2015 MARCH TEMPO

The Official Magazine of the New Jersey Music Educators Association MARCH 2015

Meet Our Candidate For NJMEA President-Elect

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

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Volume 69, No. 3

http://www.njmea.org

FEATURES 24

Presenting Our Candidate For NJMEA President-Elect

26

A Semi-Centennial Concert: A Grandson Follows In The Footsteps Of His Grandfather, Edward Gattsek

33

NJMEA Orchestra Festival Photos

38

Keeping Current, Mimi Rabson

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Webinars Coming To NJMEA, Amy Burns

42

Portfolios: Pathway To Improved Teaching And Learning, Joseph Pergola

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The New String Guitar, Banjo, Mandolin & Ukulele; Thomas Amoriello

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Beyond The Classroom: Helpful Tips For Acquiring Tenure, Andrew Lesser

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Interpretive Ideas, William L. Berz

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A Look Backwards And Forwards, Nicole Olearchik

MARCH 2015 DEPARTMENTS AND NJMEA BUSINESS

Advertisers Index & Web Addresses ......71 Board of Directors ................................68 Division Chair News......................... 6-18 Editorial Policy & Advertising Rates .....70 From The Editor .....................................4 In Memoriam .......................................66 Past-Presidents ......................................70 President’s Message ............................. 2-3 Resource Personnel ...............................69 Round the Regions ......................... 62-65 FORMS AND APPLICATIONS See NJMEA.ORG

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

Wind Band Academy Performance .......60 NJMEA Marching Band Festival ..........61 NAfME Membership ............................72

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

TEMPO Editor - Thomas A. Mosher 80 Jumping Brook Drive, Lakewood, NJ 08701 Phone: 732-367-7194 Fax: 732-367-7195 e-mail: tmosher@njmea.org Deadlines: October Issue - August 1 January Issue - November 1 March Issue - January 15 May Issue - March 15 All members should send address changes to: mbrserv@nafme.org or NAfME, 1806 Robert Fulton Drive Reston, VA 22091 Printed by: Kutztown Publishing Co., Inc. 1-800-523-8211 kpc@kutztownpbl.com

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 69, No. 3, MARCH 2015 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

NJMEA CONFERENCE February 18 - 20, 2016 East Brunswick, NJ NAfME Biennial Eastern Division Conference April 9-12, 2015 Providence, RI

president’s message JOSEPH JACOBS 609-335-6429 JJacobs@Veccnj.org Website: http://www.njmea.org

the opportunity to meet, share, and be inspired as a music educator. Our membership may actually be your greatest resource and benefit. I encourage you to take advantage of it and share the value of NAfME membership with other music teachers. We are a vibrant community who care and support music education.

Values of Membership Recently I had the opportunity to discuss with some of my colleagues the benefits of NAfME/NJMEA membership.

Everyone that is reading this article is probably already a member and is aware of the many benefits. Many of our current members joined because NAfME membership is required for their students to participate in region and all-state activities.

There are also quite a few current members who joined so that they could attend our recent conference. I am sure there are other reasons why music educators have elected to join but these two seem to be the dominant ones in New Jersey.

Continuing to Evolve The PARCC testing scheduled for the next two months has once again caused many music educators in New Jersey to adjust and adapt. Directors have had to schedule their concerts around the testing dates and quite a few teachers were notified by their administration that they would not be able to participate in music festivals. Just last year we successfully met the challenge of implementing Student Growth Objectives and changes in teacher evaluations. I am sure that we will meet this new challenge. Music educators will always need to be creative, problem solvers and risk takers. We excel in what we do because we are passionate about what we do.

The current slogan or membership recruitment campaign for NAfME is “Membership in NAfME is where music educators belong”. Why? We know that NAfME and NJMEA provide advocacy at the state and national level 365 days a year.

We are all aware of the professional development resources and opportunities that are offered but I believe one of the best values of membership is the ability to network with our peers.

NJMEA Festivals

There are many situations where there may only be one or two music teachers in a school building or district. This scenario can present unique challenges for educators. Where do you go to bounce off an idea? Who do you seek for advice, suggestions, or just feedback? Where can you find new ideas or strategies? The answer may be your colleagues and peers throughout the state. It is highly unlikely that you are experiencing a unique challenge that has not presented itself at another district or to another music teacher. The wealth of knowledge and experience from NJMEA members is vast.

Our members are always willing to share their experiences or offer suggestions.

NJMEA will be sponsoring our 2nd Annual Guitar Festival on Saturday, April 18th at Wall Township High School.

Tom Amoriello, our NJMEA Board of Directors Guitar Education Chair, and Keith Calmes (Wall Township HS) are coordinating this festival. This event will include workshops and musical performances by the internationally recognized Newman & Oltman Guitar Duo. I encourage our NJMEA guitar teachers to participate and take advantage of this wonderful opportunity for students and instructors. I am sure it is going to be an informative and inspiring day!

Donna Marie Berchtold, a member of our Board of Directors, will once again be coordinating our NJMEA Middle School Choral Festivals with the assistance of Karen Blumenthal. The Festivals will be held at two separate locations. Rowan University will host on Wednesday, April 1st and Rutgers University will be our host on Monday, May 27th.

My school program and I have benefited for many years from ideas and suggestions that I received from networking with my NJMEA peers. All of my so called great ideas were borrowed from my colleagues. Attending region and state auditions, meetings, rehearsals, and concerts has given me TEMPO

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James Chwalyk will once again be coordinating our NJMEA Middle School Concert Band Festival which will take place on Tuesday, April 21st at Rowan University. Rick Dammers will be our host. Registration forms for the Guitar, Choral, and Band Festivals can be found on our website. These festivals are a great opportunity for students and educators to be critiqued by highly qualified clinicians.

Congratulations and thanks to Susan Meuse for reinstating and coordinating our NJMEA Orchestra Festival. This successful event took place on Friday, January 23rd and Friday, February 6th at Hammarskjold Middle School. This was a wonderful opportunity to showcase the talent and efforts of our students and orchestra directors. Please consider having your orchestra perform in our 2016 Festival.

NJMEA Conference Our recent conference held in East Brunswick offered music educators a wealth of professional opportunities. Marie Malara did an outstanding job in meeting the needs of all music teachers by offering a wide variety of workshop sessions, meetings, and performances. Special thanks to James Chwalyk, Kathy Mosher, Nancy Clasen, Michael Saias, Joyce Campbell, Rick Dammers, Tom Mosher, Debbie Sfraga, Betsy Maliszewski, Dave May, Matt Paterno, Kathy Spadafino, Christine Sezer, Tom McCauley, and the many people behind the scenes including our NJMEA Board of Directors for creating a wonderful venue that certainly enhanced our skills and knowledge as music educators.

There were many brilliant music performances throughout the conference including our NJ All- State Concert at NJPAC which featured our Women’s Chorus, Wind Ensemble, and Symphonic Band. The caliber of musicianship displayed by our students was outstanding! Our NJMEA Performance and Procedures Chairs Kathy Spadafino, Al Bazzel, Matt Spatz, along with Donna Cardaneo, our All-State Coordinator, and Joe Cantaffa, our Production Manager, did a wonderful job in meeting the needs of our band and chorus members. The number of dedicated teachers who worked behind the scenes to make this a rewarding and memorable experience for our students is amazing. It was truly a team effort! Special thanks to Jennifer Alagna, Steve Carey, John Scozzaro, Joseph Spina, Deb Knisely, Nichole Delnero, Bill McDevitt, David Britton, and the All-State Band and Chorus Procedures Members who volunteered their time and talents. You are all a credit to our profession.

NAfME Eastern Division Conference The 54th NAfME Eastern Division Biennial In-Service Conference will take place in Providence, Rhode Island this year. The festivities will begin with motivational speaker Fran Kick on Thursday, April 9th and conclude with performances by the AllEastern Ensembles on Sunday, April 12th. The conference will offer plenty of informative workshops and music performances including Project Trio, The Capitol Quartet, and Just 4 Kicks. NJMEA will be well represented in the All-Eastern Mixed Chorus, Treble Choir, Symphonic Band, Orchestra, and Jazz Band with a total of 113 student musicians. Each one of these students will experience a lifelong memorable performance because of the efforts of their NJMEA teachers. Additional information regarding this conference including registration can be found online at www.nafme-eastern.org Advocacy Many of us will be presenting our Spring Musicals, Concerts, Recitals, and various other musical performances in the next month. Please take this occasion to share with the audience the importance of music education in our schools. The public, including parents, needs to be reminded that music offers our students opportunities to be creative, and allows them to express themselves through the beauty of music. We all must continue to be advocates for including music in our schools’ curriculum.

Thanks for all that you do for music education. You do make a difference!

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Editor’s Message Thomas A. Mosher 732-367-7195 tmosher@njmea.org Website: http://www.njmea.org

H

“I’m Too Busy”

ow often have you said the words, “I’m too busy”, or have had them said to you? Those words seem to just jump right out of some people’s mouths without their even thinking about them.

Many years ago, I was at a planning meeting for a marching band festival. There were approximately sixty band directors in the room. It was a custom to have a different person in charge of the festivals each year and names were drawn out of a hat to determine whose turn it would be that year. The name was drawn and the person who was selected immediately said: “I can’t be in charge. I’m too busy. After all, I’m a marching band director!” The other 59 marching band directors in the room stopped laughing after several minutes and the meeting continued. His “I’m too busy” answer must have been his automatic response every time he was asked to do something; but this time it didn’t work.

Almost every member of the Board of Directors of NJMEA, as well as the members of your Region and County Associations have thriving music programs in their schools. Yet they still find time to work for the improvement of music education, not only in their schools, but in schools throughout the State of New Jersey. When they ask you to help by hosting, managing, directing, judging, etc., they are asking you because they feel you are a person who is capable of doing the job. They are seeking out other people similar to themselves.

People who give the “I’m too busy” answer sometimes really believe they are too busy, but usually are afraid they are not capable of doing the job requested. I always said I would not be president of CJMEA because it was too big of a job. I have now twice been Past-President. I thought TEMPO

being the editor of TEMPO magazine was too big a job to do, yet here I am doing the job. (OK, I retired first.

You got me there!) Working with the All Shore Band Directors Association of Monmouth County, CJMEA, and NJMEA have been exciting and fulfilling times in my life. My bands numbered over two hundred members;, we traveled as far a California and Mexico; my wife and I raised four children including twin boys; and I still had time to adjudicate, host, manage, conduct, be president, secretary, treasurer, etc. I would not give up any of the memories accumulated during the 33 years of teaching and working with these groups.

New people are needed to become part of the management end of the organizations to which they belong in order to provide new ideas and keep the organizations alive. Please volunteer to help when asked. Please volunteer to help before you are asked! I have been a member of the NJMEA Board of Directors for over twenty-five years and keep seeing many of the same faces year after year. These are people who are dedicated members of the three regions and work to represent them on the Board of Directors of NJMEA. Why do the same people keep volunteering each year? Because other people keep saying “I’m too busy”.

Excellent teachers know how to budget their time and accomplish the miracles which other people marvel at.

• Become a doer. Start volunteering to help.

• Be a person who helps solve the problems of music education.

• Stop saying: “I’m Too Busy”.

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Dare to Dream

If you are looking to hone your talent at a University that trains its students for the worlds of professional theatre, music, and the visual arts, you will find a home at Kean University.

Just a half an hour away from New York City, Kean offers students world-class instruction, premier performance venues, opportunities to work in equity theatre, and an inclusive community of working artists and scholars. Individualized attention, small classes and affordable tuition make Kean’s College of Visual & Performing Arts an appealing alternative to some of the better known schools across the Hudson River.

SEE FOR YOURSELF: Open Houses: Saturday, March 28; check-in begins at 9 a.m.

Sunday, May 3; check-in begins at 9 a.m.

REGISTER FOR AN OPEN HOUSE AT: www.kean.edu/open-house College of Visual and Performing Arts / Conservatory of Music / Robert Busch School of Design / Michael Graves School of Architecture

MARCH 2015

KEAN UNIVERSITY • (908) 737-KEAN (5326) • www.kean.edu 1000 Morris Avenue, Union, New Jersey 07083 5

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& News From Our Division Chairs President Elect William McDevitt 856-794-6800 x2539 billnjmea@aol.com

Random Thoughts Don’t throw the past away You might need it some rainy day Dreams can come true again When everything old is new again

•••• Peter Allen & Carole Bayer Sager As you start to get “older”, you start to look at the things that were here before and aren’t anymore. I think that it’s even more obvious in education because we are interacting with the people in our society on a daily basis that have no concept of our past. WHYY in Philadelphia used to run a program called, “Things That Aren’t There Anymore”. At the risk of sounding like a curmudgeon, I would like to express my thoughts.

The students that we teach will never understand the concept of a rotary dial telephone or the telephone with the big backlit pushbutton numbers. The thought of a “bag phone” would be hilarious to them.

They will never use a typewriter. I remember writing papers in high school and college with an electric typewriter and using whiteout for all of my mistakes. I remember counting the number of lines that I typed so my citations could be added at the bottom of the page.

They will never see a cash register with buttons that have to be depressed for each digit in the price of an item with a hand lever for adding the number. I remember being fascinated by this contraption when we went to Acme when I was young.

They will never see a slot machine in a casino that accepts quarters!

They will never see a car with a manual transmission with the gear shifter on the steering column. I can’t count the number of times that I asked my father to explain this one, and I still like the feel of driving with a manual transmission.

They will never understand that a state mandate to pay teachers $18,500 was finally giving teachers a living wage and for many people was an unbelievable raise.

I hope that students appreciate the things that they do have. When it comes to their musical education, the wealth of manufacturers and publishers that they can choose from is almost limitless. The level of some instrument manufacturing is far superior now then it was 50 years ago. Along the same line, the prevalence of cheap poorly produced instruments is invading the market faster than we can tell the students not to purchase them. The appetizing price on ebay is very appealing to parents who don’t understand the necessity for quality. I played the clarinet loaned to us by a family friend for four years. The way that I became the owner of a professional model was by making Region band.

Students now can hop in a car, most of them driving for less than an hour, to see one of the major orchestras in the world. Many of them drive to see concerts several times a year. When I was younger, the concept of getting in a car and driving to Philly was not even a thought of mine. New York seemed like another country.

There are performance opportunities for every one of them in whatever genre that they would like. They can participate in youth orchestras, community bands and community choruses. It was a hardship for my family to get me to the North concert of the All-State Chorus for the two years that I was a member.

The opportunity for individual instruction and advanced education is limitless for them. Last year I had a student accepted to, and is now attending, Yale University. The thought of a student doing that in the early 1980’s would have probably included a tickertape parade in my little town. And that’s another one – the tickertape parade. I think we need a good tickertape parade. I’ll sit there and watch the marching bands parade by wearing their spats and overlays, eating my molasses cookies, wearing tube socks and my Members Only jacket, and returning home in my 66 Ford Fairlane 500.

Some things are better left in the past. continued on page 8

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SU SU ND SU ND AY, SA ND AY, NO SU TU AY, DE VE M C R J N D DA AN EM BE AY R Y B U , M , FE AR ER 9 B A Y 7 RC RU 18 A H RY 1 7

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

Spring is almost here and the weather should be getting warm very soon. I know that most of you are preparing for the spring concert season or getting some of your performing groups ready for the annual trip. Members of the New Jersey Music Administrators Association’s Executive Committee and Board of Directors have been preparing valuable workshops for its membership on a variety of subjects pertaining to teacher SGO’s and administrator’s evaluations. We have had three workshops so far this year and all have been well attended.

Our most recent workshop was held on February 6, 2015. The workshop was facilitated by Linda King, Supervisor of Music for the Westfield Public Schools and was entitled, “Scheduling and Surviving the Evaluation Process” This was a roundtable discussion to hear from the members on how they schedule their teacher observations and evaluations and still manage to have time to complete the necessary paperwork involved in today’s process of teacher evaluation.

The Annual New Jersey Music Educators Conference at the Hilton Hotel in East Brunswick on February 19-21, 2015 continues to give the NJMAA members an opportunity to present workshops that would benefit all administrators as well as those who are thinking about becoming a music administrator. Joe Akinskas, from Rowan University, presented a workshop entitled, “Is Counting to Four the Heart of It?”; Peter Griffin, Supervisor of Music from the Hopewell Valley School District, presented the workshop, “Nail Down that Job: Strategies for Interview Success;” and Bob Pispecky, Supervisor of Music from the Edison Public Schools, presented, “Transitioning from Music Student to Music Teacher”. On Saturday, at the Collegiate Academy, the New Jersey Music Administrators Wrap-up Roundtable presented by Joe Akinskas and a panel of administrators from the New Jersey Music Administrators Association gave an opportunity for the college members to ask any questions about issues in the teaching profession and ask “how to” questions. The round up is always well received.

On Friday, February 20 at 8:30 a.m., NJMAA held their Annual Welcome Breakfast hosted by our President, Robert Pispecky from the Edison Public Schools and President Elect, Thomas Weber from the Egg Harbor School District. This is an informal breakfast that allows administrators to have an opportunity to meet and greet and get ready for the day ahead. All supervisors, including non-members were invited to attend. As always, many administrators took advantage of this opportunity to say hello, meet new members and of course have something to energize them for the morning sessions.

Our next General Membership meeting will be held on March 27th at the Rutgers Club on the campus of Rutgers University in New Brunswick. The meeting begins at 9:00 a.m. with hospitality beginning at 8:30 a.m. The topic of the meeting is “Now… Back to Music Education.” The facilitator will be Joe Akinskas.

The NJMAA continues to reach out to all music supervisors, program directors and administrators that are responsible for the music education of students in their school district. If you are a music teacher in a district with a supervisor that does not have a music background, pass along to them our website, njmaa.org so that they may become a member and enjoy the benefits of the knowledge that our membership can offer to them. Our membership has grown this year with a number of new and veteran supervisors. Coming together gives us an opportunity to share ideas and help to solve issues that come up as we help our teachers teach music to the students in our state. It is not too late to join!

continued on page 10

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Plus: Summer camps | Extension Division | Nondegree courses | Online courses WWW.MASONGROSS.RUTGERS.EDU/MUSIC/NJMEA2014

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& News From Our Division Chairs Band Festivals Nancy Clasen 973-766-5343 nancydidi@hotmail.com

The 2015 State Marching Band Ratings Festival The 14th annual State Marching Band Ratings Festival will be held at Wayne Hills High School starting at 5:30 pm on October 17th. This is a unique opportunity for your marching band to perform in a festival (rating only) setting. This event features quality evaluation, local bands, enthusiastic audiences, and is a state sponsored non-competitive event with just a one time commitment. Sign-ups begin on March 1st and have a limit of 16 bands. There has traditionally been a waiting list, so don’t delay and apply now. Contact Matthew J. Paterno at 973-317-2060 or mpaterno@wayneschools.com.

Band Performance Al Bazzel 856-358-2054 fenwayfollwer5@comcast.net

Congratulations to all involved with this year’s All-State Band process, culminating with the concert at NJPAC on Saturday, February 21. Special thanks to our conductors, Michael Votta, Jr. and Evan Feldman, the entire band procedures committee, coordinators, managers, hosts, and band directors throughout the state. Your students did a wonderful job! Please note the 2015-16 solo list will be published in the May 2015 issue of TEMPO. On behalf of the entire committee, I hope you have a successful spring performance season at your respective schools.

Included in this issue is the 2016 Wind Band Academy Ensemble Performance Application. Please contact Mindy Scheierman, NJMEA Coordinator of Selection Committee (mindy.scheierman@millburn.org) if you have any questions.

continued on page 12

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

By now you’ve told your family that you’ll see them after Memorial Day (at least that’s what I used to do!) The musical, the trip, the AllState auditions, spring concerts, and those irrelevant lesson plans! I do feel your fatigue – and I thank you for taking the time to keep up with Choral activities in New Jersey. I also want to thank you for the time you took in coaching a senior for their college auditions, for helping a newly aware young singer realize their great gift, for making the school musical a triumph for all involved. We don’t realize the profound effect we have on so many lives! Many pats on the back for you!

I saw many of you at the NJMEA convention in February. It was great sharing ideas with you and celebrating our colleagues who presented and performed. While I did not attend the National ACDA convention in Salt Lake City, my friends who went came back energized and amazed by the fabulous performances! If you’re not already a member, check the NJ ACDA at: www.njacda.com. Many of us will be attending the NAfME Eastern Convention in Providence, RI, April 9-12th. I look forward to seeing you there!

Our own NJMEA convention also had several sessions for choral directors at all stages, elementary through high school. The highlight was the performance of our 2015 All-State Women’s Chorus, brilliantly conducted by Trish Joyce of the NJ Youth Chorus. Many thanks to our dedicated managers, Joe Cantaffa and Jennifer Alagna, plus all the chaperones who worked together to make this experience fun and musically elevating for our young women. Donna Cardaneo expertly organized the housing, meals and transportation. Thanks, Donna!

Now, take a minute (only one!) to start thinking about next year. Your Choral Procedures Committee is hard at working preparing for this year’s auditions on April 18th and April 25th. Please check our website for ALL information and questions. Look for pitches and sound files to practice with, and tips on tonal memory practice. You should be hearing soon from our audition chairs, Mike Schmidt and Cheryl Breitzman to confirm your registration information. Please check carefully so we have no last minute drama! And if you have any questions, email me at KSpadEB@aol.com. There are no stupid questions! I cannot stress enough how important it is for your choral program to become involved in the All-State Chorus experience. When even one of your students becomes part of the All-State Chorus, they bring a whole new level of excellence to every part of your program. Bravo to all of you for your incredible work ethic, and I look forward to seeing you at auditions!

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

The 2nd NJMEA Guitar Festival will take place at Wall High School on April 18, 2015. We will have concerts, master classes, lectures and workshops so please mark your calendars and think about preparing selections for your ensembles and talented students to participate.

The featured performance group will be the internationally recognized Newman & Oltman Guitar Duo www.guitarduo.com . Please see the sign up forms in the January 2015 TEMPO for students or groups interested in attending or performing. There will be a student showcase as well a master class presented by the guitar duo.

As always if you have any guitar news happening in your classroom please feel free to share and I will help you spread the word. tamoriel@ frsd.k12.nj.us continued on page 14

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Great

Beginnings Give your students the best start at learning a stringed instrument with Gafiano violins and violas from Germantown Violin Company.

Gafiano violins and violas have a smooth warm tone and excellent projection. Beautiful instruments with remarkable sound make this the perfect choice to begin their musical journey.

For more information please contact:

Germantown Violin Company, LLC

301-977-5637 www.germantownviolincompany.com

MARCH 2015

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& News From Our Division Chairs NJAJE

David Thomas May, President philadelphiaflyersorganist@gmail.com

The New Jersey Association of Jazz Education is happy to report that there are several items for our members, students and their families to check out moving forward in 2015. First we’d like to announce that our web site has been completely updated and revamped. The website, www.njaje.org will continue to present more information, updates, features and it will be more user friendly. Students, parents, teachers and administrators will find the applications for both the Region Jazz Bands and Region Jazz Choirs are easily accessible on the website. Just about the entire application process is now electronic, save for the signature pages and the fees.

The NJAJE Region Jazz auditions for Junior and Senior High Jazz Bands will be held on Monday March 16th, 2015. Students interested in Region Jazz choir should check out the NJAJE web site for application information including deadlines and contacts if necessary. Please keep an eye out for the upcoming electronic posting of the Jersey Jazzer newsletter on the website.

This electronic issue of the Jersey Jazzer will feature some articles and information pertaining to vocal jazz in New Jersey at the Region Jazz Choir and at the NJ State Honors Jazz Choir levels. We would also like to acknowledge the New Jersey Governors award for Jazz being presented to Sam Wolsk of Princeton HS. Sam played lead trumpet and was a member of the NJ All-State Jazz Band the past two years. NJAJE is looking forward to acknowledging the NJ student(s) selected to the All Eastern and to the All National Jazz ensembles.

Speaking of recognition, we are happy to offer our congratulations to NJAJE Vice-President Jeff Haas, who was selected as the 2014 recipient of the NJAJE Jazz Education Achievement Award. Jeff is not only deserving of this award, he exemplifies its standards. Jeff was a student member of the NJ All-State Jazz band, and upon becoming a teacher, he has since served for many years on the executive board of NJAJE. In addition, Jeff created and has coordinated the Annual NJ State Jazz Conference since its inception 10 years ago. As the conductor of bands at Ridgewood High School, Jeff has made a huge impact on his students both at home and across the state. Jeff will be conducting the NJ Region I HS Jazz Ensemble for 2015.

The NJAJE New Jersey State Jazz Band Festival is all set and the week of March 9, 2015 will feature the preliminary rounds of competition throughout the state. There are 41 New Jersey High School Jazz Bands in this year’s festival. The schedule is as follows: 3/ 9 @ Liberty Middle School, W. Orange, NJ - 4:30pm 3/10 @ Steinert HS, Hamilton, NJ - 5:00pm 3/11 @ Cherokee HS, Evesham, NJ - 5:00pm 3/12 @ Bridgewater-Raritan HS, Bridgewater, NJ - 5:00pm 3/13 @ Jackson Liberty HS, Jackson, NJ - 5:00 pm The New Jersey State Jazz Band finals will be held on Saturday April 25, 2015 at 5:00 pm as follows: Division 1 @ JP Stevens HS, Edison, NJ Division 2 @ Princeton HS, Princeton, NJ Division 3 @ Nutley HS, Nutley, NJ Please check back to the website www.njaje.org often for updates and new information as it becomes available. continued on page 16

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

It’s March, so we are once again preparing for the All-State Orchestra auditions. They will be held on Saturday, March 21st. Both the high school (ASO) and Intermediate (ASIO) auditions will be taking place at this time. I look forward to seeing everyone there!

Recently we had our new NJMEA Orchestra Festivals. The middle school festival took place on Friday, January 23rd, and the high school festival took place on Friday, February 6th. Both events were small, but successful. I would like to thank Gemma New for adjudicating both events and doing a great job working with the young musicians. I would also like to thank the New Jersey Symphony Orchestra for sending two string players to perform and talk to the participants in the festivals. I hope to see more schools participate next year!

Last month was also the second String Academy at the February Conference. Thank you to everyone who participated and made it a success. It would not have happened without the hard work of Betsy Maliszewski and Marie Malara!

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 Beverly Robinovitz 732-271-4245 beviewgr@aol.com

Congratulations to the two 2015 Master Music Teachers, Marge LoPresti (East Brunswick school district) and Aida Gamboa (Edison school district). Our Master Music Teacher Award committee observed these fine teachers last spring. They were presented with their awards at the February, NJMEA conference luncheon held in East Brunswick.

Do you know an NJMEA Music Educator who is truly an outstanding teacher? Help recognize this person by nominating him/her for the 2016 Master Music Teacher Award. Please note that the paperwork for the nomination of Master Music Teacher can be found on the NJMEA website and appears in the January issue of TEMPO magazine. The deadline is March 15, 2015. Please be prompt and send all your paperwork and recommendations to Kathy Spadafino. Her address appears on the nomination form.

Our General Membership Meeting took place at the February State Conference on Friday, February 20th at 10:15am at the Brunswick Hilton and Towers on Route 18 in East Brunswick. It was great to see so many of you there as we continue friendships, fellowship, and education of the mind. This is a great way to stay involved and keep in touch.

The end of the year General Membership Meeting will be held on May 13th at 10:15 am in Beachwood. Our host is Frank Hughes.

Many thanks to Alyn Heim for having hosted this meeting for many, many years in Ocean Grove. While not at the ocean, Frank did assure us that there is a beautiful lake nearby! Let me know at my email above if you will be attending and I will send you Frank’s address.

Wishing you and yours a healthy and happy 2015. Did I mention? - ah, retirement. continued on page 18

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MARCH 2015

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see TEMPO anew

& News From Our Division Chairs Summer Workshop Joe Akinskas JoeA_NJMEA@comcast.net Summer Workshop Coordinator

Summer Workshop VIII I am pleased to announce that Summer Workshop VIII will take place on Tuesday, August 4, 2015, from 8 am. to 5:30 pm. All activities will take place in the Arts and Interactive Multimedia 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 njmeasummerworkshop@comcast.net or JoeA_NJMEA@comcast.net, on or before April 1, 2015.

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 VIII • Tuesday, August 4, 2015 The College of New Jersey • 8:00 – 5:30 p.m.

Proposed Workshop Sessions CHORAL: • Elementary, Middle and High School reading sessions • I Have To Teach WHAT?!?! Teaching Chorus as a Non-Chorus Teacher • Opposite Sex Vocal Coaching • Recruiting Retaining MS Chorus • Vocal Pedagogy for Contemporary/Pop/Musical Theater • Beginner/Portable Sound System Techniques for the Choral Teacher

SPECIAL ED: • Sign Language Basics in Music Class • Teaching Music To Students With Behavior Disorders • Autism Workshop • Movement Activities For Special Students TECHNOLOGY: • Technology Sandbox…Play All Day! • Creating with Garage Band • Google Apps for the Music Educator • Cloud Computing In The Music Classroom • Adaptive Technology For Special Learners

CLASSROOM MUSIC: • Flip Your Classroom with Performance Assessments • Integrating Common Core into Music Classes • Revitalizing General Music • Been There, Done That...How to Survive in the Ever Changing World of Teaching Music • Movement Activities for Elementary Music

SPECIAL TOPICS: • 1st Year Angst: How To Deal (a panel discussion with 3rd/4th year teachers who survived) • Danielson, Strong and You: Perfect Together....or….What’s a ‘4’ ?

• SGO’s Year Two - A Therapy Session: Bring Your SGOs to Share and Compare • Audio 101: Setting Up and Manipulating Sound Systems

INSTRUMENTAL MUSIC: • Technique sessions for the non-stringist-brassist-woodwind-ist- percussion-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.)

• Making The Most of Technology in the String Classroom • How Do I Rate That? Assessment in the String Classroom • How Do I Rate That, Too? Assessment and Scales In The Band Room

TEMPO

A Full day of Collegial Networking and Camaraderie in summer garb!

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APPLICATION DEADLINE April 1, 2015 Learn more at ithaca.edu/gradmusicsummer

TEMPO

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TEMPO

Presenting Our Candidate For NJMEA President-Elect NJMEA Election - APRIL 2015 - ONLINE! It is that time again when we look to the future of NJMEA and elect our next President to begin serving July 1st, 2015 for a two-year term as President Elect, a two-year term as President and a two-year term as Past President. We only had one person apply for nomination. The ballot gives you the opportunity to vote for this candidate or provide a write-in.

The 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 click on the link, put in your email address and NAfME ID number. Then select your Region and vote for your candidate. NAfME has been eliminating leading zeros in the ID numbers. If yours still has the zeros, please just use the numbers which follow the zeros eliminating the leading zeros.

The President Elect selection committee has asked our candidate to answer two questions that were posed to him. Hopefully his answers will give you some insight to how he feels about issues and NJMEA’s role and not just his name and biography.

Here is his response...

A

As the state organization for Music Education, NJMEA can and should be offering assistance for New Jersey music teachers to get the information, professional development and support they need to tackle these new challenges. The good news is that this level of support has been available for many years and is continuing to expand. Through our state conference, TEMPO magazine, weekend and summer PD days, NJMEA has been there for teachers and continues to be. However, I think we can do more. There are thousands of NJMEA members doing great things: getting involved in their schools on committees; engaging in conversations with their administrations about the best way to evaluate music classrooms; helping think of creative scheduling solutions; and holding up the accomplishments of their students as the primary advocacy statement for their programs. My hope is that NJMEA can find more effective ways to identify the experts among us and provide even more resources for teachers. In a time when connecting people has never been easier, we should make it our collective goal to share our ideas, teach each other and be the support system for each other that we need to navigate the educational landscape.

s we have already seen over the past two years, change has been coming rapidly to New Jersey educators.

If you look back even further to the state-wide budget cuts of 2010, the landscape of education has been altered significantly. While I think the pace of this change is bound to slow, change itself is not going to stop. We all chose a career where change is part of the job description and our ability to adapt is essential to our success.

I think the major challenge facing New Jersey’s music educators is dealing with the constantly shifting expectations, regulations and requirements that have added stress to an already challenging career and have made it essential for us to be educated, well-informed advocates for our programs. Things that had been unchanged for decades are now constantly evolving and we need to be on the front line of these changes

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SUMMERTERM 2015 THE HARTT SCHOOL MUSIC • DANCE • THEATRE

EXCITING NEW WORKSHOPS FOR 2015 Rehearsing the Secondary Jazz Ensemble: Technique and Repertoire Haig Shahverdian Playing Naturally: Intuitive Techniques for Playing and Teaching Donald Wilkinson The Developing String Player: Layered Learning for Continued Improvement Teri Einfeldt and Carlynn Savot Technologies in the Music Classroom Miriam Schreiber and Leslie Cohen Hartt Baroque Orchestra Seminar Emlyn Ngai Solo Dei Gloria: Developing your Church Choir Edward Bolkovac The Music and Literacy Connection Dee Hansen Starting Summer 2016, Orff-Schulwerk Certification

SESSION 1: JUNE 29 JULY 3

SESSION 2: JULY 6 10 THE AMIDONS’ FINAL VISIT TO HARTT! Rich Traditions and New Creations: Dance, Song, Storytelling, and Literature in the Music Classroom Peter and Mary Alice Amidon

Folk Dance around the World Lillie Feierabend

Diverse Learners in the Music Classroom Heather Wagner

Percussion Know-How for Music Educators Ben Toth

Piano Tuning I & II Kenneth Lawhorn

Body Mapping for Music Educators Kay Hooper

SESSION 3: JULY 13 17

Gordon’s Music Learning Theory Ken Trapp

Solo Dei Gloria: Developing your Church Choir NEW! Edward Bolkovac

SESSION 4: JULY 20 24

School String Fleet Maintenance Glen Grigel Introduction to Music Recording Justin Kurtz Inspiring Good Vocal Technique Cherie Caluda

The Hartt Choral Conducting Institute Edward Bolkovac and Stuart Younse The Hartt Kodály Certification Program John Feierabend, Jeff Rhone, Edward Bolkovac, Gabor Viragh THE FEIERABEND ASSOCIATION FOR MUSIC EDUCATION (FAME) First Steps in Music John Feierabend

Rehearsing the Secondary Jazz Ensemble: Technique and Repertoire NEW! Haig Shahverdian

Teaching Children How To Create and Conduct Music Glen Adsit and Michael Colgrass

Woodwind Refresher Dan Higgins

SESSIONS 4 5: JULY 20 31

Playing Naturally: Intuitive Techniques for Playing and Teaching NEW! Donald Wilkinson

Hartt Guitar Festival Christopher Ladd, Richard Provost, Scott Tennant

Instrumental Conducting Clinic Glen Adsit and Edward Cumming

The Music and Literacy Connection NEW! Dee Hansen

Rhythmic Workout for Music Educators Rogerio Boccato

Hartt Baroque Orchestra Seminar NEW! Emlyn Ngai

Exploring Jazz Improvisation Kris Allen

SESSION 5: JULY 27 31

The Developing String Player: Layered Learning for Continued Improvement NEW! Teri Einfeldt and Carlynn Savot

Music Production, Pro Tools I Gabe Herman

Enhance your Teaching through Keyboard Harmony Pete Woodard

World Percussion and Drum Set Survey for Music Educators Ben Toth

Technologies in the Music Classroom NEW! Miriam Schreiber and Leslie Cohen

An Introduction to Orff-Schulwerk Penny Mahoney

Brass Refresher Matt Aubin

Jump Start your Choir Edward Bolkovac and Stuart Younse

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TEMPO

A Semi-Centennial Concert: A Grandson Follows In The Footsteps Of His Grandfather Edward Gattsek Freehold Township High School egattsek@gmail.com

F

ifty years ago this past summer, a free concert was given by the Staten Island Musician Society Band (SIMS Band) in an outdoor venue at the Conference House (the Staten Island residence of a British Loyalist family during the American Revolution). This concert was conceived and conducted by Joseph Minichini (Grandfather Minichini). The program consisted of selections that would have been typical of the time, Sousa’s Thunderer, Carmen Selections, 2 Broadway Musical medleys and plenty of other “chestnuts” written for band.

This concert was something of a family affair. Performing in the band were two of Minichini’s sons: Salvatore, on clarinet/ saxophone, and Vito, on tuba. Seated in the audience was Minichini’s pregnant daughter, Domenica, who was expecting her fifth child. A portion of that concert was dedicated to Domenica. Along with her husband, Lawrence Dalton, who had been a student of Grandfather Minichini’s, they would have Patrick.

Flash forward many years and Patrick grows up in a very musical household where all eight children are musicians. Ultimately, five became professionals and two even have advanced music degrees. He earned undergraduate and graduate degrees in music education and won a job as a high school music teacher.

Patrick stated, “A number years back, my mom gave me an art piece that she had created. On it was the program of a concert that my grandfather had given in 1964. Mom explained that a portion of the concert was dedicated to her as she was, at that time expecting me. I looked at that art piece daily (it has a prominent place in my kitchen), and often said to myself, “SomeTEMPO

day I will recreate this concert.” Earlier ing a true community service. this year, I realized the 50 year mark was Performing in the re-produced concert approaching; I could not think of a better was Grandfather Minichini’s great grandtime. daughter/Patrick’s daughter, Domenica “All of my grandfather’s music is Dalton Holmes. In attendance (again) was housed at the University of Maryland LiGrandfather Minichini’s daughter/Patrick’s brary, as part of their special collections. I Mom, Domenica D. Dalton. In attenreceived assistance in finding the music from Vincent J. Novara, Curator, of those Special Collections, and from other The St. Catharine’s Community Band, (Patrick M. Dalton, director) local band directors.” presents a concert given 50 years ago, in the summer of 1964, (Before the collection originally conducted by Joseph J. Minichini. was sent to the library, some of the music had gone missing.) “Imagine, my excitement when I realized this was really going to happen.”

This re-produced concert was given August 10, 2014 by the St. Catharine Community Band in Holmdel, NJ. This band, comprised of student, amateur and professional musicians from a variety of backgrounds from the central NJ area, rehearses Sunday, August 10, 2014 at 3:00 PM weekly throughout the St. Catharine’s Church, Fr. Scheg Center summer and gives an 108 Middletown Rd. Holmdel, NJ 07733 annual August concert.

Dalton continues, “They have done the music and the memory of my grandfather justice from the first rehearsal dance for the first time were, Patrick’s other on. I could not be more proud of a group children, Marykathryn, Lawrence, and Luof musicians tackling such an ambitious cymarie, Patrick’s granddaughter (Joseph program.” All received donations are given Minichini’s great, great granddaughter) to the church’s St. Vincent dePaul Society in Morrigan Holmes, as well as other family order to help local individuals and families members. For one selection, Patrick’s used in need. This is a community band provida baton given to him by his grandfather,

A Musical Retrospective

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that once belonged to his father, (Patrick’s great grandfather) Salvatore Minichini. All told, there were six generations of Minichinis and Daltons represented! Four generations were present and two were represented. (No family members present were expecting during this concert.)

The re-produced concert was bookended with Vaughan Williams’s Sine Nomine, a St. Catharine’s Band tradition, and a march

by Grandfather Minichini composed in 1964 for the opening of the Verrazano-Narrows Bridge. The piece was composed for his father, Salvatore’s band, aptly titled Verrazano-Narrows Bridge March. While not on the original program, the latter piece represents an very important part of Grandfather’ Minichini’s legacy, especially during the year 1964. It therefore had a place on this performance. The bridge, this concert, this march, and Patrick Dalton are all turning 50 years old this year (2014).

Grandfather Minichini passed away in 1987, just days before Patrick’s daughter Domenica was born, during Patrick’s first year of teaching. Patrick continues, “He lived not far from my school, and I would pass by his house on the way home from work. I stopped in often; it was wonderful to pick up some wisdom on teaching music and conducting, but great to just be able to spend some time with him.”

It is a truly wonderful thing to connect the generations of one’s family in this manner. Producing (or re-producing) a concert such

as this is a herculean task that requires much planning, preparation, and respect for history. Patrick Dalton is one such conductor. From one high school music director to another...I salute you! We should all be as fortunate to be able to connect our families through the art of music like this!

The original program was entirely chosen by Grandfather Minichini: Program Star Spangled Banner ................................. J. S. Smith & F. S. Key The Thunderer ................................................... John Philip Sousa The Italian Girl In Algiers – Overture ............... Gioachino Rossini Holiday For Winds ..................................................... Glenn Osser Carmen Selections .................................................... Georges Bizet Bye Bye Birdie ........................................................Charles Strouse Hello, Dolly! ............................................................ Jerry Herman Gloria .....................................................................Frank H. Losey Morning, Noon, And Night In Vienna ................ Franz Von Suppé No Strings Selections ............................................Richard Rodgers Italian Festival ............................................................ Glenn Osser The Sound Of Music Selections ...........................Richard Rodgers The Stars And Stripes Forever ............................. John Philip Sousa

preparing

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BucknellUniversityDepartmentOfMusic

MARCH 2015

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Helping My Kids Become Your Kids Scott Boal Gateway Middle School Everett, WA sboal@everettsd.org Reprinted from VOICE of Washington MEA

H

ow can you stand them? Aren’t they annoying? are questions I was asked by a store clerk when she found out that I teach middle schoolers. It’s a common question but, believe it or not, many people actually prefer teaching at the middle school or junior high level. Folks may pity us, but we know that there is no more gratifying group to teach than brand-new teenagers who can combine their joy of life with a fear of “cooties.”

One of the by-products for middle level band directors is that we may tend to think of the students in our classes as “my kids.”

We welcomed them into our band class on Day One; we struggled with them as they learned to take an instrument out of its case; we taught them how to sit and breathe. Because of this close association with younger students’ early success, many middle-level band directors feel invested in the students’ musical experience. We also know, however, that for our kids to develop as musicians and as people, they need to become part of your high school music program. Middle school and junior high instrumental music teachers want their kids to become your kids. But how can this most effectively happen?

your high school program. Remember: they are living in a world in which loyalty to the music teacher trumps Mahler.

With this in mind, here are a few specific things you can do to change “my kids” into “your kids” and then into lifelong music lovers.

Start Early Connect with the middle level music students early in their middle school years. Don’t wait until the last semester of eighth grade; start connecting in sixth grade. In our district, the eighth graders are under significant pressure to develop a four-year plan that outlines their courses for high school. However, many high school music choices are made in seventh grade when conscientious students and parents informally begin the process. One promising seventh grade French horn player told me that his mom was wondering why he should be in eighth-grade band because “Music isn’t a good career choice and band would mess up my schedule in high school.” As soon as these young musicians are in a middle level program, they become your targets for your high school program. Retention is the name of your game.

Personality Or Music?

Why do students sign up for music when being recruited into a middle school instrumental music program? There may be many individual reasons; one reason is because they already think that they will like the teacher or have already heard that “band is fun.” If incoming middle school kids do not think that they will like the music teacher or won’t have fun (as defined by the students, not the director), they simply will not join band. Further, without an on-going positive experience with the middle level teacher, these students will not even stay in band during middle school. Recruiting and retention at the middle level is often based on personality and not on the music.

In contrast, older high school musicians seem more able to enjoy creating music for the sake of the music itself. Older musicians can begin to understand the pathos of Tchaikovsky’s work. The task of a high school instrumental music teacher then is to help these young students transfer their allegiance from the “cult of personality” that has sustained them through middle school and move them toward a new recognition that music, and not personality, is why we are musicians. This is crucial to remember.

Therefore, high school teachers need to be aware that young students must first know you and trust you before they will sign up for TEMPO

Visit Your Feeder Schools’ Music Rooms Incoming students must recognize your face, and they must know the sound of your voice. Sending over a video of your high 28

MARCH 2015

school program may be briefly interesting but not all that important to a personality-focused student. Tell us - in our own music roomwhat instrument you play. Why did you choose that instrument? Do you have pets or hobbies? My kids already know this information about me; let them into your world a bit and you will reap huge benefits. Trust my kids with some selected personal information now to begin to build their loyalty to you for the future.

Come to our music room more often than once during the weeks before high school registration. Consider a job switch for the day with the middle level director. If that director is not interested, get your own substitute and just hang out in the middle school music room. Think of this as an investment, not an expense.

Invite Us To Your High School Music Room Middle school students have a tremendous sense of “place;” that is, their current band room is often a safe haven during their tumultuous school day. Help transfer that familiarity to your high school band room before high school registration by inviting us to your place. We have to see that your band room is also safe and interesting before we get there. All-bands concerts are fine; these work best if my kids can make a quick trip through your room on the way to your performance area. Consider having your friendliest - and maybe the shortest in stature-high school students give us a little tour. This must happen well before high school registration takes place in the spring. After that, it’s too late.

Here’s an idea that has worked well for me: Invite my band kids to play a pep band gig with your band kids. Give us a few titles to prepare, choose a low-stakes game and have us come to your band room for a pre-game rehearsal. Buy some pizza. You will watch my kids transition into your kids during the evening. Middle level kids absolutely love the opportunity to “be high schoolers” for an evening and then retreat back to middle school/junior high to recover.

Remember that middle schoolers don’t drive yet so the event must include lots of information for nervous parents about parking, admission prices and ending time.

school student jokingly tells them that “Everyone has to play a solo in front of the school at the first day assembly,” my kids will believe it-and then eliminate music from their high school schedule.

Please Tell Us About Your Cool Trips, But Don’t Scare Us With The Costs Yet Middle level students don’t yet understand ASB budgets, individual fundraising or scholarships. If they are scared away from your program as freshmen because of future travel costs, they will never become juniors on your international trip. Tell us about your participation fees and uniform costs, but don’t scare us even more by implying that all incoming students have to raise $2,000 if they want to go on a trip. There’s time later for that message.

Tell Us About The Similarities Between Our Middle Level Program And Your High School Program My kids and their parents are looking for continuity between the schools so that they can know their time has been well-spent before arriving at your high school. How do you take attendance?

How do you manage permissions slips? Will students have to play in front of everyone? How do we get a grade in your class? If there are significant management differences that might be a hurdle, tell my kids about it but with a heavy dose of you-can-do-it. My kids expect that high school will be different; they need to know how it will be familiar.

I have always seen middle level musicians as “low-hanging fruit” for self-motivated high school teachers to reach up and pick. The kids are there; you only need to harvest your incoming class.

Remember That My Kids Are Scared To Come To Your High School Every year kids mistakenly tell me, “I don’t think I play well enough for high school band.” My kids need to know that they can succeed in your program. When you visit, please communicate that my kids play well enough right now for you. Occasionally high school teachers have tried to impress my kids by describing how much better they will learn to play scales and difficult literature in high school.

This can subtly imply that they are not yet competent musicians. If you can, please affirm that they are receiving good instruction right now and that you will build on that solid foundation. Remember: My kids’ loyalty is to me at this point; if you accidentally insult my program or their skills, they may take it personally.

If you send students to our room to talk about your program, please send kids who were students at our school last year. Your juniors and seniors have a wealth of information, but my kids don’t know or remember them. Last year’s eighth graders are still respected and admired in our room. Choose your spokespeople carefully. Kids at the middle level live in a world of rumors and half-truths. If a high

MARCH 2015

Scott Boal is in his 30th year of teaching public school with all but one of those years at the middle level. He currently is serving at Gateway Middle School in Everett and can be reached at sboal@everettsd.org

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Program Planning And Measurement Deliberate Sequential Development Eric Smedsrud Mountain View High School Vancouver, WA Reprinted from VOICE of Washington MEA Regardless of what our version of success is, we can all agree that success is a moving target that requires regular checkups and redirects to stay on track.

I

t seems the path of most music teachers follows a very similar route. Most of us began our tenure in public school music as the sole center of our musical community. We were the governing body of all that employed musical artistry. We were the primary musical curriculum officer, program coordinator, trip adviser, parent booster recruiter, assessment specialist, fundraising guru, communication specialist and, of course, conductor of no less than a half-dozen performing ensembles-often with little to no experience in most, if not all, our assigned areas. We employed loosely sketched “plans” saturated with high levels of anticipation, enthusiasm and energy. Our plans were sure to revolutionize the education industry. We would be tearing down the walls obstructing student learning and single-handedly bridging the achievement gap. “OUR” students would surely achieve all the things that we were never adequately exposed to when we were in school. We had developed lesson plans to teach all 12 major scales and all 16thnote rhythmic permutations to our middle school bands by week 12. Our instruction model would inspire students to develop not only a deep technical facility but a longlasting love for music making as well. Our students were destined to become ambassadors of the highest caliber for our new society of public school music students. I look back at the early days with a great deal of adTEMPO

miration. Our dreams/goals as music teachers are key components to the successes of our students. Now, however, I have a better understanding of the challenges associated with achieving these dreams and a greater appreciation for the master teacher who seems to be able to simply erase these limiting factors. How do they do what they do?

The HOW and WHAT really are the critical questions for our work with our students and often serve as both the beginning and the end of our best intentions. Chasing an answer to these questions has led to many hundreds of hours of conversation with colleagues and mentors about what a successful music program even looks like. What defines the success of a program, and how do we create it? Is it a well-crafted musical performance at a prestigious music event? Is it a trophy...or even all the trophies? Is it a certain percentage of student-body participation? Is it attrition rates? Is success measured by the musical participation beyond grade 12? How do you recreate the success of the previous year? What made last year such a hit? What were the key components?

Of course, we all know that there is more than one version of what a successful program may look like. Factors such as teacher experience, program details/program size, student age group, geographic location, prior experience, etc.; all are critical factors for determining the appropriate measure for success of both the teacher and the programs they serve. One could argue that success is determined by our ability to provide meaningful experiences for the students we serve. Regardless of what our version of success is, we can all agree that success is a moving target that requires regular checkups and redirects to stay on track.

Creating a plan for student and program success has served as the primer for the approach discussed in the following article.

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This statement is simply intended to provide a glimpse into a structure that has helped us to track, maintain and recreate some of the “successes” we have had with our students.

I hope you find the principles applicable to your environment. The approach outlined below focuses our efforts in three separate categories: Student Engagement, Group Achievement and Individual Achievement.

Each category includes strategies for both tracking and modifying (interventions) program elements. While all three categories are critical to the success of the program, we have found the order of delivery to be the most important factor to consider. We will discuss most of the finer details of each category in the material that follows.

Student Engagement Students initially choose to participate in our programs for a wide variety of reasons. Ultimately, we are tasked with creating a meaningful, joyful experience for every student. Evaluation within this category must be connected solely to student participation. Identifying, tracking and developing ways for students to participate in our programs is at the heart of student engagement. It is safe to assume that if students are choosing to participate in our programs, then students are enjoying their experience. While lack of participation can be for a number of reasons-scheduling, school transitions etc.; participation remains as the primary measurable factor at the time for this level of program development/ measurement.

This process begins by taking inventory of the opportunities available to our students. What outlets exist for our students who love participating in chamber ensembles (select performance groups like jazz band/chamber choir/chamber orchestra/wind ensemble), solo and ensemble, MARCH 2015

marching band, student leadership or still other musical outlets? The program inventory allows us to identify the strengths/ weaknesses of our course/activity offerings and often leads to modifications to program offerings as well as the saturation or intensity of these key activities. Obviously, not all interests can be fully developed, but we can and should regularly reflect on the available offerings of our program to determine if we are meeting the needs of our students.

Tracking student participation is the next critical step. Begin by simply tracking participation in the areas identified in your program inventory. This includes tracking enrollment in curricular groups as well as volunteer opportunities like booster fund raising events/ activities and volunteer performance ensembles, like caroling groups or community chamber performances. By recording this material, we are able to track participation from year to year and compare the results. Changes to the event calendar, community demographics, modifications to curricular emphasis (tests, practice records, sectionals etc.) and even modifications to the way we interact with students in the rehearsal setting can be indicated in our records and tracked to determine the impact of the modifications. Student surveys, student interviews, and conversations with students and parents may also be used to provide insight into the health and wellness of our program.

In the end, getting and keeping students involved is the single most critical component to program development.

However, it is by no means the end of the road. While it is very exciting to “build” our programs, most of the elements present in the student engagement category are lacking direct ties to performance achievement.

We need to celebrate the engagement of our program but must also continue to develop the center of the music program - group achievement.

Group Achievement We’ve all experienced visiting a high school graduation and having the unfortunate pleasure of hearing Pomp and Circumstance performed over and over while 300+ high school seniors process at a neverending pace. In that moment the pedigree of the performance ensemble is of no consequence. Every person in attendance

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is making full, unfair judgment of the ensemble, its students, the director and the school they represent. It doesn’t matter if the program has grown by 200% in the last three years; or if the group recently performed at a Grand National event or even if the ensemble minus the graduating seniors is simply not as strong as it needs to be. The graduation performance represents the only performance most of the audience will ever hear. This is as true for ensembles at graduation as it is for the national anthem at home football or basketball games, jazz festival performances, student body pep assemblies, home concerts or even our regional concert ensemble festivals.

Every performance matters and must be prepared with appropriate detail and care.

This category focuses not only on the measurement of group achievement but also serves to identify specific areas in need of concentration to ultimately improve group achievement.

The tracking and interventions attached to this category are focused on the impact we as educators have on the performance quality of our student groups. Tracking this material requires a slightly different focus. While Student Engagement is measuring participation, retention and growth (student activity), the Group Achievement category is measuring the impact directors are having on the ensemble (director activity). We begin again by taking inventory of those areas that will be tracked as appropriate measurement tools for group achievement. Tracking festival performances and ratings, merit-based invitations and other special performance events are great indicators of ensemble achievement and also serve as a means to identify the number and type of peak performances attached to a given student group. Peak events provide indicators of the emphasis built into the program calendar and may be used to impact areas of concern discovered through the tracking process (more or fewer performances/peak events). Other non-rating-based items to track could include private lesson participation, program instrumentation, and number and type of student clinic events.

The interventions created in response to the tracking process can include any number of unique and innovative ideas.

The first place to consider interventions is with our performance calendar and our

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peak performance events. Initiating peak events for each performance ensemble will provide student groups with a focal point and a vehicle for increased preparation in that area. Other interventions in this category may range from initiating private lesson programs, designing special student clinic events, developing an artist residency program or even perhaps simply adding additional rehearsals or retreat activities to increase contact time with a particular section or ensemble. Our role in this category is to provide a balanced effort to our program and design ways to remedy imbalances and weaknesses exposed through the tracking process.

The student engagement and group achievement categories are only two of three segments of a comprehensive music program. The third and final area is solely focused on the measurement and interventions of the individual achievement skills of our students. While each level is addressed simultaneously, the order of introduction and level of saturation must be carefully monitored and delivered for optimum student growth. Student enjoyment is as critical as ensemble quality and must be established before individual student achievement becomes important. Without steps 1 and 2, step 3 is meaningless.

Individual Achievement It is our responsibility to provide resources that enable our students to develop as literate, functioning, independent musicians. We have all had the cold flash when a very nice, well-intentioned senior band student of average ability informs us that he/she is going to audition in three days to become a college music major. What elements exist within our curriculum that can help our students to determine if they are ready for this step? How do we communicate their strengths and weaknesses as individual musicians? It is our responsibility to create an environment that will allow appropriate growth for each student at every level. This is as true for our future college music majors as it is for those interested in becoming community musicians who simply enjoy performing. How do we prepare them for this step?

This process begins again by creating an inventory of elements to measure.

Regional solo and ensemble participation/

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ratings, private lesson participation, honor ensemble auditions and invitations, state solo and ensemble performances/ratings/ placings: all are examples of items to be added to the tracking spreadsheet as indicators of individual achievement. As in earlier segments, interventions are created to address specific weaknesses exposed through the tracking process. Interventions may include increased recruitment for participation at regional solo and ensemble contests, the development of specific performance clinic events or even the creation and implementation of performance routines to develop individual technique within the full ensemble. Keep in mind that interventions are long-term projects that require significant time and deliberate repetition to net positive results.

As mentioned earlier, individual achievement is introduced as step three for very specific reasons. The quality of student experience takes precedence over all other aspects of program development. That is not to say that students must LIKE every exercise, assignment or task, but that the student connection to the program occupies the requisite attention and energy to ensure that the experience and personal sacrifices are meaningful and appropriately rewarding. While there is no silver bullet when it comes to program development, creating a sequential plan will net much greater results and direction than a series of chance encounters. The processes outlined above have helped to define my goals and enabled the design of meaningful events for our students. Stay on course. Set meaningful goals for yourself as well as for your program, and growth will follow. I hope this information can help you to better define your vision for developing your successful music program.

Eric Smedsrud, who is in his 16th year of teaching high school band, is co-director at Mountain View High School in Vancouver WA. His duties include co-director of the three Mountain View concert bands; director of the Mountain View String Orchestra, Jazz II, Percussion; and Mountain View Band Leadership team. He received his undergraduate degree in 1998 from the University of Idaho, a master’s degree in trumpet performance from Washington State University in 2000 and earned his National Board Certification in 2008. Eric has served as president of the Columbia Basin and Lower Columbia River Music Educators TEMPO

John J. Cali School of Music

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Faculty: Sandy Dackow, Eugenia Goldman Betsy Maliszewski, Erika Sayer Christine Sweet Selected Topics:

Conducting, Curriculum and SGO Assessment, Techniques for the Non-String Player, Technology, and more. * For 3 graduate credits there is an online pre-session and post-session. The course code is MUED 510 Selected Topics.

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Dr. Lisa DeLorenzo delorenzol@montclair.edu gh Also coming this summer: MUED 555: Teaching Music as Democratic Practice July 14 – August 6 M (on-line) & T,W,R 4 – 6:30; 3 Graduate Credits Contact Dr. DeLorenzo - delorenzol@montclair.edu

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Associations. He is active as an adjudicator and clinician, serving on panels for numerous concert, marching and jazz festivals across the Northwest region.

&

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MARCH 2015

NJMEA Orchestra Festival Photos

Churchill Junior High School performs at the orchestra festival. photo: Susan Meuse

Community Middle School 6th Grade Orchestra performs at the orchestra festival. photo: Susan Meuse

Hammarskjold Middle School 7th Grade Orchestra works with Maestro Gemma New. photo: Anna Braun

MARCH 2015

Hammarskjold Middle School 6th Grade Orchestra performs at the orchestra festival. photo: Anna Braun

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Keeping Current Mimi Rabson Berklee College of Music mimirabson.com

Reprinted from Massachusetts Music News

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f course, it is a very important part of our job to expose our students to great music that they might not come across on their own. That is the task of educators—to broaden horizons and understanding. But I suggest that we also include the study and performance of music that has already captured the attention of our students in the course of their education.

As a string player I find this access to musical diversity particularly important. When I was a high school violinist, I noticed that many of my classmates who played other instruments found ensembles that gave them a chance to play many styles of music. Consider the trumpet player for example. In a school with a strong music program he or she can play in orchestra, pit orchestra, band, marching band, stage band, jazz band, and jazz combo, where he or she can get started on improvisation.

Now consider the opportunities available to the violist.

When string players fall in love with their instruments in the third grade, they often don’t realize that by choosing a string instrument they have also chosen a particular musical path, a path that rarely includes playing the music they listen to for fun. My students invariably tell me that while they love what they’ve been doing so far, they would like to explore avenues traveled by classmates who play other instruments.

Useful technical, theoretical, and performance issues come up in any music. By using music already familiar to our students, we can lead them through the analysis, preparation, and performance process very easily because they already have an idea of how the finished piece should sound. I find that students who work on their favorite tunes are much better prepared and eager to work on the music we present them that they may not know. As one of TEMPO

my graduating students said to one of the incoming freshman, “You’ll never listen to your favorite music the same way again!”

In talking about this approach with teachers and educators, I find that the biggest perceived hurdle is that of instrumentation: there are no violas in AC/DC; what would clarinets play in the music for Mario Bros.; my string ensemble has no drums; how can we do a rap tune without vocalists? Then comes the issue of finding written music for these tunes. Usually our students’ favorites, especially video game tunes, haven’t been committed to paper yet and certainly not arranged for school ensembles. And it is the rare educator that can take the time to write a full arrangement of last week’s big hit. Finally the problem of improvisation arises. I have found that improvising is a big mystery for many even though it is included in the current national guidelines for music education. Here are some ideas about how to overcome these problems and keep our students current and interested.

Repertoire Have the students choose a tune from their current favorites. That gives them a vested interest in learning to play it and perform it well. You can offer them the choice of three tunes that are current hits and let them have a blind vote to chose one for the concert. This will really draw them in.

They can pick one of this year’s Grammy winners. Everyone will know it and there are new ones every year. The excitement generated by allowing the students to pick the repertoire will grow and develop in every rehearsal.

Once the tune is chosen, make sure you get to know it. My approach involves a lot of learning by ear. Students’ ears may need an occasional prompt from their teacher. It is sometimes easier to learn by listening to 38

and watching your teacher then by trying to pick out an individual part from an mp3.

Melody Let the students learn the tune by ear during rehearsal time. (Be sure to have a way to play the recording for the ensemble.)

This can be time consuming, but it is completely worth it. Chances are good that most of them, with a little help, can easily learn to play the melody on their instruments. In my rehearsals I play the section we are working on many times until everyone can sing their part (I buy the tune on iTunes and use an app called “The Amazing Slow Downer” to play the tune slowly enough for everyone to have a chance to pick out the notes.) If the students can sing the melody, it doesn’t take much to get them to play it. Make sure everyone learns the bass line, too.

If the tune is long and complicated, then pare it down to the parts that are most memorable. Start with the melodic “hook”—the part you can’t help but sing along with. That, paired with some interesting orchestration and an improvised solo, is often enough for a performance. If they easily learn the hook, then move on to the verse. Finally add on the intro, outro, and any interludes between sections.

Harmony Help students figure out what key the tune is in. (If you don’t like the key, Amazing Slow Downer lets you change the key without changing the speed.) Usually the notes in the melody and the bass line will outline the key nicely. Then figure out the chords. This can easily be done by listening to how the bass line and melody lines hook up, which will tie in nicely with any theory work they are doing. Tonic, dominant, and MARCH 2015

subdominant still play an important role in popular music. This is also a good way to show students how to build and recognize triads and seventh chords.

Once the chords are set, it’s easy to harmonize the melody lines and add background lines that work harmonically. Often a harmony part is just a third above or below the melody. Sometimes it can be both at the same time. A harmony line doesn’t have to happen all of the time.

Just a little here and there can add a lot. A fail-safe way to add harmony is to have the students play long tones from the chords (3rds and 5ths). This can make a lush bed for the melody. Once that is set, then add a rhythmic hit (stolen from the rhythm section) at the end of the phrase to bring the arrangement to life.

Rhythm Next it’s time to work on the groove— the part that the rhythm section is playing.

This can be the most fun part as well as the most challenging. Encourage students to come up with ways to play that contribute to the groove, not just the melody. String players have been using “chops” for many years to add rhythmic drive to melodic playing. Using hocket can really make a groove pop. Rather than having everyone play all of the groove all of the time, break it up into smaller pieces. Have one group play the snare drum hits; another the high hat; a third the bass drum parts. And having them all play the hits (the short rhythmic phrase) at the ends of eight-bar phrases in unison makes a great impact.

Orchestration It is valuable to experiment with orchestration possibilities. Ask everyone to play the melody together, then have everyone play the bass line. Now have the stageleft players play the melody with the stageright people playing the rhythmic part; or have the bass clef instruments play the melody while the treble clef instruments play the bass line. And try the reverse. There are many possibilities. The students learn so much by being able to produce each part on the spot and by hearing how changes in orchestration contribute excitement to the presentation. Orchestration makes the difMARCH 2015

ference between playing a cover—exactly like the recording—and an arrangement— fitting the tune to the ensemble in a way that emphasizes the groups’ strengths.

So we’ve eliminated the problems of orchestration and finding sheet music.

Now we come to improvisation.

Improvisation The best way to get started on improvisation is to use the melody (or the bass line) as a starting off point. The notes that the composer uses are the notes to work with. The rhythms used in the melody and bass line are useful, too. A good first improvisation includes embellishing the melody (or the bass line) by adding rhythm from the groove. One can combine small melodic pieces that use the notes in the melody. A player can make up a melody that uses those same notes and then try it in another octave. Repetition is a useful and much overlooked improvisation tactic. Audiences respond well to repetition, and it can make any phrase memorable. Leaving space is probably the most important part of all this. Players should think like singers when they improvise, making sure to leave space for breathing. It’s easier both for the player to prepare the next phrase and for the audience to absorb the phrase they just heard.

Extras Once the group is up and running with the tune that has been chosen, it is a good time to look at some subtleties that can make the performance more convincing. The first is vibrato. You might notice that vibrato is used sparingly in popular music, much less than in classical music.

Try the tune with and without vibrato just to see the difference. It can be quite dramatic.

Some popular music has a different approach to articulation. Metal is more aggressive. Every note is accented. Some singers/songwriters are very soft-spoken with gentle attacks and a smoky tone quality.

Asking your students to experiment with these differences helps them develop their ears and gain control over their instruments.

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Presentation Let’s start with song form. If you only have the “hook” of the tune, then the best way to present it is with variations in orchestration. Start with just the rhythm parts.

Get your audience to clap along. Then have the melody come in. Have someone take a short (8- or 16-bar) solo. Then have only the melody without rhythm. Then another solo, maybe a rhythmic one this time. Repeat the hook three times for a big finish! It’s as easy as that—no new information necessary. If you’ve got some hams in your group, you can get them to make up some dance steps or have them get the audience to clap along. It makes a great finale, guaranteed. If the group can also play some other parts of the song—intro, verse, interlude, etc.—then pop them in as well wherever you need to lengthen the tune.

The advantages of learning familiar tunes by ear are numerous. The students take responsibility for what they are learning because they choose it. Players’ ears develop faster when they connect what they are hearing to what they are playing. Discovering chords in this context brings music theory to life. Students help each other and create a community atmosphere.

Technical issues arise in every part of this process. We can work on dynamics, phrasing, articulation, playing as an ensemble, shifting (for strings), vibrato, intonation and tone production in contemporary music just as easily as in music learned from the printed page. Add to that the work of arranging and orchestration, and we are creating well-rounded musicians who can function in any musical setting.

Dubbed “...dazzling, violin phenom” by the Boston Globe, Mimi Rabson has distinguished herself as one of Boston’s most creative and versatile musicians. She appears regularly in classical, jazz, Klezmer and other eclectic performances. She is a first-prize winner of the Massachusetts Cultural Council Fellowship in composition, an Associate Professor at Berklee College of Music, and a sought after clinician.

For more, go to Mimirabson. com.

Photo by Phil Farnsworth. &

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Webinars Coming To NJMEA Amy Burns Far Hills Country Day School aburns@fhcds.org

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ver the course of this year, NJMEA will be hosting webinars (an online workshop) that will hopefully cover the topics of general, choral, instrumental music and more, as well as provide great professional development and networking opportunities. Another wonderful item about these webinars is that they will be free for the members of NJMEA. Therefore, make sure you are receiving TEMPO Express announcements, as this is the most effective way the webinars will be announced. More information to follow soon!

M E B C I

usic

Wind Conducting Symposium

ducators of

May 30 & 31, 2015

Northern Valley Regional HS at Old Tappan

ergen

Clinician: Dr. Mallory Thompson Director of Bands, Northwestern University

ounty,

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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: curt.ebersole@gmail.com Visit our website for info and registration: wcs.ebernet.biz

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MARCH 2015

LOCAL PARKS: GREAt ESCAPE May 22, 29, June 5

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Portfolios: Pathway To Improved Teaching And Learning Joseph Pergola William Floyd School District (retired) Eastern Long Island, NY jtpergola@optonline.net

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hankfully, the education profession is once again focusing on the importance of “assessment”. The first big push for embedded assessment accompanied the introduction of the National Standards which called for the systematic assessment of student learning. The newest education initiatives such as Common Core, Annual Professional Performance Reviews and others designed to improve student learning, have once again brought assessment front and center as a critical element in the teaching/learning process. It’s time to re-examine portfolio assessment in light of today’s push for evidence of learning.

Comprehensive assessment is the most significant factor in the pursuit for better student learning. Improved learning is totally dependent on successful teaching and successful teaching is dependent on improved teacher instruction! Successful teachers continually evaluate the teaching and learning process.

They determine the learning level of their students and refine their instruction for greater success. Improved student learning is an out-growth of information necessary to judge student understanding, measure student progress and examine student thought processes. Teachers who are successful question what they can do differently, what new materials they can use and what new instructional approach they can take for improved results. In other words, successful teachers assess learning because assessment improves instruction.

Successful teachers continually evaluate the teaching and learning process.

They determine the learning level of their TEMPO

students and refine their instruction for greater success. Improved student learning is an out-growth of information necessary to judge student understanding, measure student progress and examine student thought processes. Teachers who are successful question what they can do differently, what new materials can they use and what new instructional approach can they take for improved results.

There are many forms of assessment and many assessment tools. Classroom assessment can include a wide range of options. These options can be divided into two (2) categories. Most assessment proponents recommend “Formative Assessment” which is on-going or embedded assessment, continually observes student learning and evaluates the scope and pace of student learning so the teacher can reflect on their instruction and refine their teaching. Assessment that determines student competency only at the conclusion of a specific instructional period of time is “Summative Assessment”. This form of assessment is used to determine if students have mastered specific competencies and identify instructional areas in need of attention. The critical element in both forms of assessment is the tool or tools used to administer the assessment.

There are many assessment vehicles available. Most assessment vehicles provide good information about specific aspects of student learning at a specific point in time. For example; a “rubric” rates knowledge or skill about a specific instructional topic. An “observation report” supplies data about the specific endeavor being observed. The only assessment tool that contains multiple forms of 42

assessment is “Portfolio Assessment”. It is both simultaneously formative and summative. Portfolio assessment captures the process of learning and contains samples that exemplify a student’s knowledge of essential learning at various stages of instruction.

So What Is A Portfolio?

A portfolio is an assessment vehicle that contains a purposefully selected collection of student work deigned to show student effort, document student progress, reveal student strengths, create awareness of student weaknesses and informs the teacher, student and parent of the status and progress of a student. It is not just a pile of student work accumulated over a semester or year. Portfolios enhance the assessment process by revealing the range of student skill and understanding. Portfolios align assessment with specific student learning objectives and overall instructional goals.

How Do Portfolios Benefit Students?

The use of portfolios in the assessment process give students an opportunity to demonstrate and record the knowledge and skill they have gained. Portfolios help develop student responsibility for their own learning by requiring students to contribute specific appropriate content. It requires students to critique their own work, thereby reinforcing learning.

This process of demonstrating strengths and recognizing weaknesses motivates students to achieve at a higher level. Student participation in portfolio assessment promotes life-long learners.

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What Is The Benefit Of Portfolio Assessment To The Teacher?

Portfolio assessment makes instruction more productive because it helps teachers measure their own effectiveness as well as the amount of student learning actually taking place at a given point in time or over a long period of time. Portfolio design helps teachers focus instruction on essential learning and sequential development. There is no better assessment vehicle for demonstrating learning to supervisors and communicating growth to parents than a well constructed portfolio.

Portfolios can exist in many forms.

There are printed portfolios, on-line portfolios, teacher managed portfolios and student managed portfolios. Regardless the type or format, all portfolios focus on building and maintaining a collection of student work.

What Are The Characteristics Of An Effective Portfolio?

The content of a useful portfolio must address the desired instructional goals set for the individual student or the entire class. It should contain within itself multiple assessment information gathered from various assessment tools.

To serve as a superior assessment vehicle, portfolios must show the level and rate of student growth and development over a period of time. The most important content in a good portfolio is sample student work. The student work selected for a portfolio should show evidence of development and must contain samples of students’ best work to demonstrate evidence of learning. One of the unique characteristics of portfolio assessment is the ownership of each portfolio by the student.

Portfolio assessment makes the student a partner in the learning process making them equally responsible for their own learning. It requires students to select samples of their work they believe show growth and demonstrate learning. Portfolios provide students with the invaluable opportunity to reflect on their learning ; thereby giving them a clear understanding of what they know and where they need to improve.

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Portfolio Development There are three (3) major phases in the development of an effective portfolio.

Planning and Organization, Selection and Collection, Assessment and Reflection Phase 1: Planning and Organization This initial phase of portfolio development requires teachers to make decisions about desired and necessary learning objectives.

Teachers must set “benchmarks” that represent the goals for student development.

Teachers must identify the “essential learning” appropriate for their specific grade level.

Teachers must organize selected learning objectives in a scope and sequence that promotes “sequential learning”.

Teachers must educate their students about the purpose and goals of the portfolio.

Teachers must determine students ‘responsibilities in the development of the portfolio.

Phase 2: Selection and Collection Teachers must select the content of the portfolio based on the identified learning objectives.

Teachers must be sure portfolio content demonstrates what students know and are able to do.

Teachers must develop a criteria for the selection of learning artifacts chosen by the teacher and the students.

Phase 3: Assessment and Reflection Teachers must develop an evaluation procedure for tracking and grading portfolio content.

Teachers must use the best assessment tools when evaluating individual learning activities.

Teachers must use portfolio content as a source for informing themselves as well as parents and supervisors about student progress.

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Teachers must be sure their students understand the criteria for assessing their portfolio Summary Portfolio assessment accomplishes numerous objectives simultaneously.

Portfolios create a partnership between the teacher, the student and the parent.

Portfolio assessment provides teachers with vital information about the effectiveness of their instruction and the rate and range of students’ progress.

Portfolios help students become aware of their strengths and weaknesses.

Portfolios promote self-reflection for both the student and the teacher.

Portfolios allow parents to gain insight to the progress their children are making toward mastery of expected goals.

Joe Pergola is the retired Director of Fine Arts from the William Floyd School District on Eastern Long Island, New York. A graduate of the New York College of Music, he received his undergraduate degree and teacher certification from Dowling College, a Masters Degree from SUNY Stony Brook and his Administrative Degree from C.W. Post University.

During his tenure at William Floyd, he taught elementary, middle school and high school band.

His performance ensembles received the highest rating at New York State Ensemble Adjudication for 21 consecutive years.

After being named Director of Fine Arts, the William Floyd Music Department was named a MENC Model Music Program. The New York State Theater Association and the National Theater Association also named Joe, “Administrator of Year.”

He serves as a member of the New York State Council of School Music Administrators and a member of the Advisory Board of the New York State Band Directors Association. Pergola is a published author with four (4) books to his credit and serves as a frequent clinician at MENC Conferences throughout the United States. He currently works for the National Education Service Company as Director of Education and Arts Dvelopment and is a member of the adjunct faculty at C.W.Post / Long Island University.

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The New String Program: Guitar, Banjo, Mandolin & Ukulele Thomas Amoriello Flemington Raritan School District tamoriel@frsd.k12.nj.us

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t is my pleasure to introduce you to educator Linda Jean Bell who has incorporated the instruments of the guitar family into her public school music program since she graduated from Rowan University back in 1994. In the music classroom, for decades, the piano was the most dominate tool of educators for teaching curricular songs and for choral repertoire.

Today many educators such as Linda look to the portability of the guitar and its connection to popular music as the instrument is the perfect companion for accompaniment of songs. The ukulele, banjo, mandolin and electric bass guitar all intertwine during lesson plans taught

by Bell to the delight of students. With a shift in attitudes towards the guitar and high level guitar education training on the college level, you will see more educators entering the workforce with a strong background in guitar skills.

Currently many school aged children and teenagers are fans of pop music stars such as songwriters Taylor Swift, Ed Sheeran and Bruno Mars.

These megastars all use the guitar to aid in their songwriting process, which in turn, results in their musical creations dominating the billboard charts with millions of downloads on iTunes. In addition to these pop stars, Bell also uses the instrument as a way of communicating and inspiring her young students in southern New Jersey to create and reach their full potential. I have known about Linda Bell’s talent for more than 20 years and it was a treat to interview her for TEMPO Magazine.

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Please tell us about your school and overall music program?

The Myron L. Powell School is a relatively small, rural public school located in the town of Cedarville, within Lawrence Township, Cumberland County, New Jersey. This school not only serves the children of Lawrence Township but also many “choice students� from surrounding districts as well. I have been the vocal, instrumental, and general music teacher at Myron L. Powell School since 2002 and I teach just over five hundred preschool through eighth-grade students. My school days are filled with a wide variety of music for all ages. We hold three to four major concerts each school year, along with a number of additional musical events and field trips.

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Please tell us about your own personal musical background growing up and your collegiate experience?

I grew up with music all around me. My father was a music teacher, and was in fact my music teacher in school as well. He sang and played guitar day and night, so you might say I had a 24/7 music education! My first instruments, at the age of 2, were harmonica and xylophone.

At the age of 3, I started playing the soprano ukulele and recorder. When I started Kindergarten, I played the ukulele and sang songs, and in the first grade I switched to the baritone uke. I started pursuing band instruments in second grade and played in concert and jazz bands on a variety of instruments throughout my elementary, middle, and high school years. Although I enjoyed those instruments tremendously, my biggest passion was always singing and playing stringed instruments. When I was in fourth grade I started playing the banjo, then in fifth grade I switched from uke to guitar, and in seventh grade I got a mandolin for Christmas.

I played and sang with my dad (and still do) and we performed in a quintet for nearly 10 years. After high school, I was accepted into Rowan University as a Music Education Major, with voice as my major instrument.

Two years into college, I decided to change my major instrument and was accepted as a classical guitar major. I was absolutely pas-

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sionate about the classical guitar, playing hours and hours every day and performing at every possible opportunity.

How do the guitar family instruments fit into your teaching?

In school, I use the guitar as my accompanying instrument for all of my general music and vocal music classes and performing ensembles. Using a variety of accompaniment styles (flat picking, finger style, etc.) along with vocal modeling and training, my students have developed an ear for independent singing and for harmony.

Within the chords they learn to hear the root, third, and fifth even before they begin to understand music theory. There are no melody lines for a singer to follow or use as a crutch, but instead they must learn to hear the notes within the chords and hear how the melodies and harmonies fit together. I credit the use of guitar in the general music classroom, starting in preschool, for the high percentage of Myron L. Powell School students who sing on pitch.

I also teach the students to play guitars, baritone ukuleles, concert ukuleles, banjos, mandolins, and basses in my music classes.

When students have reached a certain level of proficiency, they may join one of our performing ensembles. One popular music group in our school is called the Folk Singers. This group consists of sixth through eighth grade students who sing and play guitars, baritone ukes, banjos, mandolins, basses, and an assortment of percussion, including the cajon. This group plays a variety of genres, so instrumentation changes song to song, and even varies somewhat year to year. Overall, the most popular instrument is the baritone ukulele.

More than ever, students want instant success, so the baritone uke seems to satisfy that need. Many students also find the transition from baritone uke to guitar to be quite easy once they have developed some playing skills. The other popular performing group in our school is the MLP Rock Band. Our first rock band was created during the 2009-2010 school year, consisting of two electric guitar players, one electric bass guitar player, a drummer/keyboard player, and two singers. That first rock band inspired younger students who began pursuing electric guitar and bass guitar in class, with the hopes of someday playing in the rock band. Over the past two years, we put some videos on YouTube under the name “Myron L. Powell School Rock Band,” with the song, “Sweet Child of Mine,” being a band favorite.

Within the first year, I had more instruments and supplies than I had space to keep them! That process of building the program and buying equipment went on for the first five years. There was just one big obstacle during that time: I didn’t have a music room. I had a multitude of supplies, never-ending support, plenty of lesson and rehearsal times in my schedule, but a major lack of teaching space.

There was an abundance of acoustic guitars, ukuleles, a few banjos and mandolins, electric guitars and basses, amplifiers, etc., but only a large office space to store them. I was able to carry some instruments to classrooms and have students carry instruments and supplies back and forth. I had small “pull out” groups meet in my office to play the electric guitars and basses, the acoustic stringed instruments, and to learn concert band instruments. This situation was challenging and every day was exhausting, but regardless we made great strides each year as the program began to blossom. To my surprise just a few weeks before the beginning of my sixth year, I was moved into a classroom. It was an average sized room, but I made it work, and the following year the rock band was born. We finally had the space for a drum set! Having a classroom meant I had complete access to instruments, equipment, and resources during my classes, lessons, and rehearsals. This absolutely transformed the level of music that the students were producing. I found that my older students rapidly became independent, self-sufficient musicians and their confidence began to skyrocket. That spring, for the first time ever, I spent part of a concert sitting in the audience while two eighth-grade Folk Singers ran a portion of the show without me, and the Rock Band performed on their own as well. Many audience members and other teachers were very complimentary and recognized this independence as a great accomplishment. I felt that I finally had all of the tools I needed, including a music room, to really teach music to the best of my ability and to allow the students the opportunity to reach their greatest potential.

What obstacles did you face when you were first hired at your school?

When I was first hired, I was very excited to have the opportunity to create a music program from scratch. There had been little to no music for several years prior to that time, and I was lucky enough to land the job when the district decided to open it up to a full-time position and find someone who was willing to build a program. The superintendent and members of the school board were like cheerleaders rooting me on and the financial support was like nothing I’d ever imagined. They were thrilled at the idea of building a program that would provide guitar and other stringed instruments in addition to the traditional chorus and concert band.

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What kind of classes related to the guitar/mandolin do you teach?

Over the years, I have taught the stringed instruments in weekly general music classes, starting in fourth and sometimes fifth grade and in “pull out” classes for fifth to eighth grades. I have had “Electric Guitar/Bass Guitar Class” and “Acoustic Strings Class” which allowed those students who were serious about performing in the rock band or the folk singers an opportunity to develop their skills and prepare for their ensemble rehearsals. These 45 minute weekly “pull out” classes ideally contained about 15 students, which at times were half the size of our average general music classes. The students who wished to pursue rock music generally learned to play power chords and read tablature. The acoustic class focused more on traditional chords and playing together while singing or providing accompaniment for groups of singers. This year I have seventh and eighth grade “electives” classes in my schedule, which function much like the “pull out” classes of past years. The students in these classes choose to take instrumental or vocal/instrumental classes once or twice per week, and each class is one hour in duration. In these classes we cover a variety of genres using the electric and acoustic stringed instruments, and this will be the first year I cover “instrument maintenance” in class. Students will learn to change strings on all of our instruments, and to properly tune them as well. I believe that developing these skills is vital to their future as independent musicians.

What would you like to say to the non-guitar music educator that is about to or interested in incorporating the guitar into their program?

I have the utmost respect for any music teacher who has the courage to venture into uncharted territory for the sake of expanding their program, and ultimately reaching and inspiring a larger percentage of their student body. As a musician and a teacher, I enjoy and appreciate the fact that we are all continuously learning and growing in our craft. I believe it is important to have TEMPO

the confidence in yourself to step outside of your comfort zone and learn something new for yourself and ultimately for your students. Our high school band director started a guitar class four years ago that instantly gained such popularity that a second level class was implemented just a year later. He knew there was a strong interest in guitar throughout the high school, and that no formal music education previously existed for this rather large population of high school students. Being a non-guitar music educator, he sought assistance from guitar teachers, and even students with extensive private guitar training, and he continued to rapidly evolve the guitar program.

I was honored to have been one of the many guitar teachers who were consulted during the early days of this program. I had the opportunity to tell this teacher that we guitar teachers deeply appreciate when a non-guitar music educator incorporates guitar into their curriculum. We are truly proud when other music teachers recognize the guitar as such an important and effective instrument in music education.

Do you have any success stories you would like to share about students (musical & non-musical) Two of the most memorable and touching moments of my career happened during concerts. The first involved a student who struggled academically, socially, and emotionally. She had a laundry list of problems, but had an amazingly sensitive and sweet demeanor. Most teachers struggled to get her to utter a word, and each year she just 46

barely passed all of her classes. But it turns out that she had an incredibly musical ear and a phenomenal singing voice. During her sixth grade year, she shocked and amazed the entire school when in the Christmas concert she sheepishly walked to the center of the stage, took the microphone in her hand, and as I began to play the intro on my guitar, she lifted her chin up to finally show her face to the world, and belted out “Winter Wonderland” like no one had ever heard it sung before. When the song was over, the audience erupted with applause and cheers. She smiled and walked off stage. From that moment on, she was known as the “incredible singer” instead of the “pitifully shy girl.” The second success story that comes to mind involves a student with physical and cognitive handicaps. She was very aware of her differences, the most obvious and frustrating being her struggle with speech. Following her first oral surgery, she recovered well and made such great strides in pronunciation that she asked to sing a solo in the spring concert. Of all songs, she sang “Hero” by Mariah Carey.

Needless to say, when she finished the song, there wasn’t a dry eye in the audience. Her classmates who had been hesitant to attempt to communicate with her in the past now saw her as a “musical hero.” During the weeks following that concert, they asked her to sing solos and then cheered and celebrated her new accomplishments. Situations like these are truly evidence of the power of music. These are the moments when I am most honored to be a music educator.

Other success stories involved extremely talented students who excelled in music during their elementary and middle school years. One former student, who sang and played every possible instrument, including the guitar and banjo, received her Associates Degree in music and is currently continuing her education on a part-time basis. She is currently entertaining the idea of becoming a music therapist. Over the past two years MARCH 2015

I had the opportunity to coach two former students as they prepared for their college auditions. Both of these students are now Music Therapy majors in two different colleges; one a guitar major and the other a double bass major. I know that their talent, intellect, and genuine kindness will take them far in their future careers.

What do you tell your talented students who are planning to pursue music or guitar studies in high school, college after they finish with you?

When it comes to a career in music, I encourage my students to follow their passions, with the hope of being happy and living a comfortable lifestyle someday. Music careers, for the most part, seem to be more of a “calling” and not so much a concrete plan for a stable future. I tell my students that Music Education is for those who love to TEACH music, not a “back-up plan” for an aspiring professional musician. That is a pet peeve of mine. As for students entering high school, I encourage them to pursue every aspect of music that their school and their community has to offer, hopefully developing their skills and gaining experience that will make them independent, lifelong learners of music. My goal for all of my students is for them to obtain the ability to continue to enjoy making music and to appreciate music far beyond their high school and college years.

Do you have any networking or advocacy tools that have worked for you promoting your program that would help other educators?

As music educators, we worry that people might lose sight of the importance of music education in our schools and so the responsibility of maintaining our programs is constantly on our shoulders. First of all, I believe in music education as a worthy subject of study that stands alone. I certainly agree with those who promote music education by pointing out the research that shows higher test scores for students who study music. Although this is an added benefit of providing music education to our students, music is a valuable subject in its own right, MARCH 2015

and is a vital part of our students’ social, intellectual, emotional, and creative development. All students should have the opportunity to develop their innate musical abilities to their highest potential. So the first part of advocating for your program is to believe in your program.

I begin advocating for my program right within my school by collaborating with colleagues any chance I get. Whether I am inviting them into a musical event or planning a cross-curricular project, I find that the outcomes have been inspirational and the mutual support invaluable.

I also keep the parents and community aware of the school’s musical performances and events, through the school website, roadside sign, posted flyers, letters and reminders sent home, and all-call telephone announcements. These communication efforts make an obvious difference in audience attendance at concerts and increase overall community support of the music program. When all forms of notification are used, we have the largest number of audience participants. Since each concert is a culmination of lessons, classes, and rehearsals within a given period of time, in essence each one is like a music teacher’s final exam.

When students are in the spotlight and perform well, parents are proud, and the administration and school board are complimented for providing their students with the opportunity to shine. Ultimately, this positive feedback for a music teacher is the greatest job security.

Collaborating with music teachers in surrounding districts has also provided some unique musical experiences for the students, and great publicity for our school music programs. I have hosted “Rock Band Day” and “Music Days” at my school, when we invite performing ensembles from other districts to spend the day with our performing ensembles. We share music and ideas, eat pizza, and prepare an 47

afternoon concert for the entire school. Besides being lots and lots of fun, these events have inspired many new and creative ideas, built lasting friendships, and provided professional advice and support between music teachers.

We have also been invited to perform at other schools, to spend time with their music students, and on a few occasions, we have been invited to perform in other schools’ evening concerts. Each year, I take the performers on field trips so that the students have the opportunity to serve the community through providing musical entertainment. Among other places, we have been invited to perform at a senior center, blind center, veterans home, assisted living communities, and nursing homes. Sometimes the hosts will send pictures to the newspaper and other times I ask parent chaperones to take pictures for the newspaper. On a few occasions, we have even had newspaper photographers cover our events.

Sharing these experiences with the community is yet another way to advocate for music education in the schools. We want taxpayers to know that their money is being used to provide students with amazing musical experiences that they will treasure forever.

What kind of future do you see for guitar in music education in our New Jersey school system?

As guitar classes and ensembles are being implemented in music programs throughout the state, I am hearing more TEMPO

and more chatter and excitement about the success of such programs. Economically speaking, guitars are more accessible and affordable than band and orchestral instruments for many students and for many music budgets. Ukuleles are another exciting option, and are even more reasonable in price. There are so many variations for the implementation of plucked string instruments: instrumental pieces for solo, small ensemble, and large ensemble; accompaniment for instrumental or vocal ensembles; electric and acoustic bands; and various combinations of the prior examples. The opportunity to explore various genres on the guitar, from classical to bluegrass, allows for great diversity among music programs. I hope to see guitar and other plucked strings classes and ensembles become as conventional as band and chorus in every New Jersey music classroom.

What type of arrangements and/or transcribing have you done for your school performances?

I arrange all of the music I use for performances. Although I use some standard methods books in class and for lessons, I supplement with a lot of material that I write for the students. When arranging songs for performance, I am almost always working with vocal and instrumental music simultaneously. That being the case, I have to strike a balance between the level of difficulty for the instrumentalists, and the vocal range and ability of the singers. I begin the year by having the students create a list of songs that inspire them. Although I add a few of my own song ideas, the majority of the repertoire throughout the year will be student chosen. When arranging music for the Folk Singers, I use songs from their list that can be played in relatively familiar keys. Then I consider the complexity of the chords and the progressions in those keys, and choose the best possible key for the overall vocal range of the singers. I write the accompaniment for the instrumentalists, sometimes having them use capos to raise the pitch for the singers, if necessary. The use of capos allows the instrumentalists to keep the chords in just a few familiar keys. Throughout this TEMPO

process, I encourage students to critique and suggest possible alternatives to the arrangements. We have tweaked songs many times because of students’ fantastic ideas. Over the years, the Folk Singers have sung and played many popular songs, including Bruno Mars’ “Count on Me,” Katy Perry’s “Roar,” and Adele’s “Someone Like You.” When arranging the music for the Rock Band, I use the same method overall, but with the added elements of guitar and keyboard solos and various instrumentation required to get the full effects of certain songs. I often draw from a combination of original recordings, YouTube videos, notation, and tablature to write and arrange the songs for the Rock Band. They have performed some fantastic renditions of very famous songs like “Sweet Child of Mine” and “Crazy Train.”

Do you do any musical performances or activities outside of your public school teaching duties?

My dad, Ken Bell, and I perform throughout the year at various venues for fun, for tips, for pay, and for charities. My dad sings and plays guitar and bass, and I sing and play guitar, mandolin, and banjo.

My two sons have been joining us in performances as well. My son, Adam Skirvin, plays the upright bass and my son, John Skirvin, plays the guitar. We perform songs from many different genres, including jazz, blues, folk, country, old-time, and bluegrass, with the occasional popular song slipped into the mix. We enjoy playing in all of these styles, and we find that audiences enjoy the variety.

Any last thoughts to conclude our interview?

Although New Jersey is a relatively small All-State, it is as diverse as any state in the country. From the rolling hills to miles of seashore, dense forests to thousands of acres of farmland, big cities to small towns, and small farms to coastal communities, we have it all. With that, we have a very diverse population, from a wide variety of cultures and traditions. Keeping this in mind when it comes to music education, how might we reach a greater percentage of our students?

In my opinion, the traditional approach to 48

music education, the typical band, chorus, and possibly orchestra, will continue to inspire a certain percentage of our students, but as times change, we need to adapt our programs to reach the changing population. Introducing guitar and other “plucked strings” into music classes seems to be a step in the right direction. Through these instruments, students are able to pursue styles of music that personally inspire them. Popular music is naturally going to inspire many of our students, and guitar is a very popular instrument. In addition, there are students right here in New Jersey who enjoy country music and would love to learn how to play the banjo or mandolin. As wonderful as the school band or chorus might be, where does this student fit into the traditional New Jersey school music program? Will this student be overlooked or left behind? I believe students should be given the opportunity to express themselves through music in ways that are genuine to their culture and current in their lives. Music is so vast and evolving more rapidly than ever. It’s a challenge to keep up, but for the sake of our students and the future of music education, we need to be flexible and learn to adapt. I admire and respect my fellow music teachers who have the confidence and ingenuity to teach music with an open mind and dare to “teach outside the box.”

Thomas Amoriello is in his tenth year teaching General Music/Guitar Class at Reading Fleming Intermediate School in Flemington, NJ. He also teaches classical guitar at Youniversity of Music and Arts at their Flemington campus. He is a graduate of Rowan University and Shenandoah Conservatory and has presented guitar workshops for various music organizations including the NAfME, NJMEA, Guitar Foundation of America and Philadelphia Classical Guitar Society. You can learn more about Tom by visiting www.tomamoriello.com

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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

AUDITION DATES FOR 2015 ADMISSION Early Action for Spring & Fall: November 22, 2014 Regular Action for Fall: January 16, 2015, January 17, 2015, January 31, 2015 (no jazz), February 14, 2015 STRING AUDITION DATES FOR 2015 ADMISSION Early Action for Spring & Fall: November 17, 2014 Regular Action for Fall: January 17, 2015, February 17, 2015

Information & Admissions John Huling, Director 413 545 6048 or jhuling@music.umass.edu www.umass.edu/music MARCH 2015

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Beyond The Classroom: Helpful Tips For Acquiring Tenure Andrew Lesser Burlington City Public Schools andrew.lesser@yahoo.com www.andrewlessermusic.com

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n August 6, 2012, Governor Chris Christie signed into law the “Teacher Effectiveness and Accountability for the Children of New Jersey Act”, or TEACHNJ Act. Focusing on reforming the process of how educators earn and maintain tenure in New Jersey public school districts, the law modified practices that had been in place in New Jersey education for over a century. Under the new law, any teaching staff member hired after the enactment of TEACHNJ would require four years to be awarded tenure under a more rigorous evaluation process. During the first year, the teacher is mentored by an approved tenured teacher and receives an annual administrative evaluation, but that evaluation does not count toward their tenure status. During the second, third, and fourth year, the teacher is given an annual rating based on the following evaluations: Ineffective, Partially Effective, Effective, and Highly Effective. The non-tenured teacher must achieve a rating of either Effective or Highly Effective for at least two of those three years to be considered for tenure. However, even if the teacher should acquire tenure at the end of the fourth year, the TEACHNJ Act allows a tenured teacher to be removed if they possess two or more consecutive years of an Ineffective or Partially Effective summative rating. Therefore, the concepts outlined in this article can apply to tenured teachers as well, given that these tips are universal and can be practiced in any industry beyond education.

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Go Above And Beyond While it stands to reason that teachers should perform their duties to the best of their abilities within the classroom, what is not specifically written on the contract is that administrators also expect teachers to be available to participate at school and community-related events that extend well beyond their specified job descriptions.

This can take the form of an extracurricular activity such as a performing ensemble or student club that can participate outside school-related events. Parades, community fairs, competitions, and charity functions are some of the many opportunities that experienced directors seek out when planning a yearly performance schedule. Participating in such events can serve multiple functions, especially when the administration are notified and can publicize the event. Not only can such opportunities give vital performance experience for the students and assist in advertising the ensemble, but it also increases the prestige of the director and provides community support and a source of pride for the community and the school district. If there are no outside opportunities to create an extracurricular activity, consider involvement in a currently established club. This does not necessarily have to be music related, and can include coaching a sport, providing academic assistance to at-risk students, or even seeking out similar opportunities at a different school within the district. Involvement in an extracurricular activity either within or outside a music-related field can help to demonstrate to an administrator the willingness to go above and beyond the contracted job description.

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In addition to extracurricular activities, involvement in school and district-wide committees can also serve to heighten how administrators perceive a candidate for tenure. Again, this does not have to be solely related to a music or arts field. There are always opportunities for teachers to demonstrate their expertise as educational professionals, not simply as just “the music teacher”. The author has at many times participated in such committees outside of the music subject area, including the Superintendent’s Liaison Committee, the Student Disciplinary Committee, the Teacher Evaluation Review Board, the Talent Show Board, the Teacher of the Month Committee, and has even put on a Wildcat mascot costume and paraded around the school for several district pride events. While many first year teachers may be intimidated by the prospect of taking the first steps out of their comfort zone, it is important to know that the ability to leap beyond minimal expectations is a highly prized quality that administrators search for in not only a candidate for tenure, but for all district staff.

Be Wary Of Social Media As most teachers and other professionals have some type of social media account, such as Facebook, Twitter, or Instagram, extreme caution must be exercised when using these programs or risk facing severe consequences. Though this may seem like an obvious statement, more and more cases of teachers losing their jobs due to misuse of social media are published every year. Therefore, while it is not a detriment to non-tenured teachers to use social meMARCH 2015

dia, it is wise to follow some simple guidelines to avoid any potential issues that may occur. First, never accept students’ “friend requests.” Regardless if the student demonstrates maturity or is even over the age of eighteen, the potential hazards of being personally involved with a student beyond the classroom is not an acceptable risk, regardless of tenure status. Furthermore, having parents of current students as friends can also be dangerous, depending what the user posts and how they interact with other users. The author had a recent situation when a parent posted a video clip of a recent choir concert. Another user, who was not a “friend” of the author, commented on the sophistication and beauty of the choir’s sound, which the author directs. Intended as a meaningless joke, the parent commented on the post, saying that the author “beats the kids into submission to get them to sound so good”.

Obviously, nothing could be further from the truth, but the author had heard about the post from another choir parent, who wished to warn the author in advance. As a precaution, the author notified his principal about the post the following day, which ironically gave the principal a good laugh. In this case, any potential damage was avoided and the parent was ultimately asked to delete the original post. This may seem like an extreme way to handle a seemingly harmless situation, but proper action must be taken before a teacher’s position is put in jeopardy.

In addition, while there is nothing wrong with including colleagues in social media, it is beneficial to avoid any negative or inappropriate topics that may arise. In fact, it is better not to post or get involved with any posts having anything to do with school matters, unless it is to give positive reinforcement, such as “so proud of my students for a wonderful concert performance last evening.” Notice that there are no names mentioned and the post is completely positive, with no sarcasm or inappropriate language. Another serious consideration to make is not requesting an administrator as a “friend”. Most likely, an administrator would not request a teacher or other staff member on social media or accept a “friend request” from one in return. In the rare event that a “friend reMARCH 2015

John J. Cali School of Music Degrees: Bachelor of Music Bachelor of Arts Master of Arts Artist’s Diploma Performer’s Certificate Programs: Music Education Performance Jazz Studies Music Therapy Theory/Composition

montclair.edu/music Email: musauditions@montclair.edu quest” is made from an administrator, the best course of action would be to deny the “friend request” and notify an available union representative at the earliest possible convenience. While no immediate action will most likely need to be taken, this will alert the proper authorities to any potential uncomfortable situation before it becomes a serious issue. Again, a situation involving an administrator interacting with a 51

staff member on social media is extremely rare, given the fact that the administrators themselves are closely monitored by the district superintendent and the Board of Education. With an increasing amount of companies that require access to employee’s social media accounts, it may only be a matter of time before public school education follows suit. Operating social media continued on next page TEMPO

under these pretenses can certainly help to avoid any embarrassing or professionally damaging situations. The best course of action is to thoroughly review the school district’s social media policy, which is normally located in the staff handbook.

Know Who To Talk To While these concepts only scratch the surface as to what makes an effective teacher in areas beyond classroom teaching, it is important to remember that the majority of teacher evaluations center mostly on what is going on during normal classroom teaching time. However, in many of the New Jersey accepted methods of evaluation, including McREL, Danielson, Stronge, and Marzano, there are several components that focus on how the teacher conducts themselves in the school and the district in general. The notion that teachers are monitored in any situation at any time inside or outside the building, during and past school hours, is enough to make any teacher, tenured or non-tenured, a bit paranoid. As such, it is true that attaining tenure is more rigorous than ever before, but it is also important to remember to develop a strong support group of both professional and personal contacts that can TEMPO

be available to answer questions and provide advice. The first person to get to know is the union representative or representatives in the building. These professionals can provide advice and guidance for any school-related inquiry at no risk whatsoever. In fact, it is the union representative’s responsibility to provide objective, practical answers without the possibility of reverberating consequences.

If an issue arises regarding a student, parent, or staff member, the union representative will be able to point out the proper course of action, and if necessary, provide assistance should any official action need to be taken.

Since most teachers focus primarily on preparing their classrooms and ensuring that the highest quality instruction is present during class time, other important matters such as understanding school procedures, including substitute requests, material requisitions, and many more concerns, become a scavenger hunt of which form to fill out, which website to access, and who to turn it all in to. Fortunately, school secretaries are the true “power behind the throne” and have great insight into the inner workings of school procedures. It is very important to develop a positive relationship with administrative assistants, as they are usually the gateway to when things in the school get done. Even with tenure, the author always takes care to send a card and gift on holidays, including Administrative Professionals Day (April 22, 2015), and on birthdays.

Finally, though it is tempting to discuss personal matters and even vent frustration to fellow colleagues, such as members of one’s own team and music counterparts within the district, it is not a recommended way to communicate professionally.

Granted, it is difficult to resist letting off steam after experiencing normal classroom difficulties, especially if other teachers are in the habit of negatively expressing themselves. However, a better strategy is 52

to remain calm and release at a more appropriate time and place. Whether it is to a loved one, family member, or trusted friend outside the district, it is perfectly natural to vent stress and even anger when confronted with an unmotivated student, immaturity, or defiance. The best course of action in this case would be to seek out a professional counselor or cognitive therapist that can set regular appointments.

Since health benefits in New Jersey public education normally cover such expenses, it is not generally difficult to locate a qualified professional to assist with these issues.

The act of teaching in itself can be very stressful at times, and the added pressure of being a non-tenured teacher can be detrimental to one’s evolution as an educator.

However, with time and experience, these concepts can be used to properly navigate beyond the classroom and achieve not only tenure, but an enduring reputation for excellence, professionalism, and pride.

Sources Danielson, C. (2007). Enhancing Professional Practice: A Framework for Teachers (2nd ed., p. 200). Alexandria: Association for Supervision and Curriculum Development.

Guide to the TEACHNJ Act. (2014, June 1). Retrieved December 30, 2014, from http://www.nj.gov/education/ AchieveNJ/intro/TeachNJGuide.pdf Marzano, R. and Kendall, J. (2008).

Designing and Assessing Educational Objectives. Thousand Oaks, CA: Corwin Press.

Stronge, J. (2014, January 1). Stronge Teacher Evaluation System. Retrieved December 30, 2014, from http://www. njea.org/news-and-publications/njeareview/november-2011/comparingteacher-evaluation-models/stronge Williams, J. (2009). Mid-continent Research for Education and Learning (p.

58). Denver: McREL.

& MARCH 2015

a defining moment More than just a degree, your choice of university will follow you throughout your lifetime.

Caldwell University MUsiC Bachelor of Arts Degree in Music Certification K-12 Music • Outstanding Liberal Arts Program • Accredited by the Middle States Association • Scholarships for Non-majors and Majors • Professional Concert Series on campus

Senior recital Madness location: alumni theatre admission: Free • Nikki Dallessio, marimba, March 28, 7:00 pM • Vincent Abramo, voice, March 29, 3:00 pM • Matthew Wilson, piano, april 11, 7:00 pM • Dana Poalillo, voice, april 18, 8:00 pM • Angela Cirillo, voice, april 19, 4:00 pM

undergraduate open house SATUrDAY, MArCH 28, 2015 For information, visit:

• Ashley McDowell, flute, april 26, 4:00 pM

caldwell.edu

scholarship & entrance audition For information on scholarships and entrance into the program contact rebecca Vega at

973-618-3446 or rvega@caldwell.edu

caldwell.edu

MARCH 2015

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Music The College of New Jersey 2015 Audition Dates

January 16 • January 31 • February 4 • February 18 • February 28

The Department of Music is an accredited institutional member of the National Association of Schools of Music as well as a collegiate member of NAfME, the National Association for Music Education. The College of New Jersey has been named to Kiplinger’s Personal Finance’s list of 100 best values in public colleges for 2012-13. TCNJ Tops US News & World Report List of Best Colleges.

Degree Programs B.A. in Music TEMPO B.M. in Music Performance B.M. in Music Education

For More54 Info. Please Visit WWW.TCNJ.EDU/MUSIC

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Interpretive Ideas William L. Berz Rutgers: The State University of New Jersey wberz@rci.rutgers.edu

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ver the years, I have been very lucky to have many opportunities to watch a number of different conductors lead rehearsals. These conductors came from a variety of backgrounds: middle and high school, college, conservatory, and professional. Much of the research that I did in graduate school focused on the observation of conductors.

Especially during the past year or two, I have become increasingly aware that a large amount of rehearsal time is spent on giving directions about how a given passage should be performed. They include such admonitions as: “play softer here;” “play longer;” “play with more accent;” “play more confidently.” Last year I observed part of a noted college conductor’s rehearsal that consisted of nothing but such musical directions.

After about 30 minutes, I became bored and left. (I want to stress that the conductor was not from New Jersey!)

After this and other such rehearsals I began to wonder if students were actually learning much about music from this kind of approach. Were the players learning about interpretation?

Were they learning about emotional and creative ideas? What were they learning aside from following directions?

The students might have learned something about musicality. However since the conductors provided little guidance about interpretation, student learning would have occurred largely by self-discovery. Even this might be problematic since students might not be able to relate their TEMPO

own part to the whole. One objective that was presumably learned was how to follow directions—when to play softer or louder, shorter or longer.

Most of this kind of teaching is directed towards meeting an end goal: technically correct performances with a forced, director-determined musical interpretation.

Music is inherently a creative activity; it is an art form after all.

Therefore music teaching should lead students toward greater musical understanding. Teaching interpretation is a wonderful challenge because it is so subjective; there is more than one “correct” answer. This is so different from the climate in schools with the drive to “perform” well on standardized tests.

Separate from teaching models found in schools, the traditional method of learning an instrument is through private lessons. Aside from the technical and tonal training that is done, students learn about interpretation often by imitating the teacher who either sings or plays certain passages. Performance traditions are passed down from one generation to the next. Practices are gradually learned through imitation.

One of the most important private teachers in this regard was Marcel Tabuteau (1887-1966) who served as principal oboist of the Philadelphia Orchestra from 1915 to 1954. He distilled a series of basic rules to help stu56

dents make decisions about interpretation. His students went on to obtain some of the most important orchestral positions in the United States. Some of his students have since developed materials to carry Tabuteau’s ideas forward. James Thurmond’s book about note grouping is an excellent source.

There are books that provide guidelines for interpretation in ensemble settings. Ed Lisk’s Creative Director books are perhaps the best known. Kenneth Laudermilch, former teacher at West Chester University wrote a book, An Understandable Approach to Musical Expression, which presents basic principles on performance. These books present valuable generalizations about interpretation that help students understand the basic ideas for making interpretive decisions.

However sometimes these rules do not go far enough. First, there are always exceptions to the rule. For example, one common guideline says that ascending lines should get louder, and this is often the case. However this is not always true; there are many exceptions. Perhaps an ascending line should disappear rather than to become stronger.

Also, some students do not always connect rules to the musical context. Students need to be able to analyze the basic construction of the piece in order to make interpretative decisions.

MARCH 2015

Syncopation might be one of the more basic interpretative concepts taught in secondary schools. Example 1, an introduction to an imaginary march, shows a sample passage. The most common approach in rehearsing this is for the teacher to direct the students to accent the syncopated note. Students can clearly see the printed accent. However the more important educational goal is for students to understand why the accent is there. Professional musicians know the reason: to emphasize the and-of-the-beat instead of the downbeat, as would normally be the case. The rhythmic placement adds tension to the passage. Knowing the reasoning behind the writing also helps the student to understand that the eighth notes in example 1 should be played shorter and with less emphasis. If students do not understand the musical concepts involved, why should they expend effort to play the passage correctly? They must understand the reason why the music was written in a specific manner. The benefit will be that students will be able to play the passage with greater maturity with less repetition because they will understand the reason for the accents. It is not just some arbitrary decision; there is intent. Second and more important, students should gain musical understanding. Performing music is something more than “jumping through the hoops.”

Example 1. Syncopation One of the most basic concepts of Western classical music is the notion of contrast. Contrast can be found in many different musical parameters: volume, tempo, note length, accent, musical form, and others. Sometimes composers clearly define their wishes through markings in the music. However, many ensembles tend to ignore the markings or miss the reason why a given symbol is used. Students and conductors alike seem to not realize the composer’s intent.

One of the standard works for band that I often hear poorly performed even by college bands is the English Folk Song Suite by Ralph Vaughan Williams. Some of my objections are centered on the performers not following the markings in the score. While this might seem basic, I want to emphasize that I have seldom heard a performance that follows the basic dynamics, especially in the first movement. This section is shown in Example 2.

Example 2: Introduction and first phrase, English Folk Song Suite It is true that it is difficult for bands to play softly, and this might be especially true for the beginning of Vaughan William’s suite. The tessitura is high and most of the instruments play so that the texture is somewhat dense. However, Vaughan Williams is absolutely precise on how the dynamics are to be played. The reason that he does this is to clearly show the structure. The four-measure introduction begins forte. The first phrase is marked pianissimo in stark contrast to the introduction. It should be delicate and crystal clear. Unfortunately, most performances are not that. Instead there is heaviness, often played as loudly as the introduction. It might go without saying that the mezzo forte marking before measure 14 is ignored as well. The second phrase beginning with the pickup to measure 18 is normally played at the same MARCH 2015

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Coda I have often heard the question asked: “How do you decide on your interpretation?” Certainly feelings and emotion play a role. However careful thinking also serves a vital role in shaping one’s view of the piece. As David McGill, principal bassoonist with the Chicago Symphony implies, balancing all of the issues in determining the interpretation is hard work. One learns from tradition, tendencies, and careful examination of the score from every aspect.

Music students in the performance setting need to be guided in how to do this. If the arts are to be taught in large measure to encourage creative thinking, it seems that teachers must allow students to be creative. Direction following is simply not enough.

dynamic as the first phrase. Conductors, students, and the audience miss the entire idea. Vaughan Williams clearly wanted dynamic contrast between the sections. Rather than repeating the main theme, he wanted extreme contrast: pianissimo versus fortissimo. Does contrast get more extreme than this?

Another concern that I have with many performances of this piece is the misplaced emphasis of the opening motive. Most ensembles stress the high notes of the pattern found in measures one through 3 with the result of the high note(s) being the primary feature—the arrival point (see Example 3). This happens in part because of the tessitura. While not a major problem for the flute, it is for the clarinet. The concert C (high D) can easily become very strong and strident when played by many clarinet players. Many performances simply let the concert C sound significantly louder than the F.

Bibliography Laudermilch, Kenneth. An Understandable Approach to Musical Expression. Galesville, MD: Meredith Music Publications, 2000.

Lisk, Edward S. The Creative Director: Alternative Rehearsal Techniques. Ft. Lauderdale, FL: Meredith Music, 1995.

Example 3. Emphasis on high note of the pattern

__________. The Creative Director: Intangibles of Musical Performance. Ft. Lauderdale, Fla.: Meredith Music, 1996.

I hold the opinion that it is the concert F that should be stressed instead (see Example 4). In much of the music from the Western canon, it is the downbeat that receives the greater (or greatest) stress. The concert C’s would be lighter rebounding in a way from the concert F. This would match the general style of the tune “Seventeen Come Sunday,” which opens the first movement.

__________. The Musical Mind of the Creative Director.

Galesville, MD: Meredith Music Publications, 1998.

McGill, David. Sound in Motion: A Performer’s Guide to Greater Musical Expression. Bloomington, IN: Indiana University Press, 2007.

Thurmond, James Morgan. Note Grouping: A Method for Achieving Expression and Style in Musical Performance. Galesville, MD: Meredith Music Publications, 1991. &

Example 4. Emphasis on downbeat

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MARCH 2015

A Look Backwards And Forwards Nicole Olearchik NAfME/NJ Collegiate Vice President nolearchik@rowan.edu

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n November of 2014, a number of collegiate made the journey down to Atlantic City for the round table discussion with our own NJMEA alumni.

We had five alumni in the panel consisting of representatives from The College of New Jersey, Kean University, Montclair University, Rowan University and Rutgers University. It was an insightful day where the collegiate got to learn the ins and outs of becoming a new teacher and what we should not take for granted in college. It was nice to see a lot more schools involved than have been in the past and nice to see so many collegiates interested in what happens after college.

As we turn the corner of a new year, we are starting off with a bang. This FebruTempo_March 2015_Layout 1 1/12/15in2:35 ary, the annual NJMEA Conference EastPM

Brunswick took place February 19th-21st.

This three day conference helped expand both teachers and collegiate minds on all music education related subjects. On day three of the conference, the collegiate had a special luncheon set aside for us where we all got together to eat and reflect on the year.

We were also graciously joined by many special guests who help advocate the goals of not only our state but our country’s goal for music education. Fortunately, this year included a session on advocacy presented

by Susan Lambert the manager of NAfME collegiate. We thank her for taking the trip up to visit us and educate us all on what we can do to help preserve music education in the future. This is one opportunity that you should not pass up, so come out and join Page 1 of NJMEA collegiate! the rest

Looking about halfway into the future year we arrive at Capitol Hill Day. This is a national event that collegiate from across the country travel to participate in. As a participant of Hill Day last year, the experience itself is worth the four hour trip down to Washington D.C. As collegiate, we got to experience leadership training at NAfME headquarters and visit the offices of our congressman with some of the leaders of NJMEA. Capitol Hill Day will happen again this year and it would be outstanding to see a strong NJMEA showing! Capitol Hill Day will occur on June 24th-26th.

There is a registration fee of $135 which covers most meals and the transportation but does not include hotel. Hopefully we will see you there!

SUMMER KODÁLY CERTIFICATION AT WESTMINSTER

Our Westminster Choir College Kodály levels provide unique experiences that support music educators in planning for and enacting practices relevant to K-12 students.

Faculty: Christopher Roberts - Level I Pedagogy & Song Literature Kristen VanOllefen - Level II Pedagogy & Song Literature Franklin Gallo - Musicianship I & II; Choral Ensemble Lynnel Jenkins - Conducting I & II; Choral Ensemble Al Holcomb - Conducting I & II

Kodály Certification Program Levels I and II

July 20–31 MARCH 2015

59 TEMPO To learn more or to register, visit www.rider.edu/kodaly or call 609-924-7416

New Jersey Music Educators Association and New Jersey Band Association 2016 Wind Band Academy Ensemble Performance Application Dear Music Educator: Applications are now being accepted for ensemble (band) performance at the 2016 Wind Band Academy/NJMEA February Conference.

If selected, the performance will be on Thursday morning, February 18, 2016, during the Wind Band Academy portion of the NJMEA Conference.

All submitted applications will be considered, including ensembles that qualify for the annual concert band gala. The selection process consists of submission of a recording from a LIVE performance and signed application. Deadline for submission will be June 30, 2015.

The selection committee is comprised of members of the New Jersey All-State Band Procedures Committee, one of whom will serve as Coordinator (non-evaluator), and the New Jersey Band Association. Two (2) ensembles will be invited to perform at the Wind Band Academy.

Please do not hesitate to contact us if you have any questions.

Sincerely, Thomas McCauley, NJBA President and Wind Band Academy Chair mccauleyt@mail.montclair.edu Mindy Scheierman, NJMEA Coordinator of Selection Committee mindy.scheierman@millburn.org

2016 Wind Band Academy Ensemble Performance Application School: __________________________________________________________________________________________________ Address: ________________________________ City: ______________________________, NJ Zip: ____________________ School Phone: __________________________________ School Email: ______________________________________________ Director (print):___________________________________________ Personal Phone: ___________________________________ NAfME #: ___________________

Expiration Date: ______________________

Name of performing group (Wind Ensemble, Concert Band, etc.): _____________________________________________________ Recording date of submitted live performance: ____________________________ Send application and recording postmarked by June 30, 2015 to: Mindy Scheierman, Director of Bands Millburn High School 462 Millburn Avenue Millburn, NJ 07041

Director (signature): _________________________________________ Date: ________________________________________

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MARCH 2015

New Jersey Music Educator’s Association Proudly Announces:

“The 2015 State Marching Band Ratings Festival” “14th Annual” A unique opportunity for your Marching Band to perform in a Festival (rating only) setting.

Quality Evaluation!

Local Bands!

Enthusiastic Audiences!

State Sponsored!

Non-Competitive!

One time commitment!

State Marching Band “Ratings” Festival Saturday, October 17, 2015, 5:30 pm. Wayne Hills High School Contact: Matthew J. Paterno 973-317-2060 (mpaterno@wayneschools.com)

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

Sign- ups begin MARCH 1, 2015!

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

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CJMEA

Central Jersey Music Educators Association cjmea.org

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would like to thank the many people who made our High School concert season go smoothly. From our Division Chairs to our managers, site hosts and conductors, these volunteers have dedicated themselves to providing high quality musical experiences for our students.

This month will feature our Intermediate ensemble concerts. Many of you have sent students to participate and we hope to see you at the concerts. Please also be aware of our many festivals and honors ensemble days that will be taking place in the next few months. Information about all of these events can be found on our website.

Lastly, please be on the lookout for an email with information on how to vote in our CJMEA elections. Every two years we vote for our President-Elect, Secretary and Treasurer via online ballot. Please make sure your voice is heard and cast your vote for these important positions on our Executive Board.

I wish you all a successful Spring season and as always, please visit our website for information and connect with us on Facebook and Twitter!

Jeff Santoro - President president@cjmea.org Brian Toth-High School Band hsband@cjmea.org The CJMEA Region Bands enjoyed a wonderful concert weekend on January 16th-18th with Scott Teeple from the UniTEMPO

versity of Wisconsin-Madison and Adam Warshafsky from Montgomery on the podium. Many thanks go out to our managers, Durand Thomas and Eric Mazurkiewicz as well as our hosts at Montgomery High School, Adam Warshafsky, Kawika Kahalehoe, and Michael Brennan.

We also had another successful concert with our Symphonic Band Invitational of Central New Jersey, which was organized

by Paul Caruso, conducted by David Vickerman from TCNJ, and managed by Jason Kohn from Woodbridge High School.

Thank you to all three gentlemen and the Sayreville Public Schools for their support of this event Next on the calendar is the CJMEA Concert Band Festival on March 23rd25th hosted by Summit HS, Ridge HS, and Hammarskjold MS in East Brunswick.

Even if you aren’t bringing a group to perform, consider joining us as a spectator for three nights of splendid music making Looking ahead to next year, I am looking for someone to begin transitioning into the position of High School Band Chairperson. This person (or persons) would ideally shadow me in 2015-16 and take over the position fully for the 2016-17 school year.

If you have any interest in finding out what the job entails, please contact me directly at briantoth@mac.com

Hillary Colton & Jeffrey WoodworthHigh School Chorus hschorus@cjmea.org Congratulations to our fabulous High School choirs.They were brilliantly led

by Chris Thomas from Rowan University and Michael Schmidt from Voorhees High School.

Our first time managers were Gregory Jung from Highland Park HS and Jennifer Alagna from Monroe Township HS. Our accompanists were James Lubrano and Carol Dorey Beadle.

Thank you to our audition, rehearsal and concert hosts: Jonathan Meszaros JP Stevens HS; Karen Gorzynski Somerville HS; Sister Dolores Margaret and Michael Gasco Immaculata HS; and Jennifer Alagna and Adam Good from Monroe Township HS. Special thanks to my colleague Barbara Retzko from Ridge HS for planning and running the auditions with me.

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Seth Davis-Intermediate Band k8band@cjmea.org By the time you read this, the Intermediate Symphonic Band and Wind Ensemble will be hard at work with Matt Paterno and Professor Darryl Bott, respectively. We’d like to offer a special thank you to the directors and administrators at South Plainfield Middle School, Crossroads North Middle School, Branchburg Middle School and the West Windsor-Plainsboro School District for teaming up to host the rehearsals and concert. Thank you to all who are participating this year by sponsoring students, helping them through the audition and rehearsal processes, and attending the concert.

Special thanks Jeff Smith and Brian Plagge, our two ensemble managers, 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 CJMEA. Please contact Seth Davis if you are interested in either of these for the future, or for the current concert coming up.

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 April 18th. Many thanks in advance to Meg Spatz and Amara Van Wyk for hosting the event at the Rahway 7th & 8th Grade Academy.

Coming soon will be information about the CJMEA Elementary & Intermediate Band and Orchestra Festival, which will be held on April 14th (band and orchestra), 15th (just bands), 16th (band and orchestra) at Monroe Township Middle School, and May 14th at Freehold Township High School (bands and Orchestra). Please note the application has changed since December 5th so please check the website. For more information on dates or locations or to download registration forms, please visit www.cjmea.org.

MARCH 2015

Heather Mount-Intermediate Chorus k8chorus@cjmea.org The CJMEA Intermediate Choir had a successful audition on January 10th with students and directors coming from all over the region. Thank you to Sue Belly at Avenel Middle School for hosting auditions again this year. We had 18 directors join us and about 180 students auditioning. Rehearsals will run through February and the concert will be on Sunday, March 15 at Monroe High School in Monroe Township.

The Treble Honors Choir is accepting nominations of students for Treble Honors Day on Saturday, May 30th. The Treble Honors Choir is open to students in grades 4 through 6. Teachers may nominate up to six students per school and are required to teach the music to students before the daylong workshop and concert. Please go to the CJMEA website to find out more information or email me at hmount@cjmea.org.

Penny Martin-Intermediate Orchestra k8orchestra@cjmea.org Greetings from the Intermediate Orchestra Chair. We are having a successful Region Orchestra season. I would like to thank everyone who stepped up to volunteer to make it all happen, including our conductors, Anna Braun and Joann Manhardt, as well as their managers, Robert Anderson and Susan Meuse. I can’t wait to see these fabulous conductors and their 2015 Intermediate Orchestra in action at the concert on Sunday, March 8th.

Churchill Junior High School and the New Jersey Youth Orchestra facility in New Providence were used for our rehearsals this year and I would like to thank the teachers and administrators at these schools for inviting the CJMEA Intermediate Orchestras to use their buildings. I would like to be prepared in advance for next year’s region rehearsals, so if anyone would like to host a rehearsal for any of the orchestra ensembles, please let me know right away. It’s a great opportunity to fundraise for your group by holding a baked goods/snack sale. Also, if you are interested in putting your name in the hat to conduct, please consider managing so you have the opportunity to work with the ensemble ahead of time.

Have a wonderful Spring Concert Season! I would like to wish all students auditioning for the All-State Intermediate Orchestra to break a leg!

MARCH 2015

Yale Snyder-Percussion percussion@cjmea.org I hope everyone is having a wonderful 2015. Our High School Percussion Ensemble concert took place at Montgomery HS on January 11th. I want to thank Simon Boyar from NYU for a wonderful weekend of music making and learning experience. It was a pleasure to watch our students learn from Boyar and continue to raise the bar of percussion education in NJ. Each year, the ensemble makes me prouder and prouder. In addition, I can’t thank Jared Judge of the South Brunswick schools enough for his time and dedication in managing the group. Bravo to all involved!

Region II percussion was strongly represented at the NJMEA convention in February. Thank you to all that attended percussion workshops.

I look forward to seeing everyone at our Intermediate Percussion Ensemble and Chorus concert on March 15th at Monroe Township High School. Please always feel free to reach out if there are ever any questions or if you would like to get involved.

NJSMA

North Jersey School Music Association njsma.com

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very year my wife and I ask each other what we’d like for Christmas. With two small children the answer is similar from year to year: good health, good friends, and happiness. This year, though, I actually had an additional answer for her, and that was a few nice bottles of wine. These past few years I have come to enjoy the simple pleasures a good glass of wine brings, not just as an excellent companion to a home cooked meal but for the time it allows us to spend with loved ones while we share in its enjoyment. While good wine improves in value and taste with age, one might think that a someone in the midst of his twentieth year of teaching would have trouble finding new and exciting ways to bring the joys of music to his students. Having just completed my first semester of graduate work I can tell you that nothing could be further from the truth. In fact, all it took was one graduate conduct63

ing lesson for me to walk into my band rehearsals the very next day with a mind full of brand new ideas and a reinvigorated excitement for teaching. Perhaps the best part was that my students could see, sense, and feel the change, and it has been a great adventure to continue learning right along with them. Like doctors who practice medicine and are constantly seeking the newest information and latest state-of-the-art techniques, as teachers we have to constantly be seeking to better ourselves through continuing education, professional workshops, or even collaboration with one another. The longer I teach the more I enjoy what I do, whom I work with, and the student and parents with whom I share my profession. I couldn’t ask for a better gift, and it arrives in my classroom on a daily basis.

We have been fortunate to enjoy three months of outstanding music making in Region I over the past three months, beginning with our high school honor ensemble auditions at Paramus High School in January and the junior honor ensemble auditions in Clifton High School on February 7th. Thanks to our audition hosts, their students, and parents for their hard work in making our auditions run smoothly yet again. All of our high school and junior honors ensembles worked hard in rehearsals preparing for outstanding concerts that were enjoyed by appreciative and enthusiastic audiences. Thanks to all of our site hosts, managers, coordinators, volunteers, and everyone else involved with the various ensembles for all of your work to give our students meaningful musical experiences and memories that will last their lifetime.

Special thanks also to our audition chairs for expertly navigating and implementing our new online application process. Lastly, thanks to all of the division chairs for their work in organizing and coordinating all of these different events and for seeing that the good work of the region is always done with the highest level of professionalism.

In the same way we savor a good bottle of wine, let us all savor the richness of our profession each and every day. We are blessed to have great students, parents, administrations, and communities in which to practice our craft, and it is an honor and pleasure to work with such a commensurate group of musicians and educators. Embrace all that our profession offers to us as we work to give our students the best experiences and TEMPO

education in music possible. Please remember that all Region I members are invited to our annual meeting and banquet that will be held on Monday, May 11 at the Sheraton Hotel in Parsippany. RSVP for the banquet is on our website, www.njsma.com. Please be sure to also visit our website and Facebook page for updated information, application, forms, audition requirements, and anything else concerning our Region. As always, please contact me or any one of the board members if we can assist you in any way. Cheers!

Peter Bauer - NJSMA President pbauer321@yahoo.com Orchestra Division Michael Holak Orchestra Division Chair Congratulations to all students who successfully auditioned for this year’s Region 1 High School Orchestra. Please join me in thanking our audition chair, Michael Kallimanis, for a well-run and smooth audition process. Special thanks as well to Judy Wilkes and Paramus High School for hosting our high school auditions.

For any directors interested in participating in our combined High School / Junior High School Festival at Columbia High School, please note that the date has been changed to Friday May 22nd. If you would like to participate in this festival, please contact Michael Holak at mholak@njsma.com.

Our second annual Elementary Orchestra Festival will take place on May 9th at Randolph High School. This will be an all-day event where elementary school string students selected by their teachers will rehearse a short program to present in a concert that afternoon. Many thanks to our host, Eric Schaberg, and our festival coordinators, Kim Chiesa and Angela Girvan, who have worked for months to put together a great experience for our elementary school string students!

We’re always looking for as many people as possible to become involved in the region activities! Even now, ideas for next year’s events are already being discussed. Please consider becoming involved with region orchestra as a host, manager or sectional coach.

It’s never too early to have these things secured! Please contact Michael Holak if you have any questions about any of these positions.

TEMPO

Band Division Matthew Spatz and Gregory Mulford Band Division Co-Chairs Congratulations to all students who successfully auditioned for the NJSMA region bands and to all the directors that helped with auditions, rehearsals and concerts. NJSMA would not be able to provide these wonderful opportunities for students without the support and encouragement from their sponsoring directors.

The Junior High School Concert will be March 22, 2015 at Madison Middle School. Timothy Broege, composer, will conduct the Intermediate Band, and the Junior Band will be under the direction of Chip De Stefano, Director of Bands at McCracken Middle School in Skokie, IL. This year’s High School Region Concert Band Festival will be held March 1719. Hosts include Verona, Hanover Park and Randolph High Schools. The Junior High School Concert Band Festival will be held April 16th at Randolph and Westwood.

Thank you to all our hosts and all participating ensembles. Special thanks to our festival coordinators Lewis Kelly, John Maiello and Amanda Innis.

The fourth annual NJSMA Elementary Band Festival will take place on Saturday, May 2, 2015 at South Orange Middle School. Sixth graders from North Jersey that 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.

SJBODA

South Jersey Band And Orchestra Directors Association sjboda.org

T

he past few months have been very exciting and rewarding for the members of SJBODA. On January 11th 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 pro-

64

grams throughout our region. The conductors for these concerts were Peter J. Folliard (Eastman School of Music), Jaime Chaven (Southern Regional School District), Emily Treinen (Temple University) and Nichole Delnero (Toms River HS South). The coordinators for these performances were Mark Kadetsky (Fernwood Ave. MS) and Deb Knisely, (Cinnaminson HS). The managers of the Orchestra and the String Ensemble were Ian Miller (Thomas E. Bowe School) and Tim Trout (New Hanover Township School). The managers of the Wind Ensemble and Symphonic Band were Debbie Krauss (retired, Buena Regional Schools), Robert Green (West Deptford MS), Lisa Simone (Hopper Ave. Elementary), 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 Karyn Park (Williamstown MS).

Congratulations to Eric Just (Home School) who received the 2015 SJBODA orchestra scholarship and Benjamin Reim from Clearview Regional HS who was the recipient of the band scholarship. We wish these students and all of our seniors continued success in their future endeavors.

Our 8th Annual Chamber Ensemble Concert took place on February 12th and was hosted by Keith Hodgson and the Mainland TRI-M Music Honor Society Chapter. The ensemble coaches were Brass: David Seals, (Attales MS), Percussion: Marc Spatz (Atlantic City School District), Sax: Kevin Moninghoff (Southern Regional HS), Woodwind: Mark Synder (Rowan University), Clarinet: Jennifer Hodgson (Southern Regional School District), and Flute: Shannon Hughes (Northern Burlington County 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 School District) and Deb Knisely (Cinnaminson HS) they provided a positive experience for all involved. These auditions were hosted by Andrew Wright, Jennifer Hodgson and the Southern Regional TRI-M Music Honor

MARCH 2015

Society Chapter. Glenn Motson (Gloucester City Jr/Sr HS) did a wonderful job in assisting the conductors and students as the Junior High Band Coordinator. The conductors for the 38th Annual All South Jersey Junior High School Band concert are Nick Fantazzi (Williamstown HS) and Joe Brausam (Mill Pond ES). The managers for this event will be Bill Conn (Clementon ES) and Carlye Waniak (Dawes Avenue School).

The rehearsals were hosted by Keith Hodgson at Mainland Regional High School and the concert will take place on March 1st at Lower Cape May Regional HS. John Dreshen and Bethany Wiberg will host this event.

The 22nd Annual SJBODA Concert Band Festival will take place on Monday, March 16th and Tuesday, March 17th at Rowan University. Our festival coordinators are Mike Armstrong (Deptford HS) and Jon Porco (Absegami HS). Rick Dammers (Rowan University) will host this event.

The 23rd Annual Elementary Honors Band Festival will take place on Saturday April 25th at Absegami HS. Jon Porto will be our host. Douglas Tranz (Holly Heights ES), Dena Kilian (Interboro School District), and Christopher Carl (Lumberton MS) are the conductors for this festival.

The SJBODA Spring Breakfast meeting will take place on Wednesday, May 27th at 9:00 am at Seven Star Diner. Please contact Ben Fong at 609-457-0590 or fongb@ gtps.k12.nj.us if you plan to attend. Please continue to check the Web site, maintained

by Scott McCarron (Delsea Regional HS), for the latest SJBODA updates.

ral music making. Our thanks go to John Wernega for doing an outstanding job as conductor, and Dennis Lupchinsky who was our host at Lindenwold High School .

We are in the process of selecting the conductors for the 2016 Jr/Sr High festival.

Our last event of the season will be our annual Spring Breakfast Meeting. It will be held on April 17th.

Bill Yerkes, President South Jersey Choral Directors Association West Deptford High School

&

Joseph Jacobs Secretary, SJBODA

SJCDA

South Jersey Choral Directors Association sjcda.net

The SJCDA Elementary Festival on March 7th was very successful. We are greatly encouraged by the large number of students participating in the festival as we look to these students as the future of our program. We commend our Elementary Educators for their outstanding work in preparing their students for this day of choMARCH 2015

65

TEMPO

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

Martha B. Fletcher

Charles A. Knights, Sr.

Martha B. Fletcher of Voorhees, NJ, died November 28, 2014, age 92. She was a graduate of Westminster Choir College, Princeton, NJ, a lifelong musician, organist and choral director at Rossmoor Community Church, Monroe Township, NJ, Trinity Presbyterian Church, Cherry Hill, NJ, Our Savior Lutheran Church, Haddonfield, NJ and others; and choral music teacher at Cherry Hill High School East, Cherry Hill, NJ.

Charles A. Knights Sr. a music teacher in Newark, passed away on Tuesday, Dec. 2, 2014.

Gary A. Oberwanowicz Gary A. Oberwanowicz, 55, of East Brunswick, NJ, passed away on January 8, 2015 after a heroic battle with Cancer. Gary was born and raised in Bayonne, NJ. He graduated from Bayonne High School in 1976, and Jersey City State College in 1983 with a Degree in Music Education and Performance. He was an accomplished classical guitarist and music educator. Gary shared his love for music by becoming a music and orchestra teacher for the Bayonne Board of Education for 28 years of his life. Gary’s brilliant talent and knowledge of music was shared with his students, many of whom are devoted to pursuing their dreams because of him. Gary was a member of the Bayonne Kidets and Bayonne Bridgemen Drum & Bugle Corps, formerly known as the St. Andrew’s Bridgemen, for 9 years, and was a founding member, horn instructor, music arranger and show coordinator for the Bushwackers Drum & Bugle Corps of Harrison, NJ for 6 years, and brought the Corps to their first DCA Championship in 1986. Gary loved playing sports such as baseball and basketball as a youth, and was a member of the St. Vincent’s Boy Scouts Troop.

Later in life, Gary enjoyed the challenge of running races at the Jersey Shore. His passions included the New York Giants, jazz, sharing his love of music with his daughter, Hope, fishing with his son, Jacob, spending loving moments with his significant other Linda, and enjoying life with family and friends.

Ronald L. Gahart Ronald L. Gahart, age 74, of Quinton Township passed away Sunday, January 11th in Eagleview Health and Rehabilitation Center, Pittsgrove. Born in Colorado Springs, Colorado he was the son of the late J. H. Gahart. Gahart was a retired music teacher for the Fords Middle School in Woodbridge, NJ. He was a veteran of the US Coast Guard serving during the Vietnam Conflict. Gahart was a 1962 graduate of the Eastman School of Music, Rochester, NY. He and his wife raised Arabian horses and Shetland Sheep dogs for 30 years.

Doris Julian Doris Julian, 83, a Mountainside music teacher and active volunteer, passed away at her home on Dec. 25, 2014. Born and raised in Irvington, N.J., where she graduated from Irvington High School, Doris lived in Short Hills, N.J., before moving to Mountainside in 1961. She was a graduate of Bucknell University with a degree in music education. Doris worked for many years as a music teacher in the Mountainside elementary school system. In 1985 she was forced to retire after suffering a stroke, but persevered for 29 years as an active volunteer in Mountainside despite her physical limitations. Doris was a member of the Mountainside Music Association and volunteered at the Scotch Plains Thrift Shop, the Mountainside Public Library, Children’s Specialized Hospital in Mountainside and the Jonathan Dayton High School library in Springfield. She was a classical pianist, an avid bridge player and loved to garden.

TEMPO

Gloria C. Pescatore Gloria C. Pescatore (nee Ciarrocca), 87, of Manahawkin, N.J., formerly of Mountainside, N.J., and Millburn, N.J., passed away on Tuesday, Jan. 27, 2015, in the Southern Ocean Nursing Home, Manahawkin. Mrs. Pescatore lived in Millburn, N.J., for over 40 years, and in Mountainside for five years before moving to Manahawkin six years ago. She was a music teacher for the Newark Board 66

MARCH 2015

of Education for many years before retiring.

She was a graduate of The Juilliard School of Music in New York City.

William R. Ruch William R. Ruch, lived a life of music and song as a veteran teacher in Livingston.

He was a 50-year organist at Presbyterian Church and community chorus leader in retirement. William R. Ruch, 97, a longtime resident of Fellowship Village in Basking Ridge, died peacefully on the evening of Dec. 29, 2014. Born on December 28, 1917, in Allentown, Pa., to Ralph and Helen Ruch, Bill was the oldest of two children.

He was a graduate of West Chester College, after serving as a bombardier lieutenant in the US Army Air Force during World War II on active duty in the European theatre, based in England. In 1946, he entered the Livingston, N.J., school system as an instrumental music teacher, where he met the love of his life, Dorothy Jean Maust, a fellow music teacher. They were married and settled in Berkeley Heights, N.J., remaining there until Jean’s death in 1994. Bill was the director of instrumental music at Livingston High School, leading both the band and orchestra. He acquired a master’s degree from New York University during his early years of teaching. In his later career, he served in the elementary school system at Livingston up until his retirement in 1981, bringing the joy of music to young children. He was the founding church organist at the Presbyterian Church of Livingston, a position he held for over 50 years. After retirement, Bill was involved in extensive volunteer work in multiple community organizations in Union and Essex counties, including Runnells Specialized Hospital. He moved to Fellowship Village in Basking Ridge in 1996, where he was a founding resident in this continuing care retirement community, continuing his volunteer work in the village store and leading their community chorus for almost 15 years.

MARCH 2015

Shirley Simels Shirley Simels, 89, of Monroe, passed away in her home on Thursday, January 1, 2015. She was born in Newark, NJ and lived in Middletown, NJ for 40 years before moving to Lakewood with her husband Alan. She attended Weequahic High School in Newark and then went to The Juilliard

School of Music in New York City where she became an accomplished opera singer.

She married Alan I. Simels in 1951. After the birth of her three children, she became a music teacher in the Middletown Township School District.

&

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NJMEA 2014-2015 Board of Directors Executive Board President, Joseph Jacobs Ventnor Middle School jjacobs@veccnj.org 609-335-6429

Administration Ronald Dolce Retired rdolce561@aol.com 732-574-0846

Corporate/Industry Ron Beaudoin rbeau1959@gmail.com 301-662-2010

Past-President, Keith Hodgson Mainland Regional HS keithhodgson1@mac.com 609-317-0906

Advocacy Nick Santoro Retired nb1331@quixnet.net 732-246-7223

Early Childhood Music Ed. Amy Burns Far Hills Country Day School aburns@fhcds.org 973-493-5797

President-Elect, William McDevitt Vineland High School billnjmea@aol.com 856-794-6800 x2539

Band Festivals/Classroom Music Nancy Clasen Thomas Jefferson Middle School nancydidi@hotmail.com 973-766-5343

Guitar Tom Amoriello Flemington Raritan Schools tamoriel@frsd.k12.nj.us 908-284-7650

Executive Secretary-Treasurer Deborah Sfraga Ocean Township Schools debnjmea@aol.com 732-686-1316

Band Performance Albert Bazzel Winslow Twp. Middle School fenwayfollower5@comcast.net 856-358-2054

Music Teacher Education Al Holcomb Rider University aholcomb@rider.edu 609-921-7100 x8104

Communications (TEMPO/Web) Thomas A. Mosher, Retired tmosher@njmea.org 732-367-7195

Choral Festivals Donna Marie Berchtold William Davies Middle School berchtoldd@hamiltonschools.org 609-476-6241 x1013

Opera Festival Stevie Rawlings Paramus High School srawlings@paramus.k12.nj.us 201-261-7800 x3069

Chorus Performance Kathy Spadafino, Retired kspadeb@aol.com 732-214-1044

Orchestra Festivals/Performance Susan Meuse Hammarskjold Middle School susanmeuse@gmail.com 732-613-6890

Chorus/Orchestra/Jazz Joseph Cantaffa Howell High School jcantaffahhs@hotmail.com 732-919-2131

Retired Music Educators Beverly Robinovitz Retired beviewgr@aol.com 732-271-4245

Region Executive Members NJSMA President, Peter Bauer Columbia High School pbauer@somsd.k12.nj.us 973-762-5600 x1183 CJMEA President, Jeff Santoro W. Windsor-Plainsboro District jeffrey.santoro@ww-p.org 609-716-5000 x5262 SJCDA President, Bill Yerkes West Deptford High School wyerkes@wdeptford.k12.nj.us 856-848-6110 x2220 SJBODA President, Ben Fong Reeds Road Elementary School fongb@gtps.k12.nj.us 609-365-1892

TEMPO

Appointed Members

Collegiate Chapters/Technology Rick Dammers Rowan University dammers@rowan.edu 856-256-4557 Conferences Marie Malara Sayreville Middle School malara97@aol.com 732-525-5290 x2370

68

MARCH 2015

NJMEA RESOURCE PERSONNEL Area of Responsibility

Name

Email Address

Administrative Matters .........................................................Joseph Jacobs ............................................................... jjacobs@veccnj.org All-State Band Coordinator ...............................................Donna Cardaneo........................................................... dcardaneo@aol.com All-State Chorus, Orchestra, Jazz Coordinator ....................Joseph Cantaffa .................................................. jcantaffahhs@hotmail.com Association Business ........................................................... Deborah Sfraga ............................................................. debnjmea@aol.com Band Procedures Chair ........................................................Matthew Spatz ...............................................matthew.spatz@millburn.org Choral Procedures Chair.................................................. Kathleen Spadafino .............................................................kspadeb@aol.com Composition Contest ........................................................Robert Frampton ...................................................rtframpton@comcast.net Jazz Procedures Chair ............................................................ David May ....................................philadelphiaflyersorganist@gmail.com Marching Band Festival Chair ............................................. Nancy Clasen ...................................................... nancydidi@hotmail.com Membership ....................................................................... Deborah Sfraga ............................................................. debnjmea@aol.com Middle/Junior High Band Festival ....................................James Chwalyk, Jr. ........................................... james.chwalyk.jr@gmail.com Middle/Junior High Choral Festival .............................Donna Marie Berchtold ................................ berchtoldd@hamiltonschools.org Music In Our Schools Month ................................................ Amy Burns ...................................................................aburns@fhcds.org NJMEA Historian ................................................................Nick Santoro.............................................................nb1331@quixnet.net NJMEA State Conference Exhibits Chair ............................ Nancy Clasen ...................................................... nancydidi@hotmail.com NJMEA State Conference Committee ................................. Ron Beaudoin ........................................................ rbeau1959@gmail.com NJMEA State Conference Manager ......................................Marie Malara ...............................................................malara97@aol.com NJMEA/ACDA Honors Choir ............................................. Carol Beadle ................................................ carol.dory.beadle@gmail.com NJMEA Summer Conference .............................................Joseph Akinskas.................................................... joea_njmea@comcast.net November Convention – NJEA ........................................... Nancy Clasen ...................................................... nancydidi@hotmail.com Opera Festival Chair ........................................................... Stevie Rawlings ..............................................srawlings@paramus.k12.nj.us Orchestra Procedures Chair .................................................. Susan Meuse ........................................................ susanmeuse@gmail.com Research ......................................................................Carol Frierson-Campbell................................... FriersoncampbellC@wpunj.edu Students with Special Needs ............................................... Maureen Butler .......................................................... mbutler@mtlakes.org Supervisor of Performing Groups ........................................ Keith Hodgson ................................................... keithhodgson1@mac.com Tri-M...................................................................................... Gail Posey .................................................................... gposey@eccrsd.us REPRESENTATIVES/LIAISONS TO AFFILIATED, ASSOCIATED AND RELATED ORGANIZATIONS NJ American Choral Directors Association ........................... Carol Beadle ............................................... carol.dory.beadle@gmail.com Governor’s Award for Arts Education .................................. Stevie Rawlings ............................................ srawlings@paramus.k12.nj.us NJ Association for Jazz Education.......................................... David May ................................... philadelphiaflyersorganist@gmail.com NAfME ................................................................................Joseph Jacobs ...............................................................jjacobs@veccnj.org NJ Music Administrators Association .....................................Ron Dolce................................................................ rdolce561@aol.com NJ Retired Music Educators Association .......................... Beverly Robinovitz ...........................................................beviewgr@aol.com NJ TI:ME........................................................................... Rick Dammers ......................................................... dammers@rowan.edu Percussive Arts Society ....................................................... Domenico Zarro ....................................................DEZarro@optonline.net

COMMUNICATION SERVICES/PUBLIC RELATIONS Executive Secretary-Treasurer .............................................. Deborah Sfraga ............................................................ debnjmea@aol.com Editor - TEMPO Magazine ............................................. Thomas A. Mosher .........................................................tmosher@njmea.org Web Master (njmea.org) .................................................. Thomas A. Mosher .........................................................tmosher@njmea.org

MARCH 2015

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

1926 1930 1931 1933 1935 1936 1938 1939 1941 1942 1944 1945 1947 1949 1951

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

1951 1953 1955 1957 1959 1961 1963 1965 1967 1969 1971 1973 1975 1977 1979 1981 -

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

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

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1985 1987 1989 1991 1993 1995 1997 1999 2001 2003 2005 2007 2009 2011 2013

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MARCH 2015

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MARCH 2015

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