The Official Magazine of the New Jersey Music Educators Association OCTOBER 2014
In This Issue About the Crescendo Foundation NJ Jazz Band & Choir Audition Information 2015 NJMEA Conference Application NJEA Convention Music Sessions
The Official Magazine of the New Jersey Music Educators Association a federated state association of National Association for Music Education
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PUBLI C PERFORMANCEOPTI ONS•CUSTOM CLI NI CS
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Volume 69, No. 1
The Adjudicator’s Viewpoint, by John Pursell
The Merits Of Merit Pay For Music Education, by Billy Baker
2015 NJ Elementary & Junior High Choral Festival, by Carol Dory Beadle
Project-Based Learning (PbL): 2nd Grade Learns About The Immigration Of The Von Trapp Family, by Amy Burns
Working Backwards, by Jacques Rizzo
Young Children And The Music-Movement Connection, by Abby Connors
Did You Build A Guitar When You Were In 8th Grade?, by Thomas Amoriello
Seeing The Forest For The Trees, by Beth Moore
51-55 NJEA Convention Music Sessions, by Nancy Clasen
OCTOBER 2014 DEPARTMENTS AND NJMEA BUSINESS
Advertisers Index & Web Addresses.......71 Board of Directors.................................68 Division Chair News.......................... 6-16 Editorial Policy & Advertising Rates......70 From The Editor......................................4 In Memoriam.................................. 66-67 Past-Presidents.......................................70 President’s Message.............................. 2-3 Resource Personnel................................69 Round the Regions.......................... 62-65 FORMS AND APPLICATIONS See NJMEA.ORG
“Files and Documents” for downloadable copies of all forms & applications
All-State Jazz Ensembles....................56-57 NJMEA Conference Registration...........61 NAfME Membership.................................
ATTENTION MEMBERS: Please go to nafme.org to record email and address changes. TEMPO Editor - Thomas A. Mosher 80 Jumping Brook Drive, Lakewood, NJ 08701 Phone: 732-367-7194 Fax: 732-367-7195 e-mail: firstname.lastname@example.org Deadlines: October Issue - August 1 January Issue - November 1 March Issue - January 15 May Issue - March 15 All members should send address changes to: email@example.com or NAfME, 1806 Robert Fulton Drive Reston, VA 22091 Printed by: Kutztown Publishing Co., Inc. 1-800-523-8211 firstname.lastname@example.org
The New Jersey Music Educators Association is a state unit of the National Association for Music Education and an affiliate of the New Jersey Education Association. It is a nonprofit membership organization. TEMPO (ISSN 0040-3016) is published four times during the school year: October, January, March and May. It is the official publication of the New Jersey Music Educators Association. The subscription rate for non-members is $20.00 per year. The subscription for members is included in the annual dues. A copy of dues receipts (Subscriptions) is retained by the NJMEA Treasurer. Inquiries regarding advertising rate, closing dates, and the publication of original articles should be sent to the Editor. Volume 69, No. 1, MAY 2014 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
2014 NAfME NATIONAL CONFERENCE October 26-29, 2014 Nashville, TN NJMEA CONFERENCE February 19 - 21, 2015 East Brunswick, NJ NAfME Biennial Eastern Division Conference April 9-12, 2015 Providence, RI
JOSEPH JACOBS 609-335-6429 JJacobs@Veccnj.org Website: http://www.njmea.org
The Crescendo Foundation A year ago the NJMEA Board of Directors entertained the idea of creating a foundation that would provide alternative funding sources to enable students and teachers to participate in programs and activities that enrich their musical experience. Further discussion lead to a proposal that was approved by the Executive Board to pursue this topic. Ron Beaudoin, our Corporate/Industry Chair, spearheaded the drive to establish the foundation. Ron spent an extensive amount of time researching agencies that could assist us in our goal. The executive board approved a contract with Rooftop Communications to create a logo, mission statement and marketing strategies. Debbie Sfraga went to work researching the legal requirements and filing the necessary paperwork with the state and the Crescendo Foundation was formed The Crescendo Foundation is a non-profit corporation that will be operated exclusively for educational and charitable purposes. The Articles of Incorporation has been submitted and the By-Laws have been written. The initial Board of Directors has been appointed by the NJMEA Executive Board and they will serve a one year term. The Board of Directors includes Nick Santoro, Joe Mello, Bob Morrison, and Ron Beaudoin. I believe this foundation will have a positive impact on our students, colleagues, and our profession. Additional information will be available on our NJMEA website and future issues of TEMPO Magazine.
Booker, Senator Bob Menendez, Congressman Frank LoBiondo, Congressman Frank Pallone, Congressman Albio Sires, Congressman Scott Garrett, Congressman Donald Payne, Congressman Rodney Frelinghuysen, and Congressman Rush Holt. The collegiate representatives from NJ were: Mary Onopchenko (Rowan University); Nicole Olearchik (Kean University); Ashlie Morro (Rowan University); and Jason Weinstein (Montclair University). These students added a different and refreshing perspective on the challenges and the impact of music education in their lives. Our meetings with the Legislative Assistants were very encouraging. The dialogue was excellent and we received support and understanding from all of the Legislative Assistants who seemed to be genuinely interested in our concerns. Our discussion points included: • That Congress should maintain the arts as a core academic subject in any reauthorization of the Elementary and Secondary Education Act. • The U.S. Department of Education should develop and carry out the process of collecting and disseminating federal data pursuant to the status of music education programs. • Music educators should be evaluated by qualified individuals using reliable measures germane to their field. • School day accessibility to music education programs should be increased across the country. • Funding should be made available to music programs through all appropriate ESEA-authorized programs particularly Title 1 monies. • Charter schools should provide students with a comprehensive education including access to sequential, standards-based music education. • Awareness of the bipartisan Congressional STEAM caucus. The addition of music and the arts as core subjects is vital to enhancing unique skills that contribute to real-world success. It was a very productive day but we must all continue to advocate and express our passion for music education. Our students are depending on us.
Music Advocacy Once again NJMEA was well represented on the annual “NAfME Capitol Hill Day” which took place last June 27th. This national event allows every state music education association the opportunity to advocate for music education with their Senators and Congressmen. It was a very exciting day with bus loads of state music education leaders being transported to our nation’s capitol to spread the word of the importance of music education in our schools. Joining me as representatives from NJMEA were Bill McDevitt and Bob Frampton. This year we were fortunate to have four outstanding and articulate college students accompany us as we visited the legislative offices of Senator Cory TEMPO
Professional Development Congratulations and thanks to Joe Akinskas and his outstanding team of music educators on a very successful NJMEA Summer Workshop VII. This annual event took place on August 5th at The College of New Jersey. There were excellent sessions on choral music, technology, instrumental music, special education, classroom music, 2
and sessions on Student Growth Objectives. The “RockNRoll Chorus,” directed by Joe Cantaffa, presented an uplifting and emotional musical presentation. The Summer Workshop Planning Committee included Sue Mark, Rick Dammers, Rachel Klott, Joe Cantaffa, Shawna Longo, Betsy Maliszewski, Maureen Butler, and Nick Santoro. It was a very inspiring and informative day which was made possible by dedicated NJMEA members. Thank you all very much! The 2014 NAfME National In-Service Conference will take place on October 26th through October 29th in Nashville at the Gaylord Opryland Resort. The four day schedule includes an abundance of workshops on a wide variety of topics and performances by the All-National Honor Ensembles. NJMEA will be represented by 64 New Jersey students who will perform in these ensembles. Registrations information for this conference can be found on the NAfME web site. The November NJEA convention in Atlantic City is a wonderful opportunity for NJMEA members to attend outstanding professional developments workshops and hear some excellent musical performances for free. Nancy Clasen has put together an exciting assortment of workshops that will be offered on Thursday, November 6th and Friday, November 7th. Clinicians include Denis DiBlasio, Rachel Klott, Betsy Maliszewski, Tom Amoriello, Keith Hodgson, Hillary Colton, Nancy Clasen, Chris Sezer, Mimi Butler, and presenters from QuaverMusic. Our All-State Jazz Band and Honors Jazz Choir will give a performance Thursday evening and the All-State Chorus and Orchestra will perform on Friday. These musical performances will be coordinated by Joe Cantaffa, Susan Meuse, Kathy Spadafino, and Dave May. The concerts will be repeated at NJPAC the following week. I highly recommend that you make plans to attend the convention and especially the concerts. NJMEA will present two educational and entertaining festivals this fall. The 13th Annual Marching Band Festival will take place on Saturday, October 18th at Wayne Hills High School. Please contact Matt Paterno at email@example.com for additional information. Our NJMEA Opera Festival will take place on Saturday, November 15th at Paramus High School. The program begins at 3:00 and additional information is available from Stevie Rawlings or Mike Kallimanis. Both of these festivals are outstanding opportunities for inspiration and professional development. Our NJMEA State Conference will take place on February 19th through February 21st. Marie Malara will once again provide us with a superb event that will meet our musical and educational needs. You will definitely want to save these dates on your calendar. Additional information and registration material can be found on our web site.
our behalf on Capitol Hill. I encourage you to visit their Web site www.nafme.org for a wealth of information and resources that will keep you updated on issues that pertain to all music educators. Congratulations Congratulations to Judy Barnett and the members of the Washington Township High School Tri-M Music Honor Society on being selected as one of the Senior Division Winners in the NAfME 2014 National Tri-M Chapter of the Year Award. The Chapter’s volunteer service and advocacy for music education has Officers names are: Danielle had a major impact in their Uibel, Megan Trakalo, Courtney school and community. Rempfer, Melissa Couce, Rebecca Conboy, Megan Tobey and Mahaa NJMEA is very proud of Ahmed. their accomplishment and Judy Barnett, Advisor national recognition. The Washington Township High School Tri-M Chapter is an inspiration to all music students and educators. NJMEA/NAfME Membership Campaign In August Andy Veiss, Bill McDevitt, Debbie Sfraga, and myself met with Peter Doherty, the Director of Constituencies and Organizational Development for NAfME, to discuss a possible recruitment campaign for NJMEA. We examined our current membership numbers and realized there is a large number of New Jersey music teachers who may not be aware of the many benefits of NJMEA membership. A decision was made to run a membership campaign from September 15th to February 28th. Our goal is to increase our active membership by 8% or 160 members. We need your help! As an incentive we are offering a free one year membership renewal to any current member who recruits four new members. Please spread the word of the great value that NJMEA/NAfME membership has to offer including our conferences, festivals, performing ensembles, professional development opportunities, advocacy materials and support. We are a strong and active professional organization that represents and promotes music education in our schools. We need to engage all music teachers into our association. Thank You I would like to take this opportunity to publically thank the members of the NJMEA Board of Directors for their outstanding service to our organization. I feel very fortunate to have such dedicated and talented music educators as a resource. I would also like to thank all of our New Jersey music educators for all that you do for our students. You do make a difference!
NAfME Attending the NAfME National Leadership Assembly was an inspiring and informative event. The opportunity to collaborate and discuss important issues with other state music education leaders was priceless. The hot topic once again continues to be advocacy. NAfME is the foremost advocacy organization for music education. They advocate at the national level for the issues that affect music educators, including standards and evaluation, classroom time, funding, and access. They have a very impressive team working on
Thomas A. Mosher 732-367-7195 firstname.lastname@example.org Website: http://www.njmea.org
The NJMEA State Music Conference
he state music conference will be held on February 19-21, 2015 in East Brunswick. The application is on page 64 of this issue. We are trying to make it easier for everyone to get started requesting approval from their school boards and to process purchase orders. Last year was one of the finest conferences NJMEA has presented and this year promises to be even better. There are three ways in which you can register for the music conference: 1) go to the njmea.org website and register online with a credit card; 2) print a copy of the application form from the website or use the one in this magazine to fill-out and mail in with a check; or 3) mail a copy of your completed application WITH a purchase order from your school. Many school boards are extremely slow in processing these purchase orders. It is wise to start the process NOW to avoid problems at the conference. A copy of the conference book from LAST YEAR is on the website in case you need to show your principal or supervisor what occurs at our conference. The book for 2015 will be posted at the beginning of February. This cannot be accomplished earlier because of changes with clinicians and rooms which take place at the last minute. Once we send the book to the publisher, we can post it for online viewing. A new item from last year for new music teachers is a reduced rate and is continued this year. The catch is, you must be a 1st time teacher, newly gradTEMPO
uated from college/university, who was a member of their collegiate music education chapter. Those who qualify will receive a $50 discount on the registration fee. The seven (7) academies from last year will be continued: Choral, Wind Band, Technology, Strings, Jazz, Marching Band, and Elementary. There is an eighth academy for Collegiate NAfME members on Saturday. This is a special day for our collegiate members to attend sessions together, have their annual luncheon meeting, and socializeâ€Ś and it includes lunch! All for $50.00! NJMEA presents one of the largest music conferences in the country. There are only 1 or 2 larger than ours. We did some calculations at our summer re-organiztion meeting and found that the conference costs NJMEA close to $200 and you only pay $150. Now, that is a bargain no matter how you look at it! It is also an excellent method to earn your professional development hours and to improve your teaching skills. Any NJMEA member who wishes to preside at sessions during the conference should look under Conferences on the njmea.org website and download the Presider Form.
Sheâ€™s coordinating the groupâ€™s performance schedule. Music in the Parks makes it easy.
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Dates, locations and pricing are all on our website. www.musicintheparks.com | 1-800-323-0974 | email@example.com
& News From Our Division Chairs President Elect William McDevitt 856-794-6800 x2539 firstname.lastname@example.org
I looked over some past “Random Thoughts” and found the one below. It was only two years ago, but the information is still true. When I get to the point that it isn’t – I’ll know that it’s time to join the ranks of the retired! I’ve revised it a bit to reflect the current year. 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 28 years of teaching, I still have trouble getting to sleep the night before the start of my 29th 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? 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. We make our jobs look so easy that it seems like anyone can do it – but we know the truth. Very few teacher put in as much time on the job as the music teacher. Very few teachers are in their classroom during the summer as much as the music teacher. Then again – very few teachers are continuing to practice their passion every day that they walk into the classroom. I wonder if I’ll be able to get to sleep the night before school opens this year? continued on page 8
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& News From Our Division Chairs Administration Ronald P. Dolce 732-574-0846 email@example.com
The members of the Executive Board, Board of Directors and the membership of the New Jersey Music Administrators Association would like to welcome back to a new school year the members of the New Jersey Music Educators Association. We hope that everyone had a great summer break and were able to take some time to refresh themselves and bring new energy and ideas back to the students of the New Jersey schools. We would like to thank Peter Griffin, Supervisor of Music for the Hopewell Valley School District, for his excellent leadership and guidance the past two years. Peter brought us through trying times as we tried to better understand the process of the SGO’s. Through our workshop sessions, we were able to help each other gain a better understanding of the development and the process of the new evaluation system. We would like to announce that Robert Pispecky, Supervisor of Music, Edison Pubic Schools, will serve as President for the 2014-2016 term; Tom Weber, Supervisor of Music, Egg Harbor Township Public Schools, will serve as President-Elect; David Imhof, Supervisor of Music, Randolph Township Public Schools, will serve as Secretary; and Louis Quagliato, Supervisor of Music, West Orange Public Schools, will serve as Treasurer. Our Board of Directors for 20142016 are: Joseph Akinskas, Cumberland County College; Ron Dolce, retired music administrator; Linda King, Past President and Supervisor of Music, Westfield Public Schools; Matt Lorenzetti, Supervisor of Music, Linden Public Schools; and Patricia Rowe, Supervisor of Music, Moorestown Public Schools. Our Executive Board along with the Board of Directors dedicated much time this past spring developing the topics for this year’s meeting/workshops. The topics focus around a follow up to last year’s program and what we can do after the dust settles from the new evaluation process and what we can do to keep music education for our students in focus. Last year, the attendance at our meetings was outstanding with our membership being at an all-time high. We hope to continue the trend this year as we present the following meetings/workshops to our membership: October 3, 2014 - “Teacher SGO’s- One Year Later”-facilitators- Peter Griffin and Tom Weber December 5, 2014 - “New Supervisor Evaluations”- facilitators- Robert Pispecky and Louis Quagliato February 6, 2015 - “Roundtable- Scheduling and Surviving the Evaluation Process”- facilitator- Linda King February 19-21 - NJMEA Conference (NJMAA Breakfast Feb. 20) March 27, 2015 - “Now… Back to Music Education! – facilitator - Joseph Akinskas (TIME- Technology in Music Education) June 5, 2015 - Road Trip - TBA We continue to encourage NJMEA members who have a supervisor, chairperson, or administrator without a music background to invite them to join the NJMAA to help them to become more effective and efficient in meeting the needs of your program. We must continue to maintain a strong voice for music education and stand together to help each other understand and overcome the issues in music education today. For more information about the New Jersey Music Administrators Association go to njmaa.org. continued on page 10
music @RUTGERS UNDERGRADUATE AND GRADUATE DEGREES INCLUDE: BM, BA, MM, MA, AD, PHD, DMA
BE INSPIRED: Study with faculty from the New York Philharmonic, Philadelphia Orchestra, Metropolitan Opera, and New Jersey Symphony.
AREAS OF STUDY:
BE CHALLENGED: Music conservatory training within a large public research university.
» CLASSICAL PERFORMANCE » COMPOSITION » CONDUCTING » JAZZ STUDIES » MUSICOLOGY » MUSIC EDUCATION
BE ENGAGED: Over 15 performance ensembles with opportunities to perform in New York City and abroad.
Plus: Summer camps | Extension Division | Nondegree courses | Online courses WWW.MASONGROSS.RUTGERS.EDU/MUSIC/NJMEA2014
@ mason gross TEMPO
& News From Our Division Chairs Band Performance Al Bazzel 856-358-2054 firstname.lastname@example.org
We hope you had an enjoyable summer and are having a successful start of the school year. During the summer months the NJMEA Band Procedures Committee met to plan for the upcoming school year. The 2015 All-State Wind Ensemble will be conducted by Michael Votta, Jr., Director of Wind Activities at the University of Maryland. Evan Feldman, Director of Bands at The University of North Carolina at Chapel Hill, will conduct the Symphonic Band. Due to extenuating circumstances beyond our control, the originally published bass trombone and tuba solos are now unavailable from the publisher. As a result, there are now additional solos for bass trombone and tuba. Students will be permitted to audition using either solo for the 2014-2015 bass trombone and tuba auditions. Students must have an original published solo to use for the auditions. Please visit njmea.org for the updated solo list. The battery percussion audition will now consist of snare drum rudiments, solo, and sight-reading, traps studies, and a mallet etude. There will no longer be a traps solo or sight-reading component to the audition. Starting this year there will be a new application procedure for All-State Band. The process will be online with a printable signature page to be submitted with the audition fees. More information will follow in the coming months. Any solo suggestions need to be submitted to Bruce Yurko, solo chair, or any region representative. The recommendation must include a copy of the suggested solo, the solo it is to replace, and rationale for the change. The region representatives are: Region I - Lewis Kelly, Gregory Mulford, Mindy Scheierman; Region II - Jules Haran, Mark Kraft, Brian Toth; Region III – Thomas Rafter, Deb Knisely, Phil Senseney. If you have any additional questions or concerns please contact Matthew Spatz, Band Procedures Chair.
Donna Marie Berchtold 609-476-6241 x1013 email@example.com
The 62nd Annual NJMEA Middle School – Junior High Choral Festival Dates are scheduled for the spring of 2015. Donna Marie F. Berchtold, chairperson, and choral/instrumental director at the William Davies Middle School, Mays Landing, along with Karen Blumenthal, choral director at Von E. Mauger Middle School, Middlesex, NJ will co-coordinate and host the Middle School Choral Festivals again for this year. The Festivals are currently scheduled to be held at two separate locations. The first event (South Site) will tentatively take place at Rowan University on April 1, 2015. The deadline for applications is March 2, 2015. The second event (North Site) will be held at Rutgers University on May 27, 2015. The deadline for applications is April 20, 2015. The time of each event is 9:15 – 1:30 pm. continued on page 12
Pursue Your Music Career Undergraduate Programs Music (B.A.) Popular Music (B.A.) Classical Performance (B.M.) Jazz Studies (B.M.) Jazz/Classical Performance (B.M.) Music Education (B.M.) Music Management (B.M.) Sound Engineering Arts (B.M.)
Graduate Programs Jazz Studies (M.M.) Music Education (M.M.) Online and On-Campus Classes Music Management (M.M.)
2014-2015 Auditions On-Campus Auditions for Classical Degree Programs and B.A. Music Placement Tests November 7, 2014 January 30; February 13, 27; March 13; April 10, 2015 Recorded Auditions Deadline
(Jazz and Popular Music Degrees only)
February 1, 2015 GENEROUS SCHOLARSHIPS ARE OFFERED
Wayne, New Jersey 973.720.2315 â€˘ wpunj.edu/music firstname.lastname@example.org 973.720.3466
WPUNJ.EDU/Music WPU Music Department WPUMusicDept WPUMusicDept
& News From Our Division Chairs The application forms will be on the NJMEA web site, however, they can also be found in the January edition of TEMPO Magazine. A maximum of ten (10) registrations will be accepted at each site. Each participating choral group will receive written and aural evaluations by the adjudicators, along with a plaque from NJMEA which recognizes the commitment and involvement by the school, its chorus, and the director(s). Any schools interested in participating in either of these events next year, should be sure to complete the application form in the January issue of TEMPO magazine, or online at www.njmea.org. Anyone with questions or concerns may contact Donna Marie at: email@example.com, 609-625-6600, x 1013, or 609226-7751.
Choral Performance Kathleen Spadafino 732-214-1044 kspadEB@aol.com
Welcome to a new school year! New opportunities for your best year ever – new excitement, new talent, new repertoire, and new opportunities for you and your students! While I hope you took time to relax a little this summer, I hope you also had the time to stimulate your mind and expand your knowledge at a workshop or class. The NJ-ACDA Summer Conference in July and the NJMEA Summer Conference in early August both offered quality sessions and a chance to connect with your colleagues. Please keep up your memberships in both of these professional organizations for the most current information for your students. But now for the new year! Our present All-State Choruses are already rehearsing. Peggy Dettwiler attended our first Mixed rehearsal in June, and students are working hard to reach her high standards in rehearsal. Our women began rehearsing in September even though their performance is not until February 2015. Please try to attend one of the All-State performances or rehearsals! While your students are getting a fabulous choral experience from you and your program, everyone will benefit more when you participate in your County, Region and AllState Choral groups. Your students will share a quality musical experience with other singers, and you will enjoy making new friends with others who are choir geeks like you! Here is some basic information for the 2014-2015 school year: Your best resource is our website, www.njmea.org. Please check it regularly, as well as the TEMPO Express emails, for updates for all activities. Mark your calendar for deadlines – they are 5-8 weeks BEFORE the actual audition. High School Region Choruses: New Jersey has 3 regions: 1 (North), II (Central), III (South). Students in grades 9 – 12 are eligible to audition. Audition Dates: Region I (NJSMA) – Saturday, January 10, 2015 Region II (CJMEA) – Saturday, December 13, 2014 Region III (SJCDA) – Saturday, November 15, 2014 New Jersey All-State Chorus: Students in grades 9-11 are eligible to audition. Note: Students do not have to be accepted into their appropriate Region chorus to be eligible for All-State Chorus, unlike band and orchestra. There are 2 audition dates to choose from, and many schools split their students between the two dates/sites. All choral directors must help out at one audition site each year, and MUST serve as a final room judge (both dates) once every four years. The All-State Chorus Audition Bulletin will be available online at www. njmea.org by January 25, 2015. Please read all sections carefully – all information is there. The audition dates for 2015 are Saturday, April 18th (South) and Saturday, April 25th (North). Please note that we moved these dates one week later to accommodate the NAfME Eastern Division Conference.
& News From Our Division Chairs Honor Choirs: Both NAfME and ACDA have Honor Choirs that are open to your students. As stated earlier in this article, you should belong to both organizations to afford both opportunities for your students. ACDA: in 2015, ACDA will hold a National Conference in Salt Lake City on February 25th-28th. The audition process was online September 1 – 30, 2014. The NAfME Eastern Conference will be held April 9-12, 2015 in Providence, RI. Students were eligible to apply based on their ranking within their 2014 All-State choruses. All students and teachers were notified of their acceptance in September. The NAfME National Conference will be held in Nashville on October 26-29, 2014. These students were chosen based on their ranking in AllState Chorus and were notified in August. Please go to the ACDA and NAfME websites for more information about these honor choirs. If you missed any deadlines, there’s always next year! I know that being a Choral Director is an exhausting job! I also know that every year there is a growing number of new young directors in New Jersey who are ready to participate in our many activities. Please get to know these “newbies,” welcome them, and help them navigate the ins and outs of these auditions. I invite all of you, seasoned professionals and excited new colleagues, to become involved with NJMEA and all our opportunities offered for you and your students. Also get to know your Choral Procedures Committee – fantastic and dedicated individuals that I am honored to call my friends: Tom Voorhis, Steven Bell and Jamie Bunce from Region I; Hillary Colton, Wayne Mallette and Judy Verrilli from Region II; and Helen Stanley and Cheryl Breitzman from Region III. They will be at the Region auditions, All-State auditions, and most of the rehearsals and concerts. Please go there, meet them, get involved! And you can always email me – Kathy Spadafino, Chairperson, at KSpadEB@aol.com. Here’s to your best year ever!
Guitar Education Thomas Amoriello firstname.lastname@example.org 908-342-7795
The 2014-15 school year is currently underway and I wanted to share a few dates that will require your support in order to advance guitar education in New Jersey. I will be presenting a “Ukulele in the Music Classroom: Four Strings of Joy!” At the NJEA Convention in Atlantic City on Friday, November 7th from 3:00-4:30 pm in Room 421. Attendees will receive a free ukulele method book. Though there will be your typical power point and uke basics discussed, I would like this workshop to be very informal, so please bring a ukulele and we can share what works in our classrooms with each other. We are planning more guitar activities for the NJMEA State Conference in February than in the past so hopefully you will be available to attend. We will host these events on the Saturday of the conference in East Brunswick which is February 21, 2015. There will be an education lecture by GRAMMY nominated Glen McCarthy who is the Guitar Education Chairperson for NAfME. Rowan University Professor of Guitar, Joseph Mayes will also present a workshop that all musicians will enjoy entitled, “The Ten Steps.” I will host a guitar ensemble workshop for educators as well as a guitar education meeting. We are also coordinating a guitar ensemble showcase in the atrium lobby so any high school and college level guitar ensembles interested in performing can contact me to sign up. You will find more details in the January issue of TEMPO. Back in April 2014 the first NJMEA Guitar Festival included high-level performances by conservatory grads, college and high school students as well as instruction by college level educators. To be honest with readers, we were barely able to “break even” with ticket sales and master class fees as this event could have been much better attended. In order for these events to exist, flourish and have the support of the NJMEA executive board Festival co-director Keith and festival organizers your support is encouraged. Otherwise these events cannot be justified. Calmes, Joe Jacobs, and Thomas Amoriello
continued on page 14
& News From Our Division Chairs The 2nd NJMEA Guitar Festival will take place at Wall High School on April 18, 2015. We will have concerts, master classes, lectures and workshops so please mark your calendars and think about preparing selections for your ensembles and talented students to participate. We are working at this time to bring in an international guest performer and teacher for the event.
Participants in the 2014 NJMEA Guitar Festival
Stevie Rawlings 201-261-7800 x3069 email@example.com
News from the Opera Festival is that both the opportunity and incentives are once again available for young singers to study and perform opera repertoire. Each student who auditions on October 24th with a piece from the opera repertoire will receive critiques from Metropolitan Opera adjudicators for a possible featured solo at the Opera Festival Concert on November 15th at 3:00 pm. Those performing at the highest level will be chosen to perform solos, duets, trios or ensembles. Both the auditions and the concert will be held at Paramus High School and hosted by the Paramus Music Parents and the Tri-M student members. Audition forms, fees, criteria, dates and details can be found on the NJMEA website. There will be NO â€œLOCK OUTâ€? for this OPERATIC EVENT! We look forward to another extraordinary musical experience with even greater participation in the Opera Festival for 2014.
Orchestra Performance Susan Meuse 732-613-6890 firstname.lastname@example.org
Welcome back to another school year! The All-State Orchestra is currently preparing for the upcoming concerts in November. Patrick Burns is working with these talented students to prepare an exciting program, so we hope to see you in Atlantic City or NJPAC! Since the last issue of TEMPO, the All-State Intermediate Orchestra performed a wonderful concert at Community Middle School in Plainsboro. Conductor Jesse Livingston did a wonderful job preparing the talented students to perform a fantastic program. I must also include a big thank you to Ian Miller for managing the group. TEMPO 14
& News From Our Division Chairs There will be something new this year for orchestras! This winter, NJMEA will be sponsoring two orchestra festivals: one for middle school, and one for high school. The dates are tentatively set for Friday, January 23rd and Friday, February 6th. More information will be available soon! As you are settling into your new school year, if you are interested in getting involved with the All-State Orchestras or the orchestra festivals, please let me know. We would love to see some new faces!
Retired Music Educators Beverly Robinovitz 732-271-4245 email@example.com
Welcome back to the school year. I hope you are all off to a great but busy start. We retirees are doing our thing in a different direction; not necessarily in a school building. It’s amazing how busy so many of us are, still keeping our hands in the music field. It’s difficult to do otherwise when it has been our life. Many still have bands and choruses, church jobs, working for colleges, instrument repairs, and, still singing and playing gigs. “I don’t know how I had time for work.”, is a line I often hear. The Master Music Teacher Committee elected the NJMEA Master Music Teacher(s) for 2015 this past spring. We will announce our Master Music Teacher(s) in the next issue of TEMPO. Please take the time now to think about nominating a NJMEA music educator who is truly an outstanding teacher next March 2015, for the 2016 Master Music Teacher. Put it on your calendar of things to do so that you are ready for the March 15th nomination due date. The nomination form may be found on the njmea.org website under AWARDS> Various>Master Music Teacher Award. The last General Membership Meeting of the year was held on May 14th at 10:15 a.m. at the “House-By-The-Sea” in Ocean Grove. Our host was once again, Alyn Heim. Across the street is the ocean! We had an informative meeting with Roma Oster as our guest speaker, an attorney who specializes in wills, estate planning, probate, trusts, powers of attorney, elder law, and guardianships. We had plenty of questions which Roma handled beautifully; and patiently! Our next Board meeting is October 8th at 10:00 am. If you are interested in being on the Board of Directors of NJRMEA, please contact me for further information. Our 1st General meeting will be in February at the NJMEA State Conference in East Brunswick.
Summer Workshop Joe Akinskas JoeA_NJMEA@comcast.net Summer Workshop Coordinator
NJMEA Summer Workshop VII August 5, 2014 The seventh annual summer workshop was held on the delightful campus of The College of New Jersey in Ewing, in the Arts and Instructional Media building. 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, Special Education implications in Music Instruction, and an SGO support and triage room staffed by Tom Maliszewski and Lisa Vartanian. OCTOBER 2014
& News From Our Division Chairs Additionally, a roster of Special Topic presentations included hands-on instrument repair techniques by our resident repair specialist Dave Kaplan; an extended presentation on classroom music pedagogies presented by Elizabeth Parker, Joel Perry, GianCarlo Sari, and Rich Beckman; all were entertained at lunch by the amazing “Rock N Roll Choru , directed by Joe Cantaffa, followed by the grand lunch wrapup with Rachel’s Raffle. The workshop participants included 80+ music educators from across the State, along with a roster of 20+ clinicians including: Lynell Joy Jenkins, Malcolm Merriweather, Beth Moore (accompanist), Ory Brown, Tom Amoriello, Jeremiah Crowley, Andrew Lesser, Nick and Barb Santoro, John Palatucci, Chris Colaneri, Betsy and Elizabeth Maliszewski, Amy Burns, Marj LoPresti, Janet Cape, Robin Hodson, Lucia Marone, Kurt Zimmerman, Amanda Newell, Judy Barnett, and committee members. Commendations and thanks 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: Bob McMahan Music Department Chair, and event staff members Rachel Reinhart, Richard Kroth, and Mark Kalinowski. The entire workshop program, along with pictures from this year’s event, can be found on the conference-workshop link at NJMEA.org. Workshop Eight is tentatively scheduled for August 4, 2015. Additional information will be posted in the January edition of TEMPO. Reserve the date now!
Young Composers Composition Competition Robert Frampton firstname.lastname@example.org YCCC Coordinator
NJMEA 2014-15 Young Composers Composition Competition The New Jersey Music Educators Association is proud to announce the seventh annual “Young Composers Competition.” The competition, which is limited to New Jersey students, has continued to attract the finest young composers in the state. Many of our finalist composers have gone on to Eastern Division and National recognition. Recordings of the outstanding compositions from previous competitions can be found on the NJMEA website. One again the competition will be divided into two divisions: one for middle school students in grades 6 – 8; and one for high school students in grades 9 – 12 (graduating June 2015). All submitted compositions will be evaluated by a distinguished panel of music teachers and composers, and finalist composers will be invited to attend a critique session to be held in conjunction with the NJMEA February Conference at the East Brunswick Hilton. The composition recordings will be played and the finalists will participate in the critique session. In addition, the winning composer(s) will be announced at that time and awards will be presented. All other participating student composers are welcome to attend. The exact date, time and location will be announced in January 2015. The online application for the 2014-15 Competition can be located in the “Young Composers Competition” section under the Projects tab of the njmea.org website. Teachers are encouraged to assist their students with the application process. The deadline for application submissions is November 28, 2014. NOTE: The NAfME Eastern Division Call for Compositions is posted online at www.nafme-eastern.org. &
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NJMEA Welcomes The Following Members Who Recently Joined NAfME/NJMEA. Carolyn Baldacchini Joanna Barouch Linda Behrens Marc Beja Richard Berggren Amy Bergh Toni Burdey Julianne Chandler Charlotte Chong Reun Chung Stephen Copeland Dante Cornella
Nicole Dickinson Michelle Dilatush Charlie Ernst Jacob Ezzo Steven Fit Donald Gallo Jeremy Gorin Anthony Jones Danielle Lewis Debbie Lingel Victoria Little Lindita Lole
Donald Lopuzzo David Luquett Teresa Lyncheski Joseph Martorano Rachel Menconi Doug Meyer Ruth Mueller Lauren Peithmann Edmund Robertson Mara Rubin Julius Tolentino Jo Winik Kristen Yost
The Adjudicator’s Viewpoint By John Pursell Chambersburg, PA email@example.com
ost high school and many middle school musical ensembles undergo some type of adjudication on a regular basis. This may be as part of a festival, a band trip or other activity. Certainly, there are many opportunities for adjudication, with numerous commercial companies engaging in organization of these events. The purpose of this article is to offer some viewpoints from the “other side of the podium,” the adjudicator him or herself. I do not claim to have the last word on adjudication; indeed, the points I will make are my own opinions that have been formed over many years of adjudicating these events, which have included marching, concert and jazz bands and string ensembles. Nor are they necessarily the opinions of the organizations which have engaged me for these events. So, let’s look at a few points from the adjudicator’s side of the podium. 1. The adjudicator is not your adversary! In reality, you are both on the same side—you both want the ensemble to perform better. Yet there are students (and often directors) who believe the adjudicator is listening pointedly for every little crack or quiver, eager to knock off points. Nothing could be further from the truth. While we certainly hear mistakes, they are not usually the main focus of our listening. I always try to listen to the overall effect of the group and how well they present their music in the broader sense. Certainly, a major mistake, such as a missed entrance or repeat, or consistently playing a rhythmic figure incorrectly would be noted, but minor cracked notes are not usually as
important as one might think. Of course, the higher the group’s technical accuracy, the easier it is to focus on the musicality and effect, so a high level of proficiency should be a primary goal. It just shouldn’t be the only goal. 2. The adjudicator only hears what’s played. Remember, we have no idea how much time you spent on rehearsals; we have no idea if there are extraneous problems at your school that hinder rehearsal; we have no idea what went into your preparation; usually we do not know if it is the director’s first year or fortieth year with the band. We only know what we hear. In this way, the adjudication is similar to an audition for a professional position or for college, where the judges hear only what’s presented. In more basic terms, we hear what your audience hears—no more, no less. 3. We hear your music in one place at one time. Your ensemble could sound completely different in a different hall or even at a different time in the same hall. It would almost certainly have a different sound in an empty versus a full hall. Again, this is good training for the future professionals in your group. Learning to be flexible and to play anywhere at any time is essential experience. 4. The adjudicator generally has no ax to grind. Many students and even some directors do not believe this, but I can assure you, the judges I have worked with have all tried very hard to be fair,
professional and objective, even when evaluating ensembles led by personal colleagues. The judges are there to help and they take this responsibility very seriously. Their comments are made to assist in the improvement of your ensemble and are never meant to demean or embarrass any player or director. To quote one of my favorite movies, The Godfather, “It’s not personal—it’s just business.” Accept it as business, not as an intentional blow to your pride. Through the years, though, I have noticed that the same weaknesses do seem to appear over and over in any number of ensembles. These are four that, to this author at least, are most common. 1. Poor Intonation. I’ve heard more performances by all types of ensembles weakened by poor intonation than any other reason. Yet, it need not be. Intonation can be practiced, just like any other skill. One way to make a quick improvement is very simple: tune pianissimo. An ensemble that blasts their way through the tuning process will get nowhere. First of all, the individual players can’t hear themselves, and secondly, playing loudly will usually push the pitch higher or lower. 2. Lack of balance. This can be hard, especially if your group has 12 trumpets, one trombone and three clarinets! And, of course, it is exaggerated by playing in a strange hall. Probably the most important thing that can be done to improve balance is to impress on students that dynamics are relative. Certainly, forté in a Sousa march bears no resemblance to forté in a Mozart OCTOBER 2014
overture. Unfortunately, particularly in younger groups, students often believe that forté means loud and piano means … well, not quite as loud! The 12 trumpets will have to realize that they cannot play that mezzo-forté if the clarinet has a solo; it must be reduced to pianissimo. The second most important element is to try to develop key listening abilities. Point out to the trumpets when they need to listen for the flute solo; show the oboe where they need to heard over the other woodwinds, and so on. Lack of balance often shows up in jazz bands, where the rhythm section dominates the winds. While I have on rare occasion felt a rhythm section could be louder, it’s usually just the opposite. This is no doubt due to electronic amplification of the bass, guitar and often keyboard. It also shows up when a soloist is trying to play, but the rhythm is still as loud as they were under the full band. Balance problems also show up frequently in string groups where the violas are significantly outnumbered by the violins and often cellos. Add in the standard way of setting up—where the violas are to the right of the group and hence tilting away from the audience—and good balance quickly goes awry. If necessary, consider a change of position of some kind to help overcome these issues. I’ve also heard very successful groups putting the double basses in the middle of the group (where percussion would normally be) instead of all the way to the right. This allows violins to hear them more clearly.
director asked me for feedback, and I mentioned how his jazz band sounded wooden and just didn’t swing. I asked him what recordings he had given his students for listening and he stared at me blankly. I then asked him how he expected his students to duplicate a sound they had never heard. For whatever reason, it had simply never occurred to him. To my pleasure, he took my feedback to heart and started his band on a solid listening program. The next time I heard them, there was a marked improvement. 4. Conducting a jazz band. This is my own personal gripe. The best jazz bands I have heard are those where the director kicks off the tune and then goes away, so to speak. Occasionally they may give a cue, or emphasize an accent, but for the most part, they just let their groups play. The sight of a conductor frantically waving their arms in front of a jazz band is just not in style with the music.
many middle school jazz bands can play conductor-less just fine. If your group is accustomed to you conducting it, then start with small steps. After starting the tune, stop conducting for a few measures, then resume. Gradually extend the time you are not conducting until the students have accepted the fact that they can play on their own. I think you’ll find that your group will “swing” a lot better, too. And finally, perhaps the most important point I can make is this: adjudication events should be a tool for improvement of the ensemble, not just for a superior rating. Yet many ensembles and their directors look at it strictly from the competitive viewpoint. Indeed, this may not even be their particular desire, but may be driven by their school administration. Competition is not bad; but when it becomes the sole objective, then something is lost. Remember, and stress to your students, the adjudicators are your allies. They are there to help your group perform better and their comments are made seriously and objectively. Keep in mind that certain problems show up repeated in many bands and work to eliminate them. The adjudication experience should be a tool; a tool for you and your students to use to improve your ensemble.
I’ve heard more performances by all types of ensembles weakened by poor intonation than any other reason. Yet, it need not be.
3. Lack of swing. I have heard many jazz bands that played the notes correctly, but sounded dull and uninteresting, mainly because they didn’t swing. A starting point to improvement is to have the students overemphasize the 16th note in dotted 8th16th note figures. This is also an area where the use of listening assignments is critical. Recordings abound of the great swing bands and should be listened to extensively. Some years ago, a young band OCTOBER 2014
Can a middle school ensemble play without a conductor? Absolutely. I remember well a middle school jazz band that came on stage and set up with no adults in sight. They then tuned—still no adults. Then, to my amazement, the drummer kicked off the selection, the band played and at the end, the keyboard player gave the cut off. I then noticed the director sitting in the audience! When I spoke to him later, he simply said, “I’m training them to be professionals.” I’ve always felt that he wasn’t just teaching them music, he was teaching them leadership, confidence, and people-skills as well. Of course, there are younger or less experienced groups that need a conductor. But for the most part, high school and
About The Author John Pursell appears nationwide as a Trumpet Artist and Clinician for the Yamaha Music Corporation. He is retired from his position as the Senior Ceremonial Trumpeter with the United States Air Force Band in Washington, DC, and serves as the Assistant Professor of Trumpet at Gettysburg College. He has published numerous articles in national journals and has been an adjudicator at many events, primarily in the eastern United States. He welcomes comments at: firstname.lastname@example.org.
The Merits Of Merit Pay For Music Education By Billy Baker Jersey City University email@example.com
fixed salary schedule remains the most common form of compensation for teachers throughout the United States. This method of remuneration is typically based upon years of experience and professional growth opportunities including workshop credits and graduate degrees. Despite its predictability and objectivity, critics have scrutinized the fixed salary schedule’s effectiveness in retaining excellent teachers and rewarding achievement. According to Greene and Foster (2008), the inherent lack of monetary incentives in this model “pushes high performers out of the profession” and rewards time and service instead of performance quality. Such concerns have led to the passing of state and federal legislation including Louisiana’s “Educator Effectiveness Initiative “and the U.S. Department of Education’s “Race to the Top” competitive grant program. While New Jersey has yet to adopt a statewide merit pay program, Newark has implemented performance pay for teachers and Governor Christie has advocated for such programs to award the state’s “best” teachers. A poll of 10,000 teachers sponsored by Scholastic and the Bill and Melinda Gates Foundation (2012) revealed that only 16% of the teachers felt that performance pay helped to retain good colleagues while only 26% of the respondents felt that performance pay had a strong or very strong impact on student achievement. Additionally, in a recent anonymous online survey of 619 New Jersey music educators, I found that a majority of respondents opposed faculty merit pay based upon school performance. Such findings indicate reluctance among education professionals within the state to accept merit pay initiatives. Several performance-based proposals for compensating music teachers have been suggested by professionals within the field including Cowden (1988) and Elpus (2011), but research and scholarship related to music teachers’ acceptance of such policies seem to
be nonexistent. It would behoove us to consider the ramifications of merit pay in the field of music education and to formulate an official stance on the benefits or setbacks of these proposals prior to their possible implementation. Accountability Angst Any attempt to quantify the nuances of teacher effectiveness in music education may seem futile. It is difficult, if not impossible, to measure the constantly changing aspects of student and teacher backgrounds, abilities, and personalities. The field of music education includes a combination of complex and diverse social, cultural, and academic settings. One of my survey respondents commented: “Music is such a field that is both subjective in its nature as well as difficult to measure objectively.” However, educational research has provided us with common characteristics and qualities among effective music teachers. According to Townsend (2011), such teachers exhibit content mastery of technical skills, empathetic and positive communication abilities, reflective teaching practices, dedication to excellence and professional growth, consistent structure in planning and organization, and a respectful, ethical, and fair sense of character. While these character traits may seem to be “subjective” or impossible to measure, a variety of models have been developed to assist teachers and administrators with the evaluation process. Recent implementation of the “Danielson Framework” as a feedback tool has resulted in varying degrees of skepticism, anxiety, and discomfort. Rather than viewing this tool as a “hoop” or a “fad,” Santoro (2014) encourages music educators to accept the evaluative criteria as an opportunity to “invite administrators and colleagues in to see how we teach.” He further argues this framework provides non-music administrators with a baseline for measuring effective instruction. While many content areas track student progress over multiple years
via standardized test scores and several districts are now adopting such measurement tools in music, non-music administrators may not understand the relevance or value of formative assessments in the context of classroom musical performance. An additional survey respondent commented: “so much of what we do is in the process, not the product, yet everyone wants to make a judgment based on the product. . . how far have the students come since rehearsals began?” The unintended consequences of testing and exclusively focusing on the product may include “polished performances” in which “performing groups can sound good when using such methods as teaching by rote therefore actually rewarding bad teaching.” It is therefore critical that the “Danielson Framework” is utilized as a processoriented educational tool for administrators and teachers. Opportunities to reflect upon the framework as an ongoing means of assessing instructional strategies and techniques may result in more open communication and understanding between music educators and non-music administrators. The Perils Of Pay For Performance The federal “Race to the Top” program encourages competition between states for federal block grants and advocates for them to “shine a spotlight on and reward excellence in teaching through compensation and promotion” (United States Department of Education, 2009). While Indiana, Rhode Island, and California have adopted a “top-down” approach to evaluating music teachers, several states like Florida are encouraging cooperation and consultation between policymakers and classroom teachers (Perrine, 2013). Such an open dialogue in the state of New Jersey might also mitigate the resistance to mandated evaluation approaches attaching pay to performance. Nevertheless, most music educators in my survey expressed reservations about endorsing and supporting monetary incentives for student performance and identi-
Music, Dance and Theatre The Caroline L. Guarini 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 NAfME, The National Association for Music Education.
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fied competition, subjectivity, ethics, and resource inequalities as areas of concern. Competition between colleagues may result in a “division of faculty” and undermine collegiality. For example one participant cautioned: “Hour-to-hour pay parity is most effective in keeping a collaborative spirit among educators. Competing for money based on incentives fosters animosity and a lack of teamwork. Students need a team of educators, not educators who operate as every man for himself. It takes a faculty working together to educate a community.” Subjective feedback from administrators and peers could possibly be misinterpreted. While some administrators may value “process” and individual student progress as much as the “product” or the final group performance, several teachers were concerned about how quality and value were measured by administrators. One survey respondent commented, “In music, success can mean very different things to many different people. A performance very often cannot be simply right or wrong, good or bad, as is the case with some subjects that can be assessed using concrete means.” On the other hand, it is critical that we continOCTOBER 2014
ue to create measurable objectives, conduct formative and summative assessments, and avoid using “subjectivity” as an excuse not to help our students to approximate success in music learning. It is indeed “concrete” to measure whether a musician is sharp or flat in performing a musical phrase or whether the same individual demonstrated appropriate breath support while playing. The new “National Core Music Standards” also provide us with opportunities to evaluate specific steps of creating, performing, and responding to music with related enduring understandings and essential questions. Several survey participants were concerned with the ethics of additional compensation in the form of merit pay. The notion of taking pride in one’s work was highlighted by the following statement: “I do not believe in ‘charging’ the taxpayers more than a traditional stipend for exceptional work; we should provide exceptional work regardless of pay because it is the right thing to do. It’s the reason we entered the profession.” Yet another respondent considered merit pay to be a validation of good work and wrote: “Those who love to teach, love their students and make a difference in
the lives of the students deserve merit pay.” The potential for abuse and corruption among administrative leaders in rewarding friends and family was also an ethical dilemma posed by merit pay. Disparities in resources from one district to another may place some teachers at more of an advantage than others to receive pay for performance. For example, while one district may have an abundance of instruments and classroom supplies, ideal scheduling with music built into the master grid, and strong administrative support, another district may lack such materials, hold afterschool rehearsals with no late buses, and have no administrative policies for attendance or grades. Several elementary music teachers speculated about the misappropriation of funds specifically for performance-based programs at the “upper level” instead of rewarding “experiential learning opportunities” in the elementary setting. Such arrangements would seem to be unfair and result in less collegiality and more divisiveness between music educators.
continued on page 24
Future Concerns: Substantiating A Stance It is assumed that more money will motivate and inspire workers to grow and develop into more productive or effective employees. However, the nuances of effective teaching and human interactions within the field of education are not like the market-based environments of other professions. A majority of the responses to my survey were rich in qualitative data and provided an abundance of anecdotal evidence refuting merit pay initiatives in music education. Additionally, several studies have also concluded that pay for performance in the field of education contributes to the demise of collegiality with increased competition (Chamberlin, Wragg, Haynes, & Wragg, 2002) and the narrowing of the curriculum or “teaching to the test” (Kelley, 1998; Noddings, 2007). Such findings support the New Jersey Education Association’s opposition to performance pay for educators and should undermine the efforts of politicians and business leaders to advocate for merit pay programs in education. Yet the debate continues as stakeholders implement and attach funding to such programs as an attempt to improve student achieve-
ment and assess teacher effectiveness. While some may assume that merit pay will never be awarded to music educators, we should at least consider the ramifications of such initiatives in our field and be prepared to argue for or against performance for pay with an informed opinion based upon empirical research and sound policies. References Chamberlin, R., Wragg, T., Haynes, G., & Wragg, C. (2002). Performancerelated pay and the teaching profession: A review of the literature. Research Papers in Education, 17(1), 31-49. doi: 10.1080/02671520110102534 Cowden, R. L. (1988). Merit pay and k-12 arts teachers. Arts Education Policy Review , 90 (1),28-33. doi: 10.1080/07320973.1988.9935540 Elpus, K. (2011). Merit pay and the music teacher. Arts Education Policy Review, 112, 180-190. doi: 10.1080/10632913.2011.592466 Greene, J. P., & Forster, G. (2008). Teacher incentives and merit pay. Retrieved from http://www.centerii.org/ techassist/solutionfinding/resources/ teachincentmeritpay.pdf
Kelley, C. (1998). The Kentucky school-based performance award program: School-level effects. Educational Policy,12(3), 305-324. doi: 10.1177/0895904898012003005 Noddings, N. (2007). When School Reform Goes Wrong. New York: Teachers College Press, Columbia University. Perrine, W. M. (2013). Music teacher assessment and Race to the Top: An initiative in Florida. Music Educators Journal, 100(1), 39-44. doi: 10.1177/0027432113490738 Santoro, J. (2014). Embracing teacher evaluation: Why music educators should learn to love The Danielson Framework. TEMPO!, 68(4), 20. Townsend, A. S. (2011). Introduction to effective music teaching. Lanham, MD: Rowman & Littlefield Publishers, Inc. United States Department of Education. (2009, November 18). Federal Register, Vol. 74, No. 221, Race to the Top Fund, Retrieved from http://www2.ed.gov/ legislation/FedRegister/finrule/20094/111809a.pdf &
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2015 NJ Elementary And Junior High Choral Festival by Carol Dory Beadle NJMEA/NJ-ACDA Festival Chair firstname.lastname@example.org
he 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. Why Send Your Students To This Festival? • Students have the opportunity to sing with some of the best conductors from our state and from around the country. • Students are able to be challenged at an advanced level with other students who are equally as talented and who love to sing. • Although students are required to learn the music on their own, there are only two days of commitment required – the rehearsal day and the festival day . • Directors have the opportunity to network and meet other teachers throughout the state. • Directors are able to sit in on rehearsals and watch fantastic conductors. • Directors only have two Saturday dates to attend – Audition Day, Rehearsal Day, or Festival Day. • Rehearsal tracks are provided to make practicing at home easy for the director and student. Student Information • Students must be residents of New Jersey. • Students must prepare their audition as well as the concert pieces, if accepted. • The Elementary Honor Choir is for grades 4-6 (treble voicing). • The Junior High Honor Choir is for grades 7-9 (mixed voicing). • Students will audition with two vocalise warm-ups and a preselected short melody. • Students will be judged on Vocal Quality, Intonation, and Musicianship. Director Information • Any church, school, or community choir director who is a member of NAfME and/or ACDA is eligible to sponsor students for membership. • There is a limit of 16 student applicants from each school, church, or community chorus for each honor choir. • All communication is done via email. • The director will be responsible for: • Supervising the preparation of audition and application materials. TEMPO 26
• Ensuring that students are musically prepared for the first rehearsal. • Coordinating efforts with parents and sponsoring organization to assure that singer is financed and has transportation provided. • Ensuring all required paperwork is completed and submitted according to guidelines. • Attending and assisting at both the Rehearsal Day and the Festival Day in their entirety. (If director is unable to attend, a pre-approved member of either NAfME or NJACDA must take his or her place.) • Directors who serve as an audition judge may be excused from either the Rehearsal or Festival Day. Important Dates • Wednesday, January 14, 2015 – Audition materials due • Saturday, January 24, 2015 – Audition Day – begins at 8:30am, Grace Church, Madison NJ • Monday, February 9, 2015 – Registration forms due for those who are accepted • Saturday, April 25, 2015 – Rehearsal Day - 8:30am-1:00pm, New Providence High School, New Providence, NJ • Saturday, May 2, 2015 - Festival Day – rehearsal starts at 8:30am and concert starts at 4:30pm, JP Case Middle School, Flemington NJ Audition Information • Audition materials must be postmarked by Wednesday, January 14. 2015 • Required materials – Application form, recording, and $8.00 audition fee • Audition day is Saturday, January 24, 2015 at Grace Church in Madison, NJ • Audition results will be emailed following auditions. • If a student is accepted and wants to participate, there is a registration fee of $25.00 per student which must be postmarked no later than Monday, February 9, 2015 • Information about audition requirements will be posted on www.njacda.com during the Fall of 2014. There you will find the vocalise and song the students will be required to audition with as well as information about how to send the recordings and the application forms. (You do not have to be an ACDA member to find this information on the NJACDA website.) OCTOBER 2014
â€˘ This year we will attempt to go towards a digital application process, however you will still be able to turn in CDs. Details will be posted on the NJACDA website. Honor Choir Committee
Junior High Auditions Manager Joanna Scarangello - email@example.com Junior High Festival Manager Megan Siegel - firstname.lastname@example.org
Coordinator Carol Beadle - email@example.com Elementary Auditions Manager Brenda McCulley - firstname.lastname@example.org Elementary Festival Managers David Gordon and Jocelyn Keefe - email@example.com jkeefe@ mtsd.us
Project-Based Learning (PbL): 2nd Grade Learns About The Immigration Of The Von Trapp Family by Amy Burns Far Hills Country Day School firstname.lastname@example.org
or the past few years, empathy and immigration have been effectively taught to our second graders at Far Hills Country Day School (FHCDS) through project-based learning (PbL). PbL is a teaching method that has students “learning by doing,” an idea initially promoted by John Dewey. PbL is where students learn by responding and answering an essential question. In order to answer the essential question, students are given a good amount of time to utilize their knowledge they gained from their core curriculum, along with using digital tools and collaborating with subjects across the curriculum, to produce results that are presented in a public forum. I, along with other specialists (art, foreign language, and technology teachers), teach musical concepts and more to enhance the students’ learning experiences as they study empathy and immigration. Essential Question: PbL is organized around an essential question, driving question, or challenge. In this case, the essential question is “What is the experience of an immigrant?” In order to answer this question, the students first had to have accumulated skills that would not only assist in researching and answering the question, but also strengthen their foundation. These skills include writing, reading, speaking/ presenting, and higher order/critical thinking; in addition, students must apply their knowledge gained from studying social studies. The process for the students to answer the essential question about the experience of an immigrant started with the students creating passports so that they could “travel” to different countries. The students “travel” to different countries through the Families Of The World DVD series and it helps them compare/contrast USA to other countries in the present. This expanded their global aware-
ness and helped them to become conscious of similarities and differences. The students were also given books to read and discuss with their families at home. This activity is called the “Shoebag Books.” The children took these books, such as Tea with Milk by Allen Say and The Other Side by Jacqueline Woodson, home each week from January to May. The students and parents read the books together and described the feelings of “walking in the shoes” of people who are in different situations than their own. These books were also shared with their 7th grade “buddies”. This part of the process helped the students to understand another perspective and the feeling of empathy. The final portions of the process have involved reading literature about the immigration experience during the time of Ellis Island, Castle Garden and Angel Island and a field trip to Ellis Island or watching a Broadway caliber production of “Gateway to America: The Ellis Island Musical.” The students gained skills and knowledge from the process that would now be applied to their final project: a scrapbook and a movie about a character that they create who immigrates to America. The students used “Thinking Maps” to synthesize their learning and to write each section of their character’s story. They also answered the following questions about their character: • Why did I choose to leave the country? • What did I bring? • What was the journey like to America? • What was the experience at Castle Garden/Ellis Island/Angel Island? • How did I begin a new life in America? The students presented their scrapbooks and movies to their parents and the school community on a special day that was titled “Coming to America: Empathy and Global Citizenship in Second Grade.” How Does Music Class Play A Role In This PbL? When the second grade team first approached me about this PbL, I had a difficult time answering the question, “How does music class play a role in a unit about immigration and empathy?” However, the second grade teachers have a great ability to think outside the box and encouraged me to do the same with this project. I immediately thought of composers from another country,
but they asked me to think about studying the life of the 'Von Trapp Family Singers,” a singing family that immigrated to America and were the subject of the movie “The Sound of Music.” I loved the idea because many of the students have seen the movie but were not aware of how the movie embellished the actual story; moreover, the songs from the movie are great to sing in class. Keeping The Music Curriculum Intact I have read via social media and music educators’ networks that when some music educators hear that music needs to be more “cross curricular,” a fear overwhelms them. This is because the implication is that the music curriculum will no longer be intact and it will be replaced with reading, writing, arithmetic, and more. When I approached this PbL, I felt that having the students study immigration and empathy in music class was fairly natural and did not require much tweaking to the current curriculum. The process of this PbL in music class begins in the winter and finishes with the “Coming to America Day” in May. 1. Begin with singing: I am an elementary music educator. My students sing in every class. We started off in the winter by learning and singing songs from “The Sound of Music.” This helped the students understand solfege better and helped us with reading lyrics, singing in tune, enunciating words, and knowing the difference between singing with our head and chest voices; all aspects of the second-grade music curriculum. 2. Experience empathy: In the winter, my second graders study the life of Beethoven. Through this study, they learn about his life as well as his music. One of the activities we perform is viewing the movie, “Beethoven Lives Upstairs.” After the movie, the students discuss why the main character, Christoph, changed his opinion of Beethoven from a “mad man” to a man who is brilliant and should be respected. The students come to the realization through discussion that Christoph felt empathy for Beethoven and discovered how difficult it would be to compose and listen to music when you are almost deaf. 3. Study of the von Trapp Family: In the spring, we continue singing songs from “The Sound of Music.” The students were also introduced to Maria von Trapp, the main character of the film. The students learned about how she came to the family as a tutor (not as a governess) and decided to forego becoming a nun to marry Georg von Trapp, the patriarch of the family who was a retired captain of the Austrian Navy. Maria then became the mother of seven children: Rupert, Agathe, Maria, Wemer, Hedwig, Johanna, and Martina. After Maria and Georg married, they had three more children: Rosmarie, Eleonore, and Johannes; he was born in Philadelphia right after they immigrated to America. The students also learned that the von Trapps lost most of their wealth in the early 1930s, which caused them to dismiss their servants, to rent out the top floor of their mansion, and to sing in public in order to make a living. We discussed the decisions the von Trapps were forced to make when the Nazis annexed Austria in 1938. The regime had offered wealth and a variety of opportunities for the entire family if they would stay and work for the Nazis. However, Georg and Maria abhorred the regime and ultimately decided not to compromise their principles and to leave the country instead. They told people that they were departing
the country due to singing opportunities, and took the train to Italy, where Georg had citizenship. They had a contract with an American booking agent, who paid for them to come to America. They eventually settled in Stowe, Vermont. 4. Study of the Film: As the students were learning the songs from the film, we viewed portions of the film that correlated with the music and with the story. This helped the students visualize the von Trapp story as well as see where the film had made embellishments. 5. Study of Empathy and Comprehending the Story: The students then answered a series of questions. The students had to answer the questions as if they were walking in the shoes of the von Trapp children. These questions were the following: How do you think the von Trapp children felt when they could not live as they were used to and had to say goodbye to people that had worked for them and had been close to their family? • How do you think the von Trapp children felt when they now had to do something that they loved [singing] as a job? • How do you think the von Trapp children felt when they had to live under a ruler who was unfair and made life difficult for many people? • How do you think the von Trapp children felt when they learned that they were leaving Austria and eventually immigrating to America? The students’ answers were in-depth and thought provoking. Responses ranged from students trying to figure out how they could keep their servants so the servants would not be homeless, to being very proud of their dad for sticking to his principles. 6. Presenting the Music Portion at “Coming to America”: On the day of “Coming to America”, the students sang songs from “The Sound of Music.” Before each song selection, I described the musical concepts that we worked on to learn the song from reading and memorizing lyrics, to singing on pitch, to studying solfege, to singing in two parts (Do-Re-Mi), and more. After each song, I presented one of the questions that the students answered when studying the life and immigration of the von Trapp family. Throughout the PbL process, the students received feedback to refine their work before they presented it. This also occurred in music class as the students recorded and listened to their singing and refined their performance skills in order to be ready for the “Coming to America Day.” When the past second graders became my third-grade music students, they often referenced this project and performance. The students remarked how much they liked learning about the family, seeing portions of the film, learning about the reasons they immigrated, and learning and performing the songs from the film. Project-based learning was an effective and enjoyable way for second graders to hone key academic foundation skills, to learn about immigration in an in-depth and engaging way, and to deepen their empathy. In addition, the students were able to focus on and refine their singing and performing skills. I thank the second grade
Project-based learning. (2014, April 8). Retrieved August 6, 2014, from http:// en.wikipedia.org/wiki/Project-based_ learning Project Based Learning Checklists. (n.d.). Retrieved August 6, 2014, from http:// pblchecklist.4teachers.org/index.shtml
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Miller, S., Rubin, K., and Wang, J. (2014). Coming to America: Empathy and Global Citizenship in Second Grade [PowerPoint presentation].
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Amy M. Burns is an elementary music educator, clinician, author, and musician. She currently works at Far Hills Country Day School in Far Hills, NJ teaching PreK through Grade 3 general music, grade 5 instrumental music, and grades 4-8 instrumental band. She is an author for Online Learning Exchange™ Interactive Music powered by Silver Burdett. This alldigital program, developed by Pearson in partnership with Alfred Music Publishing, includes lessons, resources, downloadable assets, and interactive musical activities to enhance any music educators’ PK-8 general music classroom. She has also authored three books and numerous articles about integrating technology into the elementary music classroom. In addition, she is the Past-President of Technology for Music Education (TI:ME-http://www.ti-me.org) and is on the Board of NJMEA. You can find out more about Amy at her website: http://www.amymburns.com.
to Inspire Your Students
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John Dewey, Education and Experience,
What is Project Based Learning (PBL)? (n.d.). Retrieved August 6, 2014, from http://bie.org/about/what_pbl
References: Gearin, J. (2005, Winter). Movie vs. Reality: The Real Story of the von Trapp Family. Retrieved August 6, 2014, from http://www.archives.gov/ publications/prologue/2005/winter/ von-trapps.html
Project-Based Learning - Zulama. (n.d.). Retrieved August 6, 2014, from http:// zulama.com/resources/project-basedlearning/#.U-Jvc4BdVM8
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team at FHCDS, Susan Miller, Kathy Rubin, and Joann Wang, for assisting me with this project and with this article. I am honored to work with such a gifted teaching staff at FHCDS and one that highly regards the arts.
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Calendar 2014 NJAJE Jazz Concert in Atlantic City............................... 11/6/14 2014 NJAJE Jazz Education Conference .............................. 11/14/14 Special guest clinician/performer: Bob Stoloff
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Region Update For the 2015 Region Jazz Choir season, any Music Educator (vocal or instrumental) may submit a singer in grades 9-12 that demonstrates interest, skill and commitment to your program. NO AUDITION WILL BE REQUIRED to participate in the 2015 Region Jazz Choirs. Please consider registering your talented students for this unique musical experience.
And because we recognize that your time at that point in the school year is very tight, there will be limited teacher responsibilities for this event. Online registration will begin by November 1, 2014, and the deadline is March 1, 2015. You will find the registration form on our website at www.njaje.org.
Spread the Word If you would like to help us continue to keep vocal jazz as an integral part of the musical fabric throughout the state, or if youâ€™d like to inquire about setting up a vocal jazz workshop near you, please contact Steve Bishop at email@example.com.
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Working Backwards by Jacques Rizzo Retired Jbrizzo@optonline.net
good number of years ago, I read a study in a psychological journal about university students memorizing piano concerti. The study divided the pianists into two groups. The control group memorized the concerto starting from the beginning proceeding to the end. The experimental group memorized the concerto starting at the end of the piece, working towards the beginning: i.e., they would first memorize a reasonable portion at the end of the concerto, perhaps only the last phrase. Then the would add the another segment, connecting that with the previously memorized segment, and continue in this fashion, adding each newly memorized portion to that already learned until they reached the beginning. The premise of the study was that those who worked from the end of the piece would, as they added each new segment, be playing back into portions that they had already memorized, reinforcing their recollection of these already memorized sections. And so the study found. Reading the study, I thought that this strategy would transfer well into teaching the music itself. So, when students had problems with a particular phrase, I would subdivide the phrase into manageable parts, and have them practice the last portion (perhaps only two or three notes), perfecting that, and proceed backwards from there, adding another portion until the phrase was learned. Typically, students play music from the beginning until they made a mistake.
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When they play the part where the mistake was made a second time, the probability is that, having played the mistake once, they would repeat it, reinforcing the mistake. And each subsequent time they play it, the odds are that they will make the same mistake again. Only by intently concentrating on not making the mistake, can they improve the phrase and eventually perfect it. By working backwards, their masDegrees: tery of already learned segments becomes Bachelor of Music stronger as each segment is added. Rather Bachelor of Arts then practicing mistakes, they strengthen their grasp of the music. I taught stuMaster of Arts dents this approach for their home pracArtist’s Diploma tice, using the old adage “practice smart, Performer’s Certificate not for hours.” In choosing music for my ensembles Programs: to play, I usually included a good number of pieces that were not technically Music Education challenging, so that rehearsal time conPerformance centrated on the more musical aspects Jazz Studies of performance as opposed to teaching Music Therapy notes and rhythms. However, I always included several selections that challenged Theory/Composition the students. When working with these, rather montclair.edu/music then playing from the beginning of the piece, I often taught them backwards over a number of rehearsals, perfecting each segment of the piece from the end to the beginning. When introducing a new selection, I might only work a last fp chord that ended the piece during the first rehearsal, perfecting that, proceeding backwards from there in subsequent Email: email@example.com rehearsals. And I found this successful. Over the past dozen years, I have visited many schools in northern New Jersey supervising student teachers for William Paterson University. Although I have seen teachers use this or similar approaches in their teaching, I have also visited classrooms where this technique could have been usefully employed. And I wish that, when I was a young teacher, someone had explained this strategy to me. Many students would have benefitted from it.
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Young Children And The Music-Movement Connection by Abby Connors Early Childhood Music Specialist Connors419@aol.com
hen you’re sitting on the floor, do you periodically lean back and kick your feet up in the air? No? Neither do I. When you’re dancing, I doubt you feel compelled to move all over the room, or hurl your body to the floor, just for fun. And I’d guess you don’t automatically shriek with excitement every time you jump. This is because you’re a grownup. I’ve taught music to young children for about twenty years, and I’ve come to the conclusion that they speak an entirely different body language from ours. It’s as if they speak English and we’re trying to teach them in Latin. It doesn’t work. Young children are still growing into their bodies. Their instincts compel them to explore their bodies’ capabilities – the strength and range of motion of various body parts, the possibilities for large motor movement (hopping, jumping, turning and so on); and the use of their bodies to express their emotions. Their mind-boggling energy (did you know that human beings are more active at age two than they ever will be again?), combined with their endless need to test their physical abilities, create bodies in nearconstant motion. It’s hard for a teacher just to keep up and make sure no one gets hurt, much less get them to slow down enough to listen and learn. Their urge to stand up, to run around, to stretch their growing muscles and to touch other children can be much stronger than their ability to follow verbal directions like “sit down” and “keep your hands to yourself.” But music teachers have a unique advantage: the brains attached to those run-
ning, squirming, wiggling little bodies are genetically programmed to be enchanted by music. They literally can’t resist it. “Nothing activates as many areas of the brain as music,” says researcher Donald Hodges, Covington Distinguished Professor of Music Education and director of the Music Research Institute at the University of North Carolina at Greensboro. Music integrates sensory, motor and affective systems in the brain. One of the most important benefits of early childhood
music education is its role in promoting physical development. As children move to music, they increase coordination, flexibility, and motor skills (Bullard, 2010). It not only tames the wildness and disorganization of children’s physicality, it helps them transition to our more controlled, socially appropriate, and self-aware language of movement. Music allows young children to explore movement in an intentional and enjoyable way.
bachelor of arts with concentrations in:
bachelor of music in:
Performance | Composition Critical/Cultural Studies
Music Education | Vocal Performance
Body Part Songs “Head and Shoulders, Knees and Toes” helps young children not only to identify body parts, but to feel more organized in their own bodies, more “at home” in them. I also use the songs “Bodies 1-2-3” by Peter and Ellen Allard (unless specified, all recordings mentioned in this article are available on music-purchasing sites), in which children wiggle various body parts; “Con Mi Dedito” as performed by “Grupo Encanto,” a very easy Spanish song that encourages children to nod “yes” or shake “no” with their fingers, feet and heads; and for fours and fives, “The Body Part Game” by Greg and Steve. In this song, children touch body parts to other body parts (“touch your knee to your ankle,” etc.), ending with “Touch your toes to your nose.” “The Body Part Game” helps children increase body awareness and flexibility. They also find it absolutely hilarious.
Bachelor of Arts in Music Bachelor of Arts in Music with a Double Major Bachelor of Music Education Bachelor of Music in Performance For Open House and Audition dates, go to: www.gettysburg.edu/sunderman
Songs To Develop Large Motor Skills Movement songs using large motor skills benefit physical development, body awareness, coordination, and awareness of boundaries, or the ability to move without bumping into others or otherwise inhibiting their ability to move. (With young children, this is an ongoing process!) My students love these songs: “Come On Everybody,” by Frank Leto, which also involves remembering a sequence of motions; “Put Your Hands Up in the Air” by Hap Palmer, a lovely tune that’s sung at a leisurely pace, with movements easy enough even for toddlers; and “The Monkey Dance” by the Wiggles, an exuberant celebration of jungle animals which includes plenty of jumping! Songs To Develop Small Motor Skills It’s so important for young children to have many opportunities to practice small skills, as they begin to use their hands for zipping, pouring, buttoning, tying shoes, writing, using scissors, and many other tasks. Some of my favorite songs to help develop small motor skills include: “Two Little Blackbirds” as performed on the Music Together “Triangle Collection CD, a classic fingerplay with a sweet folk-song sound; “Slippery Fish” by Charlotte Diamond, a very funny song with a surprise ending children love; and Raffi’s “Little White Duck,” in which hands get to flap, swim, crawl, and wiggle as children portray various animals. OCTOBER 2014
Young children, like all of us, are drawn to music, especially very rhythmic music. Keeping the beat in music is a natural, ageappropriate way for them to regulate and organize their movements. It’s a lot easier and more pleasant for teachers to lead music and movement activities than to be correcting children’s disruptive or inappropriate movements all day. And it’s certainly a lot more fun for the children we’re teaching! Abby Connors is an early childhood music educator, author, and presenter. Her newest book of music activities, “Shake, Rattle, and Roll,” will be published in 2015 by Gryphon House. Visit Abby’s website, musicforyoungchildren.wordpress.com for more activities and articles on early childhood music education. References Bullard, Julie. Creating Environments for Learning: Birth to Age Eight. New York: Pearson, 2010. Hodges, D. (2006). The development of the musical brain. In McPherson (Ed.), The Child as Musician, 51-68. Oxford: Oxford University Press.
& 43 TEMPO
Did You Build A Guitar When You Were In 8th Grade? By Thomas Amoriello Flemington Raritan School District firstname.lastname@example.org
n recent issues, TEMPO readers have been treated to music education writings pertaining to technology, therapy, rehearsal techniques, advocacy, and so many other informative topics in our profession. In this article we will gain insight in the area of luthiery. If the word luthier has never crossed your ears, a luthier is someone who makes or repairs guitars, violins and other string instruments. Though we will not discuss “how to” build a guitar in this article, we will hear from a NJ public school educator who uses his unique skills to help 14-year-olds build them. By the end of the second year of running the program, students have built 100 instruments including electric basses and ukuleles. If you were to ask any adult about their recollection of “shop” class from their youth they would probably mention smelling sawdust, wearing goggles, hearing loud machinery, and making birdhouses or shelves. But just outside of Trenton in Hamilton Township, guitar building is happening in the woodshop classes of Michael Freidman. “Woodshop Rocks” is a class that puts the student into the role of luthier, designing and building guitars. Lessons learned beyond the physical building of these instruments include: working with electronics (pick ups), nature (tone woods), mathematics (fretboard scale length) and many character building traits such as perseverance, patience, and discipline. So could this lead to a vocation with a music corporation or to a student simply considering music lessons? I was inspired to reach out to Michael after first seeing him on an episode of Classroom Close Up-NJ last season. The segment can be viewed here: http://link.brightcove.com/services/player/bcpid61630332400 1?bckey=AQ~~,AAAAj36EGjE~,w53r2XdUtII0XxxdqYeLp1bOxU XrsIg0&bclid=0&bctid=3322519247001 Recently I had the opportunity to visit Friedman’s classroom in Hamilton. As I entered the building to sign-in at the main office, the first thing I noticed was a studentmade electric guitar hanging from the wall. As I was escorted to his classroom, I passed a display case in the hallway proudly displaying more of the guitar projects. Friedman has weaved his vision into the fabric of the school, creating an environment that screams music advocacy. The wild-looking electric guitars (exotic shapes such as the flying v, explorer, and razorback) that decorate the school hopefully will inspire future rockers to shred scales and sequences; picking sweep arpeggios; creating distorted bass string riffs; using two hand finger
tapping; fretting hammer ons and pull offs; chunking power chord progressions; improvising pentatonic scales over a 12 bar blues; and a variety of other slang techniques associated with the electric guitar. Yes again, this is music advocacy in action! In the past I personally have toured the factories of Gibson Guitars in Bozeman, MT and Martin Guitar in Nazareth, PA, but to see a classroom of eighth graders in NJ measuring fretboards, sanding bodies, and applying fretwire to necks simply appeared surreal. As the students worked independently and also with Michael shadowing and modeling from time to time, “Led Zeppelin II” blasted from the speakers of his classroom/workshop, creating the appropriate ambiance. Michael was kind to answer many questions, and his students were proud to display their work and enthusiastically pose for photographs. It was my pleasure to “test drive” and demonstrate one of the “final products” for the class as students gathered around requesting “riffs” by Aerosmith, Kiss and the Rolling Stones. I predict that one day a great guitar building innovator such as a Leo Fender or Christian Frederick Martin type will get a start on their first guitar in Friedman’s public school woodshop class. What Is Your Background In The Vocational/Industrial Arts? As a son of an Industrial Arts teacher and the grandson of a family furniture repair/refinishing business owner, you might say that Woodworking and Industrial Arts is in the blood. My father, Bill Friedman, taught middle school metal working, Woodworking, and mechanical drawing for 36 years before retiring in 2012. Ever since my older brother, Lee, and I were very little, my father would bring us to school with him on our days off. We would shadow him as he worked with students and helped them to safely build beautiful projects. We were always fascinated and knew at a young age what we wanted to be when we grew up. Lee is also an Industrial Arts teacher at Steinert High School in Hamilton, NJ. In addition to teaching, my father also continued my grandfather, Stan Friedman’s, business “Friedman Furniture Service.” My brother and I would also spend much of our time in our father’s shop shadowing him and helping him work on furniture and making house calls to customers. This gave us a very strong Woodworking background at a very young age.
What Is Your Background In Music And Guitar? Aside from playing the triangle in my elementary school music class, I have absolutely no background in music and I can’t play a single chord on a guitar! However, I have always had a love and a preference for classic rock and oldies over my generation’s music. There is something that’s timeless about the music of legendary bands such as Led Zeppelin, The Beatles, The Rolling Stones, The Who, and AC/DC, just to name a few. What Led You To The Fusion Of These Two Entities? My first few years as a new teacher, I had my students building very traditional and common middle school woodworking projects such as candle boxes, CO2 powered cars, shelves, etc. This became boring for me and I knew the students were capable of much more challenging and high-quality work. During my second year of teaching, I did a search online for “middle school woodshop projects.” That simple search changed my entire career for the better. I stumbled across a webpage entitled “WoodShop Rocks!” The site and program’s creator, Duane Calkins, is a Woodworking teacher at Buljan Middle School in Roseville, California. The site had pictures of eighth grade students holding beautifully handcrafted electric guitars. When I saw the pictures, I was blown away. I was in awe and disbelief that eighth grade students actually built these guitars. I immediately sent an introductory e-mail to Calkins loaded with questions about the program. Soon after, Calkins sent me a package with various guitar patterns so I could build my own guitar. Over the next four or five months, mostly after school, little by little, I built a guitar. For me, the woodworking itself, is very easy. But I have no musical background and didn’t know about scale lengths, bridge placement, intonation, and all of the other important musical elements that would go into it. Any time I had a question, I would have to call Duane and work around the three-hour time difference and our teaching schedules. After finishing my first guitar, a Telecaster style, I knew I could use some more hands-on instruction to properly implement the program at my school. So the first day of summer break, at 5:00 a.m., my brother and I got on a plane to Sacramento, CA. Despite jet lag, we went right from the airport to Calkins’ school wood shop and started building. We spent six days out there, four of which were spent building our guitars. I made a Les Paul style guitar and Lee built a Warlock style guitar. Having Duane’s immediate feedback on questions was priceless. Once we got back, I was at my school shop most of the rest of the summer, turning paper patterns from Duane’s shop into wood patterns and setting up specialty machines to be dedicated to various guitar building tasks. It was very exciting to be able to fuse my love of teaching, Woodworking, and music. What Is The Prerequisite To Enroll In Your Class At Grice Middle School? There is no prerequisite to enroll in my class at Grice Middle School. The “WoodShop Rocks” program is offered in my eighth grade Technology/Industrial Arts class, which is an elective. When students in seventh grade are scheduling for eighth grade classes, they have a choice of enrolling in various electives such as Technology/Industrial Arts, Music, Art, Family and Consumer Science, Foreign Language, etc.
What Type Of Machinery Is Used In Your Class? Students are exposed to and use most, but not all, of the machinery in my room. The only machine students do not use in my room is the table saw. During my safety lessons, students first learn how to square lumber using the planer, jointer, table saw, and radial arm saw. Then students learn how to use the band saw, scroll saw, drill press, router, disc/belt sander, spindle sander, orbital sander, electric drills, and angle grinders. Later on in the project, students also learn how to use soldering irons when they wire the electronics for their guitars. Where Do You Get Your Supplies From And What Types Of Woods Do You Use? The common questions I’m always asked are “Are your guitars built from a kit?” and “Where do you buy the necks from?” Everything that is wood on our guitars (the body, neck, and fretboard) starts out as rough sawn lumber in my shop. The only things we purchase are the hardware and electronics. Skip’s Music store in Sacramento, CA is a partner with “Woodshop Rocks.” Each year, they put together individual guitar hardware kits consisting of pickups, bridge, tailpiece, switches, potentiometers, input jack, bone nut blank, neck plate, and tuning machines. For cost reasons, I started by using Poplar for the guitar bodies. However, I will be switching to Alder soon, which is a better tone wood. All of our necks are made using Maple and our fretboards are Walnut. Occasionally we use curly maple for a carved top guitar body. Our lumber is purchased from Willard Brother’s Lumber in Trenton, NJ. What Do You Think Attracts Young People To The Guitar? I think no matter what age you are, no one can deny that the guitar always has and always will remain the symbol of “cool.” During the Rock and Roll movement in the 60’s, groups such as The Beatles, The Rolling Stones, and many others made the guitar the centerpiece of the band. If you didn’t play guitar, you didn’t get the attention. I think that idea still rings true today. In addition to the “coolness” factor, the guitar is just such a versatile instrument that can span a huge range of musical styles from rock and heavy metal, to country, blues, jazz and everything in between. continued on next page
What Is A Common Attribute That You See In The Student That Enrolls In Your “Woodshop Rocks” Class?
this extra work time, we are still usually working to the very last days of the semester to finish guitars. However, student design choices are endless. Students are able to choose from many popular guitar body patterns, head stock patterns, and paint designs are limited only by how far the students’ imagination will go. My goal is to eventually run the class for a full year, which will allow time to experiment with custom body and headstock designs, binding, inlay, carved top guitars, and more in-depth paint designs. Students Are Learning Skills In Your Class That Could One Day Lead To Employment In The Guitar Manufacturing Industry Or As Self-Employed Luthiers. Do You Discuss Career Paths?
A common attribute I see in the students that enroll in my “Woodshop Rocks” class is a huge amount of enthusiasm and a low amount of patience. Many steps of building a guitar, such as sanding, shaping, filing fret wire ends, soldering electronics, and setting string action require a ton of time and patience. Since today’s youth is accustomed to “instant gratification,” many students’ levels of patience are put to the ultimate test. However, students understand that their level of patience and attention to detail will make or break the quality of their finished guitar. Through the course of the semester, seeing students become more patient and developing a keen eye for quality in their work is one of the most rewarding parts of my job as an educator. How Many Of The Students Enrolled In Woodshop Rocks Are Musicians? Of all the students enrolled in my “Woodshop Rocks” class, I haven’t had any students yet who built a guitar and knew how to play it. I’ve had a small handful of students who were currently taking lessons and knew how to play a few chords and riffs. However, most of my students have never played guitar. Of those students, many of them became inspired to sign up for lessons so they could learn how to play the very guitar they built. I’ve also had students who flat out admitted they just want to hang it on their wall to display. Even if they just hang it up, they will always have it should they choose to learn later on in life. Is There Room For Experimentation Or Innovation In Your Classes Beyond The Initial Covering Of The Basics? Due to time constraints, there is not a whole lot of room for experimentation or innovation, with the exception of their paint designs. Currently, I only have the students for one semester (half a year). In order to finish on time, I run “open shop” after school several days per week in addition to normal class time. Even with
Again due to time constraints, there is not any time to discuss career paths in-depth with my students. With a full year class, I hope to be able to include these discussions in my class and possibly take field trips. A broader goal of my class and this project is to teach kids the value of hard work in general. With today’s technology, many kids are accustomed to “instant gratification.” This project calls for students to dedicate hours and months of hard work in order to achieve their goal. In the process, students are learning employable lutherie and woodworking skills, but also learning science, technology, engineering, and mathematics skills as well. This can then translate to an interest and appreciation for music and music history. Do You See More Programs Similar To Yours Becoming Available? The Hamilton Township School District has three middle schools and three high schools. My brother, Lee Friedman, is the wood shop teacher at Steinert High School, which is fed by a different middle school. He offers “Woodshop Rocks” as a part of his more traditional “Materials Processing” furniture design and construction class. Unfortunately, many Technology/Industrial Arts programs have been eliminated from many public schools. A few reasons for this are budget cuts, lack of certified Technology/Industrial Arts teachers, lack of programs to train new teachers at the collegiate level, and a societal devaluation of trade skills. In a country where many jobs have been outsourced, we will never be able to outsource skilled trades men and women. Once these programs are gone, they are very difficult to bring back, due to the cost of shop infrastructure such as tools, machinery, and shop furniture. However, I believe and hope we will see a resurgence of programs like mine. These programs will only survive and be successful if they offer projects that are relevant and intrinsically motivating to young students.
What Does A Typical Homework Assignment Or Lesson Plan Look Like? In addition to building their project, students are also required to create a project portfolio, which documents their work from start to finish. The first section is “Project Planning,” where students explain the project they chose to build, why they chose it, history of the project, and how they plan to finish it. The second section is “Construction,” where students must provide pictures and captions describing every major step of building their project. The third section is “Reflection,” where students must provide a written reflection on their finished project, explaining what they learned, and what they would change about their project (if anything) if they did it again. In The Age Of Environmental Issues, Do You Discuss Alternate Tone Woods Or Wood Sustainability? I do stress using lumber in the most efficient manner to ensure as little waste as possible. However, again due to time constraints, there is not any time to address alternate tone woods or wood sustainability in-depth with my students. This is also something I would like to discuss in more detail when I have my classes for a full year. Any Success Stories You Would Like To Share? Last year, I had a student who flat out told me that he hates coming to school. His mother contacted me once to tell me that there were several days where he wanted to stay home from school, not because he was sick, but because he didn’t feel like going. Each time, he would tell his mother, “I have to go to school, I can’t miss a day building my guitar in wood shop!” In general, the pride and confidence this project gives to students and their parents is incredible. Being Awarded Mercer County Teacher Of The Year And Appearing On Classroom Closeup-Nj, Who Are Some Of Your Mentors And Educators Who Inspired You? Being awarded “Mercer County Teacher of the Year” and appearing on Classroom Closeup-NJ was a tremendous honor for OCTOBER 2014
me. I owe those honors to two mentors/educators who have inspired me. My father, Bill Friedman, inspired my brother Lee and I from a young age to be industrial arts/technology teachers, taught us all of our woodworking skills, and taught us how to be truly effective teachers. My other mentor is Duane Calkins, who without his willingness to share his 'Woodshop Rocks' program and luthier knowledge, I would not be where I am today. Final Thoughts? Research continues to show that learning music assists learning in other subjects and develops skills that children inevitably use in other areas. The fusing of these two disciplines has created very positive benefits for my students. The benefits of the “Woodshop Rocks” program are too many to name. It has brought out an energy and enthusiasm from students beyond what I ever would have imagined. This enthusiasm translates from hands-on Woodworking skills directly to many newfound interests in music education. Coda Here are two schools for “big kids” interested in learning how to build guitars (the author personally knows and has seen the work of two luthiers who have attended these places, and they are highly recommended): Kenny Hill, Hill Guitar Company 5905 Hwy. 9, Felton, CA 95018 800-262-8858; fax 831-335-3602 email@example.com 10-day intensives, 2 or 3x/year, hands-on classical guitar building; all levels Roberto Venn School of Luthiery 4011 S. 16th St., Phoenix, AZ 85040 602-243-1179; fax 602-304-1175 firstname.lastname@example.org 5 months, guitar making and repair Thomas Amoriello is in his tenth year teaching General Music/ Guitar Class at Reading Fleming Intermediate School in Flemington, NJ. He also teaches classical guitar at Hunterdon Academy of the Arts. He is a graduate of Rowan University and Shenandoah Conservatory and has presented guitar workshops for various music organizations including the NAfME, NJMEA, Guitar Foundation of America and Philadelphia Classical Guitar Society. You can learn more about Tom by visiting www.tomamoriello.com
& 47 TEMPO
Seeing The Forest For The Trees By Beth Moore Central Regional High School email@example.com
he sheer number of expectations placed on the plate of any music teacher is daunting. The number of hats we must wear and areas upon which we are called to be experts is challenging to say the least. While working through the seemingly endless to do lists I am, from time to time, left to wonderwhat is most important? Why do we do this anyway? Is it so that we can declare ourselves, or be declared, the best? How is that determined anyway? Is that why we got in to this in the first place? Is this why we stay? Why do we stay? The sheer amount of work is staggering at times. The difficulty of balancing schedules, expectations, attendance and paperwork is often overwhelming. Even if you are very happy in your job-it can still be challenging. Difficult administration and parents/parent groups only compound the difficulty. Sometimes it can be too much…and then it will happen:
• One of your sopranos will sight sing a line like she never has before. • A freshman baritone, in his newly changed voice, will hold his line all on his own. • You will hear a junior explain to a freshman a concept with which they are struggling, using your words. • You and your choir will get through a new piece successfully, for the first time, and see the excitement in their eyes. You will receive little praise for any of these things. In fact, there may be no conversation regarding them, but they are real and happen all the time. They are the seemingly small, insignificant victories which, if viewed correctly, can be seen as a major win. If we are honest with ourselves, most of us didn’t fall in love with music for the trophy. Unfortunately, in this outcome-based world in which we
The Monmouth Symphony Orchestra in our 66th Season announces our 21st Annual
Goldwasser Young Artist Concerto Competition Our first prize winner will perform their complete chosen concerto with the MSO in concert the following season ♪
Open to all students throughout the State of New Jersey not yet graduated from High School
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Application and recording due December 12, 2014
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* Because of limitations at our venue, we cannot accept applicants competing on piano this year
live, the trophy oftentimes becomes the goal. We need to keep in mind that the journey is valid regardless of the outcome. The pleasure and lifegiving force that music provides is valid even if your students never become the best of the best. Their lives are changed and they push (and we push with them) to the best of their ability. That’s all any of us can do. If we measure ourselves against the Mozart yardstick, we would all be rendered mute. We push ahead-through the piles of paperwork. We push ahead to guide students that will sometimes argue with their last breath. We do all of this because at one point music moved us. That is an experience that is very real, but may or may not win you any accolades. It’s about sharing and enjoying the beauty of music. Always bring it back to the beauty of music. That was the first love. That love can manifest in the community that is built in your program and how the students are changed (and you are changed) during the time they spend with you. That’s what is most important… • And that your lesson plans are perfect. • And that your unit goal lines up with your daily goal. • And that you remembered to ask the custodians to set up for your concert. • And that you collected the money, permission slips, and organized the spring trip. As you reflect upon those that changed your life, you will sit with a senior who, through the tears, tells you how much she is going to miss being in your program. It is at times like this that we come to realize that this is much larger than any of us. We all started to play/sing for various logical and mysterious reasons. We continue our journey through music for equally mysterious and beautiful reasons. Try to rediscover the beauty; put blinders on everything else. Don’t make the small stuff the big stuff. Take a deep breath. Keep up the good fight. It IS as important as you think it is.
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Help your students become the music educators they were meant to be.
Start a NAfME CollegiateCollegiate chapter-Membership Where music educators belong.The Your students will: preferred designation for this program is “NAfME C
used when appropriate . Avoid using “CNAfME” as a des – Gain professional credibility ted to use trademark items without obtaining approva – Get insight into the professional world thatcontacts are not sold . Approval must be obtained in writing – Expand their network of professional that will be sold by local chapters or sold by state, divis – Open doors to job opportunities vendors are not permitted to use Collegiate trademark – Discover new teaching methods and techniques licensed by NAfME . – Develop leadership skills
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Collegiate OCTOBER 2014
NAfME Teal: 1 Indigo Yellow Font: D
NJEA Convention November 6-7, 2014 – Atlantic City Sponsored by
New Jersey Music Educators Association An affiliate of the New Jersey Educators Association
Thursday 9:30 am - 11:00 am Convention Center Choral Reading Session - Room 419 We will sing through octavos appropriate for SATB, SAB, TTB,SSA,SSAA. Clinicians: Hillary B. Colton & Nancy L. Clasen iPad Apps for the Music Educator - Room 421 Discover apps for your music classroom for all music teachers. These apps will help organize/manage your daily routines throughout the year. All apps will be projected onto the screen. Clinician: Rachel L. Klott Thursday 9:30 am - 11:00 am Ambassador Room, Sheraton Hotel New Jersey All-State Band Procedures Committee Meeting Presiding: Al Bazzel Thursday 12:00 - 2:00 pm Ambassador Room, Sheraton Hotel New Jersey State Choral Procedures Committee Meeting Presiding: Kathy Spadafino Thursday 1:00 - 2:30 pm Convention Center Do Recorders and Technology Play Well in the Classroom? - Room 421 What do you get when you combine the seriously fun interactivity of QuaverMusic and your yearly recorder emphasis? We will explore this and and more in Quaver’s QK-5 Curriculum. Clinicians: Gregory Roman & Graham Hepburn Elementary/Middle School Choral Reading Session - Room 419 Selections presented will focus on choral methods/techniques and muticultural styles that are appropriate for the elementary/middle school. All selections have been “tried and proven” by the presenter. Clinician: Christine C. Sezer
Thursday 3:00 - 4:30 pm Convention Center Assessing Student Growth In The Music Classroom - Room 421 This session will focus on Music Assessment Portfolios and sharing of Music Specific Student Growth Assessments. Instrumental and music theory samples with many years of successful application will be presented. Clinician: Keith W. Hodgson Improvisation in Your Music Program (Going Where It Never Goes) - Room 419 Improvisation can fit into unexpected corners of a music program. This session will debunk myths about improvisation showing how improv can be opened up and applied to other areas. Clinician: Denis DiBlasio Friday 8:00 - 10:00 am Caesars - Room TBA NJMEA Executive Board Meeting Presiding: Joseph Jacobs
Friday 9:30 - 11:00 am Convention Center Method Book Madness: Choosing the Best for Your String Classroom - Room 421 Many factors influence the selection of method books for the string classroom. Through a review of current and established method books, participants will identify characteristics that match student needs. Cliniscian: Mary (Betsy) E. Maliszewski Does It Hurt To Play A String Instrument? - Room 419 Bring one and discover that it doesn’t need to. It’s all about muscle memory, the best accessories, appropriate exercises, stretching and correct instrument positioning. Clinician: Mimi Butler Friday 9:30 - 11:00 am Crown I, Sheraton Hotel Collegiate NAfME Chapter Meeting Presiding: Rick Dammers Friday 1:00 - 2:30 pm Convention Center Maintaining Diversity Across the Multi-Level String Classroom - Room 421 Most elementary string classrooms reflect the diversity of the community; the challenge is maintaining that diversity through high school. This session will investigate ways to promote retention while respecting all. Clinician: Mary (Betsy) E. Maliszewski Friday 3:00 - 4:30 pm Convention Center Ukulele in the Music Classroom: Four Strings of Joy! - Room 421 Aloha! If images of palm trees come to mind when you hear the strumming of the ukulele, you are not alone! So why not include the “uke” in your teaching? Clinician: Thomas J. Amoriello Jr
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Peggy Dettwiler, Chorus
New Jersey All-State Chorus and Orchestra The Eighty-Fourth Annual Program THE NATIONAL ANTHEM Chorus, Orchestra and Audience Conducted by Joseph Jacobs, President New Jersey Music Educators Association
Patrick J. Burns, Orchestra Conductor A Festive Violet Pulse...................................... Nancy Galbraith Spring Song, Op. 16..............................................Jean Sibelius Suite on Hungarian Folk Themes, Op. 18...............Leo Weiner I. Allegro risuluto e ben marcato II. Andante poco sostenuto III. Presto Orchestra PRESENTATION OF PINS TO THE CHORUS AND ORCHESTRA Wendell Steinhauer, President New Jersey Education Association Peggy Dettwiler, Chorus Conductor Musicks Empire.........................................................Lloyd Pfautsch Sing unto God (Judas Maccabeus..................................G.F. Handel Crucifixus................................................................... Antonio Lotti Laetatus sum..................................................................J.M. Haydn Ehre sei Gott in der Hohe....................................Felix Mendelssohn Hold On!.................................................................... Moses Hogan Sleep........................................................................... Eric Whitacre Pal-so-seong (Laughing Voices)................................. Hyo-Won woo Chorus Battle Hymn of the Republic... William Steffe, arr. Peter Wilhousky Combined Orchestra & Chorus Friday, November 7, 2014 at 8:00 p.m. Adrian Phillips Ballroom of Boardwalk Hall Atlantic City and Sunday, November 16, 2014 at 3:00 p.m. NJ-PAC Prudential Hall Newark, NJ
Peggy Dettwiler is Professor of Music and Director of Choral Activities at Mansfield University in Mansfield, Pennsylvania, where she conducts the concert choir, festival chorus, and chamber singers, and teaches choral conducting and methods. Before coming to Mansfield, she was a graduate assistant conductor to Donald Neuen at the Eastman School of Music, where she received a Doctor of Musical Arts Degree in Conducting. She also has a Master of Music Degree in Choral Conducting from the University of Texas at San Antonio and a Master of Music Degree in Music Education from the University of Wisconsin in Madison. In addition, she has studied orchestral conducting and appeared in concert in the Czech Republic and at the Oregon Bach Festival. Dettwiler has chosen to seek degrees in these areas of music because she believes that the choral conductor must be an educator as well as a performer and must have a thorough knowledge of vocal pedagogy. Her articles, “Developing Aural Skills through Choral Warm-ups” and “Grading the- Choral Ensemble .... No More Excuses,” were printed in the October 1989 and April 1995 issues of the Choral Journal published by the American Choral Directors Association (ACDA). She has developed two pedagogical DVDS entitled, “Developing a Choral Color Palette” and “Sing in Style.” Dettwiler received the 2010 Elaine Brown Award for Choral Excellence from the Pennsylvania Chapter of the American Choral Directors Association and was awarded 2” place both in 2011 and 2013 for The American Prize for Choral Conductors. Dettwiler is past president of the Pennsylvania Chapter of the ACDA and is currently the Pennsylvania representative on the Board of Directors for the National Collegiate Choral Organization. The Mansfield University ACDA Student Chapter, which she advises, was recognized as the Outstanding Student Chapter in the nation in 1997 and 2001 by the American Choral Directors Association, and the Mansfield University Concert Choir has been invited each of the last twenty years to perform at state, regional, national, or international choral conventions. In 2008, the Concert Choir Won the World Championship in the Gospel & Spiritual Category at the World Choir Games in Graz, Austria. Patrick J. Burns, Orchestra Patrick J. Burns (b. 1969) has served as Adjunct Professor of Music at Montclair State University in New Jersey since 1994, where he teaches courses in music theory, orchestration, and composition, and has also been Director of the New Jersey City University Symphony of Winds and Percussion since September 2011. As a clarinetist, Burns has performed with many professional ensembles in the New York metro area. After teaching for 15 years in the Caldwell-West Caldwell Public Schools, Burns is currently employed by Ackk Studios as orchestrator/composer/conductor for the company’s video game and film projects being produced for the Nintendo and Sony Corporations. In 1986, at the age of seventeen, he founded the Bloomfield Youth Band, a community wind ensemble of some 55 secondary school and collegiate musicians which he continues to direct today. The Youth Band has been recognized for its outstanding artistic achievements and service to the community by the United States Congress, the New Jersey Legislature and the Mayor and Town Council of Bloomfield. His compositions for symphonic band are performed by bands of every level throughout the country. The United States Army Band, “Pershing’s Own”, has performed his music in Washington, D.C. and at Carnegie Hall. His music has also been performed by conservatory and military bands in Sweden, Russia, Japan and China. Burns is former director of the Montclair State University Youth Orchestra and the Imperial Brass. Patrick Burns’ music for symphonic band is published by Bandworks Publications, G. Schirmer, Daehn Publications, Grand Mesa Music Publishers, FJH Music, Wingert-Jones Music, and TRN Music Publisher. His music has appeared on Bandworld magazine’s Top 100 list of band compositions five times. The Instrumentalist and School Music News have printed numerous favorable reviews of his band music and The Classical New Jersey Society Journal has praised his chamber music. His music for symphonic band has been performed at The Midwest Clinic in Chicago and has been recorded for the educational series Distinguished Music for the Developing Band.
Steven M. Bishop, Jazz Choir Director The New Jersey Music Educators Association proudly presents The 2014 New Jersey All-State Jazz Ensemble and Honors Jazz Choir
Steven M. Bishop, Jazz Choir Conductor Program To Be Announced
Tim Hagans, Honors Jazz Band Conductor Program To Be Announced
Finale NJ Honors Jazz Choir & All-State Jazz Ensemble TBA
Thursday, November 6 , 2014 Will follow the NJEA President’s Affiliates Dinner Convention Center Ballroom, Atlantic City and Friday, November 14, 2014 at 7:00 p.m. NJ-PAC Prudential Hall
Steven M. Bishop, currently the vocal music instructor at Burlington Township High School, has composed three musicals and has written more than 50 revues. He is the arranger/orchestrator for the upcoming Broadway shows, Genius and Solana. Prior to these positions, he was the musical supervisor, orchestrator and computer programmer for the national tours of The Addams Family, The Color Purple, and Spamalot, and was the conductor for the first national tour of Dirty Rotten Scoundrels. Current projects include musical directing and orchestrating the new adaptation of Camelot, slated to begin a national tour in the fall. Among his many New York credits, Bishop was the conductor/musical director for the off-Broadway run of Bingo!, for which he orchestrated, produced, and engineered the original cast CD. Other credits include orchestrating/arranging Riverview (Goodman Theatre), Arthur (Marriott Lincolnshire), EVITA (Jupiter Theatre) and the National Tours of Ziegfeld, Gypsy, Grand Hotel, and Jolson, The Musical (US Premiere). His arrangements for television have been heard on The Today Show, AMC, Discovery, TNN’s Nashville Now, and Bobby Jones Gospel Hour. Commercial jingle clients have included Hallmark, Jordache, Bonanza, and Honda. Bishop conducted for Barry Manilow and his musical, Copacabana, and provided orchestrations for the 2002 Winter Olympics in Salt Lake City. He has had the privilege of working with such artists as Barry Manilow, Gladys Knight, Pat Boone, BJ Crosby, Lou Rawls, K.D. Lang, Deborah Gibson, Frankie Avalon, and Michael Bolton, to name a few. He has also been the musical supervisor for the Prince Music Theater in Philadelphia, winning acclaim for his compositional and orchestrational contributions to The Green Violin, a new musical which won several Barrymore awards, including best new score. His arrangements and orchestrations have been heard on the smash national tours of Grease, starring Frankie Avalon. He is the recipient of the Bravo award for his outstanding contribution to the field of musical theatre. Bishop has musically directed over 150 productions including five in Seoul, Korea, and is in constant demand as a vocal and audition coach. As an educator, he has developed arts curriculum at the high school and collegiate levels, and has served as special guest artist in musical theatre for the Interlochen Arts Academy. Tim Hagans, Jazz Band Director Tim Hagans, an excellent post-bop-oriented trumpeter, was with the orchestras of Stan Kenton (1974-1977) and Woody Herman (1977), before moving to Sweden (1977-1981) where he played with Sahib Shihab, Ernie Wilkins’ Almost Big Band, the Danish Radio Orchestra (which was then directed by Thad Jones), and Dexter Gordon. After returning to the U.S., he taught at the University of Cincinnati and recorded for the local MoPro label. Hagans taught at Berklee (1984-1986), and then in 1986 he started working with Joe Lovano and Fred Hersch. Later, he made records with Bob Belden, Lovano, Rick Margitza, John Hart, and the Yellowjackets, and has worked with the big bands of Bob Mintzer, Maria Schneider, and the Gil Evans orchestra. Tim Hagans has recorded several Blue Note albums as a leader.
2015 Region and All State Jazz Ensembles Senior Jazz Ensemble Audition Requirements (Grades 9 - 12) All Solo Etudes, Scales, Applications, and Locations may be found on the NJAJE Website: www.njaje.org ***IMPORTANT DATES FOR ALL REGIONS*** Audition Date: Monday, March 16, 2015 Rehearsals: March 23, April 13 (4 - 8 PM); April 17 & 18 (9 AM - 3 PM) Concert: April 19 (3 PM) ***Audition Requirements for ALL INSTRUMENTS***
SOLO - All students are required to prepare the solo listed below in its entirety. All Solo etudes may be downloaded from the NJAJE Website: www.njaje.org
SCALES / STYLES - Saxes, brass, piano, guitar, and bass students are required to prepare the scales listed below. Scales are listed in WRITTEN pitch. All scales should be played in a swing style. Drummers are required to demonstrate the ability to keep time in the styles listed below. Scale sheets for all instruments may be downloaded from the NJAJE Website: www.njaje.org
IMPROVISATION - All students are required to play an improvised solo demonstrating creativity, technique, & musicality. *Saxes, brass, piano, guitar, and bass students must improvise a solo over 2 choruses of Blues in F or Bb concert using the Jamey Aebersold "New Approach to Jazz Improvisation, vol. 1." Student will pick a card to determine key. *Drum improvisation is included as part of the solo etude.
SIGHT READING - All students are required to perform a short excerpt never previously seen. Students will be given 30 seconds to look over the piece before playing. Saxophones: * Required solo: NJAJE Senior Saxophone Etude No. 1A NOTE - Bari Sax: Students will play the entire saxophone etude using the bottom lines in the ossia section. * Scales [ALL SCALES MEMORIZED]: Alto/Bari: C, G, D Blues - 2 octaves, A Blues - 1 octave. G & A Dorian & Mixolydian modes - 1 octave. C & D Dorian & Mixolydian modes - 2 octaves. Tenor: F, C, G, D Blues - 2 octaves. G Dorian & Mixolydian modes - 1 octave. F, C, D Dorian & Mixolydian - 2 octaves. Trumpet: * Required solo: NJAJE Senior Trumpet Etude No. 1A NOTE - Lead Trumpet: Students will play the entire trumpet etude using the top lines in the ossia section. * Scales [ALL SCALES MEMORIZED]: C, D Blues - 2 octaves; F, G Blues - 1 octave. C Dorian & Mixolydian modes - 2 oct.; D, F, G Dorian & Mixolydian modes - 1 oct. Trombone: * Required solo: NJAJE Senior Trombone Etude No. 1A * Scales [ALL SCALES MEMORIZED]: Bb, C Blues - 2 octaves; Eb, F Blues - 1 octave. Bb Dorian & Mixolydian modes - 2 oct; C, Eb, F Dorian & Mixolydian modes – 1 oct. Bass Trombone: * Required solo: NJAJE Senior Bass Trombone Etude No. 1A * Scales [ALL SCALES MEMORIZED]: Bb, C Blues, Dorian & Mixolydian modes - 1 octave (begin below the staff.) Eb, F Blues, Dorian & Mixolydian modes - 2 octaves (begin below the staff.) Piano: * Required solo: NJAJE Senior Piano Etude No. 1A * Scales [ALL SCALES MEMORIZED and 2 HANDS]: C, F, Bb, and Eb Blues, Dorian, & Mixolydian modes - 2 octaves. Guitar: * Required solo: NJAJE Senior Guitar Etude No. 1A * Scales [ALL SCALES MEMORIZED]: C, F, Bb, and Eb Blues, Dorian, & Mixolydian modes - 2 octaves. Bass: * Required solo: NJAJE Senior Bass Etude No. 1A * Scales [ALL SCALES MEMORIZED]: C, F, Bb, and Eb Blues, Dorian, & Mixolydian modes - 2 octaves. Drums: * Required solo: NJAJE Senior Drum Etude No. 1A * Styles [ALL STYLES MEMORIZED]: Swing (slow w/brushes, medium w/sticks, and fast w/sticks), Jazz Waltz, Shuffle, 8th Note Rock, 16th Note Rock (Funk), Latin (Samba). Styles must be memorized. Students must be able to play 2, 4, & 8 bar phrases with a fill at the end of each phrase.
2015 Region Jazz Ensembles Junior Jazz Ensemble Audition Requirements (Grades 7 - 9) All Solo Etudes, Scales, Applications, and Locations may be found on the NJAJE Website: www.njaje.org ***IMPORTANT DATES FOR ALL REGIONS*** Audition Date: Monday, March 16, 2015 Rehearsals: March 23, April 13 (4 - 8 PM) April 17 & 18 (9 AM - 3 PM) Concert: April 19 (3 PM) ***Audition Requirements for ALL INSTRUMENTS***
SOLO - All students are required to prepare the solo listed below in its entirety. Note new solo editions! All Solo etudes may be downloaded from the NJAJE Website: www.njaje.org
SCALES / STYLES - Saxes, brass, piano, guitar, and bass students are required to prepare the scales listed below. Scales are listed in WRITTEN pitch. All scales should be played in a swing style. Drummers are required to demonstrate the ability to keep time in the styles listed below. Scale sheets & basic drumset patterns may be downloaded from the NJAJE Website: www.njaje.org
SIGHT READING - All students are required to perform a short excerpt never previously seen. Students will be given 30 seconds to look over the piece before playing.
All Saxophones: *Required solo: NJAJE Junior Saxophone Etude No. 1A *Scales [ALL SCALES MEMORIZED]: Alto/Bari : G & D Blues - 2 Octaves, A Blues - 1 octave. G & A Dorian mode - 1 octave, D Dorian mode - 2 octaves. Tenor : C, D, & G Blues - 2 octaves. C & D Dorian mode - 2 octaves, G Dorian mode - 1 octave. Trumpet: *Required solo: NJAJE Junior Trumpet Etude No. 1A *Scales [ALL SCALES MEMORIZED]: Blues & Dorian mode C, D, & G - 1 octave. Trombone: *Required solo: NJAJE Junior Trombone Etude No. 1A *Scales [ALL SCALES MEMORIZED]: Blues & Dorian mode C, F, & Bb - 1 octave. Piano: *Required solo: NJAJE Junior Piano Etude No. 1A *Scales [ALL SCALES MEMORIZED and 2 HANDS]: Blues & Dorian mode C, F, & Bb - 2 octaves. Guitar: *Required solo: NJAJE Junior Guitar Etude No. 1A *Scales [ALL SCALES MEMORIZED]: Blues & Dorian mode C, F, & Bb - 2 octaves. Bass: *Required solo: NJAJE Junior Bass Etude No. 1A *Scales [ALL SCALES MEMORIZED]: Blues & Dorian mode C, F, & Bb - 2 octaves. Drums: *Required solo: NJAJE Junior Drum Etude No. 1A *Styles [ALL STYLES MEMORIZED]: Swing (slow w/brushes, medium w/sticks, fast w/sticks), Jazz Waltz, Shuffle, 8th Note Rock, 16th Note Rock (Funk), Latin (Samba). Students must be able to play 2, 4, & 8 bar phrases with a fill at the end of each phrase. *Free Improvised Solo included as part of the solo etude. Students should demonstrate creativity, technique, and musicality.
University of Massachusetts | Amherst Department of Music and Dance WELCOMES TWO NEW PROFESSORS Sara Jones, Music Education, PhD (ABD), Northwestern; MM, Michigan State; BME, Baylor. Former pre-college and adult band director. Specialist: informal music learning, curriculum development, instrumental music education.
Matthew Westgate, Director of Wind Studies, Dir. Instrumental Activities, Xavier Univ. 2008-14. DMA, Cincinnati College-Conservatory of Music; MM, Western Michigan. Active guest conductor, clinician, arranger; classical/jazz trombonist. Conducted Eastman Wind Ensemble, Fennell Conducting Masterclass.
BA in Music BM in Jazz, History, Music Education, Performance & Theory/Composition MM in Collaborative Piano, Composition, Conducting, Jazz Composition/Arranging, Music Education, History, Performance & Theory
AUDITION DATES FOR 2015 ADMISSION Early Action for Spring & Fall: November 22, 2014 Regular Action for Fall: January 16, 2015, January 17, 2015, January 31, 2015 (no jazz), February 14, 2015
STRING AUDITION DATES FOR 2015 ADMISSION Early Action for Spring & Fall: November 17, 2014 Regular Action for Fall: January 17, 2015, February 17, 2015
Information & Admissions John Huling, Director 413 545 6048 or firstname.lastname@example.org TEMPO 58
a defining moment More than just a degree, your choice of university will follow you throughout your lifetime.
Caldwell University MUsiC Bachelor of Arts Degree in Music Certification K-12 Music • Outstanding Liberal Arts Program • Accredited by the Middle States Association • Scholarships for Non-majors and Majors • Professional Concert Series on campus
Caldwell Concert series For ticket information contact Lgreen@caldwell.edu Faculty FaVorites with alumni - 6:00 PM Saturday, September 20 - Alumni Theatre
scholarship & entrance audition sAturDAy, FeBruAry 28, 2015 For information on scholarships and entrance into the program contact rebecca Vega at
973-618-3446 or email@example.com undergraduate open house thursDAy, noveMBer 6, 2014 For in formation, visit:
garden state opera - 4:00 PM The Impresario - W.A. Mozart Sunday, October 26 - Student Center Auditorium Matinee for Students Friday, October 24 - 11:00 AM
Department Concerts Free Admission solo & chamber concert - 8:00 PM Wednesday, November 12 - Alumni Theatre Jazz & percussion ensembles concert 8:00 PM Wednesday, November 19 Student Center Auditorium
NJMEA Music Conference Pre-Registration Form A list of those who are registered for the conference will be posted weekly at njmea.org To register by credit card, please go to njmea.org and click the link on the home page.
February 19-21, 2015 * One form per registrant * Pre-registration deadline: February 7, 2015
Name Name for Badge First Name or Nickname ONLY (One Word) Address
Email Address: Home Phone #: School District Name: You must be a NAfME member? NAfME members must attach a copy of their NAfME Card showing ID # and Expiration Date. q Yes (Must expire Feb 2015 or later) q No (If NAfME membership expires earlier than February 2014, you must renew before registering).
CONFERENCE REGISTRATION FEES
GO TO NJMEA.ORG AND CLICK THE LINK TO REGISTER BY CREDIT CARD. ONLY CHECKS, MADE PAYABLE TO NJMEA WILL BE ACCEPTED WITH THIS FORM. PURCHASE ORDERS RECEIVED AND ACCOMPANIED BY A COPY OF THIS FORM WILL BE SIGNED AND RETURNED FOR PAYMENT. PURCHASE ORDER PAYMENT MUST BE MADE BY APRIL 1, 2015.
* * * * Send All Checks & Purchase Orders To: * * * * Kathleen Mosher, 80 Jumping Brook Drive, Lakewood, NJ 08701
(DO NOT SEND SIGNATURE REQUIRED) Questions: firstname.lastname@example.org or 732-367-7194 (Fax: 732-367-7195) THE FULL CONFERENCE INCLUDES ALL OF THURSDAY, FRIDAY & SATURDAY, PLUS ONE (1) CONCERT TICKET. PLEASE CHECK ONE (1) ACADEMY FROM THE LIST BELOW THE CONFERENCE REGISTRATION. (Please note: lunch will be on your own on Thursday)
Category (PLEASE CHECK ONLY ONE) Pre-Register On-Site Amount Due
❑ Full Conference $150.00 ❑ Full Conference (1st time music teacher who was a Collegiate member last year) $100.00 ❑ Family Member* = Non-Music Teacher (FM Requires separate form) $150.00 ❑ Full Conference - Retired NAfME Member (Does not include concert ticket) $30.00 ❑ Full Conference - Retired NAfME Member Family Member* (RMS Requires separate form) (No CT) $30.00 ❑ Full Conference - Non-Member - (Does not include NAfME Membership) $350.00 ❑ Full Conference - Collegiate NAfME Member (Includes Collegiate Academy & Lunch on Saturday) $50.00
(Does not include concert ticket)
PLEASE CHECK THE ACADEMY YOU WISH TO ATTEND ON THURSDAY (NO CHARGE) You may attend academies other than the one you check, but we need to know the main selections IF YOU ARE NOT ATTENDING AN ACADEMY ON THURSDAY, PLEASE CHECK “NONE”
❑ Choral Academy ❑ Jazz Academy
Wind Band Academy Marching Band Academy
Technology Academy Elementary Academy
❑ Strings Academy ❑ NONE
❑ Luncheon Ticket (Required to Attend Ballroom Friday Lunch)
Extra Concert Ticket may be purchased at the conference registration desk.
❑ I will attend Friday Concert (TBA) ❑ I will not attend Friday Evening Concert
Friday Evening Concert: (1 concert ticket is included with all Friday/Saturday conference registrations of $150 or more if checked above) Concert tickets are NOT included with collegiate and retired member registrations. Tickets will be issued to the first 750 requests. If the “will attend” box is unchecked, no ticket will be provided. OCTOBER 2014 61 TEMPO Additional tickets may be purchased at the registration desk on Friday February 20, 2015 at $25.00 each.
T h e Re g d io un
Central Jersey Music Educators Association cjmea.org
Jeff Santoro - President email@example.com Welcome back to another school year. I hope your summer was restful and left you energized for the year. I would like to thank Nina Schmetterer, who left the board in March, for all her hard work while serving as our K-8 Choral Chair. Her leadership in this division brought many positive changes for K-8 General and Choral music students in our region. I would also like to welcome Heather Mount to the board. Heather will be serving as our new K-8 Choral Chair and is already working to set things up for this year’s region events. At this time we are preparing for our auditions which will be taking place in the next few months. Please be sure to read the division reports below to see how you can help make these events run smoothly. We are always looking for help! Lastly, please be aware of the many ways we are communicating with our members. A visit to www.cjmea.org will give you all the audition information and provide you with an opportunity to sign up for our mailing list. You can also get up-to-date information by liking/ following us on Facebook and Twitter.
Brian Toth-High School Band firstname.lastname@example.org Welcome back to a new school year and a new set of eager faces! I’d like to start the year off with a couple of reminders as you gear up for region auditions on December 13th. FIRST, PLEASE NOTE THAT WE ARE MOVING TO AN ONLINE REGISTRATION PROCESS THIS YEAR. Information will be on the CJMEA website and an e-mail will go out to those who sponsored students last year. Second, please be sure to stay on top of the deadlines for region and All-State applications as they approach. You can help the chairpersons and leadership involved by reminding your students to correctly complete applications and submit signature sheets to you ahead of the deadline. Also, identify those students in your school, local magnet schools, or home-schooled students who may have unique eligibility situations. By setting expectations for their role, if any, in your program from the outset, you can avoid headaches down the road. (It helps to do this in concert with your administration.) Finally, be involved in your students’ preparation for the audition. Let them know what to expect when they walk in the room and encourage them to develop their skills as much as possible. Have a great year and keep in touch! Seth Davis-Intermediate Band email@example.com Welcome back to school! I hope you have had a great start to the academic year and still recall a restful but productive summer. Just to keep us on the same page for the school year, here are some reminders as we get ready for our intermediate band events for the year. Auditions for the intermediate bands will be 9am on January 31st at South Plainfield Middle School. Please check the CJMEA website calendar for the other rehearsal dates and– locations are TBA. On that note, please consider either managing an ensemble this year
or hosting a rehearsal – we have some excellent conductors lined up for the ensemble this year and if you are interested in watching them work then hosting might be for you! Good luck with your start of the school year and we’re looking forward to seeing you in January. Heather Mount-Intermediate Chorus firstname.lastname@example.org I hope everyone’s school year is going smoothly. I am very excited to be on the CJMEA board and am working to make sure all our Intermediate Choral events are great experiences for our students. As we approach audition time, please be sure to check the website for all the information you need to register your students. Last year’s use of online registration was a success and we hope it was user-friendly for directors as well. I am looking forward to continuing to work for our K-8 students. Please send me an email if you’d like to help or if you have any suggestions! Yale Snyder-Percussion email@example.com I hope everyone had a wonderful summer and great start to the 2014-15 school year. I am very excited about the year ahead. There will be many exciting events happening in Region II this year including our HS and Intermediate Region Percussion Ensembles. Please keep checking the CJMEA Facebook page for info on percussion opportunities available to Region II students as well as Region II schools with percussion ensemble programs. I am still in need of managers and rehearsal hosts for our region percussion ensembles. If you are interested in either please email me ASAP. For a nonpercussionist who is required to teach percussion in your district and looking to further your percussion skills and knowledge, being part of our region ensembles is a perfect chance to do so. I wish everyone all the best for a successful school year. As always, please feel free to contact me with any questions. OCTOBER 2014
North Jersey School Music Association njsma.com
Peter F. Bauer, President www.NJSMA.com I hope this finds all of the music teachers in North Jersey well, having enjoyed a restful summer break and a successful start to the 2014-2015 school year. The Region I executive board is looking forward to this year with great anticipation as we continue to serve all of your music programs with the finest music experiences for both you and your students. This year we welcome Bonnie Hendricks as she begins her first full term as our treasurer, and we welcome back Michael Saias who once again will be our corresponding secretary and will assume our publicity duties as well. We also give our deepest and heartfelt thanks to Gary Quam, who retired from the publicity chair position, for the years of invaluable service he gave to the region board. Whether you are a new teacher or a seasoned veteran, the start of a new school year always brings with it a sense of excitement. Every new year brings with it a whole host of new challenges, but it is this aspect of what we do that makes it so very exciting. We are blessed to be in a profession where we can walk into our schools and be faced with new and exciting challenges every single day, and like you I happily accept and welcome those challenges and the work it takes to meet them. Ours is a profession in that every day we are called upon to musically and artistically shape and guide hearts, minds, and souls of the children we teach, and each new year brings with it a renewed and refreshed energy to give of ourselves for their benefit, and I wish you all nothing but the best for an exciting any musically fulfilling school year. This year’s NJSMA calendar is full of exciting events at all levels and in all OCTOBER 2014
performance disciplines. The cornerstones of the year are our honor ensemble auditions, taking place on January 10, 2015 for high school and February 7, 2015 for junior high. For most of us the reason we decided to become music educators was because of outstanding honor ensemble experiences like those we offer in our region, so I encourage everyone to sponsor students so we can pass along the same gifts we were given early in our musical careers. I also encourage everyone to participate in the many other festivals we offer, featuring some of the top clinicians in the nation and providing a showcase for the outstanding school music programs in our region. By now most (if not all) of our yearly events are set, and I encourage you all to look over our calendar of events and make it a point to attend as many of our events as you can this year. Take the opportunity to see just how much outstanding music making is happening in our region by attending a rehearsal, concert, festival, or other event, and use the time to meet with and communicate with all of the outstanding music educators of our region. Let’s get out and support each other, and more importantly, let’s support the students who make what we do so enjoyable. The essence of our organization, and the reason it works so well, is because of the exhaustive efforts of everyone who volunteers to help with our events throughout the year. If you are interested in helping with the region in any way, whether it is hosting an event, managing an ensemble, running a sectional, or in whatever way you are able, please feel free to contact me or any of the division chairs. Our region lives and thrives because of the talents of its member teachers and their students, and I encourage everyone to get involved in any way you see fit. Lastly, please help us increase our membership by reaching out to any colleagues you may know who are not currently members of NAfME. A large and active membership ensures years of continued success in the future.
Please visit our website (www. NJSMA.com) for updated information, application, forms, audition requirements and anything else concerning our Region. As always, please contact me or any of the region board members if we can assist you in any way. Best wishes to you all for a successful school year! Michael Holak Orchestra Division Chair Welcome back! 2014-2015 is looking to be a great year for the Orchestra Division of NJSMA. This year, the high school orchestra will be celebrating its 50th year of providing our students in grades 9-12 with the opportunity to make music together and to work with professional conductors and sectional coaches! The High School Orchestra concert this year will be on Sunday, February 15th. This year’s Junior High School Orchestra concert for students in grades 7-9 will be on Sunday, March 15th. We will again be holding our High School and Junior High School Festivals this Spring. This is an opportunity to have your students listen to and play in front of other school ensembles as well as receive feedback from our adjudicators (adjudicators in the past have included Sandra Dackow, Helen Cha-Pyo, Jack Rosenberg, Jonathan Spitz and Lou Kosma). We have about six spots available for this year’s High School Festival held on Thursday, May 21st; we’d love to have your orchestra be a part of this event. This year’s Junior High School Festival will be held on May 8th. The 2014-2015 school year will be the second year for our Elementary Honors Orchestra Festival! This is an all-day event where string students nominated by their school music teachers will rehearse with a conductor in preparation for a concert to be held that afternoon. Last year proved to be a great success thanks to our coordinator, Kim Chiesa from the Randolph School District, and our three conductors: Betsy
Maliszewski, Ruzanna Akopjan and Samantha Tomblin. If you or a teacher you know are looking for an opportunity for your elementary students to get an idea of what the region experience is like, please consider having your students be a part of this festival! This fall, be sure to check the NJSMA website for information on our new online application process. This is something that has been discussed at NJSMA for years, and we’re looking forward to working with a system of registering students that should make the process very easy to work with and for our audition chairs across the region to manage. NJSMA Orchestra Division follows the scale and solo repertoire requirements of All-State Orchestra. Please check the region or state website for further details. Final orchestra seating will once again be determined by the culmination of a student’s audition score and a reseating score based on preparation of the orchestra music that will be mailed to them prior to the first rehearsal. Finally, please consider becoming involved with the Orchestra Division of NJSMA as a manager, sectional coach, rehearsal host, or even as one of our conductors! It is never too early to have these things set, and it is truly the experience and cohesion of our many string teachers throughout the region that make these events possible. Have a great year and I look forward to seeing you at the auditions! Matthew Spatz and Gregory Mulford Band Division Co-Chairs We hope that everyone is off to a successful start of the year. We are looking forward to a wonderful year and continuing to work with all of the directors and students in North Jersey. We are pleased to announce that our high school ensembles will be performing on Sunday, February 1, 2015. Thomas Verrier, Director of Bands at Vanderbilt University, will be conducting the wind ensemble and Richard Hartsuiker,
Associate Director of Bands at Roxbury High School, will be conducting the symphonic band. Beginning in 2015 all audition applications will be going online. There will be a printable signature page for each student that the director must submit along with the audition fees. Please check www.njsma.com for details. The junior high school band requirements have a new look. There are now two separate lists and requirements for the Junior High School auditions. There is one set of requirements for seventh and eighth grade students and one for ninth grade students. Please print off the updated requirements and ensure that your students have the correct scale requirements and solo lists. All students interested in auditioning for any region ensembles 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 he region. If you are interested in participating as a host or manager please contact Greg or Matt. 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 the band chairs and provide a copy of the music for them. Your suggestion will be submitted to a committee for review (AllState band procedures for high school solos) and added to the list if deemed appropriate. NJMEA Band Procedures Representatives for NJSMA: Lewis Kelly, Gregory Mulford and Mindy Scheierman.
Any band division details can be found on the region website as well as 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 8, 2014. This breakfast meeting will take place at Seven Star Diner in Sewell at 9:00 am. Please notify Ben Fong (609-457-0590 or fongb@ gtps.k12.nj.us) if you are able to attend. Audition materials will be available and our online registration process will be reviewed. At our Spring Meeting the following Presidential appointments were announced: • President Elect - Patrick O’Keefe (Smithville ES) • String Coordinator – Mark Kadetsky (Fernwood Ave. MS) • All-State Orchestra Committee Representative – Ian Miller (Bowe ES) • Concert Band Festival CoCoordinator – Jon Porco (Absegami HS) • Percussion Coordinator – Karyn Park (Williamstown MS) We thank these members for offering to share their time and expertise for the benefit of our students. Auditions for the 2015 All South Jersey Orchestra, Wind Ensemble, Symphonic Band and Junior High String Ensemble will take place on Saturday, December 13, 2014 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) is our senior high auditions chair. OCTOBER 2014
Congratulations to Jaime Chaven (Southern Regional School District) who was selected to conduct the 2015 Junior High String Ensemble. Our 2015 Orchestra conductor is 1st Lieutenant Peter J. Folliard (United States Air Force). The conductor for our 2015 Wind Ensemble is Emily Threinen (Temple University) and Nichole Delnero (Toms River HS North) will conduct the Symphonic Band. Deb Knisely (Cinnaminson HS) will be our High School Band Coordinator along with Mark Kadetsky (Fernwood Ave. MS) who will be our String 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 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 Ben Fong at firstname.lastname@example.org. nj.us 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
The South Jersey Choral Directors Association (SJCDA) Board of Directors has worked throughout the summer on the planning of our activities for the 2014-15 school year. The slate of officers for the 2014-15 year is as follows: • William Yerkes (West Deptford High School), president; • Nancy Cecilio (Bunker Hill Middle School), president elect; • Hope Knight (Moorestown Schools), Coordinator of Choral Festivals; • Duane Trowbridge (Audubon High School), secretary; • Brian Bacon (Cinnaminson Schools), treasurer. Our festival conductors this year will be Nicole Snodgrass, Cherokee High School (Senior High Chorus), Paula Gorman, Woodstown Middle School (Junior High Chorus), and John Wernega, Quinton Township Schools (Elementary). Junior and Senior High Chorus auditions will be held Saturday, November 15th. Kahlil Gunther at Woodstown High School will once again host the auditions. Thanks very much to Kahlil for always doing an outstanding job!
Friday, January 16 – Rehearsal @ Lenape HS - 5:30 – 9:30 PM Saturday, January 17 – Rehearsal @ Lenape HS 9:00 – 1:30 PM (SNOW DATE) Friday, January 23 – Rehearsal @ Eastern HS - 6:00 – 9:30 PM Saturday, January 24 – Concert @ Eastern HS 8:00 PM (Call 7:00 PM) Sunday, January 25 – Concert @ Eastern HS - 3:00 PM (Call 2:00 PM) Monday, January 26 – 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. William Yerkes, President South Jersey Choral Directors Association West Deptford High School
& Need information about your NAfME membership?
Please take note of this year’s Jr/Sr schedule: Saturday, December 6 – Rehearsal @ Lenape HS - 1:30-5:30 PM Saturday, December 13 – Rehearsal @ Lenape HS - 9:00 – 1:00 PM (SNOW DATE) Saturday, January 3 – Rehearsal @ Lenape HS 9:00 – 1:00 PM Thursday, January 8 – Rehearsal @ Rowan University - 9:00 – 1:30 PM
Contact NAfME Member Services at 1-800-336-3768 or MemberServices@ nafme2.org
www.nafme.org Music Education Orchestrating Success
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.
Robert H. Albert Ronald H. Albert, age 74, of Mahwah, NJ, formerly of Westwood, NJ, passed away at home, surrounded by his loving family, on Tuesday evening, April 29, 2014. Ron was a retired Westwood Regional Schools Music teacher and former Westwood High School Football and Track Coach. During his 25 years coaching, he helped the Cardinal Football teams to NJ State Championships in Giants Stadium. Earlier in his teaching career, he was the quintessential music director and loved working with his Cliffside Park Marching Band as well as teaching strings in Bergenfield. Ron was a fantastic Poppa to grandkids, Elijah, Leah, Ian and Mia. He reveled in spending special time with each one. He was a never-ending source of support and unconditional love for daughter Michelle, son-in-law Scott, son Barry and daughter-in-law Annie. It was his joy to see each of his children find wonderful spouses and start happy families. As teenagers, Ron and wife Karen met in the Catskills when he was the headwaiter, in the band and Karen was a counselor. They were just shy of celebrating their 50th wedding anniversary in August. An accomplished home cook, he was writing his own cook book. Ron dreamed up New Year’s Eve, birthday, and holiday menus and everyone enjoyed sampling his creations. He always enjoyed playing music whether it was in the pit band for the High School musicals or with the Community Band in Westwood. He is survived by his sister Irene and many extended family members that always enjoyed his wonderful sense of humor and ability to enjoy each and every moment of life.
Margaret Brandell Services were held for Margaret Hansen Brandell, 73, of Marana, Ariz., who died on January 29, 2014. She was a former resident of this community. Raised in Roseland, Brandell lived in Oak Ridge before moving to Marana in 2012. She was a music teacher in middle school. Also, she was the music director of Milton United Methodist Church, Oak Ridge, and then Grace Evangelical Free Church for 17 years. She was a private piano and organ teacher as well. She was involved with the Fair Center for the Arts in Randolph and Sparta, the Jefferson Community Chorus, and the Jefferson Arts Committee. She taught children’s musical theater camps in the area and VBS music for many summers. She was a member of the Grace Church Global Outreach Committee, and, she was an accompanist and music professional at the Marana Community Church, Marana.
A. John Calhoun A. John Calhoun, 86, of Manalapan Township died at his home on Thursday, April 17, 2014 surrounded by his family. Having first practiced church music during his school lunch hours at Asbury Methodist church, Calhoun graduated from Watertown High School in 1946, and from the Crane Department of Music at Potsdam State Teacher’s College in 1951. He earned a Minister of Music degree from Westminster Choir College, Princeton in 1956. He served as a chaplain’s assistant in the army at Camp Gordon, GA from 1951-1953. He married Vilma L. Csipo on June 30, 1956. After residing for four years in Royal Oak, MI, the couple lived in Edison for twelve years before moving to Manalapan. Calhoun was a retired music teacher for the Perth Amboy School District. He served as minister of
music at the First Baptist Church of Royal Oak, MI; then in the same capacity for 15 years at the First Presbyterian Church in Perth Amboy. He also served as organist and choir director for ten years at the Lincroft Presbyterian Church in Lincroft and briefly for the Old Tennent Presbyterian Church, Tennent. Calhoun’s hobbies included his beloved dogs, model railroading, gardening and woodworking. He spent years carving a model church sanctuary as well as miniature pieces of furniture out of balsa wood.
Neil Cerbone, Sr. Neil Cerbone, Sr., born December 28, 1929 died on February 20, 2014. Neil always marched to the beat of a different drum, literally. He was the U.S. National Drum Champion from 1950 - 52. As a result, he was noticed by the West Point marching band and became their principle drummer. He was one of a very short list of people who were actually drummed INTO West Point, rather than out of it. He was sought after to play with the big bands of the time, but chose a different road. He is survived by two adoring children, Neil Jr. and Julie Lyons, his cherished grandson, Jamon Lyons, and two sons in law, Steven Lyons and Thomas Devaney, with whom he shared the miracle of his family, the wisdom of his experience, the style and grace of his joyous spirit. Neil spent more than 30 years working in the Jersey City school system; he was officially an 8th grade English and Music teacher, but for the thousands of kids whose lives he touched, he taught them so much more. He taught them that their lives could be their own, that they could call the shots. One hour with Neil and you saw the world differently. After retiring from public school life he transitioned to his second career, Director of Education at a private school for children with special needs. There was more he had to give and he gave
it; the power of his respect and love touched kids who were seemingly untouchable. No one will ever know how many lives he saved. He dedicated himself to instilling in Jamon the greatest gifts he had, music and wit. He taught us ALL how to love life, how to take care of ourselves and each other, how to find the music even when it wasn’t playing, and how to laugh, no matter what.
Evia R. Duton Evia R. Duton, 103, of Montclair, N.J., passed away peacefully on Sunday, April 27, 2014. Duton was a longtime music teacher in Montclair and Newark.
Dorothy Morgan Grote Dorothy Morgan Grote of Whiting, NJ went home to be with the Lord on Saturday, May 24,2014. She was born in 1922 in Red Bank, NJ and was a resident of Tinton Falls prior to moving to Whiting. Dorothy retired from The Holmdel Township School district where she was a music teacher. She also taught private piano lessons for 70 years. In 1945, Dorothy graduated from Bryan College in Tennessee with a BA in English. She also attended Wheaton College and Oberlin College where she studied music. She earned her Masters Degree from Monmouth University in Education.
Carmen A. Hart Carmen A. Hart, 67, of Forked River, NJ., passed away at home on February 10th, 2014, surrounded by her loving family. She was born in Elizabeth, NJ. She lived in Island Heights, Lavallette, and Farmingdale, before moving to Forked River in 2013. Hart worked as a music teacher for the Berkeley Township Board of Education for 32 years before retiring in 2002. She is a member of the Island Heights Methodist Church, Island Heights, NJ., and is a choir member there. She is also a member of the NJ Education Association, the NJ Music Educators Association, a member of Albert Music Hall of Waretown, NJ., former President of the Autism Society of NJ, a member of Parents of Autistic Children, and the past Choir Director of East Dover Baptist Church.
Stephen Kupka Stephen Kupka, 81, of Frankford Township, died Wednesday, Feb. 12, 2014, at home. Born in Perth Amboy, Stephen grew up in Elizabeth and Cliffwood Beach. He received his Bachelor of Arts in piano and a certificate in composition from the Peabody Conservatory of Johns Hopkins University in Baltimore. He was a member of Phi Mu Alpha Sinfonia. A United States Army veteran, Stephen served during the Korean conflict. He later taught piano at Peabody Preparatory in Towson, Md., and was a high school music teacher and choral director in Calvert County, Md., and Wayne Hills High School in Wayne. He also taught music at Hardyston Elementary school in Franklin. He was a professional music copyist in Los Angeles, Calif., as well as a composer of musicals performed in various high schools throughout the United States, including Mad Anthony, Gift of the Maji and many others. He lived in Ridgewood and Hamburg before moving to Augusta. Stephen was a church organist and choral director for more than 50 years, most recently at the Andover Presbyterian Church in Andover, and was a private piano teacher.
William E. “Bill” McClellan William E. “Bill,” McClellan, 73, of Wichita Falls, TX, passed away Saturday, February 22, 2014 in Wichita Falls, Texas. Bill was born on April 4, 1940, in Paterson, New Jersey, to the late William Cole and Alison (Barton) McClellan. Bill attended Paterson Central high school and later graduated from Rutgers, The State University of New Jersey, where he was a member of the Tau Delta Phi fraternity. He majored in music education and also completed the Air Force ROTC program. He was also a member of the university’s orchestra and served as drum major with the Rutgers marching band. Upon graduation from Rutgers, Bill was commissioned a 2nd Lieutenant in the United States Air Force. He was stationed at Shepherd Air Base in Wichita Falls, Texas. After completing his service in the Air Force, he and his wife moved to New Jersey where Bill taught instrumental music at Paramus High School. He subsequently worked until his retirement for the Texas Dept of Health and Human Services.
Margaret R. Stratton Margaret R. Stratton, 93, of Tinton Falls, NJ. died on June 25, 2014 in Tinton Falls. She was born in Philadelphia, PA and lived in Ocean Grove, Middletown, and Whiting moving to Tinton Falls 13 years ago. Margaret worked as a music teacher and music supervisor for Middletown Board of Education for 18 years, retiring in 1983.
Richard Lee Thompson Richard Lee Thompson, 89, of River Vale, NJ on Friday, June 20, 2014. Dick was a music teacher with the New Milford and Ridgewood school systems, jazz muscian, choral composer and arranger. Dick was very passionate about family geneaology and holistic health. A veteran of WW II and the Korean Conflict where he served with the US Marines.
Raymond J. Wojcik Raymond J. Wojcik, 57, of Califon, passed away at home on August 1, 2014 after a long battle with prostate cancer. Born in Perth Amboy, NJ, Raymond was a 1975 graduate of Perth Amboy High School. In 1979, he graduated with a Bachelor of Music from Manhattan School of Music and in 1982 received a Master of Fine Arts from the Lamont School of Music at the University of Denver. Raymond was employed by the Westfield Board of Education as a teacher at Westfield High School. A composer, conductor and educator, his critically acclaimed CD’s “Akin To Fire” and “Pictures and Stories” were recorded with the Moravian Philharmonic (Czech Rep.) and Rzesnow Philharmonic (Poland) and released on Albany Records.
NJMEA 2014-2015 Board of Directors Executive Board
President, Joseph Jacobs Ventnor Middle School email@example.com 609-335-6429
Administration Ronald Dolce Retired firstname.lastname@example.org 732-574-0846
Corporate/Industry Ron Beaudoin email@example.com 301-662-2010
Past-President, Keith Hodgson Mainland Regional HS firstname.lastname@example.org 609-317-0906
Advocacy Nick Santoro Retired email@example.com 732-246-7223
Early Childhood Music Ed. Amy Burns Far Hills Country Day School firstname.lastname@example.org 973-493-5797
President-Elect, William McDevitt Vineland High School email@example.com 856-794-6800 x2539
Band Festivals/Classroom Music Nancy Clasen Thomas Jefferson Middle School firstname.lastname@example.org 973-766-5343
Guitar Tom Amoriello Flemington Raritan Schools email@example.com 908-284-7650
Executive Secretary-Treasurer Deborah Sfraga Ocean Township Schools firstname.lastname@example.org 732-686-1316
Band Performance Albert Bazzel Winslow Twp. Middle School email@example.com 856-358-2054
Music Teacher Education Al Holcomb Rider University firstname.lastname@example.org 609-921-7100 x8104
Communications (TEMPO/Web) Thomas A. Mosher, Retired email@example.com 732-367-7195
Choral Festivals Donna Marie Berchtold William Davies Middle School firstname.lastname@example.org 609-476-6241 x1013
Opera Festival Stevie Rawlings Paramus High School email@example.com 201-261-7800 x3069
Chorus Performance Kathy Spadafino, Retired firstname.lastname@example.org 732-214-1044
Orchestra Festivals/Performance Susan Meuse Hammarskjold Middle School email@example.com 732-613-6890
Chorus/Orchestra/Jazz Joseph Cantaffa Howell High School firstname.lastname@example.org 732-919-2131
Retired Music Educators Beverly Robinovitz Retired email@example.com 732-271-4245
Region Executive Members
NJSMA President, Peter Bauer Columbia High School firstname.lastname@example.org 973-762-5600 x1183 CJMEA President, Jeff Santoro W. Windsor-Plainsboro District email@example.com 609-716-5000 x5262 SJCDA President, Bill Yerkes West Deptford High School firstname.lastname@example.org 856-848-6110 x2220 SJBODA President, Ben Fong Reeds Road Elementary School email@example.com 609-365-1892
Collegiate Chapters/Technology Rick Dammers Rowan University firstname.lastname@example.org 856-256-4557 Conferences Marie Malara Sayreville Middle School email@example.com 732-525-5290 x2370
NJMEA RESOURCE PERSONNEL Area of Responsibility Name Email Address Administrative Matters..........................................................Joseph Jacobs................................................................ 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 Association Business............................................................ Deborah Sfraga.............................................................. email@example.com Band Procedures Chair.........................................................Matthew Spatz................................................firstname.lastname@example.org Choral Procedures Chair................................................... Kathleen Spadafino..............................................................email@example.com Composition Contest.........................................................Robert Frampton....................................................firstname.lastname@example.org Jazz Procedures Chair............................................................. David May.....................................email@example.com Marching Band Festival Chair.............................................. Nancy Clasen....................................................... firstname.lastname@example.org Membership........................................................................ Deborah Sfraga.............................................................. email@example.com Middle/Junior High Band Festival.....................................James Chwalyk, Jr............................................. firstname.lastname@example.org Middle/Junior High Choral Festival..............................Donna Marie Berchtold ................................. email@example.com Music In Our Schools Month................................................. Amy Burns....................................................................firstname.lastname@example.org NJMEA Historian.................................................................Nick Santoro..............................................................email@example.com NJMEA State Conference Exhibits Chair............................. Nancy Clasen....................................................... firstname.lastname@example.org NJMEA State Conference Committee.................................. Ron Beaudoin......................................................... email@example.com NJMEA State Conference Manager.......................................Marie Malara................................................................firstname.lastname@example.org NJMEA/ACDA Honors Choir.............................................. Carol Beadle................................................. email@example.com NJMEA Summer Conference..............................................Joseph Akinskas.................................................... firstname.lastname@example.org 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.................................... FriersoncampbellC@wpunj.edu Students with Special Needs................................................ Maureen Butler........................................................... firstname.lastname@example.org Supervisor of Performing Groups......................................... Keith Hodgson.................................................... email@example.com Tri-M...................................................................................... Gail Posey..................................................................... firstname.lastname@example.org REPRESENTATIVES/LIAISONS TO AFFILIATED, ASSOCIATED AND RELATED ORGANIZATIONS NJ American Choral Directors Association............................ Carol Beadle................................................ email@example.com Governor’s Award for Arts Education................................... Stevie Rawlings ............................................. firstname.lastname@example.org NJ Association for Jazz Education........................................... David May.................................... email@example.com NAfME.................................................................................Joseph Jacobs................................................................firstname.lastname@example.org NJ Music Administrators Association......................................Ron Dolce................................................................. email@example.com NJ Retired Music Educators Association........................... Beverly Robinovitz............................................................firstname.lastname@example.org NJ TI:ME............................................................................ Rick Dammers.......................................................... email@example.com Percussive Arts Society........................................................ Domenico Zarro.....................................................DEZarro@optonline.net
COMMUNICATION SERVICES/PUBLIC RELATIONS Executive Secretary-Treasurer............................................... Deborah Sfraga............................................................. firstname.lastname@example.org Editor - TEMPO Magazine.............................................. Thomas A. Mosher..........................................................email@example.com Web Master (njmea.org)................................................... Thomas A. Mosher..........................................................firstname.lastname@example.org
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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 2011 - 2013
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 Keith Hodgson
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