M AY 2 0 1 3 • • • • • • • • •
Calendar Issue All-State Solo Lists FORMS: Distinguished Service Outstanding School Board Outstanding Administrator Master Music Teacher Summer Workshop VI Marching Band Festival Opera Festival
Joseph Jacobs President 2013-2015
William McDevitt President-Elect 2015-2017
Keith Hodgson Past-President 2011-2013
The Official Magazine of the New Jersey Music Educators Association a federated state association of National Association for Music Education
Volume 67, No. 4
NJMEA 2013 Awards, by Joseph Jacobs
It’s Only A Blueprint, by Paul J. Caliendo
NJMEA Salutes New Jersey’s Outstanding Musicians
Hosting A Region Rehearsal Can Help You And Your Program, by Andrew Veiss
A Suggested Curriculum With Band Rehearsals As Lesson And Lessons Centered On Band Repertoire, by Jacques Rizzo
Higher Education And The Young Guitarist; Part III - Popular Guitar Studies, by Thomas Amoriello and Matthew S. Ablan
You Are What You Eat, by Kenneth J. Schultz
Considering The Importance Of Structure, by William L. Berz
55 NJMEA 2013-2014 Calendar 58
Now’s The Time For Music Learning Theory, by Joel Perry
Meet The Parents… Of Special Learners, by Maureen Butler
Understanding The Included Special Needs Child In Music Classes, by Dorita S. Berger
This Is Important! Do You Hear What I’m Saying?, by Ron Poorman ATTENTION MEMBERS: Please go to nafme.org to record email and address changes. TEMPO Editor - Thomas A. Mosher 80 Jumping Brook Drive, Lakewood, NJ 08701 Phone/Fax: 732-367-7195 e-mail: firstname.lastname@example.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: email@example.com or NAfME, 1806 Robert Fulton Drive Reston, VA 22091 Printed by: Kutztown Publishing Co., Inc. 1-800-523-8211 firstname.lastname@example.org
The New Jersey Music Educators Association is a state unit of the National Association for Music Education and an affiliate of the New Jersey Education Association. It is a nonprofit membership organization. TEMPO (ISSN 0040-3016) is published four times during the school year: October, January, March and May. It is the official publication of the New Jersey Music Educators Association. The subscription rate for non-members is $20.00 per year. The subscription for members is included in the annual dues. A copy of dues receipts (Subscriptions) is retained by the NJMEA Treasurer. Inquiries regarding advertising rate, closing dates, and the publication of original articles should be sent to the Editor. Volume 67, No. 4, MAY 2013 TEMPO Editor - Thomas A. Mosher, 80 Jumping Brook Drive, Lakewood, NJ 08701 Periodicals Postage Paid at Lakewood, NJ 08701 and additional entries POSTMASTER: Please forward address changes to: NAfME 1806 Robert Fulton Drive Reston, VA 20191
MAY 2013 DEPARTMENTS AND NJMEA BUSINESS
Advertisers Index & Web Addresses.......95 Board of Directors.................................92 Division Chair News.......................... 6-22 Editorial Policy & Advertising Rates......94 From The Editor......................................4 In Memoriam.................................. 90-91 Past-Presidents.......................................94 President’s Message.............................. 2-3 Resource Personnel................................93 Round the Regions.......................... 86-89 FORMS AND APPLICATIONS See NJMEA.ORG
“Files and Documents” for downloadable copies of all forms
Summer Workshop 2013.......................74 All-State Opera Festival..........................75 State Marching Band Festival.................76 Master Music Teacher Award.................77 School Administrator Award.................. 78 Distinguished Service Award.................. 79 Outstanding School Board Award..........80 All-State HS Orchestra Scales................82 All-State Int. Orchestra Scales................83 All-State Int. & HS Solos.......................84 All-State HS Band Solos........................85 NAfME Membership............................. 96
2013 NAfME NATIONAL CONFERENCE October 27-30, 2013 Nashville, TN NJMEA CONFERENCE February 20 - 22, 2014 East Brunswick, NJ
President’s Message KEITH HODGSON 609-317-0906 email@example.com Website: http://www.njmea.org
reetings NJMEA membership! This will be my last message as NJMEA President. My time serving as President of NJMEA has been personally rewarding and has contributed to my professional growth both musically and administratively. It has given me the opportunity to work with so many dedicated volunteers and truly professional music educators from all over New Jersey. The many connections that I have made with people around the state in so many capacities has indeed been the most satisfying experience of serving in this position. As my predecessor Bill McDevitt was always fond of saying, “everyone else makes us look good.” That is certainly the truth of the matter. It is the dedication of all the volunteers in the NJMEA organization doing all the detailed work with honor groups, festivals,conferences and every other aspect of the organization that make the leadership team look good. I am certainly grateful to everyone. My deepest gratitude and admiration go to Deb Sfraga and Tom Mosher for their tremendous work for our organization. Their dedication to NJMEA has been the standard of excellence that we all strive for in our service. I am very proud of our outstanding organization and the great work being done to provide quality music education for the students of New Jersey. On a personal note, I wanted to share some of my NJMEA memories of the past two years… Most Musical Experience - Conducting the Star Spangled Banner with the All-State Women’s Chorus at NJPAC 2013. Thoroughly enjoyable and inspiring! Proudest Accomplishment - Creating a new “Academy” model to expand the NJMEA State Conference to a highly successful three day event. Most Challenging Experience and Biggest Regret - Hurricane Sandy... and the inability to reschedule the 2012 All-State Orchestra, Chorus and Jazz concerts. However, most of us were the lucky ones. My thoughts and prayers go out to those still impacted by the event as they continue to rebuild their lives. Most Memorable Events - NJMEA Gala Concerts... The Dallas Brass and the Kings Singers! Musical excellence and motivation that rejuvenated me mid-year. Biggest Learning Curve Experience - NAfME! Learning TEMPO
about the national advocacy efforts, annual lobbing on Capitol Hill and visiting our legislators’ offices in Washington. Biggest Pain - Writing TEMPO President messages. lol Presidential First! - First NJMEA President to use “lol” in a Presidents Message. Looking forward... Future Endeavor - AC 2017 (See end of the article announcement) Teacher Evaluation “AchieveNJ” (Information from The Department of Education) As we wrap up the school year and look forward to summer vacation, I wanted to address the topic that we are all currently experiencing and that we will all face when we return to school in September. In 2012, the New Jersey Legislature unanimously passed the TEACHNJ Act, which mandates implementation of a new teacher evaluation system starting in the 2013 - 2014 school year and links tenure decisions to evaluation ratings. As stated in the legislation, “AchieveNJ is designed to recognize those who excel, identify those who need additional support, and provide meaningful feedback and professional development to all teachers.” The new Teacher Evaluation model will rely on multiple measures of performance to evaluate teachers. These measures include components of both student achievement and teacher practice. The weights in the charts which follow are set for SY1314; the state may 2
Eastern Division Announcement: One of the biggest efforts over the past six months has been putting in a bid to host the 2017 Eastern Division Conference. I am very happy to announce that the Eastern Division Site Selection Committee has awarded New Jersey the bid! NJMEA will ofﬁcially host the conference in Atlantic City in April, 2017. The ED Conference has been held in Atlantic City more than any other city, however, the last time was 1979! There will be much more concerning this conference as 2017 draws closer. In the meantime, we have Providence in 2015 to look forward to and learn from and a lot of planning to do to show the Northeast what a great conference New Jersey can host! In closing, I would like to thank each and every NJMEA member for your dedication to a quality music education for your students, your constant pursuit of professional improvement and your desire to be the best music educator possible! I have been very proud to serve as your NJMEA President. If I can ever be of assistance to you, please do not hesitate to contact me. firstname.lastname@example.org
adjust them in future school years to reflect lessons learned from new data and feedback from educators. I call your attention to the “ N o n - Te s t e d Grades and Subjects.” The evaluation of music teachers in NJ will not be tied to student achievement (scores) as the tested subjects of language arts literacy and mathematics. However, all teachers will be expected to set Student Growth Objectives for their students. Teachers, with approval from their principals, will set Student Growth Objectives (SGOs) for their students at the start of the year and are assessed on whether those objectives are met at the end of the year. Teachers of non-tested grades and subjects are required to set at least two SGOs; a teacher’s ability to meet or exceed his or her SGOs counts for 15% of the overall evaluation. As some food for thought, I have provided a sample blank form for a Student Growth Objective. (It’s your summer homework!) The other 85% of teacher evaluation for the 201314 school year will be “teacher practice.” Teacher practice will be measured by performance on a teacher practice instrument (e.g., Danielson, Marzano, et al.), which is used to gather evidence primarily through classroom observations. I encourage all NJMEA members to learn more about the new tenure law legislation and be informed about student growth objectives and the observation instrument used for evaluation in your district. All New Jersey teachers earn one of four ratings: Highly Effective, Effective, Partially Effective, or Ineffective. An overall evaluation score (Summative Rating) combines the multiple measures of teacher practice and student growth. For more information, please see your April Issue of the NJEA Reporter on p.2. A complete overview and legislation details can be found on the Department of Education website at: http://www.state.nj.us/education/AchieveNJ/ teacher/overview.shtml
Thomas A. Mosher 732-367-7195 email@example.com Website: http://www.njmea.org
n the last issue of TEMPO, I made my annual request for articles from members who have not previously submitted. Thank you to Paul Caliendo, Andrew Veiss, Jacques Rizzo, Kenneth Schultz and Ron Poorman for their submissions which can be found in this issue. Please feel free to send articles you may be working on at anytime. If they are too late for a current issue, they will be saved for the future. Remember that we edit grammar and spelling, so please don’t be afraid to make the attempt. We had a very successful NJMEA State Conference at the end of February. It looks like it was one of the best ever. All of the people involved in the planning of the conferences meet on Saturday evening after the All-State concert to discuss everything that went right or wrong. There were many things to fix several years ago, but now there are less things to fix overall. Marie Malara really knows how to organize the conference and provides New Jersey music educators with one of the finest state music conferences in the country. The election is now over and this was our first electronic voting using our own site. It appears to have worked well and will be available for use in the future by NJMEA and the Regions. We are also working on our form setup so that almost everything can be submitted online instead of mailing in TEMPO
the forms. Payments can be made by credit card as well, unless the school is paying, in which case the form would be completed online, but the payment would be mailed by the school. Everyone is probably preparing their spring concerts at this time and also preparing for the end of another school year. This is a good time to consider what you do for the region and state organizations which provide so many activities for you and your students. Members are needed to step up and assist in some capacity at all levels because the same people cannot do all of the work forever. The article by Andrew Veiss on page 38 of this issue titled “Hosting A Region Rehearsal Can Help You And Your Program” is a good example of how donating your time and efforts to a region or state activity can be beneficial to your music program. I discovered many years ago, that what I learned working with conductors at rehearsals helped me do better conducting in school. Working with colleagues presents many new ideas which can be incorporated into your own programs. Sometimes working with other members and outside conductors provides us with a better in-service education than taking several college courses. You will never know until you become involved. Will you be involved next year?
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AREAS OF STUDY:
CLASSICAL PERFORMANCE, COLLABORATIVE PIANO, COMPOSITION, CONDUCTING, JAZZ STUDIES, MUSICOLOGY, MUSIC EDUCATION
Philadelphia Orchestra, Metropolitan Opera and New Jersey Symphony.
BE CHALLENGED: Music conservatory training within New Jersey’s flagship public research university.
BE ENGAGED: Over 15 performance ensembles with opportunities to perform in New York City and abroad.
Plus: Summer Camps | Extension Division | Non-Degree Courses | Online Courses WWW.MASONGROSS.RUTGERS.EDU
& News From Our Division Chairs & Past-President
Past President William McDevitt 856-794-6800 x2539 firstname.lastname@example.org
Random Thoughts Over the past six years, I’ve tried to address some of the major issues that have concerned our members. This edition of “Random Thoughts” will focus on the new New Jersey Teacher Evaluation plan. This will have an effect on everyone that is teaching in a public school in our state. Before I begin to explain the law, I would suggest that everyone become VERY involved in the process within your individual school. There is little flexibility in the law other than the district being allowed to choose the model that they will use. Beyond that, the law is the law. Teachers will be evaluated more often and more rigorously than in the past. The entire goal is to improve teaching. The first change that we will notice is the frequency of classroom observations. In the past, it was 3 non-tenured evaluations and 1 tenured evaluation. The new law states that non-tenures will receive three formal evaluations of one instructional period (minimum of 40 minutes) and two informal, “not counted”, observations (20 minutes). Tenured teachers will receive two formal and two informal. The law calls for a mixture of announced and unannounced, with pre-observation meetings for the announced observations, and post-observation meetings for all. By looking at this part of the law, anyone will realize that this is a monumental task that is going to place a near impossible burden on our administrators. They will have to begin observations in September and spend all of their time in classrooms observing rather than running our schools. As districts continue to make cuts, the task will increase exponentially.
The second big change that we will notice is the way that we are evaluated. Districts do have options for the model that they choose for their classroom evaluations. Many districts already work with the Danielson Model, but that is not the only option. There are numerous indicators on the rubric (Danielson has 76) that are to be evaluated during every observation. Possible indications are “Highly Effective”, “Effective”, “Partially Effective”, and “Ineffective”. Additionally, student achievement will be included in each evaluation. Since music is a non-tested subject, you will work out a plan with your administrators as to what your plan for evaluation will be. It will be something that is standards-based and measurable. Students will have to show improvement in this area through some type of evaluation for credit to be received in this part of your evaluation. Teachers who are labeled “Partially Effective” or “Ineffective” by your evaluation “score” will be entered into a program of professional development within your building that will be determined by a panel that will include administration, community members, and teachers. This plan will be agreed upon by all parties and set in place to improve “Ineffective” areas of teacher performance. While this is just a snapshot of the new plan, the important message is to become informed about the law and its effect on your future. Every teacher in the state is supposed to be trained on their district’s model and how the state law plays into the mix. Some resources for you, the classroom teacher, are available on the New Jersey Department of Education website and the NJEA website. Information will be continually updated on these websites as developments occur. Hopefully, we will have some info available shortly on the NJMEA website, specifically for music educators. This law will transform public education in the State of New Jersey. I continue to tell colleagues that if you don’t have a seat at the table, your voice cannot be heard. Stay involved and stay informed. As a final note, I would like to thank you for your support over the past 6 years. I have had some amazing opportunities presented to me as a member of the NJMEA Executive Board. I hope that I have been able to use what I have learned to help our members become better teachers. I would especially like to thank the other members that have served on the Board of Directors during my tenure. We have amazing talent in our state, and not just in our students! An invaluable debt of gratitude goes to Bob Frampton and Debbie Sfraga. In six years, they have answered every one of my questions and always had time to converse and process problems to achieve the best outcomes for our members. Now in the words of Chic Hansen, former TEMPO editor and NJMEA President – “Onward!” continued on page 8 TEMPO
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& News From Our Division Chairs & President Elect Joe Jacobs 609-335-6429 email@example.com They Get It! Recently I had the opportunity to participate in a local middle school jazz festival which featured nine jazz bands. During this event the superintendent of schools gave a welcome address to the audience which included over 200 young musicians and their teachers. He began his address with the traditional “welcome to our school and we are excited to host this event.” Then he started to talk about the importance of music. This administrator, whose school community was severely affected by Hurricane Sandy, spoke about the impact that music has in our lives especially when we face challenges. Everyone’s attention was focused on the speaker, especially that of the music educators. Here was a school administrator telling our students that music is important in our society. Music is a powerful form of communication where the musician has the opportunity to make someone feel good. Musicians are leaders in our society. They seem to always take the initiative to assist the general public by sharing their art and talent to raise money or inspire people with their music. You could hear a pin drop. The students were looking at their teachers for their reaction. The teachers were in awe. It was a great moment. There are many school administrators who feel that music education is important in the lives of our students. They believe that music should be an integral part of the school curriculum. These administrators demonstrate their advocacy for music education by attending school related musical events and creating budgets that help meet the needs of their music departments. At our February conference two administrators received the NJMEA School Administrator Awards. Dr. Scott Hoopes, (Woodstown HS) and Dr. Loretta Bellina, (Cresskill Public Schools) are outstanding role models for administrators and are evidence that school administrators understand the importance of music in our schools. They get it! The challenge is how to get all school administrators on board regarding music education. Most school administrators who support music education have witnessed the talent and commitment of outstanding music educators in their schools. We may be the deciding factor as to whether our administrators support our music programs. They are able to see the passion and dedication that we deliver to our students. They enjoy and value the results of our talent as teachers when they observe our class or attend a concert. Enlightening school administrators on the benefits of school music programs is an ongoing process. I encourage you to continue to offer our students the best in music education. You are the number one advocate for music in our schools. Thanks for all that you do for our children and music education. You do make a difference!
Administration Ronald P. Dolce 732-574-0846 firstname.lastname@example.org
Wow! It seems just a short time ago that we had just started school and the October TEMPO was just published. Here we are in May finishing up our concert schedule or putting our performing groups on buses, planes and other modes of transportation for that trip that they worked hard for all year. It has been a busy year for New Jersey Music Administrator’s Executive Board and membership. I am happy to say that our membership increased from last year. Much of the success in membership goes to the presentation of our workshop this year. The focus of the organization was the new teacher evaluation process that will begin for the school districts this September. Our first workshop held in October, “Benchmark Assessment Tools in Music-Roundtable Discussion was facilitated by Linda King and Peter Griffin. This workshop gave the members an opportunity to see the different approaches that the districts might be taking the following year. Our December workshop, “Current Status of Music Teacher Evaluation was facilitated by Joe Akinskas. This workshop brought together administrators to discuss the steps that they are taking towards the new evaluation process. continued on page 10 TEMPO
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& News From Our Division Chairs & In February, many of our members attended the workshop, “Smart Music as a Tool for Assessment” presented by Lisa Swanick from the West Orange Public Schools. This workshop gave an opportunity to see the value of Smart Music as a student evaluation tool. At the NJMEA Conference many of our members were able to meet for a light breakfast to discuss thoughts of the day and have an opportunity to meet the president of NAfMe, Nancy E. Ditmer. Members Bob Pispecky, Peter Griffin and Joe Akinskas presented a variety of topics at the Collegiate Academy on Saturday of the NJMEA Conference including how to interview, how to make the transition from being a student to a teacher and the science of reverse planning. In April, a workshop facilitated by Joe Akinskas, “Aesthetic Education Across the Curriculum: Participate in an Interactive Workshop and Discussion on Applications and Activities Per the New Standards” was presented to the membership of the NJMAA and AANJ. Workshop presenters were from the Lincoln Center Institute. In June, our meeting will bring together all of the information presented over the year with a workshop entitled, ”Assessment in Music Education-Where are We?” facilitated by Linda King, Supervisor of Music from the Westfield Public Schools and Peter Griffin, Supervisor of music from the Hopewell valley Public Schools District. The success of our program depends on the membership. This year we had an outstanding number of administrators attend the workshops veterans and new faces alike. The NJMAA serves as a valuable resource for the music administrators and for those administrators without a music background to deal more effectively with their music staff and to more effectively meet the needs of the music program. It is not too late to find out what our organization is all about. Check us out at our website at njmaa.org to find out about our meeting dates and times. Do more for yourself and join the NJMAA.
Band Performance Al Bazzel 856-358-2054 email@example.com
The All State Band Procedures Committee would like to congratulate the 2013 NJMEA Distinguished Service Award recipients: Jim Jameson, William McDevitt, Walter Moore (posthumously), Debra Sfraga, and Charles Tobias. The 2013-2014 solo list is included in this issue. All audition information and requirements are on the website. Continue to check www. njmea.org throughout the summer for updates, conference information, and important links. This is the last opportunity to participate in the 2014 All State Band Commission Consortium. Consider joining for the 75th anniversary of the New Jersey All State Band and taking your place in New Jersey band history! The piece, by Dr. Dana Wilson, Professor of Music at Ithaca College, will be performed by the 2014 All State Symphonic Band. Each member of the consortium will receive a full score and parts with performance rights. Contact Lewis Kelly at firstname.lastname@example.org. You can visit www.danawilson.org to learn more about this wonderful musician and award-winning composer. The New Jersey All State Band programs will be posted to www.njmea.org shortly. Thank you to Mindy Scheierman and Paul Oster for assisting with this project. We are in need of the following programs: 1988, 1984, 1977-1979, and1975 and earlier. Please contact Mindy Scheierman at email@example.com or Paul Oster at firstname.lastname@example.org if you have any of these programs. I would like to thank the region representatives of the All State Band Committee. If you have any questions or concerns over the summer, please contact your specific region representatives: Region I- Gregory Mulford, Lewis Kelly, Mindy Scheierman; Region II- Jules Haran, Mark Kraft, Brian Toth; Region III- Ed Cook, Deb Knisely and John Stanz. Special thanks to the following Procedures Committee members for their dedication to the students and educators of New Jersey All State Bands: Donna Cardaneo, All State Band and Women’s Chorus coordinator; Peter Bauer, auditions chair; Bruce Yurko, solo chair and Paul Oster, historian. Thank you all for another great year! On behalf of the committee, I hope you have a wonderful summer! continued on page 12
& News From Our Division Chairs & Choral Performance Kathleen Spadafino 732-214-1044 kspadEB@aol.com
Congratulations! You’re in the home stretch – putting finishing touches on the spring concert, choosing final awards, planning graduation. All-State Chorus auditions are done! Members of our 2013 Mixed Chorus and 2014 Women’s Chorus have been chosen, and the music has been ordered for the first Mixed Chorus rehearsal on Saturday, June 15th. Many, many thanks to everyone who helped out with the auditions: our audition chairs – Cheryl Breitzman and Michael Schmidt (his first time!); our gracious hosts - Kahlil Gunther at Woodstown HS and Michelle DeGaetano at Bloomfield HS – thank you!; our fabulous Choral Procedures Committee – Tom Voorhis, Steven Bell and Jamie Bunce from Region I, Hillary Colton, Judy Verrilli and Wayne Mallette from Region II, and Helen Stanley and Art McKenzie from Region III. We all have fun working together to handle all aspects of the conductor selection, auditions, rehearsals and performances for our All-State Chorus students. And our managers – Sue Belly and Judy Verrilli for Mixed Chorus and Joe Cantaffa for the Women’s Chorus – now begin their work organizing a wonderful experience for the next round. Do you notice some of these names are mentioned more than once? That’s because they do more than one task for our All-State students. What about YOU – new to high school, young and energetic? This All-State organization is run for you, your students, and your school and community. Many, many teachers have told me that once they have a student in All-State Chorus, their program rises to a higher level and they get more respect from their administration and other teachers. I mean, it’s All-State! Please think about talking to me about getting more involved with All-State Chorus. You’ll learn some new ideas, share repertoire and ideas, commiserate over a tough situation, and make some new friends who know exactly what you’re going through! Please contact me – Kathy Spadafino at KSpadEB@aol.com. Enjoy the rest of your school year, and I look forward to seeing you all soon!
Jeff Kunkel email@example.com
It has been an interesting year on the jazz front! We have had highs, such as well-attended clinics at the NJMEA Conference and outstanding preliminary and finals events for the New Jersey State Jazz Ensemble Festival, and one extreme low, that being the unfortunate cancelation of the 2012 All- State Jazz Band and Honors Jazz Choir events due to the devastation caused by Hurricane Sandy. Needless to say, we plan to be back with outstanding ensembles for 2013, and will be retaining the same great conductors – Justin Binek for the Jazz Choir, and Dave Demsey for the Jazz Band – as were scheduled to direct in 2012. Our hearts go out to the students who worked so diligently to prepare for auditions for the 2012 groups and wish those who may not have the chance to participate next year all the best in their future musical endeavors. As this is the end of my second year as NJAJE President (and of my final term as the organization’s president, trust me on that, as four terms – thankfully not all consecutive – is enough!), I would like to take a moment to thank all of our officers, be they elected or appointed, for their service to jazz education. My sincere thanks to: Dave May, Jeff Haas, Mike Anzuini, Ron Heller, John Lindner, Dick Graham, John Maiello, Joe Bongiovi, Doug Barber, Meredith Foreman, Diana Dohrmann, Justin Binek, Dave Demsey, continued on page 14
& News From Our Division Chairs & Tony Branker, Robert Van Wyk, and Mike Russo. A very special and ongoing thanks to Jeff Lesser, not only for his current duties, but because there would in fact be no state jazz organization without his efforts following the collapse of IAJE a few years ago. Sincere thanks also to Keith Hodgson and all of the officers of NJMEA for their continued efforts to include jazz education in the overall spectrum of music education, and for working together so well in conjunction with NJAJE, as they do with all of their affiliated groups. To conclude, let me offer a few words about the state of our music industry, which we all know is in a state of flux and uncertainty. The jazz world, as is this case with any art music, feels the pain of these changes to any even greater extent than the various genres of “popular” music. But as musicians and educators, we have no real choice but to persevere, to continue to preach and teach the gospel of music, and to try to make our voices heard in an educational climate where test scores are more valued than artistic achievement. Please continue to encourage each other and our students to participate fully in our musical world, by performing, seeking out live musical performances to attend, purchasing (not pirating) CDs and downloads, and advocating for music education in all genres and styles. Wishing everyone a fantastic summer – please do not hesitate to be in touch if there is something I can do for you in the world of jazz education. Our organization is in great hands, and I look forward to my own continued involvement with NJAJE and NJMEA – though perhaps just a little more peripheral in nature!
Stevie Rawlings 201-261-7800 x3069 firstname.lastname@example.org
“Open A New Musical Window” Outstanding students of opera will be recognized as the NJMEA All-State Opera Festival winners, receiving Governor’s Awards at Memorial Hall in Trenton on May 2nd at 4:00 pm. They will open the event with the Star Spangled Banner, joined by four of the highest scoring All-State Chorus members. The event reminds us every year how many extraordinarily talented students are musically accomplished beyond their years. I would like to encourage all the vocal directors to re-evaluate the singing potential of your students. Perhaps encouraging the learning of an operatic aria over the summer could be just the right inspiration for a few of your stronger singers. Getting familiar with operatic arias can be a great research project for the end of the year. Each vocal section in your choir might spend a week finding an ACCESSIBLE list of arias. I can guarantee that the tenors and basses will be surprisingly thrilled by what they find on YouTube. Your girls will all want to sing Puccini’s “O, mio babbino caro” but what’s wrong with that, as a catalyst for learning? Beautiful music is beautiful music. We can guide them toward Mozart, Rossini or Handel, more beautiful music, as they focus on what suits their voice. This year’s highest scoring Opera Festival winners sang Handel, (Semele) Delibes,(Lakme) Verdi (Il Trovatore) and Mozart. (Die Zauberflöte) Why not try “opening a new musical window” for your students. The registration form will be available in TEMPO magazine for your convenience. The Opera Festival auditions are Friday, October 25, 2013 from 4:00 -8:00 pm at Paramus HS and the Opera Festival itself will be held from 9:00 am Saturday, November 16, 2013, culminating in a concert at 3:00 pm at Paramus HS. continued on page 16
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njcu.edu/mdt 2039 Kennedy Boulevard Jersey City, New Jersey 07305 MAY 2013
& News From Our Division Chairs & Orchestra Performance Susan Meuse 732-613-6890 email@example.com
Congratulations to all of the students selected to participate in the 2013 All State Orchestras! The March auditions were very successful once again thanks to our auditions chair, Michael Kallimanis. Thank you to everyone involved to help make the auditions run smoothly. The Procedures Committee has selected the solo list and scales for the auditions next year. Once again, students will be required to play a specific edition for each piece. The high school scales will also be different next year than the ones for this year (and last year). Please email me or talk to anyone on the Procedures Committee if you have any questions! Right now, the All State Intermediate Orchestra is working hard to prepare for their concert on Saturday, May 11th. The conductor, Jack Rosenberg, is doing a wonderful job with these talented students. He has picked an exciting program, so be sure to come see it! The All-State Orchestra will soon begin rehearsing. They will once again be working with Maestro John Yaffé to prepare the program they were unable to perform last fall. As always, if you are interested in getting involved with the All State Orchestras, please feel free to email me or stop by a rehearsal.
Retired Music Educators Christine Sezer 570-756-2961 firstname.lastname@example.org
After a bitter cold and snowy winter I hope you are now all enjoying long awaited pleasant spring days. This will be my last President’s letter as my term will end July 1st and Beverly Robinovitz will then assume the position as your new NJRMEA President. Two years went by very quickly. Within those two years we began a mentoring program which anyone may still participate - all you need to do is contact Tom Mosher (tmosher @njmea.org) with your name, phone, email and your area of expertise so you may be added to the list of mentors. The list is found on our NJMREA website as an affilliate of NJMEA. Our Master Music Teacher program continues to honor excellence in teaching - our extremely talented and outstanding Master Teacher for 2013 is Tom Voorhis. The Master Teacher nomination form is always in the October TEMPO issue and the deadline is March 15 - forms are also available on the NJMEA website in the event you should ever wish to nominate a music educator for the Master Teacher Award. We are now in the process of doing observations and choosing the Master Teacher for 2014. We have also looked over our constitution and by-laws to make revisions or any additions. None seemed to be necessary at this time. We have had many interesting speakers at our General Membership meetings who focused on many topics such as health benefits; issues of estate planning; advocacy; changes in course NJ requirements; summary of the overall present situation of music in the NJ schools including how many students are offered music and at what grade levels; the types of music courses that are still being offered in spite of all the budget cuts in education; technology/valuable websites that are “user friendly”; recent retirement updates. We are always looking for speakers who can focus on a topic that will be of interest to our members. If you ever know of a speaker that you think would be of interest at our General Membership meetings please let the President know. On a personal note, I continue to try to make a difference as a member of my school board - in the year that I have been on the board as member of the Education Committee curriculums are now being written and revised; all lesson plans are now being done online so the principals and superintendent can look at them at any time - previously there were no common plan books or format being used by the teachers. A new teacher evalution/observation format is being done in PA - this is the next focus. As chair of the Policy Committee, we have been very busy writing new policies reagarding curriculum, lesson plans and teacher evalution/observation. We continued on page 18 TEMPO 16
& News From Our Division Chairs & are also writing new policies regarding safety and security issues. Also as a board member, my board elected me to the Northeast Intermediate Unit 19 Board. So I am keeping very busy! I am still busy with my “Endless Mountains Children’s Choir” and work as the Northeast PA ACDA chair. Retirement is indeed wonderful! You choose what you want to do and when you would like to do it and then you find that sometimes there are not enough hours in the day to do everything. Our May General Membership meeting date HAS BEEN CHANGED TO MAY 22nd. It will be held at the House-by-the- Sea in Ocean Grove. NJ Our gracious hosts will be Alyn and Sally Heim. Our guest speaker will be Jim Hurley, Director of Learning and Development from the Comcast Beltway Region. Jim has defined strenghts in organizational development, curriculum development, trainer development and in creating and delivering supervisory management, and leadership programs. Hurley has a rich background in education and telecommunications training. He started his career teaching Industrial Arts, Vocational Education and Technology Education in Morris county. The meeting starts at 10:15 am. I would like to thank my Executive Board for all their help, support and efforts during my Presidency. Our new President as of July 1st will be Beverly Robinovitz and President-Elect will be Kathy Spadafino. They will make a great team! Beverly Robinovitz will be an outstanding President as she has many years of experience with NJMEA; she is extremely well organized, pays attention to detail and gets things done. I wish Beverly all the best as she assumes the position of NJMREA President.
Summer Workshop Joe Akinskas JoeA_NJMEA@comcast.net Summer Workshop Coordinator
Summer Workshop VI As announced previously, Summer Workshop VI will take place on Tuesday, August 6, 2013, from 8:00-4:30 pm. All activities will take place in the TCNJ Music Building on the College of New Jersey campus in Ewing. Below you will find the updated session topic roster for the event although proposals are still forthcoming. 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. The registration form can now be found on the NJMEA homepage under conferences, as well as on page 74 in this edition of TEMPO. I encourage you to register immediately, before summer mode takes over! We will send you an electronic reminder as the workshop draws closer. 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 Conference link.
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& News From Our Division Chairs & NJMEA Summer Workshop VI Tuesday, August 6, 2013 The College of New Jersey 8:00 – 4:30 p.m. Workshop Sessions CHORAL: • Elementary, Middle and High School reading sessions SPECIAL ED: • Cross-Curricular Approach to Learning for special learners in grades K-5 • Lessons and Activities for special learners in Pre-K and Early Primary • SPED Techniques and Issues Roundtable CLASSROOM MUSIC: • Drum Circle • Student motivation • Musical theater for the middle school • Revitalizing middle school general music-2013 • Songwriting in the Elementary Classroom • Orff Applications and Activities INSTRUMENTAL MUSIC: • Turning Drummers Into Percussionists • Percussion Care and Maintenance 101 • Basic instrument maintenance and repair: Quick fixes. Know when to stop and send it to the shop! • Technique sessions for the non-stringistbrassist,-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.) • Differentiated instruction in the string classroom • Music Teacher, Can we have a guitar class?” • Infusing audiation into the elementary instrumental program TEMPO 20
• Leading the Way - Band: Academic or Activity • Alternative Rehearsal Techniques for Middle School Band • Developing curriculum and lesson plans that reflect our NJCCCS and encourage higher level thinking beyond the basic skills of instrumental music performance. TECHNOLOGY: • Use of technology in the elementary classroom-how, why? • iPod/iPad App sessions • Notation software Applications and Tips • Smart Music Techniques • Creating with Garage Band/Mixcraft • Google Apps for the Music Educator SPECIAL TOPICS: • Body Mapping • Student achievement tied to evaluations: Strategies For Coping With The New Evaluation Systems • Navigating the standards • How to test in non-tested areas Bonus Events *Breakfast and Lunch *Rachel’s Mega-Raffle *Full day of Collegial Networking and Camaraderie *Closing Coffee and Dessert Reception, sponsored by Jacobs Music Company
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& News From Our Division Chairs & Young Composers Competition Robert Frampton NJMEA Past President email@example.com
The 2012-2013 NJMEA Young Composers Competition Finalists were recognized at the annual critique session held during the February Conference, and presented with awards and certificates. There were two middle school and three high school finalists this year. Nicholas McConnell from John Witherspoon Middle School in Princeton was recognized for his composition “A Farewell to Mandarin,” and Kevin Chen from Rosa International Middle School in Cherry Hill was recognized for “The Elements of Nature.” Webster Gadbois from Princeton High School became a Finalist based on three compositions: “Silver Moongrass,” “Arcus,” and “Oceania.” Christopher Li from Millburn High School was recognized for the composition “Lunaire” and Matt Wang from Glen Rock High School was recognized for “Flight.” Congratulations to Webster Gadbois, who was awarded the Grand Prize for “Arcus,” a chamber ensemble work for flute, clarinet and string quartet. Renowned New Jersey composer, Patrick Burns, led the critique session focusing on the inspiration and compositional techniques used by the student composers. Congratulations to all of our student composers and their teachers. The committee has been extremely impressed with the quality of the student compositions that included solos, and both small and large ensembles. Application and submission guidelines for the 2013-2014 competition will be posted on the NJMEA website in addition to the audio files of Finalists from the last four years. Music teachers are encouraged to bring this program to the attention of their students and assist them with the application process. My thanks to the committee members, Andrew Lesser, Jeff Bradbury, Doug Laustsen and Patrick Burns for their assistance in developing this very successful program. Composer Pat Burns discussing the composition “Arcus” with NJMEA Young Composers Composition Competition Grand Prize winner Webster Gadbois from Princeton High School.
The Many Benefits of Music Education—Tips to Share with Your Principal Here are some simple ways principals can assist their school’s music educators: CREATE AND FOSTER AN ENVIRONMENT OF SUPPORT: • Study the ways that music education develops creativity, enhances cooperative learning, instills disciplined work habits, and correlates with gains in standardized test scores. • Provide adequate funding for instruments and music education materials. COMMUNICATE CONSTRUCTIVELY • Encourage music teachers to support their cause by writing articles in local newspapers, professional journals, or by blogging online about the value of music education. • Share your students’ successes with district colleagues.
Visit www.nafme.org for more Principal Resources.
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NJMEA 2013 Awards by Joseph Jacobs NJMEA President-Elect 609-335-6429 firstname.lastname@example.org
2013 NJMEA School Administrator Awards
t the NJMEA conference luncheon on February 22, 2013 two outstanding school administrators were recognized for their support and commitment to music education. Both of these educators have made a dramatic impact in their school communities. By using their skills and talents as administrators they have made a difference by stressing and advocating the importance of music education in their schools.
Hoopes’ commitment and advocacy for music education has inspired students and teachers to attain their musical goals. He was nominated by Jim Ludlam and Kahil Gunther. Loretta Bellina, Superintendent Cresskill Public Schools (pictured Joe Jacobs, Loretta Bellina, Keith Hodgson)
Scott Hoopes, Principal Woodstown High School (pictured Joe Jacobs, Scott Hoopes, Keith Hodgson)
Scott Hoopes has been the principal of Woodstown High School since 2002. He is an advocate for music education and supports the efforts of the music faculty and students. Woodstown HS has been the site of the South Jersey Chorus auditions and the Cadets Drum and Bugle Corps auditions and rehearsals during his tenure. Hoopes has supported key purchases for the music department including new band uniforms. He has upgraded the lighting, sound, and electrical systems in the school auditorium to help meet the needs of the music department. The purchase of new lab furniture for the music technology room and creating a rehearsal space for recording and small group instruction is another example of his commitment to music education. He is currently supporting an initiative to increase the music faculty. Woodstown High School expansive music curriculum includes concert band, marching band, chorus, choir, music theory, music appreciation, and music technology. The co-curricular performing groups are the woodwind ensemble, brass ensemble, jazz band, women’s choir, chamber choir and men’s vocal ensemble.
Loretta Bellina has been the superintendent of the Cresskill Public Schools for five years. Under her leadership the district wide Fine and Performing Arts department has undergone a complete transformation. Her financial commitment to the music program has included a new state of the art choral room; renovations to the auditorium and band room; new band and color guard uniforms; tuxedos and gowns for the select choir; and a music lab with state of the art technology. The total cost of improvements invested in the music program for the past four years is $650,000. In addition she has created a fully functional television studio and a digital photography lab in the district. The music program includes the highly acclaimed marching band, concert band, chorus, select choir, and music technology. The music staff describes Bellina as “student centered in all her decisions.” She has shown a wonderful passion for the music and arts program. Her experience as a musician includes playing the baritone horn. Bellina is the central advocate for arts education in the Cresskill School District and community. She was nominated by John Von Glahn.
2013 NJMEA Distinguished Service Awards
he 2013 NJMEA Distinguished Service Award was presented to 8 outstanding music educators. This award recognizes our colleagues who have honored themselves with faithful service to music education in New Jersey. These ladies and gentlemen are excellent role models and are certainly a credit to our profession.
Rebecca Young, Music Educator Lawrenceville Elementary School
Harold “Bud” McCormick Band Director Jackson Memorial High School
Anthony Scardino is currently in his 34th year as a music educator. He has taught general music and instrumental music at the middle school level. He has directed the chorus and the band during his tenure at Indian Mills School. Tony has been the Olympic Band Conference registrar for the past 20 years. His involvement in the South Jersey Band and Orchestra Association includes 17 years as junior high band auditions chair and the past 12 years as an executive board member and treasurer. His NJMEA involvement includes chaperone for the all state band. He was nominated by the SJBODA Executive Board. Charles Tobias Former Director of Bands Randolph High School
Bud McCormick started his career as a music educator in 1979 where he was the band director at Abraham Clark High School. In 1983 he began his 29 year tenure in the Jackson School System. His marching bands have received over 250 first place trophies and have performed in many prestigious parades including: the Presidential Inaugural; Tournament of Roses; Cherry Blossom Festival; and the Philadelphia Thanksgiving Parade. The Jackson Memorial High School Marching Band has been recognized for excellence by five New Jersey Governors and Congressman Chris Smith. McCormick performed with the DCI and DCA world champions Santa Clara Vanguard and the “Reading Buccaneers.” He was nominated by Andrew Veiss.
Rebecca Young has been a music educator for 30 years including 23 years at Lawrenceville Elementary School. She is an active participant in the school’s character program and was instrumental in the school being designated a National School of Character. Rebecca is a music advocate in her community, always publishing articles and photos of school concerts in the local papers. She started a 3rd grade hand chime ensemble at the elementary school which has expanded to a hand chimes ensemble at the intermediate school. Young is a recipient of the NJ Governor’s Teacher Award. She was nominated by Melissa Clark. Anthony Scardino, Music Educator Indian Mills School Charles Tobias was the director of bands at Randolph HS from 1974 until 1999. His wind ensemble and symphonic band received superior ratings in every festival they participated. The wind ensemble was selected in 1998 and 1999 to perform in the NJ Gala Concert. The jazz band and marching band received numerous first place awards during his tenure at Randolph. Tobias conducted the NJ Region 1 band in 1975 and 1996 as well as the Region 1 and Region 2 junior high bands. He has been a clinician at the NJEA and NJMEA conventions and was inducted into the Hamburg Area Fine Arts Hall of Fame. He was nominated by the All State Band Procedures Committee. 25 TEMPO
2013 NJMEA Distinguished Service Awards James Jameson Associate Director NJEA
Walter Moore taught at MasontownValley School in WV, West Fairmount Schools, Morris Hills HS, Hanover Park HS, Bernards HS, Chatham HS, and Roxbury HS. His ensembles performed at the Mid-East and Mid-West National Band Clinics. Walter was a former President of the American School Band Directors Association and the 1st NJ band director to conduct the NJ All State Symphonic Band. He adjudicated bands in NJ, PA, WV, VA, RI, CT, TN, SC, and NY. Moore conducted ensembles at the Northern West Virginia Festival and Georgia State University. He was posthumously nominated by the All State Band Procedures Committee.
James Jameson is a former music educator who taught instrumental music for 29 years. He was the band director at Cumberland Regional HS and Deptford Township School. He held numerous positions in South Jersey Band and Orchestra Association including junior high Auditions Chair, Secretary, and President. Jim also held numerous positions in the Olympic Band Conference including Auditions Chair, Treasurer, Host, and Conductor. Jameson has served as a member of the NJMEA Board of Directors and Assistant Exhibits Manager for our convention. He was nominated by the All State Band Procedures Committee.
William McDevitt Music Educator Vineland High School
Walter F. Moore Music Educator
Accepting the award was Chip Moore
William McDevitt has been a music educator for 27 years with 25 of those years at Vineland. He currently directs the marching band, and symphonic band. He teaches three levels of music theory and two classes of a humanities based course titled “Arts and the Artist”. Bill received the Governor’s Award for Leadership in the Arts in 2012. He has held numerous positions with South Jersey Band and Orchestra Association including President. McDevitt has been a member of the NJMEA Board of Directors for the past 10 years and has represented NJMEA at National and Divisional events throughout the country. Bill is the immediate Past President of NJMEA. He was nominated by the All State Band Procedures Committee.
Deborah Sfraga Music Educator Ocean Township Intermediate School
Deborah Sfraga has been a music educator for 37 years. She currently directs the Seton Hall University Band and teaches middle school band in Ocean Township. Debbie has held numerous positions on the NJSMA Board including band auditions chair and recording secretary. She has been on the NJMEA Board of Directors since 1987. She is currently the Executive Secretary-Treasurer of NJMEA, a position she has held for the past 13 years. Debbie has conducted the NJSMA Junior High Band and the All-Sussex County High School Band. She received the Governor’s Award for Leadership in Music Education and has served NJMEA as the representative to the NAfME State Executives group for over 25 years at National and Divisional meetings. She was nominated by the All State Band Procedures Committee.
It’s Only A Blueprint by Paul J. Caliendo Point Pleasant Borough Schools email@example.com
s a music educator for over 30 years I have learned that staying informed and enthusiastic is essential. Some years I am able to take summer courses and some years I am able to attend the NAfME Eastern Conference. But every year I find myself eagerly looking forward to the NJMEA In-Service. It is a wealth of information, affordable, convenient and, perhaps most importantly, a very enjoyable way to recharge my batteries. This year’s NJMEA Conference was certainly no exception. One of the excellent workshops I attended was “Preparing Your Ensemble For Expressive Performance”. The clinician was prolific composer Robert Sheldon, who writes wonderful, challenging, educationally strong and very beautiful music for every grade level from beginner to advanced. He offered some refreshing and creative ways to bring out the best in a group’s performance and I am eager to use those ideas with my own elementary band. After the clinic I had the opportunity to spend a little time with Sheldon. We talked by the podium for a bit and then we continued to chat as we went together down in the elevator and walked to the exhibit floor. I shared something with him that, to my surprise, he told me he had not heard expressed before and he liked the idea very much. It later occurred to me that other music educators might not have encountered this approach. Then, when I read Tom Mosher’s message in the March TEMPO encouraging the submission of articles, it prompted me to share. It has been my experience that even with the best of techniques and approaches, if a student does not become personally involved and strongly committed to his or her place in a performance, the ideas for improvement will not truly take root. The MAY 2013
students have to intrinsically want to make the music better in order to get the maximum benefit from any suggestions. The following is what I tell my students and I have taught every level from beginning band to high school. At some point in the year, at times early on and other times closer to concert time, I will be explaining something and inevitably I can tell that the message is not really getting across. I will take my score, or sometimes a part off of one of the stands, hold it up to the band and ask, “What is this?” Almost always I will get, “It’s music.” To which I reply, “No. This is just a piece of paper with a bunch of lines, dots and silly looking marks on it. YOU are the music. Without you and what you make with this, there can be no music.” It is always a moment when I can see the light bulbs go on. It’s really very cool. A printed page is no more music then a blueprint is a house. In the hands of a skilled carpenter, a blueprint can produce something of great beauty; but it’s useless unless someone can read it and has the skill with tools to build as it directs. Music is very much the same. I try desperately never to say, “Take out your music.” It takes practice, but I have trained myself to say, “Take out your charts”, or “Take out your song sheets.” Over the years I have had parents tell me about how their child came home and said with a great deal of pride, “Mr. Caliendo said I am the music!” and it always makes me smile. I refer to this idea with the students from time to time during the year. I know they like it and it gives them ownership of their performance so they pay much better attention when they can learn ways to improve it. And I know it will certainly help me get some of Bob Sheldon’s ideas across to
my band. This year we will be performing his composition “Of Distant Peaks”. I can’t wait to see how proud my “music” will be to play it.
& Need information about your NAfME membership?
Contact NAfME Member Services at 1-800-336-3768 or MemberServices@ nafme2.org
www.nafme.org Music Education Orchestrating Success
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 • Applicants for Spring and Fall 2013: December 1 • Early action for Fall 2013: February 2 & 16 • Regular applicants for Fall 2013: March 2 • Transfer applicants for Fall 2013: March 30 Classical Strings only: • Tuesday, November 27, 2012 • Tuesday, February 12, 2013 • Saturday, March 2, 2013 • Tuesday, March 26, 2013 For More Information: firstname.lastname@example.org 413-545-6048
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NJMEA SALUTES NEW JERSEYâ€™S OUTSTANDING MUSICIANS The New Jersey Music Educators Association is proud of the hundreds of NJMEA members who sponsor the many thousands of students who audition for Region and All-State ensembles during the year. Listed below are the 919 outstanding musicians who were accepted into the 2012-2013 New Jersey All-State Performing Ensembles. Many hours of practice and preparation have been spent by the students and the teachers who have helped these students attain this noteworthy goal. We congratulate everyone who have been a part of these activities.
Lauren Kim Vikram Kalghatgi Rebecca Slater Emily Wang Joyce Lu Annie Gao Dahmin Lim Catherine Chen Victor Zhang Kathleen Lee Amabel Kim Jessie Lee Kelly Chen Grace Kim Alexandria Zeng Angela Huang Madison Lai Sophie Woodward Janice Noh Susanna Kim Winston Chen Louise Choi Michael S. Li Phoebe Chen
Warren MS Annin MS Kent Place School Terrill MS Hillsborough MS Witherspoon School Hammarskjold MS Warren MS Hammarskjold MS Case MS Marlboro Memorial MS Edgar MS Wilson MS Franklin MS Community MS Community MS Community MS Highland Park MS Rosa International MS Community MS Satz School Annin MS Satz School Warren MS
Trisha Kaundinya Bridgewater-Raritan Reg. MS Jemmie Tsai Franklin MS Lillian Usadi Annin MS Christina Oh Hammarskjold MS Andrew Pai Harrington MS Jenna Kim Indian Hills HS Grace Wu Adams MS Jake (Jae-kun) Kim Cole MS
David Kwon Rosa International MS Kathryn Song Montgomery Upper MS Ezra James T. Capiral Brown MS Apoorva Balaji Community MS Catherine Wang Community MS Sung Hyun Mo Franklin MS Joanna Kuo Carusi MS Soo Min Chung Edison IS Julia Li Adams MS Shannon Chen Franklin MS Georgi Georgiev Fernwood Avenue MS Sarah Kim Rosa International MS Leslie Chang Randolph HS Crystal Chiu Marlboro MS Michelle Zhu Annin MS Brian Soong Annin MS Viola
Brian Zeng Warren MS Ji Won Lee Community MS Caroline Huang Bridgewater-Raritan Reg. MS Cynthia Chen Adams MS Catherine Luu Annin MS Grace Kim Summit MS Aneree Rathod Churchill JHS Allison Chien Community MS Olivia Scott Wall IS Mira Yang Roosevelt IS Jasper Lee Lazar MS Celina Zhou Hammarskjold MS Christie Kim Cole MS Mimi Laws Summit MS Heejoo Chong No. Valley Reg. - Demarest Renhang Wang Allen MS
Nicholas Jin Witherspoon School Joanna Kim Crossroads MS Robin Park Community MS Peter Park Tenakill MS Alex Kim Timberlane MS Sabine Jung Montgomery Lower MS Daniel Kim Crossroads MS Ashley Kang Montgomery Lower MS Alice Fang Adams MS Amy Liang Edison IS Richard Yuan Community MS David Grosmick Orchard Valley MS Ryan Mak Madison HS Sanghyun Lee Round Valley School Sarah Pollock Glooucester County Christian School Stephanie Zhou Montgomery Upper MS Bass
Griffin Fink Sami Jamieson Hannah Lynne Perron Jon Paul Bernabe Elizabeth Bishop Anais Maasland Zachary Gould
Franklin MS Orchard Valley MS Community MS Franklin MS Rosa International MS Allen MS Mendham Twp. MS
Alex Wang Scotch Plains-Fanwood Mitchell Dominguez Cherokee Abigail Hong Cherry Hill East Nicholas Xu New Providence Hanna Seo Stevens Jingyan (Cindy) Xiao W.field Allan Wang Bishop Eustace Prep Christopher Chen Summit Brendan Wu Stevens Jasper Tyan W. Windsor-Plainsboro South Matthew Liu Marlboro Brian Chan W. Windsor-Plainsboro North Xiaobo Yang Madison Yunhee Kang Ridge Caroline u Middletown South Yuji Sugimoto New Providence Grace Lee Moorestown Jessica Yu East Brunswick Katie Lim Ridgewood David Lee Tenafly Jabin Choi Bergen County Academies Matilda Zhang Paramus Evan Pasternak Academy Informational Tech Kenneth Kao Stevens Jaesung Son Ridgewood Eui Hyun Kim High Technology James Lin Bridgewater-Raritan Hyungbin Daniel Jang Cherry Hill East Emily Chen Bergen County Academies Zihao Mi East Brunswick Young Hun Kim Ridgewood Kristin Hauge W.field Jonathan B. Chen Livingston Valerie Bai Morristown Ethan Gritz Delbarton School Yeseo Han Bergen County Academies Sean Yoshida Fort Lee Grant Gardner Millburn Nina Anwar Newark Academy Hannah Park Millburn Albert Zeng Watchung Hills Reg. Austin Chen East Brunswick Seung Eun (Mimi) Lee Bridgewater-Raritan Christina Qiu Livingston Seo Hyeon Park Wayne Hills Annalena Ping W. Windsor-Plainsboro South Matthew Wong W. Windsor-Plainsboro South Charles Wu W. Windsor-Plainsboro North Viola
Tess Jacobson Bridgewater-Raritan Joseph Burke South Brunswick Krishna Sasank Mallem W. Windsor-Plains. So. Christopher Li Millburn Eliot Kim Marlboro Linda Zhuang Bridgewater-Raritan Victor Li Watchung Hills Reg. Kyung Hwa Stephanie Jeong Bergen Cty Acad. Daniel Qian East Brunswick Edmond Wu Paramus Cindy Gong Union County AAHS
Jasmine Pak Derrick Lin John Li Johanna Nowik Kevin Pu
Glen Rock Cherry Hill East Millburn Home School Stevens
Max Lauring Bergen County Academies Tzuriel Tong W. Windsor-Plainsboro South Eric u W. Windsor-Plainsboro North Andrew Ma W. Windsor-Plainsboro North Sumin Lim East Brunswick David Ryu Bergen County Academies Amy Chang Montville Township Jigo Lee W. Windsor-Plainsboro North David Kim Tenafly Elizabeth Lee Eastern Reg. Jeremiah u Mountain Lakes Alexander Chang Stevens Michael Wang W. Essex Reg. Caylynn Yao Randolph George Ye Scotch Plains-Fanwood Surekha Gurung Madison Bass
Matthew Troiani Rishi Khera Yun-Ah Park Nova Friedman Rachel Lesser Brian Yee Markus Lang Conor Oâ€™Hale Andrew Shimm David Sahar
Haddonfield W. Windsor-Plainsboro South W. Windsor-Plainsboro South W. Windsor-Plainsboro South Bridgewater-Raritan W. Windsor-Plainsboro South Allentown Millburn Tenafly Tenafly
Kevin Sun East Brunswick Hyerin Kim Cherry Hill East Sujin Oh Northern Valley Reg. at Demarest Alison Fierst Point Pleasant Boro W. Windsor-Plainsboro South
The Lawrenceville School
David Choi Tiffany Huang Peter Jin Emily Chen
Mahwah Holmdel Sparta Morris Knolls Stevens
Amy Girtain Chris Chan Jordyn Gallinek Stephanie Zhou
Home school Ridge Clearview Reg. Stevens
Kevin Ayres Lauren Robinson Emily Galow Ross Alexander Jonathan Sales Christian Marino Joe Bacich Isabel Kaspriskie
Ramapo Newton Mahwah Scotch Plains-Fanwood New Providence Jefferson Township Paramus W. Orange
Bret Magliola Zachary Paulus Daniel Molloy Clayton Beyert Timothy Gallagher David Ingersoll
Mahwah Pt. Pleasant Boro Verona W.field North Hunterdon Mahwah
Jackson Bahr Andrew Ye Robert Wang Jeffrey Sharoff Nathan Gould Rebecca Andrews
Watchung Hills Reg. Stevens Stevens Allentown Lakeland Reg. Cherokee
Matthew Wolffe Neil McNulty
Toms River North Stevens Summit Stevens
Robert McNamara Christian Lopez Tom Martin Austin Ridoux Taylor Newman
Stevens Piscataway Pt. Pleasant Boro Wall Voorhees
Eric Just Kevin Liu Dylan James Rachel Diao
Katy Wong Joan Lee
Soprano I Alexandra Barbera Randolph Erika Belanger Pennsville Memorial Heather Birmingham North Hunterdon Lindsey Burton Egg Harbor Township Morgan Castle Roxbury Amy Chipko Roxbury Sarah Cole Edison Nicolette Corrado Kinnelon Michele Currenti Mountain Lakes Sara DiDiego Ridge Sara Dâ€™Iorio Bergen County Academies Sarah Ethridge Chatham Kessie Rae Farnath Audubon Rebecca Fisher Cherry Hill East Frances Gayle Fuentes Bergenfield Anna Harris Kingsway Reg. Mia Henderson Audubon Patricia Irwin Cherry Hill East Rachel Jufer Roxbury Catherine Kelly Ridge Ilana Klein Howell Sarah Korath River Dell Reg. Elyse Kosinski Immaculata Jamie Kwan J.P. Stevens Collette LeBoeuf Immaculata Cayla Mabie North Hunterdon Meghna Mendu North Hunterdon Shannon Morgan Governor Livingston Victoria Nachevnik Millburn Sruthi Nanduri J.P. Stevens Kaitlin Norris Roxbury Nicole Papetti Randolph Nicole Kwan Ponciano Parsippany Erin Porter Kittatinny Alessia Santoro Governor Livingston Demetria Sardo River Dell Reg. Julia Shapiro Holmdel Elisabeth Siegel Cherry Hill East Katie Snow Woodbury Sarah Thomson Chatham Kaamya Varagur J.P. Stevens Kate Volpe Buena Reg. Molly White Woodstown Patricia Wilson Northern Highlands Soprano II Gabrielle Allegro No Valley Reg - Demarest Ashley Avicolli Rutgers Prep Harmony Chau Parsippany Hills Greta Colman Gateway Reg. Rachel DeChiara Newark Academy Lucy Esposito Cranford Marissa Ferrara Bergen County Academies Emily Gilliam Kingsway Reg. Lauren Goldman Randolph Hayley Goodman Cranford Olivia Haleblian Mountain Lakes Emma Hathaway Bergen County Academies Allison Hecht Westfield Olivia Higbee Egg Harbor Township Rachel Hobble Watchung Hills Reg.
Brynn Johnson Summit Madison Kaigh Eastern Reg. Michaela Kelly Hunterdon Central Reg. Natasa Kostic Holmdel Kristen Kozma Robbinsville Alicia Lai Holmdel Daniella Lau Cherry Hill West Katherine Merwin Morristown Alexandra Morren Spotswood Anna Mourovannyi Cherry Hill West Laura Mullaney Randolph Jenna Najjar Howell Kathryn Naples Hunterdon Central Reg. Nathalie Niggli Randolph Nicole Peak Cinnaminson Marissa Plati Morris Knolls Victoria Policht Northern Highlands Kaitlin Quann Randolph Aparna Raghu Millburn Caitlin Ross Randolph Erica Rossetti Randolph Sophia Rowland Hunterdon Central Reg. Kristen Rutigliano Howell Maria Servodidio Moorestown Lauren Tolentino Bergenfield Gina Tonno Hackettstown Cristina Tsanas Summit Sabrina VanVliet North Brunswick Julia Whary Ocean Township Riley Yaniak Spotswood Alto I Laura Barreto Bergen County Academies Stephanie Berman Cherry Hill East Aisvarya Chandrasekar J.P. Stevens Miranda Contreras-Peterson Hightstown Abigail DiVito Cherry Hill West Katherine Freedman No Valley Reg - Old Tappan Marisa Frigoletto Howell Lauren Galamay Edison Louise Gallagher Voorhees Katie Gordon Cranford Caroline Haar No Valley Reg - Old Tappan Nicole Haarklau West Milford Twp. Raejean Hill Deptford Emily Hinkson Gateway Reg. Zabrielle Holloway Audubon Rachel Horner Eastern Reg. Najalyn Idehen J.F. Kennedy Memorial Megan Kalberer Eastern Reg. Olivia Kan Bridgewater-Raritan Minae Kang Ridgefield Memorial Isabelle Kim North Jersey Home School Bhupali Kulkarni South Brunswick Joohee Lee Ridgefield Memorial Natalia Maccaroni Robbinsville Jade Maccini Mainland Reg. Kellyn Madden Haddon Township Lauren Magsaysay Livingston Uma Mahalingam No Valley Reg - Old Tappan Juilee Malavade North Brunswick
Paige Mankin Scotch Plains-Fanwood Elizabeth Maszczak Voorhees Julia Mendes Scotch Plains-Fanwood Emily Miller Scotch Plains-Fanwood Nicole Myers Cinnaminson Julianna Peacock Ridgewood Natalie Persia Delsea Becca Rapp Pennsville Memorial Alexis Rodriguez Absegami Maria Roscoe Bishop Eustace Prep Caitlin Torres East Brunswick Stephanie Turci West Morris Central Julia Waldman Cherry Hill East Haley Wendt Hammonton Alison Wolfer Paramus Alto II Samantha Adams Lenape Katie Arnold High Point Reg. Hanna Balatero Newton Gabrielle Beeferman Kinnelon Lexi Cubberley Lawrence Kaitlin Demarest Woodstown Madeline DiGiovanni Mountain Lakes Mariana Duenas Bergen County Academies Samantha Eisdorfer Roxbury Anna Lorraine Espinoza Somerville Nicolette Fino Howell Erica Gibbons Passaic Valley Rachel Goldstein Rutherford Liz Griesmer Westfield Corinne Hoopes Woodstown Kyu Jin Jang Fort Lee Lauren Kilcullen Scotch Plains-Fanwood Joo Young (Julia) Kim Northern Highlands Olivia Kim Bergen County Academies Carolyn Kirsch Audubon Seanna McCall Cherry Hill East Emily Melberger Sparta Megan Myers Chatham Lauren Panzarino Watchung Hills Reg. Yubin Park Bergen County Academies Mukta Phatak Governor Livingston Lauren Plawker No Valley Reg - Demarest Sara Reich West Milford Twp. Christina Rogado J.P. Stevens Liz Rosa Roxbury Samantha Scalia Haddon Township Kelsey Seaman Howell May Shum Tenafly Meghan Smith Howell Kayla Spector Scotch Plains-Fanwood Rebecca Stout Woodstown Danielle Sulit East Brunswick Alyssa Tryon Roxbury Tenzin Tsepel Watchung Hills Reg. Kylie Turner Morris Knolls Lauren Weber Howell Natalie Wulderk Woodstown Cynthia Yi Moorestown Casey Zebrowski Cranford
Tenor I Karlito Almeda Jonah Bannett Joshua Bodanza Gastine Bugtong Alex Carr Vincent Caruso Tyler Cesario Connor Cheney Joseph Clement Mario Delano Anthony DeSena Ryan Doherty Matthew Fertakos Logan Forsythe Daniel Javier Takashi Johnson George Kamenakis Justin Kilpatrick Michael Kirkland Olesh Krul Shaun LaBoy Steven LaMaita David Latimer Douglas Morgan Michael Nitting Cooper Nock Matthew Peters Bradley Przedpelski Donnell Recuerdo Brandon Simanski Duncan Sy Isaiah Velazquez Geddy Warner Billy Woodrow David Zarish,II Dennis Zhang
Mahwah Cherry Hill East Overbrook Reg. Senior Bergenfield Hunterdon Central Reg. Cedar Grove Winslow Township Scotch Plains-Fanwood Parsippany Hills Ocean Township Hanover Park Kittatinny Chatham Audubon J.F. Kennedy Memorial Overbrook Reg. Senior Pennsville Memorial Cranford Westfield West Morris Central Mainland Reg. Governor Livingston Overbrook Reg. Senior Roxbury Chatham Roxbury West Morris Mendham Summit Bergenfield Voorhees River Dell Reg. Edison Cranford Newton Allentown J.P. Stevens
Tenor II Guillem Alegre Parsippany Hills Samuel Alexander North Jersey Home School Matthew Barrett Bergen County Academies Erik Bergstrom Toms River East Eric Chen Cherry Hill East Benjamin Currey Ridgewood Jamie Currie New Providence Panayiotis Dimopoulos Scotch Plains-Fanwood Benjamin Dutton Morris Knolls Charles Ehrenfried Millburn Daniel Fanelli Cedar Grove Scott Fishkin Mahwah Andrew Gavin East Brunswick Sam Gersho Millburn Michael Giffone North Jersey Home School Augustine Glazov Montgomery Ryan Gorman Immaculata Michael Grant Roxbury Pulkit Gupta Northern Burlington Reg. Justin Horgan J.P. Stevens
Louis Jannuzzi Tyler Johnston Omkar Joshi Devin Kenney Adam Kohane Nolan LaFountain Matthew LeBoeuf Frederick Lee David Lo James Loewen Richard Lu Derek Lynch Ethan Lynch Matthew Lynn Alexander Marrone Patrick Martini James McKee Gregory Melillo Shiv Nadkarni Ian Nadler Dante Pasquale Aaron Rothman William Scheibe Thomas Smith Andrew Wichman Alex Wilke Carter Woodiel Aaron Zweig
Immaculata Morris Knolls J.P. Stevens Cranford River Dell Reg. Overbrook Reg. Senior Immaculata Hunterdon Central Reg. River Dell Reg. Somerville J.P. Stevens Woodbury Randolph Westfield Haddon Township Red Bank Reg. Newark Academy Newark Academy J.P. Stevens Randolph Hanover Park Howell Moorestown Roxbury Morris Knolls Ridge Columbia Randolph
Bass I Adam Barrameda Roxbury Jon Betti Hunterdon Central Reg. Kishan Bhatt J.P. Stevens Zachary Blomster West Morris Mendham James Burbank Monroe Township Ryan Burd Cranford Jim Calderon Bergenfield Brian Choi Ridgefield Memorial Jonathan Clancy Westfield Jonathon Dawson Scotch Plains-Fanwood Jason Diaz Allentown Patrick Doheny Gateway Reg. Connor Doherty Kittatinny Kyle Dunn Leonia Isaiah Ellis Cherry Hill West Evan Fleming Cinnaminson Mitchell Folan Parsippany Hills James Forrestal Cranford Daniel Grant Watchung Hills Reg. Dominick Guido Robbinsville Chavin Haines Ridgefield Memorial Nicholas Horne Middletown North Anthony Joo Millburn Isaac Kim North Jersey Home School Joseph Kuperschmidt Eastern Reg. Joseph Larkin East Brunswick Jarred Lee Bloomfield Jonah Levinson Cherry Hill East Alejandro Munoz Pennsville Memorial
Jae Woong Noh River Dell Reg. Mike Parisi Overbrook Reg. Senior Nathaniel Poblete Edison Matthew Ross Roxbury Bailey Savoy Hamilton East (Steinert) Thomas Schreck Morris Knolls Arjun Shankar Eastern Reg. Timothy Shim Montville Zachary Silver Lenape Samuel Stern J.P. Stevens Joseph Sutker Mountain Lakes Eric Tam Parsippany Evan Taylor Haddon Township Andrew Vitovitch North Hunterdon Alexander Watson Roxbury Leonid Weismantel Northern Burlington Reg. Albert Weitz Wallkill Valley Jared Zak Boonton
Bass II Tyler Aceto Audubon Alexandre Barbet Wardlaw-Hartridge School Noah Belmont Cranford Caleb Broyles West Morris Central Daniel Cheng J.P. Stevens Cyril Choi J.P. Stevens Sean Dale South Hunterdon Reg. David Domingo Bloomfield Donte Harris Overbrook Reg. Senior Ely u Northern Highlands Ye Chan Jeong Nutley Ji Yong Jung Ridgefield Memorial Jeffery (Yumin) Jung Academies @ Englewood Wan Jong Kim Ridgefield Memorial Jesse Klein Madison Geoffrey Ko Westfield Harshat Kumar J.P. Stevens Ryan Lasker Mahwah Vincent Legaspi J.F. Kennedy Memorial Lin-Bong Li J.P. Stevens Jonathan Lo Montgomery Lucas Marin Highland Park Jonathan Moran Jefferson Twp. Ross Mulcahy Scotch Plains-Fanwood Kevin Naser Wallkill Valley Matthew Oâ€™Donnell Nutley Douglas Park J.P. Stevens Mitchell Poon No Valley Reg - Old Tappan Gabriel Price Watchung Hills Reg. Nicholas Puig Northern Highlands Dale Roeck II Ocean City John E. Roper New Providence Ariel Sanchez Bergenfield Samuel Tucker South Hunterdon Reg. Jonathan VanDongen Hackettstown Justin Yen North Jersey Home School Nicholas Youmans Montgomery
Princeton Day School
Kevin Sun East Brunswick Sujin Oh Northern Valley Dem. Melissa Danitz Chatham Reina Hoshino East Brunswick Anna Chen JP Stevens Cheryl Chang JP Stevens Amy Tsai West Windsor-Plainsboro South Jennifer Baik Tenafly Amanda Kam Millburn Leanne Friedman Cherokee Hyerin Kim Cherry Hill East Cynthia Tsai JP Stevens Oboe
David Choi Dahee Lee Peter Jin Henry Wu English Horn Elyse Kuo Jenna Schad
Mahwah Paramus Sparta JP Stevens Millburn Eastern Reg.
Benjamin Lawrence Scott Gulbin David Marino
Whippany Park Bridgewater-Raritan Southern Reg.
Michelle Chen JP Stevens Emma Grey Bernards Taylor Rich West Morris Mendham Hee-Sung Kim Bergen County Academies Ji-Yun Lee Pascack Hills Raymond Hu Montgomery William Kang Bergen County Academies Daniel Philipscheck Bridgewater-Raritan Jason Xu Churchill Junior Eric Zhou East Brunswick Jacob Choi Millburn Scott Johnson Immaculata Katarina Wang Churchill Junior Jane Dai Princeton Jacqueline Dragon Tenafly Ji-Sung Kim Bergen County Academies David Landy South Brunswick David Yang Princeton Timothy Han Bridgewater-Raritan Jacqueline Quan Union Catholic Tania Yu Randolph Minseo Kwak Acad. of Allied Health Sciences Lawrence Lin Parsippany Sean Lucianna Fair Lawn
Kaajal Sagar Steven Xie Robert Lavroff Stefan Lim
Mahwah JP Stevens Bridgewater-Raritan JP Stevens
Daniel Page Bianca Dâ€™Agostaro Hajun Cho Maurice Wong
Roxbury Mahwah JP Stevens Millburn JP Stevens Wardlaw-Hartridge School
Emmett Rapaport Ridgewood Kevin Shen Montgomery Ji Woong (Brian) Kim West Windsor-Plainsboro South Phillip Tow Montgomery Tenor Saxophone
David Zhou Judah Axelrod
JP Stevens Scotch Plains-Fanwood
Jeffrey Wu Arpan Bhavsar
Bridgewater-Raritan JP Stevens Woodstown JP Stevens West Morris Mendham Cherokee Allentown Princeton Bridgewater-Raritan
Justin Jones Sung Pil Kim
Amulya Yalamanchili Robert Wang Kevin Casey Andrew Ye Chris Bernt Rebecca Andrews Jeffrey Sharoff Dan Sturm Daniel Costello
Delaware Valley Reg Parsippany Hills
Megan Robinson Newton Devenny Bennett Bridgewater-Raritan Brian Bernotas Morris Hills Phillip Schroeder Rahway Rudy Yang JP Stevens Timothy Gallagher North Hunterdon Christopher Sweeney Verona Alonzo Ryan West Windsor-Plainsboro South Kevin Biernat Clifton Patrick Ferner Westwood Regional Jr/Sr Andrew Roennau Clifton Shaun Ren JP Stevens Nicholas Zecchino Clifton
West Morris Mendham
Jarryd Boyle Laura Rann William Whalen Sara Tatum
Sparta Mahwah Emerson Jr/Sr Bridgewater-Raritan
Tim Burke Corey Lacher Chris Aiello Thomas Galow Brian Prada Nickolas Pasamba
Roxbury Pascack Hills Bridgewater-Raritan Mahwah Clifton JP Stevens
Christian Lopez Benjamin Cornavaca Matthew LeBoeuf Marc Nation Andrew Kain
Piscataway Churchill Junior Immaculata Cherokee South Brunswick
Jasmine Lee Garrett Davis Samuel Hardy
Hillsborough Overbrook Morris Knolls
Isabel Kaspriskie Christian Marino Danielle Staffin Ross Alexander Emily Galow Michael Feusse Alanna Staffin Joe Bacich
West Orange Jefferson Township Bridgewater-Raritan Scotch Plains-Fanwood Mahwah Bridgewater-Raritan Bridgewater-Raritan Paramus
Alison Fierst Jessica Hu Grace Chen Emily Choi
Point Pleasant Boro Marlboro Bridgewater-Raritan JP Stevens
Tiffany Huang Juliette Chu
Deborah Kim Dennis Brookner
Park Ridge Bridgewater-Raritan
Belinda Huang Justin Hong Kevin Liu Abhinay Tirupati Rachel Diao David Choi Allison Ho Nicole Huang Jong Hwan Lee
Chatham Northern Valley Dem. Ridge JP Stevens JP Stevens JP Stevens Bridgewater-Raritan JP Stevens Montgomery
Julia Zou Griffin Charyn
JP Stevens Mahwah
Home School Whippany Park
Mahwah Howell Sparta JP Stevens Glassboro Bridgewater-Raritan Ramapo Somerville New Providence Delbarton School Newton
Jackson Bahr Victoria Rakus Matthew Blauvelt Nikhil Thomas
Nicolaus Schrum Edward Griffin Matthew Wolffe Erik Henricksen
Laurel Meng Anna Slimm Emily Carvalho
Watchung Hills Regional Homeschooled Hillsborough JP Stevens
Millburn Cherokee Morristown Randolph
Nathan Rice- Newark Academy, Alto Saxophone Anthony Nigro- Deptford Township High School, Alto Saxophone Louis Danowsky- Millburn High School, Tenor Saxophone Marc Sturm- Princeton High School, Tenor Saxophone Thomas Allen- Monroe Township High School, Baritone Saxophone
Daniel Sturm- Princeton High School, Trombone Adam Hsiao- Somerville High School, Trombone Thomas Pan- Newark Academy, Trombone Greg Dawson- Overbrook High School, Trombone
Aditya Raguran- Princeton High School, Piano Ben Cruz- Holmdel High School, Guitar Sean Decker- Sparta High School, Bass Ashwin Prasanna- Holmdel High School, Drums
Rebecca Adelman West Morris Mendham Reed Puleo West Morris Mendham Emmanuel Solano Piscataway Alexander Buckler West Morris Mendham Thomas Martin Point Pleasant Boro Paul Lee West Windsor-Plainsboro South
Gabriel Gilch- Allentown High School, Trumpet Andrew O’Connor- Howell High School, Trumpet John Gallo- Glassboro High School, Trumpet Jeevan Farias- Morris Hills High School, Tumpet Phillip Schroeder- Rahway High School, Trumpet
Bridgewater-Raritan Toms River North
Kevin Ayres Ian Clarke Jonathan Sales Nishwant Swami Lauren Robinson
Bret Magliola Andrew O’Connor Socrates Leotsakos Bryan Lin John Gallo Brian Jeremiah
Eric Just Michael Tai
Anne Bobis Boonton Isabel Braun Randolph Dominique Carlucci Overbrook Reg Senior Anna Close Scotch Plains-Fanwood Samantha Cordasco Ridge Isabel Distefano Rutherford Maggie Dougherty Chatham Morgan Evans North Hunterdon Taylor Feldman Howell Brigitte Francis Voorhees Rebecca Huang Chatham Kara Jimcosky Hunterdon Central Reg Ashley Kester Northern Highlands Eleanor Konrad Millburn Olivia Konteatis Chatham Kaila Krauser West Morris Mendham Samantha Lacey Immaculata Julia Linger Wardlaw-Hartridge School Sara Mazzola Chatham Hope Mirski Randolph Alexandra Pease Columbia Sarah Peszka Cinnaminson Lalka Rieger Ridgewood Mary Roberts Delaware Valley Reg Katherine Robinson Red Bank Reg Alison Rydwin Immaculata Cassandra Sardo River Dell Reg Nisha Shankar J.P. Stevens Laurel Soffer Homeschool Antonia Spano Bergenfield Sage Spitz Montville Heather Stott Bishop Eustace Prep Shira Wasserman East Brunswick Rebecca Woudenberg No. Jersey Home School Danielle Yucht Howell Riley Zalewski North Hunterdon Gabrielle Arencibia No Valley Reg-Old Tappan Viraj Kothari Holmdel SOPRANO II
Haley Barna Natalia Bellini Hallie Berber Lindsay Bohon Melissa Brauner Jillian Carelli Meghan Cordier Candace Coresy Alexi Detwiller Amanda Everett Lisa French Erica Gale Marisa Giachetti
Sparta Kinnelon Cherry Hill West Hunterdon Central Reg Mahwah Veritas Christian Academy Montgomery Woodstown Newton Kings Christian School Morris Knolls Allentown Robbinsville
Marianna Giercyk Parsippany Hills Alexandra Goia Robbinsville Lesly Gomez Ridgefield Memorial Sydney Hymanson Howell Sarah Jung River Dell Reg. Sarah Kahn Cherry Hill East Jessica Kirschner Lenape Valley Michal Kortsarts Cherry Hill East Jennifer Landi No Valley Reg - Demarest Catherine Lavell Bishop Eustace Prep Sanaa Madhukar J.P. Stevens Alexandra Maresh Cherry Hill East Kaitlyn Metro Roxbury Michelle Miles Woodstown Christina Monticciolo West Morris Central Sofiya Nayda Cranford Courtney Ravelo Red Bank Reg. Carolina Restrepo Bergenfield Samantha Sayah Howell Julianne Scott Freehold Lila Sevener Parsippany Hills Chelsea Simpkins Pennsville Memorial Brandi Staffieri Washington Twp Sammi Urena Delran Julia Vitale Hunterdon Central Reg Rosie Yates North Jersey Home School ALTO I
Sandra Arencibia Bloomfield Cassandra Clemente Bergenfield Kelly Cole Chatham Daniella Coradini West Morris Central Briana Cunningham Pennsville Memorial Danielle Davis Kinnelon Morgan Dean Washington Twp Christina Dornbusch Voorhees Gillian Erlenborn Bridgewater-Raritan Alyssa Fanelli Cedar Grove Elise Folkerts North Jersey Home School Katherine Foster West Morris Central Hannah Friedman Holmdel Lindsay Gardner Hunterdon Central Reg Caroline Giercyk Parsippany Brianna Graf Hunterdon Central Reg Kellie Hoyt Jackson Memorial Sarah Huschens Kittatinny Hasitha Kakileti Westfield Marla Lardiere Roxbury Sarah Loeffler Bridgewater-Raritan Kelsy McIntosh Cherry Hill West Sophia Metcalf West Milford Twp Clara Mooney Newark Academy Yoo Bin Noh River Dell Reg Ashley Oâ€™Connor Hunterdon Central Reg
Jamie Palmer Kristian Petillo Natalie Poirier Chelsea Sardoni Meaghan Schoppe Caylee Seredvick Jeeba Thomas Jamie Waggner Sara Waite Helen Wang Stephanie White Justine Worden
Lenape ANewark Academy Gateway Reg Robbinsville Point Pleasant Boro Parsippany Hills Parsippany Hills Middletown North Cinnaminson Parsippany Hills West Morris Mendham Hunterdon Central Reg
Monica An Cherry Hill East Sarah Bajohr Howell Tori Barton North Hunterdon Clara Boudrot Bergenfield Rachel Bulko Newton Annie Busarello Audubon Michelle Cho Monroe Twp Kayleigh Corn Washington Twp Kristen Dilworth Overbrook Reg Senior Katelyn Fox Woodstown Sandy Gooen Gill St. Bernards School Morgan Hessel West Morris Central Shelby Isaia Washington Twp Kaitlyn Leonard Howell Jessica Levin Bergen County Academies Kelty Lonergan Northern Burlington Reg Megan McKee Audubon Hope Miladinovich Veritas Christian Academy Maria Elena Morina Paulsboro Lucia Muzzarelli Randolph Ngozi Nwadiogbu Audubon Taylor Oâ€™Connor Roxbury Jennifer Pan AMontgomery Kristina Plate Lenape Valley Alessandrea Roselli Washington Twp Gabrielle Russo Howell Solana SanPietro Chatham Samantha Schou Howell Rachel Sherman Montgomery Bethany Smith Roxbury Meghan-Noelle Smith No. Burlington Reg Payton Smith Veritas Christian Academy Rachel Staffen Bridgewater-Raritan Teresa Toriello High Point Reg Brianna Wagner Overbrook Reg Senior Rebecca Wizov Egg Harbor Twp Grace Zhao J.P. Stevens
Graduate Summer Sessions for Music Educators at
June 17 - 21
NEW The I’ s Have It: iMovie, iTunes, and iPhoto - Floyd Richmond Band Instrument Repair I - Chuck Hagler Percussion for the Non Percussionist - George Hattendorf Guitar for the Non-Guitarist - Michael Miles
June 24 - 28
NEW Integrating the iPad into the Music Education Curriculum - Thomas Rudolph NEW Instrumental Music Education: Inspiring with Passion - Peter Boonshaft Band Instrument Repair I - Chuck Hagler American Folk Instruments in the General Music Curriculum - Michael Miles Introduction to Playing the Drum Set - Marc Dicciani NEW Strings for the Non String Player - Betsy Maliszewski Sequential Classroom Music Curriculum K - 5 - Lois Fiftal
July 1 - 6 (no classes July 4)
NEW Jimmy Amadie’s Jazz Harmony for Educators - Ron Mathews and staff Band Instrument Repair II - Chuck Hagler
July 8 - 12
Music Notation using Sibelius - Steven Estrella NEW Advanced Topics in Choral Music - Donald Nally 1 credit 3:30 - 6:30 P.M. NEW Villanova Summer Chorus - David Nally 1 credit 7:00 - 10:00 P.M. Junior / Senior H.S. Band Literature - Quincy Hilliard, Timothy Loest NEW Free and Easy - Scott Watson (at Parkland H.S., Allentown, PA) String Instrument Repair - Chris Bluemel Let’s Put On a Show, A Pedagogical Approach to Musical Theatre - Jeffrey Kern Integrating Technology in the Music Curriculum - Peter Pauliks (at MS 180 Bronx, NY)
July 8 - 19
In association with
Why VILLANOVA? New Courses New Location Same Low Prices
Orff.... July 8 - 19 Level 1 - Beth Ann Hepburn Level 2 - Linda O’Donnell Level 3 - Michelle Przybylowski Recorder - Nick Wild Movement - Janie Vance
El Sistema July 22 - 26
ORFF Level I Training - Bethanne Hepburn ORFF Level II Training - Linda O’Donnell NEW ORFF Level II Training - Michele Prybylowski
Stanford Thompson and the staff and students of Play On Philly.
July 15 - 19
Let’s Put On a Show, A Pedagogical Approach to Musical Theatre - Jeffrey Kern GarageBand Does It All - Scott Watson (at Parkland H.S., Allentown, PA) Instrumental Conducting: Elementary to High School - Jerry Nowak Beyond the Basics in Musical Theatre - Jeff Kern Rhythmic Development through Drumming and Dance - Anthony DeQuattro Teaching Strings: Techniques Strategies and Current Issues - Andy Dabczynski
July 22 - 26
Aspiring to Excel: Leadership Initiative for Music Educators - Ken Raessler NEW The School Jazz Band/Jazz Boot Camp - Denis DiBlasio NEW From Mash-ups to Re-harms: For Contemporary Vocal Ensembles - Justin Binek NEW El Sistema in Action: The Method and How to Implement It Steel Drum in the School and Community - Marc Svaline, Tim Peterman The Child Voice - Working with Young Voices - Joy Hirokawa Video Editing for Educators - Hank Wajda GarageBand Does It All - Peter Pauliks (at MS 180 Bronx, NY)
July 29 - August 2
Using Technology to Unlock Musical Creativity - Scott Watson (at Parkland H.S.)
Some of Our Instructors Peter Boonshaft Denis DiBlasio Ken Raessler Tom Rudolph Andy Dabczynski Lois Fiftal Donald Nally Mike Miles George Hattendorf Chuck Hagler
Quincy Hilliard Joy Hirokawa
For Information on registration and housing
visit music.villanova.edu. choose summer studies. Courses are $800, $890 for Technology, and $1075 for Orff. All courses include 3 graduate credits (Orff 4 credits) and materials. Registration begins in late March. Information is subject to change.
Hosting A Region Rehearsal Can Help You And Your Program by Andrew Veiss South Plainfield Middle School email@example.com
osting a region rehearsal can be an awesome experience for you and your program. It helps to expose you and your students to a top-notch ensemble and it will enable you to gain some high-quality professional development. I have hosted the Region II Intermediate Band and Orchestra Auditions and the first rehearsal in South Plainfield since 2003 and it has done great things for my program. Below you can find some of the benefits of hosting a rehearsal. Many times, the ensembles can use any open space. For rehearsals, we use my band room for the concert band and the cafeteria for the orchestra. Ensembles can rehearse in auditoriums, cafeterias, open atriums and any moderately large space your school can provide. I work closely with my district’s administration to ensure that we can continue to host every year because they see the benefit to our school and our community.
up many new techniques for conducting and running rehearsals just by observing another teacher. There is no better way to learn new and exciting ways to develop your band, orchestra, or chorus than to see another conductor at work! 2. Students can observe rehearsals!
When we have hosted a region band or jazz band rehearsal, it has been an incredible educational tool. The students who observed these rehearsals brought fresh enthusiasm and a new focus to my rehearsals because they have the opportunity to see an ensemble with the perfect instrumentation, optimal rehearsal conditions, and excellent discipline. In turn, they share the rehearsal techniques with their fellow students and it increases the productivity of my rehearsals.
When you host a rehearsal, you can receive up to ten hours of professional development. If you need a certificate, please contact your region president. He or she should be more than happy to provide a document if you request it. Additionally, I always pick
It is very convenient for my students who audition and participate in the ensembles when our school hosts a rehearsal. If the rehearsals are in other locations, I usually try to help the parents by organizing car pools. Also, when hosting an audition, students feel more comfortable auditioning because they are not in a strange place and they have “home-field advantage.” More students might be convinced to audition because of the increased comfort level and the close proximity to their homes. 4. Students can receive community service hours
Students who participate in CCD, scouts, and other organizations need com-
Graduate Summer Sessions for Music Educators June 17 - July 26, 2013
40 One Week Graduate Level Courses
In association with
1. Directors can get Professional Development hours.
3. Convenience for your students who are auditioning and/or rehearsing
El Sistema in Action An Intensive Program for Strings
Orff Levels I, II, III
One of them is for YOU!
Music Technology Notation using Sibelius Creating Web Pages for Music Educators The i’s Have It: iPhoto, iTunes and iMovie GarageBand Does it All Integrating the iPad in the Music Education Curriculum Free and Easy: Web Apps for the Music Classroom Integrating Technology into the Music Curriculum Unlocking Musical Creativity using Technology
See our complete schedule at music.villanova.edu Our low tuition includes materials, all fees, and graduate credits. Located in suburban Philadelphia, Villanova is convenient to all transportation. Affordable housing and meals are available on campus. To learn more about this course and 35 others please visit music.villanova.edu or contact the Director of Summer Music Studies George Pinchock at firstname.lastname@example.org
munity service in order to complete the requirements for their programs. When our school hosts auditions and rehearsals, students sign up to help run audition sheets, sell food items, set up rehearsals areas and help clean up after the rehearsal. In turn, they gain hours for their community service. This also helps the conductors, managers, and site hosts because it is just a little less work. 5. Fundraising!
Hosting a rehearsal gives you the opportunity to sell snacks, drinks, and other food to help raise money for your program. I usually have parents donate food and drinks and volunteer to sell. Our music program receives 100% of the profits from fundraising and our program easily raises hundreds of dollars with minimum effort. 6. Brings positive press for you and your school, and administrators can observe rehearsals.
In the current political climate, we need to do all we can to advocate for our programs and any â€œgood newsâ€? will help promote your program. I usually do a press release to the local papers promoting our students participation in the auditions and the ensembles. Every time my students and I participate in a region event, I forward a program to my principals and my superintendent with my studentsâ€™ accomplishments and my contributions highlighted. In order to successfully advocate for my program, I do all I can to share as much positive press with my administration and my community so that they see the value of music education in South Plainfield. I have had administrators come to the auditions and they are amazed by the coordination of the ensemble and the ability of the students. Also, they enjoyed seeing the school community working together for a common cause. Steps To Securing A Rehearsal For Your School The first step is to ask your principal or supervisor. Share with them the many positive aspects of hosting and let them know about the convenience for you, your students, and the community. You should make sure that you check your school calendar to ensure that there is minimal conflict. Once you receive confirmation, contact the division chair and they will help you through the next process. If you need an insurance certificate, the division chairs can request one and they MAY 2013
are usually delivered to your business office within a couple of days. During these times of tight budgets, schools are apt to charge for the use of facilities. Our region has a small budget to pay for facility fees, but any assistance to minimize the fees is appreciated. With our auditions and rehearsal, we share the space with recreation basketball, so we do not have to pay for facilities or custodians. Some of our sites will only charge for the occasional custodian, but many times, those fees are waived because the school sees the value of having the rehearsal or concert at their school. On the day of the rehearsal, there is minimal work to do. Usually, the managers and conductors will come early and set up the room, and with every rehearsal I have attended, they help clean up at the end of the day and help you to ensure that your facilities are exactly as they were before they arrived.
Every year, some of our division chairs struggle to find places to host our region band, orchestra, and chorus rehearsals and concerts. We have come to the point of possibly having to cancel region events because we could not get people to host rehearsals. Region ensembles can only work with your help! No matter what region you are located in, please reach out to your region president or audition chairs and volunteer to help! It can only help you and your program! Andrew Veiss is currently the Middle School Band Director at the South Plainfield Middle School and is currently the President of the CJMEA. Veiss is an alumnus of William Paterson University and New Jersey City University. He has taught various marching and concert percussion ensembles throughout New Jersey. If you have any questions or if you would like any assistance in this process, please contact him at email@example.com
Graduate Summer Sessions for Music Educators
June 17- July 26, 2013
in association with
El Sistema in Action An Intensive Program for Strings July 22 - 26, 2013
Learn the basics of the El Sistema Program. Participate in an immersive learning experience by leading group lessons and rehearsals from chamber ensembles, string orchestras, wind ensembles, and the Play On, Philly! Symphony Orchestra in preparation for the final concert of the POP season at Villanova." Founded in 1975 by the social activist and musician Jose Antonio Abreu, the El Sistema program has been widely cited for rescuing youth from violence, drugs, and poverty. Led by Stanford Thompson, staff and students of Play On Philly, a Philadelphia based El Sistema program, the principals and practices of the lauded program will be learned, explored and explained. This course might just be the answer for your String Program. Our low tuition of $830 includes materials, all fees, and 3 graduate credits. Located in suburban Philadelphia, Villanova is convenient to all transportation. Affordable housing and meals are available on campus. To learn more about this course and 35 others please visit music.villanova.edu or contact the Director of Summer Music Studies George Pinchock, at firstname.lastname@example.org
A Suggested Curriculum With Band Rehearsals As Lessons And Lessons Centered On Band Repertoire by Jacques Rizzo Retired Jbrizzo@optonline.net
fficient use of student contact time is always a priority when formulating a curriculum for the instrumental student. With this in mind, consider what activities are best taught as a group and what activities require an individual or small group setting. The lesson period is best used to address areas that require individual attention such as embouchure, tone production, alternate and trill fingerings, etc. The lesson period is also the best place to perfect individual band parts, insuring they are well in hand, that correct fingerings are being used, that articulations are performed crisply, etc. Lessons can also be treated as sectional rehearsals, if the schedule allows lesson groups to be scheduled in this manner. Think of the band period as a large group lesson. Rather than teaching the same lesson or practicing the same exercise with many small lesson groups, it is much more efficient to do that activity with the entire band, devoting a good part of the band period to these activities. The band period is also the place to integrate and balance individual parts learned in lessons into a coherent, unified whole (as opposed to teaching the individual parts themselves). Many students find a daily practice period difficult to schedule in this era of increased academic emphasis and multiple student activities. If band meets daily or several times each week, why not use a considerable portion of that period for supervised practice. Here, the teacher has direct supervision of student practice and can insure that appropriate activities are addressed in a manner that will best promote student progress. It also provides a model for student’s home practice time. When many different activities are included in the band rehearsal period, students have a broader musical experience. Band is more rewarding to both teacher and
student if a variety of activities are included (as opposed to a daily repetition of the same performance pieces). Not all activities listed below can (or should) be included in every period. But some areas (warmup and tuning, for instance) should probably be included as a regular part of each session, whether the setting is a large or small group. Band, A Large Group Activity (with suggested duration of activities for a period 40-45 minute period) Warmups (3-5 minutes)
Warmups strengthen and set the embouchure for the work to follow. They develop breathing and breath control, and foster good tone and intonation. Warmups might include long tones, lip slurs for brasses (accompanied by sustained woodwinds’ chords), exercises to develop a variety of dynamic levels and crescendo-diminuendo, chorales, etc. Tuning (1-2 minutes)
Tuning should be done after embouchures and instruments have been warmed up. If brass instruments are tuned during each small group meeting and tuning slides left in place, little or no adjustment is needed at larger group meetings. Younger woodwinds might tune using multiple electronic tuners1 while more experienced players should tune to a student who provides a stable, in tune pitch reference. If the music for the period is listed on the board, the percussion section can set out needed equipment during warmup and tuning. Percussion work, which might be limited during tuning and warmups, should be designed to develop sensitivity. Technical Exercises (3-5 minutes)
Exercises based on scales and arpeggios build technical facility and coordinate the
mind with the tongue and fingers. A variety of speeds and volume levels employing different musical styles, rhythms, and articulations should be used to maintain student interest. Band Methods (10-15 minutes)
Studies from band methods promote regular, steady progress. Ensemble tone quality, balance, rhythmic accuracy, articulation, phrasing, and dynamics are more easily addressed in short exercises specifically designed for these purposes than in performance literature. Sight-Reading (3-5 minutes)
Sight-reading (using a rhythm counting system) should be a part of most rehearsals, so band members become fluent at reading new music. A curriculum of sightreading music a grade or two below the band’s present level that exposes them to a variety of repertoire should be designed to gradually build this ability. (High school directors might borrow music from colleagues at feeder middle schools and middle school directors might borrow music from their elementary counterparts until a sight reading library is built.) Performance Music (10-20 minutes)
In addition to performing current publications, a three or four year rotation of standard band literature suitable to the student’s ability should form a portion of the band’s repertoire. If individual parts are learned during lesson periods, then much less time need be devoted to perfecting performances during the band period. Small Ensemble Music
Weekly performances by small student ensembles for the band provides performance opportunities that help develop both the performers’ ability to play independentMAY 2013
ly (one on a part) and the band’s ability to constructively critique a performance. This activity also provides a change of pace from having the entire period devoted to large group performance. Lesson, Small Group, Or Sectional Activities (30- 45 minute period) As with large group activities, warmups should be included in every session. Other areas (small ensembles, solos) might only be addressed only a few times over the course of the school year. Warmups / Tuning (6-10 minutes)
In a small group, individuals can be given the attention needed to strengthen and set their embouchure, to develop breathing and breath control, and to play in tune with good tone at all volume levels. Long tones in various registers, lip slurs for brasses (and flutes), exercises for tone development, exercises to develop a variety of dynamic levels, crescendo-diminuendo exercises, and intonation exercises using beat elimination might be studied. Technical Exercises / Method Books Designed For Particular Instruments (6-10 minutes)
Lessons should be used to address problems of the individual instruments (alternate fingerings, trills, etc.). Here, method books published for particular instruments that address the problems inherent to that instrument that cover the entire range of the instrument (or that portion the student
has learned) should be used.2 Those areas requiring individual attention should be addressed in lessons; repetitive practice work on general studies should be done in band using band method books. Sight-Reading (3-5 minutes)
Sight-reading should also be a regular part of lesson groups. Method books for individual instruments that are a grade or two below the student’s ability level should be used. Students should read through a page or two of exercises without stopping, with the teacher counting one measure between each exercise (to give students time to look for changes in key and time signature and to allow for changes in tempo). At other times, exercises might be selected that reinforce past learning in particular problem areas that could benefit from this review. Band And Orchestra Parts (15-20 minutes)
The majority of the time in lessons should be devoted to band repertoire, helping each student become as responsible a member of the ensemble as his level of advancement allows. Rather than playing each piece through, this time is best spent working to overcome weak spots, perfecting the ensemble music as if it were a solo. Small Ensemble Music
Once or twice each year, small ensemble repertoire suitable to the student’s grade level should be studied to help develop student’s ability to play independently. Band periods offer an opportunity for ensemble performance.
Solo music suitable to the student’s grade level develops the ability to play alone and/or with an accompanist. (Computer generated accompaniments may be used if suitably advanced pianists are not available.) Solo work will also prepare students to audition for region and all-state honors ensembles. Endnotes 1 With younger players, this will go much faster if there are multiple electronic tuners - one for the flutes/oboes/ bassoons, one for the clarinets, and a third for the saxophones/bass clarinets with section leaders responsible for overseeing tuning. 2 Band methods necessarily have a truncated range. Jacques Rizzo is author of over three hundred publications ranging from a set of texts on reading jazz to a songbook for the kindergarten-primary classroom. He is currently an adjunct professor at William Paterson University. He is a former faculty member at Rutgers University’s Mason Gross School of the Arts; has directed choral and instrumental ensembles at both elementary and secondary levels; and served as Supervisor of Fine Arts for the Wayne Township Public Schools. He has been guest conductor of area and region choruses and bands; worked for the NJ Council on the Arts, adjudicated festivals in NJ and NY; and presented workshops at conventions of the ACDA, MENC, IAJE, and the NJMEA.
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Higher Education And The Young Guitarist Part III - Popular Guitar Studies By Thomas Amoriello and Matthew S. Ablan Flemington Raritan School District email@example.com Editors Note: The March issue of TEMPO contained Part II which was erroneously titled “Classical Guitar” and should have been correctly titled “Jazz Guitar.”
Music Trade Schools Across the U.S. • Atlanta Institute of Music, Atlanta, Georgia • Five Towns College, Dix Hills, New York • LAMA College for Music Professionals, Pasadena, California • McNally Smith College, St.Paul, Minnesota
elp Wanted: Rock Star with Experience Apply Within - is an ad you will most probably never see in the Sunday classifieds or on Careerbuilder.com. This opening phrase or something like it is often used in promotional material for music trade/vocational schools. These schools offer degree and certificate programs which are accredited by the National Association of Music Schools, but often do not garner the same respect as traditional college music departments because their programs generally revolve around popular styles of music. Vocational schools typically train students with skills and certify them to earn a living in a specialized field - such as the culinary arts or truck driving. Like their brethren, vocational music schools are no different but tend to be popular with contemporary (rock/ pop)musicians who aspire to “make it big” in the music industry. In the performing arts however, the fiscal cost of the program doesn’t always translate into a real-world working wage. Statistics show there is a low demand for music majors (with a 9.2% unemployment rate for recent grads) and those with experience earn a median income of $45,000 per year. (The Ten Worst College Majors – Jenna Goudreau, Forbes, October 11, 2012). Are these schools simply “glorified” performing art studios or music stores? Do they offer a viable music education? The first two articles in this series examined traditional college guitar programs for classical and jazz music and what they offer a potential student. Although these styles are taught at “music trade schools” this article will focus on contemporary guitar studies (popular music) which vocational music schools highly promote. This article will examine material and offer information of value to high school aged students whose interest does not lie in classical or jazz guitar studies but with a contemporary style such as “Rock”. There are a number of music trade schools across the United States, but we have chosen to highlight only one -Musicians Institute (MI, formally GIT: the Guitar Institute of Technology.) Unlike our two previous articles which took a collective approach to gathering information, what is presented here is single-minded. The reason for this is simple: the Musicians Institute is arguably the most successful music trade school and is the archetype for all others. Founded in 1977, MI located in Hollywood, CA (a main hub of the music industry) established, “…the first full-time program to offer hands-on professional training for the electric guitarist.”
Then as now, it’s students have access to faculty and clinicians who are working professionals in the field of popular music through: private lessons, clinics, workshops and ensembles. MI Guitar Faculty Member and Department Chair Stig Mathisen, (D.M.A.) states; “Our school was founded with a pedagogical focus on practical, realworld, contemporary music education from an experienced, successful, professional faculty. To this day, we offer this type of training to our students in music, focusing on styles and specialties that reflect contemporary popular music and culture in areas that are often not addressed in such ‘traditional’ programs—such as Blues, Metal, Funk, Soul, Country, Hip Hop, etc…” These contemporary performer/educators have developed a curriculum and authored a successful series of method books which accompany each class. Furthermore, this official series of instructional publications are available to the general public through Musicians Institute Press and the Hal Leonard Corporation. The series offers a glimpse of the type of material which is covered to the perspective student.
Various Publications From Musicians Institute Press Blues/Rock Soloing for Guitar A Guide to the Essential Scales, Licks and Soloing Techniques Guitar Fretboard Workbook A Complete System for Understanding the Fretboard Guitar Soloing The Contemporary Guide to Improvisation Rhythm Guitar The Complete Guide
The schools’ core class offerings range from applied lessons to improvisation, and students can also enjoy an eclectic mix of electives such as Surf Spy Guitar or Jimi Hendrix Rhythm Guitar -not classes one will find at Peabody or Eastman!
Entrance Requirements for MI Completed Application form One letter of recommendation from a music instructor or music professional who is familiar with your personal and musical qualities
Select Electives at Musicians Institute
Copy of your High School Diploma or Equivalent
Songwriting Writing TV Themes Computers in Music Pro Tools (recording software) Guitar Maintenance & Repair
Audio recording of your instrument and speaking voice Record A. and B. along with a clearly audible metronome, “click track,” or drum machine. A. Play two scales and two arpeggios of your choice at any tempo with accurate execution and consistent time B. Play 60 seconds of rhythm groove in any style and tempo. C. Submit two performances that best represent your style and abilities. The recordings may be solo or may include other musicians or play-along tracks.
Although MI does have some amazing student success stories; like those who have toured the world with Michael Jackson or who have had a number one song on the Billboard charts – success is not guaranteed. Some of MI’s Most Notable Alumni
Jennifer Batten – session musician/solo artist John Frusciante – The Red Hot Chili Peppers Frank Gambale – Chick Corea Elektric Band, solo artist Synyster Gates – Avenged Sevenfold Jimmy Herring – Widespread Panic Paul Gilbert - Mr. Big/Racer X/solo artist
Current MI student, Nicky Hines adds, “The most unique thing about MI is that, through the wide range of class types, the student can pick what styles they want to emphasize in their playing. You can get the blues with Keith Wyatt, or be “eclectically” electric with Dan Gilbert. Get “twangified” in Al Bonhomme’s country class, or learn to swing with Sid Jacobs. There are so many options that they begin to melt into one, which is the beauty of it all.” Although Musicians Institute has catered to guitarists since its inception, currently it offers an array of degree options for a number of instrument disciplines and the industry minded alike. Degree Options
Bachelor of Music Associate of Arts Certificate Non-Certificate
Bass Guitar Keyboard Vocals
You may submit previously-recorded material that features your playing; Original material or covers.
Drums Industry Programs Audio Engineering Independent Artist Guitar Craft Music Business Film
D. Speaking Voice: Record your own speaking voice with a short narrative explaining why you wish to attend Musicians Institute.
Pursuing popular music studies in a degree or certificate program may seem an unorthodox approach and in some aspects it may be. However, given the fact that the demand for “high art” music such as jazz or classical has steadily declined over recent decades (Classic Collapse - Michael Johnson, The American Spectator, January 24, 2011; The Unpopularity of Jazz – Mark Bauerlein, The Chronicle of Higher Education, August 10, 2009); and given an ever changing music industry, trade schools can offer a viable alternative to the traditional track. Music trade schools (such as Musicians Institute) present students with the opportunity to study popular music in an organized manner with high quality faculty, curriculums, facilities and like-minded students which may not be available to them in the traditional college realm. Furthermore, students are able to customize their curriculum to suit their musical interest all without the need of science, math or humanities classes. As is the case with any vocational school, music trade schools fill a void in the education field by offering choices which are generally unavailable in a traditional college education. Are music trade schools ideal for everyone? Of course not – but like any education you get out of it what you put in.
Thomas Amoriello teaches Guitar Classes at Reading Fleming Intermediate School in Hunterdon County. He is a graduate of Rowan University and Shenandoah Conservatory and has presented guitar workshops for various music organizations including the Guitar Foundation of America, NAfME and the Philadelphia Classical Guitar Society. Tom will present a guitar workshop for non-guitar playing music educators at the NJMEA Summer Workshop V on Tuesday, August 6, 2013 at The College of New Jersey from 8:00-4:30. You can learn more about Tom by visiting www.tomamoriello.com Matthew S. Ablan is an elementary music educator in Charlotte, North Carolina. He is a graduate of SUNY Stony Brook and The Cleveland Institute of Music as well as holding a Masters in Music Education from Case Western Reserve University. Ablan’s list of teaching credentials include having served as adjunct instructor of classical guitar studies at Allegheny College in Meadville, PA and maintaining a successful private guitar studio for close to two decades. Most recently he was a guest lecturer at the 2012 Guitar Foundation of America International Festival and Competition in Charleston, SC and is the author/founder of The Guitar Teaching Blog. For more information about Matthew please visit: www.matthewablan.com
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You Are What You Eat by Kenneth J. Schultz Rossi Intermediate School, Vineland email@example.com
s any doctor will tell you, if you want to grow-up strong and healthy you need to eat right; what you put in to your body will affect what you get out. The same is true of our bands. As we all sit down to begin the sometimes daunting and arduous task of spending the little money we have on new music for next year, I would like to offer some thoughts and suggestions to help you select the perfect “diet” for your band. Before I give my humble “recipe” some words from one of our master chefs. “We must learn to teach music - not band, not orchestra, not chorus, but music itself… Choosing music is the single most important thing a band director can do, and is the only thing a band director can do alone, made more important because of the substandard repertoire continuously being published. So many publishers in the business today are printers who don’t care about quality, but only about what will sell. We must not allow them to give the band a bad reputation nor to make our decisions for us, since the music we choose today can affect students for ever.” Frederick Fennell A Simple Recipe For A Healthy Band High Quality Does Not Mean High Difficulty
A look back in history will show that all the great masters have written some technically simple music. You can find great music at all grade levels that should be played by all. There is nothing wrong with a high school playing a great piece of grade 2 music. Don’t Blame The Publishers Or Retailer
Your local grocery store carriers a wide variety of products from ice cream and candy to entire sections of vegetables and health foods. You make the decision of what goes in your cart and on your table Don’t Forget All Your Food Groups
A balanced diet requires a variety of music. For most of the students we are their
music education and should present them with music that represents the full spectrum available. There is no reason students should not experience music from a variety of times, cultures and genres. Eat The Rainbow
Color is just as important in food as it is in music. Look for music that sounds different. Just as we would get bored eating the same thing day after day, so will playing the same slow-fast-slow/ Eb-Bb-Eb songs. This does not mean the music has to be modern, atonal or something as out there as that, if it is not your thing, though I feel students should experience where music is going. How about something in a minor key, or modal. Even something in a different key or time signature. So many of our pieces are written in so few key and time signatures, we are doing a disservice to our students. Why do we teach our students lots of scales they never get a chance to put into use? Why keep saffron in the cupboard if you are not going to use it?
desired, but will at least help keep you out of the junk food isle Let Them Taste The Adult Menu
What do you like to play? Would you want to eat what you are serving to your students? If we want our students to love the music we as professionals get to experience, why not find music that will give them a taste of it. Yes, technical limitations have to be considered but should not be an excuse. We are lucky enough to have “chefs” serving up many great young band arrangements of some of the literatures masterpieces, and numerous pieces that can give your students a taste of the flavors to come. Look At The Whole Plate
To many times we forget that there is more to a meal than just the protein. With the long time period many of us spend on our music having to eat the same thing can get a little bland if all we get to eat is say, a
Quality May Cost
We all know that there is a cost to eating healthy. There is no dollar menu at the health food store. So while quality may cost a little more, your students will be better in the long run and if it tasted good the first time, you will not mind serving it again Visit The Health Food Section
While the stores are packed with choices there is help for those looking for healthy options. Many of the top retailers have filters that allow you to look at only those selections sites and music organizations have chosen to put on their menu. These selections have met many standards which can be found if
tuba part. I know it is difficult and I struggle with it myself but we must look beyond even a perfectly cooked piece of steak and remember that someone has to eat all those vegetable everyday. There Is Nothing Wrong With A Little Dessert
Food is to be enjoyed. Yes we need to eat our vegetables, practice our scales and articulations but everyone needs a little something sweet from time to time. So my suggestion is when we give them a treat let it be that. Yes all the ingredients that go into a successful performance are important but with a treat, pick something that may be a little on the easier side. This will allow the student to enjoy their progress, see how far they have come and play relaxed and dare I say, for fun. A little internal “wow” can go a long way.
Makes better readers, players, and musicians.
They Will Eat It
So you are maybe thinking, “I have to pick music the students will like; they are not going to want to play this stuff.” This is not true; what students want most is to sound good; image is everything for them. If you can teach them the music and they can sound good playing it they will love it. Yes, you may have some who don’t like the taste at first but it is only because it is new and different. Be honest with them, tell them they will sound great and they will learn to love it just as much as you do. Remember not any of us liked coffee or other beverages when we were young and now they are things we enjoy a lot. Finally, if you truly love and are excited about the music you chose the students will feed off of that energy until they learn to love it themselves. BOOK 2
I hope these thoughts will help you or at least make you think a little more about your selections. As band directors we are given a great power. Other subject areas have entire committees devoted to selecting the content to which students will be exposed; but for us, we are on our own to make this most important decision. We all have different tastes and will be drawn to different dishes, but can all give our kids a balanced diet. Through my teaching I have learned that if you want a better, and in turn healthier band, play healthier music; it is out there waiting to be enjoyed.
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Considering The Importance Of Structure By William L. Berz Rutgers: The State University of New Jersey email@example.com
hen conductors think about interpretation, they often focus on tempo, dynamics, and the like—in other words, large issues. These are certainly valid and important factors to consider when crafting one’s interpretation of a piece. Tempo for example is one of the most important choices that the conductor makes. Issues like acoustics, technical abilities of the players, the composer’s tempo marking, and tradition all influence the choice. Obviously, the whole character of the piece is influenced by this one musical decision. After these large-scale decisions are made, conductors should turn their attention to more details, many relating to the structure and form of the music. Certainly, phrasing is one obvious example. Phrases are much like sentences in language. The musical sentence is shaped by melodic contour, rhythmic flow, and structure. In the past few years, I have become more aware that many band directors rely on intuitive feeling rather than considering how the music is constructed in fashioning their interpretation. For example, some forget the influence of meter on musical performance. While this may seem pretty basic, in reality it is a truly profound factor in interpretation. I recently had the wonderful opportunity to help the West Chester University Wind Ensemble produce their next CD. As part of their project, they also recorded some educational literature. The legendary composer and arranger, Jerry Nowak, conducted the band on several of these pieces. He spent a great deal of his rehearsal time talking to the students about the importance of meter. On several occasions, he stressed that the strongest beat in 4/4 meter must be beat one, with beat three receiving a secondary emphasis. While this may seem obvious to the trained musician, Nowak’s insistence made a world of difference in the group’s playing. I asked him about this following the recording session. He replied that all musicians should be reminded about this. I was really struck by the impact that this had on the recording session. I had a somewhat similar experience recently while teaching my instrumental methods class at Rutgers. I played a recording of the first movement of the Folk Song Suite by Ralph Vaughan Williams for the class as part of a discussion about interpretation and structure. The CD was a commercially released recording by a college band. The band’s interpretation of the opening was as notated in figure 1 with the emphasis on the high notes, especially the second of each motive. After listening to the first movement, I replayed the introduction and asked the class if this was a “logical” interpretative decision. After some reluctance, a student finally volunteered that the emphasis might have been placed on the wrong note of the pattern. I was overjoyed because to me his answer was exactly correct. I have heard the Folk Song Suite hundreds of times especially at junior high and high school band festivals and contests. Almost always the stress is placed emphatically on the high C’s as is illustrated in figure 1. My theory about this is that conductors and student performers might have never really considered how to play this four-measure passage—it just evolved over time in rehearsals. It is what I like to call an accidental interpretation; it happened without any real thought and consideration. There is additional logic why this might happen. Along with others, the clarinets play the melody and their range creates a practical problem: the high D (C concert) is much stronger (and perhaps more shrill!) than their G. Teachers accept this because it just happens.
Figure 1. Beginning of Vaughan Williams Folk Song Suite, emphasis on high notes (arrows indicate emphasis). TEMPO 52
However if played as is shown in figure 1, the musical effect of meter is lost. Logically, the downbeat should receive the greatest stress; it is the dominant note in this meter. Given this, the greatest emphasis should be on the downbeat in each of the opening measures (see figure 2). This also fits the accompaniment pattern in the lower instruments where the concert C leads to the concert F, an anacrusis of sorts. While these accents may not be particularly strong, they do then show the direction of each motive.
Figure 2. Beginning of Vaughan Williams Folk Song Suite, emphasis on downbeats (arrows indicate emphasis). The influence of meter is found in many different guises. For example, one of the hallmarks of Brahms’ music is hemiola, or the effects of two against three (see figure 3). Here the bar line is purposely obscured.
Figure 3. Brahms, Clarinet Sonata in f minor, movement 1 measures 19-24. Ever subtle, Brahms shifts the actual meter of the clarinet part into 2/4 in measures 21-22 as shown in figure 3. Therefore the six beats are divided into 3 groups of 2 in the clarinet and 2 groups of 3 in the piano. This play of two against three is found in a great deal of his music in different guises. Recognition of this alteration of meter is obviously crucial in determining one’s interpretation; the metrical stress is briefly altered. Hemiola is a very common compositional device found in modern band music, including in one of the pieces recorded at West Chester conducted by Jerry Nowak. As noted earlier, a number of elements, including meter, factor into how a given phrase should be interpreted. Since I have already voiced an opinion about Vaughan Williams’ Folk Song Suite, let me offer another. As we all know, the suite is based on arrangements of English folk songs—hence the title. Unlike older versions of the score, the modern edition includes subtitles where each folk song appears. The first movement includes three: “Seventeen Come Sunday,” “Pretty Caroline,” and “Dives and Lazarius.” Each of the three songs is very different, and Vaughan Williams very cleverly uses the three diverse styles to fashion a highly contrasting first movement with the form ABCBA; each letter represents one of the folk songs. The first, “Seventeen Come Sunday,” is a slightly risqué tale about a sailor and a young lady soon to become seventeen years old. It is a pretty simple tune with many verses, all with the same silly refrain: “my rue dum day, fol the diddle dol, Fol the diddle dum the day” (see figure 4). After the four-measure introduction that was discussed above, Vaughan Williams includes two verses and refrains of “Seventeen Come Sunday.” The first begins at the fifth measure with the anacrusis before, and the second starts in measure 18 again with pickups and continues to the double bar (measure 30). As might be expected from a great composer, the material is not repeated exactly. There are two obvious changes: the instrumentation is fuller and the dynamics change dramatically—from pp/p to ff. Again having heard many performances, I have rarely heard anything but a very minor difference in volume between the two verses. This seems to be considerably contrary to the composer’s intent and does not show the change in the form of the piece. MAY 2013
Another common element that is not normally heard in performances in the first section is the increase of dynamics in measure 14; Vaughan Williams marks mf for two measures. He does this to show the beginning of the silly refrain. The dynamics are again soft in measure 16 to establish the contrast needed for the loud second verse. Both of these changes are important not only because they are marked that way in the score, but also because the dynamics help to show the structure of the music.
Figure 4. Vaughan Williams Folk Song Suite, measures 5-17; the text shown is the third verse of “Seventeen Come Sunday.” Coda Certainly, feelings have a place in determining interpretation. However as the principal bassoonist of the Chicago Symphony David McGill notes in his wonderful book on musical expression, they are not sufficient to craft an interesting interpretation: …a professional musician who is simply content to feel the music during performance without understanding its structure is not really qualified to interpret the classics for discerning listeners Feelings can, in fact, be detrimental. I have had many bad days in performance when I felt sick, tired, or even bored. I have had feelings of nervousness and tension due to the difficulty of the composition. These feelings have no place in the music. (McGill, p. 16) He continues to say how important the mind is to giving shape to the music. The intellect must be engaged to analyze the music to see how it should be shaped. This is not unlike some of the theories espoused by Howard Gardner. As do many great American musicians, McGill cites noted oboist Marcel Tabuteau as an important influence: In his [Tabuteau] concept of music making, even the emotional act of feeling is tempered with intelligence. Laila Storch, a student of Tabuteau’s at Curtis in the 1940s, told a story about Tabuteau’s mental approach to playing. After he had demonstrated the opening oboe solo from Schumann’s Piano Concerto in one of her lessons, she marveled at his seemingly heartfelt expression. Tabuteau gruffly said to her, “You think this is feeling?—No!” Then he proceeded to demonstrate, note by note, what he had been doing to create the impression of deep emotional involvement. (McGill, p. 17) Musicians, be they in the band world or not, need to be inspired to thoroughly study scores. They need to continue to study the art of music to see how structure shapes interpretation. Band directors must realize that interpretation is not about playing all of the correct notes in good rhythm with good intonation. While accuracy is certainly an important goal, precision does not really teach students about the true nature of music. Artistry goes beyond correctness. Students need to learn about the impact of musical structure since it is so important in western music, classical and popular alike. Conductors too can benefit with greater consideration of structure on both micro and macro levels. A serious summer read of David McGill’s book would be of great benefit to all. It is simply a great book on music making. Bibliography McGill, David. Sound in Motion: A Performer’s Guide to Greater Musical Expression. Bloomington, IN: Indiana University Press, 2007.
& TEMPO 54
2013 – 2014 Calendar
Please See Calendar Updates at NJMEA.Org QuickLinks/Calendar of Events DATE
July 30 NJMEA Executive Board Reorganization, EB Hilton 9:00 AM 30 NJMEA Full Board Reorganization, EB Hilton 12:00 PM August 6 NJMEA Summer Workshop 7:30-4:00 PM September 3 SJCDA Board Of Directors Meeting 7:00 PM 5 CJMEA Executive Board Meeting 6:00 PM 5 Rosh Hashanah 9 NJSMA Executive Board Meeting 6:00 PM 10 NJMEA Executive Board Meeting, Rutgers Club, NB 5:00 PM 13 NJMAA Executive Board Meeting- Rutgers Club 9:00 AM 14 Yom Kippur 21 All-State Mixed Chorus Rehearsal 8:30-12:00 PM 21 All-State Women’s Chorus First Rehearsal 8:30-12:00 PM 22 All-State Orchestra - Full Rehearsal 1:00-5:30 PM 22 All-State Orchestra - String Seating Auditions 10:00-12:00 PM 24 All-State Jazz Ensemble Rehearsal 4:00-8:00 PM 24 Honors Jazz Choir Rehearsal 4:00-8:00 PM 30 SJCDA Board Of Directors Meeting 7:00 PM
October 2 4 7 7 8 8 8 9 9 9 12 12 15 20 20 22 25 26 26 28 29 29
CJMEA Executive Board Meeting 6:00 PM NJMAA General Membership Meeting- Rutgers Club 9:30 AM NJAJE Board Meeting 5:00 PM NJSMA Executive Board Meeting 6:00 PM Honors Jazz Choir Rehearsal 4:00-8:00 PM NJMEA Executive Board Meeting, Rutgers Club, NB 5:00 PM NJMEA Full Board Meeting, Rutgers Club, NB 6:30 PM NJMEA State Marching Band Festival NJRMEA Board Meeting, Seville Diner 12:00 PM SJBODA Fall Membership Meeting 9:00 AM All-State Mixed Chorus Rehearsal 8:30-12:00 PM All-State Women’s Chorus Rehearsal 8:30-12:00 PM Honors Jazz Choir Rehearsal 4:00-8:00 PM All-State Orchestra - Full Rehearsal 1:00-5:30 PM All-State Orchestra - Sectionals (Everyone) 10:00-12:00 PM Honors Jazz Choir Rehearsal 4:00-8:00 PM Opera Festival Auditions - Paramus HS 4:30-8:30 PM All-State Mixed Chorus Rehearsal 8:30-12:00 PM All-State Women’s Chorus Rehearsal 8:30-12:00 PM SJCDA Board Of Directors Meeting 7:00 PM All-State Jazz Ensemble Rehearsal 4:00-8:00 PM Honors Jazz Choir Rehearsal 4:00-8:00 PM November 1 NJMAA Executive Board Meeting- Rutgers Club 9:00 AM 4 NJSMA Executive Board Meeting 6:00 PM 5 Honors Jazz Choir Rehearsal 4:00-8:00 PM 5, 6, 7 All-State Jazz Ensemble Rehearsals, Atlantic City TBA 6-8 All-State Orchestra And Mixed Chorus - Atlantic City Rehearsals
7 All-State Band Procedures Committee Meeting, AC 9:30 AM 7 All-State Jazz Ensemble/Honors Jazz Choir Concert, AC TBA 8 All-State Orchestra - Atlantic City Concert 8:30 PM 8 All-State Mixed Chorus And OrchestraConcert, AC 8:30 PM 8 NJMEA Executive Board Meeting, Atlantic City, TBA 8:30 AM 13 CJMEA Executive Board Meeting 6:00 PM 15 All-State Jazz Ens/Honors Jazz Choir Concert, NJPAC 7:00 PM 15 NJAJE Jazz Education Conference, NJPAC, Newark TBA 16 Opera Festival - Paramus HS - Registration 9:00 AM 3:00 PM 16 SJCDA Jr/Sr High Chorus Auditions 8:00 AM 17 All-State Orchestra - NJPAC Concert 3:00 PM 17 All-State Orchestra - NJPAC Rehearsal 10:00 AM 17 All-State Mixed Chorus Concert At NJPAC 3:00 PM 17 All-State Mixed Chorus rehearses At NJPAC 10:30 AM 28 Channukah Begins At Sunset 28 Thanksgiving
December 1 CJMEA Concerto Competition 7:00 PM 2 NJSMA Executive Board Meeting 3 NJMEA Executive Board Meeting, Rutgers Club, NB 5:00 PM 3 NJSMA HS Chorus Festival 4 NJSMA HS Chorus Festival 5 NJSMA HS Chorus Festival 6 NJMAA General Membership Meeting- Rutgers Club 9:30 AM 7 SJCDA Jr/Sr High Chorus Rehearsal 1:30-5:30 PM 14 CJMEA HS Band/Orchestra/Chorus Auditions 8:00 AM 14 SJBODA Auditions Wind, Brass, Percussion, Strings 9:00 AM 14 SJCDA Jr/Sr High Chorus Rehearsal (Snow Date) 1:30-5:30 PM 21 CJMEA HS Band/Orch/Chorus Auditions (Snow Date) 8:00 AM 21 CJMEA HS Bands Rehearsal 9:00-1:00 PM 21 CJMEA HS Orchestra Rehearsal 9:00-1:00 PM 21 CJMEA HS Percussion Ensemble Rehearsal 9:00-1:00 PM 21 SJBODA First Rehearsal (Audition Snow Date) 9:00 AM 25 Christmas
January 3 3 3 3 3 4 4 4 4 4 4 5 5 5 5
CJMEA HS Band Invitational Rehearsal 6:00-9:00 PM CJMEA HS Choruses Rehearsal 9:00-4:00 PM CJMEA HS Orchestra Rehearsal 9:00-5:00 PM CJMEA HS Percussion Ensemble Rehearsal 9:00-5:00 PM SJBODA Senior High and Jr. High Orch. Rehearsal 9:00-5:00 PM CJMEA HS Band Invitational Rehearsal 10:00-2:00 PM CJMEA HS Orchestra Rehearsal 9:00-5:00 PM CJMEA HS Percussion Ensemble Rehearsal 9:00-5:00 PM NJSMA HS Band/Chorus/Orchestra Auditions SJBODA Senior High and Jr. High Orch. Rehearsal 9:00-5:00 PM SJCDA Jr/Sr High Chorus Rehearsal 9:00-1:00 PM CJMEA HS Orchestra & Percussion Ensemble Concert 3:00 PM CJMEA HS Orchestra Rehearsal 10:00-1:00 PM NJSMA HS B/C/O Auditions (Snow Date) SJBODA Senior High and Jr. High Orchestra Concert 3:00 PM
DATE 6 6 9 9 10 10 10 10 10 11 11 11 11 12 12 14 14 15 17 17 18 18 18 18 18 20 20 21 22 22 23 23 23 24 24 24 25 25 25 25 25 26 26 26 27 29 29 30 30
NJSMA Executive Board Meeting 6:00 PM SJCDA Board Of Directors Meeting 7:00 PM CJMEA Executive Board Meeting 6:00 PM SJCDA Jr/Sr High Chorus Rehearsal 9:00-1:30 PM CJMEA HS Band Invitational Rehearsal 6:00-9:00 PM CJMEA HS Bands Rehearsal 9:00-5:00 PM NJMAA Executive Board Meeting- TBA 9:00 AM SJBODA Wind Ensemble and Sym. Band Rehearsal 9:00-5:00 PM SJBODA Winter Membership Meeting 10:00 AM CJMEA HS Bands Rehearsal 9:00-4:00 PM CJMEA HS Choruses Rehearsal 9:00-1:00 PM CJMEA Int. Chorus Auditions 8:30 AM SJBODA Wind Ensemble and Sym. Band Rehearsal 9:00-5:00 PM CJMEA HS Bands Concert 3:00 PM SJBODA Wind Ensemble & Symphonic Band Concert 3:00 PM NJMEA Executive Board Meeting, EB Hilton 5:00 PM NJMEA Full Board Meeting, EB Hilton 6:30 PM NJSMA HS Band Rehearsal 4:00-9:00 PM CJMEA HS Band Invitational Rehearsal 6:00-9:00 PM SJCDA Jr/Sr High Chorus Rehearsal 5:30-9:30 PM All-State Band Auditions - JP Stevens High School 9:00 AM CJMEA HS Band Invitational (Honors Band) Concert 8:00 PM CJMEA HS Choruses Rehearsal 9:00-1:00 PM CJMEA Int. Chorus Auditions (Snow Date) 8:30 AM SJCDA Jr/Sr High Chorus Rehearsal (Snow Date) 9:00-1:30 PM MLK Jr Day NJAJE Board Meeting 5:00 PM NJSMA HS Band Rehearsal 4:00-9:00 PM NJSMA HS Band Rehearsal (Snow Date) 4:00-9:00 PM SJBODA Chamber Ensemble Rehearsal 6:00-8:30 PM CJMEA HS Band Invitational Concert(Snow Date) 8:00 PM NJSMA HS Chorus Rehearsal 4:00-9:00 PM NJSMA HS Orchestra Rehearsal (Strings Only) 4:00-9:00 PM CJMEA HS Choruses Rehearsal 4:30-9:30 PM NJSMA HS Band Rehearsal 12:00-6:00 PM SJCDA Jr/Sr High Chorus Rehearsal 6:00-9:30 PM CJMEA HS Choruses Rehearsal (Snow Date) 9:00-1:00 PM CJMEA Int. Band & Orchestra Auditions 8:30 AM NJSMA HS Band Rehearsal 12:00-6:00 PM SJBODA Jr. High Band Auditions 9:00 AM SJCDA 56th Annual Jr/Sr High Chorus Festival 8:00 PM CJMEA HS Choruses Concert 3:00 PM NJSMA HS Band Concert 3:00 PM SJCDA 56th Annual Jr/Sr High Chorus Festival 3:00 PM SJCDA Chorus Festival Concert Snow Date 8:00 PM NJSMA HS Chorus Rehearsal 4:00-9:00 PM NJSMA HS Orch. Reh. (Strings Reseating/Full Orch.) 4:00-9:00 PM All-State Band Reh./Aud. Snow Date - So. Bruns. HS 5:00-9:00 PM NJSMA HS Chorus Rehearsal (Snow Date) 4:00-9:00 PM
February 1 1 1 1 1 2 2 3 4
CJMEA Int. Band & Orch. Auditions (Snow Date) CJMEA Int. Bands Rehearsal CJMEA Int. Choruses Rehearsal CJMEA Int. Percussion Ensemble Rehearsal NJSMA Jr. HS Band/Chorus/Orchestra Auditions All-State Women’s Chorus Rehearsal NJSMA Jr. HS B/C/O Auditions (Snow Date) NJSMA Executive Board Meeting NJSMA HS Chorus Rehearsal
8:30 AM 9:00-1:00 PM 9:00-1:00 PM 9:00-1:00 PM 1:00-5:00 PM 6:00 PM 4:00-9:00 PM
DATE 4 5 6 6 6 7 7 8 8 8 8 8 9 11 11 11 12 13 13 13 13 18 19
NJSMA HS Orchestra Rehearsal 4:00-9:00 PM SJBODA Jr. High Band Rehearsal 4:00-7:00 PM All-State Band Reh./Aud. Snow Date - So. Bruns. HS 5:00-9:00 PM NJSMA HS Chorus Rehearsal 9:00-4:00 PM NJSMA HS Orchestra Rehearsal (Snow Date) 4:00-9:00 PM NJMAA General Membership Meeting- Rutgers Club 9:30 AM NJSMA HS Orchestra Rehearsal 10:00-4:00 PM CJMEA Int. Bands Rehearsal (Snow Date) 9:00-1:00 PM CJMEA Int. Choruses Rehearsal 9:00-1:00 PM CJMEA Int. Orchestras Rehearsal 9:00-1:00 PM NJSMA HS Chorus Rehearsal and Concert 10:00-4:00 PM NJSMA HS Orchestra Rehearsal 8:00-12:00 PM NJSMA HS Orchestra Concert 3:00 PM NJSMA HS Chamber Ensembles Rehearsal 4:30-7:30 PM NJSMA Jr. HS Chorus Rehearsal 4:00-8:00 PM SJBODA Jr. High Band Rehearsal 4:00-7:00 PM SJBODA Chamber Ensemble Rehearsal 6:00- 8:30 PM NJSMA HS Chamber Ensembles Rehearsal 4:30-7:30 PM NJSMA Jr. HS Chorus Rehearsal 4:00-8:00 PM NJSMA Jr. HS Orchestra Rehearsal (Strings Only) 4:00-8:00 PM SJBODA Chamber Ensemble Concert 7:00 PM SJBODA Jr. High Band Rehearsal 4:00-7:00 PM NJAJE Jazz Combo Festivals, Locations TBA 5:00 PM
20-22 NJMEA State Conference 20-22 All-State Women’s Chorus At NJMEA Conference 20 All-State Band Rehearsal - Rutgers University 12:00 PM 20 All-State Women’s Chorus Arrives In East Brunswick 6:00 PM 20 NJAJE Intercollegiate Jazz Band Concert 8:30 PM 20 NJMEA Executive Board Meeting, EB Hilton 12:00 PM 20 NJMEA Full Board Dinner, EB Hilton 5:00 PM 21 All-State Band Procedures Committee Meeting 5:45 PM 21 All-State Band Rehearsal - Rutgers University 21 NJMAA Breakfast Meeting- NJMEA Conference 8:30 AM 21 NJRMEA General Meeting, E. Brunswick Hilton 10:15 AM 21 NJSMA General Membership Meeting 11:45-12:30 PM 22 All-State Band and Women’s Chorus Concert - NJPAC 3:00 PM 22 CJMEA Executive Board Meeting 6:00 PM 22 CJMEA Int. Choruses Rehearsal 9:00-1:00 PM 24 NJSMA HS Chamber Ensembles Rehearsal 4:30-7:30 PM 24 SJCDA Board Of Directors Meeting 7:00 PM 25 NJSMA HS Chamber Ens. Rehearsal (Snow Date) 4:30-7:30 PM 25 NJSMA Jr. HS Orch. Reh. (Full Reh./Strings Reseat) 4:00-8:00 PM 25 SJBODA Jr. High Band Rehearsal (Snow Date) 4:00-7:00 PM 26 NJSMA HS Chamber Ensembles Concert 7:00 PM 26 NJSMA Jr. HS Chorus Rehearsal 4:00-8:00 PM 28 CJMEA Int. Choruses Rehearsal 5:00-9:00 PM 28 CJMEA Int. Orchestras Rehearsal 5:00-9:00 PM 28 NJSMA Jr. HS Chorus Rehearsal 10:00-4:00 PM 28 SJBODA Jr. High Band Rehearsal 4:00-7:00 PM March 1 CJMEA Int. Choruses Rehearsal (Snow Date) 9:00-1:00 PM 1 CJMEA Int. Orchestras Rehearsal 9:00-1:00 PM 1 NJSMA Jr. HS Chorus Rehearsal 9:00-1:00 PM 1 SJBODA Jr. High Band Rehearsal 9:00-1:00 PM 1 SJCDA 32nd Annual Elementary Chorus Concert 4:00 PM 1 SJCDA Elementary Chorus Rehearsal 9:30 AM 2 NJSMA Jr. HS Chorus Concert 3:00 PM 2 SJBODA Jr. High Band Concert 3:00 PM 2 SJCDA Conductor Selection Committee Meeting 6:00 PM
2 SJCDA Elementary Festival Snow Date 3 NJSMA Jr. HS Orchestra Rehearsal 4:00-8:00 PM 5 CJMEA Executive Board Meeting 6:00 PM 5 NJRMEA Board Meeting, Seville Diner 12:00 PM 6 CJMEA Int. Orchestras Rehearsal (Snow Date) 5:00-9:00 PM 6 NJSMA Jr. HS Band Rehearsal 4:00-8:00 PM 7 CJMEA Int. Bands Rehearsal 5:00-9:00 PM 7 CJMEA Int. Orchestras Rehearsal 5:00-9:00 PM 7 CJMEA Int. Percussion Ensemble Rehearsal 5:00-9:00 PM 7 NJMAA Executive Board Meeting- Rutgers Club 9:00 AM 7 NJSMA Jr. HS Orchestra Rehearsal 10:00-4:00 PM 8 CJMEA Int. Bands Rehearsal 9:00-1:00 PM 8 CJMEA Int. Choruses Rehearsal 9:00-1:00 PM 8 CJMEA Int. Orchestras Rehearsal 9:00-1:00 PM 8 CJMEA Int. Percussion Ensemble Rehearsal 9:00-1:00 PM 8 NJSMA Jr. HS Orchestra Rehearsal 9:00-1:00 PM 8 SJBODA Elementary Honors Band Day Selection 9:00 AM 9 CJMEA Int. Chorus & Orchestras Concert 3:00 PM 9 NJSMA Jr. HS Orchestra Concert 3:00 PM 10 NJAJE State Jazz Ensemble Competition Prelims 5:00 PM 10 NJSMA Executive Board Meeting 6:00 PM 11 NJMEA Executive Board Meeting, Rutgers Club, NB 5:00 PM 11 NJAJE State Jazz Ensemble Competition Prelims 5:00 PM 12 NJAJE State Jazz Ensemble Competition Prelims 5:00 PM 12 NJSMA Jr. HS Band Rehearsal 4:00-8:00 PM 13 NJAJE State Jazz Ensemble Competition Prelims 5:00 PM 14 CJMEA Int. Bands Rehearsal 5:00-9:00 PM 14 CJMEA Int. Percussion Ens. Rehearsal (Snow Date) 5:00-9:00 PM 14 NJAJE State Jazz Ensemble Competition Prelims 5:00 PM 15 ASO/ASIO auditions 15 CJMEA Int. Bands Rehearsal 9:00-1:00 PM 15 CJMEA Int. Percussion Ensemble Rehearsal 9:00-1:00 PM 16 CJMEA Int. Bands & Percussion Ensemble Concert 3:00 PM 17 All Regions JHS/HS Jazz Ensemble/Jazz Choir Auditions 4:00 PM 17 CJMEA HS Concert Band Festival 6:00 PM 17 SJBODA Concert Band Festival 9:00-4:00 PM 18 CJMEA HS Concert Band Festival 6:00 PM 18 NJSMA Jr. HS Band Rehearsal 4:00-8:00 PM 18 SJBODA Concert Band Festival 9:00-4:00 PM 19 CJMEA HS Concert Band Festival 6:00 PM 20 CJMEA HS Concert Band Festival 6:00 PM 21 NJSMA Jr. HS Band Rehearsal 10:00-4:00 PM 22 NJSMA Jr. HS Band Rehearsal 10:00-4:00 PM 23 NJSMA Jr. HS Band Concert 3:00 PM 24 All Regions JHS/HS Jazz Ens/Jazz Choir Rehearsals 4:00-8:00 PM 25 NJSMA HS Band Festival 26 NJSMA HS Band Festival 27 NJSMA HS Band Festival 29 ASO/ASIO auditions Snow Date 29 CJMEA Elementary Honors Orchestra Day 8:30 AM April 4 NJMAA General Membership Meeting- Rutgers Club 9:30 AM 5 All-State Chorus Auditions - North 8:00-3:00 PM 5 CJMEA Elementary Honors Treble Choir Day 8:30 AM 7 All Regions JHS/HS Jazz Ens/Jazz Choir Rehearsals 4:00-8:00 PM 7 NJSMA Executive Board Meeting 6:00 PM 7 SJCDA Board Of Directors Meeting 7:00 PM 8 NJMEA Executive Board Meeting, Rutgers Club, NB 5:00 PM 11 All Regions JHS/HS Jazz Ens/Jazz Choir Rehearsals 9:00-3:00 PM 12 All Regions JHS/HS Jazz Ens/Jazz Choir Rehearsals 9:00-3:00 PM
12 All-State Int. Orchestra Rehearsal 12:30-5:30 PM 12 All-State Chorus Auditions - South 8:00-4:00 PM 12 CJMEA Elementary Honors Band Day 8:30 AM 13 All Regions JHS/HS Jazz Ens/Jazz Choir Concerts 3:00 PM 15 Passover 16 CJMEA Elementary/Int. Band Festival 17 NJSMA Jr. HS Band Festival 9:30-12:30 PM 20 Easter 24 NJ Elementary & JH Honor Choir Rehearsal 8:00-1:00 PM 26 All-State Int. Orchestra sectionals/seating auditions 12:30-5:30 PM 26 NJAJE State Jazz Ensemble Competition Finals - Division 1 5:00 PM 26 NJAJE State Jazz Ensemble Competition Finals - Division 2 5:00 PM 26 NJAJE State Jazz Ensemble Competition Finals - Division 3 5:00 PM 27 NJ Elementary & JH Honor Choir Last Day For Applications
May 2 2 3 3 3 4 5 5 5 7 7 7 9 10 10 11 13 13 14 15 22 26 28 28
NJMAA Executive Board Meeting- Rutgers Club 9:00 AM SJCDA General Membership Meeting/Seminar 9:00 AM All-State Int. Orchestra Rehearsal 12:30-5:30 PM NJSMA Elementary Honors Band Festival SJBODA Elementary Honors Band Day Festival 9:00-4:00 PM NJ Elementary & JH Honor Choir Rehearsal All-State Jazz Ensemble and Honors Jazz Choir Auditions 5:00 PM NJSMA Executive Board Meeting 5:00 PM SJCDA Board Of Directors Meeting 7:00 PM CJMEA Executive Board Meeting 6:00 PM NJRMEA General Meeting, House by the Sea, OG 10:15 AM NJSMA Jr. HS Orchestra Festival NJSMA Jr. HS Chorus Festival All-State Int. Orchestra Concert 3:00 AM All-State Int. Orchestra Rehearsal 10:30 AM NJSMA General Membership Meeting/Dinner 6:00 PM NJMEA Executive Board Meeting, Rutgers Club, NB 5:00 PM NJMEA Full Board Meeting, Rutgers Club, NB 6:30 PM CJMEA Elementary/Int. Band Festival CJMEA Elementary/Int. Band Festival NJSMA HS Orchestra Festival Memorial Day NJSMA Elementary Chorus Festival SJBODA Spring Membership Meeting 9:00 AM
June 2 4 6 6 9 10 14 15 21 22
SJCDA Board Of Directors Meeting 7:00 PM CJMEA Executive Board Meeting 6:00 PM NJMAA General Membership Meeting- Rutgers Club 9:30 AM NJSMA Executive Board Meeting 6:00 PM NJAJE Board Meeting 5:00 PM NJMEA Executive Board Meeting, Frog & The Peach 5:00 PM All-State Mixed Chorus First Rehearsal 8:30-12:00 PM NJ Elementary & JH Honor Choir Concert NJSMA Executive Board Summer Meeting NJSMA Executive Board Summer Meeting
Now’s The Time For Music Learning Theory by Joel Perry Redwood School, West Orange firstname.lastname@example.org
Note: All examples are shown at the end of this article.
major concern of music educators is teaching students “how to read rhythms”. It is part of our “Core Curriculum Standards”. It most definitely is sure to appear in our “Bench Mark Assessments”. It is crucial to performing in large and small ensembles. In fact, as musicians we all know that rhythm is essential to life itself! We know how important it is to teach not only the “note names’ but how to understand rhythm. Our students need to be able to “think critically” in rhythm. If our students can speak, play, improvise, read, write and compose rhythms they are truly demonstrating a deep understanding of rhythm. In short they need to “audiate” rhythm! If we, as music educators understand the basic principles of Music Learning Theory then the teaching of rhythm audiation can be a wonderful, fun and creative process for the teacher and student! It is a lot of fun to be able to make music together! Below is just one way that it might be done. Understanding the elements of Rhythm (Whole) Songs in duple and triple, combined and unusual meters should be part of an on going repertoire for the student to perform and listen to, as well as audiate. Tempo and meter beats should be performed to these familiar songs. This would be part of the classroom activities or the main part of the performing group rehearsal. This is the “whole” part. During these activities students can be instructed to move to the big beat, i.e. the macro beat. The micro beats, or meter beats should be added. An understanding of what each meter feels like and how it is different from another meter needs to be assimilated. For example, the student should be able to determine if a song or piece of music is duple or triple meter by listening to it and moving to the tempo beat and then subdividing the meter beats physically. When a majority of the students can
audiate duple and triple meter and know the name of the meter then they are ready to start a sequence of pattern instruction. Learning Sequence Activities (Part) It is recommended that the “Learning Sequence” part of the lesson be at the beginning of the lesson and last for about 5 – 10 minutes. The “Sequence” consists of a content sequence (in this case rhythm content) and a skill learning sequence. It is the interaction of these two areas that creates the forward motion of learning. If the class meets two times a week for thirty minutes each time, it might be best to alternate content every week or so. That is, one week tonal, the next week rhythm etc. It is important to change meters for comparison and building understanding. One week use duple meter, the next week triple. The rhythm content is divided up into patterns (see examples) for each meter. The skill learning sequence is divided into Discrimination learning and Inference learning. Discrimination learning is teacher centered. The teacher models or demonstrates and the students respond. It is “rote” learning. Inference Learning is student centered. The student generalizes and comes up with new information. The teacher can only set up a situation where this can happen. They can ask a question. It is student centered. The student must do the heavy lifting. The teacher cannot teach inference learning but can provide a situation for the student to make inferences. The same skill level can exist in both categories. The order of instruction is sequential. One can “bridge” over from the Discrimination side to the Inference side and then back again to enrich learning and increase understanding. This is also valuable in assessing understanding. (*Foot note #1) The Skill Learning sequence is: Discrimination Learning Aural/ Oral. Verbal Association. Partial synthesis. Symbolic Association (Reading-Writing).
Composite Synthesis. Inference Learning Generalization (Aural/Oral- VerbalSymbolic) (Reading, Writing). Creativity/Improvisation (Aural/Oral, Symbolic, (Reading and Writing). Theoretical Understanding (Aural/Oral, Verbal, Symbolic) Reading and Writing. It is from the interaction of the skill learning sequence and the content sequence that Long range goals and sequential objectives can be developed and taught and assessed. This is specifically how curriculum can be developed. Benchmark assessments can be directly derived from the rhythm content. Here is just one way out of many that this can be achieved: Comprehensive Goal A. Students will demonstrate the ability to read, write, and create using the following rhythms: duple meter patterns in (see example 1) Comprehensive Goal B. Students will demonstrate the ability to read, write, and create using the following triple meter patterns. (See example 2) Using a schedule of a class having music two times a week, for thirty minutes, each sequential objective (one a week) would be studied at the beginning of each period. Stay on each objective for two classes. The first class would be in a “teaching mode”. The second class can be done in the “practice” mode and/or in the “evaluation mode”. All of the below activities should be done with the large group, small groups and individual students. This will aid and enhance audiation as well as assessment. Sequential objectives 1. Aural/Oral – Duple.
Students are instructed to move to duple meter. As the students are moving in Macro (tempo) and (meter) micro beats the students echo duple meter patterns on the syllable “bum”. These patterns could also be played on a drum or on one pitch of an instrument (see example 1) The pattern vocabulary at the aural/ oral level will MAY 2013
be probably more patterns than at the symbolic level. 2. Aural/Oral
Students are instructed to move to triple meter. As the students are moving in Macro (tempo) and (meter) micro beats the student’s echo-chant triple meter patterns on the syllable “bum”. (See example 2) (The pattern vocabulary at the Aural/ Oral level should be more patterns than at the symbolic level. 3. Aural/Oral Inference / Creativity/ Improvisation - Duple
As the students are moving in Macro ( tempo) and (meter) micro beats the students, after briefly echoing patterns in duple meter students take turns being “it” as they play the game of improvising on “Bum” (or an instrument) duple patterns (mostly, hopefully) . It is important to keep the beat going throughout and to immediately go from one student to the next. The class may echo each pattern as well.
4. Aural/Oral Inference / Creativity/ Improvisation - Triple
As the students are moving in Macro (tempo ) and (meter)micro beats the students, after briefly echoing patterns in duple meter on a neutral syllable students take turns being “it” as they play the game of improvising on “ Bum” (or an instrument), triple patterns ( mostly, hopefully). It is important to keep the beat going throughout and to immediately go from one student to the next. The class may echo each pattern as well. 5. Verbal Association- Duple
Students are instructed to move to duple meter. Students will echo duple meter patterns (example 3) using a beat function verbal association. (I have written the verbal association below the rhythm. This is for reference only. The verbal association syllables are never written for the student. We use them only verbally, for verbal association). 6. Verbal Association- Triple
The students are instructed to move to triple meter. Students will echo triple meter patterns (example 4) using a beat function verbal association. (I have written the verbal association below the rhythm. This is for reference only. The verbal association syllables are never written for the student. We use them verbally only, for verbal association). 7. Verbal Association – Duple- Inference/ Creativity/ Improvisation
The students are instructed that they will be chanting duple meter rhythm patterns in this game. After a few patterns are echoed individuals can get to “be it” in this MAY 2013
“Simon Says’ game”. The student gets to be the teacher and makes up a duple meter phrase in rhythm. Make sure to keep the beat going. If the student uses an incorrect verbal association simply correct it, matter of fact like, in the echo. By improvising patterns students are generalizing, using “critical thinking” in music! It also lets the teacher know if they are ready to read these patterns. 8. Verbal Association – Triple - Inference/ Creativity/ Improvisation
After a few patterns are echoed individuals can get to “be it” in this Simon Says game. The student gets to be the teacher and makes up a triple meter phrase in rhythm. Make sure to keep the beat going .If the student uses an incorrect verbal association simply correct it, matter of fact like, in the echo. By improvising patterns students are generalizing, using “critical thinking” in music! It also lets the teacher know if they are ready to read these patterns. 9. Partial Synthesis-- duple, triple(Generalization, creativity Improvisation).
The teacher announces “Please echo these duple meter rhythm patterns”. The teacher echo sings a few rhythm phrases in duple meter on neutral syllables, or performs them on an instrument. Students echo, as a group or small groups and individuals. Now, the teacher sings a phrase and an individual student answers a different pattern. Repeat this question and answer with individuals, small and large groups. Repeat the process in triple. The purpose is to gain an understanding of the sounds of the meters and to be able to link patterns and recognize them as being in one meter. 10. Partial Synthesis- duple, tripleDiscrimination Learning (Generalization, creativity Improvisation)
The teacher announces, “Please echo these duple meter rhythm patterns”. The teacher echo-chants a few rhythm phrases in duple meter on neutral syllables, or performs them on an instrument. Students echo. Just do a few patterns. Ask an individual student to be “it” or the “teacher”. He or she improvises phrases. Be sure to insist on duple phrases. Repeat the process for triple meter. 11. Partial Synthesis –– assessment mode
The teacher sings a group of familiar patterns on a neutral syllable. Students may echo. The teacher asks if it is duple or triple. Repeat for a few phrases. In this mode you are determining if, indeed, the students have achieved the partial synthesis level for these patterns. (Please note that each of these objectives is designed to be implemented every
other week, for 5 to 10 minutes a day, at the beginning of class. This is assuming the class meets two times a week for thirty minutes each meeting. During the alternate weeks the same process would be implemented using tonal content. In addition during the rest of the period classroom activities should occur that are informed by Music Learning Theory. It is at this point that the student is finally ready to “read the rhythms”. 12. Symbolic Association- discrimination, duple meter- reading
At this level of discrimination learning, the students echo sing from notation duple meter patterns they have already audiated (see example 5) at the aural/oral, verbal association, and partial synthesis level. Notice that the vocabulary is less at this level than at previous levels. Of course vocabulary can be added later. Some patterns may also be “inferred” in the future as well! 13. Symbolic Association- Discrimination Learning, Triple meter- reading
At this level of discrimination learning, the students echo sing from notation Triple meter patterns they have already audiated (see example 6) at the aural/oral, verbal association, and partial synthesis level. Notice that the vocabulary is less at this level than at previous levels. Of course vocabulary can be added later. Some patterns may also be “inferred” in the future as well! 14. Symbolic Association- – GeneralizationDuple
Familiar and some unfamiliar patterns. The student is shown rhythm patterns and told what that the meter is duple. The student then chants the patterns in rhythm with verbal association or a neutral syllable and/ or performs them on an instrument. 15. Symbolic Association – GeneralizationTriple
Familiar and some unfamiliar patterns. The student is shown rhythm patterns and told what that the meter is triple. The student then chants the patterns in rhythm with verbal association or a neutral syllable and/ or performs them on an instrument. 16. Composite Synthesis- Duple/ Triple Meter
At this level the student is presented with notation of familiar rhythm patterns in either familiar or unfamiliar order. The student is not told what the meter is. The student will be able to infer what the meter is and say the rhythm with or without syllables and/or perform the patterns on an instrument.
The best way to understand how all of this is accomplished is to see it in action. Reading about is crucial as well. The combination of reading the “theory” and seeing it implemented will clarify the process. There are as many ways to implement the theory, as there are teachers! While this process is lengthy and involved for the teacher, it is fun and creative because the teacher gets to change, devise, revise and create. There are literally thousands of possibilities. For the student it is
highly enabling. It facilitates audiation. Audiaiton allows for generalization and critical thinking to take place in music. The student is equipped to understand, read, write, improvise and compose music. If you wish to learn more I highly recommend looking at the web site: GIML. org. Please join the NJ chapter of GIML to become more involved with Music Learning Theory in NJ. Anyone wishing to join the New Jersey chapter of GIML please go to the website GIML.org and join the Nation-
al organization. Be sure to click on “none” for Chapter Affiliation as the NJ Chapter is new and is not currently listed. This way the organization will know by your address that you wish to be part of the NJ Chapter. After doing so please e mail: email@example.com or firstname.lastname@example.org. Please email me if You have any questions or concerns regarding MLT. *Foot note 1- p. 113, The Ways Children Learn Music, by Eric Bluestine, Gia Publications, Chicago, 2000
Joel Perry Examples
Du Da Di Du Da Di Du Du
Du Da Di Du
Du Du Da Di Du Da Di Du
Du Da Du Da
Du Da Di Du
Du Da Di
Du Da Di Du
Du Di Du Di
Du Di Du Da
Du Da Di Du
Meet The Parents… Of Special Learners by Maureen Butler Lake Drive School email@example.com
o you remember the blockbuster movie “Meet the Parents” starring Adam Sandler and Robert DeNiro? Sandler’s character had to face interrogations, surveillance, distrust and outright hostility while his future father-in-law (played by DeNiro) determined if he was good enough for his daughter. Hopefully music teachers are not faced with such intense reactions when we interact with parents of our students – although it would be interesting to meet DeNiro! As you may have learned, it is up to us to develop strategies to effectively communicate with parents in a variety of situations, and to respond professionally even when we may be treated unfairly. Experienced teachers have acquired the ability to do so, but when it comes to working with parents of our special learners, we may not be as confident in our approach. If you’re a teacher of special learners, you may have stories to tell about parents who: • Come on too strong • Are in denial about their children’s special needs • Have low expectations for their children • Have unrealistic expectations • Don’t hold their children accountable for behaviors • Don’t take the time to listen to teachers’ ideas and concerns On the other hand, parents of special learners may have their own stories to tell about teachers who: • Come on too strong • Don’t take the time to learn about a disability • Have low expectations of students • Have unrealistic expectations • Don’t take disabilities into account
when considering misbehaviors • Don’t take the time to listen to parents’ ideas and concerns As someone who has sat on “both sides of the IEP conference table” as parent and educator, I can appreciate the challenges on each side. We all bring much to the table in terms of expertise and experience, and have one thing in common – the successful growth and development of the child. As professionals, our successful work with parents hinges on effective communication strategies, and on our ability to project respect, compassion, understanding and patience. First, consider how disabilities may affect a family. Some have the power to change a family’s entire way of life – and members may experience emotions ranging from guilt to fear, from disappointment to anger. Parents may have difficulty accepting the reality of their situation, or are in outright denial. Some are in what may be called a “mourning period” in which they are grieving over the loss of the life they imagined their child would have. Moreover, they may worry about such concerns as their child’s future, social development and interactions with extended family and friends, or financial issues connected with needed therapies. Even learning about and helping children with mild disabilities may stress out families. Consider, too, that some parents, while doing everything in their power to ensure their child’s growth and development, have had negative experiences with former teachers in other educational settings. These parents have become strong advocates for their children, and may feel they need to be forceful to obtain what their children need. However, the parent who is a strong advocate is most likely someone who is willing to
spend time with you to share specific details about their son’s or daughter’s disability that may impact learning. At the other end of the spectrum, we may encounter parents who for various reasons are unable or unwilling to work with us. Others are private about what they consider their personal lives and prefer not to share information about what goes on at home. Some families may see your wellintentioned inquiries as an intrusion. Knowing that parents come from a variety of backgrounds and experiences, how do music teachers work together with parents in a positive way? How can we be sensitive to their feelings and respectful of their status as experts of their own children to form a truly collaborative relationship? Here are some thoughts: Be proactive: Effective parents and teachers agree that communication is paramount, and being proactive is key. For example, sending home an introductory letter in September, and sending positive notes during the school year will help establish a good relationship with parents. These notes should focus on the child’s strengths, and can include targeted behaviors such as listening well, singing well, and helping others. If and when a problem does arise, these families will feel that you are already on their side, and may be more willing to discuss issues of concern. Be compassionate: Remember that parents may be under a lot of stress, so strive to choose your words with kindness. Coping with responsibilities of a disability twenty-four hours a day for the lifetime of their child may cause families to feel overwhelmed. If you feel that families need assistance in dealing with their child’s needs, make a recommendation to your school’s social worker.
Be objective: Although it may be difficult, try not to take criticism personally; do your best to remain objective and not become emotional. Calmly listen to parent’s comments and if necessary, schedule a meeting that includes the principal or other involved staff members. However, if you experience outright hostility, ask immediately for assistance from your building principal and special education director. Determine what your district’s policy is and document everything. Be informed: Stay informed about current research, specifically that which impacts students in your classes. Fostering
collaborative relationships with your colleagues, attending workshops, and conducting online research are all good ways to learn about the special needs of your students. As teachers we have the power and awesome privilege of shaping the future. We can’t guarantee that parents will always cooperate or treat us with the respect, but if we treat parents with professionalism, kindness and grace, parents will be more willing to “meet the teacher” – and that in turn will go a long way to help our special learners flourish and learn.
Resources: Adamek, Mary S., and Darrow, AliceAnn, Music in Special Education, Second Edition, Copyright 2010, The American Music Therapy Corporation http://www.howtolearn.com/2011/12/5things-parents-of-special-needsstudents-want-teachers-to-know-rightnow http://specialed.about.com/od/ classroommanagement/a/ difficultparents.htm http://www.scholastic.com/teachers/article/ respect-parents
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Understanding The Included Special Needs Child In Music Classes by Dorita S. Berger Kean University, Union, NJ email@example.com
nce, at a middle school where I was providing music therapy services, a band instructor came frantically seeking me for advice on how to handle a special needs youngster whose parents insisted their son participate in band, and in the upcoming school concert. The student, whom I was treating at the school, had Angelman Syndrome, which is a neuro-genetic disorder characterized by severe cognitive, developmental and language disabilities, sleep disturbances, sometimes seizures, jerky movements (especially hand-flapping), and most of all, an unusually happy demeanor with frequent smiling, audible laughter, and spontaneous and uncontrollable involuntary vocal outbursts, such as “aaaahhh”, “eeeerp”. The band instructor was anxious because the school Principal insisted on compliance with parental requests. This student had been placed in the band, seated in the percussion section, and given an occasional triangle, or maracas to play. But with a concert coming up, the instructor did not want the student to participate on stage, fearing that the frequent involuntary vocal outbursts would disrupt the performance. What could be done? Since I had been providing clinical services to this student, I was well aware of his abilities, interests and behaviors. In clinical work I require students to have recorders for developing better breath control, and also to have kazoos into which to hum. The kazoo activity provides fun, vocalization practice, and redirection of vocal outbursts. So I suggested that this student bring his kazoo to band rehearsals and ultimately to the performance, so that his vocalization compulsions could be redirected into the kazoo – an activity we often practiced in our music therapy sessions. Although the student was cognitively deficient, he was able to understand this directive because it was a familiar activity that he enjoyed.
The student was told that his role in the band was to ‘play’ kazoo, and that he would keep it in his mouth throughout the performance! I guided the student’s aide on how to observe potential precedents to outbursts (that were usually triggered by unmodulated excitement), and to guide the student on when (or when not) to ‘play’. Even if the student was to vocalize into the kazoo throughout the performance, the sound would not carry nor be heard by others in the band or the audience. He was placed standing behind the trombones, near the percussion, and everyone was thrilled to enable this student’s participation at his level of ability. The concert went well, and everyone was satisfied! In my years of providing music therapy services to schools, I have come to understand that “inclusion” is education’s on-going buzz-word. However, although “inclusion” can provide many positive educational experiences for special needs students, many music instructors find themselves at a loss in ways to resolve the many issues that arise, and that often result in the student being ejected from the class. Rather than expelling a student from class, there can be other solutions and alternatives to solving situations that rely upon educators being sufficiently knowledgeable and skilled at understanding and redirecting behaviors and problems. Music educators might benefit from in-service workshops and training on techniques that can diffuse problems that arise. I have been consulted often on issues in choruses, orchestras, bands, and general music classes in which students with Autism Spectrum Disorder, ADHD, Down or Angelman Syndrome, and other diagnoses, were included. Basic Considerations For Music Educators Music educators, whether classroom, instrumental, or vocal instructors, are not expected to be music therapists in identify-
ing specific problems or fully understanding physiological and psychological deficits. However, certain factors are important to understand. Music, itself a strict discipline, involves an acoustic environment, and learning requires organized cognitive processes on the part of the student. Music education also requires a student’s healthy sense-of-self and self-organization, knowledge of his/her body, and a coordination of sensory information. These basic areas of function are most often deficient in the diagnosed student, resulting in erratic behaviors, fear and fight-or-flight responses, an inability to focus and concentrate nor understand specific multi-layer directives, auditory and visual processing difficulties, and much more. The first factors to be considered are the aspects of sound and auditory processing that might be problematic. Most childhood diagnoses have various levels of auditory processing deficiencies that implicate expressive and receptive language delays, fear of certain sounds, comprehension difficulties, and related problems. The music, or the instruments, may be too loud or too quiet. The room may cause reverberations or amplification of the sound’s characteristics, causing sensory disturbances. Fluorescent lights, (that emit very high frequency pitches and appear visually as strobe lights for someone on the Autism Spectrum) could be causing bodily and sensory discomforts. Perhaps the timbres of the music, musical instruments, or teacher’s voice, are being processed inaccurately, or with discomfort. Auditory deficiencies could include an inability to determine auditory figure-ground, or sound location. The student could be on sensory information overload due to too much auditory and visual stimuli. Visual or auditory systems may not be tracking sequentially, thus perceiving information inaccurately. Although the student sees and hears, the brain may not MAY 2013
be receiving and perceiving the stimulus correctly. The brain may not know what’s “me” and what’s not (inaccurate proprioceptive processing). These are just a few of the deficits in the adaptive malfunction of a diagnosed person. When teachers consider these possible contributors to inappropriate behaviors, they will realize that emitting the student from class will not necessarily result in better behavior upon return, because the environment itself does not change, therefore discomforts will recur and the behavior cycle may continue. One cannot assume that what is being presented audibly by the instructor is what is being perceived by the included student. In the classroom, the music educator is often unable to stabilize the included special needs student, and with some 35 students in the class, obviously the instructor cannot always take the time (or may not understand the problem) to consider alternative solutions. Added to this is often the inability of a student’s aide to understand or redirect, in a positive manner, responses resultant from diagnostic characteristics. I have observed that redirection of behaviors, (key word, “redirection”) is illusive, and often not well managed. Being sent from the class is not “inclusion”. Several things might be given consideration: Seating Arrangement
Considering the acoustic nature of music instruction, some awareness of auditory and sensory processing function of the included student would be helpful. This information is often available from other clinicians on the IEP: speech pathologists, OT, Music Therapist (if available), parents and medical records. Some of the following can then be explored: perhaps the student would do better when seated in a location of the room where reverberations are minimal (perhaps further away from the sound source); perhaps the student does not have to sit alongside other string or brass players, or singers, but rather, can sit (or stand) in an area of the room where auditory insults would be less intense, or the out-of-tune player or singer is not immediately in the ear of the student. (Many ASD students have absolute pitch – often a major contributor to auditory discomforts).
A 30 or 40-minute class may be too long for the student to handle. I advise teachers and aides to allow the student to participate in time increments: participation in the first 10 to 15-minutes (depending on the length) of a class, then proceeding to a quiet area elsewhere, for 10 or 15-minutes to continue one-on-one repetition of the instruction, and returning for the concluding segment of the class. Two positive redirections of student stress can occur with this type of schedule – first, there is an immediate change of pace and environment that redirects attention, and second, there is a one-on-one opportunity for reinforcement of the information being taught before returning to the group. (Even orchestras and bands have “sectional rehearsals”.) The suggestion of time increments has served many students (and classmates) well, because shorter attention time can reduce fears and anxieties, limit compulsive outbursts, provide a better sense of self-esteem, and is a positive alternative.
Special needs students should be allowed to enter instrumental training – even if limited. When a student is able to choose his or her instrumental interest, that is a positive. However, not all selections are commensurate with a student’s ability to handle or learn the skill. Here a consultation with a music therapist could be beneficial. I have often redirected a student to an instrument (or choir) which, based on my assessment, would be a better selection. It should not be assumed that because the student cannot handle a particular instrument, there is no ability for another instrument. One of my extremely musically gifted clinical clients, with keen absolute pitch, was first told he would not be admitted into any instrumental training program due to his diagnosis! After my discussions (and urging!) with the music faculty, he was reluctantly placed in the violin class, which indeed was quite difficult and unsuccessful for him. I implored that the cello, or the double bass would better suit his interests as well as his sensory
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needs. Indeed, he was subsequently moved to the cello class in which he became so proficient that he was placed as first chair cellist in the orchestra in that first year of music. The following year he decided he preferred the double bass, and immediately became principal bassist in the school orchestra! Difficult? Yes, but given his perfect pitch acuity, he almost does not have to read music! (He is currently 10 years old and on the Autism spectrum.) Playing double bass has become this child’s identity. Grading Ability And Progress From A Music Therapy Perspective Although there are specific curricular requirements for music education, I have not often encountered an alternate curriculum suited for included students. Many special needs students are simply inserted because of “inclusion fever”, but may never achieve required curricular success. The Angelman Syndrome student described above surely learned much about music, tempo, observing a conductor, waiting and turn-taking, taking direction, and generally participating with others in the music-making activity. These are positive learning aspects resulting from the student’s participation in music classes, but it is unlikely that he will read music notation, partake in sight-read or sight-sing, or develop instrumental proficiency skills. Therefore an adapted music curriculum and academic criteria for grading music knowledge required by the general music curriculum would be useful. Grading would require flexibility and modification in order to accommodate gains based on a student’s
“ability”, rather than disability, and different rubrics for determining ‘progress’ would be useful. This involves rating progress based on an understanding of the characteristics of a diagnosis and resultant behaviors, and an adaptation of teacher expectations and agendas. In a future article I will share some information about my Triple A Approach for teacher leadership skills, from the music therapy perspective. The approach is based on the music clinician’s assessment of self, strengths and deficits, goals and objectives, and knowledge used in treating clients. The information can be useful for music educators as well. Meanwhile, I suggest giving the included student a chance to practice developing music skills at the level of the student’s ability, with modified expectations, and with supportive opportunities based on understanding important physiological characteristics that may be limiting the student’s functional adaptation. As clinicians, music therapists are interested in treating a person’s “abilities”, rather than focusing on the disabilities. It can be the same for music educators who can enhance abilities and make ‘inclusion’ a successful learning opportunity.
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This Is Important! Do You Hear What I’m Saying? by Ron Poorman Retired firstname.lastname@example.org
istening to good music is one of the most important educational fundamentals we need to teach in our schools. Listening with a purpose can help keep your students excited about their participation in musical activities regardless of whether you teach vocal or instrumental music. Students need positive exposure to multiple styles of music. Recently I became aware of two specific problems related to listening. I noticed that a high school jazz band that I was rehearsing, was having trouble with the style of a swing piece. I asked if they had ever listened to a Count Basie recording. No one had ever heard of Count Basie and some guessed he might be a Sesame Street character. I followed up by asking who was their favorite player on their instrument. Only one or two students could even name a single person who played the same instrument and most who tried to answer named players who taught at their school. The second problem concerned a Duke Ellington jazz medley being played by an adult concert band composed of mostly music major graduates. The majority of the members under 35 years old did not know such standards as Mood Indigo, Satin Doll or Sophisticated Lady. While exposing the members to new music is one of the group’s goals, these “American Songbook” standards were not what I expected to be considered as “new” music. At first I was disturbed, but then realized that I could not name five rock musicians with top ten songs in 2013. However, after thinking a bit more, I realized that when I was in college, I had to be familiar with music from the time of the Gregorian chant to the latest top-forty if I were to please my Professors and my peers. The “American Songbook” should have been a major part of any current high school or college music history course and names such as Basie, Ellington, Kenton, Dorsey,
Miller, etc. should have been covered along with their music. Perhaps we need to learn more of our American music history so we can then teach it to our students. When it comes to improving the listening portion of your program you should ask yourself a few questions: 1. Are you able to listen to most styles of music knowledgeably and are you teaching critical listening skills (evaluating what you hear) to your students?
2. Are you teaching your students to be good listeners by playing great recordings and videos for them to hear? 3. Do you take your students to live world-class performances? 4. Are you careful to choose only “artistic” music for your performing groups? 5. Do you give your students and audiences the background of the music you sing or play?
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Orff Levels I, II, III July 8 – 19, 2013 AOSA Approved
Level I - Beth Ann Hepburn Level II - Linda O’Donnell Level III - Nichelle Fella Przybylowski Rhythm - Janie Vance Recorder - Nick Wilde Our low tuition of $1200 includes materials, all fees, and 4 graduate credits. Located in suburban Philadelphia, Villanova is convenient to all transportation. Affordable housing and meals are available on campus. To learn more about this course and 35 others visit music.villanova.edu or contact the Summer Music Studies Program George Pinchock at email@example.com
If you are brutally honest with yourself, I think many of you would admit to a need for some improvement in teaching listening skills. It is important for you to train your students to be the audiences of tomorrow. If people only hear things that are played on TV or radio, they will miss a majority of the world’s great music. Your students will accept most of the information you provide as their musical leader, so make sure you are leading them to be better listeners. Stress that music lasts a lifetime! Provide printed lists of artists that you believe your students should emulate and give them web addresses or recordings of music to make it easy for them to accomplish. Use emails with attached music links to selected artists to expedite listening. Using Edmodo or Dropbox are other ways to send larger file sizes to your students. Music teachers must take their students to local concerts presented by outstanding community bands, like the “Ridgewood Band” and the “South Jersey Area Wind Ensemble”, orchestras, like the “Symphony in C” and choruses, like “The Choral Arts of Southern NJ”, on a regular basis. They also should arrange annual or bi-annual trips to hear major orchestras, like the “Philadelphia Orchestra”, “NJ Symphony” or the “New York Philharmonic”, as well as hearing service or college bands or choruses. These field trips take planning and should be a part of the music curriculum and included in the music budget. Exposure to fine performances will keep your students on the path to becoming better musicians in your school organizations and eliminate most drop-outs which many programs complain about. How does your tuba section know what a great tuba sound is if they have never heard a great tuba player in person? Live music by talented artists inspires all of us to become better players. Professor Bill Berz, at Rutgers “Mason Gross School of Music”, has written extensively about playing music that has lasting substance: Music that is interesting, exciting, and/or beautiful to hear and will be around for a long time. As a music director in your school, you need to research what music is within your group’s ability level MAY 2013
and also whether it has the elements needed to last past the date of your next concert. Good music builds larger audiences. It is important to provide your students with historically significant music as well as new artistic works. Too often music publishers push new pieces of “formula music” so that they can sell more titles each year. Much of this “educational” music costs the school as much as artistic music but is not something most groups will ever want to perform again. A school’s music library should contain a growing number of important pieces of literature for each performing organization and provide a wonderful background of lasting literature for the band, orchestra or chorus to use over again. Finally, it is a good teacher’s responsibility to present the history of the music being performed in an interesting manner that makes the students learn more about the composer’s product. Rehearsal time is not wasted on music history if the conductor
helps students improve their understanding of the piece. This knowledge often helps the performer to play in the correct style or seek more information independently. One of my favorite teaching habits was to learn something new each day before I left school and that often involved listening to something that was new to me. Listening is a necessity if we are to learn how to perform music artistically. I hope you have heard what I am saying! Ron Poorman is a retired music teacher who taught full-timeat Southern Regional High School, in Manahawkin, NJ, Pleasantville Public Schools, Middletown PA schools and retired as Asst. Professor of music at The Richard Stockton College of NJ. He plays clarinet in the South Jersey Area Wind Ensemble and alto Saxophone in the South Jersey Saxophone Quartet.
This Summer at MSU John J. Cali School of Music Music Education for Children with Disabilities (MUED 550) July 16-August 8, On-line Component, 3 graduate credits In-Class Meetings: T, R, 1:30 - 3 pm Dr. Brian Abrams Creative Movement and Dance for Children (MUED 521) July 15-August 8, M-R, 4 - 6:30 pm, 3 graduate credits Dr. Lisa DeLorenzo FALL PREVIEW: Band Literature for Music Educators (MUED 579) Wednesday evenings 6 – 8 For course information: Dr. Lisa DeLorenzo, firstname.lastname@example.org For registration information: Gina Balestracci, email@example.com
Montclair, NJ 73 TEMPO
Summer Workshop 2013 Tuesday, August 6, 2013 7:30-4:30 p.m.
Mail-In Registration Form **Registration deadline is June 30, 2013** Last Name: ______________________________________ First Name: ______________________________________________ Address: ________________________________________________________________________________________________ City: ___________________________________________ State: ____________________ Zip: ___________________________ Phone Number Where You Can Be Reached Most Easily: _______ _______ ____________ School District: __________________________________________________________________________________________ You MUST be an NAfME member. Please include a copy of your NAfME membership card showing the expiration date. Email Address (required): ___________________________________________________________________________________
** As a courtesy, an email confirmation will be sent within two (2) weeks of the workshop date**
If instrumental reading sessions are available, would you participate and on which instrument? _______________________________ _____ Check here if you would like to be included on the Colleague Networking List to be distributed at the workshop. What is your current teaching assignment? Include grade level(s): _____________________________________________________ Please number, in order of importance, which strands of the workshop interest you:
Classroom Music ______
Instrumental Music ______
Vocal Music _____
Special Ed. _____
Please mail this form, along with a check made payable to NJMEA for $80 before June 30th / $100 after July 1st (no mail in registrations received after July 15th) to: NJMEA Summer Workshop c/o Sue Mark 3 MacKenzie Court Sewell, NJ 08080 Registration On-Site Only AFTER July 15th = $100 **No Refunds After July 15th** For more information or to register online, go to: njmea.org and look under Conferences/Summer Workshop
2013 NJMEA ALL-STATE OPERA FESTIVAL
Stevie Rawlings, Paramus HS - Festival Chair Solo/Ensemble Auditions: (no costumes) Fri., Oct. 25, 2013, 4:30 PM Festival Date: Sat., Nov. 16, 2013, 9:00 AM, Concert at 3:00 PM Audition and Festival Site: Paramus High School, East 99 Century Road, Paramus, NJ 07652
The NJMEA Opera Festival provides a unique opportunity for the most talented students in your chorus to perform opera literature, receive a critique, and attend a clinic and workshop. An aria from any opera is acceptable. To be considered for performance on the Festival day, soloists and ensembles must audition on the separate audition day. The term “ensemble” is used to designate any group other than a solo, e.g., duet, trio, and so on. A student may attend only the clinic and workshop on the day of the Festival and not perform a solo or in an ensemble selection, and therefore does not have to audition. We do require all students to sing in the chorus performances on the Festival day. The audition also serves as a competition for the designation of recipients for The Governor’s Awards - Best Male and Female Soloists, and Best Small and Large Ensembles, and also to vie for the C. Scripps Beebee Scholarship of $500. The chorus will sing three selections, the titles of which will be sent out via e-mail to sponsoring directors upon receipt of applications. Judging results (scores and written comments) and those accepted to perform on the Festival day will also be e-mailed to directors. Teachers, please prepare your students for the chorus numbers as time is limited on the Festival day. Concert dress is semi-formal or in character costume, your choice. Audition/Participation Fee is $20.00 per student. Each participating student must fill out an application. Any voicing and any number of students may register. Directors, send all applications with ONE check payable to the NJMEA and enclose a copy of your current NAfME (formerly MENC) membership card postmarked by Saturday, October 19, 2013 to Michael Kallimanis, All-State Opera Festival Audition Chair, Waldwick HS/MS, 155 Wyckoff Avenue, Waldwick, NJ 07463. After Oct. 19, applications will not be accepted. Sponsoring directors need not attend the audition but must be present from 10:30 AM until the end of the concert on the Festival day to assist with events. More info, e-mail only - MrKOrchAuditions@aol.com. Phone for emergencies on 10/26 or 11/17 only: 201-370-0423. STUDENT INFORMATION: (Please print neatly, use ball-point pen only). FIRST NAME ________________________________________
LAST NAME ________________________________________________
HOME PHONE ______________________________________
GRADE (Circle one)
CHORUS VOICE PART _________________________________________________
Check all that apply: Solo (audition required) ____________ Ensemble (audition required) ____________ Chorus______________ Write the aria/ensemble selection, opera name and composer on the back of this application. A professional accompanist is available for $25.00 cash for each day of service, to be given directly to the accompanist. (DO NOT SEND THIS FEE IN WITH YOUR APPLICATION) Check here if you will need a professional accompanist: ___________________ BE SURE TO BRING YOUR MUSIC! CHORAL DIRECTOR INFORMATION: FIRST ________________________________ LAST ____________________________________ NAfME # ________________________ SCHOOL________________________________________________________ E-MAIL__________________________________________ ADDRESS___________________________________________ TOWN_________________________________ ZIP__________________ SCHOOL PHONE _______________________ HOME PHONE_________________________ CELL PHONE _____________________ CONTRACT ENDORSEMENTS: I certify that I will accept the decision of the judges as binding and if selected, will memorize my music, (chorus music need not be memorized) and dress appropriately. I am aware that I must attend the entire Festival, Saturday, November 16, 2013. STUDENT SIGNATURE: ______________________________________________ DATE: ______________________________________ As parent/guardian, I give permission for my child to apply to the 2013 NJMEA Opera Festival. I understand that the NJMEA does not assume responsibility for illness or accident. I further attest that I will assist my child with obligations related to this activity. PARENT SIGNATURE: ________________________________________________ DATE: ______________________________________ We endorse this applicant as an outstanding member of our school choral program. The director will attend the entire Festival day or provide an approved substitute who is also a NAfME member. SCHOOL DIRECTOR: ________________________________________________ DATE: ______________________________________ PRINCIPAL’S SIGNATURE: ____________________________________________
New Jersey Music Educator’s Association Proudly Announces:
“The 2013 State Marching Band Ratings Festival” 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 19, 2013 , 5:30 pm. Wayne Hills High School Contact: Christopher J. DeWilde or Matthew J. Paterno 973-317-2060 (firstname.lastname@example.org or email@example.com)
Don’t miss out on this interesting addition to your present Marching Band activities! Sign- ups begin MARCH 1, 2013!
Master Music Teacher Award To be eligible for consideration, the nominee must: A. have completed a minimum of ten years of music teaching in the schools of New Jersey (public, parochial, private or collegiate). B. be actively teaching and a member of NJMEA-NAfME for at least ten years. C. display teaching excellence, as the only other major criterion used in the selection process. Deadline: October 15th: Nominee: ________________________________________________________________________________________________ Street Address: ____________________________________________________________________________________________ City: __________________________________________
State: ______________________ Zip: _________________
Telephone: _____________________________________ E-mail address: _____________________________________________ Teaching position: _________________________________________________________________________________________ School Name: __________________________________________ Street Address: ______________________________________ City: __________________________________________
Zip: ________________ County: ______________________
Telephone: __________________ E-mail address: ________________
Telephone: __________________ E-mail address: ________________
Telephone: __________________ E-mail address: _________________
Telephone: __________________ E-mail address: _________________
Please include with this form: 1. Academic background including degrees and certificates held. 2. Experience in the field of music including previous positions held, honors, and recognitions. 3. A minimum of two letters of reference supporting the candidacy 4. Additional supporting materials, including programs. photos, tapes, discs, public recognition, etc. 5. The candidateâ€™s teaching schedule, including number of students in each class, total enrollment in the school, specific periods and times, and detailed directions to the school. Please check the website at: http://www.njmea.org/MasterMusicTeachers.pdf to see who has received this award in the past. Mail this application, together with accompanying documents to: Kathleen Spadafino Master Music Teacher Committee 1 Ashgrove Court East Brunswick, NJ 08816
School Administrator Award Awards and presentations are made annually to outstanding school principals and/or superintendents who demonstrate support for and commitment to high-quality arts education programs in their schools. The influence of such administrators is a major factor in improving music education in school systems across the state. One elementary school principal, one secondary school principal and one school district superintendent may be selected to receive this award. Individuals holding titles as assistant principal and assistant or associate superintendent also qualify. Administrators receiving awards will be notified by NJMEA and a presentation honoring them will take place at the Membership Luncheon at the February NJMEA State Conference.
C. The administrator must be an active advocate for arts education in the school and community. D. A financial commitment to music programs must be demonstrated in the school or school district. E. The administrator must show strong leadership, good school management, and good rapport with teachers, parents, students, and other school administrators.
Nominators must submit the following for each administrator: 1. Completed School Administrator Nomination form verified and signed by the nominator. 2. Resume of nominated administrator. 3. Two letters of support, including one from the music education faculty in the administrator’s school or district. 4. A picture of the administrator suitable for publicity purposes. 5. Name and address of the administrator’s local newspaper, television and radio station where applicable. 6. Additional support materials such as press clippings if available.
Selection by the NJMEA committee will be based on the following criteria:
A. The school or school district under the administrator’s supervision must have an exemplary music program, with a majority of the music staff holding NJMEA membership. B. The administrator must have served in the administrative position in the same school or district for no less than three years.
Application must be postmarked by October 15th School District _________________________________________________________ Send the form, photograph, and support materials to: Selection (check one) Elementary Principal __________ NJMEA, William McDevitt Secondary Principal __________ 443 Whitman Lane Williamstown, NJ 08094 Superintendent __________ Nominee’s Name ____________________________________
School Address ______________________________________________________________________________________________________ Please answer the following questions on a separate sheet in support of your selection. This form must be signed by the nominator and the administrator nominated and must be accompanied by a resume, two letters of support (one from a member of the music faculty), a publicity photo, and a list of local media and their addresses. 1. How long has the school or school district been under the administrator’s supervision? 2. Describe some of the features of the school or district under the administrator’s leadership that demonstrate how the music program is exemplary. Please include in your description answers to the following: a. Describe the music curriculum offerings and time allotment for students. b. How have music programs in the school/district been expanded or improved as a result of the administrator’s efforts? c. Have students or programs in the school or district won awards for achievement or recognition in the arts? 3. How has the administrator been an active advocate for music and arts education in the school and community? 4. How has this administrator demonstrated financial commitment to music programs in his or her school/district? 5. Give examples of the administrator’s strong leadership, good school management, and good rapport with teachers, parents and students. 6. Add any other information that supports selection of this administrator.
Nominator’s Signature ______________________________________
Administrator’s Signature ____________________________________ Date ____________________________________
Distinguished Service Awards The NJMEA Board of Directors has initiated a Distinguished Service Award for those members who have honored themselves with faithful service to music education in public, private, and parochial schools of New Jersey. Past and present members of the NJMEA Board of Directors are also eligible for the DSA since they have dedicated much time and effort toward State projects related to music education. The third and fourth DSA categories include individuals and organizations outside the field of Professional Music Education and NAfME officers on both the National and Regional level. The final decision on DSA recipients will be made at the November meeting of the NJMEA Board of Directors. The criteria below should be carefully read and studied to insure maximum consideration by the DSA Committee.
CRITERIA FOR SELECTION Any member, person or group who has not previously Eligibility: Recipients Can Be Nominated from any one received the award. of these categories
1. Members who have accumulated a total of 25 years in the service of Music Education. Eighty percent of the years must represent full time service in the schools of New Jersey. The member does not have to be currently active as a teacher. 2. Members who have ten years of meritorious service and outstanding leadership in Music Education as a member of the NJMEA State Board of Directors. It is not necessary to have accumulated these years in a continuous sequence.
3. Individuals and organizations outside the field of Professional Music Education in recognition of their service to Music Education. 4.
National and Regional NAfME elected officials who have initiated programs and projects that have benefited our state members and Music Education on a national and regional level.
Nominations: The nomination plus required data must be submitted by an NJMEA member. The nomination is then endorsed by the DSA Committee and presented for acceptance to the NJMEA Board. However, the NJMEA Board may recommend or authorize the award if no nomination forms have been received from the membership by the DSA Committee. This board authorization must receive a 70% majority vote of the board membership. Number:
DSA Committee discretion (to be decided annually)
Presentation: To the recipients by the NJMEA President or his or her designee at a mutually agreeable occasion such as the annual state workshop/conference, region meetings, region concerts or festivals, local concerts, and retirement affairs.
ESSENTIAL DATA The Following Information MUST Be Included: Nomineeâ€™s Name: ___________________________________
Home Address: # & Street _________________________________________
State & Zip: ____________________________________________________
Application must be postmarked by October 15th Please provide the following information on separate sheets in the listed sequence. 1. This application 2. Name, address, phone and affiliation of nominee or group. 3. Name, address, phone of nominator. 4. Attach a vita for the nominee or group that is as complete as possible. 5. Summarize the achievements, contributions, or service on which the proposed award would be based. Include any evidence that the nominee or group would be receptive to such an award. Please send two copies of these materials to: NJMEA, William McDevitt 443 Whitman Lane Williamstown, NJ 08094
Outstanding School Board Award The New Jersey Music Educators Association seeks nominees for the Outstanding School Board Award. NJMEA presents an award to a local school board at the Membership Luncheon during the February NJMEA State Conference. This award acknowledges and awards outstanding school boards who exemplify superior support and commitment for quality music programs throughout all the grades of the school district. Selection by the NJMEA committee is based on the following criteria: A local school board must demonstrate the following: A. A significant contribution in support of the development of the district music program. This should include superior programs of sequential, curriculum-based music education. B. Advocacy for music education within the school district. C. Financial support commensurate to support a superior music education program of general, choral and instrumental music. D. Willingness to accept the award if it is bestowed and to participate in publicizing it. Nomination: 1. Completed nomination form. 2. A statement from the School Board President or other officer of the school board in which a rationale is put forth for accepting consideration of the nomination. 3. A statement of support from the district superintendent which describes the district music education programs to be considered as evidence of achievement in music education. 4. A letter of support from two or more of the music teachers. 5. A letter of support from two local citizens, public officials or parents. 6. A black and white photograph of the school board suitable for publicity purposes including a list of their names as they are in the picture and the number of years they have served on the board.
Outstanding School Board Award This form should be completed by the local school district and the nominator. Name of school district ______________________________________________________ School district address
School district telephone number _______________________________________________
Please answer the following questions in support of your nomination. Use a separate sheet. 1. How long have the members of the school board served? (Give names and length of service.) How long is a single term? 2. Describe how the board has contributed to the development of music education within the school district. 3. Describe any exemplary music programs in the school district that have been developed and implemented under this boardâ€™s direction. 4. Have students or programs in the school district won awards for achievement or recognition in music? 5. How have members of the school board been active advocates for music and arts education? 6. Please add any other information that supports your nomination. Signatures:
Superintendent of Schools _______________________________
School Board Chairperson _______________________________ Date _____________________ District Music Coordinator _______________________________ Date _____________________ Nominator _______________________________ Date _____________________ Send the form, photograph, and support materials to: NJMEA, William McDevitt 443 Whitman Lane Williamstown, NJ 08094 Recommendations must be postmarked by October 15th
All-State Orchestra High School Scales 2013-2014 All scales are to be memorized. Please no vibrato. Judges/Audition Chair will select which scale(s) is/are to be played. A metronome tempo will be given before each scale. Students will not receive extra points for additional octaves or a faster tempo. VIOLIN G Major Scale E Major Scale The 3 Major scales above must be played in the following manner: 3 octaves 8 slurred to a bow as 8th notes with the quarter note = 120mm
Bb Major Scale
G Major Arpeggio F Major Arpeggio Ab Major Arpeggio The 3 arpeggios above must be played in the following manner: 3 octaves slurred as 8th note triplets (3 to a bow) with the quarter note = 88mm A Melodic minor F# Melodic minor The 3 minor scales above must be played in the following manner: 3 octaves separate bows as quarter notes with the quarter note = 120mm VIOLA-CELLO C Major Scale E Major Scale The 3 Major scales above must be played in the following manner: 3 octaves 8 slurred to a bow as 8th notes with the quarter note = 120mm
C# Melodic Minor
Bb Major Scale
C Major Arpeggio F Major Arpeggio Ab Major Arpeggio The 3 arpeggios above must be played in the following manner: 3 octaves slurred as 8th note triplets (3 to a bow) with the quarter note = 88mm A Melodic minor F# Melodic minor The 3 minor scales above must be played in the following manner: 3 octaves separate bows as quarter notes with the quarter note = 120mm BASS D Major Scale A Major Scale The 3 Major scales above must be played in the following manner: 2 octaves* 4 slurred to a bow as 8th notes with the quarter note = 120mm
C# Melodic Minor
Eb Major Scale
G Major Arpeggio Eb Major Arpeggio Ab Major Arpeggio The 3 arpeggios above must be played in the following manner: 2 octaves* slurred as 8th note triplets (3 to a bow) with the quarter note = 72mm A Melodic minor C# Melodic minor The 3 minor scales above must be played in the following manner: 2 octaves* separate bows as quarter notes with the quarter note = 120mm
B Melodic Minor
*No octave drop.
All-State Intermediate Orchestra Scales Revised 3/19/11 All scales are to be memorized. Please no vibrato. Judges/Audition Chair will select which scale(s) is/are to be played. A metronome tempo will be given before each scale. Students will not receive extra points for additional octaves or a faster tempo. VIOLIN 9 Major scales: D, Eb, E, F in 2 octaves G, Ab, A, Bb, C in 3 octaves VIOLA 9 major scales: G, Ab, A, Bb, in 2 octaves C, D, Eb, E, F in 3 octaves CELLO 9 major scales: G, Ab, A, Bb, in 2 octaves C, D, Eb, E, F in 3 octaves Violin, Viola, Cello scales must be played in the following manner: Separate Bows: each note will be played as a quarter note with the quarter note = 104mm. Slurred Bows: 8 notes slurred to a bow, as 8th notes, with the quarter note = 104mm. BASS 9 major scales: G, E, F, Ab, in 2 octaves* A, Bb, C, D, Eb in 1 octave* *No octave drop. Bass scales must be played in the following manner: Separate Bows: each note will be played as a quarter note with the quarter note = 104mm. Slurred Bows: 4 notes slurred to a bow, as 8th notes, with the quarter note = 104mm.
2013-2014 All-State High School Orchestra Solo List INSTRUMENT TITLE
Concerto in G Major, Op. 24
Sonata in a minor
3rd and 4th mvts
Sonatina Beethoven All (from Solos for the Double Bass Player, Ed. Oscar Zimmerman)
2013-2014 All-State Intermediate Orchestra Solo List INSTRUMENT TITLE
Concerto #1 in C Major
Concerto in D Major
Concerto #4 in G Major
Sonata #2 in c minor
1st and 2nd mvts
2013-2014 All-State High School Band Solo List INSTRUMENT
Piccolo Flute Oboe *English Horn *Eb Clarinet Bb Clarinet
Concerto in C FVI,N.4 Sonata (mvts 1 and 3) Sonata Divertissement Concertino (Bb Clarinet version) Solo de Concours (Not pg.1) Lento = 16th note at 63
Vivaldi Hindemith Poulenc Bozza von Weber Rabaud
*Eb Alto Clarinet
Sonata a minor
Bb Bass Clarinet
Sonata a minor
*Contra Bass Clarinet
Sonata a minor
Sonata f minor
Eb Alto Saxophone
Bb Tenor Saxophone
Western International AV 138
Eb Baritone Saxophone
Septieme Solo de Concert (no cadenza)
Universal Music Corp.
Horn in F
Morceau de Concert
Cundy Bettony CU754
Sonata for Bass Trombone (mvta.1 &2)
A Stylized Suite
Sonata No. 2 in C minor mvts. 1 and 2
Adagio-Allegro Carroll (omit measures 6-8,16-18 use hard felt mallets)
Yellow After the Rain
Etude No.8 from Twelve Studies for the Drum (Douze Etudes)
Sounds of the Kabuki (add 16 bpm to all tempos)
Concerto for Harp (mvt.1)
Sonata, opus 13 (mvt.1)
International 2782 European American STO2522 Chester Music Southern 268 Carl Fisher W1893 Southern 282
International 1151 Bourne 121009
Schaffner Music 051222 Schirmer Batterie Music - CF BT 1500 M. Peters MS5
Schirmer (Lyon and Healey) Henle Verlag HN 48
* Instruments Will Be Used As Needed
T h e Re g d io un
Central Jersey Music Educators Association cjmea.org
President-Andrew Veiss President@cjmea.org would like to thank all CJMEA members for the honor of being your president for the last two years. I thoroughly enjoyed my time working with the CJMEA Executive Board and the NJMEA Executive Board. These awesome people care so much about the state of music education and have worked tirelessly during the last two years to ensure that you and your students have had high-quality educational experiences. Now I have the pleasure to leave the region in the capable hands of your new incoming president, Jeff Santoro. We have been working closely to ensure that all of the changes and the improvements we have been making continue to proceed and make our region a better place for you and your students. I feel that his vision for the future of the organization will enable the educators of our region to be prepared for all challenges that are ahead. In the next couple of weeks, you will receive an e-mail to vote on four constitution changes. The executive board has deliberated for hours to ensure that the quality of the Region II ensembles increases. Here is a summary of the upcoming changes:
High School Band, Orchestra, Percussion Ensemble, Chorus We are proposing to allow high school musicians the opportunity to audition and
participate in both high school chorus and an instrumental ensemble. Intermediate Orchestra: We will be offering two string ensembles to allow for a higher level of string performance. The higher level group will be a chamber orchestra of 32 violins, 12 violas, 12 cellos, and 4 basses and the string orchestra will be 48, violins, 16 violas, 16 cellos, and 10 basses. As always, the highest scoring 48 violins, 16 violas, 16 cellos, and 10 basses will be selected to audition for all state. This will eliminate the symphonic orchestra. Intermediate Band: Since there will no longer be a symphonic orchestra, we are proposing the addition of an intermediate wind ensemble, symphonic band, and percussion ensemble. The instrumentation of these groups will be similar to the high school ensemble structure. Intermediate Chorus: In addition to the existing SSAB choir, we are proposing the creation of an SSA choir to allow more students to participate. Additionally, this will also bring more balance to the ensembles. You will receive an e-mail with a summary of the changes, and the actual changes to the handbook will be posted on the CJMEA website. If you would like to discuss any of the changes, please feel free to contact any of the division chairs below. High School Band-Brian Toth firstname.lastname@example.org In this edition of TEMPO magazine you will find the solo list for 2013-2014. Being in one of the region or state ensembles is a great achievement for your students and brings a lifetime of memories. While in the process of encouraging your students to prepare the materials, consider also that we need your help to carry out our activities. While we all make the effort to work at auditions, there remains a good deal of work once the ensembles are selected. Consider reaching out to a division chair (they all have brief articles in this section of the magazine) and offering your assistance. I have worked with several first-time managers in the past couple of years and all have found it to be musically and personally rewarding. As always, I would love to hear from you about suggestions for future conductors, ways to improve what we’re offering our bands, or just to say hello. Have a great summer!
High School Chorus-Hillary Colton email@example.com Hello Choral Colleagues. We have some exciting news for our talented students who are both vocalists and instrumentalists! You will soon be asked to vote on an exciting initiative. We know how difficult it is for students to have to choose between Region Band/Orchestra and Region Chorus. We are looking to make it possible for our high school students to audition and to participate in a Region Choral ensemble AND an instrumental ensemble. Please be on the lookout for an e-mail linked to a survey monkey asking for your approval of this constitution change. Happy Music Making High School Orchestra Kawika Kahalehoe firstname.lastname@example.org Hello fellow directors. I hope you are all looking forward to the summer as much as I am, and I hope your school year has been enjoyable and successful. We are in the process of looking for a region orchestra conductor for the 2013-2014 region orchestra. If you are interested, or know someone who is, please email me your/their resume or curriculum vitae at hsorchestra@cjmea. org. If you know someone who you think would be a good conductor for the region orchestra, please pass their name along to me at the email address above. Thanks and enjoy the remainder of your year. Intermediate Band Celeste Zazzali and Meg Spatz email@example.com, firstname.lastname@example.org The March 10th concert provided another exciting year of intermediate level music-making will be behind us again. Special thanks go out to David Rattner and Yale Snyder from Monroe Middle School for hosting our concert again this year and also to Marty Griffin for providing Monroe High School as our concert venue. Since Monroe has volunteered their facilities now for two years in a row, we are hoping to have next year’s concert at another school. We are currently preparing for the Elementary Honors Band Festival, which will happen at Rahway 7th & 8th Grade Academy (formerly Rahway Middle School) hosted by Meg Spatz and Amara VanWyk on May 4th 2013. Special thanks to Celeste MAY 2013
Zazzali who is both the coordinator and librarian for this event! We are excited about the programs that our three elementary bands will be performing on that day. This year’s Elementary & Middle School Concert Band/Orchestra Festival was scheduled for April 17th and 18th at Monroe Township Middle School and May 15th at Freehold Township High School. Thank you to Mike Bartlett for coordinating this event again. This festival gives bands and orchestras a chance to perform for two qualified adjudicators, receive recorded feedback, and also hear performances from other schools in our region. It is a very positive experience for your students! As always, we are in need of volunteers to host rehearsals & concerts, manage ensembles, and conduct the Intermediate Region ensembles, as well as the Elementary Honor Bands. Next year, we will also need an Auditions Coordinator for Intermediate Band and Orchestra. If you are interested in volunteering, please email k8band@cjmea. org or email@example.com. Intermediate Chorus-Nina Schmetterer firstname.lastname@example.org The Treble Honors Choir, conducted this year by Jason Tamashausky, had a wonderful concert in April. A big thank you goes out to all the teachers who worked hard to make the day a beautiful success. If you are interested in getting involved or more involved with any of the K-8 activities next year, please email k8chorus@ cjmea.org. Some fun activities you can volunteer for are: the Intermediate Choir, the Treble Honor Choir, K-8 General Music Workshops, and the Intermediate Choir Festival. We are looking for a co-manager, rehearsal hosts, and conductors. We are hoping to add an SSA ensemble to the Intermediate Choir next year in order to give more students the opportunity to perform in a CJMEA Choral Ensemble. Please look at Andrew’s message above for more information regarding the constitution change. Intermediate Orchestra-Penny Martin email@example.com We had another great concert season for the Intermediate Orchestra groups this year. Thank you to Chris Finnegan for conducting the Symphonic Orchestra and Susan Meuse for conducting the String OrMAY 2013
chestra. Special thanks to Sarah Donatelli and Joann Manhardt for managing the two ensembles, respectively. We couldn’t have done it without you! I am already looking forward to next year’s concert season. If you are interested in being part of the CJMEA orchestra groups by hosting, managing or helping out in any way, please feel free to contact me at firstname.lastname@example.org. Percussion- Yale Snyder email@example.com I hope everyone is well and having a great 2013. In February, The Scotch PlainsFanwood School District held their annual Day of Percussion featuring world class percussion artists. Thank you to Joe Reo and John Gillick for putting together a great event. On March 17th, we had our 6th annual Intermediate Percussion Ensemble Concert. I want to extend my deepest thanks and gratitude to Marty Griffin for being an excellent conductor and for sharing his talents and expertise with our students. I was truly amazed with what Griffin and the ensemble accomplished in a short time with a very demanding program of music. Bravo! I am very proud of how far the ensemble has come in 6 years and look forward to watching the bar continue to be raised each year. On April 30th, percussion ensembles from Region II performed at the 3rd annual Randolph Percussion Ensemble Festival at Randoph High School hosted by Tom Murphy. The festival featured live adjudication from Michael Burritt, Percussion Professor at The Eastman School of Music. Looking ahead to next year, I am in need of 2 managers for both region percussion ensembles as well as rehearsal sites for the intermediate ensemble. If you are interested in either, please contact me at firstname.lastname@example.org.
From our Symphonic Band Invitational(From Left to Right) Event Organizer Paul Caruso (Sayreville), Conductor, Dr. William Berz (Retired), and Percussion Chair, Yale Snyder (Monroe Twp.)
From our Intermediate Band and Orchestra Concert (From Left to Right) Band Manager, Jeffrey Smith (Edison), Band Conductor, Salvio Fossa (Edison), Orchestra Manager, Sarah Donatelli (East Brunswick), and Orchestra Conductor, Christopher Finnegan (East Brunswick).
From our Intermediate Chorus, Percussion Ensemble, and String Orchestra Concert: (From Left to Right) Percussion Ensemble Conductor, Martin Griffin (Monroe Township), Chorus Conductor, Jennifer Jenkins (Scotch Plains-Fanwood), and String Orchestra Conductor, Susan Meuse (East Brunswick).
continued on next page
North Jersey School Music Association njsma.com
espite hurricanes and blizzards, cancellations and rescheduling of some events, we managed to survive. It has been a challenge at times to work out the abnormal amount of roadblocks we faced this year, but in the end, our students of North Jersey performed with high quality. As my two years as Region President winds down, I look back and am proud of what the Region Board has accomplished at times with almost insurmountable odds. I thoroughly enjoyed working with each and every one of you in whatever capacity, and respected the position and trust you placed in me and the board to set goals and see that the objectives of the organization were fulfilled. Peter Bauer will be taking over the reigns and his expertise on the operations of the Region will lend its self to the future success of the board and its activities. His position as Band Audition Chair for Region and All-State has given him a bird’s eye view of the inner workings and, his congenial style and willingness to work with others will allow him to continue in the professional style we all strive for in providing quality programs for our member teachers and their students. Thank you all for a wonderful “Region” experience. Have a Great Summer! --MK Band Division Matthew Spatz, Gregory Mulford Division Co-Chairs The North Jersey Band Division has had an exciting year. We have had two wonderful All-North Jersey concerts featuring four fantastic bands with students in Grades 7-12. The high school and junior high school concert band festivals continue to be annual celebrations of the education through ensemble performance. Our third annual High School Chamber Ensemble Concert was a huge success with 75 of the top woodwind, brass and percussion students from North Jersey performing a wonderful concert of chamber repertoire. Our second Elementary Honors Band Festival will take place Saturday, May 4, 2013 at Columbia HS, Maplewood. This
concert will feature 272 fifth and sixth grade students who will perform in three ensembles conducted by Tracy Currie, Don Tighe and David Walsh. Sixty sponsoring directors will help run the one-day festival concluding with the concert at 2:00 PM. These successful Region events do not happen by themselves. It takes many individuals and school districts working in cooperation to make them happen. Thank you to all of our conductors, adjudicators, managers, hosts, audition chairs and coordinators who make all these fantastic events happen. Anyone interested in conducting any ensemble should log on to the Region website and complete an application. If you would like to get involved as a host, manager, or assist in any way, please contact Matthew Spatz or Greg Mulford. We look forward to working with you again next year! Orchestra Division Nate Lienhard, Michael Holak Division Co-Chairs Dr. Karen Pinoci was the guest conductor of our Junior HS Orchestra. The performance was exhilarating, which included Mozart’s Magic Flute Overture; “Praeludium” from Grieg’s Holberg Suite in Olden Style; Robert Longfield’s arrangement of Chance’s Variations on a Korean Folk Song; Perna’s arrangement of Grainger’s Shepherd’s Hey; and the grand finale, Robert Sheldon’s Danzas Cubanas. The managers were Mary Daly from West Morris Mendham HS and Larisa Skinner from the Passaic School District. Special thanks to our rehearsal site hosts Todd Urban from Eisenhower MS in Wyckoff and Alex Soares from West Essex MS. Many thanks to our sectional coaches who dedicated their time to make this event a success: Todd Urban, Loni Bach, Peg Roberts, Alla Basis, Annelie Fahlstedt, Pat Burns, Tim Beadle and Adam Michael. Your time and efforts helped to make the concert a success! The second annual Junior HS Orchestra Festival will take place Friday, May 3rd at Randolph MS, Hsiao-yu Lin Griggs, host. The annual high school festival will take place Thursday, May 23rd at Millburn HS, Karen Conrad, host. Participating schools registered to date include: Randolph HS, Eric Schaberg, director; Livingston HS, Nancy Ciminnisi; Millburn HS, Karen Conrad; South Orange MS, Bill Cook; Washington MS, Ridgewood, Janelle
Jacoby; Bergenfield MS, Chelsea Merriman; Maplewood MS, Jennifer Dodge; and Randolph MS, Hsiao-yu Lin Griggs. If you would like to find out about hosting an event, conducting a group, or becoming more involved in the Region experience, please e-mail Division Co-Chairs Nate Lienhard, Caldwell – West Caldwell School District, nlienhard@NJSMA.com, or Michael Holak, Leonia School District, mholak@NJSMA.com. Choral Division Stephanie Quirk, Austin Vallies Division Co-Chairs Congratulations to all the students who performed with the various Region honor choirs this year! Despite the high school concert being rescheduled due to the blizzard, both the high school and junior high school concerts went extremely well, and we are so proud of our students! Any student who was unable to perform at the rescheduled concert still received a pin and program for their participation in this event. Thank you to all the teachers, parents, and students who were able to come out on Wednesday, February 13 for this concert. Even with lost rehearsal time and missing students, the concert was still an amazing success! Our Junior HS Choral Festival will take place Friday, May 10 at Chatham MS. Jamie Bunce, of Columbia HS is our Festival Coordinator for this event. Please consider taking advantage of this wonderful festival in the future which is designed to provide valuable feedback to students and directors through written and taped adjudication and an onstage clinic. Our Elementary Choral Festival will take place Wednesday, May 29 at Frelinghuysen MS in Morristown. Pat Merlucci is our coordinator for this event. Applications are still available on the NJSMA website. Although things may seem to be winding down this year, it is time to get the ball rolling for next year. These events do not occur on their own; we are always in need of volunteers to make these concerts and festivals happen. We would like to thank all the various people who managed, coordinated, hosted, accompanied, and conducted this year. Thank you for your support and dedication! If you would like to get involved, please do not hesitate to contact Stephanie or Austin. We look forward to working with you again next year! MAY 2013
South Jersey Band And Orchestra Directors Association sjboda.org
ongratulations to all who were involved with the 36th Annual All South Jersey Junior High School Band Concert. The performances were outstanding. The conductors this year were Phil Senseney (Southern Regional School District ret.) and Glenn Motson (Gloucester City HS). Steve Carey (Pitman HS) and Deb Knisely (Cinnaminson HS) provided excellent assistance as managers for these ensembles.
This concert would not be possible without the commitment and dedication of our colleagues. Calvin Spencer (Monongahela MS), our Junior High Band Coordinator, was responsible for organizing a wonderful event that our students will cherish for many years. Special thanks to Keith Hodgson and Derek Rohaly (Mainland Regional High School) and Mark Kadetsky (Fernwood Ave. MS) who offered their facilities for the rehearsals and the performance. We would also like to acknowledge Chris Janney (Haddonfield Memorial HS) for his role as percussion equipment manager for all of our performing ensembles. Our 20th Annual High School Concert Band Festival showcased 12 ensembles this year. The performances by these groups are evidence of the many excellent instrumental music programs in South Jersey. Our festival coordinator was Mike Armstrong (Deptford HS) and Rick Dammers (Rowan University) was our host. Tony Scardino (Indian Mills MS), Phil Senseney (Southern Regional), Deb Knisely (Cinnaminson HS), Ben Fong (Reeds Road ES), and John Stanz (Eastern Regional HS) assisted in creating a positive experience for all of the participants. MAY 2013
Christine Macaulay (Cherry Hill Public Schools), William Trimble (Wenonah Elementary School) and David Fox (Bowe Elementary School) are finalizing arrangements for the 21st Annual Elementary Honors Band Festival which will be hosted by Jon Porto at Absegami High School on Saturday, May 4th. Our conductors this year will be David Mackey (North Dover Elementary School), Sue Moore (Mansion Ave. School) and Eva Szakal (Toms River Intermediate South). The managers for the festival are Carolyn Krupp (East Dover Elementary School), Kathy Papa (B. Bernice Young Elementary School), Lori Ludlum (Oaklyn Public Schools, retired), Stephanie D’Elia (Graduate of The College of NJ), and Matthew Brady (Graduate of New York University). Our Spring Meeting will be held on Wednesday, May 29th at “Seven Star Diner” beginning at 9:00 AM. Please call 609457-0590 and let John Stanz know if you are able to attend. Please continue to check the website, maintained by Scott McCarron (Delsea Regional High School), for the latest SJBODA updates. www.sjboda.org Joseph Jacobs Secretary, SJBODA
Teaching Tips Featured on NAfME’s My Music Class!
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South Jersey Choral Directors Association sjcda.net
he South Jersey Choral Directors Association (SJCDA) is winding down an extremely busy, but exciting and rewarding year. Many thanks to Christine Bass for the outstanding presentation “Where the Boys Are” at the annual Spring Breakfast Meeting on April 19th. Her presentation will certainly have a deep impact on all who attended. Conductors for the 2014 Senior High Chorus and Junior High Chorus have been selected. Dr. Christopher Thomas (Rowan University) will conduct the 2014 Senior High Chorus; Brian Kain (Cherry Hill Schools) will conduct the Junior High Chorus; and Cristen Charlton (Collingswood High School) will conduct the Elementary Chorus. Have a restful summer! Art McKenzie, President South Jersey Choral Directors Association
Online Professional Development! Got music education questions? Want some expert advice? NAfME offers this exciting free benefit to members throughout the school year. NAfME members visiting the band, orchestra, chorus, jazz, inovations, guitar, general music, composition, and Collegiate networks can get expert advice in answer to their questions.
Visit the forums at www.nafme.org
IN MEMORIAM This column salutes the lives and careers of recently departed colleagues. It is the way NJMEA and NJRMEA can express appreciation for the work that they have done and the lives that they have touched. We mourn their passing and salute their contributions, which are the basis for music education in the state of New Jersey. If you know of the passing of any music educator, please contact: Christine Sezer at 570-756-2961or email@example.com
(Please send obituary notices from your local newspaper concerning music teachers from New Jersey who have passed away. It is not possible to keep track of all the newspapers in the state and your help is needed.)
The deep baritone that carried Norman Allen through his career as a Paramus High School music teacher and choir director also was familiar to fans of the “Houston Astros.” In retirement, Allen was the team’s spring training announcer — the “man with the golden throat,” according to the Orlando Sentinel in Florida. “He had a very distinctive, beautiful voice,” Gail Allen said of her husband, who died on Feb. 23 after a long illness. He was 77. Allen cut an imposing figure during 27 years at Paramus High. He stood 6-foot-6, and his booming voice and no-nonsense demeanor made him seem even larger. Students adored him. He was “Uncle Norm,” the teacher who conducted with a knitting needle. “He gave so many of us a safe and magical place to spend our high school years,” one former student reminisced on Facebook. “Somehow I know he’ll be conducting a choir in heaven and announcing a baseball game there, too.” Besides his teaching and choir duties, Allen announced school athletic events and helped coach boys’ soccer. He retired in 1985, moved to central Florida and landed a gig as public address announcer at Osceola County Stadium, where the “Astros” have spring training. Allen became locally famous for his a cappella rendition of “The Star-Spangled Banner.” He reprised that role at the 1998 Little League World Series and occasionally traveled to Houston to sing the national anthem before “Astros” regular-season games.
Priscilla Bruno, only a few weeks shy of her 95th birthday, died on February 26th at Fellowship Village in Liberty Corner. Born in Newark, NJ in 1918, her parents, Priscilla and Archibald Carswell, moved to Basking Ridge in the early 1920s, where the young Priscilla grew up with her sister Janet. Her musical ability appeared at a young age and by 1930 she was assisting the organist of the Presbyterian Church by playing for the Sunday school. At the same time she began studying the violin and piano privately at the LaFollette School in New York; she was graduated in 1937 from High School and then went on to Trenton State (now College of NJ), where she came under the influence of the legendary Mabel E. Bray, graduating with one of the first music education degrees in 1940. Her first teaching positions took her south to Burlington county (Pemberton) and then north to suburban Essex Fells. Most important during the war years was Priscilla Carswell’s summer study first in New York at the Juilliard School and then in 1941 at Tanglewood, at the Berkshire Music Center in Lennox, Mass. It was here that she studied under Paul Hindemith, rubbed shoulders with Leonard Bernstein, and most significantly met her future husband Giovanni (John) Bruno, a young Italian-American violinist and conductor under the tutelage of Serge Koussevitsky. Bruno, himself, was soon to be lured to California to play in the Hollywood Bowl and to join the lucrative freelance world of the Universal and MGM orchestras in their heyday. By 1943 the couple was engaged, though separated by a continent, but, as the War neared
its end in 1945, Priscilla left New Jersey for a new home and husband in Los Angeles. As she acclimatized to the West-coast world, she undertook a further degree course work at USC and was soon heading string-instrument teaching for the Burbank City Schools. Before the birth of their children in the early 1950s, the Brunos moved back to Priscilla’s childhood home of Basking Ridge, where she began a long career as a music educator, first in the Bernardsville school system for twenty years from 1953-73. With the opportunity to develop the string program in Bernards Township, she moved to William Annin and Ridge High Schools where she stayed until her retirement in 1984. During the late 1970’s she completed her Masters degree in Music at Trenton State College. She was also a member of the Plainfield Symphony, and a trustee of the Colonial Symphony. Over the next 25 years, there was hardly any “retirement” in her lifestyle. In the 1990’s Priscilla taught in the music education department at Trenton State College, led strings at the Pingry School and served as President of the American String Teachers Association (NJ Chapter). In 1995 she turned to private teaching at home, in her Somerset Hills Studio, which she had originally opened with her husband 40 years earlier. She continued to teach privately until age 91 when she moved to Fellowship Village. Priscilla was always actively involved in Community Service especially as it related to youth. She established the Bernards Chamber Ensemble and began a chorus at Ridge Oak. She led the students at the Tree House Child Care Center in singing for almost 20 years. In 1997 she was the first recipient of the Millicent Fenwick Civic award for meritorious leadership and service. In 2007 she was recognized for MAY 2013
outstanding service by Bernards Township for her service during the previous 18 years when she served as a member of the Parks & Recreation Committee; the Bernards Township Municipal Alliance and Youth Services; the Community Center Steering Committee; the Recreation Committee; and the Cultural Arts Task Force. Priscilla was a lifelong educator who used her love of music to encourage young people to build on their key strengths. She has left a legacy of many musicians, teachers and members of the community brought together by musicmaking. Throughout her life, the driving force behind Priscilla’s musicmaking was not only the beauty and richness of music, but its inherent power to bring people together for good, thereby enriching the communities in which she lived. From her work with the youngest children to her adult orchestra and choir activities, continuing even up to mid-February this year, when she led weekly singing and played for services at Fellowship Village, her engaging song continued. When not musicmaking or teaching, Priscilla loved to travel to make new friends and see new places. With her daughter and her family she travelled west, to California and Arizona, and to the Midwest and to the South many times. To visit her son and his family she made many trips to England and Wales and to Norway, Germany, Austria France and Italy.
Linda Lanier-Keosaian Linda Lanier-Keosaian, 72, of Hackensack, New Jersey, passed away at home on January 28, 2013. She was a gifted and highly respected public school music educator, choral conductor, and church organist and choir director. A music teacher and choral conductor in the New Jersey public school system for more than twenty-five years, she spent seventeen of those years at Arts High School in Newark. She founded the New Jersey High School Women’s Choir Festival, co-sponsored by the New Jersey Performing Arts Center (NJPAC) and Essex County College, and she co-founded the Essex County Choral Festival. In 1997 she conducted the All North Jersey Junior High Women’s Honors Choir, and in 2011 she conducted the All North Jersey High MAY 2013
School Women’s Honors Choir. The author of numerous articles, she presented a paper on the teaching of world drumming at the 29th World Conference of the International Society for Music Education in Beijing, China. That paper was also published in TEMPO magazine in October 2010. As a church organist and choir director, she served all major denominations in both long-term and guest positions. She received her Bachelor of Music in organ performance from Westminster Choir College and her Master of Sacred Music from Union Theological Seminary. At the time of her death, she was in the final stages of the dissertation phase of her Ph.D. studies in Music Education at New York University.
Kirsten Louise Manuel Kirsten Louise Manuel (born Kirsten Louise Albro) was born in New Brunswick, NJ on Nov. 4, 1937. She grew up and went to school in Sayreville, NJ - spending many summers visiting her paternal grandparents in Newport, RI. After completing her college studies at the New England Conservatory of Music in Boston, she became a music teacher in Piscataway, NJ. Following this she spent a number of years as a 3rd grade teacher in Spotswood, NJ. After moving to Newport, RI in 1976, she served as a Director with the American Sail Training Association, and the Edward King House, as well as working at Touro Synagogue. Following her true passion, which was music, she served as organist, pianist and choir director for several area churches including St. Paul’s Methodist Church and Newport Congregational Church.
tory of Music, with a major in vocal performance. A classically trained opera singer, Krisleah spent over 15 years as a vocal music teacher with the New Providence, NJ, school district. She spent countless hours sharing her love of music with her family, friends, and students. She had a voice that could bring life into any melody.
Charlotte Sommers Wert Charlotte Sommers Wert, 90, of Skillman died peacefully after a brief illness on Saturday, Feb. 2, at Robert Wood Johnson University Hospital at New Brunswick. Born in Ewing, NJ, Charlotte had resided in Hopewell Township for more than 50 years. For the past eight years, she was a resident of Stonebridge at Montgomery, where she remained active playing the piano for many of the home’s services and events. Music was at the core of Charlotte’s world for nearly all her life. Her mother taught her piano at an early age and she soon added voice and cello to her repertoire. After graduating from Trenton State College (now the College of New Jersey) in 1944, she taught music and chorus in the Cranford Elementary Schools. She continued her education at Columbia University’s Teachers College, where she received a master’s in music and music education. Upon moving to Hopewell, she was appointed to the faculty of the music education department at Westminster Choir College. In her later years, she was a music teacher in the Hopewell Valley School System and taught piano privately.
Krisleah Kate Passaro Krisleah Kate Passaro (nee Schlender), 45, of Lyndhurst, NJ, passed away peacefully with her loving family by her side, on Feb. 21, 2013, after her courageous battle with pancreatic cancer. Krisleah, a gifted vocalist and teacher, was a graduate of the University of Cincinnati, College Conserva91 TEMPO
NJMEA 2012-2013 Board of Directors Executive Board
President, Keith Hodgson Mainland Regional HS firstname.lastname@example.org 609-317-0906
Administration Ronald Dolce Retired email@example.com 732-574-0846
Higher Education Larry DePasquale Rowan University firstname.lastname@example.org 856-256-4896
Past-President, William McDevitt
Advocacy Nick Santoro Retired email@example.com 732-246-7223
Music Industry Ron Beaudoin Music & Arts Center firstname.lastname@example.org 215-620-1484
Vineland High School email@example.com 856-794-6800 x2539 President-Elect, Joseph Jacobs Ventnor Middle School firstname.lastname@example.org 609-335-6429 Executive Secretary-Treasurer Deborah Sfraga Ocean Township Schools email@example.com 732-686-1316 Communications (TEMPO/Web) Thomas A. Mosher, Retired firstname.lastname@example.org 732-367-7195
Band Festivals/Classroom Music Nancy Clasen Thomas Jefferson Middle School email@example.com 973-766-5343 Band Performance Albert Bazzel Winslow Twp. Middle School firstname.lastname@example.org 856-358-2054 Choral Festivals Donna Marie Berchtold William Davies Middle School email@example.com 609-476-6241 x1013
Region Executive Members
NJSMA President, Michael Kallimanis Waldwick Middle School firstname.lastname@example.org 201-370-0423
Chorus Performance Kathy Spadafino, Retired email@example.com 732-214-1044
CJMEA President, Andrew Veiss So. Plainfield Middle School firstname.lastname@example.org 908-754-4620 x378
Chorus/Orchestra/Jazz Joseph Cantaffa Howell High School email@example.com 732-919-2131
SJCDA President, Art McKenzie Overbrook High School firstname.lastname@example.org 856-767-8000 x3044
Collegiate Chapters Rick Dammers Rowan University email@example.com
SJBODA President, John Stanz Eastern Regional High School firstname.lastname@example.org 856-784-4441
Opera Festival Stevie Rawlings Paramus High School email@example.com 201-261-7800 x3069 Orchestra Festivals/Performance Susan Meuse Hammarskjold Middle School firstname.lastname@example.org 732-613-6890 Retired Music Educators Christine Sezer Retired email@example.com 570-756-2961 Urban Music Initiative Suzanne M. Kane West Side High School firstname.lastname@example.org,nj.us
Conferences Marie Malara Sayreville Middle School email@example.com 732-525-5290 x2370
NJMEA RESOURCE PERSONNEL Area of Responsibility Name Email Address Administrative Matters......................................................Keith W. Hodgson.....................................................firstname.lastname@example.org All-State Band Coordinator................................................Donna Cardaneo........................................................... email@example.com All-State Chorus, Orchestra & Jazz Coordinator..................Joseph Cantaffa.................................................. firstname.lastname@example.org All-State COJ Committee....................................................... Dick Smith.......................................................... email@example.com All-State COJ Committee......................................................Jack Rowland....................................................... firstname.lastname@example.org Association Business............................................................ Deborah Sfraga............................................................. email@example.com Band Procedures Chair.........................................................Matthew Spatz...............................................firstname.lastname@example.org Choral Procedures Chair................................................... Kathleen Spadafino.............................................................email@example.com Collegiate Student Volunteer Coordinator.............................Michael Saias............................................................firstname.lastname@example.org Composition Contest.........................................................Robert Frampton...................................................email@example.com Jazz Procedures Chair............................................................. Jeff Kunkel..............................................................firstname.lastname@example.org Marching Band Festival Chair.............................................. Nancy Clasen..................................................... email@example.com Membership........................................................................ Deborah Sfraga............................................................. firstname.lastname@example.org Middle/Jr. High School Band Festival..................................... Chris Pinto....................................................... email@example.com Middle/Jr. High School Choral Festival............................. Larry De Pasquale..................................................... firstname.lastname@example.org MIOSM............................................................................... Nancy Clasen..................................................... email@example.com NJMEA Historian.................................................................Nick Santoro.............................................................firstname.lastname@example.org NJMEA Solo & Ensemble Festival....................................... Nancy Clasen...................................................... email@example.com NJMEA State Conference Exhibits Chair............................. Nancy Clasen...................................................... firstname.lastname@example.org NJ Society for General Music............................................... Nancy Clasen..................................................... email@example.com NJMEA State Conference Committee.................................. Ron Beaudoin..................................................firstname.lastname@example.org NJMEA State Conference Manager.......................................Marie Malara............................................................. email@example.com NJMEA/ACDA Honor Choirs............................................ Deborah Mello.................................................................firstname.lastname@example.org NJMEA Summer Conference..............................................Joseph Akinskas............................................. JoeA_NJMEA@comcast.net November Convention-NJEA............................................... Nancy Clasen.................................................... email@example.com Opera Festival Chair............................................................ Stevie Rawlings................................................ firstname.lastname@example.org Orchestra Procedures Chair................................................... Susan Meuse...................................................... email@example.com Research.......................................................................Carol Frierson-Campbell....................................firstname.lastname@example.org Students with Special Needs................................................ Maureen Butler.........................................................email@example.com Supervisor of Performing Groups............................................. Joe Jacobs.................................................................firstname.lastname@example.org Tri-M.................................................................................. Keith Hodgson..................................................email@example.com REPRESENTATIVES/LIAISONS TO AFFILIATED, ASSOCIATED AND RELATED ORGANIZATIONS American Choral Directors Association................................................................................................................................................. Governorâ€™s Awards for Arts Education................................. Stevie Rawlings................................................ firstname.lastname@example.org NJ Association for Jazz Education........................................... Jeff Kunkel............................................................ email@example.com NAfME............................................................................... Keith Hodgson..................................................firstname.lastname@example.org Music Industry..................................................................... Ron Beaudoin..................................................email@example.com NJ Music Administrators Association......................................Ron Dolce............................................................... firstname.lastname@example.org NJ Retired Music Educators Association.............................. Christine Sezer.......................................................... email@example.com NJ TI:ME............................................................................ Rick Dammers........................................................ firstname.lastname@example.org Percussive Arts Society......................................................... Dominic Zarro....................................................DEZarro@optonline.net COMMUNICATION SERVICES/PUBLIC RELATIONS Executive Secretary-Treasurer............................................... Deborah Sfraga........................................................... email@example.com Editor - TEMPO Magazine.............................................. Thomas A. Mosher........................................................firstname.lastname@example.org Web Master (njmea.org)................................................... Thomas A. Mosher........................................................email@example.com MAY 2013
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NJMEA Past Presidents 1924 - 1926 1926 - 1930 1930 - 1930 - 1931 1931 - 1933 1933 - 1935 1935 - 1936 1936 - 1938 1938 - 1939 1939 - 1941 1941 - 1942 1942 - 1944 1944 - 1945 1945 - 1947 1947 - 1949 1949 - 1951
Josephine Duke R.W. Laslett Smith Jay W. Fay Wilbert B. Hitchner Thomas Wilson John H. Jaquish Clifford Demarest Mable E. Bray Paul H. Oliver K. Elizabeth Ingles Arthur E. Ward John T. Nicholson Frances Allan-Allen Philip Gordon Violet Johnson Samuel W. Peck
1951 - 1953 - 1955 - 1957 - 1959 - 1961 - 1963 - 1965 - 1967 - 1969 - 1971 - 1973 - 1975 - 1977 - 1979 - 1981 -
1953 1955 1957 1959 1961 1963 1965 1967 1969 1971 1973 1975 1977 1979 1981 1983
Janet G. Gleason Henry Zimmerman Agnes B. Gordown Leroy B. Lenox Elizabeth R. Wood Harold A. Brown E. Brock Griffith Robert C. Heath Edward Brown Rudolph Kreutzer Charles Wertman Stephen M. Clarke Herman L. Dash Buddy S. Ajalat Alyn J. Heim Robert Marince
1983 - 1985 1985 - 1987 1987 - 1989 1989 - 1991 1991 - 1993 1993 - 1995 1995 - 1997 1997 - 1999 1999 - 2001 2001 - 2003 2003 - 2005 2005 - 2007 2007 - 2009 2009 - 2011
Anthony Guerere Joan Policastro Joseph Mello Dorian Parreott David S. Jones Anthony Guerere Sharon Strack Chic Hansen Joseph Mello Nicholas Santoro Frank Phillips Joseph Akinskas Robert Frampton William McDevitt
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The Official Magazine of the New Jersey Music Educators Association