JANUARY 2019 2019 NJMEA State Music Conference East Brunswick Hilton February 21-23, 2019
New Jersey Music Educators Association Strategic Plan 2018-2022 pp. 3-7 The Official Magazine of the New Jersey Music Educators Association a federated state association of National Association for Music Education
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Volume 73, No. 2 http://www.njmea.org
JANUARY 2019
FEATURES
DEPARTMENTS AND NJMEA BUSINESS
3-8
NJMEA Strategic Plan 2019
9
2019 NJMEA Music Technology Expo, Marjorie LoPresti
Advertisers Index & Web Addresses....79
33
Personalized Learning: How Does It Fit In Our World?, Megan Endicott
Division Chair News...................... 14-31
36
2019 NJMEA State Confernce
41
Eastern Division Encores, Marc Greene
42
Summer Camp With Teaching Guitar Workshops, Thomas Amoriello
President’s Message................................2
44
Every Breath You Take, Every Move You Make…They’ll Be Watching You!, Thomas McCauley
Round the Regions......................... 68-71
48
Creating Musical Ebooks In The Elementary General Music Classroom Using “Book Creator,” Amy Burns
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Feierabend Fundamentals, Missy Strong & Andrew Himelick
56
Differentiated Collaboration For Arts Integration, Shawan Longo
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NJMEA Salutes Its 2019 Master Music Teachers
Board of Directors................................76 Editorial Policy & Advertising Rates...78 In Memoriam.................................. 72-74 Past-Presidents......................................78 Resource Personnel............................. 77
FORMS AND APPLICATIONS See NJMEA.ORG
Click on the Desired Activity for downloadable copies of all their forms & applications
School Administrator Award................60 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 e-mail: tmosher@njmea.org Deadlines October Issue - August 1 January Issue - November 1 March Issue - January 15 May Issue - March 15 All members should send address changes to: mbrserv@nafme.org or NAfME, 1806 Robert Fulton Drive Reston, VA 22091 Printed by: Kutztown Publishing Co., Inc. 1-800-523-8211 kpc@kutztownpbl.com
The New Jersey Music Educators Association is a state unit of the National Association for Music Education and an affiliate of the New Jersey Education Association. It is a nonprofit membership organization. TEMPO (ISSN 0040-3016) is published four times during the school year October, January, March and May. It is the official publication of the New Jersey Music Educators Association. The subscription rate for non-members is $20.00 per year. The subscription for members is included in the annual dues. A copy of dues receipts (Subscriptions) is retained by the NJMEA Treasurer. Inquiries regarding advertising rate, closing dates, and the publication of original articles should be sent to the Editor. Volume 73, No. 2, JANUARY 2019 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
Distinguished Service Awards..............61 Outstanding School Board Award........62 Master Music Teacher Award...............64 Marching Band Festival.......................65 Jr. High/MS Choral Festival................. 66 Jr. High/MS Band Festival................... 67 NAfME Membership.......................... 80
NJMEA In-Service Conference February 21-23, 2019 East Brunswick, NJ
president’s message JEFFREY SANTORO
jsantoro@njmea.org Website http://www.njmea. org
H
The Three Strategic Directions
appy New Year! I hope this message finds you well, rested, and ready to take on the second half of the year. My last few articles have been centered around the strategic planning process that we have gone through over the past year. I am happy to say that the strategic plan has been approved and is posted on our website. I want to thank the members who volunteered their time to be part of the strategic planning process. Their input was invaluable and the finished product will guide our organization for the next several years. The plan focuses on three strategic directions; Communication, Diversity & Inclusion, and Organizational Vitality. Within each of these areas of focus there are action plans, timelines, and metrics for measuring our progress. While these action plans will be led by members of our board of directors, we will be soliciting more volunteers to be part of making this plan a reality. If there’s a particular aspect of this plan that is of interest to you, please reach out and let us know.
Communication
When the strategic planning committee reviewed the results of the membership survey that was sent out last winter, it was clear that communication was an area in need of more attention. There are programs and opportunities that are provided by NAfME and NJMEA that our members were not aware of. By improving communication with our members, partners and the public, we should be able to better serve all of you, as well as welcome back some NJ music educators whose memberships have lapsed. Diversity & Inclusion
New Jersey is a diverse state. That diversity is not always reflected in our organization. This is central to the purpose of this strategic direction. As stated in our new mission statement, we want to “provide access to an inclusive music education for all students…” This has the benefit of improving the music education for more students as well as providing additional resources for teachers who work with student populations currently underrepresented in NJMEA.
The Mission and Vision As part of the strategic plan, we have updated our mission and vision. These are the lenses through which all decisions will be made for the next 4 years. These guiding principles are also the framework for the three strategic directions.
Organizational Vitality
Times change, and we need to change with them. This applies to the strategic directions listed above, but it also applies to the actual nuts and bolts of running our organization. While our All-State experience and conferences are the public face of NJMEA, a lot goes on behind the scenes from a governance and logistics standpoint. We’re going to be looking at NJMEA from the ground up to ensure the long-term organizational and fiscal stability of the association.
Mission The mission of the New Jersey Music Educators Association is to provide access to an inclusive music education for all students by supporting music educators in their advancement of quality music instruction and practice. Vision The vision of the New Jersey Music Educators Association is to ensure that every child can artistically express themselves and unlock their creative potential through music in a way that is culturally relevant, meaningful, and valued.
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How You Can Help This is your association and this is your strategic plan. I encourage you to read through the entire plan (pp. 3-11in this issue or at www.njmea.org) and consider whether you’d like to be involved in seeing it through. Additionally, your feedback will be important for the Board to hear to ensure we’re living up to the goals we’ve set forth for ourselves. My promise to you is that this plan will not ‘sit on a shelf ’ but rather will guide the leadership so NJMEA can be of the utmost value to you, our members. 2
JANUARY 2019
New Jersey Music Educators Association Strategic Plan 2018 - 2022
Committee: Amy Burns, Maureen Butler, Rick Dammers, Rhea Fernandes, Robert Frampton, Ron Heller, William McDevitt, Patrick O’Keefe, Jeff Santoro, Colleen Sears, Debra Sfraga Scott Sheehan, Facilitator
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New Jersey Music Educators Association Strategic Plan 2018 - 2022 Mission The mission of the New Jersey Music Educators Association is to provide access to an inclusive music education for all students by supporting music educators in their advancement of quality music instruction and practice.
Vision The vision of the New Jersey Music Educators Association is to ensure that every child can artistically express themselves and unlock their creative potential through music in a way that is culturally relevant, meaningful, and valued.
Values • Integrity: We value openness, honesty and transparency in our association. • Excellence: We work to support excellence in musical experiences, which occurs in many contexts and musical practices. • Equity: We value an inclusive, culturally relevant, and diverse music education for all students. • Leadership: We are committed to serving others through music education for the greater good of society. • Visionary: We seek innovative solutions in response to current and future trends in music education. • Membership: We value the diversity, commitment, and talents of our members and their contributions to music education.
Strategic Directions 1. Communication
2. Diversity & Inclusion
3. Organizational Vitality
A. Increase social media presence
A. Use Diversity Benchmarks to review programs, practices, policies, etc.
A. Examine region and state governance practices
B. Engage collegiate members through social media trending
B. Develop diverse practices Spotlight program
B. Investigate committee and board structures
C. Enhance and improve the NJMEA Website
C. Increase All-State and Honors Ensembles diversity and access
C. Develop Leadership Program
D. Highlight diverse music making through multiple media esources
D. Increase professional development focusing on IDEA practices
D. Enhance Mentor Program
E. Establish Membership Chair
E. Develop Diversity Statement
E. Create plan for full-time Executive Director
F. Establish Partnerships Committee
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F. Improve effectiveness of committee work using technology
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Strategic Direction 1: Communication NJMEA will enhance and improve internal and external communications with members, partners, and the public. ACTION PLAN 1A. Establish a network to increase social media communications and awareness for NJMEA events, programs, deadlines, etc. (Facebook, Instagram, Twitter, LinkedIn, etc.)
Timeline Fall 2018
Who Social Media Coordinator Webmaster
Ongoing
Metric Yearly Review; Increase member engagement through Social Media platforms Social Media Metrics
1B. Establish procedures to increase social media trending opportunities and engagement for collegiate members and others - stories, polls, etc.
Spring 2019
Social Media Coordinator, Collegiate Chair & Members
Retention of membership from collegiate to active member Increased collegiate member engagement
1C. Website Organization: •
Ensure all information on the NJMEA website up to date and relevant
•
Streamline and enhance content and layout on the NJMEA website and social media platforms to allow for ease of navigation and connectivity
Fall 2018
Webmaster Board
Ongoing
Performance Review; Biannual Review of Website; Efficient Website Navigation Social Media Metrics
1D. Create a “Spotlight” program to highlight events and programs, schools, teachers, etc. from diverse aspects of music education throughout New Jersey
2018-2019 Ongoing
Board; TEMPO Editor; Social Media Coordinator
Increased Member Engagement;
1E. Establish a Membership Chair position
Summer 2019
Board
Increased membership
Membership Chair
• Create a new member outreach plan including communication with collegiate chapters
• Work with the Executive Director to consistently recruit, retain, and engage members 1F. Establish a Partnerships Committee
Summer 2020
Board Partnerships Committee
• Serve as a liaison with partner organizations and associations and seek new partnerships
Establish and/ or Strengthen Relationships with Partner Organizations
• Solicit new conference session presenters and performers
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Strategic Direction 2: Diversity & Inclusion NJMEA will promote practices, policies, and procedures to ensure that all students have access to a music education that values diverse musical practices and inclusive opportunities. ACTION PLAN
Timeline
2A. Annually review publications, presentations, membership, and student offerings using diversity and inclusivity benchmarks developed by the IDEA Committee
Benchmarks Developed 2018-2019
2B. Develop Diverse Practices Spotlight
Fall 2018
• Highlight diverse music making practices (beyond traditional ensemble pedagogy) throughout NJMEA-sponsored events
Metric
IDEA Committee
Annual Review measured against population benchmarks
IDEA Committee
Increased visibility of diverse music making practices
Ongoing Review Beginning Summer 2019
Ongoing Webmaster TEMPO Editor
• Include focus articles in each issue of TEMPO highlighting innovative practices which are integrated into curriculum 2C. All-State and Honors Ensembles
Who
Board Conference Chair 2018-2019 School Year
Performance Chairs
• Ensure diverse conductors, repertoire, composers, etc.
Members of the IDEA Committee
• Promote access for underserved populations
Increased diversity in conductors, repertoire, and composers for honors ensembles Increased diversity in honors ensemble membership
NJMEA Past President Crescendo Foundation 2D. Focused professional development
2019-2020 School Year
Conference Chair
• Schedule diversity and inclusion sessions at conferences, workshops, etc. which are reviewed by the IDEA Committee and scheduled throughout the annual conference 2E. Develop and adopt diversity and inclusion statement
IDEA Committee
Develop 2018-2019 Complete Summer 2019
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Increased offering of diversity and inclusion sessions at conferences
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IDEA Committee
Adoption of Statement
Board
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Strategic Direction 3: Organizational Vitality NJMEA will ensure the long-term organizational and fiscal stability of the association. ACTION PLAN
Timeline
Who Board
Metric
3A. Establish a committee to examine Governance best practices, externally and internally, in regard to Region structure, representation, and operations in relation to the State organization
2018-2019 School Year
Committee Recommendations
3B. Investigate structures, committees, and positions of state MEA Boards and/or other associations to determine optimal Board effectiveness for both voting and non-voting board members
2019-2020 School Year
ExCom
Increased Board Effectiveness & Efficiency
3C. Develop a comprehensive leadership program that encourages all members to serve as leaders within NJMEA
Fall 2018
Leadership Committee Chair, and Other Past Presidents
Increased number of volunteers as well as candidates for state and region positions
Region Presidents With assistance from NAfME
NJMEA leadership reflects the population of music teachers in New Jersey 3D. Examine well-established mentor programs and establish a relevant NJMEA Mentor Program in conjunction with affiliated organizations
2020-2021 School Year
Mentor Steering Committee in conjunction with NJRMEA
Increase effectiveness and awareness of mentor program; mentor accountability review
3E. Establish a succession plan and transition to a Full-Time Executive Director
Establish succession plan 2019-2020 year.
Board
Executive Director in place by July 1, 2021
Hiring Process 2020-2021 year. 3F. Increase effectiveness of committee work through use of technology (Zoom, GoTo Meeting, etc.)
JANUARY 2019
Fall 2018
In consultation with other MEA’s and NAfME
Board, Committee Chairs, etc.
More consistent and effective meetings
Ongoing
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JANUARY 2019
2019 NJMEA Music Technology Expo Marjorie LoPresti NJMEA Technology Chair njmeatechexpo@gmail.com
Bring your students to a memorable live event, and showcase their creative accomplishments making music with technology! The New Jersey Music Educators Association will be sponsoring the 9th Annual Student Music Technology Expo and Competition in two locations! Expo North with be held Monday, May 20, 2019, 9:30 AM – 1:30 PM at Rutgers University, and Expo South will be on Tuesday, May 21, 2019, 9:30 AM – 1:30 PM at Rowan University. Music teachers and students in grades 3-12 are invited to this live event featuring hands-on workshops and performances. “Science fair” style exhibits will showcase student compositions, remixes, multimedia, and applied technology projects. Projects submitted in advance for adjudication will be evaluated using a festival rating scale (gold, silver, bronze). The day will include an on-site ‘live’ production contest and ‘student choice award.’ Students will have opportunity for hands-on workshops with tech gear. Electronic/alternative ensembles are invited to perform. All participants should bring their own lunch and headsets/earbuds. Teachers should follow their school district policies for field trip approvals and chaperone requirements. (Chaperones are admitted to the Expo at no additional cost.) Registration will open on January 2, 2019. (email njmeatechexpo@gmail.com to ensure that you are in the communication loop) Project Categories for Adjudication: Please note that projects must represent the work of individuals or groups no larger than 4 students. 1-Original Compositions created using technology including works for traditional and/or electronic instruments. Compositions should prominently illustrate creative use of technology. Projects incorporating use of prerecorded loops will not be considered in this category. All compositions, including those intended for live performance, should be rendered or synthesized in some digital manner (MP3, CD, laptop) as there will be no space provided for live performance. 2-Covers, Remixes & Loop-Based Projects including arrangements/recordings of pre-existing songs, song samples and projects incorporating a combination of original material and prerecorded loops. Projects should demonstrate originality in musical choices and creative use of technology. All projects should be rendered or synthesized in some digital manner (MP3, CD, laptop) as there will be no space provided for live performance. 3-Multimedia works demonstrating the convergence of music with more than one discipline, which may include art/photography, video, broadcast journalism, digital storytelling and so on. Works need not be original compositions, but should reflect creative use of technology. 4-Applied Technology encompasses distinctive projects that utilize technology for a specific purpose. Works may include the creation of new electronic musical instruments, interactive music systems, software projects to aid in composition, performance, and music instruction, and more. Projects should be self-contained for a simple demonstration. Submission must include a brief description of the design/development process and relevant photos or video. 5-Production/Engineering Students entering this category will demonstrate their skills in production or engineering created within a digital audio workstation (DAW). Students will be provided prerecorded tracks for a recording in JANUARY 2019
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advance of the Expo, and work must be completed and submitted by the deadline provided. Individuals and teams of up to 4 students may enter this category. Participation Requirements: • Sponsoring teacher must be a current NJMEA/NAfME member • School participation fee ($20) • Registration cost per student ($5) • Per project application cost ($10) TIMELINE: January 2 Online registration begins. Preliminary registration will include an estimated number of students attending and anticipated number/type of projects to be entered. March 22 Registration deadline. Hard-copy registration forms including principal/supervisor signature must be postmarked by this date. Confirmation and instructions for project submission will be sent after this preliminary registration. Project submission instructions will be sent. April 8 Project submissions begin. Confirmation of finalized number of students attending and projects to be submitted. Invoices will be sent to each teacher electronically based on these finalized numbers so that attendees can bring a school check to the event they are attending (Expo North on May 20 or Expo South on May 21), or arrange for payment by purchase order. April 22 Project submission deadline for categories 1-4. Instructions for Production/Engineering will be provided to schools entering this category. April 30
Production/Engineering submissions due.
May 20
Expo North at Mason Gross School of the Arts, Rutgers, Nicholas Music Center
May 21
Expo South at Rowan University, Wilson Hall
Event origin: The first-ever Student Music Tech Expo was held on March 15, 2011. The idea for the Expo emerged from a brainstorming session held during an in-service for music technology teachers held on October 12, 2009. The goal was to provide a venue to showcase students’ creativity and accomplishments, starting with the premise of a “music tech science fair.” For additional information, please contact: njmeatechexpo@gmail.com
Marjorie LoPresti, NJMEA Technology Chair
NJMEA is a 501c3 non-profit educational organization dedicated to the advancement of music instruction, and is an affiliate of NAfME. 1806 Hwy 35, Suite 201, Oakhurst, NJ 07755
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2019 NJMEA Music Technology Expo Registration Mail signed copy to: Shawna Longo, Hopatcong Middle School 1 David Road, Hopatcong, NJ 07843
Must be postmarked no later than March 23, 2019
Teacher Name: _______________________________________________________________________ Email: ______________________________________________
NAfME ID #: ________________
School Name: ______________________________________________________________________ School Address: _____________________________________________________________________ ______________________________________________________________________ Grade level of students (Circle): 3-5
6-8
9-12
Date/Location (Check one): _____ Expo North, May 20 @ Rutgers _____ Expo South, May 21 @ Rowan School participation fee......................................................................................................$20.00 Number of students attending: _________________ @ $5.00 per student: _______________ Number of projects to be submitted: _____________ @ $10.00 per project: ______________ Anticipated invoice total....................................................................................... $_____________
Teacher Signature: ______________________________________________ Date: _____________
Principal/Administrator name (print): __________________________________________________
Principal/Administrator Signature __________________________________ Date: ______________
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impact your curriculum New Jersey Performing Arts Center offers: In-School Residencies: Early Childhood, Theater, Dance, Hip Hop & Jazz Live performances: field trips to NJPAC Assembly programs at your school Professional development 10% discount on NJPAC performances for teachers
Visit njpac.org/education or call 973-353-7058 for more information 7.5 x 10 b/w Ad for NJMEA for their Tempo Magazine January.indd 1
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10/31/17 3:11 PM
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THE NEW JERSEY MUSIC EDUCATORS ASSOCIATION a federated state association of NATIONAL ASSOCIATION for MUSIC EDUCATION
News From Our Division Chairs Past President William McDevitt billnjmea@aol.com
Random Thoughts Volunteers don’t get paid, not because they’re worthless, but because they’re priceless.” Sherry Anderson The reality is that doing good unto others actually does more good for you.” Richelle E. Goodrich, Smile Anyway When you get the opportunity – thank a volunteer. Most organizations like ours depend on volunteers to keep it functioning in an efficient manner. NJMEA has many volunteers, without whom we could not function. A complimentary lunch or dinner is a very small price to pay for the service that we receive from these members. Many of our members think that the only thing that we do is All-State. There are countless volunteers behind the scenes that spend numerous hours preparing for auditions, rehearsals, and performances. We don’t hire a planner for all of these events. They are organized by a few individuals that most of our members never see. If you have ever tried to book a rehearsal space for an evening, you know the obstacles that pop-up. Imagine booking all of the rehearsals, planning meals, setting up housing, coordinating the concert venue, and seeing to the needs of the guest conductor and several hundred students. But All-State isn’t the only thing that we do. We also do amazing conferences. We have been a staple in the NJEA Convention for many decades. We sponsor sessions and provide performances. We have a Summer Conference that has been providing professional development for our members throughout the State. We have a February Conference that is one of the best in the country – those that know have told us so! If you think that any of these could happen without dozens of volunteers, you would be sorely wrong. The February Conference alone has multiple aspects of volunteers, from registration, to equipment, to exhibits, to scheduling and clinician coordination. Our organization has volunteers that are contacts for Early Childhood Education, Guitar Education, Technology, Advocacy, Retired Educators, Festivals, and the list goes on and on. None of these people are paid to do what they do. And none of them complain when work has to be done. Why am I devoting my thoughts to volunteers in this issue? It’s pretty simple. The best way to see how an organization runs is to volunteer for it. There are many ways that you can volunteer. The best thing to do is to gravitate towards that topic that interests you, then go to our website and contact whomever is in charge of that area of our organization. When I graduated from college, some of the officers in my Region approached me and asked if I wanted to manage a Region Jr Hi Band. I kept volunteering for more and more jobs and look where I am now! No – I’m not saying that if you volunteer you will have to serve as an NJMEA Board member, or run for President. You can serve to the level that you feel comfortable and with the amount of time that your schedule allows. We need members to take tickets at doors and pass out programs just as much as we need members to run for NJMEA President. The best part is knowing that you have helped an organization that helps our teachers develop their skills, helps music education progress in the state, and provides our students with opportunities to express themselves through music. Become one of those priceless volunteers! continued on page 8
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THE NEW JERSEY MUSIC EDUCATORS ASSOCIATION a federated state association of NATIONAL ASSOCIATION for MUSIC EDUCATION
News From Our Division Chairs Administration & Advocacy Dennis Argul Jazz House Kids dennisargul@gmail.com
Administration The New Jersey Administrators Association held its first meeting of our general membership on Friday, October 5, 2019. The topic, moderated by Jonathan Harris Supervisor of Related Arts, Northern Valley Regional High School District, was entitled “Observing the Arts: What to Look For”. Guest panelists included: Cydnee Perman - Art Teacher, South Valley Elementary School, Moorestown; Patricia Rowe - Supervisor of Arts & Technology, Moorestown Township Schools; Charles Miller - Theatre Educator, Northern Valley Regional High School; Melissa Sande - Dance Educator, West Orange High School; and Valerie Luther - Music Teacher, South Valley Elementary School, Moorestown. The membership had a lively question and answer session with great discussion with all the panelisrs and all participants felt empowered with more information at the end of the session. The NJMAA is excited about the increased membership this year and the level of engagement by our new members is impressive. Upcoming meeting topics include the following • November 30th - Roundtable Discussion: Making Time for the Arts- Scheduling Ideas for Elementary and Middle School - Matthew Lorenzetti • February 1st - “You’re Taking 100 Students to Where&?”- Low Stress, High Reward Strategies for Traveling -Tom Weber • April 5th - Addressing the New Creative Standards: Incorporating Jazz? - Dennis Argul • June 7th - Getting STEAM-rolled! How to get the A in STEAM - Joe Akinskas As always, in addition to the information presented during our sessions, the NJMAA provides unique opportunities for networking, collaboration, and the sharing of ideas with other arts administrators. Whether you are new or a veteran, participation in NJMAA can help you adapt to, and effectively meet, the ever-changing challenges of music and arts education. Meetings begin at 9 00 am. Our meeting location is: Rutgers Club Livingston Dining Commons 85 Avenue E Piscataway, NJ 08854 The club is on the second floor. For more information, please visit www.njmaa.org. Please share this with your district administrators!
Advocacy ‘Making the Case for Music Education’ The following is reprinted with permission from the ‘Spirit of Harmony’ Foundation When the Spirit of Harmony Foundation uses the term “moral imperative,” we are doing so in response to the massive amount of empirical evidence that makes a strong case for Music Education being so good for children. It is necessary for no child to be denied the opportunity to learn music. Music Education levels the playing field for children, so their continued on page 10 particular life circumstances and challenges can be mitigated by the benefits derived from learning music. TEMPO 16
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2018–2019 AUDITION DATES November 10 December 8 January 27 February 17 March 10
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rowan.edu
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THE NEW JERSEY MUSIC EDUCATORS ASSOCIATION a federated state association of NATIONAL ASSOCIATION for MUSIC EDUCATION
News From Our Division Chairs
Biological Benefits of Music Education One of the most compelling sources of evidence for our “moral imperative of music education” concept comes from Nina Kraus, director of the Northwestern University Auditory Neuroscience Lab, who has recently published research indicating that, with as few as two years of sustained music education, students were able to maintain standardized reading assessment scores, in contrast to their peers who showed marked losses in demonstrated reading ability over the same span of time. While research has long showed the benefits of music education programs on the reading comprehension and vocabulary acquisition abilities of students in general, this is the first longitudinal study to find a significant relationship between music education and academic growth on these metrics for students from impoverished backgrounds. In simple terms, comprehensive music education literally changes the way the human brain processes and retains information. Social Benefits of Music Education Whether an orchestra, marching band, small ensemble, or garage rock band, young people involved in music programs develop the skills required to work with others, embracing teamwork and fostering socialization. Engagement in positive activities such as music increases kids’ resilience to the negative influences they encounter in life, and increases the likelihood they will make positive life choices. Music programs give young people an opportunity to interact closely and consistently with teachers and other musicians, who become mentors and role models over time. While students typically have an academic teacher for one year or one term at a time, a music teacher might well be interacting with a student for 4-8 or more years. Academic Benefits of Music Education Music education motivates kids to stay in school. High school principals strongly believe that music education promotes the academic success of their students, according to a study released by NAMM and NAFME (The National Association for Music Education). A key finding of the study, conducted by Harris Interactive, shows that the vast majority of school administrators interviewed believe that music education has a powerful and lasting impact upon their students, making music education an essential element of every child’s education. In fact, 96 percent of public school principals interviewed believe that participating in music education encourages and motivates students to stay in school longer, and 89 percent agree that music education contributes to higher graduation rates. Economic Benefits of Music Education Music education helps young people acquire the life skills, traits, and attributes necessary to broaden the horizon of career opportunities in any field of endeavor, not only for careers in music performance or the music industry. The positive effects of music (higher graduation rates, better grades, more positive choices, and relationships with mentors) increases the overall lifetime economic prospects for individuals who have had music education in their lives. Based on the results of the Spirit of Harmony Foundation’s informal survey on the perspectives of Americans regarding music education programs, our hypothesis is that there is significant benefit for students who have been exposed to music education programming in terms of college admission and career viability. We are currently in the process of designing a study, in concert with existing university partnerships, in order to examine these relationships. If discovered, a significant relationship between these variables would undoubtedly change the way that key stakeholders view the importance of robust music education programs in public schools. For more information about the work of the foundation, please visit: http://spiritofharmony.org/advocacy/
continued on page 12
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THE NEW JERSEY MUSIC EDUCATORS ASSOCIATION a federated state association of NATIONAL ASSOCIATION for MUSIC EDUCATION
News From Our Division Chairs Band Procedures Nick Mossa nmossa16@gmail.com
Hello everyone! My name is Nick Mossa and I am the new band performance chair. I am happy to be joining the ranks of some of the finest professionals and educators out there and to be in a position to serve, collaborate, and respond to the needs of the band community in the state of New Jersey. I am a band director at Bridgewater Raritan High School and as such, work within the multiple areas of band performance while engaging in various peripheral endeavors in Region II as a performer and educator. I am very much looking forward to the opportunity to become acclimated with the various band communities in our great state - please reach out to me with any questions, inquiries, requests, concerns, or just for an introduction or greeting! The All-State Committee met in Atlantic City during the NJEA Convention and made some great progress on organizing what is shaping up to be a phenomenal experience for our two band ensembles. The committee, chaired by Val Kuntz, reviewed the projected programs and held a variety of conversations about the needs of the All State Weekend. It will be a fantastic experience! The All-State Jazz Ensemble performed in Atlantic City with an outstanding program. The concert was very well attended and very well received. Bravo to all! Looking ahead, I will be sharing information regarding the intermediate and high school festivals as well as providing more detail and acknowledgements for the region and all state ensembles. Thank you for allowing me the opportunity to be able to serve the band community of New Jersey!
Choral Festivals/Opera Festival Donna Marie Berchtold firesongwed@gmail.com
The 66th Annual NJMEA Middle School – Junior High Choral Festival Dates are currently set for the spring of 2019. Donna Marie Berchtold and Karen Blumenthal will co-coordinate and host the Middle School Choral Festivals. The Festivals are scheduled to be held at the same two separate locations as in the past. The first event (South Site) will be at Rowan University on March 20, 2019, with a SNOWDATE of April 3, 2019. This year’s host will be Chris Thomas. The deadline for applications will be February 8, 2019. The second event (North Site) will be held at Rutgers University, on Wednesday, May 29, 2019. The deadline for applications will be April 15, 2019. Our Rutgers Event Host will once again be Judith Nicosia. The time of each event is 9:15 – 1:30 pm. The application forms are on the NJMEA web site; however, they can also be found in this 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). continued on page 14
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THE NEW JERSEY MUSIC EDUCATORS ASSOCIATION a federated state association of NATIONAL ASSOCIATION for MUSIC EDUCATION
News From Our Division Chairs
Any schools interested in participating in either of these events next year, should be sure to complete the application form in this January issue of TEMPO magazine, or online at www.njmea.org. Anyone with questions or concerns may contact Donna Marie at: firesongwed@gmail.com, 609.965.4672 or 609.226.7751 (c)
Choral Performance Wayne Mallette wayne.mallette1@gmail.com
Greetings from the choral procedures committee! I’m pleased to share the updates in the Choral World from around New Jersey! I want to first extend my congratulations to the 2018 All-State Mixed Chorus! This year’s chorus was conducted by Christopher Thomas of Rowan University and accompanied by Anthony Rafaniello of the Cranford Public School. Thomas’ artistry was brilliant and he tenaciously led the students through these rehearsals with a commitment to excellence and musicality that has changed the lives of our students for the better. The students performed with a professionalism and passion and are sure to have memories that will last them a lifetime. Many thanks to all the members of the production team and choral procedures committee who helped to make the AllState Mixed Choir experience a success. Joe Cantaffa, our production manager, kept everyone on task and provided us with a professional performance that the students and teachers should be proud of. I cannot express enough thanks to our managers, Matthew Lee and Matthew Wolf, for the hours they spent making sure our chorus members were safe and supervised. The Choral Procedures Committee ran the Governor’s Award auditions and an open Choral Procedures Committee meeting, where everyone’s voice was heard as we discussed the future of our All-State Choirs. Special thanks to Michael Doheny and Debbie Sfraga (housing coordinators), Hillary Colton (head chaperone), and David Westawski (transportation). They worked seamlessly with the production staff, chaperones, and students in a most professional manner. And last but not least, to all the chaperones who volunteered their time to support the students and the All-State Choir in Atlantic City. This All-State Choir experience cannot happen by the efforts of one person, it takes a team and dare I say a village to run this weekend, and from the bottom of my heart, thank you for all you did! The 2019 NJMEA State Conference will be happening February 22st-23rd at the East Brunswick Hilton. We have fabulous clinicians and sessions lined up that are sure to give you that mid-year push! The All-State Treble Chorus will be performing at NJPAC on Saturday, February 23rd at 3 pm. Rehearsals for the Treble Chorus have already begun with preparation conductors Hillary Colton, Jamie Bunce, Julianna LoBiondo, and Tom Voorhis. The chorus had a rehearsal with our esteemed conductor Lynnel Jenkins from the Princeton Girl Choir. If you have never been to a concert of the Treble Choir before, do yourself a favor and get to it this year! Jenkins has programmed an exhilarating concert and her passion and musicianship captivated these students from the second she stepped on that podium! The 2019 All-State Chorus Audition Bulletin will be available for you on the NJMEA website www.njmea.org in late January. Please read all the information and be aware of deadlines! We will email you another reminder when the bulletin is up online. All-State Chorus is a great opportunity for your students to meet others musicians who love singing as much as they do, learn challenging repertoire, and work with accomplished conductors. If it is your turn to judge (that means your last time was continued on page 16
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You. Music. NJCU. Undergraduate and Graduate Degree Programs:
Music Education, Classical and Jazz Performance, Music Business, Multiple Woodwinds, Musical Theatre, Composition JANUARY 2019
23 TEMPO
www.njcu.edu/mdt 201-200-2026
THE NEW JERSEY MUSIC EDUCATORS ASSOCIATION a federated state association of NATIONAL ASSOCIATION for MUSIC EDUCATION
News From Our Division Chairs
2015) please clear your calendar for these 2 weekends: Saturday, April 6th (South), and Saturday, April 13th (North). Feel free to volunteer to judge even if it’s not your turn, the more judges we have available, the smoother the auditions will go. This year, All-State South (April 6th) is the same weekend as the NAfME All-Eastern Convention in Pittsburgh, Pennslyvania. With an extremely tight calendar, it was impossible to avoid this scheduling conflict. Please let your students know that if they get accepted to an All-Eastern choir and are eligible to audition for All-State 2019, they will have to audition on the North audition day. If you are scheduled to judge and you have to go to All-Eastern, please reach out to me as early as possible to let me know. We need to make sure we have enough judges and teachers to make All-State Auditions run smoothly. I want to thank all of you for your hard work in keeping Choral Music Education alive and thriving in the state of New Jersey. Many of us volunteer our time to make not only our own programs successful but also the larger state choral program successful as well. While we are all overextended and busy, think of how you could help the All-State Choir program and lend a hand. We need you!! The only way we can continue to grow as an All-State Choir organization is for us all to do whatever we can and volunteer our time. “The best way to find yourself is to lose yourself in the service of others.” Mahatma Gahndi
Early Childhood Education Amy Burns aburns@fhcds.org
Elementary Music Education Professional Development is in the air! In the upcoming months, there are many wonderful professional development opportunities for NJ elementary music educators. If you cannot get the time off to attend a workshop or conference, check out the free elementary webinars for music educators found at amymburns.com/webinars. NJMEA members can receive PD hours when they view the webinar, send me a summary, and answer the question at the end of the webinar (you can send these to me at aburns@ fhcds.org). The most recent addition to the webinars is “Highlights from Jill Trinka’s Workshop” held this past October in association with NJSMA. If you are attending the upcoming NJMEA conference from February 21-23, you will find many elementary sessions that will peak your interest, increase your knowledge, and get you up and moving. In addition, NJSMA has two workshops coming up 1. Pre-registration for “It’s Elementary, My Dear!” is now open for the February 9 event. The pre-registration link can be found on the NJMEA Facebook page. NJMEA members receive a registration discount for this event. 2. The six slots for the 4th Annual Treble Choral Celebration on May 29, have been filled; however, you are welcome to observe either the morning or afternoon session, or be added to the wait list. Email elementary@njsma. com for more information. continued on page 18
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Cali
Cali School of Music
Composition Education Performance Therapy Training the creative leaders of tomorrow
Degrees:
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Bachelor of Music, Bachelor of Arts, Master of Music, Master of Arts, Artist’s Diploma Music Education, Performance, Jazz Studies, Music Therapy, Theory/Composition
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Graduate String Quartet Residency Program Graduate Woodwind Quintet Residency Program
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An exceptional artistic and academic education Mentorship by internationally acclaimed artists, educators and scholars Inspiration and preparation to serve the community and enrich society using the transformative power of music Developing musicianship and professional skills in ensembles, masterclasses, clinical experiences, internships, and teaching Experiencing the cultural riches of New York City nearby
montclair.edu/music
Contact us: (973) 655-7610 musauditions@montclair.edu John J. Cali School of Music, Montclair, NJ
JANUARY 2019
JOHN J. CALI SCHOOL OF MUSIC
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THE NEW JERSEY MUSIC EDUCATORS ASSOCIATION a federated state association of NATIONAL ASSOCIATION for MUSIC EDUCATION
News From Our Division Chairs Guitar Education Thomas Amoriello tom@tomamoriello.com
Happy 2019! Mark your calendars for Saturday May 4, 2019 as this will be the 6th annual NJMEA Honors Guitar Festival at The College of New Jersey in Ewing, NJ. The recital will feature the chosen 2019 NJMEA Honors Guitar Ensemble students conducted by Jayson Martinez as well as a featured guest artist recital from China, classical guitarist Tengyue (TY) Zhang who was the first prize winner in the 2017 Guitar Foundation of America International Concert Artist Competition. This will be the fourth year of the NJMEA Honors Guitar Ensemble. Please see the October issue of TEMPO or visit the Guitars in the Classroom Portal at njmea.org for more information about the 2019 NJMEA Honors Guitar Ensemble Auditions. In the October issue only the first page of the Carcassi Etude appeared. Please visit th NJMEA.org web portal or email tom@tomamoriello.com for the corrected version. 2019 NJMEA Honors Guitar Ensemble Audition Auditions Saturday, February 9, 2019 at The College of New Jersey (music dept), 2000 Pennington Rd. Ewing, NJ 08628 Ewing, NJ 9:00-1:00 pm (snow date Sunday, Feb. 10th @ Bayonne High School Time TBA)
Orchestra Performance Susan Meuse susanmeuse@gmail.com
I am very happy to announce that there is a new All-State Orchestra Procedures Chair. Thank you to Justin Louie for stepping up to take on this huge responsibility. I wish him luck as a I step down from this position, remaining as Performance Chair. Congratulations to the 2018 All-State Orchestra and Mixed Chorus for two great concerts in November! Both concerts were inspiring, and I hope that many of you had a chance to attend. The Orchestra Procedures Committee would like to congratulate all of the students involved in the All State Orchestra, as well as thank all of the volunteers who worked very hard to make both concerts possible. First, we would like to thank our conductor, Timothy Dixon from Messiah College. continued on page 20 We would also like to thank our two Managers, Sarah Donatelli and Deb Knisely, as well as our PercusTEMPO 26
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KU BLUES & ROCK ENSEMBLE I
winner of the Undergraduate College Outstanding Performance Award – DOWNBEAT MAGAZINE Encourage your students to shine. Because, here, we believe there’s no limit to what musicians can do.
M.ED. in MUSIC EDUCATION • May be completed 100% online • Small class sizes
At Kutztown University, classical technique meets contemporary practice to strengthen fundamentals and take talents to new heights. Participation in our small and large ensembles is open to music majors and non-majors.
• Flexible transfer policy • Begin in Fall, Spring, or Summer • Study part-time or full-time
For audition dates and other information, please visit: www.kutztown.edu/music.
UNDERGRADUATE DEGREE PROGRAMS • B.S. Music Education • B.A. Music • B.A. Music: Commercial • B.A. Music: Performance Minors in Audio Engineering, Jazz Studies, Music History, Musical Theatre and Music. Double majors in Music with additional areas of study offered.
DEPARTMENT OF MUSIC JANUARY 2019
www.kutztown.edu/Music www.kutztown.edu/MusicMEd
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THE NEW JERSEY MUSIC EDUCATORS ASSOCIATION a federated state association of NATIONAL ASSOCIATION for MUSIC EDUCATION
News From Our Division Chairs
sion Coordinator Chris Janney. Without their hard work, the rehearsals and performances would not have been a success. We would like to thank Production Manager Joe Cantaffa who made everything happen and run very smoothly. A big thank you goes to the rehearsal conductor, Jim Millar for preparing the students ahead of time. Thanks to all of the sectional coaches, rehearsal hosts, and chaperones for helping the students have a positive All State experience. Thank you to the NJMEA Executive Board, particularly Debbie Sfraga, for helping to organize the events. And finally, a big thank you to Housing Coordinator Mike Doheny and Transportation Coordinator David Westawski who organized everything needed to get all of the students safely to and from Atlantic City. Festivals: Middle school orchestra teachers, please consider coming to the festival this year. The middle school/junior high festival will take place on Wednesday, March 6 at Bridgewater Raritan Middle School. The application will be available soon, but please reach out to me if you would like to participate. The All-State Orchestra auditions (both Intermediate and High School) will also be in March. They will be taking place on Saturday, March 16th. At this time the Procedures Committee will be meeting to discuss future conductors, solos, and scale requirements. As always, if you are looking to get involved or would like to share some ideas, please let me know!
Retired Music Educators Frank Hughes bugle11@yahoo.com
Hello, Everyone! I hope that you were able to enjoy the fall weather…and now we look to the winter and a new year! As we progress through this changing time, it gives us an opportunity to reflect on the changes in our families, our lives and the world. Speaking about the subject of change, we hope to have a representative from Aetna come to our February meeting at the State Conference to give a presentation on the changes in our medical coverage and what this means to us. It will be an excellent time for you to ask your questions on how this change affects you and your family. There will certainly be time for questions and answers, so this is a meeting that you will not want to miss on Friday morning, February 22nd. Check your Conference program for the time and room location. The new NJMEA Strategic Plan should include a cooperative effort between the State Board, the Retired Board and you – the experienced music educators of our state. Joyce Richardson has been working very hard on developing this program on our end and we need as many of you to share your expertise with the new and nearly new music educators in New Jersey. Joyce, who is also our President-Elect, will be at the February meeting to update us and to add names to our Mentors’ List. Our May meeting will be an exciting one. It will be held, thanks to Dorian Parreott, at the Asbury Park Music Foundation – 621 Lake Avenue in Asbury Park, NJ on May 8th. Come to the meeting, get a tour of the fabulous facility they have for music performance and education, have some “hands on fun” with their mobile recording studio and then have lunch at Clancy’s. The festivities start at 10:00 am. Our Master Music Teachers have been selected and will be honored at the February Luncheon. Congratulations to Lisa Wickman and Thomas Paster. Even if you are retired, you may nominate a colleague for the Master Music Teacher Award. Applications and criteria are located in your TEMPO Magazine. TEMPO 28
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THE NEW JERSEY MUSIC EDUCATORS ASSOCIATION a federated state association of NATIONAL ASSOCIATION for MUSIC EDUCATION
News From Our Division Chairs Special Learners Maureen Butler mbutler@mlschools.org
My wish for the New Year is that music teachers across the state will find new ways to include children with disabilities in their classes, and that special learners will have more and more successful and enriching musical experiences. If you’re searching for more information and strategies, you’re in luck – our annual conference in February will include several workshops about special learners, featuring members of our state-wide Special Learners committee and other experts in the field. Our annual Roundtable session is a good place to bring your questions and concerns about your students. Think about sharing your successful experiences with fellow participants, as well – we all benefit by supporting and learning from each other! Look for presentations by George Scott, a family therapist and statewide resource coordinator for the New Jersey Traumatic Loss Coalition. He will be discussing the emotional well being of our students, and how emotional needs may be affecting students’ behaviors and learning. Hope to see you at the conference! In the meantime, if you have questions or concerns about the students that you teach, please contact me at the email listed above.
Summer Workshop Joe Akinskas akinskas@rowan.edu Summer Workshop Coordinator
Summer Workshop XII I am pleased to announce that Summer Workshop XII will take place on Tuesday, August 6, 2019, on the campus of The College of New Jersey. Session Ideas & Presenters needed At the conclusion of the previous eleven workshops, participants were asked to respond to an online program survey. The workshop committee utilizes the timely responses as the basis for development of the next event. The survey results are attached below for everyone’s review, and to serve as a basis for generating the Workshop XII agenda. If you see a session recommendation that you can facilitate let us know. continued on page 22
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THE NEW JERSEY MUSIC EDUCATORS ASSOCIATION a federated state association of NATIONAL ASSOCIATION for MUSIC EDUCATION
News From Our Division Chairs
Our early deliberations are focused on presenting extended-concentrated sessions in all areas. If you are interested in developing a session, please complete and return the presenter request form on the Workshop website, via email, to njmeasummerworkshop@gmail.com or akinskas@rowan.edu , on or before April 1, 2019. I would also like to take this opportunity to thank last summer’s presenters who truly exemplify the high level of talent we are fortunate to have in New Jersey, and are willing to share their talents and techniques with our statewide constituency. Take a minute to access our website on the NJMEA conferences link, to scan the pictures which reflect an enjoyable and productive day. We look forward to another beneficial day for all in attendance. Think summer! Joe Akinskas Summer Workshop Coordinator akinskas@rowan.edu
And the survey says… You asked. We listen. Your opinion REALLY counts. What would you like to see at next year’s workshop that you did/have not seen in the past? • More on technology • Ways in which school music programs can serve / benefit their communities. • Choral warm-up ideas, rehearsal strategies, behavior management • A session on different kinds of music technology would be great. I know there was one last year that was fantastic! • Love to see more diversity in ensembles. Something for musical theater directors. • Music & technology - free and low cost apps/programs - how to better utilize • Choral Expert such as Joan Gregoryk or Music Performance Education expert Jerry Kerlin from NYU (if you can get him) • A really good string improv session • Cross curricular concepts- how to incorporate STEM in music • This was my first workshop. Will leave this for those that have been to multiple. • Singing Harmonic Solfegge/ Workshop of Music Teacher Retirees • More string offerings! • Double reed recruitment and retention • I would appreciate better session descriptions in the handout or on the website. At times, it was unclear what the focus of the session would be. A multicultural music and games workshop turned into watching youtube videos the whole time. The workshop about teaching the hard to reach student appeared to be a Quaver commercial. • Like mentioned above - workshop on conducting and or rehearsal techniques for all grade levels • More workshops on centers in general music elementary classes If you could attend only one workshop all day, what would it be? What do YOU feel is the most important session you could attend to benefit you and your program? • General music class ideas • Anything related to multi-cultural music with hands-on activities. • Choral rehearsal strategies • Instrumental techniques • The session on utilizing rock instrumentation in classroom music TEMPO 30
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THE NEW JERSEY MUSIC EDUCATORS ASSOCIATION a federated state association of NATIONAL ASSOCIATION for MUSIC EDUCATION
News From Our Division Chairs
• Choral readings. Helps find new literature for my ensembles. • I would not attend only one workshop for an entire day - the large variety of available topics was greatly appreciated • Liked the advocacy workshop at the end of the day - good timing. • Something in performance and something that is necessary for music advocacy (such as the excellent STEAM workshop) • String orchestra reading session - find new pieces for my group • Wow. I guess STEAM ? I really liked strand hopping! • General music ideas/ new lesson plan concepts • Like the idea of multiple workshops to choose from. Same one all day would be like an in service day at school. No thanks. • Difficult to choose because they were all great Intro to Ukuleles/ The Singing Band/ Rounds To Sing-Rounds To Play/ Keeping It Moving, Traditional World Dances, etc. • Not sure but anything involving string pedagogy, literature and modern trends • Special education • Reading sessions • Making Danielson work without compromising our teaching • The same…we are going through some curricular issues and this was a very helpful workshop in that regard. • I really enjoy working with and learning from Ardith and Brian on the Orff Schulwerk aspect of things. That is the most beneficial and relatable to my personal program. • Reading session with a well known university clinician to experience new rehearsal techniques. • Middle School Choral Reading Session
Technology
Marjorie LoPresti
marjorielopresti@gmail.com
Do you teach music with technology? Do your students compose, arrange, or create musical projects? Plan to attend the 9th Annual NJ Student Music Tech Expo. This student-centered, science fair style event features exhibits of adjudicated student works as well as hands-on workshops and performances. The event is open students in grades 3-12, sponsored by an NJMEA member. Throughout the day, students will explore electronic music-making in hands-on workshops with tech gear, receive training from music industry professionals, and get up close to the action during performances. Student ensembles featuring electronic/ technology-based music are invited to perform. The Expo will culminate with an awards ceremony to recognize the exemplary works submitted by student participants. Student projects must be submitted in advance, and will be evaluated by professional composers using a festival rating scale (gold, silver, bronze). Categories include remixes, multimedia, and applied technology projects. Students attending the Expo will have the opportunity to review and rate projects along with the pros, then vote for “best in show.” Mark your calendar now: Expo North will be held on Monday, May 20, 2019 at Rutgers and the Expo South will be held at Rowan University on Tuesday, May 21, 2019, and Visit the Technology link at njmea.org for more info. Registration is open now and will close on March 23. Project submissions will be accepted April 9-23. More info on pages 9-11. JANUARY 2019
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Parents: Support MUSIC as a well-rounded subject in your child’s school district!
With the passage of ESSA, the new federal education law, parents and community members are invited to participate in creating district plans supporting a well-rounded education, including music.
Now’s the time to step up and tell why music is important for your child. Here’s how: 1. Ask your child’s principal if you can be involved in the district’s Title IV planning process. Title IV is funding to support a well-rounded education, including music. 2. Be an active part of the process as your district creates its Title IV Plan. Make certain that the district understands the importance of music for all students in your district. 3. Learn about other ways to get involved – like writing your school’s plan for Title I if you are at a Title I school. Check with your principal to learn more. 4. For more information on ESSA, visit bit.ly/EverythingESSA 5. For more information on parent advocacy, visit http://bit.ly/SupportMusicEd
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Personalized Learning How Does It Fit In Our World?
Part II: Defining Personalized Learning In The Music Room Megan Endicott Dolvin Elementary School, Georgia endicott@fultonschools.org
T
o recap from our part one discussion on personalized learning in the music room, many questions were asked concerning the implementation of this new teaching strategy. In an ideal personalized learning classroom, teachers are moving from lecturers to facilitators while student learning is carefully crafted to the individual learner themselves. This style of learning moves away from the traditional “one size fits all” approach (O’Donoghue, 2010). This approach to teaching, allows students more choice in demonstrating learning and mastery of the standards while playing to their interests, strengths, and weaknesses (Basham et al., 2016). There are seven personalized learning principles adopted across the nation. Three of these principles were highlighted in the part one installment of this article. In this article, we will be focusing on voice and choice, mastery based assessments, flexible pacing, and co-plan learning.
Nearpod (nearpod.com) to discover if students would like to visit where Beethoven was born or where he lived. Nearpod is a technology tool that offers live instruction with real-time assessment features. Another important aspect of voice and choice is finding ways for each student’s voice to be heard. Offering ways for students to input information on a Padlet (padlet.com) wall, type short responses, or answer quick checks via formative assessments allows all students to be heard rather than the one student who is always raising their hand to answer. Some of the most wonderful comments have come from the quietest students whose voice may have never been heard without these resources. Padlet is a free, online resource, that transforms your board into a live interactive bulletin board that is updated in real-time.
Voice & Choice In today’s digital society, most students have constant access to the internet and can find the answers to any question at any given time of the day. Because of this constant access to knowledge, students want to know even more than ever, “why” and “how does this affect me?”. Finding ways for students to have a voice in their learning offers relevance to student learning and builds accountability, buy-in, and interest. “The term ‘Student Voice’ describes how students give their input to what happens within the school and classroom” (Palmer, 2013). I recognize that co-constructing knowledge with your students and straying from your lesson pacing chart is difficult, but here are some easy ways that I have included students’ voices in my lessons. “Poll” features are a great way to elicit students’ voices toward the direction that they would like to move through the lesson. Imagine that you are beginning a lesson on the history of Beethoven in preparation for a listening lesson on Beethoven’s 9th Symphony. You can run a quick poll at the beginning of a guided live lesson on JANUARY 2019
Mastery Based Assessments Mastery-based assessment is defined by the Fulton County School Personalized Learning Team as promoting “student progress through curriculum by showing mastery on assessments guided by proficiency and competency” (Mastery-based assessments). Included in the definition is ensuring teachers can bridge the gap between the student’s mastery of learning objectives with those of progress reports and report cards. One clear process for identifying student assessment is through continuous formative checks. Barry Zimmerman and Maria Dibenedetto from the Graduate Center of the City University of New York warn that large summative tasks with no formative checks or feedback along the way can cause low test scores and unmotivated students. They agree that these “limitations can be avoided by including formative assessment and an instructional component designed to enhance mastery learning” (Zimmerman & Dibenedetto, 2008). Fostering an environment that is mastery-based rather than the outdated psychometric approach measures individual student growth throughout the school year with a focus on the mastery of course objectives, rather than a comparison of student 33 TEMPO
achievement with a “normative sample” (Zimmerman & Dibenedetto, 2008). Through consistent feedback, formative checks, and tracking individual student growth, students will begin to take ownership of their learning. Flexible Pacing Just like adults, children learn in different speeds and through different processes. Variations in student learning should be taken into consideration when designing lessons plans where new content is learned. These flexible learning environments can be powerful if they promote “time for mastering concepts, a cognizance of student’s time requirements, and truly using formative assessments” (Fox, 2016). Finding time to implement flexible pacing in the confines of a traditional music class schedule can feel like a daunting task; however, finding innovative ways to incorporate differentiated tasks is key. In the music room, the most important learning happens at the beginning of each unit. Students are constructing new meaning to their learning and creating new paths of understanding based on prior knowledge. This is the perfect opportunity to create differentiated instruction that offers flexible pacing. A strategy that I have used successfully in my room is incorporating a differentiated station model through in-class flipped instruction to offer students time to reflect on the content and process new information. Teaching solfege and or note reading to young readers is one of the foundations of making music; therefore, ensuring each student successfully grasps the concept in a way that is appropriate and personalized is key. To teach this concept, I begin class with a short full class teacher-directed lesson followed by a diagnostic assessment. This assessment can be reflective and answered by students giving you a show of thumbs, or through technology tools. This data should be used to place students into flexible groups based on the current knowledge of the content. I have found that four groups fit the needs of my classroom and student population. There is the “I can do this, but with your help”, “I can do this, but I need a little extra time exploring”, “I can do this, I can’t wait to show you!’, and “I can do this so well, I can teach others!”. Once the children are placed in their groups, I send students to my website (http:// dolvinmusicendicott. blogspot.com/p/students.html) where I house various activities and safe search sites on a student page. Through video produced lessons or student-paced technology lessons, students can move at their own pace and utilize live embedded resources in a “one-stop” location with built in exemplars, remediation and / or enrichment activities. In addition, live
assessment results can be embedded and viewed throughout the class and after. While I find technology to be useful in my classroom, flexible pacing can also be present through analog tasks such as building in choice boards or “fast-finisher” activities for students who finish assigned differentiated tasks early. These tasks can be in the form of instrument playing task cards to support a song accompaniment they may be learning, a game or manipulative activity, or perhaps a task card offering student an opportunity to add in a choice for demonstrating their learning from the days activities. Co-Planning Learning To truly encourage student ownership, teachers must first establish a culture where co-planning learning is natural. Cameron Pipkin, author of “How to Prepare Your Students for Student-Centered Learning”, suggests establishing the following five steps “share assessment data with them, have students write their own goals, instill the message that everyone is different, rethink how you define skill levels, and redesign learning environments to reflect this change” (Pipkin, 2015). There are several ways for music teachers across the country to embrace this shift in learning. As Pipkin suggests, redesign your learning space to easily offer a change in arrangement at any given time. As you cycle through over one hundred students a day, music teachers are the first to recognize that teaching isn’t a “one size fits all” scenario. Ensuring that we are offering opportunities to all students to take part in the planning process not only piques student engagement, but it fosters a sense of community and interest. Goals can be set and shared, lessons and strategies can be suggested, and processes and implementation can offer input in multiple ways. Students can offer input or track goals as a ticket out the door, whether it be technology or paper. When working with a multitude of students, technology is the key for pulling this piece together. In my classroom, I have a bulletin board that displays each student’s assigned classroom number. Students can leave a post-it note on the way out to share their thoughts and opinions on what we have accomplished or invest in what’s to come. website (https://www.teacherspayteachers.com/ Product/FREE-Ticket-Out-the-DoorSign-Topper-534263) For my younger students, I allow them to share reflections through emojis on apps like iDoceo where they can share their feelings on a concept at the beginning of the unit and once again at the end of the unit. Through this planning, I can visually see how a student feels at the beginning of the unit to spark a conversation and create a personalized learning plan or goal to ensure a happy emoji at the end. In my classroom, students are offered flexible seating that can be moved around the room easily. Students sit on 6-foot benches that are organized by color for easy quick grouping and teamwork.
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Flexible seating options such as scoop chairs, bean bags, and stools carefully stack and tuck away until collaborative group time. A cart loaded with technology tools including iPads, Chromebooks, headphones, splitters, and robotics are organized in a fashion to allow students quick and easy access to materials on the spot. Closing While we are working hard to ensure music educators are the ones defining how to incorporate personalized learning in the classroom, we must remember that we are music teachers first, working toward the common goal of creating and making music. It is important to know that personalized learning incorporates strategies of great teaching and encompass concepts that many of us are already implementing. I believe the biggest take away is that teaching should live on a continuum. We must never live only at the top or bottom; however, we should be consistently moving on the scale in accordance to the student learning process and teacher instruction. For more information, please check for constant updates on my research and links by visiting my Smore page https://www.smore. com/rtj5d-personalized-learning-in-music.
References FY14 FCS Citizen Centric Report. (n.d.). Retrieved June 11, 2017, from FY14 FCS Citizen Centric Report.pdf Anderson, N., & Henderson, M. (2004). e-PD: blended models of sustaining teacher professional development in digital literacies. E-Learning and Digital Media, 1(3), 383-394. Basham, J. j., Hall, T. E., Carter Jr., R. A., & Stahl, W. M. (2016). An Operationalized Understanding of Personalized Learning. Journal of Special Education Technology, 31(3), 126-136. doi 10.1177/0162643416660835 Bauer, W. I., Reese, S., & McAllister, P. A. (2003). Transforming music teaching via technology: The role of professional development. Journal of research in Music Education, 51(4), 289-301. Cox, H. (2015). FCS Vanguard Team. Retrieved July 5, 2017, from http://www.fcsvanguard.org DeWitt, P. ( 2013, November 22). Standardization? Personalization? Or both? Education Week, http://blogs. edweek.org/edweek/finding_common_ground/2013/11/ standardization_personalization_or_both.html Fox, J., Sr. (2016, February 6). Use Flexible Pacing to Embrace Students’ Differences. Retrieved March 1, 2018, from http:// inservice.ascd.org/use-flexible-pacing-to-embrace-studentsdifferences/ Greher, G. G. (2011). Music Technology Partnerships A Context for Music Teacher Preparation. Arts Education Policy Review, 112(3), 130-136. doi 10.1080/10632913.2011.566083 Just-In-Time Direct Instruction. (n.d.) Retrieved March 01, 2018, from http://fultonpl.weebly.com/just-in-time-direct-instruction. html Lands, B. (2013, February 03). The Landscape of Learning. Retrieved March 01, 2018, from http://www. thelandscapeoflearning.com/2013/01/there-is-more-than-oneway-to.html JANUARY 2019
Mastery-based Assessment. (n.d.) Retrieved March 01, 2018, from http://fultonpl.weebly.com/mastery-based-assessment.html Matzat, U. (2013). Do blended virtual learning communities enhance teachers’ professional development more than purely virtual ones? A large scale empirical comparison. Computers & Education, 60(1), 40-51. Nadworny, E. (2016, February 19). Strategies to ensure introverted students feel valued at school. Mind/Shift, http://k12education. gatesfoundation.org/student-success/continued-progresspromising-evidence-on-personalized-learning/ O’Donoghue, J. (2010). Technology-supported Environments for Personalized Learning Methods and Case Studies. Hersey, PA: IGI Global. Palmer, Bill. (2013, March 29). Including Student Voice. Retrieved March 01, 2018, from https://www.edutopia.org/blog/ sammamish-2-including-student-voice-bill-palmer Pane, J., Steiner, E., Baird, M. & Hamilton, L. (2015). Continued progress: Promising evidence on personalized learning. Santa Monica, CA: RAND Corporation. http://www.rand.org/pubs/ research_reports/RR1365.html. Pipkin, C. (2016, July 10). How to Prepare Your Students for Student-Centered Learning - EdSurge News. Retrieved March 01, 2018, from https://www.edsurge.com/news/2015-05-20how-to-prepare-your-students-for-student-centered-learning Stahl, R. J. (1994, April 30). Using “Think-Time” and “WaitTime” Skillfully in the Classroom. ERIC Digest. Retrieved March 01, 2018, from https://www.ericdigests.org/1995-1/ think.htm Teach in a variety of groupings. (n.d.) Retrieved March 01, 2018, from http://fultonpl.weebly.com/teach-in-a-variety-ofgroupings.html
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2019 NJMEA State Conference Instructions to Register for the NJMEA 2019 State Conference New this year Your membership expiration date MUST be AFTER February 28, 2019. This means that if your membership expires between October 2018 and February 27, 2019 you will not be able to register until it is renewed. It is suggested that you renew before registering just to be safe. You will ONLY receive a confirmation email IMMEDIATELY after you register if you pay by credit card. If you choose “pay later” and pay by check or PO your registration will be PENDING and you will not receive the email until the NJMEA office approves your registration. The approval will come after your check or PO is received in the office. Please make sure your Board Office sends the PO to the correct address and before February 7, 2019. Payment methods for Conference registration Credit Card- Upon completion of the registration form you will be asked the question Will you be paying by Purchase Order? You choose NO. The option to pay by check or credit card will then come up and you choose credit card as your method of payment. You will complete the payment information and your registration will be automatically approved. You will receive a confirmation email following completion. Check- Upon completion of the registration form you will be asked the question Will you be paying by Purchase Order, you choose NO. The option to “pay later” by check will come up. Please print out the receipt and mail it to the address listed with your check. Your registration will be PENDING until the check is received in the office. Upon receipt of the check your registration will be APPROVED and you will receive a confirmation email. Purchase Order- Upon completion of the registration form you will be asked the question Will you be paying by Purchase Order, you choose YES. Put in the PO number and proceed. Your registration will be PENDING until the PO is received in the office. When the PO is processed your registration will be APPROVED. Please make sure your Board Office puts your NAME on the PO, that the PO is mailed to the correct address and that it is received NO LATER than Feb. 7, 2019. Registration Fees Active Member – Full Conference $170 $180 Active Member – One Day (Thurs or Fri.) $135 $145 Retired Member $50 $60 Collegiate Member $50 $60 Guest-must be a family member of an Active Member $170 $180 Clinician (all clinicians must pre-register) $85 NA Non-Member – Full Conference $350 $360 Non-Member – One Day (Thurs. or Fri.) $275 $285
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Clinicians and Session Titles Clinician Name: Session Title Joe Elefante: Music Theatre Audition Preparation Jordan Peters: Starting A Music Program In The Urban Setting Andrew Pfaff: Starting A High School Guitar Program Christopher Sabol: The High School Musical As A Tool For Social Change Bruce Pearson: Keep Students Involved, Engaged And Active In The Learning Process Corinne Stevens Devereaux: Noteflight Scott Burstein: Little Kids Rock….Full Day Workshop For Modern Band Bryan Powell: Learn To Play Ukelele Through Popular Music Kenrick Wagner: Improvisation Techniques, Culture Building Activities Scott Burstein: All People Are Musical Tom Weber and Matt Lorenzetti: NJMAA Breakfast Meeting Tom Weber: Job Fair Christine M. Zacher: Horn 101 A Guide For Teachers Brian J. Wagner-Yeung: Basic Accompaniments, Adaptations To Literature And How Making Connections Can Be Enhanced Through Orchestra Brian J. Wagner-Yeung: Musical Activities Adaptations To Reach A Wide Range Of Learners Chad Zullinger: Turn Your Classroom Into A Makerspace For Music With Chromebook Brian P. Hunter: Inspiring Creativity Through Improvisation Kyle Skrivenk: Video Game Composition For The Non-Music Student Dr. Amy K. Voorhees-Hall: How Community, The Language We Use And The Value Of Student Input Can Serve As An Effective Teaching Tool Frank Abrahams and Students from Westminster Choir College: Integrating Music Into STEM Rachael Gareau: I Am Slowly Going Crazy- Managing A K-8 Program Without Losing It! Mrs. Jenna Makos and Dr. Deborah Gianuzzi: The Female Music Director-REBOOT, A Round-Table Discussion On Navigating The Field Of Music Education. Richard Lawton: Jam-Along, Using Pop Music To Teach Beginning Recorder Richard Lawton: Blues Recorder Improvisation — Playing Soufully From The Start Arvin Gopal: ASTA/NJ General Membership Meeting Shawna Longo: Steaming Up Your Classroom Shawna Longo: Coding + Composition = Chiptune Music Shawna Longo: Rock To Reach Your Students Craig B. Knapp: Music Literacy In The Elementary Choral Rehearsal Maureen Butler: Teaching Music To Students With Autism Spectrum Disorder Keith W. Hodgson: The Creative Director! The Ultimate In Musical Engagement Keith W. Hodgson: Instrumental Music Portfolios A Benchmark Assessment JANUARY 2019
Sara E. Marino: A Very Good Place To Start, The Practical Application Of A Beginning Jazz Improvisation Learning Environment Maureen Butler: Roundtable Discussion, Focus On Special Learners Robert Pispecky: Transistioning From Music Student To Music Teacher Kimberly Nimmo and Chryselle Yang: Orchestra Help - No Strings Attached! Joe Deninzon: Power Chord Workout Lynn Brinckmeyer: Wander The World With Vocal Warm-Ups! Otto Gross: 5 Ways To Engage Hard To Reach Students Otto Gross: Body Talk, Encouraging Improvisation Through Body Percussion Anthony Fabrizio: Timpani Techniques For Student And Ensemble Success Karen Demsey: Intonation, Tone, And Other Flute Challenges For Middle School And High School Flutists Paul F. Doerksen, Ph.D.: Vibrato In The Band Gyasi J. Blanton: Examine Me, Exploring The Non-Idiomatic Choral Music Of Black Composers Chris Vitale and Trevor Sindorf: You’re Taking 100 Students To Where? - Low Stress, High Reward Strategies For Traveling With Your Music Ensemble Stephen Komar: Improvisation From Elementary To High School Stephen Komar: Starting An Elementary Jazz Band Joe Deninzon: How To Read Chord Charts & Lead Sheets Joe Deninzon: Getting In The Groove Edward M. Easse: The Recorder Doctor Is In The House! Sergei Panov: In-Tune David Pope: Programming Outside Of The Box, Non-Traditional Repertoire For School Orchestras David Pope: Intonation Matters, Developing Students’ Listening Skills In The Orchestra Class David Pope: Getting Over The Hump, Teaching Advanced Techniques To The Developing Student David Pope: Playing Position & Posture, Setting Beginning Students Up For Long-Term Success Brian Braytenbah: Field Trip And Grant Opportunities For Music Teachers John Mlynczak: Sheet Music In The Digital Age John Mlynczak: Designing A Music Technology Curriculum John Mlynczak: Retaining The Tech-Savvy Generation Ashlen Udell, Rick Petrosky and Tom Murphy: Composer In Virtual Residence Tom Murphy: Timpani 101 For The Band And Orchestra Director Lyn Schraer-Joiner, Marguerite Modero, Robert Rocco, Maureen Butler and Linda Green: Keeping Music Alive! Inclusive Music Education Across The Lifespan Robert J. Hamm: Yes We Can! We Can Compose In The Elementary Music Classroom! Gerald W. DeLoach: Middle School Band, The What, How And Who Of Teaching Band In The Middle Grades 37 TEMPO
Clinicians and Session Titles Cara Bernard and Joseph Abramo: But That Doesn’t Work In Music!, A Guide For Productive Dialogue And Growth In Teacher Evaluation Mark A Stickney: Now That You Have Let Go, What Do You Do With All Of Your FREE Time On The Podium? Dr. Jenny L. Neff: No Teacher Is An Island Tools For Survival In Today’s Climate Robert Franzblau: Let Aspiring Music Majors Inspire Your Ensemble Robert Franzblau: Sing To Your Band! Sing To Your Orchestra! Laurie Arslanyan and Erin Halat: Singing Together, A New Choral Experience Linda Green: Harnessing The Power Of Popular Culture In The Middle School General Music Classroom! Libby Gopal: Urban Music Educator’s Symposium Matthew J. Paterno and Ralph Venezia: You Be The Judge! Matthew J. Paterno : Artists, Athletes And Actors-Get Ready To Perform! Adam Freeman and Matthew Hurley: Color Guard For The Perplexed Band Director Payton MacDonald: Indian Classical Music Techniques In The Classroom Dr. Christopher Di Santo: Fostering An Engaged Listening Experience Elizabeth Nowik: Bells, Chimes, & The Differentiated Classroom Marci Major: Rote Gone Rogue Kevin Sylvester: Joyful Music Making: Play-Parties And Dances For The Elementary Music Classroom Steven Braun: That’s Appropriate, Making Appropriate Adaptations For Special Learners Joe Akinskas: NJ Music Administrators Association Collegiate Roundtable François Suhr: Dancing Up A Folk Storm Folk Dancing In The General Music Classroom François Suhr: Ta-Ka-Du-De-Whata?!, The Pros And Cons Of Rhythm Counting Methods Timothy Beadle: Using Google In And Out (But Mostly Out) Of The Classroom Brian P. Hunter: Ukulele! Little Instrument, Big Fun Evan Kempey: Electronics In The Marching Arts François Suhr: Elementary School Music Is Not Elementary! How To Make General Music Classes Meaningful Amy M. Burns: Bring Your Elementary Music Classroom To Your Parents’ Mobile Devices! Amy M. Burns: Free Technology Resources For Elementary Music Educators Amanda Clarfield Newell: So You Want To Host A Student Teacher Amanda Clarfield Newell: Express Yourself! Infusing Beatboxing Into Your Classroom - It’s More Than Noise! Alyssa DiNapoli: There’s A Better Way! James Doyle: Trust The Process, Ten Ways To Improve Productivity In Your Ensemble Rehearsal
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Gilles Bernard: To Tongue Or Not To Tongue? A Comprehensive Survey Of Articulation As It Applies To Performance On Brass Instruments Dan Halpern: Band, The First Four Years; Ensuring Long-Term Success From The Start Patricia Helwig: Beats And Bytes - Creating Music With Code Betsy Maliszewski: The Modern Orchestra Classroom Meeting The Needs Of All, One Student At A Time Dawn D. Russo: So, Your Student Teacher Is Coming Tomorrow, Now What? John Gronert: Rhythm- The First R Rina Sklar: Interactive Recorder Instruction-It’s Fun And It Works! Dr. Jim Frankel: Technology Engagement, The Music Classroom Leads The Way Dr. Jim Frankel: General Music Tools For Connected Students & Teachers Jeffrey G. Haas: What’s New For Jazz Ensemble, A New Music Reading Session John Gronert: Do You Gahu!- Hands On World Music Drumming Session Larisa Skinner: Asking Better Questions, A String Teacher’s Exploration Of Bloom’s And Danielson 3b Larisa Skinner: Making College A Reality For Urban Music Students Larisa Skinner: Mixed Level Classroom Strategies Larisa Skinner: Reversing Roles, What Students Learn When They Teach Carol Swinchoski: The Singing Band - Beginners And Beyond! Harry Searing: Who Needs Bassoons? Kevin Patrick Cotter: Let’s Stay Together - Using Chorales To Build Student Intuition Dr. Ameila Garbisch and Dr. Sarah Gulish: What About The Other Kids? Using Popular Music To Give Music To All Dr. Ameila Garbisch and Dr. Jason Vodicka: Inside The Choral Rehearsal, Using Mixed Pedagogical Practice In Middle School Choral Settings Kathy Liperote: Developing Music Literacy Where To Begin John Jacobson: It’s A Musical World John Jacobson: Middle School Rocks! John Jacobson: Music Express Changes Everything Dr. Lisa DeLorenzo and Dr. Marissa Silverman: Teaching For Social Justice The Protest Unit Angela Guerriero and Jodi Jianniney: Educating Students With Special Needs, Making Composition Accessible Jason Vodicka: Building Better Intonation, Tips And Tricks For High School Choirs John Wernega: Children Are Never Too Young To Sing Four-Part Harmony Bryan Powell: Incorporating Popular Music And Technology To Engage Brass Musicians Brian Diller: Artistry In Every Moment, Unlocking Magic In Rehearsal
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Clinicians and Session Titles Crystal Gerrard: Do You See What I See, Diagnosing Issues In Beginner Band Performance Robert Sears and Lisa Garwood: Mindfulness In Music Education Jordan E. Kinsey: You’ve Got To Be Carefully Taught Diversity In The Large Ensemble Classroom Dr. Colleen Sears: #Metoo. #Metoo?, A Conversation About Gender And Sex-Based Harassment In Music Education Richard L. Saucedo: Unlocking Creativity Through Focused Repetition Richard L. Saucedo: Music Rehearsal Concepts, Rehearsing A Phrase To Excellence! Dr. Joseph d’Auguste and Mr. Ben Schwartz: Big Ideas For Small Ensembles Steve DeLuca: What’s My Roll? Daniel Pasquale: Landing And Surviving Your First Year Dr. Jamie Hillman: Fun Vocal Warmups That Work Sean Ferguson: The Other Half Of Your Score, Creating A Successful Visual Program For Your Marching Band James Brodeur: Repertoire for Tenors and Basses, An A Cappella and Choral Reading Session James Brodeur: Wonderful, Worthwhile Websites For The Music Educator Part One James Brodeur: Wonderful, Worthwhile Websites For The Music Educator Part Two Cristin Introcaso and Stephanie Berger: Treble Repertoire Past And Present Frank L. Hughes, Sr.: A Smart Guide To Better Tone, Intonation And Endurance Marjorie LoPresti: Music Technology Integration, Where Do I Start? Marjorie LoPresti: Music Tech Alphabet Soup
Glennis Patterson: The I In Team Inclusion In The Ensemble Setting Glennis Patterson: Let’s Move Together, Singing Games And Movement Activities For The Inclusion Classroom Edward Fleischman: Welcome To Teaching! Interview Advice And Tips For Your First Few Years In The Profession David Lamkin: Turn Your Ensemble Into A Family Tom Kamp: PLAY FREEDOM, Jazz Improvisation For Everyone Jennifer Emery: Building Bridges In The Choral Community Arvin Gopal: Choosing Repertoire For Your Orchestra; A Roundtable Discussion Dr. Mark C. Adams: The Art Of Songwriting, Designing Strong Lessons For Students Marlene Yeni-Maitland: Inner City General Music Developing Self-Regulation Pamela Turowski: Arranging And Composing To Foster Musical Independence Jennifer Jenkins: Building Community In Choral Ensembles Dr. Brandon Williams and Dr. Mark Adams: Supporting Musical Lives, Vernacular Music In The Choral Setting Yale Snyder and Gary Mallinson: Preparing Mallet Students For Middle School Region Auditions Amanda Clarfield Newell, Aimee Coleman and David Westawski: Straight Talk On The Student Teaching Experience, A Panel Discussion Nick McBride: Beyond Safe Spaces, Discussing Gender, Sexuality, And Inclusivity In Music Classrooms And Schools Matthew Peterson: Improving The Marching In Marching Arts Dale Roeck II: Anatomy & Care Of The Teaching Voice
Performing Ensembles Performing Ensemble Name Rutgers University Symphonic Winds Messiah College Wind Ensemble Rutgers University Wind Ensemble Mendham High School Wind Ensemble Howard University Wind Symphony Mt. Olive High School Wind Ensemble Morristown High School Wind Ensemble William Paterson University Percussion Ensemble Monroe Township Middle School Percussion Symphony
University Singers, University of Delaware Primo Coro and Coro Vivo, NJ Youth Chorus Scotch Plains - Fanwood High School Chamber Choir Carteret High School Chamber Choir Belle Canto - Kennett Symphony Children’s Choir Elementary Mix (Barbershop Quartet) Quinton Twp. South Brunswick High School Concert Choir
JAZZ HOUSE KIDS Organ Ambassadors Mount Olive Jazz Ensemble New Brunswick Jazz Band Advanced Orchestra - East Brunswick Passaic Gifted and Talented Select Strings Shull School World Music Drummers Perth Amboy Walsh Memorial Bell Choir
How To Register For A Room NJMEA February Music In-Service Conference February 21-23, 2019 East Brunswick Hilton
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Below is the booking link for you to to use to book a room online and get the special NJMEA rate: http://group.hilton.com/NJMEACallIn Or you can most certainly call in (732) 828-2000 to make reservations using the “NJI” code as a reference to the contracted room block. 39 TEMPO
Sonic Escape
Friday Night Concert February 22, 2019 Who is Sonic Escape? Fiddle-dancing for thousands in Tiananmen Square. A flute concert on skis in the mountains of Vermont. Couchsurfing parties in the Arctic Circle. A cross-country caper in a busted $500 minivan. Adventure abounds when art rules life, and sharing it with the world is what Sonic Escape’s about! Shawn Wyckoff and Maria Millar founded Sonic Escape in 2009. Armed with flute & violin, their game plan – use hyper-instrumentals to fill hearts with indescribable joy – has landed them on hundreds of stages across 40 North American states, provinces and beyond (click to see where)! Maria and Shawn push themselves to the brink – singing, dancing, telling stories, and above all, playing their hearts out with a “wonderfully imaginative… anything goes sense of fun.” (The Washington Post) They met at The Juilliard School. A love of blading the streets of New York (and a spring break in Ireland) forged a romance powered by fun. But playing the flute & violin together? No way! Too shrill, hard to tune. Temptation kicked in, though, and Shawn and Maria gave it a go. Tuning took 2 years; matching breath & bow took even longer. Composing music that amplifies the virtuosity, range and emotion of the flute & violin – that’s when the real fun began. They knew they’d arrived when an audience exclaimed, “Hurry, lock the doors! Don’t let them leave!” After several years of frenzied, fabulous touring, Maria and Shawn reflected. “How can we further connect with communities to make a lasting difference?” Their answer: Four Seasons Rising (4S), a project that combines music + activities to inspire action for Earth. Featuring The Symphony, a concerto for flute, violin and orchestra composed by Maria and funded by Canada Council for the Arts, 4S is rooted in the belief that music should unite and ignite. Performing Arts Centers such as Lincoln Center (NYC), Chautauqua Institution (Chautauqua, NY), Irish Arts Center (NYC), Oxnard Performing Arts & Convention Center (Oxnard, CA) and the Imperial Theatre (Sarnia, ON) have provided formidable stages for Sonic Escape’s larger-than-life sounds and moves. Concerts and workshops at the University of Missouri (St. Louis, MO), University of Wisconsin (Whitewater, WI), Penn State (Erie, PA), Hofstra University (Hempstead, NY) and The Juilliard School (NYC) have enabled them to share with audiences and students alike! Then there’s festivals… whether thousands camp without running water or gather in idyllic town squares, Sonic Escape loves them all and has performed at the Summer Arts Festival (Huntington, NY), Blue Skies Music Festival (Clarendon, ON), Elora Festival (Elora, ON) and Cherry Blossom Festival (Philadelphia, PA). Lastly, Canada Council for the Arts, Chamber Music America and the Puffin Foundation have generously funded Sonic Escape’s compositions, travels, and the creation of a 5-day community residency. So look out! When you see that green minivan rolling into town, make way for the 2 nomads (and maybe even 2 traveling cats) that are Sonic Escape. Good times and superb music are sure to follow!
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Eastern Division Encores Marc Greene NAfME Eastern Division President greene.nafme@gmail.com
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elcome back to a new school year and all the challenges and rewards that are coming our way along with pumpkin spice, freshly picked apples, and falling leaves. I am still waxing poetic over my experiences this past year attending state conferences in Connecticut and New Hampshire. The beauty of autumn in Manchester and the vibrancy of Hartford in spring were great reinforcements to the warm welcomes, spirited camaraderie, and superb musicianship of both events. This school year I will have the honor of visiting with colleagues in Delaware, Europe, Massachusetts, Maryland, Maine, New Jersey, New York, Pennsylvania and Vermont. It is so exciting to know that I will be surrounded by so many like-minded professionals with a passion for music and education. But of course, the grandest event of this year will be taking place April 3-7, 2019! We will be convening for our 56th NAfME Eastern Division Biennial In-Service Conference at the David L. Lawrence Convention Center in Pittsburgh, PA. This is one of the best opportunities for innovative and best practice professional development in music education in the country, so plan to take advantage of this stellar experience. Highlights of the conference will include • An overarching conference theme of Innovation, Access & Insights • A rousing conference kick-off event featuring inspirational messages from Peter Boonshaft and Tim Lautenheiser, a performance by the Williamsport Area HS Millionaire Strolling Strings and the energizing a cappella stylings of Business Casual. • A fun Thursday Gala Opening Reception in the Exhibit Hall • The Pittsburgh Symphony Orchestra in concert Thursday evening especially for the NAfME Eastern Division Conference attendees at the exquisite Heinz Hall JANUARY 2019
• A thought-provoking Friday general session featuring NAfME President Kathy Sanz, the Duquesne University Electronic Ensemble and Anne Fennell, Chair of NAfME’s Council for Innovations • An optional run-out field trip to observe state-ofthe-art music education in action in the Pittsburgh City Schools • A Friday evening performance by the United States Navy Concert Band and Sea Chanters • A mini TED Talk style event on Saturday featuring Elizabeth Biesel, three-time Olympic swimmer AND accomplished violinist • Awesome performances by the PMEA All-State Ensembles on Saturday and the Eastern Division Honors Ensembles on Sunday • Over 150 workshop sessions and 47 performing groups representing states from across the NAFME Eastern Division If you think you may need a “special invitation” to attend this conference to present to your school administration, please contact me (greene.nafme@gmail.com). It would be my pleasure to send you a customized letter of invitation that includes a request for you to host a session or introduce a clinician!
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Summer Camp With Teaching Guitar Workshops
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Thomas Amoriello Fleminton Raritan School District NAfME Council For Guitar Education Chair tamoriel@frsd.k12.nj.us
ttention NJMEA members! Are you interested in adding a new component to your teaching schedule? Are you interested in learning a new instrument? Are you interested in getting better at the guitar? Are you interested in making some new friends and colleagues this summer? Would you like a free guitar? Are you interested in having a support system that wants you to succeed? And most importantly, are you interested in making a deeper connection with your students? This summer (2019) Teaching Guitar Workshops can fill many of those needs. Former NAfME Council for Guitar Education Chair and Teaching Guitar Workshops go-to guy Glen McCarthy shares his insight. Thanks Glen! When were the first TGW created and what need were you trying to fill? The Teaching Guitar Workshops started in 1995. It is a great example of industry, non-profit advocacy groups, and education working together to effect change and address the needs of practicing teachers. NAfME (the National Association for Music Education formally MENC), GAMA (the Guitar and Accessories Marketing Association), the NAMM foundation (National Association of Music Merchants) and Duquesne University were the initial groups that started TGW. NAfME helped get the word out to their members. GAMA helped by supplying materials. The NAMM foundation helped with funding. Duquesne awarded graduate credit to the attendees. TGW in its original inception was designed to help band, orchestra, and choral directors who were interested in implementing a guitar class in their music department curriculum. The weeklong workshop introduced sound pedagogy and techniques to make the guitar class a successful part of their school curriculum. TGW continues to evolve, to keep up with the latest
trends in music education. We are now including Ukulele in our curriculum. I am sure there are many success stories and feedback from educators that TGW helped. Is there on in particular that is memorable and inspiring? Since 1995 over 400 teachers have taken a TGW; according to a recent audit report, that translates to over 2 million students taking a guitar class who would not be involved in music education if not for TGW. How are the sites chosen? Most all sites are hosted by former participants and held in their schools. Locations have also included music stores as well as companies such as D’Addario and Martin Guitar. Who needs to be contacted if interesting in hosting a workshop? Contact the website info@discoverguitar.com
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Anything else necessary logistically? TGW is open to anyone that wants to host and can get a full class of participants. There are presently 10 confirmed sites for 2019, with 12 more tentative locations. Confirmed locations are listed on the web. Registration will be open soon. How many instructors are on board for TGW? There are presently 16 clinicians from various parts of the country. Many of our instructors are leaders in the field of guitar education; in addition to being experienced classroom teachers, many have also been authors, researchers, and industry reps. Generally, the criteria to be a clinician include 1. Must be teaching or have taught a multi-level guitar program in a primary and/or secondary school. 2. Must complete TGW I and TGW II. 3. Must be a proficient guitarist, able to play in the multi-style approach that is part of the TGW curriculum. 4. Will implement the workshop criteria as presented by the workshop coordinator. 5. Be a member of NAfME. 6. Be able to teach TGW I & TGW II What can a student expect to learn during the week of workshops? TGW promotes an inclusive approach to instruction, rather than a style-specific approach, so both finger-style and pick-style methodologies are explored. TGW I is designed to help you be successful if you have an introductory/level I guitar class. Of course, TGW will not turn you in to super guitarist- but you will have a much better understanding of pedagogy, scope, sequence and pacing after taking the class. In addition, participants receive numerous method books and other materials to assist in setting up and running a guitar program. What does a typical day look like at TGW? We start at 8:30 am, Monday to Thursday. There are 6, hourlong sessions with 15 minute breaks between each session and an hour off for lunch. We are finished at 4:30 pm. Friday is a half-day. What do you see for the future of TGW? As the demands on music educators continue to evolve, I anticipate that TGW will continue to evolve to meet their needs. As an example, when TGW first started, most parJANUARY 2019
ticipants were high school music educators. Now there are several primary teachers enrolled in TGW. The inclusion of Ukulele has been directed to these educators and has been met with a lot of enthusiasm.
I heard there is free sheet music and other musical giveaways? This summer (2019) is the 25th anniversary of TGW. To celebrate, the members of GAMA have agreed to give every attendee that pre-registers a free guitar. Beside a free guitar, attendees will receive numerous methods and accessories. Were can you go to find more out about TGW? Go to the website: www.guitaredunet.org Thomas Amoriello is the NAfME Council for Guitar Education Chair and also serves as the Guitar Education Chairperson for the New Jersey Music Education Association. He teaches guitar for the Flemington Raritan School District and Hunterdon Academy of the Arts. Tom graduated from Shenandoah Conservatory with a Master of Music Degree in Classical Guitar Performance. He is the author of the children’s picture books; A Journey to Guitarland with Maestro Armadillo & Ukulele Sam Strums in the Sand (March 2019), both available from Black Rose Writing. He recently made two vinyl record releases on the H42 Records label of Hamburg, Germany featuring former members of Black Sabbath, Whitesnake, Dio, Ozzy Osbourne, Yngwie J. Malmsteen’s Rising Force and more.
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Every Breath You Take, Every Move You Make… They’ll Be Watching You! Thomas McCauley John J. Cali School of Music, Montclair State University Mccauleyt@mail.montclair.edu
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f we choose to view it as such, working with students in a large ensemble setting can be the ultimate—and even most intimate—form of musical communication. When we truly listen to our ensemble, we stand to learn a great deal about them, and gain even greater insight into ourselves. In my work with young, graduate student conductors, I am often asked during a lesson, “What should I do during this passage of the music?” Invariably, my response is “If you just listen to them, your students will tell you exactly what they need from you.” As ensemble leaders, we have great influence on those we are responsible for teaching. And, if we are open enough, those we teach can, in turn, influence us. Still, even in the most democratic of rehearsal atmospheres, an ensemble cannot help but reflect the musical and technical priorities of its conductor. So, if we as conductors are truly “in tune” with the sounds our groups make, and with the individual people who make those sounds, we stand to better understand our own strengths and weaknesses as musicians, teachers, and conductors and, moreover, as human beings. This communal approach to teaching-and-learning and rehearsing requires, however, that conduc-
tors be aware of and open to the idea that, quite often, what we give from the podium is exactly what we get from our ensemble. The ability of a teacher-conductor to connect with the members of an ensemble is directly related to several factors, the most important of which is a leader’s musicianship. Even armed with the most effective rehearsal strategies and a sincere intent, a teacher-conductor is still extremely limited without the ability to “hear” ideal versions of a score and, at the same time, compare those ideal versions to the actual sounds being produced by student musicians. It is then, and only then, that the teacher-conductor can begin the process of bringing the actual sound as close to the sound of the “ideal” as is possible. When a teacher-conductor possesses a loud, strong, inner version of the piece being rehearsed, born from many hours of study and preparation, miraculous things can happen, even with the most inexperienced groups. Another factor in helping create a community of intimate, spontaneous, communicative music making with an ensemble is connected to the way the teacher-conductor moves on the podium. Although some teacher-conductors are able to produce acceptable sounds from their groups in spite of the manner in which they
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move on the podium, most are not. When every conducting gesture has meaning, and is motivated by either ideal inner hearing or the actual sounds, those gestures can become extremely potent. In everyday life, it is often not difficult to separate people who really mean what they say from people who don’t. The same holds true for any and every conducting gesture. A conducting gesture absent of meaning not only limits the process of improvement, it also teaches the ensemble to treat you as one would treat someone who talks a lot, but rarely means anything they say. Additionally, it teaches the ensemble to treat you as someone who talks a lot, but rarely listens in conversation. Meaning comes from depth, and depth comes from experience, and experience is born from hard work. I rarely teach specific conducting gestures in my work with young teacher-conductors. Instead, I teach the importance of listening and reacting to sound, both internal and external. I help teacher-conductors to allow the body to move in ways that will help bring together the internal and external sounds in harmony with the meanings being made in the music making moment. Most teacher-conductors are oblivious to the many and varied ways in which they influence their JANUARY 2019
ensembles. The language they use, the gestures they make, and even the breaths they take can either positively or negatively influence an ensemble. As an example, band conductors quite often are told to be sure to “take a breath” during every preparatory gesture which, in and of itself, is not bad advice. However, when that breath is shallow, loud, or through the nose, it only reinforces and encourages the taking of an inadequate breath on the part of the ensemble. At a minimum, a badly inhaled breath on the part of the conductor forces the ensemble to make a choice (“Does he really mean for us to breathe that way?”) to either ignore the conductor, or to do what the conductor meant rather that what he said. Our goal should be to eliminate, in every way possible, any ambiguity as to what is said, both verbally and non-verbally, on the podium. I seem to remember a conductor once saying something like, “Every word you utter on the podium is just one more nail in your coffin.” This holds true, particularly when working with highly advanced students and/or professional ensembles. Of course when working with less advanced, younger students, it is often necessary to explain things during the rehearsal process. However, young teacher-conductors are often shocked by how little they actually need to speak during a rehearsal and still accomplish all of their goals with an ensemble each day. When the use of spoken language is necessary, the language we use, and how and when we use it, is of vital importance. For instance, when a teacher-conductor stops an ensemble, it should be for a good JANUARY 2019
reason. Even if the reason for stopping is good, but the conductor does not fully and completely clarify that reason (and the suggestions for improvement) to the ensemble, valuable rehearsal time is wasted and ambiguity ensues. Simply saying, “Go back to measure 5,” will only allow you to hear, once again, the same thing you just heard. When a teacher-conductor stops an ensemble during rehearsal, her suggestions and feedback should be brief, positive, to the point, and contain practical, doable, and valuable actions for improvement. The language the teacher-conductor uses should be as inclusive as possible. Additionally, encouraging students to be a part of that improvement process is like, as they say, “putting money in the bank.” Here are some examples • Rather than saying, “I need to hear the trumpets at B,” say “Let’s listen to the trumpets at letter B, because this time they are going to try to…” • Rather than saying, “Softer at measure 201!” ask “Who can tell us where the melody is? Are you able to hear that melody?” • Rather than launching into a lengthy explanation each time you stop an ensemble, ask “Why might we have stopped there?” • Rather than yelling, “Watch me!” ask “Did anyone notice what I was trying to tell you there through my gesture?” Asking these kinds of open-ended questions can only help to increase an ensemble’s awareness of what is happening both around them and on the podium. Students should be an integral part of the improvement
process; that their musicianship and humanity are important to the communal efforts of the ensemble. Still, the use of verbal language during a rehearsal should be the last (not the first) resort. I encourage young teacher-conductors to first show what they want non-verbally. At that point, if there is no observable change in the ensemble, they then have the right to ask, “Who was able to get the ‘memo’ I was sending just then?” When silence follows that question, as it often will, especially when getting to know a young ensemble, ask them to play that section again, and ask them to see if they can pick up what you are “trying to say.” In addition to improving and heightening the awareness among the students in your ensemble, relying primarily on non-verbal communication during the course of a rehearsal will also teach you how effective your gestures actually are. We live in a remarkably visual society. One positive turn of that is that young people are programmed to respond to visual stimuli; we teacher-conductors should harness that ruth. As teacher-conductors of elementary school, middle school, high school, and university students, what we say and do both on and off the podium is important. Most teachers try to institute, either officially or by implication, certain codes of conduct that each member of an ensemble is required to respect and adhere to. In some cases, these edicts are not worth the paper they are written on, because the person in charge violates these “rules” nearly every day. We expect punctuality from students, yet we start and end our rehearsals late. We expect students to treat one an-
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other respectfully and professionally, yet we gossip about our colleagues within earshot of the students. We expect students to practice and prepare for every rehearsal, yet we do not study and prepare ourselves. We encourage students to listen and become familiar with new genres and styles of music, and yet we ourselves rarely ever expand our musical horizons in that manner. What we say does not resonate with our students as loudly as what we do. Many students do not listen to their own parents or guardians, so why would they listen to their music teacher? Experience tells me that they will, indeed, listen to their music teacher, but only if that teacher • Makes it obvious that they have the best interests of the students in mind at all times and in all circumstances, and that they are willing to go “above and beyond the call of duty” to do what is best for them. • Is obviously deeply committed to what they do, to the students they teach, and to the repertoire they choose. • Is fair and consistent in their treatment of all. • Is a model of high expectations and self-improvement.
• Never asks anyone to do anything that they themselves are not willing to do. In some cases, you, as the teacher-conductor, are the most influential person in your students’ lives. It is an immense responsibility, and one that should never be taken lightly. “Children are unpredictable. You never know what inconsistency they’re going to catch you in next.” ~Franklin P. Jones “Education…is a painful, continual and difficult work to be done in kindness, by watching, by warning, by praise, but above all…by example.” ~John Ruskin Thomas McCauley is currently the Director of University Bands in the John J. Cali School of Music at Montclair State University in New Jersey, where he conducts the Montclair State University Wind Symphony, and teaches both graduate and undergraduate conducting. He is an award-winning Music Educator, and is the author of the book, “Adventures in Band Building”.
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Bachelor of Arts in Music Bachelor of Arts in Music (combined with a second major) Bachelor of Music Education Bachelor of Music in Performance For Open House and Audition dates, go to: www.gettysburg.edu/sunderman
www.gettysburg.edu/sunderman
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Creating Musical Ebooks In The Elementary General Music Classroom Using “Book Creator” Amy Burns Far Hills Country Day School aburns@fhcds.org
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ne of the most rewarding parts of teaching elementary general music is watching your students create. Whether they are creating music, creating a movement activity, composing a melody, or creating an accompaniment, when they are working diligently together to create something musical, it is magical. When the “Book Creator” app (see figure 1) came out a few years ago, I saw another opportunity for my elementary music students to create. This time, they would create music ebooks that they could publish and share with their parents and other students from around the world.
languages. Finally, they recently added real-time collaboration for the web-based app as well as embedding content from other websites and apps into “Book Creator”.
Figure 2 Audio tool
Figure 1 Book Creator
History of the “Book Creator” App In 2011, Dan Amos and his wife Ally Kennen, came up with an idea for an app for the iPad that would help children create their own books about the things that they love. In September, the app rolled out and educators immediately began using it with their students. I was so enthralled with how intuitive the app is for young children to use, that I had my third graders begin using it to create their own recorder books. This app is “Book Creator” (www.bookcreator.com). After “Book Creator” launched, the developers realized that it was, in fact, an educational app. Therefore, in subsequent updates, they added more tools to assist teachers and students in creating ebooks. These tools were ones such as audio (see figure 2), video, hyperlinks, and the pen tool. In addition, the updates allowed users to export the ebooks as pdf files, videos (so we can include the audio and video excerpts that we added), and eventually publish the ebooks online. The app went from iOS only, to iOS and web-based, so that devices with an internet browser can utilize the app. They also allowed merging of two books into one. Then they added a “read to me” mode where the ebook can be read aloud in a variety of
The Basics of “Book Creator” “Book Creator” has a very intuitive template. You can begin with a plain template in three different screen sizes, or a comic book template. There are two menus: the “+” and the “i” (see figure 3). The “+” allows you to add photos, access the camera, use the pen tool, add text, record sound, add shapes, access files, add a map, or embed from the web. The “i” allows you to change the background of the page and the text boxes, as well as change the font, the font size, the text color, alignment of text, and ordering items on the page.
Figure 3 Menus
Pitch Exploration Ebooks I have been using the approach written by John Feierabend in his curriculum, First Steps in Music for Preschool and Beyond, to teach kindergarten general music this year. In the eight-step musical workout, the lessons begin with step one: pitch explorations. We have used various pitch explorations, such as echoing a slide whistle, to help the young students begin to sing in their head voices. By utilizing “Book Creator”, each child used the pen tool to draw their own pitch explo-
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ration on their pages (see figure 4). They then recorded the class singing it. Once finished, their ebook was published and shared with their parents through Seesaw, a digital learning portfolio. This was done during a class with one iPad connected to a screen for all of the students to see.
Figure 4 Kindergarten’s pitch exploration ebook
Recorder Tips Ebooks When my third graders are learning to play recorders, I want to assess what they know. After a few weeks into their studying, I gather the students into small groups. I group three to four students per iPad. Since the web-based “Book Creator” version has the ability to collaborate in real-time, I could do this in a 1:1 classroom with chromebooks and have them collaborate in this way on the project. Though, I prefer grouping them so that they work together in person. However, the realtime collaboration could be very helpful in a classroom with a large number of students. I give them a problem to solve: there are no introductory recorder books in our classroom and the students must create a “Recorder Tips” ebook for next year’s third graders. I show them the basics of “Book Creator” and give them a rubric of what their ebooks must contain: a cover, an audio recording of recorder playing, a video recording of a recorder performance, tips about how to play the recorder, and pictures of either fingerings, posture, or other necessities for playing the recorder well. When taking pictures, the students are reminded to not show their faces because these will be published online. This is accomplished by the students zooming in on the recorder and the fingerings. Some students used stuffed animals as their stand-ins when they wanted to video a performance. Students begin the activity by writing a thinking map to help them with their ideas. After that, they create the cover (see figure 5). Using items from their thinking maps, the students then write complete sentences as captions for their videos, audio recordings, pictures, or their recorder tips (see figure 6). They bring the ebooks to me to proof, make changes, and then present them to the class. Once this process is completed, we publish the ebooks and we can also export them as a video to share with their parents, with other music classrooms, JANUARY 2019
etc. The students love this project, especially knowing that the next year’s third graders will be able to read them.
Figure 5 3rd Grader’s Recorder Tips ebook
Figure 6 Recorder Tips ebook
Composition Ebooks My older elementary students use noteflight (noteflight. com) to create four to eight-measure melodies using the pitches and rhythms that they have been learning for the past few years in music class. Once the melody is completed, they export it to Soundtrap-EDU version (soundtrap.com)-to create an accompaniment in a certain musical style using pre-made loops. Guidelines are given such as they cannot have dueling drummers, they must have a bass, and they can only have up to four instruments performing with the melody. Finally, the melody must be heard over the accompaniment. This helps the students listen and begin to understand how to mix a recording. This project is usually done as groups with a few devices in the classroom. However, it could also be done with 1:1 devices in the classroom. Once they are finished, they export the recordings as an mp3 file. I take screen shots of their melodies and place them on their own page of one large ebook in “Book Creator”. I import the recordings and add them to each page. We then share the ebook with their parents or other music classes via a website or a digital learning portfolio (see figures 7 and 8).
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rare that he is at the school, loved to find out my favorite things, and were surprised that I play my instruments outside my classroom. I then exported the ebook as a video and shared it with their parents via the students’ digital learning journals. This helped the parents learn about me in September, as I probably would have not met many of them until the December concert.
Figure 7 Composition ebook
Figure 8 Composition ebook
All About Me Ebooks At the beginning of PreK and kindergarten, the students enter the school with their “All About Me” books. These books contain pictures of their families, their homes, their favorite places to visit, and more. These books help their classroom teachers and classmates to get to know each other better.
Figure 9 All About Me ebook
Pricing There is a free iOS version of the “Book Creator” app where you can try it out and create one ebook. The iOS app is $4.99 per one iPad. The web-based version is free for 40 ebooks with one library; $60 a year for 180 ebooks with three libraries and real-time collaboration; $120 a year for 1000 ebooks with ten libraries and real-time collaboration; and there is a volume purchasing program as well. “Book Creator” has been a nice creative enhancement to my elementary music classroom. I have also had the students create ebooks about NJ musicians, their favorite composers, comic book ariosos in celebration of “National Comic Book Day,” Peter and the Wolf ebooks, and so much more. When my daughter was in second grade, she was so inspired to write a book that she wrote and illustrated one in the style of Laura Numeroff ’s If You Give a Mouse a Cookie, titled If You Give a Bear a Banana. She then used “Book Creator” to turn it into an ebook that she could publish online and share with the author, via me tweeting the author the link. Numeroff tweeted back immediately to say how much she enjoyed my daughter’s ebook! “Book Creator” is a great way to assess students’ knowledge through project-based learning, to assess their singing skills, to add cross curricular connections such as writing, art, design thinking, etc, and for the students to “show what they know.” Amy M. Burns (aburns@fhcds.org) has taught PreKgrade 4 general music for over 20 years at Far Hills Country Day School. She has authored three books on how to integrate tech into the elementary music classroom. She has presented many sessions on the topic, including four keynote addresses in Texas, Indiana, Saint Maarten, and Australia. She is the recipient of the TI ME Teacher of the Year, NJ Master Music Teacher, Governor’s Leader in Arts Education, and the 2017 NJ Nonpublic School Teacher of the Year Awards.
At the beginning of the 2017 school year, I thought that I should create an “All About Me” ebook for my PreK and kindergarten students to get to know me better (see figure 9). I used “Book Creator” to show pictures of my family, a video of me playing the flute, and some of my favorite hobbies. The students were shocked to see a picture of Mr. Burns, as it is TEMPO 50
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Feierabend Fundamentals Andrew Himelick Towne Meadow Elementary School, Carmel, IN
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here is an exciting and inspiring new resource available for music educators wanting to learn more about the programs and philosophy of John Feierabend. But first, a little history. For over 3 decades, John Feierabend has been creating and publishing resources to help teachers grow their students into what he has termed “tuneful, beatful, and artful” musicians. A tuneful, beatful, artful person can think and sing tunes, easily feel the beat and beat divisions in music, and connect to the expressive part of the music they hear and perform. Feierabend created “First Steps in Music” and “Conversational Solfege,” programs that are used in schools throughout the U.S. and around the world to assist a music educator in teaching students to become beatful, tuneful, and artful. It became obvious to Feierabend that teachers wanted in-depth training on how to use these two resources effectively in their classrooms. So, summer certification workshops were made available around the U.S. and lat-
er, internationally. As the popularity of his work grew, it also became clear to Feierabend that he could no longer spread the word on his own. Therefore, the Feierabend Association for Music Education (FAME) was established in 2012 to help spread and foster his work. In addition to this, Feierabend began training other master educators (called Endorsed Teacher Trainers) who could also teach certification courses. Missy Strong, elementary specialist in the Mt. Laurel Township, NJ schools, is one of those master educators and is also the current President-Elect of FAME. In 2012 she saw the potential of social media to bring music teachers from around the world together, and created the “Feierabend Fundamentals” Facebook page with Feierabend’s blessing. Her vision was that teachers already using Feierabend resources and programs as well as those just learning about his work could have a place to ask questions and share ideas. Quickly, the Facebook page became popular and today has over 8,000 followers. From the amount of posts and discussion on the page, Strong could see there was a need for a single resource where many of the most common questions and items discussed could be addressed and fleshed out. It would be a “one-stop-shop” of all things Feierabend. A handful of other master teachers in the Feierabend camp (most of them Endorsed Teacher Trainers) were selected to write specific chapters about how Feierabend’s work could and should be understood, taught, and used. The practitioners chosen are experts from early childhood to college and beyond. This resource, “Feierabend Fundamentals: History, Philosophy and Practice” is available from GIA Publications. Feierabend and Strong are both editors and, along with ten other contributing authors, share their expertise across multiple music teaching areas in the book. The chapters are as follows:
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John Feierabend: A History First Steps in Music: A ResearchBased Curriculum First Steps in Music in the Infant and Toddler Classroom Getting Started with a First Steps in Music Business First Steps in Music in the Elementary Classroom Conversational Solfege Explained Comparing Major Methodologies Conversational Solfege - Special Considerations Conversational Solfege in the Choral Setting Conversational Solfege in Instrumental Settings Assessment in First Steps in Music and Conversational Solfege Adaptations for First Steps and Conversational Solfege Building a Children’s Church Music Education Program Using the Feierabend Approach Conversational Solfege Upper Levels
As is evidenced by the chapter list, Strong and Feierabend sought to cover as many areas of music education as possible. The intention was that anyone interested in learning the basics of Feierabend’s philosophy, resources, and programs could easily pick up the book and immediately begin to learn. While the in-person certification training offered by the FAME organization is the optimal way to interact with and learn Feierabend’s philosophies and methods, the book serves as an excellent introduction and help for teachers at any level of experience with his work. “Feierabend Fundamentals” is written for new and veteran teachers, teachers certified by the Feierabend Association for Music Education, college professors, and undergraduate and graduate college students. This book is a major contribution to the music education profession and is a significant step toward bringing
this child-centered and powerful approach to an even larger community. As one looks at the above titles, it is obvious that this is a resource from which even those unfamiliar with Feierabend’s work might start learning some of the basic tenets as well as a place where an experienced teacher familiar with Feierabend’s work could learn even more about helping their students to be “tuneful, beatful, and artful.” Andrew Himelick is an Elementary Music Teacher at Towne Meadow Elementary School, Carmel, IN and a FAME Endorsed Teacher Trainer for First Steps in Music and Conversational Solfege.
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Differentiated Collaboration For Arts Integration Shawna longo Hopatcong Middle School shawnalongo@gmail.com
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e’ve all been there...looking for something to increase student engagement or deepen student learning. Many teachers have heard about and are interested in the idea of arts integrated lessons and projects for the classroom. I have found that many teachers don’t know where to begin in terms of collaborating with their colleagues regarding arts integration. What does this collaboration look like? As an arts teacher, you might be nervous or uncomfortable approaching the non-arts colleagues because they haven’t established a relationship with them. This can also go the other way – the non-arts teacher might not be confident in his/her “art’s skills” and not sure where to begin. In my experience, there is no right or wrong way… as long as you are both open to new ideas and collaborating! Just as no two people are alike, collaboration amongst teachers doesn’t always look the same. I like to call this differentiated collaboration. The term differentiation is readily used in classrooms around the world, but typically only associated with students and their needs. Well, teachers are no different! Every time I work with a teacher on developing and/or co-teaching an arts integration lesson, it “looks” different for a number of reasons. 1. Relationships - My relationship with each teacher is different. Honestly speaking, some relationships are better than others; but regardless, we are two people with different personalities trying to work together for a common goal; and, this never “looks” the same! 2. Connecting - Each non-arts teacher brings a different level of comfort in working with the arts. Do they connect more with visual art, music, dance, or theater? Or, they may not think that they are comfortable with any art form because they don’t view themselves as creative.”
3. Comfort Level - Each teacher is in a different place with how comfortable they are with arts integration. Are they more on the arts enhancement side or arts integration side of the continuum? For more information on this, check out Education Closet’s video discussing the Arts Integration Continuum at https:// educationcloset.com/2017/08/25/arts-integrationcontinuum/?orid=9781 . 4. Location & Time – Are we located in the same building? Do we have any common “free” time in our schedules? If the answer is no to both of these, then digital is the way to go! Google Docs, text, email, phone, or virtual call will solve that problem very easily! Keeping in mind that no two collaborative efforts for an arts integration lesson will “look” the same, I’ve created a sample step-by-step guide that is a great place to start. Step 1 – Quick conversation in passing, in the hall between classes, at the mailboxes, by the copy machine, or via text/email. Non-arts content teacher may say, “Hey, I have a unit coming up on “Human Rights” and thought it would work well for an arts integrated lesson. Do you have any ideas?” Arts teacher responds, “Yes! That sounds great! Let me think about it and get back to you! Do you know what discipline you want to integrate? Visual arts, music, theatre or dance?” Step 2 – Arts teacher completes some research on the topic and brainstorms potential lesson ideas. Step 3 – Arts teacher emails/texts the non-arts teacher to set up a time for a quick conversation. Arts teacher sends the non-arts content teacher the Pre-Planning Guide to complete before their meeting.
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What is your definition of “Funk Guitar” playing? Please be specific to tone, fretboard concepts, equipment, and approach.
You have performed on recordings that have influenced countless musical acts such as the Red Hot Chili Peppers to the hip hop samplings of Dre, what are your thoughts?
As well funk istwo a style, it’s alsobring a way their of life. completed It is a musical Step 4 –as The teachers feeling and expression but more so than that it’s what you feel inside Pre-Planning Guides and meet to finalize the lesson of you. Funk determines how hard you hit the open E and A strings idea. arts a teacher alsois the brings theplay Collaborative when The you chank chord. Funk way you a 9th chord, as Planning Guide to help guide in how hard you play it, your tonetheir comesconversation. from all of that. They Funk to onemake personsure is different to another person and feel and also to discuss the non-arts andeverybody’s arts standards approach are different. You have to understand the rules to know that will be integrated throughout the lesson. The arts how to break them. Funk is all of that. Some people strum a chord, teacher sends the non-arts teacher a Google Doc of the some chank which calls for a more aggressive approach. However arts integration they can there is the form lesson of funk plan wheretemplate you can usethat finesse such as astart funky working on together. ballad. Everybody has the funk but needs to know how to interpret it their way. You can learn from somebody else but make sure youStep have5your own identity. As much as funk is, the don’tlesson limit yourself – Teachers collaboratively create plan to one thing. Listen to as much music as you can but never abandon viawhat Google Docs. Teachers also have brief conversations via you love.
Workbook found at http://artsednj.org/new-jersey-artsWell again, that’s the “get off.” When I started playing music, I integration-think-and-do-workbook/. did it to become a great musician, get fame and all of that. It is obvi-
Step 6 – Once the lesson plan is well on its way, the teachers meet briefly to discuss the assessments that will be used (diagnostic, formative, and summative).
CoachThomas for Education Closet; and Ambassador Amoriello is the Guitar Education Chairperson forfor the Music New Jersey First. is a Association clinicianand and for music Music She Education alsoconsultant serves on the NAfME Councileducafor Guitar Education as the Chair-Elect. He teaches guitar for the Flemington Raritan tion, arts integration, and STEAM. She is also a recipiSchool District and Hunterdon Academy of the Arts. Tom graduated from the ent of the 2018 NJMEA MasterUniversity Music with Teacher Award Shenandoah Conservatory of Shenandoah a Master of Music and 2016 Governor’s EducatorHe of Year HopatDegree in Classical Guitar Performance. is thethe author of thefor children’s picture book Middle A Journey to Guitarland with Maestro Armadillo, available from barnecong School.
email, text, and/or face-to-face as needed. This step can take as much time as needed as both teachers listen and communicate how to best align the selected standards.
Step 7 – One of the teachers shares a Google Doc that they can use to collaboratively draft the assessment pieces that they will need. Both teachers discuss the assessment pieces (rubrics, checklists, continuum, etc.) that will be used. Reminder: include the standards that are being assessed on each assessment piece!
ously a great honor to have influenced anyone. Part of the reason of Remember - think differentiated collaboration. You picking up an instrument is to reach as many people as I can through my craft I hope I am1achieving Having all that, I still may jumpandfrom Step to Stepthis. 3 to Stepsaid 5 and that’s have only to grow. okay! What matters most is how you begin the journey
andThis whatarticle yourwill students gain at the end of it! Don’t forget be read by many K-12 music educators and to celebrate success in collaborating, as it will lead to membersyour of the National Association of Music Education. your nextDo collaboration artsofintegration! you have anyfor words advice or statements you would like to make to them?
This article was originally written for “Education Closet.”
I would like to thank you, K-12 music educators, members of the National Association of Music Education and collaborators for Shawna E.participate Longo inis this thearticle General Music (Music allowing me to and congratulate all of you Technology) teacher at Hopatcong Middle School, on reaching out to people and helping them to develop theHoriches that music has to offer. Keep on doing whatArts you Integration are doing. I will patcong, NJ. She also serves as the &do the same here. God knows we need music. STEAM Specialist for TMI Education; Fellow Writer, &
sandnoble.com. He recently recorded heavy metal tracks with a stellar roster of musicians including ex-Quiet Riot bassist Bjorn Englen, ex-Yngwie Malmsteen vocalist Michael Vescera and former TNT drummer John Macaluso that will be released in January 2018.
Step 8 How – Co-teach thethearts integrated lesson as time do you see future of “funk guitar” permits. If the teachers cannot together for all classes, in the world be of music? think about having the teachers together for one period to roll out the lesson. Remember that it is the selected First let me say, to me, funk guitar will always have a standards that are being taught, focus on those aligned place in funk music. From what so I understand and don’t want arttoand non-art believe is thatstandards. music is not being taught in a lot of schools. I hear in my state they are cutting music and art classes due to state budget. With schools to reflection have instruments to teach Step 9 – Complete the not lesson questions as kids the fundamentals of music, funk and music itself looks soon as the lesson has been delivered, as this will help bleak. We have to take it upon ourselves to expose our kids to you to think about how the hands, arts integrated lesson music, put instruments in their play different types went, of music asfor well as plan forcan future them so they absorbiterations and grow. of Wethis needlesson. to keep Ideally, educating our children. what I can see,this theretogether. is a lot of talent out there both teachersFrom should complete and kids are willing to play music. Your organization supports kids, and I will keep on playing music for people. The future of funk guiIf you are interested in learning more about arts intar and any kind of music, art, everything, should be fine as long as tegration, we keep onplease doing do whatnot we hesitate are doing.to reach out to me and/
or search Education Closet’s website. There you can find the Pre-Planning Guide, Collaborative Planning Guide, Lesson Plan Template, and Lesson Reflection discussed in the steps above. These documents are also located OCTOBER 2017 in the 2018 New Jersey Arts Integration Think and Do JANUARY 2019
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57 TEMPO
NJMEA Salutes Its 2019 Master Music Teachers
Tom Paster is the director of vocal music at Northern Highlands Regional High School in Allendale, NJ, an Adjunct Professor of Music at William Paterson University where he directs the Advanced Pop Vocal Ensemble, and the music director at Pilgrim Congregational Church in Warren, NJ. He has previously taught vocal music at Columbia High School in Maplewood, NJ, and as an Adjunct Professor at Kean University. He holds a Bachelor of Music degree from Ithaca College, a Master of Science degree from the University of Scranton, and has done graduate work in music education at William Paterson University. In addition to his award winning school choirs, Tom has directed the Bergen County Chorus, Region 1 Chorus, and Region 1 Jr. Chorus. He has served on the NJMEA Board of directors, coordinated the NJ
All-State Chorus / Orchestra / Jazz program, and Managed the NJ AllState Chorus and Region 1 Chorus. In 2011 Tom fell in love with contemporary a cappella. Since that time his group Highlands Voices has become one of the most awarded and sought after high school a cappella groups in the country. Highlands Voices won the first ever National A Cappella Convention Championship in 2015, the International Championship of High School A Cappella (ICHSA) National Championship in 2014, and has won the ICHSA Mid-Atlantic A Cappella Championship six years in a row (2011-2016). Highlands Voices album Decades which featured many of Tom’s arrangements, was a Contemporary A Cappella Recording Award (CARA) runner-up for High School album of the year and their single Ain’t It Fun was the first track on Best Of High School A Cappella (BOHSA) 2014-2015 compilation album. The group was also featured on the Lifetime TV series Pitch Slapped. Under Tom’s direction, Highlands Voices has performed at Carnegie Hall, Alice Tully Hall, Avery Fischer Hall, Town Hall Theatre, the Borgota Hotel, and Feinstein’s/54 Below. Tom has worked hard to spread the pop vocal art form by being a clinician for NJMEA, NAfME, MEBCI, Boston A Cappella Fest, A Cappella Education Association, Highlands A Cappella Festival, and
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numerous school district festivals. He has assisted many choral directors in starting contemporary a cappella groups in their school and helped established groups get to the next level. He founded the Highlands A Cappella Festival which is held annually in May. The festival is open to groups and individuals who wish to improve their knowledge of a cappella through classes, coachings, and performances. This event attracts some of the best teachers in a cappella including Ben Bram (producer/arranger for Pentatonix), and the legendary Deke Sharon (known as the Father of Contemporary A Cappella). Tom has partnered with Deke on numerous a cappella projects and Deke has said “Tom’s contributions to the a cappella community cannot be overstated. He is one of the first directors to take this new style into the classroom, and the results have been stunning”. Tom is also an active composer/ arranger/ensemble coach and arranges for and coaches many groups in the NY tri-state area. He is proud to be the NJ Rep for the A Cappella Education Association. Contact him at pastert@northernhighlands,org if he can assist you in any way with you’re a cappella group.
JANUARY 2019
NJMEA Salutes Its 2019 Master Music Teachers
Lisa Wichman has shared her passion for teaching music for over three decades. After a long and successful career as elementary music educator and choral director in the Kinnelon Public School District, Lisa was ready for a change. In June of 2018, she retired after 33 years from public school teaching and started a new chapter in her life, teaching in the private sector. Lisa is now the Lower School K-4 vocal music teacher at The Peck School in Morristown. Lisa is a graduate of Wittenberg University, where she received her B.M.E. cum laude, with an organ concentration. She was awarded Kodaly Certification from Westminster Choir College and a Dodge Foundation Grant to further study the Kodaly Methodology. She also holds certification in First Steps in Music and Kindermusik Beginnings and has an extensive background in teaching elementary and middle school choral music.
JANUARY 2019
During her tenure in the Kinnelon Public School district, a NAMM recipient for “Best Community for Music Education,” Lisa received numerous awards and grants, including the New Jersey Governor’s Teacher Recognition Award and Excellence in Teaching Award. Her innovative ideas and passion for teaching have nurtured a love of music for thousands of children. Under her leadership, Lisa’s students have had exceptional performance opportunities. Her middle school choir performed at an invitational festival concert at Carnegie Hall and her handbell choirs performed at local, state and eastern division music educators’ conferences. At adjudicated events, Lisa’s choirs consistently received Superior ratings and 1st Place awards. Her choral students have been highly successful individually, regularly ranking in the top ten for county, region and allstate honor choirs. Many of her students have pursued music as a career, as performers and educators. In addition to teaching, Lisa is a free-lance church organist. In demand as a collaborative pianist, Lisa regularly accompanies for school choirs, and has served as accompanist for the New Jersey Children’s Preparatory Choir, Drew University Chorale, Morris and Bergen County Honor Choirs, Region I Junior High and High School Honor Choirs, and NJ Junior High and Women’s AllState Honor Choirs. She is honored to have accompanied at Carnegie
Hall multiple times, at NJPAC and at The White House. Passionate about not only teaching children, she also shares her wealth of knowledge and love of teaching with teachers who she has mentored. Lisa is an active session presenter at local, state and eastern division conferences. She has presented a variety of innovative and inspiring workshops for elementary and choral music educators and will be presenting again at the NAfME Eastern Division Conference in Pittsburgh this April. An active member and volunteer of NJMEA for decades, she previously held the position of columnist of “The Children’s Choir Corner” for the TEMPO journal. Lisa currently serves as chairperson of the Region I Elementary Music Division, a leadership role she also held early on in her teaching career. Under her leadership, the NJSMA Elementary Division has received accolades for its tremendous impact in elementary music education in New Jersey. Lisa’s greatest joys are her husband, Jeff, and grown sons Andrew and Christian. Lisa and her family share a love of music, vacationing at Walt Disney World, cheering for the Yankees, and re-living the remarkable moment in August of 2017 when Lisa was the Showcase Showdown winner on “The Price is Right!”
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School Administrator Award C. The administrator must be an active advocate for arts education in the school and community. D. A financial commitment to music programs must be demonstrated in the school or school district. E. The administrator must show strong leadership, good school management, and good rapport with teachers, parents, students, and other school administrators.
Awards and presentations are made annually to outstanding school principals and/or superintendents who demonstrate support for and commitment to high-quality arts education programs in their schools. The influence of such administrators is a major factor in improving music education in school systems across the state. One elementary school principal, one secondary school principal and one school district superintendent may be selected to receive this award. Individuals holding titles as assistant principal and assistant or associate superintendent also qualify. Administrators receiving awards will be notified by NJMEA and a presentation honoring them will take place at the Membership Luncheon at the February NJMEA State Conference.
Nominators must submit the following for each administrator: 1. Completed School Administrator Nomination form verified and signed by the nominator. 2. Resume of nominated administrator. 3. Two letters of support, including one from the music education faculty in the administrator’s school or district. 4. A picture of the administrator suitable for publicity purposes. 5. Name and address of the administrator’s local newspaper, television and radio station where applicable. 6. Additional support materials such as press clippings if available.
Selection by the NJMEA committee will be based on the following criteria: A. The school or school district under the administrator’s supervision must have an exemplary music program, with a majority of the music staff holding NJMEA membership. B. The administrator must have served in the administrative position in the same school or district for no less than three years. Application must be postmarked by October 15th
School District _________________________________________________________ Send the form, photograph, and support materials to: Selection (check one) Elementary Principal __________ NJMEA Secondary Principal __________ 1806 HWY 35 Suite 201 Superintendent __________ Oakhurst, NJ 07755 Nominee’s Name ____________________________________
Title
_____________________________________________
School ____________________________________________
Telephone ____________________________________________
School Address ______________________________________________________________________________________________________ Please answer the following questions on a separate sheet in support of your selection. This form must be signed by the nominator and the administrator nominated and must be accompanied by a resume, two letters of support (one from a member of the music faculty), a publicity photo, and a list of local media and their addresses. 1. How long has the school or school district been under the administrator’s supervision? 2. Describe some of the features of the school or district under the administrator’s leadership that demonstrate how the music program is exemplary. Please include in your description answers to the following: a. Describe the music curriculum offerings and time allotment for students. b. How have music programs in the school/district been expanded or improved as a result of the administrator’s efforts? c. Have students or programs in the school or district won awards for achievement or recognition in the arts? 3. How has the administrator been an active advocate for music and arts education in the school and community? 4. How has this administrator demonstrated financial commitment to music programs in his or her school/district? 5. Give examples of the administrator’s strong leadership, good school management, and good rapport with teachers, parents and students. 6. Add any other information that supports selection of this administrator. Nominator’s Signature ______________________________________
Date ____________________________________
Administrator’s Signature ____________________________________
Date ____________________________________
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JANUARY 2019
Distinguished Service Awards The NJMEA Board of Directors has initiated a Distinguished Service Award for those members who have honored themselves with faithful service to music education in public, private, and parochial schools of New Jersey. Past and present members of the NJMEA Board of Directors are also eligible for the DSA since they have dedicated much time and effort toward State projects related to music education. The third and fourth DSA categories include individuals and organizations outside the field of Professional Music Education and NAfME officers on both the National and Regional level. The final decision on DSA recipients will be made at the November meeting of the NJMEA Board of Directors. The criteria below should be carefully read and studied to insure maximum consideration by the DSA Committee.
CRITERIA FOR SELECTION Any member, person or group who has not previously Eligibility: Recipients Can Be Nominated From Any One received the award. Of These Categories
1.
Members who have accumulated a total of 25 years in the service of Music Education and have distinguished themselves through service to the regions and/or NJMEA. Eighty percent of the years must represent full time service in the schools of New Jersey. The member does not have to be currently active as a teacher.
2.
Members who have ten years of meritorious service and outstanding leadership in Music Education as a member of the NJMEA State Board of Directors. It is not necessary to have accumulated these years in a continuous sequence.
3.
Individuals and organizations outside the field of Professional Music Education in recognition of their service to Music Education.
4.
National and Regional NAfME elected officials who have initiated programs and projects that have benefited our state members and Music Education on a national and regional level.
Nominations: The nomination plus required data must be submitted by an NJMEA member. The nomination is then endorsed by the DSA Committee and presented for acceptance to the NJMEA Board. However, the NJMEA Board may recommend or authorize the award if no nomination forms have been received from the membership by the DSA Committee. This board authorization must receive a 70% majority vote of the board membership. Number:
DSA Committee discretion (to be decided annually)
Presentation:
To the recipients by the NJMEA President or his or her designee at a mutually agreeable occasion such as the annual state workshop/conference, region meetings, region concerts or festivals, local concerts, and retirement affairs.
ESSENTIAL DATA The Following Information MUST Be Included: Nominee’s Name: ___________________________________
Title/Position: __________________________________________________
Telephone: ________________________________________
Home Address: # & Street _________________________________________
City/Town: ________________________________________
State & Zip: ____________________________________________________
Application must be postmarked by October 15th Please provide the following information on separate sheets in the listed sequence. 1. This application 2. Name, address, phone and affiliation of nominee or group. 3. Name, address, phone of nominator. 4. Attach a vita for the nominee or group that is as complete as possible. 5. Summarize the achievements, contributions, or service on which the proposed award would be based. Include any evidence that the nominee or group would be receptive to such an award. Please send two copies of these materials to: NJMEA 1806 HWY 35 Suite 201 Oakhurst, NJ 07755
JANUARY 2019
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Outstanding School Board Award The New Jersey Music Educators Association seeks nominees for the Outstanding School Board Award. NJMEA presents an award to a local school board at the Membership Luncheon during the February NJMEA State Conference. This award acknowledges and awards outstanding school boards who exemplify superior support and commitment for quality music programs throughout all the grades of the school district. Selection by the NJMEA committee is based on the following criteria: A local school board must demonstrate the following: A. A significant contribution in support of the development of the district music program. This should include superior programs of sequential, curriculum-based music education. B. Advocacy for music education within the school district. C. Financial support commensurate to support a superior music education program of general, choral and instrumental music. D. Willingness to accept the award if it is bestowed and to participate in publicizing it. Nomination: 1. Completed nomination form. 2. A statement from the School Board President or other officer of the school board in which a rationale is put forth for accepting consideration of the nomination. 3. A statement of support from the district superintendent which describes the district music education programs to be considered as evidence of achievement in music education. 4. A letter of support from two or more of the music teachers. 5. A letter of support from two local citizens, public officials or parents. 6. A black and white photograph of the school board suitable for publicity purposes including a list of their names as they are in the picture and the number of years they have served on the board.
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JANUARY 2019
Outstanding School Board Award This form should be completed by the local school district and the nominator. Name of school district ______________________________________________________ School district address
______________________________________________________
School district telephone number _______________________________________________
Please answer the following questions in support of your nomination. Use a separate sheet. 1. How long have the members of the school board served? (Give names and length of service.) How long is a single term? 2. Describe how the board has contributed to the development of music education within the school district. 3. Describe any exemplary music programs in the school district that have been developed and implemented under this board’s direction. 4. Have students or programs in the school district won awards for achievement or recognition in music? 5. How have members of the school board been active advocates for music and arts education? 6. Please add any other information that supports your nomination. Signatures: Superintendent of Schools _______________________________
Date
_____________________
School Board Chairperson _______________________________
Date
_____________________
District Music Coordinator _______________________________
Date
_____________________
Nominator
Date
_____________________
_______________________________
Application must be postmarked by October 15th Send the form, photograph, and support materials to: NJMEA 1806 HWY 35 Suite 201 Oakhurst, NJ 07755
JANUARY 2019
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Master Music Teacher Award To be eligible for consideration, the nominee must: A. have completed a minimum of ten years of music teaching in the schools of New Jersey (public, parochial, private or collegiate). B. be actively teaching and a member of NJMEA-NAfME for at least ten years. C. display teaching excellence, as the only other major criterion used in the selection process. Deadline: March 15th: Nominee: ________________________________________________________________________________________________ Street Address: ____________________________________________________________________________________________ City: __________________________________________
State: ______________________
Zip: _________________
Telephone: _____________________________________ E-mail address: _____________________________________________ Teaching position: _________________________________________________________________________________________ School Name: __________________________________________ Street Address: ______________________________________ City: __________________________________________
Zip: ________________ County: ______________________
Superintendent: ____________________________
Telephone: __________________ E-mail address: ________________
Principal: _________________________________
Telephone: __________________ E-mail address: ________________
Supervisor: ________________________________
Telephone: __________________ E-mail address: _________________
Nominator: _______________________________
Telephone: __________________ E-mail address: _________________
Please include with this form: 1. Academic background including degrees and certificates held. 2. Experience in the field of music including previous positions held, honors, and recognitions. 3. A minimum of two letters of reference supporting the candidacy 4. Additional supporting materials, including programs and articles. Do not send CDs or DVD’s. 5. The candidate’s teaching schedule, including number of students in each class, total enrollment in the school, specific periods and times, and detailed directions to the school. Please check the website at: http://www.njmea.org/MasterMusicTeachers.pdf to see who has received this award in the past. Mail this application, together with accompanying documents to: NJMEA 1806 HWY 35 Suite 201 Oakhurst, NJ 07755
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JANUARY 2019
New Jersey Music Educator’s Association Proudly Announces
“The 2019 State Marching Band Ratings Festival” “18th Annual” A unique opportunity for your Marching Band to perform in a Festival (rating only) setting. Quality Evaluation! Local Bands! Enthusiastic Audiences! State Sponsored! Non-Competitive! One time commitment! State Marching Band “Ratings” Festival Saturday, October 19, 2019, 4:30 pm: Wayne Hills High School Contact: Matthew J. Paterno 973-317-2060 (mpaterno@wayneschools.com)
Don’t miss out on this interesting addition to your present Marching Band activities! Sign- ups begin MARCH 1, 2019!
JANUARY 2019
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The 66th Annual Junior High/Middle School Choral Festival Application Form
School Name:
School Phone:
School Address:
City:
Zip:
Director’s Name :
Home Phone :
Home Address: City:
State:
Zip:
Email: NAfME Membership #:
Expiration Date:
Name of performing group: Voicing:
Number of singers:
Number of rehearsals per week: (during school:
Please check the appropriate category below: (evening):
(before school):
(after school):
Will participate at Rowan University, (South Site) March 20, 2019: 9:15 - 1:30 pm:
(Snow Date: April 3rd)
Will participate at Rutgers University, (North Site) May 29, 2019: 9:15 - 1:30 pm: We can arrive at:
We must depart no later than: Proposed Program (Time limit: Not to exceed 10-12 minutes, no more than 3 titles) THIS SECTION MUST BE COMPLETED AT THIS TIME! Please Print or Type Legibly
Selection (Maximum of 3)
Complete Name of Composer/Arranger
Voicing
1. 2. 3. (If any of the above titles are folk songs, please indcate country or region of origin) FEE: $150.00 per group (non-refundable)
FESTIVAL DATES: (Limited to the 1st TEN (10) Groups on each date)
DEADLINES: Friday, February 8, 2019 for Rowan University Monday, April 15, 2019 for Rutgers University
Wednesday, March 20, 2019 (Snow Date: April 3rd) South Site: Rowan University TIME: 9:15 - 1:30 pm
SEND TO:
EMAIL:
Donna Marie Berchtold, Registrar 545 South Buffalo Ave. Galloway Township South Egg Harbor, NJ 08215.1720
Wednesday, May 29, 2019 North Site: Rutgers University TIME: 9:15 - 1:30 pm
firesongwed@gmail.com
FESTIVAL HOSTS:
Donna Marie F. Berchtold and Karen Blumenthal firesongwed@gmail.com Other information including directions and schedules will be mailed.
ALL INCOMPLETE FORMS WILL BE RETURNED! MAKE CHECK PAYABLE TO NJMEA (Do not send cash) CHECKS MUST ACCOMPANY ALL REGISTRATION FORMS Purchase Orders Are NOT Accepted BE SURE TO INCLUDE A PHOTOCOPY OF YOUR NAfME CARD
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JANUARY 2019
2019 NJMEA MIDDLE SCHOOL CONCERT BAND FESTIVAL APPLICATION Please write clearly with as few characters as possible, as it should appear in program/on plaque. Name of Performing Group: ________________________________________________________________________________ Director Name(s): _______________________________________________________________________________________ School Name: __________________________________________________________________________________________ School Address: ____________________________________ Town _________________________________ Zip: __________ School Phone: (______)_________________________ (Ext: __________) School Fax: (______)________________________ E-mail Address: ______________________________________@_________________________________________________ Home Address: _____________________________________________________ Cell Phone: (______)____________________ Number of Performing Students : ___________________ Grade Level(s): (circle)
5
6
7
8
9
Rehearsal Schedule (length, time of day, rehearsals/week): ______________________________________________ Your Program
Title
Warm-up Selection: ___________________________________________ 1st Adjudicated Selection: _______________________________________ 2nd Adjudicated Selection: _______________________________________
Composer/Arranger
________________________________________ ________________________________________ ________________________________________
Date and Site Selected (Please indicate 1st and 2nd choice, if applicable.)
( ( (
) ) )
Tuesday, March 19, 2019 at Rowan University (Glassboro) Tuesday, April 9, 2019 at Bridgewater-Raritan MS Thursday, April 11, 2019 at Summit Middle School
We can arrive at: ___________________
We must depart no later than: __________________
Each band will have at least one 20-minute warm-up time prior to their performance. Stage time will be approximately 30 minutes including set-up, performance and exit. Clinicians’ taped and written critiques will be made available; in addition, clinicians will speak with band members following the performances as time allows. A participation plaque will be awarded to each band. All groups are encouraged to listen to the other ensembles performing. Mutual respect for all performances is absolutely necessary. A final letter will follow to participating directors with more information. A non-refundable fee of $150.00 per performing ensemble must accompany this application. Checks should be made payable to NJMEA. (No cash or purchase orders, please.) Directors must also include a copy of their current NAfME membership card. This application is due no later than ONE MONTH prior to your festival date. Please return completed applications to Please direct questions to James Chwalyk, Festival Coordinator JANUARY 2019
James Chwalyk, Jr. 39 Newark Avenue Bloomfield, NJ 07003 james_chwalyk@lyndhurst.k12.nj.us (973)-477-6641 (cell phone)
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CJMEA
Central Jersey Music Educators Association cjmea.org
T
he CJMEA officially kicked off its year with the High School Band, Choir, Orchestra, and Percussion Ensemble auditions on December 8th at JP Stevens High School. Congratulations to all directors who had students accepted into the high school ensembles! This is a direct result of your hard work and dedication to quality music education. I’d like to thank our division chairs, Chris Vitale, Julianna LoBiondo, Arvin Gopal, and Yale Synder, as well as our band Audition Chair, Brian Toth and our choir Registration Manager, Barbara Retzko, for all of their hard work leading up to and on the day of auditions. So much goes on behind the scenes in order to ensure a smooth day for our directors and students. The CJMEA Board is grateful to everyone who assisted in any way during this event. Special thanks goes to Andrew Denicola, Matthew Lee, Brian Verdi, and John Zazzali from JP Stevens High
School for hosting our auditions, as well as to the JPS Band Booster Club for organizing breakfast and lunch for our directors. Our concert season begins on Sunday, January 6th with the High School Orchestra and Percussion Ensemble. The full calendar of events and locations is available on our website, www.cjmea.org. 2019 is an election year for CJMEA. We’re currently seeking nominations for president-elect, secretary, and treasurer. If you are interested in running for one of our elected positions or would like to learn more about the responsibilities and job descriptions, please contact our current president-elect, Wayne Mallette at wmallette@cjmea.org. In an effort to assist with the professional development of music teachers in Region II, CJMEA will continue to offer grants to teachers/ music programs • Grant awards will typically not exceed $750. • Grant awards may be used to partially fund a project in conjunction with your school if we are not able to fully fund your proposed professional development. • All checks will be written to a school account. We are unable to write checks directly to teachers, presenters, companies, music booster clubs, or other individuals/companies. • Grants cannot be requested for the purchase of equipment or supplies unless it directly relates to the PD session being proposed. The grant proposal form is available on our website. We will
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continue to approve grant requests until the funds allocated for this school year have been spent. It is a wonderful accomplishment to successfully audition into a Region Honors Group. It’s especially impressive when students are able to do this four years in a row! This will be the 4th year that we will offer three $1000 scholarships to graduating seniors who have been members of a region ensemble all four years of high school. The scholarship application is available on our website. Please encourage your seniors to apply for these scholarships. CJMEA will once again hold a general membership meeting at the NJMEA conference in February. The Board and I look forward to seeing you then. In the meantime, please feel free to reach out to me or any other Board member if you have any questions or concerns. The contact information for every Board member is available on the website. We are here to promote a spirit of cooperation and fellowship among the music educators of this region and are always happy to hear from you. David Westawski CJMEA President dwestawski@cjmea.org
NJSMA
North Jersey School Music Association njsma.com
A
s we enter the second half of the school year, I would like to send JANUARY 2019
everyone the warmest greetings and well wishes as we begin 2019. The audition process and ensemble preparations for all our groups are well underway. I am looking forward to hearing the wonderful sounds of our finest musicians from around the region. As always, I cannot thank our volunteers enough for their time and commitment to ensuring that our organization offerings are successful experiences for everyone involved. Beyond our performing ensembles, please remember to check back for updates and new information regarding festivals, honor groups and professional development opportunities offered as we go throughout the second half of the school year. Remember, if you have any questions, concerns or thoughts, do not hesitate to email me at president@njsma.com. Best of luck throughout your winter and early spring performance preparation and classroom experiences. Best Regards, Joseph Spina President, NJSMA Elementary Division Join us on Saturday morning, February 9 for our 3rd Annual “It’s Elementary, My Dear!” workshop, co-sponsored with the New Jersey Youth Chorus. Participants will select two of three rotating workshop choices, which include: “Recorders!”, “Orff Process with Children’s Literature” and “Growing Voices: Choral Techniques for Elementary Choirs.” Following the rotating workshops, attendees will participate in a choral reading session presented by Tara Postigo, Sola Voce Director of NJYC. Sola JANUARY 2019
Voce will serve as the demonstration choir. Registration information can be found on the NJSMA website, Elementary Division page. The 4th Annual Elementary Choral Celebration will be held on Wednesday, May 29 at The Presbyterian Church in Morristown. Matt Webb and Trish Joyce, artistic director of NJYC, will serve as clinicians. Observers are welcome to attend. Please email elementary@ njsma.com for more information. Lisa Wichman and Carol Richardi Elementary Division Co-Chairs Elementary@njsma.com Chorus Division We hope that everyone is enjoying their year. Winter is a busy time for our chorus division! Please remember that our 1st High School Region Chorus Auditions are on January 5th (January 6th snow date.) Your NAFME membership must be current in order for your students to be eligible to audition. As a reminder, the rehearsal dates are January 15, January 18, January 23, January 25, final rehearsal and concert on January 26th. Please remember that the Junior High School Region Auditions forms will be OFF-LINE on December 14th. ALL SIGNED JUNIOR HIGH AUDITION FORMS (Director and Student) FOR REGION CHORUS MUST BE POSTMARKED BY DECEMBER 22, 2018. Again, your NAFME membership must be current in order for your students to be eligible to audition. As a reminder, the rehearsal dates for Junior High Region Chorus are Feb-
ruary 8, March 6, March 12, March 14, March 15 and concert is on March 16th. Austin Vallies and Deana Larsen, Chorus Division Co-Chairs chorus@njsma.com Band The high school auditions will be held on Saturday, January 5, 2019, with a snow date of Sunday, January 6, 2019, at Paramus High School. We would like to thank Mark Donellan and Paramus High School for hosting auditions and the band division audition chair, Jeffrey Brown from Bergenfield High School. The High School Region Band rehearsals and concert will be held at Parsippany Hills High School. The concert will be on January 27, 2019, at 3:00 p.m. Joseph Higgins, Director of Bands at Rowan University, will be conducting the Wind Ensemble and Christopher Cicconi, Director of Bands and Orchestras at Towson University, will be conducting the Symphonic Band. The Junior High School auditions will be held on Saturday, February 2, 2019, with a snow date of Sunday, February 3, 2019 at Clifton High School. We would like to thank Bryan Stepneski and Clifton High School for hosting auditions and the band division audition chair, Michelle Christianson from Parsippany Hills High School. The Junior High School Region Band rehearsals and concert will be held at John H. Walker Middle School in Nutley. The concert will be on March 3, 2019 at 4:00 p.m. Continued on next page
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Michael D. Russo, Director of Bands at Morristown High School, will conduct the Junior Symphonic Winds and the Junior Concert Band will be under the direction of Christopher J. DeWilde, band director at Anthony Wayne Middle School. This year’s High School Region Concert Band Festival will be held March 19, 20, and 21, 2019. Hosts include West Essex High School, Verona High School, Parsippany Hills High School, Northern Valley Old Tappan High School, and Bergenfield High School. The Junior High School Concert Band Festival will be held March 27 at West Essex High School and Westwood Jr./ Sr. High School. Thank you to all our hosts and all participating ensembles. Special thanks to our festival coordinators John Maiello and Pete Bauer. The seventh annual NJSMA Elementary Band Festival will take place on Saturday, May 4, 2019 at South Orange Middle School. Sixth graders from North Jersey who have been nominated by their directors will rehearse and perform a concert in a one-day festival. Directors who would like to suggest a new high school or junior high school solos 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 (NJ Band Procedures Committee for high school solos) and added to the rotation if deemed appropriate. Region I Band Procedures
Representatives: Lewis Kelly and Jeffrey Bittner. Please check www.njsma.com for updated and detailed information. Lewis Kelly, Diana May, & Jennifer Wise Band Division Co-Chairs band@njsma.com Orchestra Division Attention All Region I Orchestra Directors We are looking for new division chairs for the 20192020 school year. Please reach out to orchestra@njsma.com for more details. Kim Nimmo Orchestra Division Chair orchestra@njsma.com
SJBODA
South Jersey Band And Orchestra Directors Association sjboda.org
T
he SJBODA will bring in the New Year with two very exciting concerts at Rowan University. On Sunday, January 6th we will present our Orchestra and String Ensemble concert. This is the 65th anniversary concert for the Orchestra which will be conducted by Tim Schwartz (Rowan University). The Junior High String Ensemble will be conducted by Joanne Erwin (Oberlin Conservatory, retired). The manager for the Orchestra is Alex Rones (Bridgeton Public Schools). Carrington Thompson (Haddonfield HS) will manage the Junior High String Ensemble. The following Sunday, January 13th the Wind
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Ensemble and the Symphonic Band will perform in their 73rd anniversary concert. The Wind Ensemble will be conducted by Bill Berz (Rutgers University) and Deb Knisely (Cinnaminson HS) will conduct the Symphonic Band. The managers for the Wind Ensemble are D. Michael Lynch (Cherokee HS) and Chuck Temple (Private Teacher). Jonathan Porco (Monongahela MS) and Andrew Prettelt (Cherry Hill School District) will manage the Symphonic Band. Our concert hosts for these performances are Sal Scarpa and Joe Higgins. These concerts would not be possible without the commitment and dedication of our colleagues. Phil Senseney (Southern Regional Schools, retired) and Deb Knisely (Cinnaminson HS) did an outstanding job in providing our students with a positive audition experience. Patrick O’Keefe provided an excellent facility for our students, parents, and membership at the auditions which were held at Absegami HS. The first rehearsal for these ensembles was held at Cinnaminson HS and hosted by Deb Knisely. Deb did a wonderful job in meeting the needs of our students. Our young musicians also benefitted from the efforts of Rhea Fernandes (Eastern Regional HS), our String Coordinator, and Amanda Lakits Porco (Hamilton Township Schools) our Senior High Band Coordinator. The Junior High Band auditions will take place on Saturday, January 26th at Southern Regional Middle School. Jennifer Hodgson and Andrew Wright will be
JANUARY 2019
our hosts. Audition information is available on our website. Rachel DiPilla (Milton Allen ES) and Joe Jacobs (Ventnor MS) are the Junior High audition chairs. Joe Brausum (Berkeley Twp. ES) is our Junior High Band Coordinator. The concert will take place on March 3rd at Fernwood Ave. MS. Marc Spatz will be our concert host. The rehearsals will take place at Mainland Regional HS with Derek Rohaly as our host. The conductors for the 42nd Annual Junior High Band Concert are Nancy Robinson (Belhaven Ave. MS) and Michael Anzuini (Reynolds MS). The 12th annual Chamber Ensemble Concert will take place on Wednesday, February 6th at Cedar Creek HS. Jon Porco (Monongahela MS) is our Chamber Ensemble Coordinator and Manny Martinez (Cedar Creek HS) will be our concert host. Our coaches this year are Debbie Larsen (Private Teacher) – Clarinet Ensemble; Manny Martinez (Cedar Creek HS) – Sax Quartet; Jim Ludlam (Woodstown HS) – Brass Quintet; Craig Martin (Atlantic City HS) – Tuba/Euphonium Quartet; Warren Frederick (Delran HS, retired) – Percussion Ensemble; Susan Mark (Rosa International MS) – Flute Quartet; and Elisa Muzzilo (Private Teacher) – Woodwind Quintet. Registration forms for our 25th annual Concert Band Festival are available on the SJBODA website. The festival, coordinated by Mike Armstrong (Deptford Township HS) and Jon Porco (Monongahela MS), will take place on Tuesday, March 5th and Wednesday, March 6th at Rowan University. Joe HigJANUARY 2019
gins and the Rowan CNAfME will host this event. The 27th annual Elementary Honors Band Festival will take place on Saturday, April 13th at Shawnee HS. Rachel DiPilla (Milton Allen ES) will be our host. Our coordinators are Sue Moore (Mansion Avenue School) and Bill Trimble (Wenonah ES). Registration forms are available on our website. Our 4th annual Elementary String Festival will take place on Saturday, May 4th at Egg Harbor Township HS. Rhea Fernandes (Eastern Regional HS) will coordinate this event and Kate Wyatt (Egg Harbor Twp. Schools) will be our host. Registration forms are available on our website. The SJBODA Winter Meeting will take place on Friday, January 11th at 10:00 a.m. at Rowan University. All members are encouraged to attend. Please continue to check the website, maintained by Derek Rohaly (Mainland Regional HS) for the latest SJBODA updates. The SJBODA phone number is 609-457-0590. Joseph Jacobs Secretary, SJBODA
SJCDA
South Jersey Choral Directors Association sjcda.net
The South Jersey Choral Directors Association held their annual region chorus auditions on Saturday, November 17 at Woodstown School. Over 800 students auditioned for the Junior High (grades 7-9) and Senior High (grades 10-
12) choirs. These auditions would not have been possible without the efforts of audition managers Cristin Introcaso and Cheryl Breitzman as well as Festival Coordinator Amy Melson. SJCDA is also grateful to the Woodstown Choir program for being such accommodating hosts for the auditions. Romel McInnis (Clearview High School) will be conducting this year’s Senior High Chorus, and Hope Knight (William Allen Middle School), will be conducting the Junior High Chorus. Their diverse and challenging programs can be viewed at www.sjcda.net. The first rehearsal was held on Saturday, December 1, at Lenape High School. This year’s festival will take place on January 26 and 27 at Washington Township High School’s PAC. The rehearsal managers for the choirs are David Taylor and Robert DiLauro. At this busy time of year, SJCDA has many people to thank for their generous help and support. Our gracious rehearsal hosts are Brendan Moore of Lenape HS and Dr. Chris Thomas of Rowan University. Joseph Zachowski at Washington Township High School will host both the Jr./ Sr. Festival in January and the Elementary Festival in March. Kahlil V. Gunther, SJCDA President gunther.k@woodstown.org
&
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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.
at Unionville High School, Villanova University and Edgewood Junior High School in Atco. Doris L. Bostian Doris L. Bostian of Montgomery Village, MD - 94, formerly of Toms River, NJ, passed away peacefully on September 13th, 2018. She was born in Yancey County, NC, and lived in Burnsville, NC, before moving to Toms River in 1963 and Montgomery Village in 2005. Doris was a graduate of Appalachian State University, where she earned an MA in History and Music. She began her teaching career as a social studies and music teacher in NC. Upon moving to Toms River, she taught music at East Dover Elementary until her retirement. Doris was a member of the Presbyterian Church of Toms River and sang in the choir. After moving to Maryland, she was a member of Gaithersburg Presbyterian. She enjoyed painting, needlework, bingo and playing the piano.
Patricia Gasperini Patricia Gasperini, age 77 of West Long Branch, died Sunday, September 30, 2018 at the Solana at Marlboro. Born in Long Branch she had lived in West Long Branch since 1968. Pat was a music teacher for 24 years for the Middletown Board of Education and with her love of music she gave private piano lessons for just as many years to many beloved students. She was also an organist for many of our local churches for 45 years.
John E. Giachero,
Francis R. Davis Francis R. “Frank” Davis, age 77 of Somerdale, died on September 23, 2018. Beloved husband of 51 years to Kathleen (nee Kelley). Frank was a member of the Brigantine Elks and the NJEA. He was a music teacher and band director
John E. Giachero, 88, of Maidencreek Township, died Sunday, September 2, 2018, in The Reading Hospital, West Reading, surrounded by his loving family. He was the husband of Eleanor A. (Breneman) Giachero. They celebrated their 66th wedding anniversary on August 23, 2018. Born in Cornwall, Lebanon County, PA, John honorably and faithfully served our country as a ten year
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JANUARY 2019
member of the Army National Guard, last serving as a 2nd Lieutenant. He was a member of Saint Mary’s Roman Catholic Church, Kutztown. John received a bachelor’s degree in music education from Lebanon Valley College, Annville and a Master’s Degree in Music from Trenton State College, NJ. A music teacher in public schools for over 40 years, he first taught at Lebanon Catholic Parochial School, Lebanon, where he also served as church organist. He moved to New Jersery, teaching and directing the marching band in South Plainfield School District, South Plainfield, NJ. John moved to the Bridgewater-Raritan Regional School District, Bridgewater, NJ for the majority of his career, retiring from full -time teaching in 1990. After several more years as a substitute teacher, John and Eleanor moved to PA. In his spare time John enjoyed playing clarinet with the Ringgold Band, Laureldale, PA, and saxophone in the Windjammers Unlimited Band, Sarasota, FL. John cherished his family, was devoted to his loving wife, Norrie, and supported her pursuit of bachelor’s and master’s degrees. He loved playing his saxophone, sharing good jokes, going camping, playing golf, listening to and playing jazz and classical music, and rooting for the NY Yankees and the Reading Fightin’ Phils. John loved people and easily made friends, whether just for the moment or for a lifetime. His open personality was a loving lesson for his children who enjoy sharing fond family memories.
Richard took his award-winning marching bands to Disney World to perform in the Magic Kingdom Parade for over 10 years. In the early 1970’s New Jersey began to form its own chapter of the National Association for Jazz Education. Richard helped organize its formation and eventually became its first member. He later was elected to the State Board as Secretary. In 1990 he won the Outstanding Jazz Educator Award and in 2003 he was awarded the Lifetime Achievement Award, both from the Association. He was the only educator to receive an honorary life membership in the organization. After retiring from teaching, he became the NJ State Jazz Festival Chair. The NJ Association for Jazz Education named the Richard A. Graham Sight Reading Award, to pay tribute to him, and to the fact that his band consistently won the sight reading award. Richard was twice named the winner of the NJ Jazz Education Achievement Award. Throughout the 1980’s, Richard led the Overbrook High School Jazz Band to numerous state championships in the New Jersey State Jazz Festival, as well as being a finalist in the Berklee College of Music High School Jazz Band Festival (the largest one-day high school jazz festival in the world.) He won the Distinguished Educator award from NJMEA in 2015. Richard was a member of the Clementon Lions and was coordinator of the Leo Club at Overbrook High School.
Winston Hughes Richard “Dick” Graham Richard Graham passed away on October 20, 2018. Richard, age 83, beloved husband of Shirley (nee McHugh) Graham served in the US Army National Guard. He was the former instrumental music director and later served as substitute teacher at Overbrook High School in Pine Hill, NJ. During his long career in music education, he won numerous awards with his marching and jazz band. JANUARY 2019
Winston Hughes passed away on Wednesday October 3, 2018, at Regency Rehabilitation and Nursing Center in Somerset, N.J. Winston was born in Perth Amboy, N.J. on January 10, 1934. He resided in Perth Amboy throughout his youth, and then attended Virginia State University. At Virginia State, he became the co-founder and codirector of the Omega Choraleers, a popular singing group from the Omega Psi Phi Fraternity. It was his 73 TEMPO
experience with this group and his student teaching that laid the groundwork for his future in music education. In 1956, he received his Bachelor of Science Degree in Public School Music. He later continued his musical studies at the College of New Jersey (formerly Trenton State College), and in 1966 received his Master of Arts Degree in Conducting. Post college, Winston began his distinguished 40+ year career in music at the Edison Township Public Schools as a general music and choral teacher at Thomas Jefferson Junior High School. In 1964, he became Director of Choral Activities at Edison High School. In 1966, he began a four-year term as Chairman of Related Arts at Edison High School where he served as liaison for the departments of Art, Music and Industrial Arts. In 1968, the Edison Jaycees named him Outstanding Young Educator of the Year. In 1971, he became Supervisor of Music K – 12, and in 1994, he served as Supervisor of Music and Art K – 12, until his retirement in 1996. Under his tutelage, the Edison High School Choir received numerous First Place and Overall Best Awards during 10 years of choral competitions. In 1977, he became the first African-American to conduct the New Jersey High School All-State Chorus. Winston and Ruth Hughes married on August 25, 1963 and had two daughters, Diane and Donna. They primarily resided in South Brunswick, N.J. before moving to Spring Hills-Somerset Assisted Living Community in 2016. He shared his love of music with his family and during their youth, his daughters played instruments, participated in their high school marching band and sang in various ensembles. Winston was a conductor/guest conductor and instructor for several other school and community groups including the Madrigal Singers of the Newark School of the Arts, and the 1988 Duke Ellington Chorus which performed with the Duke Ellington Orchestra, and he performed with Talent in Triplicate. For five years he was the Artistic Director of the Ric-Charles Choral Ensemble, noted for its classical to gospel singing repertoire and its performances with such noted artists as Nancy Wilson, Lou Rawls, William Warfield and Maya Angelou.
Winston was a past president of the Edison Supervisors Association, a past state president of the NJ American Choral Director’s Association and past state president of the NJ Retired Music Educators Association. He served on the boards of the New Jersey Choral Directors Association, the North Jersey Philharmonic Glee Club and the New Jersey Music Educators Association where he chaired the MultiCultural Music Committee. He was also a member of the National Association of Teachers of Singing, and adjunct faculty at the College of New Jersey. At his retirement from Edison Township Public Schools, the Winston Hughes Scholarship was established to be given to students who exemplify the high ideals and standards he established. In 2004, Winston was inducted into the Perth Amboy High School Hall of Fame. In 2006, he was named a Contemporary African American Achiever by the Sons and Daughters of the Anguilla Benevolent Society, Inc. He received awards from numerous other associations honoring his achievements, including a local branch of the NAACP and write-ups in various local papers.
Anne M. Patente Anne M. Patente died September 19th at home. Anne was a life long resident of Somerville. She was a Music Teacher for 35 years having been employed by the Edison Board of Education. A graduate of the Juilliard School of Music, NY and received her Masters Degree from Trenton State College, music was Anne’s love. She was a performer of Classical, Broadway and Church Music and in her youth performed with the Robert Shaw Collegiate Choir and Rutgers University Chorus and later served as the Choir Director and Organist at the Immaculate Conception Church in Somerville for many years.
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& JANUARY 2019
WANT TO HIT A HIGH NOTE IN YOUR CAREER? Visit the NAfME Career Center Whether you are seeking a position or want to locate your next employee, the NAfME Career Center will guide you every step of the way. You can view available jobs – or job-seekers – from across the country. Career Coaching: Coming from a variety of professional backgrounds from businesses to associations, our certified coaches have the experience, training, and expertise needed to help you achieve your career goals. Resume Writing: Whether you are an emerging music leader, a supervisor, or just entering the teaching field, our experts are ready to critique your existing resume or help you craft a document that gets you noticed. You can also: • • • • • •
obtain resume writing services post an open position post a resume receive job alerts maintain a job profile and more
Visit careers.nafme.org or call Career Center Customer Service at 1-888-491-8833.
JANUARY 2019
75 TEMPO
NJMEA 2017-2018 Board of Directors Executive Board President, Jeff Santoro W. Windsor-Plainsboro District jsantoro@njmea.org
Past-President, William McDevitt Vineland High School billnjmea@aol.com
President-Elect, Patrick O’Keefe Smithville School o’keefep@gtps.k12.nj.us
Executive Secretary-Treasurer Deborah Sfraga Ocean Township Schools debnjmea@aol.com Communications (TEMPO/Web) Thomas A. Mosher, Retired tmosher@njmea.org
Appointed Members Administration & Advocacy Dennis Argul Jazz House Kids dennisargul@gmail.com
Early Childhood Music Ed. Amy Burns Far Hills Country Day School aburns@fhcds.org
Band Festivals/Classroom Music Nancy Clasen Thomas Jefferson Middle School nancydidi@hotmail.com
Guitar Tom Amoriello Flemington Raritan Schools tamoriel@frsd.k12.nj.us 908-284-7650
Band Performance Nick Mossa Bridgewater Raritan High School nmossa16@gmail.com
NJ Association For Jazz Ed. Mike Anzuini Steinert High School manzuini.njaje@gmail.com 609-631-4150 x3412
Choral/Opera Festivals Donna Marie Berchtold Retired firesongwed@gmail.com
NJRMEA Kathy Spadafino, Retired kspadeb@aol.com
Chorus Performance Wayne Mallete Scotch Plains-Fanwood District wayne.mallette1@gmail.com
Region Executive Members
NJSMA President, Joseph Spina Hanover Park High School president@njsma.com
Chorus/Orchestra/Jazz Joseph Cantaffa Howell High School jcantaffahhs@hotmail.com
CJMEA President, David Westawski West Windsor-Plainsboro HS So. dlwestawski@gmail.com
Collegiate/Research/Higher Ed. Colleen Sears The College of New Jersey quinnc1@tcnj.edu
SJCDA President, Kahlil Gunther Woodstown High School gunther.k@woodstown.org
Conferences Marie Malara, Retired malara97@aol.com
SJBODA President, Richard Beckman Sharp Elementary, Cherry Hill richbeckmanii@gmail.com
Corporate/Industry James Frankel jim@musicfirst.com
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Orchestra Festivals/Performance Susan Meuse Hammarskjold Middle School susanmeuse@gmail.com
Special Learners Maureen Butler Lake Drive School mbutler@mlschools.org
Technology Marjorie LoPresti East Brunswick High School marjorielopresti@gmail.com
JANUARY 2019
NJMEA RESOURCE PERSONNEL Area of Responsibility
Name
Email Address
Administrative Matters........................................................ Jeff Santoro........................................................... jsantoro@njmea.org All-State Chorus, Orchestra, Jazz Coordinator................ Joseph Cantaffa............................................. jcantaffahhs@hotmail.com All-State Orchestra Procedures Chair................................. Justin Louie............................................. ASOProcedures@gmail.com Association Business......................................................... Deborah Sfraga........................................................ debnjmea@aol.com Choral Procedures Chair................................................... Wayne Mallette......................................... wayne.mallette1@gmail.com Composition Contest....................................................... Robert Frampton................................................ rtframpton@comcast.net Editor - TEMPO Magazine.............................................. Thomas Mosher........................................................ tmosher@njmea.org Jazz Procedures Chair...................................................... Michael Anzuini............................................ manzuini.njaje@gmail.com Marching Band Festival Chair........................................... Nancy Clasen................................................... nancydidi@hotmail.com Membership....................................................................... Deborah Sfraga........................................................ debnjmea@aol.com Middle/Junior High Band Festival................................. James Chwalyk, Jr. .................................... james.chwalyk.jr@gmail.com Middle/Junior High Choral Festival........................... Donna Marie Berchtold.......................................... firesongwed@gmail.com NJMEA Historian............................................................ Nicholas Santoro....................................................... n31b13@gmail.com NJMEA State Conference Exhibits Chair.......................... Nancy Clasen................................................... nancydidi@hotmail.com NJMEA State Conference Manager................................... Marie Malara........................................................... malara97@aol.com NJMEA Summer Conference.......................................... Joeseph Akinskas.............................................. joea_njmea@comcast.net NJMEA/ACDA Honors Choir........................................... Pam Crockett....................................................... pcrockett@npsdnj.org November Convention – NJEA.......................................... Nancy Clasen................................................... nancydidi@hotmail.com Opera Festival Chair......................................................... Mike Kallimanis ...................................... MrKOrchAuditions@aol.com Orchestra Performance Chair.............................................. Susan Meuse................................................... susanmeuse@gmail.com Research............................................................................. Colleen Sears............................................................. quinnc1@tcnj.edu Students with Special Needs............................................. Maureen Butler.................................................. mbutler@mlschools.org Supervisor of Performing Groups................................... William McDevitt....................................................... billnjmea@aol.com Tri-M................................................................................... Jeff Santoro........................................................... jsantoro@njmea.org REPRESENTATIVES/LIAISONS TO AFFILIATED, ASSOCIATED AND RELATED ORGANIZATIONS NJ American Choral Directors Association........................... Jack Hill.......................................................... jmwhill@hotmail.com Governor’s Award for Arts Education............................. William McDevitt...................................................... billnjmea@aol.com NJ Association for Jazz Education................................... Michael Anzuini........................................... manzuini.njaje@gmail.com NAfME................................................................................ Jeff Santoro.......................................................... jsantoro@njmea.org NJ Music Administrators Association............................... Thomas Weber............................................ tweber@westfieldnjk12.org NJ Retired Music Educators Association........................... Frank Hughes.......................................................... flh4hof@gmail.com NJ TI:ME......................................................................... Marjorie LoPresti......................................... marjorielopresti@gmail.com Percussive Arts Society.................................................... Domenico Zarro................................................. DEZarro@optonline.net
COMMUNICATION SERVICES/PUBLIC RELATIONS Executive Secretary-Treasurer.......................................... Deborah Sfraga.................................................. debnjmea1@gmail.com Editor - TEMPO Magazine............................................ Thomas A. Mosher..................................................... tmosher@njmea.org Web Master (njmea.org)................................................. Thomas A. Mosher..................................................... tmosher@njmea.org
JANUARY 2019
77 TEMPO
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EDITORIAL POLICY Articles may be submitted to the editor of this magazine by anyone who wishes to write about topics related to music or music education. All articles which are selected for publication will be proof read for content, spelling and grammatical errors. Authors who submit an article to TEMPO Magazine for publication agree to all of the following 1. the editor may edit all articles for content, spelling and grammar. 2. the printing of the article in TEMPO Magazine, the printing date, and placement are at the discretion of the editor. 3. permission is granted to reprint the same article in any National or State Music Education Association magazine on the condition that the author’s name and TEMPO Magazine are to be mentioned in all reprinted articles. 4. no exceptions will be made regarding items 1 through 3 above. 5. the author of the article may submit his/her article to additional magazines for publication.
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 1951 - 1953
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 Janet G. Gleason
1953 - 1955 1955 - 1957 1957 - 1959 1959 - 1961 1961 - 1963 1963 - 1965 1965 - 1967 1967 - 1969 1969 - 1971 1971 - 1973 1973 - 1975 1975 - 1977 1977 - 1979 1979 - 1981 1981 - 1983 1983 - 1985 1985 - 1987
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 Anthony Guerere Joan Policastro
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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 2013 - 2015 2015 - 2017
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 Joseph Jacobs William McDevitt
JANUARY 2019
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79 TEMPO
MAKE A DIFFERENCE IN YOUR SCHOOL WITH NAfME
The National Association for Music Education (NAfME) is the largest network of music educators. Since 1907, NAfME has worked to ensure that every student has access to a well-balanced, comprehensive, and high-quality program of music instruction, taught by qualified teachers. NAfME provides resources for teachers, parents, and administrators; hosts professional development events; advocates at the local, state, and national levels; and offers a variety of opportunities for teachers and their students. Where Music Educators Belong Members of the NAfME community have access to a wide variety of professional opportunities, benefits, and resources, including: • • • • • • •
Amplify, NAfME’s member-exclusive online, peer-to-peer learning community where music educators across the country can connect, post discussion threads, and upload library resources. 80+ hours of professional development opportunities through NAfME Academy, an online platform that offers a breadth of webinars to further enhance teaching through dynamic, effective materials and learning opportunities. Updates on music education policy and how the Every Student Succeeds Act (ESSA) affects your music program. Membership for preservice music educators, with 700 Collegiate NAfME chapters nationwide, and access to resources exclusive to members and networking events with future colleagues. A wealth of innovative research studies within the music education profession. Complimentary annual subscriptions to NAfME’s various periodicals, including Teaching Music and Music Educators Journal, as well as the opportunity to have your blog published and shared via our biweekly e-newsletter. Opportunities for your students to participate in NAfME-sponsored events—including the All-National Honor Ensembles and the Student Composers Competition—and to create or join a Tri-M® Music Honor Society chapter in your middle or high school.
NAfME can make a difference for you, for your students, and for your school. Learn more at nafme.org, or contact Member Services at 1-800-336-3768, or at memberservices@nafme.org.
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