DAVE BRUBECK Dec. 6, 1920 â€“ Dec. 5, 2012
The Official Magazine of the New Jersey Music Educators Association a federated state association of National Association for Music Education
Volume 67, No. 3
Presenting Our Candidates For NJMEA President Elect, by Joseph Jacobs
“DIY” Teaching Aids For Choral Music Concepts, by Cherilyn Worthen
Festivals As Learning Opportunities, by Jeff Skogley
28 Higher Education And The Young Guitarist Part II - Classical Guitar, by Thomas Amoriello and Matthew S. Ablan 32
The Music Educator’s iPad Toolkit, by Stefani Langol
“On The Cover”: Jazz Pianist Dave Brubeck Dies At Age 92
Now’s The Time For Music Learning Theory, by Joel Perry
Guns, Tragedies, And Music In The School, by Dorita S. Berger
MARCH 2013 DEPARTMENTS AND NJMEA BUSINESS
Advertisers Index & Web Addresses.......63 Board of Directors.................................60 Division Chair News.......................... 6-18 Editorial Policy & Advertising Rates......62 From The Editor......................................4 In Memoriam.................................. 58-59 Past-Presidents.......................................62 President’s Message.............................. 2-3 Resource Personnel................................61 Round the Regions.......................... 54-57
FORMS AND APPLICATIONS See NJMEA.ORG
“Files and Documents” for downloadable copies of all forms
NAfME Membership............................. 64
ATTENTION MEMBERS: Please go to nafme.org to record email and address changes. TEMPO Editor - Thomas A. Mosher 80 Jumping Brook Drive, Lakewood, NJ 08701 Phone/Fax: 732-367-7195 e-mail: email@example.com Deadlines: October Issue - August 1 January Issue - November 1 March Issue - January 15 May Issue - March 15 All members should send address changes to: firstname.lastname@example.org or NAfME, 1806 Robert Fulton Drive Reston, VA 22091 Printed by: Kutztown Publishing Co., Inc. 1-800-523-8211 email@example.com
The New Jersey Music Educators Association is a state unit of the National Association for Music Education and an affiliate of the New Jersey Education Association. It is a nonprofit membership organization. TEMPO (ISSN 0040-3016) is published four times during the school year: October, January, March and May. It is the official publication of the New Jersey Music Educators Association. The subscription rate for non-members is $20.00 per year. The subscription for members is included in the annual dues. A copy of dues receipts (Subscriptions) is retained by the NJMEA Treasurer. Inquiries regarding advertising rate, closing dates, and the publication of original articles should be sent to the Editor. Volume 67, No. 3, OCTOBER 2013 TEMPO Editor - Thomas A. Mosher, 80 Jumping Brook Drive, Lakewood, NJ 08701 Periodicals Postage Paid at Lakewood, NJ 08701 and additional entries POSTMASTER: Please forward address changes to: NAfME 1806 Robert Fulton Drive Reston, VA 20191
2013 NAfME EASTERN DIVISION CONFERENCE April 4-7, 2013 Hartford, CT 2013 NAfME NATIONAL CONFERENCE October 27-30, 2013 Nashville, TN NJMEA CONFERENCE February 20 - 22, 2014 East Brunswick, NJ
President’s Message KEITH HODGSON 609-317-0906 firstname.lastname@example.org Website: http://www.njmea.org
The Eastern Division:
ust a few weeks ago, we gathered and celebrated our profession at the annual NJMEA State Conference at the East Brunswick Hilton. It is always a very exciting time to be inspired by clinicians and ensembles; to be reenergized by new music and technologies; to be motivated by fresh teaching methods and assessment ideas; and to network with our colleagues from around the state and make new friends. Since our expansion to a three-day conference in 2012, we have witnessed some of our highest levels of conference attendance, soldout exhibits, collegiate involvement and attendance and quality performing ensembles. Once again, I would like to thank Marie Malara and her conference team, Deb Sfraga, and Tom and Kathy Mosher for all of their work to make New Jersey’s Music Educator’s Conference one of the best in the country. Thank you to all the clinicians, presiders, exhibitors, performers and volunteers who helped to make the 2013 NJMEA State Conference successful and memorable for our membership. A few individuals that have gone the extra mile in helping to secure sessions and presenters are the Academy Chairpeople; Larry Markiewicz, Tom McCauley, Matthew Paterno, Jeff Kunkel, Kathy Spadafino and Rick Dammers. My sincere thanks also go to Al Bazzel and the All-State Band Procedures Committee and Kathy Spadafino and the Choral Procedures Committee for all of their outstanding work with our February All-State performing ensembles. (Wind Ensemble, Symphonic Band and Women’s Chorus) One of NJMEA’s unsung heroes is Donna Cardaneo and her team who handle all the housing, meals, transportation and organization for our All-State students in February. Thank you Donna for all of your dedication to our All-State musicians! If you missed our conference, we hope you will plan to join us in 2014. The Executive Board and Conference Committee met the very night that the 2013 Conference ended to plan and prepare for the 2014 conference. It guarantees to be better than ever!
The Eastern Division Conference is just around the corner! The Connecticut Music Educators have done a fantastic job getting ready to present an exciting conference experience for all the Eastern Division states. The Eastern Division Conference is held every two years and is hosted by a local state Music Educators Association. The 2013 Conference will take place from April 4-7, 2013 at the Connecticut Covention Center, 100 Columbus Boulevard, Hartford CT. Check out all the details on the Eastern Division website. We hope to see you in Hartford! http://www.nafme-eastern.org Teacher Evaluations:
An increasing number of states, as well as local school districts, are developing teacher evaluation systems for teachers, including music educators. I’m sure you are well aware of this since New Jersey is one of the states out front on teacher evaluation and has already specified models that each district must choose to adopt. I wanted to share with you NAfME’s Position Statement on Teacher Evaluations: “The systematic application of student scores to teacher evaluation must be done carefully if the resulting systems for evaluation are truly to benefit our students and our schools. We urge all involved in the construction and implementation of these protocols and systems to carefully consider the importance of basing evaluation decisions on valid information. “ “It is important for music educators and others involved in our schools to be aware of the following issues, to avert potential damage to school programs, teachers, and most of all, to students.” To that end, the National Association for Music Education (NAfME) believes: • Measures of student achievement used in teacher evaluation must be based on student achievement that is directly attributable to the individual teacher, in the subject area taught by that teacher. Student achievement measures must be used with care, ensuring that they accurately reflect a given teacher’s contributions. 2
NAfME also believes successful music teacher evaluations must include a balanced, comprehensive assessment of the teacher’s contributions to student learning through multiple measures. These measures can and should collect information such as: • Indicators of teacher practice, such as planning and preparation • Indicators of the teacher’s role in maintaining a productive classroom environment • Indicators that instruction is designed to reach specified goals • Indicators of teacher contribution to the school or district, as well as to the profession of teaching at large • Indicators that students attain 21st Century skills through instruction.
Believe it or not, my NJMEA term as President is quickly coming to an end. The process for the NJMEA leadership transition has been rooted in a consistent team approach that allows each new state leader to have 2 years as a President-Elect to experience the learning curve involved, and then 2 years as a Past-President to help mentor and support the President. In addition, the Executive Board also consists of the four Region presidents. With each two year transition, the Region presidents also change giving the Executive Board a new look and hopefully bringing new ideas to the future of NJMEA. Each serving president has the support of hard working and dedicated colleagues. I have enjoyed working side by side with truly wonderful people. All of the Region presidents over the past two years have served and represented your Region membership to the highest level and continue to work to move and improve their organization as well as NJMEA. My sincere thanks go to William McDevitt and Joe Jacobs who have been such an important part of my team.
New Horizons… TI:ME / NJMEA Technology Expo:
The NJ TI:ME / NJMEA Music Technology Expo will be held in May. Students may submit their materials online for adjudication and have the option of attending this science style event. The Technology Expo will include guest presenters, a performance showcase for electronic music ensembles, and hands on technology playgrounds. Project categories such as Original Composition, Covers, Remixes & Loop-Based Projects, Multimedia, Applied Technology and Production/ Engineering are among the areas students can submit for adjudication and for sharing in a supportive environment. For more information, refer to the article in your January TEMPO on p.36 and contact Marjorie LoPresti (East Brunswick High School) at email@example.com.
NJMEA President-Elect Voting: One of the areas that I would love to see more participation is in the statewide voting for President-Elect. We have moved to an online voting process and it only takes SECONDS to click the link, click a few questions and vote. In this TEMPO issue, you will find biographies for the two candidates for President-Elect for 2013-2015. You will be sent the link to the online ballot and there will be a two week election window in April. Please take a moment to participate in our NJMEA election. My very best to all of you as you finish up another school year. If I can be of any service, please do not hesitate to contact me.
All-State Band 75th Anniversary Commission:
There is still time to join the consortium for the New Jersey AllState Bands’ 75th Anniversary commemorative work by composer Dana Wilson. Individuals and organizations that contribute a minimum of $500.00 will receive a complete set of the score and parts as well as performance rights for their ensemble. For more information and consortium form, please contact Lewis Kelly at lkelly@woboe. org. Announcing The New Nafme National Conference:
October 27-30, 2013 in the place music calls home… NASHVILLE, TN. Mark your calendars now for an outstanding event at the Gaylord Opryland Resort and Convention Center! This national inservice conference will include: • Opportunities to network with peers from across the United States • More than 100 professional development sessions that will give you tools and techniques that you can use immediately in your classrooms • Activities for friends and family • All-National Honor Ensembles • Receptions, keynotes, and… music!
Thomas A. Mosher 732-367-7195 firstname.lastname@example.org Website: http://www.njmea.org
Do You Have Something To Say?
t is that time of year again when we try to encourage some of you to try your hand at writing. We have some new authors on board who have been submitting articles during the past year, but we need more. If you have ideas floating around in your head which have been nagging at you to be written down so you could communicate them to others in the profession… now is the time. There are those who write on special topics but they cannot do so all the time. For example, Bill Berz has written more than 50 articles on band for TEMPO over the past 10+ years, but he is not able to do so for every issue. We need people who can write with a different view point to use at times when he is busy with other activities. The same is true in many of our other areas. Writers are needed for almost every aspect of music education: elementary, middle school, high school, higher education and college students. At each of these levels we need people writing about: band, chorus, orchestra, jazz, special education, technology, etc. TEMPO Magazine is not just about forms and auditions. We try to provide educational articles which will help our members to teach better, to provide them with new ideas, and to stay informed about the world of music education. The magazine needs articles by teachers who teach at the levels about which they would write in TEMPO
order to assure our readers that they have experience at these levels and “know what they are talking about.” Higher education has been missing in our magazine for several years and professors of music at the college level are more than welcome to provide us with articles in their areas of expertise. No one who submits to the magazine needs to worry about their grammar or spelling. We do ask that you proof read what you write and do a spell check prior to submitting your work, but we will make every effort to make you look good! The criteria and submission guidelines are available at the njmea.org website under TEMPO. These guidelines will be updated periodically, but rather than sending submissions by disk, emailing attachments is easiest and best. With every submission, I need your contact information and a high resolution head shot of yourself to use with the article. Information being sent for publication must be in my hands by the deadlines listed on the first page of this magazine. There you will find the deadline as well as the projected delivery date of the magazine. Do you have some really good ideas? Then write them down and send them in to tmosher@njmea. org I am looking forward to hearing from you.
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& News From Our Division Chairs & Past-President William McDevitt 856-794-6800 x2539 email@example.com
Random Thoughts In a recent “Random Thoughts”, I addressed the workings of the NJMEA Board of Directors. In this edition, I would like to address the topic of “NAfME and You: Perfect Together.” I can still hear the voice of Governor Tom Kean promoting New Jersey as a perfect tourist destination, with the New England accent. As you read the information below, about the workings of NAfME, please imagine it in an appropriate New Jersey accent. Over the past decade, I have been lucky enough to be involved in a number of activities of NAfME and the Eastern Division as both a participant and an observer. Throughout this time, I have gained insight into how our organization functions and learned some things that I never really knew before. The first thing that I would like to say is that our national organization (NAfME) is staffed by a group of amazing people, all of whom work very hard for our membership. They all have specific jobs (although those roles tend to change as time progresses), and will do anything in their power to address our needs if called upon. On a daily basis, they are in the office answering phones, working on the website, meeting with members of Congress, preparing professional development opportunities, and the list goes on and on. While I saw their names in print for many years, it wasn’t until my first National Assembly that I actually had the opportunity to meet them and match a face with the name. These people are the ones that keep our organization moving every day. They are the constant and the organizational memory that we hear about so often in member driven organizations like ours. Our National Executive Board (NEB) consists of 13 individuals. This includes our National Officers (President Nancy Ditmer, PresidentElect Glenn Nierman, and Past-President Scott Shuler), the Presidents of the 6 Divisions, and several of the Past Division Presidents. New Jersey is a member of the Eastern Division (ED) which consists of all of the states from D.C to Maine and out to Pennsylvania. Also included in the ED is Europe. We have a President (Tom Dean from Maryland), Past President (John Kuhner from Connecticut), and President-Elect (Bob Frampton from NEW JERSEY). Also included on the ED Board is a representative, usually the President, from each of the represented states. The NEB meets face-to-face several times throughout the year. They are our decision-making body so their meetings last for several days. The ED meets twice a year, normally in the location of each upcoming ED Conference. Lately we’ve been meeting in Hartford. Each time that these Boards meet, the only voting members are the elected members of the board. Anyone can go to a meeting and be an observer, but they are not allowed to interrupt, comment, or vote. It is all a well-oiled machine. The ED meets for two main functions: 1) to discuss/advise the ED President and Past-President on issues directly pertaining to the NEB, 2) to plan and implement the ED Conference and the All-Eastern Ensembles. Before I became involved, I had no clue how ED Ensembles were chosen or administered. This has been one of the most eye-opening experiences I have had. For those that have had concerns in the past, I can assure you that the system that is in place is the fairest way that this can be done without the use of auditions. If anyone has concerns, I would be happy to sit with them to discuss the process. Attending a National Assembly is also an eye-opening experience. Since the NEB really makes the decisions for NAfME, the representatives from each state mostly sit and listen to the information that is being provided by NAfME Staff and Board. Occasionally, there is an opportunity for the state Presidents to vote. For example, the National Assembly will determine the two finalists that will run for NAfME President. Over the years, our National organization has made major strides in customer service, evident by the improvements and wealth of materials available on the NAfME website. If you get the opportunity, start by browsing the Advocacy section at www.nafme.org. Anything that you could possibly need is available there. If you can’t find what you are looking for, search the forums or log in and start a topic of your own. Your dues pay for the upkeep of this site, so if you don’t find it – ASK! While most of our NJ members will never see NAfME or the ED at work, I can assure you from being there, that there are many people who are working every day to make sure that you have an opportunity to be the best teacher that you can be. Take advantage of what is offered. Make it “NAfME and YOU: Perfect Together!” continued on page 8
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& News From Our Division Chairs & President Elect Joe Jacobs 609-487-7900 firstname.lastname@example.org
And the winners are ….? This is the second year that nominations for the NJMEA Administrator Awards and Distinguished Service Awards were submitted to me. It is very exciting to see that there are so many outstanding educators and supporters of music in New Jersey. Some of the award winners are people that you may be familiar with through a region or an all state ensemble. Some of the winners are people that hold or held an office or a leadership position on a region or state board. Others may only be familiar to people in the local school district. But all of these educators care about music education just like you. The difference between the award winners and other dedicated administrators and teachers is difficult to identify. There is no pattern but there are a few common elements. The first thing that comes to my mind is that those who were nominated are looking at a bigger picture than some of us. They care not only about the students in their classes or schools, but about all of New Jersey’s music students. How many times have we focused all of our energy and resources on our own students? These winners are able to not only meet the needs of their students but also are able and willing to assist other students in our region and state. The second difference that I see is their time commitment for music education and music advocacy. All of the candidates share an extraordinary amount of their precious time with our students. These ladies and gentlemen somehow find the time to attend student performances, rehearsals, auditions, board meetings and workshops. Our first reaction may be that these people do not have the responsibility that we have at our schools. They don’t have scheduling problems, lesson plans, or demands from administrators and parents. They don’t have to deal with student performances, motivation, state testing, or assessments. They just don’t have a life! They do have a life and it is very similar to ours. We all share the same challenges in our teaching careers. The setbacks that we may face as music educators are not new. Our colleagues are experiencing the same joys, rewards and sometimes frustrations that we do. We all support music education and the role it plays in the lives of our students. They just go one step further. The bottom line is that there is no major difference between the award winners and the rest of us. We celebrate their recognition and applaud their accomplishments because it represents the dedication that all of us try to achieve as caring professional music educators. We congratulate the recipients of the NJMEA awards as our colleagues and our role models. They are the best and so are you! The names of the 2013 NJMEA award recipients will be announced at our February conference and the May edition of TEMPO magazine. And the winners are… our students. Thank you for all that you do for our children and music education.
Administration Ronald P. Dolce 732-574-0846 email@example.com
Well spring is right around the corner and many of you are in the middle of school musicals and preparing for the concert season. This school year seems to be going by very quickly. The New Jersey Music Administrators Association has been busy this year with our membership dedicating our meeting/workshops to the new models of teacher evaluation that will be utilized in the coming year. Our workshops have given the music administrators some time to discuss what is being done in various districts as well as hearing from prominent district administrators in the state and what they are doing to facilitate the new evaluation processes. continued on page 10
& News From Our Division Chairs & Our third workshop was held on February 1st as we attended a workshop entitled, “Smart Music as a Tool for Assessment”. The workshop was facilitated by Bob Pispecky, Supervisor of Music for the Edison Public Schools and presented by Lisa Swanick from the West Orange Public Schools. The purpose of the workshop was to show how the program can be used as a tool to evaluate student progress. At the NJMEA Conference held February 21-23, the members of the NJMAA continued to share their expertise by presenting sessions. Several included, “The End is the Beginning-The Science of Reverse Planning”, presented by Joe Akinskas, retired supervisor from the Cherry Hill Public Schools and Cumberland County College and Rowan University; “Transitioning from Music Student to Music Teacher, presented by Robert Piskecky, Music Supervisor from the Edison Public Schools; and “Music Student to Music Teacher: Nail Down that Job”, presented by Peter Griffin from the Hopewell Valley School district and Robert Pispecky from the Edison School District. This year several of the NJMAA sessions were part of the Collegiate Academy that was held on Saturday of the conference. NJMAA, once again, held its annual Breakfast Meeting on Friday, February 22nd. The members that attended shared a relaxing time to say hello and renew acquaintances. A Job Fair was sponsored by NJMAA to give the members an opportunity to interview possible candidates for jobs and to give an opportunity for candidates to have a first time interview and to get a feel for job opportunities that might be out there in the near future. Our April12th workshop presented, by Joe Akinskas, was entitled, “Aesthetic Education Across the Curriculum: Participate in an Interactive Workshop & Discussion on Applications and Activities per the New Standards”. Presenters for this workshop were from the Lincoln Center Institute, New York City. Our General Membership meetings/workshops are held at the Rutgers Club on the campus of Rutgers University in New Brunswick. Hospitality begins at 9:30 a.m. and the meeting begins at 10:00. Check the Rutgers Club website for directions. Our membership meetings have been filled with new and veteran members who are working together to provide each other with good practical methods of administration of music education in their schools. We want to continue to reach out to those supervisors, directors, administrators and coordinators of programs without a music background to join our organization and use the NJMAA as a resource to more effectively deal with music teachers and the special needs of their program. Please join us at our meetings. For more information go to www. njmaa.org .
Band Performance Al Bazzel 856-358-2054 firstname.lastname@example.org
Congratulations to all involved with this year’s All State Band, from auditions through the concert weekend. Special thanks to our conductors, McCauley and Martynuik, the entire band procedures committee, coordinators, managers, hosts, and band directors throughout the state. Your students did a wonderful job! Please note the 2013-14 solo list will be posted and published in the May issue of TEMPO. As a reminder, there is still time to join the consortium for the Dana Wilson commission for the 75th anniversary of the New Jersey All State Bands. You definitely want to be a part of this exciting and important work. For more information and consortium form, contact Lew Kelly at email@example.com. On behalf of the entire committee, I hope you have a successful spring performance season at your respective schools.
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SUMMERTERM 2013 PRE-SUMMERTERM SESSION JUNE 24 – 28 Baroque and Before— Teaching Early Music for Strings Emlyn Ngai SESSION I & II JULY 1 – JULY 12 Orff Schulwerk Levels I & II Chris Tranberg, Michael Chandler, Megan Tietz, Julie Blakeslee SESSION 1 JULY 1 – JULY 5 INSTRUMENTAL Teaching Beginning Band & Strings Matt Aubin NEW! Enhance your Teaching through Keyboard Harmony Pete Woodard Exploring Jazz Improvisation Kris Allen TECHNOLOGY Teaching Composition to Middle and High School Students Ken Steen VOCAL Inspiring Good Vocal Technique Cherie Caluda SESSION 2 JULY 8 – JULY 12 INSTRUMENTAL The Hartt School Guitar Festival Antigoni Goni, Christopher Ladd, Richard Provost Brass Refresher Matthew Aubin School String Fleet Maintenance for the String Educator Glen Grigel ALL DISCIPLINES AND LEVELS Body Mapping for Music Education Kay Hooper NEW! Music and Movement for Life and Learning Lillie Feierabend & Patti Mascetti TECHNOLOGY Finale Music Notation Ken Steen
SESSION 3 JULY 15 – JULY 19 INSTRUMENTAL Percussion Know-How for Music Educators Ben Toth Band Instrument Maintenance for Wind Educators Glen Grigel Folk Instrument Performance Jeff Rhone Piano Tuning I & II Ken Lawhorn TECHNOLOGY 21st Century Technologies in the Music Classroom Lief Ellis, Miriam Schreiber
SESSION 5 JULY 29 – AUGUST 2 CONDUCTING Instrumental Conducting Clinic Glen Adsit & Edward Cumming INSTRUMENTAL Concert Percussion for Music Educators Ben Toth A Woodwind Refresher Dan Higgins NEW! ALL DISCIPLINES & LEVELS Rich Traditions and New Creations: Dance, Song, Storytelling and Literature in the Music Classroom: Peter & Mary Alice Amidon TECHNOLOGY Music Production: Pro Tools I Gabe Herman
SESSION 4 JULY 22 – JULY 26 CONDUCTING /COMPOSITION Music Making, Creating, Conducting, & Self-Discovery: The Michael Colgrass Experience SESSION 4 – 5 JULY 22 – AUGUST 2 Michael Colgrass & Glen Adsit HARTT CHORAL CONDUCTING INSTITUTE INSTRUMENTAL Ed Bolkovac & Stuart Younse World Percussion and Drum Set Survey HARTT KODÁLY CERTIFICATION PROGRAM for Music Educators John Feierabend, Jeff Rhone, Ben Toth Ed Bolkovac, Gabor Viragh Rhythmic Workout for Music Educators FEIERABEND ASSOCIATION FOR Rogério Boccato MUSIC EDUCATION (FAME) ALL DISCIPLINES & LEVELS First Steps in Music® Gordon’s Music Learning Theory John Feierabend Clark Saunders & Ken Trapp Conversational Solfege™ Beginning Music & Movement Around the World John Feierabend Lillie Feierabend Conversational Solfege™ Advanced Special Needs Students in the Music Classroom John Feierabend Heather Wagner TECHNOLOGY Recording Music Performances The Hartt School Summerterm is recognized Justin Kurtz as one of the finest summer programs in the country. Hartt’s nationally and internationally acclaimed faculty provides students with a diverse and innovative curriculum.
Summers-only Master of Music Education/Graduate Professional Development Credits Earn your MMed over the Summer! Hartt’s 36 – 41 credit graduate Music Education program can be completed in three summers with emphases in Kodály, Pedagogy, Choral or Instrumental Conducting. Flexible course requirements to meet your professional development needs and goals.
Hartt Summerterm Office | The Hartt School | University of Hartford | 200 Bloomfield Avenue | West Hartford, CT 06117 Dee Hansen, Director | 860.768.4128 | firstname.lastname@example.org
& News From Our Division Chairs & Choral Performance Kathleen Spadafino 732-214-1044 kspadEB@aol.com
Choral Procedures eagerly prepared for the 2013 All-State Womenâ€™s Chorus. We had one final rehearsal on Sunday, Feb. 3rd before the NJMEA convention and concert. We were ready and excited for this concert. Unfortunately, I was unable to attend the NJMEA convention as our son is graduating Chiropractic College on Feb. 22nd. Hillary Colton was my replacement, and worked with Donna SanGiovanni and Joe Cantaffa to thoroughly prepare the girls for Lucille Kincaid, the conductor. The audition bulletin for the 2013 auditions, which will take place on April 13 at the South location and April 20th at the North location, is online and ready for download. We have all of our key people in place to make the auditions run smoothly. We are happy to add Jamie Bunce from Columbia HS in Region 1 to our Choral Procedures Committee. Now our committee is complete with 3 representatives from each region.
Donna Marie Berchtold 609-476-6241 x1013 email@example.com
60TH Annual Jr. High-Middle School Chorus Festival Plans are underway for the 60th Annual Jr. High-Middle School Chorus Festivals. These festivals are sponsored by NJMEA; they continue to spotlight these choruses from throughout the state of New Jersey. The Festivals will be held at two separate locations. The first event (South Site) will take place at Rowan University on April 24, 2013. The deadline for applications is March 18, 2013. The second event (North Site) will be held at Rutgers University on May 25, 2013. The deadline for applications is April 22, 2013. The time of each event is 9:30 â€“ 1:30 PM. The application forms can be found on line at www.njmea.org, and they can also be found in the January edition of Tempo magazine. A maximum of ten (10) registrations will be accepted at each site. Each participating group will receive written evaluations by the adjudicators and a plaque from NJMEA which recognizes the commitment to and involvement in music by the school, its chorus, and director. Choral Directors seeking to have their choruses perform and receive adjudication should consider registering for one of the two festivals.
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& News From Our Division Chairs & Opera Festival
Stevie Rawlings 201-261-7800 x3069 firstname.lastname@example.org
The “UNSUNG” Heroes of the Opera Festival. Let it be known that often the people who do not sing a note are the backbone of the success of the Opera Festival. I would like to recognize them, beginning with Judy Wilkes who conducted the 30-piece Paramus All-State Festival String Orchestra, joined by two All-State violin participants, Jonathon B. Chen, Livingston HS, and Sean Yoshida, Fort Lee HS. Their outstanding work added the elegant, orchestral component to the concert with Quando me’n vo from “La Boheme” by Puccini and Largo al factotum from the “Barber of Seville” by Rossini. Johanna Zuleta, volunteered to help with the Opera Festival while completing “Fieldwork” in music this fall at Montclair State University. She served as the stage manager for both the auditions October 26 and the entire festival day November 17. Both events appeared effortless, thanks to her expertise. I am very pleased that she will be continuing as my student teacher at Paramus High School through May. What a fine teacher she will be! Several Paramus High School Tri-M music honorary members (Mark Donellan, advisor) served as “guardian angels” for the guest artists and clinicians, ushers for the concert, and hosts for the festival day. I would like to personally thank Carlo Antonino for being in charge of this fine group of students; Adam Basner, Vince Calupad, Brittany Horvan, Kripa Patel, Sol Lee and Kathryn Rogue. A student photographer, Rebecca Greff, documented the festival day with excellent pictures. Gratitude is extended to Dennis Dalelio, for being her Photography IV teacher, for recommending her, and for processing the photos. The Paramus Music Parent Association volunteers, Barbara Bacich, Kerrie Garlasco, June Locke, Jim Locke, Fred Rohdieck, John Vasile and Michelle Wolfer, led by President Steve Bacich, made food and drinks available the entire day as well as stocking the “hospitality room” for guest artists and staff. Their consistent dedication to the students is an irreplaceable resource. Bill Castelonia, custodial supervisor, and his staff were kind and accommodating to the special demands of both the auditions and the Opera Festival day. The publicity postcard was willingly designed for the second year by Michael Ferrari. A special thank you to Lisa Vartanian, Supervisor of Fine, Practical and Performing Arts at Paramus High School. Her support for the Opera Festival and for the students is unflappable. Jennifer Rafferty, music department secretary, was vital in the successful operations of the event. The following directors are to be congratulated for giving their time and sponsorship to their student participants: Christine Micu, Hillsborough HS; Bruce Van Hoven, Morristown-Beard School; Thomas Pastor, Northern Highlands Regional HS; Tess Nielsen, The Ranney School; Steven Bourque, Ridgewood HS; Lisa Smith, River Dell Regional HS; Alison Mingle, Somerset County Vocational and Technical HS; John Brzozowski, Westfield HS; Carol Andrews, retired/Allendale and Ed Schmiedecke, retired/Ridgewood HS. Claudette Peterson, (Master of Ceremonies), David Kline, (videographer), Francesca Kubian and David Miullo (accompanists), Wendy White and John Hancock (Metropolitan Opera adjudicators) and Mike Kallimanis (Audition Chair), served as the facilitators, “extraordinaire!” The ENTIRE, aforementioned group made the Opera Festival possible. Art is not easy. I thank each one of these dedicated individuals for their kind expertise in making it possible for young singers to experience and SING opera repertoire at a high level in the NJMEA All-State Opera Festival. THANK YOU to ALL those who did NOT SING a note.
continued on page 16
MUSIC W O R T H C R E AT I N G
Music, Dance and Theatre The Department of Music, Dance and Theatre is an accredited institutional member of the National Association of Schools of Music (NASM) and a collegiate member of MENC, The National Association for Music Education.
Undergraduate B.A. in Music Education B.A. in Music Theatre B.A. In Music Business B.M. In Classical Studies B.M. In Jazz
D.M.A., chair Music, Dance and Theatre 201-200-2025 Mkim@njcu.edu
Graduate M.M. in Performance M.M. in Jazz M.M. in Multiple Woodwind M.A. in Music Education
njcu.edu/mdt 2039 Kennedy Boulevard Jersey City, New Jersey 07305 MARCH 2013
& News From Our Division Chairs & Orchestra Performance Susan Meuse 908-231-0230 email@example.com
It’s March, so we are once again preparing for the All Sate Orchestra auditions. They will be held on Saturday March 16 at Eastern Regional HS in Voorhees. Both the high school (ASO) and Intermediate (ASIO) auditions will be taking place at this time. I look forward to seeing everyone there! By now, everyone has heard that unfortunately, the 2012 ASO was cancelled due to the storm. Fortunately, Maestro John Yaffé has agreed to conduct in 2013. The students will be performing the program they would have played this year. Thank you to Maestro Yaffé for his flexibility in this unusual situation. At the end of April the ASIO will begin rehearsing. As I write this, we are in the process of finalizing the conductor and program. Look for more information in the May issue of TEMPO!
Retired Music Educators Christine Sezer 570-756-2961 firstname.lastname@example.org
Hopefully the worst of the cold winter weather has gone and signs of spring are upon us - we always welcome that! We hope you all enjoyed our excellent NJMEA State Conference. Marie Malara ALWAYS does an outstanding job with our State Conference! Our General Membership Meeting is always a welcome gathering of old friends and colleagues as well as being informative for our membership on meaningful topics. Our mentoring program continues to grow - if you are interested in sharing your experience and expertise, please contact Christine Sezer to have your name added to a mentoring catagory or catagories on our website; email email@example.com phone - (570)756-2729. We are very PROUD of our Master Music Teacher Tom Voorhis who received the NJMEA Master Music Teacher Award at the NJMEA State Conference luncheon in February - our sincere congratulations to him for this outstanding achievement! The deadline for submitting a candidiate for a Master Teacher is March 15. The form can be found on the NJMEA website under “forms”. Kathy Spadafino is the new chair of the Master Music Teacher Committee. Our new President -Elect is Kathy Spadafino and Kathy will also serve as our Secretary as Altha Morton has regretfully resigned. We thank her for her dedicated years of service she gave NJRMEA as our Secretary. Our next Executive Board meeting will be March 6, 2013 at the Seville Diner at 12:00 pm in East Brunswick, NJ. Our next General Membership meeting will be on May 15, 2013 10:00 am at the lovely House -by -the- Sea, located at 14 Ocean Avenue in Ocean Grove,. Our gracious hosts will be Sally and Alyn Heim. Come and join us and see some of your colleagues that perhaps you have not seen for awhile. Lunch will follow at a local restaurant. We hope to see you on the 15th of May.
continued on page 18
& News From Our Division Chairs & Summer Workshop Coordinator Joe Akinskas JoeA_NJMEA@comcast.net
Summer Workshop VI I am pleased to announce that Summer Workshop VI will take place on Tuesday, August 6, 2013, from 8:00 to 4:30 pm. All activities will take place in the Music Building on the College of New Jersey campus in Ewing. Below you will find our session topic roster at this early stage of planning. All sessions are designed to be interactive, in a relaxed summer setting, so come prepared to utilize your voice, instrument, I-devices, and musical skills, in activities designed to be brought back to your classroom. Presenters needed: Although we are well on our way regarding sessions, we are still open to proposals from the membership. Please complete and return the presenter request form, via email, to firstname.lastname@example.org or JoeA_NJMEA@comcast.net, on or before March 31, 2013. We look forward to another enjoyable and productive day for all in attendance. Periodic updates on program development will be forthcoming in TEMPO Express postings and on our website at www.njmeasummerworkshop.com. NJMEA Summer Workshop V Tuesday, August 6, 2013 The College of New Jersey 8:00 – 4:30 p.m. Proposed Workshop Sessions CHORAL: • Elementary, Middle and High School reading sessions SPECIAL ED: • Activities and lesson plans for special learners by age group Pre-K to primary, Upper Elementary to M.S., High School CLASSROOM MUSIC: • Student motivation • Musical theater for the middle school • Revitalizing middle school general music-2013 • Drum Circle INSTRUMENTAL MUSIC: • Technique sessions for the non-stringist-brassist-woodwind-istpercussion-ist-choral-ist….every-ist! • Don’t get strung out over teaching strings: Teaching advanced string techniques in an orchestral setting (for the non-string player.) • Differentiated instruction in the string classroom • From awful to awesome: Developing a proficient flute player • Switching students to oboe or bassoon • Building a low brass section from scratch • Guitar Workshops • Infusing audiation into the elementary instrumental program TEMPO 18
• How to develop assessment tools for instrumental music – individual and group • Roundtable on scheduling lessons and performing groups in grades 4-8 • Developing curriculum and lesson plans that reflect our NJCCCS and go to a higher level of thinking beyond the basic skills of performance TECHNOLOGY: • Use of technology in the elementary classroom • iPod/iPad sessions • Notation software Applications and Tips Smart Music Techniques • Creating with Garage Band/Mixcraft Google Apps for the Music Educator SPECIAL TOPICS: Student achievement tied to evaluations: Strategies For Coping with the new evaluation systems Navigating the standards How to test in non-tested areas Full day of Collegial Networking and Camaraderie &
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Presenting Our Candidates For NJMEA President-Elect NJMEA Election - APRIL 2013 - ONLINE! It is that time again when we look to the future of NJMEA and elect our next President to begin serving July 1st, 2013 for a two-year term as President Elect, a two-year term as President and a two-year term as Past President. Thie NJMEA Presidential Election will take place through an ONLINE BALLOT. Each NJMEA active member will receive the link to the ballot in a TEMPO Express email. Please clink on the link, put in your MENC number and select your Region, then vote for your candidate. The President Elect selection committee has asked our candidates to answer two questions that were posed to them. Hopefully their answers will give you some insight to how these candidates feel about issues and NJMEA’s role and not just their name and biography. Here are their responses...
ichael Kallimanis has been teaching middle and high school bands for 29 years in New Jersey schools. He first attended Fairleigh Dickinson University then transferred to Westminster Choir College in Princeton (now the School of Music at Rider University) and earned a Bachelor of Music Education. He continued his education with graduate courses at Teachers College of Columbia University, William Paterson University, Southern Illinois University, Western Connecticut State University and West Chester University and is currently working on a Master’s Degree in Music Education. He studied voice with Marvin Keenze and trumpet with Larry Todd and James Burke. For the last 17 years, he has worked in the Waldwick School District, currently as Director of Bands in the middle school. Ensembles and classes he has taught include marching band, concert band, jazz band, chamber ensembles of all types, winter color guard, music theory and music appreciation. Mike currently serves as President of the North Jersey School Music Association and is a member of the NJMEA Executive Board. At the state level, he has been the All-State Orchestra audition chairperson since 2000 and was co-manager of the orchestra for the past two years. He has also handled auditions for the All-State Opera Festival since 2006. He has been a member of the state board for two other terms, one as a representative of the Orchestra Division and the other as the state collegiate student chapter president. At the county level, Mike managed the Bergen County Band in 1990, working with conductor Frank Levy from the Bergenfield School District. He was then recruited to handle auditions for the high school and Jr. HS Region Orchestras in 1996. Later, he became manager of the high school orchestra for nine years. He was elected to the Region Board as recording secretary in 2001 and then president elect in 2009. When not working on state or region events, Mike is a member of several community bands. He is the conductor of the Bloomingdale Cornet Band, the Hawthorne Fire Department Band, and assistant conductor of the North Jersey Concert Band. He has performed with the Jefferson Community Band, the Franklin Community Band, the Rutherford Community Band, the Palisades Park Fire Department Band, the Jacksonville Chapel Concert Band and the Jefferson Community Chorus.
The American Legion sponsors a one week intensive program on politics and government for high school juniors called “Jersey Boys State” and students are selected based on their character as well as school and community service. An important part of the program’s experience is performing with the band and chorus. Mike was selected to attend and has returned every year since high school and conducts both ensembles. In 2003, the New Jersey Legislature passed a Joint Resolution recognizing Mike for his then 25 years of service to the Boys State program. He was also nominated as an Outstanding Educator, sponsored by the Nobel Family in 2004. Mike resides in West Milford with his wife, Janell, a flautist and Director of Bands at Sussex Middle School. An issue among others I see as a challenge for our profession is teacher evaluations that are based on student progress. Testing, 1,2,3! No, not microphone checks, rather the amount of standardized testing in our schools. These tests measure skills that students develop primarily in their academic subjects. The tide is changing and now the big push is to evaluate teachers on the progress of their students, maybe on a whim from the head of state? Regardless, show me a standardized test that will measure music learning and then I am willing to accept an evaluation based on student progress. However, our teaching area is affected by many contributing factors – home life that doesn’t allow for practice which sometimes can be construed as making a racket; the economic status of families unable to provide an instrument or private lessons, to name a few. But how do these factors enter into the equation? And which administrative group or individual will make this call and at what cost? Nerve-racking isn’t it? As an advocacy organization for music education, we already have several lines in place to advance our cause. Our head of advocacy, former NJMEA President Nick Santoro, leads a tireless fight for us in keeping the various state agencies aware of the need for music in everyone’s life, as documented by scientific fact. We have to get the message across that it has been proven that involvement in music on a regular basis leads to sharpened reasoning and critical thinking skills, acceptance at first rate colleges, higher paying jobs, and many more benefits based on overwhelming statistics. Why then is it often the first area threatened to be cut? Because of a multitude of prejudices and attitudes to be sure, but most importantly because some believe that we will go quietly. We must be proactive as an organization in establishing evaluation criteria for teachers in the Arts. We must not allow an ad hoc panel of “educators” who may not even be music teachers, to set up evaluation procedures for our profession. We can open up panel discussions at both the NJEA
and the NJMEA conventions to gather input from music teachers on this major issue and offer them to the government agencies that will oversee these future mandates. No matter what area of music you teach, there is something for you available at least twice a year that will enhance your ability to
succeed: at the NJEA Convention in Atlantic City, which this past year would have had a dozen music clinics, and of course our AllState Chorus, Orchestra and Jazz concerts, but unfortunately canceled due to Hurricane Sandy; and the NJMEA Convention every February. At 99% of the clinics I have attended in all
illiam McDevitt is an Instrumental Music Teacher and Chair of the Department of Fine and Performing Arts at Vineland High School South. McDevitt received his B.A. in Music Education from Glassboro State College in 1985 and his M.A. in Subject Matter Teaching – music in 2007. Bill began his career teaching Intermediate and Secondary Music at Paulsboro High School and has taught at Vineland High School for the last 25 years. He currently teaches Music Theory and directs the Marching Band, Symphonic Band, and Pep Band. Under his direction, the VHS Marching Band, Symphonic Band, Jazz Ensemble and String Ensemble have traveled throughout the East Coast of the United States and Canada, participating in parades and festivals and receiving numerous awards and honors. He also conducts the orchestra for the annual school musical production. The current three-year Music Theory and Technology Curriculum was developed by McDevitt and has become a major part of the music elective program at Vineland High School. He developed the Applied Music program which has grown from one class of three students to 12 classes serving more than 160 students. He has conducted the Colonial Conference Honors Band, the Cumberland County Honors Band, the Salem County Honors Band and the All South Jersey Junior High Honors Band. In 2000, Bill was chosen as the Vineland High School South recipient of the Governor’s Teacher of the Year Award. In February 2011, he was named the Cumberland County Teacher of the Month by the CEO Group. McDevitt served on the South Jersey Band and Orchestra Directors Association Board of Directors for 14 years. He has served as President, Past-President, Secretary and Auditions Procedures Chair. McDevitt has also served on the New Jersey Music Educators Association Board of Directors and has served on the past three NJMEA Strategic Planning Committees. He is currently completing a six-year term as PresidentElect, President, and Past-President of NJMEA. I see two major challenges facing the future of music education in the State of New Jersey – one financial and one political. Over the past four years we have been travelling on a funding roller coaster. In 2010, when school district budgets suffered major funding losses from the State coffers, our profession was hit disproportionately. While there was no directive from the State of New Jersey that told districts where to cut, music and related arts became a unilateral victim of the budget axe. Many districts saw our programs as a frill, and deemed frills to be too expensive. Along with programs went teachers – many of whom were experienced and integral parts of their school’s entire educational program. Unfortunately, there was very little that could be done at the time. We, as defenders of these jobs and programs, were blindsid-
my years of teaching, I have come away with something to bring back to my school. That’s an extremely high percentage. Let’s make sure that we do all we can as individuals and as an association to effectively advocate for our programs and music education for all.
ed and spent several months trying to save music in our public schools, then several more months trying to assess the damage. If history teaches us anything, we should realize that conditions surrounding our State’s current financial status are pointing towards more problems in the near future. While the general public supports teachers and what we do in the classroom everyday, those that are entrusted with making decisions for the public don’t always look at all aspects of a budget before suggesting or making spending cuts. Too many times programs like the arts, and specifically music programs, are overlooked for the value that they add to a public school – both educationally and functionally. We are going to need to step up our game when it comes to promoting our programs for the value that they provide. In order to respond to this first challenge, NJMEA will need to do the following for its membership: 1) Make available a concise set of materials for all members, which contains advocacy materials and an explanation of how to use them. 2) Provide training sessions on how to strategize to save jobs and programs. 3) Meet with elected representatives to build support for music programs within the State of New Jersey. 4) Provide a list of experts that can be available to answer questions and help members educate local officials on the value of music education. The second challenge that I see is one that is much more difficult to diagnose and cure. The NJDOE is making decisions that will have an effect on every aspect of a child’s education. Some of these decisions will have an indirect effect on the state of music education in the future of our public schools. Teacher Evaluation, Merit Pay, Core Curriculum Content Standards, Common Core Standards, and Assessment are a few of the hot topics in our profession at the moment. None of these are going to disappear in the near future. How each indirectly affects us will depend on the direction that each takes. How each directly affects us will depend on how well we are represented at the table. The response to these challenges will take a consistent effort as follows: 1) Maintain a presence in Trenton – identifying key officials that support music education and lobbying them for legislative support. 2) Develop a strong coalition with other arts education organizations for an organized approach to supporting our programs and teachers. 3) Utilize available resources to promote music as an integral content area that is on par with the STEM subjects (STEAM –Science, Technology, ARTS, Engineering, Mathematics). 4) Become an active participant in the development of these initiatives. Over the past few decades, NJMEA has changed from an organization that is heavily student based to an organization that is heavily teacher based. We need to continue to represent our members and provide resources that allow them to do their job to the best of their ability.
“DIY” Teaching Aids For Choral Music Concepts by Cherilyn Worthen Utah Valley University email@example.com
Reprinted from Utah Music Educators Journal
recently had the occasion to pack up my classroom after 14 years of middle and high school choral music teaching in preparation for a new job. Caught between nostalgia and the need to organize years of teacher-storage, my eye was drawn to a stack of banker boxes, containing an odd assortment of items. One box alone held tennis balls, nylon stockings, plastic tubing and tiaras. Viewing the strange contents in that setting caused me to realize that some of my best choral lesson plan “helps” were inspired by nothing less than a trip to the local dollar store or home improvement center in true “Do-ItYourself ” fashion. Today’s world of technology-assisted teaching provides music educators with invaluable helps for enhancing instruction. Even so, my collection of boxes reminds me that a colorful visual aid, a game, a simple object or prop can have significant impact on day-to-day lesson plans and rehearsals. In many cases, they are significantly cheaper than brand-new electronics! Even middle and secondary choral students respond well to object lessons, hands-on activities and demonstrations made easy with simple supplies. Each year, we review the basics of singing, explore music literacy and encourage choral ensemble skills. A challenge for teachers of all ages is to keep presenting these repeated concepts in ways that still motivate singers toward progress and improved understanding. Taken from my own collection of storage boxes, inspired by colleagues and conferences over the years, consider some of the following home-grown teaching aids, listed by topic, for your choral curriculum development.
Singing Basics Posture
Old Textbooks: A box of discarded textbooks, or even books you store in your library are an inexpensive tool to help practice beautiful posture and singing alignment. Balancing the heavy book atop one’s head and walking carefully makes the point quickly. Requesting this kind of “royal stance” in rehearsal is reinforced when they recall the sensation from a group activity. Relay races, timed contests and other competitions make great games for a Friday afternoon. Crowns, scepters and sashes: Available cheaply at a party supply store, these props can be displayed to remind singers to use the “royal” stance in rehearsal. Party supply stores carry all manner of props, hats and costumes you could use in a variety of situations. Whether displayed on a bulletin board or used by students in class, visual reminders of your lessons can help students to recall concepts more quickly. Breathing
Pinwheels: Perfect for demonstrations on breath management, maintaining a steady stream of air, passive vs. active breath energy. Careful pressurizing of air keeps the pinwheel moving in a constant pattern. Air basketball toy: This small party favor also requires a constant stream of breath to keep the ball floating above the basket. Aerosol vs. Pump sprays: Helpful for showing the difference between legato vs. staccato breath energy. Hairsprays, paints or water bottles can make for fun and interesting demonstrations of steady air stream (legato singing) vs. short energized bursts of breath (staccato singing). Cocktail/Coffee straws: Small, coffeestyle straws can be helpful for demonstrat-
ing pressurized airflow on an inhale/exhale. Vocalises done through the coffee straw help students practice using pressurized air, without the resultant volume and extra wear on the voice. Vocal Production
This demonstration is made possible by your local home improvement center and a trip to the sporting goods store. You will need: 1. A small bellows (found in the fireplace section of the store) 2. 12 inches of corrugated plastic tubing (diameter size to fit bellows/duck call) 3. A duck call (or other hunting “call” toy) A bellows makes a beautiful breathing demonstration by itself. The expansion of the accordion-like pouch mimics low and expansive abdominal action. After fitting the end of the duck call over the nozzle of the bellows, send air from bellows into the duck call. This allows the reeds to vibrate, making the duck call sound, mimicking vibrating vocal folds. Connecting the plastic tubing to the duck call, you create the image of the vocal tract above the voice box. Once “attached” (either by fitting each piece carefully or even having students hold them together) the bellows is pumped, causing air to move through the duck call and then the tubing, which will create a different sound than just the duck call alone. By manipulating the corrugated tubing (squeezing or changing the shape) or using different sizes, lengths, or tubing material, you demonstrate the changing sounds of an altered resonating chamber. There are many variations of this demonstration, but each piece creates a model for the various parts of the vocal phonation process. Balloons: These offer a simple demonstration of the process of breathing (inhale/ MARCH 2013
exhale) as well as simple phonation. Inflating the balloon helps to visualize “expansion” and air speeding past the opening of the balloon creates various pitches, depending on the length of the model “vocal folds.” Tongue depressors/Plastic Spoons: A singer with tongue tension may improve by feeling the sensation of singing sound while the tongue is in a new position. The back of a spoon or a simple tongue depressor placed strategically in the mouth can help students relate to the changed tongue position, encouraging new habits. Vowels
Tennis Ball: For younger singers, a simple tennis ball can remind them to create a tall mouth space for choral vowels. Slicing a line through the ball (with a sharp knife) creates a “mouth”. Draw eyes and a nose on the tennis ball above the new mouth. By squeezing the tennis ball, its “mouth” opens, moving from a wide smile to a taller position, demonstrating larger mouth space. Posters/Visual Aid Ideas: The Munch “Scream” painting is a fun reminder for using tall, choral vowel space. Colored paper assigned to a matched 1PA vowel (green for [i] and blue for [u]) can make an inviting visual aid in your room. A bright red bulls-eye can be used for a focal point, or a reminder to look for the “target” vowel (or primary vowel) in a vowel combination. A middleschool colleague once took photos of himself creating the desired vowel sounds. After a trip to the office supply store, he turned the photos into large posters for his choir room. It was an unexpected addition to the choir room decor, and entertaining enough that his singers pay attention to them. Fish Lips: If you use the term “fish lips” to describe warmth or the use of lips in creating choral vowels, there are numerous ways to remind singers of this technique. It never fit in one of my boxes, but I once used a giant, brightly colored, stuffed animal fish as a visual reminder in class. Goldfish crackers or Swedish Fish candies can also be used in a variety of ways. Tone Quality
Nylon stockings: Demonstrating legato singing, line, and phrase growth works well using old nylon stockings. Cut into various long lengths, the pull and stretch of this fabric is an excellent visual aid for understandMARCH 2013
ing consistency in musical “line”. A student holding a length of nylon can overlap theirs with another student (or with multiple students) to create a web of “stretching” that gives them a kinesthetic sense of the associated musical concepts. Music Literacy Ideas
Binder Dictation: If you don’t have a budget so singers can have individual white boards but still want to practice music notation drills, try this: Provide each singer their own 3-ring binder with a clear binder cover on the outside. Simply insert a Xerox copy of blank staff paper or a particular notation exercise, and provide each student with a dryerase marker. With some paper towels nearby, the binder itself acts as the lapboard, the dry erase marker can be wiped off the plastic cover easily, and the exercises can be changed as often as you see fit. Magnets/Electrical Tape: If you have a magnetic board in your room, solfege syllable cards or buttons (with magnet backing) can be moved around a board staff for literacy activities. If your board doesn’t have a permanent staff, you can create a semi-permanent one with electrical tape in various colors. Listening
PVC Piping: A short length of tube with two corner-pieces (elbows) on each end creates a “phone.” Students can sing into one end and get an immediate sense of how they sound by listening on the “phone.” Works well for beginning singers and students who struggle with pitch matching. Rhythm
Rhythm Sticks: Short, wooden dowels in various sizes work well as rhythm sticks. Younger students who need a break from daily “clapping the rhythm” during sight-singing exercises can use the sticks for a change of pace. Middle school students especially love decorating their own.
Rocks: African rock passing games/ songs involve simple folk songs that work into challenging games, requiring rhythmic precision and ensemble teamwork. Plastic Drinking Cups: Similar to the rock passing idea, cup-passing games are great ways to encourage rhythmic precision, ensemble work and coordination. Various patterns and choreography are available with just a few online searches. Miscellaneous Props: Team Building Games Useful at choral retreats or for diversions in regular classroom routines, games to inspire team building can build unity in your ensembles. Many games require simple props. My boxes of retreat supplies include items like rope, balls of yarn, ping-pong balls, chalk, paper clips, a kick ball, hula hoops, broomsticks, clothes and props from good will, and bandanas for blindfolds. A few keystrokes in an online search will yield thousands of team building games that may be perfect for your teaching situation. Infusing old lessons with new life can be as easy as the addition of a “Do-it-Yourself” teaching aid. Often inexpensive and easily obtained, some of these ideas may help you re-invent your usual approach to teaching important choral concepts in your classroom. Cherilyn Worthen is a professor of Choral Music Education at Utah Valley University where she directs the Women’s Choir and Concert Choir. A native of Chicago, Illinois, she received a Bachelor’s of Music Education and a Master’s of Music in Choral Conducting from Brigham Young University and a Ph. D in Music Education from the University of Utah. Worthen has taught at the Waterford School in Sandy, Utah and is currentlythe director for the Mormon Tabernacle Choir School. She is an active member of ACDA, MENC and Chorus America and serves on the choral committee for the Utah Music Educator’s Association.
Teaching Tips Featured on NAfME’s My Music Class!
Here are some examples: • Designing Effective Rehearsals • Creating a Student Handbook • Developing a Relationship with Administration • Your First Day of Class Visit musiced.nafme.org/my-music-class to browse tips.
University of Massachusetts Amherst Department of music anD Dance
BA in Music BM in Jazz, History, Music Education, Performance & Theory/Composition MM in Collaborative Piano, Composition, Conducting, Jazz Composition/Arranging, Music Education, History, Performance & Theory
Classical Strings only:
Applicants for Spring and Fall 2013: December 1 Early action for Fall 2013: February 2 & 16 Regular applicants for Fall 2013: March 2 Transfer applicants for Fall 2013: March 30
Tuesday, November 27, 2012 Tuesday, February 12, 2013 Saturday, March 2, 2013 Tuesday, March 26, 2013
www.umass.edu/music For More Information: firstname.lastname@example.org 413-545-6048
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www.russomusic.com 25 TEMPO
Festivals As Learning Opportunities by Jeff Skogley President, Montana Bandmasters Association email@example.com Reprinted from Montana Cadenza
he variety of music festivals our students have available to them provides fantastic opportunities for them to learn. Aside from solo and ensemble festivals, there are the massed group festivals. At the very least the students get to play their instru ments more than normal. That can help them improve their playing abilities. There are numerous honor band festivals across the state. Most seem to be organized by music district, either one district hosting or multiple districts being involved at one festival. The scheduling of these festivals varies widely. Some meet before the festival for several rehearsals, some have an intense couple days of rehearsal. One of these honor bands goes on tour as their performance routine. All-State is the biggest honor band hosted in state. Recently I had yet another opportunity to observe a master teacher working his magic with young musicians. This festival was a great deal more than face time for these students. Other than some returning members from the year before, this was a band that never been together before, and with students that previously had never worked with this director. This sounds like a common setup for these festivals, doesn’t it? These musicians showed up at varying stages of preparation. The first sounds that came out of this group were not exactly pleasant; wrong notes, different ideas of balance, widely varying pitch centers; you get the picture. Student leaders needed to learn to listen to different players to blend and match styles. This festival director took these students from their diverse musical places and gradually got them to form a band, a band that had common ideas of style, tempo and what the music needed to convey to the audience. The rehearsals were, by necessity, filled with starts and stops. Notes and a few other basic things needed to be corrected. But a lot of time was spent on larger concepts. Things that, if remembered when they get back to their
own schools, these musicians can continue to use no matter what music is in front of them. There was hopefully some positive motivation that these students will hang on to as well. These festivals are great learning experi ences for the students. They can also be great learning opportunities for the teach ers of these students. I’ve been involved in more than few of these festivals, and it is rare that I don’t find some teaching tools to take back and use with my own classes. There are big differences between the large band of motivated students with above average musical ability and the group of students waiting back home. The students always seem to pay better attention to a guest conductor than to their home teachers. A
dents more about their instruments, more about music theory, more about style and in general just advance the students’ musical knowledge. When students come prepared to these festivals and their parts are learned ahead of time, they have the opportunity to take their musicianship to new levels. When the students show up and need to learn their parts from scratch, it seriously inhibits the opportunity for musical growth. As the band teachers of these students, it is up to us to encourage and assist our students in this. That is a big step in assuring worthwhile experiences for our kids. A large part of what we do as teachers is to lead the students to a place where they can make more and more musical decisions on their own. Teaching by rote is often a
psychologist could have a field day explaining this. Watching these rehearsals one can find that the basic ideas of making music are pretty universal. There are variations of interpretation but music is written to be played a certain way, no matter who is playing it. For me, the most interesting part of the rehearsals is how the directors go about getting good music out of the students. The best band festival directors don’t just work on notes and rhythms. They teach the stu-
quick way to get a respectable result in the short term. But in the long run it saves a lot of time if we teach the students the things they need to know to make music on their own. When they can perform rhythms, fingerings, pitches, etc. without any help from anyone else, then we as teachers can take them from that plateau to even more in-depth and better musical places. If we simply teach them by rote day after day, we will always have to start at that low level
with them. That sounds like a very ineffi cient way of doing things, and inhibits the students’ growth. (Anyone got a soap-box? I could go on and on about this). This type of festival provides directors a great chance to steal some ideas and modify them to use in their own classrooms. It also is yet another venue for camaraderie. We all need to reach out to others at times; sometimes just to vent, sometimes to get advice and sometimes to give advice. When you attend this sort of event take the time to observe rehearsals. Build some relationships with your fellow directors. Find even more ways to help your students develop into musicians and good people. As you are visiting with other direc tors take the time to recommend valuable resources. Is there a class offered somewhere that is especially worthwhile? Was conven tion a good experience? Would our Band masters Rendezvous be of benefit? The most effective way to spread the word about a
useful event is word of mouth. There can be nice fliers, there can be informative emails, there can be magazine articles. And all of these are useful. But nothing is as effective as word of mouth. That is the way to help the largest number of students. That is the way to help make the world a better place! After all, it is all about the kids. As we continue to improve our teaching and adding to our teaching “toolboxes,” we need to remember to take care of ourselves. I recently helped accompany a student group and had one of my students ask if I was regaining some of my youth. As I think about that question, the answer needs to have something to do with the enjoyment of performing. With time constraints and distances to performing opportunities it can be a real struggle to play in a performance. Most of us enjoy performing. We would not have stayed in band this long if that was not the case. Be on the lookout for opportunities to do some performing. Take
the time needed to perform somewhere. It could be as simple as singing in a church choir or playing a simple piece for church or at a senior center. Many get involved in Tuba Christmas events during December. As band directors most of our performances will be as leaders, not instrumentalists. Our major instrument has become the band we lead. Still, it can be rejuvenating to perform on that old instrument we have come to know and love so well, even if we need to temper our expectations. Regain some of that youth!
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Higher Education And The Young Guitarist Part II - Classical Guitar By Thomas Amoriello and Matthew S. Ablan Flemington Raritan School District firstname.lastname@example.org
f you were to ask an educated musician to define “Jazz,” their answer might contain words like improvisation, syncopation, New Orleans, swing or standards, but it might also be somewhat non-specific. This is because there are probably as many definitions of jazz as there are musicians who play the style. Since its inception over 100 years ago, jazz music has evolved into a style with many sub-genres and the guitarist who chooses to study it will need skills that are as diverse as the style itself. In the past, jazz musicians learned while “gigging” in the smoke filled bars and clubs of yesteryear. Today jazz is commonly found in academic settings from high schools to universities across the country. The first installment of this series (TEMPO, October 2012 – Higher Education and the Young Guitarist, Part I – Amoriello/Ablan) examined three classical guitar programs on different levels of the educational ladder. This article will focus on jazz guitar in higher education at the undergraduate level, in particular, the playing skills needed and what music majors in a jazz curriculum may encounter. In order to develop a well–rounded view of a typical jazz guitar program, we consulted guitarists Mimi Fox of New York University in New York; NY, Pete Smyser from Moravian College in Bethlehem, PA; Brian Seeger of the University of New Orleans in New Orleans, LA; Nicholas Fryer of the Brubeck Institute at the University of the Pacific in Stockton, CA; Frank Portolese of University of Michigan in Ann Arbor, MI; and David Frackenpohl at Georgia State University in Atlanta, GA. These instructors offer insight and ideas on: recommended equipment, concepts covered during applied lessons, finding the right school, types of performance opportunities and much more. (Ed. Note –
some commentary has been edited for brevity, but content has remained intact). What Concepts Can A Jazz Guitar Music Major Expect To Learn About In Their Weekly Applied Music Lesson? PS: I stress the fundamentals of notation reading, technique, theory, a strong understanding of scales and their improvisational application to various chord progressions, repertoire building, ear training, harmony (chords and comping), chord melody (solo guitar playing), improvisation, investigation of various styles and evolutions through the history of jazz (concentrating on the 1920s – 1960s with the heaviest emphasis on 1940s – 60s). BS: Lessons will include exercises and discussions about time, sound, technique, vocabulary, repertoire, concept, sight reading, application of theory and arranging devices, and personal artistry. FP: It is no surprise that a Jazz Guitar Performance major needs to develop technique in both hands, and this is usually done through learning major, harmonic minor, melodic minor, diminished and whole tone scales. A logical approach to picking must be developed. The guitarist needs to study fingerboard harmony, vocabulary and application in three, four and five voices. Sight reading is important, and a few wellchosen solo transcriptions and etudes go a long way. A well-chosen repertoire of tunes needs to be learned and regularly refreshed. What Performance Situations Will A Jazz Guitar Major Be Involved With During Your Program? PS: There would likely be a variety of required small group ensembles (with bass,
piano, drums, sax/trumpet, etc.). There would usually be a larger jazz band that might offer further ensemble experience. Ideally, an exemplary student will also seek out and organize other informal performance opportunities (not for credit) with other music students in order to gain experience. These could be duo, trio, quartet, etc. Historically, students often begin to “sit in” at jam sessions (sort of like a jazz “open mic night”) at area jazz clubs or restaurants in the local community (not usually associated with the college). If a student is talented and successful with such networking efforts, then paid professional opportunities usually follow – again, these are completely separate from any association with a college or attaining credit. BS: All jazz students play in at least one combo a semester; all combos do a public performance at least once a semester at the “SandBar” series. Most combos do other performances. Many of our classes include a fair amount of playing time. At least 50 percent of our jazz students gig around town, some quite extensively. MF: He/She should be performing in both solo guitar and guitar trio situations as well as with larger ensembles covering a wide range of jazz idioms. FP: At UM the freshmen and sophomores need to pass a jury that demands memorization of about two dozen tunes each year, so they are strongly encouraged to jam with each other on this repertoire. They are pretty proactive about creating regular sessions here and there that provide the environment to make this happen. Weekly combo classes are occasions when the students play for one another, each group getting the call about every three weeks or so. And there are lots of venues around Ann Arbor. At Elmhurst the big band does a lot MARCH 2013
of jobbing dates that mix the concert stuff with dance music, and the training is pretty well rounded. The lab band, electric guitar ensembles and combos have scheduled performances in our small auditorium, but also in downtown Elmhurst at a venue that has a nice soundstage.
Panel Choices for Top University Jazz Guitar Programs Northern Illinois University University of Southern California New York University New School (NYC) North Texas State Berklee School of Music, Boston, MA University of the Arts, Philadelphia, PA Jazz Institute in Berkeley, CA University of Miami Bowling Green University Indiana University William Patterson University, Wayne, NJ
What Equipment Do You Recommend A Jazz Guitar Major Own? FP: Students need gear that allows them to do what needs to be done, whether it is straight ahead jazz, Latin, funk, classical or whatever. Many students show up with (Fender) Stratocasters, which are too transparent sounding for most jazz applications, and which don’t blend well with the other instrumental families. Another problem is with arch top guitars in the $3000 and below range. Most of them are plywood tops, very quiet acoustically and in the case of the European ones, most of your money is eaten up by the exchange rate. And you cannot play anything but straight ahead jazz on them. A semi solid body such as a Gibson 335 is a good choice for all around playing. A 60 watt amplifier that weighs 30-40 pounds will work fine for school and most gigs. Tube amps breathe with the player, that is, they respond to different picking pressure in a musical way, but solid state amps that don’t overemphasize the midrange are probably better for arch top guitars. Get a good cart for the amp and a good leather gig bag for everyday use. What Is The Expected Level Of Playing Ability For Those Auditioning? BS: We are most interested to see that students have familiarity with the jazz idiom and some jazz repertoire. We tend not to admit students that play well but have little to no exposure to jazz. Generally if a student can improvise idiomatically over a jazz standard and play a solo guitar arrangement of a jazz standard they would be considered for admission. Due to the size of our program we cannot accept all qualified applicants, and the level of our guitar players tends to be fairly high. MARCH 2013
We do on occasion recommend students for admission as a Music Studies major. Some students enroll as a Music Studies major and then switch into jazz studies later in their academic career. DF: The auditioning student should have a sound technique and demonstrate some command of jazz chords, jazz phrasing, and improvising in a jazz context as well as knowledge of standard jazz repertoire. Recommended Books for Jazz Guitar The Complete Johnny Smith Method (Mel Bay) Approaching the Guitar by Gene Bertoncini (Kjos Music) Guitar Comping by Barry Gailbraith (Jamey Aebersold) Bossa Nova & Samba for Guitar by Mike Christiansen (Mel Bay) A Practical Guide to Jazz Band Guitar by Dave Frackenpohl (Mel Bay) The Advancing Guitarist by Mick Goodrick Jazz Guitar Voicings by Randy Vincent Three Note Voicings and Beyond by Randy Vincent Melodic Improvising for Guitar Developing Ideas Through Chord Changes by Bruce Saunders Single String Studies for Guitar by Bruce Arnold Swing & Big Band Guitar: Four-to-the-Bar Comping in the Style of Freddie Green by Charlton Johnson (Hal Leonard) New York Guitar Method Vol.1 and 2 by Bruce Arnold Guitar Lore by Dennis Sandole (Theodore Presser) Everybody’s Jazz Guitar Method 1 by Mark Tonelli & Philip Groeber (FJH Music) Jazz Guitar for Classical Cats Series by Andrew York (Alfred) What Are The Jazz Guitar Audition Requirements? BS: A video of the applicant performing a solo transcription along with the original recording; a video of the applicant performing a solo guitar arrangement of a standard; and a couple of videos of the applicant playing and improvising on standard material, with a live rhythm section or a play along recording. MF: Basic/foundational guitar facility as outlined above as well as capacity to sight read basic compositions. FP: Audition requirements at both schools involve playing scales and chords, some sight reading and a demonstration of improvisational skill. Occasionally I’ll throw a seemingly gentle curveball by requesting that the student play, for example, an A flat on all six strings in order from first string to sixth. The ability to do so, as well as the reaction, reaction time, even the ability to understand the request can be revealing on many levels. DF: These are from the GSU School of Music website: (music. gsu.edu)- perform a chord/melody selection; perform and improvise on 3 jazz compositions in contrasting styles (latin, ballad, swing); all major scales in 2 octaves; perform a transcription of a jazz guitar solo; improvise over a blues in F or Bb; single line sight reading and chord change sight-reading (voicings). 29 TEMPO
Jazz Guitarists To Be Familiar With
“…it is helpful if the college/university is in a community (usually urban) that will create performing opportunities in the surrounding community along the way – not just performances within the school…” --- Pete Smyser
Freddie Green, Wes Montgomery, Pat Martino, George Benson, Django Reinhart, Pat Metheny, Mike Stern, John McLaughlin, Stanley Jordan, Al DiMeola, Herb Ellis, Charlie Christian, Eddie Lang, Phil Upchurch, Grant Green, Barney Kessel, Bucky Pizzarelli, Tal Farlow & Joe Pass
What Are The Graduation Requirements? MF: Developed capacity as described above in all facets of jazz guitar playing/musicianship and development of artistic qualities needed for a professional career. There are also other requirements as set by the Dean that relate to ear training, musicology, and a myriad of other subjects FP: At UM juries are very demanding as mentioned above, but are only required freshman and sophomore year. At Elmhurst, juries are each semester but are shorter and only involve one tune per jury. Senior recitals are required by both schools, and most students do a Junior recital as well. NF: This varies from school to school. In addition to course work students also have to do one to two recitals.
“…it is much more difficult for a student to complete their degree in a remote rural community and then attempt to suddenly move to a more urban area (such as NY, LA, etc.) in search of working/performing opportunities…” --- Pete Smyser Being There Is A Broad Range Of Styles Of Jazz, What Is Your Definition Of Jazz Guitar And How Does It Apply To Your Program? BS: Our program overall leans towards an acoustic jazz esthetic, but in a very broad sense. MF: I try to prepare the student to be competent/knowledgeable in ALL aspects of jazz guitar from solo to ensemble playing in all styles including swing, Brazilian and other Latin Jazz styles, bebop, post-bop, modern/avant guard styles as well as odd meter playing. NF: Jazz guitar is very broad these days but I would say that it is a style that combines the tradition and history of jazz from the 30s to the present day. A good jazz guitarist has deep roots in the history combined with his/her own unique original creative voice. FP: Jazz guitar over the decades has become more layered and multi-faceted as the players have absorbed the influences of musical culture. There are straight-ahead arch-top players, solid body electric players with pedal boards and multi-stage gain amplifiers, nylon string Latin and Gypsy Jazz players, and so on. For me there are two values that supersede everything else. One is that the culture is heading into an unknown future, so the best preparation is to immerse the student in the fundamentals. The other is that at the end of the day, the world doesn’t need another Wes Montgomery. We need people who absorb the culture they live in and who define that culture in their art. Call me crazy, but I know the world needs us.
In summary, young guitarists wishing to pursue jazz studies in college can generally expect to receive a solid foundation in “traditional” jazz music - a style which prevailed from the late 1930’s – 50’s. Moreover, students will learn to employ a variety of skill sets and/or techniques from various sub-genres such as the Latin, Afro-Cuban or Bossa Nova styles. This is most likely to be the norm rather than the study of more “modern” styles such as fusion, smooth jazz, acid jazz and the like. Traditional jazz guitar was cultivated by such players as Freddie Green (guitarist for The Count Basie Band) whose “four to the bar” style set the standard in big band guitar playing,;Wes Montgomery, whose pioneering octave and block chord soloing has become established jazz guitar technique; or the chord melody soloing of Johnny Smith or Joe Pass. This all happened during an approximate period of forty years (approximately 1937-1974) which may be, to coin a phrase, “The Golden Age of the Jazz Guitar.” Though there have been many guitarists with innovative approaches and significant contributions before and after this period of time, none have resonated or transfixed the imagination of other players and aficionados with such vigor. Thomas Amoriello is currently teaching General Music/ Guitar Class & Chorus at Reading Fleming Intermediate School in Hunterdon County. He also teaches at Hunterdon Academy of the Arts in Flemington, NJ. He is a graduate of Rowan University and Shenandoah Conservatory and has presented guitar workshops for various music organizations including the NJMEA, Guitar Foundation of America and Philadelphia Classical Guitar Society. He is proud to endorse The Guitar Wheel, D’Addario Strings and Guitar Picks by Steve Clayton, Inc. You can learn more about Tom by visiting www. tomamoriello.com Matthew S. Ablan is an elementary music educator in Charlotte, North Carolina. He is a graduate of SUNY Stony Brook and The Cleveland Institute of Music as well as holding a Masters in Music Education from Case Western Reserve University. Ablan’s list of teaching credentials include having served as adjunct instructor of classical guitar studies at Allegheny College in Meadville, PA and maintaining a successful private guitar studio for close to two decades. Most recently he was a guest lecturer at the 2012 Guitar Foundation of America International Festival and Competition in Charleston, SC and is the author/founder of The Guitar Teaching Blog. For more information about Matthew please visit: www.matthewablan.com
The Music Educator’s iPad Toolkit by Stefani Langol Berklee College of Music
here has been a rapid uptake of iPads in education since its introduction to the mobile device market in March 2010. A recent article published on CNET News on September 4, 2012 (http://tinyurl. com/8bxuzpt) reports that “Apple’s iPad is outpacing traditional PCs in sales to students and schools for the first time ever.” Concurrently, the use of social media, cloud apps, mobile devices, and mobile apps is shifting the landscape of teaching and learning, providing teachers with many new ways to enrich their classrooms and curriculum. What makes the iPad so great for teaching? Although you can use an iPad to do some of the things you would normally use a laptop for, it really isn’t a substitute for a laptop or desktop computer; rather, it is an alternative to the standard computer. Aside from the fact that it is fun to use, the iPad is a seamless combination of lightness and portability, battery life, and stable operating system (iOS), with well over 200,000 avail able apps to choose from, many of which are free or very affordable. You’ve heard the phrase “there’s an app for that!” There are apps for just about any educational pur pose you can think of, from productivity, presentation, and organization, to compo sition, performance, and much more. The iPad boots up in a flash, is easy to use, can lay flat on a desk, upright on a piano, or at tach to a stand, and is highly customizable. So, what are some things that can help with the implementation of an iPad in the music classroom, and what are some practical ap plications? Useful Accessories The iPad has many third-party accessories. Among them are a few accessories that can add to the iPad’s usability and functionality in the classroom. Here are some that I think make a teacher’s iPad life a little easier:
It’s important to protect your iPad investment with a good case. Apple’s Smart Cover protects the screen, but it’s also a good idea to get a back cover. There are many options for iPad cases—front and back covers, portfolio style cases, shells, sleeves, jackets, all with many designs and colors. Keyboard
Sometimes it is awkward or too slow to type on the iPad’s virtual keyboard. There are many wireless and Bluetooth keyboard options available, many with a case, that make adding text to any kind of writing app flow with more speed and better accuracy. The one caveat is that Bluetooth connections can drain an iPad’s battery life. Good companies to consider when looking for an iPad keyboard are Apple, Zagg, Logitech, and Belkin. iPad Stand
It’s very handy to have a tabletop stand for hands-free portrait or landscape viewing. In addition, you can get a microphone stand adapter, which is terrific when you are using your iPad to view scores. There are many options for iPad stands. Just Google “iPad stands” and you’re bound to find one you like. As far as a microphone stand adapter, I highly recommend the IK Multimedia’s iKlip. Hand Strap
Hand straps are great when you need to hold an iPad with one hand. They are particularly useful when using the iPad and a virtual instrument app for performance when you need one hand for holding the iPad, and one hand for interacting with the app. Search for “iPad hand strap” and, again, you will find many options. If you happen to live near a store called Five Below, you will be able to find a great hand strap in their mobile device accessory section for $5.00. Stylus
Using your fingers is part of the iPad experience. However, sometimes more preciTEMPO 32
sion and control is needed. The Studio Neat Cosmonaut and Adonit Jot Pro are both good choices, but individual taste will dictate what kind of stylus works best for you. iPad Camera Connection Kit
This kit comes with two adapters. One allows you to connect a USB device, such as a digital camera or a MIDI keyboard, to the iPad. The other allows you to connect an SD card reader to the iPad. This is a very useful accessory, especially if you want to do any recording using a MIDI keyboard with GarageBand or other MIDI recording apps. VGA Adapter: This adapter allows you to connect an iPad to an LCD projector. PageFlip Cicada
If you have a lot of music scores stored as PDFs that you want to use with your iPad, the Page-Flip Cicada is an essential add-on. It is a Bluetooth foot pedal that lets you turn pages in PDFs and iBooks. Projection The more you discover how the iPad can support your teaching, the more you will find it necessary to display your iPad’s screen to the class. It’s easy to pair your iPad with a TV, projector, or computer if you have the correct equipment and/or apps. There are several ways to do this. Here are three common scenarios: Using a VGA Adapter
This method tethers the iPad to the projector, so it works best if you do not need to be moving around with the iPad while you are presenting. To use it you simply hook up the VGA adapter to the iPad and the projector. There are some limitations to this method. First, it does not work with the original iPad, only iPad 2 and the new iPad. In addition, it does not carry audio, so you will need a separate audio cable that runs from the iPad to the classroom audio system. MARCH 2013
Wireless Mirroring Using Apple TV
If you have some money in your bud get, you may want to consider investing in an Apple TV device. This method requires connecting an Apple TV (version 2) device, via an HDMI cable, to the HDMI port on a projector, then connecting the iPad wire lessly to Apple TV via Airplay mirroring. Airplay is available with the iPad 2 or the new iPad, but not the first version of the iPad. Being untethered to the projector al lows you to move around the room freely, displaying through the projector anything that appears on the screen of your iPad. In addition, if you want to have audio, you will need Airplay compatible speakers. Reflection, and AirServer Apps
Both Reflection and AirServer are apps that emulate AirPlay and allow a Mac or a PC computer to act as an AirPlay receiver for the iPad. Once Reflection or AirServer is installed on your computer, you can mirror an iPad 2 or 3 (or iPhone 4S or 5) to your Mac or PC. Then, provided the computer is connected to the classroom projector via VGA and audio cables, you can mirror the iPad screen through the room pro jector. This solution is less expensive than using an Apple TV device, and both apps work well in displaying mirrored apps. It is important to note that both the iPad and the computer must be connected to the same wireless net work to work properly. Practical Applications In The Music Classroom Or Rehearsal Room There are so many ways to use an iPad for teaching, but so little space in this article. Below, I will touch on just a few strategies with some suggested apps for your consid eration. Music, Media, and Reading Library Perhaps the most common way to use an iPad as a teaching tool is as a mobile reposi tory for all of your documents and files that you use in your teaching. This includes put ting all of your listening examples into your iTunes library, PDFs of sheet music into a music reader like forScore or unrealBook, and other materials in PDF format such as worksheets, quizzes and other handouts into iBooks or GoodReader. As long as you are connected to the Internet, you can also use your iPad to access files you have stored in MARCH 2013
the cloud, using iCloud, Dropbox, or other cloud storage apps. Accompanist The iPad can easily be used as a rehearsal or performance tool. Just load up any exist ing audio file from a purchased accompani ment CD or method book into an audio play back app, such as iTunes. If your purchased curriculum came with accompaniment or performance MIDI files, you can use a MIDI app such as MidiPlayer or Home Concert Extreme for playback. You can also use an app like Amazing Slow Downer to change the tempo or key of any audio file in order to help build your students’ playing technique. Audio Recorder Apps like GarageBand and Hokusai Au dio Editor can be used to record classroom activities, rehearsals, and concerts. The audio can be edited to remove unwanted noise, then shared with students for critical listen ing, assessment, and reflection activities. Video Recording and Editing Both the iPad 2 and the new iPad come equipped with a rear camera capable of recording HD (high definition) video. Video is a powerful learning tool, and using the iPad to create short videos of classroom activities or vocal or instrumental perfor mances can provide instant feedback to the students. If basic video editing is required, iMovie and Pinnacle Studio are good choices.
have a Smart Board or Promethean Board can still have access to some of the functionality of an IWB through apps like EduCreations, ShowMe Interactive, and Explain Everything. Each of these apps allows you to add images, annotations using different types of draw ing tools, and audio narrations. In addition, each app has the ability to create short videos of the content you are creating. These videos can then be exported in a variety of different file formats and shared with students and colleagues via email, You Tube, Facebook, Twitter, and other cloud app solutions such as Evernote or Dropox. Other Resources I’ve briefly focused on ways peripherals can extend the functionality of the iPad and have provided a very short list of strategies on how the iPad can be implemented as a teaching tool in the music classroom, but so much more has been written on this topic by inspired and innovative music educators from around the world. For additional read ing about how the iPad can be used in mu sic education, I recommend the following online resources: • iPad and Technology in Music Education http://ipadmusiced.wordpress.com/ • Midnight Music http://tinyurl.com/955pvkm • James Frankel—Top 50 apps for Music Educators http://tinyurl.com/9lg6l66
Tuners and Metronomes There are many tuner and metronome apps available for the iPad, with varying fea ture sets, that can be used to support class room activities as well as instrumental and choral rehearsals. An accurate and stable metro nome app is Time Trainer Metro nome. A more sophisticated, all-in-one tool called APS MusicMaster Pro contains a metronome, a tuner, an audio recorder, a PDF sheet music viewer, fingering charts, and more. Interactive WhiteBoard An exciting way to use an iPad in the classroom is to turn it into an interactive white board (IWB). Teachers who do not
• Technology in Music Education http://techinmusiced.wordpress.com/ • Amy Burns—iPad apps for Elementary Music Classroom http://pinterest.com/awillisburns/ • Joanna’s Music Blog http://motleymuse.blogspot.eom/p/ ipadapp-mega-list.html • Samuel Wright http://wrightstuffmusic.com/ http://www.scribd.com/doc/68275937/ iPad-Music-Education-Apps
For more information, visit
BACHELOR OF MUSIC PROGRAMS • Composition • Education • Jazz Studies • Liberal Studies • Performance MASTER OF MUSIC PROGRAMS • Composition • Conducting • Jazz Studies • Performance
“On The Cover” Jazz Pianist Dave Brubeck Dies At Age 92 Published in The Record/Herald News on December 6, 2012 Dave Brubeck. Photo by Tom Pich, courtesy of the National Endowment for the Arts.
Editors Note: The photo on the cover of this issue is from the internet and has no photographer’s name which to credit.
ave Brubeck, the jazz pianist who had unparalleled com mercial success, expanding musical boundaries with his daring com positions and carrying jazz throughout the world on tours sponsored by the State Department, died December 5, 2012 at a hospital in Norwalk, Conn. He died — one day before his 92nd birthday. His manager, Russell Gloyd, said Bru beck was on his way to a regular medical checkup when his heart gave out at a hospi tal in Norwalk, Conn. In a seven-decade career, Brubeck wrote hundreds of tunes, including the oft-
recorded “In Your Own Sweet Way” and “The Duke.” His quartet, featuring alto saxophonist Paul Desmond, was one of the most popu lar jazz groups in history and in 1959 re corded the million-selling instrumental hit “Take Five.” Brubeck composed ambitious classical and choral works, released nearly 100 al bums and remained a charismatic and inde fatigable performer into old age. In December 2010, the month Bru beck turned 90, his quartet won the read ers’ poll of DownBeat magazine as the best group in jazz — 57 years after he first won the poll. A bespectacled cowboy who grew up on a remote California ranch, Brubeck was
known for his complex rhythmic patterns, which he said were inspired by riding his horse and listening to its syncopated hoof beats striking the ground. He studied in the 1940s with the ex perimental French composer Darius Mil haud, who encouraged his interest in jazz. Brubeck was among the first jazz musicians to make wide use of polytonality, or playing in more than one musical key at a time. He was also an early advocate of “world music,” adopting exotic sounds that he heard in his worldwide travels. After forming his quartet in Califor nia in the early 1950s, Brubeck sought to branch out from the dank nightclubs of San Francisco and Los Angeles.
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His wife, Iola, suggested that the quar tet perform on college campuses, which produced a nationwide sensation, with re cord sales to match. “We reached them musically,” he told The New York Times in 1967. “We had no singers, no beards, no jokes. All we present ed was music.” With their curly hair and horn-rimmed glasses, Desmond and Brubeck looked like professorial brothers and were unlikely jazz stars. The two had an instant musical bond and could anticipate each other’s bandstand improvisations, as Desmond’s ethereal, upper-register saxophone soared above Bru beck’s driving keyboard attack. With the release of “Time Out” in 1959, Brubeck had the first jazz album to sell more than 1 million copies. It reached No. 2 on the pop charts, and its eternally catchy signature tune, “Take Five,” became a surprise hit. The tune, written by Desmond but heavily arranged by Brubeck, built a memo rable melody over a complex rhythm in the unusual time signature of 5/4. “Take Five” became a staple of his concerts and helped make the Dave Brubeck Quartet the most popular jazz group of the 1950s and ‘60s. “Every once in a while,” jazz historian and critic Ted Gioia wrote in an e-mail ex change with The Washington Post, “jazz is blessed by one of those great figures who can do it all. They give us a body of work that is full of musical riches ... but the music also can appeal to the average listener. Dave Brubeck is one of those figures.” Diplomat Of Jazz Brubeck’s position in musical history has often been debated. He was born the same year as Charlie Parker, the tortured ge nius of the bebop movement who brought a new rhythmic and harmonic sophistication to jazz in the 1940s, but Brubeck was never a true bebopper. He defied the raffish image of the jazz musician by being a clean-living family man who lived with his wife and six children. He was considered a seminal force in the West Coast’s understated “Cool Jazz” MARCH 2013
school of the 1950s, but he disdained the “Cool Jazz” label and preferred to forge an original musical path. After early struggles, Brubeck was re portedly earning more than $100,000 a year by 1954, the year he became the second jazz musician to be featured on the cover of Time magazine (after Louis Armstrong in 1949). Some musicians and critics openly re sented his success, and others questioned his prominence in a form of music that was cre ated primarily by black musicians. But Brubeck was an outspoken advo cate of racial harmony and often used his music as a platform for cross-cultural un derstanding. He once canceled 23 of 25 concerts in the South when local officials would not allow his African-American bass player, Eugene Wright, to appear with the rest of the group. On a tour in the Netherlands in the 1950s, African-American pianist Willie “The Lion” Smith was asked, in Brubeck’s presence, “Isn’t it true that no white man can play jazz?” Without answering at first, Smith ges tured toward Brubeck and said to the re porter, “I’d like you to meet my son.” In 1958, Brubeck and his quartet un dertook an arduous international tour for the State Department, spreading the im provisatory spirit of jazz to Iran, Iraq, Af ghanistan, Pakistan, Turkey and Sri Lanka, among other countries. In Poland they were among the first U.S. jazz musicians to per form behind the Iron Curtain. In each new country, Brubeck mingled with musicians, absorbing local rhythms and melodies. Long before the term “world music” gained currency, he was writing compositions that borrowed elements he had heard in Mexico, Japan, Turkey, India, Afghanistan and other countries. In 1988, Brubeck and his quartet per formed at a gala dinner at the U.S. ambassa dor’s residence in Moscow during a summit meeting between President Ronald Reagan and Soviet leader Mikhail Gorbachev. During “Take Five,” observers noticed that Gorbachev was tapping his fingers along with the music. “I can’t understand Russian,” Brubeck said
at the time, “but I can understand body language.” The next day, Gloyd, Brubeck’s man ager, told to The Washington Post 20 years later, that the next day, Secretary of State George P. Shultz “broke through the ranks, gave Dave a big hug and said, “Dave, you made the summit. No one was talking after three days. You made the breakthrough.” A Cowboy Childhood David Warren Brubeck was born Dec. 6, 1920, in Concord, Calif. He and his fam ily lived on a 45,000-acre ranch near Ione, Calif. His father was a champion rodeo roper and his mother was a conservatory-trained pianist who had studied in London with concert star Dame Myra Hess. She gave her three sons a surprisingly advanced musical education, and Brubeck’s two older broth ers, Henry and Howard, became music teachers and composers. Because of early eyesight problems, Br ubeck always had difficulty reading musical notation. He compensated by learning to improvise and to play by ear, which served him well in jazz. At the University of the Pacific in Stockton, Calif., Brubeck had planned to study veterinary medicine. But a zoology professor saw how much time he spent in the music department and suggested that the young Brubeck change majors. He worked as a pianist in clubs through college, developing a powerful boogie-woo gie style, but his sight-reading remained rudimentary at best. A dean called him a disgrace but allowed Brubeck to graduate after a professor pleaded on his behalf, call ing him a budding genius. In college, Brubeck proposed on his first date with Iola Whitlock, and the two were married in 1942. She sometimes wrote lyrics for his music and managed their grow ing household. During World War II, Brubeck was pulled from the ranks of an infantry unit by an Army colonel, who asked him to start a jazz band to entertain troops on the front lines. The group he formed was perhaps the
only integrated musical unit in the military dur ing the war. After the war, Brubeck did graduate work at Mills College in Oakland, Calif., with Mil haud and wrote and performed avant-garde jazz. Based in San Francisco early in his career, he worked for low pay and scrounged for dented cans of food that he could buy at a discount. “We lived in a tin, corrugated one-room shack with no windows,” he told the Washington Post in 2008. “We were so broke, God al mighty.” Just when Brubeck began to develop a fol lowing, he damaged his spinal cord and several vertebrae while diving in the surf in Hawaii in 1951. He said emergency workers in the am bulance described him as a “DOA” — dead on arrival. He recovered and continued playing, al though he had residual nerve pain in his hands for years. With a program and faculty reflecting Messiah’s reputation for academic excellence, Realizing he couldn’t handle the burden Messiah College’s M.M. in conducting enhances your abilities as an effective music of being the sole leader of a group, he reached educator and conductor. out to Desmond, whose dry, lyrical style on alto • Three specialized conducting tracks to advance your education and career: saxophone was a bracing contrast to Brubeck’s wind, orchestral and choral vigorous approach on the piano. • Emphasis on summer and online coursework, designed to fit the schedules of Drummer Joe Morello joined the quartet busy teachers and other professionals in 1956, followed by Wright in 1958, forming • Coursework designed to be instantly applicable to your own everyday work setting a group that recorded dozens of records and • Small class sizes ensure personalized, one-on-one attention. found international acclaim. Despite the challenging nature of Brubeck’s music, with its unusual rhythmic patterns and Now enrolling for January and summer 2013. sometimes unfamiliar tunes, his quartet had a messiah.edu/tempo 717.796.5061 huge following until it split up in 1967.”You could hardly find a less likely formula for popu Online | Flexible | Affordable see anew larity,” Gioia, the author of “West Coast Jazz,” wrote in an e-mail. “Brubeck, by all definitions, In 1996 Brubeck received a Grammy Award for lifetime achieve was a fringe within a fringe. Despite all this, he ment. He was a Kennedy Center Honoree in 2009. managed to achieve a rare degree of fame and popularity. How did When he reached his 80s, Brubeck stopped traveling overseas. he pull this off? Mostly through the sheer brilliance and audacity of But if his jazz diplomacy could help unite superpowers, it could also his musical vision.” bring families together. Brubeck began to write more symphonic and sacred music, In 1971, Brubeck gave a concert in Honolulu that marked, then toured with a quartet that included baritone saxophonist Gerry President Obama wrote in one of his books, the last time he ever Mulligan. The original quartet had occasional reunions before Des saw his father. mond’s death in 1977, and Brubeck often performed with his musi When Brubeck received his Kennedy Center award at the White cal sons — Dan, Darius, Chris and Matthew. Another son, Michael House in 2009, Obama recalled that concert and said, “You can’t Brubeck, died in 2009. understand American without understanding jazz, and you can’t un In the early 1980s, Brubeck formed a new quartet, with which derstand jazz without understanding Dave Brubeck.” he toured until shortly before his death. Even in his final years, when he was physically frail, he exuded energy at the keyboard. A solo piano recording from 2007, “Indian Summer,” won & many awards and was considered one of his finest albums.
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Now’s The Time For Music Learning Theory by Joel Perry Redwood School, West Orange firstname.lastname@example.org
dwin E. Gordon created Music Learning Theory about 40 years ago. It has been gaining momentum and ac ceptance ever since. It is now being taught in many col leges and universities across the country. It is being used in Europe and Asia as well. There are certificate programs where educators can learn about the theory as well as how to put it into practice. There is an organization called GIML (Gordon Institute of Music Learn ing) organization… “is dedicated to advancing the research in music education pioneered by Edwin E. Gordon. The purpose of the Gor don Institute for Music Learning is to advance music understanding through audiation...” In fact, as this article is being written a new chapter of GIML is being formed in New Jersey! The academic education establishment is finally catching up. New demands for core curriculum standards, curriculum develop ment, differentiated instruction, sequencing, critical thinking, assess ments, evaluations, “benchmark assessments” and many other catch phrases are now bandied about to assure any one concerned that in deed teachers are teaching and students are learning. It seems that there is a need to show specifically and exactly what the students are learning, how much, and how well. Music Learning Theory makes it extremely easy to advance the study of music and simultaneously and specifically fulfill all the requirements mentioned above. The wheel does not have to be re invented. Valuable time does not have to be taken away from in struction or teacher preparation to create curriculum. The content, standards, curriculum, critical thinking, benchmark assessments, etc, are already embedded in the sequences and practices currently being used in Music Learning Theory Application. Perhaps the salient feature of Music Learning Theory is its flex ibility. It can literally be applied to any and all situations where students are learning music. Whether the situation is preschool, el ementary, middle school, high school or college; city, town, country; low income, middle income, high income; band orchestra, chorus, piano, guitar, or any other instrument; MLT is one size fits all! It can be applied to many styles of music: Renaissance, Baroque, Classic, Jazz, Pop, Folk, Rock, Blues, R and B, Rap music and beyond! Once the basic music learning sequence is understood, research and prac tice can be developed to fit any situation. Since on going research in Music Learning Theory has already developed some wonderful meth odology, the educator has a choice to either use what is already in place or to add their own ideas. This allows for the many fine prac tices and methods of the past to be incorporated into the mix. Many fine practices of already existing methods are in complete alignment
with Music Learning Theory. Many aspects of the Kodaly, Suzuki, Orff, and Dalcroze methods can be used in conjunction with Music Learning Theory. They are founded upon the same basic principles. Music Learning Theory is the United States of America’s answer to all of the other foreign methods! Gordon has designed something that is uniquely of the United States. Music Learning Theory is a “sound before sign” approach as is many of the methods in use today. It is also a Whole/Part/ Whole approach. The MLT sequence is used for a short amount of time (five to 10 minutes) of a music class (assuming the class meets for thirty minutes two to three times a week). This is the “part”. MLT informs the rest of the lesson (“whole”) as much as is desired by the teacher. The Goal of Music Learning Theory is to understand music through audiation. This means to hear and understand music inside your head. To this end MLT is organized into three main parts; a Music Learning Sequence, a Tonal Content Sequence and a Rhythm Content Sequence. It is from the interaction of these main parts that comprehensive goals, sequential objectives, lesson plans, testing and assessments are created to facilitate audiation. There is creativity and flexibility for the teacher and learner built into the sequencing of these elements. Audiation
Gordon coined the word audiation and has come up with some very specific stages and types of audiation: The following table is taken , with permission, from the Giml. org website: Types and Stages of Audiation Types Of Audiation The types of audiation are not hierarchical. Some of the types, however, serve as readinesses for others.
familiar or unfamiliar music
familiar or unfamiliar music
familiar or unfamiliar music from dicta tion
Recalling and performing
familiar music from memory
Recalling and writing
familiar music from memory
Creating and improvising
Creating and improvising
unfamiliar music while reading
Creating and improvising
unfamiliar music while writing
Stages Of Audiation As theorized, the six stages of audiation are hierarchical–one stage serves as a readiness for the next. The table below outlines the stages of audiation as they occur in Type 1 of audiation (listening to familiar and unfamiliar tonal patterns and rhythm patterns in famil iar and unfamiliar music). Stage 1
Initiating and audiating tonal patterns and rhythm patterns AND recognizing and identifying a tonal center and macro beats
Establishing objective or subjective tonality and meter
Consciously retaining in audiation tonal patterns and rhythm patterns that we have organized
Consciously recalling patterns organized and audiated in other pieces of music
Conscious prediction of patterns
Skill Learning Sequence
The skill Level sequence below is taken directly from GIML.org ( with permission) Discrimination Learning In order for children to understand music, they must build a vocabulary of tonal and rhythm patterns, comparable to a vocabu lary of words in language. Most discrimination learning consists of students echoing tonal or rhythm patterns sung or chanted by the teacher. The format is call and response, and students may perform as a group or in solo. Aural/Oral. Aural/oral is the most basic level of skill learning sequence, the foundation upon which all higher level skills are built. Listening is the aural part, while performing, usually singing, is the oral part. Optimum musical development occurs when the two are combined in a continuous loop so that they interact with and rein force each other. At this level in learning sequence activities, students perform tonal and rhythm patterns with neutral syllables. The sug gested syllables are “bum” for tonal patterns and “bah” for rhythm patterns. Verbal Association. At this level, students associate vocabulary names and proper names with the patterns, functions, tonalities, and meters they learned at the aural/oral level. The tonal and rhythm patterns taught at the aural/oral level are learned with appropriate tonal solfege syllables or rhythm solfege between patterns. Without
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To achieve audiation at the above levels and stages tonal and rhythm content is sequenced separately in conjunction with the Skill Level Sequence.
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it, students would be unable to keep track of more than about ten patterns of each type. Assigning a unique “name” for each pattern through solfege serves much the same purpose in music as naming objects and concepts in language. We think with words, and the more words we have in our language vocabulary the better is the qual ity of our thinking. So, too, in audiation, and verbal association facilitates the devel opment of a large vocabulary of tonal and rhythm patterns. Two types of verbal association are used. The main type is the rhythm and tonal solfege syllables assigned to individual pitches or durations in tonal and rhythm patterns (for example, the tonal syllables do-mi-so for the notes C-E-G in C ma jor). The other type, Verbal Association/ Proper Names, refers to the names given tonalities, meters, and functions. Students learn to identify various tonalities (major, minor, dorian, mixolydian, and so on); tonal functions (tonic, dominant, subdomi nant, and so on); meters (duple, triple, un usual, and so on); and rhythm functions
(macrobeats, microbeats, divisions, and so on). Note that music theory is NOT taught at this level of skill learning sequence. Stu dents are taught the names and makeup of musical concepts (for example, that tonic patterns in major are comprised of some ar rangement of do-mi-so), but not the “why” behind those concepts (for example, that a tonic chord in major includes a major third and a perfect fifth). Partial Synthesis. At the aural/oral and verbal association levels, students learn tonal and rhythm patterns individually. Al though the teacher always establishes tonal or rhythm context, syntactical relationships among patterns are not emphasized. At par tial synthesis, students learn to give syntax to a series of tonal or rhythm patterns. The teacher performs a series of familiar tonal or rhythm patterns without solfege and without first establishing tonality, and students are able to identify the tonality or meter of the series. The purpose is to assist them in rec ognizing for themselves familiar tonalities and meters. As a result of acquiring partial synthesis skill, a student is able to listen to
music in a sophisticated, musically intelli gent manner. Symbolic Association. At this level, students learn to read and write music no tation by associating the sound and solfege of the patterns they learned at the aural/ oral and verbal association levels with the notation for those patterns. The process is one of recognition, not decoding. As the teacher points to a pattern, the students are simply told “What you are audiating looks like that.” Students are not taught the letter names and time values of individual notes, nor the definitions of key signature and oth er symbols. These are taught at the theoreti cal understanding level of inference learn ing. When symbolic association is properly taught, students are able to bring meaning to the notation, rather than trying to take meaning from the notation. The notes on the page “sing” to them. Singers perform in dependently from notation, without having to hear their parts played for them at the piano, and instrumentalists don’t need their instruments to “tell them how the notes go.”
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Composite Synthesis. At the partial synthesis level, students are able to give syn tax to a series of familiar tonal or rhythm patterns. At composite synthesis, students read and write a series of tonal and rhythm patterns with the ability to identify the to nality or meter of the series. Inference Learning Students are not taught by rote at this level; they make their own discoveries. As a result of their experience with familiar patterns at various levels of discrimination learning, students are able to identify, cre ate with, and improvise unfamiliar patterns in inference learning. Whereas in discrimi nation learning a teacher teaches a student both what to learn and how to learn it, in inference learning a teacher teaches a stu dent only how to learn. The student teaches himself what he learns. Generalization. Generalization has three sublevels: aural/oral, verbal, and symbolic. The sublevels are analogous to the corresponding levels of discrimination learning, except, that the student is able to audiate unfamiliar patterns by comparing them to the familiar patterns he learned by rote. At generalization-aural/oral, for ex ample, the student indicates whether two tonal or rhythm patterns are the same or different. At generalization-verbal the stu dent, upon hearing a tonal or rhythm pat tern performed without solfege, is able sing or chant the pattern with appropriate solfege. At the generalization-symbolic lev el, students read unfamiliar patterns (com monly called sight-reading) and write unfa miliar patterns from dictation. Creativity/Improvisation. In order to create or improvise, the student must have something to create or improvise with. The tonal and rhythm patterns learned in dis crimination learning comprise the content the student uses to form his own unique musical ideas in creativity and improvisa tion. Creativity is easier than improvisation because there are more restrictions on a performer when he improvises than when he creates. In improvising to a song, for ex ample, the student is limited to a particular tonality and meter, and he must follow ton al functions according to the form (chord progression) of the song. When engaging in creativity, the student is in effect creating his own “song,” and selects his own restrictions MARCH 2013
of tonality, meter, tonal and rhythm func tions, and form. As in discrimination learning, learning sequence activities at the creativity/improvi sation level consist of tonal and rhythm pat tern echoes between teacher and students. In creativity, the student responds to the teacher’s pattern with a different pattern of ANY function. For example, if the teacher sings a tonic pattern in major, the student may respond with a different tonic pattern, a dominant pattern, a subdominant pattern, or a pattern of some other tonal function (see tonal content). In improvisation, the student must respond with a different pat tern of a specific function stipulated by the teacher. For example, the teacher may chant a macrobeat/microbeat pattern in duple meter and ask the student to respond with a different macrobeat/microbeat pattern (see rhythm content). See improvisation for methods and materials specifically developed for teaching improvisation in classroom activities. Theoretical Understanding. Music theory explains why music is audiated, per formed, read, written, created, and impro vised as it is. It is to music what grammar and linguistics are to language. Taught in proper sequence, theoretical understand ing can strengthen what was learned at the lower levels of music learning. In language learning, grammar and the parts of speech are not taught until children have developed considerable skill in thinking, speaking, im provising (conversing), reading, and writing in their native tongue. The same should be true in music teaching. Unfortunately, music theory is often taught to students who do not audiate. Such a sequence can only hinder audiational de velopment. For most efficient learning, ide ally students should not be introduced to theoretical understanding until they have achieved all previous levels of discrimina tion and inference learning to the extent that their music aptitudes will allow. At the theoretical understanding lev el, students learn information commonly taught in traditional methods as a readiness for music reading, such as the names of lines and spaces; time value names (eighth note, quarter note, half note, and so on); sharps and flats; measure (“time “) signatures; and key signature definitions. They also learn intervals, chord spellings, and other infor mation traditionally taught as music theory.
The above sequence, although listed in a linear fashion, can and should be changed, using “bridging movement” as is desired during instruction so as to promote a bet ter understanding of the material. There are “bridging” movements from discrimination to Inference learning that are recommend ed. These “bridging” movements are specif ic, yet they leave a lot of room for flexibility. Tonal and Rhythm content are orga nized in a way to achieve maximum learn ing by comparison. That is, for example, learning Major and then Minor in tonal content and learning duple and triple in Rhythm content. Once duple and triple patterns have been learned the student is able to “synthesize” them by comparison so that the learner can audiate major and mi nor as well as other tonalities in tonal con tent and duple and triple as well as other meters in rhythm content. At first glance all of this does seem daunting. It is not as complicated as it seems. Once it is put into practice it be comes remarkably clear how effective the theory is and the teacher has a lot of fun being creative in teaching and the learner learns how to audiate for a lifetime of music understanding and creative fun as well! It is a wonderful addition to any music educa tor’s teaching conception. It also fits right in with the NJ Core Curriculum standards and sequential objectives and sample les sons. Feel free to “Jump Right In”! The Book Learning Sequences in Music by Edwin E. Gordon, GIA, Chicago, is highly recom mended for further exploration. Anyone wishing to join the New Jersey chapter of GIML please go to the website GIML.org and join the National organiza tion. Be sure to click on “none” for Chapter affiliation as the NJ Chapter is new and is not currently listed. This way the organi zation will know by your address that you wish to be part of the NJ Chapter. After do ing so please e mail: firstname.lastname@example.org or email@example.com. Please email me if you have any questions or concerns regard ing MLT.
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CALDWELL COLLEGE MUSIC PROFESSIONAL RESIDENT ENSEMBLE • Garden State Opera STUDENT ENSEMBLES • Wind Ensemble • Jazz Ensemble • Choir • Chamber Ensembles • Opera and Music Theatre Workshop
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UPCOMING EVENTS Senior Recital Madness (Alumni Theatre) Amanda Sisco, voice Saturday, March 9, 2013 • 8:00 PM Rafael Sepulveda, guitar Thursday, April 11, 2013 • 8:00 PM Brian Singer, trumpet Friday, April 12, 2013 • 7:30 PM Elizabeth Odell, voice Saturday, April 13, 2013 • 3:00 PM Amber Mosher, tuba Friday, May 3, 2013 • 7:30 PM
Matt King Quartet Thursday, March 21, 2013 8:00 PM • Alumni Theatre All Seasons Chamber Players Ein Musikalisches Fest (A Musical Party!) Tuesday, April 9, 2013 8:00 PM • Alumni Theatre For ticket information contact Dr. Laura Greenwald at 973-618-3520
(Caldwell Presbyterian Church) Courtney Weiss, flute Sunday, April 14, 2013 • 3:00 PM
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For more information visit caldwell.edu/academics/music
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Yamaha Music in Education (MIE) is a technology-based general music program with a unique and engaging method, a special two-student keyboard, and now a new iPad app that gives teachers total control of instruments and learning materials from anywhere in the room. The iPad also gives teachers instant access to MIE textbooks and other course materials, making the job of teaching far more fun and effective. The app works with the MIE3 system as well as some older configurations. For more information about MIE, visit 4wrd.it/mienjt4 or scan the code below. Or, email firstname.lastname@example.org today if you have questions about the iPad app’s compatibility with your current MIE classroom system. ©2013 Yamaha Corporation of America. All rights reserved. iPad is a trademark of Apple Inc., registered in the U.S. and other countries.
Guns, Tragedies, And Music In The School by Dorita S. Berger Kean University, Union, NJ email@example.com
live in Connecticut. I had friends who lived in Sandy Hook. The late Jesse Levine, former conductor of the Norwalk Symphony, lived in Sandy Hook. The area of Newtown is, as was seen on the news, a very sophisticated, quiet, and wealthy location in the State of Con necticut. From where I live in Norwalk, it is about a 30-minute beautiful drive through farms and country, and a lovely day out. To have this special place be the site of the mas sacre of 26 innocent women and children, is so inconceivable that even a movie script would not be believable. But it did happen. And now the question of why, and what can be done to prevent such horrors, has become a free-for-all conjecture: gun laws revisited, mental health facilities reinvestigated, ASD and Asperger’s redefined, and much more. For those of us in the arts, and mu sic education, the question is more basic.
What opportunity do schools provide to young people, that enable them to express themselves, their emotional confusions, inner fears, traumas with bullying, fam ily function, interests, in a safe manner, if not through the arts and through music? Language is ineffective. Reasoning with a youngster who harbors rage and anxiety is ineffective because the youngster is not lis tening, and not hearing! There are no words to define or describe inner emotional tur moil. It cannot be “reasoned” away with words. The deepest sensory reactions to in ner fear and rage can only be somewhat ad equately expressed in nonverbal ways, and music activities present some of those ways. Music employs the whole body and the whole brain. Playing an instrument engages movement and energies of limbs. Vocal ton ing vibrates inwardly addressing muscular tensions and anxieties (why do we scream,
for instance?). I would like to make the case that the training of school music educators may need to expand, to include ways in which music education can provide some forms of personal self-expression for young people. For instance, more music improvisation classes and workshops in which students (and teachers) can self-express could do wonders in helping distressed students (and teachers!) bring forth problems and ex press their sensations without using words. Needed are not just music classes that fol low teacher directives – play “c” and “g” on the xylophone; count the beats and rhythm patterns; practice your instrument(s) so the school can have good music concerts, etc – but opportunities to apply music-mak ing itself as a self-expressive medium. The teaching of music in schools needs to be open to incorporating areas of communica
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tion that are often addressed through music therapy types of activities. I am not suggesting that music therapy be in the schools for every child, although that would surely be an ideal situation. I am advocating for new teacher training options that include ways in which music in the schools can facilitate young people’s selfexpressions and fears, through the very instruments and music classes being provided! It is not enough for one to learn to play an instrument and everything there is to know about a composer or music history. Music itself is a self-expression! Release of inner feelings! Music education is not technology education! Music is an aesthetic expression of human feelings and circumstances involving all the senses at once. Is today’s music teacher trained to conduct music improvisation classes in which students have the opportunity to do ‘their’ thing, “hear” themselves, and collaborate with classmates on a group improvisation – a group musical interaction that is self-designed and not a Phillip Sousa march? Several years ago I was invited to do a 2-day intensive improvisation workshop with attendees of the Orff group in Denver, Colorado. I was facing some 40 excellent local music educators skilled in the Orff and Kodaly method of music education for young elementary-school aged children. I am very knowledgeable about Orff, Kodaly, and Dalcroze methods, and use many tasks in my clinical music-based treatment interventions. But as the workshop took shape, I was surprised and frustrated to observe how fearful the majority of participants were, to undertake improvised self-expression and spontaneous musicmaking activities! As the days wore on, the message became clear. There is little point to having music in the schools unless it can also be a vehicle through which children can be spontaneous and self-expressive along the way. It is nice to learn music notation, rhythm patterns, using fingers or lips in proper positions to render melodic tones – but what about the youngster who is doing the playing? How does the youngster’s “persona” fit into the picture? What is that youngster saying about him/herself through the music, or learning about him/herself personally? Yes, some educators undertake some fun improvisational activities, but these are few and far between. Any performer’s “persona” is part of any performance. Music is not only about Mozart, it’s about me and Mozart because MARCH 2013
I (or, the child) am the instrument through which we hear and learn about Mozart! It’s about combined personalities. In my book, “Toward The Zen Of Performance: Music Improvisation Therapy For Developing Self-Confidence In The Performer”, I take option with conservatory training for this very reason – that the performer ‘s emotions and needs are by and large not included in the training of skills. It’s all about technique, the composer, and the teacher’s directives! It’s never about the person in the task. In general music education, I have met few teachers who understand why it is important to have music in schools, and how the student can most benefit personally - not just cognitively - from the music class. Musical development must be more than just the satisfaction of learning to play an instrument. Although tackling an instrument can be conducive to developing positive self-esteem, it is only the beginning of how music helps human development and sense of self. What I am trying to convey is that music classes that begin very early in a
child’s life, can be one of the first ways of addressing “mental health” issues. If only music educators could be trained to understand more about how the human body and brain work; how to guide students into using music as a form of their own selfexpression,;how to conduct music improvisation classes in which students understand that the sounds that each is instinctively contributing impact upon what another is contributing – that each person’s individual “sound” impacts upon another’s. A job for the school counselor you say? No! That’s all about talking, and Adam Lanza (the shooter in Newtown) could not “talk” about his needs or express his inner fears and confusions in a positive, creative manner. He needed to act out. Music improvisation would have given this young man a creative and positive way to “act out” ! Every growing child is a “special needs” child, regardless of whether there is a diagnosis or not. In my fantasies, I imagine Adam Lanza learning to express himself non-verbally, and acting out musically. Beat a drum if you’re hostile. Bang on a gong if
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Purposeful Pathways Possibilities for the Elementary Music Classroom
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you need to be heard. Pound a dissonant sound cluster on a piano to reverberate ill feelings and anxieties around a room. Say it in sound – not in violence against another! Let your classmates hear the vibrations of what you are feeling. So I repeat – when do students have an opportunity to bellow out safely? Writing? Logging? Facebook? Twitter? Yes, but again - words. Words do not do it! Pain must be sensed by others. It cannot be explained in words, just as sounds cannot be explained in words but rather, must be heard and felt. I think I have made my point. I believe that music educator training requires expansion to include ways in which music can be utilized as a SELF-expression, even if 3rd position on the violin is not mastered! Music is an important contributor to mental health! This young shooter was of special needs, but it was not his Asperger’s diagnosis that drove him to massacre innocent people. It was likely his unaddressed inner rage and anxieties that he was unable to recognize nor verbalize, that caused him to erupt, and the guns gave him the ‘instruments’ through which he could be heard! And if he had not had access to guns, it could have been explosives, or a bomb-loaded vehicle driven through the walls of the school. As a music-based clinician living and providing treatment services in Connecticut predominantly to youngsters on the Autism spectrum, I can tell you that learning to express through music works wonders in allaying inner fear responses, and some of the activities music clinicians undertake with “special needs” persons, can easily be undertaken by music educators well trained in various areas. I have had many parents of children with whom I
M E B C I
worked, tell me they wished their other “typical” children could have the music experiences that their diagnosed child was having. I hope that future music educators will reach beyond the teaching of music notation and instruments, into teaching young people about themselves through music activities. It may mean more psychology, physiology, and even music therapy courses, to support knowledge of teaching music to developing children. As long as we are advocating for better gun restriction and mental health facilities, let us also advocate for continuation of music in the schools, and music educators who are trained to understand how to apply music to impact human adaptation, to help young persons communicate their innermost needs and learn about themselves in the process of learning an instrument. As Leonard Bernstein was quoted on Facebook as having said: “This will be our reply to violence: to make music more intensely, more beautifully, more devotedly than ever before”. _______________ Reference: Berger, D.S. (1999). Toward the zen of performance: Music improvisation therapy for development of self-confidence in the performer. St. Louis, MO: MMB Music. (now available at Music Is Elementary, Cleve. Ohio) Berger, D.S. (2002). Music therapy, sensory integration and the autistic child. London: Jessica Kingsley Publishers (Also available in Korean Language Edition, Sigma Press)
Wind Conducting Symposium
May 31 & June 1-2, 2013
Northern Valley Regional HS at Old Tappan
Clinician: Dr. Mallory Thompson Director of Bands, Northwestern University
Open to middle & high school conductors, auditors, and lab ensemble performers. In-service credit is available. Registration is limited.
For information contact Curt Ebersole, Coordinator Email: email@example.com Visit our website for info and registration: wcs.ebernet.biz TEMPO 50
summer 2013 professional development
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T h e Re g d io un
High School Band Brian Toth firstname.lastname@example.org The CJMEA Region Bands enjoyed a wonderful concert on January 13th with Jeffrey Renshaw from UConn and Steven Rapp from Summit HS on the podium. Many thanks go out to our managers, Durand Thomas and Edward Gattsek as well as our hosts at Montgomery High School, Adam Warshafsky and Kawika Kahalehoe. Please consider managing one of the 2014 ensembles: It’s a great experience! Next on the docket is the CJMEA
Central Jersey Music Educators Association cjmea.org
I’d like to welcome our new HS Women’s Choral Division Chair Jeffrey Woodworth from Montgomery HS. He joined the CJMEA Board in January. We’ve recently finished our fabulous HS Chorus Concerts. Isn’t this a good time for you to re-evaluate your commitment to CJMEA? Could you be doing more to help out the HS Choral Division? Would you be available to manage one of our choirs? Would you like to conduct? Think about your level of commitment and see if THIS is the year you do just a little bit more to help out CJMEA! High School Orchestra Kawika Kahalehoe email@example.com
reetings! All of the concerts are just about completed and they were phenomenal! Thanks to the conductors and the students for their hard work and for providing another year of remarkable performances. Additionally, I would like to thank all of the teachers, managers, and volunteers who have helped to make all of the ensembles a positive experience for all participating students. Furthermore, I would like to give a big thank you to Brian Toth, Barbara Retzko, Hillary Colton, Nina Schmitterer, Meg Spatz, Celeste Zazzali, and Chris Finnegan, the audition chairs who have worked tirelessly in order to ensure that the auditions are well-organized and that they ran smoothly. If you are looking to be more involved with CJMEA, we would love to have you! If you would like to conduct or manage a group or even host a rehearsal, please don’t hesitate to contact any of our division chairs. I hope that you participate in one of our many festivals! We have tons of performing opportunities for all ensembles. We have many elementary opportunities including the elementary honors days for band, orchestra, and chorus; we have a great intermediate band festival, and a splendid high school band festival. I hope to see you there!
High School Chorus Hillary Colton firstname.lastname@example.org
From left to right: Band Chair Brian Toth of East Brunswick High School and CJMEA Wind Ensemble Conductor: Jeffrey Renshaw, from the University of Connecticut.
From left to right: CJMEA Symphonic Band Manager Edward Gattsek, from Freehold Regional High School and Symphonic Band Conductor, Steven Rapp from Summit High School.
Concert Band Festival at South Brunswick High School on March 18-20. Even if you aren’t bringing a group to perform, consider joining us as a spectator and enjoy some of our outstanding student-musicians.
The region orchestra concert on January 6th was a complete success. I want to congratulate all of the students who participated and made this concert so impressive. Additionally, I would like to congratulate Concerto Competition winner Tzuriel Tong for his impressive performance of the Elgar Cello Concerto (fourth movement). Thanks to Arvin Gopal for helping out with managing the ensemble and all the support and guidance you gave to the students during the festival weekend. Lastly, I would like to thank Viriginia Allen for conducting the ensemble and inspiring musical creativity in all the students involved. Her musical expertise and mastery of the literature inspired greatness in our students, the result of which was a performance of epic magnitude that I will never forget. I wish all our students good luck at all-state auditions and all our directors good luck with their upcoming performances. Intermediate Band Celeste Zazzali and Meg Spatz K8band@cjmea.org As we are writing this, we are planning for Intermediate Band and Orchestra Auditions. Student forms have been mailed in and auditions are mere weeks away. By the time you read this, the Intermediate Symphonic Band will have had a fantastic concert experience with Salvio Fossa from Woodrow Wilson Middle School in Edison MARCH 2013
as their conductor. Thank you to all who participated this year by sponsoring students, helping them through the audition and rehearsal processes, and attending the concert. Special thanks to Jeff Smith, who managed the band, and to those who volunteered their time to host rehearsals, run sectionals and usher at the concert! Managing an ensemble and hosting a rehearsal or concert are great ways to get involved, meet other directors, and support the students in Region II! Please contact Celeste Zazzali or Meg Spatz if you are interested in either of these for the future. Preparations for the Elementary Honors Band are under way. Directors have recommended students by filling out the application (always posted on www.cjmea. org) and accepted students were placed into an ensemble. Music is currently being organized and will be distributed soon. Please help your students to practice their music as soon as you receive it. Also make sure they are prepared with a folding music stand and all the necessary accessories for their instrument (reeds, valve oil, etc) for the day of the event. The rehearsal and concert will be held on May 4th. Many thanks in advance to Meg Spatz and Amara Van Wyk for hosting the event at the Rahway 7th & 8th Grade Academy. Also coming soon will be information about the CJMEA Elementary & Intermediate Band Festival which will be held on April 17th & 18th, and May 15, 2013. For more information or to download registration forms, please visit www.cjmea.org. Intermediate Chorus Nina Schmetterer K8chorus@cjmea.org Lindsay Jackson presented a fantastic workshop on Active Music Making in January for general music teachers. We sang, moved, and learned some new ideas to try in our classrooms. Thank you to Lauren Surick at Applegarth Elementary School for hosting that workshop. If you are a presenter who would like to do a workshop for CJMEA in the future, please contact me at email@example.com. The Intermediate Region Choir has had another successful season. Jennifer Jenkins rehearsed and conducted the choir, introducing the group to a wide array of music from an African processional to American MARCH 2013
folksongs. The students reacted well to her teaching style and energy. Eternal thanks to Courtney Shiffman for managing the group and keeping everyone organized and on schedule. Thank you to all of the teachers who hosted rehearsal and auditions for the 2013 choir: Sue Belly (Avenel); Judy Weiss (Hammarskjold); Kathryn Reid/Anna Braun (Churchill); Courtney Shiffman (High Bridge); and Shannon Maddolin (South Plainfield). If you are interested in conducting, managing, or hosting rehearsal in the future, please let me know. The Treble Honors Choir (formerly the Elementary Honors Choir) will be conducted this year by Jason Tamashausky. This ensemble is for students in grades 4 through 6, and will take place on April 20th. Teachers will be able to nominate six outstanding students to take part in this group. Please check the website for information. Intermediate Orchestra Penny Martin firstname.lastname@example.org Thanks to everyone for volunteering to be rehearsal hosts for our Symphonic and String Orchestras. CJMEA is grateful for the sacrifice of time and facilities that you all have made. Chris Finnegan and Susan Meuse are working hard to hone in on the many talents of our Region students this season. I can’t wait to hear their wonderful performances this March. I hope to see all of you there on March 10th and 17th at Monroe Middle School. Percussion-Yale Snyder email@example.com I hope everyone is having a wonderful 2013. Region II Percussion is having its best year yet. In December, Chris Colaneri directed the 3rd annual Holiday Percussion Extravaganza at the Woodbridge Mall consisting of over 30 mallet percussion players from elementary school through college performing holiday music. It was a huge success. Now in its 5th year, our Region High School Percussion Ensemble had its finest concert to date on January 6th at Montgomery High School. I would like to extend my deepest thanks and gratitude to Gary Fink for a fantastic weekend and for being a fabulous conductor. I was blown away with
what Fink and the ensemble accomplished in a very short period of time. Bravo! I also would like to extend my thanks to Jared Judge for his time and dedication as the manager of the ensemble. Our Intermediate Percussion Ensemble is off and running and we are extremely lucky to have Marty Griffin as our conductor. The Intermediate Percussion Ensemble concert will be on March 17th at Monroe Township High School. This spring, we have days of percussion, percussion ensemble festivals, and percussion workshops to look forward to. I will be sending out dates and contact info and they will also be posted on our CJMEA Facebook page when they become available. I am in need of two managers as well as rehearsal sites for both our High School and Intermediate Percussion Ensembles for next year. If you are interested in either, please email me at firstname.lastname@example.org. I look forward to sharing with our membership the latest trends in 21st Century percussion education. If anyone ever has any questions, please always feel free to contact me.
North Jersey School Music Association njsma.com
uditions, concerts, festivals – student performances – it’s what we have our kids do. Just like a sports team, students practice and, over time, increase their skills and who knows, you just may see your students in the big arena, er, stage that is, Carnegie Hall, etc., and to think it all started with you, the elementary, middle or high school music teacher. I just attended a Maynard Ferguson tribute performance in a school with several of that institution’s alumni performing. These cats were hot! In the audience was their former high school band director and was he ever beaming with pride. It all started in their school music programs with special teachers – MUSIC teachers! A great big THANKS to the Paramus and Clifton school districts for allowing us to use their facilities for our high school and junior high annual auditions. Paramus Dicontinued on next page
rectors Mark Donellan, Band; Judy Wilkes, Orchestra; and Stevie Rawlings, Chorus, led their music parent and student Tri-M members in providing wonderful hospitality for the day. We returned to Clifton HS for the junior auditions after a four year hiatus, enlisting the able assistance of hosts Robert Morgan, Band; Natalie Babiak, Orchestra; and Christina Paulin, Chorus, and also their music parents and Tri-M students. It’s a big undertaking to host these auditions and all should be commended on a job well done. Only a few schools have ever hosted – as far as I can remember: Clifton HS, Paramus HS, Boonton HS, Mahwah HS and Waldwick HS/MS. Interested? March is a busy month for everyone with many Region events taking place as well. It is not too late to sign up for some of our programs that remain in the school year or plan now for next year. Hopefully you will participate in some aspect, whether sending students to auditions, bringing your ensemble to a festival, volunteering to manage, host or conducting a group, or even attending a concert. At any level you choose, you will surely come away with something to enhance your teaching in producing finer musicians and instill in your students a love of culture and the Arts. Mike Kallimanis, President Band Division Matthew Spatz/Gregory Mulford Division Co-Chairs Congratulations to all students who auditioned and were accepted for the AllNorth Jersey honor bands and thank you to all the directors that helped with auditions, rehearsals and concerts. The NJSMA would not be able to provide these wonderful opportunities for students without the support and encouragement from their sponsoring directors. We are proud to have hosted our third annual Chamber Music concert, Wednesday, February 27 at Wayne Hills HS. This concert recognized the outstanding achievements of North Jersey student musicians through chamber music. We would like to thank our chamber ensemble conductors and hosts for a great concert experience! The Junior High School concert will be March 17. Michael Iapicca of Parsippany Hills HS will conduct the Intermediate Band (7th and 8th Grades), and the Junior
Band (9th Grade) will be under the direction of Jonathan Harris from Northern Valley Regional HS at Demarest. This year’s High School Region I Concert Band Festival will be held March 19-21. Hosts include Verona, Bergenfield, Mount Olive and Randolph high schools. The Junior High School Festival will take place April 18 at Randolph and Westwood. Thank you to all our hosts and festival coordinators. Good Luck to all ensembles and their directors. The second annual NJSMA Elementary Band Festival will take place Saturday, May 4 at Columbia HS, Maplewood. Students in fifth and sixth grades from NJSMA member schools who have been nominated by their directors will rehearse and perform a concert in a one day festival. Please check www.NJSMA.com for updated and detailed information on all events. MSpatz@NJSMA.com; GMulford@NJSMA.com. Orchestra Division Nate Lienhard/Michael Holak Division Co-Chairs Congratulations to all students who auditioned and further, who were accepted for the All-North Jersey High School honors orchestras. A special thanks goes to Judy Wilkes and Paramus HS for hosting the high school auditions and to Natalie Babiak and Clifton HS for hosting the Junior HS auditions. Also thanks to the orchestra audition chair and Region I president, Michael Kallimanis from Waldwick MS. The Junior High School Festival will take place Friday, May 3 at Randolph MS with Sherry Griggs as our host. The High School Festival will run on May 23 at Millburn HS with Karen Conrad as host. If you would like to participate in either festival, please contact an orchestra division chair or look for the applications on the Region website. Please volunteer your school as a possible rehearsal or concert site. We are always looking for a facility with a large rehearsal room such as a band room, stage or cafeteria, for both the high school and junior high school orchestras. Please contact us with your possibilities! NLienhard@NJSMA. com; MHolak@NJSMA.com.
Choral Division Stephanie Quirk/Austin Vallies Division Co-Chairs The annual All-North Jersey HS Chorus concert took place February 9. Congratulations to the accepted students in the Mixed and Women’s Choirs on a job well done! The concert was held in the beautiful performing arts center at Secaucus HS. Many thanks to Lyle Leeson and the Secaucus School District for again providing the NJSMA with a wonderful venue to perform our concert; to Chuck Linnell and the Kinnelon School District for hosting all the rehearsals prior to the concert; and to the many directors who come together each year to make this a successful event! The Junior HS concert took place Sunday, March 3rd at Parsippany Hills HS, hosted by district choral directors Linda Clark, Parsippany Hills HS; Adam Aguanno, Central MS; and Tiffany Schifano, Brooklawn MS. Donna Girvan, Tenafly MS, was the host for the Friday all day rehearsal for the second year in a row. The Mixed Chorus was conducted by Billy Baker, New Jersey City State University, with accompanist Susan Braden, Ridgedale MS, Florham Park, and managers Irene Lahr, Ramapo Ridge MS, Mahwah, and Alison Caravano, Chatham MS. The Treble Chorus conductor was Jim Millar from Tenafly HS, and the accompanist was Janelle Heise from the Pequannock School District, and managers Joanna Scarangello, Briarcliff MS, Mountain Lakes, and Laura Kosmich, Leonia MS. Thank you to everyone involved in assisting with this concert. Our Junior HS festival will take place at Chatham MS Friday, May 10, hosted by Alison Caravano and Barbara Klemp. This was changed from the original date of May 9, due to a conflict with NJ-ASK testing. We are so excited to have Jamie Bunce from Columbia HS as our festival coordinator for this event. The cost is $100 per chorus and registration forms are now available on the Region website. Please take advantage of this wonderful event which is designed to provide valuable feedback to students and directors through written and taped adjudication and onstage clinic. We need your help! It has become tougher and tougher to find schools willing to allow Region ensembles into their facilities without top dollar fees. Our organization is made up of teachers willing to MARCH 2013
provide opportunities for their students and recognize what our honor ensembles can do for their programs. These concerts are your concerts; all of us make up the North Jersey School Music Association. If you are interested in being a site host, managing an ensemble, or accompanying a choir, please e-mail Stephanie Quirk, SQuirk@NJSMA. com or Austin Vallies, AVallies@NJSMA. com. We would hate to see events canceled due to the lack of available sites for these groups. We look forward to your participation!
South Jersey Band And Orchestra Directors Association sjboda.org
he past few months have been very exciting and rewarding for the members of SJBODA. On January 6th our Senior High School 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 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 Matthew Oberstein (Philharmonic of Southern New Jersey); Judy Barnett (Washington HS); Paul Tomlin (Clearview Regional HS) and Deb Knisely (Cinnaminson HS). The coordinators for these performances were Glenn Motson (Gloucester City Jr/Sr HS); Toni Benecchi (Chestnut Ridge MS); and Nichole Delnero (Toms River HS South). The managers of the Orchestra and the String Ensemble were Deb Knisely, (Cinnaminson HS) and Rowan University students Andrea Chieffo, Elyssa Greenberg, Alex Rones, Rhea Fernandes, Megan Oravsky and Kate Wyatt. The managers of the Wind Ensemble and Symphonic Band were Steve Carey (Pitman HS); Lisa Simone (Hopper Ave. Elementary); Jessica Sanford (Toms River HS East); and Jon Grill (Toms River HS North). Our hosts for these concerts were Sal Scarpa and Rick Dammers. The equipment manager for both of these events was Christopher Janney (Haddonfield Memorial HS). Congratulations to Rebecca Andrews from Cherokee HS who received the 2013 MARCH 2013
SJBODA orchestra scholarship and Dylan James from Clearview Regional High School who was the recipient of the band scholarship. We wish these students and all of our seniors continued success in their future endeavors. Our 6th Annual Chamber Ensemble Concert took place on February 16th and was hosted by Keith Hodgson and the Mainland TRI-M Music Honor Society Chapter. The ensemble coaches were Brass: John Dondero, (Galloway Township MS), Percussion: Fred Rushmore (William Davies MS), Sax: Scott McCarron (Delsea Regional HS), Woodwind: Gia Walton (Cherry Hill High School East), and String: Toni Benecchi (Chestnut Ridge MS). This event was coordinated by Keith Hodgson (Mainland Regional HS). Once again our Junior High Band auditions, held at Southern Regional Middle School, were a successful event. The efforts of Tony Scardino (Indian Mills MS) and Joe Jacobs (Ventnor MS), our Junior High Auditions Chairs, were greatly appreciated by teachers and students. With the assistance of Phil Senseney (Southern Regional MS) and Deb Knisely (Cinnaminson HS) they provided a positive experience for all involved. These auditions were hosted by Jennifer Hodgson and the Southern Regional TRI-M Music Honor Society Chapter. Calvin Spencer (Monongahela MS) did a wonderful job in assisting the conductors and students as the Junior High Band Coordinator. The conductors for the 36th Annual All South Jersey Junior High School Band concert are Phil Senseney (Southern Regional MS) and Glenn Motson (Gloucester City Jr/Sr HS). The rehearsals were hosted by Keith Hodgson at Mainland Regional High School and the concert took place on March 3rd at Fernwood Avenue MS. Dominic Scalfaro was our host. The 20th Annual SJBODA Concert Band Festival will take place on Monday, March 11th and Tuesday, March 12th at Rowan University. Our festival coordinator was Mike Armstrong (Deptford HS). Rick Dammers (Rowan University) hosted this event. The 21st Annual Elementary Honors Band Festival will take place on Saturday May 4th at Absegami HS. Jon Porto will be our host. Sue Moore (Mansion Avenue Elementary), David Mackey (North Dover Elementary), and Eva Szakal (Toms River
Intermediate) are the conductors for this festival. The SJBODA Spring Breakfast meeting will take place on Wednesday, May 29th at 9:00 AM at Seven Star Diner. Please contact John Stanz at 609-457-0590 if you plan to attend. Please continue to check the Web site, maintained by Scott McCarron (Delsea Regional HS), for the latest SJBODA updates. Joseph Jacobs Secretary, SJBODA
South Jersey Choral Directors Association sjcda.net
The 55th Annual South Jersey Jr./Sr. Choral Festival was held on January 26th and 27th at Eastern Regional High School. Pamela Barnes and Kahlil Gunther did a tremendous job conducting the choruses. Congratulations and thanks go to these fine conductors for an outstanding weekend of choral music that was enjoyed by over 2100 audience members. A reception was held following the Sunday concert at Vitales’ Italian Bistro in Voorhees, and a great time was had by all! In addition to the conductors, the Board of Directors also wishes to thank Nancy Cecilio, Maryann McKenzie, Cheryl Breitzman, and Hope Knight for managing the choruses; John Wernega and Lee Thomas for accompanying the choruses; and Katherine Akinskas for hosting the event. The 2013 South Jersey Elementary Choral Festival enjoyed similar success. The 31st anniversary festival was held on Saturday, March 2nd, at Hess Performing Arts Center in Mays Landing, and was conducted by Larry DePasquale. Thanks to all for a terrific concert. The Board also extends thanks to Patty Allen and Shaun Brauer for managing the event and Donna-Marie Berchtold for hosting. The SJCDA Spring Meeting and Professional Development Seminar will be held on Friday, April19th. Please check our website for the registration information. Any questions regarding SJCDA can be directed to our president, Art McKenzie, at 856-767-8000 x. 3044, or by going through the website, www.sjcda.com.
IN MEMORIAM 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. If you know of the passing of any music educator, please contact: Christine Sezer at 570-756-2961or email@example.com
(Please send obituary notices from your local newspaper concerning music teachers from New Jersey who have passed away. It is not possible to keep track of all the newspapers in the state and your help is needed.)
Barbara Bonyadi Duncan Barbara Bonyadi Duncan, 84, entered into eternal peace on Monday, Dec. 24, 2012, at Seacrest Village Rehabilitation Center in Little Egg Harbor. Barbara was born in Hammonton on Sept. 30, 1928, daughter of the late Mary and Angelo Sandos. She graduated from Bristol Tennessee High School in 1945, and from Maryville College in Knoxville, TN with a bachelor’s degree in Music Education in 1949. Prior to college, she attended the Philadelphia Academy of Music. After her service in the Army Special Services in Germany, she traveled on an Army ship. She then worked for SACom, where she met and married Danny Bonyadi. Most notably, Barbara worked as a music teacher at the Long Beach Island Grade School in Ship Bottom for 30 years. She retired with honors in 1993 at the age of 65. In college, she was a member of the Maryville College Choir and also the Band. During her later years, she was a member of the Ocean Reformed Church in Manahawkin; an active member of the Soroptimist Club of Long Beach Island for decades; a member of the Brant Beach Yacht Club; the Ocean County College Community Band; the Ocean Pops performance band; as well as a devoted fundraiser for the local FACES 4 Autism chapter; and many charitable organizations. She loved to play the clarinet and the piano, and was proficient at both. She also loved country line dancing, folk dancing, and square dancing with her daughter. She loved watching sunsets at the end of her street on LBI and was an avid reader. She loved to play Bridge and hosted numerous
card parties with her good friends. She also loved to travel and went to Europe several times, Mexico, Southern United States, New Orleans, and Philadelphia. Barbara was a very kind and generous soul; an exceptionally devoted mother and friend, a loving sister to her other siblings, and a fiercely independent soul. She treated her daughter’s friends as if they were her own. Above all, she loved her family. She had a loving heart, and was always giving to others. Her humanitarian efforts were very notable, since she always gave to those in need. It was her love of music which became her legacy to generations of children and adults. Even to the end of her years, she kept up with all the current artists and musicians.
a charter performer of the Herald-News Band Festival and North Jersey Band Festival. His band performed at the 1964 NY World’s Fair, halftime for the NY Jets Football Team at Shea Stadium, performed by invitation on the steps of the US Senate Building and the Lincoln Memorial, and at numerous Walt Disney World Magic Kingdom Parades. After he retired from teaching and moved to Bricktown, he continued on with the North Jersey Band Festival. Lester had recently celebrated his 54th year on the Executive Board of the North Jersey Band Festival.
Edward J Kuter Lester P. Hrbek Lester P. Hrbek, 88, of Bricktown, passed away peacefully on January 15th at Brighton Gardens of Middletown. He was born on June 13, 1924 in Hackensack. Lester was raised in South Hackensack and graduated from Hackensack High School just prior to the start of WWII. From 1942 to 1945 he was the featured trumpet soloist with the Navy Band at Camp Perry, Virginia. After the war, he graduated from the Julliard School of Music with a bachelors degree in Music Performance and from Columbia University Teacher’s College with a masters degree in Music Education. After teaching music at Passaic High School for several years, he was hired by the Nutley board of Education as the band director for Nutley High School and the Franklin Middle School. During his thirty years of teaching the Nutley High School Band was
Edward J Kuter., 85, of Hasbrouck Heights, formerly of Green Pond, passed away on December 1, 2012. Born in Brooklyn, NY to the late Joseph G. and Elizabeth Kuter. He was a graduate of Manahattan School of Music where he received his Bachelors Degree. Edward was an Army veteran of the Korean War. Before retiring in 1993, he was a music teacher for the Wyckoff School System for twenty-five years and a member of the New Jersey Education Association. Edward was an accomplished musician and after retiring, he was a violinist with the North Jersey Symphony Orchestra. He was a member of the Associated Musicians of Greater New York Local 802, and the American Federation of Musicians Local 248 in Paterson.
Robert (Bob) Livingood Robert (Bob) Livingood, 67, passed away unexpectedly at his home in Birdsboro, PA on November 16, 2012. He was a loving and devoted husband, father, and friend. He was also an inspirational teacher and talented musician who carried his love of music throughout his life. A gifted trumpet player, Livingood graduated from Ithaca College in 1967 with a BM in Music Education, later earning his MM in trumpet performance from West Chester University. He served in the United States Army, performing with the Continental Army Band and with the 3rd Armored Division Band. After receiving his discharge, he lived in Berks County, PA before moving to New Jersey and seeing his career take off. By day, Livingood taught music in the Chatham Township Public Schools, where he directed multiple levels of curricular and extracurricular bands, built an impressive private teaching studio, and created the Vegas East Big Band. At night, he traveled to New York City where he became an in-demand studio musician. As word of his talent spread through his association with fellow musicians, he eventually pursued a full-time career as a professional trumpet player after playing with the John Lennon Studio Band. His former students enjoyed following his post-Chatham professional life as he toured the world as lead trumpet player with Billy Joel, Simon & Garfunkel, Liza Minelli, and numerous solo artists including Michael W. Smith, Julie Andrews, Aretha Franklin, Frank Sinatra, and Suzanne
Somers. Following an extensive career as a professional musician, he taught Instrumental Music at the Bethlehem Conservatory of Music in Bethlehem, PA and was the Vice President, Producer, and Musical Director of Century Productions Recording Studio in Sayreville, NJ.
John Herbert Miles John Herbert Miles, 78, of Whiting, passed away Wednesday, December 12, 2012 at Community Medical Center in Toms River. Born in Kingston, Pa, he lived in Oak Ridge, Pompton Lakes and Chatham before moving to Whiting in 1996. John was a music teacher for 40 years teaching at West Milford High School for 27 years. He was also the wrestling coach at West Milford High School for 15 years.
Murray Present Murray Present, 91, of Montclair, N.J., passed away on Wednesday, Dec. 5, 2012. Born in Detroit, Mich., in 1921, Murrayâ€™s early years were spent in Lansing, Mich., during which time he studied music in Detroit. He has been a resident of Montclair, N.J., since 1948. He was a graduate of Michigan State University in East Lansing, Mich., and of the Juilliard School of Music in New York City. At Juilliard, he studied on fellowship with Josef and Rosina
Lhevinne. In 1954, he was awarded the Prix Jacques Durand in piano and the Prix Dinu Lipatti in chamber music at the Conservatoire American at Fountainebleau, where he was a member of the Master Class of Robert Casadesus. Following these distinctive honors, he was invited to make recordings for the Radio-Diffusion Nationale Francaise in Paris. In the U.S., his appearances as a soloist with orchestra included the Detroit Civic Orchestra, the Lansing Symphony Orchestra and others. His first orchestral appearance took place at the age of 14 under the baton of Izler Solomon. Throughout his career as a pianist he performed in recital on radio in Michigan and at radio station WNYC in New York City. Present had given frequent recitals in New York, New Jersey, the midwest and Europe. These engagements included Steinway Concert Hall, the New York Town Club, the Detroit Institute of Arts, the Montclair Art Museum, and many others. Present was a professor at Juilliard School of Music and was one of the original faculty members at Montclair State University. At Montclair State University, he attained the longest tenure of any faculty member in the history of the university. He was known as an adjudicator for musical contests throughout the state as well as in New York. He was a longtime member of the New Jersey Music Educators Association. &
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NJMEA Past Presidents 1924 - 1926 1926 - 1930 1930 - 1930 - 1931 1931 - 1933 1933 - 1935 1935 - 1936 1936 - 1938 1938 - 1939 1939 - 1941 1941 - 1942 1942 - 1944 1944 - 1945 1945 - 1947 1947 - 1949 1949 - 1951
Josephine Duke R.W. Laslett Smith Jay W. Fay Wilbert B. Hitchner Thomas Wilson John H. Jaquish Clifford Demarest Mable E. Bray Paul H. Oliver K. Elizabeth Ingles Arthur E. Ward John T. Nicholson Frances Allan-Allen Philip Gordon Violet Johnson Samuel W. Peck
1951 - 1953 - 1955 - 1957 - 1959 - 1961 - 1963 - 1965 - 1967 - 1969 - 1971 - 1973 - 1975 - 1977 - 1979 - 1981 -
1953 1955 1957 1959 1961 1963 1965 1967 1969 1971 1973 1975 1977 1979 1981 1983
Janet G. Gleason Henry Zimmerman Agnes B. Gordown Leroy B. Lenox Elizabeth R. Wood Harold A. Brown E. Brock Griffith Robert C. Heath Edward Brown Rudolph Kreutzer Charles Wertman Stephen M. Clarke Herman L. Dash Buddy S. Ajalat Alyn J. Heim Robert Marince
1983 - 1985 1985 - 1987 1987 - 1989 1989 - 1991 1991 - 1993 1993 - 1995 1995 - 1997 1997 - 1999 1999 - 2001 2001 - 2003 2003 - 2005 2005 - 2007 2007 - 2009 2009 - 2011
Anthony Guerere Joan Policastro Joseph Mello Dorian Parreott David S. Jones Anthony Guerere Sharon Strack Chic Hansen Joseph Mello Nicholas Santoro Frank Phillips Joseph Akinskas Robert Frampton William McDevitt
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