2013 TEMPO January by William McDevitt

J A N U A RY 2 0 1 3

NJMEA Conference Issue

Kingâ&#x20AC;&#x2122;s Singers To Perform At February Conference!

HOPE TO SEE YOU THERE! 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 67, No. 2

http://www.njmea.org

FEATURES 20

The ABC’s Of Special Ed, by Maureen Butler

Higher Education And The Young Guitarist Part I, by Thomas Amoriello & Matthew S. Ablan

The New Jersey TI:ME Tech Expo: First In The Nation, by Marjorie LoPresti, VJ Manzo and Rick Dammers

O Passo: A Brazilian Approach To Music, by Tom Mullaney

JANUARY 2013 DEPARTMENTS AND NJMEA BUSINESS

Advertisers Index & Web Addresses.......71 Board of Directors.................................68 Division Chair News.......................... 6-18 Editorial Policy & Advertising Rates......70 From The Editor......................................4 In Memoriam........................................66 Past-Presidents.......................................70 President’s Message.............................. 2-3 Resource Personnel................................69 Round the Regions.......................... 62-65

The New Jersey Music Educators Association State Conference Preview 39-46

Tom Voorhis Named Master Music Teacher, by Beverly Robinovitz

Why Teach Music?, by Marissa Silverman

Is Conducting Technique Over-Rated?, by Thomas McCauley

Introduction To Music Therapy, by Dorita S. Berger

FORMS AND APPLICATIONS See NJMEA.ORG

“Files and Documents” for downloadable copies of all forms

Region Jazz Ensembles......................56-57 Middle School Concert Band................. 58 Middle School Choral............................ 59 NJ Honors Jazz Choir.......................60-61 NAfME Membership............................. 64

ATTENTION MEMBERS: Please go to nafme.org to record email and address changes. TEMPO Editor - Thomas A. Mosher 80 Jumping Brook Drive, Lakewood, NJ 08701 Phone/Fax: 732-367-7195 e-mail: 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 67, No. 2, JANUARY 2013 TEMPO Editor - Thomas A. Mosher, 80 Jumping Brook Drive, Lakewood, NJ 08701 Periodicals Postage Paid at Lakewood, NJ 08701 and additional entries POSTMASTER: Please forward address changes to: NAfME 1806 Robert Fulton Drive Reston, VA 20191

NJMEA CONFERENCE February 21 - 23, 2013 East Brunswick, NJ 2013 NAfME EASTERN DIVISION CONFERENCE April 4-7, 2013 Hartford, CT 2013 NAfME NATIONAL CONFERENCE October 27-30, 2013 Nashville, TN

President’s Message KEITH HODGSON 609-317-0906 keithhodgson1@mac.com Website: http://www.njmea.org

HAPPY NEW YEAR NJMEA! s I sit down to write this, it is just after Thanksgiving and we are still rebounding from the storm that disrupted our lives and challenged our spirits this Fall. The cancellation of the NJEA statewide professional development convention and the consequent cancelation of the NJMEA All-State Concerts in both Atlantic City and Newark were situations that we never had to face before. I know that there are so many heartbroken students and disappointed parents and teachers who were affected by the decisions that needed to be made for all involved. Trust me, no one feels more disappointed than I do in having to cancel All-State.

The U.S. Army All-American Bowl is the premier high school football game in the nation. Produced by All American Games, this Bowl features the nation’s top high school senior football players and marching musicians. A student selected as one of the 125 U.S. Army All-American Marching Band members receives an all-expenses-paid trip to San Antonio, TX to march in the halftime performance of the All-American Bowl at the Alamodome on Saturday, January 5, 2013.

ALL-STATE ORCHESTRA & CHORUS 2012 At the time of printing this TEMPO issue, we are currently polling the 2012 Mixed Chorus and Orchestra with a possible rescheduling option. The Executive Board and Procedures Committee members for choral and orchestra have met and discussed numerous options for rescheduling that covered possibilities from November to June. Every option was on the table and we discussed all foreseeable conflicts and heard individual concerns. As you read this you will already know what was decided, but right now, it is my hope that the majority of our Chorus and Orchestra will be able to reschedule their 2012 All-State concert for the first weekend in June. If in polling our groups, we find that there is not a sufficient response to commit to that proposed date, then we have no other choice but to cancel the 2012 All-State concerts for good.

FEBRUARY CONFERENCE We are in full swing gearing up for the 2012 NJMEA State Professional Development Music Conference at the East Brunswick Hilton from February 21-23, 2013. We are continuing the successful full three day conference with the Thursday Academy format that began last year. NEW to the Academies this year is the first Choral Academy. The Collegiate Academy will run all day on Saturday, Feb. 23rd and will be led by State Collegiate Advisor, Rick Dammers from Rowan University and the State Collegiate Officers. Among our guests to the NJMEA Conference will be our illustrious National President, Nancy Ditmer! Nancy E. Ditmer, NAfME President and Board Chair for 2012-2014, is currently the Director of Bands and Professor of Music Education at the College of Wooster, Ohio, and has been a respected and devoted leader in music education for many years. For almost a decade, Scott Lang has been educating and entertaining audiences of all ages through his workshops and keynote presentations. As a nationally known leadership trainer for the past seven years, Scott works with some of

US ARMY ALL-AMERICAN MARCHING BAND During the Fall, three New Jersey band students auditioned and were selected for the US Army All-American Marching Band. It was a pleasure to attend each of their selection ceremonies. Congratulations to the following students and their directors: • Caitlin Fenning, West Deptford High School Thomas Kershaw, Director • Maritza Bullock, Winslow Twp High School David Parkhurst, Director • Lowell Perkins, Warren Hills Regional High School Jason Graf, Director TEMPO

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PROGRAM ADVOCACY Lastly, but most importantly, please promote your programs! Remember it is 100% about student achievement! It takes a lot of extra time, but promotion of not only your concerts and events as well as what you and your students are doing in the classroom everyday NEEDS to be shared with your parents, administration and community. Empower the students to help you... develop this role through greater participation and involvement of your TRI-M Music Honor Society. Remember... curriculum, observations, assessment, standards, student growth models do not need to be dirty words. EMBRACE IT ALL!

America’s top ensembles and conducts over 100 workshops annually. In addition to Scott’s student-centered speaking engagements, he maintains an active clinic schedule with professional education organizations on both regional and national levels. He is also the author of “Leadership Success,” “Leadership Travel Guide,” “Leadership Survival Guide,” and “Leader of the Band.” One of the world’s most celebrated ensembles, The King’s Singers have a packed schedule of concerts, recordings, media and education work that spans the globe. They champion the work of both young and established composers and, whether singing Tomkins or Takemitsu, Bach or Bublé, are instantly recognisable for their spot-on intonation, impeccable vocal blend, flawless articulation of the text and incisive timing. They are also consummate entertainers: a class act with a delightfully British wit. Please plan on joining us in East Brunswick in February for one of the best State Music Conferences in the country. Pre-Register Online… www.NJMEA.org

If I can be helpful in any way, please do not hesitate to call me at 609-317-0906. Have a great 2013! Looking Ahead… NAfME NATIONAL CONFERENCE: NASHVILLE, TN October 27-30, 2013

EASTERN DIVISION CONFERENCE HARTFORD, CT The Eastern Division Conference is held every two years and is hosted by a local state Music Educators Association. The 2013 Conference will take place from April 4-7, 2013 at the Connecticut Convention Center, 100 Columbus Boulevard, Hartford CT. Congratulations to the two New Jersey choirs that were selected to perform in Hartford in April. The “Nutley Concert Choir” under the direction of Michael Cundari and the “Morris Knolls Concert Choir” under the direction of Michael Semancik. Registration information and conference details can be found on the Eastern Division website: http://www.nafme-eastern.org

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TEMPO

Editor’s Message

Thomas A. Mosher 732-367-7195 tmosher@njmea.org Website: http://www.njmea.org

NJMEA Conference 2013

urricane Sandy really did a number on all of us this past October. The NJEA Convention and all of its activities were cancelled for the first time since World War II. The All-State activities were cancelled and we are still trying to see if something can be done as I write this. Many of our membership suffered severe damage because of the storm and our prayers are with them. We were without power for over nine days and many people had none for a longer period. Now we look forward to the future which will contain our annual NJMEA Conference as well as the All-State Bands and Women’s Chorus concerts. We are once again featuring the world famous King’s Singers as our Friday night entertainment. This group is a “must see” for every music teacher and it is included with your conference registration of $150 or more. The conference will begin with five “academies: elementary; choral; technology; wind band; and jazz/marching band. The conference on Friday and Saturday will feature some of the finest clinicians in the country. The information concerning the conference starts on page 39 of this issue and contains all of the sessions which were confirmed as of October 16, 2012 and more have been aded since then. We hope you will plan to stay over night and join us in our evening activities.

TEMPO

The King’s Singers Room rate is based upon hotel availability until 1/22/2013. -- Don’t wait until the last minute -Use code NM1 for the Hilton Call in Block to receive the NJMEA Room Rate of $132.00 (Double/Triple/Quad). Hilton Hotel and Conference Center Threee Tower Center Blvd East Brunswick, NJ 08816 732-828-2000

JANUARY 2013

UNDERGRADUATE AND GRADUATE DEGREES INCLUDE:

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JANUARY 2013

TEMPO

& News From Our Division Chairs & Past-President William McDevitt 856-794-6800 x2539 billnjmea@aol.com

Random Thoughts In a recent “Random Thoughts”, I addressed some of the comments that we received after our February Conference. In this ramble, I would like to give some insight into the workings of the NJMEA Board of Directors. For the last decade, the NJMEA Board of Directors (BOD) has been working under a different model than previous Boards. There are basically two Boards: the Executive Board (EB) and the Full Board (FB). The EB is the decision making body of NJMEA. This group consists of the President, President-Elect, Past-President, and the 4 Region Presidents. Included on the Board in an advisory capacity, but not as voting members, are the Executive Secretary and TEMPO Editor. This group meets every month except July. Most of the membership has no idea of the amount of material that is covered in a meeting. Along with that material comes healthy discussion, with many bringing their own opinions and the opinions of their particular constituents to the table. Everything that is done by NJMEA is approved by the EB. Approvals include All-State Conductors and programs, recording & photography contracts, payment of bills, performance venues and contracts, and many other items that concern the day to day running of our organization. The FB consists of the EB and all of the people that you see listed in our TEMPO every issue. The individuals on the FB each have a responsibility. Some of them oversee the running of our All-State Ensembles, some run Festivals, and others work on Conferences or other aspects of music in our schools. Each individual on the FB has a daunting task with the position to which they have been appointed. Sometimes, I don’t know how they are able to do all that they do, and maintain the rest of their lives. For example, Marie Malara, our Conference Chair, begins working on a new conference on the Saturday evening that a conference ends. She works behind the scenes the entire year then comes to the January EB meeting with the entire conference set-up for last minute review. We never see the work that she does, but we know that it is constantly happening. The same goes for all of the other members of the FB. I am always amazed as I look at our NJMEA calendar and see how much happens under our watch. Conferences, concerts, festivals, workshops, meetings, auditions, and numerous other events occur every month. Sometimes, the EB is needed to make a quick decision, in which case, we cyber-vote. After long email discussions, we send email votes on emergency items. This happens for several reasons. Sometimes, things happen after an EB meeting that need approval before the next meeting. Other times, the weather forces changes that need approval. That brings us to this past November’s All-State. A week before Hurricane Sandy hit, we didn’t even know that she was brewing; but two days afterwards, we all knew that she had been here. The pictures of the devastation were incredible. It was hard to believe that some of the pictures were from New Jersey. After allowing things to settle for a few days, phone calls started happening. Initially, concerns were going in every direction, from whether we would have a few students missing in Atlantic City, to whether Atlantic City would be open, to whether the NJEA Convention would happen, to whether we would be holding the November All-State at all. The members of the EB, Joe Cantaffa – COJ Chair, and our November Performance Chairs Kathy Spadafino (Choral), Susan Meuse (Orchestra), and Jeff Lesser (Jazz) spent many hours on the phone and corresponding through emails as the situation developed. It was decided that a face-to-face meeting was needed to have a better discussion. A dozen NJMEA members met in Toms River on the Friday night after the storm. Some of them did not have power yet in their own houses, and yet they came to be a part of the discussion. I love having many voices at the table because the best solutions come when individuals work off of the thoughts of others. Keeping the best interest of the students in mind, a plan was made to cancel Atlantic City, and postpone the rehearsals another week to prepare for the concerts at NJ PAC. At that point, I don’t think that anyone at the table knew how long the recovery from Sandy was going to take. Add to that a Nor’easter that flew across the State the following Wednesday, and well, history has been written. While we always had in the back of our heads the knowledge that there would be many disappointed students because of the cancellation, the safety and physical and mental well-being of our students was always at the front of our heads. What amazed me through this whole process was that everyone involved did their job with the highest professionalism for the good of the NJMEA. I would like to personally thank Debbie Sfraga for the countless hours that she spent on the phone trying to make the plans work. I would also like to thank Keith Hodgson for his leadership throughout the ordeal. The students and teachers in the State should be proud that these two are here working for you. continued on page 8 Next ramblings – “NJMEA and NAfME – Perfect Together” TEMPO

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& News From Our Division Chairs & President Elect Joe Jacobs 609-487-7900 jjacobs@veccnj.org

The Journey is the Destination

This is the time of year many school music departments are focusing on concerts, recitals, festivals and auditions. These performances and auditions may be viewed as the culmination of the efforts by students and teachers for the current semester or academic year. Directors are focused on showcasing the musical ability and talent of their students in front of parents, administrators, clinicians, and guests. In the quest to present the perfect performance we sometimes may forget the importance of the musical journey that was necessary for our students to give a performance or to have a successful audition. How many times have you heard the expression “Teaching to the Test?” Educators are usually dismayed when their competency and the ability of their students are dictated by a single state test. Teaching to the test is not a very popular slogan but unfortunately it has become a reality for many of our colleagues. Pressure from school administrators, government officials and concerned parents has made the state test a benchmark of student achievement and teacher assessment. Some music educators may be inadvertently teaching to the concert. When we focus all of our attention on a particular performance we could be limiting our students in their musical experiences. Our commitment as music educators is to create, develop and deliver a sequential based music curriculum to our students. This can be challenging if the ensemble only rehearses three selections a semester. Few people like reading the same book every week. It can be very boring. The reader is already familiar with the story but they may not have examined the book in detail. Exploring the plot, themes, morals, characters, historical aspects and messages are a few items that can help the reader better understand the book. Ensemble directors and private teachers should delve into the music that their students will perform by having their students investigate a particular musical composition. The young musicians will enjoy researching the composer and the history of the piece. This is also a great opportunity to study musical form, thematic development, ensemble balance and intonation. Very few will dispute that there is more to education than the state test. The state test can be an important ingredient in assessing our students’ education in certain areas of specific subjects. Just as our concerts and auditions are important, they do not always measure the musical knowledge that our students have attained that semester. Have we failed as music educators if a concert has not lived up to expectations because of students’ illness or a school scheduling conflict? If a student auditions for a region or state ensemble and is not accepted does that we mean we failed as educators? Obviously the answer is no. The end result should be what the students have learned in preparing the music. The process of achieving a successful musical experience for our students is our goal as music educators. We should also examine our own personal journey in continuing to be highly proficient and outstanding music educators. This quest should never end. There are always new techniques, materials, and resources that can be incorporated into our daily instruction. For us to provide our students with the best possible music education we must continue to grow as educators. It is all about professional development. Speaking of professional development, the upcoming NJMEA conference is a wonderful opportunity to share and gather new ideas and strategies that impact our students and programs. The various performing ensemble and clinicians are sure to motivate and inspire. The NJMEA February Conference should be the destination for all New Jersey music educators. Hope to see you there!

continued on page 10

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JANUARY 2013

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& News From Our Division Chairs & Administration Ronald P. Dolce 732-574-0846 rdolce561@aol.com

Happy New Year from the New Jersey Music Administrators Association. It is hard to believe that half of the school year is almost over. We hope that you had a restful winter break from school and the hectic concert season. The association has already sponsored two successful workshops for our membership. Our first workshop held in October, “Benchmark Assessment Tools in Music- Roundtable Discussion” is a beginning of a yearlong series of workshops dedicated to the new evaluation procedures that we are beginning to deal with for the coming school year. This first workshop was facilitated by Linda King from the Westfield Public Schools and Peter Griffin from the Hopewell Valley Regional School District. Our second workshop held on December 7th. was entitled, “Current Status of Music Teacher Evaluation”. Retired Supervisor of Music from the Cherry Hill Public Schools, Joe Akinskas was the facilitator. Our general membership meetings are held this year at the Rutgers Club at Rutgers University in New Brunswick. The meetings begin at 10:00 a.m. with hospitality beginning at 9:30 a.m. Please check our website at njmaa.org. As we continue our workshops to help our members to understand and facilitate the new evaluation procedures, Bob Pispecky, Supervisor of Music from the Edison Public Schools will present a workshop, “Smart Music as a Tool for Assessment” on February. 1st, 2013. If you are not familiar with SmartMusic and the value of it as an assessment tool, you should attend and get some great information about it from Bob. At the NJMEA Conference in February, our members will continue to share their knowledge as they present workshops that will benefit the experienced administrator and teacher as well as those new to the profession. Several of our workshops will be held on Friday, February 22nd and as part of the College Day on Saturday, February 23rd, 2013. In addition, the NJMAA will sponsor their annual “Welcome Breakfast” and “Job Fair.” All supervisors are cordially invited to attend our informal breakfast at 8:30 A. M. on February 22nd at the NJMEA Conference and join us for some early morning nourishment, meet some old friends and make some new ones. You never know who might show up from our national organization so please attend all of the NJMAA sponsored workshops on February 22nd and 23rd. NJMAA continues to reach out to the Supervisors, Program Directors, Administrators (e.g. Principals, Assistant Principals, and Department Chairs), Directors and Coordinators of Music to become active members of the association. Sharing knowledge and experiences strengthens the state of our arts programs. Coming together gives us an opportunity to better understand issues, concerns and the diversity of the arts programs in our state. Come join us. Check our website at NJMAA.org for more information and become a member.

Band Performance Al Bazzel 856-358-2054 fenwayfollwer5@comcast.net

Greetings from the Band Division. We hope you are having a great school year. There are a few dates of importance coming up soon. Auditions for All-State Band will be held at JP Stevens High School on Saturday, January 19th. The snow date will be Sunday, January 20th. All-State Orchestra woodwinds, brass, and percussion are also selected based on the results of these auditions. Peter Bauer is our auditions chair. We would like to thank the administration at JP Stevens for allowing us to use their facilities, and Andy DeNicola and John Zazzali for hosting auditions again this year. The All-State Band first rehearsal will be held at South Brunswick High School on Thursday, January 31st from 5:00-9:00pm. Please remind your students who are selected to the ensembles to bring the required paperwork and payments to this rehearsal. Special thanks to the administration at South Brunswick and to Mark Kraft and Donna Cardaneo for hosting the first rehearsal. continued on page 12 TEMPO 10

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& News From Our Division Chairs & The All-State Band weekend will be held February 21-23 in New Brunswick, with the concert taking place at NJPAC in Newark on the 23rd at 3:00pm. Bruce Yurko is our All-State Solo Chair. Any suggestions for solos to be added to the list should be submitted to Bruce or your region representative before January 17th, and must include a rationale and a copy of the sheet music as part of the proposal. All-State Band Procedures Committee members from each region are; Region I - Lewis Kelly, Gregory Mulford and Mindy Scheierman; Region II - Jules Haran, Mark Kraft, and Brian Toth; Region III - Ed Cook, Deb Knisely and John Stanz. We would like to take a moment to acknowledge Bruce Yurko on the performance of his composition “Red Tail Skirmish” at The Midwest Band and Orchestra Clinic on Wednesday, December 19, 2012. The piece was commissioned and performed by the United State Air Force Ceremonial Brass. Congratulations Bruce! Just a reminder; there is still time to join the consortium for the New Jersey All-State Bands’ 75th Anniversary commemorative piece by Dana Wilson. Individuals and organizations that contribute a minimum of $500.00 will receive a complete set of the score and parts as well as performance rights for their ensemble. For more information and consortium form please contact Lewis Kelly at lkelly@woboe.org. The Procedures Committee will be meeting during the NJMEA Conference on Friday, February 22nd at 5:45pm. We hope to see you there.

Choral Performance Kathleen Spadafino 732-214-1044 kspadEB@aol.com

Welcome to a new year! I’m sure we are all glad to look forward to normalcy in our homes and schools. This past fall has had a major impact on our lives, and the Choral Procedures Committee and I hope you are all recovering. NJMEA has been severely challenged as All-State Mixed Chorus and Orchestra had both of their November concerts - in Atlantic City at the NJEA convention, and then at NJPAC, canceled. Heroic efforts to get new rehearsal dates and housing just ran into too many conflicts and problems. Many, many thanks to our managers, Judy Verrilli and Sue Belly, for answering literally hundreds of emails with questions from anxious directors, students and parents. Joe Cantaffa, our coordinator and Keith Hodgson, president of NJMEA, also worked tirelessly in the midst of much confusion and setbacks. As we go to press, NJMEA is still looking into alternatives for the Mixed Chorus/Orchestra experience, but no decision has been made. These problems have been unprecedented, and everyone involved with the All-State Mixed Chorus is deeply sorry for the loss to our students. Our conductor Art McKenzie, accompanist Anthony Rafaniello and Choral Procedures members all were working hard towards another fabulous concert, and I hope that you all appreciate the time and effort that everyone has put into this situation. Other NJMEA activities have continued, however. NAfME All-Eastern Chorus members have been chosen for their concert at the Eastern Division Conference in Hartford, CT on April 4 – 7, 2013. Governor’s Award nominees were auditioned and four members were selected to receive the award this year. They are: Lauren Magsaysay (Livingston HS); Matthew Lynn (Westfield HS); Augustine Glazov (Montgomery HS); and James Forrestal (Cranford HS). Congratulations to these talented singers and their choral directors! Our All-State Chorus journey continues as well. Our All-State Women’s Chorus, will perform at NJPAC on Saturday, February 23 as part of the NJMEA convention. The girls are enjoying their repertoire and their conductor, Lucille Kincaid. Please join us at the convention and their concert. Soon it will be time to prepare your students for the 2013-2014 NJ All-State Chorus auditions! The director packet, student packet and audition requirements packet will be available at www.njmea.org by mid January. Please read all information carefully and take note of all deadlines. Also, make arrangements to serve as a judge if you haven’t done it in the past 4 years. Dates are April 13 and April 20 - contact me if you’re not sure. Many thanks to those who volunteer every single year! All of our students gain much from the audition experience every year, and acceptance into All-State Chorus has helped many programs continue their level of excellence. I look forward to seeing you at the auditions!

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& News From Our Division Chairs & Opera Festival

Stevie Rawlings 201-261-7800 x3069 srawlings@paramus.k12.nj.us

The future state of the NJMEA All-State Opera Festival is safe, having fortunately held the auditions on October 26th at Paramus HS, prior to the “Sturm and Drang” of the century. Over forty vocalists auditioned for Metropolitan Opera singers, Wendy White and John Hancock. “It is thrilling to hear so many fine, young singers performing this literature”, said the judges over and over again. Fifteen soloists, two duets and one large ensemble earned a featured spot on the Opera Festival Concert program, held on November 17th at 3p at Paramus HS. All who auditioned performed in three opera choruses; “The Humming Chorus” from Madame Butterfly by Puccini; “Va, Pensiero” from Nabucco by Verdi; and “Libiamo” from La Traviata by Verdi, conducted by sponsoring directors. Three operatic orchestral offerings by the Paramus String Orchestra joined by All-State orchestra players, rounded out this most exciting festival event. Congratulations to the following award winners: • Highest Scoring Male-Michael Kirkland, Westfield HS, Governor’s Award • Highest Scoring Female- Sarah Korath, River Dell Regional HS, Governor’s Award • Second Highest Overall Score-Christian Davakis, River Dell Regional HS Special Commendation • Highest Scoring Small Ensemble- Duet by Sarah Korath and Jane Spadaccini, River Dell Regional HS, Madame Paunova Small Ensemble Award, “Governor’s Award” • Highest Scoring Large Ensemble - The “Prem1ers”Paramus HS, Francesca P. Kubian-Geidel Large Ensemble Award, (Governor’s Award) • Highest Overall Score -Michael Kirkland, Westfield HS C. Scripps Beebee Scholarship Award The Opera Festival Workshop day began at 9:30 am with a Voice Master Class by internationally acclaimed lyric tenor, Ronald Naldi. Naldi has brought his art to the stages of the Metropolitan Opera, Verona Opera, Opera de Camera of Rome, L’Opera Francais, New Jersey State Opera, Lyric Opera of Chicago and Salzburger Landestheater. He holds a BM and an MM in voice from Indiana University. Interestingly and fortunately for us, Naldi was a participant in the NJMEA Opera Festival “many” years ago and won the C. Scripps Beebee Scholarship Award as a high school tenor. He later returned “in the sixties” as a guest artist to perform in the festival concert. This year, he shared his knowledge and expertise by presenting the young singers with a Voice Master Class, addressing their specific, prepared arias. Ronald Naldi is an extraordinary example of the fulfillment of the mission of the NJMEA All-State Opera Festival: providing an arena for young singers to study, hear and experience performing operatic literature on a high level. “Kudos” and “Bravissimos” to Claudette Peterson (Master of Ceremonies), David Kline (Videographer) Mike Kallimanis (Audition Chair) and Francesca Kubian (Festival Accompanist) for their tireless, unflappable expertise and dedication.

Orchestra Performance Susan Meuse 908-231-0230 susanmeuse@gmail.com

Happy New Year! I’m sure we are all looking forward to starting a new year and moving on from a difficult fall. I know that many people have had a long and difficult recovery from the unexpectedly devastating storm. On behalf of the Orchestra Procedures Committee, I hope that you and your families are safe and sound. Our hearts go out to those who lost so much. Unfortunately, the impact of the storm resulted in the cancellation of the November All-State Orchestra and Chorus concerts. Despite a great effort on the part of the Procedures Committees and the NJMEA Board, we were not able to reschedule continued on page 14 and perform last fall. As I am writing this, NJMEA is still working on another performance opportunity for these JANUARY 2013

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& News From Our Division Chairs & groups, but there is no final decision yet. All the decisions are being made with the students in mind. Thank you so much to Keith Hodgson and the NJMEA Executive Board for working so hard to try to keep the All-State experience intact for these students. Thank you to Coordinator Joe Cantaffa for your efforts to work with everyone to make the best decision. Thank you also to the All-State Orchestra staff for all of your hard work through this difficult time: managers Mike Kallimanis and Laura Kearney and percussion coordinator Chris Janney. Thank you also to our conductor, Maestro John Yaffé for rehearsing these students so well, and being so understanding throughout this time. Now we look forward to the New Year and new All-State groups coming together. This year the orchestra auditions will be held on Saturday, March 16. I am looking forward to seeing all of the orchestra directors there as usual! After the auditions, we will have the new All-State Orchestra and All State Intermediate Orchestra selected. I’m sure we are all looking forward to hearing the 2013 All State Orchestras!

Retired Music Educators Christine Sezer 570-756-2961 drcsezer@gmail.com

Best Wishes to all for a Happy and Heathy New Year! In spite of a very difficult November due to the hardships suffered by many as a result of hurricane Sandy, I hope all your holidays were still filled with peace and special times with friends and family. The mentoring program that we began last year continues - it gives us the unique opportunity to share all our years of knowledge, talent and experience and off advice with educators who may seek it -especially the young teachers who often times are at a loss when faced with certain situations or problems they don’t know how to cope with or just need advice or help. There are a variety of catagories listed on our website - if you are interested in being part of the mentoring program (and you certainly should be, your expertise and knowledge is really important and very valuable) please contact me with the catagories you would like to mentor. Your name, phone number and email will be added to the catorgories listed on our website. Teachers would contact mentors listed on our website and discuss their situations/problems/ needs for advice with the mentors. I think we could make a difference in assisting many teachers. Many times experience is the best way to solve unique situations and problems that may arise in the life and times of a music educator. I’m sure with all of our many years of teaching we have all had our share of those “unique situations” that we had to solve with no one to help us or advise us. so please become a part of our mentoring program! You may contact me by phone (570)756-2729; (570)756-2961 or email drcsezer@gmail.com to let me know the catagories you would like to mentor- I need your name, phone number and email for our website. We would like to thank Bill Workinger for his many dedicated years of service on the NJRMEA Executive Committee. We sincerely appreciate his sharing his time, knowledge, experience and expertise. We would also like most sincerely thank Altha Morton for her years of sharing her time, talent and experience and dedicated service as NJRMEA Secretary. Both Bill and Altha will remain as mentors on our mentoring catagory listing. We welcome Kathy Spadafino as our next NJRMEA President-Elect and also our new Secretary. Kathy has many years of much knowledge, expertise and experience and she and Beverly Robinovitz, our next NJRMEA President will certainly make a great team (my term will end July 1st). Hopefully we will see you at our General Membership meeting at the NJMEA Conference on Friday February 22, 2013. The meeting is usually 10:15 a.m. Check your conference booklet for exact time and place. We will also have our “2013 Master Music Teacher Award” presented at the luncheon to Tom Voorhis. As always Marie Malara has planned a GREAT conference -so please don’t miss it! Other dates to put on your calendar are: Wednesday , March 6, 2013 at12 noon which is an executive board meeting at the Seville Diner, in East Brunswick; and Wednesday, May 15th which is a general membership meeting at 10:00 a.m at the House-by-the-Sea; Ocean Grove. I look forward to seeing you in East Brunswick at our NJMEA State Conference!

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JANUARY 2013

& News From Our Division Chairs & Summer Workshop Coordinator Joe Akinskas JoeA_NJMEA@comcast.net

Summer Workshop VI I am pleased to announce that Summer Workshop VI will take place on Tuesday, August 6, 2013 on the campus of the College of New Jersey in Ewing. Presenters needed: 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, via email, to njmeasummerworkshop@comcast.net or JoeA_ NJMEA@comcast.net, on or before April 1, 2013. I would also like to take this opportunity to thank last year’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, www.njmeasummerworkshop.com, to scan the pictures which reflect an enjoyable and productive day. At the conclusion of the previous workshop, 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. I would like to share some of the survey responses with you to help generate topics for the next event, as well as view the commentary by our participants. We look forward to developing the next workshop with your help. Think summer! Joe Akinskas Summer Workshop Coordinator JoeA_NJMEA@comcast.net 6. In what respect(s) was the workshop most productive for you? • The reading sessions. WE NEED MORE CHOIRS TO SHOWCASE WE NEED TO SEE WHAT’S GOOD IN THIS STATE. • I really benefited from the percussion workshops. I got a lot of good ideas for teaching my percussionists and maintaining my equipment. I also got some new activities for my general music class. I really enjoyed the Drum Circle. • The workshop helped me get some instructional ideas for a new subject area that I will be teaching. • I like interacting with colleagues throughout the state. I try to schedule workshops for myself that are diverse, so that I can learn that much more and branch out. The workshop is evolving each year in its diversity of topics and approaches. I really appreciate that aspect of your vision in the planning each year. • Since I’ll be teaching instrumental music in the fall as a new assignment, it was helpful to attend the workshops for instruments I’m less familiar with. • Very much enjoyed the format, my 1st summer workshop; • The workshops offered were in line with my (new) teaching assignments, and inspired me to stray from the familiar. • The “_____ for the Non-_________” classes were great. I even went to the one for my own instrument section and learned valuable tips! • I still need help with learning about technology and how I can incorporate it into the program with a tiny budget. This is where I get the most suggestions for free or low cost materials and software. • I found technology to be the must helpful. The presenters did a very good job in presenting a lot of info in a limited amount of time. • As a way to connect with colleagues and reinvigorate teaching with new ideas. • Exchanged ideas, restructuring difficulties, budgeting problems, and common problems facing us all as we teach music generally now instead of specifically. • I like the mix of topics available in the individual sessions. I can brush up on skills as I see fit. • There were two actually: Infusing Literacy into the Music Program, and the MS reading session. -I’m always happy for the reading sessions. I invariably come up with at least a piece or two for my library. -I appreciate as well the tech workshops, particularly considering the rapid changes that continually take place in this area. continued on page 16

JANUARY 2013

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& News From Our Division Chairs & • I am interested in music technology and wanted to get some tips on how to use my IPad in the General music classroom. • I enjoyed the time devoted to networking. • The technology sessions were innovative and informative. • The sessions in my main area (choral) were informative and helpful. • I stuck mostly to technology (and attended the revitalizing general music workshop because I knew that the presenter would be talking about GarageBand with middle school). I felt that the first GarageBand workshop was useful for helping attendees become familiar and comfortable with the program. However, I was hoping to learn more about using GarageBand in a classroom setting - either lesson plans or managing individual projects, etc. I really felt the iPad workshop was great - just good information sharing - really helpful! • The most valuable information came from workshops in instrumental areas which are not my forte, eg. brass for non-brass players, percussion for non-percussionists, etc. • Reading sessions and hands on tech were the best! Stuff I could really use. • The GarageBand hands on “play” time was most useful--I learned more than I knew before about how to manipulate the software, i.e. adding tracks and loops. My students have access to iMacs and MacBooks so I will definitely use this newfound skill. Thank you! • The iJam was useful in that my students have access to iPads at school and I needed to experience the virtual instruments before school started as I do not personally own an iPad. • I use SmartBoards on a daily basis and will also use the info. from that session. • I learned many practical ideas to implement in the classroom right away reading music and learning about vocal percussion. • I enjoyed having a wide variety of workshops. I was glad to see that there were workshops being offered in all levels. I enjoyed hearing the “Rock and Roll Chorus!” • The iPad workshop was wonderful - I got some great app ideas I know I’ll use in the classroom. All of the sessions and presenters were great. • I am currently looking for a job and being able to keep in the loop as to what is happening in music education as well as being able to obtain new skills is a huge help for me. • The workshop was most productive for me because I acquired more lesson ideas that enhance the teaching of students that may have special needs. The workshops also inspired me, as I facilitate musical experiences in the classroom, to continue investigation and utilization of the ever growing technological tools. • Gave me insights in how to be a better teacher. Gave me some new ideas in what to teach. Gave me a renewed energy and excitement for the new year. Chance to meet with colleagues and discuss similar experiences. • In addition to identifying the issues and subject of each workshop, the presenters actually shared ideas and successful tips. Sometimes presenters spend too much time identifying the concept without offering workable solutions. • Addressed very specific problems in instrumental teaching, Got a pointer from each session. • Information with relevant, supported with handouts and references, questions were addressed and speakers were professional, creative, supportive and delightful. • Great new ideas -- and reminders of things I already knew but hadn’t been using. • Listeing to colleagues and hearing their experiences. • I’m always looking for new ideas & ways to teach. I came away with a new bag of tricks! • You did a fabulous job organizing and executing the summer workshop! I learned so many things I can bring back to the classroom. I love Summer Workshop! Thank you! • Networking and refreshing new ideas for the new school year. 7. In your opinion, what area(s) of information is/are needed? • State Standards. More groups coming in. • I can’t think of any. • Technique, tone production. Problem- solving areas for instrumental. Challenges for small sized districts and performing groups with gaps of instruction. • I wish that more people would attend this fabulous offering of NJMEA. Please advertise your summer 2013 workshops this coming winter at the February 2013 conference! Is there a way we can (as attendees today) advertise your efforts to our circle of colleagues in our neighboring districts? I suppose I wish your attendance was staggering, because you guys do such a super job! • More technology, assessment ideas and information, NJ core curriculum standards, cross-curricular ideas. continued on page 18 • Please provide water as a beverage option in the morning and that is really the only thing I felt was lacking. TEMPO 16

JANUARY 2013

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Graduate M.M. in Performance M.M. in Jazz M.M. in Multiple Woodwind M.A. in Music Education

njcu.edu/mdt 2039 Kennedy Boulevard Jersey City, New Jersey 07305 JANUARY 2013

Worth It.

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• Choral teaching for elementary school choirs. • Technology because it is always evolving. • More on urban education. • Accomplishing the most in the least amount of time. • Definitely something along the line of the literacy workshop with curriculum because of the differing levels of integration that is coming upon us all. I thought that this workshop broached it quite well without diluting our own programs. • Also, definitely something on the coming evaluation process. That should be dealt with quite seriously by NJMEA at both the November and February meetings. • I’m always glad for project ideas that can be used in lesson planning. • I think the sessions were good but it would have been nice if you had some vendors for people that wanted to purchase music to start their year. I went to another summer workshop and we were able to buy anything that we saw at the sessions. • Information about the impact of new teacher evaluation system. (Perhaps include this as a keynote session that everyone can attend). • I was hoping for workshops on elementary choral/developing young voices. I have young choirs and would like to have some more information for working with that age group. The choral reading sessions seemed interesting but geared toward an older student population. • More Joe Cantaffa workshops! He’s awesome. • More hands-on with the SmartBoard. • I could use a workshop on motivating middle school students, either in general music or in joining chorus. • More on technology uses in choral rehearsals. • Next year, it would be helpful to know what age level the classes are being geared towards. I found it very hard to judge based upon the name of the class. • I would love to see an Elementary Choral music reading session. • I’d like to see more of what can be done with younger special needs students particularly Pre-K through 1st grade. • The music reading sessions contained too much holiday/Christmas music. That should be separate. • A session on music theater for children, putting on shows/choreography/staging/design could be offered. • Would have liked a middle school reading session-conducting tips. • More time to share experiences. • Maybe more general ed. workshops for the beginning of school, i.e. activities for the first month. &

John J. Cali School of Music at Montclair State University – College of the Arts Degrees: Bachelor of Music s Bachelor of Arts s Master of Arts s Artist’s Diploma s Performer’s Certificate Programs: Music Education, Performance, Jazz, Music Therapy, Theory/Composition Brass, Guitar, Harpsichord, Organ, Percussion, Piano, Strings, Woodwinds, Voice

For information contact 973-655-7610 or musauditions@mail.montclair.edu

montclair.edu/music

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Cali School of Music 1 Normal Avenue Montclair New Jersey 07043 973-655-7212

JANUARY 2013

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The ABC’s Of Special Ed by Maureen Butler Lake Drive School mbutler@mtlakes.org

t seems that the world of special education is filled with letters and acronyms: IDEA, IEP, FAPE, to name just a few. What do they all mean? Here are some definitions, along with some suggestions, that will help you navigate through this world as you try to make your music lessons accessible to all your students. CP - Cerebral Palsy This is a term that encompasses chronic, or life-long conditions resulting from injury to specific parts of the brain (cerebral) and affecting body movement (palsy). Children may have stiff and difficult movement (Spastic Cerebral Palsy); involuntary and uncontrolled movement (Athetoid Cerebral Palsy); problems with balance and depth perception (Ataxic Cerebral Palsy); or a combination of any of these symptoms (Mixed Cerebral Palsy). Additionally, the part of the brain that controls muscle tone is affected, so children may have increased, decreased, or fluctuating muscle tone. Your school’s occupational and physical therapists will evaluate students with CP, and can help you accommodate the physical needs of your students. E/BD - Emotional and Behavioral Disorders The term “behavioral disorder” is sometimes preferred to the more negative sounding “emotional disorder.” According to IDEA, children with E/ BD exhibit: • An inability to learn that cannot be explained by intellectual, sensory, or health factors • An inability to build or maintain satisfactory interpersonal relationships with peers and teachers • Inappropriate types of behavior or feelings under normal circumstances

• A general pervasive mood of unhappiness or depression • A tendency to develop physical symptoms or fears associated with personal or school factors The student with behavior disorders cannot simply “behave,” so be sure to have realistic expectations, to follow the guidelines set forth in the IEP, and to network with relevant staff members for guidance. FAPE - Free and Appropriate Public Education Section 504 of the Rehabilitation Act of 1973 guarantees that all students with disabilities be educated in an appropriate setting, either in the student’s home district or in another placement. It may be appropriate for a student to be in the regular education classroom, a special education classroom, or some combination of those, in addition to receiving any needed related services such as speech therapy, occupational and physical therapies, etc. IDEA - The Individuals with Disabilities Education Act This federal law that was originally passed in 1990 has been reauthorized in 1997 and again in 2004. It ensures the rights of special education children to obtain necessary services in an educational setting, and regulates early intervention, special education, and related services provided by states and other public agencies. IEP - Individualized Education Program – This document is a legal, binding agreement between parents, school districts, and a student’s school setting if outside the home district. A student’s IEP will dictate the modifications and accommodations that are necessary to maximize the student’s learning potential.

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Each year the case manager, parents, and teachers meet to update the IEP; every three years, a full evaluation of the student takes place to determine both that the student still requires special services and if the needs of the student are being met in his or her current placement. If you have questions about a particular student, the IEP is an excellent place to obtain information. LD - Learning Disabilities These describe a group of processing disorders that are neurologically based, and are related to reading, writing, math, or memory skills. There are several different types, all of which may impact your music students’ abilities to learn: • Dyslexia – A student with this language-based disability may have difficulty understanding song lyrics, worksheets, tests, and other written material. • Discalculia – A child who has difficulty grasping math concepts may also have trouble with such activities as reading music and learning fingerings. • Disgraphia – This writing disability can affect a student’s ability to write rhythmic and pitch notation, form letters, or write within a specified space. • Auditory Processing Disorders – This does not refer to a hearing loss, but to a deficit in the brain’s ability to process, remember, and understand what is heard. • Visual Processing Disorders – Similarly, this does not refer to a vision loss, but to the brain’s ability to make sense of what is seen. Students may have a hard time copying what is seen, writing in correct order, and keeping their place as they read. JANUARY 2013

Understanding the nature of specific learning disabilities will help you adapt your lessons and activities to your special learners’ needs. LRE - Least Restrictive Environment Although there may be disagreement as to how this can be interpreted, this part of IDEA protects the rights of children to be included in the regular education classroom with their peers. For some students, however, the least restrictive environment is a special education setting. PDD - Pervasive Developmental Disorder This term encompasses a group of disorders characterized by delays primarily in social and communication skills, along with repetitive behaviors and an absence of imaginative play. It has been used interchangeably with ASD, or Autism Spectrum Disorder, and describes disorders throughout the spectrum, including Childhood Disintegrative Disorder, Rett’s Syndrome, Asperger’s Syndrome, and Pervasive Developmental Disorder Not Otherwise Specified (PDD-NOS). Children with PDD will have uneven development of skills; they may be proficient in some skills while deficient in others. You’ll notice that these children might have difficulty with transitions and changes in routines, and may exhibit temper tantrums, aggression, or anxiety. Additionally, they may have sensory processing issues that cause them to be either hypersensitive or hyposensitive to auditory, visual, and tactile input. PDD-NOS refers to children who display some autistic characteristics, but whose behaviors are either too mild or don’t meet all the criteria for a specific disorder. No two children on the spectrum are exactly the same; you will see a various combinations of behaviors as well as a difference in the severity of behaviors. Your special learners have struggles that impact their musical behaviors in a variety of ways. Learning as much as you can about them will help you provide more successful opportunities for them – and that’s as easy as knowing your ABC’s! For more information, check out these resources: Adamek, Mary S., and Darrow, AliceAnn, Music in Special Education, Second Edition, Copyright 2010, The American Music Therapy Corporation JANUARY 2013

http://cecp.air.org/resources/20th/eligchar.asp http://www. about-cerebral-palsy.org http://www.ldonline.org/ldbasics/whatisld http://www.ninds.nih.gov/disorders/pdd/pdd.htm http://www.autismspeaks.org/what-autism/pdd-nos http://idea.ed.gov/ http://www2.ed.gov/about/offices/list/ocr/docs/edlite-FAPE504.html

With a program and faculty reflecting Messiah’s reputation for academic excellence, Messiah College’s M.M. in conducting enhances your abilities as an effective music educator and conductor. • Three specialized conducting tracks to advance your education and career: wind, orchestral, choral • Emphasis on summer and online coursework, designed to fit the schedules of busy teachers and other professionals • Coursework designed to be instantly applicable to your own everyday work setting

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Let William Paterson University help with your next career move. Our M.M. specializations combine face-to-face and online courses within the music education concentration.

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University of Massachusetts Amherst Department of music anD Dance BA in Music BM in Jazz, History, Music Education, Performance & Theory/Composition MM in Collaborative Piano, Composition, Conducting, Jazz Composition/Arranging, Music Education, History, Performance & Theory

Audition Dates

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Applicants for Spring and Fall 2013: December 1 Early action for Fall 2013: February 2 & 16 Regular applicants for Fall 2013: March 2 Transfer applicants for Fall 2013: March 30

Tuesday, November 27, 2012 Tuesday, February 12, 2013 Saturday, March 2, 2013 Tuesday, March 26, 2013

For More Information: cthornley@music.umass.edu or 413-545-6048

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Tips to Share with

Parents

The Many Benefits of Music Education Schools that have music programs have significantly higher graduation rates than those without music programs (90.2 percent compared to 72.9 percent). On average, students in music performance scored 57 points higher on the verbal and 41 points higher on the math section of the SAT than did students with no music participation.

Parents wield extraordinary influence over local principals, school boards, and other decision makers. Encourage them to become involved in the advocacy process and make a significant difference in the quality of their child’s music education program. Here are some simple, time-effective ways parents can assist their child’s school music educators: Access the Status Quo • Study the ways that music education develops creativity, enhances cooperative learning, instills disciplined work habits, and statistically correlates with gains in standardized test scores. • Speak with your local school board about your desire to have a strong music education for your child. • Find out if music classes in your schools are taught by teachers certified in the arts; see to it that arts specialists are required by policy.

Visit www.nafme.org for more Parent Resources.

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Communicate Effectively • Speak at meetings of your school board about the importance of supporting music education with funds for teacher training, equipment and supplies, and music-related activities. • Be in touch with local music teachers on a regular basis. • Ask yourself why your children need high quality music education. Be able to articulate the answers to teachers, administrators, and other parents. • Take part in your school’s music booster organization. • Make certain that your local media give adequate coverage to the accomplishments of your school’s music program.

JANUARY 2013

Tips to Share with

Your Principal

The Many Benefits of Music Education Principals and school boards have the ability to substantially aid music educators in their quest to enrich children’s minds through music. Fostering a strong music program will help them achieve their goals as a leader in the education community, and, most of all, will aid the growth and development of children in their school.

Here are some simple, time-effective ways principals can assist their school’s music educators: Create and Foster an Environment of Support • Study the ways that music education develops creativity, enhances cooperative learning, instills disciplined work habits, and correlates with gains in standardized test scores. • Make clear that all students, not just the gifted, talented, or affluent, deserve the opportunity to achieve high levels of skill in music. • Provide adequate funding for instruments and music education materials. • Make certain that your school has a fully staffed faculty of certified music teachers.

Visit www.nafme.org for more Principal Resources.

JANUARY 2013

Communicate Constructively • Make statistical studies and research supporting the value of music education available to other administrators and school boards. • Ask music advocates to speak at PTA and community meetings, or ask your music teacher to set up performances to keep the education community apprised of students’ achievements. • Encourage music teachers to support their cause by writing articles in local newspapers, professional journals, or by blogging online about the value of music education. • Share your students’ successes with district colleagues. Include articles in school and district newsletters to communicate the value of music in a student’s education.

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Higher Education And The Young Guitarist Part I - Classical Guitar By Thomas Amoriello and Matthew S. Ablan Flemington Raritan School District tamoriel@frsd.k12.nj.us

n recent years the guitar has come to prominence in middle and high school music programs, but many music educators are ill-prepared to offer guidance to young guitarists wishing to continue their studies on the university level. Many music educators are qualified to offer advice to band, orchestra, and choir students but lack the appropriate information about guitar because they themselves are not “main stream” players. Thus, a good deal of music educators are not as well-versed in the “guitar culture” as someone whose sole focus has been on the instrument. When a student is considering studying guitar at the university level, there are several styles to choose from: classical, jazz and contemporary guitar. Each of these playing styles corresponds to that particular style of music (as the name implies) and has a unique way in which that style is approached. This article is the first of three which will identify for music educators what students can expect when pursuing guitar studies on the collegiate level. It is set in a table format allowing one to easily compare and contrast guitar studies in 2 and 4 year college music programs and inform how such educational programs differ from conservatory training. Future articles will approach guitar studies from the jazz and contemporary viewpoints. For a more in-depth explanation of the “basics” when applying to college music programs please consult the October 2011 TEMPO article; Some Items To Know When Auditioning For A

Bucknell

Music Program For Higher Education, by Lawrence De Pasquale. De Pasquale outlines areas of the audition process such as ear training, keyboard skills and written theory, which all potential music students should be familiar with. The article presented here focuses on classical guitar studies. Classical guitar has a historic repertoire from the Renaissance Period to Modern Day “classical” and is a style of playing defined by the use of a nylon string acoustic guitar by which the strings are plucked with the fingers. In recent decades the guitar has surged in popularity and most college and university music programs have adopted the classical guitar as an instrument of study. Once considered simply a “folk instrument” the guitar has earned a place beside instruments like the violin and piano in the halls of higher learning. To gain insight from different areas of higher educational classical guitar instruction, we interviewed three instructors: Stanley Alexandrowicz from Cumberland County Community College in Vineland, NJ; Jerry Willard from The State University of New York at Stony Brook in Stony Brook; NY, and Jason Vieaux from The Cleveland Institute of Music in Cleveland, Ohio. Each was asked about their program and what a university level player might anticipate, with the focus related to undergraduate studies with an emphasis on the performance major.

expressive performance creative improvisation discovery and invention cultural and historical analysis

Bachelor of Music in: Performance Composition Music Education

Bachelor of Arts

www.bucknell.edu/music

“Creative risk-taking is a hallmark of studying music at Bucknell; it’s exciting — and just a little bit dangerous.” TEMPO 28

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School Name

Cumberland County Community College

The State University of New York at Stony Brook

The Cleveland Institute of Music (Music Conservatory)

Degree Type

Associate of Arts

Bachelor of Arts

& Years to Complete

2 years

4 years

Bachelor of Music in Guitar Performance 4 years

Estimated Annual Cost

$110 per credit

$7,560

$40,300

(Tuition & Fees Only)

(in-county)

(in-state tuition)

Classical Guitar Instructor Artist Webpage

About The Teacher

$120 per credit

$18,180

(out-of county)

(out-of state)

Stanley Alexandrowicz

Jerry Willard

Jason Vieaux

www.jerrywillard.com

www.jasonvieaux.com

www.stanleyalexandrowicz.com

Accomplished player of many Performer/Scholar in the field of Co-founder of the guitar fretted instruments including: the 19th Century Romantic Guitar department at The Curtis Institute arch lute, Renaissance lute, Baroque music of Music guitar and 19th century guitar Commissioned and/or premiered Author of 14 publications and over 100 Contemporary works transcriptions for classical guitar for guitar Performs regularly as a soloist, chamber musician and orchestral 4 commercial recordings soloist Performs regularly as a soloist, Averages 25-30 concert chamber musician and orchestral engagements per year soloist Expert in guitar ergonomics and Performer/Scholar of Renaissance advanced pedagogy and Baroque music

11 commercial recordings 1st prize winner 1992 GFA International Guitar Competition Naumburg Foundation top prize winner 1995 Artistic Ambassador of the US to Southeast Asia Averages 50-60 concert engagements per year Performs regularly as a soloist, chamber musician and orchestral soloist

2 commercial recordings

Opened online school - the Jason Vieaux School of Classical Guitarâ&#x201E;˘ - video lesson curriculum Applied Guitar (guitar as principal Undergraduate students of varied Expected Level Of Playing Ability instrument) has variety of skill skill level generally taught by levels teaching assistant

High level of musical and instrumental accomplishment

Instructor will occasionally take on very talented undergrads

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Guitar Audition

Interview/audition to assess musical background & instrumental 2 pieces from standard repertoire performance skills Major/Minor scales

Requirements

Sight reading at basic level

3 pieces of contrasting style Major/Minor scales Slur Studies Sight reading Short interview with instructor

Non-Guitar Audition Requirements

Interview to access background in music theory, ear training, sight reading and music history

1 hour exam in rudimentary music theory & musicianship

Music theory exam Ear Training exam Eurhythmics exam

Guitar Related Activities

Weekly lessons

Coaching’s in chamber music and ensemble playing

Guitar Workshop: combination of ensemble playing & guest artist masterclasses

Weekly seminar class Guitar Pedagogy class Guitar Literature class Ensemble performances Ensemble coaching’s Outreach performance opportunities Visiting guest artist masterclasses

Graduation Requirements apart from normal class load

Music Business Course(s)

Perform for a music faculty jury at Perform for a music faculty jury at the end of each semester the end of each semester Recitals not required, but strongly Recitals not required, but suggested encouraged

Full length recitals required during Junior & Senior years Recitals may incorporate chamber & solo repertoire

Not Applicable

No “official course”

Not Applicable

Seminar class can be a vehicle to talk about the music business

It is important that students wishing to study classical guitar at the university level have a rudimentary understanding of what the style encompasses. Students should appreciate and enjoy classical music and the repertoire associated with the guitar (see listing below), have familiarity with various classical guitarists (current and past), know the terminology associated with it, and ideally have some experience playing the style before embarking on studies in college. Suggested Method Books And Repertoire For College Level Classical Guitar Studies: • Bridges: Preparatory Guitar Repertoire and Studies by The Carnegie Hall Royal Conservatory Achievement Program For Guitar, Volumes 1-8 • Collected Works For Solo Guitar by Heitor Villa-Lobos. • Fernando Sor: The Complete Studies, Lessons, and Exercises for Guitar, Edited by Brian Jeffery TEMPO 30

• Guitar Works I (with 20 Etudes) (Guitar Solo). By Leo Brouwer • Julio S. Sagreras Guitar Lessons: Books 1-6 (English and Spanish Edition) • Matteo Carcassi: 25 Etudes for Guitar, op. 60, edited by Brian Jeffery • Mauro Giuliani: Complete Giuliani Studies – Compiled and Edited by David Grimes • The Solo Lute Works of Johann Sebastian Bach: Edited for Guitar by Frank Koonce

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Once students begin their search for schools to attend and teachers to study with, it should be expected that the audition process, expected skill level for entrance, and programs themselves are not aligned in the same manner. Moreover, one can expect that not all university level instructors are the same as they each possess different areas of musical expertise, teaching abilities and levels in career status. From the information gathered it is of little surprise that conservatory studies are more intensive than most colleges. There is a high expectation of playing ability and musical skill, set prior to enrollment because the nature of conservatories is to emphasize performance. Moreover, because of the emphasis on performance conservatories offer guitar specific classes which are part of a “guitar curriculum” and require recitals in order to graduate. These intensive studies do come at a premium, as conservatories will tend to be more expensive than local or state schools. Guitarists with lesser experience (musical or playing ability) may wish to begin studies at a two year college as entrance requirements are less stringent than conservatories or four year schools. Two year colleges are a good place for a student to “dip their feet” and see if pursuing guitar performance is ideal for them. Four year colleges offer students a “middle ground” as there is an expected level of playing ability and musical skills prior to acceptance into the program. Guitarists study in the music department and take lessons with either the primary instructor or their graduate assistant. Music departments tend to offer less guitar specific classes because faculty may not be full-time and/or there may not be funding available. Given the access to the Internet there is no lack of information available to students seeking quality teachers. Students should research potential teachers by attending concerts, listening to recordings and reading articles written by those they would like to study with. It is also highly recommended that students schedule a few lessons with potential teachers prior to enrollment to gauge their instructional approach and to see if personalities “gel.” Furthermore, students should schedule lessons with several different teachers and compare approaches. If this is not logistically or financially possible, then at least schedule a few lessons with a former pupil of the teacher in question. Moreover, it may be possible to study “online” with a teacher as is the case with Jason Vieaux. Vieaux has partnered with a leading music technology company called ArtistWorks™ to create the “Jason Vieaux School of Classical Guitar™” where subscribers submit videos of their playing (or questions) to which he can respond in kind. Additionally, there is an entire curriculum of video lessons for students online. The pursuit of guitar studies on the collegiate level is a challenging and worthwhile experience for a young musician. Yet they should be aware that playing the instrument will not be their only obligation; there is a normal class load as well as courses required for all music majors. Time management skills are of the utmost importance to ensure a regular practice routine. However, in the end, the experience and lessons learned will create a well-rounded musician.

Thomas Amoriello is currently teaching General Music/Guitar Class & Chorus at Reading Fleming Intermediate School in Hunterdon County. He is a graduate of Rowan University and Shenandoah Conservatory. He was an adjunct guitar instructor at Cumberland County College from 19992005. He has presented guitar workshops for various music organizations including the NJMEA, Guitar Foundation of America and Philadelphia Classical Guitar Society. He is proud to endorse The Guitar Wheel, D’Addario Strings and Guitar Picks by Steve Clayton, Inc. You can learn more about Tom by visiting www.tomamoriello. com Matthew S. Ablan is an elementary music educator in Charlotte, North Carolina. He is a graduate of SUNY Stony Brook and The Cleveland Institute of Music as well as holding a Masters in Music Education from Case Western Reserve University. Ablan’s list of teaching credentials include having served as adjunct instructor of classical guitar studies at Allegheny College in Meadville, PA and maintaining a successful private guitar studio for close to two decades. Most recently he was a guest lecturer at the 2012 Guitar Foundation of America International Festival and Competition in Charleston, SC. For more information about Matthew please visit: www.matthewablan.com

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For more information, visit

ROWAN.EDU/MUSIC

BACHELOR OF MUSIC PROGRAMS • Composition • Education • Jazz Studies • Liberal Studies • Performance MASTER OF MUSIC PROGRAMS • Composition • Conducting • Jazz Studies • Performance

The New Jersey TI:ME Tech Expo: First In The Nation by

Marjorie LoPresti East Brunswick HS marjorielopresti@gmail.com

VJ Manzo Worcester Polytechnic Inst. vj@vjmanzo.com

uring a discussion at the 2009 NJ TI:ME in-service, the NJ TI:ME membership struck upon a new idea: to shift the chapter’s focus from teachers to students. While the chapter has continued to partner with NJMEA to provide technology in-service support at both the February conference and August in-service, the primary chapter event has become the Student Music Tech Expo. Following the successful opening acts of the 2011 and 2012 Expos, the 3rd Annual New Jersey Music Tech Expo will be held on May 17, 2013. The Music Tech Expo is a science fair style event, focused upon student works. The day also includes guest presenters, a performance showcase for electronic music ensembles, and hands-on music technology playgrounds. While the festival is adjudicated, the primary focus of the event is sharing and celebrating students’ creative work in a supportive environment. The development of this type of event represents a maturing step for the technology-based music class movement, as we seek to support student work, much as we do for student in performing ensembles through festivals and honor ensembles. The extensive participation in New Jersey each year, as well as the development of events in other states based upon the New Jersey model, demonstrates the need for this style of event. One major thrust of the event was to allow students to showcase their individual creative efforts and receive critical feedback regarding their submissions. Five categories were created for student

submissions that were received through the NJ TI:ME online portal a few weeks before the event. When the submission time concluded, professional musicians and educators from NJ served as adjudicators by logging into the site and providing individual feedback for each project submission which involved, in most cases, listening to audio recordings, or viewing videos. The projects received numerical grading and comments within several categories including Creativity and Craftsmanship. They were then ranked according to the grades, and award certificates were created for the top three creative works in each category. The project categories and criteria for submission were:

1-Original Composition Original compositions were created using technology including works for traditional and/or electronic instruments. Compositions prominently illustrated creative use of technology. Projects incorporating use of prerecorded loops were not considered in this category. 2-Covers, Remixes & Loop-Based Projects This category included arrangements/ recordings of pre-existing songs, song samples, and projects incorporating a combination of original material and prerecorded loops. Projects demonstrated originality in musical choices and creative use of technology.

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Rick Dammers Rowan University dammers@rowan.edu

3-Multimedia Works in this category demonstrated the convergence of music with more than one discipline. This may have included art/photography, video, broadcast journalism, digital storytelling and so on. Works did not need be original compositions, but should have reflected creative use of technology. 4-Applied Technology The projects were distinctive projects that utilize technology for a specific purpose. Works may have included the creation of new electronic musical instruments, interactive music systems, software projects to aid in composition, performance, and music instruction, and more. Projects were asked to be self-contained for a simple demonstration within the showcase. 5-Production/Engineering Students entering this category demonstrated their skills in production or engineering created within a digital audio workstation (DAW). This category was adjudicated on-site during the expo with students being provided prerecorded stems from a recording that they were asked to create, mix and engineer into a finished creative work. Individuals and teams of up to 4 students were permitted to enter this category. As a result of the project submissions, an integral component of the tech expo was to showcase these works in a gallery of sorts. As students arrived at Montclair State University (MSU) on the day of the JANUARY 2013

expo, they were grouped according to their school, and given a schedule of the activity grid for the day which included presentations, workshops, and, of course, the showcase of student projects. Through the course of the day, groups moved with their teachers through several rooms in which NJ TI:ME members volunteered to give lectures and presentations, handson workshop activities, and provide individual feedback to students regarding their projects. The event culminated in MSU’s Leshowitz Recital Hall with each student and their teachers celebrating the adjudicated results for each project submission. Since the goal of the Student Music Tech Expo is to showcase student creativity, student submissions reflect the students’ ages and grade levels. Elementary and middle school projects can be original compositions intended as ringtones, sampled-sounds remixes, and original compositions created and recorded by small groups rather than individuals. High school students’ projects typically are created by pairs and individuals. These projects tend to be greater in length and structural sophistication. Many high school multimedia projects are cross-curricular, using video and music to represent historical events as well as artistic and literary figures. Student submissions to the Music Tech Expo are all uploaded to a central website. Submissions can be as short as 15-30 seconds (ringtones), and as long as 5 minutes for original compositions and remixes. Audio files are compressed to mp3’s, and multimedia projects are encoded as .mov or .m4a files. Projects are adjudicated in advance of the event. Our slate of adjudicators includes professional composers, performers, and college professors. Projects are rated on structural and creative elements. At the Expo, students are awarded certificates for their work reflecting Gold, Silver and Bronze ratings, and receive their scores and comments from the adjudicators. Best-in-Show awards are granted within each submission category. Especially JANUARY 2013

fun for the students is the “Overall Best Project” award—student attendees cast their votes after their time at the exhibits. Important information for the 2013 Student Music Tech Expo: Friday, May 17, 2013 9:30 -1:30 at Rowan University Open to students in grades 3-12 Project Categories: Original Composition Covers, Remixes & Loop-Based Projects

Multimedia, Applied Technology School Sounds Remix Production/Engineering Email marjorielopresti@gmail.com to receive registration information and detailed instructions. We hope to see your students there!

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O Passo: A Brazilian Approach To Music by Tom Mullaney Quibbletown Middle School, Piscataway tom@opasso.com.br

lay the following excerpt on the piano. What are the rhythmic challenges here?

Were you able to maintain a steady beat throughout this piano montuno? If so, how did you accomplish that? Did you have to do something specific to help you “keep track of the beat?” If not, why? Did you use your body? Can you feel “where” the beat is without using your body? Most importantly, how did it sound when you played it? Did it groove? Did it sound like salsa? Here we have several notions to consider: (1) That we must know “where” the beat is if we want to properly play an offbeat. (2) That we can rely on our bodies to provide important musical information; in this specific instance, to help us know the location (or position) of each beat, and (3) That performing music “properly” involves more than playing what is on the page. For example, the musician playing this excerpt must deal with more than just the duration of each quarter note in measures 2, 3, and 4 if he/she wants to play this properly. Duke Ellington’s saying, “It don’t mean a thing if it ain’t got that swing!” reminds us that proper execution of the stylistic nuances of any musical genre will make http://www.gettysburg.edu/academics/ conservatory/admissions/audinfo/ or break a musical performance. These ideas are some of the fundamental concepts of O Passo. O Passo (The Step) is an approach to musicianship where the body is used in specific ways to construct and deepen musical ability and musical understanding. In O Passo, the walking step and body are used in patterns that change with meter to create a map of musical time. The Brazilian musician and music educator Lucas Ciavatta, created O Passo in 1996. It is TEMPO 36

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used by musicians and music educators throughout Brazil, and has been widely adopted as a main approach to musicianship and music education there. O Passo is also growing in France and the United States, because the concepts and mechanisms at work within O Passo apply to a diversity of musical genres, from the Afro-Cuban salsa excerpt above, to Brazilian samba and Bach. The purpose of this article is to introduce O Passo as an approach for strengthening musical foundations. A single definition of O Passo can be difficult to deliver, despite any O Passo teacher’s finest attempts. This is because O Passo is alive, organic, and constantly evolving. In Rio de Janeiro, O Passo teachers meet regularly with Lucas to refine and expand upon O Passo musicianship and pedagogy. Several teachers in France and the United States are part of this dialogue as well. Furthermore, enactment of O Passo is multidimensional. It includes movement, body percussion, singing, drumming, group activities and individual practice exercises. Additionally, professional Brazilian musical ensembles like Bloco d’O Passo, Bloco do CEAT, and Bloco do Sargento Pimenta are constantly discovering new musical possibilities through the use of O Passo in rehearsal and performance. Consequently, O Passo is, but is not limited to: (1) an approach toward strengthening musical foundations in rhythm and sound to increase musical autonomy, (2) a specific tool to use for solving musical problems, and (3) a musical philosophy that values specific concepts as essential components of good music making. A thorough written description of O Passo, here within this article, is impossible. A discussion of O Passo Principles and Pillars alone would require much more space. More importantly, the essence of O Passo is not in words, but in bodily action. In O Passo, embodied cognition (the notion that the body can learn on its own, separate from intellectual processes) is essential. First we do JANUARY 2013

things with the body, then move toward naming and writing (which reflects the same Pestalozzian principle of sound before sight that anchors other methodologies such as Orff, Kodaly, and Suzuki). You can learn more about O Passo by visiting the website at www.opasso. com.br/. The entire method is contained in the Portuguese text O Passo: Music and Education, 2nd edition. Lucas will bring the English translation of the book with him on his visit to the United States in July, 2013. The book will be available through OPUS (O Passo in the United States), the organization dedicated to the practice and advancement of O Passo in the United States. OPUS currently meets in Princeton, NJ. Meetings consist of training in O Passo musicianship and pedagogy, organizational planning, and SKYPE conferences with Lucas. OPUS is spon-

soring several workshops in 2013. These include presentations at the NJMEA State Conference in February, 2013, and the NAfME Eastern Division Conference in Hartford, CT in April 2013. Additionally, OPUS is co-sponsoring Lucas’ trip to the United States in July, 2013, when he will teach Summer Seminar courses through the Office of Continuing Education at Westminster Choir College of Rider University, in Princeton, NJ. For more information about OPUS, email OPUS Head Contact Tom Mullaney at tom@opasso.com. br.

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NEW JERSEY MUSIC EDUCATORS ASSOCIATION STATE CONFERENCE FEBRUARY 21-23, 2013 HILTON HOTEL AND CONFERENCE CENTER THREE TOWER CENTER BOULEVARD EAST BRUNSWICK, NJ

NJMEA CONFERENCE HOTEL ROOM RATES Room rate is based upon hotel availability until 1/22/2013.

-- Don’t wait until the last minute -Use code NM1 for the Hilton Call in Block to receive the NJMEA Room Rate of $132.00 (Double/Triple/Quad). Hilton Hotel and Conference Center Threee Tower Center Blvd East Brunswick, NJ 08816 732-828-2000

CONFERENCE SESSION OFFERINGS Listed are the workshops scheduled to be presented throughout the conference as of October 16, 2012. They are in no particular order and additions will be made on the NJMEA website. The final schedule of events including: workshop day, time, room and hotel assignments will be available on the website as of February 1, 2013. www.njmea.org

NJMEA ACADEMIES THURSDAY, FEBRUARY 21, 2013 The Thursday Academies are an excellent opportunity to learn from world reknown clinicians. Due to the success of last year’s Academies we will be adding a choral component to the current offerings. The Elementary Classroom, Technology, Wind Band, Marching Band/Jazz Band and Choral Academies will present methods and materials which will inspire you to get back in the classroom and do great things!

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NJMEA Conference Featured Entertainers

The King’s Singers The King’s Singers David Hurley Countertenor Timothy Wayne-Wright Countertenor Paul Phoenix Tenor Christopher Bruerton Baritone Christopher Gabbitas Baritone Jonathan Howard Bass

ne of the world’s most celebrated ensembles, The King’s Singers have a packed schedule of concerts, recordings, media and education work that spans the globe. They champion the work of both young and established composers and, whether singing Tomkins or Takemitsu, Bach or Bublé, are instantly recognisable for their spot-on intonation, impeccable vocal blend, flawless articulation of the text and incisive timing. They are also consummate entertainers: a class act with a delightfully British wit. During 2012, The King’s Singers will perform across the globe in some of the world’s most famous concert halls, including the Sydney Opera House, Carnegie Hall and the Berlin Philharmonie. Their concert schedule will take them to Australia, New Zealand, France, Germany, the US and Canada, Bulgaria, Hungary, Italy, the United Arab Emirates, Switzerland and Finland. With a discography of over 150 recordings, The King’s Singers have garnered both awards and significant critical acclaim, including a Grammy® in 2009 for their studio album Simple Gifts on Signum. Always deeply committed to new choral music, they have commissioned over 200 works from prominent contemporary composers, including Richard Rodney Bennett, Berio, Maxwell Davies, Ligeti, Lukaszewski, Penderecki, Rutter, Takemitsu and Tavener. Their latest album, High Flight, includes works commissioned by The King’s Singers from Eric Whitacre and Bob Chilcott. It was recorded in the USA with the renowned Concordia College Choir and released in Autumn 2011 on Signum. Other recent Signum releases include Swimming Over London, which combines some of the group’s favourite numbers with new songs and arrangements; a world premiere recording of Pachelbel’s Music for Vespers with Charivari Agréable; and a DVD of Christmas repertoire released for December 2011. The King’s Singers have an extraordinary history of television appearances. A favourite of The Mormon Tabernacle Choir, they performed with them for the Winter Olympics and appeared in their 2008 Christmas concert, which was broadcast on PBS across the US to a combined live audience of 80,000 and is available on DVD. Following their televised performance at the 2008 BBC Proms in the Royal Albert Hall, London (also available on DVD - awarded a Midem International Classical Award in January 2010), they have appeared on BBC breakfast television and performed frequently on Songs of Praise. In addition to their sell-out concerts worldwide, The King’s Singers share their artistry through numerous workshops and masterclasses, and by publishing prodigious quantities of sheet music: at present, they have over two million items in circulation through their publisher, Hal Leonard. Their arrangements are sung the world over by school and college choirs, and by ensembles both amateur and professional.

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Scheduled Sessions As Of October 16, 2012 The End Is The Beginning-The Science Of Reverse Planning Clinician: Joseph Akinskas, Past President, NJMEA. Sponsored by: NJMAA. Celebrate With Music! A Reading Session For Mixed Choirs Clinician: Sally K. Albrecht, Alfred Music Publishing Co, Inc. Sponsored by: Alfred Music Publishing Co., Inc. Back To Basics: Steps To Establishing Solid Rhythm, Intonation & Tone From The Beginning Clinician: Jeremy Woolstenhulme, Hyde Park Middle School, Las Vegas, NV. Sponsored by: Neil A. Kjos Music Co. Just Add Kids! New Elementary Music And Materials Clinician: Sally K. Albrecht, Alfred Music Publishing Co, Inc. Sponsored by: Alfred Music Publishing Co., Inc. Cellos & Basses Are From Mars, Violins & Violas Are From Venus - Low Strings Workshop Clinician: Jeremy Woolstenhulme, Hyde Park Middle School, Las Vegas, NV. Sponsored by: Neil A. Kjos Music Co. Razzle Dazzle: The Best Of Broadway And The Movies Clinician: Sally K. Albrecht, Alfred Music Publishing Co, Inc. Sponsored by: Alfred Music Publishing Co., Inc. Effective Programming For Jazz Ensemble - A New Music Reading Session Clinician: Jeffrey Haas, Ridgewood High School, Ridgewood, NJ. Sponsored by: NJAJE, Hal Leonard Corporation, Alfred/ Belwin Jazz, Kendor Music, Doug Beach Music, Sierra Music Publications, Walrus Music, SmartChart Music , and CL Barnhouse Co. Assisted By: NJAJE Big Band. Instrumental Music - Beginner To Professional - A Step By Step Approach Clinician: Paul Andrew Balog, Retired, Brick, NJ. Where The Boys Are! Recruiting, Engaging, And Retaining Those Tenors And Basses Clinician: Cris Bass, Retired, Marlton, NJ.

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Engaging Focus And Awareness Through The Choral Warm-Up Clinician: Maximillian Esmus, Tabernacle United Methodist Church, Erma, NJ and Cristin Chalton, Collingswood High School, Collingswood, NJ. Transitioning From Music Student To Music Teacher Clinician: Robert Pispecky, Edison Public Schools, Edison, NJ. Sponsored by: NJMAA The Classical Player’s Guide To Jazz Clinician: David Demsey, William Paterson University; Jeffrey Kunkel, Montclair State University. Assisted By: William Paterson University Jazz Quartet Sponsored by: NJAJE Vocal Transformation For Secondary School Choirs Clinician: Cris Bass, Retired, Marlton, NJ. Getting Out Of The Rut….Ideas For Introducing A New Song To Young Singers Clinician: Tom Shelton, Westminster Choir College, Princeton, NJ. Don’t Just Warm-up! It’s Not Just Concert F Anymore! Parts I & II Clinician: Tom Bennett, University of Houston, Retired, Spring, TX. Assisted By: Claudia Taylor Johnson High School Wind Ensemble, San Antonio, TX. Fundraising For Music Teachers: What They Never Taught You In College! Clinician: Phil Blackman, P&B Fundraising, Inc. Sponsored by: P&B Fundraising, Inc. That Funky Drumming Clinician: Bob Bloom, Willington, CT. Student Teaching 101: Skills, Strategies, & Success Clinician: Kimberly H. Councill, Bucknell University, Selinsgrove, PA. In Sync With Inclusion Clinician: Kimberly H. Councill, Bucknell University, Selinsgrove, PA. Intonation, Tone, And Other Flute Challenges For Middle School And High School Flutists Clinician: Karen Demsey, William Paterson University, Paterson, NJ. 41 TEMPO

Acronyms For Music Educators: PLC & EE4NJ: What They Are And Why You Need To Care Clinician: Vincent S. Du Beau, Delsea Regional High School District, Franklinville, NJ. Rhythm: EVERYONE Can Read And Become Proficient! Clinician: Kevin Fuhrman, Fuhrman Music, Minneapolis, MN. Middle School Band Reading Session Clinician: Tom Connors, Kean University, Union, NJ. Assisted By: NJ Intercollegiate Concert Band. Orff On A Budget Clinician: Amelia Garbisch, Temple University, Philadelphia, PA. The Orff Schulwerk Choral Rehearsal In Secondary Education Clinician: Amelia Garbisch, Temple University, Philadelphia, PA. Music Student To Music Teacher: Nail Down That Job! Successful Strategies for Interview Success Clinicians: Peter J. Griffin, Hopewell Valley Regional School District, Pennington, NJ; Robert Pispecky, Edison School District, Edison, NJ. Sponsored by: NJMAA. Unique Rounds And Partner Songs Clinician: Joanne Hammil, Watertown, MA. New Music For The Elementary Program Clinician: Kathy Hart, Léman Manhattan Preparatory School, NYC. Hymns In Wind Band Music: A Resource Guide Clinician: John Hendricks, III, West Virginia University, Morgantown, WV. Step Up With Spotlight On Music ©2011 Clinician: Michael J. Hudson, McGraw-Hill Education. Sponsored by: McGraw-Hill Education. How To Make Your Chamber Music Program Flourish Clinician: Ellis Jasenovic, Hackettstown, NJ. Assisted By: The Garden State Saxophone Quartet, Hackettstown, NJ.

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Saxophone Switch Hitting: Change The Concept Not The Mechanics Clinician: Jeremy Justeson, Kutztown University of Pennsylvania, Kutztown, PA. Sponsored by: Conn-Selmer Corporation. Percussion Ensembles For The Non-Percussive Band Director Clinicians: Mark Kadetsky & Jim Battersby, Fernwood Avenue Middle School, Egg Harbor Township, NJ. Assisted By: Fernwood Avenue Middle School Percussion Ensemble, Egg Harbor Township, NJ. Teaching Musical Keyboards In The Classroom Clinician: Judy Kagel, JBK Music Publishing. Sponsored by: JBK Music Publishing. Performance Career Blueprint: The Step By Step Guide For The Emerging Performing Artist Clinician: Adria Firestone, NJCU, Jersey City, NJ. A New Approach In Secondary Music Theory Instruction Clinician: Alyssa Kassler, Eastman School of Music, Rochester, NY. Differentiated Instruction In The String Classroom Clinician: Betsy Maliszewski, West Orange Public Schools, West Orange, NJ. O Passo: A Multisensory Approach Toward Musicianship Clinician: Tom Mullaney, Quibbletown Middle School, Piscataway, NJ. Sponsored by: O.P.U.S. (O Passo in the United States) Critical Mistakes To Avoid When Building Or Renovating Your Music Facility Clinician: Steve Orenshaw, Wenger Corporation. Sponsored by: Wenger Corporation. Crafting A Purposeful Warm-up For Your Young Band Clinician: Bruce Pearson, Neil A. Kjos Music Co. Sponsored by: Neil A. Kjos Music Co. Inspire Excellence In Your Young Band: Achieve The Most In Every Lesson Clinician: Bruce Pearson, Neil A. Kjos Music Co. Sponsored by: Neil A. Kjos Music Co.

JANUARY 2013

Rehearsal Techniques For The Middle School Band Clinician: Christopher Pinto, Northern Burlington County Regional Middle School, Columbus, NJ. Assisted By: Northern Burlington County Regional Middle School Wind Ensemble, Columbus, NJ. New To The iPad? Ideas For The Classroom And Rehearsal Hall Clinician: Daniel Schultz, J.P. Case Middle School, Flemington, NJ. The One-Button Fix And Basics Of Audio And Projector Setup Clinician: Daniel Schultz, J.P. Case Middle School, Flemington, NJ. Preparing Your Ensemble For Expressive Performance Clinician: Robert Sheldon, Alfred Music Publishing Co., Inc., Van Nuys, CA. Sponsored by: Alfred Music Publishing Co., Inc. Fix It Now! Developing Ensemble Skills For More Effective Rehearsals & Successful Performances Clinician: Robert Sheldon, Alfred Music Publishing Co., Inc., Van Nuys, CA. Sponsored by: Alfred Music Publishing Co., Inc.

Rehearsing With Open Ears: Developing Strategies To Really Hear Your Choir Clinician: Christopher B. Thomas, Rowan University, Glassboro, NJ. Assisted By: Rowan University Concert Choir, Rowan University, Glassboro, NJ. Boomwhackers – The Big Band For The Baby Budget Clinician: Jim Tinter (Retired), Medina, OH. Sponsored by: Peripole, Inc. Are You As Hip As A 4th Grader? Clinician: Jim Tinter (Retired), Medina, OH. Sponsored by: Peripole, Inc. Beginning A Dynamic Recorder Program Clinician: Jim Tinter (Retired), Medina, OH. Sponsored by: Peripole, Inc. How To Plan Your Future In The Music Business Clinicians: Eugene Tournour, Northeast Territory AFM; Dorian Parreott, President of Local 399 AFM, Past President, NJMEA. Sponored by: NJ State Conference of Musicians, AFM.

Teaching Music Listening Clinician: Marissa Silverman, John J. Cali School of Music, Montclair State University, Upper Montclair, NJ.

Introducing Vocal Jazz To A Choral Program Clinician: Stephen Bishop, Burlington Township High School, Burlington, NJ. Assisted By: Burlington Township High School Jazz Singers

Best Of Silver Burdett Clinician: Roxanne Skuse, Pearson Silver Burdett. Sponsored by: Pearson Silver Burdett.

Music And The Art Of Journaling Clinician: William Trimble, Wenonah School, Wenonah, NJ.

Using The Savant Syndrome To Work With NonSavant Students With Special Educational Needs Clinician: Erika St. Denis, Ithaca College, Ithaca, NY.

Alternative Methods For Recruiting New Singers Into Your High School Choral Ensemble Clinician: James Wynne, Jefferson Township High School, Jefferson, NJ.

The Frenzied Instrumental Conductor’s Guide To Score Preparation Clinician: Gary Stith, Greatbatch School of Music, Houghton College, Houghton, NY. Sponsored by: Hal Leonard Corporation

Froggie Went A Courtin’, Cat’s In The Cradle And Love Song: Using Ballads In Your Music Classroom Clinician: Amanda Newell, Taylor Mills School, Manalapan-Englishtown, NJ.

Music Theory Online Clinician: Andrew Surmani, Alfred Music Publishing Co., Inc., Van Nuys, CA. Sponsored by: Alfred Music Publishing Co., Inc.

Take Note! Cross-Curricular Collaboration Using Social Studies And Science Clinician: Amanda Newell and Sharyn Fisher, Taylor Mills School, Manalapan-Englishtown, NJ. Demystifying The Double Reed; Maintaining Successful Double Reed Players In Your Ensemble Clinician: Mark Snyder and Christopher Wickham, Rutgers University, New Brunswick, NJ.

JANUARY 2013

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Differentiated Instruction For Students With Special Needs Clinician: Debbie Lynn Wolf, Temple University, Philadelphia, PA.

I Wouldn’t Do That If I Were You Too! - What College Did Not Tell Me About Marching Band Clinician: Ralph Venezia, Orlando, FL. Sponsored by: High Note Festivals

Smart Starts For Young Children: The “Music Effect” On The Brain Clinician: Diane Persellin, Trinity University, San Antonio, TX.

Designing An Exciting And Effective Marching Band Program - From Concept To Competition Clinician: Matthew J. Paterno, Wayne Hills High School, Wayne Hills, NJ.

Understanding Performance Assessment Clinician: Debbie Lynn Wolf, Temple University, Philadelphia, PA.

Making Marching Band A Moving Experience For Your Students Clinician: Michael Thompson.

Teaching Auxilliary Percussion Clinician: Domenico E. Zarro, Felician College. Sponsored by: NJ Chapter of the Percussive Arts Society.

How To Have A Well Rounded Band Program Presider: Larry Markiewicz, Bridgewater-Raritan High School, Somerset, NJ. Panel: John Zazzalli, JP Stevens HS; Brian Toth, East Brunswick HS; Lewis Kelly, West Orange HS; Marc DeNicuolo, Edison HS; and Adam Warshafsky, Montgomery Twp. HS.

Are We there Yet?: Improving Musical Expression Of Students In The Band And Orchestra Rehearsal Clinician: David Zerull, Shenandoah University, Winchester, VA. Sponsored by: Shenandoah University, Winchester, VA. This Shall Be For Music: Inspiring Young Singers Clinician: Sally K. Albrecht, Alfred Music Publishing Co, Inc. Sponsored by: Alfred Music Publishing Co., Inc. Crank Up Your Classroom With QuaverMusic.com Clinician: Graham Hepburn, QuaverMusic.com, Nashville, TN. Sponsored by: QuaverMusic.com Tools For The Young Singer Clinician: Leslie Adler, Springfield Community Children’s Chorus, Springfield, NJ. How To Prepare Your Students For A Successful Choral Audition Clinician: Hillary Colton, NJMEA Choral Procedures Committee. Movement In The Choral Rehearsal For Expressive And Engaging Singing Clinician: Jennifer Sengin, East Brunswick High School, East Brunswick, NJ. Sound 10, Looks 3 Comes To A 65 - How To Merge Music And Movement Clinicians: Rick Summers, Pequannock Valley, NJ and Ralph Venezia, Orlando, FL. Sponsored by: High Note Festivals

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Conducting Technique Revisited Clinician: Shelley Axelson McCauley, Montclair State University, Upper Montclair, NJ. A Reading Session Of Grade 4-6 Literature For High School Band Clinician: David Vickerman, The College of New Jersey, Ewing, NJ. Assisted By: TCNJ Wind Ensemble, Ewing, NJ. Choosing Appropriate Literature For High School Wind Bands Clinician: Kraig Williams, Rutgers University, New Brunswick, NJ. Elementary And Middle School Band Teaching Techniques Clinician: Brian Flemming. Performing Groups Hillsborough High School Wind Ensemble Director: Julie Haran South Brunswick High School Wind Ensemble Director: Mark Kraft Burlington Township High School Jazz Singers Director: Steven M. Bishop Claudia Taylor “Lady Bird” Johnson High School Wind Ensemble Directors: Jarrett Lipman & Alan Sharps JANUARY 2013

Hopewell Valley Central High School Chamber Singers Director: Matthew Erpelding

Rutgers University Wind Ensemble Director: Kraig Williams

Imperial Brass “British Brass Band” Director: Lawrence C. Markiewicz Kawameeh Middle School World Music Drum Ensemble Director: Richard Grennor Rowan University Wind Ensemble Director: John Pastin

Westminster Choir College “Warblers” Director: Kelsey Rose

Garden State Saxophone Quartet Director: Ellis Jasenovic NJ Intercollegiate Jazz Band NJ Intercollegiate Concert Band All State Symphonic Band & Wind Ensemble All State Women’s Choir

Tom Voorhis Named Master Music Teacher by Beverly Robinovitz NJRMEA President Elect beviewgr@aol.com

om Voorhis is presently the Director of Choirs at Ridgefield Memorial High School, Ridgefield, NJ and is a graduate of Rowan University. He has been a vocal music teacher for the past 28 years and has been on staff at Ridgefield for the past 25 years where over one half of the student population has performed in one of his performing groups. Tom curently directs four of the choirs in Ridgefield, which have continuously received superior and first place ratings at JANUARY 2013

festivals and competitions throughout the United States. His choirs have also performed on local, public and national television, at the New Jersey Teacher’s Convention and at Avery Fisher Hall in New York City. Over 1000 of his students have been selected for New Jersey honors ensembles since he began at the high school in 1996. Voorhis has previously conducted the Bergen County Chorus Middle School Chorus (1999), the Bergen County High School Chorus (2003, 2013), the Northern New Jersey Junior Regional Chorus (2002, 2011), the North Jersey High School Chorus (2007) and the Central Jersey High School Chorus (2012). He is the Past President of the Music Educators of Bergen County where he has also managed for 16 of their choirs. He is also a member of the NJ All-State Choral Procedures Committee and has been the rehearsal conductor for NJ All-State Mixed Chorus on two occasions. In 2009 he directed the New Jersey All State Mixed High School Chorus. Tom is a freelance composer and arranger and has been published by Shawnee Press, Warner Brothers, Hal Leonard and Lawson Gould among others. He started his career as a music teacher with the Ber-

gen County Special Services School District and continues to work each year with the learning disabled. The Northern New Jersey Newspaper Association has stated he is “An innovator in teaching the special learner.” He adjudicates workshops on including the special learner in the music classroom and issues in music education, has written numerous journal articles on music education techniques and has instructed other school districts in implementing curriculum for their music programs. He has been a conductor with “American Music Abroad Voices Tour of Europe” for four years, has also been a guest conductor at the Lincoln Center “Messiah Sing-in”, has been a choral ensemble judge at many national competitions and has been sought after to workshop numerous collegiate performing groups. He has been selected for “Who’s Who of America’s Teachers” and “Who’s Who in America” along with receiving the Governor’s Teacher Award and the Lifetime PTA Membership Recognition in the Ridgefield School District.

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NJMEA Music Conference Pre-Registration Form A list of those who are registered for the conference will be posted weekly at njmea.org

February 21-23, 2013 * One form per registrant * Pre-registration deadline: February 8, 2013 IMPORTANT: Registrations Post Marked After February 8, 2013 WILL BE RETURNED TO THE SENDER Be Sure To Read The “Procedure For Registration” BEFORE Completing This Form

Name Name for Badge First Name or Nickname ONLY (One Word) Address

City:

State:

Zip:

Email Address: Home Phone #: School District Name: Are you an NAfME member? NAfME members must attach a copy of their NAfME Card showing ID # and Expiration Date. q Yes (Must be Feb 2013 or later) q No (If NAfME membership expires prior to March 2013, you must renew before registering).

CONFERENCE REGISTRATION FEES

ONLY CREDIT CARDS OR CHECKS, MADE PAYABLE TO NJMEA WILL BE ACCEPTED. PURCHASE ORDERS RECEIVED AND ACCOMPANIED BY A COPY OF THIS FORM WILL BE SIGNED AND RETURNED FOR PAYMENT. PURCHASE ORDER PAYMENT MUST BE MADE BY APRIL 2, 2013. * * * * Send All Checks & Purchase Orders To: * * * * Kathy Mosher, 80 Jumping Brook Drive, Lakewood, NJ 08701 (DO NOT SEND SIGNATURE REQUIRED) Questions: kathleen.mosher1@gmail.com or 732-367-7194 THE FULL CONFERENCE INCLUDES ONE ACADEMY BEING OFFERED ON THURSDAY AT NO ADDITIONAL CHARGE; ALL OF FRIDAY AND SATURDAY; PLUS ONE (1) CONCERT TICKET PLEASE CHECK ONE (1) ACADEMY FROM THE LIST BELOW THE CONFERENCE REGISTRATION (Please note: lunch will be on your own on Thursday)

Category (PLEASE CHECK ONLY ONE) Pre-Register On-Site Amount Due

❑ Full Conference ❑ Family Member (FM Requires separate form) ❑ Full Conference - Retired NAfME Member (Does not include concert ticket) ❑ Full Conference - Retired NAfME Member Spouse (RMS Requires separate form) (No CT) ❑ Full Conference - Non-Member - (Does not include NAfME Membership) ❑ Full Conference - Collegiate NAfME Member (Includes Collegiate Academy & Lunch on Saturday)

(Does not include concert ticket)

$150.00

$160.00

____________

$150.00

$160.00

____________

$30.00

$40.00

____________

$30.00

$40.00

____________

$270.00

$280.00

____________

$50.00

$60.00

____________

PLEASE CHECK THE ACADEMY YOU WISH TO ATTEND ON THURSDAY (NO CHARGE) You may attend academies other than the one you check, but we need to know the main selections IF YOU ARE NOT ATTENDING AN ACADEMY ON THURSDAY, PLEASE CHECK “NONE”

❑ Choral Academy ❑ Jazz & Marching Band Academy

❑ Wind Band Academy ❑ Elementary Academy

❑ Technology Academy ❑ NONE

❑ Luncheon Ticket (Required to Attend Ballroom Friday Lunch) ❑ One Extra Concert Ticket (This is for those not receiving a concert ticket with registration

$____________

$25.00

$____________

TOTAL

❑ I will attend Friday Concert (King’s Singers) ❑ I will not attend Friday Evening Concert

$35.00

$____________

Friday Evening Concert: (1 concert ticket is included with all Friday/Saturday conference registrations of $150 or more if checked above) Concert tickets are NOT included with collegiate and retired member registrations. Tickets will be issued to the first 750 requests. If the “will attend” box is unchecked, no ticket will be provided. TEMPO 46 JANUARY 2013 Additional tickets may be purchased at the registration desk on Friday at $25.00 each.

Why Teach Music? Reflections On A Serious Question by Marissa Silverman John J. Cali School of Music Montclair State University silvermanm@mail.montclair.edu

tudents of music education are invariably asked to provide a “philosophy statement,” in which they are told to extoll their beliefs of the “why” for music education. As a part of my coursework, I ask my students (both undergraduate and graduate) to consistently revisit the questions: Why teach music? and What is the nature and value(s) of music education? I engage daily in this exercise myself. As such, I thought it was appropriate to share my answers to these serious questions. Know that what follows will be altered again and again. But, this is how it should be. A “philosophy statement” should not be a static, once-and-for-all document that hangs on the wall to be dusted and admired. It needs to be reformulated often. Though, despite this indeterminacy, it’s valuable to share such thinking, as doing so helps to promote further thinking. Here lies the purpose of what follows. If after reading this (very) brief “philosophy statement” you find yourself thinking about your own answers to these questions, then I consider my thinking useful. And, if after reading these thoughts, you find yourself challenging my thinking, then that, too, is useful. Why teach music? I find when I ask this question, I begin by answering it from a personal perspective. I teach because I must: I know no other way of creating a meaningful professional and personal life. Why? Because teaching is much more than the orderly transmission of knowledge and skills. Teaching is a creative and transformative process – for my students and myself. On one hand, I work to insure that my students learn by approaching music from a variety of critical perspectives; on the other hand, I work to insure that I learn from my students by welcoming their ideas, reflections, and criticisms in our classes. Teaching in this mutually constructive, respectful, and JANUARY 2013

empathic way is the basis of my transformative teaching philosophy. As an educator and musician, I believe I have a responsibility to nurture each student’s emotional, social, cultural, personal, and artistic health and well-being. To paraphrase philosopher Clive Beck, education is for life, not just for “job getting”; education is for my students’ lives in the present and future. I aim to give my students’ lives meaning, purpose, joy, and direction. Following philosopher Richard Pring (2001)1, I believe teaching is “an activity in which the teacher is sharing in a moral enterprise”: namely, the initiation of people into an ethical and empathetic way of seeing and being in the world… “of relating to others in a more human and understanding way” (p. 106). From this perspective, I center my professional focus on the lives of people-learning-music and on people growing through musical participation. Another term useful in this connection is “artistic citizenship” (see Elliott, 20122). Permit me to explain this concept a little further. I teach music and music educators because I believe it is in our society’s best interests that we enable our students to conceive themselves as creative individuals, and artistic citizens. Indeed, we must not overlook the importance of enabling our music students to develop musical replies to social, moral, and political dilemmas by enabling them to create musical expressions that serve the needs of citizens in their schools and communities. Becoming a musical artist for citizenship requires all the myriad skills and understandings that make up musicianship. It also requires the disposition to act with a deep awareness of music’s power to move, bond, and heal others, and to motivate people to act for social justice. I am a teacher of future musicians and music educators because, in part, I want to

help future generations to reclaim a democratic purpose for music. How? We need to be the kind of artist-educators who can enable students to create beautiful music in a wide variety of styles and, simultaneously, to enable them to express their social ideas and commitments via musical performances and compositions. In fact, many classical, jazz, rock, and folk musicians have done the same for decades (e.g., Rostropovich, Barenboim, Marsalis, Bono, Seeger, and so forth). So why not music students, too? Indeed, our students should not see the world as it is, but as it could be. And music is the perfect tool that can empower people to be community-minded artistic citizens. Because education and music are social-cultural practices, they are always in flux. That said, there are several basic lifegoals that people across time and cultures have always sought and that teachers should seek to achieve in education and music: self-growth, fellowship, happiness, health, wisdom, identity, and community. Across all times and cultures, countless people have sought and satisfied these life-goals in and through musical participation. As a music educator, I am proud to be one small part of this noble endeavor. (Endnotes) 1 Pring, R. 2001. Education as Moral Practice. Journal of Moral Education, 30:2, 101-112. 2 Elliott, D.J. 2012. Music Education as/for Artistic Citizenship. Music Educators Journal. 99:1, 21-27.

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Five Towns College When You’re Serious About Music, Media, Education & the Performing Arts Undergraduate Programs Jazz/Commercial Music Mus.B. C O N C E N T R A T I O N S :

• Audio Recording Technology • Composition/Songwriting • Music Business • Music Teacher Education • Musical Theatre • Music Performance

Graduate Programs Master of Music M.M. Doctor of Musical Arts D.M.A.

C O N C E N T R A T I O N S :

• Composition/Arranging • Choral Conducting • Music History • Music Teacher Education • Music Technology • Music Performance

Summer Graduate Programs Affordable Tuition and Housing Available.

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A U D I O R E C O R D I N G T E C H N O LO G Y • B R O A D C A S T I N G • B U S I N E S S • F I L M / V I D E O • J O U R N A L I S M • E L E M E N TA R Y T E A C H E R E D U C AT I O N

TEMPO 48 M U S I C T E A C H E R E D U C A T I O N • M U S I C B U S I N E S S • M U S I C P E R F O R M A N C E • M A S S C O M M U N I C A T I O N •JANUARY T H E A T R E A R2013 TS

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to choose Caldwell College > Nationally recognized programs > Development of global students > Inspiring people > Personalized attention and small class sizes > Affordability: Low tuition and 90% of students receive financial aid > Catholic and Dominican values > Community service > Vibrant campus life > Safe, secure and beautiful campus

CALDWELL COLLEGE MUSIC PROFESSIONAL RESIDENT ENSEMBLE • Garden State Opera STUDENT ENSEMBLES • Wind Ensemble • Jazz Ensemble • Choir • Chamber Ensembles • Opera and Music Theatre Workshop

BACHELOR OF ARTS DEGREE IN MUSIC CERTIFICATION K-12 MUSIC • Outstanding Liberal Arts Program • Accredited by the Middle States Association • Scholarships for Non-majors and Majors • Professional Concert Series on campus SCHOLARSHIP AND ENTRANCE AUDITIONS SATURDAY, MARCH 2, 2013

For scholarships and entrance into the program contact Rebecca Vega at 973-618-3446 or Rvega@caldwell.edu

> Located in one of the best towns in NJ

UPCOMING EVENTS Recital of American Song Sunday, February 10, 2013 4:00 PM Alumni Theatre Uptown Flutes Thursday, February 28, 2013 8:00 PM Alumni Theatre

February 2, 2013 Open House

April 6, 2013

Accepted Students Day

April 27, 2013 Junior Open House

Matt King Quartet Thursday, March 21, 2013 8:00 PM Alumni Theatre All Seasons Chamber Players Ein Musikalisches Fest (A Musical Party!) Tuesday, April 9, 2013 8:00 PM Alumni Theatre For ticket information contact: Dr. Laura Greenwald at 973-618-3520

120 Bloomfield Avenue • Caldwell, NJ 07006 caldwell.edu

For more information visit caldwell.edu/academics/music

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Is Conducting Technique Over-Rated? by Thomas McCauley John J. Cali School of Music Montclair State University mccauleyt@mail.montclair.edu

he great conductor Wilhlem Furtwangler once said, “Under some conductors, the Berlin Philharmonic can sound like a village band. Under others, a village band can sound like the Berlin Philharmonic.” As hyperbolic as this statement may seem on first reading, Maestro Furtwangler’s point is well taken. Why is it that some conductors can elicit remarkable sounds from an otherwise lessthan-capable ensemble, and others can not seem to evoke those same sorts of sounds from highly advanced performers? At first glance, the answer does not seem to have anything to do with conducting technique. We have all been witness at some point to a performance where the person on the podium appears to be a master of physical gesture while the sounds made by the ensemble bear little or no resemblance to those gestures. We have also seen and heard performances where the conductor is so physically limited that it is almost impossible for a listener to watch without becoming distracted; yet the ensemble sounds wonderful. In fact, if one were to view a recorded performance of Maestro Furtwangler, one could argue that he possessed very little discernable conducting ‘technique’ by today’s standards. Before we go any further, it must be understood that an effective rendering of any piece will only be possible if the conductor brings impeccable musicianship and openness to the podium. There is no substitute for musicianship, preparation, or sincerity. So, if it isn’t technique alone, what is the ‘thing’ that successful conductors have that others do not? The answer I believe lies in the successful conductor possessing two important attributes:

1. A loud, specific, clearly defined version of the piece burned into their imaginations resulting from careful study and meticulous preparation. 2. Possessing the tools, which include gestural, verbal, and pedagogical, that are necessary to realize the above vision of the piece. The only substantial way of obtaining a specific, clearly defined version of any work is through careful, constant study. There are as many ways to internalize a score as there are people who internalize them but, regardless of the methods used, the outcome must always be the same; The conductor must be able to hear her/his version of the piece ‘loudly’ inside before stepping onto the podium for the first rehearsal. The method I currently use to internalize a score comes from Mallory Thompson of Northwestern University with whom I had the privilege to study during my doctoral residency. The method consists of three distinct levels: Discovery, Imagination, and Internalization. Discovery This level of study includes: • Becoming familiar with the composer through books, articles, and recordings. • Becoming familiar with other compositions the composer was working on before, during, and after the composition of the piece to be studied. • Fully analyzing the piece in terms of form, phrases, thematic material, use of instrumentation, and harmonic content.

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Once the above is complete, I begin the second phase of the process. Imagination It is here that we begin to imagine what the composer wants from us. This phase includes: • Trying to ‘hear’ the piece internally. Try to hear not only pitches and rhythms, but the timbre of the instruments as well. It is best to try to hear small sections at first. • Trying different ‘versions’ of each phrase or section. Play it on your instrument, play it on piano, sing it. Try to form a strong internal ‘image’ of the piece. • Making decisions based upon what we believe the composer wants. • Writing those decisions in the score. If you’re having a difficult time making decisions, try it one way this time and another the next. The important thing here is to MAKE A DECISION. It’s also important here to talk about the use of recordings in the preparation of a piece. I try hard to never use a recording of a new work to learn it. The pitfalls here are many: • You cannot help being consciously or unconsciously influenced by a recording, particularly if you are a young conductor. • It is difficult to fully develop a strong inner ear by listening to a recording. • You will never fully develop your musical imagination by listening to a recording of the work you are trying to learn. JANUARY 2013

That said, I do quite often listen to OTHER WORKS by the same composer. I do this to become more familiar with the musical language, the compositional techniques, and the musical personality of the composer. If I listen to a recording of a piece that I am studying, I will do so only AFTER I have completed the first two phases of this process. At that time I will try to listen to as many different recordings of the piece that I can to hear others’ thoughts about the work. Internalization After I have analyzed and imagined the piece, I begin the final phase in the process. It is here that we truly begin to ‘learn’ the piece. I believe that no one can really ‘know’ anything until they have felt and experienced it for themselves. It is through the internalization process that real ‘knowing’ takes place. This level includes setting a metronome at the prescribed tempo and trying to ‘hear’ as much of the piece as possible. When I hit a ‘blank space’ in the music and am not able to hear most of what is there, I will isolate that section and practice it. The method here is not much different from the way in which many of us learned to practice our major instruments; extract a problem section, practice it slowly, and return it to the whole. The use of the metronome is vital. Our ‘conductor’ time is often very different from our ‘performer’ time. If you find that a section of a piece is difficult for you to hear, it will most likely be difficult for your group to play. These discoveries will assist you in your lesson planning. This internalization process helps the conductor to ‘hear’ and ‘feel’ the music as it proceeds in real time. Try HARD not to move or ‘conduct’ when you are involved with any phase of this process. Moving while studying can, especially in the beginning, lead us to believe we are doing and hearing things that we are not. Imitation Of Great Conductors And Teachers We can only do what we ‘know’. We can really only ‘know’ what we feel. The teachers and conductors that pass through our lives influence us all. For most of us, JANUARY 2013

those role models are the reason we have chosen to spend our lives in music education. In the beginning, we all conduct and teach the way we were conducted and taught. This is natural and, depending upon who the role model was, can be very helpful. However, it is vital that we continue to seek out conducting and teaching role models who exhibit the highest standards of preparation and performance, and to learn from them. This is a lifelong process. There is no finish line. Conclusion Like all other techniques in music, conducting is one of many tools a music educator needs to realize a composer’s intentions and to help show our students what is possible. We have a solemn obligation to choose the best literature available and to internalize it before our first rehearsal. Knowing only the surface level elements of any piece is much like an English Literature professor teaching a course in Shakespeare’s

“Macbeth” after only having read CliffsNotes. The teaching will lack depth, clarity, and meaning. Even the most refined, elegant conducting technique is only useful if it is used in the service of realizing a composer’s intentions and assists in showing our ensembles what is possible. After almost twenty-five years of teaching at both the high school and university levels, and after all of the personal and professional struggles experienced, I would change almost none of those experiences from the first day until now. Those experiences have contributed to the person and musician that I am today. While it is clear that I still have a long way to go both personally and professionally, I love nearly every minute of it! We are all on the same road. Some of us have simply been on it longer than others. So while you are continuing to improve as both a person and a professional, don’t forget to enjoy it! We are privileged to do what we do everyday. This is something I try never to forget. &

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Introduction To Music Therapy

(Take Two CDs And Call Me In The Morning©) by Dorita S. Berger Adjunct Faculty, Kean University, Union, NJ dsberger@mags.net

usic has been a factor in healing for millennia, as far back as King David calming the Pharaoh by playing harp and singing. We’ve all read about how Congresswoman Gabrielle Gifford’s expressive language was restored through music therapy intervention. As a clinical profession with extensive training, clinical work, and pertinent credentials, the formal music therapy profession evolved in the 1940’s, when music was observed to ease PTSD and pain management for hospitalized war veterans. But the clinical work is not as simple as the above sub-title suggests. It reaches far beyond the iPod! Music-based treatment is becoming an inherent part of medicine, sciences, and education, able to treat and often relieve symptoms in diagnoses such as Autism Spectrum Disorder, ADHD, Dementias, Post Traumatic Stress Disorders (PTSD), Parkinson’s, and many psychiatric and physiologic diagnoses across the spectrum of human behavior. Because music itself is so much a part of daily life, there is little understanding of music’s significance as a clinical, medical treatment, beyond just being recreational and entertaining. Despite its expanding growth among the clinical professions, public information about what is music therapy remains illusive. What is it? How does it work? What can be learned from musicbased treatment about children and adults harboring various diagnoses that impede daily adaptive living? Despite its expanding growth among the clinical professions, public information and general knowledge about music therapy remains illusive. Well, if music is so much a part of human experience, and is so therapeutic when one listens to a favorite tune or symphony, then what is music therapy? Unlike just “taking two CDs” for therapeutic in the moment enjoyment, recreation, pacification and relaxation, music therapy is a goal-directed continuous application of vari-

ous music elements (i.e., rhythm, timbre, harmony…etc) as a treatment to alter, redirect, re-pattern, reorganize physiologic, cognitive and psycho-emotional issues. so that new and more functional behaviors (responses) can become permanent response norms. It is the clinical application of specific music elements that can pace an otherwise chaotic system (such as in ASD or ADHD), that can induce vocalization and language development or restoration, that can develop cognitive focus and attention, and more, in order to ultimately attain what is referred to as functional adaptation in the long-term. To learn about and to understand what music-based treatment is, and how it is applied in schools and other settings, could be a very valuable experience especially for music educators. In this age of “inclusion”, the role of music for special needs populations included into typical music classes, often remains unclear and especially confusing for the educator. Music educators can adapt some of the clinical approaches in handling special needs students from learning how music-based clinicians handle physiologic, sensory, cognitive and behavioral problems. Many ideas and approaches from music therapy have been employed in music education classes. In addition, health-case providers, speech pathologists, occupation therapists, psychologists, social workers and school counselors can benefit from understanding physiologic function of special needs populations, and how the role of music in the treatment of children and adults with cognitive, sensory, language and behavioral deficits can better a situation. .For this reason alone, the music department of Kean University has instituted a new all-college course, “Introduction To Music Therapy”, to highlight how music is and can be, applied in educational and clinical settings. As a profession, complete music therapy training includes course work in music, psychology, humanities, physiology, educa-

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tion, various methodological surveys, fieldwork experiences, and an extended internship with populations of a student’s working preference. At the conclusion of music therapy training, a 5-hour examination is taken to attain official credentialing of MTBC, Board Certified Music Therapist, provided by the Certification Board For Music Therapy, located in the Washington, D.C. area. The American Music Therapy Association, a membership organization, supports, advises, and supervises university training protocols and holds regional and national conferences yearly, providing continuing education credits in order to maintain the MT-BC credential. In addition to MT-BC, several States in the U.S. have implemented additional credentials. New York State developed the LCAT – Licensed Creative Arts Therapist – under which music therapy is included. This licensure requires a master’s level degree prior to sitting for the state examination. In addition to intensive training, music therapy treatment and research is now undertaken throughout the world, including the US, Eastern and Western Europe, Australia, South America, Middle and Far East, yielding extensive literature, researched information, and knowledge on the impact of music in medicine, psychology, science, and education. Many secondary schools across the country include music therapy treatment, along with OT, Speech, and PT in the schools. Hospitals and Institutions also include music therapy as additional treatment for patients, especially for pain management, cancer survivors, and persons with neurophysiologic disorders such as Alzheimer’s, Parkinson’s, strokes, comas, and various childhood diagnoses including Autism Spectrum Disorders, Rett’s and Down syndromes, and others. “Introduction To Music Therapy” (Take Twp CDs And Call Me In The Morning©) introduces the profession of music therapy to students and professionals JANUARY 2013

in all areas of study, including not only musicians and music education people, but also classroom teachers, psychologists, doctors, sociologists, nurses, allied clinicians such as speech pathologists, occupation and physical therapists, sports medicine, biomedical engineers and scientists, as well as parents and caretakers of patients with PTSD, autism, brain trauma, dementias, and much more. There is no music background essential to learning about how music is applied clinically, but this course can surely bring out very interesting physiologic information about human function and why and how music, whether therapeutic or clinical therapy, can become a useful resource in education and clinical work. This all-university , and community-interest course requires NO MUSIC BACKGROUND or pre-requisite, and is available to any interested students, from any discipline, within and outside of Kean University. Its catchy sub-title above informs that information will be obtained about the clinical role and uses of music, as well

as various physiologic aspects of diagnosed populations. The information is valuable for teachers, allied clinicians, health-care professions, care-givers, administrators, and general public. The course begins this coming spring semester (2013), and will be held on Wednesdays, January 23rd through early May, at 4:30 - 7:15 pm. Course meeting time has been specially designed to accommodate working professionals (teachers, etc) who are interested in taking the course. It is a 3-credit course that includes lectures, videos, field-visit assignments, book and journal literature report assignments, guest speakers, hands-on experiential music therapy-based activities exemplifying how music is applied in various treatment circumstances, and weekly journal documentation of assigned and sundry topics. Four texts are required. In addition, a resource bibliography, music therapy websites, PDF files of pertinent articles and papers, will be provided. There are no ‘formal’ examinations given in the course. Grades are based upon consistent attendance, weekly “at-

National Association for Music Education Announces the Creation of

Touching the Lives of 20 Million Children

Give A Note Foundation was established by the leaders of the National Association for Music Education in order to expand and increase music education opportunities for all children and help them develop skills needed for success in the 21st century.

To make a donation, please visit www.giveanote.org

JANUARY 2013

tendance marker” submissions as assigned by instructor, timely completion of various reports and research assignments, field observations, and class participation. Many professional music educators are seeking additional training in music therapy in order to better understand the special needs child, and how their own role as music educator can help yield creative adaptive behaviors. This course is recommended for any interested person, and especially for music educators. We at Kean University look forward to sharing information about music and music therapy. Information may be obtained from the Music Department, by phoning 908737-4330. Meanwhile, do take two CDs, continue to enjoy music in your life, and to providing music to children and their families. See you in the Spring.

Music learning should be a part of the education of every student, not just the privileged few. Give a Note Foundation has a goal of raising $1 million to help spread the joy of music study to underfunded and underserved areas of the United States. Each year from 2013 to 2016, we’re asking every NAfME Collegiate and Tri-M chapter to raise at least $200 toward this goal. Help us share the wealth that music education brings to those whose lives it touches. The Give a Note Foundation Fundraising Toolkit, found online at http://giveanote.nafme.org/toolkit/ can help your Tri-M or NAfME Collegiate chapter get things rolling. All the elements are downloadable and printable. Questions about any aspect of the campaign can be directed to Jennifer Gray Schleining via phone at 571-323-5957, or e-mail JenniferS@giveanote.org. If you’d like to make a tax-deductible contribution at any time, go to www.nafme.org and click on the “Donate” tab on the top banner. You can also go straight to the page at https://giveanote.nafme.org/ donate. Thank you for making music a part of your life and the lives of others! Give a Note Foundation * 1806 Robert Fulton Drive, Reston, VA 20191, USA * giveanote@nafme.org

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2013 Region Jazz Ensembles Junior Jazz Ensemble Audition Requirements (Grades 7 - 9) All Solo Etudes, Scales, Applications, and Locations may be found on the NJAJE Website: www.njaje.org ***IMPORTANT DATES FOR ALL REGIONS*** Audition Date: Monday, March 18, 2013 Rehearsals: March 25, April 8 (4 - 8 PM) April 12 & 13 (9 AM - 3 PM) Concert: April 14 (3 PM) ***Audition Requirements for ALL INSTRUMENTS*** • SOLO - All students are required to prepare the solo listed below in its entirety. Note new solo editions! All Solo etudes may be downloaded from the NJAJE Website: www.njaje.org • SCALES / STYLES - Saxes, brass, piano, guitar, and bass students are required to prepare the scales listed below. Scales are listed in WRITTEN pitch. All scales should be played in a swing style. Drummers are required to demonstrate the ability to keep time in the styles listed below. Scale sheets & basic drumset patterns may be downloaded from the NJAJE Website: www.njaje.org • SIGHT READING - All students are required to perform a short excerpt never previously seen. Students will be given 30 seconds to look over the piece before playing. All Saxophones: *Required solo: NJAJE Junior Saxophone Etude No. 3A NEW EDITION! *Scales [ALL SCALES MEMORIZED]: Alto/Bari : G & D Blues - 2 Octaves, A Blues - 1 octave. G & A Dorian mode - 1 octave, D Dorian mode - 2 octaves. Tenor : C, D, & G Blues - 2 octaves. C & D Dorian mode - 2 octaves, G Dorian mode - 1 octave. Trumpet: *Required solo: NJAJE Junior Trumpet Etude No. 3A NEW EDITION! *Scales [ALL SCALES MEMORIZED]: Blues & Dorian mode C, D, & G - 1 octave. Trombone: *Required solo: NJAJE Junior Trombone Etude No. 3A NEW EDITION! *Scales [ALL SCALES MEMORIZED]: Blues & Dorian mode C, F, & Bb - 1 octave. Piano: *Required solo: NJAJE Junior Piano Etude No. 3A NEW EDITION! *Scales [ALL SCALES MEMORIZED and 2 HANDS]: Blues & Dorian mode C, F, & Bb - 2 octaves. Guitar: *Required solo: NJAJE Junior Guitar Etude No. 3A NEW EDITION! *Scales [ALL SCALES MEMORIZED]: Blues & Dorian mode C, F, & Bb - 2 octaves. Bass: *Required solo: NJAJE Junior Bass Etude No. 3A NEW EDITION! *Scales [ALL SCALES MEMORIZED]: Blues & Dorian mode C, F, & Bb - 2 octaves. Drums: *Required solo: NJAJE Junior Drum Etude No. 3A NEW EDITION! *Styles [ALL STYLES MEMORIZED]: Swing (slow w/brushes, medium w/sticks, fast w/sticks), Jazz Waltz, Shuffle, 8th Note Rock, 16th Note Rock (Funk), Latin (Samba). Students must be able to play 2, 4, & 8 bar phrases with a fill at the end of each phrase. *Free Improvised Solo included as part of the solo etude. Students should demonstrate creativity, technique, and musicality.

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2013 Region and All State Jazz Ensembles Senior Jazz Ensemble Audition Requirements (Grades 9 - 12) All Solo Etudes, Scales, Applications, and Locations may be found on the NJAJE Website: www.njaje.org ***IMPORTANT DATES FOR ALL REGIONS*** Audition Date: Monday, March 18, 2013 Rehearsals: March 25, April 8 (4 - 8 PM); April 12 & 13 (9 AM - 3 PM) Concert: April 14 (3 PM) ***Audition Requirements for ALL INSTRUMENTS*** • SOLO - All students are required to prepare the solo listed below in its entirety. Note new solo editions! All Solo etudes may be downloaded from the NJAJE Website: www.njaje.org • SCALES / STYLES - Saxes, brass, piano, guitar, and bass students are required to prepare the scales listed below. Scales are listed in WRITTEN pitch. All scales should be played in a swing style. Drummers are required to demonstrate the ability to keep time in the styles listed below. Scale sheets for all instruments may be downloaded from the NJAJE Website: www.njaje.org • IMPROVISATION - All students are required to play an improvised solo demonstrating creativity, technique, & musicality. *Saxes, brass, piano, guitar, and bass students must improvise a solo over 2 choruses of Blues in F or Bb concert using the Jamey Aebersold “New Approach to Jazz Improvisation, vol. 1.” Student will pick a card to determine key. *Drum improvisation is included as part of the solo etude. • SIGHT READING - All students are required to perform a short excerpt never previously seen. Students will be given 30 seconds to look over the piece before playing. Saxophones: * Required solo: NJAJE Senior Saxophone Etude No. 3A NEW EDITION! NOTE - Bari Sax: Students will play the entire saxophone etude using the bottom lines in the ossia section. * Scales [ALL SCALES MEMORIZED]: Alto/Bari: C, G, D Blues - 2 octaves, A Blues - 1 octave. G & A Dorian & Mixolydian modes - 1 octave. C & D Dorian & Mixolydian modes - 2 octaves. Tenor: F, C, G, D Blues - 2 octaves. G Dorian & Mixolydian modes - 1 octave. F, C, D Dorian & Mixolydian - 2 octaves. Trumpet: * Required solo: NJAJE Senior Trumpet Etude No. 3A NEW EDITION! NOTE - Lead Trumpet: Students will play the entire trumpet etude using the top lines in the ossia section. * Scales [ALL SCALES MEMORIZED]: C, D Blues - 2 octaves; F, G Blues - 1 octave. C Dorian & Mixolydian modes - 2 oct.; D, F, G Dorian & Mixolydian modes - 1 oct. Trombone: * Required solo: NJAJE Senior Trombone Etude No. 3A NEW EDITION! * Scales [ALL SCALES MEMORIZED]: Bb, C Blues - 2 octaves; Eb, F Blues - 1 octave. Bb Dorian & Mixolydian modes - 2 oct; C, Eb, F Dorian & Mixolydian modes – 1 oct. Bass Trombone: * Required solo: NJAJE Senior Bass Trombone Etude No. 3A NEW EDITION! * Scales [ALL SCALES MEMORIZED]: Bb, C Blues, Dorian & Mixolydian modes - 1 octave (begin below the staff.) Eb, F Blues, Dorian & Mixolydian modes - 2 octaves (begin below the staff.) Piano: * Required solo: NJAJE Senior Piano Etude No. 3A NEW EDITION! * Scales [ALL SCALES MEMORIZED and 2 HANDS]: C, F, Bb, and Eb Blues, Dorian, & Mixolydian modes - 2 octaves. Guitar: * Required solo: NJAJE Senior Guitar Etude No. 3A NEW EDITION! * Scales [ALL SCALES MEMORIZED]: C, F, Bb, and Eb Blues, Dorian, & Mixolydian modes - 2 octaves. Bass: * Required solo: NJAJE Senior Bass Etude No. 3A NEW EDITION! * Scales [ALL SCALES MEMORIZED]: C, F, Bb, and Eb Blues, Dorian, & Mixolydian modes - 2 octaves. Drums: * Required solo: NJAJE Senior Drum Etude No. 3A NEW EDITION! * Styles [ALL STYLES MEMORIZED]: Swing (slow w/brushes, medium w/sticks, and fast w/sticks), Jazz Waltz, Shuffle, 8th Note Rock, 16th Note Rock (Funk), Latin (Samba). Styles must be memorized. Students must be able to play 2, 4, & 8 bar phrases with a fill at the end of each phrase.

JANUARY 2013

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2013 NJMEA MIDDLE SCHOOL CONCERT BAND FESTIVAL APPLICATION Please Print Clearly – (as it should appear in program and on plaque)

Name of Performing Group:

Director’s Name:

School Name: School Address: School Phone: (

Town: )

Zip:

School Fax: (

)

E-mail Address: Home Address:

Home 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 Composer/Arranger Warm-up Selection:

1st Adjudicated Selection:

2nd Adjudicated Selection:

Date and Site Selected: (Please indicate 1st and 2nd choices)

(

) Monday, May 13, 2013 at Rowan University, Glassboro

(

) Tuesday, May 14, 2013 at Summit Middle School, Summit

(

) Wednesday, May 15, 2013 at Freehold Twp HS, Freehold

We can arrive by:

We must depart no later than:

Each band will have a 20 minute warm-up time prior to their performance. Stage time will be approximately 30 minutes including set-up, performance and exit. Performance selections are of the director’s choice. Clinicians’ recorded 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. Ratings will be given upon request. You may bring your own lunches. All bands are encouraged to listen to the other ensembles perform. Mutual respect for all performances is absolutely necessary. Non-refundable application fee: $125.00 per performing ensemble. NO cash or purchase orders, please. A CHECK payable to NJMEA must accompany the application. Include a copy of your MENC Card (showing date). Application deadline: Friday March 22, 2013 (or when space has been filled) More information will be mailed upon receipt of your application. Return all applications to: Christopher Pinto c/o Northern Burlington Co. Reg. Middle School 180 Mansfield Road East Columbus, NJ 08022

Your MENC card here:

Please direct any questions to: Chris Pinto, Festival Coordinator at cpinto@nburlington.com

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The 60th Annual Junior High/Middle School Choral Festival Application Form

School Name:

School Phone:

School Address:

City:

Director’s Name :

Zip: 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) April 24, 2013: 9:30 - 1:30 pm: Will participate at Rutgers University, (North Site) May 22, 2013: 9:30 - 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) FESTIVAL DATES: FEE: $125.00 per group (non-refundable) (Limited to the 1st TEN (10) Groups on each date) DEADLINES: Monday, March 18, 2013 for Rowan University Wednesday, April24, 2013 Monday, April 22, 2013 for Rutgers University South Site: Rowan University TIME: 9:30 am - 1:30 pm SEND TO: Donna Marie Bechtold, Registrar William Davies Middle School Wednesday, May 22, 2013 1876 Dr. Dennis Foreman Drive North Site: Rutgers University Mays Landing, NJ 08330 TIME: 9:30 am - 1:30 pm EMAIL: berchtoldd@hamiltonschools.org FESTIVAL HOST: Larry DePasquale, Rowan University depasquale@rowan.edu Other information including directions

and schedules will be mailed.

JANUARY 2013

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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THE 2013 NEW JERSEY HONORS JAZZ CHOIR VOCAL AUDITION REQUIREMENTS APPLICATION CAN BE DOWNLOADED FROM NJAJE WEBSITE WWW.NJAJE.ORG Audition Date: Monday, May 6, 2013

IMPORTANT DATES FOR ALL REGIONS Audition Date: Monday, March 18 4:00 - 7:00 PM Rehearsals: Monday, March 25 & April 8 4:00 - 8:00 PM Fri. & Sat. April 12 & 13 10:00 - 3:00 PM Concert: Sunday, April 14 3:00 PM

VOCAL AUDITION REQUIREMENTS 1. Sing high and low major scales and a chromatic scale: Use the syllable “ah”, quarter note at m.m.=80. Descend first on low scale Soprano High Scale G Low Scale A Chromatic F-C Alto High Scale Eb Low Scale F Chromatic C-G Tenor High Scale Ab Low Scale C Chromatic F-C Bass High Scale Eb Low Scale F Chromatic C-G 2. Sing back a variety of pitches given on tape using the syllable “ah”: 3. Sing back several short 4 to 6 note rhythmic melody given on tape, using the syllable “bah”, re-articulated on each note. 4. Sing the following melody, unaccompanied. Change the key to suit your vocal range.

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5. Sing the following melody using your own choice of scat syllables, unaccompanied. Change the key to suit your vocal range.

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T h e Re g d io un

CJMEA

Central Jersey Music Educators Association cjmea.org

hope to see everyone at our General Membership Meeting on Friday at the NJMEA Convention in New Brunswick. The meeting will take place on Friday, February 22 at 11:45 pm in the Tower. It would be great to see everyone there! Our Division Chairs are always looking for help. Our ensembles are looking for sites and managers for the upcoming year. Every year I host the Intermediate Auditions and the first rehearsal and it does wonders for my program. I have parents volunteer to sell refreshments and my program makes some money, my students have the opportunity to observe the Region Band and Orchestra rehearsals and they are inspired when they hear the quality of these ensembles. Additionally, my students are excited to volunteer and gain valuable community service for CCD and Scouts. If you are interested in hosting or volunteering, please don’t hesitate to contact me at: president@ cjmea.org Additionally, I would like to thank the many volunteers who help to make our Region function efficiently. I would like to thank (I apologize if I forgot anyone): • Chris Finnegan for running our Concerto Compeition • Brian Toth for a great job with organizing the High School Band and Orchestra Auditions • Hillary Colton and Barbara Retzko for organizing the High School Choral Auditions • Nina Schmitterer for organizing the Intermediate Choral Auditions • Meg Spatz and Dave Rattner for organizing the Intermediate Band and Orchestra Auditions. It is my main mission to improve communication between the Executive Board and the membership. I have been sending out e-mails regarding many Region II items. If you have not seen any of these e-mails, please contact me at president@cjmea.org. Additionally, please take the time to like the Central Jersey Music Educators Association on Facebook and @TheCJMEA on Twitter. Jeff Santoro-President Elect This Spring, we will be holding elections for three of the positions on the CJMEA Executive Board. We’re looking for members who are interested in serving on the board in one of these capacities; President Elect, Secretary and Treasurer

The positions of Secretary and Treasurer are two year terms (July-June). President Elect is a two year term, followed by two years as President and two years as Past President. Our region has a long tradition of dedicated members who have given their time to serve on our executive board so that our students have a meaningful region experience. Please consider joining us so this tradition can continue. Interested members should send a letter of intent to presidentelect@cjmea.org no later than March 1, 2013. High School Band-Brian Toth hsband@cjmea.org Happy New Year! Welcome back from your break. I hope you’re ready for the excitement of the next few months as you prepare for more concerts, festivals, musicals, and trips. Many thanks go out to Andy and John at JP Stevens for their hard working as hosts of our region auditions. Please put January 13th on your calendar for the Wind Ensemble and Symphonic Band Concert. Once again, the concert is at Montgomery HS starting at 3pm. Admission is free with your NAfME membership card. It’s not too late to apply for a performance at the 2013 CJMEA Concert Band Festival. Applications are due in mid-February and can be found on cjmea.org. The festival is at South Brunswick High School on March 18-20th. High School Chorus-Hillary Colton hschorus@cjmea.org The CJMEA Region II Choral Division is so proud of the choirs we produce. Nicholas McBride from Clearview Regional High School and Patrick Hachey from Roxbury High School gave our students a musical experience that they will never forget. Thank you, gentleman. Barbara Retzko once again served with Hillary Colton as one of the audition managers. Our choral managers were again Judy Virrilli and Sue Belly both of Woodbridge Township Schools. These ladies have been our high school chorus managers for many years. Thank you so much for your service to CJMEA. Our rehearsal and concert hosts were Karen Gorzynski of Somerville High School; Sister Dolores Margaret of Immaculata High School; Barbara Retzko from Rutgers University; and Jennifer Alagna and Adam Good from Monroe Township High School. We are always looking for new volunteers. We are so grateful to have the same managers and hosts every year but I’m sure that they wouldn’t mind letting a new person take over. Could that new person be you? High School Orchestra-Kawika Kahalehoe hsorchestra@cjmea.org Thank you to all who helped out with making the region Orchestra Festival a success. The students performed exceptionally well and the performance was top rate. If you have any suggestions on improving region orchestra please do not hesitate to email me. Please keep your students informed of the All-State audition timelines by checking the NJMEA website. Wind, brass, and percussion students should return their All-State audition applications to the audition chair indicated on the form that they received during the region Orchestra Festival. All-State orchestra auditions for high school and intermediate string musicians take place on Saturday, March 16th. Information concerning All-State auditions can be found at www.njmea.org. Thanks and good luck with the rest of your school year. I hope to see you all at the convention in February.

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Intermediate Band Celeste Zazzali and Meg Spatz k8band@cjmea.org k8band2@cjmea.org It’s that time of year again: Intermediate Region Band Auditions are coming up on Saturday, January 26th. By this time, your students who are planning to audition have already turned in their registration forms and are hopefully working hard with their final preparations. (Late applications are to be post-marked by January 11th. For questions about On-Site Registration, please write Meg Spatz at k8band2@cjmea.org) This year’s Intermediate Region Band conductor, Sal Fossa from Woodrow Wilson Middle School in Edison, has a fantastic program planned that your students will grow from and love to perform. Elementary band directors should start thinking about Elementary Honors Band. The event will be held in Rahway on May 4th. Three bands representing all experience levels from 4th-6th grade will gather to rehearse and perform on this one Saturday. Prior to the big day, students will receive music in the mail so they can practice and prepare. It is an excellent way to challenge your advanced students, so stop by the CJMEA website and consider filling out an application. Questions about the event can be directed to Celeste Zazzali at k8band@cjmea.org. The Elementary & Intermediate Band Festival will be held over three dates in April and March. Bring your young ensemble to Monroe or Freehold for an experience which includes a performance opportunity, adjudication, a brief clinic with the judges, and the chance to hear other ensembles from the area. Check the CJMEA website for more information and the application. We invite you to get involved: come to a rehearsal, run a sectional, usher at a concert… There are many ways to enhance your professional experience and benefit your students by becoming more involved with CJMEA! Intermediate Chorus-Nina Schmitterer K8chorus@cjmea.org CJMEA is excited to share two upcoming opportunities for elementary teachers and elementary students. Lindsay Jackson will be presenting a workshop on Active Music Making in the K – 5 music classroom on Saturday, January 26. This session will focus on vocal development, movement, and conversational solfege. Please see the CJMEA website for registration information. The Treble Honors Choir, conducted this year by Jason Tamashausky, is for students in grades 4 through 6, and will take place on April 20th. Teachers will be able to JANUARY 2013

nominate outstanding students to take part in this group. Please check the website as information will be available shortly. The CJMEA Region II Intermediate Choir, conducted by Jennifer Jenkins, is off to a great start. Please keep current with audition sites and rehearsal information on the CJMEA website. The concert will take place at Monroe Twp. High School on Sunday, March 17th at 4:00 pm. Please come and support your students! Intermediate Orchestra-Penny Martin k8orchestra@cjmea.org I am so excited to announce the 2013 Intermediate Orchestra conductors for CJMEA. For the Intermediate Symphonic Orchestra we have Chris Finnegan who currently teaches in the East Brunswick Township school district. Also from East Brunswick, we have Susan Meuse for the Intermediate String Orchestra. I welcome their talents and can’t wait until this Spring to see them in action. If anyone is willing to host our ensembles, we are in desperate need of rehearsal sites. We have a different, new and improved rehearsal schedule where the orchestras will be rehearsing together. Please see the schedule on www.cjmea.org. Remember, a cafeteria and gym will suffice. The Symphonic Orchestra has approximately 132 performers and the String Orchestra has approximately 70 performers. Please email with any questions. Percussion-Yale Snyder percussion@cjmea.org I hope everyone has had a great school year thus far. Region II percussion is having its finest year yet. We have our region percussion ensembles coming up and I am thrilled that two of the finest percussion educators in our state will be conducting. Gary Fink will lead the High School Region Ensemble and Marty Griffin will lead the intermediate ensemble. CJMEA was represented once again at this year’s Arts Society International Convention (PASIC) this November. This is the largest gathering of percussionists and percussion teachers in the world. Looking ahead to the spring, there will be percussion ensemble festivals and days of percussion to be announced. I am still looking for a manager for the intermediate percussion ensemble. If you are interested or know someone who might be, percussionist or non-percussionist, please email me ASAP. I am looking forward to continuing to share with our membership news regarding the latest trends in 21st century percussion education.

NJSMA

North Jersey School Music Association njsma.com

he time of this writing was during the week after New Jersey was in Hurricane Sandy’s devastating path. I heard a report that a few people in some southern states were thankful that Hurricane Sandy did not hit them. In the next breathe they also said, “It’s about time those folks up north got it instead of us.” I was shocked, to say the least. No one wishes for a storm; where it strikes is all up to Mother Nature. Some have suffered terrible losses; hopefully you have recovered and put your lives back in order as best you can. The Storm of the Century certainly did us in here in New Jersey. But we don’t wish these kinds of things on anyone. Rehearsals, concerts, festivals, it’s all happening for you and your students! Are you involved? Have you ever conducted an honors ensemble? Ever managed a group? Ever hosted a rehearsal or concert? As a normal part of our jobs, we do these things every day. However, the ensembles that the region and state offer provide an even higher level of musicianship for our students given that the best performers are accepted. If these programs are eliminated due to lack of teacher involvement, who loses? Our students! Not too long ago, Region I Past President Donna SanGiovanni stated that if every teacher volunteered for an activity at least once during their teaching career, we could very easily get the job done. I reiterate the same, so have you ever…It seems that things got tougher just a few short years ago concerning finding school facilities and teachers willing to host concerts and rehearsals. We need you to keep our profession moving upward. The basic level of involvement is sponsoring students and attending auditions. We need you to step up to the next level. Visit our website, apply to conduct a group or contact a division chair and offer to manage or host an event. We set the tone for the future of Music Education in the state by what we do for our students, the real future of our profession. See you at the NJMEA Convention! Mike Kallimanis, President

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Band Division Matthew Spatz and Gregory Mulford Band Division Co-Chairs The high school auditions will be held Saturday, January 5, 2012 with a snow date of Sunday, January 8, 2013, at Paramus HS. We would like to thank Mark Donellan and Paramus HS for hosting and to the band audition chair, Jeff Brown from Bergenfield HS. The High School Region Band Concert will take place at Randolph HS, January 27, 2013, at 3:00 pm. Glen Adsit, Director of Bands and Associate Director of the Instrumental Studies Division at The Hartt School, will be conducting the wind ensemble and Lewis Kelly, Director of Bands at West Orange HS, will be conducting the symphonic band. The Junior High School auditions will be run Saturday, February 2, 2013. The junior high school battery percussion audition will continue to combine the snare and traps requirements. This year the junior high school snare drum rudiments have been reduced. Please print off a new copy for you and your students. Our Third Annual NJSMA Chamber Ensemble Concert will take place Wednesday, February 27, 2013 at the Shea Center for Performing Arts of William Paterson University. Start time is 7:00 PM. The concert will consist of the region’s top high school band students performing chamber literature. Featured will be the following ensembles and coaches: Chamber Winds - Mark Donellan, Paramus HS Flute Ensemble - Max Taylor, Vernon Twp. HS Clarinet Ensemble - Richard Summers, Pequannock Twp Schools Saxophone Ensemble - Paul Cohen, William Paterson University Brass Ensemble - Brian McLaughlin, West Milford HS Percussion Ensemble - Erik Lynch, Verona HS The annual NJSMA high school concert band festival will be held March 19 at Verona HS, March 20 at Bergenfield HS, and March 21 at Mount Olive HS and Randolph HS. On both March 20 (Bergenfield) and March 21 (Mt. Olive and Randolph) there will be separate day and evening times for the festival. The junior high school band festival will take place Thursday, April 18, 2013 at Randolph MS and Westwood Reg. Jr./Sr. HS. Please check the NJSMA website for details and performance applications.

The NJSMA Elementary Honors Band Festival will be Saturday, May 4, 2013, at Columbia HS in Maplewood. Fifth and Sixth graders from North Jersey who have been nominated by their directors will rehearse during the morning and present a concert in the afternoon. The festival will be a one-day event and the sponsoring teacher must be in attendance the day of the festival. This is a wonderful opportunity to feature young musicians as they grow and develop in their musical experiences. All student nominations will take place electronically. Check the NJSMA website for details. Directors who would like to suggest 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 (AllState Band Procedures for high school solos) and added to the list if deemed appropriate. Region I All-State Band Procedures Representatives are Lewis Kelly, West Orange HS; Gregory Mulford, Bergenfield School District; and Mindy Scheierman, Millburn HS.

been hosting for several years. We are grateful to him and the district of Fair Lawn for volunteering their time and hospitality. At this time, we do not have a site for the all-day rehearsal, dress rehearsal, or concert (March 1, 2, 3). We also do not have managers for the Junior Region Chorus. If we do not have a site host for these dates, or managers, by January 5, unfortunately, we will not be able to run our Junior High School Honor Choirs. Our annual high school choral festival ran November 27th through the 29. Thank you to Viraj Lal, our festival coordinator, Matthew Swiss, Randolph HS, Barbara Klemp, Chatham HS, and Lisa Bagley, Westwood Reg. Jr./Sr. HS, for graciously hosting. Also thanks to adjudicators John Leonard, Patrick Gardner, Lucille Kincaid, Barbara Retzko, and Amanda Quist! We need your help! If you are interested in hosting an event or managing an ensemble, please e-mail Stephanie Quirk or Austin Vallies at squirk@NJSMA.com and avallies@ NJSMA.com. We would hate to see events canceled due to the lack of volunteers for these groups. We look forward to your participation.

Choral Division Stephanie Quirk and Austin Vallies Choral Division Co-Chairs

Orchestra Division Nate Lienhard and Michael Holak Orchestra Division Co-Chairs

The Choral Division is pleased to announce the conductors for the 2013 High School Region Honor Choirs. Heather Buchanan, from the John J. Cali School of Music at Montclair State University, will conduct the Mixed Ensemble and Leslie MacPherson, director of choirs at Northern Valley Regional HS at Demarest, will conduct the Women’s Chorus. Wilbur Baker, New Jersey City University, will be directing the Junior High School Mixed Ensemble. At the time of this writing, we are in the final stages of securing a conductor for our Junior High School Treble Chorus. High school honor choir auditions will take place Saturday, January 5, 2013, at Paramus HS. The junior high school honor choir auditions will take place Saturday, February 2, 2013, at Clifton HS. All audition materials are available on the NJSMA website, www.NJSMA.com. Thank you to Michelle Digaetano and Deana Larsen for kindly volunteering to be our audition managers again this year! High school choral rehearsals will again be at Kinnelon HS, and will return for the concert at Secaucus HS in their beautiful performing arts center. The junior high school evening rehearsals will be at Memorial MS in Fair Lawn, where George Glock has

The Region I Orchestra Division is excited to announce the events for 2012-13! Our guest conductor for the high school orchestra will be Ken Lam, orchestra director at Montclair State University, resident conductor of the “Brevard Music Center” in North Carolina and the artistic director of the Greater Baltimore Youth Orchestra. Kim Chiesa, from the Randolph Township School District, returns with a few years of managing experience to once again handle this important role. Our guest conductor for junior high school orchestra will be Karen Pinoci. She is co-founder and associate conductor/director of the New Philharmonic of New Jersey, and also music director of the New Sussex Symphony and the Essex County Summer Players. Mary Daly, from West Morris Mendham High School and a former orchestra division chair, will ably manage the junior orchestra this year. Her expertise will help in training these young musicians in the rules and regulations of future Region and All-State ensembles. The high school concert will take place Sunday, February 10, 2013. The junior high school concert is set for Sunday, March 10, 2013. The Region I Orchestra Division fol-

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JANUARY 2013

lows the scale and solo repertoire requirements of the All-State Orchestra. Please check the region or state website for further details. All accepted region orchestra string members will receive concert music prior to the first rehearsal. A string reseating audition on the concert repertoire will take place at the second rehearsal. The solo scores from the initial audition will be combined with the repertoire scores to determine the new seating. We hope your school year is going well. Please contact us if we can assist you in any way. We always need site hosts for concerts and rehearsals as well as sectional coaches for strings, winds and percussion. Check the dates in the Region calendar and contact us to sign up.

SJBODA

South Jersey Band And Orchestra Directors Association sjboda.org

he SJBODA will bring in the New Year with two very exciting concerts. On Sunday, January 6th we will present our Orchestra and String Ensemble concert at Rowan University. This is the 59th anniversary concert for the Orchestra which will be conducted by Michael Oberstein. The Junior High String Ensemble will be conducted by Judy Barnett (Washington Twp. HS). The manager for the Orchestra will be Deb Knisely (Cinnaminson HS). The following Sunday, January 13th the Wind Ensemble and the Symphonic Band conducted by Paul Tomlin (Clearview Regional HS) and Deb Knisely (Cinnaminson HS) respectively will perform in the 67th anniversary concert at Rowan University. The managers for the Symphonic Band are Tom Rafter (Private Teacher) and Jon Grill (Toms River HS North). The managers for the Wind Ensemble and the String Ensemble have not been announced at this time. These concerts would not be possible without the commitment and dedication of our colleagues. Deb Knisely (Cinnaminson HS), Chris Adams (Rush Intermediate School) and Phil Senseney (Southern Regional Schools) did an outstanding job in providing our students with a positive audition experience. Gail Posey and John Stanz provided an excellent facility for our students, parents, and membership at the auditions which were held at Eastern Regional HS. We would also like to acknowledge our new string coordinator, Glenn Motson (Gloucester City HS) and our new percussion equipment manager, Christopher JanJANUARY 2013

ney (Haddonfield 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. The young musicians also benefited from the efforts of Nichole DelNero (Toms River HS South) 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 Phil Senseney will be our hosts. Audition information is available on our website. Tony Scardino (Indian Mills MS) and Joe Jacobs (Ventnor MS) are the Junior High audition chairs. Calvin Spencer (Monongahela MS) is our Junior High Band Coordinator. The concert will take place on March 3rd at Fernwood Ave. MS in Egg Harbor Township. Mark Kadetsky and Dominic Scalfaro will be our concert hosts. Keith Hodgson will host the rehearsals at Mainland Regional HS. The 6th annual Chamber Ensemble Concert will take place on Thursday, February 14th. Keith Hodgson (Mainland Regional HS) is our Chamber Ensemble Coordinator and concert host. The Mainland TRI-M Music Honor Society Chapter will also be our host for this event. Scott McCarron (Delsea Regional HS) will coach the saxophone quartet. The coaches for the brass ensemble, string ensemble, woodwind quintet, and percussion ensemble will be announced at a later date Registration forms for our 19th annual Concert Band Festival are available on the SJBODA website. The festival, coordinated by Mike Armstrong (Deptford Township HS), will take place on Monday, March 18th and Tuesday, March 19th at Rowan University. Rick Dammers, John Pastin and the Rowan University Wind Ensemble will sponsor this event. The 21st annual Elementary Honors Band Festival will take place on Saturday, May 4th at Absegami HS. Jonathan Porco will be our host. Our coordinators are Christine Macaulay (Cherry Hill Schools), David Fox (Thomas E. Bowe School), and Bill Trimble (Wenonah ES). Registration forms are available on the website. The SJBODA Winter Meeting will take place on Friday, January 11th at 10:00 AM at Rowan University. All members are encouraged to attend. Please continue to check the website, maintained by Scott McCarron (Delsea Regional HS), for the latest SJBODA updates. The SJBODA phone number is 609-457-0590.

SJCDA

South Jersey Choral Directors Association sjcda.net

Secretary, SJBODA

he South Jersey Choral Directors Association (SJCDA) Board of Directors has been very active the last few months preparing for our upcoming festivals and concerts. Our Senior High Chorus conductor, Kahlil Gunther of Woodstown High School, and our Junior High Chorus conductor, Pamela Barnes of Egg Harbor Township High School, have already begun rehearsing and bringing energy and great ideas to our students - not to mention a wealth of knowledge and experience. Their diverse and challenging programs can be viewed at our website: www.sjcda.net. We are proud to have them on board! At this busy time of year, SJCDA has many people to thank for their generous help and support. Kahlil Gunther, of Woodstown High School, once again did an outstanding job hosting our November 17th auditions. Our gracious rehearsal host is Kendra Cancellieri of Lenape High School. Katherine Akinskas of Eastern Regional High School will host the Junior/Senior High Festival on January 26 and 27, 2013. Lawrence DePasquale of Rowan University will conduct, and Donna Marie Berchtold will host the Elementary Festival on March 2, 2013 at Hess Performing Arts Center in Mays Landing. Thank you so much to our hosts for volunteering their time and their buildings! The SJCDA Executive Board looks forward to some very busy but exciting and productive months. Art McKenzie, President South Jersey Choral Directors Association Overbrook Senior High School

Joseph Jacobs 65 TEMPO

IN MEMORIAM This column salutes the lives and careers of recently departed colleagues. It is the way NJMEA and NJRMEA can express appreciation for the work that they have done and the lives that they have touched. We mourn their passing and salute their contributions, which are the basis for music education in the state of New Jersey. If you know of the passing of any music educator, please contact: Christine Sezer at 570-756-2961or drcsezer@gmail.com

(Please send obituary notices from your local newspaper concerning music teachers from New Jersey who have passed away. It is not possible to keep track of all the newspapers in the state and your help is needed.)

Thomas A. Finetti Thomas A. Finetti, 66, of Nutley, passed on Wednesday, Nov. 21, 2012, at the St. Barnabas Medical Center, Livingston. Finetti was born in Newark and resided in Nutley for 37 years. He received his M.A. (1972) and Ph.D. (1988) in Music and Piano Performance from New York University. His performance career as soloist and accompanist in the metropolitan area spanned over 30 years. Thomas was also a dedicated teacher who shared his passion for music with his students. He served as choral director at Belleville High School for 38 years and was also an adjunct professor at Fairleigh Dickinson University and Kean University.

Pasquale LaNeve Born in Paterson, LaNeve lived in Totowa for most of his life. He was a music teacher for the Garfield Board of Education. He also played trumpet with the Tony Neglia Band and was a member of Musicians Union Local No. 248. He was a parishioner of Holy Angels R.C. Church, Little Falls, where he served as an usher as well.

Harry L. Madole Harry L. Madole, age 77, of Tafton, PA died Saturday, Sept. 1, 2012 at Wayne Memorial Hospital in Honesdale, PA. Madole was born January 5, 1935 in Lancaster, PA and was the son of the late Sheridan and Eltrudea (Hampton) Madole. He went to Trenton Public Schools and attended Philadelphia Musical Academy. Graduating from Trenton State College in 1957, he then attained a Master of Arts Degree majoring

in Conducting and Composition. Harry taught first in the Tinton Falls Schools of NJ for nine years, developing an eighty voice choir, an eighty-five piece band and a string program. In addition, he taught as an adjunct professor at Trenton State and founded The Shore Intermediate Band and Orchestra Association. He directed numerous musical groups and dramatic productions, while active as a professional musician himself. The highlight of his career came when he became Director of Music at Point Pleasant Beach High School in NJ where he remained until his retirement in 1991. He started a Jazz Program there which from 1969-1990 placed among the top in NJ each year and won state and regional recognition. He developed a cultural students enjoyed week-end visits with high school bands in Maine and New England. Performances at many concerts, footballs games, parades and community functions won acclaim from area leaders, every principal under which he served, community members and music teachers in other areas. He was recognized for his community leaderships. He was selected to conduct All South Jersey Region Band, All State Jazz Ensemble and at the Garden State Arts Center. He founded the Greater Point Pleasant Area Community Symphonic Band which combined the talents of high school students, adults and alumni. At the First Presbyterian Church of Manasquan and locally, he and his wife combined talents for many vocal, instrumental and dramatic productions. Madole has been recognized by many of his previous students who credit him for contributions as a teacher, friend and mentor in their lives.

Louis Angelo Mondanaro Louis Angelo Mondanaro, 60, of Bayonne passed away peacefully on Sunday October 28, 2012 at the Jersey City Medical Center. Louis was born in Jersey City and spent most of his life in Jersey City and in

TEMPO 66

Bayonne. He was a music teacher for the Jersey City Board of Education for over 30 years, teaching at Dickinson High School. He was a member of the NJ Education Association and the Jersey City Education Association. He also was a 1978 Alumni of NJCU, Jersey City.

Constance Anne Ziobro Constance Anne Ziobro, 58, of Piscataway, N.J. passed away on Tuesday, Aug. 7, 2012, at her home. Born in Plainfield, NJ, Constance resided in North Plainfield, NJ, before moving to Piscataway, NJ, in 1991. Ziobro was a graduate of Piscataway High School, Class of 1972, and Montclair State College, Class of 1976 with a bachelorâ&#x20AC;&#x2122;s degree in music education. A music teacher with the Piscataway Board of Education, she taught at the Arbor Elementary School in Piscataway, NJ, before her retirement. She had also formerly worked as a computer programmer/analyst for NJ Bell.

Janice A. Weitzell Janice A. Weitzell (nee Pellegrino), 60, passed away peacefully in her home Sunday morning, Nov. 11, 2012. Janice was born in Orange, NJ, and raised in West Orange, NJ. She lived in Toms River, NJ, and Lake Worth, Fl, before moving back to New Jersey. Janice was a graduate of Westminster Choir College. and was a music teacher in the Toms River school system until her retirement. Janice loved music and sang at many venues in the area. While living in Florida, she was an officer of the Opera Society of Palm Beach.

& JANUARY 2013

THE COLLEGE OF NEW JERSEY

MUSIC

Rooted in Tradition, Energized by Innovation Educating Teachers Since 1916

ANNUAL AUDITION WORKSHOP Saturday, November 10th 2012

- For high school sophomores, juniors, seniors, parents, & teachers - Features small group sessions and masterclasses - Offers a mock audition and faculty performance

Apply to the Department of Music at TCNJ 2012-2013 Audition Dates

Wednesday, November 14th 2012 Wednesday, January 23rd 2013 Wednesday, January 30th 2013 Saturday, February 9th 2013 Monday, February 18th 2013 For audition information and workshop registration materials: music@tcnj.edu - tcnj.edu/music

The Department of Music is an accredited instituional member of the National Association of Schools of Music as well as a collegiate member of NAfME, the National Association for Music Education. TCNJ Tops US News & World Reportâ&#x20AC;&#x2122;s List of Best Colleges JANUARY 2013

67 TEMPO

The College of New Jersey is an affirmative action, equal opportunity institution.

NJMEA 2012-2013 Board of Directors Executive Board

Appointed Members

President, Keith Hodgson Mainland Regional HS keithhodgson1@mac.com 609-317-0906

Administration Ronald Dolce Retired rdolce561@aol.com 732-574-0846

Higher Education Larry DePasquale Rowan University depasquale@rowan.edu 856-256-4896

Past-President, William McDevitt

Advocacy Nick Santoro Retired nb1331@quixnet.net 732-246-7223

Music Industry Ron Beaudoin Music & Arts Center rbeaudoin@musicarts.com 215-620-1484

Vineland High School billnjmea@aol.com 856-794-6800 x2539 President-Elect, Joseph Jacobs Ventnor Middle School jjacobs@veccnj.org 609-487-7900 Executive Secretary-Treasurer Deborah Sfraga Ocean Township Schools debnjmea@aol.com 732-686-1316 Communications (TEMPO/Web) Thomas A. Mosher, Retired tmosher@njmea.org 732-367-7195

Band Festivals/Classroom Music Nancy Clasen Thomas Jefferson Middle School nancydidi@hotmail.com 973-766-5343 Band Performance Albert Bazzel Winslow Twp. Middle School fenwayfollower5@comcast.net 856-358-2054 Choral Festivals Donna Marie Berchtold William Davies Middle School berchtoldd@hamiltonschools.org 609-476-6241 x1013

Region Executive Members

NJSMA President, Michael Kallimanis Waldwick Middle School mkallimanis@njsma.com 201-370-0423

Chorus Performance Kathy Spadafino, Retired kspadeb@aol.com 732-214-1044

CJMEA President, Andrew Veiss So. Plainfield Middle School president@cjmea.org 908-754-4620 x378

Chorus/Orchestra/Jazz Joseph Cantaffa Howell High School jcantaffahhs@hotmail.com 732-919-2131

SJCDA President, Art McKenzie Overbrook High School amckenzie@pinehill.k12.nj.us 856-767-8000 x3044

Collegiate Chapters Rick Dammers Rowan University dammers@rowan.edu

SJBODA President, John Stanz Eastern Regional High School jstanz@eastern.k12.nj.us 856-784-4441

Opera Festival Stevie Rawlings Paramus High School srawlings@paramus.k12.nj.us 201-261-7800 x3069 Orchestra Festivals/Performance Susan Meuse Hammarskjold Middle School susanmeuse@gmail.com 732-613-6890 Retired Music Educators Christine Sezer Retired drcsezer@gmail.com 570-756-2961 Urban Music Initiative Suzanne M. Kane West Side High School skane@nps.k12,nj.us

Conferences Marie Malara Sayreville Middle School malara97@aol.com 732-525-5290

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JANUARY 2013

NJMEA RESOURCE PERSONNEL Area of Responsibility Name Email Address Administrative Matters......................................................Keith W. Hodgson.....................................................keithhodgson1@mac.com All-State Band Coordinator................................................Donna Cardaneo........................................................... dcardaneo@aol.com All-State Chorus, Orchestra & Jazz Coordinator..................Joseph Cantaffa.................................................. jcantaffahhs@hotmail.com All-State COJ Committee....................................................... Dick Smith.......................................................... njallstatecoj@webtv.net All-State COJ Committee......................................................Jack Rowland....................................................... jrowland41@gmail.com Association Business............................................................ Deborah Sfraga............................................................. debnjmea@aol.com Band Procedures Chair.........................................................Matthew Spatz...............................................matthew.spatz@millburn.org Choral Procedures Chair................................................... Kathleen Spadafino.............................................................kspadeb@aol.com Collegiate Student Volunteer Coordinator.............................Michael Saias............................................................saiasm@hotmail.com Composition Contest.........................................................Robert Frampton...................................................rtframpton@comcast.net Jazz Procedures Chair............................................................. Jeff Kunkel..............................................................drkunk@comcast.net Marching Band Festival Chair.............................................. Nancy Clasen..................................................... nancydidi@hotmail.com Membership........................................................................ Deborah Sfraga............................................................. debnjmea@aol.com Middle/Jr. High School Band Festival..................................... Chris Pinto....................................................... cpinto@nburlington.com Middle/Jr. High School Choral Festival............................. Larry De Pasquale..................................................... depasquale@rowan.edu MIOSM............................................................................... Nancy Clasen..................................................... nancydidi@hotmail.com NJMEA Historian.................................................................Nick Santoro.............................................................nb1331@quixnet.net NJMEA Solo & Ensemble Festival....................................... Nancy Clasen...................................................... nancydidi@hotmail.com NJMEA State Conference Exhibits Chair............................. Nancy Clasen...................................................... nancydidi@hotmail.com NJ Society for General Music............................................... Nancy Clasen..................................................... nancydidi@hotmail.com NJMEA State Conference Committee.................................. Ron Beaudoin..................................................rbeaudoin@musicarts.com NJMEA State Conference Manager.......................................Marie Malara............................................................. malara97@aol.com NJMEA/ACDA Honor Choirs............................................ Deborah Mello.................................................................dmello@nac.net NJMEA Summer Conference..............................................Joseph Akinskas............................................. JoeA_NJMEA@comcast.net November Convention-NJEA............................................... Nancy Clasen.................................................... nancydidi@hotmail.com Opera Festival Chair............................................................ Stevie Rawlings................................................ stevierawlings@verizon.net Orchestra Procedures Chair................................................... Susan Meuse...................................................... susanmeuse@gmail.com Research.......................................................................Carol Frierson-Campbell....................................friersoncampbellc@wpunj.edu Students with Special Needs................................................ Maureen Butler.........................................................mbutler@mtlakes.org Supervisor of Performing Groups............................................. Joe Jacobs.................................................................jjacobs@veccnj.org Tri-M.................................................................................. Keith Hodgson..................................................keithhodgson1@mac.com REPRESENTATIVES/LIAISONS TO AFFILIATED, ASSOCIATED AND RELATED ORGANIZATIONS American Choral Directors Association................................................................................................................................................. Governorâ&#x20AC;&#x2122;s Awards for Arts Education................................. Stevie Rawlings................................................ stevierawlings@verizon.net NJ Association for Jazz Education........................................... Jeff Kunkel............................................................ drkunk@comcast.net NAfME............................................................................... Keith Hodgson..................................................keithhodgson1@mac.com Music Industry..................................................................... Ron Beaudoin..................................................rbeaudoin@musicarts.com NJ Music Administrators Association......................................Ron Dolce............................................................... rdolce561@aol.com NJ Retired Music Educators Association.............................. Christine Sezer.......................................................... drcsezer@gmail.com NJ TI:ME............................................................................ Rick Dammers........................................................ dammers@rowan.edu Percussive Arts Society......................................................... Dominic Zarro....................................................DEZarro@optonline.net COMMUNICATION SERVICES/PUBLIC RELATIONS Executive Secretary-Treasurer............................................... Deborah Sfraga........................................................... debnjmea@aol.com Editor - TEMPO Magazine.............................................. Thomas A. Mosher........................................................tmosher@njmea.org Web Master (njmea.org)................................................... Thomas A. Mosher........................................................tmosher@njmea.org JANUARY 2013

69 TEMPO

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NJMEA Past Presidents 1924 - 1926 1926 - 1930 1930 - 1930 - 1931 1931 - 1933 1933 - 1935 1935 - 1936 1936 - 1938 1938 - 1939 1939 - 1941 1941 - 1942 1942 - 1944 1944 - 1945 1945 - 1947 1947 - 1949 1949 - 1951

Josephine Duke R.W. Laslett Smith Jay W. Fay Wilbert B. Hitchner Thomas Wilson John H. Jaquish Clifford Demarest Mable E. Bray Paul H. Oliver K. Elizabeth Ingles Arthur E. Ward John T. Nicholson Frances Allan-Allen Philip Gordon Violet Johnson Samuel W. Peck

1951 - 1953 - 1955 - 1957 - 1959 - 1961 - 1963 - 1965 - 1967 - 1969 - 1971 - 1973 - 1975 - 1977 - 1979 - 1981 -

1953 1955 1957 1959 1961 1963 1965 1967 1969 1971 1973 1975 1977 1979 1981 1983

Janet G. Gleason Henry Zimmerman Agnes B. Gordown Leroy B. Lenox Elizabeth R. Wood Harold A. Brown E. Brock Griffith Robert C. Heath Edward Brown Rudolph Kreutzer Charles Wertman Stephen M. Clarke Herman L. Dash Buddy S. Ajalat Alyn J. Heim Robert Marince

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1983 - 1985 1985 - 1987 1987 - 1989 1989 - 1991 1991 - 1993 1993 - 1995 1995 - 1997 1997 - 1999 1999 - 2001 2001 - 2003 2003 - 2005 2005 - 2007 2007 - 2009 2009 - 2011

Anthony Guerere Joan Policastro Joseph Mello Dorian Parreott David S. Jones Anthony Guerere Sharon Strack Chic Hansen Joseph Mello Nicholas Santoro Frank Phillips Joseph Akinskas Robert Frampton William McDevitt

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Russo Music Center Rutgers: The State University The College of New Jersey, Music Dept. Umass Amherst Department of Music & Dance West Music William Paterson University Yamaha Music Corp.

JANUARY 2013

http://www.4wrd.it/hdnjt2

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