All-State Chorus, Orchestra & Jazz Concerts Thursday, November 8th
EDUCATIONAL PERFORMANCE TOURS • Public Performance Options • Custom Clinics • Performance, Clinic and Meet the Artist Opportunities
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Volume 67, No. 1
The 2011 Arts Education Census Project, by Nick Santoro
Planning The New School Year: Starting With The End In Sight, by Ronald E. Kearns
Who Is Accessible - Available - Responsible, by Maureen Butler
NJMEA Educational Grants Awards: Technology Changes, by Linda Wardell
First Day Of Guitar Class, by Thomas Amoriello
Separating Physical Actions From Cognition Via Technology-Based Instruments, by V.J. Manzo
Beyond Performance: Making The Performing Experience More Meaningful To Students, by Dan Halpern
Voices In The Middle: Encouraging Singing Among Middle School Students, by Faith M. Lueth
The Role Parents Play In Music Education, by Milton Allen
Your Role In Music Teacher Evaluation, by Douglas Orzolek
A Characteristic Band Sound?, by William L. Berz
61 NJEA/NJMEA Convention Information, by Nancy Clasen
Cover Photos Courtesy of Images by GDVH (http://www.imagesbygdvh.com) 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
OCTOBER 2012 DEPARTMENTS AND NJMEA BUSINESS
Advertisers Index & Web Addresses.......87 Board of Directors.................................84 Division Chair News.......................... 6-16 Editorial Policy & Advertising Rates......86 From The Editor......................................4 In Memoriam.................................. 80-83 Past-Presidents.......................................62 President’s Message.............................. 2-3 Resource Personnel................................85 Round the Regions.......................... 76-79
FORMS AND APPLICATIONS See NJMEA.ORG
“Files and Documents” for downloadable copies of all forms
NJMEA/ACDA Honors Choirs........66-69 Master Music Teacher Award.................70 Distinguished Service Award.................. 71 Outstanding School Board Award..........72 Outstanding School Board Award..........73 School Administrator Award.................. 74 NAfME Membership............................. 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 67, No. 1, OCTOBER 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
NJMEA CONFERENCE February 21 - 23, 2013 East Brunswick, NJ 2013 NAfME EASTERN DIVISION CONFERENCE April 4-7, 2013 Hartford, CT
President’s Message KEITH HODGSON 609-317-0906 firstname.lastname@example.org Website: http://www.njmea.org
elcome back to a new school year! I hope everyone had a wonderful and relaxing summer and has returned to your schools with recharged batteries and with a new and improved musical energy to give to your students and programs. The state of music programs and quality music instruction in our schools mostly depends on the musical health and positive motivation of its teachers. In my career, I have found it absolutely necessary to recharge and reenergize not only each summer but also in December and April. It is no coincidence that our school districts schedule vacation breaks at ‘just the right time’ when as teachers and administrators, we need the time to plan, refocus our lives and spend time with family. For me personally, my summers consist of three segments that I need to feel rested, balanced and motivated. First, I need to have time with my family. At least a week of vacation that does not consist of any work related activities. Secondly, personal time for reflection and down time. For those who know me well, you may know that down time usually means projects and planning that most would consider work. But that kind of work can still be relaxing and therapeutic. Lastly, musical inspiration and rejuvenation! For the last 14 years, I have been most inspired by the group of student musicians that I travel and perform with ‘across the pond,’ as well as the different and very unique way that European audiences respond to American band & choir performances. It is refreshing and memorable and continues to motivate me year after year. Hopefully, you have found the ability to find balance in your life this summer and are ready to bring new life to your music classroom.
- Going to live professional orchestra and band concerts. - Attending Region and All-State Concerts! - Collaborating with colleagues on school and community arts events. - Summer workshops, classes or camps. - Pursuing a Masters or Doctoral Degree or additional certifications. I consider almost everything I do as professional development. For me, working with adult musicians is necessary to balance the amount of time that I spend with student musicians. Attending musical events at the very highest level of any idiom is absolutely necessary for quality music instructions. Learning new programs and apps, new literature and teaching methods, is crucial to the health of music education for your students. ‘Professional Development’ should not just be words for what our state, school districts and supervisors require us to do each year. PD should be a personal love affair with all that we enjoy about our craft that continually shapes us into better teachers and musicians for our students. The ‘100 hour’ NJ requirement (in 5 years) as far as I’m concerned should be a joke for music educators. I bet many of you log 200-500 hours EACH year. I would hope that a music teacher teaching FIVE years would have not only THOUSANDS of hours, but more importantly, numerous quality professional experiences that inspire them to be a ‘Highly Qualified Music Teacher.’ NJMEA - A Personal Year in Review I am currently in my second year as President of the New Jersey Music Educators Association. It has certainly been a privilege, a challenge, and as with all new positions… a big learning curve; not just at the State level, but the Eastern Division and also the National (NAfME) level. With one year under my belt, I am looking forward to this next year for even bigger and better things! I would like to thank Bill McDevitt and Joe Jacobs, (the Past and President Elect) and the four Region Presidents that are currently serving you and your Region organizations: Michael Kallamanis, Andrew Veiss, John Stanz and Art McKenzie. As an Executive Board, we meet monthly to report, manage and discuss all the decisions, finances, and future plans that affect NJMEA, its membership and all of the
What Motivates You? Where Do You Find Musical Motivation? Continuing with the inspiration theme... for music and for teaching, I have found new sparks of energy for the love of what I do throughout the year in many ways. Here are just a few... - Weekly adult community band rehearsals and annual highlight concerts. - Attending state, regional &/or national music conferences. - Learning new software & music Apps for classroom use. - Attending summer drum corps shows. - Seeing a Broadway show or taking in a jazz club in the city. TEMPO
November 8th - All-State Concert, Atlantic City 2012
All-State students. I have throughly enjoyed the collegial partnership of the team that we have and have been very pleased with all of our meetings, outcomes, events, conferences and successes this year as a State Board and the NJMEA. Lastly, a very special thank you goes to Deb Sfraga for her tireless dedication to NJMEA, the Board of Directors, and most importantly to all the NJMEA Presidents… Past & Present! Between her hard work as Executive Secretary and Treasurer, and her history and knowledge of the organization and Board, I value her input and advice. She has been the most important person to me as a state leader. Thank you very much Debbie! The State Board of Directors is the group of skilled individuals who REALLY carries out and oversees the work of the NJMEA and serves you and your students. To really get perspective of the big picture, I encourage you to look over the list of NJMEA Board Members and Resource Personnel in the back of the TEMPO magazine. From band, choral, orchestra, opera festivals at elementary, middle school and high school levels to the collegiate and retired organizations; from the All-State Band, Choral, Orchestra & Jazz ensembles to the professional development conferences and workshops in November, February and August… teams of volunteers are continually working with the State Board members to provide you with one of the best Music Education Associations in the entire country. If you were not aware, New Jersey is among the top five largest MEA memberships in the country. We also run one of the top State Conferences and have some of the very best All-State Ensembles in the country. We hear these accolades from our guest conductors year after year, as well as visiting regional and national leaders, clinicians and vendors. Let’s keep up the great work in NJ!
I would like to clarify a very important event date change and give you an explanation. As most of you probably know, our All-State Orchestra and Mixed Chorus have traditionally performed as the final event concert to the NJEA Teachers Convention in Atlantic City for more than 80 years. This concert is sponsored by the NJEA, they pay us very well to perform and they host our southern concert location in a free concert for all attendees. In April, I was contacted by NJEA with the word that our Friday night concert was being “bumped” because Carrie Underwood has a concert scheduled for Friday night. We met with NJEA and Atlantic City representatives to look at many options for venues and reviewed all the logistical possibilities to the conflict. In June, the NJMEA State Executive Board decided that the BEST option would be to move our All-State Orchestra and Mixed Chorus Concert to Thursday, November 8th at 8:00pm, and move the entire schedule one day earlier. This will allow us to enjoy the use of the historic ballroom overlooking the boardwalk and the wonderful acoustics we have enjoyed for the history of the NJ AllState. The hotel rooming arrangements with Trump Plaza were no problem to switch. All students were notified in June of the change and issued an addendum contract/ signature page to be completed and returned by the September rehearsal. The Jazz Concert will still take place as well on Thursday at 4:30pm in the Caberet Theater. There will also be an NJMEA sponsored reception from 5:30-7:30 that all NJMEA members are invited to attend. I look forward to seeing many of you there. Please understand that NJMEA does not have a contract with Boardwalk Hall, but with NJEA. NJEA’s contract with Boardwalk Hall is to use the Adrian Phillips Ballroom, unless another event that will bring in revenue is scheduled. Realize, our concert does not provide any revenue for Boardwalk Hall. At that time of year, it is usually not a problem. A schedule conflict has only happened once or twice in the last 30 years. There were also a few years that the Boardwalk Hall was being renovated and was closed. I thank everyone, especially the All-State Chorus, Orchestra and Jazz committees for being so understanding about the situation and working so smoothly with us to make all the necessary changes and accommodations.
Looking Forward… 2013 State Conference - February
I hope that you will plan to join us in February at the East Brunswick Hilton for what is guaranteed to be another outstanding conference. We will again be running the very successful Thursday Academies that we instituted last year: Wind Band; Jazz & Marching which will be combined into a second band strain; Technology; Elementary; and we will be including a new Choral Academy in 2013! The State Collegiate Academy will run all day on Saturday as we did last year under the direction of the new State Collegiate Advisor, Rick Dammers from Rowan University. Many surprises, sessions, concerts and special guest attendees are in the works to make this entire conference the best ever! I hope to see everyone there!
Well, that’s it from me for now. I wish each and every one of you a fantastic year of wonderful music making with your students! If I can be of service in any way, please do not hesitate to contact me. email@example.com Please download the NJMEA App free from the iTunes store for your iPhone & iPad. Many new App features are in the works for this year as we plan our conferences and workshops. Please keep tuned to the NJMEA Calendar at www.NJMEA.org year-round for all of the State and Region concerts, festivals, meetings and events.
2013 Eastern Division Conference - Hartford, CT
The 2013 Eastern Division Conference, which runs every other year, will be hosted in Hartford by the Connecticut Music Educators Association from April 4-7, 2013. This is the week after Easter, so for many of you, it will probably fall over your Spring vacation. It is an excellent opportunity for those who have issues getting approval by districts to attend conferences, especially out of state conventions. The planning and preparations for these regional conferences spans five years... and includes participation by all the Eastern Division States and of course the All-Eastern ensemble performances. I encourage all of you to think about attending this outstanding conference! Hartford is a very easy train ride and it is the form of transportation I would recommend. OCTOBER 2012
Thomas A. Mosher 732-367-7195 firstname.lastname@example.org Website: http://www.njmea.org
NJMEA Conference 2013
t is not too early to start thinking about applying to attend the NJMEA Conference from February 21-23, 2013. It takes time for approvals to be granted by Boards of Education and for purchase orders to go through. The application form should be online as you read this, as well as the credit card online application. The NJMEA Board of Directors is trying to get outstanding talent for the Friday evening concert. The first day of the conference is on Thursday and features the “academies” which focus on specific areas of music education. This year they will contain Elementary Music and Technology as in the past, but will add Choral, Wind Band, and a combined Jazz/Marching Band section. The exhibit area was greatly improved last year and will be handled the same way this year. Marie Malara
is working with the hotel to secure better parking and hopes to solve some of the problems from last year. The 2012 conference had a higher attendance than in previous years and a few minor glitches did occur which will be fixed for the coming year. The additional food items which the hotel offered last year will be available again this year and really made things go smoothly. This is problaby one of the top four music conferences held in the United States and has had people attend from all over the county. The clinicians are “top notch” and are ready to answer many of your questions as any time. Make plans now to attend!
PRES I D EN T ELE C T A N N O UN C E ME N T The NJMEA President-Elect nomination committee is seeking interested candidates. This 6 year term begins in July 2013. All NJMEA members are encouraged to apply. Please forward a letter of interest and a resume to Debbie Sfraga (email@example.com) by October 15, 2012.
UNDERGRADUATE AND GRADUATE DEGREES INCLUDE:
BE INSPIRED: Study with faculty from the New York Philharmonic,
B.M., B.A., M.M., M.A., A.D., PH.D., D.M.A.
AREAS OF STUDY:
CLASSICAL PERFORMANCE, COLLABORATIVE PIANO, COMPOSITION, CONDUCTING, JAZZ STUDIES, MUSICOLOGY, MUSIC EDUCATION
Philadelphia Orchestra, Metropolitan Opera and New Jersey Symphony.
BE CHALLENGED: Music conservatory training within New Jersey’s flagship public research university.
BE ENGAGED: Over 15 performance ensembles with opportunities to perform in New York City and abroad.
Plus: Summer Camps | Extension Division | Non-Degree Courses | Online Courses WWW.MASONGROSS.RUTGERS.EDU
& News From Our Division Chairs & Past-President William McDevitt 856-794-6800 x2539 firstname.lastname@example.org
As every Labor Day approaches, I get excited at the thought of the new school year. After 12 years of public education, four years of college, and 26 years of teaching, I still have trouble getting to sleep the night before the start of my 27th year. The difference from now and then is that I didn’t buy new clothes and school supplies for the start this year. I remember the excitement of entering the classroom and seeing who my classmates would be and who my teacher would be. Now I do the same thing by looking at my class lists before the first day. I look for familiar names and ask other teachers if they have had the students that I don’t know. One thing that I learned early on is to disregard the ramblings of the teachers that offer the negative comments about these students. I have always tried to act as if I am meeting the students for the first time – no baggage attached. Many times, by using this approach, I find that these students aren’t really as bad as they were previously described. I used to look forward to entering the classroom and going through the new supplies that I ordered. That doesn’t happen much anymore. The budget for my entire department is now less than I spent my first year in my current position. We are definitely doing more with less. My department is the only one in the school that has more student course requests than teachers to fill the requests. Yes - the Arts are alive today in public education. Everyone knows that and understands our value. Why, then, are we not seen as being as important as other subjects? I have always thought that my program would speak for itself. I thought that if I produced quality ensembles and built a department that was in demand, then I wouldn’t have to be constantly advocating for my students and teachers. I was wrong. The job of advocacy will NEVER be a “mission accomplished” for music educators. We have lots of tools that can help us in our fight, but we are going to have to do the job ourselves. The band will go before the football team. The string program and the choir will go before honors courses. Athletics and honors programs don’t ever seem to need advocates, because the question never seems to be asked. We, however, are constantly being called upon to justify our programs. And even knowing this, we report to school on the first day with the same excitement and anticipation that we had on the first day when we were children. I think that if I had to come up with five things that I would like to see in my lifetime, one of them would be that music would be put on the same level as English, Math, Science, and Social Studies. I would like to see the public affirm what it already knows about the value of an education in music and let music teachers do their job without having to justify their existence on a daily basis. I don’t think that my other four wishes would be as difficult to achieve!
President Elect Joe Jacobs 609-487-7900 email@example.com
Enjoy the Ride October is usually the month when many music educators start preparing for their Winter and Holiday performances. Some directors may have already finalized their programs and are busy rehearsing their ensembles. Our marching bands have already performed. It is a time of year when we are easily inspired and excited about the lessons that we will present to our classes. Our passion is very strong and our commitment to our programs is second to none. Our calendars are filled with various musical events including continued on page 8 concerts, auditions and conventions. We are pumped! TEMPO
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& News From Our Division Chairs & The challenge may be keeping this energy flowing throughout the school year. This year I encourage you to try something new. It does not have to be an original idea or the latest fad but something different which will help keep you and your instruction fresh. How about including a new unit in your general music class or having a musical ensemble perform in a different venue? Integrating a technology component into your curriculum will certainly stimulate you and your students. Another option is sharing your skills and getting involved in one of our region or state activities. Every region is looking for volunteers. It is a wonderful opportunity to network and meet some very dedicated music teachers. Professional development is key for maintaining our teaching skills and artistry. Consider attending some of the NJMEA workshops which are being offered at the NJEA convention in November. Hearing the All State ensembles perform at Atlantic City or at the NJPAC will certainly add some inspiration and motivation. Two of the recurring themes discussed at the 2012 NAfME National Leadership Assembly were assessment and advocacy. These topics will continue to be hot items which each individual teacher will need to address. Political and educational leaders are stressing that student assessment and teacher evaluation be linked. There is much concern and debate on this subject. Our NAfME leaders are studying these proposals and sharing their insight in supporting music educators and music education. Advocacy for music education will never go away. We will always have to promote the value of the arts in our schools. This is something we have done successfully for decades. Music teachers must continue to stress the value of a comprehensive and sequential music education for all of our children. It is imperative that we continue spreading the word about the great things that take place in our classrooms and how it impacts the lives of our students. Every school year is different and that is what makes teaching enjoyable. There will always be obstacles to overcome. Some are expected and others may catch us by surprise. We can enjoy a successful school year if we plan for the expected and anticipate the unexpected situations that will arise. I know this is easier said than done. Veteran teachers will tell you that the year will fly by. Keep a positive attitude and enjoy the ride that this year offers. You do make a difference!
Administration Ronald P. Dolce 732-574-0846 firstname.lastname@example.org
On behalf of the New Jersey Music Administrators Associationâ€™s Executive Board and the members of NJMAA, I would like to welcome back to a new school year the members of the New Jersey Music Educators Association. We hope that everyone had the opportunity to refresh the mind and the spirit for good teaching and mentoring of the students for the coming year. We would like to thank our out going President, Linda King, Supervisor of Music for the Westfield School District, for her guidance and leadership the past two years. Under her leadership, we experimented with ideas that helped to improve the operating procedures of the organization and her guidance through workshop presentations that were useful to the membership. We would like to announce that Peter Griffin from the Hopewell Valley School District will serve as our President for the next two years. Standing in the wings as our PresidentElect is Robert Pispecky who will serve as President for the 2014-16 term. Thomas Weber from the Egg Harbor Township Public Schools will serve as Treasurer/Membership Chair and Peggy Cioce will serve as Secretary. Rounding out the Executive Board is Joe Akinskas, retired supervisor now at Cumberland County College and Rowan University; Denis Mullins, Supervisor Performing and Practical Arts, Rutherford Public Schools; Louis Quagliato, Supervisor of Music for the West Orange Public Schools; and Ronald Dolce, retired supervisor. Linda King will serve as Past President and Webmaster. The Executive Board worked diligently this spring to put together a series of workshops that will be beneficial to the membership. The primary focus for these workshops is in the area of benchmark assessment for music and the pending new state teacher evaluation system. The workshops that are presented are an important resource for our membership as they serve their school districts and their teachers by improving music education in the schools. We continue to encourage our NJMEA members who have a supervisor, chairperson, or administrator without a music background to invite them to join our organization to help them to become more effective and efficient in meeting the needs of your music program. Please have them send their name and email address to me so that they can become part of the resourceful organization. continued on page 10
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& News From Our Division Chairs & The following is the list of meeting dates and workshops: 10/4/12 “Benchmark Assessment Tools in Music-Roundtable Discussion” 12/7/12 “Current Status of Music Teacher Evaluation” 2/1/13 “Smart Music as a Tool for Assessment” 2/22/13 NJMEA Conference (Breakfast - February 22nd, Job Fair, February 23rd, Workshops February 22/23 4/12/13 “Aesthetic Education Across the Curriculum: Participate in an Interactive Workshop and Discussion on Applications and Activities per the New Standards” 6/7/13 “Assessment in Music Education- Where Are We?” NJMAA is committed to expanding its membership. All Music Supervisors are urged to become active participants in our meetings. We must continue to be unified and a strong voice must be heard throughout the state not only to support, but to demand quality music education for all students. It can’t be said enough. Come join us!
Band Festivals, Classroom Music & NJEA Convention Nancy Clasen 973-766-5343 email@example.com
Welcome Back Everyone! I hope you have all enjoyed a well-rested summer and are ready for the upcoming year. Please make note of the following: Band Festivals: Oct 20th at Wayne Hills High School Contact Matt Paterno at firstname.lastname@example.org We are still looking for a host site for either Central or Southern New Jersey. We also need a host for a solo/small ensemble festival. If you are interested, please contact me at email@example.com NJEA Convention: If you are interested in presenting a session at the 2013 NJEA Convention please feel free to contact me as well. Classroom Music: I am interested in hearing from all the general/classroom music teachers. I would really like to open a dialog network to share your thoughts and ideas for our upcoming conventions. We are always open to fresh and new ideas. If you feel there is an area we should pursue or if there is something you would like to see or have at either of our conventions, please send me an email and I will try my best to accommodate. Thanks, and I look forward to hearing and working with you!
Band Performance Al Bazzel 856-358-2054 firstname.lastname@example.org
The NJ All State Band Procedures Committee hopes that your year is off to a great start. We are very proud to introduce the 2013 conductors, Thomas McCauley and David Martynuik. McCauley is Director of Bands at Montclair State University and Martynuik is an Associate Professor of Music at Indiana University of Pennsylvania, where he is the principal conductor of the Symphony Orchestra and continued on page 12 Director of the Marching Band. TEMPO 10
THE NEW JERSEY ASSOCIATION FOR JAZZ EDUCATION
Presents the 8th Annual
STATE JAZZ CONFERENCE Friday, November 16, 2012
FREE TO ALL NJAJE MEMBERS Non-members $60 Includes 1 year NJAJE Membership
NEW TIME FORMAT 9:00 AMâ€”2:00 PM Instrumental Track
CENTER FOR ARTS EDUCATION AT NJPAC, NEWARK, NJ FEATURING TOP NAMES IN JAZZ EDUCATION Jazz Educator Award
The Master of Teaching Jazz Improvisation
Aebersold Vocal Track Arranger, teacher, singer, pianist
Clem DeRosa, post. Accepted by Rich DeRosa
Registration includes breakfast and a three course luncheon remembering NJ Jazz Education Achievement Award winner Clem DeRosa
University of California Los Angeles
- EVENING OPTION (7:00 PM)-
Purchase a ticket for a great student jazz event
NJ HONORS JAZZ CHOIR Directed by Justin Binek
REGISTER BY FRIDAY, NOVEMBER 2nd at www.njaje.org Or for further information contact Jeffrey Haas, Conference Chair at (201) 207-6736
NJ ALL STATE JAZZ BAND Directed by Dr. David Demsey SPONSORED IN PART BY FUNDING FROM THE FOLLOWING:
Professional Development Credit Issued Jamey Aebersold Jazz
City Music Center
John J. Cali School of Music
PRINCETON UNIVERSITY JAZZ PROGRAM
& News From Our Division Chairs & The official All State Band solo list is on njmea.org. The B-flat Clarinet solo publisher has been updated to Boosey & Hawkes/Hal Leonard. The following instruments will be selected to the all state ensembles as needed, based on instrumentation of the literature: English Horn, Eb Soprano Clarinet, Eb Alto Clarinet, Bass Trombone, Piano and Harp. Any solo suggestions need to be submitted to Bruce Yurko, solo chair, or any region representatives. The recommendation must include a copy of the solo, the solo it should replace and rationale for the change. The region representatives for the committee are: Region I - Lewis Kelly, Gregory Mulford, Mindy Scheierman; Region II- Jules Haran, Mark Kraft, Brian Toth; Region III- Ed Cook, Deb Knisely, John Stanz. The New Jersey All State Bands will be celebrating their 75th Anniversary in 2014. In celebration of the event Dana Wilson has been commissioned to write a piece to be performed on the concert. The commission consortium is still accepting members. Individuals and organizations that contribute a minimum of $500.00 will receive a complete copy of the score and parts and performance rights for their ensemble. For more information and consortium form please contact Lewis Kelly at LKelly@woboe.org.
Choral Performance Kathleen Spadafino 732-214-1044 kspadEB@aol.com
Welcome back to a new year: new choirs, new repertoire, new opportunities for you and your students! While I truly hope that you found time to relax and recharge this summer, I also hope that you attended at least one workshop, or maybe accrued some extra credits, to stimulate your mind and expand your choral and vocal knowledge. I attended the NJ-ACDA Summer Conference in Princeton, and the NJMEA Summer Conference at TCNJ. It was a great opportunity to learn something new and to connect with old friends and new colleagues. But now – back to the new year! While your students are getting a fabulous choral experience from you and your program, everyone will benefit more when you participate in County, Region and All-State Choral groups. They share a higher level of musical experience with other singers, share it with your students, and everyone makes new friends! Please make note of this basic information. Your best resource is our website, www.njmea.org. Please check it regularly and contact the appropriate chairperson with any questions. Note: the deadline for auditions is usually 5-8 weeks BEFORE the actual audition. Don’t be late ! Region Choruses: New Jersey has 3 regions – I (North), II (Central) and III (South). Students in grades 9 – 12 are eligible to audition. Audition Dates: Region I (NJSMA) - Saturday, January 5, 2013. Region II (CJMEA) – Saturday, December 8, 2012 Region III (SJCDA) – Saturday, November 17, 2012. New Jersey All-State Chorus: Students in grades 9 – 11 are eligible, as they audition in the spring and perform the next school year. Contrary to band and orchestra students, chorus students do not have to be accepted into their Region Choruses to be eligible to audition for All-State Chorus. There are two audition dates, and all students have a choice. Some directors split their students, sending some to the North audition and some to the South. Directors must help out at one audition, and must serve as a final room judge (both auditions) once every four years. The All-State Chorus Audition Bulletin will be available at www.njmea.org on January 15, 2013. Please read it carefully – everything you need is there. Audition dates for 2013 are April 13 (South) and April 20 (North). Honor Choirs: both NAfME (formerly MENC) and ACDA have Honor Choirs for your students. As a choral director, you should belong to both of these organizations! ACDA alternates between a national conference one year and a divisional conference the next year. 2013 is a National Conference in Dallas on March 13-16, 2013. Applications for the HS Women’s Honor Chorus and the HS Mixed Chorus are being accepted August 1 – October 1, 2012. Go to www.acda.org for all application information. NAfME is having a Divisional Conference in 2013 in Hartford on April 4-7, 2013. Students eligible for the HS Mixed Chorus and HS Women’s Chorus have already applied. Eligibility was determined by their score in All-State Chorus. Accepted students will be contacted in the fall. Please plan to attend at least one of these conferences whether you have students in the honor choirs or not! TEMPO 12
& News From Our Division Chairs & I know that being a Choral Director is a difficult, exhausting job. I also know that there are a growing number of new, young directors in New Jersey each year, and we want you to become involved with NJMEA and improve both your choral program and your social life. Our Choral Procedures Committee consists of truly fabulous choral directors that I am honored to call my friends: Tom Voorhis and Steven Bell from Region I; Hillary Colton, Judy Verrilli and Wayne Mallette from Region II; Helen Stanley, Art McKenzie and Cheryl Breitzman from Region III. Do you know them yet? Go to a Region meeting, an audition, help out at a rehearsal and get to know these truly generous and talented people. Or e-mail me, Kathy Spadafino, Chairperson, at KSpadEB@aol.com. Please get involved! I look forward to seeing you, and have a great year!
NJ Association of Jazz Educators Jeffrey Kunkel 973-655-7215 email@example.com
As I enter the second year of my current term as president of NJAJE, I am very happy to report upon the positive status of jazz education in our state. While we are sorry to see our previous members departing the NJAJE board, we are pleased to welcome two new members that we expect to help carry our organization into the future: our new Region I Jazz President, John Maiello of Nutley High School, and our new All-State Audition Chair, Robert Van Wyk from Rahway High School. For those of you who may desire to make a specific contact, the complete list of our board members is available at our website, www.njaje.org. As I mentioned last year, we continue to transition our board to involve a strong group of New Jersey’s outstanding young jazz educators, and we continue to welcome the input and involvement of those who truly want to be involved in the betterment of jazz education in New Jersey. As always, NJAJE will continue to offer a full slate of jazz activities, many in conjunction with NJMEA, during the coming year. The fall will kick off with the Atlantic City and Newark concert performances of the New Jersey All-State Jazz Band, this year under the direction of our very own friend and colleague, noted saxophone artist and educator David Demsey of William Paterson University; and the Honors Jazz Choir, once again under the direction of our high-energy friend and colleague Justin Binek, of the University of the Arts. Another important fall date for your calendar is Friday, November 16, the day of our mini-conference held at the Lucent Center adjacent to NJPAC in Newark, coordinated by our stalwart vice-president Jeff Haas from Ridgewood High School, and offered at minimal cost to members of our organization. This brings up an important point that I have discussed in the past but would like to continue to emphasize. Although many of our activities are designed primarily to accommodate NJMEA members, such as Region and All State Ensembles, it is extremely important that you consider separately supporting NJAJE with a membership, in the interest of supporting jazz education on a wider scale. This helps to make possible activities such as the aforementioned annual Newark conference, the State Jazz Festival, the Kerber Memorial Scholarships, and the Intercollegiate Jazz Band. While we realize that the continuing economic difficulties and persecution of public education in our state make professional obligations more difficult than ever, we also know that together, we must continue to strive to “do the right things” for our students and schools. We strongly encourage those of you who are interested in specifically supporting jazz education in New Jersey to consider holding membership in NJAJE as well as NJMEA. Information on NJAJE membership, along with all of our activities, is available at the website I mentioned earlier, www.njaje.org. As always, please do not hesitate to contact me or any of my NJAJE board colleagues if there is anything we can do for you in terms of support for jazz education. We are always looking for fresh ideas and more involvement from you! Now in my 15th year at the Cali School of Music, I have met, and continue to meet, many fabulous, talented, and dedicated music educators and musicians everywhere throughout our state. But know that the continued success of our organizations, both NJAJE and NJMEA, is reliant upon YOU – if you have to count on the proverbial “other guy” to get it done, it is likely not to happen! I look forward to another outstanding year for our organizations, and am proud to be in the continued service of the members of NJAJE and NJMEA. continued on page 14
& News From Our Division Chairs & Opera Festival
Stevie Rawlings 201-261-7800 x3069 firstname.lastname@example.org “Places, Onstage, Ladies and Gentlemen!”
It is that time again to experience the sounds of opera - arias, duets, and choruses - sung by the most talented high school singers from New Jersey. Auditions will take place at Paramus High School, Friday, October 26, 2012, from 4:30 to 8:00 PM. Adjudication by Metropolitan Opera judges will determine which singers will be featured at the NJMEA Opera Festival Concert, scheduled for Saturday, November 17, 2012 at 3:00 pm. This is the perfect opportunity to encourage those singers in your choirs whose vocal instrument has operatic potential. Participation in the NJMEA Opera Festival workshop day includes lecture/demonstrations with world class opera singers who remember their beginnings and relate to the young students. Stage time will be given to prepare three opera choruses with all participants for the concert later that day. The festival application appeared in the May issue of TEMPO and can also be found on the NJMEA website. In these days of youtube, music teachers and young vocal students can access their specific curiosities: “forgotten baritones,” “favorite mezzo arias,” or operatic repertoire in any language or range. This tool helps to make the initial search much more viable. I encourage all NJMEA vocal music teachers to get their students involved with the Opera Festival, at the very least for the choruses and clinics to start. Your students will learn and grow while experiencing and performing operatic repertoire with peers and professionals. We hope to see you and your students when “Places, Onstage, Ladies and Gentlemen,” are called for the 64th Annual NJMEA Opera Festival.
Orchestra Performance Susan Meuse 908-231-0230 email@example.com
Welcome back to another school year! Last school year ended well with a great concert from the All State Intermediate Orchestra conducted by Curt Ebersole. The students and conductor worked very hard to give a spectacular performance. Thanks also to manager Debbie Sadanand and Auditions Chair Mike Kallimanis for all their hard work to make the event possible. The 2012 All State Orchestra is busy rehearsing for their upcoming concerts. The students are working very hard, and they sound very good thanks to conductor John Yaffé. The program features music by Ravel, Chabrier, and Earnest. Please note there is a change in date for the first performance in Atlantic City. The concert will now be on Thursday, November 8th at Boardwalk Hall at 8:00 pm. The NJPAC concert will be on Sunday, November 18th at 3:00 pm. Please be sure to come hear the All State Orchestra along with the Mixed Chorus; the concerts are sure to be fantastic!
& News From Our Division Chairs & Retired Music Educators Christine Sezer 570-756-2961 firstname.lastname@example.org
I hope you all enjoyed a relaxing and restful summer. No doubt many of you traveled to many wonderful and exciting places and shared memorable vacation experiences with friends and family. My husband and I traveled to visit our family in Istanbul, Turkey to attend the wedding of our niece. It was indeed a beautiful ceremony - the food, cultural wedding traditions and the music was an amazing experience! It is very interesting that in the Turkish culture, the husband -to-be pays the wedding expenses. We also visited other friends who live along the coast of the Agean Sea across from some of the Greek Islands. That is my favorite part of Turkey; really gorgeous scenery and beaches as well. We had an absolutely marvelous trip, but of course, always happy to come home. We certainly do live better than people do anywhere else in the world and I do believe we sometimes take it for granted; we are all so fortunate. I would like to extend a warm invitation to you and encourage you to join our organization. The meetings offer you an opportunity to gain some valuable and relevant knowledge/information and also renew old acquaintances, share some great social time with friends and make some new friends and there is ALWAYS some very good food at our gatherings --so PLEASE JOIN US! We have two general membership meetings during the year: the first meeting takes place during the NJMEA February in-Service State Conference in East Brunswick and the second meeting is in May at the â€œHouse -by-the Seaâ€? in Ocean Grove, NJ. For many years Alyn Heim and his lovely wife Sally have offered thier charming ocean front hotel as our May meeting site, and we thank them for their kind and gracious hospitality. We always have a wonderful time at the meetings! At our meetings we strive to invite speakers that would be of interest to our retired membership on varied topics both musical and nonmusical. Last February at our General Membership meeting, Nick Santoro gave us a complete update on advocacy and what type of impact the statewide arts revisions had on the arts in general throughout the state. In May, Roma Oster, Estate Planning Attorney and Elder Law Attorney, explained many various issues that are relevant to our various situations; decisions and concerns that can be problematic and difficult at this point in our lives in regard to estate planning, wills, long term care, medical care issues etc. (issues that we are not comfortable thinking about or discussing but we know we should). We ALWAYS welcome and encourage you to submit your ideas for meeting topics, suggested guest speakers and any other concerns that you would like to have discussed at our meetings. We want our meetings to be meaningful and relevant to you, the retired membership. Please do not hesitate to contact me with your suggestions. Our Master Music Teacher Award program which seeks to recognize exceptional teachers who display and implement a high standard and quality of excellence in teaching is now in its 33rrd year. Please see the NJMEA.org website for a listing of past recipients from the beginning in 1979 to present. If you would like to nominate someone deserving of this recognition, the nomination form can be found on the website in the October and January issues of TEMPO. It has been a busy year for NJRMEA - we have started a MENTORING program. If you are interested in sharing your many years of knowledge and expertise by adding your contact information (name, phone, email) to the category or categories (you may add your name to as many categories as you wish to mentor)of expertise and interest that you would like to mentor, please email me with that information and Tom Mosher will add your name to our website. Many teachers, not just the young and inexperienced teachers sometimes need advice, or have an issue where they could use an objective opinion, help them make a decision etc.; that is where we can help with this mentoring program. It is only by phone/email that we are contacted and respond to them. We are in the process of revising our constitution and by-laws; we are in the process of starting the scholarship program.The information was in the Spring Newsletter - an update will be in the Fall Newsletter. So as you see, we have been keeping ourselves very busy this year. Please join NJMREA and GET BUSY with us. You will be glad that you did! Our Meetings for 2012-2013 will be: October 3, 2012 -Executive Board - 12:00 pm - Seville Diner February 22, 2013 - General Membership - NJMEA State Conference - 10:15 am March 6, 2013 - Executive Board - 12:00 pm Seville Diner May 15, 2013 - General Membership - House-by-the-Sea - OceanGrove -10:15 am Mark your calendars---I look forward to seeing you at our meetings! continued on page 16
& News From Our Division Chairs & Summer Workshop Coordinator Joe Akinskas JoeA_NJMEA@comcast.net NJMEA Summer Workshop V August 7, 2012 The fifth annual summer workshop was held on the delightful campus of The College of New Jersey in Ewing . As in past years, the workshop addressed six Music Education content areas that included: Choral Music, Instrumental Music, Technology Applications, Classroom Music Techniques and Strategies, and Special Education implications in Music Instruction. Additionally, a roster of Special Topic presentations included a presentation on advocacy; grant prospects by Chiho Okuizumi from VH1, and hands-on instrument repair techniques by our resident repair specialist Dave Kaplan. Everyone was entertained at lunch by the amazing “Rock N Roll Chorus”, directed by Joe Cantaffa.
Attendees enjoy the luncheon
The workshop was attended by a record setting 86 music educators from across the state, along with a roster of 20 clinicians. Commendations are in order for the members of the summer workshop committee who share the workshop vision and commitment to the benefit of their statewide colleagues. The committee members include: Maureen Butler, Joe Cantaffa, Rick Dammers, Rachel Klott, Shawna Longo, Betsy Maliszewski, Susan Mark, and Nick Santoro. Likewise, I must publicly thank several members of the TCNJ Music Department, and Event staff, who were wonderful hosts. They include: Gary Feinberg, Music Department Chair, and event staff members Rachel Wolf, Richard Krott, and Mark Kalinowski, along with a superb TCNJ student support crew.
The reception was a great success
The entire workshop program, along with pictures from this year’s event, can be found on the conference website at www.njmeasummerworkshop.com. Workshop Six is tentatively scheduled for August 6, 2013. Additional information will be posted in the January edition of TEMPO. Reserve the date now!
The “Joes” Cantaffa & Jacobs relax
MUSIC W O R T H C R E AT I N G
Music, Dance and Theatre The Department of Music, Dance and Theatre is an accredited institutional member of the National Association of Schools of Music (NASM) and a collegiate member of MENC, The National Association for Music Education.
Undergraduate B.A. in Music Education B.A. in Music Theatre B.A. In Music Business B.M. In Classical Studies B.M. In Jazz
D.M.A., chair Music, Dance and Theatre 201-200-2025 Mkim@njcu.edu
Graduate M.M. in Performance M.M. in Jazz M.M. in Multiple Woodwind M.A. in Music Education
njcu.edu/mdt 2039 Kennedy Boulevard Jersey City, New Jersey 07305 OCTOBER 2012
The 2011 Arts Education Census Project Keeping The Promise
Arts Education For Every Child: The Distance Traveled - The Journey Remaining By Nick Santoro email@example.com
n May 10, 2012, the 2011 New Jersey Arts Education Census was released. This project was a follow-up to the nationally acclaimed 2007 report, Within Our Power: The Progress, Plight and Promise of Arts Education for Every Child. BACKGROUND In the early 2000s, there was considerable discussion about the role of the arts in public education, but very little information about its status in New Jersey. To answer this need, The New Jersey Arts Education Census Project was launched in the 2005/2006 school year. With the support of the Department of Education, every school in the state was required to complete the on-line survey, beginning in February, 2011, with the final questionnaire collected in August, 2011. Of the 2,257 public (non charter) schools targeted for participation, 2,234 completed the questionnaire for a response rate of 99%. Fifty-six of 73 charter schools also participated for a response rate of 77%. The purpose of the project was to gather, evaluate and disseminate qualitative and quantitative data regarding arts education in the state. The Census Project was designed to document arts education in every school in the state through a statewide mandated survey, then combine the survey findings with other information to create a 360 degree view of arts education. The 2006 Census Project established a baseline, and in 2011 the statewide survey was relaunched to provide comparative data. This report is a summary of the changes in arts education policy and delivery that have occurred in five years. The intent is to provide decision makers and the public with a clear picture of where arts education is headed in the State of New Jersey. The New Jersey Arts Education Census Project is a collaborative partnership with the New Jersey State Council on the Arts, the New Jersey Department of Education, the Geraldine R. Dodge Foundation, New Jersey Arts Education Partnership, ArtPride New Jersey Foundation, and Quadrant Arts Education Research. The New Jersey Arts Education Census Project is made possible in part by funds from the New Jersey State Council on the Arts/ Department of State, a Partner Agency of the National Endowment for the Arts. Additional funding has been generously provided by the Geraldine R. Dodge Foundation and Quadrant Arts Education Research.
ARTS EDUCATION AND THE LAW Arts education in New Jersey is a basic educational right for all New Jersey children -- not just the gifted, or the talented, or the economically advantaged. It has a very strong grounding in state administrative code and even in the state Constitution itself. Based on current law, arts education for our students is a fundamental right anchored in the New Jersey Constitution. The New Jersey Core Curriculum Content Standards, State Graduation Requirements and the Administrative Code all contain benchmarks that pertain to arts education. The New Jersey Arts Education Census Project compared the results of their research to these benchmarks, in addition to other data, to assess the performance of schools in arts education. The understanding that arts education is a necessary component of whole-child education runs through New Jersey’s standards, requirements and codes. GOALS AND RESULTS OF THE CENSUS PROJECT Goal #1. Update The 2006 Statewide Arts Education Census Result. In 2011, the project partners coordinated the implementation of a survey of all schools in New Jersey to update previous qualitative and quantitative data regarding arts education. An analysis of the survey responses has been compiled in this report and will be widely disseminated across the state. Goal #2. Connect Census Results With Additional Information Result. Changes in the status of arts education in the state are related to a number of issues. Economic, demographic, census, school report card and municipal data were combined with the survey results to allow for a more in-depth analysis. The results of this analysis are contained in this report. Goal #3. Identify Model Schools In The Arts Result. After the release in 2007 of the initial Census Project report, a task was undertaken to identify potential “Model Schools in the Arts.” To determine the final model schools, census data was analyzed and interviews were conducted with district officials, educators and students. In the process, a number of significant “attributes” of a thriving arts program were identified. These attributes provide areas of focus that can be addressed to improve arts education for all New Jersey students.
Goal #4. Establish A Statewide “Voice” For Arts Education Result. In 2007, a new organization was established to oversee the implementation of the recommendations of the initial Census Project report and to coordinate between all the interested statewide organizations regarding arts education. This led to the creation of The New Jersey Arts Education Partnership. The progress made in arts education documented in this report is in large part due to the efforts of the partnership. THE REPORT The complete report can be viewed by going to the New Jersey Arts Education Partnership website, www.artsednj.org/census.asp. You can also find the 2006 report. The report is divided into five sections: Policies, Students, Educators, Resources and Community. Each section contains comparative data from the 2006 and 2011 reports with Recommendations for each section. In addition, there is a section highlighting New Jersey’s MODEL SCHOOLS IN THE ARTS, and one for Charter Schools. I will be highlighting the results in each of these areas in subsequent issues of TEMPO, but for this issue, I would like to discuss the ARTS EDUCATION INDEX. NEW JERSEY ARTS EDUCATION INDEX One of the more interesting outcomes of the 2006 census report was the Arts Education Index, which assigned a score to every school in the state, As was done in 2006, the 2011 census calculated an “index” score for each school. The index score is comprised of 20-24 different components (dependent on the type of school). They included quantitative measures of: • Courses, Student Participation, Teachers, Instruction, and Breadth of Arts Offerings • Facilities and Resources • Policies, Professional Development Supervision, and Assessment • Involvement with Community Resources The index (one each for elementary, middle and high schools) is simply an arithmetic combination of scores related to survey responses on the various components of arts education in each school. The index OCTOBER 2012
scores are standardized and therefore have a possible range from 0 to 1 – where 0 would signify no attempt at all at arts education in the school, and 1 would mean a complete effort on every aspect of art education measured in the study. An index of ‘1’ is nearly impossible to attain, and no school in our study did so. Each of the components were calculated, summed, and then divided by 21 (elementary), 20 (middle) or 24 (high school). For elementary schools, the index score ranged from a low of .06 to a high of .78. For middle schools, the range was .06 to .88, and for high schools, the range was .05 to .88. Because the calculations for elementary, middle, and high school relied on slightly different formulas, readers should avoid comparing index scores across school types. As found in the examination of 2006 data, schools with rich arts programs were found in districts with the lowest levels of student spending in relatively poor communities, schools with thin arts programs were found in schools with high level of spending in affluent communities. The Arts Education Index can be found by clicking on the INTERACTIVE SCHOOL INFORMATION link. Once there, you can see your school’s index score. Simply put in your County, District and School – hit Show Report and your school will appear. You will first see your school’s index score in the first bar graft, followed by your district’s average score, the average county score, average score of schools in the District Factor Group (DFG) and state average. To the right, you will see a green check if your school ranked in the top 10% in the state and in your DFG. Below that, you will find the scores of each school in your district, where you can check on each school to see their results. A great feature of the Index Report is that you can compare your school’s score with that of any similar school in the state by clicking on the COMPARE TO OTHER SCHOOL link on the right.
• Per-Pupil Arts Spending: As was evident in 2006, per-pupil arts spending to support arts instruction is related to the arts index – the higher the per-pupil spending, the higher the index. KEY FINDINGS RELATED TO INDEX SCORES • School Size: The most consistent factor that was found in previous studies to be important is school size. Most notably, small high schools show significantly lower levels of arts education as measured by the index. • Student Achievement: Language Arts Literacy was statistically related to the level of arts education as measured by the index. In particular, high schools with higher art index scores tended to have a higher percentage of students who were highly proficient in language arts on the HSPA test. • College Attendance: Intended college attendance rates (4-year college) are related to arts education index. The higher the index, the higher the intended college attendance rate. • Per-Pupil Spending: Per-pupil total spending in high school is related to the arts education index. Note that this is the first time this statistical relationship has appeared in this type of study. In subsequent issues of TEMPO, we will look at the Key Findings of the report, Things to Watch, some of the changes (good and bad) from the 2006 census, and ways you can use this information in your advocacy. I strongly suggest that you look at the full report at www.artsednj.org/census.asp and become familiar with the information. If you have any particular questions, feel free to contact me at firstname.lastname@example.org.
INDIVIDUAL FINDINGS RELATED TO INDEX SCORES • District Affluence: In 2011, schools in more affluent districts had higher index scores. Those in less affluent districts had lower index scores. This relationship did not exist in 2006. 19 TEMPO
Planning The New School Year: Starting With The End In Sight by Ronald E. Kearns Vandoren Performing Artist Foxhaven Recording Artist Heritage Festivals Adjudicator Ron Kearns Productions email@example.com
n my book, Quick Reference for Band Directors (NAfME/RLE Publishing), I discuss the importance of planning your school year by establishing a terminal objective—where do you want to be by year’s end. Trying to build a successful program without having a master plan of what you expect to achieve is like planning a trip without a destination. You have to know where you’re going before you plan how to get there. The biggest mistake made by most band directors is to not develop a plan or to not articulate their expectations clearly. Students need to know what you expect of them and have their achievements acknowledged incrementally. This means conveying to them that they’ve done some of what you expected but there’s still more to be done to reach the terminal goal. Develop A Mission Statement Taking Time During The First Week of classes to discuss your expectations and where you hope to be by the end of the year helps put everyone on the same page. Having your students participate in developing a plan is as simple as developing a one or two sentence mission statement. Example: By the end of the school year the Atlantis HS band will have gone from performing grade three music to performing grade four music proficiently. Once this mission statement has been developed, you can then start setting goals and objectives. As the director, it is your job to plan how to achieve the end result. In order to do this, you must establish achievable goals. The best way to do this is through writing lesson plans. Writing Lesson Plans As I stated in my book, a lot of band directors don’t write or follow lesson plans
unless they know they’re going to be observed. Obviously, this is a mistake. Your plans can be flexible enough to allow you to act on problems as they come up but if you’re working on intonation, articulation, rhythmic accuracy etc., be sure to write a plan. You can put the objective on the board or quote it from the podium. The idea is to let your students know how important it is to adhere to these items. They may pay more attention to these details during their home practice. Pace Your Rehearsal Whether you are on a block schedule or short period day, it is important not to try to do too much during your rehearsal period. This will cause you to gloss over problems that need special attention or overlook small things that may develop into major problems if left unchecked. Your lesson plan will help you avoid this problem. Once you put things on paper you can evaluate how much time needs to be allotted to achieve a satisfactory outcome. Teach Concepts Through Warm Ups If your lesson plan is based on intonation, focus on intonation during the warm up. This will carry over into the rehearsal pieces. A chorale or scale exercise using long tones will help students hear the need to center their pitch. Things like airflow and the concept of listening to pitches from the bottom up will be applied to pieces you’ll work on during that rehearsal and future rehearsals. Focus Focus your and your students’ attention on today’s objective. If you’re working with one section while other sections are idle, come up with creative ways to keep every-
one engaged. Have the other sections locate passages that are the same or similar to what you’re focusing on in their music. If there’s time, go over those sections with them to demonstrate the importance of everyone listening to your explanations even when you’re addressing the clarinets or trumpets. Summarize At the end of the lesson, summarize what you’ve done. This can be done by reviewing what you’ve focused on and then have everyone play through the sections covered during the rehearsal/lesson. If the class achieves the objective, point that out. If they don’t achieve the objective, let them know that this will be something you’ll continue to work on next lesson. It’s very important that you don’t leave any objective unsatisfactorily completed. This will hurt your group in the future. You unwittingly say that it’s okay not to achieve perfection in execution. Playing an F natural rather than an F sharp is not okay. In music, there is no “close,” you’re either correct or incorrect. Every lesson/rehearsal should end on a positive even if that positive is simply acknowledging how close to achieving the day’s goal was. You and your students will be able to build on future lessons and achieve future goals once a standard of excellence has been developed. This standard of excellence depends of everyone doing their part. The person who sets that standard is you. The better prepared you are, the better prepared your students will be. Whatever you expect to happen on your last performance must be addressed in your first rehearsal. By year’s end your students will be able to see the end result. This will serve as a building block for the next year.
Who Is Accessible Available - Responsible by Maureen Butler Lake Drive School firstname.lastname@example.org
hen you look across the faces of students in your class, what do you see? Do the following descriptions match anyone in your room? Rebecca (of Sunnybrook Farm, of course) listens attentively, is eager to learn and manages to overcome the distractions of… …Jack (like the one with the beanstalk) who can’t sit still for more than forty-five seconds, and in a manner similar to a slippery eel. is constantly moving, and bumping into… …Alexander (of the “terrible, horrible, no good, very bad day”) who has fought with his brother and sister before breakfast, and who thinks everyone is out to get him, including… …Charlie (Brown, naturally) who thinks that everything that can go wrong, will go wrong, until he can get home to his favorite pet. While I don’t intend to simplify the very real needs of present-day students, I am struck, as you might be, by the variety of emotional, physical and cognitive differences that music teachers face every day, in every class. Unlike elementary classroom teachers who work with the same students every day of the year, we music teachers see several groups of students each day, five days a week. Each class presents a new assortment of student abilities, preferences, disabilities, emotional states, and learning styles. In the scenario above, only Rebecca seems to be available to learn. But what about the others? Are they able to learn? Put another way, is learning accessible to them? Accessible: Able To Be Reached Or Entered. When we think about obstacles that hinder our students’ ability to learn, we tend to think of those with special needs. As a society, we have made tremendous progress in terms of making our world accessible to
our fellow citizens who have physical, sensory, or cognitive disabilities. The Americans with Disabilities Act, for example, mandates modifications to the physical environment that include ramps, elevators, and widened doorways, providing access to places previously off-limits to those in wheelchairs. The ADA also mandates closed captioning, videophones and other technology that have provided communication access to the deaf community who formerly had limited options. Locally, our schools try to break down the barriers our students face with physical accommodations, educational modifications, and instructional strategies. We are accustomed to following student IEP recommendations that require us to restructure tasks, allow preferential seating, and extend test time, for example. We do all this to make education as accessible as possible to all students. But by the same token, aren’t we helping children be more accessible to learning? It may seem a manner of semantics, but in a real way, part of our job as educators is to provide optimal learning experiences so that our students are ready and able to learn. Available (Of A Person): Not Otherwise Occupied; Free To Do Something With As adults, we have mastered subtle and not so subtle ways to maintain the level of alertness at which we can focus, attend, and complete tasks. Students with immature or disordered sensory systems have varying degrees of success in attending and completing tasks – of being available to learn. Some may be so distracted by sensory input that attending for any length of time is an overwhelming and exhausting task. Such deficits are not limited to our special learners, however, and many children in the regular education program struggle with them, as well. As children move through the grades in our school we should see growth in their abilities to maximize their learning
potential. We expect that as they mature, students will learn to: • ignore distractions from others (Jack keeps kicking his chair, but I won’t let that bother me.) • regulate sensory input (It’s a little chilly, but I can ignore that; the chair is a little uncomfortable, but I shift to a more comfortable position.) • deal with bodily needs (I’m a little thirsty, but I can wait until music class is over.) • tune out unimportant sounds (there’s a humming from the heating vent, but I can ignore that.) Students lacking these abilities have difficulty attending and focusing on tasks, and often need to be redirected. Other factors, too, may be affecting student learning. What may be happening in their home that might prevent them from being available to learn? Physical handicaps may be easier to accommodate than some emotional situations that children may be going through. Consider such life-changing situations as divorce, a death or birth in the family, serious illness, or transitioning to a new home and school. How might these events affect student learning? As adults we may have times when it’s challenging for us to focus, when we may be preoccupied with thoughts of difficulties we’re going through. While school might provide an opportunity for stability for children going though difficult times, it may be next to impossible for some to leave troubling thoughts at the door, and become available to learn. What about children whose social/emotional levels prevent their learning? Or those that are not held accountable at home, and that must develop the skills to be responsible in class? Children who come into class thinking that they deserve all the attention, and children who are starved for attention? Children whose families are struggling with financial issues, alcoholism, or violence in the home or neighborhood? OCTOBER 2012
I pose these questions, which may not be new to the experienced teacher, so that we may become more sensitive to the fact that some students may be overwhelmed with just getting through the day. Indeed, some students have been through a lot before they even get to school in the morning. What can we do to make sure that students are available to learn? Responsible: Having a moral obligation to behave correctly toward or in respect of We are charged with the task of dealing with the diverse needs of our students, including special and regular education learners, to teach the core curriculum standards, to help struggling students get caught up and gifted students be challenged. This may seem overwhelming as we juggle the demands of our jobs, yet we are responsible for both educating students and potentially transforming lives. The beginning months of the school year are a good time to determine the spe-
cial needs of students in each of our classes. When we thoughtfully consider what their behaviors may be telling us, we develop a deeper understanding of students’ availability to learn. When in doubt, it can be helpful to network with your colleagues who may provide you with valuable insight: the classroom teacher, other special subject teachers, social workers, and school psychologists. You might also consider the following: • Foster a positive relationship with your students built on realistic expectations, kindness, fairness and respect. • Keep your eye out for the most vulnerable in your classes and advocate for them. • Remember that our focus should be to teach children, not lessons. (When what we teach becomes more important than who we teach, we need to take a step back and reevaluate our goals and objectives.) • Trust your instincts, based on your expertise and experience with children. If you feel something may be going on with a child, initiate a discussion with
your colleagues to determine if a teamwide approach is in order. Experienced teachers have learned that strategies that work for one class may not work with another, and that some tactics might be successful with one group one week, and not the next. As teachers who are musicians we’ve had a lot of experience with evaluating our own work, practicing new techniques, and making necessary changes in our music. I believe that we are uniquely qualified to adapt our strategies, plans, and responses to meet the various needs of our students. How fortunate we are that we can combine our love of music with our passion for teaching! And if there are days that we feel discouraged, let’s remember the power we have each day to be a positive force for change in a child’s life – be they a Rebecca, a Jack, a Thomas, or even a Charlie Brown.
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
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NJMEA Educational Grants Awards Technology Changes by Linda Wardell Music Specialist, Pennsville School District firstname.lastname@example.org
oh, play it again, play it again!,” my students sing out after they finish watching the YouTube video of their classroom music performance. “Can we see another one?” they ask. “Can we see one from another class?” they say. This scene takes place again and again - the students enjoy seeing themselves on the screen. I teach in Pennsville, a South Jersey town at the beginning of the NJ Turnpike, near the base of the Delaware Memorial Bridge twin spans. There, I work with the students of Penn Beach School, a 4th and 5th grade elementary school of approximately 345 in 14 classes, where they receive 45 minutes of Orff Schulwerk based general music each week. Music is a performing art and the children love to have their families come to see them perform. However, with home and school schedules overflowing, it was a challenge to coordinate events to share their work. One solution was to hold in-class performances during the school day for each of the 14 classes. Family members came to the child’s performance during the regular music time so other scheduled instruction would not be disrupted. Each performance was held in the music room, as the stage in the allpurpose room was unavailable, therefore restricting seating to one or two family members per student. Because of the seating limitations and busy work schedules, many who would have liked to attend could not. The question continued to be: how to share a performance with the maximum number of family and friends, at a time that was convenient to most. The answer: all in-class presentations were video recorded using a Flip video camera. The content was edited using Microsoft Movie Maker on school district computers running Windows XP, and uploaded to YouTube where all family members could view the performance with the child at their convenience. This
very successful means of demonstrating to family members what their son or daughter was doing in music, whether a once a year performance or ongoing projects throughout the year, was started in the 2009-2010 school year. But, technology changes. The school computers (PC) that could edit video from a Flip video camera in the 2009-2010 academic year could not edit video from the same Flip camera in the 2010-2011 academic year due to automatic upgrades in the camera software. Believe me, I searched for a solution. I tried home computers and laptops, other software that I had access to such as Adobe Premiere Elements, researched other cameras, and read websites with posts by others who were struggling with the same challenge. What I found was that an Apple computer could edit the video. With the dual help of funding from the NJMEA Educational Grant and financial support from the Pennsville School District, a “MacBook Pro” laptop, with pre-installed video editing software, was purchased. Video editing for Internet viewing can be a time consuming process or a quick upload of raw content depending on available equipment, software and your time! I am in no way an expert on video editing software and equipment, but the following annotated list is what I found to be most useful. The computer: “MacBook Pro” or other Apple computer. Video editing software: iMovie 2009 or 2011. iMovie 2011 has improved audio editing capabilities as well as additional template themes. New are 15 fun movie Trailers that are a quick way to add video content and titles to produce a professional looking product. Background music is provided by Apple but can easily be edited or removed if the trailer is converted to a project. Once converted, photos can be popped in and other changes such as music or titles can be added.
Audio editing software: GarageBand. Audio tracks can be recorded through the computer’s microphone or imported from a recording device and edited at the simplest level by dragging tracks to change length or volume. Included are tracks and sound effects by Apple that allow the user to create audio for most projects. It is a powerful app that can be utilized by novice and expert alike. Photo editing software: iPhoto or Aperture organizes photos and video content. iPhoto edits with quick fixes such as crop, rotate, red eye, straighten, enhance and retouch. If needed, titles can be added over photos in an iMovie project. Adobe Photoshop Elements is not an Apple product but is an excellent photo editing app that has the capability to add layers and text to your photo. Find Photoshop information here: http://www.adobe.com/products/photoshop-elements.html iMovie, iPhoto and GarageBand are part of the “iLife ’11” suite of apps. More information about them can be found on the Apple website: http://www.apple.com/ilife/ The camera: The Flip video camera has been discontinued. It still is compatible with iMovie and if you have one that is in working condition, it is an excellent camera that will zoom in or out on your subject a bit. The second and third generation iPads are a good choice for photos and video recording. Comparisons of the two iPads can be found here: http://www.apple.com/ipad/ compare/ The camera is improved in the new “iPad” although both record in HD the “iPad 2” in 720p and the new “iPad” in 1080p. All of these recording devices produce a high quality video that visually looks good when edited. Be aware that 1080p HD does create large files that will take up more space on the hard drive and may take additional time to upload to YouTube or save to your computer.
There are inexpensive alternatives to the above selections. Still photos can be placed in PowerPoint or Keynote slides, titles added, and animated with transitions. The finished project can either be sent directly to YouTube or saved to the hard drive as a movie and then uploaded. Audio can be recorded directly into both apps or edited with Audacity - http://audacity.sourceforge.net/download/ a free download for both Mac and PC, or with Aviary http://advanced.aviary.com/ a free online suite of image and audio editing tools. YouTube - http://www.youtube.com/, TeacherTube - http://www.teachertube.com/ and Vimeo http://vimeo.com/ are free video hosting sites that require an e-mail address to create an account. You may find that you or your district prefers one over another. When posting, carefully read through the preferences and disable those not wanted. Some words of caution though, each student must have a signed photo release form on file with the school district to post his or her image online. If you do not have a signed form and that particular student is in one of your videos, you will be able to view the video in school with that class but you cannot post it online unless that student’s image is removed from the video. Editing out one student from the group video is next to impossible. So keep that list of student photo releases nearby when filming and arrange everyone’s position accordingly. This past year we used these videos not only for viewing with family and friends but for student self assessment, school-wide projects, and to work on individual pieces of a complete production by, for example, having the first class record one part to be used by the second class as a “rehearsal tape”. Technology is a tool that can enhance what the students do first in music class - performing and creating music. What’s next? An “iPad” initiative program placed five iPads in each 4th grade classroom plus OCTOBER 2012
a cart of iPads in the library for the 2011-2012 school year. For 2012-2013, additional iPads will be placed with the 4th grade classes and each 5th grade class will receive iPads for students to share. Technology has become integrated into student’s lives through gaming, music, social media, texting, and computers. The iPad technology means that students can change things in ways they want. They can build, refine/edit and produce something that is their own. They can decide what to use and what not to use, take and re-take, play and re-play. Technology teaches people to think in a different way. With access to so many iPads, the students themselves can edit their videos right in the iPad through iMovie, iPhoto and GarageBand apps. 4th graders were already showing me the movie trailers they put together at the close of the school year. Now, I’m the one calling out “May I see another one?” If you find that you are interested in learning more about how to edit digital media, look for a course at a local college or university. University of the Arts in Philadelphia offers a variety of courses through their Professional Institute for Educators (PIE). Many classes are taught off campus at satellite locations. http://cs.uarts.edu/pie
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First Day Of Guitar Class By Thomas Amoriello Flemington Raritan School District email@example.com
erhaps you have just had the good fortune of unpacking a shipment of recently delivered guitars provided by funding from your Board Of Education, Parent-Teacher Organization, grant award or donation. After tuning and stretching strings and re-tuning again, it is time to think about that first period of students that have been eagerly awaiting guitar class! Another scenario could involve students arriving with their own “perfectly tuned” guitars but we will save that for another article. As the students take their seats, please discuss your guitar care rules (see samples below): Emphasize the importance of the rules, but be brief enough not to deter their initial enthusiasm. It is important to designate a rotation of students to pass out the instruments to cut down on behavioral issues. The first position to be discussed should be “silent position”. This is where the guitar is facing “strings down” on the laps of the students to mute the strings (see photo). This will eliminate a large percentage of excess string noise created by fidgety students during lecture time. They are just enthusiastic and mean no disrespect! Generally during the first class I like to introduce parts of the guitar (body, neck, head, frets, etc.), string numbers, and pitch names as well as a single string folk song. The first three single string tunes that I have taught students for the last 5 years include Twinkle Twinkle Little Star, Mary Had a Little Lamb and Ode to Joy. These tunes were suggested to me during guitar workshops I attended at the 2006 & 2007 NJEA Conventions in Atlantic City (presented by Brian Belsky of Cinnaminson Middle School and Gregory Janicki & David Cona of Washington Township High School (Gloucester County). The “Music at Your Fingertips-Building a Guitar Program (Parts I & II)” presentations made a huge impact on me during my early public school teaching career. It is suggested that you teach these songs to students on the first string (E) of the guitar (closest to toes and highest pitched open string) using fret numbers only. Students have been familiar with these tunes for most of their lives and would easily recognize their own mistakes. Students can use the left hand index finger to fret and the right hand thumb or guitar pick to pluck. Other fingers of the left hand as well as a right hand index/middle finger rest stroke can be added at a later time once the students are comfortable.
The B Section is:
7 7 5 5 / 4 4 2 / 7 7 5 5 / 4 4 2 // Up a - bove the
0 0 7 7 / 9 9 7 / 5 5 4 4 /2 2 0 // lit - le star
I won – der
a dia –mond
The number zero represents an open string (unfretted), and the other numbers are the fret locations. Please appoint more experienced students to shadow the beginners. This will give them an extra sense of value in the classroom. The instructor can listen for buzzes, clicks and mutes if a faulty technique is in place. Remind students to play in the middle of the fret or closer to the fret wire instead of on the actual fret wire. Many common errors that you will encounter may be discussed in your teachers’ edition manual. Please keep in mind that you are not teaching at a European Conservatory, and by painstakingly obsessing over superior technique, you may discourage many of interested students from continued study. Usually during this time, it is not uncommon for a left-handed student to request to play holding the guitar in the opposite direction (head stock facing the opposite direction with strings reversed). Some very famous lefties include Jimi Hendrix, Seal, and Paul McCartney. During the 2006 Atlantic City workshop, Belsky, who performs as a left-hander, suggested instructing all students in the traditional right-handed position. Reasons could include that there are no left handed flute or violin positions, less of a selection of LH guitars on the market, your left hand is the main source of fretting, and if you were in a situation needing to borrow a guitar, the chances of finding one would be an oddity. I hope that this is enough to help you make it through your first rotation of classes, and I am excited to bring you more information in the next issue of TEMPO. Above all, remember it is important that they leave on the first day with the confidence to believe they can learn a musical instrument.
The A Section of Twinkle is: Twin-kle, twin-kle
world so high,
what you are!
Quick Rules for Guitar Class • No walking and playing with guitars • Do not leave guitars on floor • No turning the tuning knobs (if school owned) • No rubbing picks on the body (this leaves scratching or indentations) • No standing on guitar footstools • No playing during loud speaker announcements • Please do not play while instructor is teaching • Students must bring Guitar Folder and pencil at all times OCTOBER 2012
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Separating Physical Actions From Cognition Via Technology-Based Instruments by VJ Manzo Worcester Polytechnic Institute email@example.com
n interactive music system is a hardware or software configuration that allows an individual to accomplish a musical task, typically in real-time, through some interaction. The design of such systems could allow them to be used in novel ways to allow individuals to compose and perform with greater ease than traditional instruments. Advances in technology have led to where what once took months of mastery on a traditional acoustic instrument, such as playing each triad in all keys, can now be accomplished with immediacy through the use of some accessible electronic musical instrument. Tod Machover, of the Hyperinstruments Group (Machover, et al., 1986), shared an interesting thought: “Traditional instruments are hard to play. It takes a long time to [acquire] physical skills which aren’t necessarily the essential qualities of making music. It takes years just to get good tone quality on a violin or to play in tune. If we could find a way to allow people to spend the same amount of concentration and effort on listening and thinking and evaluating the difference between things and thinking about how to communicate musical ideas to somebody else, how to make music with somebody else, it would be a great advantage. Not only would the general level of musical creativity go up, but you’d have a much more aware, educated, sensitive, listening, and participatory public.” (Oteri, 1999). If asked, for example, to play a I V vi IV chord progression on a polyphonic instrument for the learning exercise of hearing what a I V vi IV progression sounds like, a musician who is unfamiliar with performing on a polyphonic instrument like guitar or piano, might focus most of their attention on ensuring that they are playing the chords correctly and miss the purpose of the
activity altogether: hearing what a I V vi IV progression sounds like. Using an accessible software instrument that could allow an individual to, for example, press the number keys on their computer keyboard to perform the corresponding diatonic chord function could remove some of the need for attention to performance and technique issues that one might encounter while performing on a traditional acoustic polyphonic instrument. For educators, asking a student to play a I V vi IV progression might then only require the student to press the four number keys on their computer keyboard labeled 1,5,6, and 4 in order to hear the harmonic result. In essence, there could be less instructional emphasis placed on teaching physical technique, tone production, and other timbral factors since these variables are controlled by the computer software. The task of playing the chord progression by using a software instrument like this could allow users to focus attention on hearing the chord progression while they are playing it. Separating the physical act of performing from the cognitive function of hearing harmony is important to educators because it allows musicing (Elliott, 1995) to occur by students without making them wait until they have learned the performance skills of a traditional instrument in order to play chords. In this way, playing chords and, conceivably, being able to compose and perform with them can occur much sooner with an electronic instrument than with traditional acoustic instruments. This allows a platform by which educators can help students make sense of the harmony of which they now have adept control. It is important then to separate instruction in performance (i.e., instruction in the techniques of performing a musical instrument such as posture, chord shapes, and finger patterns) and instruction in musical-
ity (i.e., instruction in theoretical constructs like harmony, melody, and timing). If the instructional objective of an educator is to teach a rhythmic pattern to a student for the purpose of performing it back, such a task can likely be accomplished with any instrument including just the voice. The instrument best suited for the task is the one that provides the most transparency for the student in terms of enabling them to conceptualize the rhythmic pattern and physically demonstrate the rhythmic pattern with the fewest external factors not directly related to the conceptualization of the rhythm, but to the demonstration of the rhythm (e.g. proper fingerings, not holding the strings against the fret hard enough to produce the proper pitch, etc.). In this way, an electronic instrument that, for example, would allow students to tap two distinct percussive sounds by simply tapping their fingers on a table would seem a much more transparent instrument to perform than a drum pad where stick grip and other factors become additional layers between the student and the task of demonstrating the rhythm. By minimizing the number of layers between the student and the task, the concept of the rhythm can be isolated to some extent and understood apart from the context of it being performed on a particular instrument. Though the performance skills associated with the electronic instrument might not be transferrable to other instruments, they did not require much time in order to learn them, and they served the purpose of facilitating the acquisition of the rhythmic concept. Conversely, it is entirely possible to spend a great deal of time learning a traditional instrument, also gaining non-transferrable skills, simply to facilitate the same acquisition. Similarly, separating the cognitive functions of creating and performing music OCTOBER 2012
from the physical actions involved, at least to some degree, can allow individuals to develop an understanding about music using a musical instrument that is accessible to them. This is particularly important for disabled and special needs populations.
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Adaptive Instruments Some individuals cannot play traditional acoustic musical instruments, but, instead, play “adapted” or “adaptive” instruments designed for accessibility. Adaptive instruments can provide ease of use and accessibility for disabled and special needs populations. The instruments themselves are commonly created for a specific purpose, such as to play chords or percussive sounds, with a specific individual or group in mind with which the instrument will help overcome some limitation, perhaps physical or mental, on the part of the performer. Adaptive instruments can be acoustic or electronic in design and Crowe (2004) has reviewed the literature of electronic adaptive instruments used to assist in music making. Recent advances in technology have helped many new adaptive instrument projects to form including “Skoog” (Schogler, 2010), AUMI (Pask, 2007), “My Breath My Music Foundation” (Wel, 2011), and my own project, “EAMIR” (Manzo, 2007). An electronic instrument can be much easier to play than a traditional instrument like the violin simply because the capacity for advancements in electronic instruments is far greater than that of traditional instruments. The open-architecture of technology-based instruments, particularly those that are primarily software-based with interchangeable hardware controls, can allow an individual to customize an instrument for any performer, performance environment, or performance application. Even hybrid electro-acoustic instruments like the electric guitar have a greater capacity for advancements than traditional acoustic instruments simply because of their inclusion of technology. Changes to nearly every musical variable such as pitch, timbre, and dynamics can be expanded and enhanced to a greater degree than traditional acoustic instruments that possess no electronic technology. Musical concepts are often introduced to beginning music students using instrucontinued on next page
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ments of simple design such as in the Orff approach. These Orff instruments are easy to play, in principle; much easier than a violin, but limited in terms of the number of musical variables one can control compared to other acoustic instruments such as the violin. However, as a result of electronic technology, accessibility in terms of ease of instrument playability does not need to be a determining factor in musical sophistication any longer. If the design of a musical instrument, electronic or acoustic, can allow musical variables to be produced, manipulated, and controlled to some acceptable degree of sophistication, and the instruments potential to operate in this way is understood to some degree, then the control interface itself by which the instrument is operated is the primary remaining factor in evaluating the accessibility of the instrument and its potential for performance. Comparing the limits of traditional instruments to electronic ones, then, only reflects the shortcomings of traditional instrument design, not elec-
tronic instrument design which is seemingly without boundaries. Arguably, the more important comparison that can be made is with regard to the control mechanism of an instrument and those properties of the instrument that make performing certain musical operations more or less idiomatic than others. As technology continues to develop, the musical instrument as a physical “layer” between a cognitive process and the production of a related musical event may become more transparent. This layer will likely dissipate as the design of instruments become more user-centered in terms of accessibility related to specific musical tasks as opposed to the traditional design of instruments being acoustically-centered; that is, instrument design now being able to favor physical gesture efficiency and accessibility over what will produce the best timbre and the loudest volume as opposed to. If software systems can be implemented in pedagogical situations where there is little difference in terms of their role in
serving an instructional, compositional, or performance objective compared to traditional instruments, considerations like the performer’s body-type, physical capabilities, and so on, can, instead, become determinant factors regarding instrument use and design. Instrument creation can be designed to fit specific activities. These were possibilities that simply did not exist only a few short years ago, yet are now available through advances in technology. V.J. Manzo, PhD, is Assistant Professor of Music Technology and Perception at Worcester Polytechnic Institute (WPI). He is a composer and guitarist with research interests in theory and composition, artificial intelligence, interactive music systems, and music cognition. His research publications focus on the creation and implementation of interactive music systems for composition, performance, and pedagogy, and he is the author of several interactive multimedia projects. For more information, visit his website at www.vjmanzo.com.
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Making The Performing Experience More Meaningful To Students by Dan Halpern H.B. Whitehorne Middle School, Verona firstname.lastname@example.org
magine that the current structure of the educational system was completely erased and we had to redesign music education from the ground up. Presumably we would work backwards from the goals of instilling in all students a love of music, and giving them the skills necessary to form their own meaningful connections to music of various types. Whatever approach would be taken, it would likely be very different from the current system. Music education as it exists today in the United States is succeeding at training young people to perform at a high level, however, it is not succeeding at reaching a wide range of students and affecting the role music plays in their lives. The reason is that most students studying music in school are doing so in performance-based programs that do not focus on making broader connections. Since the current format of school music programs is unlikely to change any time soon, we as music teachers need to think of ways we can broaden the scope of our performing groups to achieve larger goals. We must begin to shift our emphasis away from focusing entirely on performance. Moving beyond a primary focus on performance is a challenge. It may involve utilizing an approach that is contrary to the expectations of students or community members. For many students, performance is the hook that makes them love participating in a music group. It is essential to note that I am not saying we shouldn’t strive for excellent performances, but rather, the path we take to getting there should involve a takeaway that translates to life-long music appreciation. Performance should be a means to an end of a broader music education, not simply an end in itself.
Music education advocates have tirelessly catalogued the rewards of studying music. Many of these, however, have more to do with character development than music: teamwork, setting and accomplishing longterm goals, self-discipline, etc. Of course these are all worthwhile outcomes, but they are not unique to the study of music. Teaching with an emphasis on performance puts priority on these types of outcomes, while to a lesser degree conveys the value of music for its own sake. The performance skills that students develop rapidly deteriorate once
they cease to perform. Therefore, we must consider what is lasting about our students’ musical experiences. While character development is valuable and life-long, often times the technical skills fade away, and there is almost no musical takeaway. Therefore, we must consider the following questions: Can students’ musical experiences translate to new avenues of understanding? Does the learning experience encompass exploration of the special nature of musical expression? How can our instruction impart to our students the ability and desire to make their
Music Is More Than “Character Education” There is no doubt that students benefit from participating in performing groups. TEMPO 38
own meaningful connections to different forms of music? The answer to these questions involves a dramatic change in how we conceive of our role as music educators. “But I’m Not A General Music Teacher. Performance Is What We Do.” This is true. Most directors of performing groups – and more importantly students – consider performance to be their main goal since that is how we are judged. Parents and community members hear our concerts, they know our scores and placements at festivals, and deem a music program successful or not on the basis of these performances. Presumably, if students perform at a high level, then clearly they have accomplished whatever goals were set. It is further presumed that through the magic of a great performance, a life-long appreciation has somehow been instilled in our students. This is a false presumption. The reason is that most people don’t differentiate between the skills required to perform music and the skills required to develop one’s own interpretation of music. Herein lies the problem. Most of our students will grow up to be listeners, audience members, and consumers of music rather than performers. Being a critical listener requires certain skills, knowledge, and understanding that are different from those required to perform it. These are the types of things we ought to be teaching in music classes in addition to performance. However, making performance a priority has led most music teachers to neglect aspects of musical instruction that are focused on reception, interpretation, and analysis. As a result, many students who have benefited from participating in excellent performing ensembles grow up to be adults with a limited knowledge and appreciation for music. We need to start thinking farther ahead than our next performance. In addition to setting goals for the instrumental or vocal skills we want our students to have, we should set goals for their listening skills. Our goals should extend beyond the next concert, or the next year. We should think of where we hope they will be in 20 years. Not only will we ask ourselves what kind of performers we hope to teach, we will consider what types of listeners we hope to inspire. Teach Students To Be Good Listeners Consider the concept of thematic development. Most students are able to perOCTOBER 2012
form a musical theme, but how many would be able to recognize contrasting themes and follow their development while listening to a piece of music? These are basic skills required to begin understanding hundreds of years of music, yet most adults can’t do it. Of course this is only one aspect of music appreciation, but it is rarely addressed in music classes today. It is easy to think of many other basic concepts that, if better understood, would lead to a greater appreciation of music. There are several creative ways to incorporate these concepts into the structure of a performing ensemble. Theme Sheets Oddly enough, the idea for using theme sheets originated as a solution to a performance issue. When a difficult passage occurred that required spending time on individual parts, it was preferable to have the full ensemble work on each part rather than having the majority of the group sit and wait while one section played. Using notation software, I created a worksheet showing all the themes and motives for a given piece. This allowed all students to be constantly engaged, and increased their understanding of how all the parts fit together. Occasionally modifications needed to be made to accommodate the limitations of various instruments. As I continued to use theme sheets I recognized the potential to use them as a vehicle for discussing broader musical ideas such as form, thematic construction, development, and more. A theme sheet can include information and details that would be extraneous to the parts used in performance, but are useful for learning. Past examples have contained historical and biographical information, analysis symbols, and titles for each theme that help students to understand the structure of the music. One can also include various statements of a theme to show its development. In this way, learning to perform a piece becomes a tool for developing a deeper understanding. Repertoire Choice Much has been written about the role of repertoire in music education. The bottom line is that if we want our students to have a deeper understanding of music, then they need to perform music that lends itself to developing that understanding. Music that is designed to be accessible and easy to perform is not likely to provide many possibilities for engaging in meaningful dis-
cussion. A great deal of “made-for-school” music is repetitive, generic, and recycles the same gimmicks and musical devices that might be appealing to students, but doesn’t translate to higher learning. Before deciding to perform a piece, consider what broader connections could be made while learning it. What other repertoire is related to this work? Does the piece utilize techniques that are common to a particular style or genre of music? If the only other related content is other made-for-school music, then perhaps another choice would be better. Though some teachers oppose the idea, transcriptions provide an excellent way to expose students to a variety of repertoire. There is no better way to teach students about a particular style of music than for them to play that music. For that reason, it is essential that the transcription maintain the character of the original work as much as possible or otherwise the effort is wasted. Those who are not in favor of using transcriptions often argue that it is best to play music that is specifically written for an ensemble. However, as an educator it is more important to consider the quality of the music itself. There are centuries of standard repertoire worth sharing with students that are preferable to the majority of new material being pumped out by educational publishers each year. Incorporate Music Criticism Into Rehearsals We often ask students to self-assess, but how often do we ask them to critique the music they play? Throughout history music has been subject to criticism, both positive and negative. Some works that are now considered great were heavily criticized when they were new. Ask students to assess the music they play. Challenge them to articulate specifically what they like and don’t like about it. If they don’t like it how could it be made better? They can also respond to other people’s thoughts and defend their opinions. This is an excellent way for students to apply the knowledge they have gained, and reinforces the idea that better understanding can lead to increased enjoyment.1 Turn Students Into Teachers An excellent way for students to develop a deeper understanding of music is to have them present their ideas to others. One way to do this is to have them explain part of their music during a concert. Students can briefly describe the form and structure
of a piece to the audience, and play musical examples to demonstrate each theme or section. They can also design visual representations to help guide the audience while they listen. This gives students an opportunity to apply concepts from other subject areas, and it helps to further engage audiences. It also demonstrates to parents and community members the scope of what we do in the classroom beyond simply singing and playing instruments. Another way for students to demonstrate understanding is to write program notes for their concert. Again, they can apply concepts they are learning in other classes to research and write a brief description of the music they are playing. A simple twoparagraph structure is simple and easy to handle. The first paragraph can give background information about the composer,
and the second can be a brief description of the music. Students can read examples of program notes from professional concerts as an example. Distributing students’ program notes at school concerts is a great way to showcase multiple types of learning, and can help to educate audiences as well. The Future Of Music Some of today’s music students will be the famous performers of tomorrow. Others will be tomorrow’s parents, teachers, administrators, board of education members, and voters. We need to consider how our current practices will translate into their lives in the future. By thinking bigger and incorporating subtle changes into the way we teach, we can effect a dramatic positive change in the way music matters to our students.
For any questions, comments, or for examples of the resources described in this article, please contact Dan Halpern at halperndan@ hotmail.com. Endnotes 1 A fantastic and humorous resource is Nicolas Slonimsky’s Lexicon of Musical Invective: Critical assaults on composers since Beethoven’s time. This book is a collection of musical criticism from throughout history that illustrates the interaction between critics and composers, and how new music has been received.
Voices In The Middle: Encouraging Singing Among Middle School Students by Faith M. Lueth Berklee College of Music email@example.com Reprinted from Massachusetts Music News
iddle school is the most exciting, frustrating, challenging, and satisfying age group to teach. Are you exhausted just thinking about it? Do you see the potential for making an impact? For many years, middle school and middle school choral music filled my day and my thoughts. Recently, I found myself thinking about middle school choral music again as I visited classrooms and answered some questions from both teachers and collegiates. Who are these students in the middle, who on many days never seem to walk in a straight line—but instead, ricochet from one side of the hallway to another? What can we offer these male students who seem to want to jump up and touch the top of every doorway they enter; these female students who have found their talking voices and never seem to experiment with silence; who must always do every activity in groups; these students of both genders who are trying to find out who they are, and are grappling with issues of self-esteem? We offer them the opportunity for involvement— both physical and mentally. We offer them an appropriate outlet for emotions. Most of all, we offer them the opportunity to increase their self-esteem by achieving excellence! This is an age group that has more potential than any other, perhaps because these students are at an important crossroad in their lives. How we inspire them and help them reach their potential will determine in large part the degree to which the remainder of their lives is enriched by the gift of song. It could also determine the depth of their support for music in public education as adults. At the recent biennial conference of the National Association for Music Education in St. Louis, I had the opportunity to examine several research projects. There
were many excellent posters on display that intrigued me, but one in particular caught my attention. The research focused on when people first thought of themselves as a singer—and when they first realized they were not a singer. The graph was startling. By a very wide margin, people first thought of themselves as a singer between ages 1-5. Stunning! However, the next huge jump in the graph showed when people first realized they were not a singer. That was ages 1114. Yes, indeed—middle school age! The sad part is that once a child has taken the identity of a nonsinger he/she almost always holds that identity forever. Meeting The Challenge What implications does this study have for music educators? First, music is tremendously important in the very early years. In particular, singing is important throughout K-12. It is especially crucial during middle school years. Singing experiences in school, in the community, and in the family are terribly important. What does that mean for public school music educators? • High school and middle school teachers need to advocate to keep music in kindergarten and first grade vibrant. The vibrant singing experiences of kindergarten and first grade will impact the vibrancy of singing in middle school. • Children in the lower grades need to experience music through singing, and to sing often, both in class and in public performance (or “informance”) opportunities. These public performances should educate the audience as to what is happening in music classes, and give the audience the opportunity to experience singing as a community event. It should not be an isolated experience where the singers
only “perform.” We need to take a lesson from many cultures around the world where singing is part of the culture. How does that happen? Singing is a community event where everyone participates in the song. We need to rethink our “performance” structure so that the entire community participates in song. There are many creative ways in which this can be done. • The experience of singing needs to be a vital and significant part of the music curriculum—K-5. Too often, singing takes second place to other activities merely because the music teacher may be uncomfortable with singing or planning singing experiences that inform music learning. The elementary general music teacher has a great impact on building a culture of singing. • Middle school should include opportunities for singing both in traditional and notttraditional courses. Guitar, world drumming, and composition are great and necessary courses for middle school. However, they should also include singing as part of that curriculum. • Middle school choral music should offer varied opportunities for students. Boys will develop as singers if there is an opportunity for them to sing together as a boys’ ensemble. Research shows that one of the best ways to recruit and encourage boys to sing is to create a separate ensemble for boys. This is true from middle school through college. They can also sing in a mixed group— but they need a time when they can sing together as a male ensemble. It takes away the distractions, establishes their self-esteem, and allows them to find and develop their vocal identity.
Guidelines For Good Singing In Middle School • Work to expand the entire range— using warm-ups that vocalize from the top downward. Boys need to relate their new changed sound to the sound they had as trebles, and practice bringing the sound down gradually. They will learn to bring the open sound down into the new expanded bottom range. Otherwise, they will land on the new notes like a ton of bricks and the sound will be just as clunky. There will be some notes in the middle that do not come out some days, but that is alright. Play examples from Bobbi McFerrin and others who use an expanded range. Show them the Harlem Boys Choir, the Newark Boys Choir, and the American Boychoir. Show them clips of boy choirs performing world music. Fill their heads with those sounds.o Syracuse. • Guide them into knowing how to use this wonderful instrument that every human being has. Guide them into open and free singing with unified vowels. Do the vowels have space? Do they know what to do with diphthongs? Are your ears and theirs tuned to listening for a unified sound? • Take a good look at the music you are about to select and make sure that the tessitura of the piece matches the tessitura of their voices. Have you chosen a piece that goes too low so that they lose the “feel” of where the pitch is? The music you select will help build success or put them on the road to failure. Do you select a piece where they can develop good tone quality? • Give them a piece where they can sing a line. Middle school singers, including boys, need to sing a line. They respond well to that. One of the college choirs I conduct is one where many of choir members have not been part of a choral ensemble previously. Without exception, when I ask them to pick their favorite piece from the semester they will pick the one where they had to sing with line. Yes, we need to provide rhythmic pieces, but they need to also experience lyrical singing. • Use movement in the rehearsal to increase their musical understandOCTOBER 2012
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Online | Flexible | Affordable see anew ing. Having them make gestures that mirror the sound is helpful. Some of the South African, as well as other world music pieces, are excellent for incorporating movement and instrumentation. You can start with the basic melody and make an arrangement that fits your group. I saw this done very effectively at the recent Eastern Division Conference of the American
Choral Directors Association with a boychoir and attendees perform ing Tshotsholoza. It is energizing and appropriate for a very movement-oriented age group! • Use conducting gestures that are effi cient, economical, and give indication of the sound you want from the choral group. They will follow your gesture! continued on next page
Guidelines For Building Musical Thinkers I have observed Judy Bowers from Florida on several occasions. Recently, at the ACDA Eastern Division Conference in Providence, RI, I had the opportunity to attend her rehearsals and the performance with the middle school honor choir. The singing was incredibly musical. That did not happen by accident and it was a direct result of guidelines that Judy Bowers has ar ticulated that will enable any choir to sing musically. Below are the guidelines that she shared with us at a Massachusetts ACDA conference a couple of summers ago. They are designed to make the singers think for themselves in order to develop as artists. These guidelines are from a handout from Bowers on rules for guiding student decision-making in performance. • Rule of the Steady Beat: Any note lasting longer than the steady beat should crescendo slightly to add line. • Rule of the Slur: There is an implied tenuto under the slur.
• Rule of Word Stress: A d d i t i o n a l emphasis should be placed on important words or syllables, as in speech, so that the musical phrase will have shape and the audience will understand the text. • Rule of Diphthongs: All “double vowel sounds,” i.e. diphthongs, should be performed on the first vowel until the release. The second vowel should be flipped immediately prior to release (1= Aaaaaahhhh ee). • Rule of Punctuation: Singers should break the sound at all punctuation marks provided in the text. While not all marks will be observed in a musical performance, MANY marks will apply, so the conductor must only address those releases NOT following the rule. The real benefit is avoiding breaks that should NOT be taken: no punctuation, no break! • Rule of Consonant Release: Determine a general principle for release and teach only those places that don’t match the rule you have established.
• Rule of Dissonance: Crescendo into dissonant chords and diminish on resolution. These “rules” work with all singers and are effective in training students to think during rehearsals and performance! There are lots of resources available. Below are just a very few: • The ACDA website www.acda.org has a lot of repertoire suggestions for mid dle school under that Repertoire and Standards section. You will find pieces that are good for developing choirs, and pieces that are good for transitioning from where they are to where you want them to be. There are several pdf files available for downloading. You can also find performances by middle school choirs. • The DVD, Body, Mind, Spirit, Voice with Anton Armstrong and Andre Thomas is available from Lorenz Corp or from the American Boychoir School. Every middle school choir director should have this in his/her library.
Organization of American Kodály Educators National Conference March 21-23, 2013 Hartford, CT
Mini-Conference Mollie Stone & Patty Cuyler
Children’s Choir Conductor Susan Brumfield
Keynote Speaker Peter Boonshaft
Youth Choir Conductor Janet Galván
Opening Concert The Hartt School Chamber Choir Edward Bolkovác, Director
Concert Women’s Choir Conductor Martha Shaw Chamber Ensemble Conductor Ellen Voth
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• Sahaytah by Ben Allway, published by Mark Foster. Easy, flexible voicing, audience participation, guitar, piano, flexible percussion. • Bonse Aba published by Heritage and arranged by Victor C. Johnson; 3-part mixed; flexible percussion. • Zol Zain Sholem arr. Joshua Jacobson; published by World Music Press; audi ence participation; solos; possibility for klezmer band intro, interlude (not written). • Niska Banja—ZTT. Nick Page; pub lished by Boosey a& Hawkes; 4 hand piano (can be played by good students) flexible voicing. • Bist du bei mir by J.S. Bach; edited by Bartle; published by Gordon V Thompson; unison and strings.
• Art Thou Troubled? By G.F. Handel; edited by Bartle; published by Hinshaw; unison and strings. There are a lot of possibilities for an age group with a lot of potential. The impor tance of keeping singing alive and well with middle school students should not be un derestimated.
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Schools that have music programs have significantly higher graduation rates than those without music programs (90.2 percent compared to 72.9 percent). On average, students in music performance scored 57 points higher on the verbal and 41 points higher on the math section of the SAT than did students with no music participation. Here are some simple, time-effective ways parents can assist their child’s school music educators:
Tips to Share with
Parents wield extraordinary influence over local principals, school boards, and other decision makers. Encourage them to become involved in the advocacy process and make a significant difference in the quality of their child’s music education program.
Access the Status Quo: • Study the ways that music education develops creativity, enhances cooperative learning, instills disciplined work habits, and statistically correlates with gains in standardized test scores. • Speak with your local school board about your desire to have a strong music education for your child. Communicate Effectively • Be in touch with local music teachers on a regular basis. Offer to help out. • Ask yourself why your children need high quality music education. Be able to articulate the answers to teachers, administrators, and other parents. • Take part in your school’s music booster organization. Visit www.nafme.org for more Parent Resources.
The Role Parents Play In Music Education
by Milton Allen Conductor, Clinician, Speaker, Author, Advocate email@example.com
f all the elements of music education that can contribute to a student’s success, perhaps the most important – and the most taken for granted – is the role parents play. Sure, they help provide the instruments, lessons, transportation, program support and a myriad of other things (including the students themselves), but oftentimes the real value of creating a strong student/parent/teacher triumvirate is overlooked. We music educators see our students at school, but they don’t live in our homes. The culture of a school is different than home life as well. While directors certainly influence their students, the wise director knows that supportive parents can make a world of difference in music education. ������������������������������������� Studies support what the director already knows, too. A 1996 dissertation by Mary Janet Brown at Ohio State University recorded parents’ perceived feelings regarding their children’s band participation. Parents were categorized as those of either a “dropout” or “non-dropout” band student. As you might expect, parents of non-dropouts believed their kids had a better attitude toward band, had average or slightly above average musical talent, practiced more frequently, and were making good to excellent progress. Furthermore, those parents believed that band provided benefits not found in other school subjects and encouraged family attendance at live arts events during leisure time. I did find it interesting that the students were not as positive in their responses as their parents, but consider the impact of the positive parent! Research by R. H. Woody in a 2004 issue of Music Educators Journal confirmed families as a primary motivating factor for young music students. Other studies have described the effect parents can have by exhibiting negative attitudes, as well as by how passive or aggressive their support of
the music student is. In fact, there is ample research linking positive, supportive and active parents with students who successfully participate in music and, more specifically, music ensembles. So, how can parents help support their child’s instrumental music education, whether that student is a fifth-grade beginner or a high school senior? Here’s a list of 10 suggestions to get the ball rolling: 1.������������������������������������� ������������������������������������ Invest in a good, brand-name instrument. Nothing is more discouraging to a student than attempting to play on a bad one. And bad instruments also lead to bad habits. Perhaps grandpa’s clarinet might best be left in the attic. 2. Help the student find a time to set aside to practice every day, as well as finding a specific place to practice. This will help develop positive repetition and create the right mindset. For beginners, think about two or three 5-minute sessions, and then extend the time from there – they don’t have as much to practice yet, and this will also help strengthen embouchure muscles. 3. Support the sounds you hear! And know that it ain’t gonna be pretty at first. Refrain from comments like: “Ouch,” “What was that?” “Stop,” or “Can you do this later?” Replace those with: “Oh, I like that,” “Play that again for me,” and “That’s getting better.” Be POSITIVE. 4. Create opportunities for the student to perform. Family gatherings, holidays, church, that lunch meeting – nothing is more exciting than performing for people, no matter how simple the song. (Line #28 is just fine.)
5. Lessons are a terrific way to help the student musician not only progress, but to stay motivated! Of all the things a parent can do to help their student’s musical progress, none can have more impact than the individual attention and expertise provided by a good private instructor. 6.������������������������������������ ����������������������������������� Attending live performances of different kinds of music can serve to expose, educate, motivate and inspire the musician while immersing him or her in the excitement of such an event. A great aside to the experience is the emphasis it places on the importance of music as a part of the family’s artistic culture.
Have your students participate in the largest holiday percussion show in the state! Students from elementary to college level are joined with professionals to bring in the holidays with a bang! Last year we had over 50 percussionists performing at the Woodbridge Mall! Check out our website at www.holidaypercussion.com
7. Summer music camps are a great way to provide not just a musical experience, but one which can be life-changing due to the short, yet intense nature of such an event. Being surrounded by like-minded peers can have a profound effect on musical growth, as well as learning from terrific, dedicated instructors. 8. Music downloads and CDs! Of course, this probably won’t take much urging, but when possible try to encourage both diverse and major works/ composer/groups/artists in addition to the “normal” listening fare. Don’t forget to suggest artists and pieces/songs you enjoy, too (a great source of discussion)! Note: recorded music is not a substitute for live performance! It’s still extremely important to have that live experience. 9. Think about times to engage in musical conversation, for example, “What did you think of that movie soundtrack?” How about asking, “What is that instrument?” You get the idea. 10.���������������������������������� ��������������������������������� Encourage the student to make music with others, whether friends or a local community group. Bonus: Become active in the school’s music activities or booster organizations. Your help is not only important in its own right, but it sends a strong message to the student about the importance of music. Milton Allen is a popular conductor, clinician, speaker, author and tireless advocate on behalf of music education. He serves as an educational consultant for Music & Arts, the largest band and orchestra instrument retailer and lesson provider in the country, with more than 100 retail locations across 20 states. For 60 years, Music & Arts has served students, teachers and families through retail stores and school representatives, facilitating rental and lesson programs.
& OCTOBER 2012
Undergraduate programs performance music education jazz studies composition music production and technology music and performing arts management music theory music history music theatre actor training dance
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www.hartford.edu/hartt 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.
Music Of The Moment:
The Importance Of Including Popular Music In The Curriculum By Edward Balsam Maywood Avenue School, Maywood, NJ EBalsam@gmail.com
icture the movie Mr. Holland’s Opus; specifically the scene in a 1960’s high school general music classroom where the teacher, Mr. Holland, is teaching his students about Bach. The students appear to be disinterested in the material and most seem as if they are asleep. While sensing this, Mr. Holland goes over to the piano and begins playing Bach’s Minuet in G Major. One of the students exclaims that he is playing a song by the band “The Toys,” to which Mr. Holland informs them that the song the student is referring to is actually based on Bach’s composition. At this point, he has grabbed the student’s interest and begins playing rock and roll music on the piano. Following this, you see the vice principal running down the hallway and interrupting the class to inform Mr. Holland that the students should be learning about the classics, not rock and roll music. This scene is not all that different than what takes place in a present day general music classroom. Students still learn about what the movie referred to as “classics,” such as Mozart and Beethoven, but what about the music of the students’ generation? Mr. Holland provided his students with historical context by relating music of his students’ time period to music from the past. A lot of music teachers today tend to shy away from teaching about current popular music such as heavy metal and rap as well as artists that include Lady Gaga and Justin Bieber. We as educators owe it to our students to provide them with a well rounded education. Popular music should have a greater role in the music curriculum because it grabs kids’ attention and the linkage to the past can be exploited to make traditional music studies interesting. The reasons for popular music not being taught in the classroom may stem
from the lack of instruction future educators receive on the topic while in college. Educators in American music education do not receive the training needed to help our kids understand the importance of today’s music and how it was built on music from the past. Students come to us knowing two types of music, the music that could be considered the soundtrack of their lives and the music heard only in our general music classes. In the article American Idol and the Music Classroom: A Means of Critiquing Music, author Jason Thompson writes that “the culture of today’s young people, often expressed through popular music, is frequently overlooked in public school music curricula. Perhaps this oversight results from the fact that popular music has not traditionally been viewed as having the same value as Western art music. Some music educators have not included popular music to teach music concepts, without imposing analytical methods from Western traditions, as a valuable way to extend the breadth of musical learning necessary for comprehensive programs.” As an undergraduate student, my music history class ended around the Gershwin era. With a lot of music educators being denied the proper training to understand and teach about modern day popular music, educators make the choice to stay away from teaching about it. As students listen to the music of today, they hear it without making any sort of historical connection to past forms. This lack of historical perspective means that students may not understand that the contemporary music played on the radio and internet is rooted in earlier music styles. A stronger background in these historical connections should encourage more creativity in students who want to pursue musical activities.
As we teach the students in these general music classes, we need to learn how to foster their love of music that they hear outside of school. If a student approaches the teacher asking them if they like a particular type of music, we need to learn not to dismiss it if it is not what we consider “good music.” Essentially, the student is looking to make a connection with the teacher through the appreciation of music. This is a crucial moment which can have a major impact on the student. They want us as teachers to appreciate their music. In order for them to learn to appreciate the “classics,” we need to learn to appreciate their music. Once we have learned to do this, then we can use it to our advantage.
The areas of popular music that should be taught due to historical importance alone include rap, disco, punk, and heavy metal. While not every artist today has the musical training that Lady Gaga has, we as educators need to make room in our class time to acknowledge the existence of popular music. A way to welcome these artists into the classroom could involve selecting an artist of the week that can be discussed in class and taking some time to listen to a song of theirs. This will grab the students and invite them to listen to other artists they may have not heard before. As educators, we need to foster our students’ love of music, not push OCTOBER 2012
them to listen to music we ourselves believe is suitable for their generation. In a sense, it is unethical to choose not to teach something solely because we do not agree with it. We will never fully know if students who have a strong interest in music will base their efforts on music they listen and like or on the ideas that were set forth hundreds of years ago by European men long dead. Ironically, countries outside of the United States, specifically ones in Europe, provide a music education in the modern popular styles. For an unexplained reason, music education in the United States fails to provide the students with an education in school about modern popular music. Students have opportunities outside of school to learn how to perform in the styles of rock and heavy metal with an organization known as the “School of Rock” as well as others in areas all over the country. Since not every student is interested in playing an instrument, those students are left out of gaining more knowledge about music they enjoy because it is left out of the general music curriculums. An issue with teaching about some of those popular styles is the assumptions students have made about the artists and the ideals that some of the music portrays. We need to caution them on the dangers of musical stereotypes. For example, students should not be surmising that rap is only full of aggression and that it deals with controversial themes. There is also the idea students have about punk rockers and how they all have “mohawks” and “wear chains” when historically the music was born out of boredom from an economic crisis. The disco era contains historical events such as the Gay Rights Movement and Women’s Liberation. Here students can see how the civil rights movement finally paid off as all genders and races put aside their differences as they danced together. Heavy metal music was just a version of rock that was a lot less light hearted and didn’t have to do with holding a girl’s hand or jailhouse rocking. Students should understand that heavy metal is not about devil worshipping or screaming loudly into microphones while playing extremely fast, loud and aggressively. Some of the messages of rock songs were examined in the article I Used to Get Mad at My School by Kevin J. Brehony. Songs such as School’s Out by Alice Cooper and Another Brick in the Wall by Pink Floyd were examined because of the anti-school message they appeared to send out. While Alice Cooper’s song was meant as an imaginative setting of what it would be like if school was out for good, some took it to mean that school was “out” as sort of the trend and may never be back “in.” Pink Floyd’s song caused enough of a controversy to be banned in some countries because of its portrayal of the school system. While it no doubt tells the story of some very over the top teachers, it should be examined as a whole with the rest of the album it comes from as The Wall was telling a story about depression and about building a metaphorical wall around yourself, separating you from the outside world and living inside with your demons. The historical context of these songs and genres should be understood by students as well as some of the artists and what music came out of these genres. In the world we live in, kids’ access to music is constant. Whether it is on TV, the radio, and the internet, music is always available. In order for them to appreciate it and understand where the music came from, we need to find ways to provide connections of today’s music to the past. By doing this, we are in a sense bookending what we’ve been teaching them. It ties everything together with the historical context provided so our students can see how we got from point A to point B to now. Instead of trying to avoid it in hopes that OCTOBER 2012
it will go away, we should allow the music of Lady Gaga and Justin Bieber into our classrooms. This could give us the much needed opportunity to bridge that gap between the music of the youth and the music of the past. Resources Brehony, Kevin J. “’I Used to Get Mad at My School’: Representations of Schooling in Rock and Pop Music ‘I Used to Get Mad at My School’: Representations of Schooling in Rock and Pop Music.” British Journal of Sociology of Education 19.1 (1998): 113-134. Print. Thompson, Jason. “American Idol and the Music Classroom: A Means of Critiquing Music American Idol and the Music Classroom: A Means of Critiquing Music.” Music Educators Journal 94.1 (2007): 36-40. Print.
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Your Role In Music Teacher Evaluation by Douglas Orzolek email@example.com
any of the issues we face in today’s educational systems are a direct result of the call for accountability in the United States. That call is the direct result of a cry of concern about the integrity of people in our governments, businesses, sports, religious entities, and even nonprofit organizations. While we cannot easily compare the education of children to the practices of a lending institution, there are some interesting similarities. Generally, there are three parts to any basic model of accountability: • a description of the ideals, goals, aims or objectives of the entity • a list of resources needed to act on or develop those ideals, and • an explanation of any consequences or outcomes related to any actions taken. Clear and concise communication of each phase is critical to success. The good news is that as a professional community, music educators have considerable experience in every stage of accountability as described in this model. We have learned to describe our goals and objectives through national, state, and local standards, and we are able to adapt them for application in our classrooms. We are skilled at using technology and other tools as resources to improve our work in various settings. Over the past decade, our profession has developed and learned to implement myriad assessment tools that allow us to evaluate our students’ work and improve our own. In spite of this, we have not yet established a suitable means of reporting the learning that happens in our classrooms. Look at What Students are Learning Why is this sharing of what our students learn so important? As Scott Schuler notes; “Across America, policymakers are turning to the results of student assessments as a means of measuring and improving teacher performance. The best of emerging teacher evaluation initiatives push us to do better what we should have been doing all along.”1 I could not agree more with his assertions, and I believe that one of our profession’s largest goals should be establishing archetypes that present evidence of student learning in our music classrooms. Ultimately, I would much prefer to have stakeholders gauge my work on what students are learning rather than any other factor. But that means I will need to spend some time figuring out how to expound upon the amazing learning in music and related areas that’s happening on an ongoing basis in my classroom and community.
You might wonder about the extent to which someone at a higher education institution should be ruminating about any of these things. But the truth is that the accountability movement is also alive and well at the college/university level, and the result is that professors are being asked two questions: What do students learn in your classes? and How do you know they have learned it? Many discussions and seminars are being held on my own campus to help professors heed this call and, for the most part, we are working together to find solutions and sharing our results with one another. Articulate a Clear Position So where do we go from here? How do we help one another with this issue? If, like me, you believe that our best work starts in the classroom, then it falls on each of us to consider the implications of this crusade. First, we should each be able to articulate a clear and concise position on how we would like to be evaluated and how we should share those ideas with one another as well as those who will be judging us. Since each of us would want to be evaluated by the good work happening in our classrooms, we should be able to describe what high-quality learning looks like. We all need to develop and use carefully-designed assessments that allow us to report on our success in helping students meet standards and objectives. And since this call might require us to articulate how/what we might change in our teaching, we must all learn to reflect deeply and communicate how we will improve our work. Finally, we need models on how to report on all these things. For example, take a look at the model I developed in the late 1990s and described in the November 2004 issue of Teaching Music.2 It’s not perfect, but it might help you to start thinking about how you could do something similar in your school. These are things that most of us already do and do well. The new part is that we must find ways to articulate and report these things to our leadership and stakeholders. But if we hope to improve the entire profession, we must be willing to share our individual work in these areas with one another. We might start by focusing on one of the previously listed ideas (for example, our home-grown assessment tools) and dispensing them to our music-educator colleagues in our school district for discussion and analysis. We could each share our personal positions on teacher evaluation via a blog on a state MEA website or discussion board. We could ask our collegiate colleagues to help find and implement models that might be applicable in our settings. We should also monitor the work of NAfME to stay on top of national initiatives that might be useful in our settings.
Get Involved! I view the call for accountability as a very complex, multi-faceted issue. This campaign has far-reaching effects on curriculum, instruction, assessment, teacher evaluation, professional development, policy and the preparation of future music teachers. With that in mind, the Society for Music Teacher Education (SMTE) is engaged with research, discussions, analysis, and a variety of projects that not only address the concerns related to teacher evaluation, but also those of preparing music educators to work in this educational climate. I encourage you to visit SMTE’s website (http:// smte.us), where you will find links to our teacher evaluation portal as well as updates on the tremendous work being done by our Areas of Strategic Planning and Action (ASPAs). You will find that we are directly addressing many of the issues facing our profession. Please feel free to contact any of SMTE’s state or national leaders if you
have thoughts or ideas about what you find there—your input and your comments are always welcome! I am hopeful that each of you will take the time to share your experiences and thoughts with one another. We all know that the call to accountability in education is here to stay. With that in mind, I suggest that we each become more proactive in this movement and bring our best ideas together to share with the profession. Not only will it ensure that music teacher evaluation will be fair, it will demonstrate our profession’s dedication to improving our work. Notes
Doug Orzolek is chair of the Society for Music Teacher Education of the National Association for Music Education (NAfME) and an associate professor of music education at the University of St. Thomas in St. Paul, Minnesota. He can be reached at firstname.lastname@example.org. This article, © 2012, is printed with permission of the author.
Scott C. Schuler, “Music Education for Life: Music Assessment, Part 2— Instructional Improvement and Teacher Evaluation,” Music Educators Journal 98, no. 3 (March 2012): 7–10. Doug Orzolek, “Creating a Voluntary Accountability Report,” Teaching Music 12, no. 3 (November 2004), 34–38.
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A Characteristic Band Sound? By William L. Berz Rutgers: The State University of New Jersey email@example.com
So, What is a Characteristic Sound?
he rich and long tradition of the orchestra has helped to establish a characteristic sound for that type of ensemble. Although each specific orchestra does have its own unique sound, all groups have a generally similar characteristic tone. Even most musical novices can recognize orchestral timbre; they know that it is an orchestra of some type, a symphony, chamber, or string orchestra. The situation with bands is not the same. This is due in large measure to the band’s vastly varying traditions. What kind of band should teachers emulate? What type of band represents a characteristic sound? Is it the professional band of the Sousa era? Should it be the large symphonic bands from the Midwest from the 20th century? Should it be the Eastman Wind Ensemble? What about the military bands in Washington? With the improvement of recording technology, some of the fine college bands like the University of Texas and the University of North Texas now present recording series of incredible quality; what about those groups? And if those variations are not enough, there are a great many superb ensembles in other parts of the world, especially the United Kingdom, Switzerland, Scandinavia, and Japan. Other than function and tradition, one of the primary causes for this diversity of sounds is instrumentation/size of ensemble. In several conversations with legendary teacher and conductor Frank Battisti, he related to me that he feels that one of Frederick Fennell’s primary contributions to the band world was his approach to the sound of a band—in his case the Eastman Wind Ensemble (EWE). Prior to the founding of the EWE, bands at such places
as the University of Illinois (A. A. Harding and Mark Hindsley, directors) and the University of Michigan (William D. Revelli, director) represented the best band sound; they were the models for a characteristic tone quality. They were large bands where parts were highly doubled and players were encouraged to blend their sound into the whole not projecting any kind of individual presence except in a solo setting. Also, these bands tended to play at lower dynamic levels than were marked. The result was a rich symphonic sound somewhat like the string section of an orchestra; some equate it to the sound of a pipe organ. Fennell’s groups, in many ways, took the opposite approach. In most cases, there were only single players on each part. (The clarinets were later doubled.) The performers in the EWE were encouraged to play with an orchestral approach to wind playing where each player is a soloist. What resulted was an ensemble tone quality that was entirely different from what was the prevailing model of that time: the sound of the large symphonic band. The EWE of that day obviously had a wonderful balance, but the overall tone quality was very different from the large symphonic bands of that time. It was a blend of individuals like the wind section of an orchestra rather than the organ-like texture of the symphonic band. Looking for a Sound Direction Certainly, listening is a vital step for developing appropriate tonal practices. There are a great many recordings available. However, band conductors must realize that there is no single model; there are many. Teachers will also find many books and articles written about how to teach ensemble balance and sound as well. In a number
of articles that I have written for TEMPO in the past about tone quality for bands, I spent most of my efforts describing the balance and tonal principles of W. Francis McBeth. His ideas are probably the most popular for developing band sound. In the simplest terms, he held that low sounds need to take precedence over higher ones in terms of the general ensemble balance. This is to be the case with the band as a whole as well as within sections. I believe that this approach is exceedingly valuable and would encourage band conductors to investigate it fully. It is particularly useful for those conductors whose emphasis is on winning concert band contests as McBeth’s approach to balance helps to hide shortcomings in both sound and intonation. The overwhelming use of McBeth’s pyramid of sound is a primary reason why many band conductors see this as the only acceptable model for achieving the proper band sound. An issue is that many of the leading bands, both in the United States and abroad, do not adhere to this model. Instead, they tend to play more in the style of Fennell’s Eastman Wind Ensemble with a greater emphasis on the treble range. There is still great blend and balance, but the individual players are encouraged to play in a soloistic style, much like being a wind player in an orchestra. How Should a School Band Sound? The answer to that question is easy: sound musically beautiful. To achieve results is much more difficult. And, there is no single answer. Many conductors, especially in the secondary schools emulate the sound of a full orchestra, similar to Revelli’s University of Michigan Band of the 1930s-1970s. In OCTOBER 2012
this case, McBeth’s principles are very applicable. Treble sounds are held back and lower sounds are made stronger. This helps to solve a number of inherent problems in bands, including the shrillness of the clarinet in the upper register. As McBeth states, proper balance can help improve intonation as well. In many school bands, the better players are assigned the first parts; they tend to play with greater confidence with the result that the inner parts can be lost. McBeth’s theories can help to address this. Some ideas on how to achieve this goal in a school group would be to have first-part players play softer. Another would be to have fewer people on first with more on second and third. For example, with a clarinet section of 9 members: instead of splitting them into 3 first, 3 second, 3 third, assign parts as 2 first, 3 second, and 4 third. Yet another approach would be to rotate players so that some of the stronger performers are assigned to the lower parts on each given piece. Ensemble seating, especially in school groups, does not have to be entrenched as it is in most groups. Students can learn a great deal by playing different parts. There are some problems that were not addressed in McBeth’s early writings. For example, in many bands alto and tenor saxophones dominate the alto and tenor lines; this was not such an issue in the 1970s when McBeth did much of his writing and lecturing. This often occurs because there are too few horns, trombones, and euphoniums. Here McBeth’s pyramid is of little value. There may be enough alto and tenor but the tone is all saxophone with little brass sound. Granted, it is becoming increasingly difficult to have a complete instrumentation because of budget cuts, decreased instructional time in the lower grades, reduced number of electives—just to name a few. Teachers will need to be even more creative to encourage students to play the less popular instruments. Eventually, the nature of school bands may have to change and move to a different model from the concert band simply because of instrumentation problems. We already see many new compositions and arrangements where horns, double reeds, and other instruments are really optional.
A Sound Conclusion In the band world, the model of an excellent sound is not well defined. There are so many different kinds of bands with highly variable instrumentation and function. Conductors must realize this, and when teaching about ensemble tone and balance, select recordings for students to hear that are similar to her/his desired concept. In the mid-20th century, high school and college bands were often quite similar. They played similar literature (Persichetti, Schuman, Holst, Vaughan Williams, et. al.) and employed similar instrumentation (the symphonic band of varying sizes). Many high school and college band directors were closely allied with common purposes. With the rise of the wind ensemble movement in the generation after Fennell’s tenure at Eastman, many of the elite college ensembles began approaching the band differently. For the most part, they no longer performed music played by high school bands. Instead, they might play extremely difficult music sometimes for a small group of players. These conductors’ goals were laudable: trying to advance the original literature for winds to be on the same artistic footing as the orchestra, opera, and chamber music. The downside was that the college and secondary school bands were no longer as closely linked. Characteristic sound is yet another area where secondary school bands are separating themselves from the elite college band world. So, should the McBeth approach be abandoned? The answer is easy: NO! As stated above his ideas are invaluable and provide a great approach to teaching. However, a good number of band conductors no longer adhere to his central concepts, even when they say that they do. (If you don’t believe me, listen to their recordings with an objective ear.) I would suggest that we should no longer blindly adhere to McBeth’s ideals with religious-like zeal. His teaching ideas are fabulous. However, they do not consider every factor of band performance and do not always work musically.
As with most areas of music teaching, much of the students’ growth is dependent on the teacher’s musicianship. While teaching ideas proposed by McBeth and others are invaluable, teachers must be careful not to adhere to them too fervently. Instead, we must consider all music like professional performers do. They bring a broad set of musical experiences to bear with interpretation and consider both traditional and unusual musical solutions to performance issues. The same is true for ensemble quality. Bibliography McBeth, W. Francis. Effective Performance of Band Music. San Antonio, TX: Southern Music Company, 1972.
This comprehensive education tool brings harmony training, rhythm training and ensemble timing together in one convenient educator resource. It enables music educators to clearly demonstrate for students how to tune individual notes within chords, so that entire chords may be tuned. The HD-200 Harmony Director helps musicians understand how their parts fit into the complete harmony of the ensemble.
The Many Benefits of Music Education— Tips to Share with Parents Here are some ways parents can assist their child’s school music educators:
Teachers Everywhere Are Raving About
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. Be in touch with local music teachers on a regular basis. Offer to help out.
“The students can’t get enough of it! The feedback I receive is a lot of
Take part in your school’s music booster organization.
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Online Professional Development! Got music education questions? Want some expert advice? NAfME offers this exciting free benefit to members throughout the school year. NAfME members visiting the band, orchestra, chorus, jazz, inovations, guitar, general music, composition, and Collegiate networks can get expert advice in answer to their questions.
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Hear New Jersey’s best young artists perform in what The New Yorker calls “one of the best spaces in the Northeast.”
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This annual concert brings together some of the very best young jazz instrumentalists and vocalists from across the state for a dynamic group performance.
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All-State Wind Ensemble, Symphonic Band and Women’s Choir
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This performance features a collective of some of the most outstanding young instrumentalists and vocalists from throughout New Jersey. Adult $10–$27 Child $10 • Prudential Hall
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NJEA Convention November 8-9, 2012 – Atlantic City Sponsored by
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Thursday 9:30 am - 11:00 am Room 419, Convention Center Good Singing Is Good Singing This program will discuss how to help students navigate stylistic shifts while maintaining pedagogically sound technique. Clinician: Justin Binek. Thursday 9:30 - 11:00 am Room 421, Convention Center Take Note! Incorporating Music And Literacy Into The Elementary Classroom This session is designed to help the teachers find ways to promote active engagement, interest, and appreciation throughout the school day. Clinician: Amanda Newell and Sharyn Fischer. Thursday, 9:30 - 11:30 am Ambassador Room, Sheraton Hotel New Jersey All-State Band Procedures Committee Meeting Clinician: Albert Bazzel, WinslowTownship Schools. Thursday 1:00 - 3:00 pm Shelbourne Room, Sheraton Hotel New Jersey All-State Choral Procedures Meeting Clinician: Kathy Spadafino, Retired. Thursday 1:00 - 2:30 pm Room 419, Convention Center Elementary/Junior High Choral Reading Session Participants will focus and implement choral methods and techniques of blending, diction, and multicultural styles for an elementary/junior high choral group. Clinician: Christine Sezer, Retired. Thursday 1:00 - 2:30 pm Room 421, Convention Center Supporting Musical Learning Through Technology This session will be focused on technology based strategies to support and expand students’ musical learning in general and performance music classes. Clinician: Rick Dammers, Rowan University.
Thursday 3:00 - 4:30 pm Room 419, Convention Center Choral Reading Session This reading session will include octavos appropriate for SATB, SAB, TTB, SSA and SSAA. Clinician: Hillary Colton, Hunterdon Central Regional High School. Thursday 3:00 - 4:30 pm Room 421, Convention Center Arts Advocacy: Tips To Help Save A Program This session will provide ideas on how to use available information for the betterment of our programs. Clinicians: Bill McDevitt.
Friday 8:00 - 10:00 am Trump Plaza NJMEA Executive Board Meeting
Friday 9:30 - 11:00 am Room 419, Convention Center More Than Just A Stick Monkey: Establishing Musical Communication This presentation will examine additional ways to establish both a verbal and non verbal musical connection with your ensemble-beginning with the warm-up! Clinician: Milton Allen, sponsored by Music and Arts Center. Friday 9:30 - 11:00 am Room 421, Convention Center Quality String Repertoire: Part 1 Participants will read through literature emphasizing elementary/middle school levels.Â This session is geared towards all playing levels - Bring your string instruments! Clinician: Mary Maliszewski, West Orange Public Schools. Friday, 9:30 - 11:30 am Crown Ballroom I, Sheraton Hotel Collegiate MENC Chapter Meeting Clinician: Rick Dammers, Rowan University. Friday 1:00 - 2:30 pm Room 419, Convention Center Creativity And Literacy In The Classroom. Participants will be able to define creativity from a social perspective. By looking at the person and more specifically the personality traits that are most characteristic of creative individuals. Clinician: Sharyn Fischer, Manalapan-Englishtown School District. Friday 1:00 - 2:30 pm Room 421, Convention Center Why Is The Bow 90% Of String Teaching? Teach the Bow first. All instrumental string teachers need to concentrate on the bow to create an outstanding sound. This session will provide exercises and tricks of the trade. Clinician: Mimi Butler, Self-Employed.
Friday 3:00 - 4:30 pm Room 419, Convention Center Building A Strong Jazz Ensemble Rhythm Section This session demonstrates teaching techniques for creating cohesive and powerful rhythm section. The “engine” of the jazz ensemble. Clinician: David Demsey. Friday 3:00 - 4:30 pm Room 421, Convention Center Quality String Repertoire: Part 2 Participants will read through literature discussed at the earlier String Repertoire session, emphasizing middle school/ high school levels. This session is geared towards all playing levels - Bring your string instruments! Clinician: Mary Maliszewski, West Orange Public Schools.
Here are some simple, time-effective ways principals can assist their school’s music educators: Create and Foster an Environment of Support • Study the ways that music education develops creativity, enhances cooperative learning, instills disciplined work habits, and correlates with gains in standardized test scores. • Provide adequate funding for instruments and music education materials. • Make certain that your school has a fully staffed faculty of certified music teachers.
Tips to Share with
Principals and school boards have the ability to substantially aid music educators in their quest to enrich children’s minds through music. Fostering a strong music program will help them achieve their goals as a leader in the education community, and, most of all, will aid the growth and development of children in their school.
Communicate Constructively • Make statistical studies and research supporting the value of music education available to other administrators and school boards. • Encourage music teachers to support their cause by writing articles in local newspapers, professional journals, or by blogging online about the value of music education. • Share your students’ successes with district colleagues. Include articles in school and district newsletters to communicate the value of music in a student’s education.
Visit www.nafme.org for more Principal Resources.
Art McKenzie, Chorus
New Jersey All-State Chorus and Orchestra The Eighty-Third Annual Program THE NATIONAL ANTHEM Chorus, Orchestra and Audience Conducted by Keith Hodgson, President New Jersey Music Educators Association
John Yaffé, Orchestra Conductor Joyeuse marche..........................................Emmanuel Chabrier Daphis et Chloé, Suite No. 2.............................. Maurice Ravel Southern Exposure..................................... John David Earnest Orchestra
PRESENTATION OF PINS TO THE CHORUS AND ORCHESTRA Barbara Keshishian, President New Jersey Education Association
Art McKenzie, Chorus Conductor Hodie Christus natus est.......................................... David Fryling If Music be the Food of Love................................... David Dickau Sfogava con le Stele......................................Claudio Monterverdi Cloudburst.............................................................. Eric Whitacre Bogoroditsye Dyevo..................................... Sergei Rachmaninoff Pokpok Alimpako.........................................Francisco F. Feliciano Children Go Where I Send Thee............Paul Caldwell/Sean Ivory Chorus Make Our Garden Grow (Candide)................. Leonard Bernstein Combined Orchestra & Chorus
Thursday, November 8, 2012 at 8:00 p.m. Adrian Phillips Ballroom of Boardwalk Hall Atlantic City and Sunday, November 18, 2012 at 3:00 p.m. NJ-PAC Prudential Hall Newark, NJ
Art McKenzie has had a long and varied career as a music educator, minister of music, voice teacher, performer and musical theatre director. He is a cum laude graduate of Westminster Choir College in Princeton, NJ (BMEd/Voice), and a magna cum laude graduate of Indiana University in Bloomington, IN (MMVoice). Art has been conducting choirs for many years, beginning with his eleven years as Minister of Music in Havertown, PA and Plainfield, NJ. He has taught music in schools for fifteen years. As a private voice teacher, Art has taught his students the Bel Canto technique he learned while studying with Metropolitan Opera singers Margaret Harshaw and Nicola Rossi-Lemeni. He has performed in concerts, recitals, operas and oratorios throughout the United States and in Spoleto, Italy. Art is presently the Director of Choral Music at Overbrook Senior High School in Pine Hill, NJ. In the nine years Art has taught at Overbrook the choral program has grown from 29 to 205 members. His choirs consistently receive superior 1st place ratings at festivals and competitions, and they have performed at the NJ MENC 2010 conference and at the Kimmel Center in 2012. In addition to his choral position, Art has also directed musicals there for the past nine years. In 2006 he had the honor of receiving the Teacher of the Year award for Pine Hill schools. Art also has an extensive background in theatre, where he has stage direction, musical direction and performance experience. He has been involved in over 50 musicals at the Ritz Theatre Company in Oaklyn, NJ, where two of his productions were nominated for Philadelphia Barrymore Awards. Art has directed dozens of musicals at high schools as well. He has served as vocal director for musicals and as choral accompanist at Haddon Township High School for the past 22 years, where his wife is the choir and musical director. He is a president of the South Jersey Choral Directors Association (SJCDA) and is a member of the executive board of the New Jersey Music Educators Association (NJMEA). Art conducted the 2009 New Jersey All-State Women’s Chorus and the 2009 South Jersey Senior High Chorus. He will be an Adjunct Professor at Westminster Choir College this fall. He resides in Cherry Hill with his wife, Maryann. John Yaffé, Orchestra For more than fifteen years, conductor John Yaffé has been a highly regarded member of New York City’s musical community. He has conducted at Carnegie Hall, Lincoln Center, Symphony Space, and The 92nd Street Y, and has been lauded consistently by the New York Times and Opera News for his ability to inspire performances with “transcendent concentration, exemplary preparation, freedom, and commitment.” During his career, Yaffé was championed by several major figures: the great baritone Tito Gobbi, who invited him as musical assistant for his master classes in Florence, Italy; Julius Rudel, Music Director of New York City Opera, who invited him to join the company as an apprentice conductor; the legendary singer George London, who, after attending one of Yaffé’s performances, invited him to join the staff at the Washington (D.C.) National Opera; and Leonard Bernstein, who was Executor of Marc Blitzstein’s estate and entrusted Yaffé with revisions to Blitzstein’s opera Regina. Engagements at the “Wolf Trap Festival: and with symphony orchestras and opera houses in Maryland, Connecticut, Michigan, California followed. Soon after, Yaffé moved to Europe. He spent ten years as Répétiteur and Conductor in the German opera houses of Hagen, Münster, Osnabrück and Stuttgart. In addition, he served as Music Director of the Stuttgarter Operettentheater and was a guest conductor with the Städtisches Orchester Remscheid, the Südwestdeutsche Philharmonie, the Symphonie-Orchester Graunke of Munich, the Staatsorchester Stuttgart, the Stuttgarter Philharmoniker, and the Alt-Wiener-StraussEnsemble. Joseph Leavitt, former Baltimore Symphony Executive Director, then brought Yaffé back to the USA to lead the burgeoning Florida Philharmonic Orchestra as its Resident Conductor. During his tenure, Yaffé conducted over 175 performances to critical acclaim.
Justin Binek, Jazz Choir Director The New Jersey Music Educators Association proudly presents The 2012 New Jersey All-State Jazz Ensemble and Honors Jazz Choir
David Demsey, Jazz Ensemble Conductor (Selections to include the following:) Tuning Up....................................................Toshiko Akiyoshi Who, Me?.................................. Frank Foster, for Count Basie Lil’ Darlin’.............................................................. Neal Hefti Big Dipper... Thad Jones (from the WPU Thad Jones Archive) Stolen Moments.....................Oliver Nelson arr. Paul Jennings Randi..................................................................... Phil Woods Take the ‘A’ Train........................ Strayhorn arr. Ernie Wilkins Lazy Day.............................................................. Bob Mintzer My Foolish Heart....................Victor Young, arr. Dave Rivello Jacknife................................ Randy Brecker, arr. Jim McNeely There’s the Rub............................................ Gordon Goodwin Tow Away Zone....................... Thad Jones, arr. Mike Carubia
Justin Binek, Honors Jazz Choir Conductor (Program to be selected from the following:) Beloved............................................ Daahoud, arr. Justin Binek Blue Skies................................................... arr. Stephen Zegree Singin’ In The Rain/Umbrella .........................arr. Kerry Marsh There Is No Greater Love................................ arr. Justin Binek Voice Dance II......................................................Greg Jasperse Your Eyes............................................. LaRue, arr. Justin Binek Finale NJ Honors Jazz Choir & All-State Jazz Ensemble TBA
Thursday, November 8 , 2012 at 4:30 p.m. Trump Plaza Hotel, Atlantic City and Friday, November 16, 2012 at 7:00 p.m. NJ-PAC Prudential Hall
Justin Binek is the Head of Vocal Jazz Studies at The University of the Arts in Philadelphia, PA, where he directs the UArts Jazz Singers and Vox pop a cappella ensemble; teaches Jazz Improvisation, Musicianship, and Applied Voice; and serves as a voice department concert coordinator, accompanist and vocal coach. Under his direction, the UArts Jazz Singers performed at the 2008 International Society for Music Education (ISME) World Conference in Bologna, Italy; the ensemble has also given feature performances at the Berks Jazz Festival, Ohio Jazz Summit, and the Delaware Music Educators Association and New Jersey Music Educators Association Conferences. Justin has also helped UArts develop relationships with the Liverpool Institute of Music and the Projazz Escuela Internacional de Musica in Santiago, Chile. Justin also maintains an active jazz and classical performing schedule as a singer, pianist, and clinician/adjudicator. He is an active arranger and composer whose works are published by Sound Music Publications. A contributing author to Diana Spradling’s groundbreaking book, Jazz Singing: Artistry and Craft, Justin presented “The Ten Habits of Highly Effective Scat Singers” at the 2008 International Association for Jazz Education (IAJE) annual conference in Toronto, Ontario, and at the 2008 ISME World Conference. He has been the music director and conductor of the New Jersey Honors Jazz Choir since Fall 2007, and has directed numerous other state and region level jazz and classical honor choirs. Justin also serves on the faculty of the Halewynstichting Jazz Workshop in Dworp, Belgium, and the Pro Music Summer Camp in Tiffin, Ohio, and previously served as the Director of Jazz and Choral Ensembles at the University of Mary in Bismarck, ND. He holds a Master’s Degree in Voice Performance and Jazz Studies from Western Michigan University and Bachelor’s Degrees in Music Performance and Music Education from the University of Mary.
David Demsey, Jazz Ensemble Director David Demsey has been Professor of Music and Coordinator of Jazz Studies at William Paterson University since 1992, having formerly been a member of the music faculty, then Dean of Arts and Sciences at the University of Maine at Augusta for twelve years. A Boston area native with a bachelors degree in music education from the University of Maine, he earned a Doctorate in Performance at the Eastman School of Music and a Master of Music in Saxophone from the Juilliard School, the only saxophonist to hold graduate degrees from these two schools. Demsey is equally active as a classical and a jazz performer. He was featured with the Metropolitan Opera and on tour with the Kirov Orchestra of St. Petersburg. A member of the American Saxophone Quartet for a decade, he has premiered numerous solo and chamber works for saxophone. He was the National Anthem performer at the 2005 Baseball Hall of Fame Induction Ceremony, at the Major League Baseball Hall of Fame Game in 2003 and 2005, for the Boston Red Sox, and regularly for the NBA New Jersey Nets. Demsey is a busy educator and author. Winner of the New Jersey Jazz Educator of the Year and William Paterson Alumni Association Faculty Service Awards, he is a Selmer Jazz and Classical Saxophone Clinician, and has been a guest performer, lecturer or conductor at over 90 universities, public schools, and festivals, including recent residencies in Nanjing and Hangzhou, China, and in Ramallah, Bethlehem and Jerusalem. He is Curator of the newly established William Paterson University Living Jazz Archives, containing the archives of Clark Terry, Thad Jones and James Williams.
2013 NJ Elementary & Junior High Honor Choirs
U General Information U
NJ - Music Educators Association & American Choral Directors Association
The New Jersey Music Educators Association in cooperation with the New Jersey American Choral Directors Association is proud to announce the annual statewide Honor Choir program for outstanding elementary and junior high singers in grades 4 through 9. Once again, two performing ensembles will be formed: The NJ Elementary Honor Choir (grades 4-6, treble voicing) The NJ Junior High Honor Choir (grades 7-9, mixed voicing) DIRECTOR RESPONSIBILITIES Any church, school, or community choir director who is a member of NAfME and/or ACDA is eligible to sponsor students for membership in the Honor Choirs. Students must be residents of New Jersey. There is a limit of 16 student applicants from each school, church, or community chorus for each honor choir. The director will be responsible for: a. supervising the preparation of application & audition materials and sending all materials in one mailing b. ensuring that students are musically prepared for the first rehearsal c. coordinating efforts with the parents and sponsoring organization to assure that the singer is financed and has transportation provided and has all required paper work completed and submitted according to guidelines d. Rehearsal & Festival Days: attending both days in their entirety and assisting is required of the director or a pre-approved member of either NAfME or NJACDA e. Directors who serve as a judge may be excused from one of the rehearsal days. Please check the box provided on the application form and also email Debbie Mello at: firstname.lastname@example.org if you would like to serve as a judge. APPLICATION AND REGISTRATION All details of this general information, the audition instructions, and the application form have been assembled with extraordinary care by the Honor Choir Committee. To ensure that applications and audition materials will be considered, all directions must be followed exactly as printed. Questions may be addressed to the Honor Choirs Coordinator. Applicants should submit a fully-completed application, a high-quality audition CD, and an application fee of $8.00 postmarked by Wednesday, January 16, 2013. Audition results will be emailed following auditions. A hard copy will be mailed to directors, if requested. Registration forms and a $25.00 student participation fee must be postmarked no later than February 16, 2013. Remember: for this initial application process, submit ONE check for the total amount of $8.00 application fees for your students. In all cases, checks must be made out to NJMEA (no school vouchers).
All communications are done through email. Directors must provide a current email address. Prompt notification of email address changes is requested. STUDENT PREPARATION Music will be sent in early March, providing ample time in which to learn and memorize the material prior to the first rehearsal. It is expected that teachers will ensure complete student preparation. Student preparation will be monitored at the first rehearsal. FESTIVAL SCHEDULE Saturday, April 27, 2013: REHEARSAL DAY The selected choirs will rehearse at New Providence HS, 35 Pioneer Drive, New Providence from 9:00 â€“ 1:00 p.m. Saturday, May 4, 2013: CONCERT DAY (J.P Case Middle School, Flemington, NJ) 9:00 am - Full Rehearsals with guest conductors 4:30 pm - Gala Final Concert ~ All singers must attend both dates for the full duration to be eligible to perform in the concert. There are no exceptions. ~ HONOR CHOIR COMMITTEE Coordinator: Debbie Mello - email@example.com Elementary Manager: Janelle Heise Junior High Manager: Edel Thomas NOTE: The audition committee will meet on January 26, 2013. Audition materials received after this time cannot be considered, even if they are postmarked prior to the January 16, 2013 deadline. It is the responsibility of the director to ensure audition materials arrive prior to the selection committee date.
2013 NJ Elementary & Junior High Honor Choirs
NJ - Music Educators Association & American Choral Directors Association
& ELEMENTARY Audition Instructions &
These directions are for the ELEMENTARY HONOR CHOIR ONLY. See the next page for Junior High instructions. Follow these directions exactly. Failure to adhere to these specific instructions will result in disqualification of the auditioning singer. Remember that each school or organization may submit up to 16 sets of audition materials. However, care should be taken to only submit tapes which represent a substantial amount of preparation.
Elementary Honor Choir STARTING PITCHES (note: mC =middle C)
Elementary Honor Choir: Sing the 2 indicated vocalises: Voice Part Pitch Treble I 1. E above mC 2. C2 Treble II 1. middle C 2. Bb above mC
“All The Pretty Horses” solo Sing the solo (found on the application form) with the following starting pitches:
Voice Part Key Treble I Treble II
g minor G above mC e minor E above mC
1. APPLICATION FORM (see page 4 for Form) • Duplicate as needed. Complete thoroughly and legibly. 2. PREPARING TO RECORD THE AUDITION CD • Use only new, quality CD and quality recording equipment. • Only the student’s voice may appear on the CD. At no time may sounds, instruments or voices assist the student during singing. • Starting pitches only may be given by pitch pipe, accurately tuned piano or voice. 3. LABELING THE AUDITION CD • CD’s must be in commercial cases. • Only 1 singer may be recorded per CD. • Label BOTH the CD and case with only: a. The singer’s name b. The singer’s voice part 4. RECORDING THE AUDITION CD • The recorded audition has 3 parts which must appear in the order listed: I. SPOKEN INTRODUCTION. At the beginning of the CD, in a clear voice, the singer (not the teacher) must speak the following sentence, filling blanks with appropriate information: “My name is ____, I am in the ____ grade, and I am auditioning for the voice part of ____.” II. VOCALISE. As indicated in the column at the left, elementary applicants will sing the two printed vocalises, using the two starting pitches indicated in the column at left. The initial pitch must sound prior to the sung scale. All vocalises must be sung a cappella. The vocalise is printed on the staff below. The student will introduce each vocalise by speaking the following sentence, filling the blank with the pitch name: “My starting pitch for this vocalise is ____ .” Ill. “All The Pretty Horses” (see Application Form for solo). The song must be sung a cappella. Starting pitches are given in the column at the left. The initial pitch must sound prior to the sung solo. The student will introduce the solo by speaking the following sentence, filling the blank with the appropriate information: My starting pitch for “All The Pretty Horses” is ____.”
2013 NJ Elementary & Junior High Honor Choirs
NJ - Music Educators Association & American Choral Directors Association
? JUNIOR HIGH Audition Instructions ?
These directions are for the JUNIOR HIGH HONOR CHOIR ONLY. Follow these directions exactly. Failure to adhere to these specific instructions will result in disqualification of the auditioning singer. Remember that each school or organization may submit up to 16 sets of audition materials. However, care should be taken to only submit tapes which represent a substantial amount of preparation.
Junior High Honor Choir STARTING PITCHES (note: mC =middle C)
1. E above mC 2. A above mC
1. D above mC 2. G above mC
1. A below mC 2. E above mC
Tenor Bass I
1. E below mC• 2. G below mC 1. B 8va below mC 2. D below mC
Bass II 1. G 8va below mC• 2. C 8va below mC • May be sung descending first
“Velvet Shoes” solo
Voice Part Key
g minor G above mC
e minor E above mC
Tenor g minor G below mC
Bass I e minor E below mC
Bass II d minor D below mC
F above mC
1. APPLICATION FORM (see page 4 for Form) • Duplicate as needed. Complete thoroughly and legibly. 2. PREPARING TO RECORD THE AUDITION CD • Use only new, quality CD and quality recording equipment. • Only the student’s voice may appear on the CD. At no time may sounds, instruments or voices assist the student during singing. • Starting pitches only may be given by pitch pipe, accurately tuned piano or voice. 3. LABELING THE AUDITION CD • CD’s must be in commercial cases. • Only 1 singer may be recorded per CD. • Label BOTH the CD and case with only: a. The singer’s name b. The singer’s voice part 4. RECORDING THE AUDITION CD • The recorded audition has 3 parts which must appear in the order listed: I. SPOKEN INTRODUCTION. At the beginning of the CD, in a clear voice, the singer (not the teacher) must speak the following sentence, filling blanks with appropriate information: “My name is ____, I am in the ____ grade, and I am auditioning for the voice part of ____.” II. SCALES Junior High applicants will sing two diatonic scales (each spanning the range of an octave), using the starting pitches indicated for their voice part in the column to the left. Scales must be sung a cappella, using the vowel sound “Ah” Legato Style. The initial pitch must sound prior to the sung scale. Tempo: mm = 66 to 80 (one pitch = one beat). High Scale - ascend, breath, descend Low Scale - ascend, breath, descend “My starting pitch for the scale is ____.” Ill. “All The Pretty Horses” (see Application Form for solo). The song must be sung a cappella. Starting pitches are given in the column at the left. The initial pitch must sound prior to the sung solo. The student will introduce the solo by speaking the following sentence, filling the blank with the appropriate information: My starting pitch for “All The Pretty Horses” is ____.”
2013 NJ Elementary & Junior High Honor Choirs
NJ - Music Educators Association & American Choral Directors Association
B Application Form B
Please PRINT Legibly STUDENT: Name_____________________________________________________________________________________________________ Last First Grade Address___________________________________________________________________________________________________ Street, City, State, Zip
Voice Part: Elementary (circle one): Treble I ......Treble II
Junior High (circle one): Sl
If selected, I will memorize all my music before attending Honor Choir activities on April 27, 2013 (9:00 -1:00 p.m.) & May 4, 2013 (9:00 - 6:00 pm). I understand that I must attend both of these dates for their full duration to be eligible to perform in the Honor Choir Concert. _______________________________________________________________________________ _____________________________________ Singer’s Signature Date _______________________________________________________________________________ _____________________________________ Parent’s/Guardian’s Signature Date DIRECTOR: Name_____________________________________________________________ Last First
Member: NJMEA ACDA
Organization Address__________________________________________________________________________________________ Street, City, State, Zip
(H)_____________________________ (W)___________________ (Cell) ________________________
Student’s Sponsoring Organization (school, church, community chorus, etc.):
______________________________________________________________ ____________________________ I have read and accept the Teacher Responsibilities outlined on page I of this application packet.
❏ I would like to judge on January 26, 2013
_________________________________________________________ Director’s Signature
Checklist: 1.) Thoroughly read all information. 2.) Include audition cassette/cd(s) as per instructions on preceding page. 3.) Include a completed application form for each student. 4.) Include one check to “NJMEA” ($8.00 per student) 5.) Include a photocopy of your NAfME or ACDA membership card (include expiration date). 6.) Postmark deadline for all materials is WEDNESDAY, JANUARY 16, 2013. Mail applications, CDs & fees to: 2013 NJ Elementary Honor Choir 2013 NJ Junior High Honor Choir Janelle Heise Edel Thomas Pequannock Valley MS Kent Place School 493 Newark-Pompton Turnpike 42 Norwood Avenue Pompton Plains, NJ 07444 Summit, NJ 07901 PLEASE NOTE: To insure the safety and deliverability of your student CDs, please use padded envelopes or boxes (preferred) and use appropriate postage. When using USPS, please use Priority Mail. Do not use Parcel Post to mail your audition materials.
Master Music Teacher Award To be eligible for consideration, the nominee must: A. have completed a minimum of ten years of music teaching in the schools of New Jersey (public, parochial, private or collegiate). B. be actively teaching and a member of NJMEA-NAfME for at least ten years. C. display teaching excellence, as the only other major criterion used in the selection process. Deadline: March 15th: Nominee: ________________________________________________________________________________________________ Street Address: ____________________________________________________________________________________________ City: __________________________________________
State: ______________________ Zip: _________________
Telephone: _____________________________________ E-mail address: _____________________________________________ Teaching position: _________________________________________________________________________________________ School Name: __________________________________________ Street Address: ______________________________________ _ City: __________________________________________
Zip: ________________ County: ______________________
Telephone: __________________ E-mail address: ________________
Telephone: __________________ E-mail address: ________________
Telephone: __________________ E-mail address: _________________
Telephone: __________________ E-mail address: _________________
Please include with this form: 1. Academic background including degrees and certificates held. 2. Experience in the field of music including previous positions held, honors, and recognitions. 3. A minimum of two letters of reference supporting the candidacy 4. Additional supporting materials, including programs. photos, tapes, discs, public recognition, etc. 5. The candidateâ€™s teaching schedule, including number of students in each class, total enrollment in the school, specific periods and times, and detailed directions to the school. Please check the website at: http://www.njmea.org/MasterMusicTeachers.pdf to see who has received this award in the past. Mail this application, together with accompanying documents to: Beverly Rovinovitz Master Music Teacher Committee 67 Bayard Road Somerset, NJ 08873
Distinguished Service Awards The NJMEA Board of Directors has initiated a Distinguished Service Award for those members who have honored themselves with faithful service to music education in public, private, and parochial schools of New Jersey. Past and present members of the NJMEA Board of Directors are also eligible for the DSA since they have dedicated much time and effort toward State projects related to music education. The third and fourth DSA categories include individuals and organizations outside the field of Professional Music Education and NAfME officers on both the national and Regional level. The final decision on DSA recipients will be made at the February meeting of the NJMEA Board of Directors. The criteria below should be carefully read and studied to insure maximum consideration by the DSA Committee.
CRITERIA FOR SELECTION Recipients Can Be Nominated from any one of these categories
1. Members who have accumulated a total of 25 years in the service of Music Education. Eighty percent of the years must represent full time service in the schools of New Jersey. The member does not have to be currently active as a teacher. 2. Members who have ten years of meritorious service and outstanding leadership in Music Education as a member of the NJMEA State Board of Directors. It is not necessary to have accumulated these years in a continuous sequence. 3. Individuals and organizations outside the field of Professional Music Education in recognition of their service to Music Education. 4.
National and Regional NAfME elected officials who have initiated programs and projects that have benefited our state members and Music Education on a national and regional level.
Any member, person or group who has not previously received the award.
Nominations: The nomination plus required data must be submitted by an NJMEA member. The nomination is then endorsed by the DSA Committee and presented for acceptance to the NJMEA Board. However, the NJMEA Board may recommend or authorize the award if no nomination forms have been received from the membership by the DSA Committee. This board authorization must receive a 70% majority vote of the board membership. Number:
DSA Committee discretion (to be decided annually)
Presentation: To the recipients by the NJMEA President or his or her designee at a mutually agreeable occasion such as the annual state workshop/conference, region meetings, region concerts or festivals, local concerts, and retirement affairs.
ESSENTIAL DATA Please provide the following information on separate sheets in the listed sequence.
1. Name, address, phone and affiliation of nominee or group. 2. Name, address, phone of nominator. 3. Attach a vita for the nominee or group that is as complete as possible. 4. Summarize the achievements, contributions, or service on which the proposed award would be based. Include any evidence that the nominee or group would be receptive to such an award.
Please send two copies of these materials to:
NJMEA, Joseph Jacobs 309 Boston Avenue Egg Harbor Twp., NJ 08234 Information must be postmarked by November 1st
Outstanding School Board Award The New Jersey Music Educators Association seeks nominees for the Outstanding School Board Award. NJMEA presents an award to a local school board at the Membership Luncheon during the February NJMEA State Conference. This award acknowledges and awards outstanding school boards who exemplify superior support and commitment for quality music programs throughout all the grades of the school district. Selection by the NJMEA committee is based on the following criteria: A local school board must demonstrate the following: A. A significant contribution in support of the development of the district music program. This should include superior programs of sequential, curriculum-based music education. B. Advocacy for music education within the school district. C. Financial support commensurate to support a superior music education program of general, choral and instrumental music. D. Willingness to accept the award if it is bestowed and to participate in publicizing it. Nomination: 1. Completed nomination form. 2. A statement from the School Board President or other officer of the school board in which a rationale is put forth for accepting consideration of the nomination. 3. A statement of support from the district superintendent which describes the district music education programs to be considered as evidence of achievement in music education. 4. A letter of support from two or more of the music teachers. 5. A letter of support from two local citizens, public officials or parents. 6. A black and white photograph of the school board suitable for publicity purposes including a list of their names as they are in the picture and the number of years they have served on the board.
Outstanding School Board Award This form should be completed by the local school district and the nominator. Name of school district ______________________________________________________ School district address
School district telephone number _______________________________________________
Please answer the following questions in support of your nomination. Use a separate sheet. 1. How long have the members of the school board served? (Give names and length of service.) How long is a single term? 2. Describe how the board has contributed to the development of music education within the school district. 3. Describe any exemplary music programs in the school district that have been developed and implemented under this boardâ€™s direction. 4. Have students or programs in the school district won awards for achievement or recognition in music? 5. How have members of the school board been active advocates for music and arts education? 6. Please add any other information that supports your nomination. Signatures:
Superintendent of Schools _______________________________
School Board Chairperson _______________________________ Date _____________________ District Music Coordinator _______________________________ Date _____________________ Nominator _______________________________ Date _____________________ Send the form, photograph, and support materials to: NJMEA, Joseph Jacobs 309 Boston Avenue Egg Harbor Twp., NJ 08234 Recommendations must be postmarked by November 1st
School Administrator Award Awards and presentations are made annually to outstanding school principals and/or superintendents who demonstrate support for and commitment to high-quality arts education programs in their schools. The influence of such administrators is a major factor in improving music education in school systems across the state. One elementary school principal, one secondary school principal and one school district superintendent may be selected to receive this award. Individuals holding titles as assistant principal and assistant or associate superintendent also qualify. Administrators receiving awards will be notified by NJMEA and a presentation honoring them will take place at the Membership Luncheon at the February NJMEA State Conference.
C. The administrator must be an active advocate for arts education in the school and community. D. A financial commitment to music programs must be demonstrated in the school or school district. E. The administrator must show strong leadership, good school management, and good rapport with teachers, parents, students, and other school administrators.
Nominators must submit the following for each administrator: 1. Completed School Administrator Nomination form verified and signed by the nominator. 2. Resume of nominated administrator. 3. Two letters of support, including one from the music education faculty in the administrator’s school or district. 4. A picture of the administrator suitable for publicity purposes. 5. Name and address of the administrator’s local newspaper, television and radio station where applicable. 6. Additional support materials such as press clippings if available.
Selection by the NJMEA committee will be based on the following criteria:
A. The school or school district under the administrator’s supervision must have an exemplary music program, with a majority of the music staff holding NJMEA membership. B. The administrator must have served in the administrative position in the same school or district for no less than three years.
Application must be postmarked by November 1st School District _________________________________________________________ Send the form, photograph, and support materials to: Selection (check one) Elementary Principal __________ NJMEA, Joseph Jacobs Secondary Principal __________ 309 Boston Avenue Egg Harbor Twp., NJ 08234 Superintendent __________ Nominee’s Name ____________________________________
School Address ______________________________________________________________________________________________________ Please answer the following questions on a separate sheet in support of your selection. This form must be signed by the nominator and the administrator nominated and must be accompanied by a resume, two letters of support (one from a member of the music faculty), a publicity photo, and a list of local media and their addresses. 1. How long has the school or school district been under the administrator’s supervision? 2. Describe some of the features of the school or district under the administrator’s leadership that demonstrate how the music program is exemplary. Please include in your description answers to the following: a. Describe the music curriculum offerings and time allotment for students. b. How have music programs in the school/district been expanded or improved as a result of the administrator’s efforts? c. Have students or programs in the school or district won awards for achievement or recognition in the arts? 3. How has the administrator been an active advocate for music and arts education in the school and community? 4. How has this administrator demonstrated financial commitment to music programs in his or her school/district? 5. Give examples of the administrator’s strong leadership, good school management, and good rapport with teachers, parents and students. 6. Add any other information that supports selection of this administrator.
Nominator’s Signature ______________________________________
Administrator’s Signature ____________________________________ Date ____________________________________
UMDSOM_TempoNJ_fp_bw_Layout 1 6/25/12 12:37 PM Page 1
as music should only be
expressed from the context of
real life. ø Conservatory-caliber training in a liberal arts program at University of Maryland’s School of Music. music.umd.edu/apply
We’re looking for a different kind of student. OCTOBER 2012
T h e Re g d io un
Central Jersey Music Educators Association cjmea.org
Andrew Veiss-President firstname.lastname@example.org reetings and I hope that you have had a great start to your new school year. This year’s CJMEA is going to be a productive and eventful one! Our entire executive board is returning this year with the addition of Amy Six from North Plainfield to be the co-chair of the High School Choral division. Also, please make sure that you like CJMEA on Facebook and TheCJMEA on Twitter. You should have received a welcome email in September. If you have not, please contact me at president@ cjmea.org. If you have any questions or suggestions on how we can make the CJMEA work better for you and your students, please don’t hesitate to contact me or any of our board members. The directory is as follows: President Andrew Veiss email@example.com President-Elect Jeffery Santoro firstname.lastname@example.org Past President Hillary Colton email@example.com Treasurer Sue Belly firstname.lastname@example.org Secretary Sarah LiVecchi email@example.com HS Band Brian Toth firstname.lastname@example.org HS Chorus Hillary Colton & Amy Six email@example.com HS Orchestra Kawika Kahalehoe firstname.lastname@example.org Int. Band Celeste Zazzali & Meagen Spatz K8band@cjmea.org or email@example.com Int. Chorus Nina Schmetterer K8chorus@cjmea.org Int. Orchestra Penny Martin K8orchestra@cjmea.org Percussion Yale Snyder firstname.lastname@example.org Webmaster Anna Braun email@example.com Please mark your calendar during the NJMEA Conference. We will be holding our annual general membership meeting on the Friday of the conference. I am looking forward to meeting everyone there! The future of CJMEA is very bright. I am excited about working with our Executive Board and I am looking forward to working with all of our members!
Brian Toth-High School Band firstname.lastname@example.org Welcome to the 2012-13 school year! Best of luck to you and your students in achieving your musical goals. If you have any questions or if I can be any help throughout the year I am only an e-mail away. Hillary Colton & Amy Six High School Chorus email@example.com We are looking forward to a great school year. High school choral auditions will be at J.P. Stevens High School on December 8. There are several NEW Choral Directors in Region II this year. Please stay informed by reading TEMPO and contacting Hillary Colton, Choral Chairperson at firstname.lastname@example.org if you have any questions about Region Chorus. Get involved and make some new friends! Kawika Kahalehoe High School Orchestra email@example.com Greetings fellow orchestra directors, I hope you all had a great summer and the start of your school year is going smoothly. As of this publication, your students should be practicing diligently for their region orchestra auditions which take place on December 8th. I am pleased to announce Virginia Allen as this year’s region orchestra director. Allen, currently the conductor of the Philadelphia Wind Ensemble, is also on faculty at Julliard, Curtis, and the University of the Arts as a member of each school’s conducting department. Please remind your students that there is a mandatory reading rehearsal on December 15th at Montgomery High School from 9am to 1pm for all students who are accepted to region orchestra. Thanks and good luck to all of your students. Celeste Zazzali and Meg Spatz Intermediate Band firstname.lastname@example.org email@example.com Hello! Hopefully you have settled into the new school year by now and are ready to start thinking about getting your students involved in the various region activities available in the 2012-2013 season! This year promises to be another eventful one in the Intermediate Band Division with a handful of ways to get your students involved. First, this year we are pleased to inform you that both Meg Spatz and Celeste Zazzali will be continuing to co-chair your K-8 Band Division. We are excited about a great year and have already begun working on this year’s Elementary and Intermediate Band events. Mark your calendars: Intermediate Band, Orchestra and Percussion Ensemble auditions will be taking place on Saturday, February 2, 2013. Instrumental students in 6th-8th grade are eligible to audition, so start working on your applications now as they will be due in December. What we need now are managers and site hosts! If in the past you have not volunteered to manage because of the large time commitment, then you might be interested to know that this year we are trying a condensed schedule including more Friday nights and fewer Saturdays. If you are interested, contact Meg or Celeste
for more information. Another great way to get involved is to host a rehearsal! Rehearsals can happen in band rooms, auditoriums, or even cafeterias! Finally, we need a large venue to host our dress rehearsal and concert the weekend of March 9th. The Elementary/Middle School Band & Orchestra Festivals will be offered onthree dates in the months of April and May. Consider taking your ensemble – your group will receive taped and written feedback from the adjudicators, a brief clinic with an adjudicator, and the experience of hearing other bands and orchestras from throughout the region. Just a note that the Elementary Honors Band Festival has a new date. The festival will be on Saturday, May 4 at Rahway Middle School. This is a great experience for 4-6th grade band students and there are separate bands set up for students of all levels. Please check CJMEA.org for updates. Please get involved and take advantage of the opportunities listed above. If you are interested in managing the band or hosting an event, please contact either of us (firstname.lastname@example.org or k8band2@cjmea. org). Many well wishes to you as you start your preparations for the winter concert season! Nina Schmetterer-Intermediate Chorus email@example.com Welcome back to an exciting school year! There are several choral opportunities for you and your students this coming year including a choral reading/sharing session and performance through the intermediate choir and treble honors choir. Look forward to more information about these website. events through TEMPO and the CJMEA The CJMEA Region II Intermediate Choir is an SSAB choir (which includes cambiata/changing voices) for 6th, 7th, and 8th grades. Auditions will be held on January 12, 2013 at Avenel Middle School. All audition applications must be postmarked by December 7, 2012. Please see the CJMEA webpage for information and audition packets. Region choir is a great opportunity for you to meet choral teachers from our area, and we are always looking for more faces. Please join us for auditions to see what it’s all about! An early thank you goes out to the schools who have volunteered to host rehearsals, but we are still looking for three OCTOBER 2012
rehearsal sites in March. If you are able to volunteer, please email me at k8chorus@ cjmea.org Penny Martin-Intermediate Orchestra firstname.lastname@example.org Greetings from the Intermediate Orchestra Chair! We are looking forward to a great Intermediate Orchestra season. Anyone wishing to conduct either the String Orchestra or Symphonic Orchestra should consider managing the ensembles first to “get your feet wet” . We also need volunteers to host rehearsals. Cafeterias work just fine… it doesn’t have to be anything fancy. Please contact me through email if you have questions, concerns or you would like to volunteer. Yale Snyder-Percussion email@example.com I hope everyone has had a wonderful summer and is gearing up for the exciting year ahead. 2012/13 is looking to be a fantastic year in Region II percussion. In addition to our High School and Intermediate Region Percussion Ensembles, there will be holiday percussion concerts in December, percussion workshops at the NJMEA Conference in February, as well as percussion ensemble festivals in the Spring. I am still looking for managers and rehearsal sites for the Intermediate Percussion Ensemble. If you are interested in either please contact me ASAP.
North Jersey School Music Association njsma.com
ould you believe it’s October already? The summer was not long enough, September flew by, but hopefully, you became revitalized and are making great music with your students. You are the key to their success! The Region I Executive Board has been working steadily since it reorganized last June. Many great opportunities are being planned for you and your students. But first, here are some personnel additions to the board. Michael Saias, from the Windsor School, West Milford, was elected corresponding secretary at our annual General Membership meeting last May, replacing long-time board
member and band division co-historian, Paul Oster. Thank you for your service, Paul, to the students and teachers of the Region as well as the entire state. Maybe you have seen Michael assisting at such state functions such as the All-State Chorus, Orchestra and Jazz concerts in Atlantic City and Newark; at the Annual NJMEA Convention in February; or playing tuba in a band. Michael is eager to work with the Region Board and we welcome him. A search for new division chairs in the Choral Division brought us to Stephanie Quirk from the Bergenfield School District. At the time of this writing, conductors, accompanists and managers have not been secured so if you are interested in any of these positions, please contact Stephanie. Tom Voorhis, Ridgefield Park HS, Mike Semancik, Morris Knolls HS and Viraj Lal, Newark Academy, Livingston, have offered to assist for events. Viraj will continue to coordinate the Region HS Choral Festival, scheduled for Tuesday through Friday, November 27-30, 2012. We still are looking for another Choral Division Chair and an Elementary Band and Choral Division Chair. The first two events of the school year are the HS Choral Festival, dates mentioned above, and the third annual Junior HS Band Master Class, Saturday, December 1, 2012 at Newark Academy, Livingston. Then we kick off our honors ensembles with HS auditions Saturday, January 5, 2013, which will return to Paramus HS, hosted by directors Mark Donellan (Band), Judy Wilkes (Orchestra) and Stevie Rawlings (Chorus). The Junior HS auditions will run Saturday, February 2, 2013 at a site to be announced. Please visit our website (www.NJSMA. com) for updated information, application, forms, audition requirements and anything else Region-related. As always, please contact me or any one of the board members if we can assist you in any way. Michael Kallimanis, President Orchestra Division Nate Lienhard and Michael Holak Orchestra Division Co-Chairs The Region I Orchestra Division is excited to announce the events for 2012-13! Our guest conductor for the high school orchestra will be Ken Lam. continued on next page
Lam is the winner of the 2011 Memphis International Conducting Competition. He is the orchestra director at Montclair State University, the resident conductor of the Brevard Music Center in North Carolina and the artistic director of the Greater Baltimore Youth Orchestra. Lam recently concluded his position as assistant conductor of the Cincinnati Symphony Orchestra. He was a featured conductor in the League of American Orchestras’ 2009 Bruno Walter National Conductor’s Preview with the Nashville Symphony and made his US professional debut with the National Symphony Orchestra at the Kennedy Center in June of 2008 as one of four conductors selected by Leonard Slatkin. Last season he gave concerts with the Hong Kong Philharmonic, the Hong Kong Sinfonietta and the Taipei Symphony Orchestra. He was principal conductor of the Hong Kong Chamber Orchestra from 2001-07. In the US he has also worked with the St. Louis and Baltimore Symphony Orchestras. His conducting teachers have been Gustav Meier, Markand Thakar, Marin Alsop and Edward Polochick at the Peabody Conservatory. He studied with David Zinman and Murry Sidlin at the American Academy of Conducting at Aspen for three summers and was nominated for the Aspen/Glimmerglass Opera Prize. He was also a two-time fellow at the National Conducting Institute studying with Leonard Slatkin. Kim Chiesa, from the Randolph Township School District, returns with a few years of managing experience to once again handle this important role. Our guest conductor for junior high school orchestra will be Karen Pinoci. As co-founder and associate conductor/director of the New Philharmonic of New Jersey, she also serves as music director of the New Sussex Symphony and the Essex County Summer Players. Other engagements as guest conductor have led her to conduct performances with the Huntington Symphony (West Virginia), the Springfield (Illinois) Symphony, the Vermont Symphony, the Bronx Symphony Orchestra, the Brooklyn Heights Orchestra, the New York Symphonic Arts Ensemble and the Millennium Chamber Symphony in New York. Karen has studied under and taken master classes with a number of eminent conductors including Gustav Meier, Maurice Abravanel, Harold Farberman, Georg
Mester, David Zinman, Leon Fleischer, Sir Simon Rattle, Leonard Slatkin and Lorin Maazel. She has appeared at such prestigious festival programs as the Tanglewood Music Center Conducting Seminar, and the American Symphony Orchestra League’s conducting master classes. The recipient of numerous awards and accolades, Karen has been nominated “Woman of the Year” by the MacDowell Club of Mountain Lakes and “Musician of the Year” by the New Jersey State Conference of Musicians. She earned her doctorate in conducting from the American Conservatory of Music in Chicago. Mary Daly, from West Morris Mendham High School and a former orchestra division chair, will ably manage the junior orchestra this year. Her expertise will help in training these young musicians in the rules and regulations of future Region and All-State ensembles. The high school concert will take place Sunday, February 10, 2013. The junior high school concert is set for Sunday, March 10, 2013. The Region I Orchestra Division follows the scale and solo repertoire requirements of the All-State Orchestra. Please check the region or state website for further details. All accepted region orchestra string members will receive concert music prior to the first rehearsal. A string reseating audition on the concert repertoire will take place at the second rehearsal. The solo scores from the initial audition will be combined with the repertoire scores to determine the new seating. We hope your school year is going well. Please contact us if we can assist you in any way. We always need site hosts for concerts and rehearsals as well as sectional coaches for strings, winds and percussion. Check the dates in the Region calendar and contact us to sign up. Band Division Matthew Spatz and Gregory Mulford Band Division Co-Chairs We hope that everyone is off to a successful start of the year and are looking forward to a wonderful year of continued collaboration with all of the directors and students in North Jersey. At the end of last school year, Timothy Rausenberger stepped down as band division co-chair. We thank Tim for his years of service to NJSMA and wish him well.
We are pleased to announce that our guest conductors for the high school ensembles will be Glen Adsit, director of bands and associate director of the Instrumental Studies Division at The Hartt School, and Lewis Kelly, director of bands at West Orange High School. This concert will take place Sunday, January 27, 2013 with Adsit conducting the Wind Ensemble and Kelly leading the Symphonic Band. The third annual NJSMA High School Chamber Music Concert is scheduled for Wednesday, February 27 at 7:00 PM. This year the lineup of groups will include chamber winds, flute, clarinet, saxophone, brass and percussion ensembles. Please encourage your students to select this option on their high school audition application. The first annual Elementary Band Festival was a huge success and will run again this year. This one-day festival will be Saturday, May 4, 2013 at Columbia High School. The nomination process will be entirely online and can be accessed from the Region website. The junior high school battery percussion audition will continue to combine the snare and traps requirements. This year the junior high school snare drum rudiments have been reduced. Please print a new copy for you and your students which can be found on the region website. All students interested in auditioning for any region ensemble should visit www. NJSMA.com to obtain the appropriate audition information, requirements, solos and forms. All rehearsal and performance dates and times are printed on the application. Students should be reminded of these obligations prior to submitting the application. If a student elects to participate in an ensemble, that student will be expected to fulfill the scheduled rehearsal and performance dates if accepted. Region events do not happen without help from the directors within the region. If you are interested in participating as a host or manager please contact Greg or Matt. We are currently seeking hosts for the junior high school rehearsals and concert as well as an additional site for the expanding Junior High School Concert Band Festival. Directors who would like to suggest a new high school or junior high school solo for future auditions are encouraged to do so. The process for having a new solo considered is to contact one of the band division chairs and OCTOBER 2012
provide a copy of the music for them. Your suggestion will be submitted to a committee for review, to the All-State Band Procedures for high school solos, and added to the list if deemed appropriate. The representatives to the All-State Band Procedures Committee from Region I are Lewis Kelly, Gregory Mulford and Mindy Scheierman. All Band Division details can be found on the Region website along with contact information for Matt or Greg. We look forward to working with all of you throughout the upcoming year.
South Jersey Band And Orchestra Directors Association sjboda.org
ur first membership meeting for this school year will be held on Wednesday, October 10, 2012. This breakfast meeting will take place at Seven Star Diner in Sewell at 9:00 am. Please notify John Stanz (609-457-0590 or firstname.lastname@example.org) if you are able to attend. Audition materials will be available and there will be a vote on updating our blue book and changing the elementary honors band instrumentation. Auditions for the 2013 All South Jersey Orchestra, Wind Ensemble, Symphonic Band and String Ensemble will take place on Saturday, December 8, 2012 at Eastern Regional HS. John Stanz and Gail Posey will be our hosts. Applications and directions are available on our website. Deb Knisely (Cinnaminson HS) and Chris Adams (Rush Intermediate School) are our senior high auditions co-chairs. Congratulations to Judy Barnett (Washington Township HS) and Deb Knisely (Cinnaminson HS) who were selected to conduct the 2013 String Ensemble and Symphonic Band respectively. Our 2013 Wind Ensemble conductor is Paul Tomlin (Clearview Regional HS). We are still waiting on confirmation for our Orchestra conductor and a String Coordinator. Nichole Delnero (Toms River HS South) will continue to be our High School Band Coordinator. The South Jersey Band and Orchestra Directors Association offer many opportunities for instrumental music teachers to expand their involvement and expertise as music educators. We provide excellent vehicles for professional development OCTOBER 2012
including conducting and managing our ensembles. Many teachers have gained wonderful ideas and strategies by observing rehearsals and meeting with colleagues. You can enhance your school music program to include excellent performing opportunities for your students and ensembles. We encourage all music teachers to take advantage of the wonderful resources offered by SJBODA this year. Please contact John Stanz at email@example.com or 609-457-0590 for additional information. We encourage you to check our website, which is maintained by Scott McCarron, (Delsea Regional HS) for the latest SJBODA updates. www.sjboda.org We wish everyone an exciting and successful year. Joseph Jacobs Secretary, SJBODA
South Jersey Choral Directors Association sjcda.net
he South Jersey Choral Directors Association (SJCDA) Board of Directors has worked throughout the summer on the planning of our activities for the 2012-13 school year. The slate of officers for the 2012-13 year is as follows: Art McKenzie (Overbrook Senior High School), President; Dennis Lupchinsky (Lindenwold Schools), 1st Vice-President and Coordinator of Choral Festivals; Michael K. Doheny (Winslow Township High School), 2nd Vice-President; Duane Trowbridge (Audubon High School), Secretary; Richard M. Smith (retired), Treasurer. Members at Large for the Board of Directors, who will be responsible for the overseeing of our Senior High, Junior High, and Elementary Choral Festivals are: Maryann McKenzie, Haddon Township High School; Nancy Cecilio, Bunker Hill Middle School; Cheryl Breitzman, Absegami High School; Hope Knight, William Allen Middle School; Patricia Allen, Salem Public Schools; and Shaun Brauer, Salem Middle School.
Our festival conductors this year will be Kahlil Gunther, Woodstown High School (Senior High Chorus), Pamela Barnes, Egg Harbor Township High School (Junior High Chorus), and Lawrence DePasquale, Rowan University (Elementary). Junior and Senior High Chorus auditions will be held Saturday, November 17th. Kahlil Gunther at Woodstown High School will once again host the auditions. Thanks very much to Kahlil for always doing an outstanding job! Please take note of this year’s Jr/Sr schedule: Saturday, December 1 – Rehearsal @ Lenape HS, 9:00 – 1:00 pm Saturday, December 8 – Rehearsal @ Lenape HS, 1:30 – 5:30 pm (SNOW DATE) Saturday, January 5 – Rehearsal @ Lenape HS, 9:00 – 1:00 pm Thursday, January 10 – Rehearsal @ Rowan University, 9:00 – 1:30 pm Friday, January 18 – Rehearsal @ Lenape HS, 5:30 – 9:30 pm Saturday, January 19 – Rehearsal @ Lenape HS, 9:00 – 1:30 pm (SNOW DATE) Friday, January 25 – Rehearsal @ Eastern HS, 6:00 – 9:30 pm Saturday, January 26 ��� Concert @ Eastern HS, 8:00 pm (Call 7:00 pm) Sunday, January 27 – Concert @ Eastern HS, 3:00 pm (Call 2:00 pm) Monday, January 28 – Concert @ Eastern HS, 8:00 pm (Call 7:00 pm) (SNOW DATE) The SJCDA Executive Board looks forward to another exciting year working with teachers and students of vocal music throughout South Jersey. Anyone with questions regarding our organization can contact Board members through our website, www.sjcda.net. Art McKenzie, President South Jersey Choral Directors Association Overbrook Senior High School
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.)
Barbara Ann “Bonnie” Balas
William R. Cromie
Barbara Ann “Bonnie” Balas 67 of North Plainfield died Friday April 13 2012 at Peggy’s House at Center for Hope Hospice in Scotch Plains. Born in Newark, NJ, Bonnie lived in North Plainfield. She attended Michigan State University on an early admission after her Junior year in High School. Bonnie transferred to and graduated from Boston University with a Bachelor in Music; major in music education with a minor in piano. Throughout her career she continued to further her education through graduate studies at many different colleges and universities in self designed philosophy of the Arts in Education. She began her teaching career after graduation, with the Irvington School District, as a Music Specialist, Vocal Music for grades K-8 and special education. She also worked with the South Orange and Maplewood school districts as a vocal music teacher for grades 7&8, a Choral Classroom Music Specialist, for grades K-6 and special education. Most recently, Bonnie worked with the New Jersey Performing Arts Center, Early Learning Through the Arts Program, and taught private music lessons. Some of Barbara’s many accomplishments: New Jersey Teacher of Music Certificate - all levels, vocal and instrumental; South Orange and Maplewood Board of Education Recognition of Achievement; Governor’s Award for Outstanding Teaching. She was a member of the Music Educators National Conference, PTA Cultural Arts Advisor, National Education Association, New Jersey Education Association and a member of the South Orange and Maplewood Education Association.
William Cromie, 73, of Kinnelon, died Saturday, May 5, 2012. Born in Passaic, NJ September 12, 1938 Cromie lived in Kinnelon for the past 50 years. He was retired from 40 years teaching in the Pequannock School system, as choir director and marching band assistant, Theatre Arts and Humanities teacher. He was the voice of the Pequannock “Golden Panthers” football program for 47 years. A lifelong member of the First Lutheran Church of Clifton, NJ, Cromie was the longtime director and member of the church choir. In retirement, he worked with the Kinnelon school system custodial staff during the summer. Cromie graduated from Passaic High School then attended Montclair State College where he received a B.A. and M.A.
Michael E. Culbert Michael E. Culbert, age 81, of Sewell, N.J., went home to Heaven on Sunday, March 25, 2012. He was born in the mountainous area of Molleystown, Pennsylvania, in Schuylkill County on May 8, 1930. Michael graduated as the Valedictorian of the Tremont Township High School Class of 1948. He was the beloved husband of Esther (nee Straub) for the past 60 years. Michael earned his Bachelor of Science in Music Degree with a minor in History from West Chester State College in Pennsylvania in 1951 and Masters (in 1959) and Doctoral Degrees in Music from Temple University
in Pennsylvania (in 1974). During the Korean War, he was the Enlisted Conductor of the 47th Infantry Division Band at Camp Rucker, Alabama. His career was in the field of music education, which included work in York, Pennsylvania, Paulsboro High School in Paulsboro, N.J., Mantua Township Elementary Schools in Gloucester County, N.J., and Clearview Regional High School in Mullica Hill, N.J. from 1960-1992. He was the first teacher hired at Clearview, and its very first Band Director. Michael composed Clearview High School’s “Alma Mater.” A Scholarship in his name and honor, sponsored by the Band Auxiliary, has been awarded to a student choosing to enter the field of music at every Clearview High School Graduation ceremony since his retirement in 1992. In 1956, he helped to organize the Gloucester County Band, and was its first conductor. He also helped to organize the first Marching Band Competitions in the late 1960’s in Gloucester County, N.J. He produced outstanding competition Marching Bands at Clearview and was a Charter Member of the “Tournament of Bands”. He created many of the shows himself as well as arranging many pieces of music for his marching band. He served as a member of the National Marching Band Judges Association for 15 years, specializing in “Music Analysis”. He served on the New Jersey Music Educator’s State Board for four years as Parliamentarian and Music Educator’s Representative to the New Jersey Education Association. In the early 1990’s he earned the honor of being named one of three “Distinguished Music Educators” in the state of New Jersey for that year. He served as President of the Clearview Education Association for 10 years and Head of the Music Department for 24 years. In adOCTOBER 2012
dition, he played jazz piano professionally for 10 years in the 1950’s. In 1989, he was chosen to be the “Grand Marshall” of the Mantua Township Parade with a theme of “Music, Music, Music.” Michael’s career also included work as Organist and Director of Choirs at St. Paul’s Methodist Church in Paulsboro, N.J. (1954-1963), St. John’s Lutheran Church in Westville, N.J. (19631966), and The First Presbyterian Church in Woodbury Heights, N.J. (1966-1992). Michael, in the past 10 years was an active member of the “Salem County Brass Society” in Carney’s Point, N.J. as a trombonist, associate conductor, arranger of music, and music librarian.
High School and the Director of the Guidance Department until he retired in 1989. Carmen was a talented saxophone player, a professional musician who toured with various big bands including “The Joe Dale Orchestra”, “Corky Gale Trio” and the “Frankie Testa Orchestra”. He was a member of the American Federation of Musicians Local 595 where he served on the Executive Board and Vice-President. He was the Director of the “Red, White and Blue Band” from 1972-2012. Carmen was a professional accomplished musician, conductor and saxophone player.
Beatrice Braddock Herring Joanne Elaine Dixon Joanne Elaine Dixon, 68, died at the Somerset Medical Center. Born and raised in Lancaster Pa., she had resided in Hillsborough for the past thirty four years. Joanne received her music education from Westminster Choir College in Princeton and MEd from Trenton State College. Joanne was an elementary school music teacher for thirty six years, primarily with the Branchburg School District retiring in 2002. She conducted the New Jersey Schools Handbell Festival in 1995 and 1996 and was the recipient of the Excellence in Teaching award in 1998. Joanne enjoyed her students, ringing handbells, and stitchery. She was a member of the Montgomery United Methodist Church.
Carmen Galzerano Carmen Galzerano, 79 of Vineland passed away on June 11, 2012. He earned his Bachelor’s and Master’s Degree in Music Education from Temple University, a Master’s Degree in Student Personnel Services and a Principal’s Certification from Glassboro State College. He toured Europe with the 7th Army Jazz Concert Orchestra. Carmen was a band director, instrumental music teacher and orchestra director for Vineland High School from 1958 -1966. He was a guidance counselor for Vineland OCTOBER 2012
Beatrice Braddock Herring, 62, transitioned into eternity on Thursday, April 19, 2012, in Chesapeake, Va. Beatrice was born April 23, 1949, in Ripley, Miss., to the late Henry I. and Essie B. (Spight) Braddock. She spent her childhood in the Washington Heights neighborhood of Battle Creek, Mich. She graduated from Battle Creek Central High School, Class of 1967, and was a member of the National Honor Society and the a cappella choir that won a world championship in the Netherlands in 1967 in her senior year of high school. Beatrice graduated from Michigan State University, Class of 1971, and Central Connecticut State University. She was a life member of Alpha Kappa Alpha Sorority, Inc. and was initiated into the Delta Zeta Chapter in 1968 at Michigan State University. Beatrice was a member of Pleasant Grove Baptist Church in Virginia Beach. She was a noon day devotional leader and a member of the Golden Agers at the Pleasant Grove Baptist Church. Beatrice was a former member, deaconess and choir director of the Greater Abyssinian Baptist Church, in Newark, N.J. She was also a former member and pianist at the Washington Heights United Methodist Church in Battle Creek, Mich. where her parents were charter members. Beatrice was a former vocal music teacher in the Newark, N.J., school system, where she taught for 31 years, mostly at Barringer High School. She retired in 2003. Beatrice was also a former choral director of the Newark (N.J.) All-City Choir and a former adjunct professor of music at Kean College in New Jersey.
Sanford W. Knoller Sanford W. Knoller, 86, of Bluffton, S.C., passed away peacefully on July 1, 2012. Sanford, a graduate of NYU and Fordham University, was a music teacher in Garwood, N.J., for 28 years.
Rudolph Victor Kreutzer Rudolph Victor Kreutzer, 89, of Toms River passed away on Saturday, April 28, 2012 at Green Acres Manor in Toms River, NJ. Rudy was born on June 10, 1922 in Elizabeth, NJ, the son of John and Mary Kreutzer. He graduated fromThomas Jefferson High School, Elizabeth in 1940, where he played the French horn, composed the school fight song and made the Elizabeth All-City baseball team as a second baseman. He served in the US Army as a sergeant in WW2, landing on Omaha Beach in June 1944. He was a highly decorated battle veteran with a 5-battle star, a member of the VFW and VBOB (Veterans of the Battle of the Bulge). After the war he attended NYU as a French horn major, graduating with a BS in Music Education. He married the love of his life, Walburga Victoria Drexler in June 1953. They moved to Wichita, KS where he taught music at Wichita public schools and received a Masters Degree in Music Education at Wichita State University. During this time Rudy was a Chief Warrant Officer in the Army Reserve and conducted the 89th Division Army Band. He stayed in the Army Reserve until 1964. Moving back east in ‘55, Rudy taught music in Glen Cove High School on Long Island, NY for one year before moving to Florham Park, NJ as Director of Music for Hanover Park High School in East Hanover for 9 years. During his tenure there HPHS had an award-winning marching band capturing the state championship multiple times. In 1964 he became Administrator of Music, K-12 in the South Orange-Maplewood school system, staying there for 21 years. While there, he conducted the Columbia High School orchestra, sending the most students to Region, All-State and All-Eastcontinued on next page
ern orchestra. Rudy was very active in the NJ All-State band and orchestra programs and served as NJ Music Educators Association (NJMEA) President from 1969-1971. From 1958-69 Rudy conducted the American Legion Jersey Boys State Band. He also conducted the professional Union County Symphony Orchestra and was a member of the American Federation of Musicians. Rudy taught French horn and brass privately, sending many students to distinguished college and professional careers. He was on the Board of Directors at the Essex County Summer Music School through much of the 1960’s and 70’s. Throughout his professional career Rudy continued his education, taking classes at various universities including Rutgers and Fairleigh Dickinson. He achieved his Fellowship and had only to complete his thesis to achieve his Doctorate in Music Education. Upon his retirement in 1985, Rudy was recognized by President Reagan for his contributions to music education. In 1996 Rudy and Wally moved to the Lake Ridge community in Toms River. During his retirement he played French horn in the Georgian Court Symphony and conducted the Crestwood Symphonette for 11 years.
John Mayurnik John Mayurnik, 71, of Waldwick, passed away peacefully on August 7, 2012. John was born in Paterson on July 24, 1941 to John and Mary (nee Klimkovsky). He was a lifelong music teacher, including 28 years with the Rutherford Board of Education. He taught music until 2012, most recently in Upper Saddle River. His other passions included flying and running. He was a private pilot and enjoyed flying out of Lincoln Park Airport. He also completed five NYC marathons.
Joan Catherine Egan Meitzler Joan Catherine Egan Meitzler passed away the morning of Friday, June 15, 2012, at the St. Joseph Mercy Hospital with her family by her side. She was 82 years of age. Joan was born November 2, 1929, in Allen-
town, Pennsylvania, to the parents of Florentius Joseph Egan and Catherine Veronica Moessner Egan. She obtained her B.S. in Music Education at West Chester State Teachers College and was a music teacher in the Allentown public school system and was an accompanist for the Women Teachers Chorus. In June of 1953, she married Allen H. Meitzler, also of Allentown, and supported the newlywed household while Allen worked towards his Ph.D. In 1954, she received her permanent teacher certification in Allentown. In 1955, Joan earned a Master’s Degree in Education from Lehigh University and shortly thereafter began a productive and rich professional music affiliation lasting 18 years as a piano accompanist and organist for the Masterwork Chorus of Morristown, New Jersey, where the couple had moved to months earlier. The Masterwork Chorus performed in many notable venues, including New York’s Town Hall, Carnegie Hall, and Philharmonic Hall. While she was with the Masterwork Chorus, she enjoyed hosting her colleagues at festive lasagna dinners in the New Jersey family home that were a collaborative effort of several gourmands in the company. Joan’s love and knowledge of liturgical music led her to take on multiple music positions over time, including principal organist, cantor and choir director during the years of 1969 to 1973 at the Church of the Assumption of the Blessed Virgin Mary in Morristown; organist and later principal organist at St. Francis of Assisi Church in Ann Arbor from 1974 until the mid 1980s; and a guest organist at various Ann Arbor area Catholic churches. Joan was a member of the American Guild of Organists, the American Association of University Women, the American Federation of Musicians Local #177, and the National Association of Pastoral Musicians. In 1970, she joined the Third Order Franciscans. Joan was a devout Catholic throughout her life and eventually became a minister of the Eucharist at University of Michigan Medical Center and at St. Francis of Assisi Church. She was also a chaplain volunteer at the University of Michigan Mott Children’s Hospital and at St. Joseph Mercy Hospital. She would also later join the Secular Order of the Franciscans, serving as a Fraternity Lay Minister and Area Minister for St. John the Baptist Province.
Walter F. Moore Walter F. Moore, 80, of Hendersonville, passed away Sunday, July 29, 2012 at the “Elizabeth House” after a long battle with pulmonary fibrosis. He was born in Virginia to the late Raymond Moore and Gladys Britt. He was a graduate of the University of West Virginia, where he received his Master of Music degree in 1959. He recently retired as co-director of the Hendersonville Community Band and in addition to his award winning high school band program, he served in adjunct faculty positions at both Trenton State College and Farleigh Dickenson University. He was in demand as a guest conductor and adjudicator of concert and marching band festivals and competitions in New Jersey, Pennsylvania, West Virginia, Virginia, Massachusetts, Rhode Island, and South Carolina. He received numerous honors throughout his career; he was elected National President of the ASBDA in 1979 and appeared in “Who’s Who Among America’s Teachers” in 1992. Among his awards, he will receive the Lifetime Achievement Award from the New Jersey Music Education Association posthumously.
Raymone Herbert Op’t Hof Raymond Herbert Op’t Hof, age 82, passed away March 18 with his family at his bedside. Op’t Hof was a retired choral music teacher. Raymond Op’t Hof was born May 16, 1929 in Wallington, New Jersey, the youngest of 10 children. He was preceded in death by his parents, Geraldine Den Bleyker and William Op’t Hof. Raymond graduated with a Bachelor of Arts in music from Westminster College in Pennsylvania and received his Masters of Music at Columbia University in New York. He was the Choral Music Director at Central Regional High School for 30 years. Raymond served in the United States Navy for 4 years and was honorably discharged. He was the first director of the barbershop chorus in Toms River. He was the choir director at St. Paul’s Lutheran Church in Beachwood for 47 years.
K. Michael Skwarlo K. Michael Skwarlo, a long time band director at Mainland Regional HS died August 11th, after putting up a heroic fight with Alzheimer’s. Skwarlo will long be remembered by the Mainland community for his marching bands of the 70’s & 80’s. Skwarlo retired from teaching in 1995 and founded the Atlantic Pops, a successful community band in Egg Harbor Twp. From the Mainland Bands past & present… thank you for memories and the proud traditions K. Michael.
for 16 years. He was also an adjunct professor of Music Recording and Technology at Rowan University for 15 years. His choirs achieved many honors and awards. He was the conductor of the All South Jersey Senior High Chorus, a member of All State Chorus as a student vocalist and a contributing high school director. He was a member of the South Jersey Choral Directors Association. As a student, Thomas was also a member of All Eastern Honors Chorus. Thomas spent many years as a professional keyboard player and vocalist for several well-known local bands. In his spare time he enjoyed producing professional recordings for many musicians throughout the tri-state area. He also served as the Former Manager of the “Music Place” in Berlin, NJ.
Thomas W. Traub Thomas W. Traub, 56, of Williamstown, NJ died on June 9, 2012. Born in Woodbury and raised in Pitman, NJ, Thomas devoted his life to the pursuit of excellent music and music education. After earning a Bachelor’s of Music at Glassboro State College (Rowan University), Thomas later earned a Masters of Music and Composition at Temple University. He was pursuing a PhD in Music Education and Conducting at Rutgers University, New Brunswick. Thomas was the Choral Conductor and Vocal Music Director at Lenape High School
Anthony Tucker Anthony Tucker, 54, of Irvington, N.J., passed away on July 9, 2012. Born in Newark, N.J., Anthony worked for the Hillside Board of Education as a music teacher at the Walter O’Krumbiegel (W.O.K.) Middle School.
Robert M. Whittemore Robert M. Whittemore, 83, of 6 Amadeus Drive, Laconia, NH died, after a battle with cancer, on Thursday, June 7, 2012 at his home with his family by his side. Bob was born July 17, 1928 in Malden, MA, the son of Albert W. Whittemore and Marjorie G. (Morrison) Whittemore. He resided in Ridgewood, New Jersey for several years before moving to Laconia eighteen years ago. Bob served in the U.S. Navy. He was a music teacher in the Ridgewood, New Jersey Public School System for thirty-five years, retiring in June, 1988. Music was his career and one of his main interests in life. A graduate of the University of New Hampshire and Boston University, he also attended Doctoral classes at New York University. He taught choral music at Ridgewood High School in New Jersey and instrumental music in their grade school system. He was selected to lead the New Jersey All-State Choir during his early years at Ridgewood. He was choir director for the First Presbyterian Church for many years. Bob was a communicant of St. Andre Bessette Parish. Among his many hobbies were photography, fishing, genealogy research and counted cross stitch. An avid sailor, he and his first wife, Connie, spent over ten winters cruising the Bahamas.
expressive performance creative improvisation discovery and invention cultural and historical analysis
Bachelor of Music in: Performance Composition Music Education
Bachelor of Arts
“Creative risk-taking is a hallmark of studying music at Bucknell; it’s exciting — and just a little bit dangerous.”
NJMEA 2012-2013 Board of Directors Executive Board
President, Keith Hodgson Mainland Regional HS email@example.com 609-317-0906
Administration Ronald Dolce Retired firstname.lastname@example.org 732-574-0846
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
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Chorus Performance Kathy Spadafino, Retired firstname.lastname@example.org 732-613-6969
Retired Music Educators Christine Sezer Retired email@example.com 570-756-2961
CJMEA President, Andrew Veiss So. Plainfield Middle School firstname.lastname@example.org 908-754-4620 x378
Chorus/Orchestra/Jazz Joseph Cantaffa Howell High School email@example.com 732-919-2131
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SJCDA President, Art McKenzie Overbrook High School email@example.com 856-767-8000 x3044
Collegiate Chapters Rick Dammers Rowan University firstname.lastname@example.org
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
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Conferences Marie Malara Sayreville Middle School email@example.com 732-525-5290
NJMEA RESOURCE PERSONNEL Area of Responsibility Name Email Address Administrative Matters......................................................Keith W. Hodgson.....................................................firstname.lastname@example.org All-State Band Coordinator................................................Donna Cardaneo........................................................... email@example.com All-State Chorus, Orchestra & Jazz Coordinator..................Joseph Cantaffa.................................................. firstname.lastname@example.org All-State COJ Committee....................................................... Dick Smith.......................................................... email@example.com All-State COJ Committee.......................................................Jack 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 REPRESENTATIVES/LIAISONS TO AFFILIATED, ASSOCIATED AND RELATED ORGANIZATIONS American Choral Directors Association................................................................................................................................................. Governorâ€™s Awards for Arts Education................................. Stevie Rawlings................................................ firstname.lastname@example.org NJ Association for Jazz Education........................................... Jeff Kunkel............................................................ email@example.com NAfME............................................................................... Keith Hodgson..................................................firstname.lastname@example.org Music Industry..................................................................... Ron Beaudoin..................................................email@example.com NJ Music Administrators Association......................................Ron Dolce............................................................... firstname.lastname@example.org NJ Retired Music Educators Association.............................. Christine Sezer.......................................................... email@example.com NJ TI:ME............................................................................ Rick Dammers........................................................ firstname.lastname@example.org Percussive Arts Society......................................................... Dominic Zarro....................................................DEZarro@optonline.net COMMUNICATION SERVICES/PUBLIC RELATIONS Executive Secretary-Treasurer............................................... Deborah Sfraga........................................................... email@example.com Editor - TEMPO Magazine.............................................. Thomas A. Mosher........................................................firstname.lastname@example.org Web Master (njmea.org)................................................... Thomas A. Mosher........................................................email@example.com OCTOBER 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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