2016 October Tempo by William McDevitt

The Official Magazine of the New Jersey Music Educators Association OCTOBER 2016

All-State Chorus, Orchestra & Jazz Concerts In Atlantic City â&#x20AC;&#x201C; November 10 - 11, 2016 The Official Magazine of the New Jersey Music Educators Association a federated state association of National Association for Music Education

MEET STEPHANIE DAVIS YOUR EPN TRAVEL PROFESSIONAL

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conferences and school presentations. Stephanie enjoys traveling, spending time outdoors playing with her dogs, working in her yard and tending to her extensive vegetable gardens.

WHAT IS YOUR FAVORITE STUDENT DESTINATION? Boston is my favorite without a doubt. As one of the oldest and most important historical sites in the country, Boston and neighboring

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Salem and Plymouth are the trifecta. Boston is also a modern city with world class dining, performing arts and sporting events. With activities like The Freedom Trail, Whale Watching tours, Red Sox games and tours of Symphony Hall, Boston offers both the Old World and the New World all in one trip.

Volume 71, No. 1

http://www.njmea.org

FEATURES 22

Lost And Found: Guitar Manuscripts In The Library Of Congress, Thomas Amoriello Technology For Asyncronous Music Lessons & Practice, Marjorie LoPresti

34 Adding Technology To Enhance Global Communications And Creativity In Your Elementary Music Classroom, Amy Burns 40

Program Notes: Engaging The Audience, Joseph E. Higgins

44-45 Eastern Division Conference Comes To New Jersey - April 5 - 8, 2017

DEPARTMENTS AND NJMEA BUSINESS

Why Should I Teach Folk Dancing?, Missy Strong

OCTOBER 2016

Recreating The Marches Of John Philip Sousa In A Modern Setting, Scott-Lee Atchison Establishing A Growth Mindset In The Beginning String Program: Using “Strings Karate” To Motivate All Students, Sarah Donatelli

Advertisers Index & Web Addresses.......87 Board of Directors.................................84 Division Chair News.......................... 6-20 Editorial Policy & Advertising Rates......86 From The Editor......................................4 In Memoriam.................................. 82-83 Past-Presidents.......................................86 President’s Message.............................. 2-3 Resource Personnel................................85 Round the Regions.......................... 78-80

Superior Or Inferior? The Competition Conundrum, Billy Baker A Deeper-Hearted Case For Music Education, Colleen Q. Sears A New School Year: How To COPE With The Professionals Who Work With Your Special Learners, Maureen Butler Conductor vs. Educator, Dan Halpern

FORMS AND APPLICATIONS See NJMEA.ORG

“Forms and Documents” for downloadable copies of all forms & applications

59 Attention All Retired Music Educators: Would You Like To Be A Mentor?, Joyce Richardson-Melech

Be Your Own Judge & Jury: You CAN Hear What I Hear!, Thomas McCauley NJEA Convention Music Sessions & Concerts NJMEA Calendar September – December 2016 2016 Governor’s Awards, Joseph Jacobs

NJAJE Jazz Ensembles......................70-71 Young Composers Competition............. 73 Honors Guitar Ensemble Audition...74-76 Opera Festival........................................77 NAfME Membership............................. 88

2016 NJMEA Honors Guitar Ensemble, Thomas Amoriello ATTENTION MEMBERS: Please go to nafme.org to record email and address changes. TEMPO Editor - Thomas A. Mosher 80 Jumping Brook Drive, Lakewood, NJ 08701 Phone: 732-367-7194 e-mail: tmosher@njmea.org Deadlines: October Issue - August 1 January Issue - November 1 March Issue - January 15 May Issue - March 15 All members should send address changes to: mbrserv@nafme.org or NAfME, 1806 Robert Fulton Drive Reston, VA 22091 Printed by: Kutztown Publishing Co., Inc. 1-800-523-8211 kpc@kutztownpbl.com

The New Jersey Music Educators Association is a state unit of the National Association for Music Education and an affiliate of the New Jersey Education Association. It is a nonprofit membership organization. TEMPO (ISSN 0040-3016) is published four times during the school year: October, January, March and May. It is the official publication of the New Jersey Music Educators Association. The subscription rate for non-members is $20.00 per year. The subscription for members is included in the annual dues. A copy of dues receipts (Subscriptions) is retained by the NJMEA Treasurer. Inquiries regarding advertising rate, closing dates, and the publication of original articles should be sent to the Editor. Volume 71, No. 1, OCTOBER 2016 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

National In-Service Conference November 10-13, 2016 Grapevine, Texas NAfME Biennial Eastern Division Conference April 5-8, 2017 Atlantic City, NJ

president’s message WILLIAM McDEVITT 856-794-6800 x2539 billnjmea@aol.com Website: http://www.njmea.org

elcome back to another school year. I hope that you are returning to school recharged and ready for those smiling faces to enter your classroom. At this time, plans are well underway for the 2016 - 2017 NJMEA year of events. It has been a busy and productive summer for NJMEA. It started with the annual National Assembly in Tysons Falls, VA and has continued with planning for the 2017 Eastern Division Conference in Atlantic City. NAfME NATIONAL ASSEMBLY For the past decade, the annual NAfME National Assembly has been held near Washington, DC. This 4-day series of meetings and informational sessions is the only time that representatives from every state in the country meet to discuss the state of Music Education throughout the country, and the state of our organization. Diversity was a major topic of this year’s discussions. With the mutually agreed upon separation of Michael Butera from our organization, Michael Blakeslee has been hired to become the new Executive Director of NAfME. Mike has an impressive resume and has been with the organization for many years (his biography is available on the NAfME website). Along with representatives from all of our states, members of our National Executive Board, and ExTEMPO

ecutive Staff, Mike facilitated some very difficult discussions. Diversity is not an easy topic to discuss. It means different things to different people. Racial and Ethnic Diversity, Socio-Economic Diversity, and Special Needs Students concerns were all a part of the discussion. Throughout the coming year (and beyond) this topic will become infused in all aspects of our National and State discussions. We will not just be looking at diversity within our schools, but also diversity within our profession. If you would like to have a seat at the table, please contact me. One of the highlights of the National Assembly was “Hill Day”. This year, NJMEA Board members Joe Jacobs, Jeff Santoro and Debbie Sfraga, along with 9 NJ Collegiate NAfME members accompanied me to Capitol Hill to meet with our elected representatives. We visited the offices of all 12 House members and both Senators. This year, there was a much different feeling from the meetings that we have had in the past. We were not asking for ESEA reauthorization for the first time! We were thanking our representatives for their support of ESSA and asking for full funding of Title IV, which is distributed in block grants and can be used to help music programs. Office “Staffers” were very receptive to our message. Almost every office that we visited had Staffers that were involved in their music programs when they were in school. We were definitely preaching to the choir this time around! 2

FEBRUARY CONFERENCE Just so we are clear – there will be NO February Conference this year. It will return in 2018. SUMMER CONFERENCE The 9th Annual NJMEA Summer Conference was held at the College of New Jersey on August 2nd. Past-President Joe Akinskas and his team did an excellent job planning an educational and informative series of workshops for our members. NOVEMBER CONFERENCE AND ALL-STATE Nancy Clasen has once again put together an excellent series of workshops for music teachers at the NJEA Convention in Atlantic City. There are fewer sessions this year because of a new on-line process for session proposals. Along with the workshops will be concerts by our All-State Jazz Ensemble at the Claridge Hotel on Thursday, November10th and the All-State Chorus and Orchestra at Convention Hall on Friday, November 11th. Please note the change of site for the Chorus and Orchestra this year. We have been moved out of Boardwalk Hall for (hopefully) one year. These concerts will once again be performed at the NJ Performing Arts Center in Newark on the following weekend. The Jazz Ensemble will be held on Friday, November 18th and the Chorus and Orchestra on Sunday, November 20th. OCTOBER 2016

2017 EASTERN DIVISION CONFERENCE Plans are WELL under way for the 2017 Eastern Division Conference in Atlantic City. By the time that you receive this issue of TEMPO, Conference Registration and Hotel Information should be up on the website (www. nafme-eastern.org). If you have never experienced a Division Conference, you will be thoroughly impressed. In July, 40 members of Executive Boards of Eastern Division states met in Newark to rank Session Proposals and Performing Ensembles. The number of applications in both areas were almost double the amount of proposals for the last Division Conference. There are two major evening concerts – The New York Voices, and the US Air Force Concert Band and Singing Sergeants. Wednesday, April 5th, will be Pre-Conference Academies. Thursday (April 6th) and Friday (April 7th) will include a plethora of workshops in every possible area of music education. Each day will include

a keynote address with a performance. There is also a dedicated concert hour each day where two bands, choruses, orchestras, and jazz bands will present concerts. Keep checking the website (www. nafme-eastern.org) for updates. On Saturday, April 8th, our AllEastern Honors Ensembles will perform. Students from our 11 affiliated states and regions will perform in the Jazz Band, Symphonic Band, Mixed Chorus, Treble Chorus, and Orchestra. Keep watching for more information on these performances

Keep watching your email for updates about the Eastern Division Conference and other great things that are happening in our state. Whether you are a pre-service teacher, first year teacher, veteran teacher, or retiree, I wish you all the best for the coming year. You are the reason that many of our students come to school every day. Inspire them to want to continue to study and make music once they venture beyond your walls. They are the future of our art!

2017 NAfME ALL-NATIONAL HONORS ENSEMBLES It looks like the dates for the 2017 National Honor Ensembles and the 2017 NJEA Convention will not conflict. All of our All-State students should be eligible to audition for 2017!

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OCTOBER 2016

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TEMPO

Editorâ&#x20AC;&#x2122;s Message Thomas A. Mosher 732-367-7194 tmosher@njmea.org Website: http://www.njmea.org

his is going to be an exciting and busy year for NJMEA. In April we will be hosting the Eastern Division Conference in Atlantic City. This event as been in the planning stage for the past four years and will finally take place this coming April 5-8, 2017. For more information please either link from our njmea.org website or go directly to NAfME. org.

We will also be holding our bi-annual election for NJMEA President-Elect in April as well. More information will be in the March issue of TEMPO. Interested candidates still have time to apply. Please see the announcement below.

PRES I D EN T â&#x20AC;&#x201C; E LE C T A N N O UN C E M E N T The NJMEA Nominations Committee is seeking interested candidates for the position of President-Elect. The NJMEA President-Elect is a position held for two years and is followed by two years as President and then two years as Past-President. The successful candidate will serve 6 total years on the NJMEA Executive Board in these capacities, beginning July 2017. Interested NJMEA members are encouraged to apply. Anyone that would like more information about the responsibilities of these positions, please contact NJMEA President, William McDevitt (billnjmea@aol.com). Please forward a letter of interest and a resume for consideration by October 15, 2017 to: Deborah Sfraga New Jersey Music Educators Association 1806 Hwy 35, Suite 201 Oakhurst, NJ 07755

TEMPO

OCTOBER 2016

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TEMPO

THE NEW JERSEY MUSIC EDUCATORS ASSOCIATION a federated state association of NATIONAL ASSOCIATION for MUSIC EDUCATION

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

The New Jersey Music Administrators Association Executive Board, Board of Directors and membership would like to welcome back to a new school year the members of the New Jersey Music Education Association. Summer is always a good time to refresh the mind and spirit and obtain new ideas for the classroom as well as try new teaching techniques. Our association members would like to thank our outgoing President, Robert Pispecky, Supervisor of Music for the Edison Public Schools, for his leadership during the past two years. During this time the association members were presented with innovative workshops that help the supervisors gain information about topics in our state as well as music education in general. We would like to thank Bob for his dedication to the association. We would like to announce that Thomas Weber, Supervisor of Music for the Egg Harbor Township Public Schools, will serve as President for the 2016-2018 term. Matt Lorenzetti, Supervisor of Music for the Linden Public Schools, is President-Elect and will serve as President for the 2018-2020 term. Louis Quagliato will continue to serve as our Treasurer and Membership Chair and David Imhof will continue to serve as our Secretary. Welcome to several new members to our Board of Directors: Dennis Argul, Supervisor of Music for the Elizabeth Public Schools; Robert Hamm, Supervisor of Music for the Neptune Public Schools; and Jonathan Harris, Supervisor of Music for the Northern Valley Public Schools. Returning board members are: Webmaster, Patricia Rowe, from the Moorestown Public Schools; Joe Akinskas, Cumberland County College and Rowan University; and Ron Dolce, retired Music Supervisor for the Rahway Public Schools. Our Executive Committee and Board of Directors worked hard to develop our meeting topics for this year. Much thought was given to the topics to be presented as we received thoughtful suggestions from the membership. Last year, the attendance at our meetings was outstanding and our membership continues to be over forty members. We hope to continue the trend this year as we present the following meeting/workshops: October 7, 2016 - “Nuts and Bolts- Advice on How to be Successful as an Arts Supervisor” facilitator, Peter Griffin December 2, 2016 - “Making the Case for Dance”- facilitator, Louis Quagliato February 3, 2017 - “Arts and Special Education”- facilitator, Joe Akinskas March 31, 2017 - “Transitioning from General Music class to Performing Arts class” facilitator, Patricia Rowe June 3, 2017 - To Be Announced We continue to encourage any music supervisor, department chairperson, or administrator without a music background to join us as we discuss the issues of music education in our state and how we can help to improve music education in our schools. We all must stand strong to continue to strengthen our programs and continue to be a strong voice for music education for the children of New Jersey. For more information about the New Jersey Music Administrators Association go to our website njmaa.org.

continued on page 8

TEMPO

OCTOBER 2016

2016â&#x20AC;&#x201C;2017 AUDITION DATES Saturday, November 12 Saturday, December 10 Sunday, January 22 Sunday, February 19 Sunday, March 19

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Department of

OCTOBER 2016

TEMPO

THE NEW JERSEY MUSIC EDUCATORS ASSOCIATION a federated state association of NATIONAL ASSOCIATION for MUSIC EDUCATION

News From Our Division Chairs Band Performance

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

We hope you had an enjoyable summer and are having a successful start of the school year. During the summer months the Band Procedures Committee met to plan for the upcoming school year. The 2017 All-State Wind Ensemble will be conducted by Keith Brion, Director of the New Sousa Band. Richard Blatti, Emeritus Director and Professor Emeritus of The Ohio State University School of Music, will conduct the Symphonic Band. The application procedure for All-State Band will be online with a printable signature page to be submitted with the audition fees by the sponsoring director. Eligible students will be receiving an email from their respective Region band officials. New Jersey will be hosting the NAfME Eastern Division Conference in April 2017, replacing the annual NJMEA Conference. The 2017 All-State Bands will still be rehearsing and performing during their annual weekend (February 23-25, 2017). Please consult the website for more detailed schedule and all audition requirements. Any solo suggestions need to be submitted to Bruce Yurko, solo chair, or any region representative. The recommendation must include a copy of the suggested solo, the solo it is to replace, and rationale for the change. The region representatives are: Region I â&#x20AC;&#x201C; Darrell Hendricks, Lewis Kelly, Gregory Mulford; Region II - Brian Toth, Chris Vitale, John Zazzali; Region III â&#x20AC;&#x201C; Nichole Delnero, Thomas Rafter, Phil Senseney. If you have any additional questions or concerns please contact myself or Matthew Spatz, Band Procedures Chair.

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

Welcome back to a new year! Please make this article the one you read if you are a choral director. Many questions are answered and confusion avoided when you know procedures ahead of time! Our 2016 -2017 All-State Choruses are already busily preparing their concerts! Our Mixed Chorus conductor Rollo Dilworth has rehearsed already with the chorus, and the students know they are in for a treat in Atlantic City and NJPAC in November. Our Treble Chorus has also begun rehearsing, but will not meet their conductor Eleanor Daley until their concert weekend in February. Note: although there is not an NJMEA conference in 2017, the All-State Treble Chorus and the All-State Banks will perform at NJPAC on Saturday, February 25, 2017. While your students are getting a fabulous choral experience from your program, everyone will benefit when you participate in your County, Region and All-State Choral groups. Your students will share a quality musical experience with other singers who are as serious as they are, and you will enjoy time with others who are choir geeks like you! Here is some basic information for the 2016-2017 school year. Your best resource is our website, www.njmea.org. Please check it regularly, as well as TEMPO Express emails, for updates for all activities. Mark your calendars for deadlines. They are 5-8 weeks BEFORE the actual auditions. continued on page 10 TEMPO

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TEMPO

THE NEW JERSEY MUSIC EDUCATORS ASSOCIATION a federated state association of NATIONAL ASSOCIATION for MUSIC EDUCATION

News From Our Division Chairs High School Region Choruses: New Jersey has 3 regions: I (NJSMA), II (CJMEA) and III (SJCDA). Students in grades 9-12 are eligible to audition. Each region has a link on the njmea website. Audition dates: Region I (NJSMA) – Saturday January 7, 2017 Region II (CJMEA) – Saturday December 10, 2016 Region III (SJCDA) – Saturday November 19, 2016 New Jersey All-State Chorus: Students in grades 9-11 are eligible to audition. Note: Choral students DO NOT need to be accepted into their Region chorus in order to be eligible to audition for All-State Chorus, unlike orchestra and band. There are 2 audition dates to choose from, and many schools split their students between the two dates/sites. All choral directors must help out at one of the audition sites each year, and MUST serve as a final room judge (both dates) once every four years. The All-State Chorus Audition Bulletin will be available online at www.njmea.org by January 25, 2017. We will also email the bulletin to all directors who have participated in the past. Please read all sections carefully, print it out, and ask me any questions you may have! Audition dates for 2017 are Saturday April 22 (South) and Saturday April 29 (North), 2017. Mark your calendars now!! Consider judging, especially if you are a new director! Honor choirs: Both NAfME and ACDA (American Choral Directors Association) have Honor Choirs that are available to your students. You really should participate in both organizations to afford all the opportunities for your students. ACDA – in 2017, ACDA will host a National Conference in Minneapolis, March 8-11, 2017. The audition process was September 1-30, 2016 (just ended!) Results will be posted in November. The conductor for the High School Chorus is Eric Whitacre! NAfME – New Jersey will host the Eastern Division conference in April. Participation is based on the students’ 2016 NJ All-State scores. Students will be notified of acceptance in November. There will be a Mixed Chorus and a Treble Chorus for high school students, conducted by Tim Seelig and Deanna Joseph, respectively. There will be a National NAfME conference every year. This year, unfortunately, the dates of the National conference conflict with the NJEA convention in Atlantic City, so no New Jersey All-State Chorus or Orchestra members will be able to participate in the National groups. NJMEA is working with NAfME so that the dates hopefully can be resolved for 2017. Please go to the ACDA and NAfME websites for more information about these honor choirs, or ask me any questions. These conferences feature superb conductors and are the highlight of many of our students’ choral experiences! I know that your job is exhausting. I also know that getting to know and work with other choral directors is stimulating and fun! Your Choral Procedures Committee are my good friends and they would like to be your friend also - In Region 1, get to know Steven Bell, Jamie Bunce and Tom Voorhis. In Region 2, meet Hillary Colton, Matthew Lee and Wayne Mallette. And Region 3 has Cheryl Breitzman, Michael Doheny and Helen Stanley to talk with. Also in our committee are our Audition Chair, Christine Scott and our Historian, Barbara Retzko. We are at all concerts and auditions, and at most rehearsals as well. Come say hi and get involved! And you can always email me at KSpadEB@aol.com Here’s to your best year ever!

Early Childhood Education Amy Burns 973-493-5797 aburns@fhcds.org

There are some great events approaching this year for NJ elementary music educators. One is right around the corner with NJSMA’s Denise Gagne’s Workshop on Monday, October 10th. In addition, they will be presenting a variety of Saturday workshops throughout the school year. In TEMPO, you will see more NJ elementary music educators contributing articles this year on a variety of subjects from folk dancing to tech tools to methodologies. We will also continue our free online one-hour webinars that stay available for two months. You can access them at any time during those two months. If you write a reflection and answer a couple of questions, you can receive one PD credit. Again, all free and when it is convenient for you! I hope that your school year has started off well and I look forward to seeing many of you at the All-Eastern Conference in April. continued on page 12

TEMPO 10

OCTOBER 2016

11 TEMPO

THE NEW JERSEY MUSIC EDUCATORS ASSOCIATION a federated state association of NATIONAL ASSOCIATION for MUSIC EDUCATION

News From Our Division Chairs Guitar Education Thomas Amoriello tom@tomamoriello.com 908-342-7795

It is important to please spread the word to the teachers who you know in NJ and mark your calendars for May 6, 2017 as this will be the 4th annual NJMEA Guitar Festival at The College of New Jersey in Ewing, NJ which will feature the chosen students conducted by Loren C. Fortna as well as a featured guest artist recital from classical guitarist Candice Mowbray. http://www.candicemowbray.com/ Please see pages 74-76 of this issue of TEMPO or visit the Guitars in the Classroom Portal at njmea.org for more information about the 2017 NJMEA Honors Guitar Ensemble Auditions. See the information below and on pages 74-76 to prep your students for the audition. There are detailed instructions. It is important to please spread the word to the teachers who you know in NJ and mark your calendars for May 6, 2017 as this will be the 4th NJMEA Guitar Festival at The College of New Jersey in Ewing, NJ. It will feature the chosen students conducted by Loren C. Fortna as well as a featured guest artist recital from classical guitarist Candice Mowbray, http://www.candicemowbray.com/ We need to have student and teacher participation on many levels. Students will need to be sponsored by their K-12 music teacher who should be a member of NJMEA so communication with these educators is important. Please consider volunteering your time to help as an adjudicator, sectional coach, and other festival duties. Otherwise this will be unsuccessful! Students will be awarded the title through an audition process that is modelled after what the Virginia Music Education Association and their AllState Guitar Ensemble guidelines are. It is important to spread the word to as many guitar educators and students as possible. A special note to students auditioning, teachers and parents: This is a commitment and 100% participation is required on all dates. If this cannot be honored please do not audition. In this issue you will find the appropriate sign up forms and audition requirements.

TEMPO 12

OCTOBER 2016

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13 TEMPO

THE NEW JERSEY MUSIC EDUCATORS ASSOCIATION a federated state association of NATIONAL ASSOCIATION for MUSIC EDUCATION

News From Our Division Chairs Rehearsal 1: April 1, 2017 from 9:00-12:00 pm at Location TBA ( snow date, Location TBA, April 2nd from 4:00 -7:00 pm) Rehearsal 2: April 29, 2017 from 9:00-12:00 pm at Location TBA. Rehearsal 3: May 6, 2017 at The College of New Jersey (Music Dept.), 2000 Pennington Rd., Ewing, NJ 08628 Ewing, NJ 11:00-11:45 am. Performance May 6, 2017 @ TCNJ (no snow date) Ensemble Performance 12:00 pm Student Showcase 12:30 pm Guest Artist 1:00 pm Audition Fee for NJMEA : $10(non refundable) Participation Fee (if selected): $50.00 Personnel: Loren C. Fortna, conductor NJMEA Guitar Festival Directors: Thomas Amoriello & Keith Calmes Thank you to Kevin J. Cope for providing the set piece for the audition. Kevin J. Cope is a graduate of the University of Delaware where he received Master’s degrees in composition and guitar performance. He has received from the DE Division of the Arts the 2011 Emerging Artist Fellowship and the 2015 Established Professional Fellowship in music composition and was featured on the cover of Soundboard Magazine’s 40th Anniversary Edition, “Composing for the Guitar.” Kevin is also currently the president of the Philadelphia Classical Guitar Society which will be celebrating its 50th Anniversary this season (www.phillyguitar.com). More information including extended bio, sheet music, and recordings can be found at www.kevinjcope.com.

NJ Association For Jazz Education Mike Anzuini 609-631-4150 x3412 manzuini.njaje@gmail.com

The NJAJE Board of Directors is excited about the upcoming school year. As you are reading this, the All-State Jazz Ensemble and Honors Jazz Choir are hard at work preparing for their concert series in November. We are pleased to have Mark Taylor, of the Hal Leonard Corporation, and Randy White, of Hopewell Valley Central High School, directing these ensembles. A special thanks to ensemble managers Doug Barber and Steven Bishop in their help behind the scenes as the ensembles prepare for performance. It should be a wonderful set of concerts, beginning at the Claridge Hotel Theater in Atlantic City on November 10th and concluding a week later at the NJPAC on November 18th. I encourage all of you to make an effort to hear these ensembles; you will not be disappointed! Our Vice President Jeff Haas is hard at work finalizing the details of the 12th Annual Jazz Conference on November 18th at the Lucent Center of NJPAC. The conference has been a tremendous success over the past ten years and Haas has some fantastic clinicians who will be presenting. Attendance to the conference is included with membership! We will once again be sponsoring our annual HS Jazz Band Festival this year. A new component to the Festival this year will be the addition of a Gala Concert in May. The top three bands from our divisions will come together to perform on the same concert. This will no doubt be a great afternoon of Jazz. We will also be looking to get our Vocal Jazz Festival off the ground this year, so keep your eyes open for that! Membership has its privileges! Included with your membership is attendance for our Annual Conference, a subscription to Downbeat Magazine, and entrance to any all Jazz activities sponsored by NJAJE. Sign up today at www.njaje.org. continued on page 16

TEMPO 14

OCTOBER 2016

The New Jersey Association for Jazz Education presents the 12th Annual

New Jersey

State Jazz Conference Dennis Mackrel

drummer, arranger and chief conductor of The Jazz Orchestra of the Concertgebouw â&#x20AC;?Politics, Big Bands and the World" (from a drummer's perspective!)

Steven Bishop, Moderator

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Center for Arts Education at NJPAC, Newark, NJ 9:00 AM - 2:00 PM ~

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Jeffrey Haas

Conference registration includes breakfast and a three-course luncheon at NJPACâ&#x20AC;&#x2122;s Nico Kitchen + Bar honoring the 2016 NJ Jazz Education Achievement Award recipient

(201) 207-6736 jhaas.njaje@gmail.com Professional Development Credit Issued

Joel Perry Evening option: Purchase a ticket for the 7:00 PM Concert at NJPAC

NJ All State Jazz Ensemble Under the direction of

Mark Taylor

chief arranger (retired) for The United States Army Band

NJ Honors Jazz Choir Under the direction of

Randy White

Director of Choirs at Hopewell Valley Central High School OCTOBER 2016

15 TEMPO

THE NEW JERSEY MUSIC EDUCATORS ASSOCIATION a federated state association of NATIONAL ASSOCIATION for MUSIC EDUCATION

News From Our Division Chairs Orchestra Performance Susan Meuse 732-613-6890 susanmeuse@gmail.com

Welcome back to a new school year! The All-State Orchestra is currently preparing for the upcoming concerts in November. The conductor, Gregory Pritchard has picked a great program that the students are working very hard on with help from the rehearsal conductors. It should be a great concert, so we hope to see you in Atlantic City or NJPAC! Since the last issue of TEMPO, the All-State Intermediate Orchestra performed a wonderful concert at the Neptune High School Performing Arts Center. Conductor Sal Scarpa did a fantastic job preparing the talented students to perform a fantastic program. I must also include a big thank you to Michael Saias for managing the group. New last spring, was the Honors Chamber Orchestra, a high school string ensemble. They performed on the same concerts as the ASIO. The students performed beautifully under the direction of Matthew B. Dell. Thank you to Daniel Martinho for managing the ensemble in its first year. Orchestra festivals – be on the lookout for more information soon. I am working on finalizing sites and times. If you think you may be interested in participating and/or helping out, please send me an email!

Retired Music Educators Kathleen Spadafino 732-214-1044 kspadEB@aol.com

Another fall…Ho hum… If you have recently retired, congratulations! It will take some time to reset your internal speedometer from 100 mph to a much healthier 30-40 mph. But you will get used to a new tempo for your life. Although we, your colleagues, are retired from everyday school life, many of us are still active. Many of us still perform in bands, orchestras and choruses, direct community groups, work or volunteer in churches or at the college level. “I don’t know how I had time for work!” is a line I often hear. Our executive board has 2 meetings during the year, where we plan speakers for the general membership meetings. This year we will not have an NJMEA conference in February because New Jersey is hosting the NAfME Eastern Division in April. Our one General Membership meeting will be Wednesday, May 10, 2017. I will remind you of the date in future articles. Our executive board members are: Frank Hughes (president-elect), Beverly Robinovitz (secretary), Dorian Parreott (treasurer), Paul Oster, Ron Dolce, Judy Verrilli and Joyce Richardson-Melech. Because of the Eastern NAfME in 2017, NJMEA will not be naming a Master Music Teacher. Our committee will be observing excellent teachers in the spring for the honor the following year. Please think about nominating someone you have worked with that has inspired students in their classrooms. I hope to see you at concerts, the Eastern convention, and our meeting in May. Meanwhile, enjoy your busy life of retirement!

continued on page 18

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OCTOBER 2016

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OCTOBER 2016

17 TEMPO

THE NEW JERSEY MUSIC EDUCATORS ASSOCIATION a federated state association of NATIONAL ASSOCIATION for MUSIC EDUCATION

News From Our Division Chairs Special Learners Maureen Butler 973-299-0166 mbutler@mlschools.org

The NJMEA Summer Session brought together teachers throughout the state who were looking for ways to better understand and teach their special learners. Many thanks to Lucia Marone and Brian Wagner who shared wonderful activities and lesson modifications. It was exciting to see so many colleagues willing to share their experiences! As the new school year gets into full swing, it’s important to reflect on how well the special learners in our classes are managing, and to develop ways to make music more accessible to them. If you have question or concerns about the students you teach, please feel free to contact me at the email address above. Similarly, if you have any topics you’d like to see addressed in TEMPO, send those ideas to me as well.

Summer Workshop Joe Akinskas JoeA_NJMEA@comcast.net Summer Workshop Coordinator

NJMEA Summer Workshop IX August 2, 2016 The Ninth annual summer workshop was held on the delightful campus of The College of New Jersey in Ewing, in the Arts and Instructional Media building. As in past years, the workshop addressed six Music Education content areas, based around an unprecedented round of new online session submissions and presenters, that included: Choral Music, Instrumental Music, Technology Applications, Classroom Music Techniques and Strategies, Special Education implications in Music Instruction, and well attended choral and (first time) instrumental reading sessions. Additionally, a roster of Special Topic presentations included hands-on instrument repair techniques by our resident repair specialist Dave Kaplan; Tech for Choral Teachers by Marj LoPresti and Jen Sengin; Bucket Drumming with Carlos Vazquez; enjoying Orff Around the World with Ardith Collins; and the day with our grand wrapup coffee and dessert reception, sponsored by Ron Beaudoin for NEMC, with the always phenomenal Rachel’s Raffle ended the day. The workshop participants included 90+ music educators from across the State, along with a roster of 20+ clinicians namely: Chris Colaneri, Natasha Bloomquist, Beth Moore, Nick and Barb Santoro, Betsy Maliszewski, Rachel Klott, Marj LoPresti, Rick Dammers, Robin Hodson, Maureen Butler, Lucia Marone, Shawna Longo, Kurt Zimmerman, Otto Gross from Quaver Music, Tom Amoriello, Eric McLaughlin, Beverly Vaughn, Dawn Stegner, Brian Hunter, Brian Wagner, Barb Adams, Sue Mark, Tom Maliszewski, Rachel continued on page 20

TEMPO 18

OCTOBER 2016

The Caroline L. Guarini Department of

Music, Dance and Theatre The Caroline L. Guarini Department of Music, Dance and Theatre is an accredited institutional member of the National Association of Schools of Music (NASM) and a collegiate member of The National Association for Music Education (NAfME).

Degree Programs

Contact

Undergraduate

Min Kim, D.M.A. Chair The Caroline L. Guarini Department of Music, Dance and Theatre (201) 200-2025 mkim@njcu.edu

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B.A. in Music Education B.A. in Music Theatre B.A. in Music Business B.M. in Classical Studies B.M. in Jazz

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OCTOBER 2016 2039 John F. Kennedy Blvd, Jersey City, NJ 07305 19 TEMPO

THE NEW JERSEY MUSIC EDUCATORS ASSOCIATION a federated state association of NATIONAL ASSOCIATION for MUSIC EDUCATION

News From Our Division Chairs Michel, David Vickerman, Christine McCauley, Pam Turowski, Arvin Gopal, Melissa Clark, Rich Grennor, John Palatucci, Tom Kampini, Elizabeth Lagerstrom, Meredith Bowen, Jamie Bunce, Tom Paster, Carol Dory-Beadle, and Matthew Lee. Commendations and thanks are in order for the members of the summer workshop committee, who for all nine years, have shared the workshop vision and commitment to the benefit of their statewide colleagues. The committee members include: Maureen Butler, Joe Cantaffa, Rick Dammers, Rachel Klott, Shawna Longo, Betsy Maliszewski, Susan Mark, and Nick Santoro. Likewise, I must publicly thank several members of the TCNJ Music Department, and Event staff, who were wonderful hosts. They include: Alanna Gutchigian , Richard Kroth, and Mark Kalinowski. Their patience and hospitality is truly appreciated. The entire workshop program, along with pictures from this yearâ&#x20AC;&#x2122;s event, can be found on the conference-workshop link at NJMEA.org. Workshop Ten is tentatively scheduled for August 1, 2017. Additional information will be posted in the January edition of TEMPO. Reserve the date now!

Technology

Marjorie LoPresti 732-613-6969

marjorielopresti@gmail.com

Thank you to all of the amazing presenters at the NJMEA Summer Workshop held at TCNJ on August 2. Did you miss out on this relaxed day of learning and connecting? Feel free to reach out to the presenters if you have a question or a particular area of interest. A complete list of sessions and presenters is available online at http://njmeasummerworkshop2.homestead.com. If you teach with technology, and your students compose, arrange or make cool projects, plan to attend the 7th Annual NJ Student Music Tech Expo. This is a student-centered event features exhibits of adjudicated student works, as well as hands-on workshops and performances. Teachers are needed to help make this event possible, so please email me if you are willing to join the Expo committee and can spare an hour of time here and there. Mark your calendar now: Expo North will be held on Monday, May 15, 2017 at Rutgers, and the Expo South will be on Thursday, May 18, 2017 at Rowan. Registration details will be announced in February. Do you use technology in your classroom? Got a great unit or lesson idea? Please share your expertise! Contact me about authoring an article for TEMPO--Iâ&#x20AC;&#x2122;ll be happy to help if you are nervous about putting your ideas into print. Also, consider presenting at the NJMEA Summer Workshop in August 2017. Fresh ideas and faces are always welcome at this low-key gathering.

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OCTOBER 2016

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Why Should I Teach Folk Dancing? Missy Strong Mount Laurel Township Schools strongfamily6@gmail.com

hen you are an elementary and middle school general music teacher, there is a lot to do. You often feel, and rightly so, that there isn’t enough time in the day (week, month, year?) to get it all done. Between district curricular mandates, performances, assemblies, and everything else you have to do, why add one more component to an already over-crowded plate? I would like to make a case for why you should consider adding folk dance to your program. While there are many districts in which we find our Physical Education colleagues charged with the dance component of the elementary curriculum, I believe movement, and more specifically folk dancing, belongs under the auspices of the music teacher. Let me make my case: Folk dancing in the elementary and middle school classroom allows our students to demonstrate their growing beat competence. When folk dancing our students can exhibit what we’ve been teaching them about moving to beat. While doing this, they are also experiencing their own growing musicality in an authentic music-making situation. They are able to understand form in music better through movement while experiencing an authentic community music-making activity, which means they can articulate what form in music is more effectively. Additionally, when we lead folk dance instruction, we are helping students get what is so often lacking in our culture: opportunities for positive peer interaction. These interactions help our students build etiquette skills while also creating a positive community with their peers. But the overarching thing that a student who is folk dancing in a music classroom experiences is…fun!! Before embarking on formalized folk

dance instruction, it is important to assess where your students are musically. Are they comfortably and confidently feeling both the big and small beats in music and reflecting that understanding in their movements? Can they sing in tune with healthy and beautiful sound production? Lastly, are they beginning to connect with the expressive piece of music - the magical and inexpressible feelings that lay beneath the surface? Do you know how to gauge how much challenge your students need without giving them too much in order for them to feel successful? Have you given them multiple movement experiences beforehand in their early years? Do they understand how “ready counts” (students do not begin moving until you’ve established the steady beat) function? Are they prepared to be respectful partners and participants? (more on this later.) If the answers to these questions are “yes”, then your students are musical and are ready to start dancing. Choosing The Right Dance When looking at how to get your students moving, choose a folk dance that is developmentally appropriate. It is imperative that you, yourself, know the music and the steps beforehand. Make sure you go through the dance ahead of time to find things that are going to be a challenge for your students. Think through what new vocabulary and musical elements you want to highlight and how you will present those during instruction. Create clear, simple instructions that are easy for them to follow as they move. Mixers, circle of partners, or longways set dances (where partners are in two straight lines facing each other), are a great place to start your folkdance instruction.

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A Word About Partners And Respect. Many people are convinced that their students will not like dancing and that this will manifest in a bad attitude, or that their students will just laugh it off and never take it seriously. In a perfect world you teach your students from their early years so that you can instill in them the fact that, not only are they to be courteous, respectful, and encouraging to their classmates, but that moving and dancing is simply something you always do in music class. But perhaps you want to start it with your older kids, or you want to try dancing after having tried and failed previously. The answer will sound overly simple- you must communicate to students that they are going to dance. It might be a bit uncomfortable at first, but they will get used to it and will grow to really enjoy dancing. I am a FIRM believer that elementary students, without always being aware of it themselves, want to be kids. They want to sing and dance, and play, and be young. They were made to be musical, and are at an age where it should be fun to do so. I tell my students that the Music Room is a safe place to be a kid. I don’t tolerate anyone acting like they are too grown up for something that I, a middle aged old lady, can do and enjoy. Oddly enough, if all students in the class feel like they are being “made” to dance with a good attitude by the teacher, it actually frees them from the normal constraints of having to act cool so that they can just be a kid and have fun.. I employ a two-part approach to dancing etiquette: (1) we will all respect, encourage, and be courteous to each other, and (2) if you have issues with the person who is your temporary partner, and you very well may outside of this room, you will not give evidence of that in your demeanor toward OCTOBER 2016

each other during this dance. Everyone can be civil, respectful, and polite to each other for 10 minutes. What a wonderful thing to teach them! Add to that the overarching rule that everything done in the Music Room must serve to demonstrate our musicality, and that silly or crazy actions run counter to that goal and are not acceptable. When these things are established, you’ve created a great environment in which your students can thrive musically. Teachers approach choosing partners in different ways. You can number them 1’s and 2’s (you could also call these two-partner sets Moons and Stars, Ladies and Gents, or A’s and B’s). Because time is of the essence in my classroom I don’t have a lot of time to pair students myself, so I usually say something like, “By the time I count to 10, you need to be standing in formation with a partner.” Truthfully, I almost never have problems, and if I do, I simply remind them of the classroom standards, which is enough to keep things flowing nicely. Perhaps many of you may think, “Yeah, right, it won’t work with my kids.” But I can say that I have helped many teachers who said the same thing and now are very successful. In addition to talking to the kids about your expectations for their behavior, it is absolutely crucial that YOU present folk dancing the right way to set the tone for them. You must exude enthusiasm and firmness, and not give a hint that you’re nervous that they won’t like it. Thankfully, I can confidently assert that I have rarely seen a student who wasn’t smiling while we were dancing! Introducing A New Dance Do some research on the dance you are preparing to teach. Talk a little bit about the background of the dance itself. In my school, I start formalized folk dancing in 2nd grade. To start off, I spend a little bit of time over a few lessons talking about the pioneers and their experiences as settlers. I even read a couple of picture books from the era to set the stage. We talk about how folk dancing was a huge component in their social gatherings, and how as young children, they began to learn steps and build a vocabulary with which they could enjoy old favorites and learn new, more difficult dances. This offers a very nice, organic tie into their history and social studies classes. When it is time to begin instruction, I briefly describe the formation of the new dance, or review the formation if it is old. Since I’ve looked at challenges ahead of time, I quickly isolate and demonstrate (with a student partner) tricky movements for the students. I use this time to reference vocabulary, usually referring to my word wall. If I think the dance is particularly tricky, it may help them to listen to the music or even chant the directions with me to go through the dance beforehand. You can use a video to give them a visual idea of what is going to happen. But really, the most fun way is to dive right in and let them try it. Go step by step through the dance when they are in the formation, building up by teaching individual steps and then linking those steps together in bigger and bigger chunks. Let them try the dance all the way through, while you help them out with excellent calling (making sure to call the next direction on the upbeat right before they are to do it.)

OCTOBER 2016

Resources Phyllis Weikart is one of the biggest names in elementary movement and folk dance. She has many wonderful movement resources for music teachers. One of her best and most comprehensive is called Teaching Movement and Dance and I encourage you to check it out. Next, I recommend anything by a group called the New England Dance Masters. You can find information both about their books/CDs/DVDs at their website, www.dancingmasters.com. My first book of dances, called Chimes of Dunkirk, was from them and I still use it in my classroom. In it, you’ll find longwise, circle, Sicilian circle, square, and contra dances. There is so much information to help you as you plan for folk dancing, including dance terms, ideas for how to lay out instructions, transcriptions of the songs, and a CD. They have other wonderful books for you to get as your kids gain more confidence as dancers. If you are a NAfME member you might want to check out an archived webinar I recently did called “Folkdancing in the General Music Classroom” which can be found at http://shop.nafme.org/ product-category/webinars/archived-webinars/ In the 2nd article of this series, I will show you how easy it is to expand folk dancing outside of your music classroom and into the broader school population and your community. In particular, I will talk about how to plan a Family Folkdance Night at your school.

23 TEMPO

Lost And Found: Guitar Manuscripts In The Library of Congress

y nature, guitarists are always researching and digging for music, ranging from out of print recordings of Mississippi blues musicians to the lost works of well-known and obscure composers of art songs alike. I first heard about the American composer Ernst Bacon (1898-1990) when I attended Shenandoah Conservatory in the mid 1990’s (Visit www.ernstbacon.org for complete bio, photos and colorful history). His grandson Guy Bacon (son of Joseph Bacon) was on the guitar faculty and I studied with him for a semester as my regular professor was on sabbatical. During my time there, Guy performed an edited or arranged version from a very confusing manuscript of his grandfather’s called Coon Hollow. This performance was two guitarists reading the notation scored with two treble clefs later to be realized, was a solo work and not duo. Later down the road I came across a published Ernst Bacon piece called “Parting” which I performed once in a master class. This piece was a favorite of mine and became a part of my repertoire for a period of time. Recently during a move to a new town I found this work in my collection. After a renewed interest, an up to date Google search brought up the name Bradley Colton. This article focuses on Colton’s musicological research into the guitar works of Ernst Bacon which is a milestone achievement for the instrument. Here is what we discovered for the readers of TEMPO and their students. I hope this article initiates further interest and performances of this little known American composer.

Thomas Amoriello Fleminton Raritan School District tamoriel@frsd.k12.nj.us

What circumstances led you to investigate the music of American composer Ernst Bacon? About four years ago I gave a recital in a small New Hampshire town called Tamworth. It was an intimate house concert and afterward, I had several conversations with audience members – each casual and lovely. One conversation was with a woman who asked if I knew any music by Ernst Bacon. A longtime friend of hers, Bacon died in 1990 and was virtually unknown in the guitar world. However, it so happens that as an undergraduate at the New England Conservatory, I fell in love with Bacon’s single, published guitar piece, Parting. And so, we chatted for a few minutes and that was that. Except that I had a long ride home and after some time my mind wandered back again to this one conversation. I began to wonder why, after such a remarkable piece like Parting, Bacon never returned to the guitar. When home, with no intention of finding anything, I started poking around online for information on Ernst Bacon.

TEMPO 24

That night, I bumped into the Library of Congress website and found several non-cataloged scores listed, some marked ‘for guitar’. That was very exciting. So, on a whim, a friend and I decided to take a road trip down to DC and visit the Library. There, in the bowels of the Library of Congress, I found a treasure trove of Bacon guitar music – 8 or 9 pieces in exquisite, un-edited, manuscript form. Needless to say, I was thunderstruck. Almost immediately I realized that this discovery was immensely important for the guitar community, as there is a dearth of American, 20th century music written for the guitar. Ernst Bacon’s works almost single-handedly fills this whole in the repertoire. I was, and am, amazed that history left these works un-found for so long and am grateful to be a part of their re-discovery and story. So, while it was the post-concert conversation that got things rolling for me, the Library of Congress discovery and visit set everything in motion in a major way. More research and discoveries followed, lots of investigation and tons of editing, analysis, practice, and writing came next. On a radio interview you mentioned the work “Parting” as one of the only published guitar works that led to your further investigation? That’s right. I fell in love with Parting as an undergraduate student. It was published by G. Schirmer in 1968 as part of a motley collection of works and transcriptions put together by the innovative guitarist, and composer Theodore Norman. Through my research I have discovered OCTOBER 2016

ics of Parting’s publication and I haven’t dug into that story – yet! Incidentally, there is a wonderful memorial website about Norman here: http://www.parfaitole.com/ted_norman/ index.html

that Parting was really intended to be the first in a series of four pieces. This work, which I’ve named Four Pieces for Guitar, is a centerpiece in the repertoire and a truly impacting piece of Americana. Do you know anything about the editor of the work, Theodore Norman, and his connection to the piece? I know a little about Theodore Norman and his work. He was, based on what I’ve read, a truly remarkable man. While he was absolutely prodigious in his arrangements and publications for the guitar, this work doesn’t seem to even capture half of his output and focus. I’ve read that he was an inventor and an advocate for those with disabilities; he was a concert violinist and serious composer. Of course, he produced a remarkable number of publications for the guitar and two major recordings (that I know of ) of major guitar repertoire in the 20th cen-

tury: Schoenberg’s Serenade, Op. 24 and Boulez’s Le Marteau Sans Maitre. What I don’t know, and would love to learn more about, is his relationship with Parting and with Ernst Bacon. In conversation, Joe Bacon doesn’t recall the specif-

Was it difficult to locate these works in the Library of Congress? The order, organization and professionalism of the staff at the Library of Congress is remarkable. (Research librarians, in general, are some of the most fantastic people on earth, by the way). So, once I knew where to look, it was easy to uncover this repertoire at the library. I spent three consecutive days going over the scores, letters, news clippings and other items in the Ernst Bacon collection. I actually remember the librarians being rather excited about my investigation, as they reported that no one had looked into these items before. continued on next page

The Monmouth Symphony Orchestra in our 68th Season announces our 23rd Annual

Goldwasser Young Artist Concerto Competition Our first prize winner will perform their complete chosen concerto with the MSO in concert the following season ♪

Open to all pre-college students throughout the State of New Jersey

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String, Woodwind, Brass, and Tuned Percussion players are eligible *

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Monetary prizes will be awarded

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Application and recording due December 21, 2016

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Attend our first concert Saturday eve, Oct 22 at the Lake Performing Arts Center, Neptune NJ: Student tickets only $10. Music of Beethoven, J. Rodrigo, and Dvořák. Soloist Carlos Cuestas, Guitar.

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Check our website www.monmouthsymphony.org for an application and full details

* Because of limitations at our venue, we cannot accept applicants competing on piano this year OCTOBER 2016

25 TEMPO

In a conversation I recall with Guy Bacon (Joesph’s son), he mentioned heavy editing was needed of his grandfather’s guitar music? Guy’s correct, of course, realizing this repertoire was a large and, at times, daunting task. As Bacon aged, he fell into blindness. Understandably, as this happened his handwriting deteriorated. And, as many of the guitar works are from his later years, they tend to be difficult documents. Additionally, many of the guitar works were left unpolished in regard to editing and notation: There are whited-out measures, missing details and many notes and chords that are difficult to decipher. Another issues in realizing the manuscripts is that Bacon was not a guitarist and didn’t have a complete understanding of the instrument. Several works contain passages that, as written, simply didn’t work on the guitar. In many ways, my task in this project has been to come to understand Bacon’s style, inclinations and voice as a composer and use that understanding to decode, reconstruct and adjust his manuscripts wherever they are ambiguous or lack detail. I took this responsibility very seriously. Throughout the process, my selfimposed directive was always to leave as small a footprint as possible so that the resulting, fully-realized scores were completely Bacon’s.

Please take us through the recording process? Regarding microphone placement, equipment, hall/venue? Sure thing. I’m no expert on mics and recording equipment. Despite having a fair amount of experience recording music, I actually know quite little about the tech end of things. What I do know is that Azica likes to capture as life-like a sound as possible. Their goal, as I understand it, is to capture the artist’s sound – unenhanced, pure, and simple. To that end, there were a bunch (maybe four or five ?) of microphones in the hall where I recorded. This all took place in Cleveland, Ohio at Cleveland State University’s Waetjen Auditorium. We took a considerable amount of time doing sound-checks and then, when were all satisfied, we were off. The whole disc took three days to complete.

Who is the maker of your guitar? Daryl Perry, a wonderful luthier and friend in Winnipeg, Canada.

How do you feel about the current state of the guitar in the classical music world? Well, to be frank, it’s a mixed bag. In some ways the guitar has grown and matured – with its repertoire, with the attention it now receives from larger audiences and from non-guitarist composers. And, without doubt, the level of playing – at least in regard to technique – is historically high. In other ways the guitar is faring less well, though. Even though the guitar can enjoy a much larger, more varied repertoire, often performers and presenters stick to a relatively few and well-worn pieces. In my opinion, unimaginative concerts and

How helpful was the Ernst Bacon Society in regards to this project? Extremely helpful. Ellen Bacon, the composer’s widow and president of the EB Society www.ernstbacon.org , has been remarkably supportive and helpful with my research and investigation. Rather early on, the Society granted me funds to complete my CD of this repertoire. More recently, they have been active in publicizing my findings, CD and concerts, which is greatly appreciated!

Please tell us about the positive experience it had been working with the classical music record label Azica? Azica is a lovely and smallish outfit. Bruce Eger, the president, is the engineer. He’s a laid back guy and easy to work with. Alan Bise is the producer. In addition to truly remarkable ears, Alan is intuitive, sensitive and engaged. While the entire process of recording is somewhat artificial and inherently difficult, Azica made the process not only tolerable, but fun.

TEMPO 26

programs abound. We’re often still stuck with the comfortable, well-known and ‘safe’ works. My hope is that it will evolve, grow and change for the better. Bradley Colton on the publication: In short, the publisher is DobbermanYppan, an excellent publisher of guitar repertoire. The publication will include all of the Bacon guitar repertoire and will be a critical edition, meaning it will contain all my notes regarding the editing process. To learn about Bradley Colton and to purchase his Ernst Bacon Project CD contact www.bradleycolton.com or http://azica. com/product/bradley-coltenernst-baconthecomplete-works-for-solo-guitar/ The guitar repertoire has been enriched thanks to the efforts of Bradley Colton. On February 19, 2016, Colton gave a lecture/recital on the topic of Ernst Bacon at the NJMEA State Conference. This was the same presentation he did for the Guitar Foundation of America Convention in Oklahoma City in 2015. The NJMEA would like to thank Colton for sharing is passion with our members who attended that day. Thomas Amoriello is currently teaching guitar at Reading Fleming Intermediate School and Hunterdon Academy of Arts in Flemington, NJ. He is a graduate of Rowan University and Shenandoah Conservatory and has presented guitar workshops for various music organizations including the NJMEA, Guitar Foundation of America and Philadelphia Classical Guitar Society. He is the author of the children’s picture book, “A Journey to Guitarland with Maestro Armadillo” published by Black Rose Writing and available from www.barnesandnoble.com

OCTOBER 2016

27 TEMPO

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TEMPO 28

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Technology For Asyncronous Music Lessons & Practice Marjorie LoPresti 732-613-6969 marjorielopresti@gmail.com

chool leaders & administrators may be encouraging you to incorporate flipped classroom, blended learning, and hybrid lessons into your plans. All of these jargon-laden techniques include asynchronous elements. Asynchronous learning can mean that students are working at different times, paces, and places, or it might even mean that you are not present when the class meets. Music teachers have been using asynchronous strategies for ages. Rehearsals and traditional music classes are synchronous--everyone is in the room, working on the same music together. As soon as we ask students to practice on their own, in sectionals, or move to groups or learning centers, we are introducing asynchronous elements into the learning process. Flipped Classroom Whenever we ask students to learn musical content outside of class (e.g. learn the notes and rhythms to measures 1-32 of a new piece), we are using a flipped classroom strategy. In Flip Your Classroom by Jonathan Bergman and Aaron Sams, this strategy is defined as reversing the typical model of instruction during class, with independent practice as homework. Music educators have been using this technique for ages with ensemble classes. One common method is posting learning or practice tracks online. Give yourself credit for it and highlight this in your plans, responses to observations, and other documentation that is used toward your annual summary evaluation. If your students are using SmartMusic or PracticeFirst at home, you already have a powerful technology platform to support flipped strategies. Flipped classroom activities may be more challenging with general music classes because they require students to work independently outside of class. Some music teachers have posted links to songs for students to learn or practice at home. These

audio tracks or videos may include recordings created by the teacher, or links to quality performances. For middle school and high school general music classes where homework is more common, many teachers assign webquests or viewing online videos. EdPuzzle is a great tool for embedding questions in a video found online. Blended Learning Blended learning strategies work well for general music and ensembles alike. Blended learning, in the strictest sense, requires a total reimagining of how your school operates. In Blended, Michael Horn and Heather Staker describe schools in which students spend part of the day in selfpaced, computer-based instruction; part of the day in a group with the teacher; and part of the day collaborating with peers on project-based learning. In common usage, however, the term blended learning can apply to any use of centers or sectionals during or outside of class time. Hybrid learning encompasses having students working independently online sometimes, and working in person with the teacher during other classes. Blended learning happens all of the time in music classes and ensembles. As soon as we empower students to practice or create together without direct instruction and teacher intervention, we have introduced an element of blended learning. In sectionals, be sure that students have a clearly defined task, and that you have built in accountability and assessment. Some easy methods include making a recording of the assignment or performing before the full ensemble at the end of the sectional, having students write a summary of accomplishments and future needs in a response journal, or filling out an evaluation using Google Forms or Survey Monkey. Adding these record keeping and assessment elements also helps meet critique standards.

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A well-structured series of general music centers allows students to self-pace, and provides ongoing assessment and feedback for the student and teacher alike. Online music games and age-appropriate music creation software can help automate monitoring individual progress. Access to a Learning Management System (LMS) like Google Classroom, MusicFirst, Edmodo, Moodle, Blackboard, or Schoology can provide an ideal platform for blended learning or flipped classroom strategies. Absences Home instruction students and those with frequent absences often get dropped from the flow of in-school music classes. Access tools for asychronous learning can help them remain connected, especially if they have access to online electronic music practice and creativity tools. What if you are the one who is absent? Substitute plans can also fall under the idea of asynchronous instruction because you are not present! Many general music teachers have created videos of themselves leading songs, games, and learning activities just as they would if they were in class. This allows the substitute teacher to be a class manager, and gives the students opportunity for musical learning and expression. Cell phones and tablets make creating videos even easier now! Teachers of ensemble classes can also use some of the same strategies from flipped or blended learning in substitute plans. OCTOBER 2016

By having students rehearse together, document with audio and/ or video, and create some written or electronic response, students can continue making music even when you are not on the podium. Most every ensemble class contains several students who could lead the ensemble in music that has been learned to the point at which students can play through. Pro-tip: by spending a few minutes each week coaching students in conducting and empowering them to lead the ensemble when you are present, you begin to create a culture in which they take greater responsibility for their own learning and performance. If your students have access to technology in class, the wealth of free and inexpensive online learning and music creation platforms can allow them to explore new content even if you are not in the room. Even in a one-computer type classroom, students can do a webquest together or explore a series of relevant videos as long as you have a projector.

If access to an LMS is out of the question, students probably can access some basic tools like email, Skype/FaceTime, Google Docs & Slides, Word docs, PowerPoint, and audio/video recordings. Asking students to use these tools will require more organization on your part. Posting assignments and links to a website is just the beginning. You will need to have a way to collect and monitor student submissions using email, Dropbox, or Google Drive. Getting Started Start small! First, consider the kinds of activities that your students do during and outside of class. Chances are that you already use some flipped or blended learning strategies. The next step is to try using one new asynchronous strategy with one class or grade level to get the hang of it. Do you have a school-sponsored website? Thatâ&#x20AC;&#x2122;s a great place to post links to resources students may need when practicing at home, like online metronomes, tuners, and quality recordings of music they are learning. Post assignments for students who may be absent, and links for students to use if you know that you will be absent. Ask your school media specialist, principal, or technology coach if the school offers access to an LMS. Explain that you would like to use technology to support flipped classroom and blended learning strategies. Likely, they will be thrilled to help you get started. If you begin now, youâ&#x20AC;&#x2122;ll have no worries about leaving meaningful activities for your students when you attend the NAfME Eastern Division Conference in Atlantic City in April!

Tools In an environment where students will be able to continue music outside of school, or you have enough devices in school, a Learning Management System will really help keep things organized. Unlike a plain website, any of these tools will enable you to post assignments in a secure online classroom, and allow students to submit projects. With school sponsorship, you might be able to use Moodle, Blackboard, Canvas, Haiku, Schoology, or Google Classroom. Edmodo does not require school sponsorship. MusicFirst provides an integrated LMS environment with online recording, music learning, creation, and assessment tools built right in.

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Adding Technology To Enhance Global Communications And Creativity In Your Elementary Music Classroom Amy Burns Far Hills Country Day School aburns@fhcds.org

n 2013, Alan No v e m b e r, an international leader in education technology (novemberlearning.com), wrote an article titled, “Why Schools Must Move Beyond One-toOne Computing.” In this article, he comments on an observation that was very real in 2013 and today: the “spray and pray” mode where schools would spend a good amount of money on technology to “spray” on and then “pray” that it would produce an increase in learning. Alan suggests changing the initiative from “1:1” to “1:world”. “As soon as you shift from “one- to-one” to “one-to-world,” it changes the focus of staff development from technical training to understanding how to design assignments that are more empowering—and engage students in a learning community with 24hour support” (November 2013). This past summer, I attended the Building Learning Communities Education Conference (BLC16), led by Alan November and numerous educators, which gave the message of how important it is to think globally in your classroom. One reflection question that was given to us was, if what we are teaching has no real-world connection, should we be teaching it that way? The conference also showed us how technology can enhance global communication in our classrooms. In an article written by Fernando Reimers titled, “Turning Students into Global Citizens,” he makes the point that in these current times, schools must, “take responsibility for effective and more delib-

erate global-citizenship education” (Reimers 2016). With global communication becoming a more prominent point in education, how do we in our elementary music classrooms address this? Global Communication In The Elementary Music Classroom The two biggest concerns elementary music educators face when asking this question of how to address global communications in the music classroom are 1) how to do this with limited technology and 2) how to keep the current music curriculum in tact. There are a variety of ways that we can address this topic with very limited technology and by enhancing our current music curriculum. Below are ideas that I have used and some that I will try this year from inspirations I gained from the BLC16 Conference: • Skype: Skype is an application that provides video chat and voice call services developed back in 2003. It is a free application that educators have used for years to “skype” experts into their classrooms. In the elementary music classroom, I have used it to skype in other music classes from Chicago to Spain. When we do this, we perform for them and they perform for us. We discuss good performance techniques and the concerts we are preparing. We also ask them about the weather, what landmarks are near them, and what time it is where they are. The students quickly realize that the world is very large because they see where the classroom they are skyping is, using the Google Earth app, and they find out how far away they

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are from the students on screen. We have also performed “Mystery Skype,” where the students must pinpoint the location of the person they are skyping. This enhances global awareness, but it also can display great landmarks that showcase performances. For example, you can ask a musician to skype into your classroom and play Mystery Skype to locate Carnegie Hall. Once that is successful, the musician then performs for the class and answers questions about their instrument. Finally, you can take a virtual field trip with Skype, though I have not found musical places on their website. o What do you need to utilize Skype in your music classroom? • A Skype account (http://www. skype.com) • A computer with a webcam (most have these) • A microphone (you can use the internal microphone found on the computer) • Internet access • You must know the person’s Skype account that you are trying to contact • You must know the time zones of the person you are contacting • Definitely try out the Skype call before you perform this in class o Where do I find educators to Skype? • Twitter using #mused #elemus or other music hashtags • https://education.microsoft.com/ - Create a free account, setup your profile, and then search for other educators to Skype. This website OCTOBER 2016

is extremely valuable for using Skype in the classroom. • epals.com - Another website where we can connect, communicate, and collaborate with other educators. o Are there other services? • Google Hangouts (https://hangouts.google.com/) • Viber (http://www.viber.com/en/) Utilizing Skype in the classroom can enhance your current curriculum, especially if you are having your students perform for other students. The possibilities of students learning from other students are endless. However, if this is not where you would like to focus global communications in your elementary music classroom, what are other possibilities? Twitter In The Elementary Music Classroom At the BLC16 conference, I had the great pleasure to attend Kathy Cassidy’s workshop titled, “Build a World-Wide Learning Community in Your Elementary Classroom.” Kathy is a 1st grade teacher in Canada that has successfully integrated technology into her classroom through multiple ways: Skype, a classroom blog, and a classroom twitter account. In her session, Kathy showed us how to effectively utilize twitter in the classroom by first showing us her classroom’s twitter account named, Cassidy’s Class. Kathy reminded us that when you have a classroom account, it is very important to limit whom you follow so that the classroom’s twitter feed does not become too busy. Her classroom twitter account has close to 4000 followers, and the class only follows 9 people. She also states that her classroom account is not the same as her professional twitter account. She finds that it is important to keep them separate, which for privacy reasons, is ideal. Kathy showed us two ways of tweeting in her classroom. The first way was her writing a tweet with the entire class involved. An example of this was the following: She put forth the challenge of how fast her 1stgrade class could get their snow gear on at OCTOBER 2016

the end of the day. It was amazing to see these 6-year-olds focused and determined to beat the clock. She tweeted the video and the timing it took to dress themselves. The next day, she had people replying to the tweet by them showing their own classes’ attempts to beat their time of getting on their snow gear. This produced a discussion from her students from what is actually snow gear to the ways those students were dressing themselves. The second way of tweeting was having her students write their own tweets. This involved some rules that included that

she must approve all tweets before being published and no pictures of other classmates. She does not correct her 1st-graders’ spelling or grammar because they are in 1st grade and sounding out words and learning how to write a sentence are all a part of the curriculum. An example she gave was her class tweeting to the author, Elise Gravel, about her book, and Elise tweeting back several times and engaging the students in a wonderful conversation about how to write books. This got me thinking…How could I use Twitter in my music classroom? I stopped to think about that entire process. It takes very little effort to set up a twitter account for my classroom, from choosing my email address to the two pictures that are associated with the twitter account. From there, I could use this account as a way to end the music class. I could assign a “music classroom tweeter” who writes an “I can” statement at the end of the class.

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An example would be the student tweeting, “I can clap this rhythm pattern,” which is followed by a video of the rhythm pattern (no faces in my tweets) with the student performing the pattern. This tweet shows the student writing, the student’s knowledge, and the student’s performance. It will take some time to get some classrooms and people following us, but in the meantime, the engagement of the learning process is one that would be very meaningful to the students. Eventually, having other students tweet us back will encourage the students’ reading and comprehension skills. This inspired me so much that I created my music class’s twitter account that I unveiled to the parents this past fall. • What do you need to create a classroom Twitter account (https://twitter.com/)? o A computer with internet access o An email address to associate with the account o Choose a profile name o Two pictures so that one is the cover photo and one is the profile picture o Complete a bio o Add a website address (optional) o Follow some classrooms o Begin tweeting o Add hashtags to bring people to your classroom twitter account such as #mused or #elemus

A Classroom Music Blog Another way to connect your music classroom globally is to have your music classroom blog regularly. I am not talking about you, the music educator, blogging about your class, though this is a very useful tool for other music educators. There are numerous excellent blogs written by music educators for music educators (to see a list, check out my website, amymburns.com, click on Websites/Resources, and then click on Networks (Music Ed)). I am talking about your students blogging about their music classroom. The question that arises is; “I have limited time with my students, so how would we accomplish blogging during the music class?” This question is a valid one. I am not suggesting to blog every class. An example would be having the students write a reflection at the end of the unit and those reflections are the blog post. Or ask the students an essential musical question and the students’ answers are the focus of the blog post. If your students are too young to write, then a video blog, or a vlog, would work. If you cannot show their faces for privacy reasons, then have them produce audio samples on the blog. A blog is a great way to get your classroom curriculum onto your parents’ mobile devices. Though many schools have classrooms blogging through their own websites, when you can blog outside the school network so that you can connect your classroom globally, you add another layer of learning for your students.

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Here are three blogging options: 1. Edublogs (http://edublogs.org/): Kathy Cassidy uses the paid version of this service as it allows photos and is very inexpensive. The blog is displayed beautifully and organized nicely to make it easy for the reader to find topics. 2. Seesaw (http://web.seesaw.me/): Our school uses Seesaw and we love it. Seesaw is a digital portfolio. As a teacher, I (or have the students) can add their work from audio recordings, video recordings, drawings, and other musical creations created in other apps to their Seesaw portfolios. When the work is added, their parents receive a notification. The parents can then check their work from their mobile devices or computers. Parents can only see their own children’s works and parents must be invited and approved by the classroom teacher to follow their children’s portfolios. As a parent, I love that our school uses Seesaw to connect with me. I can see both of my children’s works, videos, accomplishments, learning styles, and so much more. Plus, receiving the notifications on my phone makes it as easy as Facebook to read, like, and if allowed, comment on my child’s works. Seesaw is free for teachers to set up for 10 classes. However, if you want the tools for assessment, teacher notes, and more classes, you will pay $120 per year. Or, have your school subscribe to the service (best option). Seesaw can also take posts of your choice and create a blog post from it for those to see that are not in your school’s network. 3. Easy Blog (http://easyblog.org/): I had not heard of this one. Kathy showed it and it is a wonderful tool for young students to use for blogging. If Seesaw’s $120 price is too much, this is an affordable alternative. It is very similar to Seesaw, but much cheaper from free to $5 a year. If a parent wants to keep their child’s digital portfolio at the end of the school year, the parent pays $10. From what I could research, Easy Blog is a digital portfolio service that puts more of the cost on the parents than on the teacher. Music Creativity Programs There are some wonderful music creativity programs that elementary music OCTOBER 2016

students can use that have a collaboration feature built in. For composition, Noteflight (https://www.noteflight.com) and Flat (https://flat.io/) are notation programs that students can collaborate with other students to compose music. Soundtrap (https://www. soundtrap.com) is a combination of GarageBand and Google Docs where the EDU version allows students to create music and podcasts through loops and recordings and then collaborate with other students to add to their musical creations. These examples of skyping, tweeting, blogging, and music creation programs are just some samples of connecting your music classroom globally. Connecting your classroom with other music classrooms is one way in making your students feel like what they are learning has a real world connection. Other ways involve what we do naturally every day in the elementary music classroom: Perform on instruments from various countries; sing and learn about songs from other cultures; learn dances from other cultures and countries; learn about composers; learn about music history; and so much more. As music educators, we continuously strive to bring these connections to our students; however, as much as we teach them, it does not always sink in. When we place an additional real world connection in their laps to link and create with other music students, we bring their learning of music to another level. As Renee Moore, an English and journalism teacher from Shelby, Mississippi, stated in Education Week Teacher, “The art of teaching involves not only the dispensing of facts and terminology, but also the learning of cultures, needs, and perspectives which may not match our own” (Ferlazzo 2015). By adding technology to enhance global communications and creativity in your music classroom, you are musically connecting your classroom to other parts of the country and the world.

She currently works at Far Hills Country Day School (http://www.fhcds.org) in Far Hills, NJ teaching PreK through Grade 4 general music, grade 5 instrumental music, and grades 4-8 instrumental band. Resources: Alan November - Education Technology Consultant | November Learning. (n.d.). Retrieved August 04, 2016, from http://novemberlearning.com/ educational-services/educationalconsultants/alan-november/ Ferlazzo, L. (2015, May 16). Response: Teachers Stay Because ‘They Made A Choice To Serve’ Retrieved August 09, 2016, from http://blogs.edweek.org/ teachers/classroom_qa_with_larry_ ferlazzo/2015/05/response_teachers_ stay_because_they_made_a_choice_to_ serve.html November, A. (2013, February 10). Why Schools Must Move Beyond One-toOne Computing | November Learning. Retrieved August 04, 2016, from http:// novemberlearning.com/educationalresources-for-educators/teaching-andlearning-articles/why-schools-mustmove-beyond-one-to-one-computing/ Reimers, F. M. (2016, July 29). Turning Students Into Global Citizens. Retrieved August 05, 2016, from http://www.edweek.org/ew/ articles/2016/08/03/turning-studentsinto-global-citizens.html?cmp=SOCSHR-twitter

Amy M. Burns (www.amymburns.com) is an elementary music educator, clinician, author, and musician. She has written numerous articles and books on how to integrate technology into the elementary music classroom. 37 TEMPO

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Program Notes: Engaging The Audience Joseph E. Higgins Rowan University Higgins@rowan.edu

hen I attend performances by professional orchestras, I always hurry to my seat, open the concert program, and begin to read about the first selection. And if I read fast enough, before the house lights go down, then I am prepared with a better context for the music that I am about to hear. Perhaps, for example, I now know that this elevenminute piece will feature a melody from a Hebrew folksong, or that the composer was a student of Messiaen, or that the music was originally conceived for use in a ballet score. These program notes are usually written by a professional staff writer employed by the orchestra, and they are aimed at a specific audience of orchestra patrons. But the purpose of quality program notes, to better engage listeners in the experience of a piece, relates to the performances of our student ensembles, as well. From my experience, the creative application of program notes can enhance any concert experience for both the audience and the performers. When writing program notes, you must first consider the audience. Are you writing primarily to untrained musicians? Will any music professionals be attending? Balance your writing to a diverse audience. You do not want to insult the reader by “talking down” to them, but you must also not ignore those readers who have very little prior knowledge. Not every minute detail about a piece is necessary or meaningful to every audience. The same piece of music might merit two different descriptions when dealing with two unique audiences. For example, I would prepare adult listeners at a state-level music conference much differently than the fifth graders at a Music In Our Schools Month assembly performance.

Use the program notes to put the piece in context. Explore the environment in which a piece was composed, including any relevant political, literary, artistic, or social movements. If the composer is well known for a work other than the one being performed, then find a way to reference the more famous piece of music. If there are known source materials, such as the lyrics to a folksong arrangement, then share them. Provide a sense of the work’s history, perhaps including its premiere performance, important past performances, or interesting information about its commissioning. What has happened to the piece since its premiere? Has it been rewritten or adapted? Has it inspired other great works of art or literature? Was it lost and rediscovered? You must sift through these facts and choose which to include; which are the most relevant to your performance. Writing program notes is an opportunity to think creatively about how to best prepare listeners for the music they will soon hear; likewise, it is an opportunity for teachers to engage their students with these ideas. When the concept of considering the audience is brought into the rehearsal room, instructions such as “Begin your decrescendo sooner!” or “Play this 6/8 melody with more lilt!” take on a new sense of urgency. Rather than play “with more lilt” just because I said to, play with more lilt because the music is a joyous dance; because this joyous dance should leave all audience members smiling and swaying from side to side in their seats. Music is an art of communication, and communication requires that a message be both sent and received. I believe that we, as artist-teachers, should approach every task with artistic

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intent. In addition to, or in place of, traditional printed program notes, consider more creative ways to present this same information. Recently, before a piece that is inspired by electronic dance music, I played for the audience a few short examples of EDM songs. These recordings provided an audio context for the subsequent listening experience; one that many audience members would not have otherwise known and one that written words could not have created. Another recent performance featured a composer’s musical adaptation of a Shakespearean sonnet. Rather than just read the sonnet text in program notes, audience members were treated to an onstage performance of the sonnet by a professional Shakespearean actor. I would also strongly encourage teachers to “step away from the microphone” and invite their students to speak between pieces. This not only teaches our young performers how to engage with an audience; it enhances their sense of pride and ownership of the ensemble. The next time your group has thoroughly prepared a piece for concert performance, lead a group discussion about how to best introduce each work to the audience. What information should be included? What should be omitted? Would it help to guide the audience’s listening by previewing a short excerpt of an important musical theme; or would it be better for them to be surprised by certain elements in the piece? These thoughtful discussions will help bring pieces to life in new ways for you, your students, and your audiences.

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It’s time to start a Tri-M Music Honor Society chapter.

Strengthen your school’s Music. Honor. And Society. Starting a Tri-M Music Honor Society chapter will help show the value of your music program to the school. It will also benefit your students by allowing them to:

e Build an impressive record for college e Grow as leaders in music e Serve their community

Ready to start a chapter? Follow these easy steps:

1. 2. 3.

Visit nafme.org/tri-m to download your chapter activation form or call 1-800-336-3768. Send in the activation form with your chapter activation fee ($100). Receive a packet from NAfME with a guide to start your chapter – and get going!

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OCTOBER 2016

2017 Student Composers Competition

NAfME is seeking original music written by student composers for featured performance in the Young Composers Concert at the 2017 NAfME National In-Service Conference in Grapevine, TX. Teachers and students are invited to submit original compositions by students for possible inclusion in the concert. Students in elementary school, secondary school, college, and graduate school are eligible to submit compositions. Up to ten winning composers will receive cash awards, thanks to the generous support of the European American Musical Alliance (Dr. Philip Lasser, president) and the Double R Foundation. All entrants will receive written evaluations of their compositions.

Entry deadline: March 10, 2017 bit.ly/NAfMECompetitions OCTOBER 2016

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Attention NJMEA Members The Annual February Professional Development Conference will NOT take place this year! INSTEAD

NJMEA will be hosting the

51st Biennial NAfME Eastern Division Conference in

Atlantic City

(This Conference hasnâ&#x20AC;&#x2122;t been held in AC since 1979)

April 5-8, 2017 Price = $180 for NAfME Members. Registration will open in mid-September.

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What will you get at an Eastern Division Conference that you DON’T get from an NJMEA Conference? &

2 Keynote Sessions which include a top-notch speaker in music education followed by an outstanding musical performance

Concert Performances on each night of the Conference: Wednesday - World’s Largest Organ, Boardwalk Hall Thursday - New York Voices Friday - Air Force Band and Singing Sergeants &

The opportunity to hear the All-Eastern Ensembles

Nationally known Clinicians

More Exhibitors

A dedicated Concert Hour where you can go hear the best college, high school, middle school or elementary bands, choirs, orchestras or jazz bands from the East Coast. AND MUCH MORE

Don’t miss this “once in a lifetime opportunity” to attend an Eastern Division Conference in your home state!

OCTOBER 2016

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Recreating The Marches Of John Philip Sousa In A Modern Setting Scott-Lee Atchison University of Kentucky scott.lee.atchison@uky.edu Reprinted from Kentucky Blue Grass Music News

ndoubtedly, John Philip Sousa’s marches are some of the most widely performed works of any other composer throughout the United States. Not only are they considered popular choices among audiences; they also represent an important part of the American band heritage. Unfortunately, they are often the most misunderstood. Many of the traditions of the Sousa band and the performance practices of his time are overlooked or misconstrued when conductors and teachers try to recreate his marches. However, in recent years there has been extensive research and attempts to uncover these lost practices, which will allow us all to experience the “Sousa Sound” and recreate a historically accurate performance. Documenting Sousa Performance Practices The first issue is encountered when trying to maintain historical accuracy in a performance, and understanding the barriers that stand in the way. John Philip Sousa wrote his marches for performance, not publication.1 His scores, as well as the individual parts, contained very little more than just the notes and rhythms with little else to guide the performer along the way. Many of the articulations and dynamics included in his music were misleading at best, and in some cases, incorrect. For example, the cornet and clarinet parts in some of

his marches did not contain a measure of rest. Like Percy Grainger’s “elastic scoring” practices, Sousa wanted his music to be attainable by small bands with limited instrumentation, so he scored the melodies in those consorts throughout. Even though the cornets and clarinets had music written for the entire march they never played the entire time in a Sousa concert.2 To make matters worse, the musicians in the Sousa Band very rarely wrote these changes down in their parts for the sake of personal pride. The traditions were simply passed down orally from the veteran musicians to the new ones in the group. In an article published in The Etude entitled “How Sousa Played His Marches,” August Helmecke, the bass drummer of the Sousa Band for over twenty years, wrote: People have no idea how Sousa wanted his marches played, because the tricks and effects that brought them to such vivid life under the Big Boss’ own discretion never got marked into the scores…the notes alone can give you the barest skeleton of what a Sousa March can be…3 Another obstacle is the lack of recordings of the Sousa Band, specifically recordings with him on the podium. John Philip Sousa was against having his ensemble recorded, which would have easily answered many questions as to

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how his marches were performed. Sousa felt the recorded music would eventually be used in lieu of live music. He was also concerned with composers not receiving remuneration for their work. Consequently there are very few recordings that exist of the Sousa Band, and the majority of those that exist were under different conductors or taken without Sousa’s knowledge.4 Fortunately, as Edmond Wall, former solo clarinetist of the Sousa Band, stated: “Once Sousa established a pattern that he liked, he let it alone.” This allows us to find out what the traditions were by simply asking former musicians of the Sousa Band that have had the oral traditions passed down to them.5 Orchestration The most common area for concern when performing a Sousa March is the true orchestration of the piece. As mentioned earlier, Sousa wrote for performance, not publication. Even though an instrument may have music written for a specific section of a march, it by no means indicates that they were intended to play during it. The first point that should be noted is that repeated strains were rarely played the same way twice. Also, if there is a counter melody during a repeated section of a march, it is usually played only the second time through. Additionally, if a march contained a trio section that was played three times, the orchestration changed every time with OCTOBER 2016

the last time usually tutti. During a Sousa march, the full band played sparingly throughout. Those moments were limited to the introduction, which was usually orchestrated in unison and octaves, and the final section of the march where he wanted the most impact. It should be noted that there was no set style of how Sousa would change orchestration. These orchestration changes depended solely on the character of the march itself.6 Fortunately, the articles “My Years with the Sousa Band,”7 and “More of My Years with the Sousa Band,” by Dr. Frank Simon outline these patterns and practices in many of the Sousa marches. Note Length And Articulation The differences between the style of Sousa’s time period and today provide yet another obstacle for conductors and ensemble musicians when performing the Sousa Marches. Frederick Fennell referred to what he called the “band style” of the time period that simply every musician was expected to fulfill both automatically and correctly.9 Specifically, Fennell was speaking of how the musicians treated note length and articulation. In the Sousa Band, any note that was a quarter note or longer in either 2/4 or 6/8 time should be played long. In addition, any dotted rhythm whatsoever should be played long as well. On the other hand, any rhythm that was smaller than a quarter note in those time signatures should be played short and light. Furthermore, if a short note precedes a long note, it was given added weight and length (agogic stress). In addition, a short note that was preceded by a long note was played even shorter and given extra emphasis to make it “pop” out of the texture.10 According to Sam Harris, “[Sousa] did not use the term ‘staccato.’ He called it ‘spacing of notes’. He stressed articulation as well, and often mentioned that many players get careless…” Many of Sousa’s former musicians mentioned how nothing bothered him more than players becoming careless with the length and spacing of notes.11 The late Paul Bierley noted that: Except for sustained passages the Sousa Band played their notes slightly shorter or crisper so as to create an impression of cleanly separated rhythmic patterns. The separation between short and long notes makes long notes seem even longer and gives additional rhythmic emphasis, taking advantage of the agogic accent. ‘Spacing the notes’ gives a lighter character to the marches and emphasizes the dance like qualities.12 Brass John Philip Sousa was a strong supporter of the instruments made by the C.G. Conn Company. In exchange for his endorsement, C.G. Conn made all of the brasses and saxophones in the Sousa Band. With the exception of cornet soloist Frank OCTOBER 2016

Simon, who played on a Holton in his later years with the group, every musician in the Sousa Band was required to play on a Conn.13 These instruments had a much smaller bore than those we generally see today and, in turn were brighter in tone quality and did not produce the same amount of volume as modern brass instruments.” There were a number of other practices that were unique to the Sousa Band as well. Sousa never once used a string bass with his band, relying only on the tuba and bass drum to provide rhythmic and harmonic support.15 Throughout Sousa’s years on tour he also insisted on bringing two trumpet players with him on tour in addition to a full cornet section. These players played on every song even if there was no part written out for them. In the event there was a march that did not have a trumpet part, they would simply double the principal cornet.16 It is common knowledge that Sousa would drop the brass section out of the texture to change the color of certain sections of a march. However, most people do not know that when Sousa waved off the brass, he was specifically referring to just the trombones, trumpets, and cornets. While there was no set pattern to all of the marches it was very common for Sousa to have the brass drop out the first time through a strain.17 Additionally, Sousa felt that the horns and euphoniums added a mellow tone color that contrasted with the other brass instruments and in turn would increase their volume slightly when he waved off the other brass instruments.18 Woodwinds

In all of the years that Sousa toured with his band, he always used alto and bass clarinets even though there were no published parts for them. For these instruments he would use other parts in the same key signature, like baritone horn or Eflat cornet to add the alto and bass clarinets into the texture. Not only did Sousa insist on having those instruments in his woodwind section, but he also insisted on having a woodwind 47 TEMPO

section much larger than other bands of the time period. Sousa felt that his band should have twice the number of B-flat clarinets as he did cornets. Additionally, Sousa loved the tone quality of the saxophone section and insisted on having at least five in his band at all times. In his later years he increased the size of the saxophone section to as many as eight players.19 Sousa had a wonderful E-flat clarinet player in the ensemble and his preference for that particular tone color was well known, even to the extent that he had two players on this instrument in some years. When the principal E-flat clarinetist left the band, Sousa struggled to find a replacement that was as capable. After many months of struggling to find a player whose tone and finesse allowed him to blend with the ensemble, he decided to use the fifth flute player to transpose and play the E-flat clarinet parts.20 Like the “waving off ” of the brass instruments, the woodwinds would also have their parts altered during certain sections of a march. As with the brass instruments, it is often misunderstood when executed by conductors now. When Sousa would say “clarinets down an octave,” a more accurate suggestion of what he meant should be “clarinets in the staff,” or as Frank Simon suggests, “clarinets play an octave lower whenever possible.” At no time should the solo and first clarinet parts drop below the second and third clarinet when they do drop an octave. Additionally, the piccolo and E-flat clarinet parts should be omitted during these sections when the clarinets drop an octave in order to have a more homogeneous sound.21 Percussion The percussion section in the Sousa Band was probably the most scrutinized section of the ensemble, and it is quite possible the Sousa was more particular with them than any other section. According to Sousa drummer, John Heney:

Percussionist should never predominate in a band. Sometimes, alas, they do!… Don’t overdo loudness. Percussionists should be especially careful about dynamics. They should only do what the indications tell them. Zeal is a beautiful thing - but not when it causes someone to pound drums and cymbals out of all musical proportion.24 My friend, the late John Philip Sousa called the drum the KING OF INSTRUMENTS. He was more particular about his drummers and drum section, perhaps, than any other section of his band. Sousa’s drum section was his pride and joy and without the marvelous cooperation of leader and drummer, his band probably would not have been what it was.22 The Sousa band, like most professional bands prior to the 1940’s, rarely used more than three percussionists. There was one player on snare drum, and one on timpani. This meant that the third drummer was responsible for the bass drum and cymbal part. Fortunately for Sousa he had one of the best musicians in his band, August Helmecke, who was saddled with this responsibility. In this time period the cymbal was attached to the bass drum and he would handle both parts simultaneously.23 Whether or not this union was a matter of preference or a marriage of convenience is not known, but what is clear is that it is really a lost art form now. The important point for the musicians that play the bass drum or the cymbal parts now is that they balance and blend as if they were one player. In “How Sousa Played His Marches” Gus Helmecke specifically warns about the dangers of the cymbal dominating over the bass drum and how this practice would never be tolerated. In regards to the balance of the percussion section with the rest of the band Helmecke states:

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To recreate the sound that the Sousa percussion section had, special attention must be given not only to how the instruments are played but also what instruments and implements they should use. The first instrument is bass drum. The bass drum should be approximately eighteen inches deep and thirty-six inches around. Furthermore, a fiber or calf head should be used instead of plastic if at all possible. For a beater, Helmicke used a lambskin beater to get the effect of having the bass drum being felt as well as heard25 Modern snare drums are in general much louder and higher in pitch than those of the Sousa Band. If at all possible, a snare drum that is eight inches deep would be preferable. In addition, it is best to use a calf or fiber head in lieu of plastic and gut snares instead of metal. Finally, the snare drum should be tuned slightly lower than normal in order to recreate the appropriate tone color and balance within the ensemble. For cymbals, it is best to use a Germanic cymbal, or if at all possible, an Avedis Zildjian “band” cymbal between sixteen and eighteen inches in width. Either of these cymbals will contain the dark tone color that would be appropnate for the ensemble.26 In addition to the balance and tone color of the percussion section, there are a few other techniques that will help recreate the sound of the percussion section of the Sousa Band. The first is the use of ‘flam fives.’ This rudiment refers to a five stroke roll in which the initial OCTOBER 2016

attack is accompanied by a grace note. This was sometimes referred to as ‘a six stroke roll,’ but in modern times there is a marked difference in both sound quality and rhythm between a ‘flam five’ and a ‘six stroke roll.’ Therefore, it is probably best to refer to them now as ‘flam fives.’ The reason that Sousa used this specific rudiment was to accent the upbeat attack rather than the downbeat release of the roll. The five stroke roll naturally crescendos to its release. In Sousa’s music these rudiments were usually located on the upbeat and released on the downbeat. He simply wanted to accent the syncopation, and therefore added a flam to the attack. In these specific rudiments, it is important that the rolls are played open. In addition, every roll in a Sousa march should be open as well.27 Other performance practices that should be noted in the percussion section include bass drum pitch and muffling as well as omitting the snare drum and altering its color during certain sections of a march. During the first strain of a march, Sousa would often treat it as a ‘scherzo’ section, and in turn would ask the snare drummer to play as light and soft as possible.28 In the ‘break-up’ strain, the snare drum was often omitted and during very soft sections of a march it was a common practice for Sousa to eliminate the percussion section all together.29 Finally, in some marches such as The Stars and Stripes Forever there were multiple pitches listed for the bass drum. In this case, the bass drummer should experiment the different playing areas on the head of his instrument in order produce the three different pitches that are written in the bass drum part.30 Additionally, it is important that the bass drum is low enough for the player to muffle the drumhead with his knee. This is a vital technique that must be used to distinguish note length. Tempo One of the most common misconceptions about a Sousa march is that it OCTOBER 2016

should slow down at the trio. This could not be farther from the truth. John Philip Sousa was very explicit about the tempo of his marches being consistent throughout and he felt that this consistency is what brought the piece alive and added the dramatic tension that he desired.31 Not all of Sousa’s marches were played at the same tempo, but instead the tempo depended on the character of the march. In general, Sousa would take all of the marches faster on stage than he would on the field. Additionally, Sousa’s tempos got notably faster later in life, which at times reached nearly 140 bps.32 Conclusion Although many obstacles stand in the way of recreating a historically accurate performance, there has been significant research by numerous individuals to uncover many of the lost traditions of the Sousa Band. Fortunately, through the tireless efforts from former musicians of the Sousa Band as well as many of his colleagues and admirers, it is possible for someone to recreate historically accurate performances like those that made John Philip Sousa one of the most influential musicians of all time. Scott-Lee Atchison, scott-lee.atchison@ uky.edu, is tbe director of Athletic Bands at the University of Kentucky and serves as the conductor of the UK Concert Band. Endnotes 1. Bryne, Frank. “Sousa Marches: Principles for Historically Informed Performance” in The Wind Ensemble and It’s Repertoire, edited by Frank Cipolla and Donald Hunsberger, 145. New York: University of Rochester Press, 1994. 2. Ibid,142. 3. Helmicke, August, “How Sousa Played his Marches,” The Etude 68, no. 8 (August 1950): 23. 4. Byme, p. 148. 5. Simon, Frank. “Sounds of John

Philip Sousa,” vol. 1, 1966; booklets accompanying recordings produced by the American School Band Directors Association. 6. Ibid. p. 2. 7. Ibid. p. 2. 8. Simon, Frank. “Sounds of John Philip Sousa,” vol. 2, 1969; booklets accompanying recordings produced by the American School Band Directors Association. 9. Fennell, Frederick. “I Really Do Love Marches!,” BD Guide 4, no.4 (March / April 1990): p. 17. 10. Byrne, p.150. 11. Harris, Sam. “Sousa as I Knew Him,” The Instrumentalist 5, no. 5 (March / April 1951): p.17. 12. Ibid. p.17. 13. Byrne, p.150. 14. Simon, p.3. 15. Ibid. p. 2. 16. Ibid. p. 2. 17. Ibid. p. 3. 18. Ibid. p. 5. 19. Ibid. p. 3. 20. Paul E. Bierley, Jobn Philip Sousa, American Phenomenon (Westerville, Ohio: Integrity Press, 1973), p.129. 21. Ibid., p. 148. 22. Byrne, p. 157. 23. Ibid., p. 157. 24. Ibid., p. 158. 25. John Phjlip Sousa, Semper Fidelis, Edited by Keith Brion and Loras Schissel. C.L. Barnhouse, Oskaloosa, IA. 1997. p. 6. 26. John Phjlip Sousa, The Washington Post, Edited by Keith Brion and Loras Schjssel. C.L. Barnhouse, Oskaloosa, IA. 1997. p. 9. 27. Ibid., p. 7. 28. Schissel/Brion, Semper Fidelis, p.4. 29. John Phjlip Sousa, The U.S. Field Artillery March, Edited by Keith Brion. Southern Music Company, San Antonio, TX. 1994. p. 3. 30. Byrne, p. 158. 31. Ibid., p. 151. 32. Ibid., p. 152.

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Establishing A Growth Mindset In The Beginning String Program

Using “Strings Karate” To Motivate All Students Sarah Donatelli East Brunswick Public Schools sarahdonatelli@gmail.com

icture a class of beginning instrumental music students during the first few months of school: students are bursting with excitement to practice and to show off what they’ve learned. They just can’t wait to play “Hot Cross Buns” for family and friends. The end of the year may be a different story when students realize playing an instrument takes hard work, dedication, and practice. Lower performing students start to lose motivation as they compare their playing to others. Sound familiar? As the school year progresses, we start to see a wider difference in playing levels and abilities. One of the challenges I’ve grappled with is how to maintain the same level of enthusiasm in all students throughout the year. The following is a reflection from the 2015-2016 school year, which describes how the “strings karate” concept can be utilized to motivate students throughout the year. Growth Mindset Carol Dweck, psychologist and a leading researcher in the field of motivation, frames the human mindset in two ways. Those with a “fixed mindset” are only concerned with the results of their efforts. They believe, “If you fail- or if you’re not the best - it’s all been wasted” (Dweck, 2006, p.48). A “fixed mindset” may lead a student to believe that no matter how much they try to improve, they are born with a fixed amount of talent. Or, conversely, that because they are so talented, any effort to improve would be a waste of time. By contrast, “The growth mindset allows people to value what they’re doing regardless of outcome. They’re tackling problems, charting new courses, working on important issues” (Dweck, 2006, p.48). Students with a “growth mindset” may not make all-state ensembles or earn first chair, but they savor every minute they are making music. They realize their efforts will help them grow as musicians. Most

importantly, the “growth mindset” is likely to promote intrinsic motivation to practice. Strings Karate It was only during this past school year when I first realized the potential “strings karate” had for promoting a “growth mindset” among students. In prior years, I felt students were simply practicing for the performance, or to earn the next belt. This led me to question my own teaching practices: Was I starting to “teach to the test?” How was this system helping my students to develop consistent practice habits? Was it encouraging them to be lifelong musicians, or to be musicians who simply practice before a performance? When a student is extrinsically motivated to earn a belt, practicing is likely to end once the performance is finished. I wanted to keep the excitement of earning a belt, while demonstrating to students the power of practice. So, I kept “strings karate,” but added one extra step for those students who hoped to earn a “black belt”. Strings Karate has eight belts total (each a different color), with the black belt being the ultimate goal. Students attempting to earn a black belt were expected to take part in a “black belt ceremony”. These ceremonies took place during the first few minutes of class when students felt they were ready to perform. Before playing, students answered the following questions: 1. What new skills did you learn by earning the black belt? 2. How did you practice this song at home? 3. How has earning all the belts made you a better musician?

to participate. After reflecting on these questions, many students would admit: “I may need another week of practice to earn the belt.” In most cases, another week was all it took. It was a relief to have students discover this on their own. Students who participated in a black belt ceremony felt proud of their accomplishment. They took complete ownership of their learning. These ceremonies also motivated other students to participate in future ceremonies. Black belt ceremonies are an example of an authentic assessment demonstrating students’ performance abilities and their understanding of how and why we practice. The students’ achievement in earning a black belt is not experienced through the final product alone. Instead, students are led to understand how they arrived at that product, and how they’ve become better musicians along the way. A “growth mindset” shows us that devoting time to thoughtful and purposeful practice will help to achieve successful performance. Black belt ceremonies like these can be adapted for any incremental learning program. When we arm students with a “growth mindset” and give them the autonomy to decide when they are ready to perform, they develop habits that are conducive to discipline and focus. Such traits will aid them in their growth as musicians and as persistent learners in all subject areas. I would like to thank my professor, Lindsay Weiss and my colleagues at Teachers College, Columbia University for their inspiration behind this article. References:

Observations By answering these questions prior to the black belt ceremony, students developed the intuition to know when they were ready

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Dweck, C. S. (2006). Mindset: The new psychology of success. New York: Random House.

OCTOBER 2016

WEST CHESTER UNIVERSITY of PENNSYLVANIA

School of Music Explore a career in music at the School of Music at West Chester University, accredited with the National Association of Schools of Music (NASM) in the following degree programs: B.M. Music Performance (instrument, keyboard, voice, jazz) B.M. Music Education (instrument, keyboard, voice) B.M. Music Theory and Composition (option for concentration in Music History) B.M. Music with Elective Studies in an Outside Field (option for Outside Field in Music Therapy in conjunction with Immaculata University) Additionally, with department consent, students may be admitted to a 5-year dual-major in two music degrees. Students must demonstrate performance level on their primary instrument and maintain a 3.0 cumulative GPA to be considered. Minors Offered for Music Majors Jazz Studies Music History

Minors Offered for Non-Music Majors Music Music Performance

Check out our Applied Music, Music Education, and Music Theory, History, and Composition Departments online, including faculty bios, course offerings, and requirements.

wcupa.edu/music

NASM

National Association of Schools of Music

OCTOBER 2016

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Superior or Inferior? The Competition Conundrum Billy Baker New Jersey City University wbaker1@njcu.edu

wide array of performance opportunities exists for directors who wish to showcase the talents of their ensembles. While some directors choose to participate in competitive programs designed to “put you face to face with some of the nation’s most talented, passionate luminaries – renowned conductors, hot choreographers, seasoned adjudicators,”1 others select non-competitive festivals or programs, which “validate to students, parents and school administrators the importance of musical achievement through goal setting and the motivation to excellence.”2 Regardless of whether one chooses to compete against other ensembles or perform for the sake of an aesthetically rewarding experience, it is critical that students receive a positive, educational, and memorable experience that enables them to transfer learning from the stage to their personal lives. A google search of phrases including “School music festivals,” “School music competitions,” and “Band, chorus, orchestra festivals” yielded a variety of offerings for music directors. The table below includes a few results from this search as well as several performance options for each resource:

Criticisms Of Competitions Many students are initially exposed to musical competitions vis-á-vis reality television shows including “American Idol” and “The SingOff.” Consequently, they are left with the impression that musical contests often result in groups of “winners” and “losers.” These competitions seem counterintuitive to our responsibilities as music educators in facilitating an environment of teamwork, collaboration, and cooperation. In a study related to choral student perceptions of the music contest experience, Stamer concluded that junior and senior high school chorus students “believe less emphasis should be placed on contests and that competitions do not make choir more enjoyable.”3 Additionally, Holsberg states, “Students find greater motivation working with other students rather than competing against their peers.” 4 Such findings seem to reinforce the notion that adding a competitive element to any performance does not enhance the experience from a student’s perspective. Tokens, Trophies, And Other Treasures An overemphasis of external rewards (i.e. trophies, certificates, ratings) in competitive settings not only undermines the process of performing for self-expression and aesthetic pleasure, it tends to stifle otherwise internally interesting activities.5 A “product over process” mentalTEMPO 52

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ity leads our students to believe that tokens are more important than experiences. A wonderful mentor of mine once said, “the problem with any token system is when the token becomes the ‘it.” Positive reinforcement via trophies, certificates, and the like may serve as motivational and recruitment tools for students to participate in musical ensembles. However, if such “tokens” become the “it” or end goal, then we have misled our students into believing they have failed by not earning the cherished “Superior” or “1st place” award. The Benefits Of Balance A balanced approach to performing in a less stressful environment, receiving constructive feedback with an open mind, and accepting “collaborative competition” within the ensemble might help students to focus on personal growth as musicians. Options to receive ratings versus rankings provide directors with opportunities to select performance experiences that align with their personal philosophies or cater to the learning needs of their ensembles. For example, a first-year teacher attempting to rebuild a fledgling program might consider a “participation only” option with feedback, while a seasoned conductor with a secure and musically advanced ensemble might wish to receive a ranking or rating for self-improvement. The latter choice would challenge conductors and students to reflect on their own performances from an objective point of view in comparing most recent feedback to earlier rankings or ratings of the same repertoire. Self-reflection and evaluation should preclude competition against other ensembles to nurture an intrinsic desire to improve and grow as young musicians. In summary, scaffolding experiences are most effective when music educators select the best performance options for their ensembles at the appropriate time. Critical Thought Beyond The Performance Perhaps it might be our responsibility to empower students to evaluate the merits and pitfalls of competing in a performance environment after participating in said “festivals” or “adjudications.” While a few researchers have investigated interrater reliability within the context of actual large-group festivals, music evaluation in relation to adjudicator bias and experience, contest procedures, repertoire selection, ensemble size, and grade inflation6, such efforts within the classroom encourage critical and reflective thinking beyond mere participation and acceptance or rejection of the feedback. It may be worth the sacrifice of rehearsal time to listen to prerecorded feedback from judges/adjudicators (always prescreen recorded comments before listening to them with the students!) and to share written scores among members of the ensemble as an opportunity for them to discuss various opinions of aesthetic interpretations and musicianship skills. Facilitating group discussions of feedback within the class could include all of the National Core Arts Anchor Standards (Creating, Performing, Responding, & Connecting) as well as components of the New Jersey Core Curriculum Content Standards (1.4 Aesthetic Responses & Critique Methodologies). Filtering The Feedback Feedback from adjudicators and audience responses can be overwhelming, constructive, positive, negative, or all of the above. Much of this feedback is based upon the conductor’s artistic decisions or in-

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terpretation of the repertoire manifested via the performance. Adjudicators who value authentic, high quality, and aesthetically rewarding performances usually provide comprehensive and constructive feedback designed to enhance overall musicianship. Specific strategies for improvement are often suggested and positive aspects of the performance are acknowledged in addition to the areas that need to be addressed. Unfortunately, not all feedback is useful, and it is important to keep in mind that “Rome wasn’t built in a day.” A fifteen-minute workshop with a clinician constantly questioning the director’s selection of a piece, or recorded feedback from an adjudicator obsessed with the mispronunciation of a French vowel will not immediately transform a mediocre performance into a “superior” encore. It is critical to focus on the overall performance and broad categories of intonation, phrasing, musicianship, rhythmic precision, etc., rather than perseverate over a minor mistake or isolated comment. Generally, if all adjudicators seem to agree on the same specific errors or musical weaknesses of the ensemble’s performance, then this feedback merits your attention. Finally, students should be provided with the opportunity to sift through festival feedback and employ suggested strategies for improvement in order to formulate informed opinions regarding the integrity of their own performances. Reimer emphasizes the need for performance teachers to help students realize that artistic actions must eventually become independent of their teachers’ internalized models. “When they are helped to gain and appropriate within themselves the musical models they need to call upon, they are enabled to become independent musicians/artists.”7 The ultimate goal for many music educators is to inspire and empower students to become lifelong musicians. Appropriate festival performance experiences catered to the needs and stages of development within each ensemble serve as milestones for the overall personal, musical, and social growth of our students. (Endnotes) 1 https://worldstrides.com/on-stage/ 2 https://www.musicforall.org/what-we-do/mfa-national-festival/ msnmf 3 Stamer, R. A. (2004). Choral student perceptions of the music contest experience. Update: Applications of Research in Music Education, 22(2), 5-12. doi: 10.1177/87551233040220020102 4 Holsbert, P. W. (2007). Motivating musicians in the winter doldroms, part II. TEMPO!, 61(4), 25. 5 West, C. (2013). Motivating music students: A review of the literature. Update: Applications of Research in Music Education, 31(2), 11-19. doi: 10.1177/8755123312473611 6 Hash, P. M. (2012). An analysis of the ratings and interrater reliability of high school band contests. Journal of Research in Music Education, 60(1), 81-100. doi: 10.1177/0022429411434932 7 Reimer, B. (2009). Seeking the Significance of Music Education: Essays and Reflections. Lanham, MD: Rowman & Littlefield Education.

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A Deeper-Hearted Case For Music Education Colleen A. Q. Sears The College of New Jersey colleen.sears@tcnj.edu

he United States is grappling with massive changes in education, including Common Core implementation, assessment testing, and new teacher evaluation and certification models. These shifts have yielded some interesting posts on my social media newsfeeds: “Mother Obliterates Common Core in 4 Minutes” “Common Core Is Killing Common Sense” “How Common Core Destroys Minds and Souls” Battle terminology often appears in the public responses to changes in education. Extreme rhetoric aside, the challenges facing teachers are real and significant. For music teachers, policy shifts have created a need to defend the role of the arts in schools. Music education is increasingly justified by its correlation to career success in articles such as “Why Music? The Boardroom Case for Music Education” and “Is Music the Key to Success?”1 By engaging in constant resisting and defending, we risk losing the core of what we do as music educators and why we do it. What if we were to pause and consider two questions: What is at the heart of music teaching? In the end, what is significant about what we do? On my first day of teaching at the College of New Jersey, I was uncertain about how to begin my “Contemporary Issues in Music Education” class that would meet later that day. To calm my restlessness on my drive to work, I cued up National Public Radio’s Radiolab broadcast about outer space.2 One guest was Ann Druyan, creative director for the Voyager Interstellar Message Project of 1977, the initiative responsible for the audio content on two gold records that are aboard the Voyager Spacecraft, currently traveling through in-

terstellar space. According to Druyan, the record contains the sounds of “a kiss, a mother’s first words to her newborn baby, Mozart, Bach, Beethoven, greetings in fiftynine most populous human languages and one nonhuman language, the greetings of the humpback whales.”3 The record also includes compressed sounds of Ann Druyan’s brain waves, heartbeat, eye movement, and nervous-system impulses. As the sounds of her body faded, host Jad Abumrad said, “Billions of years from now, our sun will have reduced our planet to a charred, ashy ball, but that record with Ann Druyan’s brain waves and heartbeat on it will still be out there somewhere intact, in some remote region of the Milky Way, preserving a murmur of an ancient civilization that once flourished on a distant planet.”4 A charred Earth, a pristine golden record—humanity captured in sounds moving through the universe long after we are gone. Imagine that our students are like these golden records. What lasts when they leave? How will they remember their time with us? I think of what has lasted for me—the imprints of music education on my own golden record: the looks on the faces of my band students after a brilliant performance of a piece they never thought they could play; a letter from a parent of a child with Tourette’s syndrome saying that he relaxes in my class because he feels safe and supported; a boy described by his peers as “the worst kid in the school” who enjoyed playing the guitar in my general music class; the students in my “Contemporary Issues in Music Education” course who listened to a portion of Radiolab’s “Space” broadcast that first day and engaged in a profound discussion about the purpose of music education. Some of the grooves in my golden record are deeper than others. The deepest ones belong to my little brother, Andrew

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Quinn. I was eleven when he was born. I remember how warm and heavy he felt as I rocked him to sleep while singing “This Old Man.” We swayed in each other’s arms, and I rested my chin on his head as we sang our special song: “Andrew Pandrew Mandrew.” At age 4, he chanted the opening of my Les Miserables marching band show. His sweet voice played on my college answering machine when he was in third grade and I was a freshman music education major. “Hi Colleenie. I have a question about the Flutophone.” I beamed with pride when he performed in the New Jersey All-State Band. We shared recordings of Eric Whitacre’s music and danced like kids to Chuck Mangione’s “Land of Make Believe” and Herb Alpert’s “Spanish Flea.”5 We played flute and saxophone duets together. I attended his concerts with Cornell University’s Symphonic Band. We still sang “Andrew Pandrew Mandrew,” but now he was the one resting his chin on my head.

In March 2013, Andrew was killed at age 22 in a hit-and-run accident in New York City. Nearly one thousand people attended his wake, including nearly every music teacher he ever had. A recording of Andrew performing on the saxophone OCTOBER 2016

played as everyone paid their respects. w That night, I rocked my daughter Ella while quietly singing, “Andrew, Pandrew, Mandrew—he is my little brother; there is no other…,” and she drifted off to sleep. Of everything that we do in our music classrooms, what will last? The fox in Antoine de Saint-Exupéry’s book The Little Prince captures it best: “One sees clearly only with the heart. Anything essential is invisible to the eyes.”6 If the fox is correct, anything lasting, meaningful, and essential in music education comes from and ultimately resides in just one place—the heart. Parker Palmer, educator, activist, and the author of The Courage to Teach, states that good teachers “are able to weave a complex web of connections among themselves, their subjects, and their students. . . . The connections made by good teachers are held not in their methods but in their hearts.”7 For the majority of our students, the lasting parts of their music education experiences, the web of connections, will exist solely in the form of mental snapshots of powerful moments and feelings that are generated in our classrooms. In her 2008 poem for the inauguration of Barack Obama, Elizabeth Alexander asked, “What if the mightiest word is love?”8 Love. It is a word that is largely absent from music education advocacy discussions and yet is the only word that can answer the question, “What truly lasts?” Every image on my own golden record is filled with love—love for music, love for teaching, and love for Andrew. The deepest grooves often lie at the intersections—the places where my special relationship with Andrew, music, and our K–12 experiences met. Those places are alive and teeming with love. The work of teaching from the heart— teaching with love, passion, and justice—is the type of work that will crystallize into lasting, awe-inspiring, love-filled moments. It is work that challenges us to be empathetic, compassionate, and vulnerable in our teaching. Perhaps we can find moments to pause—to take shelter from perpetual resisting and defending—and let ourselves be open to allowing the mightiest word, love, to give rise to the music, experiences, images, and feelings that will crystalize in our classrooms, forming beautiful and deeply meaningful imprints on our golden records.

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Bachelor of Arts in Music Bachelor of Arts in Music with a Double Major Bachelor of Music Education Bachelor of Music in Performance For Open House and Audition dates, go to: www.gettysburg.edu/sunderman

www.gettysburg.edu/sunderman

Notes 1. L. Scott McCormick, “The Boardroom Case for Music Education,” Inside Indiana Business, accessed August 20, 2015, http:// www.insideindianabusiness.com/ contributors.asp?id=1140; Joann Lipman, “Is Music the Key to Success?” The New York Times, October 13, 2013, accessed August 20, 2015, http://www.nytimes. com/2013/10/13/opinion/sunday/ismusic-the-key-to-success.html. 2. Jad Abumrad and Robert Krulwich, narrators, “Space,” radio broadcast on Radiolab, National Public Radio, August 20, 2012, http:// www.radiolab.org/story/231536rebroadcast-space/.] 3. Ibid. 4. Ibid. 5. Chuck Mangione, “The Land of Make Believe,” sound recording of on The Land of Make Believe Mercury, 1973; Herb Alpert, “Spanish Flea,” sound recording of on What Now, My Love, A&M, 1966.

6. Antoine de Saint-Exupery, The Little Prince (Orlando, FL: Harcourt, 1943). 7. Parker Palmer, The Courage to Teach (San Francisco, CA: John Wiley and Sons, 2007, 11). 8. Elizabeth Alexander, “Praise Song for the Day” (poem delivered at the inauguration of Barack Obama, Washington, DC, January 20, 2009). Colleen Sears is an assistant professor and coordinator of music education at The College of New Jersey in Ewing. From the March 2016 issue of Music Educators Journal, Copyright © 2016 by National Association for Music Education.

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A New School Year: How To COPE With The Professionals Who Work With Your Special Learners Maureen Butler Mountain Lakes School District mbutler@mlschools.org

ach school year begins with plans for lessons that teach, enrich, and inspire our music students, with the hopes that all of them, including our special learners, will grow in their understanding of music. Each school year brings with it not only students, but also a team of adults that may be involved in each student’s home and educational life. Paraprofessionals and related staff members are part of this team, and how we work with them directly affects the successful music growth of our special learners. Sometimes music teachers can feel overwhelmed or discouraged and may not take advantage of the opportunity to network with others – and sometimes it may be difficult to do so! How do you COPE with the important people on your students’ teams? Here’s an acronym that I use that can be useful when working with these individuals: C – Be compassionate O – Be objective P – Be proactive E – Be educated Being compassionate will help you understand what others are going through, and will help you be objective so that you can listen without taking criticism personally. Being proactive implies that you are educated or informed about the disabilities your students have and that you have put everything in place to ensure they have positive ex-

periences in your class. Besides the IEP, our collaboration with paraprofessionals and other staff members is where we can get the most information to make that happen. Working With Paraprofessionals What Can They Offer? When individual paraprofessionals or teacher’s aides work closely with one student, they may become an expert on that child, and can offer insight that will help us understand the child’s special needs. They’re also aware of recent developments in the child’s life that may be affecting behavior and learning, such as changes in medication, a bad night’s sleep, or a new baby at home. Additionally, they are with the student in every classroom setting, and can share specific strategies that may be successful for optimal learning in music class. How do you best facilitate a relationship with paraprofessionals? Keeping our acronym in mind, being proactive by presenting clear expectations at the onset of the school year will prevent misunderstandings later. You may wish to comprise an “Individual Paraprofessional Plan” that states what you need. It can include such tasks as: • Redirecting the student as needed to remain on task • Helping the student learn to function as a member of a group

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• Reminding the student of relevant directions • Helping the student wait his turn when needed • Assisting the student whose mobility issues present a challenge in movement and dance activities • Helping the student who may be having difficulty with individual reading/writing activities • Monitoring a behavior modification plan Some teachers have expressed frustration when working with aides; teachers may be unsure how to make their needs known, and paraprofessionals may be unsure of what their role is. By communicating expectations clearly from the beginning you will eliminate much of the confusion. As the weeks go by, you may see other ways that they can assist your student and you can either add them to the list or express them verbally. What if a paraprofessional is not doing what you’ve asked? It’s important to build and foster a relationship with those we work with. That includes being respectful and appreciative. Just saying “Thank you “ or “You really made a difference today” can go a long way. Also, in being compassionate we remember that everyone has an off day, may not be feeling well, or is going through a rough time. However, if there is a persistent pattern of nonOCTOBER 2016

cooperation, take time to speak with them, and communicate your expectations in a respectful manner. If the situation persists, you may wish to take it up with the head of special services or your building principal. What can you do if a student’s paraprofessional is not assigned to music class? Unfortunately, there is no easy answer to this question. Of course, if the child’s IEP mandates an individual paraprofessional throughout the day, it is in violation of the law not to provide one. However, this is not always the case, and sometimes aides are split among students in other classes, so that there are none to spare during music, art, and physical education. However, administrators are not always aware of the student’s needs in every situation, and it may be helpful to network with the other special subject teachers in your school to present a rationale to administrators. If parents are made aware of difficulties their children are having without assistance in your class, they can be a support for you in reaching this goal. Some music teachers wisely ask to be included in IEP meetings so that parents and case managers will hear their concerns. Working With Other Staff Members How can other staff members help? Related therapists can help you be educated when you have questions about the special learners in your care. They are usually willing to consult with you by observing a child in your class and making recommendations. They may also be able to work collaboratively with you, assisting a student as you work with the class and interjecting as needed. Remember that if you’re seeing certain behaviors in your class, it’s a good bet that other staff members see it as well. OCTOBER 2016

What are itinerant teachers of the deaf? These teachers are certified teachers of the deaf who travel among schools to reinforce classroom learning. If you have questions about the hearing levels of your students; how their hearing aids or cochlear implants affect their perception of music; whether or not they will be able to match pitch; or what instrument would be best for them to learn, these teachers can help answer them. What can occupational and physical therapists help with? These therapists have a thorough understanding of how motor issues affect learning in all areas. They can help students who may be having a hard time sensing where the holes are on a recorder, coordinating fingering, sequencing steps to complete an activity, executing dance movements, and writing and reading notation. Consult them if children have embouchure problems, or for advice on the best choice of an instrument. They also can teach you how to adapt your activities for students who have sensory processing disorders. What about speech/language therapists? These staff members work with a variety of students who have speech and language delays or other communication issues. They can help you answer some questions about a student’s hearing loss, instruct you how to use augmentative and alternative communication systems, and explain how oral-motor issues may be causing embouchure problems. What role does the special education teacher play? When special learners spend much of their time in a classroom with a designated special education teacher, that teacher becomes expert in how the students learns, and what difficulties are

faced. These professionals will be able to provide you with strategies that work for each of their students that may apply to your class. They’ll be able to tell you about specific events that may be triggering misbehaviors that you see, such as family situations, sensory processing disorders, or issues with medication. What kind of information can a mental health professional give me? While social workers and school psychologists must maintain the confidentiality of certain kinds of information about the children they counsel, they can give you strategies that will help you work with and understand specific students. They may be able to tell you if children have trouble getting along with others, and how to help. They will be able to help you structure a behavior modification plan for your class or for specific students, or help you continue one that is being used in other settings. Lastly, two of the most essential staff members we work with are secretaries and custodians. Although they are not involved in direct instruction of students, we rely on them for a lot of the details that make our jobs more manageable. When we remember to be compassionate, treating them with kindness and respect will ensure that we are treated the same way. When working with students with special needs, let’s take advantage of the wealth of knowledge and insight that is available to us, ight in our own school buildings, and we’ll be able to cope with whatever situations may arise this year.

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Conductor vs. Educator Dan Halpern Vernona Schools, Verona, NJ dhalpern@veronaschools.org

s directors of school-based performing groups, music teachers constantly balance the dual roles of conductor and educator. In many ways these roles are intertwined, but there are ways in which the goals of a conductor are not the same as those of an educator. A conductor must ultimately place the highest value on performance as an outcome, whereas an educator will place a higher value on student growth. Some might argue that performance is the means by which that growth occurs. However, placing too much emphasis on performance can cause some educators to limit opportunities for other types of learning. Students benefit from participating in school-based performing groups because they can engage in authentic learning experiences that model the processes of professional musicians. For that reason ensemble directors often model themselves on professional conductors. Teachers draw on their own backgrounds as performers and attempt to recreate elements of their experiences in the classroom. The students are cast in the role of the performers, and the teacher is the conductor. However, consider the difference between a conventional professional rehearsal and a classroom. In a traditional music rehearsal the conductor is completely in command and makes all decisions regarding what is done and how. There is no discussion, no questions, and all activities are geared toward the realization of the conductorâ&#x20AC;&#x2122;s vision. In many ways this is the complete opposite

of what a positive learning environment should be. A school ensemble rehearsal should exemplify aspects of a professional rehearsal to the extent that it supports learning objectives. If the goal is for students to do more than develop performance skills, then rehearsals should also incorporate discussion, debate, question and answer, and so on. In doing so students will not only learn to play music, but will also be able to critique, analyze, interpret, and create music. This can be done by simply flipping the traditional approach of telling students how to play, and asking them instead. For example, rather than directing students to play a passage in a particular way, ask them to share their own ideas on how it should be played. Take multiple responses and lead a discussion on which one is preferred. This process enables students to develop their own interpretations, as well as listen, analyze, and critique various approaches. It forces them to engage in music as a form of expression as opposed to a set of directions to be followed. A mentor of mine once said that music teachers often spend an inordinate amount of time trying to make small improvements to ensemble performance. A great deal of time, energy, and resources are expended to improve by 2% (assuming one can encapsulate a musical performance in a numeric score). A conductor would stop at nothing to achieve this improvement, however, an educator might think differently. How much more could students

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learn about music in the time that is spent to gain a small increase in performance? This is not to say that a group should not perform well. Rather, one must remember that performance is not the only goal of an educator, but rather a means to a greater end. Advocates constantly espouse the value of music education as a creative endeavor. But we must ask ourselves, how creative is it to simply follow directions and realize someone elseâ&#x20AC;&#x2122;s creative vision? Student experience in performing groups must lead to a more meaningful understanding of music. Ensemble directors must set goals based on student understanding, not just on performance. When selecting repertoire, one must consider what deeper musical ideas students will learn, and the learning process must incorporate various avenues of exploration. The role of conductor is just one of many subordinate roles that must be played by a music educator. By carefully designing instruction and thinking more openly about the structure of rehearsals, directors can transform studentsâ&#x20AC;&#x2122; ensemble experience into a deeper, more meaningful life-long connection to music. For more resources and articles please visit www.danhalpernmusic.com

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Attention All Retired Music Educators: Would You Like To Be A Mentor? Joyce Richardson-Melech NJRMEA Mentoring Chairperson jsrmusic@aol.com

he New Jersey Retired Music Educators Association is initiating a mentoring program for both novice and veteran music teachers. There are a great number of retired music educators in the State of New Jersey with many years of experience, knowledge and expertise in various areas that could be shared with both new teachers and those with years of experience. These teachers often experience many problems in facing new situations, need advice, or are hesitant to confide in administration or their content area supervisor. Also, these educators could have a situation arise where advice may be very welcome from someone with years of experience and expertise. As a result, the retired music educators are invited to become mentors. There are various categories where music educators may become a contact by phone and/ or email. I am compiling a list of retired educators who are willing to volunteer their time and expertise in order to share their ideas with fellow music educators in the field. The list will be updated as music educators add their names to the list as mentors. The various categories are listed below. A music educator who is seeking advice would be able to call or email the mentor with concerns. The mentor would then respond. The list of volunteers with email addresses would be displayed on the NJMEA website for accessibility. Please contact me at jsrmusic@ aol.com if you would like to be listed as a mentor in any of the following categories:

Mentoring Categories • According To NJ State Guidelines • Children/Youth/Adult • Choral To Instrumental, • Choral/Instrumental • Choral/Instrumental • Choral/Instrumental • Church Choirs • Community Performing Groups • Curriculum Assessment • Directing A Musical • Directing A Show Choir • Directing A Talent Show • Early Childhood-Pre-K • Elemeantary Strings 3-5 • Elementary To Middle • Elementary Vocal/General Music Grades 1-5 • Fundraising For Your Group • Getting Involved With Tri-M • Grades (9) 10-12 • Grades 6-8 (9) • Grades 6-8(9) • Grant Writing • High School Choral • High School Strings (9) 10-12 • High School To Elementary, Etc. • Instrumental To Choral • Instrumental/Vocal Jazz • Middle School Vocal/General • Middle School/Jr. High Strings • Music Technology – All Grades • Preparing For Festival Audition • Preparing For Job Interview • Transitioning From One Position To Another: • Traveling With Groups Abroad • Vocal/General Music

& OCTOBER 2016

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Be Your Own Judge & Jury: You CAN Hear What I Hear! Thomas McCauley John J. Cali School of Music, Montclair State University Mccauleyt@mail.montclair.edu

uring the months of February, March, and April of 2016, I listened to and “adjudicated” more than 200 high school and middle school concert bands throughout North America. Although it has been an unusually busy stretch for me, this is not a complaint. I am always humbled to be invited to serve at band festivals wherever they may be. The groups I hear at these festivals have spent many hours preparing for their performances and have spent, in some cases, large amounts of money to attend. With all due respect to my colleagues who often join me as clinicians/adjudicators at these festivals (many of whom are wonderful artists and teachers), it seems clear to me that, in most cases, hearing and identifying the weaknesses of the groups attending festivals is not magic and does not require a great deal of special talent or ability (although “fixing” those issues does). If the adjudicators can identify these issues, so can the directors of the bands. And with a bit more awareness and diligence, band directors and their students could have a much more satisfying experience when attending a festival. Here are some basic issues to consider before bringing a group to a festival: Selection of Repertoire The annual concert band festival is the time during the academic year when we as conductors and students try to prepare and present a performance of high quality repertoire played at the highest level possible. The annual debate we have with ourselves and our colleagues is: Do we program a slightly less technically demanding piece and play it extremely well;

or do we program a piece that is more technically demanding which, perhaps, may not result in an exemplary performance? There is no standard answer to these questions because each situation, each group, and each conductor’s priorities are different. Personally, I would rather hear a less technically demanding piece played extremely well. Why? Because I believe that the annual concert band festival is one of the few opportunities we have to teach and reveal true mastery of the repertoire we choose. Mastery must be taught, felt, and experienced, and the preparation for the annual concert band festival is the perfect opportunity for that to happen. Programming a piece that lies just beyond the musical and technical reach of our groups is a pedagogically sound and often educational experience for our students, particularly if the goal is to expose them to different composers, different genres, and different styles of music. However, these pieces can and should be performed during other concerts throughout the academic year. Programming a “justout-of-reach” piece at the annual concert band festival may really only teach your students how to survive it without being embarrassed. Be sure that your programming is varied, with moments of both calm and excitement. If you are required to play only two pieces, please don’t select two pieces by the same composer. This may seem like very basic information, but I’ve seen it done far too often. Wrong Notes and Rhythms It is not possible to have a successful festival performance without having all the correct notes in the correct plac-

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es. Again, although this may seem like a given, surface level issue to some, it bears mentioning here because far too many groups arrive at festivals playing obviously wrong notes throughout their performance. An occasional “oops” happens to everyone, but pervasively inaccurate notes and rhythms speak to a lack of awareness on the part of the conductor. Beauty of Sound

After all is considered, and all else being equal, the element that separates the good bands from the great bands is their approach to sound. Everyone in the ensemble MUST be producing the most beautiful sound of which they are capable at all times and in all circumstances. This takes time, persistence, and a willingness to strive for beauty of tone throughout each and every rehearsal; especially during the warm-up procedure. The musical elements of good pitch and beauty of sound are inextricably linked. Beauty of sound and accuracy of pitch should be the primary concern of every member of the ensemble at all times. Articulations Not all accents, “fp”, “sfz”, etc. are created equal. For example, a printed “fp” in a piece by Mozart is quite a different sound than the same printed “fp” in a piece by Karel Husa. Some useful questions to ask might include: * When was the piece written? * Are there any traditional performance practices of which I should be aware? * Have I listened to other pieces by the same composer, and can those other performances help inform my interpretive decisions? OCTOBER 2016

Transcriptions If you are performing a transcription of an orchestral or choral piece, the conductor must use the original version as their guide. The students need to hear the original version and, as is possible, emulate those sounds and atmospheres. Your goal should be to transform the sound of the band into the sound of the original as closely as is possible. I’ve heard far too many performances of transcriptions where it is obvious that neither the conductor nor the students have even considered the work in its original form. Balance Good ensemble balance must be taught. The printed dynamic marking is not the answer to good ensemble balance; the printed dynamic marking is the question. The question it asks is: How loudly or softly do I actually need to play to accomplish the composer’s intent? Please remember that there are huge differences between a passage marked, for instance, “mf ” that is intended as an accompaniment, and a passage with the same marking that is intended to be heard as a melody or primary theme. Students need to be taught the difference and to be able to make real time adjustments as they play. The students need to be made aware of their musical “role” at every point in the composition, and be expected to play that role to its fullest. This almost always means that students should play softer and listen “louder”. This is particularly true with regard to our friends in the percussion section. I cannot begin to count the number of festival performances I have heard which have been obliterated by an overly zealous percussion section. Telling the Story Great artists are great storytellers. What is the “story” of the piece you are playing? What concepts, ideals, and atmospheres is the composer trying to communicate? Good bands are able to produce the correct notes, balances, articulations, dynamic gradations, and do all of that with a beautiful ensemble sound. The great bands accomplish all of this and, at the same time, are able to communicate a OCTOBER 2016

heartfelt, deeply committed version of the printed page in order to better communicate the composer’s vision, as they are able to divine it, to their listeners. Are YOU the Problem? Too many conductors undermine their hard work in rehearsal by the manner in which they approach their visual representation of the music on the podium both in rehearsal and on the concert stage. Many conductors strive for beauty of sound, creating long, beautiful musical lines, and spend hours getting their groups to produce appropriate articulations, only to undermine that hard work by becoming a visual oxymoron on the podium. In other words, they are saying one thing but doing another. Most people are primarily visual learners, which is why it is incumbent upon each conductor to look as much like the music sounds as is possible at all times. Is looking like the music sounds the “answer” to having a great band? Of course it isn’t. It is, however, an incredibly useful tool in reinforcing concepts and atmospheres taught during the rehearsal process. Another subject that bears mentioning is in regard to both male and female conductor apparel. Is your concert apparel too casual, too tight or ill fitting, or inappropriate in some other way? You want to be sure that you are not, in any way, a visual distraction either to your audience or to the adjudicators. On Stage Warm-Up and Tuning There are some festivals where warming up on stage is the only option. In these cases, the band director must do what needs to be done to prepare the students for the imminent performance. If, however, there is an option to warm-up away from the performance space, band directors should take full advantage of it and try, as is possible, to not play anything on stage before the performance begins. You will want to avoid showing adjudicators how the sausage is made, and just let them enjoy the wonderfully tasty meal you have prepared for their consumption. Additionally, tuning on stage is sometimes unavoidable, but when it can

be avoided, it should. If you have properly prepared in the warm-up area, tuning on stage is not really going to enhance the performance. In reality, tuning is not something one can do completely or effectively before the performance. Tuning is really only something one can do effectively DURING the performance. The students’ ability to make real time pitch adjustments must be taught, and that process, like so many others, requires high expectations, persistence, and a daily focus on this important performance element. Surely the band director can help serve as the pitch “conscience” of the group but, in reality, the conductor has no real control over pitch. The only people who can effectively adjust pitch are the people playing the instruments, and it is the director’s responsibility to teach the students how it is done, and to expect it to happen during every moment of every rehearsal and performance. Given that I, too, struggle with many of the issues mentioned above with my groups, I cannot claim to be an expert. I am, however, someone who has been fortunate enough to appear as a guest clinician and adjudicator at hundreds of concert band festivals over the course of twenty-plus years. During that time, several truths have revealed themselves to me with regard to preparing for and performing at festivals. I hope that you will find some of the suggestions listed above helpful in your quest for true mastery. Thomas McCauley is currently the Director of University Bands in the John J. Cali School of Music at Montclair State University in New Jersey where he conducts the MSU Wind Symphony, the MSU Symphonic Band, and teaches conducting. He is the author of the book, “Adventures in Band Building” published by G.I.A. Publications.

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NJEA Convention Music Sessions November 10- 11, 2016 – Atlantic City Sponsored by

New Jersey Music Educators Association An affiliate of the New Jersey Educators Association

Thursday 9:30 am - 11:00 am Convention Center - Room 419 Elementary/Middle School Choral Reading Session Category: Middle School - Visual & Performing Arts Presenter: CHRISTINE C. SEZER

Music---tried and proven---will focus and implement choral methods and techniques of blend, diction, breath control, musical interpretation, phrasing, dynamics, and multicultural grade styles appropriate for grades 3-8. Thursday 9:30 - 11:00 am Ambassador Room, Sheraton Hotel New Jersey All-State Band Procedures Open Meeting Category: High School Presenter: AL BAZZEL

This meeting is open to all band directors in New Jersey. Thursday 12:00 - 2:00 pm Ambassador Room, Sheraton Hotel New Jersey All-State Choral Procedures Open Meeting Category: High School Presenter: KATHLEEN E. SPADAFINO

This meeting is open to all choral directors in New Jersey. We will discuss current and future procedures for the New Jersey All-State Chorus. Thursday 1:00 - 2:30 pm Convention Center - Room 419 Cross Curricular Integration In The General Music Classroom Category: Elementary Visual & Performing Arts Presenter: ANDREW J. LESSER

This seminar is designed to define cross-curricular integration as a natural part of the music education process and how to combine music with core curriculum subjects. Thursday 3:00 - 4:30 pm Convention Center - Room 419 Gospel Music: An Innovative Tool To Learning Category: Pre-K - Gr. 12 - Visual & Performing Arts Presenters: BEVERLY VAUGHN

This fast-paced workshop will emphasize elements of this music, which offer innovative tools such as community enrichment, oral skills, musical improvisation, expressiveness, etc. with special emphasis on historic roots.

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Thursday 8:00 - 10:00 am PLEASE NOTE NEW DATE Claridge Hotel NJMEA Executive Board Meeting Category: Higher Ed Presenter: WILLIAM MCDEVITT

NJMEA Executive Board will meet to discuss on going business within the orgainization.

Friday 9:30 - 11:00 am Convention Center - Room 419 Creating Memorable Jazz Solos For Competitions Category: High School - Visual & Performing Arts Presenter: BRIAN P. HEIGHT Develop methods that can help your students create meaningful improvisation. Through these techniques, students will develop chord awareness and vocabulary. Friday 9:30 - 11:30 am Crown Ballroom, Sheraton Hotel NJMEA Collegiate Meeting Category: Higher Ed Presenter: RICHARD DAMMERS

Collegiates will meet and discuss the future. Meeting to be held in Sheraton Hotel Friday 1:00 - 2:30 pm Convention Center - Room 419 Ukulele In The Music Classroom: Four Strings Of Joy! Category: Pre-K - Gr. 12 - Visual & Performing Arts Presenter: THOMAS J. AMORIELLO, JR. Aloha! If images of palm trees come to mind when you hear the strumming of the ukulele, you are not alone. So why not include the “uke” in your teaching? Friday 3:00 - 4:30 pm Convention Center - Room 419 Expressive Conducting: An Interactive Refresher For Educators Category: High School - Visual & Performing Arts Presenter: JOSEPH HIGGINS We will explore strategies for conducting with more passion and expression, examining gestures that help us to communicate clearly. Bring your baton (or just your hands!) for this interactive session. Friday 3:00 - 4:30 pm Convention Center - Room 420 Danielson Framework In The Music Classroom Category: Pre-K - Gr. 12 - Visual & Performing Arts Presenter: JEFFREY SANTORO This session will provide music teachers with information and resources for understanding the Danielson Framework and how it can be successfully applied to the music classroom.

OCTOBER 2016

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Rollo Dilworth, Chorus New Jersey All-State Chorus and Orchestra The Eighty-Fifth Annual Program THE NATIONAL ANTHEM Chorus, Orchestra and Audience Conducted by William McDevitt, President New Jersey Music Educators Association

Gregory Pritchard, Orchestra Conductor Force of Destiny Overture................................. Giuseppi Verdi “Finale” from Symphony No. 1......................... Gustav Mahler Orchestra PRESENTATION OF PINS TO THE CHORUS AND ORCHESTRA Wendell Steinhauer, President New Jersey Education Association Rollo Dilworth, Chorus Conductor We Dance....................................................Dominck D’Orio

Rollo Dilworth is Professor of Choral Music Education and Chair of the Department of Music Education and Therapy at Temple University’s Boyer College of Music and Dance in Philadelphia, PA. He has served on the faculty since 2009. Prior to his position with Boyer College, he taught music education and was the director of choral activities for 13 years at North Park University in Chicago, where he prepared and conducted numerous extended and choral-orchestral works. Before teaching at the college level, Dilworth also taught choral and general music at the middle school level in his hometown of St. Louis, MO. Throughout his career, he has written or arranged African American spirituals, gospel songs, Broadway selections, art songs, vocal exercises, and a musical—all of which are frequently performed by school, church, community, university and professional choirs in the United States and abroad. The majority of Dilworth’s choral scores are works commissioned by community and professional ensembles. In 2009, the St. Louis Symphony Orchestra and IN UNISON® Chorus commissioned and premiered his choral-orchestral work entitled Freedom’s Plow, which is based on the text of a Langston Hughes poem bearing the same title. In 2011, the Mendelssohn Club of Philadelphia commissioned a three-movement choral-orchestral work entitled Rain Sequence, featuring the writings of Langston Hughes and Paul Laurence Dunbar. Dilworth is currently National Board Chair for Chorus America. He is an active life member of the American Choral Directors Association (ACDA). He also holds memberships with several other organizations, including: the National Association for Music Education (NAfME); the National Association of Negro Musicians (NANM); and the American Society of Composers, Authors, and Publishers (ASCAP).

Let Their Celestial Concerts Unite ...................... G.F. Handel Lamentations of Jeremiah..........................Z. Randall Stroope Autumn........................................................... Kevin Memley Molihua (Chinese Folk Song).......................arr. Reed Criddle Zum Gali................................................... Maurice Goldman How to Sing Like a Planet....................... Elizabeth Alexander Chorus Freedom’s Plow............................................................Rollo Dilworth Combined Orchestra & Chorus

Friday, November 11, 2016 at 8:30 p.m. Atlantic City Convention Center: Hall A Atlantic City and Sunday, November 20, 2016 at 3:00 p.m. NJ-PAC Prudential Hall Newark, NJ

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Gregory Pritchard, Orchestra Gregory Pritchard currently serves as the Music Director of the Gwinnett Symphony Chamber Orchestra and Principal Guest Conductor of the Gwinnett Symphony Orchestra in Georgia. Prior to his current post, he served as the Music Director of the Gainesville Symphony Orchestra (GA) from 2005 to 2010. With a Doctor of Musical Arts Degree in Orchestral Conducting from Michigan State University Pritchard was a student of Leon Gregorian, Catherine Comet, and Elizabeth Green. He has had additional training with Gustav Meier, David Lobel, Neeme Jarvi, and Adrian Gnam as an active participant in American Symphony Orchestra League and Conductors Guild and other conducting workshops. He credits his musical sensitivity to his training in the Musin tradition with Leonid Korchmar and Peter Gribanov in St. Petersburg, Russia. Pritchard’s technical brilliance and natural rapport with audience and orchestra alike have afforded him many opportunities over the last twenty years. Pritchard has also amassed an impressive array of awards and accolades. He has been a featured performer at the Georgia Music Educators InService Conference with three different orchestras. He has also been an adjudicator for GMEA, Music in the Parks and Festivals of Music for over eighteen years. In addition to conducting the All-State Orchestra in New Jersey this year, he has previously led the Louisiana High School All-State Orchestra twice, as well as several district honor orchestras.

OCTOBER 2016

The New Jersey Music Educators Association proudly presents The 2016 New Jersey All-State Jazz Ensemble and Honors Jazz Choir Randy White, Jazz Choir Conducttor Program to be selected from: Pure Imagination........................Bricusse & Newley/arr. Matsuoka Suny............................................................ Bobby Hebb/arr. Weir When I Fall in Love........................ Heyman & Young/arr. Azelton Doodlin’............... Horace Silver & Jon Hendricks/arr. Dave Cross It’s Sandman....................William “Count” Basie/arr. Roger Treece Mark Taylor, Honors Jazz Ensemble Conductor Program to be selected from: iBop a lot................................................................... Mark Taylor Samba Ti Kaye........................................................... Mark Taylor Ah, That’s Freedom.............................Hank Jones/arr. Thad Jones Stevie R................................................................ Mats Holmquist Love Matters the Most............................................... Mark Taylor Easy Money...............................................................Benny Carter Blue Monk......................................... Thelonius Monk/arr. Taylor According to Gordon............................................John La Barbera Bone Talk................................................................... Mark Taylor

Finale NJ Honors Jazz Choir & All-State Jazz Ensemble I Can’t Believe That You’re in Love with Me................................. Jimmy McHugh & Clarence Gaskill/arr. Meader Thursday, November 10 , 2016 Claridge Hotel Theater 7:30 p.m. and Friday, November 18, 2016 NJ-PAC Chase Room 7:00 p.m.

OCTOBER 2016

Randy White, Jazz Choir Director A native of Colorado, Randy received his Masters of Music in Vocal Performance and Bachelor of Music Education degrees from the University of Northern Colorado. While there, Randy sang and directed in the Grammy Award winning Vocal Jazz Program, opening for artists such as Take 6 and Kurt Elling. Equally at home with classical voice, Randy performed in two International tours with Opera Classica Europa, based in Bad Schwalbach, Germany. After moving to NJ, Randy was honored to become a Metropolitan Opera Guild Teaching Artist and scholarship recipient for research and work performed in NYC Urban schools. Randy spent 5 years building a 400+ student choral program and annual Musical Theatre production at John Witherspoon Middle School in Princeton, NJ. He is currently the Director of Choirs at Hopewell Valley Central High School in Pennington, NJ. In his first year at Hopewell, Randy created the group “Vox Central Jazz” which placed Top 3 at both the Berklee College of Music High School Jazz Festival in Boston, and the Roxbury Invitational in NJ. He is also the Region II President of NJAJE and directed the 2014, 2015, and 2016 NJAJE Region II Honors Jazz Choirs. Randy is the Founder & Director of the American Atlantic Chorale, a contemporary vocal ensemble comprised of NJ & PA students ages 15-20. The Chorale has recently toured and performed in Italy, Greece, France, and Switzerland; including performances at the Umbria, Tuscia in Jazz, La Spezia, Portovenere, Genova-Sestri, and Montreux Jazz Festivals.

Mark Taylor, Jazz Ensemble Director In 2001, Mark retired as Chief Arranger for The United States Army Band (“Pershing’s Own), where he was on staff for 24 years. During that time, he composed extensively for the Army Blues, writing all of the material for their album A New Beginning and much of the material for Scream Machine. His arrangements and compositions have been performed by the US Army Blues throughout the world including concerts at the prestigious Montreux Jazz Festival in Montreux, Switzerland. Prior to joining the Army, Mark was fortunate to write for Stan Kenton, who recorded many of his compositions and also gave him his start in music publishing. He has a large publishing portfolio and has influenced thousands of student musicians, many of whom were first exposed to big band jazz through his music. Mark is a highly regarded clinician presenting many workshops on arranging for Jazz Band and has served as conductor for many All-State Jazz Bands. He is a graduate of the University of North Texas with a Bachelors and Master’s degrees in Music. Mark is director of the Taylor/Fidyk Big Band and is currently a staff arranger for the Hal Leonard Corporation. 65 TEMPO

WE’RE LOOKING FOR A DIFFERENT KIND OF STUDENT. Real-World Training for Life Beyond the Practice Room.

DEGREES OFFERED:

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The University of Maryland School of Music prepares young musicians for the dynamic professional world by emphasizing the importance of the combined scholar, performer, educator and arts advocate in the 21st century. Located in the culturally vibrant Baltimore-Washington corridor, the UMD School of Music provides unsurpassed educational and professional opportunities for students. musicadmissions@umd.edu

AP P LY BY NO VEMBER 1

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OCTOBER 2016

2016– 2017 Calendar

Please See Calendar Updates at NJMEA.Org Upcoming Events/More Events TEMPO will print the NJMEA Calendar for the months up to the next publication issue. Please check the website “Events” for the most up-to-date information. DATE

EVENT

TIME

SEPTEMBER 09/09/16 09/11/16 09/11/16 09/12/16 09/13/16 09/17/16

NJMAA Executive Board Meeting All-State Orchestra Full Rehearsal All-State Orchestra String Seating Auditions NJSMA Executive Board Meeting NJMEA Executive Board Meeting All-State Mixed Chorus Rehearsal

9:00-11:00 AM 1:00-5:30 PM 10:00-12:00 PM 5:30-9:00 PM 5:00 PM 8:30-12:00 PM

09/17/16 09/19/16 09/25/16 09/25/16 09/27/16

All-State Treble Chorus Rehearsal SJCDA General Membership Meeting All-State Orchestra Full Rehearsal All-State Orchestra Sectionals (everyone) All-State Jazz Ensemble & Honors Jazz Choir Rehearsal

8:30-12:00 PM 7:00-9:00 PM 1:00-5:30 PM 10:00-12:00 PM 4:00-8:00 PM

OCTOBER 10/01/16 10/01/16 10/03/16 10/03/16 10/03/16 10/05/16 10/05/16 10/07/16 10/10/16 10/11/16 10/11/16 10/12/16 10/15/16 10/15/16 10/16/16 10/25/16 10/28/16 10/29/16 10/29/16

All-State Mixed Chorus Rehearsal All-State Treble Chorus Rehearsal NJSMA Executive Board Meeting Rosh Hashanah SJCDA Board of Directors Meeting NJRMEA Executive Board Meeting SJBODA Fall Membership Meeting NJMAA General Membership Meeting NJAJE Board of Directors Meeting NJMEA Executive Board Meeting NJMEA Full Board Meeting Yom Kippur Eastern Division Meeting NJMEA Marching Band Festival Eastern Division Meeting All-State Jazz Ensemble & Honors Jazz Choir Rehearsal All-State Opera Festival Auditions All-State Mixed Chorus Rehearsal All-State Treble Chorus Rehearsal

8:30-12:00 PM 8:30-12:00 PM 5:30-9:00 PM 7:00-9:00 PM 10:15 AM 9:00-11:00 AM 9:00-11:00 AM 5:00-9:00 PM 6:30 PM 5:00-6:30 PM

5:30 PM 4:00-8:00 PM 4:30-7:00 PM 8:30-12:00 PM 8:30-12:00 PM

DATE

EVENT

11/10/16 All-State Chorus Procedures Open Meeting 11/10/16 All-State Jazz Band & Honors Jazz Choir Concert 11/10/16 NJEA Convention 11/11/16 All-State Orchestra and Mixed Chorus Concert 11/11/16 NJEA Convention 11/14/16 SJCDA Board of Directors Meeting 11/18/16 All-State Jazz Band & Honors Choir Concert 11/18/16 NJAJE Jazz Conference 11/19/16 All-State Opera Festival Concert 11/19/16 SJCDA Jr/Sr High Chorus Auditions 11/20/16 All-State Orchestra & Mixed Chorus Concert 11/20/16 All-State Orchestra & Mixed Chorus Rehearsal 11/24/16 Thanksgiving

TIME 12:00-2:00 PM 7:30 8:30 AM 7:00-9:00 PM 7:00 PM 9:00-2:00 PM 9:00-3:00 PM 8:00-6:00 PM 3:00 PM 10:00 AM

DECEMBER 12/02/16 NJMAA General Membership Meeting 9:00-11:00 AM 12/03/16 SJCDA Board of Directors Meeting 2:00-3:00 PM 12/03/16 SJCDA Jr/Sr High Chorus Rehearsal 1:30-5:30 PM 12/05/16 NJSMA Executive Board Meeting 5:30-9:00 PM 12/06/16 NJMEA Executive Board Meeting 5:00 PM 12/06/16 NJSMA HS Choral Festival 12/07/16 NJSMA HS Choral Festival 12/08/16 NJSMA HS Choral Festival 12/10/16 CJMEA HS Band/Choir/Orch/Perc Ens. Auditions 8:00-5:00 PM 12/10/16 SJBODA Wind/String/Percussion Auditions 9:00-1:00 PM 12/10/16 SJCDA Jr/Sr High Chorus Rehearsal (Snow Date) 9:00-1:00 PM 12/17/16 CJMEA HS Band Reading Rehearsal 9:00-4:00 PM 12/17/16 CJMEA HS Band/Choir/Orch/PercEns. Aud. (Snow Date) 8:00-5:00 PM 12/17/16 CJMEA HS Orchestra Reading Rehearsal 9:00-4:00 PM 12/17/16 CJMEA HS Percussion Ensemble Reading Rehearsal 9:00-1:30 PM 12/17/16 SJBODA First Rehearsal 9:00-3:00 PM 12/17/16 SJBODA Wind/String/Percussion Auditions (Snow Date) 9:00-1:00 PM 12/24/16 Hannukah Begins at Sunset 12/25/16 Christmas

NOVEMBER 11/04/16 11/07/16 11/08/16 11/08/16 11/09/16 11/09/16 11/09/16 11/09/16 11/10/16

NJMAA Executive Board Meeting NJSMA Executive Board Meeting All-State Jazz Band & Honors Jazz Choir Rehearsal All-State Jazz Ensemble & Honors Jazz Choir Rehearsal NJMEA Executive Board Meeting All-State Jazz Band & Honors Jazz Choir Rehearsal All-State Jazz Ensemble & Honors Jazz Choir Rehearsal All-State Mixed Chorus Arrives in Atlantic City All-State Band Procedures Committee Meeting

OCTOBER 2016

9:00-11:00 AM 5:30-9:00 PM 5:00-10:00 PM 5:00-10:00 PM 8:30 AM

5:00 PM 9:00-11:00 AM

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OCTOBER 2016

2016 Governor’s Awards Joseph Jacobs NJMEA Past-President Ventnor Middle School jjacobs@veccnj.org

he 2016 Governor’s Awards Ceremony was a day of celebration and recognition of the artistic talent, dedication, and commitment of New Jersey’s students, teachers, and leaders. This event took place on May 26th at the Patriot’s Theatre in the Trenton War Memorial Building. There were amazing student performances that showcased the beauty of the arts and inspiring speeches that recognized the value and importance of the arts. The Governor’s Awards began in 1980 and is a collaboration of the New Jersey Arts Education Partnership, the Department of Education, Art Pride New Jersey, the Department of State and the New Jersey State Council on the Arts. NJMEA submitted 11 nominations for the prestigious Governor’s Award in Arts Education. Congratulations to our colleagues and our students on their success and achievement in music and music education. Lisa Lepore - Crossroads Middle School, Monmouth Junction – Master Music Teacher Amy Burns – Far Hills Country Day School, Far Hills – Master Music Teacher Samuel Wang – Bishop Eustace Preparatory School, Pennsauken – All-State Orchestra Samantha Chen – Academy for Math, Science and Engineering, Rockaway – All-State Orchestra Morgan Mastrangelo – Ridgewood High School, Ridgewood – All-State Opera and Chorus Shobhana Sridhar – John P. Stevens High School, Edison – All-State Chorus Dylan Randazzo – Cranford High School, Cranford – All-State Chorus Logan Geddes – Montgomery High School – Skillman – All-State Chorus Katarina Wang – East Brunswick High School, East Brunswick – All-State Band Timothy Ruszala – West Essex High School, North Caldwell – All-State Band Wonchul (Patrick) Do – Cresskill High School, Cresskill – All-State Jazz

OCTOBER 2016

Picture #1 left to right – Elizabeth Mattson, Chair of the NJ State Council on the Arts; Lisa Lepore, NJMEA Master Music Teacher; Mark Biedron, President of the NJ State Board of Education

Picture #2 left to right - Elizabeth Mattson, Chair of the NJ State Council on the Arts; Amy Burns, NJMEA Master Music Teacher; Mark Biedron, President of the NJ State Board of Education

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2017 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 13, 2017 Rehearsals: March 20, March 27 (4 - 8 PM) March 31 & April 1 (9 AM - 3 PM) Concert: April 2 (3 PM) ***Audition Requirements for ALL INSTRUMENTS***

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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 *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 *Scales [ALL SCALES MEMORIZED]: Blues & Dorian mode C, D, & G - 1 octave. Trombone: *Required solo: NJAJE Junior Trombone Etude No. 3A *Scales [ALL SCALES MEMORIZED]: Blues & Dorian mode C, F, & Bb - 1 octave. Piano: *Required solo: NJAJE Junior Piano Etude No. 3A *Scales [ALL SCALES MEMORIZED and 2 HANDS]: Blues & Dorian mode C, F, & Bb - 2 octaves. Guitar: *Required solo: NJAJE Junior Guitar Etude No. 3A *Scales [ALL SCALES MEMORIZED]: Blues & Dorian mode C, F, & Bb - 2 octaves. Bass: *Required solo: NJAJE Junior Bass Etude No. 3A *Scales [ALL SCALES MEMORIZED]: Blues & Dorian mode C, F, & Bb - 2 octaves. Drums: *Required solo: NJAJE Junior Drum Etude No. 3A *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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OCTOBER 2016

2017 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 13, 2017 Rehearsals: March 20, 27 (4 - 8 PM); March 31 & April 1 (9 AM - 3 PM) Concert: April 2 (3 PM) ***Audition Requirements for ALL INSTRUMENTS***

•

SOLO - All students are required to prepare the solo listed below in its entirety. All Solo etudes may be downloaded from the NJAJE Website: www.njaje.org

•

SCALES / STYLES - Saxes, brass, piano, guitar, and bass students are required to prepare the scales listed below. Scales are listed in WRITTEN pitch. All scales should be played in a swing style. Drummers are required to demonstrate the ability to keep time in the styles listed below. Scale sheets for all instruments may be downloaded from the NJAJE Website: www.njaje.org

•

IMPROVISATION - All students are required to play an improvised solo demonstrating creativity, technique, & musicality. *Saxes, brass, piano, guitar, and bass students must improvise a solo over 2 choruses of Blues in F or Bb concert using the Jamey Aebersold "New Approach to Jazz Improvisation, vol. 1." *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 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 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 * 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 * 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 * 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 * Scales [ALL SCALES MEMORIZED]: C, F, Bb, and Eb Blues, Dorian, & Mixolydian modes - 2 octaves. Bass: * Required solo: NJAJE Senior Bass Etude No. 3A * Scales [ALL SCALES MEMORIZED]: C, F, Bb, and Eb Blues, Dorian, & Mixolydian modes - 2 octaves. Drums: * Required solo: NJAJE Senior Drum Etude No. 3A * 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.

OCTOBER 2016

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2016 NJMEA Honors Guitar Ensemble Thomas Amoriello Fleminton Raritan School District tamoriel@frsd.k12.nj.us

On April 16, 2016 the first NJMEA Honors Guitar Ensemble performed works by Gaspar Sanz, Celso Machado, and JeanMarie Raymond and were conducted by Michael Lemma. The Festival was hosted by The College of New Jersey. Here are some images from that day. Congrats once again to: Sydney Atkinson (Hunterdon Central Regional High School); Matthew

Brill (Madison High School); Thomas Delaney (Bayonne High School); John Fahmy (Bayonne High School); Aidan George (JP Stevens High School); Arjun Gupta (Millburn High School); Chirag Gurukiran (JP Stevens High School); Tatiana Maxwell (Creative Arts Morgan Village Academy); Valeria Nava (Thomas Jefferson Arts Academy); Dhruvil Patel (JP Stevens

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High School); Ebony Payne (Benedictine Academy); Miccah Pobre (Edison High School); Andres Ramirez (Bayonne High School); Elise Smith (Wall High School); Kevin Smyth (Washington Township High School); and Louis Testa (Washington Township High School).

OCTOBER 2016

2016-17 NJMEA Young Composers Competition Information & Registration

he New Jersey Music Educators Association is proud to announce the 2016-17 Young Composers Competition. The competition will include two divisions, one for middle school students in grades 6 – 8, and one for high school students in grades 9 – 12 (graduating June 2017). Finalist composers will be invited to attend a critique session to be held in conjunction with the NJMEA/NAfME Eastern Division Conference at the Convention Center in Atlantic City from April 5-7, 2017. The composition recordings will be played and the finalists will participate in the critique session. In addition, the winning composer(s) will be announced at that time and awards will be presented. All other participating student composers are welcome to attend. The exact date, time and location will be announced in March 2017. The deadline for online application submissions is January 13, 2017. Endorsement page and application fees must be postmarked by January 13, 2017. Questions about the competition may be directed to Robert Frampton at: rtframpton@comcast.net Categories For Submission Composers may submit works in the following categories. All works must be 100% original. No arrangements or transcriptions will be accepted. Compositions may include combinations of instrumental and vocal parts: • Solo Player (including piano) • Small Instrumental/Vocal Ensemble (2 – 10 parts/performers) • Large Instrumental/Vocal Ensemble (11 or more parts/performers) Competition Guidelines 1. Applicants must be New Jersey residents and must be sponsored by a current NJMEA/NAfME member. OCTOBER 2016

Andrew Lesser Burlington City Public Schools NJ-YCC Executive Committee andrew.lesser@yahoo.com 2. Students may submit multiple selections in each category. However, a $20 application fee is required with each selection. Each entry must have a separate completed application form and entry fee in order to be considered for eligibility. 3. All compositions must have a title or opus number, and all names must be omitted from the score, program note and audio file so that submissions may be judged anonymously. 4. Students must include a brief program note that includes the composition title with composer name omitted, describing the composer’s intention of the work. 5. All scores must be submitted as PDF’s using a standard notation program, such as Sibelius or Finale. No handwritten scores will be considered for entry. 6. All measures must be numbered in the score. 7. Students must submit an audio recording of their composition in MP3 format, a PDF (digital copy) of their score and PDF of composition description/program note. Submissions without recordings or PDF score will not be considered for entry. 8. While the applicant will retain ownership of their submission, all submissions will be kept by the NJMEA. No materials will be returned to students. NJMEA reserves the right to use student submissions for publicity and/or display. Finalist compositions will be posted on the NJMEA website. 9. Submissions must be no longer than 7 minutes in length and within the difficulty range of Grades 2-4. Evaluation Criteria Evaluation of all submissions will be received by NJMEA approved Competition Judges. This panel will judge all works according to the following guidelines:

• Originality: Demonstrating a personal/ unique style showing individual creativity. • Compositional Technique: Must have identifiable form, structure, and development. Correct usage of musical notation and score markings. • Accessibility: Must be playable by student ensembles on limited rehearsals. • Compositional Maturity: Knowledge of medium, effective use of instruments/ voices, and look of professionalism in score and recording. • Overall Appeal: Must be innovative, imaginative, and enjoyable. Suggestions For Students And Teachers • Remember that the submission must be able to be played by a student ensemble on limited rehearsal time. Make sure to adhere to the grade level and length specifications listed in the guidelines. • Parts must adhere to the generally accepted instrument and voice part ranges for grade 2 to 4 music. • Remember, neatness counts! An excellent piece will lose credibility if the score is sloppy or shows careless errors. • Consider all aspects of a good piece when writing: dynamics, articulation, variety of melodic and harmonic ideas, orchestration and timbre, etc. • Above all, this piece should be personal and meaningful to you. You must consider your creative ideas above anything else combined with your musical knowledge. More information at: http://njmea.org/young-composerscompetition/

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2017 NJMEA Honors Guitar Ensemble Audition Application Form The NJMEA Honors Guitar Ensemble Audition will take place in person on Saturday, February 11th from 9:00 - 1:00 pm at The College of New Jersey in Ewing, NJ (Music Building). Those accepted as Honors Guitar Ensemble members (see dates on website: www.njmea.org) must attend all rehearsals and prepare music with conductor Lren C. Fortna for the Saturday, May 6th festival date at TCNJ at 12:00 pm. Concert dress is semi-formal. The non-refundable Audition Fee is $10.00 per student. All applicationts send check payable to the NJMEA and enclose a copy of your school music teachers current NAfME membership card postmarked by Wednesday, January 15, 2017 to Tom Amoriello, Guitar Festival Director, PO Box 651, Lambertville, NJ 08530. Each participating student must fill out an application and if accepted will pay $50 acceptance fee. Be sure to bring your music and footstool! Please Print Legibly Using Ball Point Pen Only

Student Name: ________________________________________ ___________________________________________ _________ First

Last Grade

Address: __________________________________________ __________________________________ ________ ______________

Street

City

State Zip

Teacher Name: ____________________________________________ _________________________________________________ First Last

School Address: ___________________________________________ ___________________________________ ________ _____

Street

City

State Zip

Director Phone: (H) (________)________________ (W) (________)________________ (C) (________)_____________________ Director Email: _____________________________________________________________________________________________ Checklist: 1) Postmark deadline for all materials is Wednesday, January 15, 2017. 2) Mail applications, check and copy of NAfME card to:

2017 NJMEA Honors Guitar Ensemble Audition Thomas Amoriello PO Box 651 Lambertville, NJ 08530 More info, e-mail only - tamoriel@frsd.k12.nj.us. Phone for emergencies on February 11th only: 908-342-7795. * All students must perform on a nylon string classical guitar (no steel string acoustic or electric guitars)

Audition Requirements for students in grades 9-12: II of Two Lullabies by Kevin J. Cope which can be found in this issue and at http://www.njmea.org/classroom.cfm?subpage=479 (Ensemble Excerpt found on NJMEA.org Website (Guitars in Classroom portal) Scale Requirement: E Melodic Minor edited by Matthew S. Ablan can be found in this issue and at Ensemble Excerpt: http://www.njmea.org/ classroom.cfm?subpage=479 (Ensemble Excerpt found on NJMEA.org Website (Guitars in Classroom portal)Ensemble Excerpt: http://njmea.mea. nafme.org/wp-content/uploads/sites/3/2015/08/EnsembleExcerpt.pdf Students will be judged on a point system for correct notes and rhythms, tone quality, musicality: dynamics, phrasing, interpretation and overall quality of preparation for prepared piece, ensemble excerpt, scale and sight reading. CONTRACT ENDORSEMENTS: I am aware that I must attend the entire Festival, Saturday, May 6, 2017. STUDENT SIGNATURE: _______________________________________________________ DATE: __________________________________ As parent/guardian, I give permission for my child to apply to the 2017 NJMEA Honors Guitar Festival. I understand that the NJMEA does not assume responsibility for illness or accident. I further attest that I will assist my child with obligations related to this activity. I am aware that any photos of me that are taken at the festival may appear in TEMPO Magazine or on the website. PARENT SIGNATURE: _________________________________________________________ DATE: _________________________________

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OCTOBER 2016

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OCTOBER 2016

75 TEMPO

NJMEA Honors Guitar Ensemble Audition E Melodic Minor Scale Edited by Matthew S. Ablan

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2017 NJMEA Honors Guitar Ensemble Auditions: February 11, 2017 at The College of New Jersey (Music Dept.), 2000 Pennington Rd., Ewing, NJ 08628 Ewing, NJ 9:00-1:00 pm (snow date Sunday, Feb. 12th @ Bergen Academy 12:00-3:00 pm) Audition Requirements for students in grades 9-12 Set Piece: II of Two Lullabies by Kevin J. Cope Scale Requirement: E Melodic Minor Ensemble Excerpt: May be downloaded from: http://njmea.org/classroom/guitar-in-the-music-classroom/ Sight Reading at the audition. Students will be judged on a point system for correct notes and rhythms, tone quality, musicality: dynamics, phrasing, interpretation and overall quality of preparation for prepared piece, ensemble excerpt, scale and sight reading. Rehearsal 1: April 1, 2017 from 9:00-12:00 pm at Location TBA ( snow date, Location TBA, April 2nd from 4:00 -7:00 pm) Rehearsal 2: April 29, 2017 from 9:00-12:00 pm at Location TBA. Rehearsal 3: May 6, 2017 at The College of New Jersey (Music Dept.), 2000 Pennington Rd., Ewing, NJ 08628 Ewing, NJ 11:00-11:45 am. Performance May 6, 2017 @ TCNJ (no snow date) Ensemble Performance 12:00 pm Student Showcase 12:30 pm Guest Artist 1:00 pm Audition Fee for NJMEA : $10(non refundable) Participation Fee (if selected): $50.00 Personnel: Loren C. Fortna, conductor NJMEA Guitar Festival Directors: Thomas Amoriello & Keith Calmes Thank you to Kevin J. Cope for providing the set piece for the audition.

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OCTOBER 2016

2016 NJMEA ALL-STATE OPERA FESTIVAL

Michael Kallimanis, Festival/Audition Chair Solo/Ensemble Auditions: (no costumes) Fri., Oct. 28, 2016, 4:30 PM Festival/Concert Date: Sat., Nov. 19, 2016, 9:00 AM, Concert at 3:00 PM Audition and Festival Site: Paramus High School, 99 East Century Road, Paramus, NJ 07652

The NJMEA Opera Festival provides a unique opportunity for the most talented students in your chorus to perform opera literature, receive a critique, and attend a clinic and workshop. An aria from any opera is acceptable. To be considered for performance on the Festival day, soloists and ensembles must audition on the separate audition day. The term “ensemble” is used to designate any group other than a solo, e.g., duet, trio, and so on. A student may attend only the clinic and workshop on the day of the Festival and not perform a solo or in an ensemble selection, and therefore does not have to audition. We do require all students to sing in the chorus performances on the Festival day. The audition also serves as a competition for the designation of the highest scoring male and female soloists; highest scoring small and large ensembles; and also to vie for the C. Scripps Beebee Scholarship of $500 and The Governor’s Award in Arts Education for Opera. The chorus will sing three selections, the titles of which will be sent out via e-mail to sponsoring directors upon receipt of applications. Judging results (scores and written comments) and those accepted to perform on the Festival day will also be e-mailed to directors. Teachers, please prepare your students for the chorus numbers as time is limited on the Festival day. Concert dress is semi-formal or in character costume, your choice. Audition/Participation Fee is $20.00 per student. Each participating student must fill out an application. Any voicing and any number of students may register. Directors, send all applications with ONE check payable to the NJMEA and enclose a copy of your current NAfME membership card postmarked by Saturday, October 15, 2016 to Michael Kallimanis, All-State Opera Festival Chair, Box 92 Waldwick, NJ 07463. After Oct. 15, applications will not be accepted. Sponsoring directors need not attend the audition but must be present from 10:30 AM until the end of the concert on the Festival day to assist with events. More info, e-mail only - MrKOrchAuditions@aol.com. Phone for emergencies on 10/28 or 11/19 only: 201-370-0423. STUDENT INFORMATION: (Please print neatly, use ball-point pen only). FIRST NAME ________________________________________

LAST NAME _________________________________________

ADDRESS___________________________________________

TOWN/(STATE)/ZIP___________________________________

HOME PHONE ______________________________________

E-MAIL _____________________________________________

GRADE (Circle one)

CHORUS VOICE PART _________________________________________________

Check all that apply: Solo (audition required) ____________ Ensemble (audition required) ____________ Chorus______________ Write the aria/ensemble selection title, opera name, composer and your accompanist’s name on the back of this application. A professional accompanist is available for $25.00 cash for each day of service, to be given directly to the accompanist. (DO NOT MAIL THIS FEE with your application - bring it with you in a sealed, labeled envelope with your name.) Check here if you will need a professional accompanist: ___________________ BE SURE TO BRING YOUR MUSIC! CHORAL DIRECTOR INFORMATION: FIRST ________________________________ LAST ____________________________________ NAfME # ________________________ SCHOOL______________________________________________________ E-MAIL__________________________________________ ADDRESS___________________________________________TOWN_________________________________ ZIP__________________ SCHOOL PHONE _______________________ HOME PHONE_________________________ CELL PHONE _____________________ CONTRACT ENDORSEMENTS: I certify that I will accept the decision of the judges as binding and if selected, will memorize my music, (chorus music need not be memorized) and dress appropriately. I am aware that I must attend the entire Festival, Saturday, November 19, 2016. STUDENT SIGNATURE: ______________________________________________ DATE: ____________________________________ As parent/guardian, I give permission for my child to apply to the 2016 NJMEA Opera Festival. I understand that the NJMEA does not assume responsibility for illness or accident. I further attest that I will assist my child with obligations related to this activity. Further, I grant to the NJMEA the right to take photographs of my child in connection with the 2016 NJMEA All-State Opera Festival as well as solo and ensemble audio/video recordings. I authorize the NJMEA, its assigns and transferees, to copyright, use and publish the same in print and/or electronically. I agree that the NJMEA may use such photographs of my child and the ensemble recordings with or without name and for any lawful purpose, including for example such purposes as publicity, illustration, advertising, and Web content, without compensation. PARENT SIGNATURE: ________________________________________________ DATE: _____________________________________ We endorse this applicant as an outstanding member of our school choral program. The director will attend the entire Festival day or provide an approved substitute who is also a current NAfME member. SCHOOL DIRECTOR: ________________________________________________ DATE: ____________________________________ PRINCIPAL’S SIGNATURE: ____________________________________________ DATE: ____________________________________

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CJMEA

Central Jersey Music Educators Association cjmea.org

elcome back to what I hope will be a rewarding school year filled with musical growth in your students. This should be an exciting year for CJMEA as we look forward to continuing our fantastic region ensembles, festivals, and honor ensembles. We are also excited to be adding some new opportunities this year to include the first ever middle school honors band and middle school honors orchestra. More information about how your students can become involved will be available on our website soon. I am also happy to announce that beginning this year, CJMEA will be awarding grants for music-specific professional development to take place in your school district. This is a wonderful opportunity for your district to provide you and your music colleagues PD that is focused on topics that will directly impact your music instruction. We encourage you to work with your administration in filling out an application, which can be found on our website, www.cjmea.org I’d like to give thanks to Brian Toth and Kawika Kahalehoe, who have

dedicated themselves for years to the CJMEA executive board as the high school band chair and high school orchestra chair, respectively. Both Brian and Kawika stepped down from their board positions at the end of last year and they will be missed. We welcome to the board Chris Vitale from Westfield High School and Arvin Gopal from East Brunswick High School. Chris will be taking over for Brian as the high school band division chair and Arvin will be taking over for Kawika as the high school orchestra division chair. All of the divisions are currently solidifying contracts with the conductors for this year’s region and honors ensembles. Once that is confirmed, we will let everyone know who they are. I am excited at the lineup of fantastic educators and musicians our division chairs are lining up to work with your students. Please make sure you check the website in the fall for all region audition materials and information. The intermediate instrumental audition materials are posted and the rest will be up as soon as possible. As always, if you have any questions, please feel free to reach out to me at awarshafsky@cjmea.org. Have a great year! Adam Warshafsky, CJMEA President awarshafsky@mtsd.us

NJSMA

North Jersey School Music Association njsma.com

hope this correspondence finds all of the music teachers in North Jersey rested, well and ready to take on another exciting year of music education. The Region I executive board is looking forward to this year with great anticipation as we continue to serve all of your music programs with the finest music experiences for

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both you and your students. This year we welcome back Bonnie Hendricks as our wonderful treasurer, and we also welcome back Michael Saias who once again will be our corresponding secretary and publicity chairman. You should be receiving a postcard from him reminding you of our exciting opportunities for your students in Region I. . I am writing this as I am touring 13 states in an RV with my 4 boys, wife and a dog. From St Louis, to New Orleans to Nashville I have been witness to a thriving musical community, and I am reminded of how important what we do really is. I know that I always look forward to starting a new school year, but this year I am bringing an entire new energy to the classroom. I encourage all of you to get out there and find what inspires you, and bring it back to your classroom. That really is our mission here at NJSMA. We want to inspire you with professional development and challenge your students with the best honors ensembles and festivals possible. We do all of this partnered with you, so we all can inspire each other to produce the next generation of Music hopefuls and keep out craft and art form moving forward. Please take a look at this years NJSMA calendar. It is available at www. NJSMA.com. As has become our tradition, the calendar is full of exciting events for all levels of music education from Elementary all the way through High School. The cornerstones of the year are our honor ensemble auditions, taking place on January 7, 2016 for high school and February 4, 2016 for junior high. For most of us the reason we decided to become music educators was because of outstanding honor ensemble experiences like those we offer in our region, so I encourage everyone to sponsor students so we can pass along the same gifts we were given early in our musical careers. We also welcome and encourage your involvement in NJSMA. The Executive Board cannot do it without your help, expertise and talent. We welOCTOBER 2016

come your thoughts and ideas on how to improve what we do. I encourage you to reach out to your division chairs if you have any questions or concerns. I of course am always here to listen to suggestions or to clarify any question you may have. This is the backbone of how our organization operates. We really work so well because of the efforts of all the volunteers who help out with sites for concerts, rehearsals, organizing music, selling tickets and the list goes on and on. I personally invite you to be a part of the process. Think you can help manage, conduct, help with a site or anything at all? Please reach out to me or your division chairs. We will be more than happy to get you on board. Lastly, please help us increase our membership by reaching out to any colleagues you may know who are not currently members of NAfME. A large and active membership ensures years of continued success in the future. Please visit our website (www. NJSMA.com) for updated information, application, forms, audition requirements and anything else concerning our Region. We also have a Facebook page. Please search for North Jersey School Music Association. Do not put in the initials, as it leads you to a different site. This year we will be using the remind app as well to get information out to you and your students. We will have more information for you on that as the year launches. As always, please contact me or any of the region board members if we can assist you in any way. Best wishes to you all for a successful school year! Russ Batsch, President www.NJSMA.com Band Division Co-Chairs Lewis Kelly & Gregory Mulford band@njsma.com We hope your first days back to school have been rewarding and successful and that you feel renewed for the upcoming year! OCTOBER 2016

NJSMA is pleased to announce the conductors for its 2017 honor bands. Andrew Yozviak is, Director of Bands at West Chester University, will conduct the Wind Ensemble, and Dawn Russo, Director of Bands at Randolph High School, will conduct the Symphonic Band. Russell Branch, Band Director at Mendam Township Middle School, will conduct the Intermediate Band. The high school concert will be hosted at Pasipanny Hills High School on Sunday, January 29, 2017 at 3:00 PM. The junior high school concert will be held on Sunday, March 5, 2017, at 3:00 PM at a site to be determined. If you are willing to host this year or in the future please contact Lewis or Greg at band@njsma.com. As in the past, students choose which ensembles they are selected to on the check boxes on the application. By signing the application the student elects to participate in the ensemble(s) selected and they should reserve the dates on their calendars. Once a student is placed in that ensemble there should be no reason for a student to drop out. Once the ensembles are selected, the day of auditions, and a students declines participation that student will not be eligible to audition for All-State and/ or for an NJSMA ensemble the following year. Students may change their ensemble selection prior to their audition through the audition chair. Once a student leaves the audition site the day of auditions there is no chance to change their ensemble selections. Directors are asked to help in stressing to students the importance of accepting commitments that they elect to participate within. The high school band festival will be held on March 21, 22 and 23, 2017. There will again be day and evening times for participation. Please check the website for details and performance application. The junior high school band festival will take place in April, specific date TBD at two different locations.

The junior high school scale and solo requirements have been updated from past years. Please download a new copy from the website for your records. There are separate solos and requirements for grades seven/eight and nine. The junior high school percussion requirements will continue to combine the snare and traps requirements to create a battery percussion audition. Students may not audition for snare and traps as separate auditions. NJSMA will be continuing the elementary band festival for those students in sixth grade. Students and directors will have an opportunity to participate in this one-day festival to represent the high quality of instruction. The festival will be Saturday, May 6, 2017 at South Orange Middle School and will feature two sixth grade bands. Directors will be able to nominate their students for participation online and will need to be present the day of the festival. All audition, festival and concert information can be found online at the region website, www.njsma.com. If you would like to get more involved with the organization, there are many opportunities available. We are always looking for schools to host rehearsals, concerts and festivals in addition to individuals to conduct, manage, and volunteer for the many different jobs that need to be accomplished on a yearly basis. As you can see by this letter we still need a site for the junior region concert weekend. Anyone interested in conducting one of the region bands should complete the application found on the website. Please feel free to contact us with any questions or concerns you may have. We look forward to working with you this year.

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SJBODA

South Jersey Band And Orchestra Directors Association sjboda.org

ur first membership meeting for this school year will be held on Wednesday, October 5, 2016. This breakfast meeting will take place at Seven Star Diner in Sewell at 9:00 AM. Please notify Patrick O’Keefe (609-457-0590 or patrickaokeefe@gmail.com) if you are able to attend. Audition materials and our online registration process will be explained. The membership will also vote on amending the concert dress code for the Wind Ensemble, Symphonic Band, Orchestra, and String Ensemble. Auditions for the 2017 All South Jersey Orchestra, Wind Ensemble, Symphonic Band and Junior High String Ensemble will take place on Saturday, December 10, 2016 at Eastern Regional HS. Rhea Fernandez and John Stanz will host this event. Applications and directions are available on our website. The first rehearsal for these ensembles will take place on Saturday, December 17th at Absegami HS. Jon Porco will be our host. Our 2017 Orchestra conductor is Michael Ludwig who is an international violin soloist and recording artist. Matthew Dell (Rowan Prep) will conduct our Junior High String Ensemble. The Wind Ensemble will be conducted by Joe Higgins (Rowan University). Mark Kadetsky (Fernwood Ave. MS) will conduct the Symphonic Band. We welcome Rhea Fernandes (Eastern Regional HS) as our new string coordinator and Amanda Lakits (Hamilton Twp. Schools) as our new high school band coordinator. The South Jersey Band and Orchestra Directors Association offers many opportunities for instrumental music teachers to expand their involvement and expertise as music educators. We provide excellent vehicles for profes-

sional development including conducting and managing our ensembles. Many teachers have gained wonderful ideas and strategies by observing rehearsals and meeting with colleagues. You can enhance your school music program to include excellent performing opportunities for your students and ensembles. We encourage all music teachers to take advantage of the wonderful resources offered by SJBODA this year. Please contact Patrick O’Keefe at patrickaokeefe@gmail.com or 609-457-0590 for additional information. We encourage you to check our website, which is maintained by Keith Hodgson and Derek Rohaly, (Mainland Regional HS) for the latest SJBODA updates. www.sjboda.org We wish everyone an exciting and successful year. Joseph Jacobs Secretary, SJBODA

SJCDA

South Jersey Choral Directors Association sjcda.net

he South Jersey Choral Directors Association (SJCDA) Board of Directors has worked throughout the summer on the planning of our activities for the 20162017 school year. Our 59th annual Choral Festival will be held again at Eastern Regional High School, in Voorhees, NJ, on January 28th and 29th, 2017. Festival conductors this year will be Stephanie Berger, Cinnaminson High School (Senior High Chorus); Joseph Zachowski, Washington Township High School (Junior High Chorus); and Laura Harmon, Cherry Hill Schools (Elementary Chorus). Auditions will be held on Saturday, November 19th for the Jr/Sr choirs. The Elementary Festival will be held on March 4th, 2017.

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The South Jersey Choral Directors Association offers many opportunities for choral music teachers to get involved and in doing so, expand their knowledge as music educators. Teachers have gained useful ideas and strategies by collaborating with other directors, observing rehearsals and attending meetings. We encourage all music teachers to take advantage of the wonderful resources offered by SJCDA this year. Get involved by managing or assisting one of the choruses and take advantage of the professional development opportunities offered. Please contact Nancy Dickinson at ndickinson@wtps.org for additional information. For information on registering for SJCDA, please see our website (www. sjcda.net.) In addition, we invite all choral music teachers to join us at our September “kick-off ” General Membership Meeting at Villari’s in Sicklerville. Conductors will present their programs, and the new online registration process will be discussed. Join us for a social and informative evening on September 19th at 7:00 pm. The SJCDA Executive Board looks forward to another exciting year working with the teachers and students of vocal music throughout South Jersey. We encourage you to check our website for the latest updates. www.sjcda.net &

OCTOBER 2016

department of music MASTER OF EDUCATION IN MUSIC EDUCATION Classes begin in Fall 2017 Designed specifically for working professionals, Kutztown University’s M.Ed. in Music Education program can be completed fully online or partially on campus and offers students the flexibility needed to balance work, school, and personal obligations. Graduates will possess the tools needed to work as advanced practitioners and leaders of music education in K-12 schools. Coursework covers topics in music education issues and trends, learning processes, instructional design, research applications, musical analysis, musicology, and technology. • Flexible transfer policy (up to 9 credits) • Small class sizes • Begin in Fall, Spring, or Summer – study part-time or full-time • Graduate assistantships available

FOR DETAILED PROGRAM INFORMATION, OR TO APPLY TODAY, VISIT: www.kutztown.edu/MusicMEd

For information on all Department of Music programs, events, and ensembles, contact Dr. Jeremy Justeson, Chair: 610.683.4550 or justeson@kutztown.edu OCTOBER 2016

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This column salutes the lives and careers of recently departed colleagues. It is the way NJMEA and NJRMEA can express appreciation for the work that they have done and the lives that they have touched. We mourn their passing and salute their contributions, which are the basis for music education in the state of New Jersey.

Neil G. Austin Neil G. Austin, 84, of Trenton passed away Thursday, March 3, at Compassionate Care Hospice at RWJUH, Hamilton. Neil was born in Hazelton, PA. He received his bachelor of music degree from Mansfield State Teachers College and his master of arts in music and music education from Teachers College, Columbia University. As a music teacher in numerous public school districts, including Fair Lawn (NJ), Ramsey (NJ), and DeKalb (IL), Neil was particularly well-known for his choral conducting, direction of numerous musicals, and preparation of New Jersey All-State Choruses. After retiring from teaching, he established Heir of Richard, Inc. and became an outstanding cabinet maker designing and building heirloom quality custom furniture throughout the New Jersey/Pennsylvania area. Neil’s favorite leisure activities included collecting Stanley hand tools (he became quite an expert) and fly fishing (including tying his own flies).

Bruce A. Baver Bruce A. Baver, 83 of Boonton Twp. passed away on August 12, 2016. Born in New York City, Bruce was a longtime Boonton Twp. resident. He was a music teacher in the Mountain Lakes School System for many years. Working with the hard of hearing throughout his career, he was also the middle school’s Band director. Baver loved all things in classical music, and was a church musician and choir director at the Community Church of Mountain Lakes. He was also an avid golfer, traveler and opera fan who enjoyed spending time at his condo in Fort Myers, Fla.

Cynthia E. Barrow

Schools. She was an active member of Grace Presbyterian Church, teaching Vacation Bible School, as well as a music volunteer. She was also an avid traveler, visiting such places as Australia, Nova Scotia and Paris.

Ronald Bobiak Ronald Bobiak, age 66, passed away peacefully on Tuesday, June 21, 2016, at his residence. He was born in Ashland, Pennsylvania, to the late Joseph and Anna (Burack) Bobiak. Prior to entering college, Ron had served in the U.S. Army during the Vietnam Era, as the principal clarinetist in the 76 Army Band Tascon. He then went to Montclair University, where he met his future wife of more than 41 years, Judith Irene Bobiak. They started their adult life living and teaching in Australia and then moved to Parsippany, before finally landing in Sussex County in 1978. From there, he became a music teacher in the Hopatcong School District and obtained his Master’s Degree from Montclair University. He retired in 2007. Bobiak was a member of the American Legion in Frackville, Pa., and more recently, joined the American Legion Post 213 in Wantage. He was a 20-year member of the Franklin Band, where he served as the conductor for 10 years. He loved music, golf, the outdoors, his family, and God.

Adeline “Addie” Calandriello Adeline “ Addie” Calandriello, 96, of Middletown, NJ, died on March 31, 2016 at Care One at King James in Atlantic Highlands. She was born in New York, NY and lived in Middletown for over 50 years. Adeline was a school teacher for St. Mary’s Elementary School for 32 years and was their first Music Teacher. She was the Church Organist and a Cantor at Sunday Mass. She loved Broadway musicals and movies. She enjoyed Bingo and going to Atlantic City.

Cynthia E. Barrow, 62, of Bloomfield, N.J., passed away on Saturday, March 26, 2016, at Newark Beth Israel Medical Center. Born in Glen Ridge, N.J., Cynthia was a lifelong resident of Bloomfield. She was a retired music teacher for the Borough of Glen Ridge for 30 years at both the Linden and Forest Avenue TEMPO 82

OCTOBER 2016

Clarence “Clady” Colanterino Clarence “Clady” Colanterino, 86, died on November 17, 2015. He was born on November 14, 1929 to the late Giaconda (Doganieri) and Joseph in Bound Brook, NJ. Clady grew up in Bound Brook and resided in Bridgewater before moving to Somerville 30 years ago. Dedicated to his country he served in the Army. He graduated with a Bachelor’s degree in Music from Ithaca College in New York. Clarence was a music teacher for 30 years at the Bridgewater/Raritan School District. He enjoyed playing the piano, golf, going to the beach and sports. He was a kind and caring man who will be sadly missed by all who knew him.

Anna K. Dash Anna K. Dash, age 91, of Union Township, N.J., passed away on Thursday, April 28, 2016, at the Hunterdon Medical Center in Raritan Township, N.J. She was born on April 24, 1925, in McAdoo, Pa. She resided in Union Twp. for the past 22 years, moving from Tuckerton, N.J. Anna was the daughter of the late Andrew and Anna Lohenitz Kapitula. Her husband, Herman L. Dash, passed away in 1992. Anna was a graduate of West Chester State Teachers College. She was a music teacher working in several elementary and middle public schools over the years. Lastly she worked for Valley View School in Denville, N.J. After her retirement, Anna volunteered for many years at the Hunterdon Art Museum in Clinton, N.J. She loved art and was also an avid reader and cat lover.

Ruth L. Hubmaster Ruth L. Hubmaster, 69, of Sussex went home to the Lord on Sunday May 1, 2016 while surrounded by her loving family and friends. Hubmaster was born in Atlantic City Oct. 10, 1946 to Isaac and Dorothy Leeds, and attended the Atlantic City School System. She graduated from Glassboro State College in 1968 with a Bachelor of Fine Arts Degree in Music. An accomplished organist/pianist, Hubmaster began playing organ at age 13 for the Venice Park Methodist Church and Chelsea Baptist Church of Atlantic City. Subsequently she played for Our Lady of Fatima RC Church in Linwood. Upon moving to Sussex County she became organist for Our Lady of Fatima RC Church in Highland Lakes. For the next 17 years she was Organist/Choir Director for the Vernon United Methodist Church. Her career culminated after an additional 17 years with her retirement as Music/Choir Director for the First Presbyterian Church of Franklin. Hubmaster had a 37year career as a music educator. She began at Hamilton Township/ Mays Landing Schools where she taught for four years. In 1972 she moved to Sussex County and commenced a 33-year employOCTOBER 2016

ment with the Vernon Township School District, where she taught in five of the district’s six schools. Although her longest tenure was at Rolling Hills Primary School, as a general music teacher she taught thousands of children and organized and directed many school concerts which always displayed a flair for dramatic musical entertainment. During her teaching career she received many accolades, including the State of New Jersey Governor’s Teacher Recognition Award and the Tri-M Music Theater Honorary Award. Musical theater was another of Hubmaster’s accomplishments. The first production she was involved in was “The Fantastiks.” She served as music director for Vernon Township Theater Arts, Vernon Summer Theater, Highland Stage, and Cornerstone Players. Her career came to a conclusion with a production at Warwick Valley Winery of “The Fantastiks.” The theme song from the show, “Try to Remember and If You Remember Then Follow,” epitomizes Hubmaster’s philosophy to be an example for her students to emulate and follow in their own lives. Indeed, Hubmaster was honored by many of her former students and choir members who gathered recently at her home for a concert to pay tribute to their beloved teacher.

Peggy Sica Peggy Sica passed away on Tuesday, May 10, 2016 at her home in New Brunswick. She was 67 years old. Sica was born in New Brunswick, NJ and lived in East Brunswick as a child. She graduated from East Brunswick High School and with honors from Westminster Choir College in Princeton with a major in organ. She began her career as a teacher in Metuchen and then spent two years teaching music in South Africa. Upon returning stateside she accepted a position in the North Brunswick School System. Sica taught music and was choir director at Judd Elementary, Linwood Middle School and North Brunswick High School. She earned her Master’s Degree in Music Education and received a Certificate in Music Supervision from Rutgers University. She then became Fine Arts and Music Director for the North Brunswick School System. Under Sica’s direction the North Brunswick High School Choir was invited to perform at Disneyland and Epcot Center in Orlando, Florida. They also sang with the Pat Boone Orchestra at the State Theater in New Brunswick and performed at Lincoln Center in NYC. She retired from the North Brunswick School System five years ago. Sica was a longtime member of the United Methodist Church at New Brunswick where she was a local lay servant and participated in the choir and bell choir.

Jay Trackman Jay Trackman, 86, passed away at home on Sunday, Aug. 7, 2016. Jay was a respected music teacher in both the Bordentown and Burlington (NJ) city school districts for nearly 35 years.

83 TEMPO

NJMEA 2016-2017 Board of Directors Executive Board

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

Corporate/Industry Ron Beaudoin rbeau1959@gmail.com 301-662-2010

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

Early Childhood Music Ed. Amy Burns Far Hills Country Day School aburns@fhcds.org 973-493-5797

President-Elect, Jeff Santoro W. Windsor-Plainsboro District jsantoro@njmea.org 609-716-5000 x5262

Band Festivals/Classroom Music Nancy Clasen Thomas Jefferson Middle School nancydidi@hotmail.com 973-766-5343

NJ Association For Jazz Ed. Mike Anzuini Steinert High School manzuini.njaje@gmail.com 609-631-4150 x3412

Executive Secretary-Treasurer Deborah Sfraga Ocean Township Schools debnjmea@aol.com 732-686-1316

Band Performance Albert Bazzel Winslow Twp. Middle School fenwayfollower5@comcast.net 856-358-2054

Communications (TEMPO/Web) Thomas A. Mosher, Retired tmosher@njmea.org 732-367-7195

Choral/Opera Festivals Donna Marie Berchtold William Davies Middle School berchtoldd@hamiltonschools.org 609-476-6241 x1013

Orchestra Festivals/Performance Susan Meuse Hammarskjold Middle School susanmeuse@gmail.com 732-613-6890

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

Special Learners Maureen Butler Lake Drive School mbutler@mlschools.org 973-299-0166

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

Technology Marjorie LoPresti East Brunswick High School marjorielopresti@gmail.com 732-613-6969

President, William McDevitt Vineland High School billnjmea@aol.com 856-794-6800 x2539

Past-President, Joseph Jacobs

Ventnor Middle School jjacobs@veccnj.org 609-335-6429

Region Executive Members

NJSMA President, Russ Batsch Madison High School batschr@madisonpublicschools.org 973-593-3117 ext 7190 CJMEA President, Adam Warshafsky Montgomery Twp. School District awarshafsky@mtsd.us 609-466-7602 x6203 SJCDA President, Nancy Dickinson Bunker Hill Middle School ndickinson@wtps.org 856-881-7007 x5136 SJBODA President, Patrick O’Keefe Smithville School o’keefep@gtps.k12.nj.us 609-748-1250 X4661

Guitar Tom Amoriello Flemington Raritan Schools tamoriel@frsd.k12.nj.us 908-284-7650

Collegiate/Research/Higher Ed. Rick Dammers Rowan University dammers@rowan.edu 856-256-4557 Conferences Marie Malara Sayreville Middle School malara97@aol.com 732-525-5290 x2370

TEMPO 84

OCTOBER 2016

NJMEA RESOURCE PERSONNEL Area of Responsibility

Name

Email Address

Administrative Matters......................................................William McDevitt.............................................................billnjmea@aol.com All-State Band Coordinator................................................Donna Cardaneo............................................................ dcardaneo@aol.com All-State Chorus, Orchestra, Jazz Coordinator.....................Joseph Cantaffa................................................... jcantaffahhs@hotmail.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 Composition Contest.........................................................Robert Frampton....................................................rtframpton@comcast.net Jazz Procedures Chair......................................................... Michael Anzuini................................................. manzuini.njaje@gmail.com Marching Band Festival Chair.............................................. Nancy Clasen....................................................... nancydidi@hotmail.com Membership........................................................................ Deborah Sfraga.............................................................. debnjmea@aol.com Middle/Junior High Band Festival.....................................James Chwalyk, Jr............................................. james.chwalyk.jr@gmail.com Middle/Junior High Choral Festival..............................Donna Marie Berchtold ................................. berchtoldd@hamiltonschools.org NJMEA Historian.................................................................Nick Santoro..............................................................nb1331@quixnet.net NJMEA State Conference Exhibits Chair............................. Nancy Clasen....................................................... nancydidi@hotmail.com NJMEA State Conference Committee.................................. Ron Beaudoin......................................................... rbeau1959@gmail.com NJMEA State Conference Manager.......................................Marie Malara................................................................malara97@aol.com NJMEA/ACDA Honors Choir.............................................. Carol Beadle................................................. carol.dory.beadle@gmail.com NJMEA Summer Conference..............................................Joseph Akinskas.................................................... joea_njmea@comcast.net November Convention – NJEA............................................ Nancy Clasen....................................................... nancydidi@hotmail.com Opera Festival Chair......................................................... Michael Kallimanis........................................... MrKOrchAuditions@aol.com Orchestra Procedures Chair................................................... Susan Meuse......................................................... susanmeuse@gmail.com Research.............................................................................. Rick Dammers..........................................................Dammers@rowan.edu Students with Special Needs................................................ Maureen Butler........................................................mbutler@mlschools.org Supervisor of Performing Groups...........................................Joseph Jacobs................................................................ jjacobs@veccnj.org Tri-M................................................................................William McDevitt.............................................................billnjmea@aol.com REPRESENTATIVES/LIAISONS TO AFFILIATED, ASSOCIATED AND RELATED ORGANIZATIONS NJ American Choral Directors Association............................ Carol Beadle................................................ carol.dory.beadle@gmail.com Governor’s Award for Arts Education.....................................Joseph Jacobs................................................................jjacobs@veccnj.org NJ Association for Jazz Education....................................... Michael Anzuini.................................................manzuini.njaje@gmail.com NAfME.............................................................................William McDevitt............................................................ billnjmea@aol.com NJ Music Administrators Association..................................Robert Pispecky..................................... Robert.Pispecky@edison.k12.nj.us NJ Retired Music Educators Association........................... Kathleen Spadafino............................................................. kspadeb@aol.com NJ TI:ME............................................................................ Rick Dammers.......................................................... dammers@rowan.edu Percussive Arts Society........................................................ Domenico Zarro.....................................................DEZarro@optonline.net

COMMUNICATION SERVICES/PUBLIC RELATIONS Executive Secretary-Treasurer............................................... Deborah Sfraga....................................................... debnjmea1@gmail.com Editor - TEMPO Magazine.............................................. Thomas A. Mosher..........................................................tmosher@njmea.org Web Master (njmea.org)................................................... Thomas A. Mosher..........................................................tmosher@njmea.org

OCTOBER 2016

85 TEMPO

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EDITORIAL POLICY Articles may be submitted to the editor of this magazine by anyone who wishes to write about topics related to music or music education. All articles which are selected for publication will be proof read for content, spelling and grammatical errors. Authors who submit an article to TEMPO Magazine for publication agree to all of the following: 1. the editor may edit all articles for content, spelling and grammar. 2. the printing of the article in TEMPO Magazine, the printing date, and placement are at the discretion of the editor. 3. permission is granted to reprint the same article in any National or State Music Education Association magazine on the condition that the authorâ&#x20AC;&#x2122;s name and TEMPO Magazine are to be mentioned in all reprinted articles. 4. no exceptions will be made regarding items 1 through 3 above. 5. the author of the article may submit his/her article to additional magazines for publication.

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

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

TEMPO 86

1983 - 1985 1985 - 1987 1987 - 1989 1989 - 1991 1991 - 1993 1993 - 1995 1995 - 1997 1997 - 1999 1999 - 2001 2001 - 2003 2003 - 2005 2005 - 2007 2007 - 2009 2009 - 2011 2011 - 2013 2013 - 2015

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

OCTOBER 2016

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kutztown.edu/MusicMEd

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messiah.edu/conducting

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Monmouth Symphony Orchestra

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Mason Gross School of the Arts Ext. Div.

Montclair State University, Cali School of Music musauditions@montclair.edu

Music First

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njaje.org

njcu.edu/mdt

oake.org/choirs

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NJ Association of Jazz Educators NJ City University Dept. Music, Dance & Theatre Organization of American Kodรกly Educators Papermill Playhouse Peak Performance Tours Performing Arts Consultants

peakperformancetours.com

3, 36

www.usafest.org

rowan.edu/fpa/admissions

russomusic.com

masongross.rutgers.edu

gettysburg.edu/sunderman

susqu.edu/music

The College of New Jersey, Music Dept.

tcnj.edu/music

University of Maryland

music.umd.edu

Westchester University

wcupa.edu/music

musicadmissions@wpunj.edu

Rowan University Russo Music Center Rutgers: The State University Sunderman Conservatory of Music Susquehanna University

William Paterson University

Yamaha OCTOBER 2016

87 TEMPO

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