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THE AREA’S LARGEST SELECTION OF INSTRUMENTS AND ACCESSORIES NOW HAS TWO LOCATIONS TO SERVE YOU! Be sure to check out our new store in Asbury Park, NJ! 639 Cookman Avenue Asbury Park, NJ 07712 Off Route 71/Main Street Open Mon—Sat 11:00am–9:00pm Sundays 11:00am–8:00pm Tel: 732-455-8397
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Volume 66, No. 4
Keeping The Beat With Adaptive Instruments, by Maureen Butler
Warm-ups For Choral Ensembles: Why Bother?, by Billy Baker
NJMEA 2012 Awards, by Joseph Jacobs
2011-2012 Young Composers Competition, by Jeffrey Lesser
What Guitar Students Have To Say!, by Thomas Amoriello
NJMEA 2012-2013 Calendar
To March Or Not To March? That Is The Question, by William L. Berz
Choral Programming: Choosing Music That Honors Tradition And Diversity, by Patricia Kelley Keith
46 A Plan Of Action: Aligning Curriculum Standards That Meet The 21st Century School & Beyond, by Suzanne M. Kane
TEMPO Editor - Thomas A. Mosher 80 Jumping Brook Drive, Lakewood, NJ 08701 Phone/Fax: 732-367-7195 e-mail: email@example.com Deadlines: October Issue - August 1 January Issue - November 1 March Issue - January 15 May Issue - March 15 All members should send address changes to: firstname.lastname@example.org or NAfME, 1806 Robert Fulton Drive Reston, VA 22091 Printed by: Kutztown Publishing Co., Inc. 1-800-523-8211 email@example.com
MAY 2012 DEPARTMENTS AND NJMEA BUSINESS
Advertisers Index & Web Addresses.......63 Board of Directors.................................60 Division Chair News.......................... 6-14 Editorial Policy & Advertising Rates......62 From The Editor......................................4 In Memoriam........................................59 Past-Presidents.......................................62 President’s Message.............................. 2-3 Resource Personnel................................61 Round the Regions.......................... 56-58
FORMS AND APPLICATIONS See NJMEA.ORG
“Files and Documents” for downloadable copies of all forms
Summer Workshop 2012.......................49 All-State Opera Festival..........................50 State Marching Band Festival................. 51 All-State Int./HS Orchestra Scales & Solo Lists.....................................52-54 All-State Band Solo List.........................55 NAfME Application..............................64
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 66, No. 4, MAY 2012 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
NAfME SUMMER LEARNING ACADEMIES June 22 - 25, 2012 Baltimore, MD NJMEA SUMMER WORKSHOP August 7, 2012 NJMEA CONFERENCE February 21 - 23, 2013 East Brunswick, NJ
Conference program information, but also an App that will access region sites, affiliates, board members, directions, music education links, as well as viewing and commenting on pictures, videos, Facebook and Twitter. New Jersey is taking the lead on having this type of interactive App for our music education association and community. The App draws much of its information from the NJMEA Website, so all website changes and updates are automatically pushed through the App instantly. If you are a proud owner of an iPhone or iPad, please visit the Apple App store and download your NJMEA App today!
President’s Message KEITH HODGSON 609-317-0906 firstname.lastname@example.org Website: http://www.njmea.org
reetings to all of my fellow music educators in New Jersey. I hope that the 2011-2012 school year has been successful and fulfilling for you professionally and that you and your students have had fun learning and making music!
During my first year as NJMEA President, not only was it a pleasure to see all of the All-State performances, but I also made it a priority to attend as many region and county performances around the state and college visits that I could schedule. Between concerts, convention sessions and performances and the work being done at the undergraduate collegiate level, I am inspired for the future of music education in New Jersey. I am also very thankful to all of the volunteers that continue to give of themselves year after year for their local, county, region and state organizations: managing, hosting, organizing, mentoring new teachers, serving as officers and leaders of music organizations. Without your dedication to music, the student musicians in New Jersey would not have all the high quality musical experiences that they now enjoy. 2013 ALL-EASTERN APPLICATIONS I would once again like to remind all high school music teachers that the deadline for the 2013 All-Eastern Applications for the Band, Chorus, Orchestra and Jazz are due to me by June 1st. The online application link and instructions can be found on the NJMEA website www.NJMEA.org and also in the several TEMPO Express emails that have been sent to all current NAfME members over March and April. Students must currently be a sophomore or junior and already accepted to the 2012-2013 All-State Ensembles. NJMEA SUMMER WORKSHOP As we wrap-up another school year and look to the summer to relax, re-energize and recharge our batteries... please consider the NJMEA Summer Workshop. It is a one day conference packed with sessions presented at The College of New Jersey Music Building on Tuesday, August 7th. Joe Akinskas and his team have once again developed a fantastic professional development opportunity for our members. ASSESSMENT If you have been following the legislation facing the teaching profession in New Jersey, you know that teacher tenure may become a thing of the past. My advice to all music educators is to keep working on your craft. Your teaching evaluations, your students’ success in your class curriculum and how you and your students are meeting the standards are crucial. Be sure that performance classes have an assessment model in place. Continue to find new and fresh ideas in your teaching and more ways to infuse technology into the classroom. Work collaboratively with your colleagues and reach out to mentor teachers for assistance. My experience has been that there are many music colleagues around the state with great wisdom and doing wonderful things in their classrooms from whom we can all learn. Please do not be afraid to reach out for assistance.
HERE’S WHAT YOU CAN DO FOR NJMEA • Encourage membership. An important part of our strength is in our numbers. The more music educators that we can cite as part of our association, the more clout we are able to wield as we spread the word of the importance of music education in our children’s lives. If you have colleagues that are not members of NJMEA (NAfME), apply some peer pressure! Let them know that their membership counts! The cost is tax-deductible, applies for an entire calendar year from when they join and entitles them to a host of services and resources. • Attend State Music Conferences. There are three opportunities throughout the year to attend professional development conferences. NJEA in Atlantic City in November, NJMEA in East Brunswick in February, and the NJMEA Summer Workshop in August in Ewing on the TCNJ campus. Our members attend these events to get new fresh teaching ideas, stay current with technology, hear quality musical performances and network with colleagues, vendors and members of the music industry. • Include legislators in your local activities. Invite your state senator, assembly representative and board of education members to your concerts, plays, festivals, etc. Send copies of programs to their offices. The parents of your students are voters, so let your elected officials see and hear that their constituents value the support of music education. • Join NJMEA Online. Over 600 of your NJMEA colleagues are members of the NJMEA Facebook Group. Please join us on Facebook and on Twitter @NJMEA. Visit our new website often as important information is always being updated. If you have suggestions for our website please let me know. AS WE LOOK AHEAD I am looking forward to my second year as your President with great anticipation at all that we can accomplish together. Please feel free to contact me with any questions or concerns that you may have as we move forward. If you have any suggestions for improvements in what NJMEA does for our membership, please don’t hesitate to contact me. Have a wonderful, restful summer!
NJMEA APP FROM THE APPLE APP STORE I am pleased to announce that NJMEA has an App now available FREE from the iTunes App store. We worked hard to have the App ready by the February conference, however, wevran into difficulties getting the approval from Apple in time. The NJMEA App for the iPhone and iPad will hopefully be a useful tool for all New Jersey music educators in the years to come. Jeff Bradbury has been working closely with me to develop and design this as a tool not only for the February, Atlantic City and Summer TEMPO
Music In Our Schools Month
he Rowan University, Master of Music program provides intensive experiences in performance, conducting, or composition as well as courses geared to enhance the students’ knowledge and understanding of the literature of their area of specialization, and a greater understanding of music in general. Available specializations include:
with the National Association for Music Education
Spotlight school music and your program during Music In Our Schools Month®.
Here Are a Few Suggestions:
• Participate in the Concert for Music In Our Schools Month.* • Contact your state representatives and discuss their position on music in the schools; tell them about any upcoming concerts your students will perform. • Check out and print “Get the Message” Flyers at advocacy.nafme.org and distribute to your supporters. • Sign the Music Education Advocacy Pledge at advocacy.nafme.org and forward to your social media network. • Register for your MIOSM Flag Certificate at advocacy.nafme.org. • Invite a guest speaker to your class to talk about music’s role in his or her life. • Play NAfME “Why Music?” PSA’s during morning announcements. • Retweet and repost the MIOSM Fact a Day from the NAfME Facebook and Twitter pages. • Tie your events to another newsworthy happening or a public figure in your community. • Purchase the specialty items offered at www.nafme.org and give them to your students and colleagues to remind them of the importance of music education.
• • • • •
*The World’s Largest Concert Has a New a Name and is Now Online!
Visit www.nafme.org/concert to download the 2012 Concert sheet music and rehearsal tracks— FREE! Start rehearsing now, then visit March 1 to download the program video, featuring special guest hosts and schools from around the nation.
• • • •
Voice Orchestral Conducting Vocal Conducting Wind Conducting
Get started as early as Summer 2012! For more information visit www.rowan.edu/cgce/music or call 856-256-4747
Find more ways to spotlight school music during MIOSM at nafme.org/events.
Composition Guitar Jazz Studies Keyboard: Piano/Organ Orchestral Instruments
P e a k P e r f o r m a n c e F E S T I VA L S
& News From Our Division Chairs &
201 2! COMING IN
Past-President William McDevitt 856-794-6800 x2539 email@example.com
It’s been a few issues since I’ve written an article, so I thought that it was time to begin again. This is the perfect time because we just finished another successful NJMEA State Conference. For the past several years, we have set up a survey for the membership to provide input about some of our major events. We did so again this year after the State Conference. We have had an amazing response! Within 24 hours of the TempoExpress notification, we had over 150 responses. At the close of the survey, it was up to 230. This is the best response that we have had of any survey to date. I thought that this would be the perfect time to address the membership on how we use this information, so you understand how important your input is to planning future events. Some of the questions are used for general information. Others are used for targeted responses. For example, “If you stayed overnight, what nights did you stay?” would be general information. “What are your top 3 choices for Academies to be presented next year?” would be a targeted question. We use the targeted questions to get a sense of where the membership stands on some issues. We also understand that with 230 responses and almost 2000 people walking through the door over the course of the weekend, it is just a general idea of the membership’s thoughts, not a full set of responses. What we do look at are themes that seem to re-occur throughout the survey responses and try to address them the best that we can. What most of our members don’t know is that on the Saturday evening of the conference, after everyone has gone home and the hotel is empty, the members of the committee meet to discuss emergent issues and changes that need to be made for the following year. For example, at this meeting last year, we discussed the idea of expanding Thursday into Academies like Eastern Division and having them open to everyone. After much planning, they were added to this year’s conference with much success. There were many positive comments about this new feature. There were also some negative ones that we had already addressed at this year’s meeting, like what Academies should be offered next year (hence the reason for the survey question). Many of the comments that are made in the survey contradict others. For example, for every person that commented about how wonderful the conference was, there was another that thought that it was awful. For every person that cited an excellent clinician, there was a person that cited a terrible clinician (and some were the same clinician!). What I would like to do is provide our membership with some answers to a few of the topics that seem to have re-occurring questions associated with your responses. Hopefully you can come away with some helpful info. If not, maybe you can understand why we do things or at least know that we are discussing things that are important to you. “Keep the registration table open all day on Thursday” – This was addressed at our post-conference meeting. In the past, all of our pre-conference attendees were registered before lunchtime. The NJMEA Executive Board meets late Thursday afternoon. In the past, the Exec Board ran registration, so they could not be in two places at one time. This will be fixed next year. “It’s too crowded” or “Find a new location” – We have discussed this issue NUMEROUS times. Unfortunately, this is the best facility that is in a central location for our State – and yes, New Brunswick is central! We do the best that we can with the facility that we have available to us. One major decision last year was to leave the Ramada. This seems to have been a positive decision. “Rooms were not appropriate for certain sessions” – This was also discussed after the conference. We are very limited by the space that we can have. In fact, we are not even guaranteed space in the Tower until January on the year of each conference. If that space is rented by a company, we don’t get to use it. We have to plan the conference knowing that the entire thing could be thrown into a shambles 6 weeks before we open the doors. “The break on Friday is too long” – This was done because we had people comment in the past that they didn’t have time to visit the exhibits. Now the exhibits are open during the lunch. We will look at this for next year. “Bring back the Thursday lunch” – There has been much discussion about this over the past few years. There were several problems with the Thursday lunch. First, the space that we needed for the luncheon is the space that is used for the General continued on page 8 Music sessions. Second, the cost of a hotel luncheon is very expensive. Most of the cost that was TEMPO
April 13-14, 2012 | April 20-21, 2012 Highlights
Boston Symphony Boston Duck Tour Fanueil Hall Performance Blue Man Group
Taped and Written Comments
Clinics for all performing ensembles
April 26-29, 2012 | May 12-14, 2012 May 19-21, 2012 Highlights
Dinner/Dance Awards Presentation
1, 2 and 3 night packages Additional performance opportunities Full tour packages available
Cleveland Symphony Cedar Point Amusement Park Rock and Roll Hall of Fame House of Blues
New York City March 24-25, 2012 Highlights
Broadway Shows Broadway Workshops Statue of Liberty/Ellis Island Lincoln Center
Williamsburg/ Virginia Beach April 26-29, 2012 Highlights
PERFORMANCE FESTIVALS For a complete music tour package including performance opportunities!
Colonial Williamsburg / Jamestown Settlement Busch Gardens / Virginia Air & Space Museum Beaches / Broadway at the Beach
Washington, D.C. April 26-29, 2012 Highlights
Monuments and Memorials Smithsonian Institute Kennedy Center for the Performing Arts National Aquarium
www.peakfestivals.com and firstname.lastname@example.org MAY 2012
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& News From Our Division Chairs & charged for the Thursday pre-conference in the past was to cover the luncheon. If it were brought back, it would have to be an additional charge like it is on Friday. This will be discussed again. “Move the lobby concerts back to the hotel lobby” – These were moved to the tower to be a little more respectful to the students that were performing. The hotel lobby is too noisy and doesn’t have enough room for registration and the concerts. If you remember, a few years ago we moved registration to the 2 nd floor for a year. That didn’t go so well. The Tower lobby is much more conducive to the performances. “There are too many things to see at the same time” – That’s a good thing. It’s much better than not enough to see. “Handouts should be made available on the website” – We discussed this at the post-conference meeting. Unfortunately, there are two problems with this. First, these are the intellectual property of the presenter. Second – if we provided all of the info to anyone, there would be no reason for the presenters to have an audience. “Lower the price” – If we could, we would! The 2011 Conference lost money. We had to pay an enormous amount of money for the conference space because we did not sell enough rooms to cover our contract. Our goal every year is to break even. We have to balance the cost with the economic factors that have an effect on everyone’s bottom line. “Parking” – This is being addressed. Just so the info is out there, the parking is a completely separate entity from the hotel. In our contract, we have a specific number of spaces in the lot that are designated to our conference. The rest of the spaces are designated to people that work in the towers. We are trying to get more spaces for the future. We’re trying to do everything that we can to avoid running a shuttle again! “More/different exhibits” – At last year’s post-con meeting, we decided to change over to booths in the exhibit hall. We were crossing our fingers on this one because the change meant fewer vendors could fit in the space. We had to raise our prices to cover the adjusted sizes. We only turned away one vendor that wanted a large number of booths after the facility had been completely booked. What the booths did was allow vendors to actually bring things to sell instead of just handing out pamphlets. For the most part, the comments about the change were positive. If you know of anyone that would like to be an exhibitor, they can find info on the NJMEA website. “Add more Academies” – We’re exploring the options at this time. Friday Night Concert suggestions – It’s great to get so many suggestions. Many of them have been contacted in the past and were well out of our price range or cannot fit into our schedule. Groups like the “Manhattan Transfer” are a once in a lifetime choice and are economically draining to our NJMEA budget. We are continuing to look at some of those that you have suggested for future performances. As you can see, there is a lot to consider when planning the conference. The planning is well under way for next year and your comments are a part of that process. We truly appreciate you taking the time to let us know what works and what doesn’t work. While I couldn’t possibly address all of the comments from the survey, I tried to address some of the ones that we saw more frequently with the hope that you would understand that your comments are heard. If you have any specific questions or concerns that you would like to have addressed, please feel free to email me and I can get an answer for you. I hope that everyone has a restful summer and comes back in September ready for an exciting year filled with music making! To those that are retiring – I wish you the best. We’re all hoping to be there some day!
UNDERGRADUATE MUSIC PROGRAMS:
Ronald P. Dolce - Secretary 732-574-0846 email@example.com
It seems like it was just a few short months ago that I wrote this school year’s first article welcoming everyone back from the summer break. Here we are in May putting the finishing touches on our last concerts and music trips. This year, we experimented by having joint meetings with the art administrators. Our workshops covered a variety of topics including “Supervising the Art Teacher: Effective continued on page 10 Evaluation Techniques”, presented by Joanie Rosen and Joan Conway from the AANJ and “Music TEMPO
Bachelor of Music (Music Edu cation, Classical Performance, Jaz z Studies)
Bachelor of Arts in Music
BE INSPIRED: Study with fac
ulty from the New York Ph ilharmonic, Philadelphia Orchestra, Me tropolitan Opera Orchestra , and New Jersey Symphony.
BE CHALLENGED: Music conservato ry training within New Jersey’s flagship public res earch university. BE ENGAGED: Over 15 performance ensembles with opportunit to perform in New York Cit ies y and abroad. 9
& News From Our Division Chairs & Festivals: Are High Stakes Festivals for You?” presented by Peter Griffin: Our January meeting was held at Kean University. The workshop consisted of four mini workshops that were presented by teachers from the Orange School District, Woodbridge Township and the Clifton Public Schools. Our members continued to share their expertise at the NJMEA Conference in February. Although a Job Fair was not held this year, members of the association presented workshops about interviewing techniques and information about landing that first job. As we go to print, Peggy Cioce, music supervisor with the Clifton Public Schools, is preparing a workshop with staff members entitled, “You Tube as an Instructional Resource”. Our End of the Year Meeting will be held on June 3rd at the New Jersey City University in Jersey City. The program will feature the NJCU arts programs at the university. Check the www.njmaa.org for more detailed information as we get closer to the date. The complexion of many of our school districts is changing for a variety or reasons whether it is retirement or economics. The NJMAA continues to reach out to those school districts that have supervisors, coordinators and administrators without a music background. Our members can serve as an invaluable resource to help the non-music administrator deal more effectively with music teachers and help them meet the special needs of the music program. If you are an NJMEA member with a supervisor that does not have a music background, tell them about our organization. Check our website for more information about the NJMAA and its activities.
day, Book To ited. im L Space isy Admission a Single-D
Band Performance Al Bazzel 856-358-2054 firstname.lastname@example.org
The All State Band Procedures Committee would like to congratulate the 2012 NJMEA Distinguished Service Award winners: James Beyer, Darryl Bott, Robert Frampton, Marie Malara, and Thomas Mosher. The 2012-2013 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. In addition, this being an All-Eastern eligibility year, please look for acceptance information in the coming months. Please consider joining the consortium for the 75th anniversary of the New Jersey All State Band and taking your place in New Jersey band history! The piece by 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 email@example.com. You can visit www.danawilson.org to learn more about this wonderful musician and award winning composer. If you have any concerns over the summer, please contact your region representatives to the committee: Region I - David Aulenbach, Lewis Kelly, Mindy Scheierman; Region II - Jules Haran, Mark Kraft, Brian Toth; Region III - Ed Cook, Vinnie DeBeau, Deb Knisely. Thank you all for another great year! We hope you have a wonderful summer!
When your music group arrives at Busch Gardens, the star treatment begins. They’ll have an unforgettable group experience, and make lasting memories with their friends. Let the fun ring out starting with the thrilling 240-foot free fall of Mäch Tower.SM Then, jump on Verbolten SM for a twisting, turning ride in the Black Forest, opening this spring. It’s an unforgettable trip that will make their spirits sing.
To book your group, call (800) 343-7946 or visit buschgardens.com/group
Kathleen Spadafino 732-214-1044 kspadEB@aol.com
Congratulations! Our choral directors can almost take a clear breath as the musicals, college auditions, and all the Spring Concerts are finished. You’ve done such a great job this year, and with your help All-State Chorus is all auditioned, members of Mixed Chorus and Women’s Chorus have been chosen, and we are ordering music for the first Mixed Chocontinued on page 12 rus rehearsal on Saturday, June 16.
Indoor/Outdoor Multi-Launch Coaster COMING THIS SPRING *Offer valid for groups of 15 or more students. Must book 30 days prior to arrival. Prices, products and operating schedule are subject to change. Offer valid through Oct. 28, 2012. Restrictions apply. © 2012 SeaWorld Parks & Entertainment, Inc. All Rights Reserved.
& News From Our Division Chairs & But as we look ahead to a summer off and thinking about next fall, please thank these people along with me for their incredible work with All-State Chorus this year. Our fabulous committee – Tom Voorhis, Steven Bell and Matt Vanzini from Region I; Hillary Colton, Judy Verrilli and Wayne Mallette from Region II; and Helen Stanley, Art McKenzie and Cheryl Breitzman from Region III work together to handle all aspects of auditions, conductor selection, rehearsals and performances in a calm and professional manner. Our audition chairs, Barbara Retzko and Cheryl Breitzman work in tandem to process over 1300 applications and 130 choral directors that make up the auditions. Our managers for both Mixed Chorus and Women’s Chorus – Judy Verrilli, Sue Belly and Joe Cantaffa also work many hours for all the students who participate. Our hosts for auditions and rehearsals also put in extra time so that everyone has an excellent experience while there. Do you notice some of these names more than once? That’s because they do at least two jobs! What about you newer, younger, more energetic folks? This All-State organization is run for you, your students, and your school and community. 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 end up feeling better about yourself. Please contact me – Kathy Spadafino at KSpadEB@aol.com. Enjoy the rest of your school year, and I look forward to hearing from you as we prepare for next year!
Retired Music Educators Christine Sezer 570-756-2961 firstname.lastname@example.org
I hope you are all enjoying the warmth of the Spring weather. After an unusually mild winter here in the Endless Mountains it is still a delight to welcome nice weather as I am especially looking forward to planting my annual garden. On a personal note, I have been elected to my School Board and being the Treasurer, I have been dealing first hand with deep budget cuts which have resulted in making some extemely difficult decisions regarding staff reduction, course offerings and curriculum revisions. The budget crisis is evident in most states and it does have a direct impact on education. We are in the process of negotiations for a new contract.The arts are always at risk -we must justify their extreme importance, state the research explaining just how the arts especially MUSIC contribute to educating the WHOLE child and touching the part of the brain that no other subject can the way in which music can - people just need to realize this. Advocacy is so important! We were successful in keeping our arts programs. Fighting for the arts is well worth the fight and the effort!! Our retired educators mentoring program continues to expand - more retired educators have been added to our Mentoring Catagory list. Your experience and knowedge is very important - please consider adding you name, phone number and email to our Mentoring Catagories. The Mentoring Catagories can be found on our website of the NJMEA Retired Music Educators. Please email me email@example.com if you would like to be added to the Mentoring Catagories - you may add your name to whatever catagory or catagories you would like. As you know the 2012 NJ Master Music Teacher Award was presented to Joyce Richardson-Melech, a very talented and truly a “Master Teacher”. In addition to this award, Richardson-Melech received the Governor’s Award for the Arts. So again we are very proud that our Master Teacher recieved this high honor. Calendar Dates to remember: Wednesday Oct. 3rd - Executive Committee Meeting -12:00 pm; Friday February 22, 2013-NJMEA Conference - Gen. Membership Meeting - 10:15 am; Wednesday March 6, 2013 - Executive Committee Meeting - 12:00 pm; and Wednesday May 15, 2013 - General Membership Meeting - 10:15 am. Our General Membership meeting will be May 16th at the House-by-the- Sea - Ocean Grove -10:15 am with Alyn and Sally Heim as our gracious hosts. Our guest speaker will be Roma Oster, elder law attorney who will advise on some issues of estate planning and any questions we may have regarding planning for the future. Hope to see you all at the General Membership Meeting on May 16th!
& News From Our Division Chairs & Orchestra Performance Susan Meuse 908-231-0230 firstname.lastname@example.org
Once again it is Spring, and things are very busy for everyone. The All State Orchestras are ready to go once again. The March auditions were very successful again this year, thanks to Audition Chair Mike Kallimanis! Congratulations to all of the students who were accepted, and thank you to all of the sponsoring teachers for your help. During the auditions, the Procedures Committee met again, and finalized the solo lists. For the first time, this lists requires specific editions. Next year’s solo and scale requirements are published in this issue of TEMPO, so please take a look. As far as the new edition requirements, keep in mind that they are there to provide consistency for judges listening to auditions. Students will only be judged on the notes and rhythms in the required editions. Teachers may still use their own preferred bowing, articulations, and fingerings. A student will not be penalized in an audition for having the wrong edition, only for playing incorrect notes and rhythms. Right now the All State Intermediate Orchestra is preparing for the May 12th concert. The students are working very hard under the direction of Curt Ebersole. The concert is going to be great, be sure to come out to hear it! The All State Orchestra will be meeting for the first time soon. Look for more about that in the next issue of TEMPO. As always, we are looking for teachers to come to rehearsals and help out. If you are interested, please feel free to contact me!
Summer Workshop Coordinator Joe Akinskas JoeA_NJMEA@comcast.net Summer Workshop V As announced previously, Summer Workshop V will take place on Tuesday, August 7, 2012, from 8:00-4:30 pm. All activities will take place in the Music Building on the College of New Jersey campus in Ewing. You will find the updated session topic roster for the event on page 14 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 be found on our webpage www.njmeasummerworkshop.com as well as on page 47 of 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 website at www.njmeasummerworkshop.com.
continued on page 14
& News From Our Division Chairs & NJMEA Summer Workshop V Tuesday, August 7, 2012 The College of New Jersey 8:00 – 4:30 p.m. Workshop Sessions CLASSROOM MUSIC · Games and Lessons from the Kodaly Tradition · Songwriting in the Elementary and Middle School Classroom · M.S. General Music for the 21st Century INSTRUMENTAL MUSIC · Brass for the Non-Brass Player · Woodwinds for the Non-Woodwind Player · Strings for the Non-String Player · Percussion for the Non-Percussion Player · Instrumental Reading Sessions · Dealing With Imbalanced Instrumentation · Percussion Tuning and Maintenance 101 VOCAL MUSIC · · · ·
Choral Reading Sessions Opposite Gender Vocal Coaching Vocal Health Warm Ups and Vocalizing
SPECIAL EDUCATION · Hands-on Activities and Lesson Plans for Special Learners Part ! · Round Table Discussions · Hands-on Activities and Lesson Plans for Special Learners Part II TECHNOLOGY · Teaching With Garage Band and MixCraft · iPods and iPads in the Music Classroom-BYO Device · An I-Jam Session – BYO Device · Smart Board Techniques and Applications
SPECIAL TOPICS · Copyright: Get All Of Your Questions Answered · Body Mapping · Instrument Repair Clinic: What Not To Do! · Drum Circle · Guitar Workshops · Fund Raising-Why and How ?
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SAMUEL BARBER INSTITUTE FOR MUSIC EDUCATORS June 25-August 10, 2012 Innovative courses in music education taught by distinguished leaders in Music Education MUSIC EDUCATION
MUE 503-21 Philosophical Foundations in Music Education June 25-29, J. Bryan Burton, West Chester University
MUE 592-31 Introduction to Internet, Multimedia, and Computer Assisted Instruction July 9-13, Marc Jacoby, West Chester University
MUE 528-21 Music in Special Education June 25-29, Angela Guerriero, West Chester University MUE 544-41 Guitar Essentials for the Music Educator July 30 – August 3, Michael Miles, Musician and Composer
MUE 596-31 Multimedia Authoring July 30-August 3, Marc Jacoby, West Chester University ORFF-SCHULWERK METHODOLOGY
MUE 547-41 Choral Music Practicum for Music Educators July 30-August 3, Bradley Olesen, West Chester University
MUE 570-31 Orff-Schulwerk Level I: Basic Musicianship July 23 –August 3, Gloria Fuoco-Lawson, Las Vegas Schools
MUE 548-31 String Essentials for the Music Educator July 23-27, Janet Farrar Royce, Yale University, Cheshire Schools, CT
MUE 571-31 Orff-Schulwerk Level I: Recorder July 23 -August 3, Marie A. Blaney, Englewood Schools
MUE 601-33 Innovations in Elementary Music Education: Conversational Solfege July 9-13, John Feierabend, University of Hartford MUE 679-34 Acronyms and Acoustics: Taking the Mystery out of Special Education Terminology and Instruction in Music Education June 30, Maria Kreiter, West Chester University MUE 691 Research Seminar in Music MUE 692 Research Report MUE 698 Recital Research Available as online courses in Summer I, II, and III Bradley Olesen, West Chester University KODALY METHODOLOGY Mue 560-31 Kodály I: Musicianship Training July 9-20, Janos Horvath, University of Calgary MUE 561-31 Kodály I: Methodology July 9-20, Kristen Albert, West Chester University Sallie Ferrebee, University of Hartford MUE 562-31 Kodály II: Musicianship Training July 9-20, Janos Horvath, University of Calgary MUE 563-31 Kodály II: Methodology July 9-20, Sallie Ferrebee, University of Hartford & Jennifer Irlen, White Plains, New York MUE 564-31 Kodály III: Musicianship Training July 9-20, Janos Horvath, University of Calgary MUE 565-31 Kodály III: Methodology July 9-20, Sallie Ferrebee, University of Hartford Jennifer Irlen, White Plains, New York MUE 567-31 Kodály Folk Song July 23-27, Kristen Albert, West Chester University MUSIC THEORY & COMPOSITION MTC 512-80 Advanced Composition I July 2- August 2, Robert Maggio, West Chester University MUSIC HISTORY & LITERATURE
MUE 572-31 Orff-Schulwerk Level I: Movement July 23 -August 3, Ann L. McFarland, West Chester University MUE 573-31 Orff-Schulwerk LeveI II: Basic Musicianship July 23 -August 3, Marie A. Blaney, Englewood Schools MUE 574-31 Orff-Schulwerk Level II: Recorder July 23 -August 3, Gloria Fuoco-Lawson, Las Vegas Schools MUE 575-31 Orff-Schulwerk Level II: Movement July 23 -August 3, Ann L. McFarland, West Chester University MUE 579-41 Orff-Schulwerk Recorder Ensemble August 6-10, Alejandro Jimenez, Harford Public Schools Retired MUE 580-41 Orff-Schulwerk Recorder Ensemble August 6-10, Alejandro Jimenez, Harford Public Schools Retired MUE 581-41 Orff-Schulwerk Instrumentarium Practium August 6-10, Alejandro Jimenez, Harford Public Schools Retired MUE 582-41 Orff-Schulwerk Final Project July 2- August 2, Ann L. McFarland, West Chester University APPLIED MUSIC AIM 679-31 Jazz Workshop July 16-20, Marc Jacoby, West Chester University AIM 679-33 Percussion Technique July 30- August 3, Christopher Hanning, West Chester University Ralph Sorrentino, West Chester University AIM 679-36 Brass Repair June 25-28, Elizabeth Pfaffle, West Chester University AIM 680-31 Conducting Symposium July 16-20, Jerry Junkin, University of Texas Frank Battisti, New England Conservatory Andrew Yozviak, West Chester University Gregory Martin, West Chester University AIM 679-35 Alexander Technique July 2-August 2, Robert Bedford, West Chester University MWB 537-31 Marching Band Workshop July 24-27, Andrew Yozviak, West Chester University
MHL 501-01 Style, Form, and Genre July 2-20, Ann Hiloski-Fowler, West Chester University John Villella, Associate Dean College of Visual and Performing Arts School of Music West Chester University West Chester, PA 19383 (610) 436-2495 email@example.com
J. Bryan Burton, Chair-Music Education Department College of Visual and Performing Arts School of Music West Chester University West Chester, PA 19383 (610) 436-2222 Jburton3@wcupa.edu
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Keeping The Beat With Adaptive Instruments By Maureen Butler Lake Drive School firstname.lastname@example.org
lassroom rhythm instruments can be a valuable and highly motivating part of elementary school music lessons. Our students learn the proper technique to play xylophones, tambourines, guiros, hand drums and more as they play rhythms, keep a beat, or accompany songs. For most of our students, learning the technique and putting it in the context of musical expression might require concentration and practice, but is well within their capability. Some may even seem to be “naturals” at this, and easily accomplish the goals we set. But for others, the actual physical ability needed to manipulate instruments and mallets may be compromised, and for them, even though they want to be successful, the task may pose significant challenges. How can we adapt our instruments to make this a worthwhile endeavor for our physically challenged students? Ideally we should know the specific needs of our special learners before they come to class, but sometimes we’re not aware of their issues until a problem presents itself. Either way, a sound approach is to discuss specific challenges with the occupational and physical therapists who are treating your students. I’ve been fortunate to work with some excellent therapists who have been willing to share their expertise with me. Many times I’ve gone to them with a situation regarding a student’s difficulties, and left with both a deeper understanding of underlying conditions as well as practical solutions to problems. Your school’s therapists may be willing to observe students as they play, to identify impediments and suggest adaptations. Here are some common difficulties you may see in your students: • Weak or dysfunctional grasp • Poor muscle tone • Problems with depth perception • Fine motor issues • Uncontrolled movement • Stiff and difficult movements • Limited range of motion Additionally, some students will have difficulty sequencing the steps to accomplish a task, some may have trouble with motor planning, and others may find it impossible to hold an instrument in one hand while striking it with another. Here are some adaptations you might consider:
• Add padding to a narrow mallet to help those with a weak grasp. • Add weights to mallets to increase the child’s sense of movement.
• Insert mallets through a foam or rubber ball. • Attach mallets to gloves or child’s hands with Velcro. Instruments
• Using a clamp that can be attached to a desk or wheelchair tray, makes a holder for triangles, tambourines, bells, or any other instrument that may be too heavy to hold. • Attach small instruments to hands or gloves with Velcro. • Use non-slip gripping drawer liners to keep instruments firmly in place on desk or tray.
especially when special learners come to music with their regular education peers. Alice-Ann Darrow and Mary S. Adamek, authors of the excellent resource, Music in Special Education, caution against using instruments that are markedly different from those used by the rest of the class, so as not to single special learners out. They suggest that we first select one of our instruments that may be more appropriate for the student, and if that is difficult, then look for ways to adapt instruments. The goal is the successful participation in what the authors call the most “normalized” way. Our special learners require our attention, time and insightful preparation if they are to flourish in our classes. Remember that some of them deal with issues that are highly demanding in terms of their energy and concentration – they may fatigue easily. Others may have fine motor issues that are not as obvious, but are hindering their ability to learn. We might mistakenly conclude that a student is not trying hard enough when the underlying cause is really a motor issue. We also need to be sensitive to the fact that students may engage in misbehaviors as a way to disguise the fact that they’re having trouble. With our help, special learners can have an active role in our classes as they learn to express themselves through music. Resources: Adamek, Mary S., and Darrow, Alice-Ann, Music in Special Education, Second Edition, Copyright 2010, The American Music Therapy Corporation McDowell, Carol (2010) “An Adaptation Tool Kit for Teaching Music,” TEACHING Exceptional Children Plus: Vol. 6: Iss. 3, Article 3. Available at: http://journals.cec.sped.org/tecplus/vol6/iss3/art3 Adaptive equipment:
http://www.adaysworkmusiceducation.com/index.html westmusic.com musiciselementary.com
• Move the instrument closer to the student. • Position the child correctly, with feet on the floor, and knees and hips at 90 degree angles to provide a stable base.
Ideally we should know the specific needs of our special learners before they come to class, but sometimes we’re not aware of their issues until a problem presents itself. Either way, a sound approach is to discuss specific challenges with the occupational and physical therapists who are treating your students.
In addition to your own adaptations, you may find what you need in music catalogs, as well. The West Music catalog lists a number of products that are made by the American Drum Company, including transverse mallets (t-mounts) with big vinyl grips; large grip mallets; instrument mounts and stands; and mallet cuffs (worn on the child’s hands, they eliminate the need to grip). Other music catalogs and websites offer similar selections. You’ll have to use your judgment based on your understanding of your students when making decisions about adaptive instruments,
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Our Low Tuition of $800, $890 for Technology, includes materials, all fees, and 3 graduate credits. Villanova is located in suburban Philadelphia and is convenient to all transportation. Affordable housing and meals are available on campus. For More Information: music.villanova.edu or contact George Pinchock, Director Summer Music Studies. email@example.com
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UPCOMING EVENTS Jazz & Percussion Concert
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Music Theatre Workshop
October 13, 2012 Open House
November 8, 2012
Friday, May 4 • 8:00 PM Alumni Theatre
Senior On Campus Day
Spring Department Concert
Monday, May 7 • 8:00 PM Student Center Auditorium
SUMMER 2012 Summer Intensive Percussion Camp
Middle, High School and College June 25 – 29 Monday – Friday, 9:00 AM – 4:00 PM Alex Bocchino, Director For information e-mail Nchildress@caldwell.edu
November 17, 2012 February 2, 2013 Open House
April 6, 2013
Accepted Students Day
April 27, 2013 Junior Open House
120 Bloomfield Avenue Caldwell, NJ 07006 caldwell.edu
For more information visit caldwell.edu/academics/music
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sound. Interval leaps should not exceed the fifth and transpositions should not extend the range of an octave. Several initial warm-ups include the following:
Warm-Ups For Choral Ensembles: Why Bother?
Initial Warm-Up 1:
Voice Building Wam-Up 3:
By Billy Baker New Jersey City University firstname.lastname@example.org
arm-ups are vital to the success of any performance ensemble. One purpose of the warm-up in singing is related to that of any other physical activity: to tone up the muscles and improve coordination; in short, to exercise the voice. Singing is a physical activity; the muscles must be “loosened-up” to ensure maximum vocal efficiency during a rehearsal or performance. It would be unfathomable for an athlete to begin a practice session without some type of stretching and warm-up activity; the same is true of the choral rehearsal. A carefully planned and efficiently executed warm-up period is a necessity if the continuous musical growth and vocal development of the choral ensemble is to be assured. The purposes of warm-ups are to exercise the voice and promote good singing. The objective is not to push the voice to the limits of pitch and dynamics so that every singer will be strained during the rehearsal. It is rather, a time for the singers to focus on their identity in the ensemble, to develop appropriate singing habits, and to listen “across the ensemble” for balance and blend. It is also an opportunity for the conductor to nurture a sense of esprit de corps and unity. The warm-up period should accomplish the following goals: Establish good posture; establish basic principles of vocal production; improve upon basic musicianship skills; correct errors of vocal technique; and prepare the singing voice for extended use. Every exercise used during the warmup period must be carefully planned and designed to facilitate the musical growth of the ensemble. These vocalizes may incorporate rhythmic, melodic, or harmonic elements from the music that is being rehearsed. One
exercise may be related to a specific repertoire problem while another warm-up may be used to improve upon technical skills such as articulation or resonation. Conductors should avoid repeating the same exercises for each rehearsal. This mundane practice discourages critical thinking and listening skills. While it may be advantageous to employ a steady cycle of tone development activities, variation of warm-ups will assist the conductor in maintaining singer focus and interest. Exercises may also be practiced at various points in the rehearsal. Singers may need to reorient themselves to appropriate tuning, listening, and balancing within the ensemble context. Vocalization “interruptions” may be productive in refocusing the ensemble. Appropriate modeling of warm-ups is an important aspect of the procedure. Much of the coordination that exists in any activity is the result of imitating as precisely as possible the same action which previously was successful. An “imitative” routine has become intuitive based upon certain physical experiences since infancy. Physical actions have become drilled until they are reflexes. Many of the technical aspects of singing may be channeled in the same manner. A sequential approach to warming up might include preliminary, initial, and voice building exercises. Additionally, exercises that reflect difficult melodic intervals or passages in the performance repertoire may be created to promote transfer. While sight singing is an important component of many choral rehearsals, it should not be practiced before warming up, nor should it be considered as an alternative to the warm-up exercises.
Concentration should be placed on pure vowels with a bright to dark placement. The lips should remain puckered with the “ee” vowel. This warm-up is also designed to extend the range of the singer’s voice. Proper breath support is critical for the correct execution of this exercise, particularly in the ascending pitches. The intervallic shifts of ascending fourths to descending thirds may also pose a challenge.
The descending half notes should imitate a sigh and the eighth note pattern may be used to assist singers in bridging the break between register changes of the voice. You may choose to begin the warm-up with a voiced consonant or an aspirate “h.” Preliminary Warm-Ups
The purpose of the preliminary warmup is to engage students in the rehearsal process and prepare them to sing. These exercises are not pitched in a specific key and they should be brief: Yawning – Make the yawn a conscious act. The chest, throat, nose, and mouth are open to air and the velum (soft palate) is raised. Students should gently place their fingers on the larynx and notice that it descends. They should feel relaxed and yawn as quietly as possible. • Flower sigh – Students should smell an imaginary flower and then sigh from the upper part of the vocal register. The “oo” [u] vowel is best to use first. • Siren – Students should mimic a siren in the upper register with three ascending glissandi and release the third ascent with a relaxed sigh. • Unvoiced lip trills – Unvoiced lip trills relax the facial muscles, engage breath support, and gently initialize vocal fold vibration. To produce a lip trill, force air between relaxed lips. The lips are the only noticeably vibrating facial feature. • Voiced lip trills – A voiced lip trill uses gentle vocal fold vibration to create sound. Begin the lip trill on a midrange pitch and gently slide the voice down to a low sounding pitch (less than an octave). Initial Warm-Ups All initial warm-ups should begin in a comfortable tessitura and move down by half steps. This movement allows the vocal folds to warm up without undue strain. It is important to cease the downward movement before students lose core quality of MAY 2012
Initial Warm-Up 2:
This challenging warm-up exceeds an octave and may be used to extend the range of the voice. Breath support must be maintained and singers should be encouraged to place their hands on the abdominal muscles to feel the “bumping” sixteenth note passages. Repertoire Application
This exercise should be used to brighten the darker “ah” vowel sound. However students should be careful not to spread the “ee” vowel horizontally. The “ah” perfect fifth descent should be sung as a glissando. Once again, voiced consonants may be employed. Initial Warm-Up 3:
The transition from staccato to legato is the focus of this exercise and these two forms of articulation may be alternated. The staccato passages should emphasize proper breath support with a “bumpy” feeling in the abdominal musculature and the legato phrases should emphasize support through the line with a strict adherence to tempo. Voice Building Exercises Voice building exercises may extend the octave. These warm-ups are usually more challenging than initial warm-ups and may encourage singers to “stretch” beyond their comfortable tessitura in extending range capabilities. It is critical for the conductor not to over exert the choir and strident singing should not be permitted. Several voice building warm-ups include the following: Voice Building Warm-Up 1:
Exercises that reflect difficult melodic intervals or passages in the performance repertoire may be practiced during the voice building period of the rehearsal. For example, the following slightly altered passage from Handel’s “Sing Unto God” may be transposed during the warm-up procedure to focus on breath support through melismatic passages typical of the Baroque era and tonal sequences of ascending fourths:
Preparation is the key! While it may seem more time efficient to “warm-up” with familiar repertoire, the long term benefits of exercising the vocal mechanism with preliminary, initial, and voice building activities include a healthier model for your students. The development of tone, resonance, and overall musicianship are integral components of the warm-up process. These concepts should be introduced during the warm-up routine and reinforced throughout the rehearsal. Preparation and execution of warm-ups should go beyond simple vocalizing and encourage a comprehensive musicianship approach. This practice will result in a productive and pedagogically sound rehearsal. References
The closed “ng” should resonate throughout before propelling the “ee” vowel forward. Singers should also be careful not to let the “ee” vowel spread horizontally, but continue the resonation with a raised velum (soft palate). This warm-up should be legato and free of any pulsing of the beat. Voice Building Warm-Up 2
Baker, Billy, Jeffrey Beyers, Linda Matukaitis, John Pusateri, & Alyson K. Shirk. Effective Choral Instruction: Grades 9-12, Baltimore County Public Schools Curriculum Guide, Towson, MD, 2004. Holt, M. & Jordan, J. (2008). The School Choral Program. Chicago: GIA Publications. Lamb, G. H. (1988). Choral Techniques. Dubuque, Iowa: William C. Brown Publishers. Ware, Clifton. Basics of Vocal Pedagogy: The Foundations and Process of Singing. Boston: McGraw Hill, 1998. Billy Baker is Assistant Professor of Music Education at New Jersey City University and Director of the New Jersey Youth Chorus Young Men’s Ensemble. He received his BM in Music Education from East Carolina University, his MM in Choral Conducting from Michigan State University, and his PhD in Music Education from Florida State University.
2012 NJMEA Distinguished Service Award
The 2012 NJMEA Distinguished Service Award was presented to 7 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.
NJMEA 2012 Awards
Peter Crosta, K-12 Assistant Director of Special Projects Orange Township Board of Education
By Joseph Jacobs NJMEA President-Elect Ventnor Middle School email@example.com
Peter Crosta started his career as a music educator in 1977 at the Dover Public Schools. In 1979 he accepted a position at Orange High School where he was the band and choral director. He became Supervisor of Visual & Performing Arts in Orange Township in 1993. He is a former board member of the NJ Music Administrators Association and is the current webmaster for NJAA. Crosta has supported the music and arts programs by creating a partnership with NJPAC which has benefitted students and allowed for staff development. He created and maintains a website which is dedicated to student works in dance, music, theater and visual arts. Crosta is attributed with increasing the arts department staff by 150%, placing full-time personnel in every building in visual arts, vocal music, and instrumental music.
2012 NJMEA School Administrator Award
At the NJMEA conference luncheon on February 24, 2012 two outstanding school administrators were recognized for their support and commitment to music education. Both of these gentlemen 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. William Trusheim, Superintendent of Schools Pequannock Township Schools William Trusheim’s professional career as an educator began in 1970 at South River High School where he was the music teacher. After 27 successful years he took a position as Director of Fine & Performing Arts (K-12) at Pequannock Township Public Schools. He later became Assistant Principal, and then Principal of Pequannock Valley Middle School. He has been the Superintendent since 2009. Under his leadership the music program at Pequannock Township has expanded to include general music programs for all students in grades K–6, recorder instruction for grades 3-5, choir for grades 4-12, band for grades 5-12 and orchestra for grades 5-12. Music electives include music technology, world music drumming, guitar, piano, theory, jazz band, marching band, swing band, swing choir, chamber choir, girls ensemble chorus, percussion ensemble and history of pop music. His most recent budget proposal included the purchase of guitars, West African instruments, choral risers, a music computer lab and wireless microphones. Pequannock Township Schools have been recognized for years for their superior musical achievements. Trusheim’s commitment and advocacy for music education has inspired students and teachers to attain their musical goals.
Gary Quam, Publicity Chair North Jersey Schools Music Association Gary Quam has been a music educator for 41 years. He was the band director at Morris Hills High School and Mendham High School. Gary is responsible for introducing clinic-concerts by professional big bands to North Jersey high schools. He retired from Mendham last year and left behind a very strong music program which includes a symphonic band, 2 wind ensembles, 3 jazz bands, and a 110 member marching band. Gary has been actively involved in NJSMA since 1982. His involvement includes conductor for the symphonic band and the junior high orchestra, manager for the jazz band, host for the junior high band and orchestra, orchestra audition chair, corresponding secretary and publicity chair. His NJMEA involvement includes All-State Band and Orchestra Procedures Committee member, chaperone for All-State and All-Eastern ensembles, and clinician for the NJEA convention in Atlantic City.
John Sarcone, Principal Hackettstown High School
James Beyer, Music Educator Washington Township High School
John Sarcone is an accomplished musician who has been actively involved in Hackettstown’s student musical presentations throughout his career. He has shared his talents as a jazz percussionist to assist various school productions. Sarcone has supported music and arts programs by initiating art shows and upgrading equipment and performing facilities. His budget support has included the purchase of a marching band trailer, pit cart, stage lights and sound equipment for the auditorium. He is currently exploring the possibilities of implementing a rotating music lesson program in the high school and adding a percussion coordinator for the marching band. The music program at Hackettstown High School includes chorus, jazz choir, concert band, wind ensemble, marching band, piano and theory. During Sarcone’s tenure as principal the chorus, band and drama department have won numerous awards. He is a strong advocate and mentor for the entire fine and performing arts staff.
James Beyer is currently in his 33rd year as a music educator. His concert band and marching band have won numerous awards including invitations to 11 NJ state galas. Jim organized and hosted the first concert band festival in South Jersey. He has supervised student teachers and practicum students from Rowan University, University of the Arts, and University of Delaware since 1985. Jim has been a guest conductor for ensembles from Rowan University, The College of New Jersey, University of Delaware, West Chester University, South Jersey Honors Band, Salem County Honors Band, and the Olympic Conference Honors Band. Forty one graduates of his music programs are employed in the music field including 17 New Jersey public school and private teachers.
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Darryl Bott, Associate Director of the Wind Studies Program Rutgers University
Marie Malara, Music Educator Sayreville School District Marie Malara has been a music educator at the Sayreville School District for 34 years. She received the Governor’s Award for Distinguished Service in the Arts in 2002. Marie has been a member of the NJMEA Board of Directors since 1983 where she held various positions including Middle School/Junior High Choral Chair and Region Representative. She has been the NJMEA State Conference Manager since 1985 where she is responsible for coordinating the annual three day conference bringing world renowned clinicians and performers together with NJ Music Educators. During her tenure the conference has grown from an attendance of 350 to over 2,000 members, clinicians, exhibitors, and performers.
Darryl Bott has taught for 30 years in the New Jersey public schools. He is the former director of bands at Roxbury High School where the wind symphony was selected to perform in the NJ State Concert Band Festival every year since its inception. This ensemble was also selected to perform at the Midwest Clinic in 2008. Darryl is a highly regarded clinician for honor bands and school ensembles and has conducted the Interlochen Arts Academy Band, Ohio District 13 Band, NY Area All State Band, the NJ Region 1 & 2 Symphonic Bands and Wind Ensembles and the North Jersey Area Symphonic Band. He has established a regional concert band festival and the Mason Gross “Artist in Residence” series. His NJMEA involvement includes chairing the concert band festival and host for the all state ensembles.
John J. Cali School of Music at Montclair State University – College of the Arts Degrees: Bachelor of Music s Bachelor of Arts s Master of Arts s Artist’s Diploma s Performer’s Certificate Programs: Music Education, Performance, Jazz, Music Therapy, Theory/Composition Brass, Guitar, Harpsichord, Organ, Percussion, Piano, Strings, Woodwinds, Voice
Robert Frampton, Supervisor of Visual and Performing Arts Washington Township Schools Robert Frampton began his teaching career in the Cherry Hill Schools as a music teacher in 1984. Later he became the band director at Triton Regional High School in Runnemede. In 1994 he accepted the Supervisor of Music position at Washington Township. Bob is responsible for the expansion of a well respected arts program which includes multiple course offerings in music technology and a three level guitar program. During his tenure as supervisor he expanded the theatre, dance and visual arts courses. He presently oversees and coordinates a department of 48 K-12 arts teachers in 11 buildings. Bob served on the executive board of the South Jersey Band and Orchestra Association as Treasurer and President. He is a Past President of the NJ Music Administrators Association and NJMEA. He is currently the NAfME Eastern Division President Elect.
Tom Mosher, Webmaster & TEMPO Editor New Jersey Music Educators Association
For information contact 973-655-7610 or firstname.lastname@example.org
Tom Mosher was the band director at Raritan High School from 1964 until 1997. He is currently the assistant conductor and first clarinetist of the Greater Shore Concert Band. Tom has held numerous executive positions since 1969 in the Central Jersey Music Educators Association including president, secretary, treasurer, webmaster, and the CJMEA region representative to NJMEA. He has been a member of the NJMEA Board of Directors since 1985 and has served as the NJMEA All State Band Chair, Marching Band Festival Chair, Region II Representative, and CJMEA President. He has been the NJMEA Webmaster and TEMPO magazine editor since 1998 and was just recently inducted into the All-Shore Band Directors “Hall of Fame.”
Cali School of Music 1 Normal Avenue Montclair New Jersey 07043 973-655-7212
Teaching Tips Featured on NAfME’s My Music Class! Here are some examples: • Designing Effective Rehearsals • Creating a Student Handbook • Developing a Relationship with Administration • Your First Day of Class
Visit nafme.org/lessons to browse tips and add your own.
SCENES FROM THE 2012 NJMEA CONFERENCE
2011-2012 NJMEA Young Composers Competition By Andrew Lesser NJMEA-YCC Committee Member
he NJMEA Young Composers Competition recently concluded its fourth successful competition on Saturday, February 25th at the NJMEA Conference held at the Hilton Towers in New Brunswick, NJ. The competition has continued to draw many outstanding New Jersey student composers, submitting compositions in a variety of mediums, including chamber ensembles, full orchestra, vocal ensembles, and solo pieces. Stylistically this year’s submissions offered contemporary as well as traditional compositions. This year the competition included a division for Middle School, in addition to a category for solo pieces, both of which will be offered next year as well. The committee was extremely pleased to receive so many submissions that were accompanied
The finalists were recognized at a critique session during the February Conference and presented with official NJ-YCC Finalist certificates. All submissions were evaluated by the composition committee and four finalist compositions were chosen to be featured in the critique session. The finalists in the High School division were Matthew Liu from Marlboro High School for his piece “Sitting in an Open Field”, Jordyn Gallinek from Summit High School for her piece “Haunted House”, and John Petrie from West Morris Mendham High School for his piece “Island Honeymoon”. Our Middle School finalist was Nicholas McConnell from John Witherspoon Middle School for his piece “Evening”. The Grand Prize of the competition was awarded to Matthew Liu for “Sitting in an Open Field”. The critique
Left to Right: Andrew Lesser, NJMEA YCCC Committee, Matthew Liu - 2011-12 Grand Prize Winner, Douglas Laustsen, NJMEA YCCC Committee, Nicholas McConnell - Middle School Finalist, Jordyn Gallinek - High School Finalist, John Petrie - High School Finalist, Jeff Bradbury, NJMEA YCCC Committee, Bob Frampton, NJMEA YCCC Committee Chair
by live recordings of the compositions, many performed by the composers themselves. It is a reflection on the quality of work and the assistance and support provided by the music teachers of these students, and they are to be commended for their dedication.
was led by members of the NJ-YCC Committee, including Bob Frampton, Past-President of NJMEA, Andrew Lesser, Jeff Bradbury, and Doug Laustsen, who each held an interview with the individual composers focusing on their inspirations, compositional techniques,
Left to Right: Matthew Liu, Marlboro High School - 2011-12 Grand Prize Winner, Nicholas McConnell, John Witherspoon Middle School - Middle School Finalist, Jordyn Gallinek, Summit High School High School Finalist, John Petrie, West Morris Mendham High School - High School Finalist
and future goals in music composition. Congratulations to all of our student composers, their teachers, and their families. The current level of participation in the competition demonstrates a significant interest in musical composition, and highlights the creative potential of music students throughout New Jersey. Application and submission guidelines for the 2012-2013 competition have been posted on the NJMEA website in addition to the audio files of the 2011-2012 Finalists. Music teachers are encouraged to bring this program to the attention of their students and assist them with the application process. Special thanks to all the committee members, including Bob Frampton, Andrew Lesser, Jeff Bradbury, Doug Laustsen and Patrick Burns for their assistance in developing this very successful program. We are looking forward to next year’s competition; submissions are due postmarked November 16th, 2012. The application and submission guidelines are located on the NJMEA website under the “Projects” section.
What Guitar Students Have To Say! By Thomas Amoriello Flemington Raritan School District email@example.com
I signed up because I love guitar. James M.
So when I’m a bum on the streets I’ll have some way of making money. Anonymous
The fun atmosphere and learning about the guitar that way I can read notes & strings to play any song. Natalie P.
I signed up for guitar class to pursue my hobby. N.F. (initials only)
I signed up to take guitar class for two reasons. One reason was because my parents recently bought me an acoustic guitar that I had no idea how to play. My second reason is because I am too busy with sports and clubs at school so I do not have time for private lessons. Drew B. It was difficult to learn on my own, so the school could give me lessons. Plus, chicks dig guitar players. Anonymous
any times during parent teacher conferences or Back to School Night, I often hear a parent comment, “I wish we had this program when I went to school!” Today we will take a journey to my Alma Mater, Washington Township High School in Sewell, NJ (Gloucester County) and hear what students enrolled in the WTHS Guitar Program have to say about their experience. These thoughts are of students enrolled in Guitar Class as a full year elective this 2011-12 school year. Unfortunately they did not have such a program when I attended way back in 1986-90, and I had to take private guitar lessons at the local music store. (Fortunately I was able to enroll in Music Theory at WTHS for two of those years.) Originally piloted by Gregory Janicki back in July 2001, with the help of an enthusiastic Superintendent Thomas Flemming, Music Supervisor Robert Frampton, and building Principals Jack McGee, Joseph Bollendorf & Rosemarie Farrow, the Guitar Program has grown into a first class program that stands strong against any such program in the United States. Janicki started the first two years with just 6 periods of Guitar I. During the third year Guitar II was introduced and Guitar III the following year. Today there are a total of 9 total guitar classes (6 in Guitar I that run in two rooms simultaneously, 2 Guitar II courses and 1 Guitar III). There are 170 students enrolled for the entire program this 2011-12 school year. David Cona and David VanAntwerp were later brought on board due to the overwhelming demand and are teaching guitar in addition to their other music instruction courses at WTHS. In addition to the regular daily hands-on classroom experience, students have worked on special projects in the areas of Guitar History, Guitar Legends and Styles, as well as the guitars evolution during musical time periods, researching the Renaissance, Baroque, Classical, and Romantic eras of this plucked string instrument. Special lecturers and performers have visited WTHS, including Rowan University Classical Guitar Faculty members Joseph and Kathleen Mayes; Jazz Guitarist Thomas Giacabetti from the University of the Arts; Blues Guitarist Joe DiBartolo; and freelance jazz guitarist Joseph Federico. Students have also participated in ASTA string festivals. It is the good intention of the current WTHS Guitar Faculty to arrange a trip to the Martin Guitar Factory in Nazareth, Pennsylvania (www. martinguitar.com) to take the famous factory tour that is offered and see first hand how guitars are constructed in the hands of skilled luthiers and apprentices. For this article we posed the question directly to the students and wanted to hear from them. This is important because many times networking and sound bites are used to sensationalize a program. These provided quotes have not been edited; thirty students were surveyed,
I signed up for guitar because I’ve always wanted to play the guitar. I’ve always been fascinated by professional players. I want to play just like that someday. Brian L. I like how people of all playing levels can come together and all learn something new. Roy (no initial given) Guitar Class is a great experience for kids to express themselves through music, especially those who aren’t able to at home. Guitar Class teaches you the fundamentals to learn any instrument if guitar isn’t your thing. It is a great addition to a school’s curriculum because every day you do something new and get another step closer to being an experienced guitar player. Mark G.
I signed up because I wanted to extend my knowledge beyond tablature. Troy S. I love playing guitar. I’ve been playing for four years now every time I walk into class I feel like it is the right place to be. Anonymous I didn’t want my parents to pay for guitar lessons so I took this class; it was the best choice I ever made. I learned more in class than any lesson. Mr. J is the BEST!!! Sheila G. I would like to thank Greg Janicki and the students of the Washington Township High School Guitar Program who provided their insight and participated in the survey to make this article possible. I wish them the best of luck in their musical pursuits and peace. You can contact Greg at gjanicki@ wtps.org for further information.
I signed up to take this class because I wanted to learn guitar because it is a great skill to have and seems really fun. At first I just signed up because I needed a performing art but I ended up really liking the class. Adam T. David VanAntwerp, David Cona and Gregory Janicki PHOTO BY: Zahra Alkazaz
and I have chosen what I thought to be the best representation of the WTHS program. As we know, young people can be brutally honest! The students were asked, “What I like most about Guitar Class” and “Why I signed up for Guitar Class.” Here is what we found out:
I signed up to take guitar class because I wanted to further my music education. Bruce T. I signed up for guitar class because I wanted to become a better guitar player and not be limited to tablature. Nathaniel M. I like that I learn new things every day instead of only once a week like I do with my private lessons. Jimmy P. I signed up to take guitar class because I really wanted to learn how to play the guitar since my parents don’t have enough money to pay for the lessons outside of school. Sheila G. I like that I get to learn how to correctly play and learn to read notes. The class is very helpful to writing and playing my own music. It is great to learn the whole idea behind guitar. Anonymous
What I like the most about this class is the sounds the guitar makes, it is beautiful. Plus I get to use my hands more which I like a lot. Shakuwra B. I signed up because I was interested in learning how to play and read music. Anonymous What I like most about guitar class is the pace that we learn things. We don’t spend a week going over the same notes, but we don’t go too fast where I can’t keep up. Matthew H. I like being able to read music and play guitar on a regular basis. I like the lack of pressure if I don’t pick something up quickly. Anonymous What I like most about guitar class is that I’m learning how to play songs I always wanted to play and I wanted to take a performing arts class. R.H. It is a break in the middle of the day away from boring classes. It is something fun! J.N. I signed up to take guitar class because I love playing guitar and want to go to college for music. Mike T. I’ve always had a guitar at home, but now I can actually put it to use after this class. Kyle H.
2012 – 2013 Calendar
08 NJMEA Full Board Meeting EB - Hilton 6:30 PM 07 NJSMA HS Chorus Rehearsal 10:00-4:00 PM 09 CJMEA Exec. Board Meeting 6:00 PM 07 NJSMA HS Orchestra Rehearsal (Snow Date) 4:00-9:00 PM 10 SJCDA Jr/Sr High Chorus Rehearsal 9:00-1:30 PM 08 NJSMA HS Orchestra Rehearsal 10:00-4:00 PM 11 CJMEA HS Band Rehearsal 9:00-5:00 PM 09 CJMEA Int. Band/Orchestra Rehearsal - Snow Date 9:00-1:00 PM 11 SJBODA Wind Ens. & Symph. Band Rehearsal 9:00 - 5:00 PM 09 CJMEA Int. Chorus Rehearsal 9:00-1:00 PM DATE EVENT TIME DATE EVENT TIME 11 SJBODA Winter Membership Meeting 10:00 AM 09 CJMEA Int. String Orchestra Rehearsal - Snow Date 9:00-1:00 PM 12 CJMEA HS Band Rehearsal 9:00-4:00 PM 09 NJSMA HS Chorus Concert 4:00 PM July 07-09 All-State Orchestra - AC 12 CJMEA HS Chorus Rehearsal 9:00-1:00 PM 09 NJSMA HS Chorus Rehearsal 10:00 AM 31 NJMEA Exec. Board Reorganization Meeting - EB Hilton 9:00 AM 08 All State Jazz Ens. and Honors Jazz Choir Concert, AC TBA 12 CJMEA Int. Chorus Auditions 8:00 AM 09 NJSMA HS Orchestra Rehearsal 8:00-12:00 PM 31 NJMEA Full Board Reorganization Meeting - EB Hilton 12:00 PM 08 All-State Band Procedures Committee Meeting - AC 9:30 AM 12 SJBODA Wind Ens. & Symph. Band Rehearsal 9:00 - 5:00 PM 10 NJSMA HS Orchestra Concert 3:00 PM 08-09 All-State Mixed Chorus at NJEA convention, Atlantic City All Day 13 CJMEA HS Band Concert 3:00 PM 12 NJSMA HS Chamber Ens.s Rehearsal 4:30-7:30 PM August 09 All-State Mixed Chorus and Orchestra Concert 8:30 PM 13 NJ Elementary & JH Honor Choir Audition Tapes Postmark Date 12 NJSMA Jr. HS Chorus Rehearsal 4:00-8:00 PM 09 NJMEA Exec. Board Meeting AC - TRUMP 8:30 AM 13 SJBODA Wind Ens. & Symph. Band Rehearsal 3:00 PM 12 SJBODA Junior High Band Rehearsal 4:00 - 7:00 PM 07 NJMEA - SUMMER WORKSHOP V TCNJ 8:00-5:00 PM 14 CJMEA Exec. Board Meeting 6:00 PM 16 NJSMA HS Band Rehearsal 4:00-9:00 PM 13 SJBODA Chamber Ens. Festival Rehearsal 6:00 - 8:30 PM 08 CJMEA Exec. Board Meeting 12:00 PM 16 All State Jazz Ens./Honors Jazz Choir Concert, NJPAC 7:00 PM 18 CJMEA HS Chorus Rehearsal 4:30-9:30 PM 14 NJSMA HS Chamber Ens.s Rehearsal 4:30-7:30 PM 16 NJAJE Jazz Education Conference, NJPAC, Newark TBA 18 SJCDA Jr/Sr High Chorus Rehearsal 5:30-9:30 PM 14 NJSMA Jr. HS Chorus Rehearsal 4:00-8:00 PM September 17 Opera Festival- Paramus HS - Concert: 3:00 PM 9:00-5:00 PM 19 All-State Band Auditions - JP Stevens HS 9:00 AM 14 NJSMA Jr. HS Orchestra Rehearsal (Strings Only) 4:00-8:00 PM 03 Labor Day 17 SJCDA Jr/Sr High Chorus Auditions 8:00 AM 19 CJMEA HS Chorus Rehearsal - Snow Date 9:00-1:00 PM 14 SJBODA Chamber Ens. Festival Concert 7:30 PM 04 SJCDA Board of Directors meeting 7:00 PM 18 All-State Mixed Chorus at NJPAC 10:30 AM 19 CJMEA Int. Chorus Auditions - Snow Date 8:00 AM 18 Presidents Day 10 NJSMA Exec. Board Meeting 6:00 PM 18 All-State Orchestra - NJPAC 10:00 AM 19 SJCDA Jr/Sr High Chorus Rehearsal- Snow Date 9:00-1:30 PM 19 SJBODA Junior High Band Rehearsal 4:00 - 7:00 PM 11 NJMEA Exec. Board Meeting Rutgers Club 5:00 PM 22 Thanksgiving 20 All-State Band Auditions snow date 9:00 AM 20 NJAJE Jazz Combo Festivals, Locations TBA 5:00 PM 12 CJMEA Exec. Board Meeting 6:00 PM 27 NJSMA HS Chorus Festival 21 MLK Jr. Day 21 All-State Band Rehearsal - Rutgers University 12:00 PM 14 NJMAA Exec. Board Meeting- Rutgers Club 9:30 AM 28 NJSMA HS Chorus Festival 21 NJSMA Winter Workshop-Music Tech. Applications 9:00-3:00 PM 21 All-State Women’s Chorus NJMEA Conf. - Check-in 5:00 PM 15 All-State Mixed Chorus/Women’s Chorus Rehearsal 8:30-12:00 PM 29 NJSMA HS Chorus Festival 22 NJSMA HS Band Rehearsal 4:00-9:00 PM 21 NJAJE Intercollegiate Jazz Band Concert - NJMEA Conf. 8:30 PM 15 All-State Orchestra Full Rehearsal 1:00-5:30 PM 30 NJSMA HS Chorus Festival 23 NJSMA HS Band Rehearsal (Snow Date) 4:00-9:00 PM 21 NJMEA Exec. Board Meeting EB - Hilton 4:00 PM 15 All-State Orchestra String Reseating Auditions 10:00-12:00 PM 24 NJSMA HS Chorus Rehearsal 4:00-9:00 PM 21 NJMEA Full Board of Directors Dinner EB - Hilton 5:00 PM 17 Rosh Hashanah December 24 NJSMA HS Orchestra Rehearsal (Strings Only) 4:00-9:00 PM 22 All-State Band Rehearsal - Rutgers University All Day 25 All State Jazz Ens. Rehearsal 4:00-8:00 PM 01 NJSMA Jr. HS Band Master Class 9:00 AM 25 CJMEA HS Chorus Rehearsal 4:30-9:30 PM 22 All-State Women’s Chorus Rehearsal - Rutgers University All Day 25 Honors Jazz Choir Rehearsal 4:00-8:00 PM 01 SJCDA Jr/Sr High Chorus Rehearsal 9:00-1:00 PM 25 NJSMA HS Band Rehearsal 12:00-6:00 PM 22 All-State Band Procedures Comm. Mtg - NJMEA Conf. 5:45 PM 26 Yom Kippur 03 NJSMA Exec. Board Meeting 6:00 PM 25 SJBODA Chamber Ens. Festival Rehearsal 6:00 - 8:30 PM 22 NJMAA Breakfast Meeting- NJMEA Conference 8:30 AM 07 NJMAA General Membership Meeting- Rutgers Club 10:00 AM 25 SJCDA Jr/Sr High Chorus Rehearsal 6:00-9:30 PM 22 NJRMEA General Membership Meeting - EB Hilton 10:15 AM October 08 Channukah Begins At Sunset 26 CJMEA Int. Band/Orchestra/Percussion Ens. Auditions 8:00 AM 22 NJSMA Gen. Member Meeting - NJMEA Conf. 11:45-12:30 PM 01 NJSMA Exec. Board Meeting 6:00 PM 08 CJMEA HS Band, Orchestra, Choral Auditions 8:00 AM 26 NJSMA HS Band Rehearsal 12:00-6:00 PM 22-23 NJMEA State Conference 01 SJCDA Board of Directors meeting 7:00 PM 08 SJBODA Wind/String & Percussion Auditions 9:00 AM 26 SJBODA Junior High Band Auditions 9:00 AM 23 All-State Women’s Chorus and Bands - NJPAC 3:00 PM 03 NJRMEA Exec. Committee Meeting - Seville Diner 12:00 PM 08 SJCDA Jr/Sr High Chorus Rehearsal - Snow Date 1:30-5:30 PM 26 SJCDA 55th Annual Jr/Sr High Chorus Festival 8:00 PM 23 CJMEA Exec. Board Meeting-NJMEA Conference 8:00-9:00 AM 05 NJMAA General Membership Meeting- Rutgers Club 10:00 AM 11 NJMEA Exec. Board Meeting Rutgers Club 5:00 PM 27 CJMEA HS Chorus Concert 2:00 PM 25 NJSMA HS Chamber Ens.s Rehearsal 4:30-7:30 PM 08 Columbus Day 15 CJMEA HS Band and Orchestra Reading Rehearsal 9:00-1:00 PM 27 NJSMA HS Band Concert 3:00 PM 25 SJCDA Board of Directors Meeting 7:00 PM 08 NJAJE Board Meeting 5:00 PM 15 CJMEA HS Band/Orchestra/Choral Aud. - Snow Date 8:00 AM 27 SJCDA 55th Annual Jr/Sr High Chorus Festival 3:00 PM 26 NJSMA HS Chamber Ens.s Rehearsal (Snow Date) 4:30-7:30 PM 09 Honors Jazz Choir Rehearsal 4:00-8:00 PM 15 CJMEA HS Percussion Ens. Rehearsal 9:00-1:00 PM 28 SJCDA Chorus Festival Concert - Snow Date 8:00 PM 26 NJSMA Jr. HS Orchestra Rehearsal for All 4:00-8:00 PM 09 NJMEA Exec. Board Meeting Rutgers Club 5:00 PM 15 SJBODA 1st Rehearsal - Audition Snow Date 9:00 - 3:00 PM 30 NJSMA HS Chorus Rehearsal 4:00-9:00 PM 26 SJBODA Junior High Band Rehearsal - Snow Date 4:00 - 7:00 PM 09 NJMEA Full Board Meeting Rutgers Club 6:30 PM 30 NJSMA HS Orchestra Rehearsal 4:00-9:00 PM 27 NJAJE Jazz Combo Festivals, Location TBA 5:00 PM 10 CJMEA Exec. Board Meeting 6:00 PM January 31 All-State Band Rehearsal - South Brunswick HS 5:00-9:00 PM 27 NJSMA HS Chamber Ens.s Concert 7:00 PM 10 SJBODA Fall Membership Meeting 9:00-11:00 AM TBA NJAJE Board Meeting 5:00 PM 27 NJSMA Jr. HS Chorus Rehearsal 4:00-8:00 PM 13 All-State Mixed Chorus/Women’s Chorus Rehearsal 8:30-12:00 PM 02 SJCDA Board of Directors meeting 7:00 PM February 28 NJSMA Jr. HS Band Rehearsal 4:00-8:00 PM 16 Honors Jazz Choir Rehearsal 4:00-8:00 PM 04 CJMEA HS Chorus Rehearsal 9:00-4:00 PM TBA NJAJE General Membership /NJMEA Jazz Procedures Meeting TBA 20 Marching Band Festival 04 CJMEA HS Orchestra Rehearsal 9:00-5:00 PM 01 NJMAA General Membership Meeting- Rutgers Club 10:00 AM March 21 All-State Orchestra Full Rehearsal 1:00-5:30 PM 04 CJMEA HS Percussion Ens. Rehearsal 5:00-8:00 PM 02 CJMEA Int. Band and Orchestra Rehearsal 9:00-1:00 PM 01 CJMEA Int. Band & Orchestra Rehearsal 5:00-9:00 PM 21 All-State Orchestra Sectionals Everyone 10:00-12:00 PM 04 NJMAA Exec. Board Meeting-TBA 9:30 AM 02 CJMEA Int. Band/Orch/Perc. Ens. Aud. - Snow Date 8:00 AM 01 CJMEA Int. Chorus Rehearsal 5:00-9:00 PM 23 Honors Jazz Choir Rehearsal 4:00-8:00 PM 04 SJBODA Orchestra & String Ens. Rehearsal 9:00 - 5:00 PM 02 CJMEA Int. Chorus Rehearsal 9:00-1:00 PM 01 CJMEA Int. String Orchestra Rehearsal 5:00-9:00 PM 26 Opera Festival Auditions - Paramus HS 4:00-8:00 PM 05 CJMEA HS Orchestra Rehearsal 9:00-5:00 PM 02 CJMEA Int. Percussion Ens. Rehearsal 9:00-1:00 PM 01 NJMAA Exec. Board Meeting- Rutgers Club 9:30 AM 29 SJCDA Board of Directors meeting 7:00 PM 05 CJMEA HS Percussion Ens. Rehearsal 9:00-5:00 PM 02 CJMEA Int. String Orchestra Rehearsal 9:00-1:00 PM 01 NJSMA Jr. HS Chorus Rehearsal 10:00-4:00 PM 30 All State Jazz Ens. Rehearsal 4:00-8:00 PM 05 NJSMA HS Band/Chorus/Orchestra Auditions 02 NJSMA Jr. HS Band/Chorus/Orchestra Auditions 01 SJBODA Junior High Band Rehearsal 4:00 - 7:00 PM 30 Honors Jazz Choir Rehearsal 4:00-8:00 PM 05 SJBODA Orchestra & String Ens. Rehearsal 9:00 - 5:00 PM 02 SJBODA Junior High Band Auditions - Snow Date 9:00 AM 02 CJMEA Int. Band & Orchestra Rehearsal 9:00-1:00 PM 05 SJCDA Jr/Sr High Chorus Rehearsal 9:00-1:00 PM 03 All-State Women’s Chorus Rehearsal 1:00-5:00 PM 02 CJMEA Int. Chorus Rehearsal Snow Date 9:00-1:00 PM November 06 CJMEA HS Orchestra and Percussion Ens. Concert 3:00 PM 03 NJSMA Jr. HS B/C/O Auditions (Snow Date) 02 CJMEA Int. String Orchestra Rehearsal 9:00-1:00 PM 02 NJMAA Exec. Board Meeting- Rutgers Club 9:30 AM 06 CJMEA HS Percussion Ens. Rehearsal - Snow Date 9:00-1:00 PM 04 NJSMA Exec. Board Meeting 6:00 PM 02 NJSMA Jr. HS Chorus Rehearsal 9:00-1:00 PM 03 All-State Mixed Chorus/Women’s Chorus rehearsal 8:30-12:00 PM 06 CJMEA HS Percussion Ens. Sound Check 1:30-2:30 PM 05 NJSMA HS Chorus Rehearsal 4:00-9:00 PM 02 SJBODA Junior High Band Rehearsal 9:00 - 1:00 PM 05 NJSMA Exec. Board Meeting 6:00 PM 06 NJSMA HS B/C/O Auditions (Snow Date) 05 NJSMA HS Orchestra Rehearsal 4:00-9:00 PM 02 SJCDA Elementary Chorus Concert 4:00 PM 06 Honors Jazz Choir Rehearsal 4:00-8:00 PM 06 SJBODA Orchestra & String Ens. Concert 3:00 PM 06 NJSMA HS Chorus Rehearsal (Snow Date) 4:00-9:00 PM 02 SJCDA Elementary Chorus Rehearsal 9:30 AM 06-08 All State Jazz Ens. Rehearsals, Atlantic City TBA 07 NJSMA Exec. Board Meeting 6:00 PM 06 SJBODA Junior High Band Rehearsal 4:00 - 7:00 PM 03 NJSMA Jr. HS Chorus Concert 3:00 PM 07 All-State Mixed Chorus - Check-in 5:00 PM 08 NJMEA Exec. Board Meeting EB - Hilton 5:00 PM
Please See Calendar Updates at NJMEA.Org QuickLinks/Calendar of Events
03 SJBODA Junior High Band Concert 3:00 PM 03 SJCDA Elementary Festival - Snow Date 04 NJSMA Jr. HS Orchestra Rehearsal 4:00-8:00 PM 04 SJCDA Conductor Selection Committee Meeting 6:00 PM 06 NJRMEA Exec. Committee Meeting - Seville Diner 12:00 PM 06 NJSMA Jr. HS Band Rehearsal 4:00-8:00 PM 08 CJMEA Int. Band & Orchestra Rehearsal - Snow Date 5:00-9:00 PM 08 CJMEA Int. Percussion Ens. Rehearsal 5:00-9:00 PM 08 CJMEA Int. String Orchestra Rehearsal - Snow Date 5:00-9:00 PM 08 NJSMA Jr. HS Orchestra Rehearsal 10:00-4:00 PM 09 CJMEA Int. Band & Orchestra Rehearsal 9:00-1:00 PM 09 CJMEA Int. Chorus Rehearsal 9:00-1:00 PM 09 CJMEA Int. Percussion Ens. Rehearsal 9:00-1:00 PM 09 CJMEA Int. String Orchestra Rehearsal 9:00-1:00 PM 09 NJSMA Jr. HS Orchestra Rehearsal 9:00-1:00 PM 09 SJBODA Elementary Honors Band Selection Day 9:00 AM 10 CJMEA Int. Band & Orchestra Concert 3:00 PM 10 NJSMA Jr. HS Orchestra Concert 3:00 PM 11 NJAJE State Jazz Ens. Competition Prelims, Location TBA 5:00 PM 11 NJSMA Exec. Board Meeting 6:00 PM 12 NJAJE State Jazz Ens. Competition Prelims, Location TBA 5:00 PM 12 NJMEA Exec. Board Meeting Rutgers Club 5:00 PM 12 NJSMA Jr. HS Band Rehearsal 4:00-8:00 PM 13 CJMEA Exec. Board Meeting 6:00 PM 13 NJAJE State Jazz Ens. Competition Prelims, Location TBA 5:00 PM 14 NJAJE State Jazz Ens. Competition Prelims, Location TBA 5:00 PM 15 CJMEA Int. Percussion Ens. Rehearsal - Snow Date 5:00-9:00 PM 15 NJSMA Jr. HS Band Rehearsal 10:00-4:00 PM 16 All-State Orchestra/All-State Int. Orchestra Auditions 9:00 AM 16 CJMEA Int. Chorus Rehearsal 9:00-1:00 PM 16 CJMEA Int. Percussion Ens. Rehearsal 9:00-1:00 PM 16 NJSMA Jr. HS Band Rehearsal 10:00-4:00 PM 17 CJMEA Int. Chorus/Perc. Ens., & String Orch. Concert 4:00 PM 17 CJMEA Int. Percussion Ens. Sound Check 1:30-2:30 PM 17 NJSMA Jr. HS Band Concert 3:00 PM 17 CJMEA Int. String Orchestra Dress Rehearsal 1:00 PM 18 All Regions JHS/HS Jazz Ens./HS Jazz Choir Auditions 4:00 PM 18 CJMEA HS Concert Band Festival 6:00 PM 18 SJBODA Concert Band Festival 9:00 AM 19 CJMEA HS Concert Band Festival 6:00 PM 19 NJSMA HS Band Festival 19 SJBODA Concert Band Festival 9:00 AM 20 CJMEA HS Concert Band Festival 6:00 PM 20 NJSMA HS Band Festival 21 CJMEA HS Concert Band Festival 6:00 PM 21 NJSMA HS Band Festival 25 All Regions JHS/HS Jazz Ens./HS Jazz Choir Reh. 4:00-8:00 PM 26 Passover 30 All-State HS Orch./Int. Orch. Auditions - Snow Date 9:00 AM 31 Easter April 01 NJSMA Exec. Board Meeting 6:00 PM 08 All Regions JHS/HS Jazz Ens./HS Jazz Choir Reh. 4:00-8:00 PM 08 SJCDA Board of Directors meeting 7:00 PM 09 NJMEA Exec. Board Meeting Rutgers Club 5:00 PM 12 All Regions JHS/HS Jazz Ens./HS Jazz Choir Reh. 9:00-3:00 PM 12 NJMAA General Membership Meeting - Rutgers Club 10:00 AM
DATE 13 13 13 13 14 17 18 18 19 20 20 20 24 27 27 27 27
All Regions JHS/HS Jazz Ens./HS Jazz Choir Reh. 9:00-3:00 PM All-State Chorus Auditions - South 8:00-4:00 PM CJMEA Elementary Honors Band Day 8:30-3:00 PM CJMEA Elementary Honors Orchestra Day 8:30-3:00 PM All Regions JHS/HS Jazz Ens./HS Jazz Choir Concerts 3:00 PM CJMEA Elem./Int. Concert Band/Orchestra Festival 9:00-1:30 PM CJMEA Elem./Int. Concert Band/Orchestra Festival 9:00-1:30 PM NJSMA Jr. HS Band Festival 9:30-12:30 PM SJCDA General Membership Meeting/Seminar 9:00 AM All-State Chorus Auditions - North 8:00-4:00 PM All-State Int. Orchestra Rehearsal 12:30-5:30 PM CJMEA Elementary Honors Chorus Day 8:30-3:00 PM NJ Elementary & JH Honor Choir Rehearsal 8:00-1:00 PM All-State Int. Orchestra Reseating Auditions 12:30-5:30 PM NJAJE State Jazz Ens. Competition Finals - Division 1 5:00 PM NJAJE State Jazz Ens. Competition Finals - Division 2 5:00 PM NJAJE State Jazz Ens. Competition Finals - Division 3 5:00 PM
University of MassachUsetts aMherst Ba in MUsic
May 01 NJ Elem. & JH Honor Choir Rehearsal & Concert 8:00-6:00 PM 03 NJMAA Exec. Board Meeting - Rutgers Club 9:30 AM 04 All-State Int. Orchestra Rehearsal 12:30-5:30 PM 04 NJSMA Elementary Honors Band Festival 04 SJBODA Elementary Honors Band Festival 9:00 - 3:00 PM 06 All State Jazz Ens. and Honors Jazz Choir Auditions 5:00 PM 06 SJCDA Board of Directors Meeting 7:00 PM 07 NJSMA Exec. Board Meeting 5:00 PM 07 NJSMA Faculty Performance Showcase 7:30 PM 07 NJSMA Gen. Member Meeting/Dinner 6:00 PM 08 CJMEA Exec. Board Meeting 6:00 PM 08 NJSMA Jr. HS Orchestra Festival 09 NJSMA Jr. HS Chorus Festival 11 All-State Int. Orchestra Concert 3:00 PM 11 All-State Int. Orchestra Rehearsal 10:30 AM 14 NJMEA Exec. Board Meeting Rutgers Club 5:00 PM 14 NJMEA Full Board Meeting Rutgers Club 6:30 PM 15 NJRMEA General Membership Meeting 10:00 AM 16 CJMEA Elem./Int. Concert Band/Orchestra Festival 9:00-1:30 PM 23 NJSMA HS Orchestra Festival 27 Memorial Day 29 NJSMA Elementary Chorus Festival 29 SJBODA Spring Membership Meeting 9:00 AM TBA NJSMA Exec. Board Meeting 6:00 PM TBA NJSMA Faculty Performance Showcase 7:30 PM June TBA 03 07 07 10 11 12 15 22 23
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pose them. The band already has a huge number from which to choose. This combined with the trend espoused by many of our leading conductors discouraging the performance of marches would seem to be the primary rationale why marches are no longer regularly composed.
To March Or Not To March? That Is The Question By William L. Berz Rutgers: The State University of New Jersey email@example.com
nlike the title of the article might imply, this article is not about marching bands. Instead, the question being addressed is: Should bands play marches? In some ways, this follows a similar thread of the article that appeared in the last issue of TEMPO, “Where Have All the Marches Gone? Here They Are!” by Carolyn Barber, Director of Bands at the University of Nebraska.1 One of her basic points is that the form has fallen out of favor in part because of a lack of knowledge about marches. Barber outlines a second issue: “…contemporary composers tend to avoid the genre, or at least avoid success in the genre. My theory is that a good march requires at least three catchy tunes….”2 I am not so sure that I fully agree with Barber’s second point. Especially since the 1970s, many of the band’s leading conductors have discouraged the performance of marches. Part of their rationale is centered on why marches were written. 1. To provide music for some basic function, often related to the military. 2. To provide entertainment in many different settings including at the circus. These purposes are different from artmusic of the Western tradition where most of the important compositions are intended for contemplation. In an effort to improve the band’s repertoire, many of our leaders have therefore encouraged performance of music from the Western canon, especially contemporary music originally conceived for the wind band. This is certainly an admirable goal. However, does this mean that we should cast aside the humble march?
What is a March? The first step might be to try to define what a march is. It is a musical form in the same way as is a symphony, concerto, suite, or the like. The form dates back to at least the 16th century. Grove Music Online provides one definition of a march: Music with strong repetitive rhythms and an uncomplicated style usually used to accompany orderly military movements and processions. Since the 16th century, functional march music has existed alongside stylized representations of the march, which were often incorporated for programmatic purposes into art music. The distinction between the functional and the stylized march is often blurred, however in the 18th century, functional marches were frequently imported virtually unchanged into wind-band music, often forming integral movements of serenades or divertimentos. During the 19th century, the functional military march declined, and the stylized march became popular in its own right, reaching its height in the works of the later Romantic composers. After World War I, the idea of using an orchestral or choral march as a vehicle for paying homage to rulers and celebrating nations and ideals, which had prevailed since the time of Lully, fell into decline, and the march came to be seen principally as an artmusic genre.3
Some marches were intended for military function. Marches are also found in the European art-music tradition as well. Haydn, Mozart, Beethoven, and Mahler all wrote marches, many of which are included in their symphonic and operatic repertoire. Carl Chevallard, former conductor of the United States Air Force Academy Band, has written a book on marches as part of the GIA Teaching Music Through Performance series. Like the format of the other GIA books, he focuses on providing analyses and teaching suggestions for fifty marches, mostly
from American and European heritages of the late-19th and early 20th centuries. He also includes introductory articles on various subjects relating to the march. He provides a general historical view of the march: In the broadest sense, march historically refers to many kinds of music, from symphonic works to incidental music. The form has served utilitarian and dramatic functions. For example, courtly processional marches dating from the Renaissance brought order to large, royal entries and exits, while setting a tone of elegance. On the other hand, early twentieth-century composer Karl King wrote many of his marches to move wild animals to, from, and around a circus ring while augmenting the exciting move of the big top.4
When defining the march, many people think of the pieces by Sousa, Fillmore, King, Goldman, Jewell, Bagley, and the many other American bandmasters of the past. These short works were popular in American culture in the past. The formal structure of these marches is fairly consistent: introduction, first and second strains, trio, breakstrain, and trio. Each section follows certain conventions in terms of style, dynamics, and phrase structure. Many later composers began to take these conventions and develop them into variations of the original. One of the most obvious results was the concert march, a piece that was intended for concert band; hundreds if not thousands have been composed. Perhaps one of the most famous is Commando March by Samuel Barber. While these do not formally follow the structure of the classic American march, the general style and format is similar, and in many ways, reflective of the original. It might be that the reason that marches are not being composed is because contemporary composers simply don’t want to comMAY 2012
Should Bands Play Marches? As stated above, there are a number of band conductors who consider marches to be unworthy of study. Some who criticize the performance of marches by school ensembles do champion the music of “educational” composers—those people who write primarily or entirely for school bands. Yet as Stephen Budiansky has pointed out and about which I have written several times for TEMPO, this music is not part of any culture except for school bands.5 I disagree in part with his point that the lack of a direct cultural link makes this literature lack validity and substance. However he does raise an excellent issue with playing only “educational” music. He illustrates this point with a story about his children’s education. But… [each of my children] emerged from 5 or 6 years of these school band programs literally knowing almost nothing—and caring almost nothing—about music. They didn’t know anything about musical forms, music history; they had no knowledge at even the most rudimentary level of composers, or periods, or styles of classical music; they knew nothing about the great American musical traditions of folk songs and jazz and rock and blues and musical theater. They literally knew nothing about music as an art form, had never even experienced music as the thing that has the capacity to inspire and move us and enrich our lives as almost nothing on earth. Within about one nanosecond of their last band class in high school, they never touched those instruments again. And I am not exaggerating when I say they didn’t touch them. Both were by that point quite advanced technically—but once band class ended there was simply no reason in their lives to play those instruments again. And clearly closely tied to this utter failure to give them any real knowledge or lasting appreciation of music, or any motivation to keep playing their instruments, was the overriding fact that for all of their 6 or so years in band, all they did was play garbage. It was dull, gimmicky, pretentious, bombastic, simplistic, made-for-school music clearly written by mediocrities. It all sounded alike, it was all formulaic, none of it was remotely art and some of it was scarcely music—and with the possible sole exception of the “Flintstone’s” theme it had no connection to any real music or any living musical tradition outside of the closed world of music education. None. Much the same thing had gone in in my daughter’s chorus class— I especially remember her district chorus concert which did not include a single piece on the pro-
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gram written by someone other than a contemporary music educator.6
The point must be further considered in light of the argument of many current music education philosophers. There are an increasing number of scholars who stress the importance of educating students about music in relation to its cultural context instead of focusing entirely on skill development. Many scholars suggest that music educators should devote more emphasis on the consideration of music’s social and cultural context. Those of an extreme position hold that bands in schools should be abolished because that culture is no longer relevant. While this position is both extreme and unrealistic, it does raise the concern that it might not be viable to base music education solely on aesthetic rationale. This is somewhat related in part on the debate in band circles over what constitutes quality in music. An older view that certainly still has merit is that music must contain elements of high aesthetic value. One cannot argue that students gain immeasurably from studying and performing music by Bach, Mozart, and Beethoven. Music by these and
the other masters provide an opportunity to be immersed in the genius of art music from the Western European heritage. However, having experience with a genuine culture, ranging from popular to the most esoteric, is one of the benefits of study in the arts. Bands of all forms—from the Harmoniemusik ensembles of the 18th century, to the Gilmore Band of the 19th century, to the Sousa Band which gave its first concert in Plainfield, and finally to the United States Marine Band of our current time—have performed marches. Marches in their many different forms are a vital part of the Western culture. Along with many other genres and styles of music, they need to be part of the band’s curriculum, in part because they are part of the band’s culture. In addition, many possess wonderful melodies, engaging harmony, and interesting counterpoint—clearly a winning combination. It is difficult indeed to imagine the New Year in Vienna without hearing Radetzky March by Johann Strauss. Why should school bands avoid The Stars and Stripes Forever?
(Endnotes) 1 Barber, Carolyn. “Where Have All the Marches Gone? Here They Are!” Tempo 66, no. 3 (March, 2012), pp. 42-43. 2 Ibid, p. 42. 3 Erich Schwandt and Andrew Lamb. “March.” In Grove Music Online. Oxford Music Online, http://www. oxfordmusiconline.com.proxy.libraries. rutgers.edu/subscriber/article/grove/ music/40080 (accessed February 16, 2012). 4 Carl Chevallard. Teaching Music Through Performing Marches. Chicago: GIA Publications, Inc., p. xvi. 5 See Budiansky’s website to read his articles on this subject: http://budiansky. com/MUSIC.html 6 Stephen Budiansky. Talk to the College Band Directors National Association, Eastern Division West Chester, PA, March 13, 2010, p.4-5. http://budiansky.com/MUSIC_files/ CBDNA%20talk.pdf
Statement from NAfME, National Association for Music Education, formerly MENC (full statement from NAfME: http:// www.nafme.org/about/view/sacred-music-inschools ): Does music with a sacred text have a place in the public schools? “It is the position of NAfME, The National Association for Music Education, that the study and performance of religious music within an educational context is a vital and appropriate part of a comprehensive music education. The omission of sacred music from the school curriculum would result in an incomplete educational experience.”
Choral Programming: Choosing Music That Honors Tradition And Diversity By Patricia Kelley Keith Douglassville, PA Patricia@PatriciaKeith.net
Reprinted From Maryland Music Educator
h! ‘Tis the season for agonizing about what to program in your next concert! The octavos are strewn about the piano. Lists. Piles. Rosters. There is so much to consider. Will I have enough male voices? What will please the crowd.? Actually, more specifically, what will please the students and what will please the audience.? Is this the perfect music to educate my students? How will this year’s selection of music teach them music theory concepts, music history concepts, and proper vocal technique.? Yes, we have all spent hours and hours, no, days and days, weeks and weeks pondering these questions in musty choral rooms in August when everyone else is still at the pool. On top of all of that, how do I make each of these important decisions when I don’t even know all of the students yet? Even if I have heard every student on my roster sing before, I have never heard that totally original synergy that occurs when all these voices come together for the first time in this year’s unique combination. I typically have a few pieces ready to go on the first day of school that I know will work. This way I have a few songs we can begin preparing in September. To me, pieces with Latin text and canons offer benefits to every choir. With pieces in Latin, you can make so many historical connections, and the openness of the vowels is perfect for learning technique. Canons are a great way to get everyone singing in harmony early on in the year. I also always choose something that I know they will consider “fun” in those early pieces too. I want them all to start the year knowing that choir is the best and most fun class. Bevond those first few pieces, though, I then wait until the end
of September to officially decide the rest of my program. I need to know what music will reach this year’s students and meet their needs - intellectually, emotionally, and vocally. When programming, there are certain things that I try to include in every program. This practice makes it almost impossible to have a theme and I always felt themes limited me; my theme was variety! However, I have seen others use themes effectively; keeping the theme broad seems to be key. Consider including: 1. Pieces of historical significance that demonstrate different styles of music as well as different style periods, being mindful to demonstrate many various religions, cultures, and languages. Thoughts of Medieval, Renaissance, Baroque, Classical, Romantic, and 20th Century musical periods helped me in my quest. 2. Other important genres, such as con temporary choral gems, popular music, world music, spirituals, gospel, American patriotic and folk songs, jazz, musical theater. (Not every concert had every category in #1 and #2, but throughout the year or over the course of a student’s time in the program, the goal was to capture many or most.) 3. Foreign language text (which lan guages and how many various lan guages are determined by the age/ level of the choir). 4. Piece to feature the males: my person al goal for this one is to select some thing that will have the audience cheering. Men and boys in choirs aren’t cheered often enough!
5. Piece to feature the females. 6. At least one piece of music that is a cappella (the best way to teach into nation and vowel matching). 7. Something to please the students. I unapologetically program something in a popular style that the students love. This is my gift to them. To them it means, “My teacher cares about what’s important to me”. In return, they then care about what I want to share with them. They are then much more willing to give me the emotional space to stretch their musical boundaries later; it’s a gift that keeps on giving! 8. Something to please the audience, for the same reason. I want the audience to be happy too, and I will admit this loud and clear to anyone who asks. I am a musician; what I do in the prac tice room/choir room is meaningful work, but never takes flight until I share it with an audience. The audi ence is the final ingredient after months and months of preparation. Do I want to please them? Umm, you bet your sweet bippy! Over the years, I listened as teachers told me that they had been instructed not to perform any music that is religious in nature. This makes my heart weep. It makes my mind scream. To simply wipe out an entire rich treasury of music that our students deserve; no, that our students need to experience for countless reasons that include but also stretch far beyond religion? This practice is unreasonable and unacceptable. We all have to take the path of least resistance sometimes, but I firmly believe this is not the place to take that path. MAY 2012
Guideline Questions To Consider: 1. What is the purpose of the activity.7 Is the purpose secular in nature, that is, studying music of a particular composer’s style or historical period? 2. What is the primary effect of the activity? Is it the celebration of religion? Does the activity either enhance or inhibit religion? Does it invite confusion of thought or family objections? 3. Does the activity involve excessive entan-glement with a religion or religious group, or between the schools and religious organizations? Financial support can, in certain cases, be considered an entanglement. “If the music educator’s use of sacred music can withstand the test of these questions, it is probably not in violation of the First Amendment.” “Since music with a sacred text or of a religious origin (particularly choral music) constitutes such a substantial portion of music literature and has such an important place in the history of music, it should and does have an important place in music education.”1 What the American Choral Directors Association has to say about this issue? (ACDA’s stance in its entirety, http://acda.org/about_us/policies): “GOAL: To improve music education by assisting educators and the community in identifying ways of studying, creating, and performing music from a wide variety of religious/cultural traditions. “Within limits defined by the United States Supreme Court, government (i.e., public schools) is neither to advance nor inhibit MAY 2012
religion(s). This commitment provides one of the important foundation stones for the establishment and maintenance of an open, just, and peaceful multi-religious society.” What I hear in the above statement is that we should program a wide variety of religious/cultural traditions. We should do this neither to advance nor inhibit religions. In summary, should we use our programming to advance one particular religion? Of course not! By the same token, should we inhibit all religions? Of course not! Also From ACDA “Academic study about religions can contribute to the protection of this freedom by providing information and experiences that help to dispel stereotypes. Such study can also help develop a sense of human community and an appreciation of our common humanity in the midst of our diversities. There are, of course, other important reasons for studying about religion(s). For example, religions have had a continuing influence on human history. Developing an adequate understanding of history thus requires study about religions.”2 (This brings to mind the inspiring and powerful Caldwell/lvory arrangement of the traditional Jewish song “Ani Ma’amin”.* Caldwell and Ivory have included a poignant narrative to be read during the stunning introductory violin obbligato that tells the history of the piece, makes connectums to the Holocaust, and sends the important message that we, the singers, sing this because we want this story to be heard. We want to learn from the past and prevent future atrocities. What could be more important?) “Academic study about religions in the public schools, contrary to widespread opinions, has not been prohibited by the United States Supreme Court. “Any work of art studied or performed should be selected for its inherent beauty of structure and form. Its purpose in study should be learning for the sake of develop ing artistic understanding and responsiveness. Often artworks are related to a specific religious/cultural tradition. The study of such works of art can enhance one’s understanding and appreciation of a cul tural product that a particular tradition has fostered.”2 First and foremost, music you program should stand alone as a musical work of excellence. Anyone who questions your purpose in teaching a piece of music can and should he answered with your long list
of its musical values regarding, for instance: the registration, the historical perspective, the foreign language diction, the beauty of the musical line and more. “To exclude from a public school curriculum all choral music that has a religious meaning associated with the text is to limit severely the possibilities of teaching for artistic understanding and responsiveness. Such exclusion has as its parallel the study of art excluding paintings related to the various religions of the world, the study of literature without mention of the Bible, or the study of architecture without reference to the great temples and cathedrals of the world. “Care should be taken in the performance of music associated with any religious/cultural tradition that it not be construed as a religious service or religious celebration. Whenever possible, a multiplicity of cultural traditions should be included in musical programming.”2 In summary: 1. Program a variety of styles of music. 2. Immerse your students in the historical significance of the pieces. 3. Let your students delve into the deeper meaning of the piece from a composer or lyricist’s eye view. 4. Take an academic, not devotional, approach when programming religious music. 5. Educate, expose... do not impose or pro mote. Fellow music educators, let us be educated on this issue and stand together. Let’s take heed of the tenets outlined by ACDA and NAfME and make sure that we are not unnecessarily, unjustly excluding an entire segment of music from our curricula. When need be, let’s have the difficult conversations in our communities and with supervisors, principals, and Board of Education members. We owe this to ourselves as musicians, and we owe it to our musical colleagues from this era and all preceding ones. Most important, we owe it to our students: to offer them a broad musical, cultural, historical, and stylistic perspective. How To Offer Perspective To Students In Your Choir Room 1. Discuss the composer’s/lyricist’s perspective from a historical, factual standpoint (e.g., composers’ roles as church musicians are historically significant and led to music that was religious).
2. On a personal level, stay neutral and open up a discussion for your students to share their thoughts and feelings on the meaning of a particular piece. Openly and explicitly let them know that they are each entitled to and valued for their own personal beliefs. Insist on a respectful atmosphere in your classrtxmi with zero tolerance for disrespect or intolerance of others’ positions and views. 3. Remind your students that as singers we are also actors; quite often, we sing from the standpoint of the person narrating the song. When we sing, we briefly become that other person in a way and in doing so we are learning about who they were and what their life was like. As singers, we need to find connections to music in order to give our best performance. Open an honest dialogue with your students and help them find ways to really connect to the meaning (or to their own meaning) of the text or the beauty of the music. Final Thoughts You have to do what feels right to you, but for me, this meant programming a wide variety of religious and holiday music in December. Parents always thanked me. They wanted to hear music of the season. To protect yourself and be smart about your programming, educate yourself on ACDA and NAfME’s standards. Anyone who questions you will find that you are already prepared with thoughtful answers to their inquiry. You may be surprised that people are thanking you and not condemning you. When programming for your choir, your students and their educational pursuit of excellence is your #1 concern. As educators, we are to “know the learner”. Meet your students where they are, and then you can take them where they need to be. It helps to also know your community. Give them what is important to them, give them the music that they love and relate to, and then you can stretch them little by little and introduce music that is new to them or that takes them a little out of their comfort zone. This plan applies to all styles of music, including jazz, classical, music with religious text, opera, musical theater, and various popular styles. Remember, real growth in a
choral program takes years, and if you go into this process with this expectation, you will feel less pressure to suddenly program all of your dream repertoire this semester and have it be widely acclaimed and joyfully received overnight. I really believe that if everyone hears a little of him or herself in your repertoire somewhere that they will all feel invested in what you have to offer. Everyone will be on board with you and will be less likely to judge. All of us want to be validated, and we want people to hear us. By giving your students and your audience what is important to them, you are letting them be heard. In turn, they will be more willing to hear what you want to share with them, whether that’s programming more classical music, more foreign language pieces, greater diversity of religious music, or maybe even throwing in a little show choir tune. Music is for everyone. I think we all are in this business because singing brings people together. Your programming has that power. Notes 1 “Sacred Music in Schools.” 2011 National Association for Music Education (NAfME, formerly MENC) 17 June 2011. <http://www.nafme.org/ about/view/sacred-music-in-schools> 2 “Policies and Statements.” 2011 American Choral Directors Association. 17 June 2011. <http://acda.org/about_ us/policies> 3 Caldwell, Paul and Ivory, Sean. “Ani Ma’amin”. Earthsongs. About The Author: Patricia Kelley Keith serves as a choral clinician, guest conductor and adjudicator. She has served on the board of MCEA and has designed and implemented choral education clinics for Maryland colleagues. She was a vocal and general music educator for Carroll County, MD, Public Schools for thirteen years. Formerly, she was a member of the adjunct music faculty at College of Notre Dame of Maryland, teaching Applied Piano. Keith majored in music at College of Notre Dame of Maryland with concentrations in piano and voice. She has completed graduate studies in music education, voice, and conducting at Towson and Duquesne Universities, and at
The Peabody Conservatory of Music. She has performed and served as music director in theatrical productions; sung with the Baltimore Choral Arts Society; served as soprano soloist at Catonsville United Methodist Church and Gregory Memorial Baptist Church; and has sung professionally throughout the Baltimore metropolitan area. She maintains a home music studio in Douglassville, Pennsylvania, where she teaches private and group piano and voice lessons and classes to children and adults. Comments are welcome and may be directed to Patricia@PatriciaKeith.net.
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A Plan Of Action: Aligning Curriculum Standards That Meet The 21st Century School & Beyond By Suzanne M. Kane West Side High School firstname.lastname@example.org
earning is before and beyond the concert. The career world has changed drastically in the field of Arts and Entertainment. How do we prepare our students for this next step? How do we reconstruct courses to provide for the technological, critical and analytical thinking to be music moguls, editors, lawyers, etc?” How do we articulate to the decision makers the need for access to instruction? How do we articulate the need for equipment, materials, etc. to provide that level of quality instruction to compete with the world? How do we articulate support (via curriculum, equipment, etc.) for our students to be able to compete outside of the schoolhouse doors? (Kane, 2011) In many districts across New Jersey, administrative teams are forging ahead to the goals and realignment set by Common Core Standard adoptions (The Common Core Initiative, 2011) and the New Jersey Common Core Curriculum Standards for 2011-2012 and beyond. Being a “Prep, Activity, Relief or Elective” teacher cannot quantify your professional services as an educator that happens to be a teacher of music. How do you advocate for equal and equitable education with dwindling support where the bottom-line that equals to data that must equal 200+ will determine how we continue to focus our goal for access and equity for quality music education. How you articulate this information will determine the support your program receives in a data driven environment. If you have not begun the conversation, it is critical at this vignette to discuss how your program influences student achievement. Historical data is available regarding how quality music education affects your choir, band, orchestra and general music students’ AYP (adequate yearly progress). The dialogue between you and the sched-
uling administrator/principal is what can ensure your students academic and musical success. Articulate the importance of equal access to your program and the affect it will have on overall success of the school’s mission of academic achievement. In grades PK-5, all students should have scaffolded instruction in music education that is sequential in nature (yearly). All students need access to a beginner’s performance group to develop foundational musicianship skills outside of the general mu-
sic education classroom to ensure students are prepared for higher-order performance groups at the intermediate and advanced levels. Scheduling offerings for entry level performing groups (choir, orchestra, and band) at least one day a week as a vertical class offering (re: gifted and talented music course for example). In grades 6-8 (middle school), continued instruction in one of the performing groups (choir, orchestra, and band). This offered along with an alternate music program
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(music technology, piano, etc) allows for the continued development of the young musician. For those in a PK-8 building, articulate your scheduling needs based on the academic needs of your student. What impact will Prep coverage have on the scheduling of your performing groups? How can you come to an equal and equitable solution to student access? At the high school level, it is critical to articulate the necessity of the freshmen and sophomore classes having access to the entry level classes to expose them to schoolto-career initiatives. It is near impossible to prepare students to compete with those who have had continued, scaffolded instruction in the junior year. It is important to explain the necessity to remove Music Foundations or Music Appreciation from the curriculum guide to higher-order course offerings like Music Business, Music Production and the like. Stress the importance of allowing the continued development, support and exposure of career development opportunities for students of music. With thoughtful planning and dialogue, we can ensure our students are prepared as consumers and producers of music for the 21st century and beyond. Bibliography Kane, S. M. (2011, October). TEMPO A Plan of Action: Building Foundation to create effective change in Music Education in Urban Settings , p. 32. The Common Core Initiative. (2011). Retrieved January 15, 2012, from http://www.corestandards.org/ the-standards/english-language-artsstandards The Many Benefits of Music Education— Tips to Share with Parents Here are some ways parents can assist their child’s school music educators:
Study the ways that music education develops creativity, instills disciplined work habits, and statistically correlates with gains in standardized test scores. Speak with your local school board.
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June 18 - July 27, 2012
June 18 - 22
Band Instrument Repair I - Chuck Hagler Percussion for the Non Percussionist - George Hattendorf Printing Music by Computer using Sibelius - Steven Estrella Guitar for the Non-Guitarist - Michael Miles NEW From Mash-ups to Re-harms: Singing and Arranging for Contemporary Vocal Ensembles - Justin Binek Middle School Classroom and Choral Music Grades 5 - 8 - Lois Fiftal 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.
June 25 - 29
NEW Using Technology for Authentic Assessment - Hank Wajda NEW Steel Drum in the School and Community Level II - Marc Svaline Band Instrument Repair I - Chuck Hagler American Folk Instruments in the General Music Curriculum - Michael Miles Introduction to Playing the Drum Set - Marc Dicciani Multicultural Techniques for Teaching Rhythm - Anthony DeQuattro Aspiring to Excel: Leadership Initiative for Music Educators - Ken Raessler
Why VILLANOVA? New Courses New Instructors Same Low Prices
Orff.... July 9 - 27 Level 1 - Beth Ann Hepburn Level 2 - Michelle Przybylowski Recorder - Nick Wild Movement - Janie Vance
July 9 - 13 NEW The Iâ€™ s Have It : iMovie, iTunes and iPhoto - Floyd Richmond Band Instrument Repair II - Chuck Hagler ORFF Level I Training - Bethanne Hepburn, Nick Wild ORFF Level II Training - Michele Prybylowski, Janie Vance Letâ€™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
July 23 - 27
Stanford Thompson and the staff and students of Play On Philly.
July 16 - 20 NEW Smart Music and Accompaniment Software for Practice, Rehearsal, and Performance - Tom Rudolph NEW Instrumental Music Education: Inspiring with Passion - Peter Boonshaft Band Instrument Repair III - Chuck Hagler NEW Jazz Arranging Techniques - Ron Kerber Choral Conducting Techniques - Larry Edwards NEW Free and Easy - Scott Watson (at Parkland H.S., Allentown, PA) String Instrument Repair - Chris Bluemel
July 23 - 27
Garage Band Does It All - Scott Watson NEW The School Jazz Band - Denis DiBlasio NEW El Sistema in Action: The Method and How to Implement It Methods, Materials, and Strategies for the Band Director - Quincy Hilliard The Male Changing Voice: New Directions - Eileen Hower
Some of Our Instructors Peter Boonshaft Denis DiBlasio Ken Raessler Tom Rudolph Larry Edwards Lois Fiftal Donald Nally Mike Miles George Hattendorf Chuck Hagler
Quincy Hilliard Eileen Hower
For Updated Information regarding registration and housing visit music.villanova.edu. choose summer studies. Course prices are $800, $890 for technology, and $1075 for Orff. All courses include 3 graduate credits (Orff 4 credits) and materials. There are no additional charges. An outstanding value! Registration begins in mid-March. Questions? email the Program Director at George.email@example.com. Information is subject to change.
2012 NJMEA ALL-STATE OPERA FESTIVAL
Stevie Rawlings, Paramus HS - Festival Chair Solo/Ensemble Auditions: (no costumes) Fri., Oct. 26, 2012, 4:00 PM Festival Date: Sat., Nov. 17, 2012, 9:00 AM, Concert at 3:00 PM Audition and Festival Site: Paramus High School, East 99 Century Road, Paramus, NJ 07652
New Jersey Music Educator’s Association Proudly Announces:
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 can 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 a chorus performance on the Festival day. The audition also serves as a competition for the designation of recipients for The Governor’s Award, Best Male and Female Soloists, and Best Ensemble. The chorus will sing two selections, the titles of which will be sent out via e-mail to sponsoring directors upon receipt of applications. Judging results (scores) 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.
“The 2012 State Marching Band Ratings Festival”
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 Wednesday, October 17, 2012 to Michael Kallimanis, All-State Opera Festival Audition Chair, Waldwick HS/MS, 155 Wyckoff Avenue, Waldwick, NJ 07463. After Oct. 17, 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.
A unique opportunity for your Marching Band to perform in a Festival (rating only) setting.
More info, e-mail only - MrKOrchAuditions@aol.com. Phone for emergencies on 10/26 or 11/17 only: 201-370-0423.
Quality Evaluation! Local Bands! Enthusiastic Audiences! State Sponsored! Non-Competitive! One time commitment!
STUDENT INFORMATION: (Please print neatly, use ball-point pen only). FIRST NAME ________________________________________ LAST NAME ________________________________________________ ADDRESS___________________________________________ TOWN/(STATE)/ZIP__________________________________________ HOME PHONE ______________________________________ E-MAIL ____________________________________________________ GRADE (Circle one)
CHORUS VOICE PART _________________________________________________
Check all that apply: Solo (audition required) ____________ Ensemble (audition required) ____________ Chorus______________
State Marching Band “Ratings” Festival
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 # ________________________
Saturday, October 20, 2012 , 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) (Limit 15 bands)
SCHOOL________________________________________________________ E-MAIL__________________________________________ ADDRESS___________________________________________ TOWN_________________________________ ZIP__________________ SCHOOL PHONE _______________________ HOME PHONE_________________________ CELL PHONE _____________________ CONTRACT ENDORSEMENTS:
Don’t miss out on this interesting addition to your present Marching Band activities!
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 17, 2012. STUDENT SIGNATURE: ______________________________________________ DATE: ______________________________________
Sign- ups begin MARCH 1, 2012!
As parent/guardian, I give permission for my child to apply to the 2012 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: ____________________________________________ DATE: ______________________________________
All-State Orchestra High School Scales
All-State Intermediate Orchestra Scales
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. Please play only one root position arpeggio. VIOLIN D Major Scale Ab 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
F Major Scale
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
C Melodic Minor
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.
VIOLA-CELLO A Major Scale Eb Major Scale G 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
BASS 9 major scales: G, E, F, Ab, in 2 octaves* A, Bb, C, D, Eb in 1 octave*
E Major Arpeggio Bb Major Arpeggio D 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 B 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 Ab Major Scale G 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
VIOLIN 9 Major scales: D, Eb, E, F in 2 octaves G, Ab, A, Bb, C in 3 octaves
A Major Arpeggio Eb Major Arpeggio C 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 E Melodic minor D 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
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.
*No octave drop.
D Melodic Minor
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. F Major Scale
Bb Major Arpeggio C Major Arpeggio E 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 G 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
F# Melodic Minor
*No octave drop.
2012-2013 All-State High School Orchestra Solo List
2012-2013 All-State High School Band Solo List
Sonata in D Major, Op. 115
Concerto in D Major
Concerto in F Major
Schirmer distributed by Hal Leonard
Boosey and Hawkes, ed. by Baines
2012-2013 All-State Intermediate Orchestra Solo List INSTRUMENT TITLE
Concerto in gm Opus 12, No. 1 RV317
Sonata in e minor
1st and 2nd mvts
Concerto in G RV438
Concerto (movements 1-2)
*Eb SOPRANO CLARINET
Warner Bros WS0021
*Eb ALTO CLARINET
Sonata g minor
Bb BASS CLARINET
Sonata g minor
Sonata g minor
Eb ALTO SAXOPHONE
Concerto (begin to 19 & 37 to end)
Kalmus A5405, solo part only
Bb TENOR SAXOPHONE
Sonata in c minor
Eb BARITONE SAXOPHONE Sonatina (movements 1-2)
HORN IN F
Andante (Tuba Version)
MP Belaieff-Bel 223
Sonata for Timpani (omit M.39, end solo on downbeat of M.117)
House Panther Press
BATTERY PERCUSSION (snare drum & traps):
PUBLISHER International 2777 Schirmer 50331090 Breitkopf 5349 Schirmer HL50333080 Rubank 4476866
Robert King 9921324 Schirmer 50261880
CF W2477 Robert King AL28577
Portraits in Rhythm (etude No.32)
Etude No.6, page 31 (Substitue the tambourine for snare drum) Mallet etude No.3, page 20
G.Henle Verlag HN1
Sonata in C Major
Piano Sonata in F Major K.280 (189e)
* Instruments Will Be Used As Needed. All Scales Are To Be Played From Memory TEMPO 54
T h e Re g d io un
Central Jersey Music Educators Association cjmea.org
President-Andrew Veiss President@cjmea.org t has been a great year for the CJMEA. Congratulations to all of our students and conductors for outstanding performances at all of our concerts. Additionally, I would like to thank our executive board for their phenomenal work at all of the concerts and events. These folks work extremely hard to ensure that all of our activities are organized and well-run. We are always thinking ahead and we are looking for conductors, managers, site locations, hosts, and sectional help for next year’s programs. If you would like to help out, please don’t hesitate to contact one of our division chairs. Please get involved! These programs cannot run without your help!
High School Band-Brian Toth firstname.lastname@example.org In this edition of TEMPO magazine you will find the solo list for 2012-2013. 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 Orchestra Kawika Kahalehoe email@example.com 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. As of this publication there is nothing new to report, however, some people have expressed concerns about the region audition process for strings. Please feel free to reach out to me to express your concerns so that the CJMEA board and I can improve the audition process for next year. My email address is firstname.lastname@example.org Intermediate Band Celeste Zazzali and Meg Spatz K8band@cjmea.org There’s never a dull moment in Intermediate Band world! After the conclusion of the Intermediate Region Band, the fun continued in preparation for the Elementary Honors Band. The event was held on April 21st at Rahway Middle School and was hosted by Meagen Spatz and Amara Van Wyk. Thirty-five band directors from the region recommended students to participate in the three bands: Red Band conducted by Thomas Kamp; White Band conducted by Yale Snyder; and Blue Band conducted by David Rattner. A special thanks to Susanne Hughes and Lyn Lewis for acting as librarians for the event. The day ran very smoothly thanks to the help of all the directors involved. We were able to provide 250 students with a rich and meaningful experience in the Elementary Honors Band. Michael Bartlett coordinated the Elementary/Middle School Concert Band & Orchestra Festivals this year. The first two festivals were very successful on April the 18th and 19th at Monroe Township Middle School. Each ensemble had a chance to
perform in a beautiful facility, receive feedback from the adjudicators, and hear other groups from around the region. We are looking forward to the last festival on May 17th at Freehold Township High School. Even as it seems like things are winding down for this year, now is the time to get the ball rolling for next year’s events. If you are interested in getting involved – whether it’s by sponsoring students for an honors band, participating in a festival, conducting, managing or hosting – please reach out to us at email@example.com or k8band2@cjmea. org. We look forward to working with you again in the future! Intermediate Orchestra-Penny Martin firstname.lastname@example.org We had another great concert season for the Intermediate Orchestra groups this year. Thank you to Patty Gonsky for conducting the Symphonic Orchestra and Joann Manhardt for conducting the String Orchestra. Special thanks to Grace Lee and Flora Yousefi for managing the two ensembles, respectively. We couldn’t have done it without you! If you are interested in being part of the CJMEA orchestra groups, please feel free to contact me at email@example.com. Percussion- Yale Snyder firstname.lastname@example.org It has been an exciting few months in Region II percussion. Several Region II percussion ensembles were represented at the Randolph Percussion Ensemble Festival on March 1st, which included live comments from Jonathan Haas, Professor of Percussion at NYU. In addition, our Region II Intermediate Percussion Ensemble, now in its 5th year, was another huge success, having their concert on March 11th. I want to extend my thanks and gratitude to Kenneth Piascik of the New Jersey Youth Symphony for leading the ensemble and for being a fantastic guest conductor. This has been our finest year yet and we are looking at an even better year to follow. I am still looking for managers for both the High School and Intermediate Percussion Ensembles for next year. If you are interested in managing one of these groups please email me at email@example.com. MAY 2012
North Jersey School Music Association njsma.com
Michael A. Kallimanis, President ow that most of our student programs have taken place, teachers, this one is for you! We are holding our annual General Membership meeting this year on Wednesday, May 9, 2012 at Parsippany Hills HS. This is a change from the original date of April 30. We are also changing the format somewhat, coupling the complimentary buffet dinner meeting and board elections with the second annual Faculty Showcase concert. As a presidential project by our previous president, Pete Pettinelli put together a band and chorus made up of Region I teachers for the purpose of creating an informational video for school administrators through the display of our talents in a performance. We were playing for the cameras then – this year we are planning to invite music parent groups, students, principals, superintendents and school board members – and make a production video as well! Hope to see you May 9, 6:00 PM dinner meeting, 7:30 PM concert at Parsippany Hills HS, 20 Rita Drive, Parsippany. As the school year and Region calendar winds down, I would like to take a moment to thank the members of the Region I Board for their time and expertise in handling the many different programs of the NJSMA. Further, a big “Thank You” goes out to the many teachers who give of their time in assisting with Region activities for the benefit of students from all schools. Have a great summer! --MK
Band Division Matthew Spatz, Division Chair Greg Mulford and Tim Rausenberger, 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 from 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. MAY 2012
Our second annual High School Chamber Ensemble concert was a huge success with 40 of the top woodwind, brass and percussion students performing a superb concert of chamber repertoire at William Paterson University. We would like to thank everyone at William Paterson for their wonderful hospitality, especially Carol Frierson-Campbell, Music Department Chair and J. Craig Davis, Director of Bands. Our first Elementary Honors Band Festival will take place Saturday, May 5, 2012 at Columbia High School, Maplewood. Over 250 5th and 6th Grade students will perform in three ensembles. Fifty sponsoring directors will help run the one-day festival concluding with the concert at 2 PM. These successful region events do not happen by themselves. It takes many individuals and school districts working in cooperation to make region events work. We would like to thank all those involved in planning and executing these events. Anyone interested in conducting any region ensemble should visit our 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, Greg or Tim. We look forward to working with you again next year! Choral Division Shawn Michael Condon and Viraj Lal, Choral Division Co-Chairs Greetings from the Choral Division and Congratulations to all the students who participated in Honor Choirs this year! Both concerts were wonderful and there are a lot of acknowledgements that need to be made. We also extend our hearty thanks, for their hard work and expertise to our conductors: HS Women’s Choir - Lisa Graham, Wellesley College; HS Mixed Choir - Steven Bell, Teaneck HS; Junior HS Treble Choir - Sandra Babb, Queens College; and Junior HS Mixed Choir - Jamie Bunce, Columbia HS. First, we’d like to thank all the teachers who sponsored students to audition and their parents for supporting music education in your school. Second, we’d like to thank the host schools and teachers: Charles Linnell, Kinnelon HS; Barbara Klemp, Chatham HS; Lyle Leeson, Secaucus HS; George Glock, Memorial MS, Fair Lawn; Donna Girvan, Tenafly MS; and Pete Pet-
tinelli, Brooklawn MS who co-hosted with Linda Clark at Parsippany Hills HS. And last, but certainly not least, the dedicated managers and accompanists who provide so much support to our organization. Please check our website for information regarding the upcoming Junior High School & Elementary Choral Festivals. Orchestra Division Wendy Campbell and Nate Lienhard, Division Co-Chairs Helen Cha-Pyo, from the Empire State Youth Symphony, was the guest conductor of the All-North Jersey Junior HS Orchestra. The ensemble performed an exhilarating program featuring Overture to the Marriage of Figaro - Mozart; Carmen Suite – Bizet; Suite for String Orchestra – Corelli; and Finale from the New World Symphony – Dvorak. Kim Chiesa, string instructor at Ferndale Elementary School, Randolph Township and manager of the Orchestra, opened the performance with the Star Spangled Banner. Thank you to our rehearsal site hosts, Todd Urban, Eisenhower MS, Wyckoff, and Alex Soares, West Essex MS, which was also the concert site. Thank you to all the sectional coaches who dedicated their time to make this event a success: Strings - Valeria Toth, Samantha Tomblin, Jack Rosenberg, Lanny Paykin, Jason DePope; Brass - Amy Emelianoff and Scott Chamberlain; Woodwinds - Harry Searing; Percussion - Pete Abazia. New this year is the Junior HS Region Orchestra Festival, set to take place May 9th at Randolph MS, Sherry Griggs, host. The annual HS Region Orchestra Festival will run on May 26 at Millburn HS, Karen Conrad, host. Registered schools include: Nutley HS, Andrew Macirowski, director; Millburn HS, Karen Conrad; Ramapo Ridge Middle School, Mahwah, Wendy Campbell; Maplewood MS, Jennifer Dodge; West Orange HS, Elena Peres; Livingston HS, Nancy Ciminnisi; South Orange and Maplewood Middle Schools, Bill Cook. If you would like to find out more about hosting a site, conducting a group, or becoming more involved in the Region experience, please e-mail Wendy or Nate. continued on next page
South Jersey Band And Orchestra Directors Association sjboda.org
ongratulations to all who were involved with the 35th Annual All South Jersey Junior High School Band Concert. The performances were outstanding. The conductors this year were Joe Akinskas (Cherry Hill School District ret.) and L. Bruce Smith (Home School Director). Both of these gentlemen conducted the inaugural All South Jersey Junior High Band Concert 35 years ago. Sue Mark (Rosa International MS) and Wendy Stocker (Paulsboro HS) provided excellent assistance as managers for these ensembles. This concert would not be possible without the commitment and dedication of our colleagues. Glenn Motson (Gloucester City High School), 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 Rick Dammers (Rowan University) who offered their facilities for the rehearsals and the performance. We would also like to acknowledge Karyn Park (Williamstown Middle School) for her role as percussion equipment manager for all of our performing ensembles. Our 19th 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), and Ben Fong (Reeds Road ES) assisted in creating a positive experience for all of the participants. David Fox (Bowe Elementary School), Christine Moritz (Cherry Hill Public Schools) and William Trimble (Wenonah Elementary School) are finalizing arrangements for the 20th Annual Elementary Honors Band Festival which will be hosted by Cheryl Breitzman at Absegami High School on Saturday, May 5th. Our conductors this year will be Judy Tabit (Lanoke Harbor Elementary School), Ed Cook (Cinnaminson Middle School) and Ken Schultz (Rossi In-
termediate School). The managers for the festival are Rebecca Allen (Petway Elementary School), Brian Bacon (Cinnaminson Middle School), and Rich Beckman (Sharpe Elementary School). Our Spring Meeting will be held on Wednesday, May 30th 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
South Jersey Choral Directors Association sjcda.net
busy, but exciting and rewarding year. Many thanks to Beth Wymer for the outstanding presentation “The Music Therapy Experience” at the annual Spring Breakfast Meeting on April 27th. Her presentation will certainly have a deep impact on all who attended. Conductors for the 2013 Senior High Chorus and Junior High Chorus have been selected. Kahlil Gunther (Woodstown High School) will conduct the 2013 Senior High Chorus, and Pamela Barnes (Egg Harbor Twp High School) will conduct the Junior High Chorus. Watch our website, www.sjcda.net, for details on who our Elementary Festival Chorus Conductor will be! Have a restful summer! Art McKenzie, President South Jersey Choral Directors Association Overbrook High School
he South Jersey Choral Directors Association (SJCDA) is winding down an extremely
Graduate Summer Sessions for Music Educators
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 firstname.lastname@example.org
(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.)
Evelyn Deats Starke Hartmann Evelyn “Eve” Deats Starke Hartmann died peacefully at 3:30 p.m. on Saturday, Jan. 21, 2012. Eve was born Jan. 3, 1910, in her house in Middletown, N.J., and died in that same house. Eve lived all 102 years, 15 days in the same house. Eve’s mother, Sarah Morford Taylor Starke, lived to 97 and Sarah’s two sisters, Eva and Elizabeth, lived to 98 and 99 respectively. . Eve took her New York University degree and began teaching
music in the Hawthorne, N.J., schools starting in the 1st, 2nd and 3rd grades in 1935. She conducted the orchestra, later went to the high school, and finally became head of the music department. She took choirs to New York City and Washington, D.C. Eve retired in 1971. Eve’s mother, Sarah, started playing the Old First Church pipe organ in 1888 and Eve started playing after Sarah retired in 1938. Eve played until she broke her hip in 2008. Eve and Sarah played continuously for 120 years. They also directed the choir. Old First Church was formerly called the Middletown Baptist Church,
which is the second oldest Baptist Church in the U.S. Eve talked Radio City Music Hall into donating their old pipe organ to her church in the 1940s and later led in obtaining the current pipe organ. Eve and her husband, George, enjoyed boating and fishing and took their Sea Bright-anchored boat out often. In retirement, Eve enjoyed traveling, reading crosswords, Ocean Grove, N.J., organ recitals, and traveling the coastal highway from Atlantic Highlands to Asbury Park, N.J.
June 18 - July 27, 2012
in association with
El Sistema in Action
Join NAfME Today!
July 23 - 27, 2012
Participate in an immersive learning environment 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 explored and explained. This course might just be the answer for your String Program. Our low tuition of $800 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 30 others please visit music.villanova.edu or contact the Director of Summer Music Studies George Pinchock,at email@example.com
Education for Life www.nafme.org
NJMEA 2011-2012 Board of Directors Executive Board
NJMEA RESOURCE PERSONNEL
President, Keith Hodgson Mainland Regional HS firstname.lastname@example.org 609-317-0906
Administration Ronald Dolce Retired email@example.com 732-574-0846
Corporate Development Robert Schiavinato firstname.lastname@example.org
Past-President, William McDevitt
Advocacy Nick Santoro Retired email@example.com 732-246-7223
Higher Education Larry DePasquale Rowan University firstname.lastname@example.org 856-256-4896
Band Festivals/Classroom Music Nancy Clasen Thomas Jefferson Middle School email@example.com 973-766-5343
Music Industry Ron Beaudoin Music & Arts Center firstname.lastname@example.org 215-620-1484
Band Performance Albert Bazzel Winslow Twp. Middle School email@example.com 856-358-2054
Opera Festival Stevie Rawlings Paramus High School firstname.lastname@example.org 201-261-7800 x3069
Choral Festivals Viraj Lal Newark Academy email@example.com 973-992-7000 x238
Orchestra Festivals/Performance Susan Meuse Hammarskjold Middle School firstname.lastname@example.org 732-613-6890
Chorus Performance Kathy Spadafino East Brunswick High School email@example.com 732-613-6969
Retired Music Educators Christine Sezer Retired firstname.lastname@example.org 570-756-2961
Chorus/Orchestra/Jazz Joseph Cantaffa Howell High School email@example.com 732-919-2131
Urban Music Initiative Suzanne M. Kane West Side High School firstname.lastname@example.org,nj.us
Vineland High School email@example.com 856-794-6800 x2539 President-Elect, Joseph Jacobs Ventnor Middle School firstname.lastname@example.org 609-487-7900 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
Region Executive Members
NJSMA President, Michael Kallimanis Waldwick Middle School email@example.com 201-370-0423 CJMEA President, Andrew Veiss So. Plainfield Middle School firstname.lastname@example.org 908-754-4620 x378 SJCDA President, Art McKenzie Overbrook High School email@example.com 856-767-8000 x3044 SJBODA President, John Stanz Eastern Regional High School firstname.lastname@example.org 856-784-4441
Collegiate Chapters Shannon Chase Rutgers University email@example.com 732-932-1517
REPRESENTATIVES/LIAISONS TO AFFILIATED, ASSOCIATED AND RELATED ORGANIZATIONS American Choral Directors Association.................................... Viraj Lal...................................................................firstname.lastname@example.org Governorâ€™s Awards for Arts Education................................................................................................................................................... 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
Conferences Marie Malara Sayreville Middle School email@example.com 732-525-5290
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 Roland......................................................... 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
Executive Secretary-Treasurer............................................... Deborah Sfraga........................................................... firstname.lastname@example.org Editor - TEMPO Magazine.............................................. Thomas A. Mosher........................................................email@example.com Web Master (njmea.org)................................................... Thomas A. Mosher........................................................firstname.lastname@example.org MAY 2012
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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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NAfME MEMBERSHIP APPLICATION ❐ Yes, I want to join NAfME and New Jersey MEA. I understand that membership extends for one year from the date dues are received. Credit card holders may join by calling NAfME Member Services 1-800-828-0229, Monday-Friday, 8:00 a.m. - 4:30 p.m., Eastern Time. Please contact NAfME Member Services for spousal or retired dues. Rates expire 5-31-2012. ❐ New or ❐ Renewal Name: _____________________________________________ NAfME ID# ________________________________________ Home Address________________________________________ Membership City/State/Zip________________________________________ ❐ Active membership dues (national and state) $ 112 * Phone/E-mail ________________________________________ Options School Name ________________________________________ ❐ Society for Research in Music Education $37 $_____ School Address _______________________________________ (includes subscription to Journal of Research in Music Education) NAfME membership is a prerequisite. City/State/Zip________________________________________ ❐ Tax deductible contribution to the Fund for the Advancement Phone/E-mail ________________________________________ of Music Education to support (select one): $_____ ❐ Music in Our Schools Month Preferred? Address: ❐ Home ❐ Work ❐ Advocacy E-mail: ❐ Home ❐ Work ❐ Teacher Recruitment and Retention ❐ Student Programs Professional Areas ❐ Wherever it’s most needed! Teaching Level Teaching Area TOTAL AMOUNT DUE $_____ ❐ Preschool ❐ Choral/Voice ❐ Teacher Education Payment: ❐ Check enclosed, payable to NAfME ❐ Elementary ❐ Band ❐ Jazz Charge: ❐ VISA ❐ MasterCard ❐ AmEx ❐ Discover ❐ Junior/Middle School ❐ Orchestra ❐ Technology/ Name of Cardholder:__________________________________ ❐ Senior High School ❐ Show Choir Theory/ Card No.___________________________________________ ❐ College/University ❐ Guitar Composition/ Exp. Date __________________________________________ ❐ Administrator/ ❐ General Music History Signature___________________________________________ Supervisor ❐ Special Learners ❐ Marching Band *Includes $10 each for Music Educators Journal and Teaching Music.
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