alto voice often struggles to reach that high F, my body cannot help but be carried away by the syncopated rhythm that follows the song’s infectious opening line! Whenever I teach Music & Movement courses at the higher-education level, almost everyone joins in singing and moving before we delve into in-depth conversations about how, from an early age across most cultures, we regulate our bodies through music and movement. Oftentimes, especially in school, we are conditioned to be on check: don’t sit on the floor, don’t get dirty in the park, sit up, don’t sit like that, line up behind your peers, keep your eyes forward, keep your hands to yourself, and so forth. Music educators use these strategies to help children become aware of how their bodies interact with others and to respect personal boundaries. However, these strategies often limit music teachers by regulating and redirecting children’s natural inclination to move freely, creating tension and fear rather than fostering self-regulation and safe exploration. I usually invite pre-service teachers to consider: How might music teachers reach the same goals of redirecting and focusing young learners through fun activities and creative movement? In today’s era of smartphones and digital technologies, many adults monitor children's interactions with peers throughout the day, disciplining their bodies for efficiency and compliance, while older adults (myself included!) lament how we used to play freely in the streets for extended periods. Moreover, in Western societies in particular, a sedentary life is a self-fulfilling fate that begins too early, as children are often placed in front of screens—video games, phones, tablets, and assignments on various platforms. Notably, in 2010, Michelle Obama launched the “Let’s Move” campaign in the United States to promote a healthier generation of children. Back then, few could have anticipated how quickly smartphones and social media would TEMPO
claim our time and attention, or how children’s opportunities to develop a range of motor skills would diminish. The questions we should have started asking then still stand: How can we create more opportunities for students to explore movement in all its forms? And how might they develop a more holistic, personal relationship with their bodies during their school years? In schools and after-school programs, bodies are primarily trained through sports. Students are taught to execute precise gestures to become better players—to improve, to score, and, hopefully, to win the next game. In many ways, this is what our former First Lady encouraged us to do, as her campaign relied on contributions from those sports programs that enrich our communities. Yet within this framework, bodies are often understood as muscles to be trained or as competitors measured against one another. While sports are invaluable for children’s health, physical development, and cultural participation—and, incidentally, my parents met through volleyball, so any bias on my part would be self-defeating—they often train our bodies to perform rather than to be fully inhabited, asking children to meet standards and achieve results rather than cultivating self-expression. This article advocates a “yes, and” approach—building on what already works while intentionally cultivating students’ bodily awareness and individuality. Every. Body. What if a student’s body is not suited to the sports offered in our schools, or to any sport at all? What if their personality is not drawn to competition? What about students with disabilities that make participation in school teams not a choice? I have seen some students join Paralympic clubs outside of school, while others and their families lacked the resources—time, transportation, or support—to do the same. What message are we sending these students? How do we truly welcome every body into our buildings and within our curricula? 22
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Through close attention, readers may have noticed that I separated the words “every” and “body” in the title of this article. The English language offers a powerful reminder: we exist because of our bodies—otherwise, we would be a no-body. What kind of cultural relationship do we have with our bodies? How often are we truly invited to notice their needs, tensions, and aches? And do we ever teach—or learn—to listen to them and always take care of them? Our bodies are not meant only to compete or perfect gestures. When we observe children moving spontaneously on playgrounds and among peers, we see an innate need to loosen up and feel good—often through dance, a human universal like music. Creative movement allows them to express inner states and carry their cultures forward. As educators, we have a paramount responsibility to include movement—especially creative movement and dance—in our unit planning, particularly given the limited access to dance education in most of our school districts. Many of us have trained in the Kodály method to teach folk dances, though these often focus primarily on European and White folk traditions. We should do much more to include Step dancing and Breakdancing, Salsa and the riveting Rueda de Casino, Cumbia, Bomba, and Bachata—styles from the Americas that many of our students already know and practice outside of school (what a marvelous opportunity for students to teach their peers and teachers both steps and cultural facts!). Orff-Schulwerk- or Dalcroze-certified educators facilitate creative movement in even more expressive ways, inviting students to explore general space, levels, movement dynamics, and storytelling with seemingly endless imagination. Then something shifts, and movement largely disappears from our middle and high school curricula. There seems to be an assumption in our field that movement is primarily the responsibility of elementary school teachers. At this point in students’ schooling, teachers are juggling ensembles and concert seasons, while some students become self-conscious—their bodies freeze and tense up, making it harder to invite them to move and dance. This is exactly the moment when I want to make the case that everyone should be involved and dance in some way. Now Dance! (Because It’s Music Class) In many non-Western languages, particularly in African and Indigenous cultures, music and dance are deeply intertwined, both conceptually and in practice. Often, the words used across these cultures to express and explain “music” also describe an embodied cultural ritual of movement and sound, sound and movement: music does not exist without dance, and vice versa. A similar semantic convergence occurs in styles such as samba and salsa, which exist simultaMARCH 2026
neously as both musical genres and dance styles. And thousands of years ago, mousikē in Ancient Greece combined many art forms, such as dance and poetry. Christopher Small (1998) notably wrote that “to music is to take part, in any capacity, in a musical performance, whether by performing, by listening, by rehearsing or practicing, by providing material for performance (what is called composing), or by dancing.” (p. 9; author’s emphasis; emphasis on dancing added). This raises the question of how? Or, perhaps more importantly, what if? What If’s? ● What if I don’t feel comfortable? Some music teachers may not feel at ease singing or playing instruments, depending on their expertise. Rely on students’ natural inclination to move. Let them lead—or even teach, as I mentioned above. You don’t have to join the dance, but you can certainly facilitate it. If you step into the dance with them, even awkwardly, it can create a playful moment that strengthens your bond with students, leaving laughter and memories to cherish. Also, if a band plays a waltz, can two of the musicians dance it in front of everyone while the orchestra plays for them? Can they take turns? Dancers could then give feedback on what they heard while dancing (dynamics, phrases, counterpoint between parts, etc.). A little cheer and silliness can lift everyone’s spirits—and often the music sounds better, too! ● What if there is no time? First, let me applaud all those teachers who make magic in 20–25-minute rehearsals! At times, though, students arrive at rehearsals somewhat lethargic (after lunch, too early in the morning, or after a long test?). Movement breaks can be necessary at the beginning or in the middle of rehearsals. Students can warm up by section in the band, practicing scales or their parts in sectionals. They can spread out to different parts of the room—or even go outside when the weather is nice. They could also create a Dalcroze-like tableau while listening to the score (which could be homework: listening to their parts and composing a movement as a sectional). This can help students notice more nuanced counterpoint in the score—how many times do students have no idea what’s happening on the opposite side of the orchestra? Choirs, too, can add movement or body percussion to some pieces, allowing students to choreograph and lead the group themselves. In choirs, folk dances could also conclude concerts and invite the audience to join in! ● What if there is no space? Been there, done that! I used to teach in rooms that barely had enough space for students to play their recorders in front of their bodies (sometimes I had 30–31 students sitting on a rug), let alone move freely and safely. My first solution was small groups: 23
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students would perform for each other while the rest of the group watched for inspiration (some students struggle to experiment with new ways to move, while others have thriving kinesthetic intelligence), and to practice being a respectful audience. ● What if I disagree because I need to teach music and technique? Agreed! We need educators who equip our students with the fundamental skills to create the magic we call music at every concert. I want to highlight, though, a graduate thesis by one of NJMEA’s conference organizers, Mr. Ken Barry. Barry’s (2025) action research project examined how movement strategies can engage the body and promote musicianship in an early elementary instrumental music program. ● What if they do not want to dance or move? Students might refuse to dance or move, just as many do not want to sing or play an instrument. We need to remember that not everyone has to participate actively—musicking also includes listening! Trauma-informed pedagogy reminds us to be careful, especially with matters of the body. Farida, a sweet kindergarten student of mine, would never sing or dance in my class. But I knew she was musicking, absorbing everything I had to offer. Six months into the school year, she showed me a dance move when no one else was watching! She reminded me that I am not here to assess but to hope for success, especially when I am not around, and that there is no feeling more freeing than singing and dancing when no one is watching. Not everyone has to perform for others, but we can create space for them to discover the joy and magic of music and dance whenever and wherever they feel ready. ● What if nothing works, or I don’t know where to begin? Get in touch with me! I see this issue as a public health concern. As a granddaughter and great-granddaughter of two public school teachers, I am here to serve and support our children’s well-being!
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New Jersey! “When You Move, Move, Move” New Jersey is known worldwide for its power to move— not just the traffic on I-95, but the thriving communities that have invited the whole world to dance! Icons like Celia Cruz and Gloria Gaynor have made half the planet dance to their hits. We have a responsibility to make music and to move to it. The proof is in the music, as Jersey City's very own Kool and the Gang said it best: “Get your back up off the wall [...] when you move-move-move!” References Bakht, D., Yousaf, F., Alvi, Z., Buhadur Ali, M. K., Hadeed Khawar, M. M., Munir, L., Hussain Bokhari, S. F., Qureshi, M. S., Raza, M., & Qureshi, A. A. (2025). Assessing the Impact of Screen Time on the Motor Development of Children: A Systematic Review. Pediatric Discovery, 3(2), e70002. https://doi.org/10.1002/ pdi3.70002 Barry, K. (2025). Utilizing movement strategies in an early elementary instrumental music program. [Master’s thesis, Montclair State University] Dutra, R. P., Castro, Y. M., Moran, V., Wink Mattos, V. G., Moura Rodrigues, P. V., & Araújo Bacil, E. D. (2025). Association Between Exposure to Smartphones and Tablets and Motor Development in Early Childhood: A Systematic Review. Child: Care, Health and Development, 51(6), e70180. https://doi.org/10.1111/cch.70180 Small (1999). Musicking: The meanings of performing and listening. Wesleyan University Press. The Obama White House. [Username]. (2010, February 9). The first lady introduced Let’s Move [Video]. YouTube. https://www.youtube.com/watch?v=2oBeuSCfGeg
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Where Are the Children's Choirs? A Call to Reinvest in Early Choral Singing in New Jersey Jessica Harrison Calderon Eisenhower Middle School, Roxbury jharrison[at]roxbury.org
Why Early Singing Matters
I recently participated in an interview with a Rutgers University music student who asked me a deceptively simple question: How did you start singing?
This absence matters more than we may realize. Research in neuroscience and music education consistently shows that singing at an early age positively impacts brain development, academic success, and social emotional growth². Group singing activates auditory, motor, and executive function regions of the brain simultaneously, strengthening neural pathways associated with language development, memory, attention, and self regulation³. Longitudinal studies have linked early music participation, particularly rhythm and vocal engagement, to higher academic achievement later in school, even when controlling for socioeconomic factors⁴. Beyond cognition, ensemble singing builds empathy, collaboration, confidence, and a sense of belonging. These are skills strongly associated with student engagement and long term success⁵. Children’s choirs are not extracurricular luxuries. They are powerful educational environments.
My answer surprised even me. I told him that I had always sung, but the first time I sang classical music, truly and seriously, was as a child in the Rutgers Children’s Choir under the direction of Nancy Cooper. As a woman of color, I had not been widely exposed to classical music growing up. My parents enrolled me not because they were choral musicians, but because the Rutgers name was attached to the program and they trusted that their child would receive high quality instruction from a college professor. That experience changed the trajectory of my life. It planted the seeds that eventually led me to become a music educator. Now, as both a music teacher and a mother, I find myself asking a troubling question: Why is that kind of opportunity so difficult to find for children in New Jersey today?
COVID 19 and the Broken Pipeline
The Quiet Disappearance of Children’s Choirs
The COVID 19 pandemic further destabilized an already fragile ecosystem. National and international surveys indicate that children’s and youth choirs were among the most vulnerable ensembles during the pandemic, with many programs suspending operations indefinitely or closing altogether¹,⁶. Educators report that enrollment in choral programs has not returned to pre pandemic levels, particularly among students who missed early singing experiences during school closures. This has resulted in a broken pipeline, where fewer students enter middle and high school choirs because foundational experiences never occurred⁶,⁷.
New Jersey is home to world class higher education institutions, strong school music programs, and a rich professional arts culture. Yet stand alone children’s choirs, particularly those serving elementary aged students, are surprisingly scarce. Several once thriving programs have disappeared. The Rutgers Children’s Choir, which served as an entry point to high level choral music for many students, appears to have been defunct since around 2018. While excellent youth choir organizations exist in the state, they are often limited to older students, geographically concentrated, or inaccessible to families without financial or logistical flexibility. National data suggest that children’s and youth choirs make up a relatively small percentage of the overall choral ecosystem, even prior to the COVID 19 pandemic¹. Without intentional infrastructure and advocacy, these programs are particularly vulnerable to decline. TEMPO
Structural Barriers in New Jersey Several systemic factors contribute to the scarcity of children’s choirs in New Jersey: • School funding and scheduling pressures, where music 26
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is often deprioritized during budget constraints⁷ • Increased emphasis on standardized testing, which limits instructional time for the arts • Teacher shortages and burnout, especially among trained choral educators • Geographic and access barriers, including transportation and program costs • Lack of centralized data or advocacy, making children’s choirs less visible in statewide planning Historically, many children’s choirs grew out of collegiate music education programs, which provided pedagogical leadership, facilities, and a training ground for future educators. As these pipelines shrink, so too do early choral opportunities. Looking Forward: Rebuilding What Has Been Lost My hope is simple: that my own children, and students across New Jersey, will have access to the kind of formative musical experience that shaped my life. This year, I founded the Community Children’s Choir through the Roxbury Community School as one response to this gap. The choir is open to students from any district, and in its inaugural fall session, 58 students enrolled, affirming what many educators already know. When meaningful opportunities exist, families participate. Looking ahead, the program plans to introduce high school student interns, creating early choral teaching experiences and volunteer opportunities for students interested in music education and leadership. This model supports not only young singers, but also helps rebuild the future choral educator pipeline. Children’s choirs cultivate not only musicians, but listeners, leaders, educators, and lifelong advocates for the arts. If we want strong middle school, high school, collegiate, and community choirs tomorrow, we must invest intentionally in children’s singing today. The question is not whether children’s choirs matter. The question is whether we are willing to rebuild and sustain them.
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References 1. Chorus America. (2020). The Impact of the COVID 19 Pandemic on Choruses. 2. Habibi, A., et al. (2018). Neural correlates of accelerated auditory processing in children engaged in music training. Developmental Cognitive Neuroscience. 3. Patel, A. D. (2011). Why would musical training benefit the neural encoding of speech? Annals of the New York Academy of Sciences. 4. Tierney, A., and Kraus, N. (2013). Music training for the development of reading skills. Progress in Brain Research. 5. Hallam, S. (2015). The power of music: A research synthesis of the impact of actively making music on the intellectual, social and personal development of children and young people. 6. Chorus America. (2021). COVID 19 Chorus Survey: Youth and Children’s Choir Findings. 7. Arts Education Partnership. (2021). Arts Education in the United States: Access, Equity, and Recovery After COVID 19. Author Biography Jessica Harrison Calderon is a general music and choral director at Eisenhower Middle School in Roxbury, New Jersey, currently in her twenty-first year on the Roxbury choral staff. She teaches seventh grade general music, eighth grade musical theater, and music technology, and conducts the seventh grade choir. In addition, she directs the EMS honor choirs, Encores and Harmonies, and previously served as the director of the EMS Drama Club for over fifteen years. She is the founder and a director of the Community Children’s Choir, a district inclusive program serving elementary aged singers from across New Jersey. A passionate advocate for early choral education, equity in access to the arts, and teacher pipeline development, she is committed to creating meaningful musical experiences that foster lifelong engagement in singing. Mrs. Harrison Calderon has an extensive background in choral leadership. She served as the director of the 2011 NJSMA Junior Region SSA Choir and as conductor of the 2014 New Jersey Junior High Honor Choir. She has also served on the board of the New Jersey Choral Directors Association as Middle School Repertoire and Standards Chair and previously as Repertoire and Standards Chair for Multicultural and Ethnic Music. She holds a Bachelor of Music Education degree from Rutgers University and a Master of Music in Vocal Performance with a concentration in musical theater from New York University.
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A Case for the Blues in the Modern Music Classroom Andrew Zhang County Prep HS, Hudson County Schools of Technology andrewzhangmusic[at]gmail.com
Blues music, or the blues, is considered by many to be the foundation of all modern western popular music. Rooted in the work songs, field hollers, and spirituals of enslaved Africans, the blues emerged in the American south in the decades following Emancipation in the late 19th century (Baraka, 1970). By the time recording technology was introduced in the early 20th century, blues music had already been in development for a number of decades and had spread from the Mississippi Delta to every major city in the country. Since then, blues music has influenced the music of people around the world, underpinning much of the living tradition of modern music. The Modern Band movement, presented in response to the band, choir, orchestra format of 20th century formal music education, is a music curriculum centered around learning and performing rock music (Byo, 2017), but a cursory glance at its repertoire reveals the undeniable fact that the musical forms and elements of rock music are derived from the blues. From rock and roll to hip-hop, the impact of the blues on the development of western popular music forms cannot be understated. Blues music’s position in relation to modern popular music forms may make it an effective vehicle for culturally responsive and sustaining pedagogy. Gloria Ladson-Billings determined that a culturally responsive pedagogy would “produce students who can achieve academically, produce students who demonstrate cultural competence, and develop students who can both understand and critique the existing social order” (1995). Django Paris expanded further, positing that a culturally sustaining pedagogy would “support young people in sustaining the cultural and linguistic competence of their communities while simultaneously offering access to dominant cultural competence” (2012). Blues music can be considered as a cultural inheritance for those students I teach in Jersey City, NJ who have grown up on hip-hop and RnB, and whose parents and grandparents grew up on funk, jazz, and soul music that permeated this area in the 20th century. Its influence on modern popular music means that it can also offer students from outside of these cultures an opportunity to interact with music that is increasingly informative of the dominant music cultures of our time. The historical threads that tie blues music to modern popular music may also create an opportunity for laboratory learning TEMPO
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in an open music classroom, where as Randall Allsup describes “there is never an absolute or radical break from the past; there is only a reordering of lived and recorded events” (2016). Without predetermining any conclusions, teachers can facilitate an encounter between blues music and the music that inspire students today. We can “get a hold of [their interest] and direct it to something ahead” (Dewey, 1961). The Blues as a Living Tradition With over a century of history, blues music is so varied and diverse, it can be hard to define as regional and historical differences, attitudes, and developments in technology have continuously shaped and reshaped this music. While there are those who would prefer that blues music be preserved in a historically pristine state, the reality is that the blues has never ceased to shift and adapt to the changing times. David Hansen posits that participants in a tradition can “sustain a deep sense of reverence even if the objects of reverence transform through time” (2013). From the addition of the drum set and other instruments to the blues ensemble, to the invention of the electric guitar, to the development of rock and roll and funk, a common thread of the blues form and feeling emerges. The blues is not fixed. From the late 19th century to the present, the blues has functioned as a living tradition, an open classroom for musicians of multiple generations who would learn its prevailing literacies and use them to move towards new sounds and ideas. Narratives Historically, blues music has provided a space for individuals to tell their stories and to share new ideas. According to Amiri Baraka, post-emancipation life meant the possibility of a “humanity impossible under slavery” (1970). In the decades following the American Civil War, work songs and religious music morphed into new lyrical themes, inspired by new experiences such as moving from one place to another. In the early 20th century, women blues artists such as Ma Rainey and Bessie Smith produced music that highlighted a “historical feminist consciousMARCH 2026
ness that reflected the lives of working-class black communities” (Davis, 1999). Here, blues music can reflect not just the transformation of a musical sound but also the transformation of people. The Blues in the Music Classroom Blues music, as a precursor to popular music forms and as an open form in itself, is well-suited to a Modern Band instrumentation, as well as the wind, string, and percussion instruments typically found in band and orchestra programs. A blues ensemble can consist of a simple rhythm section trio of guitar, bass, and drums, or it can be expanded to include whatever instrumentation is available. Students can take turns playing melodies, countermelodies, accompaniments, and take solos. In this format, anyone can be a leader or take on a supporting role. For teachers, blues music provides ample opportunities to scaffold around students’ existing abilities, helping them to build up the confidence and interest while developing musicianship. Beginner guitarists and pianists can mark the 12 bar blues chord progression using single notes, before progressing to triads and later, 7th chords and upper extensions. Drummers can play a simple backbeat pattern right away, later on adding a shuffle feel or experimenting with fills. The accessibility of blues music creates an opportunity for novice musicians to immediately engage in what feels like real music making. As John Dewey said, education should be a “process of living and not a preparation for future living” (1986). But the beauty of blues music also lies in its position as a vehicle for musicians to develop new skills as they advance in their practice. The I-IV-V harmonic foundation stretches to include ii-V-I progressions, secondary dominant chords, and tritone substitutions. In this way, not only can beginner musicians and advanced musicians both find usefulness in blues music, they can encounter one another on the bandstand, sharing experience and knowledge that would otherwise be kept from the beginner. Improvisation Students can improvise and express themselves at any level of engagement with blues music. Beginners can receive instructions on what note to play and experiment with rhythm or vice versa, while engaging with simple phrasing. Intermediate students can begin to learn melodic vocabulary (licks) to incorporate into solos. Advanced students can apply harmonic and rhythmic concepts to soloing, while practicing constructing lines over a bar line. They can also begin to incorporate harmonic concepts from jazz such as ii-V-I progressions, voice leading, tritone substitutions, etc.
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Composition Exploration of blues form and phrasing can serve as an introduction to songwriting and composition, especially as it relates to popular music of today. Common lyrical themes in today’s popular music such as love, personal struggles, and social commentary can be traced through the history of music recording and publishing to blues music. Students can practice writing song lyrics that follow an AAB structure, utilizing techniques such as call and response. For example “[A] I woke up today – i was feeling all alone, [A] I woke up today – I was feeling all alone, [B] So I picked myself up – and called my friends on the telephone.” Technology Blues music has also remained open in its incorporation of technological developments. Primarily a vocal practice in its inception, blues music changed when musicians began to incorporate banjo and guitar and the call and response between voice and voice widened to include voice and instrument. The addition of new instruments, such as drums and horns, and electric amplification changed the form of blues music further. Later blues-informed styles of music such as RnB, funk, and hiphop would further incorporate new technologies such as multitrack recording, sound effects, and drum machines. Students can engage with electric blues artists such as Albert King and practice using electronic musical instruments such as electric guitars and keyboards to learn technology concepts such as signal flow and gain, learn how to affect tone and timbre using effects such as distortion and EQ, or create space using reverbs and delays. Incorporating DAWs such as BandLab allows students to compose and record their own bluesinformed music, utilizing prerecorded loops or sequencers to construct an instrumental to sing or improvise with. Students can experiment with the elements of the blues in a laboratory-style setting; for example, after an investigation into 12-bar blues phrasing and songwriting, students can combine these concepts with modern drum patterns or sound selections, creating new artifacts and drawing connections between modern popular music and its blues foundations. Conclusion The integration of blues music into the modern music classroom is an invitation to participate in a living tradition that continues to shape students’ musical lives. Blues music occupies a unique pedagogical position in that it is simultaneously accessible to beginners while being rich enough to challenge advanced musicians, making it ideal for inclusive, democratic music-making. By centering blues music, we create opportunities for culturally responsive and sustaining pedagogy that honors stu29
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dents’ musical inheritances while providing pathways to engagement with popular music forms. By tracing the lineage of the blues to contemporary music, students become active participants in an ongoing cultural conversation rather than passive consumers of the music. The blues offers us a model of what music education can be: open, adaptive, and responsive to the needs and experiences of those who engage with it. Just as blues musicians have continuously reimagined their tradition through technological innovation and stylistic evolution, our classrooms can become sites where students develop both musicianship and critical consciousness. Through engaging with this tradition, we honor the past while creating space for students to shape the future. Citations: Allsup, R. E. (2016). Remixing the Classroom: Toward an Open Philosophy of Music Education. Indiana University Press. Baraka, A. (1970). Blues people. W. Morrow.
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Byo, J. L. (2018). “Modern band” as school music: A case study. International Journal of Music Education, 36(2), 259-269. Davis, A. Y. (1999). Blues Legacies and Black Feminism: Gertrude" Ma" Rainey, Bessie Smith, and Billie Holiday. Vintage. Dewey, J. (1961). The school and society (p. 34). Chicago: University of Chicago Press. Hansen, D. (2013). Cosmopolitanism as a philosophy for life in our time. Encounters in Theory and History of Education, 14, 35-47. Ladson-Billings, G. (1995). Toward a theory of culturally relevant pedagogy. American educational research journal, 32(3), 465-491. Paris, D. (2012). Culturally sustaining pedagogy: A needed change in stance, terminology, and practice. Educational researcher, 41(3), 93-97.
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NJMEA RESOURCE PERSONNEL Area of Responsibility
Name
Email Address
Administrative Matters........................................................ Yale Snyder................................................ snyder.njmea[at]gmail.com All-State Coordinator........................................................ Joseph Cantaffa................................... jcantaffa[at]rocknrollchorus.com Association Business........................................................ William McDevitt....................................... wmcdevittnjmea[at]gmail.com Band Performance Chair.................................................. Jesse Argenziano................................................ njmeaband[at]gmail.com Band Procedures Chair........................................................ Allan Daleus.......................................................... adaleus[at]whrhs.org Choral Performance Chair...................................................Brian Williams..............................................njallstatechoir[at]gmail.com Choral Procedures Chair....................................................... Ken Bryson.................................................njallstatechoir[at]gmail.com Composition Contest.....................................................Dr. Andrew Bleckner..................................andrew.bleckner[at]prismsus.org Diversity/Equity/Inclusion/Access.................................... Isaiah C. Mason..................................................deia.njmea[at]gmail.com Guitar Education......................................................................... TBD............................................................................................. TBD Jazz Procedures Chair........................................................ Andrew Lopez................................................. alopez.njaje[at]gmail.com Marching Band Festival Chair............................................. Nancy Clasen................................................. nancyclasen[at]gmail.com Membership.................................................................... William McDevitt....................................... wmcdevittnjmea[at]gmail.com Middle/Junior High Band Festival....................................... Nancy Clasen ................................................. nancyclasen[at]gmail.com Middle/Junior High Choral Festival............................. Donna Marie Berchtold........................................ firesongwed[at]gmail.com Modern Band........................................................................ Zach Gates......................................... zacharygatesmusic[at]gmail.com MusicTECH Fest................................................................. Shawna Longo............................................... shawnalongo[at]gmail.com NJMEA Historian.............................................................. Nicholas Santoro .................................................... n31b13[at]gmail.com NJMEA State Conference Exhibits Chair............................. Nancy Clasen................................................. nancyclasen[at]gmail.com NJMEA State Conference Manager..................................... Marie Malara ........................................................ malara97[at]aol.com NJMEA/ACDA Honors Choir................................................ Kaitlyn Reiser.......................................................... kreiser[at]spfk12.org November Convention – NJEA............................................ Nancy Clasen................................................ nancyclasen[at]gmail.com Orchestra Performance Chair.............................................Elisabeth Sato........................................... orchestra.njmea[at]gmail.com Orchestra Procedures Chair....................................... Liam Keller & Caty Butler.................................. orchestra.njmea[at]gmail.com Research......................................................................... Marissa Silverman......................................... silvermanm[at]montclair.edu Students with Special Needs............................................. Maureen Butler................................. maureenbutlermusic[at]gmail.com Supervisor of Performing Groups.................................... David Westawski....................................... westawski.njmea[at]gmail.com Tri-M............................................................................ Anthony Lanzerotti, Jr.................................... lanzerotti.njmea[at]gmail.com REPRESENTATIVES/LIAISONS TO AFFILIATED, ASSOCIATED AND RELATED ORGANIZATIONS NJ American Choral Directors Association..........................Kason Jackson............................................njacdapresident[at]gmail.com American String Teachers Association/NJ.........................Jennifer Meckler............................................. njastachapter[at]gmail.com Governor’s Award for Arts Education.............................. David Westawski....................................... westawski.njmea[at]gmail.com NJ Association for Jazz Education.......................................Andrew Lopez.................................................. alopez.njaje[at]gmail.com NAfME.............................................................................. William McDevitt ...................................... wmcdevittnjmea[at]gmail.com NJ Music Administrators Association........................Dr. Latasha Casterlow-Lalla........................................... njmusicaa[at]gmail.com NJ Retired Music Educators Association............................. Frank Hughes....................................................... bugle11[at]yahoo.com Percussive Arts Society......................................................... Joe Bergen ...............................................joe[at]mantrapercussion.org COMMUNICATION SERVICES/PUBLIC RELATIONS Executive Director/TEMPO Editor/ TEMPO Express/NJMEA Website..................................... William McDevitt...................................... wmcdevittnjmea[at]gmail.com
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This column salutes the lives and careers of recently departed colleagues. It is the way NJMEA and NJRMEA can express appreciation for the work that they have done and the lives that they have touched. We mourn their passing and salute their contributions, which are the basis for music education in the state of New Jersey. and Head of the Fine Arts Department. Beyond secondary education, Jim also taught at the collegiate level. He served as an Adjunct Instructor in the Black Studies Department at Seton Hall University (1970-1971) and as the Supervisor for the Federal Governor's Teacher Corps Program at Upsala College (1974-1976). Jim was proceeded in death by his parents, Garland and Irene Gay; his brothers, Lawrence Chambliss, Garland Gay, Jr., and Addison Nathaniel Gay. He is survived by: his wife, Joyce A. Gay (Highland Park, NJ); his daughter, Lisa P. Gay (Highland Park, NJ); his lifelong best friend, Louis Jones (Danville, California); and a host of family, friends, and students.
Anita Campbell Anita Campbell, 88, of Yardville, NJ passed away Friday, February 20, 2026 surrounded by her loving family. Born in Wilkes Barre, PA, for over 40 years she resided in Old Bridge, NJ where she and her husband James raised their family. Anita was a graduate of Misericordia University where she earned a Bachelor of Arts in Music Education. She was a proud member of Alpha Delta Kappa Sorority. A talented musician, Anita played the accordion and was an accomplished pianist. She loved music and shared her gift with many children over the years as a music teacher with Old Bridge School District. In 2023, Anita moved to Yardville to live with her daughter Susan. Family was the most important thing to Anita and she adored her grandchildren, supporting them with everything they did. Daughter of the late Mary and Gino Pisaneschi, she was predeceased by her loving husband of 36 years, James Patrick Campell, Jr. and by her brother, Gino Pisaneschi. Anita is survived by her three children and their spouses, James P. Campbell, III and his wife Randi, Michael J. Campbell and his wife Marybeth and Susan M. Romeo; her grandchildren, Conor, Brenden, Liam, Kiersten, Mackenzie, Nylah, and Gianni; her great grandson, Chase, and by several adoring nieces and nephews.
Anne Kennedy Pulos Anne Kennedy Pulos, of Wanamassa, Ocean Township, passed away peacefully on Sunday, January 4, 2026, surrounded by her family at Imperial Care Center in Neptune. Born in Wilkes-Barre, Pennsylvania, Anne later lived in Oakhurst before settling in Wanamassa. Music was the heartbeat of her life from the very beginning. She graduated from Wilkes College in Wilkes-Barre, Pennsylvania, with a degree in Music Education, a calling she carried with her for the rest of her life. Anne dedicated 25 years as a music teacher with the Monmouth Beach Board of Education, retiring in 2001. Her commitment to education did not end there-she continued to serve students as a teacher's aide in Monmouth Beach well after retirement, a testament to her deep love for teaching and learning. After retiring from the classroom, she continued sharing her gift of music by performing with the Monmouth Symphony Orchestra for many years. Anne was married for 52 loving years to her husband, Charles Joseph Pulos, whom she met while attending Wilkes College. Together, they built a beautiful life and lovingly adopted their two children, Kara and Christopher. She loved her children and her granddaughters deeply, and family was always at the center of her world. She was predeceased by her parents, Thomas and Kathryn Kennedy; her beloved husband, Charles Joseph Pulos; her son, Christopher Joseph Pulos; her sister, Margaret Davis; her nephew, Thomas Davis; and her granddaughter, Faith Anne Martin. Surviving are her daughter, Kara Martin of Freehold; her granddaughters, Riley Anne Martin and Macie Catherine Martin of Freehold; her brother-in-law, Ted Davis Sr. of Silverton; and her nephew, Ted Davis Jr. of Silverton.
James M. Gay James M. Gay, 84, affectionally known as "Jim", was born on June 4, 1941 in Baltimore, Maryland to the late Garland and Irene Gay. On December 23, 2025, James Gay passed away unexpectantly at his home in Highland Park, New Jersey. Jim educated in the Baltimore Public School system was graduated from Fredrick Douglas High School. Jim attended Morgan State University in pursuit of a Bachelor of Science degree in Music Education. After graduation in 1964, Jim moved to Newark, New Jersey where he began his career as a music teacher in the East Orange School District. Jim pursued graduate studies at Seton Hall University, Monmouth University and Pace University. Jim began his teaching career at Eastern School/Stockton School (1964-1967), followed by Vernon L. Davey Junior High School (1967-1975) as a vocal music teacher. In 1975, he transitioned to Clifford J. Scott School, where he served until 2005 as the Director of Vocal Music, Assistant Director of Instrumental Music, and the Assistant Director of the Band-becoming a lifelong "Scottie". After forty-five years in education, Jim retired in 2009 from East Orange Campus High School, where he served as Director of Vocal Music TEMPO
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Nick McBride from The College of New Jersey. Please keep an eye out for registration information and join us! Continue reading below to learn more about our upcoming events.
NJSMA
North Jersey School Music Association www.njsma.com
Greetings Music Colleagues! It was great to see so many Region I directors at the NJMEA Conference in Atlantic City this past February! Congratulations to our NJSMA members who were selected to present clinics and perform with their ensembles! Thank you, also, to all of you who attended the NJSMA General Membership Meeting at the NJMEA conference. It was nice to meet new members while also welcoming those of you who have participated at NJSMA events for many years. Although the year is more than half over, there are still many more events scheduled for the coming months: We are excited to welcome composer/conductor Carol Brittin Chambers April 14-16 as we partner with the New Jersey Wind Symphony to offer clinics to area high schools. Please mark your calendars for our annual NJSMA General Membership Meeting and Professional Development Day on June 2, 2026. This is a full day of PD (certificates awarded) with a continental breakfast and catered lunch at The Mansion in Mountain Lakes. During the PD Day, we have our annual general membership meeting and have this year’s scholarship winners perform. The 2026 Keynote Speaker will be Dr. MARCH 2026
The NJSMA Region I High School Band, Chorus, Orchestra & Intermediate Orchestra concerts were a huge success. Thank you to all of the conductors, managers, hosts and division chairs for giving the students in Region I amazing musical experiences. What's happening around our Region: NJSMA Band Division: Co Chairs - Amy Wilcox, Chris DeWilde, Xavi Bonilla band[at]njsma.org Thank you to Annie Pascale and Wayne Hills High School for hosting Intermediate Auditions. • Intermediate Region Concert 3/8 @ Parsippany HS • High School Band Festival will take place over 3 days on 3/17 @ West Essex HS (day and night), 3/18 @ Parsippany Hills HS (day only), Parsippany HS (night only) and 3/19 @ Mt. Olive HS (day) • Middle School Band Festival on 4/14 @ West Essex HS • Elementary Region Festival will take place on 5/9 @ Mount Olive Middle School
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Directors who would like to suggest a new high school or intermediate region solo for future auditions are encouraged to do so. The process for having a new solo considered is to contact the band chairs and provide a copy of the music for them. Your suggestion will be submitted to a committee for review (All State Band Procedures Committee for high school solos) and added to the rotation if deemed appropriate. NJSMA Choral Division: Co-Chairs - Deana Larsen & Becky Polynice chorus[at]njsma.org We would like to express our gratitude for Clifton High School and Bryan Stepneski for hosting the auditions, Matthew Swiss (Randolph) for going above and beyond as Chorus Audition Chair to make sure that auditions ran smoothly. We also are very grateful for the many directors across the region for their help on audition day. We wish to thank Morris Knolls High School, (Kristen Markowski), Clifton HIgh School, (Leo Weismantel), Randolph High School (Matt Swiss) and Kinnelon High School (Chuck Linnel) for hosting rehearsals, Morris Knolls (Kirsten Markowski) hosted the concert for our singers. We are grateful to our conductors, James Millar (Treble Choir) and Dr. Nick McBride (Mixed Choir). The concert was a huge success. We are pleased that we were able to provide successful High School Chorus Festivals. We give thanks to Montclair State University (Heather Buchanan), Lyndhurst Middle School (Brina Lang), and Mount Olive High School (Matthew Vanzini) for hosting. Gratitude is given to our adjudicators; Heather Buchanan, Dustin Cates, Rachel Carlson, and Debbie Mello. Our Middle School Chorus Festival is scheduled for March 6th at Lyndhurst Middle School (Brian Lang). Thank you to all who have registered to participate. Thank you to our adjudicators, Dr. Dustin Cates, and Mattew Zabiegala. We are anticipating a successful Intermediate Region Chorus as well. Thanks to Wayne Hill High School and Anne Pascale for hosting the auditions. We are grateful to Anne Kelly (Randolph MS) for serving as audition chair. We also appreciate George Glock (Memorial Middle School, Fairlawn) for hosting rehearsals and Leo Weismantel for hosting the weekend rehearsal and concert at Clifton High School, scheduled for March 22nd. As this goes to print, we haven’t started rehearsals yet, but we are excited to have Tricia Lalla (Rutherford) conduct our Treble Choir and Matthew TEMPO
Zabiegala as our Mixed Choir Conductor. We are very much looking forward to our Professional Development Day on TUESDAY, JUNE 2nd. We are looking forward to our sessions! Dr. Nick McBride will be the Keynote speaker and the Chorus Division is pleased to have the following presenters: Chaequan Anderson (TCNJ )and shared with the elementary division), Dr. Dustin Cates (Temple University) and our choral sharing session moderated by Deana Larsen and Rebecca Polynice. NJSMA Elementary General Music Division: Co-Chairs - Lisa Wichman & Karen Andruska elementary[at]njsma.org For more information, please email elementary[at] njsma.org We welcome your ideas! If you have suggestions for future presenters, topics, or workshops, please email elementary@njsma.org. All NJMEA members are invited to attend NJSMA Elementary Division events— we look forward to seeing you there! NJSMA Orchestra Division: Co-Chairs - Samantha Bream & Kim Kanefke orchestra@njsma.org The 61st Annual All North Jersey Intermediate and High School Symphonic Orchestra concert took place on Sunday, February 15, 2026, at Parsippany Hills High School. We sincerely appreciate the guidance and musicianship from our guest conductors Dr. Oliver Hagen (Newark Academy) and Liam Keller (School District of the Chathams). We are grateful to Parsippany Hills High School (Michelle Christianson and Adam Austerlitz, hosts) for housing this event and one of the rehearsals; to Bergenfield High School (Xavier Bonilla, Louis Costanza, and Brian Timmons, hosts) for accommodating two rehearsals, one with sectionals; and to Randolph High School (Aoma Caldwell, host) for accommodating two rehearsals. We also appreciate the orchestra directors who chaperoned the evening rehearsals, a Saturday rehearsal, and the Sunday concert to support their students. Finally, we extend heartfelt thanks to the Intermediate Orchestra Manager, Darby MacAdams (Central Middle School) and to the High School Orchestra Managers, Meghan Correll (Emerson Jr./Sr. High School) and Samantha Bream (Lincoln Roosevelt School, Roxbury). 36
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Upcoming orchestra events: Intermediate & High School Orchestra (Director-Nominated) Saturday, 3/14/26, at James Caldwell High School Melissa Macy & Alec Anthony Hamilton, Conductors Festival Chairs - Annamaria Alcaro and Kim Nimmo Elementary Honors Orchestra Saturday, 4/18/26, at Sparta High School Ron Gardner, Stephanie Quirk & Kayli Roderick, Conductors Festival Chairs - Shang-Ying Lee, Kim Nimmo and Chryselle Yang
Thank you for everything you do to give our students high-quality music education. Your hard work makes a difference! If you have any questions or need further information, please feel free to reach out—we are here to help. With appreciation, Lyn M. Lowndes NJSMA President president[at]njsma.org
CJMEA
Intermediate & High School Adjudication Festival Tuesday, April 21 & Wednesday, April 22, 2026, at West Essex High School Ching-Chun Lai & Mike Montero, Adjudicators Adjudication Festival Coordinator - Justin Louie Looking ahead!! The positions of Corresponding Secretary/Publicity and Treasurer are up for election. In the next month, a nominating committee will be put into place, and will be accepting nominations for the two positions. Please watch your email for more information. None of our events would be possible without the many helping hands working behind the scenes! We’re always looking for volunteers of all experience levels to serve as site hosts, audition chairs, managers, and even executive board members, to name a few. If you want to get involved, we have a spot for you and will work with you throughout the entire process. We are also reaching out to connect with new teachers in our region and those who may not yet be active members of NJSMA. If this applies to you—or if you know someone it does—please contact our corresponding secretary at publicity@njsma.org or complete the contact form on our website. Our website (njsma.org) includes all relevant information about our region, with the calendar section updated to reflect all confirmed events. Contact information for executive board members and division officers is available in the “Officers” section. Follow us on Facebook (North Jersey School Music Association) or on Instagram (@njmsa_region_1).
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Central Jersey Music Educators Association www.cjmea.org
Greetings! We are deep in the midst of CJMEA concert season and I want to take a moment to thank our incredible music educators who volunteer their time within our organization and within our ensembles! A huge thanks to our CJMEA board members, audition managers, ensemble managers, rehearsal/performance hosts, and sponsoring music educators that make region opportunities possible. We could not do this without you. Your care and commitment to our music education community is so valued and appreciated. We held our auditions for all region ensembles thank you to our audition hosts JP Stevens HS, Monroe Township Middle School, and Community Middle School! Our High School Orchestra, Percussion Ensemble, Band, and Choir concerts were truly outstanding, inspiring, and filled with musical excellence! Thank you so much to our incredible conductors Dr. Nathan Daughtrey, Paul Bryan, Dr. David Zhang, Dr. Thomas McCauley, Dr. Patricia Cornett, Nicole Snodgrass, and Dr. Arreon Harley-Emerson! I was really moved by a moment at the end of the High School Choir Concert, after a performance of Kirk Franklin’s Brighter Day, where the audience leapt to their feat in community, joy, and hope. I remembered that the work we do to provide these opportunities for the community to come together to hear music of hope, joy, and change matters so much. 37
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We loved seeing everyone at the NJMEA Conference in February! Thanks for stopping by our booth, supporting CJMEA members in their sessions, and for coming to our region meeting! We had a blast talking with you and hearing how music education changed your life as we continued to share our CJMEA stories together at the conference. The work you do each day is so vital, valuable, and necessary. Congratulations to all of the music educators who led performances, sessions, and experiences for our music education community.
With gratitude and joy, Rebekah Sterlacci CJMEA President president.cjmea[at]gmail.com We are gearing up for our Elementary and Middle School Honors Days and look forward to debuting a new work that the CJMEA Diversity + Inclusion division has worked to have commissioned for our Middle School Honors Orchestra Day! Goldfinch Tango was composed by Lauren Spavelko for our Middle School Honors Orchestra and we cannot wait to hear this exciting piece performed by our students in April! We look forward to connecting with you throughout the year! Please follow us on instagram (@cjmea_ official) and stop by our website, CJMEA.org, where you can find all of the ensembles and professional development opportunities that we have available for you this year. TEMPO
SJBODA
South Jersey Band and Orchestra Directors Association www.sjboda.org
The past few months have been very exciting and rewarding for the members of SJBODA. On January 11th our Senior High Orchestra and Junior High String Ensemble performed at Rowan University and the following week our Senior High Wind Ensemble and Senior High Symphonic Band performed at the same 38
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venue. Their music was beautiful and the result of the many excellent music teachers and programs throughout our region. The conductors for these concerts were Robert Bradshaw (New Jersey Symphony), David Hercock (Cinnaminson School District), Julia Baumanis (Rutgers University), and Jennifer Poorman Hodgson (Southern Regional HS). Carrington Thompson (Eastern Regional HS) was our string coordinator and Amanda Lakits Porco (Hamilton Township Schools) was our band coordinator. The manager for the Orchestra was Samantha Sara (Egg Harbor Township School District) and Maya Norton (Haddonfield School District) managed the String Ensemble. Avery Ingram and Evelyn Feldman (Rowan University students) also assisted as managers for the Orchestra and String Ensemble. The Wind Ensemble was managed by Jon Porco (Rosa International MS) and Patrick O’Keefe (Absegami HS) was the manager for the Symphonic Band. Joe Higgins was our host for these concerts. Congratulations to Jonathan Chang (Moorestown HS) who received the 2026 SJBODA Cheryl Rothkopf Memorial Scholarship for orchestra and Anais Veger (Moorestown HS) who was the recipient of the band scholarship. We wish these students and all of our seniors continued success in their future endeavors. Once again, our Junior High Band auditions, held at Southern Regional Middle School, were a successful event. The efforts of Jon Porco (Rosa International MS) and Joe Jacobs (Ventnor MS, retired), our Junior High Auditions Chairs, were greatly appreciated by teachers and students. With the assistance of Phil Senseney (Southern Regional School District, retired), Jim Mark (Cherry Hill West HS, retired), and Sue Mark (Rosa International MS, retired) they provided a positive experience for all involved. These auditions were hosted by Andrew Wright, Jennifer Hodgson, and the Southern Regional TRI-M Music Honor Society Chapter. Nancy Robinson (Linwood Public Schools, retired) is doing a wonderful job in assisting the conductors and students as the Junior High Band Coordinator. The conductors for the 48th Annual Junior High Band Concert are Robin Soden (Middle School of Pleasantville) and Jeffrey Moore (Palmyra HS). Andrew Ashton (Pleasantville School District) and Anthony Ciccone (Atlantic City Public Schools) are the managers for this event. The rehearsals were hosted by Derek Rohaly at Mainland Regional High School and the concert will take place
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on March 8th at Fernwood Avenue MS. Marc Spatz and Dawn Donchey will host this performance. The 17th Annual Chamber Ensemble Concert took place on Wednesday, February 4th at Pitman HS with Jon Botbyl as our host. Jon Porco (Rosa International MS) was our Chamber Ensemble Coordinator. Our coaches for this year were Jack Franchi (Lenape HS) – Sax Quartet, Barry Plevinsky (Deptford Township, retired) – Percussion Ensemble, Donna Scharfetter (Ocean City HS, retired) – Flute Quartet, Anita Gosevska (Upper Township MS) – Clarinet Quartet, and Rick Maxwell (Middle Township ES #2) - Tuba/Euphonium Quartet, The 32nd Annual SJBODA Concert Band Festival will take place on Tuesday, March 17th and Wednesday, March 18th at Rowan University. Our festival coordinator is Jim Mark (Cherry Hill West HS, retired). Dennis MacMullin (TCNJ) and Paul Bryan (Curtis Institute of Music) will be the adjudicators. Megan Cooney will host this event. The 32nd Annual Elementary Honors Band Festival will take place on Saturday, May 2nd at Absegami HS. Patrick O’Keefe will be our host. LeeAnn Hewitt (Little Egg Harbor Township School District) will be our coordinator for this event. Our conductors will be Tim Trout (Berlin Community School), Mark Bligh (Denton Ave. ES), Donald Haney (Greenwich Township School District), and Mathieu Maier (Haddonfield School District). The managers for this festival will include Mike Daly (Roland Rogers ES), Andy Owens (Ann A. Mullen MS), Ciara Rabey (Hess Education Complex), Maya Norton (Haddonfield School District) and Laura Test (Williamstown MS). The 9th Annual Elementary String Festival and our 2nd Annual Intermediate String Festival will take place on Saturday, May 9th at Egg Harbor Township HS. Kate Wyatt and Matt Wyckoff will be our host and Christine Macaulay (Clara Barton ES) will be our coordinator assisted by Lisa Armstrong (Pennsville School District). Liz Aldrich (Washington Township School District) will conduct the Intermediate String Ensemble. Maya Norton (Haddonfield School District) and Francesca Secrest (Carusi MS) will conduct are elementary string ensembles. The managers for this event are Mathieu Maier (Haddonfield School District), Cassandra Sicolo (Cherry Hill School District), and Ashley Reim (Chestnut Ridge MS).
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The SJBODA Spring Breakfast meeting will take place on Wednesday, May 27th at 9:00 AM at Seven Star Diner. Please contact John Drechen at 609-4570590 or sjbodapresident@gmail.com if you plan to attend. Please continue to check the Website, maintained by Derek Rohaly (Mainland Regional HS), for the latest SJBODA updates. attend. Please continue to check the Website, maintained by Derek Rohaly (Mainland Regional HS), for the latest SJBODA updates. John Drechen SJBODA President sjbodapresident[at]gmail.com
SJCDA
South Jersey Choral Directors Association www.sjcda.com
uary 25 concert, our Saturday, January 24 concert was extremely well attended. I would also like to thank the board of the South Jersey Choral Director's Association and the regional area teachers who volunteered their time and efforts to make the concert a success. We are currently looking forward to our All South Jersey Elementary festival, which will take place Saturday, February 28th at 4pm at Washington Township High School and will be conducted by Mr. Kayode Gloster, who has chosen an excellent and diverse program for our elementary students. For those of you who attended the NJMEA conference, thank you so much for doing so and stopping by our booth in the Exhibit Hall! It was an incredible opportunity to network with our fellow regional boards, meet new and novice teachers and discuss new ideas for the future. I want to congratulate the NJMEA Executive Board and Board of Directors on an excellent and inspiring conference and we are already looking forward to next year. Looking ahead, our next membership meeting, our Spring Breakfast will take place on Friday, May 1. Please check our website (sjcda.com) or your emails for further communications regarding details of the event.
First, and foremost, I would like to offer warm congratulations to the students of the All South Jersey Senior and Junior High choirs and their conductors, Richard Tinsley (Egg Harbor Township) and Matthew Guerrasio (Egg Harbor Township). Over 300 students participated Brendan B. Moore in our choirs and while snow cancelled our Sunday Jan- SCJDA President
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SUPPORTIVE INCLUSIVE EXCEPTIONAL TEMPO
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NJMEA 2025-2027 Board of Directors EXECUTIVE BOARD
President Yale Snyder
Past President David Westawski High School Choir Director westawski.njmea[at]gmail.com
President-Elect Anthony Lanzerotti, Jr
Monroe Township District snyder.njmea[at]gmail.com
Woodrow Wilson MS lanzerotti.njmea[at]gmail.com
Executive Director
NJSMA, President
CJMEA, President
Lyn Lowndes
Rebekah Sterlacci
Butler High School president[at]njsma.org
Piscataway HS president.cjmea[at]gmail.com
William McDevitt Retired wmcdevittnjmea[at]gmail.com
SJCDA, President
SJBODA, President
Lenape High School bmoore2[at]lrhsd.org
Retired sjbodapresident[at]gmail.com
Brendan Moore
John Drechen
APPOINTED MEMBERS Accessible Music Education Maureen Butler Retired maureenbutlermusic[at]gmail.com
Band Performance Jesse Argenziano W Windsor-Plainsboro HS South njmeaband[at]gmail.com
Jazz Education Andrew Lopez Sparta High School alopez.njaje[at]gmail.com
Administration/K-12 Ed Tech Shawna Longo Westfield Public Schools shawnalongo[at]gmail.com
Choral Festivals Donna Marie Berchtold Retired firesongwed[at]gmail.com
Orchestra Performance/Festivals Elisabeth Sato Martin Luther King Elementary orchestra.njmea[at]gmail.com
Advocacy Arwen Kapusta John Adams Elementary School arwenkapusta[at]gmail.com
Choral Performance Brian Williams Robbinsville High School NJAllStateChoir[at]gmail.com
PreK-8 General Music Amy Burns Far Hills Country Day School aburns[at]fhcds.org
All-State Production Manager Joseph Cantaffa Howell High School jcantaffahhs[at]hotmail.com
Conferences Marie Malara Retired malara97[at]aol.com
Research/Collegiate/HigherEd Marissa Silverman Montclair State University silvermanm[at]montclair.edu
Band Festivals/NJEA Liaison Nancy Clasen Lodi Public Schools nancyclasen[at]gmail.com
D.E.I.A Isaiah C. Mason Linwood School deia.njmea[at]gmail.com
Retired Members/Mentorship Kathy Spadafino Retired kspadeb[at]aol.com
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Emerging Ensembles Zach Gates East Brunswick High School zacharygatesmusic[at]gmail.com
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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 1953 - 1955
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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 Henry Zimmerman
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 1987 - 1989 1989 - 1991
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 Joseph Mello Dorian Parreott
44
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 2021 - 2023 2023 - 2025
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 Wayne Mallette David Westawski
MARCH 2026
ADVERTISERS INDEX
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WEB ADDRESS
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Berklee
berklee.edu/music-education
15
Calderone School of Music
calderoneschoolofmusic.com
17
Caldwell University
caldwell.edu
19
Kean University
kean.edu
31
millersville.edu/music
32
Montclair State University, Cali School of Music
montclair.edu/music
9
New Jersey Symphony
www.njsymphony.org
18
USAfest.org
25
www.peripole.com
2
PYO Music Institute
pyomusic.org
30
The College of New Jersey
music.tcnj.edu
8
West Chester University - Wells School
wcupa.edu/music
42
MARCH 2026
45
Millersville University
Performing Arts Consultants Peripole
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2026 marks the 41st anniversary of the annual observance of Music In Our Schools Month® in March. The Call for Compositions is open through January 16! Visit nafme.org/MIOSM for lesson plans, shareable materials, and more to help you advocate for and promote your school music program.
We remain United Through Music! Learn more at nafme.org/MIOSM #UnitedThroughMusic | #MIOSM TEMPO
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MARCH 2026