2017 March TEMPO

MARCH 2017

In This Issue Eastern Division Conference Information and Registration Presenting our Candidate for President-Elect NJMEA Calendar for March – June Division Chairperson Reports Round the Regions

The Official Magazine of the New Jersey Music Educators Association a federated state association of National Association for Music Education

…

WHY

“The clinic experience was by far the best part of our festival experience.

The hands-on approach really sticks with my students rather than just a bunch of written comments. They get instant feedback and can apply that feedback right then and there instead of waiting until we get back home at our next rehearsal.”

— Doug Sydow, Washington High School

“I like the fact that there are three judges and you have the comments from different people. There can always be a variety of opinions but if three people state the same thing then it brings more validity to a matter. You also always have judges who are respected and accomplished in their field.”

— Delia Montenegro, Briarcliff High School

“The staff is great, the venues are outstanding and the performances are well organized. I have done many festivals with various companies over the years. I find the online registration, adjusting features, and financial features very good. It makes my job much easier compared to some other festivals I have attended.”

—Timothy Keane, Terryville High School

WHERE…

PERFORMANCE DATES ARE AVAILABLE ONLINE AT festivalsofmusic.com | 800.305.7565 | info@festivalsofmusic.com

Volume 71, No. 3

http://www.njmea.org

FEATURES 24

Presenting Our Candidate For NJMEA President-Elect

27

NAfME Eastern Division Conference Information (sessions & registration)

36

Using Technology To Assist With Assessment In The Elementary General Music Classroom, Amy Burns

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Heavy Metal Guitar: From Times Square To Netflix And Beyond, Thomas Amoriello and Matthew S. Ablan

42

Music Education In The Political Arena, Andrew Lesser

44

Hosting A Family Night At Your School, Missy Strong

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A Pioneer In Guitar Ensemble Education, Thomas Amoriello

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NJMEA Calendar from March – June

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Movement: A Means To Music Learning, Carlos R. Abril

MARCH 2017 DEPARTMENTS AND NJMEA BUSINESS Advertisers Index & Web Addresses ......63 Board of Directors ................................60 Division Chair News......................... 6-20 Editorial Policy & Advertising Rates .....62 In Memoriam .......................................58 Past-Presidents ......................................62 President’s Message ............................. 2-3 Resource Personnel ...............................61 Round the Regions ......................... 56-57

FORMS AND APPLICATIONS See NJMEA.ORG

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

State Marching Band Festival ................55 NAfME Membership ............................88

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. 3, MARCH 2017 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

NAfME Biennial Eastern Division Conference April 5-8, 2017 Atlantic City, NJ NAfME In-Service Conference November 12-15, 2017 Dallas, TX NJMEA In-Service Conference February 22-24, 2018 East Brunswick, NJ

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

A

t the time of this writing, we are deep into preparations for the 2017 NAfME Eastern Division Conference that will take place in April in Atlantic City. Please see the information that I have provided that follows and throughout this TEMPO edition. It has been decades since New Jersey has hosted this conference and from the initial planning it looks like it is going to be an amazing professional development experience for everyone that attends.

FEBRUARY ALL-STATE Thanks go out to everyone that make our All-State Symphonic Band, Wind Ensemble, and Treble Chorus such a success. From the teachers that prepare and audition students, to the rehearsal assistants, to the chaperones that maintain the safety of our students, and the committees that undertake all the behind the scenes work, I thank you for helping this major undertaking.

It continues to be an educational and musically rewarding experience for our students and their families. I would like to thank Al Bazzel, Band Performance Chair, and Kathy Spadafino, Choral Performance Chair, for their guidance of their committees. I would also like to thank Donna Cardaneo, Weekend Coordinator, for her work putting together the housing, scheduling, busing, and movement of nearly 400 students throughout the All-State experience in East Brunswick and at NJPAC. TEMPO

ADVOCACY The only bad time to be an advocate for your students and your programs is when you are defending them. As we approach planning for the future in our individual districts, it is important to remember that having a seat at the table is more important than you can ever realize. As one wise person once said, “If you’re not at the table, you’re on the menu.” I always suggest that you make your programs as visible to the community as possible. Everyone knows that music is taught in the schools, but not everyone knows what that truly looks like in 2017. The small percentage of people in the community that come to performances and showcases are not enough to maintain the visibility of our programs. Get out into your communities and “show ‘em what you got!” Local community groups are always looking for musical performances for their meetings. Senior Centers, Adult Day Care Centers, Shopping Centers, Businesses, etc. are great places to show off what you do every day – and the audiences are always appreciative of your time and effort. In our profession, it is always easier to show the community what we do than to stand up at a school board meeting and try to defend it. If you do it right, you don’t have to be the one to stand up and praise your programs – those parents and community members will do it for you. Document your efforts in pictures, news clippings, blogs and emails and put them in your “Battle File” to be used when the battle 2

begins. Remember – BE PROACTIVE NOT REACTIVE! MUSIC IN OUR SCHOOLS MONTH What started in New York in 1973 as a single day of advocacy transformed into a national month-long celebration in 1985. This is an amazing opportunity to showcase your programs throughout the entire month of March. Information is available at www.nafme.org, including celebration ideas and press info.

EASTERN DIVISION CONFERENCE For the past decade, the Biennial Eastern Division Conference has been somewhat prohibitive for New Jersey members to attend, considering the procedure that must be followed for overnight/out-of-state attendance. This year changes that for two reasons. First – it’s IN NEW JERSEY! Second – we have received the waiver from the NJDOE allowing teachers to attend and stay overnight in Atlantic City!

Many people have asked me what the difference is from our annual February Conference in East Brunswick.

There are some very big differences: • More sessions: There are over 150 sessions scheduled during 5 time periods on Thursday and Friday with many clinicians that have not presented in New Jersey in the past.

MARCH 2017

• Pre-Conference Academies: Similar to what we normally offer with 6 session slots on Wednesday • General Sessions/Keynotes: On Thursday and Friday, there are Keynotes and Concerts during our “General Session” timeslot. One of the Keynote speakers is Rita Moreno.

• Student Concerts: Thursday and Friday have “Designated Concert Hours” when some of the finest school Bands, Choirs, Orchestras, and Jazz Bands from the Eastern Division have the opportunity to perform for attendees. For some attendees, this is the highlight of the conference.

• Evening Concerts: Each evening has entertainment for attendees.

On Wednesday, there will be a concert by Dr. Steven Ball performing

on the “World’s Largest Organ” in historic Boardwalk Hall. On Thursday, we will be entertained

by The New York Voices. On Friday, the Air Force Band and Singing Sergeants will close our series.

• All-Eastern Ensembles: On Friday and Saturday, there will be performances by our All-Eastern Honors Ensembles including Jazz Ensemble, Mixed Chorus, Orchestra, Treble Chorus, and Symphonic Band in historic Boardwalk Hall.

This entire conference is a monumental undertaking, but is being done so in very capable hands. Our General Conference Manager is Debbie Sfraga.

For the past year, she has spent countless hours of preparation dealing with venues, hotels, sub-contractors, as well as logging in all of the more than 800 All-Eastern students and all of the conference attendees. With her in the lead,

I’m confident that this conference will be amazing! Marie Malara is our Conference Chair. She is putting together the entire schedule of clinicians, concerts, receptions, and General Sessions.

Keith Hodgson is our All-Eastern BOCJ Ensemble Chair. He and his staff are organizing the student rehearsals and performances. Nancy Clasen is organizing our exhibitors in preparation for a massive exhibit hall.

If you look throughout this TEMPO edition, you will find plenty of information about the conference and links for registration and hotel rooms.

There are also links on our website. For the most up-to-date information, go to www.nafme-eastern.org Don’t miss out on this amazing opportunity! I hope to see you there!

It’s dynamic at The Valley.

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Lebanon Valley College® 101 North College Ave. Annville, Pennsylvania 17003-1400 1-866-LVC-4ADM (1-866-582-4236) admission@lvc.edu www.lvc.edu

MARCH 2017

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TM

HELP UNLOCK THE POTENTIAL IN EVERY CHILD It’s easy to add your voice to our growing movement by making a donation of $10.

Text “MUSICED GNF” to 20222 Give a Note Foundation was created to bring communities together to fight to keep music in every child’s life.

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www.giveanote.org A one-time donation of $10.00 will be added to your mobile phone bill or deducted from your prepaid balance. All donations must be authorized by the account holder. All charges are billed by and payable to your mobile service provider. All donations must be authorized by the account holder. User must be age 18 or older or have parental permission to participate.

By texting YES, the user agrees to the terms and conditions. Service is available on most carriers. Message & Data Rates May Apply.

Donations are collected for the benefit of the “Give a Note Foundation” by the Mobile Giving Foundation and subject to the terms found at www.hmgf.org/t. You can unsubscribe at any time by texting STOP to short code “20222”; text HELP to “20222” for help.

1806 Robert Fulton Drive

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Reston, VA 20191 571-323-5957

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info@giveanote.org

MARCH 2017

MASON GROSS EXTENSION DIVISION SUMMER CAMPS AND INTENSIVES 2017

MUSIC DANCE FILMMAKING VISUAL ARTS THEATER Explore, create, and perform under the guidance of New Jersey’s most distinguished teaching artists at the state’s premier arts conservatory, Mason Gross School of the Arts, Rutgers University.

MUSIC

VISUAL ARTS

Jazz Institute Symphonic Wind Band & Chamber Music Camp ASTA/NJ Chamber Music Institute

Design Intensive Media Art Intensive Drawing & Painting Intensive

DANCE

THEATER

Rutgers Summer Dance Conservatory

Rutgers Summer Acting Conservatory

DIGITAL FILMMAKING

CHILDREN’S ART DAY CAMP

Rutgers Digital Filmmaking Camp AVID Media Intensive

Kids Create

85 George Street, Rehearsal Hall 101, New Brunswick 848-932-8618 | summercamp@mgsarutgers.edu www.masongross.rutgers.edu/extension/summer-programs MARCH 2017

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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

Well winter is almost over and we are all looking forward to our spring season of hearing great music from our teachers and their student ensembles. We once again get an opportunity to hear how our students are improving their musical skills as they demonstrate their appreciation of creating good music and working together. Members of New Jersey Music Administrators Executive Committee and the Board of Directors have been working together this year to present beneficial workshops for the general membership.

We have held three workshops to date for the membership. The most recent was facilitated by Joe Akinskas, adjunct professor, from Rowan University. The presentation was entitled, “Arts and Special Education”. The presenter for the workshop was Maureen Butler. Educators from the higher education community were invited to observe the presentation as well as teachers from the member districts. The presentation offered techniques for the teaching of special needs students. The workshop gave all attending an opportunity to exchange ideas and ask questions about possible situations taking place in their program.

We are happy to say that members of the NJMAA will have the opportunity to present at this year’s All Eastern Conference in Atlantic City in April. Joe Akinskas will facilitate the Collegiate Forum and the Open Forum on Education; Peter Griffin, from the Hopewell Valley School District, will present, “Music Student to Music Teacher: Nail Down that Job”; and Bob Pispecky, from the Edison Public Schools, will present, “Transitioning from Music Student to Music Teacher”.

Our next meeting/workshop will be held on March 31. The workshop, “Transitioning from General Music Class to Performing Arts Class” will be presented by Patricia Rowe from the Moorestown Public Schools. The meeting begins at 9:00 a.m. with hospitality beginning at 8:30 a.m. Our general membership meetings are held at the Rutgers Club on the campus of Rutgers University in New Brunswick.

The NJMAA continues to reach out to music supervisors, building administrators and coordinators of music to become active members in the association. Our association allows us to share information and ideas that help to strengthen our programs.

For more information, go to our website, njmaa.org or email me at the email address above.

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MARCH 2017

2016–2017 AUDITION DATES Saturday, November 12 Saturday, December 10 Sunday, January 22 Sunday, February 19 Sunday, March 19

rowan.edu

Department of

MARCH 2017

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

Congratulations to all involved with this year’s All-State Band process, culminating with the concert at NJPAC on Saturday, February 21.

Special thanks to the people who made the concert a success: Conductors: Keith Brion and Richard Blatti Ensemble Managers: Darrell Hendricks, Nick Mossa, John Scozzaro and Joe Spina All-State Band and Treble Chorus Coordinator and First Rehearsal Host: Donna Cardaneo, South Brunswick High School Auditions Chair: Deb Knisely Auditions Hosts: Andrew DeNicola and John Zazzali, JP Stevens High School Rehearsal Hosts: Darryl Bott and Tim Smith, Rutgers University Chaperones: Jose Maunez, Kevin Pryor, Lisa Simone, Kyle Titmas, Scott Visco, Carlye Waniak Procedures Committee: Donna Cardaneo, Coordinator Bruce Yurko, Solo Chair Mindy Scheierman, NJBA Liason Paul Oster, Historian NJSMA Representatives: Darrell Hendricks, Lewis Kelly, Greg Mulford CJMEA Representatives: Brian Toth, Chris Vitale, John Zazzali SJBODA Representatives: Nichole Delnero, Tom Rafter, Phil Senseney Please note the 2017-18 solo list will be published in the May 2017 issue of TEMPO. On behalf of the entire committee, I hope you have a successful spring performance season.

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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 Choral Festivals

Donna Marie Berchtold 609-476-6241 x1013 berchtoldd@hamiltonschools.org

Donna Marie Franchetta Berchtold, choral and instrumental director at the William Davies Middle School, Mays Landing, will be coordinating the Middle School Choral Festivals this year along with Karen Gerula Blumenthal, choral director at Von E. Mauger Middle School, Middlesex, NJ. The Festivals will be held at two separate locations. The first event (South Site) will take place at Rowan University on March 1, 2017.

The deadline for applications is Feb. 3, 2017. The second event (North Site) will be held at Rutgers University on May 24, 2017. The deadline for applications is April 24, 2017. The time of each event is 9:15 – 1:30 pm.

The application forms are on the NJMEA web site, however, they can also be found in the January, 2017 edition of TEMPO Magazine.

Several choral directors have expressed interest, and have sent in their forms. It is anticipated that more registrations will be sent, since the form is now in TEMPO. A maximum of ten (10) registrations will be accepted at each site.

Anyone with questions or concerns may contact Donna Marie at: berchtoldd@hamiltonschools.org, 609-625-6600, x1013, or 609- 226- 7751.

Choral Performance Kathleen Spadafino 908-208-5980 kspadEB@aol.com

March - the hard month with no end of school in sight. Hang on! Soon the musical, the trip, and all the final concerts will be over. For now, please know that I think of you guys all the time. THANK YOU for all the lives that you influence so positively!

In February, we were treated to a fabulous performance by our All-State Treble Chorus. Eleanor Daley was a wonderful conductor, and we all enjoyed her company during the festival weekend. We were so glad that Lucille Kincaid was once again accompanying the chorus!

Her expertise and personality are always a treat. Many thanks to managers Jennifer Alagna and Joe Cantaffa, our managers, and to Donna Cardaneo for organizing the weekend. We did miss the NJMEA conference, but we are looking forward to our great Eastern Division NAfME conference in Atlantic City on April 5,6,7,8!

Meanwhile, we are busy getting ready for auditions for next years’ choruses. Your Choral Procedures Committee is hard at work preparing for the South auditions on April 22nd and the North auditions on April 29th. Please keep checking our website and your emails for ALL information and updates. You can practice with the tonal memory examples shared on the website as well as listen to the starting pitches and the “Silver Swan”. You will be hearing from Rick Retzko and our audition chairs, Christie Scott and Cheryl Breitzman as they answer your questions and confirm your registration information. If you have any questions, please email me at kspadeb@aol.com. There are no stupid questions!! I cannot stress enough the importance of having even one of your students participate in All-State Chorus! They will bring a whole new level of excellence to every part of your program. BRAVO to all of you for your incredible work ethic, and I look forward to seeing you at auditions! continued on page 12 TEMPO

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MARCH 2017

Creativity Scholarship Artistry

Make music...

Make a difference

The College of New Jersey • Department of Music The Department of Music is an accredited institutional member of the National Association of Schools of Music as well as a collegiate member of NAfME, the National Association for Music Education. Kiplinger’s ranks TCNJ as the #1 Best Value Public College in New Jersey in 2016 and U.S. News & World Report ranks TCNJ as the Best Public College in the “Regional Universities-North” category for 2015-16.

MARCH 2017

Audition Dates November 16, 2016 (Early Decision & Transfer) January 13, 2017 (Early Decision) January 28, 2017 February 1, 2017 February 15, 2017 February 25, 2017

ACADEMIC AND PERFORMANCE SCHOLARSHIPS AVAILABLE

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Programs of Study B.A. in Music B.M. in Music Performance B.M. in Music Education Music Minor For more information visit

MUSIC.TCNJ.EDU

The College of New Jersey 2000 Pennington Road Ewing, NJ 08628

TEMPO

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

News From Our Division Chairs Early Childhood Education Amy Burns 973-493-5797 aburns@fhcds.org

Early childhood and elementary music educators have many opportunities this spring for professional development. From April 5-8, NJMEA is hosting the NAfME All-Eastern Division Biennial Conference, which will include wonderful presenters that are lead educators in elementary general, vocal, instrumental music, and elementary music technology. On May 23, NJSMA Elementary Division is hosting the grades 3-5 Elementary Choral Celebration (http://www.njsma.com/elementary/elemchoirfest.html - registration due now). In June, I will offer all of our 2016-2017 elementary webinars again to view and receive PD, if PD was not received for the first viewing. If you would like to offer an hour-long webinar for elementary music educators, please contact me.

I look forward to seeing you all in Atlantic City!

Guitar Education Thomas Amoriello tom@tomamoriello.com 908-342-7795

Happy March! If you are attending the NAfME Biennial Conference in Atlantic City next month please attend guitar presentations by: Loren Fortna, Mike Christiansen, and Glen McCarthy. I will also be hosting the NAfME Eastern Division Guitar Educator Meeting to offer an open forum for educators to exchange 6 string happenings in their states on Friday, April 7th.

It is important to please spread the word to the teachers whom 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 featuring classical guitarist Candice Mowbray. http://www.candicemowbray.com/ Personnel: Conductor: Loren C. Fortna NJMEA Guitar Festival Directors: Thomas Amoriello & Keith Calmes Please feel free to share any classroom guitar news with tamoriel@frsd.k12.nj.us

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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 GRADUATE

UNDERGRADUATE • • • • •

B.A. in Music B.A. in Music Business B.A. in Music Education B.A. in Music Theatre B.M. in Performance (Classical and Jazz)

• M.A. in Music Education • M.M. in Performance (Classical, Jazz and Multiple Woodwinds) • M.M. in Composition

Contact Min Kim, D.M.A. Chair

The Caroline L. Guarini Department of Music, Dance and Theatre Phone: (201) 200-2025 • Email: mkim@njcu.edu

Visit us online at njcu.edu/mdt Visit us at njcu.edu/mdt

MARCH 2017

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

News From Our Division Chairs NJ Association For Jazz Education Mike Anzuini 609-631-4150 x3412 manzuini.njaje@gmail.com

It has been a tremendous year in Jazz Education in New Jersey! Starting off with the great performances of our All-State Jazz Ensemble and Honors Jazz Choir. Directors, Mark Taylor and Randy White, offered tremendous musical direction to the students of these ensembles.

In a new format to the NJPAC concert this year, the New Jersey Center for the Performing Arts brought in famed trumpet performer Jon Faddis to perform with the Jazz Ensemble. Not only did he bring the house down with his performance, but he spent several hours with the students talking about music, his life in jazz and even offering some trumpet lessons! Sometimes the best education is being able to sit and talk with a person of his musical stature!

An offering of thanks goes out to Doug Barber, Seneca High School. Doug has served as the manager of the ASJE for the past two years. Doug has decided to step down from this position and we thank him for his service and expertise that he has offered our students and our organization. If anyone is interested in serving NJAJE and NJMEA as manager of the ASJE, please contact me! It is a rewarding position as you are able to meet some great Jazz Educators and work with outstanding students!

March offers our busiest time of year. We have 45 bands registered to participate in our State Jazz Festival. We will be holding Region Jazz auditions and performances. In addition, April has our first annual Jazz Choir Festival, the finals of our State Jazz Band Festival and then All-State Jazz Ensemble auditions in May, along with our newly formed State Jazz Band Gala Concert.

Please check out our website, www.njaje.org, for all of your New Jersey Jazz events and resources. We are here for you. And while you’re visiting our site, think about joining our organization. For a nominal membership fee, you are able to attend our annual Jazz Conference in November, receive a subscription to Downbeat Magazine, and entrance to all of our sponsored events.

Orchestra Performance Susan Meuse 732-613-6890 susanmeuse@gmail.com

It’s March, so we are once again preparing for the All Sate Orchestra auditions. They will be held on Saturday, March 18th at JP Stevens High School in Edison. Both the High School (ASO) and Intermediate (ASIO) auditions will be taking place at this time. The auditions will also include the Honors Chamber Orchestra (HCO) for the second year. It is a high school ensemble made up of string players who are not in ASO. It will take place during the spring, so seniors may audition for this ensemble. I look forward to seeing everyone at March auditions!

We are preparing for our Middle School/Junior High School Festival on March 8. Thank you to Kim Williams and Joe Simon for hosting at Bridgewater-Raritan Middle School. Thank you also to Michael Berry for adjudicating. It would be great to see even more schools participate next year, so please let me know if you are interested!

At the end of April, the ASIO and HCO will begin rehearsing. Brian McGowan will be conducting ASIO. As I am writing this, we are finalizing conductors and programs for ASO and HCO. Look for more information in the May issue of TEMPO!

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CALI SCHOOL OF MUSIC

Educating the creative leaders of tomorrow

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Celebrating the 10th Anniversary of the John J. Cali School of Music Montclair State University, Montclair, NJ Contact us: 973-655-7610; musauditions@montclair.edu

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

News From Our Division Chairs Retired Music Educators Kathleen Spadafino 908-208-5980 kspadEB@aol.com

We all missed getting together at the NJMEA conference in February - there was no conference this year as New Jersey is hosting the NAfME Eastern Conference in Atlantic City! Dates are April 5 – 8. I hope to see many of you there, showing the rest of our division how New Jersey hosts a conference.

But meanwhile, we are starting to prepare for next year’s conference. Do you know an NJMEA Music Educator who is truly an outstanding teacher? Help recognize this person by nominating them for the 2017 Master Music Teacher Award. Please note that the application form for this nomination can be found in the January issue of TEMPO and also on the NJMEA website. The deadline is March 15, so there still is a little bit of time to get your nomination in!

Our end of the year General Membership meeting will be held on Wednesday, May 10 at 10:15 a.m., place TBA. I will be sending out a reminder in April, or you can email me for any further information. That includes YOU – anyone who joined our ranks in the middle of the year!

Best wishes for a happy and healthy 2017. Yay, retirement!!

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

Increasingly, music teachers have questions about how to include special learners in their class. Some of these questions are: How do we make music accessible to children with various disabilities? How do we do this while juggling the needs of all our students? What kinds of behaviors can we expect from all our students? Moreover, how can we find the time to learn about their special needs?

Fortunately, this year music teachers will have at least two opportunities to learn more, and hopefully many will be able to take advantage of them. The first will be the NAfME Eastern Conference in April, where there will be several wonderful sessions to choose from. The second will be at the annual Summer Session in August at TCNJ. We are still in the early planning stages, discussing feedback we received from the survey taken after last year’s Summer Session. A few music teachers made specific workshop requests in the “Special Education” strand, including such topics as autism, behavioral disorders, and building successful lessons. If there are other topics you’d like to see covered in the summer, please email me at the above address.

Likewise, if you have questions or concerns about the students you teach, or topics want to see addressed in TEMPO please contact me as well.

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Will. Power.

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WPUNJ.EDU/Music WPU Music Department WPUMusicDept MARCH 2017

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Wayne, New Jersey • 973.720.2315 wpunj.edu/music • musicadmissions@wpunj.edu

TEMPO

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

News From Our Division Chairs Summer Workshop Joe Akinskas akinskas@rowan.edu Summer Workshop Coordinator

Summer Workshop X I am pleased to announce that Summer Workshop X will take place on Tuesday, August 1, 2017, from 8:00 - 5:30 pm. All activities will take place in the Arts and Interactive Media Building on the College of New Jersey campus in Ewing.

Below you will find our tentative session topic roster at this early stage of planning. All sessions are designed to be interactive, in a relaxed summer setting, so come prepared to utilize your voice, instrument, I-devices, and musical skills, in activities designed to be brought back to your classroom.

Presenters needed: Although we are well on our way regarding sessions, we are still open to proposals from the membership. Please complete and return the presenter request form on the Summer workshop homepage, or via email to: njmeasummerworkshop@gmail.com or akinskas@rowan.edu , on or before April 3, 2017.

We look forward to another enjoyable and productive day for all in attendance. Periodic updates on program development will be forthcoming in TEMPO Express postings and on our website at the conference tab on the TEMPO homepage.

NJMEA Summer Workshop X Tuesday, August 1, 2017 The College of New Jersey 8:00 – 5:30 p.m.

Proposed Workshop Sessions New This Year Extended Roundtable sessions will be utilized for idea-information gathering and sharing in the primary strands: Classroom music, Choral Music, Instrumental Music, Recruitment and Retention, Special Ed, Technology.

CHORAL MUSIC (general topics) Vocal Warmups Rehearsal Strategies Vocal Pedagogy Acapella Rehearsal Techniques Non-musical Issues for the Choral Teacher Elementary-Middle-High School Reading Sessions

CLASSROOM MUSIC: Guitar and Ukelele classroom applications and activities.

Revitalizing ‘General’ Music AP Theory-resources and techniques Genre focus: African American Spirituals, Madrigals, American Folksong Bucket Drumming 101-02 Drum circle

INSTRUMENTAL MUSIC: Hands-on sessions for teaching proper beginning sound production-techniques BWSP. Chamber Music in the String Classroom The Challenges of Adding Winds to a String Orchestra String Program Repertoire: How to Spot What Works Technology For String Instruction Elementary Instrumental Reading Session, Think Small-Get Big Results continued on page 20

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SUMMER MUSIC STUDIES

PRE-COLLEGE SUMMER INSTITUTE

WEEK-LONG GRADUATE COURSES

FOR HIGH SCHOOL STUDENTS

With a legacy of serving music educators from across the country each summer for over twenty years, the Summer Music Studies Program offers graduate level coursework for students interested in expanding upon their pedagogical, technological, musical, and instructional skills in all genre of music classrooms.

Renowned faculty from The University of the Arts, as well as content experts from across the country, provide week-long graduate level instruction.

As a component of the Summer Music Studies Program UArts offers a 33 credit Master of Music in Music Education that can be completed in as few as three summers.

APPLICATION TO THE MM IN MUED FOR SUMMER 2017 IS NOW OPEN

JULY 10 – JULY 21

CS.UARTS.EDU/SMS

2 WEEKS 3 COLLEGE CREDITS

MARCH 2017

The University of the Arts SUMMER MUSIC STUDIES

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

News From Our Division Chairs TECHNOLOGY: Smart Music Applications Tech On A Dime!-What’s Free Out There-How Do We Use It? Google Classroom Applications and Organization Communicate Like the Kids!

SPECIAL TOPICS: ‘Just’ the Music Teacher !

Instrument Repair: What Not To Do!

SPECIAL EDUCATION Teaching Music to Children with Autism Spectrum Disorder Lessons and Activities for Children with Disabilities Pre-K and Primary.

Teaching Students with Behavior Disorders Activities to Engage Special Learners

A Full day of Collegial Networking and Camaraderie in summer garb!

See you there! Register now!

Technology

Marjorie LoPresti 732-613-6969 marjorielopresti@gmail.com

Do you use technology with your students?

Do they do some cool projects?

Why not share what you know and do in your own classroom?

Presenters are needed for two types of upcoming events: The NJ Student Music Technology Expo. Presenters at this event can include students and alumni who have created unique projects using technology, community members, or teachers sharing pro level skills, tips and tricks. Student and teacher performances that use technology are also welcome. Expo events are planned for Monday, May 15, 2017 at Rutgers, and Thursday, May 18, 2017 at Rowan. Email marjorielopresti@gmail.com with ideas or for more information.

NJMEA Summer Workshop. Peer sharing is a cornerstone of this relaxed day of learning. Consider sharing what works in your classroom!

Save the date - August 1, 2017. Contact njmeasummerworkshop@gmail.com for more info.

Registration for the 2017 NJ Student Music Tech Expo will open on March 1. Check the information and registration link at https:// njmea.org/classroom/technology/.

This student-centered, science fair style event features exhibits of adjudicated student works as well as hands-on workshops and performances. The event is open to students in grades 3-12 who are sponsored by NJMEA member teachers.

Throughout the day, students will explore electronic music-making in hands-on workshops with tech gear, receive training from music industry professionals, and get up close to the action during performances. Student ensembles featuring electronic/technology-based music are invited to perform. The Expo will culminate with an awards ceremony to recognize the exemplary works submitted by student participants.

Student projects may be submitted in advance, and will be evaluated by professional composers using a festival rating scale (gold, silver, bronze). Categories include remixes, multimedia, and applied technology projects. Students attending the Expo will have the opportunity to review and rate projects along with the pros, then vote for “best in show.”

Mark your calendar now: Expo North will be held on Monday, May 15, 2017 at Rutgers, and the Expo South will be on Thursday, May 18, 2017 at Rowan. Visit the Technology link at njmea.org for more info. Registration will open March 1, 2017. &

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Christian Howes Depends on Yamaha.

“The Yamaha Silent Electric Violin rocks. I have used it for 15 years and it keeps getting better. It’s the only electric violin that sounds great clean and still has the flexibility to be processed for use with multiple effects.”

-Christian Howes Renowned Jazz Violinist/Composer

Y mahaMusicUSA Ya

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Discover your music potential!

Bachelor of Arts Degree in Music Certification K-12 Music • Outstanding Liberal Arts Program • Accredited by Middle States Association • Multidisciplinary Minor in Music Industry • Performance Opportunities – Wind Ensemble – University Chorale – Jazz, Woodwind and Percussion Ensembles – Popular Music Ensemble – Opera and Music Theatre • Marching Band (coming 2017)

your defining moment COUGAR MARCHING BAND AUGUST 2017

Don’t miss out on the excitement!

Contact Rebecca Vega for more information.

Rvega@caldwell.edu 973-618-3446

ACCEPTED STUDENTS DAY:

APRIL 1

JUNIOR OPEN HOUSE

6TH ANNUAL SUMMER INTENSIVE PERCUSSION CAMP

APRIL 29 • 10:00 AM RSVP: caldwell.edu/rsvp

JULY 8-15

Don’t miss a beat this year, attend this camp!!

Alex Bocchino, Director For more information contact Nan Childress Orchard, Nchildress@caldwell.edu

caldwell.edu

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EDUCATORS

LOOK NO FURTHER RUSSO HAS ALL YOU NEED Russo is a full-service music store that has been servicing area schools for over 50 years.

Let us become your partner for all things music.

Rental and sales services

A full line of percussion instruments Brands include: Tama, Yamaha, DW, Zildjian, Sabian, Pearl, Paiste, Craviotto, Meinl, Latin Percussion, Mapex, and more.

Rent new and like-new wind instruments and fine European stringed instruments-from piccolos to double basses. Brands include: Buffet, Bach, Yamaha, Conn-Selmer, Jupiter, Gemeinhardt, Getzen, Leblanc, and more.

All brands are available for purchase.

Exclusive area franchiser for Doetsch, Sophia, Loree, Powell, and Sonare

Affordable lease-to-own payment plans

A variety of top-brand electric guitars, basses, and keyboards

On-site repair for band and orchestral instruments and electronic equipment Weekly servicefor your school including pick up/delivery service and accessories

Sales and installation of sound and recording systems for schools, theaters, offices, churches and outdoor venues.

Piano labs

School purchase orders accepted

All of our friendly, knowledgeable representatives are easily reached via email and voicemail.

THE AREA’S LARGEST SELECTION OF INSTRUMENTS AND ACCESSORIES WITH TWO LOCATIONS TO SERVE YOU!

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Presenting Our Candidate For NJMEA President-Elect NJMEA Election - APRIL 2017 - ONLINE! It is that time again when we look to the future of NJMEA and elect our next President to begin serving July 1, 2017 for a two-year term as President Elect, a two-year term as President and a two-year term as Past President. We only had one person apply for nomination. The ballot gives you the opportunity to vote for this candidate or provide a write-in.

The NJMEA Presidential Election will take place through an ONLINE BALLOT. Each NJMEA active member will receive the link to the ballot in a TEMPO Express email. Please click on the link, put in your email address and NAfME ID number. Then select your Region and vote for your candidate.

The President Elect selection committee has asked our candidate to answer questions that were posed to him. Hopefully his answers will give you some insight to how he feels about issues and NJMEA’s role and not just his name and biography.

Here are his responses.

P

atrick O’Keefe currently serves as the director of instrumental music at Smithville School in Galloway Township. Patrick graduated with a Bachelor of Music in music education from the Hartt School of Music, University of Hartford with an instrumental emphasis. He continued his education by completing coursework with Boston University, and most recently with the completion of his Orff levels at Villanova University through University of the Arts. While in Connecticut, he performed as soloist, chamber musician, and principal tubist in multiple regional and collegiate ensembles. On tuba, Patrick has studied, performed and presented with Joanna Ross Hersey and Scott Mendoker. Patrick currently teaches grades 4 - 6 band, where students at Smithville are divided into two concert bands, as well as having the opportunity to perform in Jazz or Percussion Ensemble. He was named Teacher of the Year in the 2014 - 2015 school year. During his tenure, Patrick created an Orff program for students prior to joining band, and as a result now runs five Orff ensembles and has integrated the program into the general music curriculum for third grade. Patrick is a member of the American Orff Schulwerk Association and currently serves as president of South Jersey Band and Orchestra Directors Association.

Shawnee High School Marching Band, from Medford, in various capacities for the last 8 years, as well as currently serving as private applied music instructor for music majors and minors at Stockton University in Galloway.

While educators face challenges of varying degrees everyday, music educators seem to find themselves constantly in a place where advocacy and job validation is not far from their minds. The need for advocacy is not something new, and certainly not something that is yet to be recognized; however, continued changes in politics bring continued change to education policy. Changes like this can impact our education professionals in many ways as we know, with everything from budgeting to scheduling. The thought of these added pressures can be intimidating, especially for those members of our organization who are finding themselves just starting their careers, or beginning a new job. Advocacy needs are not something that seem to be going away, and as a result NJMEA will need to be as diligent as ever in efforts to support and provide its members with a strong and reliable support system.

NJMEA has done and continues to do great work advocating for us at the state level. This is important. Empowering our members by providing them with a full tool box of resources and knowledge is just as important. The standards should be high for our teachers, and a teacher that excels with their students is one that can be defended. I believe diversity is an important piece to this puzzle. Certain programs in our profession can be seen as only serving those that find themselves in a higher socioeconomic bracket, able to receive training outside of school or afford the trips and special programs. Helping our membership become successful for all students is vital, and something as simple as more conference offerings dedicated to serving those underrepresented groups in our student bodies is moving us in the right direction. We should continue to seek out those members of our organization that are finding success in this area and use them to help those in similar situations. There are those of us that work regularly with NJMEA and realize its offerings, but we all know colleagues that do not. By continuing to encourage involvement in all facets of our festivals, conferences and educational opportunities, we are making our organization stronger and most importantly, our students more successful.

While serving as president of SJBODA and on the board of NJMEA, Patrick worked on a committee to rewrite and revise the New Jersey Core Curriculum Content Standards. Previous service to the region includes directing and managing different ensembles, including piloting and coaching the first Tuba Euphonium Quartet as part of the Chamber Program in 2016. Patrick first presented at the NJMEA Conference in 2015. He has also worked with the TEMPO

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IT’S A NEW ERA

IN EDUCATION What does that mean for you as a music educator?

Music advocates have begun the hard work of ensuring the Every Student Succeeds Act (ESSA) is properly implemented across the country. With music included as part of a wellrounded education, now more than ever, your voice and expertise as a music educator is critical.

NAfME is here to help you make a strong case for music education under ESSA.

“Everything ESSA” Visit bit.ly/NCLBends for all the resources you need to understand ESSA and take action to ensure implementation includes music at the state level. NAfME’s Toolkits include:

• • •

ESSA in Plain English: What It Means for You: Learn more about this historical law and see our detailed FAQ that features questions asked by music educators just like you.

ESSA Implementation Toolkit: This thorough resource links your program with admissible provisions in ESSA so you can make your case for your program where you work.

NAfME Field Guide to State Lobbying: This document explains the ins and outs of what you can do to lobby at the state level.

Webinars At bit.ly/NCLBends, you can receive recognition for professional development valued at one contact hour for watching these webinars: • ESSA Passage and Next Steps • Title IV, Opportunities to Learn, and You! • Federal Funding Facts

Grassroots Action Center Right now, you can make your voice heard on Capitol Hill. At bit.ly/NAfMEgrassroots, you can: • • •

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Support music education in federal education policy Be involved with the legislative process Engage your members of Congress via ready-to-send letters on ESSA funding

Your Association. Your Profession. Your Voice.

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The 55th NAfME Eastern Division Biennial In-Service Conference Managed by the New Jersey Music Educators Association Atlantic City, NJ April 5-8, 2017 NJMEA is pleased to host the 55th NAfME Eastern Division Biennial In-Service Conference. This year’s conference, which will replace the annual NJMEA State Conference held in February, will take place at the beautiful and spacious Atlantic City Convention Center and Sheraton Hotel, Atlantic City, NJ from April 5-8, 2017. In addition to the Technology, General Music, Choral, Collegiate and Instrumental (Band, Orchestra and Jazz) Academies, this year’s conference will once again feature an outstanding array of nationally renowned clinicians and performing ensembles representative of the Eastern Division’s finest ensembles. The Eastern Division Composition Competition, Tri-M Leadership Academy, Research Poster Sessions, Lobby Concerts and a large exhibit hall boasting a wide array of musical instruments and materials will round out the offerings.

Especially exciting for our membership will be the featured Keynotes and Concerts. Rita Moreno, Thursday’s Keynote Speaker, is best known as Anita in West Side Story, a role that earned her an Oscar for Best Supporting Actress, making her the first Latina actress to win the honor and one of only eleven people to have received the four major entertainment awards—Emmy, Oscar, Tony and Grammy. Steven Ball, Organist for the World’s Largest Organ, will perform a silent movie presentation in Boardwalk Hall on Wednesday evening while the internationally acclaimed jazz vocal group, New York Voices, lights up the evening on Thursday. The United States Air Force Band and Singing Sergeants, the Air Force’s premier musical organization, will present an exciting concert on Friday evening. The Air Force Band honors those who have served, inspires American citizens to heightened patriotism and service and positively impacts the global community on behalf of the U.S. Air Force and the United States of America; a concert that you will not want to miss! The conference concludes Saturday with the All-Eastern Performing Ensembles. Enjoy outstanding performances by 600+ of the best student musicians from the Eastern Division states.

Join your Eastern Division colleagues from Connecticut, Delaware, Europe, Maine, Maryland, Massachusetts, New Hampshire, New Jersey, New York, Pennsylvania, Rhode Island, Vermont, and Washington, DC. for this outstanding professional development opportunity.

Conference information, including hotel accommodations and registration can be found at www.nafme-eastern.org. Be sure to use the links provided to obtain the best hotel rates! Program and performance information can also be found on the NAfME-Eastern website. Download the “GUIDEBOOK APP” to your digital device and bring it with you to AC to browse the conference offerings, plan your schedule, receive real time updates and connect with attendees! (The complete program will be up on Guidebook in February.)

The following pages include a preview of the many sessions, clinicians and performing ensembles which will be a part of this exciting event! Hope to see you on the boardwalk in Atlantic City this April!

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2017 Eastern Division Conference SESSIONS - Presenters in Alphabetical Order Sessions are listed by the day being presented at http://nafme-eastern.org Embodied & Expressive: Enhance Performance With Body Mapping – Heather Buchanan Games, Stories, and Songs: Capturing Little Musicians – Elizabeth Bucura Project-Based Musicianship for Secondary General Music – Elizabeth Bucura Building Internal Musicianship for Better Teaching – Nathan Buonviri An Introduction to Scat Singing for Kids! – Sharon Burch Salsa for Kids! A Kid-Friendly Introduction to Latin Jazz – Sharon Burch Free Technology Resources For Elementary Music Educators – Amy Burns Lesson Plans: Elementary General Music Classroom with iPads – Amy Burns Saddle Up Your Music Class... Giddy Up, SAMR! – Amy Burns Move with Style – Suzanne Burton Breaking the Sound of Silence: A Teacher Conversation Group – Suzanne Burton Dalcroze Eurhythmics in the General Music Classroom – Marla Butke Enhancing the Choral Art Through Dalcroze Eurhythmics – Marla Butke Music for High-Tech Ears: What Do Students Hear?

– Maureen Butler Sign Language Fun for Music Class and Chorus – Maureen Butler Drumming Up World Music: West African Rhythms and Songs – Steve Campbell The Rhythm is Here! A World Music Journey in Rhythm and Song – Steve Campbell Beginning Improvisation and Composition for Classroom Guitar – Mike Christiansen So, You’re The One That Will Be Teaching the Guitar Class – Mike Christiansen Ukulele: Four Strings, So Many Possibilities!

– Mike Christiansen Turning Drummers Into Percussionists! – Chris Colaneri My Ladies Loved These Songs – Hillary Colton

New Jersey Music Administrators Association Collegiate Forum – Joe Akinskas NJ Music Adminstrators Association Open Forum on Instruction – Joe Akinskas NAfME-Eastern Division Guitar Educators Meeting – Thomas Amoriello Stick-to-itiveness: How and Why to Practice Conducting – Shelley Axelson Leading the Way to Proficieny Through the Arts – Susan Barre Chrome+GAFE+Music Educator=An Innovative Way to Teach Music! – Susan Basalik Front-Loading Your Repertoire – Christine Bass Responding to Student Compositions by Encouraging Creativity – Nancy Beitler Building a Community Through a Community Chorus – Steven Bell Effective Warm Up Strategies: The First 10 Minutes – Chris Bernotas The Band Director as a Musical M.D. – Chris Bernotas Composition, Creativity and Recorders: Perfect Together – Rebecca Birnie Strategies for Assessing the Multitudes in General Music – Rebecca Birnie Routes and Resources for World Choral Music – Vanessa Bond How We Teach Is As Important As What We Teach – Peter Boonshaft Inspired Teaching – Peter Boonshaft Warm-up and Ensemble Development Exercises that Work – Peter Boonshaft Cheeks, Lips, Fingers, Tongue: Nuts & Bolts of Brass Success – Aaron Booz The Technique is Subservient to the Music – Darryl Bott Innovative Uses Of Technology In The Orchestra Rehearsal – Joseph Brennan We All Perform On the Same Stage – Joseph Brennan Wander the World with Vocal Warm-Ups! – Lynn Brinckmeyer Cloud-based Asset Management for Directors – Paul Brown

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2017 Eastern Division Conference Seeds Matter – Chiho Feindler Building the Middle School Choral Program – Brent Fisher Elementary Band! How Do I build a Successful Program.

– Ben Fong Music Rich Writing Activities in the General Music Classroom – Loren Fortna Composing and Arranging for Guitar – Loren C. Fortna Please Fret, But Don’t Worry: Starting Guitar/Ukulele Class – Loren C. Fortna Improved Choral Intonation Through Voice Matching – Lauren Fowler-Calisto Living the Dream - Survival and Celebration of Retirement – Paul Fox Elementary Music Instruction Fit For a Kid! – Jim Frankel Engagement and Accountability: The Solution is in the Cloud – Jim Frankel Inspiring Creativity and Community with Technology – Jim Frankel iPads, and Android, and Chromebooks ? Oh My! – Jim Frankel Leading Young Instrumentalists Toward Musical Diversity – Carol Frierson-Campbell A Creative Space: Conducting (& Building) Creative Singers – David Fryling A Student Centered Approach to H.S. Jazz Band Rehearsal – Matthew Gallagher Making Them Musical: Warming-up For Choral Musicianship – Amelia Garbisch Practical Pathways: Accesible Electronic Improvisation – Zachary Gates “Putting Out Fires” – Thomas N. Gellert The Three C’s - Collaborative Composition Classroom – Kris Gilbert Killer Strategies to Teach Music History in the Classroom – Daniel Glass How to Build Individual Skills In An Instrumental Ensemble – Eugenia Goldman Project-Based Learning in the Large Ensemble: Yes, You Can! – Jennifer Greene Music Student to Music Teacher: Nail Down That Job! – Peter Griffin Hot Marimba Music for Mallet Percussion and Orff Instruments – John Gronert

Effective Assessment in Heterogeneous Ensemble Settings – Deborah Confredo Meaningful Ensemble Adjudication Experiences – Deborah Confredo R.A.M.P. Up! Remote Access Music Partnerships – Deborah Confredo Music and Movement Activities from Around the World – Abigail Connors Exploit the Power of Arts Education – Richard Coulter SMTE Business Meeting – Kimberly Councill Starting With The End in Mind – Kimberly Councill FINALE 101: Learn the Essentials to Get You Going – Giovanna Cruz Getting Started With the New SmartMusic – Giovanna Cruz Need Quantitative Data? Use SmartMusic – Giovanna Cruz You Have the Newest FINALE But Are You Using It Like FINALE? – Giovanna Cruz Developing Musical Independence in Young String Players – Andrew Dabczynski Fixing Broken Baroque: Approaching Baroque in String Class – Andrew Dabczynski Of Course You Can Teach Strings! Strategies for New Teachers – Andrew Dabczynski The Big Picture: Learning & Interdisciplinary Connections – Andrew Dabczynski Vocal Health in the Choral Classroom – Anna D’Achille Hands On Conducting Workshop for Music Educators – Sandra Dackow Releasing the Potential of the Young Orchestra – Sandra Dackow Cold? Come Warm Up with B and Dr. D! – Joseph d’Auguste Teaching Beginning Jazz Improvisation – David Demsey Scaling the Clarinet: Raising Fundamentals to New Heights – Christopher Di Santo A Highly Effective Instrumental Program – Todd Doan One for Singing...and Singing for All! – Sandra Doneski Don’t Warm-up Your Choir: VOCALIZE Them Instead!

– Nicolas Dosman Easy Computer Music Programming with Scratch – Joshua Emanuel Welcome to the Gahu: Ghanaian Dance?-Drumming – Joshua Emanuel

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2017 Eastern Division Conference Jazz Improvisation in Elementary Band? All in Good Time – Tom Kamp CNAfME Out-Teach: Music with Chinese Shadow Puppetry – Michele Kaschub From Idea to Premiere: Composing Original Works in Choir – Michele Kaschub What the Kids Taught Me About Teaching Music Today – Michele Kaschub Active Music Making, A Link to Early Literacy Skills – Jo Kirk Music Making with Joy & Purpose! – Jo Kirk Tip Toe to Do-Si-Do, a Movement Sequence for Greater Success – Jo Kirk Music Literacy in the Elementary Choral Rehearsal – Craig Knapp Demystifying Music Theory and Helping Your Students Succeed – Adam Kolek Managing Your Classroom and Students Too: Time for a Reboot? – Keith Koster When Your Dream Job Isn’t Available: Teaching in Other Areas – Keith Koster Get Them Up and Singing! – Maedean Kramer Hip-Hop and Rap in Middle School Music?!

– Elizabeth Lagerstrom Standards Are Coming! Introducing Standards-Based Grading – Elizabeth Lagerstrom Classroom Management Made Easy – Valerie Leroy The Pedagogy Puzzle: Kodály and Orff Meet QuaverMusic – Valerie Leroy Cross Curricular Integration in the General Music Classroom – Andrew Lesser Just the Music Teacher – Shawna Longo Your Music Tech Toolbox: Making Wise Choices for Instruction – Marjorie LoPresti Military Music of the American Civil War – Jim Ludlam Differentiated Instruction In The String Classroom – Mary (Betsy) Maliszewskii Maintaining Diversity Across the MultiLevel String Classroom – Mary (Betsy) Maliszewskii Successful Teacher Evaluations within Strong String Programs – Mary (Betsy) Maliszewskii Top 10: Incorporating 10 Minutes A Week of Music & Entertainment – Stephen Marcone Bring Back The Harmony Into Your Music Classroom – Adrianna Marshall

Snare Drum Rudiments: Effective Teaching Techniques – John Gronert What’s New for Jazz Ensemble?: A New Music Reading Session – Jeffrey Haas Beyond Performance: Making Deeper Connections in Ensembles – Dan Halpern Round Up a Partner in Elementary Music – Robert Hamm Choral Engagement Through Developmental Skills and Repertoire – Steven Hankle Teaching Methods for Urban School Beginning Chorus – Steven Hankle Shifting the Fulcrum: A New Model for Choral Excellence – T. J. Harper Orff Schulwerk Without Xylophones – Beth Hepburn Purposeful Pathways : Starting the Journey K-1 – Beth Hepburn 21 SMARTBoard Superpowers for Musicians – Cherie Herring Go GREEN! 5 Collaborative Project Ideas Using Green Screens – Cherie Herring Tots and Technology: Are You Sitting Down?

– Cherie Herring Growing as Artists while Working as Teachers – Joseph Higgins Music In Motion: An Interactive Conducting Masterclass – Joseph Higgins Laban Movement Analysis: Expressive Conducting Pedagogy – Eric Hinton Improvisation in the Choral Classroom – Joy Hirokawa Teaching Vocal Technique in Rehearsal – Joy Hirokawa ‘Speed Interviewing’ - Refine Your Skills to Get A Great Job – Sandra Howard MaKey MaKey Music – Brendan Hughes Music Therapy: A Career for You? A Career for Your Students? – Bryan Hunter Rock As You “Roll”: Teaching Music From A Cart – Danielle Ingram Higher Order Thinking: It’s As Simple As Do Re Mi – John Jacobson Music of Our Roots: Singing the Songs of Our Heritage – John Jacobson Teaching Mallet Instruments – Peter Jarvis Keyboard Techniques for Young Fingers in the Classroom – Judy Kagel

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2017 Eastern Division Conference Exploring Sound & Improvisation – Michelle Przybylowski “You Earned An A!” Assessment in the Music Classroom – Sharin Rello Tips and Tricks for Easy Instrument Repairs – Pete Riccardo Think Small for Big Results- Benefits of Chamber Ensembles – Barbara Santoro Low Brass Recruiting and Retention – Dale Schubert Audio Basics for the Music Educator: Is this Mic On? – Daniel Schultz Google Classroom for Newbies! – Daniel Schultz PASSION and PRACTICALITY How to Keep Both in Our Teaching – Timothy Schwarz Improve Band Performance with Socially-Conscious Repertoire – Colleen Sears Commissioning Music: An Easy and Exciting Process!

– Michael Semancik Beyond Practice Tracks: Technology for Choral Conductors – Jennifer Sengin Discovering Talent: Recruiting Students Who are New to Choir – Jennifer Sengin Sequential Instruction for Musicality in Choral Rehearsals – Jennifer Sengin Elementary Grade Plays: Get Them Up on Stage!

– Callie Shafto Special Techniques for Special Learners – Rina Sklar “I Made It Up” Composing in Grades K - 2 – Janice Smith A Story in Five Songs – Janice Smith Beyond Sound Effects: A CRASH Course in Film Scoring – Janice Smith Duets, Duos and Pairs: Composition Projects for Two – Janice Smith Create, Perform, Respond, and Connect: Stronger Together – Alden Snell Improving Instruction Through Improvisation – Alden Snell Total Percussion JAM: Engaging Percussionists From Day One! – Yale Snyder Jazz Rehearsal Game Plan – Dean Sorenson Do You Truly Teach The Skill of Watching the Conductor? – Nancy Strelau The Most Important Gift We Give Our Students – Nancy Strelau

Guitar: The Perfect Addition to Your Music Department – Glen McCarthy What To Do With The Guitar Player In Your Jazz Band – Glen McCarthy American Song: How Jazz Choir Enhances School Choral Program – Kevin McDonald Flipping the Music Classroom ? More than Just Go Practice – Kathleen Melago I Wish I’d Known Then What I Know Now – Stephen Miles Advocating for a Music Technology Curriculum – John Mlynczak Creating, Responding, and Connecting – John Mlynczak A Musical Community for Special Learners: Bridging the Gap – Marguerite Modero Fostering Language and Literacy Through the Music Curriculum – Lauren Mulholland Breaking it Down - Adapting Music for Special Learners – Maureen Murphy-Fernandez Using Composer Skype Sessions to Make Meaningful Connections – Jenny Neff Retention: Keeping Our Best Musicians through Graduation. – David Neves Everything is Awesome When You Use Legos in Music Class! – Amanda Newell Zoo Keeper and Warden No More: A Proactive Approach to Classroom Management – Amanda Newell Orff Ensemble for the Elementary Performer – Patrick O’Keefe Contemporary A Cappella: Getting To The Next Level – Thomas Paster Putting Your Best Foot Forward: Your 1st Marching Band Job! – Matthew Paterno Sequencing Jazz and Blues in Elementary Vocal Music – Joel Perry Music Technology for the Middle School – Kimberley Peschi Pop, Soul & Orff – Thomas Pierre Sing, Say, Move, Play, Create: Authentically Engaging Warm Ups – Thomas Pierre Transistioning From Music Student to Music Teacher – Robert Pispecky Guaranteed Musical Success with Literacy Tools & Techniques – Adam Potter

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2017 Eastern Division Conference “Keep Calm.....and Teach Kindergaraten Music!”

– Lisa Wichman GAME ON! Games for Singing, Movement and Musicianship – Lisa Wichman Violin/Viola Bowing Basics for the Novice String Player – Jennifer Wiley Be Careful What You Teach, It Might Be Learned – Brandon Williams Classroom Management with Engagement – Matthew Williams A Comprehensive Guide to PRAXIS Music Test Preparation – Debbie Lynn Wolf If You Can Sing It, You Can Play it!

– Gregory Woodbridge Towards a Pedagogy. III: Assessing and Evaluating Creativity – Kim Yannon Towards a Pedagogy... II: A Creative Learning Community – Kim Yannon Teaching the Art of Music for Meaningful Student Assessment – David Zerull

Getting Started With Conversational Solfege – Missy Strong RECORDERS: Not Weapons of Mass Destruction – Ed Sueta There’s No Place Like Home: Playing with Improvisation – Lisa Sullivan Eye to Eye With the Orchestra for Choral Conductors – Julia Thorn Flexible Band Arrangements to Promote Musicianship – Pamela Turowski Live Art: a Paradigm for Inclusive Performing Arts Education – Rebecca Tyree How a Non-Auditioned Men’s Choir Can Improve Your Program – Thomas Voorhis Making Musical and Lifelong Connections for Special Learners – Brian Wagner Tools and Techniques to Engage Special Learners in Music – Brian Wagner Oh-boe! Not Another Double Reed Seminar – Kaitlyn Walker Student-Led Collaborative Rehearsals in the Large Ensemble – Adam Warshafsky Building a Strong Foundation in an Elementary String Program – Nicholas Wehr Set Up Your Beginner String Students for Success!

– Jayne Weiner Preparing Jazz Scores For Student Ensembles – Neil Wetzel

PERFORMING ENSEMBLES - Ensembles in Alphabetical Order

BANDS Norwin High School Wind Ensemble, PA – Timothy Daniels Randolph High School Wind Ensemble, NJ – Dawn Russo Ridge High School Wind Ensemble, NJ – Daniel Zugale The Atlantic Brass Band, NJ – Michael Armstrong The College of New Jersey Wind Ensemble, NJ – David Vickerman

John P. Stevens HS Wind Ensemble, NJ – Andrew DeNicola Montclair State University Wind Symphony, NJ – Thomas McCauley Nassau-Suffolk Honor Band, NY – Mandy DeShrage North Hills High School Wind Ensemble, PA – Leonard Lavelle

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2017 Eastern Division Conference CHOIRS

ORCHESTRAS

Central Bucks High School East Select Choir, PA – Christopher Villante Concordia Singers of the Nittany Valley Children’s Choir, PA – Lou Ann Shafer East Brunswick High School Concert Choir, NJ – Zachary Gates Haverford High School Chamber Singers, PA – Marsha Core Haverford High School Combined Choirs, PA – Marsha Core Indiana University of PA Chorale. PA – Ryan Beeken James I O’Neill High School Women’s Choir, NY – Christopher Sheehan John P. Stevens High School A cappella Ensemble, NJ – Matthew Lee Lower Dauphin High School Women’s Select Choir, PA – Elizabeth Colpo Montclair State University Singers, NJ – Heather Buchanan North Andover High School Scarlet and Black Singers, MA – Sara Durkin North Penn High School Chamber Singers, PA – Matthew Klenk North Penn High School Women’s Choir, PA – Matthew Klenk Temple University Concert Choir, PA – Paul Rardin University of Southern Maine Chamber Singers, ME – Nicolas Dosman Wellesley High School Rice Street Singers, MA – Kevin McDonald

East Brunswick High School Combined Chamber Orchestra, NJ – Arvin Gopal Harriton High School Chamber Ensemble, PA – Jessica Villante Hershey Symphony Festival Strings, PA – Sandra Dackow John P. Stevens High School Chamber Orchestra, NJ – Brian Verdi New Jersey Youth Orchestra, NJ – Jeffrey Grogan Pennbrook & Pennfield Middle Schools The P2 Select String Ensemble, PA – David Pimentel Randolph Middle School Con Brio Select Orchestra, NJ – Hsiao-Yu Lin Griggs SMALL ENSEMBLES Manalpan Englishtown Regional Schools ManalaPANS, NJ – David Geltch Monroe Township Middle School Percussion Ensemble, NJ – Yale Snyder S.E. Shull School Hot Marimba Group, NJ – John Gronert William Paterson University Hobart Trio, NJ – Kathleen Butler-Hopkins William Paterson University Percussion Ensemble, NJ – Jarvis Peter

JAZZ BANDS North Allegheny Jazz Ensemble I, PA – Todd Stefan Pennbrook Middle School Jazz Ensemble, PA – Peter Neu Penndale Middle School Jazz Ensemble, PA – Robert Kennedy The University of the Arts “Z” Big Band, PA – Matthew Gallagher West Milford Township High School Jazz Ensemble, NJ – Matt Gramata William Paterson University Jazz Orchestra, NJ – David Demsey

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2017 Eastern Division Conference How to Register for the 2017 Eastern Division Conference!

All Pre-registrations must be done online.

The links at the bottom of these directions will take you directly to the registration form.

To Pre-Register • You need to know the email address associated with your NAfME Membership • You need to know your NAfME ID Number • Once you log in the rest is simple, just fill in the fields and click on the events you want to attend.

Payment There are three forms of payment. All three are listed under Payment Method.

You must click on the arrow to see all 3.

You may pay by: 1) Credit Card – Everything is done in one click. You will receive a confirmation at the email you logged in with immediately after registering. You will receive nothing else until approximately 2 weeks before the Conference when you will receive an email with further instructions.

Pre-registration by credit card will remain open until April 3, 2017!

2) Check – Complete the form as indicated, print out the confirmation and send a check for the correct amount, made out to NJMEA, to:

NJMEA 1806 Hwy. 35, Ste. 201 Oakhurst, NJ 07755 Pre-registration by checks will end March 10, 2017. All checks must be Received no later than March, 15, 2017. You will receive an email approximately 2 weeks before the Conference with further instructions.

3) Purchase Orders – You MUST register online first. Choose the PO form of payment, print out the confirmation and have your school send the PO w/the confirmation to the above address.

Pre-registration by Purchase Orders will end February 1, 2017. All payment for PO’s must be received by April 1, 2017. NO purchase orders will be accepted after this date or on-site. You will receive an email approximately 2 weeks before the Conference with further instructions.

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2017 Eastern Division Conference Exception: The following MUST Pre-register by mail- First Year Teachers, Collegiate NonMembers, and Single Day Non Members. To be considered a First Year teacher you must: 1) have been a Collegiate NAfME Member in 2015-16, membership expiring June 30, 2016 and 2) be in your First year of teaching directly out of college, becoming a Regular NAfME Member after July 1, 2016.

You must follow this link to a paper registration form and mail it to: NJMEA 1806 Hwy. 35, Ste. 201 Oakhurst, NJ 07755 The Full Conference is Thursday, April 6 & Friday, April 7, 2017, with a Pre-Conference Day on Wednesday, April 5th. All Eastern Concerts end the Conference on Saturday, April 8, 2017.

The Full Conference price INCLUDES the Academies on Wednesday.

TO Pre-register for the Full Conference as an Active NAfME Member, a NAfME Collegiate member, a NAfME retired member or a non-member: Go to nafme-eastern.org Click on Pre-registration

TO Pre-register for a Single Day as a member, collegiate member, retired member or non-member: (You cannot attend on Wednesday only as it is the Pre-Conference ) Go to nafme-eastern.org/ Click on Preregistration for the fomr

2017 Fee Schedule Registration Type

Pre-Registration

On-Site

Active NAfME Member

$180

$205

First Year Teacher

$130

$155

Collegiate NAfME Member

$50

$75

Retired NAfME Member

$75

$100

Single Day NAfME Member

$130

$130

Non-Member

$350

$375

Collegiate Non-Member

$100

$125

Single Non-Member

$250

$275

Family Members

$75

$75

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Using Technology To Assist With Assessment In The Elementary General Music Classroom Amy Burns Far Hills Country Day School aburns@fhcds.org

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he most recent issue of NAfME’s Teaching Music had an excellent section devoted to technology and assessment. This portion supported the 2017 message from NAfME’s CEO and Executive Director, Mike Blakeslee, on how the association has to help teachers “consider and adopt practices that focus on culturally responsive music making.” He included technology in his message as an example of change that is occurring in many schools and how we have to utilize it to expand and enhance our offerings.

I have taught elementary music for over 20 years and was excited to see that elementary music was included in their technology assessment segment. There are several ways to use technology to enhance the assessment in the general elementary music classroom. If a teacher likes their current way of assessment, and the school accepts the assessments, then changing to one that is technology-based is not a priority. However, if an elementary teacher would like to further their assessment or want to know how it can enhance their current philosophy, methodology, or approach, here is a list that has been very successful in my classroom or in other elementary music educators’ classrooms that I have observed.

Tools You Might Already Own One of the best assessment tools is using your mobile device to record audio or video of your students’ performances. For years, I have taken video of my classes singing one of their concert songs a week before the concert. When finished, the students would watch the recording, analyze, and evaluate the following aspects: Younger Elementary: I asked the younger students questions such as, “Do you see everyone singing?”, “Is everyone standing up straight”, “Can you hear the words of the song?”, and “What else do you see?” These questions prompted the students to think about the performance and to reflect on the items we have been working on like posture, memorizing the words, and everyone working together to perform the song. The young students cannot state any names because there are some students who are shy singers. If I feel that this question might make a shy singer uncomfortable, then I will not ask it. However, these questions prompted the younger singers to assess their performance. I will either record those responses or write them down. Those responses are wonderful additions to their progress reports, such as, “Sarah recently commented that when she watches her class sing, everyone stands up tall and sings out. I love how Sarah is beginning to analyze and evaluate musical performances.”

Older Elementary: As the students are watching the recording of the rehearsal, they are checking off items on a rubric. For example, the rubric could include some of the following items: Do you see or hear the following items?

Yes

No

Do you understand the words the performers are singing?

Do the performers have good posture?

Are the performers projecting well?

If the song has the performers singing in parts, can you hear both parts?

What else do you see?

What did you like best about the performances?

What did you find most challenging about the performances?

This rubric could be in the form of paper and pencil or electronic. These video and audio tools that are included on most smart devices are helpful in assisting a discussion about analyzing and evaluating students’ performances.

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Websites and Apps for a Classroom with One Device to a 1:1 Classroom There are some websites and apps that can assist or give you ideas on what and how to assess. Here are a few that have been very successful in elementary music classrooms: Music Tech Teacher (musictechteacher.com) There are numerous websites that can assist in assessing elementary students in general music class. One of my favorites is Karen Garrett’s musictechteacher.com. Karen is the 2006 Technology for Music Education (TI:ME) Mike Kovins Teacher of the Year Award winner. She created this website years ago and keeps it up-to-date. It was originally intended to accompany her grades 2-5 music classes.

However, many music educators visit the site daily to utilize her lesson plans, quizzes, and games. Her games are based on musical concepts such as rhythm values, musical terms, instrumentation, rhythm math, and more. Some of the students’ favorite games are “Instrument Soccer Challenge”, “Rhythms HoopShoot”, and “Rhythm Quiz” where you can “Fling the Teacher.”

Plickers (plickers.com): Plickers is a successful tool for a music classroom with limited devices. It requires one device with the app (iOs and Android), the Plickers cards, and a free account that you create at plockers.com. In your account, you can create multiple choice or true/false/ yes/no questions. Currently, your questions can include pictures. Once you input the names of your students into a class list (you can cut-and-paste them in), Plickers will assign the students their card numbers.

Once you create an assessment, and print out the cards and the class list with the assigned numbers, you give each student his/her assigned card and begin asking the questions.

You can click “LiveView” from your computer screen (when in plickers.com) and the questions with the pictures will appear on the screen. When you ask the students their questions, they will turn the card with their corresponding answer facing up. For example, if they believe the answer to be “A”, then the letter “A” is facing up.

Through the app on your mobile device, you click on the question you are asking, click “Scan” (it connects to your camera), and then you can see who is answering correctly and who is answer incorrectly.

Click the check button on the bottom of the screen and it records their answers. Through your website account, you can review the answers in the “Reports” section. No two cards are the same and it is difficult for them to look at someone else’s answer because the letters are printed in a small font size. I usually line my students up in three rows (standing, kneeling, sitting) so that I can assess them in one scan. I also mounted my cards on construction paper so that they last a long time. You can purchase matte-laminated Plickers cards on Amazon as well. I have used Plickers with the students in grades kindergarten through three to assess high and low sounds, as exit tickets, and to assess how they are feeling when dancing with other children. It has been tremendously helpful with my assessments.

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Socrative (Socrative.com) I have used Socrative for years to give my 2nd, 3rd, and 4th graders preand post-assessments. Socrative is free, but you can purchase the upgrade to Socrative Pro. With the free account, you can set up a public room for your classes.

You then create your assessment. The assessment can include pictures and be set up in the forms of space race (game-like quiz), multiple choice, short answer, exit ticket, or true/false. From your device, you launch your assessment. When the students need to access the assessment, they do not need an email address to login, just a device. On days that I know that I will use Socrative, I have asked other teachers if I could borrow devices such as laptops, chromebooks, and iPads.

Since Socrative runs from a web browser, it successfully works on many devices. Now that my school is 1:1, the students bring their devices with them. The students go to socrative.com (or click the app on our iPads), click on “STUDENT LOGIN”, type in your public room name (i.e. Music Room 17), and then type in their name. The pro version allows you to skip these steps by uploading all names and giving a link to quickly access the assessment. The students then begin the assessment. On your device, you can see their progress, if they left any questions unanswered, and when they finished the assessment. Their answers are now recorded and you can export them via download, email, or Google Drive. They will also stay in your account. Other similar tools that have been very successful with educators are Kahoot! (getkahoot.com), Google Forms, and Quizlet (quizlet.com). iDoceo (currently iOS only) Though this is a pricier app, it is well worth the price. From my iPad, I can launch this app and see all 17 of my classes’ seating charts; access all of their assessments including video and audio assessments; export the assessments through a variety of ways from Google Drive to OneDrive, have the app select the next student with its builtin teaching tools; and so much more. I adore using this app to record my students’ singing and playing assessments from the youngest to the oldest of students. I love that I can print out all seating charts with pictures and leave them for my sub when I am out. This app assists greatly with my assessments and my organization of them.

Seesaw (web.seesaw.me) Seesaw is a student digital learning portfolio, which can be used as an self-assessment tool for the student. The free version allows the teacher to set up 10 classes. If you have more than 10 classes, you can set it up per grade level instead of by class. Once you set up your classes, you or your students can add their student work into their individual digital portfolios. For example, if they sing an assessment in a 1:1 classroom, you can ask them to open their Seesaw page, go 37

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to a corner of the room, sing their assessment, and click the check mark. It will not upload to their portfolio until you approve it. You have access to their portfolios. Therefore, you can approve and disapprove items, leave comments on items, and share items with parents. If you are in a classroom with one device, then you can record them individually or set up a station where they record themselves. Finally, these portfolios follow the students throughout their school years. Therefore, you can share their musical assessments, along with their music creations, compositions, performances, etc, with their next music teacher. Please contact me if you would like to learn more about this as I did a free PD NJMEA webinar on this for elementary music educators in NJ. SMART Technologies: Using smart devices instead of the previous clicker system Years ago, SMART Technologies had a clicker system where an educator would create assessments in the SMART Notebook software, launch the SMART Response system, and have the students answer the assessment questions using clickers that were devices that looked like remote controls. Currently, those clickers no longer work with their newest SMART Response 2 system (https://education.smarttech.com/ en/products/smart-learning-suite/smart-response-2/smart-response-2-faqs), unless you run Notebook version 16.1 or earlier. When devices such as iPads, Chromebooks, and tablets became more prominent in the school system, SMART updated this application to the SMART Lab. The lab is accessible through the Notebook software. It includes more features than the clicker system and can support around 100 student devices, depending on the school network. It allows lesson sharing and immediate feedback. If you have a SMART Board in your room and you use the Notebook software, definitely check their website at education.smarttech.com.

What about using technology with a certain approach?

There are excellent approaches and curriculum to teaching elementary general music: Dalcroze, Feierabend, Gameplan, Gordon, Interactive Music Powered by Silver-Burdett, Kodály, McGraw Hill Music Studio, MusicPlay, Orff-Schulwerk, Purposeful Pathways, Quaver’s Marvelous World of Music and so many more. Most of these approaches and curriculum lend themselves to technology-assisted instruction as the technology is built into the product. However, if your technology is limited and you are utilizing one or more of these approaches, then technology can be a great assessment tool to enhance your vocal assessments, performance assessments, recorder tests for belts, concert evaluations, and more. Technology can also assist your students in finding fingering charts for instruments, chord charts for ukuleles, information for research projects, etc.

Assessments in the elementary general music classroom are a great way for the educator to make sure that the students comprehend what they are teaching. In many schools, teachers are required to show their assessments to an administrator. However, for many music educators, assessments give us the feedback on what is working in the classroom and what is not. It assists us with improving how and what we teach to our music students.

Technology is one way to assist with assessing numerous students because when we teach elementary general music, we are usually assessing numbers in the three-digits (100+ students) daily. I hope that some of the ideas listed above will assist you with assessing your elementary music students.

Amy M. Burns (aburns@fhcds.org) has taught PreK-grade 4 general music for 20 years at Far Hills Country Day School. She has authored 3 books on how to integrate tech into the elementary music classroom. She has presented many sessions on the topic, including 2 keynote addresses in TX and AU. She is the recipient of the TI:ME Teacher of the Year, NJ Master Music Teacher and Governor’s Leader in Arts Education Awards.

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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.

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Heavy Metal Guitar: From Times Square To Netflix And Beyond Thomas Amoriello Fleminton Raritan School District tamoriel@frsd.k12.nj.us

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very so often a band comes along and captures the attention of the public - but, generally not when the average age of the band members is 11! Yet, that is exactly what happened in 2013 when video of the Brooklyn based metal trio Unlocking the Truth performing outside a New York City subway station was posted to YouTube. Soon after the video went viral and the band of youngsters was propelled into the spotlight garnering a major label recording contract with Sony, opening stints for such artists as “Metallica,” and most recently were the subject of the documentary Breaking a Monster (currently on Netflix).

The authors had the chance to speak with 15 year old Malcolm Brickhouse, guitarist and singer for the Brooklyn based heavy metal trio about everything from what got him started playing the guitar to what the future holds.

Matthew S. Ablan Charlotte-Mecklenburg Schools Charlotte, NC matthew.ablan@cms.k12.nc.us

to metal and me and Jarad (drummer for Unlocking The Truth) would jam out and cover our favorite bands. My parents took us to a “Disturbed” concert at the IZod Center when we were about 9 years old and that’s when we knew we wanted to start our band.

Do you come from a musical family?

No, not really. If DJ-ing is considered musical, my dad dabbles in that.

Do you learn from guitar magazines, YouTube, a guitar teacher?

Yes, I took guitar lessons, watched YouTube videos, and I have a guitar teacher, but I find myself rarely using those options. I got better at guitar over time by just experimenting with it by myself.

What is your typical practice routine like?

I really don’t practice, I just create songs when the feeling hits me. But, when I’m with my band, our typical practice routine is to do a set of songs. Then we start to create new music when we are all deeply feeling the music and vibing together.

What got you interested in playing guitar - Was there a certain song or maybe certain player that made you think, “I want to do that?”

My mom was always looking for things for me to do when I was younger, so she enrolled me in a bunch of different classes from art to drawing, to magic, gymnastics, karate, piano and guitar lessons, everything.

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Who are some of your favorite rhythm players? Lead guitar?

I love lead guitarists. I really like Jeff Loomis of the band Nevermore, for his speedy yet fluent guitar skills and Jimi Hendrix for his creativity, individuality and uniqueness with his guitar playing. I also like Vernon Reid of the band Living Colour.

He plays hard and uses all kinds of effects pedals. As a matter of fact, we have become very good friends with “Living Colour.”

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Did you or do you take guitar lessons?

I used to take guitar lessons on Skype with my teacher, Arnold Strickland. Strickland is a progressive, fusion jazz guitarist.

He plays in a band called “STRICK9.”

How much time did or do you spend each day playing guitar?

When I was younger, it seemed like I played all day. Nowadays, I don’t really spend a set amount of time playing guitar each day. I play guitar whenever I have time to. I’m a very busy kid because of school and I also record, mix and master demos for my band and for a few up and coming rappers, which is time-consuming. So, I really have to manage my time. I don’t really practice the guitar, I just continue to create music.

What gear are you currently using?

I use LTD guitars tuned mostly in Drop B and C. I use an Orange Dual Dark 100 amp and a 4x12 speaker cab, and basic effects pedals, like the Wah and Whammy pedal. I’m not much of a music geek, but I do know the basics.

You’re on the ESP/LTD artist roster – how did that come about?

They saw our band performing in Times Square on YouTube and saw me playing their guitars, and really dug us.

They gave us a call and let me pick out a few guitars. They have been so nice to me over the years. I love the relationship I have with Chris Canella and Tony Rauser.

They are my artist reps, and I want to keep that going.

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Education from Case Western Reserve University. Ablan’s list of teaching credentials include having served as adjunct instructor of classical guitar studies at Allegheny College in Meadville, PA and maintaining a successful private guitar studio for close to two decades. Most recently he was a guest clinician at the 2016 North Carolina Music Educators state conference in Winston-Salem, NC and is the author/founder of The Guitar Teaching Blog. For more information about Matthew please visit: www.matthewablan.com

What is it about LTD guitars that you particularly like?

I just love how they look and sound. They look metal and they sound metal too. The “Slayer Season of the Abyss” model is one of my favorites.

What is the songwriting process like for UTT? I record demos at my house before going in to the studio. It starts off with a guitar riff. Then I build the sound with Jarad as he’s creating the drums. Then we add the bass and vocals last. When the mood hits me, I write the lyrics. What’s funny is that I can write the lyrics to the song with the guitar riffs, but once Jarad adds the drums, it just changes how the lyrics flow. So, I have to add the lyrics last.

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Can you tell us about your experience with music at school? Did you participate in choir or band?

I’m in a really corny school band and I play the bass. It’s really corny, but I deal with it because it’s part of the curriculum. I guess everything can’t be metal.

Do you plan to go to college for music or further your studies?

Of course I plan to go to college. I’m going to go for audio engineering. I really want to be a big time music producer and engineer. I already earned 3 college credits from Berklee College of Music’s online Pro Tools 101 course. I’m going to take Pro Tools 110 with them this summer. Then Pro Tools mixing and mastering and advanced mixing and mastering. Afterwards, I can take the Pro Tools certification test.

Do you have a future project that you would like to promote?

Not yet, but we are working on the second Unlocking The Truth album and we’re sounding better than ever. We have 8 songs completed and more coming. We can’t wait for everyone to hear it. If you thought Chaos was good, wait until you hear this one.

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 serves as the Eastern Division Representative on the NAfME Council for Guitar Education. 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. barnessandnoble.com Matthew S. Ablan is an elementary music educator in Charlotte, North Carolina. He is a graduate of SUNY Stony Brook and The Cleveland Institute of Music as well as holding a Masters in Music MARCH 2017

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Music Education In The Political Arena Andrew Lesser Burlington City Public Schools Rowan College at Burlington County andrew.lesser@yahoo.com

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sually, my articles revolve around pedagogical techniques or effective strategies aimed at furthering the literature regarding practices in music education. This time, however, I feel the need to discuss something beyond my typical submissions. Hours before I began writing this article, I received an e-mail from NJEA officials urging me to sign a petition against the confirmation of Betsy DeVos, who, at the time of this writing, is the nominee for Secretary of Education under the incoming Trump administration.

To place this in a temporal context, I had composed this article in early January 2017, approximately two weeks before the Presidential Inauguration. Since I am aware that this will not become available until March, I can only predict that Donald Trump is now the President of the United States and the decision to confirm Ms. DeVos as Secretary of Education has already been determined.

The petition that I and other members of NJEA had been requested to sign contained a pre-written letter that would be sent to New Jersey senators Cory Booker and Bob Menendez. The letter had spoken out against Ms. DeVos’s lack of experience in the educational field, specifically her political record against public school education and inability to relate to working class families due to her wealthy upbringing.

Prior to this, I had not been particularly active in political matters, but as I have witnessed the polarization of the perspectives surrounding the events leading up to the establishment of our new President, I would like to take this opportunity to offer my views and thoughts regarding how we as local music educators should proceed in our daily teaching practices. Please note that any political opinions are my own and do not reflect the views of this publication or the NJMEA. The last eighteen months leading up to the Presidential election have been difficult to withstand. The negative atmosphere, including accusations of corruption, intolerance, inappropriate behavior, and even illegal activity have left melancholy, even morbid feelings among Americans. Oftentimes during the campaign I had been asked by my students about my opinions regarding each candidate, to which I replied that they are my own and prefer to keep them private. Discussing politics in the music classroom is generally an inappropriate topic and is ordinarily discouraged by most administrations.

Still, as an educator I felt obligated to answer in some way to counteract the rhetoric that I personally felt to be repugnant and damaging. After all, if the behavior of our prospective leaders could be considered as not befitting proper role models for our youth, then TEMPO

it would become even more imperative for teachers to fill that role in the classroom. Since speaking about the state of politics was not an option, I felt that the best way to counteract this corrosive environment was to enhance my practices to exemplify through music ,positive character traits such as tolerance, acceptance, and respect.

Below are the overarching themes that I have focused on during my regular general music classes.

1. Incorporate diversity into each lesson Music and the arts, more than any other discipline, have the potential to teach about diversity in all its facets through creative output. Artists, performers, composers, and philosophers of every race, creed, ethnicity, sexual orientation, and gender identification have generated works of significance that transcend the boundaries of time or political affiliation. The story of music is the story of personal identity, from the haunting jubilations of the African-American spiritual to the anger and nostalgia of Corigliano’s Symphony No. 1, inspired by the NAMES Project AIDS Memorial Quilt. Teaching our students that music is created and enjoyed by all people may serve as a strategy to combat intolerance, racism, and hatred.

2. Teach teamwork through group assignments The ability to work with others is essential to achieve success in any industry. Performing in an ensemble such as a choir, orchestra, band, or other group is an excellent opportunity to emphasize how each member is not only important in their own right, but also how they fit together as part of something greater. In non-performing ensemble classes, such as a music appreciation or general music course, having students work in pairs or groups on a common assignment may create the opportunity for teaching moments beyond music content knowledge. When conflicts arise, as they are sure to do during these situations, be sure to take the time to discuss with students how to peacefully resolve arguments with patience and compromise.

While teaching musical concepts and skills are important, taking advantage of these occasions may assist in helping students learn the benefits of positive interactions.

3. Use music to teach students how to think independently It is extremely easy to become overwhelmed by the partisan rhetoric sweeping through our nation, as members of contrasting political affiliations relentlessly attack each other’s views and guiding principles in the attempt to persuade and convert others to one side.

The omnipresent multimedia surrounding these controversies can easily influence the behavior and thinking process of impression42

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able students. One of the primary themes during the election was the plethora of misinformation, dubbed “fake news”, which swayed many voters based on what was currently trending. As educators, our jobs are not to teach students what to think, but to think for themselves. Independent thinkers can make more sophisticated and educated decisions about important issues, and music is an excellent medium to do this. Encouraging projects where there are no right or wrong answers will help students to think in more complex ways.

Writing a musical composition, critiquing a musical work, or finding new methods of performing existing pieces may provide students with the freedom to express themselves without fear of judgment or failure.

4. Practice what we preach This may seem like an obvious point, but there are always moments that exasperate and frustrate us, whether we are dealing with unruly students, irrational parents, or uncooperative administrators.

This is a part of any educator’s career, and although at times we may feel that our efforts aren’t appreciated as much as they should be, we must stay the course and show the qualities in ourselves that we wish to impart upon our students. I always tell my students that we have no control over others; all we can do is control ourselves and act according to our own consciences. Music is replete with examples of messages about the power of our own hearts, and how a positive act can influence others to do the same. Celebrating these qualities can serve to eliminate words and actions that insult, demean, or exclude any individual or group of individuals.

Most of these suggestions are aspects of teaching that we as music educators accomplish on a daily basis. Even so, it is sometimes difficult not to become disheartened and pessimistic when we turn on the news or access social media and see examples of vicious debates that negatively affect our nation. While it seems that there may be relatively little that we can do to rectify this situation, it is important to focus on the individual students we serve and guide them to work for something better through their own beliefs. It may sound hypocritical to ask students with differing opinions to work together to solve their differences when our own government is incapable of such progress, but it is necessary if we want to help them create a society of respect, tolerance, and equality. As music teachers, we have the ability to accomplish this using a unique and vibrant medium, proven to have been a significant factor in fulfilling the promise to create a more perfect union for all.

I appreciate your comments and would enjoy hearing your thoughts and suggestions. Please contact me at andrew.lesser@yahoo.com or visit my website at www.andrewlessermusic.com, and thank you for reading.

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Hosting A Family Night At Your School Missy Strong Mount Laurel Township School district strongfamily6@gmail.com

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Fleetwood’s Family Folk Dance Night is Around the Corner!

s music teachers, we want parents, colleagues, administrators, and the broader community to know what is happening in our classrooms. When members of our community have entrée into our programs, they become invested and supportive of our program. There are obvious ways to do this, like inviting people in to see classes or blogging, and then there are ways that we might not have considered before. One of these is hosting a large music event in which the community itself can participate in the music making. In this article I am talking about one such event: a family folkdance night.

There are a few different options – you can host a folk dance during the regular school day, or over multiple nights, but in my school I have chosen an annual Family Folkdance Night (FFDN.) In my most recent article from September 2016, I discussed why folk dancing belongs in our general music classrooms. It allows students to demonstrate their growing beat competence: students move to beat while also experiencing their own growing musicality in an authentic way. Form becomes easier to understand and articulate when we move to it. Additionally, folk dancing helps students experience muchneeded positive peer interaction, helping to build etiquette skills and positive community with peers. Lastly, folk dancing is just plain fun!

Since we know the value of folk dancing in our classrooms, how will hosting a FFDN play into what we’re trying to achieve with our broader musical goals? One major goal in my classroom is to promote the importance of community music making. Music not only helps us express ourselves, but it connects us to those around us. We learn that music is a crucial component of the human experience, from singing Happy Birthday to someone, to joining our voices and hearts in worship, to singing Auld Lang Syne at the beginning of a new year. Holding a folk dance event at our school is another way to give our students a way to come together and make music in community.

As I shared, in my school I do the FFDN once a year, on a weeknight in Winter, usually mid-February. While the entire school (K-4) is welcome, I put a proactive push for my 2nd - 4th grade families to come in an effort for more manageable numbers and because the younger students do not have as much dancing readiness or experience.

Before I go on to talk about the details of preparing for a FFDN, I must say I have gleaned both the original inspiration for doing this as well as many, many amazing ideas from Lillie Feierabend, who in her many years at the University of Hartford Magnet School in Hartford, Connecticut has hosted many hugely successful community dance events.

As you may imagine, there is more than teaching your students dances that must be done in order to plan for a FFDN. You must secure your building, communicate with faculty, parents, and the community, and connect with your PTO and other music teachers for help. I would like to start this section by sharing the initial letter that I send out to parents 4 - 6 weeks in advance:

TEMPO

On Thursday night, February 16th at 6:30 – 7:30 pm we will be having our Annual Fleetwood Family Folk Dance Night! Last year we had over 350 in attendance and it was a huge hit. I love that our students can show you things they are learning in music, but an even bigger reason is to bring us together as a Fleetwood Family- no TV, Facebook, Video Games, Cell Phones (and trust me, I’m the most guilty parent of all!)

You do NOT need to know how to dance, and you don’t need to have learned the dances beforehand. The kids have been doing these dances and are very excited to help me “co-teach” you that night. We will help any of our K and 1st students who don’t normally do these dances in their classes and have a blast being clueless in the process.

The event lasts only 1 hour and the phrase of the night is, “Come When You Can, Leave When You Must!” We provide music, Purell, and fun! You provide yourself and any family and friends you can gather.

If you know you are coming, it would be super-helpful if you would let us know and give us an approximate count so we can plan the food. Please sign and return the bottom of this form to Dr. Strong by Monday, January 30th!

We’re coming to the Folkdance Night on Feb 16th! My kid(s) are in (Circle all that apply): K 1st 2nd 3rd 4th Student Name(s) _____________________________________ ______________________________________________________ Approximate Number of Guests Coming, including students ________________ The framework of the evening’s events is wonderfully simple. Everyone arrives a few minutes before 6:30 pm. There is a room reserved for them to put their coats and other things that are locked for the dancing time. My own children and older children of my PTO volunteers serve as “babysitters” in my music room for children too young to participate. This frees up parents to be more focused on dancing with their own children and other people in attendance.

The gym has been cleared of almost everything, to discourage “wallflowers” and the floor has been marked with gym floor tape to give basic ideas of longwise sets. I also post very large posters with the dance

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formations on them to give newcomers an idea of what is ahead. There is a sound system set up with a wireless microphone for my use and a place for someone to help play the music through the PA system. And I completely clear the stage to be used as the “Kiddie Corral” for students in K and 1st grade. It is crowded, but they love being up there and they don’t have to worry about being run over by their older counterparts!

I have wonderful former student teachers, colleagues, and outside music teachers who come help that night. Some help man the “Kiddie Corral” and keep things going up as smoothly as possible. Others help on the main floor, especially when the dances are forming. I even have 2 faculty members serving as “bouncers” to walk the perimeter of the gym to encourage those who aren’t dancing to join in the fun! In the weeks before the FFDN, in addition to working on the dances with students in grades 1-4, I’ve invited colleagues to come learn the dances.

These colleagues love participating and serve as brilliant “leaders” that night.

I plan and prepare for 6-7 dances, knowing that I will be lucky to get through five. I choose an opening mixer dance like Sasha to really get everyone excited and dancing with as many different partners as possible. I then move on to a very simple circle dance like Les Saluts or Blaydon Races, encouraging circles of anywhere from 10-20 dancers. We move on to a more challenging circle dance like Heel and Toe Polka or Circassian Circle before getting into longwise formations. Depending on how the crowd is doing, we may do a very simple longwise formation dance like Chimes of Dunkirk or Alabama Gal. If I feel that they can handle it, though, I may move on to something like The Noble Duke of York or Kings and Queens. I end with a square dance, such as Simple Square. All of the dances I mentioned can be found from the “New England Dance Masters” books at dancingmasters.com, a wonderful resource.

As far as providing snacks, there are many different opinions on the subject. I have decided to allow food only at the very end of the night. No food setup can begin in the gym until the last dance is already happening, thus avoiding not giving adults the chance to stop dancing and congregate around the food table to chat. This has worked well, but I understand why others would simply say no to the idea of adding another layer to the night’s responsibilities. The 4th grade holds a bake sale after the dance to help raise money for their end of the year activities. This has the added benefit of increasing goodwill with the PTO. I reiterate often that the focus of the night is making music in community.

I hope that you will attempt an event like this- though it can be exhausting, it is well worth the effort. To end, I would like to share the lists I have that help me prepare starting a year before, in hopes that it will help you, too!

WEEK OF: • Count up attendance from slips and divide by grade • Choose helpers from 4th grade to be leaders/head couples • Clean stage completely, put risers on the side • Write out announcements for before and after, notes on each dance • Talk to kids about helping with their parents dancing • Drink water • Send out this reminder to parents via email blast and on blog:

YEAR BEFORE: • Choose date • Make building/facilities request and contact the fire marshall • Choose PTO Parent Chair/Talk to parents about 4th grade bake sale

THAT NIGHT: Establish the “quiet signal” – have students demonstrate Thank students, attendees, visitors helping, PTO chair and volunteers, admin No texting or Facebooking during the dance, pictures/video only!

Announce fire egress Littles to the “Kiddie Corral”

DON’T FORGET! Tomorrow night, from 6:30-7:30 pm in the gym, we will be holding our Fleetwood Family Folkdance Night. Here are a couple of important things to know ahead of time to help make things go smoothly: • Dress comfortably (especially your shoes!) it may get a little warm.

• Coats can be placed in the Art Room.

• If you have a child who is between 1 and 5, you are welcome to sign them into the music room starting at 6:20 pm. My own children will show a movie so that you’re more free to dance.

• This night is about being together, so please participate if you are at all able. I know it’s hard, but shed your inhibitions and join in with your kids, who’ve been working SO hard to show you these dances!

• All food and drinks will be out AFTER the dancing ends at 7:30 pm.

• There will be a 4th grade bake sale that is a fundraiser for the class, please bring a few dollars and coins to help out our kids.

DAY OF: • Turn up A/C once school day ends • Make a “Dancing Perimeter” with tape around the gym where it is the official dance zone and a Talking Zone maybe in the hallway outside the gym • Tape floor: l1 longwise formations. Tape the stage: 4 longwise formations • Hang big banner and dance formation posters on big marker board • Set up sound system and check mics • Set up 2 step risers, music stand, and a stool for me to use for calling dances • Water and Gong (for silent signal) on the stage • PURELL out across the stage • Set up Music Room for babysitting • Set up Art Room for coats

MONTH BEFORE: • Send home RSVP sheet to 1st-4th • Invite all faculty, staff, and admin personally • Decide on decorations • Double check re: any outside gym or club events being cancelled • Begin to teach or review 5-6 dances in preparation w/2-4th • Teach the easier dances in the 2 weeks before to K-1st

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A Pioneer In Guitar Ensemble Education Thomas Amoriello Fleminton Raritan School District tamoriel@frsd.k12.nj.us

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n the May 2015 issue of TEMPO appeared an article entitled, Guitar Education Roundtable: Thoughts on Guitar Ensemble, also reprinted in the Michigan Music Educator, Winter 2016 issue. The purpose of that article was to learn from various guitar ensemble directors from across the United States about what strategies worked in their programs, and valuable information was shared by all involved in the roundtable. Today we will revisit the topic with a focus on one person who created the first guitar chamber orchestra in the USA. Reed Desrosiers, a native of Jaffrey, New Hampshire, did his undergraduate studies in guitar under Otello Mauri, Florence, ltaly, and Bernard Hebb and Herbert Balzer at the Hamburg Conservatory of Music, Hamburg Germany. His graduate studies were done under Bernard Hebb at the Hochschule für gestalltende Kunst und Musik in Bremen, Germany, where, in 1978, he received that institution’s first Kunstlerische Reifediplom - Germany’s highest degree in musical performance - in the performance and pedagogy of classical guitar. Desrosiers joined the music faculty of Keene State College (Keene, NH) in 1974 during his final semester of studies for the BM in Music Education degree, which he received in 1975. In 1978 he became a member of the full-time faculty, and in 1980 was named Artist-in-Residence.

He is the founder and conductor of the internationally renowned Classical Guitar Chamber Orchestra of Keene State College. He is director of The Classical Guitar Chamber Orchestra & The Classical Guitar Chamber Orchestra of Keene State College, this was the first guitar orchestra established in the United States. Founded in 1976 by Desrosiers, the Orchestra amassed substantial performance credentials both nationally and internationally. In 1983 the orchestra undertook its first international tour with concerts, radio recordings, masterclasses and TV appearances in Los Angeles, Manila, and Hong Kong. The Orchestra has also appeared frequently on both New Hampshire and Vermont PBS radio. Guest soloists with the Orchestra have included German guitarist Hans Wilhelm Kaufmann, Alice Artzt, and the Newman/Oltman Guitar Duo. The Orchestra performed or conducted clinics at numerous colleges and universities throughout the Northeast and for such organizations as the Guitar Division of the American String Teachers Association, the then Music Educators National Conference, the New Hampshire State Legislature, and New Hampshire and Massachusetts All-State Music Festivals.

Thank you to the 2016 NJMEA Honors Guitar Ensemble conductor, Michael Lemma, who made me aware of and introduced me to his former teacher, Desrosiers, via email. You can learn more about Michael Lemma’s program by checking out the TEMPO, May TEMPO

2014 article, Guitars, Mandolins & So Much More.

What type of experience or participation did you personally have in participating in a guitar ensemble during your music studies?

In 1969, at the age of 17, I had the absolute, total dumb luck of stumbling into what was, at that time, the most comprehensive guitar education program in the world, at the Hamburg Conserva46

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tory of Music, Hamburg, Germany. At a time when the US had a total of 3 schools where you could major in guitar, Hamburg had 4 full-time professors of guitar AND a guitar curriculum that consisted of: 4 semesters of guitar pedagogy; ensemble/orchestra every semester; guitar history for 2 semesters; guitar literature for 4 semesters; 2 semesters of practicum; all semesters performance class; chamber music classes; private lessons; and, last but not least— for those of us who made it through the week—Friday night beer night at a local bar. When in Germany, do as the Germans! And of course, all of our other music subjects. Orchestra was my favorite.

What were some obstacles you faced when you first formed or inherited your Guitar Ensemble at your school?

From a faculty or administration standpoint, I didn’t have any problems. From a reality standpoint, I had a whole program to build—create the kind of numbers and quality that I could go to faculty and upper administration and say “hey, these 30 plus majors don’t need chorus, band, collegium, etc. as their performance group. They need guitar ensemble/orchestra.”

Of course, it didn’t hurt that as many as 40 guitar majors weekly visited the office of our Arts and Humanities Dean asking for orchestra. (He and I were good friends. He would periodically tell me to have my students knock it off. I would tell him I’d be glad to do so when he approved the course and fund the needed instruments. It took about ½ year, but the rest is history.)

What Guitar Ensemble published collections do you like to work from?

My own. The instrumentation of my guitar orchestra editions are Octave I & II, Alto, Guitar I & II and bass guitar. Nobody else writes for those voices, because no-one else has gotten there yet. I have a huge library. Try to find a publisher.

What arrangement or transcription that you or a student did that you are most proud of?

Great question. There have been so many over the years, but hands down Quartet on an Intrada from the 16th Century, for recorder brace, published by Schott. The piece was written by Hans Georg Lotz, my ear training professor at the Hamburg Conservatory and, after we got over the German formal thing, dear friends.

Like I said, the Quartet was written for 4 recorder parts (SATB). Forget about anything you have ever known about recorder music. While very melodic, harmonic, rhythmically accessible, this piece is simply out there. Ver y percussive—which makes it ideal for guitar orchestra.

Anyway, in 1982 before our first international tour, I asked him if he would mind me transcribing the Quartet for orchestra—from 4 parts to 6, which was a “piece of cake.” He agreed. I did, and we carried it around the world with us, recording it at Radio 1 Hong Kong. A year or so later he heard the recording and simply said, “Why did I waste time writing this for recorders? I just should have written for you.” Dropped me.

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Your thoughts of “classical guitar seating position” or “right knee” for your groups?

Sitting position is not determined by ‘classical, steel string, etc.’ concepts or whatever, but rather by the physical characteristics of any guitar. Now that presumes the most practical, efficient, physically most accessible means of doing so. Without going into the details, left foot up is most appropriate for classical guitars and no foot up for acoustic, although the current trend among those very virtuoso steel string players is using a strap to hold the guitar in a position very similar to the classical way.

Your thoughts on finger-style rest strokes or the use of guitar pick (plectrum) within your groups?

First of all, the most essential ‘sound’ concept is uniformity: either all fingers or all picks. Rest strokes vs. free strokes? You use them all in different musical ways, i.e. it is the music that dictates which you use. Plectrum has the least variety in sound without VERY specialized techniques. Using fingers, especially with fingernails allows you to be as tonally creative as your imagination will take you.

What are some performing opportunity highlights that your groups participated in?

This is again a tough one. How much time do we have? Let’s just say that the Orchestra played all over the world; did numerous TV/Radio broadcasts; played for numerous international guitar conferences; MENC and ASTA; national and regional conferences; programs for companies like AT&T; numerous colleges and universities; All-State Music Festivals in a number of states; as well as our typical local performances, workshops and obligations.

What kind of thought do you put into setting up/seating your students in chairs for the Guitar Ensemble Performance or during rehearsals?

Both always the same. After a few years of experimenting with various seating plans, and having finally solidified our instrumentation, I settled on this configuration. First Row, left to right: Octave guitar I, classical bass guitars, Octaves II. Back row, left to right: Alto guitars (or guitar I), Guitar I (II) and Guitar II (III). There are numerous explanations for this format: blend and balance; clarity of individual voices; ability to easily present authentically various styles of music (Renaissance/Baroque); and how parts relate, etc.

Do you have any special rehearsal techniques or exercises that you would like to share with readers?

This is again an impossible question to answer in this format— just too much info. Again, a separate workshop—with guitars!

If you are aware of any “History of the Guitar Ensemble in the United States” that you are willing to share? I am aware that Mandolin and Guitar Orchestras existed but perhaps one of you is privy to some obscure info.

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Yes. This is interesting.

First, a very quick background.

Mandolin and guitar orchestras were enormously popular in Germany, Austria and Italy during the latter 40 years of the 19th century through about 1930. They have existed, and very seriously so, since then, but not to the point of the 19th century. The major source of literature for mandolin & guitar orchestras in the world is Joachim Trekel, Der Volksmusik Verlag, Hamburg, Germany. Hamburg has just an offthe-wall good orchestra.

Guitar Ensembles/orchestras were an offspring of mandolin & guitar orchestras and the growing popularity of the guitar in the 1960s, although a number of German composers had begun to create a repertoire as far back as the late 1940’s. REALLY good composers. These composers created a rep that from the classical period forward, didn’t exist. The rep expanded from duets to trios to quartets.

While the specialized instruments of the guitar orchestra (octave, alto and 6-string bass guitars) have existed forever, no one ever thought about putting them together in an orchestral format before German Hebert Balzer did in the mid 1960’s. Blazer was a brilliant, gentle giant. His understanding of guitar pedagogy is unmatched by anyone in my career. His hands were bigger than Segovia’s (having shaken both) and, had he so wished, with a handshake, he could have ended any hopes that you would ever have to continue thinking about being a musician.

Herbert Balzer was my mentor. From the day that I entered the Hamburg Conservatory in November 1969, he took me under his wing. Why? To this day, not a clue. I couldn’t speak German, but he used to ramble on and on to me in German. When I finally did understand what he was saying, how should I put this: the KSC Classical Guitar Orchestra. I certainly had to take many more steps forward, especially with writing, but I owe the success of my passion to Herbert Balzer. So do my students.

don’t get. These skills aren’t something that just happens from a one semester course. Across the board, it is still very discouraging to view the number of guitar programs nationally that do little to provide their majors with the necessary skills as educators to advance the concept.

Anything else you want to add to benefit the article?

This has been a most interesting retrospect for me given that the last few decades of my life have been about music for flute and guitar. A few things need to be recognized. Not because he was my student, but Mike Lemma needs to be commended for his contributions not only to guitar music ed that he has championed on a state level, but to the whole music education program that he has so successfully led at his school.

For those of you who don’t know Mike, let me offer this up as it says everything about him. When he was checking out colleges for his BM, he called me at Keene State. I had just 2 hours of free time before my next class. 2 ½ hours later, I FINALLY got off the phone with him—and had recruited a major whom I’ll always be proud to say that yes, he was my student.

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 serves as the Eastern Division Representative on the NAfME Council for Guitar Education. 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.barnessandnoble.com

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What direction or positive thought about the future of guitar ensemble do you have that you would like to share?

Wow. Another dissertation. Where to begin. Elementary, middle school, HS, collegiate? In a nut shell—which is hard for me—is that it is actually happening. Every level. The primary problem is the amount of training that most music ed grads get in guitar. The even worse problem is the education that most music ed guitar majors TEMPO

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49 TEMPO

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

MARCH 03/01/17 03/01/17 03/02/17 03/03/17 03/03/17 03/03/17 03/03/17 03/03/17 03/03/17 03/03/17 03/04/17 03/04/17 03/04/17 03/04/17 03/04/17 03/04/17 03/04/17 03/04/17 03/04/17 03/05/17 03/05/17 03/05/17 03/05/17 03/05/17 03/05/17 03/06/17 03/06/17 03/07/17 03/07/17 03/07/17 03/08/17 03/08/17 03/08/17 03/09/17 03/09/17 03/10/17 03/10/17 03/10/17 03/11/17 03/11/17 03/11/17 03/12/17 03/12/17 03/13/17 03/13/17 03/13/17 03/14/17

NJSMA JHS Band Rehearsal (Snow Date) NJSMA JHS Choir Rehearsal NJSMA JHS Choir Rehearsal CJMEA Inter. Band Rehearsal CJMEA Inter. Chorus Rehearsal CJMEA Inter. Orchestra Rehearsal CJMEA Inter. Percussion Ens. Rehearsal NJMAA Executive Board Meeting NJSMA JHS Band Rehearsal SJBODA Jr. High Band Rehearsal CJMEA Inter. Band Rehearsal CJMEA Inter. Chorus Rehearsal CJMEA Inter. Orchestra Concert CJMEA Inter. Orchestra Rehearsal CJMEA Inter. Percussion Ens. Rehearsal NJSMA JHS Band Rehearsal SJBODA Jr. High Band Rehearsal SJCDA Elem. Chorus Concert SJCDA Elem. Chorus Festival CJMEA Inter. Band Concert NJSMA JHS Band Concert SJBODA Jr. High Band Concert SJCDA Conductor Selection Committee Meeting SJCDA Elem. Chorus Concert (Snow Date) SJCDA Elem. Chorus Festival (Snow Date) NJAJE State Festival Preliminaries NJSMA Executive Board Meeting NJAJE State Festival Preliminaries NJSMA JHS Orchestra Rehearsal SJBODA Concert Band Festival NJAJE State Festival Preliminaries NJSMA JHS Choir Rehearsal SJBODA Concert Band Festival NJAJE State Festival Preliminaries NJSMA JHS Orchestra Rehearsal (Snow Date) CJMEA Inter. Percussion Ens. Rehearsal NJAJE State Festival Preliminaries NJSMA JHS Orchestra Rehearsal CJMEA Inter. Chorus Rehearsal CJMEA Inter. Percussion Ens. Rehearsal (Snow Date) NJSMA JHS Orchestra Rehearsal CJMEA Inter. Chorus & Percussion Ensemble Concert NJSMA JHS Orchestra Concert NJAJE Region I, II, III Jazz Band Auditions NJSMA JHS Region Choir Rehearsal SJCDA Board of Directors Meeting NJMEA Executive Board Meeting

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6:30-9:00 PM 6:00-9:00 PM 6:30-9:00 PM 5:00-9:00 PM 5:00-9:00 PM 5:00-9:00 PM 5:00-9:00 PM 9:00-11:00 AM 8:00-5:00 PM 4:00-7:00 PM 9:00-1:00 PM 9:00-1:00 PM 3:00-5:00 PM 9:00-1:00 PM 9:00-1:00 PM 9:00-5:00 PM 9:00-1:00 PM 4:00-6:00 PM 9:30-6:00 PM 3:00-5:00 PM 3:00-4:30 PM 3:00-5:00 PM 4:00-6:00 PM 9:30-6:00 PM 5:00-10:00 PM 5:30-9:00 PM 5:00-10:00 PM 6:00-9:00 PM 9:00-3:00 PM 5:00-10:00 PM 6:00-9:00 PM 9:00-3:00 PM 5:00-10:00 PM 6:00-9:00 PM 5:00-9:00 PM 5:00-10:00 PM 8:00-5:00 PM 9:00-1:00 PM 9:00-1:00 PM 8:00-5:00 PM 3:00-5:00 PM 3:00-4:30 PM 4:30 PM 6:00-9:00 PM 7:00-9:00 PM 5:00 PM

DATE

EVENT

03/15/17 03/17/17 03/18/17 03/18/17 03/19/17 03/20/17 03/20/17 03/21/17 03/22/17 03/22/17 03/23/17 03/25/17 03/27/17 03/29/17 03/30/17 03/31/17 03/31/17

NJSMA JHS Region Choir Rehearsal (Snow Date) NJSMA JHS Choir Rehearsal ASO/ASIO auditions NJSMA JHS Choir Rehearsal NJSMA JHS Choir Concert CJMEA HS Concert Band Festival NJAJE Region I, II, III Jazz Band Rehearsal CJMEA HS Concert Band Festival NJRMEA Executive Board Meeting CJMEA HS Concert Band Festival CJMEA HS Concert Band Festival ASO/ASIO auditions Snow Date NJAJE Region I, II, III Jazz Band Rehearsal NJSMA High School Band Festival NJSMA High School Band Festival NJAJE Region I, II, III Jazz Band Rehearsal NJMAA General Membership Meeting

TIME 6:00-9:00 PM 8:00-5:00 PM 9:00-5:00 PM 3:00-4:30 PM 6:00-10:00 PM 4:00-8:00 PM 6:00-10:00 PM 10:15 AM 6:00-10:00 PM 6:00-10:00 PM 4:00-8:00 PM

4:00-8:00 PM 9:00-11:00 AM

APRIL 04/01/17 04/02/17 04/03/17 04/05/17 04/06/17 04/07/17 04/08/17 04/08/17 04/08/17 04/10/17 04/10/17 04/12/17 04/13/17 04/16/17 04/18/17 04/20/17 04/21/17 04/22/17 04/22/17 04/22/17 04/22/17 04/27/17 04/29/17 04/29/17 04/29/17 04/30/17

NJAJE Region I, II, III Jazz Band Rehearsal NJAJE Region I, II, III Jazz Band Concert NJSMA Executive Board Meeting NAfME Eastern Division Conference NAfME Eastern Division Conference NAfME Eastern Division Conference CJMEA Elem. Honors Band Festival CJMEA Elem. Honors Orchestra Festival NAfME Eastern Division Conference Passover SJCDA Board of Directors Meeting CJMEA Elem. and Jr. High Band/Orchestra Festival CJMEA Elem. and Jr. High Band & Orchestra Festival Easter NJMEA Executive Board Meeting NJSMA JHS Band Festival SJCDA General Membership Meeting/Seminar All-State Chorus Auditions-South All-State Inter. Orchestra Rehearsal CJMEA Middle School Honors Band Day NJAJE State Festival Finals NJSMA JHS Band Festival All-State Chorus Auditions-North All-State Inter. Orchestra Seating Auditions/Rehearsal SJBODA Elem. Honors Band Festival NJMEA/ACDA Honors Choirs Rehearsal

4:00-8:00 PM 4:00-8:00 PM 5:30-9:00 PM

9:00-3:00 PM 9:00-3:00 PM

7:00-9:00 PM 9:00-1:30 PM 9:00-1:30 PM 5:00 PM 9:00-12:00 PM 8:00-4:00 PM 12:30-5:30 PM 9:00-3:00 PM 5:00-10:00 PM 8:00-5:00 PM 12:30-5:30 PM 9:00-3:30 PM 8:30-1:00 PM

MAY 05/01/17 All-State Jazz Ensemble Auditions

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4:30 PM

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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 05/01/17 05/01/17 05/05/17 05/06/17 05/06/17 05/06/17 05/06/17 05/07/17 05/07/17 05/09/17 05/09/17 05/10/17 05/11/17 05/12/17 05/12/17 05/13/17 05/13/17 05/13/17

EVENT

TIME

NJSMA Executive Board and General Membership Meeting 5:00-8:00 PM SJCDA Board of Directors Meeting 7:00-9:00 PM NJMAA Executive Board Meeting 9:00-11:00 AM All-State Inter. Orchestra Rehearsal 12:30-5:30 PM NJMEA Honors Guitar Ensemble Festival 10:00-3:00 PM NJSMA Elem. Honors Band Festival SJBODA Elem. Honors String Festival 9:00-3:30 PM NJMEA/ACDA Honors Choirs Concert 4:30 PM NJMEA/ACDA Honors Choirs Rehearsal 8:30-4:30 PM NJMEA Executive Board Meeting 6:30 PM NJMEA Full Board Meeting 5:00-6:30 PM NJRMEA General Membership Meeting 10:15 AM CJMEA Elem. and Jr. High Band & Orchestra Festival 9:00-1:30 PM CJMEA Elem. and Jr. High Band & Orchestra Festival 9:00-1:30 PM NJSMA JHS Choir Festival All-State Inter. Orchestra Concert 3:00 PM All-State Inter. Orchestra Rehearsal 10:30 AM NJAJE Festival Gala 1:00-5:00 PM

DATE 05/13/17 05/15/17 05/18/17 05/19/17 05/20/17 05/29/17 05/31/17

EVENT

TIME

NJSMA Elem. Honors Orchestra Festival NJ TI:ME Student Music Tech Expo North NJ TI:ME Student Music Tech Expo South NJSMA JHS and HS Orchestra Festival CJMEA Elem. Treble Choir Festival Memorial Day SJBODA Spring Membership Meeting

9:00-11:00 AM

NJMAA General Membership Meeting All-State Orchestra-Full Rehearsal NJSMA Executive Board Meeting SJCDA Board of Directors Meeting NJMEA Executive Board Meeting All-State Mixed Chorus First Rehearsal NJAJE Board of Directors Meeting NJSMA Executive Board Meeting (Summer Meeting)

9:00-11:00 AM 2:00-6:30 PM 5:30-9:00 PM 7:00-9:00 PM 5:00 PM 2:00-5:30 PM 5:00-9:00 PM 8:00-5:00 PM

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Movement: A Means To Music Learning Carlos R. Abril Frost School of Music c.abril@miami.edu Reprinted from Tennessee Musician

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uman predisposition to respond to music through movements of the body is evident to anyone who has observed infants or toddlers engage with music. From the earliest years of life, infants demonstrate their awareness of music by turning their heads towards a musical toy; or they express sheer delight by moving their arms and legs upon hearing someone sing an upbeat song. As infants move into toddlerhood and childhood, they begin to move their bodies with greater precision and culturally recognized style (i.e., dance) to the music they hear or make (Campbell, 2010; Moog, 1976; Moorhead & Pond, 1978). This inherent need to experience music through movements of the body throughout life might be explained because of the links between the motor and auditory systems in the brain (Sacks, 2007). Music and movement are two deeply connected human phenomena.

There is further evidence of this connection in some cultures, where there is no separation between the concepts of music and dance. “Dance is music and music is dance in African cultures. The two are inseparable and in many African languages, there is not a separate word for dance” (Welsh, 2010, p. 30). The Native American Blackfoot people use the word paskan to mean dance, music, and ceremony (Nettl, 2005). Clearly, movement is an integral part of the music experience, from birth to adulthood.

It should be no surprise then that movement would play a role in music learning and teaching. Movement has been used as a way to help students internalize and/ or reinforce their conceptual understanding of music. It has also been used as a way for students to express what they hear in music, what they know or have learned (Kerchner, 2014). Jacques-Dalcroze, who developed TEMPO

a teaching system of developing musicianship through movement (commonly known as Dalcroze or Eurhythmics), believed that students needed to develop their musicality first through active sensory experiences (movements of the body) before moving into more cerebral types of musical training (reading notation) (Jaques-Dalcroze, 1921). Rudolf von Laban believed that movement helped to develop greater creativity and self-awareness in people; his ideas would be influential to many music educators and applied in practice (Laban & Ullmann, 1971). Many others have written about, researched, and used movement as a means to help students develop their musicianship. For a comprehensive treatment of the topic, see Abril (2011). The purpose of this article is to explain how movement can impact music learning and to suggest some ways to harness the power of movement in music teaching.

Beat And Rhythmic Competency Keeping a steady beat is essential to anyone wanting to perform music, whether kindergarten students singing a song in class to middle school students playing the first exercise in a wind method book. How can movement training help students improve their ability to maintain a steady beat or perform more accurately?

Movement training in general music classrooms has been shown to have a positive effect on the ability to keep a steady beat. In one study (Rose, 1995), six different elementary classes were assigned to one of two instructional groups. The first group received music instruction through a Dalcroze approach, with a substantive amount of movement; the second group received music instruction primarily through verbal instructions. After thirty-two weeks of instruction, students who received the 52

movement-based music lessons performed significantly better on a test of beat competence. It appears that the teaching method itself (i.e., Laban or Dalcroze) or type of movement experiences (i.e., locomotor or nonlocomotor) does not make much of a difference; any movement experiences positively effect beat competency in students (Blesdell, 1991; Croom, 1998).

Movement is also valuable in ensemble classroom. In a study (Rohwer, 1998), sixth-grade students who received ten weeks of movement instruction in the instrumental music classroom performed significantly better at a synchronization test than were students who received traditional rhythm instruction, without the use of movement (Rohwer, 1998). Boyle’s (1970) classic study found that high school students who were trained to tap their foot to the steady beat were more successful at rhythmic sightreading than those who did not receive such training. Jordan (1986) reported improvements in high school students’ rhythmic performance skills after applying music lessons that included Laban movement effort factors (flow, weight, time, and space).

What seems clear from these and other studies is that infusing some sort of movement experiences in the music classroom can make a positive difference in beat and rhythmic competence.

Ideas For The Classroom There are many ways to incorporate movement into any music classroom. A recent article in the Music Educators Journal provides a wealth of ideas for the use of movement effort factors to improve rhythmic competence in the large ensemble settings. For example, one activity they suggest focuses on time: You can “use a programmable metronome to create tempo changes of the desired length and intensity. Using this MARCH 2017

as the musical stimulus, have students march, pat or conduct with musicality and accuracy” (Conway, Marshall & Hartz, 2014, p. 64).

Another activity, focused on weight, asks students to “demonstrate accents [in their music parts] with gross motor movements....then transfer this understanding to the smaller motor skills of bowing and articulating” (p. 63).

You might want students to be aware of the relationship among time, space, and energy in rhythm (a concept of Dalcroze Eurhythmics). To do so, play a melody on the piano and ask students to clap a steady beat to the music. Vary the tempo from very fast to very slow and ask students to be aware of the ways space and energy changes with the changing tempo. Students will soon realize that a slower tempo (time) requires the use of much more space and less energy than does a quick tempo. There are myriad books, articles, and materials available if you want more practical ideas for infusing movement into your music instruction.

are also better able to identify songs more accurately with coordinated movements than with other cues such as rhythmic chanting (Dunne-Sousa, 1988). These findings may partially be explained by a “neurophysiological link between gross and fine motor control in body movement and in muscles engaged in the vocal apparatus” (pp.

65-66). There is evidence from the research to support the use of movements of many sorts (from hand signs to full body movements) as a means to improving awareness and understanding of pitch related concepts and skills. Moving the body while singing can impact the quality of that singing. In one study, Liao and Davidson (2007) found that children’s bodily movements reflected the quality of their voice when singing, with size of movements reflecting dynamics and continuity reflecting articulation. Other studies have reported that children’s (Campbell, 2010; Moorhead & Pond, 1978) and adolescent’s (Ebie, 2004) movements support their voices and reflect their expressive intentions.

Melodic And Singing Competency Movement instruction in the music classroom is often applied to rhythmic concepts but research suggests that it can improve melodic competencies of different sorts as well. One study (Crumpler, 1982) reported that first grade students who were provided with music lessons that were Dalcroze-based (included movement games and activities) were more successful than those who received similar lessons from popular music textbooks (with no movement) at making pitch register and contour discriminations. Similar findings were reported in a study with third- and fifth- grade students (Berger, 1999).

Ideas For The Classroom Here are some ideas for incorporating movement to improve melodic understanding and performance. If you want to focus on melodic phrase for instance, have students listen for the phrases in a performance of a piece that they are learning. As they listen they should draw the phrase in the air with one finger. Once they figure out how long the phrase is, they should be challenged to manage their space, time, and energy so that they do not end before the phrase ends. For a locomotor variation on that theme, have students walk the phrase in space from point “a” to point “b.” Each student can predetermine the distance by placing a red plastic cup on point “a” and a blue plastic cup on point “b.” As they listen, sing, or even

SOME PRACTICAL MOVEMENT RESOURCES FOR THE MUSIC CLASSROOM LEVEL

TITLE

AUTHOR

PUBLISHER

Early Childhood Exploration

The Book of Movement Jane Kahan

John Feierabend

GIA

Childhood

From Wibbleton to Wobbleton

James Harding

Pentatonic Press

Childhood

Movement Plus Rhymes, Songs, and Singing Games

Phyllis Weikart

Wadsworth

Childhood & Adolescence

Rhythm and Movement

Elsa Findlay

Alfred Music

Childhood & Adolescence

Feel It!

Robert Abramson

Alfred Music

Childhood through Adulthood

The Rhythm Inside

Julie Schnebly-Black Stephen Moore

Alfred Music

Childhood through Adulthood

Music Across the Senses

Jody Kerchner

Oxford University Press

The use of movement has been found to be effective for improving singing skills and song recognition. The use of Curwen hand signs, that is the movement of the hands in space and time to relate to certain sung pitches, has been found to lead to more accurate and quicker interval identification in students (Steeves, 1985). Students MARCH 2017

play the melodic phrase they should walk from point to point.

Given the abstraction and mystery of producing sounds in the voice (Abril, 2007) and the support from the research described above, you might consider incorporating movements to represent pitches in singing instruction. Curwen hand signs, as often used in 53

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the Kodály method, where a particular positioning of the hand represents a particular pitch, might prove beneficial in developing interval identification and sight singing abilities (see Choksy, et ah, 2001). Using a Dalcroze approach, you might focus on the pitch contour of a melody by having students move the contour with their bodies or draw the contour in the air with their arms (see Mead, 1994). Finally, allow students to freely move their bodies as they sing as a way to help them develop more expressive and/or supported singing.

Listening While there is less research that has tested the effect of movement instruction on music listening, there is some evidence that it does positively impact listening skills.

Sims (1986) reported that preschool children who participated in some movement experience with music were more attentive when listening to that music in comparison to those who only listened passively. Another study found that children who moved while listening to music scored significantly better on a measure of form perception than did other students who followed a listening map without moving (Gromko & Poorman, 1998). Giving children experiences moving spontaneously (i.e., freely) to music might improve their ability to represent that music using graphic notation (Fung & Gromko, 2001).

Ideas For The Classroom Designing listening experiences that incorporate movement for students can be divided into two types: (a) directive movement experiences, those that are led by and designed by the teacher, and (b) creative movement experience, those that are generated by students (Abril, 2011). An example of a directive movement experience would be having students copy your choreographed movements, while listening to Queen’s song, “Bicycle Race.” Another example would be to teach students a folk dance from one of the songs Alfred Reed used in his band piece, Armenian Dances. These experiences can focus students’ attention on certain aspects of the music, from its expressivity to its historical roots to its form.

Creative movements give students the freedom to generate their own movements as they listen. For example, instead of, or in TEMPO

addition to, having students follow or create visual maps to represent a section from Stravinsky’s Rite of Spring, you might challenge students to create a movement piece to represent the music they hear. The goal is not to create choreography, as much as it is to help students develop a deeper understanding of the music they are listening to.

Another example of creative movement is to give students one or two specific Faban effort actions (dab, flick, punch, slash, glide, float, wring, press) and ask them to improvise movements inspired by those actions as they listen to music. For more information on movement and listening, see Kerchner (2014).

Concluding Thoughts Jonathan, a twelve-year-old boy, said it best in an interview talking about his experiences in a school music program: “...1 can’t sit still long. Nobody should have to sit still when there’s music. It moves, and makes you move” (Campbell, p. 198). Jonathan’s insightful comment speaks volumes, and it is supported by research, which has consistently shown that humans (especially children) have a natural tendency, need, and desire to move to music. Patterns from the research also show that movement offers a window into children’s musical perceptions, improves their music competencies, and helps to develop deeper understanding. It does not seem to matter what specific approach or method you use as long as you do incorporate some movement in music instruction. Consider how movement can be added to your teaching, such that it helps to meet curricular objectives and goals, with the ultimate purpose of deepening students’ musical understanding, skill, and overall musicianship.

References Abril, C. R. (2011). Music, movement, and learning. In R. Colwell & P. Webster (Eds.), MENC handbook of research in music learning (pp. 92-129). New York: Oxford University Press.

Abril, C. R. (2007). I have a voice but I just can’t sing: A narrative investigation of singing and social anxiety. Music Education Research, 9(1), 1-15.

Berger, L. M. (1999). The effects of Dacroze Eurhythmies instruction on selected music competencies of third- and fifth-grade general music students. Unpublished doctoral dissertation, University of

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Minnesota, Minneapolis.

Blesdell, D. S. (1991). A study of the effects of two types of movement instruction on the rhythm achievement and developmental rhythm aptitude of preschool children.

(Doctoral dissertation, Temple University, 1992). Dissertation Abstracts International, 52/07,2452.

Boyle, J. D. (1970). The effect of prescribed rhythmical movements on the ability to read music at sight. Journal of Research in Music Education, 18(4), 307-318.

Campbell, P. S. (2010). Songs in their heads (2nd ed.). New York: Oxford University Press.

Choksy, L., Abramson, R. M., Gillespie, A. E., Woods, D., & York, E (2001) Teaching music in the twenty-first century (2nd ed.).

Supper Saddle River, N. J.: Prentice Hall.

Conway, C, Marshall, H., & Hartz, B. (2014).

Movement instruction to facilitate beat competency in instrumental music. Music Educators Journal, 100(3), 61-66.

Croom, P. L. (1998). Effects of locomotor rhythm training activities on the ability of kindergarten students to synchronize nonlocomotor movements to music. (Doctoral dissertation, Temple University, 1998).

Dissertation Abstracts International, 59/03, 763.

Crumpler, S. E. (1982). The effect of Dalcroze eurhythmies on the melodic musical growth of first grade students. (Doctoral dissertation, Louisiana State University, 1983). Dissertation Abstracts International, 43/08, 2587.

Dunne-Sousa, D. (1988). The effect of speech rhythm, melody, and movement on song identification and performance of preschool children. (Doctoral dissertation, The Ohio State University, 1989). Dissertation Abstracts International, 49/08, 2140.

Ebie, B. D. (2004). The effects of verbal, vocally modeled, kinesthetic, and audiovisual treatment conditions on male and females middle-school vocal music students’ abilities to expressively sing melodies.

Psychology of Music, 32(4), 405-417.

Fung, C, & Gromko, J. (2001). Effects of active versus passive listening on the quality of children’s invented notations and preferences for two pieces from an unfamiliar culture.

Psychology of Music, 29, 2, 128-138.

Gromko, J. E., & Poorman, A. S. (1998). The effect of music training on preschoolers’ spatial-temporal task performance. Journal of Research in Music Education, 46, 2, 173- 1.

Jacques-Dalcroze, E. (1921). Rhythm, music and education. Trans. H. Rubinstein. London: Dalcroze Society.

Jordan, J. M. (1986). The effects of informal movement instruction derived from the

MARCH 2017

theories of Rudolf von Laban upon the rhythm performance and discrimination of high school students. Unpublished doctoral dissertation, Temple University, Philadelphia, PA, Kerchner, J. L. (2014). Music across the senses.

New York: Oxford University Press.

Laban, R., & Ullmann, L. (1971). The mastery of movement. London: MacDonald & Evans.

Liao, M. Y, & Davidson, J. W (2007). The use of gesture techniques in children’s singing.

International Journal of Music Education, 25, 1, 82-94.

Mead, V H. (1994). Dalcroze eurhythmies in todays music classroom. New York: Schott.

Moog, H. (1976). The musical experience of the preschool child. Trans. C. Clarke. London: Schott.

Moorhead, G. E., & Pond, D. (1978). Music of young children. Santa Barbara, CA: Pillsbury Foundation.

Nettl, B. (2005) The study of ethnomusicology: Thirty-one issues and concepts. Champaign: University of Illinois Press.

Rohwer, D. A. (1998). Effect of movement instruction on steady beat perception, synchronization, and performance. Journal of Research in Music Education, 46(3), 414424.

Rose, S. E. (1995). The effects ofDalcroze Eurhythmies on heat competency performance skills of kindergarten, first-, and second-grade children. Unpublished doctoral dissertation, University of North Carolina, Greensboro.

Sacks, O. W. (2007). Musicophilia: Tales of music and the brain. New York: Alfred A. Knopf.

Sims, W. (1986). The effect of high versus low teacher affect and passive versus active student activity during music listening on preschool children’s attention, piece preference, time spent listening, and piece recognition. Journal of Research in Music Education, 34(3), 173-191. Steeves, C. (1985).

The effect of Cuwen-Kodaly hand signs on pitch and interval discrimination within a Kodaly curricular framework. Unpublished master’s thesis. University of Calgary,

Canada. Welsh, K. (2010). World of Dance: African Dance (2nd ed). New York: Chelsea House.

Carlos Abril, c.abril@miami.edu, is professor of music and director of undergraduate music education at the Frost School of Music at the University of Miami. Prior to this appointment he served as an associate professor and the coordinator of music education at Northwestern University. Abril has been honored as the Miami-Dade Region Teacher of the Year and with the Cervantes Outstanding Teacher Award.

Most recently he was the recipient of the Provosts Research Award at the University of Miami.

This article is a reprint from the Tennessee Musician, Vol. 68, #4.

New Jersey Music Educator’s Association Proudly Announces: “The 2017 State Marching Band Ratings Festival” “16th Annual” A unique opportunity for your Marching Band to perform in a Festival (rating only) setting.

Quality Evaluation!

Local Bands!

Enthusiastic Audiences!

State Sponsored!

Non-Competitive!

One time commitment!

State Marching Band “Ratings” Festival Saturday, October 14, 2017, 5:30 pm. Wayne Hills High School Contact: Matthew J. Paterno 973-317-2060 (mpaterno@wayneschools.com)

Don’t miss out on this interesting addition to your present Marching Band activities!

Sign- ups begin MARCH 1, 2017!

Limit of 16 bands and there has traditionally been a waiting list!

MARCH 2017

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CJMEA

Central Jersey Music Educators Association cjmea.org

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anuary was an incredibly busy month for CJMEA with seven incredible ensembles performing at four different concerts. The region symphonic band, wind ensemble, orchestra, percussion ensemble, mixed choir, treble choir, and high school honor band all performed beautifully.

Our students were very fortunate to work with some amazing conductors who helped them grow musically with fantastic repertoire. Our high school conductors this year were: Professor Timothy Schwartz, Rowan University – region orchestra Professor Greg Giannascoli, New Jersey City University – region percussion ensemble Professor Heidi Sarver, University of Delaware – region symphonic band Professor Scott Jones, The University of Ohio – region wind ensemble Professor Joseph Higgins, Rowan University – high school honor band Lorraine Lynch, Roxbury High School – region mixed choir Professor Nicholas McBride, The College of New Jersey – region treble choir Of course we cannot go without thanking our division chairs and all of the managers who volunteered their time to make these events a success for the students. The time they give is significant and we are all grateful. If you are interested in becoming involved with any of these ensembles, please get in touch! We would love to grow the number of teachers in our region that take a leadership role in the region and honors ensemble experiences.

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I’d also like to make everyone aware that CJMEA houses instrumental music repertoire libraries. All of the music we purchase for our region ensembles is housed in various locations. Thanks to the hard work of a few individuals we are almost done cataloguing the music and will make it available once we do.

We are working diligently to post all of our library listings on the CJMEA website. CJMEA teachers are welcome to borrow a piece from this library if needed. Until we are able to post our catalogues on the website, please feel free to reach out to our division chairs to inquire as to whether or not a piece is available.

All of their contact information is on www. cjmea. org.

As we move through the winter months, it becomes time to think about our executive board for next year. This is an election year, meaning the positions of president-elect, treasurer, and secretary are open. If you are interested in serving in one of these positions and would like to run for election, please contact our current president-elect, David Westawski at dwestawski@cjmea.org. Additionally, we are always looking for people to help and assist with our division chairs for high school band, choir, and orchestra as well as intermediate band, choir, and orchestra. If you have an interest in serving in that capacity, please contact me, Adam Warshafsky, at awarshafsky@ cjmea. org.

This brings me to the most important, yet unfortunate news I sadly must share with you. Our beloved treasurer, Susan Belly, has passed away. Sue dedicated everything she had to bringing music to children’s lives both as a teacher and as a member of our executive board. She gave immensely of herself to CJMEA not just as our treasurer, but as an advisor to me and the rest of the board. We will miss her terribly and our hearts go out to her family and friends.

NJSMA

North Jersey School Music Association njsma.com

C

ongratulations to all students who successfully auditioned for the NJSMA region bands and to all the directors that helped with auditions, rehearsals and concerts. NJSMA would not be able to provide these wonderful opportunities for students without the support and encouragement from their sponsoring directors.

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The Junior High School Concert will be March 5, 2017 at a site to be determined.

Russell Branch, band director in Mendham Township, will conduct the Intermediate Band, and the Junior Band will be under the direction of David Martin, retired band director from Hanover Park.

This year’s High School Region Concert Band Festival will be held March 21-23. Hosts include Verona, Parsippany Hills, Hanover Park, Bergenfield and Randolph High Schools. The Junior High School Concert Band Festival will be held April 26th at West Essex High School and Westwood Jr./Sr. High School. Thank you to all our hosts and all participating ensembles. Special thanks to our festival coordinators John Maiello, Pete Bauer and James Lawrence.

The sixth annual NJSMA Elementary Band Festival will take place on Saturday, May 6, 2017 at South Orange Middle School. Sixth graders from North Jersey that have been nominated by their directors will rehearse and perform a concert in a one-day festival. Bands will be conducted

by Dan Halpern, H.B. Whitehorne Middle School, and Janell Kallimanis, SussexWantage Regional School District. Special thanks to our festival coordinator Jennifer Wise and librarians Dan Halpern and Brian Michalowski.

Please check www.njsma.com for updated and detailed information.

Band Division North Jersey School of Music Association

SJBODA

South Jersey Band And Orchestra Directors Association sjboda.org

T

he past few months have been very exciting and rewarding for the members of SJBODA. On January 8th our Senior High School Orchestra and Junior High String Ensemble performed at Rowan University and the following week our Senior High Wind Ensemble and Senior High Symphonic Band performed at the same venue. Their music was beautiful and the result of the many excellent music teachers and programs throughout our region. The conductors for these concerts were Michael Ludwig (Montclair MARCH 2017

University), Matthew Dell (Rowan Youth Orchestra), Joe Higgins (Rowan University) and Mark Kadetsky (Fernwood Avenue MS). The coordinators for these performances were Rhea Fernandes (Eastern Regional HS) and Amanda Latkis (Hamilton Township Schools). The managers of the Orchestra and the String Ensemble were Lia Boncoeur (Rowan University), Lisa Harkisheimer (Rowan University), Shannon Bradley (Rowan University) and Mariah Cottrell (Rowan University). The managers for the Wind Ensemble and Symphonic Band were Erika Zeiters (Millville Public Schools), Christopher Evans (Middle Township Public Schools), Anita Collings (retired, Egg Harbor Township Schools) and Jon Porco (Absegami HS). Our hosts for these concerts were Sal Scarpa and Rick Dammers. The equipment manager for both of these events was Karyn Park (Williamstown MS).

Congratulations to Daniel Kim (Cherry Hill High School East) who received the 2017 SJBODA orchestra scholarship and Catherine Madewell (Shawnee High School) who was the recipient of the band scholarship. We wish these students and all of our seniors continued success in their future endeavors.

Our 10th Annual Chamber Ensemble Concert took place on Wednesday, February 8th at Cedar Creek HS. Jon Porco (Absegami HS) was our Chamber Ensemble Coordinator and concert host. The ensemble coaches were Brass: Mike Lynch (Cherokee HS), Percussion: Don Simpson (Hamilton Township Public Schools), Sax: Nick DiSalvio (Westampton MS), Woodwind: Beth Rohaly (RM Bacon ES), Clarinet: Joe Midiri (Black Horse Music), Flute: Sam Brooks (Glen Landing MS), and Tuba/ Euphonium: Tim Trout (Rosenauer and Switlik ES).

Once again our Junior High Band auditions, held at Southern Regional Middle School, were a successful event. The efforts of Tony Scardino (Indian Mills MS) and Joe Jacobs (Ventnor MS), our Junior High Auditions Chairs, were greatly appreciated by teachers and students. With the assistance of Phil Senseney (Southern Regional School District, retired) and Deb Knisely (Cinnaminson HS) they provided a positive experience for all involved. These auditions were hosted by Andrew Wright, Jennifer Hodgson and the Southern Regional MARCH 2017

TRI-M Music Honor Society Chapter. Joe Brausam (Lacey Township HS) is doing a wonderful job in assisting the conductors and students as the Junior High Band Coordinator. The conductors for the 40th Annual Junior High Band Concert are Shannon Hughes (Northern Burlington County MS) and Andrew Seigel (William Davies MS).

Scott McCarron (Delsea Regional HS) and Dominic Scalfaro (Alder Avenue MS) will be the managers. The rehearsals were hosted by Derek Rohaly at Mainland Regional High School and the concert will take place on March 5th at Fernwood Avenue Middle School. Mark Kadetsky will host this event.

The 24th Annual SJBODA Concert Band Festival will take place on Tuesday, March 7th and Wednesday, March 8th at Rowan University. Our festival coordinators are Mike Armstrong (Deptford HS) and Jon Porco (Absegami HS). Rick Dammers (Rowan University) will host this event. The adjudicators are Michael Knight (University of Delaware) and Andrew Yoziak (West Chester University).

The 25th Annual Elementary Honors Band Festival will take place on Saturday April 29th at Shawnee HS. Patrick O’Keefe (Smithville ES) will be our host. Marc Spatz (Atlantic City School District), Ed Cooke (Cinnamnson MS), and Lori Ludlum (Retired) are the conductors for this festival.

Our coordinators will be Sue Moore (Mansion Avenue School) and Bill Trimble (Wenonah ES).

The 2nd Annual Elementary String Festival will take place on Saturday, May 6th at Fernwood Avenue Middle School. Rhea Fernandes (Eastern Regional HS) will coordinate this event and Jocelyn Moore (Egg Harbor Twp. Schools) will be our host. Our conductors will be Jacob Weber (Johnson ES) and Mitchell Stowman (Cherokee HS).

The SJBODA Spring Breakfast meeting will take place on Wednesday, May 31st at 9:00 AM at Seven Star Diner. Please contact Patrick O’Keefe at 609-457-0590 or patrickaokeefe@gmail.com if you plan to attend. Please continue to check the Web site, maintained by Derek Rohaly (Mainland Regional HS), for the latest SJBODA updates.

Joseph Jacobs Secretary, SJBODA

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SJCDA

South Jersey Choral Directors Association sjcda.net

T

he South Jersey Choral Directors’ Association held their annual concerts at Eastern High School on January 28th and 29th. Both choirs sounded beautiful and gave fabulous performances. Concerts were well attended! Conductors Stephanie Berger, of Cinnaminson and Joseph Zachowski, of Washington Township, led their groups, of almost 200 singers each, and ended with a performance of Music Down In My Soul. I would like to thank everyone who contributed to the success of this year’s festival, from audition day to performance day; managers, hosts, teachers, as well as the Board of Directors and Festival Coordinator, Hope Knight. Our Founder’s Scholarship was awarded to Wes Hopkins from Cinnaminson and our first ever Richard M. Smith Scholarship for Music Education was awarded to Jenna Camacho from Cherry Hill. After the final performance, conductors, retirees and other honored guests gathered together for a wonderful meal and celebration at “Ristorante Fieni’s” in Voorhees.

Directors are reminded to attend our Spring Breakfast General Membership Meeting, to held again at the “Crowne Plaza” in Cherry Hill, on April 28th. Professional Development will be offered, as well as an opportunity to discuss the continued improvement of the organization and its events. Please consider attending, and socialize with your colleagues, as we make the push to the end of another successful school year together!

Nancy Dickinson, SJCDA President ndickinson@wtps.org www.sjcda.net

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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.

Susan Cheress Belly

Edward A. Thompson

Susan Cheress Belly, 63, of Fords, entered into eternal rest, December 4, 2016 at Robert Wood Johnson University Hospital in New Brunswick. She was born in Perth Amboy and resided in Fords all of her life.

Sue was a music teacher with the Woodbridge Township Board of Education for 16 years before retiring in June. She was the gifted and talented music teacher for many years. She also taught at Colonia and Avenel Middle Schools. Sue inspired hundreds of students over her career, instilling in them a love and passion for music.

She was a 1975 graduate of Trenton State College and a member of the NJMEA, WTEA, NEA, and treasurer of the Central Jersey Music Educators Assn. She was an avid reader, the ultimate Yankees fan, a New Orleans Saints fan, and enjoyed her trips to Atlantic City.

Edward A., age 62, passed away on Saturday, October 22, 2016.

Thompson was born June 12, 1954 in Englewood, the beloved son of Emma L. (Gordon) Thompson and the late Edward Lewis Thompson.

Ed lived in Wayne for over 30 years before moving to Glen Ridge. He graduated from Wayne Hills High School in 1973 were he performed in both the pit band and the marching band while a student. He went on to earn a BA from William Paterson University and then pursued his dream of being a music teacher, first substituting at Neumann Prep and Wayne Hills High Schools and eventually working for the Teaneck Public School System for many years. Throughout his life Ed was a gifted and talented singer, guitar player and multi-instrumentalist. He played with many bands including the Dave Elgardt Orchestra and also the Michael Amante Band. Beginning in the early 70’s, Ed also started the folk group at Our Lady of Consolation R.C. Church, which became the popular Sunday evening mass spot for the Catholic youth of the greater Wayne area. Along with his parents and his sister, Ed was a founding member of Our Lady of Consolation. Ed was loved and admired by the congregation there and brought his enormous talent to the church for many years. He also played at the Prince of Peace Chapel at William Paterson University. An avid photographer, if he wasn’t performing at an event he would frequently be seen there taking photos of everyone.

Donna R. Holtz Donna R. Holtz, 66, of West Long Branch, died Wednesday, January 4, 2017.

She was born in Babylon, Long Island, New York and lived in Ocean Township before moving to West Long Branch 36 years ago.

She was a music teacher at the Matawan Grammar School before becoming children’s choir director at the United Methodist Church of Red Bank. Donna was a graduate of Westminster Choir College in Princeton.

Charles Albert ‘Chuck’ Williams Jr. Charles Albert ‘Chuck’ Williams Jr. Xenia, OH Charles Albert “Chuck” Williams Jr., 84, currently of Xenia, and formerly of New Jersey and Florida, passed away Monday, January 2, 2017. He was born August 17, 1932, in Philadelphia, PA. Chuck attended West Point Academy, the University of Miami Florida, and Glassboro State College. He also attended Trenton State College. He was a member of the F&AM and the OES. Chuck attended Calvary Chapel of St. Petersburg, FL, and of Dayton, OH. He was a music teacher and high school band director in New Jersey. He received the NJMEA Distinguished Service Award for his lifetime commitment to sharing his love of music in all areas of his life. He also volunteered with the Xenia High School long after he retired from formal teaching. Chuck’s students were fortunate to be inspired by his love of music, which was evident in his teaching as well as his daily life.

Nancy D. Jervis Nancy D. Jervis of Medford, NJ formerly of Stratford, NJ died Tuesday, December 13, 2016. She was 85.

Nancy was a member of Lord of Life Lutheran Church in Tabernacle. She was a music teacher in Haddon Heights, Audubon, and Berlin Borough. After retirement, she was a computer programmer in New Brunswick. Nancy was an organist at St. Mark’s Lutheran Church and she was a choir director at both Lord of Life and St. Mark’s.

TEMPO

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MARCH 2017

SUMMERTERM 2017 THE HARTT SCHOOL MUSIC • DANCE • THEATRE

EXCITING NEW WORKSHOPS FOR 2017 2-CREDIT, HALF-DAY WORKSHOPS String Refresher—Cello Technique Best Practices in Upper Strings Teaching Flute, Clarinet, and Saxophone Refresher Double Reeds Refresher High Brass Refresher Low Brass Refresher Blending Pedagogy: Incorporating General Music Methods in Children’s Choir Breath and Shape: Pursuing Optimal Efficiency and Beauty in Singing

SESSION 2

JULY 3–7 (no classes July 4)

An Introduction to Orff-Schulwerk Penny Mahoney Flute, Clarinet, Saxophone Refresher Andrew Studenski (half-day) Double Reeds Refresher Scott Switzer (half-day)

Technologies in the Music Classroom Miriam Schreiber and Leslie Cohen

Instrumental Music Literacy Rehearsal Techniques and Score Preparation

Introduction to Music Recording Justin Kurtz

A General Music Ukulele Curriculum

Diverse Learners in the Music Classroom Heather Wagner

Advanced Guitar for the Music Teacher

Low Brass Refresher Haim Avitsur (half-day) High Brass Refresher Cathryn Cummings (half-day) A General Music Ukulele Curriculum Ken Trapp Piano Tuning I and II Kenneth Lawhorn Blending Pedagogy: Incorporating General Music Methods in Children’s Choir Vanessa Bond (half-day) Music Video Production Gabe Herman Hartt Guitar Festival Andrew York, Christopher Ladd, Richard Provost

School String Fleet Maintenance for Music Teachers Glen Grigel

String Refresher—Cello Technique Carlynn Savot (half-day) Best Practices in Upper Strings Teaching Winifred Crock (half-day) SESSIONS 4–5

Guitar Basics for the Music Teacher Christopher Ladd Breath and Shape: Pursuing Optimal Efficiency and Beauty in Singing Robert Barefield (half-day) SESSION 4

Percussion Know-How for Music Educators Ben Toth

Instrumental Conducting Clinic Glen Adsit and Edward Cumming

Folk Instrument Performance Jeff Rhone SESSION 1 JUNE 26–30 Hartt Baroque Orchestra Seminar Emlyn Ngai

JULY 24–28

Body Mapping for Music Educators Kay Hooper

JULY 10–14

World Percussion and Drum Set Survey for Music Educators Ben Toth

NEW 3-CREDIT, FULL-DAY WORKSHOPS

Rehearsal Techniques and Score Preparation Glen Adsit and Edward Cumming SESSION 5

Instrumental Music Literacy Nate Strick SESSION 3

Band Instrument Maintenance for Music Teachers Glen Grigel

JULY 17–21

JULY 17–28

The Hartt Choral Conducting Institute—LEVEL II Vanessa Bond, Edward Bolkovac THE HARTT KODÁLY CERTIFICATION PROGRAM John Feierabend, Jeff Rhone, Edward Bolkovac, Gabor Viragh

Rehearsing the Secondary Jazz Ensemble: Technique and Repertoire Haig Shahverdian

THE FEIERABEND ASSOCIATION FOR MUSIC EDUCATION (FAME)

Around the World in Song and Dance Lillie Feierabend

Conversational Solfege™ Beginning: John Feierabend

First Steps in Music® John Feierabend

Conversational Solfege™ Advanced: John Feierabend

Jump Start Your Choir Vanessa Bond, Edward Bolkovac Rhythmic Workout for Music Educators Rogerio Boccato Advanced Guitar for the Music Teacher Christopher Ladd

SUMMERS ONLY MASTER OF MUSIC EDUCATION Earn your MMusEd during the summer.

Choose an emphasis in Pedagogy or Kodály and complete 37–42 credits in just three summers!

hartford.edu/hartt/summerterm

MARCH 2017

59 Warren Haston PhD, Director, Hartt Summerterm

haston@hartford.edu

860.768.5526

TEMPO

NJMEA 2016-2017 Board of Directors Executive Board Administration Ronald Dolce Retired rdolce561@aol.com 732-574-0846

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

Advocacy Nick Santoro Retired n31b13@gmail.com 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 908-208-5980

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

TEMPO

Appointed Members

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

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MARCH 2017

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.............................................................. n31b13@gmail.com 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 ............................................ Pam Crockett .......................................................... pcrockett@npsdnj.org 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

MARCH 2017

61

TEMPO

GENERAL ADVERTISING RATES Note: additional fees will apply if metal plates are required.

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Full Page Two Thirds Page Half Page Vertical Half Page Horizontal One Third Page One Sixth Page One Twelfth Page

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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.

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

1926 1930 1931 1933 1935 1936 1938 1939 1941 1942 1944 1945 1947 1949 1951

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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

62

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

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

MARCH 2017

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Join NAfME to help you keep step FOR YEARS TO COME.

When you become a member of National Association for Music Education (NAfME), you’re joining the largest and most active group of music educators in the country – addressing all aspects of music education and supporting quality instruction from elementary to college levels. With us, you’ll have access to a wide variety of programs, discounts and services to help orchestrate success in the classroom, raise your professional standards, and advocate for keeping music education in our schools.

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