Using Video Games to Enhance Music Learning - Andrew Lesser, Ed.D

Using Video Games to Enhance Music Learning

Andrew Lesser, Ed.D. Chairman, NJ Young Composers Competition andrew.lesser[at]yahoo.com www.andrewlessermusic.com

Out of the numerous lasting effects that the COVID-19 pandemic has produced for educators across the country, the increased reliance on digital technology is one of, if not the most, significant. Instruction with digital tools has become an essential part of music education, and the urgency in which to provide quality education using these methods has forced many teachers to quickly adapt to new and innovative practices1. With great change, however, comes great opportunity, and already the educational community has seen a rapid influx of strategies and materials designed to meet the high demands of teaching music in this new age.

Historically, music is no stranger to digital game-based learning technologies, as computer-assisted instruction (CAI) for skills including rhythmic identification and aural perception has existed since the 1960’s2. Entire digitally-based curriculum such as Quaver, MusicFirst, and Music in Motion, among others, had emerged long prior to the pandemic and since then have become a major resource for distance learning. Music learning websites, digital audio workstations (DAW’s), YouTube, and many more digital educational-based tools have served and will continue to serve music teachers into the foreseeable future.

One particular technology that has been available for decades but has not yet been thoroughly explored as an effective learning device is the use of video games to assist in the teaching of musical concepts and skills. There has been relatively little research conducted on the use of video games as instructional tools in the music classroom compared to more general education subjects3. The initiative of learning through digital game-based instruction appeared shortly after the video game industry was formed in the 1970’s4. While companies such as Atari and Nintendo were designing games specifically meant for entertainment (known as commercial-off-the-shelf, or COTS games), games including The Oregon Trail, Math Blaster!, and Reader Rabbit were impressing parents and teachers with their ability to engage and hold the attention of children while reinforcing concepts based directly on an established curriculum.

These games attempted to blend pre-designed learning objectives with the sense of enjoyment generated by popular COTS games. Unfortunately, many subsequent games designed for education have failed to interest students because of their basic design, which involves what is referred to as “skill-and-drill” practice5. This structure essentially emphasizes the learning of a single concept or skill and then proceeds to repeatedly follow the same gameplay over and over to “drill” the information into the player. Most often, this approach results in player boredom and eventual disengagement, leading game researchers to refer to such games as “drill-and-kill”6 .

Many games designed for music education still rely on this practice, but this does not mean that these games cannot be used in a manner that promotes and encourages student enjoyment. Elements such as an appropriate level of challenge, multiple pathways toward an objective, instant feedback, and relevance to the topic can serve to engage students by a teacher who is interested in experimenting with these tools. In fact, the act of playing games can even potentially result in “stealth learning”, or the act of deep enjoyment while playing so that learning becomes a natural and embedded part of the activity7 .

According to the 2020 Entertainment Software Association (ESA) annual report, approximately 214.4 million Americans play video games8. This includes multiple demographics representing different ages, races, gender, and geographical locations. Compared to the 155.5 million players reported in 2015, this demonstrates a significant escalation within the last five years9. It is not unrealistic to assume based on these comparatively increasing trends that the video game industry will continue to grow in influence as an important part of our society for the foreseeable future. It is only rational that we as music educators consider applying video game technology to our teaching practices as a means to promote relevance to the lives of our students.

Getting Started

Video games in and of themselves are merely another form of game-based learning, the only difference being that they are digitally-based and require a video interface. The article is not meant to be interpreted as a comparison to non-digital game-based learning or other teaching methodologies, but only to illustrate an additional tool for teachers to use at their discretion. A video game is a digitallybased virtual environment that employs a competitive environment using a visual interface, such as a television or computer screen. Video games can be played using a dedicated console, such as an X-box, PlayStation, or Nintendo, or on a portable device such as an iPad, tablet, Smart Phone, or a laptop computer.

There are three primary ways that video game technology can be used in the music classroom. First, students can accomplish musical learning objectives through playing and mastering specific games as chosen and provided by the teacher. Second, students can create and manipulate musical environments within a larger game-based structure. Finally, teachers can illustrate musical concepts through the original and licensed music of video game soundtracks. Each of these methods provide a unique exploration into musical content that can engage students in an active participatory environment

both inside and outside of the classroom.

The main consideration of which method or combination of methods can be used relies mainly on the resources available to the teacher combined with the teacher’s own experience and comfort level with using specific equipment. If the teacher wishes to use a specific game or games to reinforce a musical objective, then he/she will need to acquire the interface required to run the software. For example, to play the Nintendo game Wii Music, the teacher will need a Nintendo Wii system, a television screen, a Wii Music CD, and up to four Nintendo Wii motion controllers10. If the teacher wants to use an instrument simulator game, such as Guitar Hero or Rock Band, they would not only need the gaming console designed to run the game (PlayStation, X-box, etc.), but they would also need the dedicated instrument controllers as well. All of these factors can be significantly expensive, so it is imperative for music teachers to consider their financial situation during the planning stages.

Other potential hindrances that may prevent the implementation and successful use of video games include the reality of an ever-changing technological landscape. Games and programs can eventually become obsolete with the creation of new software. For example, with the end of support for Adobe Reader at the end of 2020, many Flash-based web programs were discontinued entirely. Teachers will also need to consider the financial implications of using specific games that require dedicated hardware, such as a video game console, iPad, tablet, or computer. This is particularly relevant when considering environments based in low socio-economic areas.

Using portable devices such as iPads and Chromebooks that may already be available through the school or district is a less expensive alternative, though it is a limitation for teachers who want to use popular COTS games. There are, however, a large amount of software titles available for these devices, which will be detailed in the next section. Many of these games use the device’s touchscreen as the main point of interface, which eliminates the need for a traditional controller. Video games available online as either an app or a standard website may be offered free of charge or for a nominal fee. This requires the teacher to consider the level of device accessibility per student. If a teacher is fortunate enough to possess a 1:1 student/device learning environment, then they would have the ability to engage every student simultaneously. This does not mean that teachers who have a singular device for an entire class or a few devices cannot be equally effective. Each method of using video game technology to teach musical concepts and skills can be applied to any particular set of circumstances, whether the teacher has access to multiple devices or a single computer11 .

Finding support for teaching with video games can also become a challenge with those who are not familiar with the technology and lack of opportunities for professional development. However, as more new educators enter the field, it is likely that the familiarity with this medium will increase dramatically. As such, more pre-service and currently practicing educators representing a younger demographic have favorable views toward video games and their inclusion in a school curriculum12. It is likely that as members of successive generations that are already familiar with video games enter the teaching and administrative fields that there will be an increase of support toward video games as mainstream educational tools. Playing Video Games to Learn Music

Using video games as an interactive activity to build musical abilities can be effective only if the specific game used is directly tied to the pre-established curriculum objectives. This is fairly simple when working with edutainment games that are designed with music learning in mind. However, choosing games that emphasize the “skill-and-drill” design may serve not only to lose student interest, but prevent future interest in gaming altogether. To be considered an effective example of edutainment, the game must not only promote musical objectives that conform to the standards of a district-approved music curriculum, such as the National Association for Music Education (NAfME) 2014 standards in the Creating, Performing, and Responding strands13, but also provides a fun experience that facilitates challenge, instant feedback, quantitative analysis, and customizable difficulty levels for differentiated instruction14 .

Many such games are available for free online or for a small fee for an iOS device such as an iPad, tablet, Android, or Smart Phone. In a 1:1 device/student learning environment, students can work independently or in groups to complete levels or achieve scores determined by the teacher. In a classroom setting with one device per several students or one device per class, the teacher can either use the games as part of a whole-class lesson or create learning stations with various activities of which the game is one activity out of many. Specific games that can be effective for any of these environments include Rhythm Cat (www.melodycats.com) for reading traditional music notation, Flashnote Derby (www.flashnotederby.com) and Staff Wars (www.themusicinteractive.com) for learning note names, Blob Chorus (www.echalk.co.uk) for aural perception, and Rhythm Repeat (www.trainer.thetamusic.com) for perceiving and performing rhythmic patterns.

The above games are just a small sample that are both informative and educational while simultaneously offering a fun and immersive experience for students of varying age groups. Websites that offer a suite of games that cover these topics and more include musictechteacher.com, San Francisco Symphony Kids (www.sfskids. com), New York Philharmonic Kids Zone (www.nyphilkids.org), and PBS Kids Music Games (www.pbskids.org/games/music). The games on these websites also include understanding instrumental timbre, dynamics, and tempo by conducting a virtual orchestra and matching tempo to pre-recorded orchestral works.

Some of these games do use the same skill and drill quiz format that can potentially disengage students, as developing video games that help teach music while providing the same immersion experienced by many COTS games is still a relatively new field. To further enhance these games for more successful student engagement, using competition can be an extremely effective strategy. Having students compete against each other, in teams, or even against other classes adds an element of excitement that can be used as a catalyst for stealth learning. For example, teachers can create a class leaderboard for students who score the highest on any particular game and hold mini-tournaments while simultaneously assessing their musical skills.

Another effective method of using video games to enhance a lesson is to reinforce a concept previously introduced in class. After a brief tutorial, students can work independently or in groups practicing the objective using the appropriate game. Teachers can

then assess and evaluate students using the embedded scoring system feature in each game, which presents a quantifiable score in real time that provides instant feedback to the student. Difficulty levels can be customized for differentiated instruction, and teachers can provide challenges to students who demonstrate high ability, such as achieving a specific score in a set amount of time or assisting other students who need extra attention.

Though they are not designed for educational practices, the use of musical COTS games have been employed by teachers to help increase motivation, develop motor skills, rhythmic integrity, pitchmatching, and ensemble performance15. Most of the games with musical performance as its core design are known as rhythm action games, and include influential titles such as the Guitar Hero and Rock Band series, which have similar game play features in which the player must use rhythmic awareness and motor skills to progress using simulations of musical instruments and/or physical motions.

The disadvantage to implementing these types of games is that the teacher would need to purchase a dedicated game console, along with the game itself and any peripheral accessories that are required to play the game. This can be extremely expensive if the teacher has none of the materials and limited financial support. In addition, gaming consoles typically only allow a small number of students to play simultaneously, which can be counterproductive in engaging an entire class. Nintendo’s Wii Music, for example, has several activities, including a conducting game to practice rhythmic perception, instrument simulators to reinforce timbre, and a music creation system that allows players to compose original music. However, only up to four students can play at a time, which can be detrimental when teaching a typical class of 20 or more students.

This does not mean that all COTS games are ineffective; it simply implies that there can be limitations in being able to conform to established learning standards and involve all students. One possibility is to divide students into groups and hold a team-based competition where students collaborate and assist each other so that everyone is participating. Another option is to create learning stations where one group of students play the game while other groups engage in different activities which rotate after a certain amount of time. There are many rhythm action games besides the Guitar Hero and Rock Band series that are only available on dedicated gaming consoles; games available on iOS devices include Piano Tiles and Magic Piano along with similar games available for free on the internet Frets on Fire and KeyBoard Guitar Master. Ultimately, the games you decide to use in your classroom must reflect their ability to engage all students, so it may be more realistic to use online-based games that can be accessed through portable devices that are available to every student and provided by the school, such as iPads, tablets, and laptop computers.

Composing Music with Video Games

Though they are not modeled on a game-based structure, programs to practice musical composition can provide an innovate way for students to create their own original works16. An early example that has been modified into a stand-alone program is Mario Paint Composer (www.mario-paint-composer.en.softonic.com). Based off of the 1992 Nintendo game Mario Paint, Mario Paint Composer is a free downloadable program that uses a combination of traditional and non-traditional notation that students can use to compose original works17. The main feature of Mario Paint Composer is that notes are replaced with icons representing characters from the Super Mario Bros. series, though they act as standard pitches and rhythms when entered into the staff. Students can also save and share their work for projects lasting multiple classes, and even render their music as mp3 files that can be played on all digital audio devices18 .

Another downloadable stand-alone program that imitates the compositional style of early video games is Little Sound Dj (www. littlesounddj.com/lsd/index). Little Sound Dj acts as an online emulator for the portable Nintendo Game Boy system, which can be used to create 8-bit sounds called chiptunes. Chiptune music was first used on the original Nintendo and other 8-bit systems that, because of low CPU-memory, could only provide four audio channels. Though consoles have significantly evolved and can now feature fully integrated symphonic orchestra-quality sound, chiptune music has become its own subculture and is extremely popular among aficionados of video game music19. Practicing composition with chiptune music is an excellent way to give students a unique opportunity to express themselves with non-traditional musical timbres.

Commercial games that feature opportunities for students to compose in non-traditional notation as part of an overall larger structure include Minecraft, Little Big Planet 3, and Animal Crossing: New Horizons. Similar to Mario Paint Composer and Little Sound Dj, these music generators involve creating music with non-traditional Western-style music notation. The music player in Animal Crossing: New Horizons can extend the length of notes by using the icon of a dash or minus sign, which will sustain the pitch until a different icon is used. However, the player has no control over the tempo of the melody, and there are only sixteen icons available in which to use. Sharp and flat notes are also unavailable, but this limitation may give students the opportunity to learn about various modalities. Little Big Planet 3 allows for longer melodies, but can only be created using preexisting samples. This format is similar to DAW (digital audio workstation) programs such as Garageband and Soundtrap. Like many COTS games, however, the music generator from Little Big Planet 3 is only available through purchase of the game on the PlayStation console while Animal Crossing: New Horizons is only available on the Nintendo Switch system.

Minecraft (www.minecraft.net/en-us/) and its educational counterpart MinecraftEDU (www.education.minecraft.net/) are both available online and possess a system that allows players to compose music that can be accessed at any point in the game20 . Minecraft is based on the creation of virtual structures using pixilated blocks representing various building materials; specific note blocks called "redstone" can be placed on top of these blocks to play a different instrumental or electronic sound. Players can also choose the note they wish to use from a chromatic range of one octave, although the blocks themselves will not display any difference in pitch. Likewise, there is no notational display present, so the player must construct their melodies by using aural perception.

Rhythms can be altered by placing redstone "repeaters" after note blocks, which are blocks that can extend or delay notes according to the chosen tempo. MinecraftEDU uses the same structure for its music generator, so there is no difference between this version and the original. However, MinecraftEDU is only available on personal computers using an account created by a teacher, while Minecraft is available to the general public on multiple platforms, including

computers, gaming consoles, and mobile devices.

While these programs may fulfill similar functions to DAW’s, the use of non-traditional notation presented within a video game context may serve to further engage students by providing them with an alternative method to demonstrate their creativity21. In addition, the popularity and brand recognition of the game-based compositional programs can help to potentially draw in and motivate students through the use of character design, virtual environments, and a more developed in-game world that promotes a greater sense of immersion. Again, these materials are not meant to serve as a replacement or in competition with established DAW’s, but as an additional tool to use at the teacher’s discretion.

Teaching Using the Music of Video Games

Illustrating musical concepts by using examples of influential compositions has long been an effective method of teaching. Using Beethoven’s “Symphony No. 5” to teach motifs or Grieg’s “In the Hall of the Mountain King” for programmatic music are just a few examples that are widely used. However, it is also necessary to be able to include music representing popular culture so that they may be able to relate and engage more successfully. Contemporary styles such as rock, pop, and other genres have been employed for such purposes, but adding music from video games can also serve as a helpful tool. This includes introducing music representing various styles and time periods through the lens of video from the orchestral, popular, and folk repertoire.

For example, two influential Russian works are played during Tetris, arguably one of the most influential puzzle games of all time. Pjotr Tchaikovsky's Dance of the Sugar Plum Fairy from The Nutcracker played during the background of the original version; it was replaced with the Russian folk song "Korobeiniki" for the Nintendo version. Quotes from Richard Wagner's Ride of the Valkyries have been used in nearly a dozen games, most notably during the entrance of the character Von Kaiser from the original Mike Tyson's Punch Out! (Nintendo, 1987). In fact, Punch Out! has several quotations from classical and traditional folk music during character entrances, including La Marseillaise (Glass Joe), Les Toreadors (Don Flamenco), Sakura Sakura (Piston Honda), and Song of the Volga Boatmen (Soda Popinski)22 .

Music from the Baroque, Classical, and Romantic periods have also been included in games such as J.S. Bach's Toccata and Fugue in D Minor in The Battle of Olympus, Beethoven's Piano Sonata No. 14 in C-sharp minor, "Moonlight", in Earthworm Jim 2, Mozart's Requiem in D minor in Bioshock Infinite, and selections from the soundtrack of the 1940 Disney film Fantasia in Kingdom Hearts. In fact, the PlayStation 3 game Eternal Sonata is a fictionalized story based on the life of Frédéric Chopin, where he dreams about events from his past. Each area is inspired by one of Chopin's compositions, including Nocturnes, Op. 9, Grand Valse Brilliante, Op. 18, and Fantaisie Impromptu, Op. 66, among others.

Musical genres, compositional styles, and elemental concepts can also be taught using the original music composed for video games23. For example, changes in tempo can be taught using the 1978 game, Space Invaders, which features a four-note chromatically descending bass line that gradually increases speed as the player eliminates the pixilated aliens on the screen. Gregorian Chant can be discussed using the main theme of the Halo series, atonal music by using the original soundtrack to Bioshock, and 1940’s jazz in Cuphead. These are just a few cases of how musical ideas can be illustrated through video games; the soundtracks of which are all available through YouTube. In fact, there are several YouTube channels that focus solely on the analysis and qualities of video game music, including Professor Lesser, Game Score Fanfare, Matt Kenyon, and 8-bit Music Theory.

Future Directions Post-COVID

At the time of this writing, COVID-19 is still very much a major part of our lives. Schools are either completely remote or implementing a hybrid program where small cohorts of students are returning to the classroom with intense safety precautions. However, the day where COVID will no longer sweep the nation will inevitably arrive, and many educators are wondering how, and even if, we can return to the previous models of learning prior to the pandemic.

The vast amount of information and experience that teachers have gained from implementing new materials and experimenting with alternative forms of learning will not simply disappear once we all return to the traditional classroom environment. The proverbial technology genie has been let out of the bottle, and once set free, it cannot be returned to its previous state of being. That being said, education in a post-COVID world will most likely try to retain the most successful aspects of distance learning techniques and attempt to improve the difficult challenges that have resulted out of this necessity.

This technology may seem self-sufficient that a student can learn to properly use and learn from it without the guidance of a teacher. Like any educational tool, however, video game instruction is not as effective when it is employed exclusively and without the guidance of a designated teacher. This eliminates a crucial aspect in learning beyond a student's capabilities, which is required to fill the gap between acquired knowledge and potential knowledge. Video games may one day possess the ability to serve as a sole instructional resource, but presently the need for a qualified teacher to design, implement, and assess these resources is imperative for effective student learning24 .

A potential dilemma as to reconciling the nature of gaming with education is the fact that playing normally requires voluntary participation25. Being assigned to play a video game as part of a classroom evaluation or grade may lower the amount of student motivation to fully engage. A possible solution to this is to accentuate the aspect of fun of playing the game rather than explain the educational purposes first. If successful, students will be entirely focused on enjoying the game itself that learning will occur naturally. That does not necessarily mean that students cannot gain the same type of enjoyable experience using video games to learn music, as long as the game's design aspects possess features that are contained in successful COTS games.

As teaching with video games can be effective in a remote or in-person classroom setting, music educators will have the opportunity to decide which methods work best for them based on their specific learning situation. As mentioned earlier, whether a teacher is working within a 1:1 device availability scenario, a few devices, or even a single device, adapting video game technology to suit the needs of each individual circumstance can be achieved effectively and creatively. Although using video games in the music classroom

is simply one tool in the educator’s toolbox, adapting our instructional methods with new and innovative technologies has become essential to fit the needs of our students in an ever-changing world. The educational potential of video games to serve the future of music education has never been so relevant, and the possibilities of its applications are as endless as our own creativity.

1 Amy Burns, Using Technology with Elementary School Approaches (New York: Oxford University Press, 2020). 2 Wolfgang E. Kuhn and Raynold L. Allvin, “Computer-Assisted Teaching: A New Approach to Research in Music,” Journal of Research in Music Education 15, no. 4 (1967): 305-315. 3 Kevin R. Keeler, Jr., “Video Games in Music Education: The Impact of Video Games on Rhythmic Performance,” Visions of Research in Music Education 39. Retrieved from http://www.rider.edu/~vrme. 4 Peter Webster, “Historical Perspectives on Technology and Music,” Music Educators Journal 89, no. 1 (2002): 38-54. 5 Mark Prensky, Digital Game-Based Learning (New York: McGraw-Hill, 2001). 6 Mark Prensky, Don’t Bother Me, Mom – I’m Learning! (New York: Riverhead, 2006). 7 Valerie Shute, “Stealth Assessment in Computer-Based Games to Support Learning,” in Computer Games and Instruction, ed. Sigmund Tobias and J.D. Fletcher (Charlotte: Information Age Publishing, 2011), 503. 8 Entertainment Software Association, “Essential Facts About the Computer and Video Game Industry,” ESA Essential Facts, July 2020, https://www. theesa.com/esa-research/2020-essential-facts-about-the-video-game-industry/. 9 Entertainment Software Association, “Essential Facts About the Computer and Video Game Industry,” ESA Essential Facts, July 2015, https://www. theesa.com/esa-research/2015-essential-facts-about-the-video-game-industry/. 10 Eric Feola, “Technology for Teaching: Wii Music,” Music Educators Journal, 96, no. 4 (2010): 20. 11 Richard Dammers and Marjorie LoPresti, Practical Music Education Technology (New York: Oxford University Press, 2020). 12 Joy Bensiger, “Perceptions of Pre-Service Teachers of Using Video Games as Teaching Tools,” PhD diss., (ProQuest, 2012). 13 National Association for Music Education, “2014 Music Standards”, Retrieved from https://nafme.org/my-classroom/standards/core-music-standards/. 14 James Paul Gee, ed., Good Video Games + Good Learning: Collected Essays on Video Games, Learning, and Literacy (New York: Peter Lang, 2013). 15 Evan S. Tobias and Jared O’Leary, “Video Games,” in The Routledge Companion to Music, Technology, and Education, ed. Andrew King, Evangelos Himonides, and S. Alex Ruthman (New York: Routledge, 2017), 263. 16 Maud Hickey, Music Outside the Lines: Ideas for Composition in K–12 Music Classrooms (New York: Oxford University Press, 2012). 17 Peter Shultz, “Music Theory in Music Games,” in From Pac-Man to Pop Music, ed. Karen Collins (Burlington: Ashgate, 2008), 177. 18 Dana Plank, “Mario Paint Composer and Musical (Re)Play on YouTube,” in Music Video Games: Performance, Politics, and Play, ed. Michael Austin (New York: Bloomsbury, 2016), 43. 19 Anders Carlsson, “Chip Music: Low-Tech Data Music Sharing,” in From Pac-Man to Pop Music, ed. Karen Collins (Burlington: Ashgate, 2008), 153. 20 Daniel Abrahams, “Engaging Music Students Through Minecraft,” ICERI2018 Conference, Seville, Spain, 2018. 21 Andrew Brown, “Game Technology in the Music Classroom: A Platform for the Design of Music and Sound,” in Music, Technology, and Education: Critical Perspectives, ed. Andrew King and Evangelos Himonides (Oxford: Routledge, 2016), 122-133. 22 William Gibbons, “Bleep, Bloop, Bach? Some Uses of Classical Music on the Nintendo Entertainment System,” Music and the Moving Image, 2, no. 1 (2009), 2-14. 23 Evan Tobias, “Let’s Play! Learning Music Through Video Games and Virtual Worlds,” in Creativities, Technologies, and Media in Music Learning and Teaching, ed. Gary E. McPherson and Graham F. Welsh (New York: Oxford University Press, 2018), 217. 24 Andrew Lesser, “Video Game Instruction and Learning in the Music Classroom,” PhD diss., (ProQuest, 2019). 25 Jane McGonigal, Reality is Broken: Why Games Make Us Better and How They Can Change the World (New York: Penguin Press, 2011).

NJMEA Awards

all Award applications available at https://njmea.org/awards

SCHOOL ADMINISTRATOR AWARD

Awards are presented annually to outstanding school Principals and/or Superintendents who demonstrate support for and commitment to high-quality arts education programs in their schools. The influence of such administrators is a major factor in improving music education in school systems across the state.

One Elementary School Principal, one Secondary School Principal, and one School District Superintendent may be selected to receive this award. Individuals holding titles as Assistant Principal and Assistant or Associate Superintendent also qualify.

Administrators receiving awards will be notified by NJMEA and a presentation honoring them will take place at the NJMEA February State Conference.

DISTINGUISHED SERVICE AWARD

The NJMEA Board of Directors has initiated a Distinguished Service Award for those members who have honored themselves with faithful service to music education in public, private, and parochial schools in New Jersey.

Past and present members of the NJMEA Board of Directors are also eligible for this award since they have dedicated much time and effort toward state projects related to music education.

Additional award categories include individuals and organizations outside the field of professional music education and NAfME officers on both the National and Regional levels.

Award recipients will be honored at a mutually agreeable occasion such as state workshops, region meetings, concerts or festivals, and retirement affairs.

OUTSTANDING SCHOOL BOARD AWARD

Awards are presented annually to outstanding Boards of Education who exemplify superior support and commitment to quality music programs throughout all of the grades and schools of their school district.

Criteria for this award include support of superior programs of sequential, curriculum-based music education; advocacy for music education within the district; and financial support commensurate to support superior programs of general, choral, and instrumental programs within the district.

Boards of Education receiving awards will be notified by NJMEA and a presentation honoring them will take place at the NJMEA February State Conference.

MASTER MUSIC TEACHER AWARD

Master Music Teacher Awards are presented annually to members of NJMEA based on the following:

- completion of a minimum of ten years of teaching in the schools of New Jersey (public, private, parochial, or collegiate). - currenty actively teaching and a member of NJMEA and NAfME for at least ten years. - display of teaching excellence.

Members of the NJ Retired Music Educators Association will visit candidates during their teaching day to conduct interviews and observe the programs and methods of selected candidates. Nominees for this award are then presented to NJMEA Board of Directors for approval.

Katy Brodhead Cullen, diversity[at]njsma.com

NJSMA

North Jersey School Music Association www.njsma.com

First of all, I hope you had an enjoyable holiday season with family and friends. Since our last correspondence, I am sure many of us have returned to the stage with our ensembles in some capacity. I am sure the feeling of joy was overwhelming to be back at it again!

Our high school chorus, high school band and high school/intermediate orchestra will be holding auditions on January 8th, 2022. A big thanks to the Clifton school district for hosting us this year as we make our return. Our intermediate band and intermediate chorus will also be auditioning in Clifton on February 12th, 2022. If you have any questions about the auditions or ensembles, please reach out to your division chairpersons.

The NJMEA conference is returning this year (February 24 - 26) at the convention center in Atlantic City. As normal, we will be hosting an NJSMA meeting where you can meet the executive board and have the opportunity to hear reports from all of the officers/divisions in attendance. The date and time will be published as part of the convention schedule. Info will be posted on the website along with email communication. We will also be planning a social gathering for a few hours during one night of the conference. That info will be published once confirmed but will not be listed on the official conference schedule.

As we move through the next few months, it will be very exciting to see our students performing in their respective region ensembles. Our website (njsma.com) has every date posted in the calendar section which you can access from the main menu.

If you have any questions or want to get more involved helping provide opportunities for our students, please feel free to reach out.

Christopher DeWilde NJSMA President president[at]njsma.com

Diversity and Inclusion

NJSMA continues to look for ways to increase the diversity of program offerings, create ways to support students from low-socioeconomic backgrounds, and provide professional development for members who are teaching in urban and rural schools. We look forward to seeing you at the 2022 NJMEA State Conference!

Band Division

We would like to thank Mr. Bryan Stepneski and Clifton High School for hosting high school auditions and our high school band division audition chair, Ms. Michelle Christianson from Parsippany Hills High School.

The High School Region Band rehearsals and concert will be held at Parsippany Hills High School. The concert will be on January 30, 2022.

The Intermediate Band auditions (7-9) will be held on Saturday, February 12, 2022 with a snow date of Sunday, February 13, 2022 at Clifton High School. We would like to thank Mr. Bryan Stepneski and Clifton High School for hosting auditions and the band division audition chair, Ms. Danielle Wheeler from Bergenfield High School.

The Intermediate Region Band rehearsals will be March 2, 8, 10, 11, 12. The concert will take place on March 13, 2022 at 3:00 p.m. The location for the rehearsals and concert will be announced shortly.

This year’s High School Region Concert Band Festival will be held March 22, 23, 24, 2022. Hosts include Verona High School, Parsippany Hills High School, Hanover Park High School, and Bergenfield High School. The Intermediate (Junior High) Concert Band Festival will be held March 30, 2022. More information on concert location to be announced shortly. Special thanks to our festival coordinators Pete Bauer, Erik Donough, John Maiello, and Amy Wilcox.

The annual NJSMA Elementary Band Festival will take place on Saturday, May 7, 2022. Sixth graders from North Jersey who have been nominated by their directors will rehearse and perform a concert in a one-day festival.

Directors who would like to suggest a new high school or junior high school solos for future auditions are encouraged

to do so. The process for having a new solo considered is to contact the band chairs and provide a copy of the music for them. Your suggestion will be submitted to a committee for review (NJ Band Procedures Committee for high school solos) and added to the rotation if deemed appropriate.

Please check www.njsma.com for updates and detailed information on upcoming events.

Michelle Christianson, Lewis Kelly, and Lyn Lowndes Band Division Co-Chairs, band[at]njsma.com

Elementary Division

The NJSMA Elementary General Music Division is proud to offer exceptional events and workshops for elementary general music educators and music education majors. This past fall, NJSMA Elementary hosted three SOS! Saturday Online Sharing Workshops. - September 18, 2021: “Back to School Ideas...during a Pandemic” with pop-in guest presenter, Bob Morrison - October 15, 2021: “Fall and Halloween Ideas…during a Pandemic,” with pop-in guest presenter, Denise Gagne - November 13, 2021: “Winter and Holiday Ideas…during a Pandemic,” with pop-in guest presenter, Rob DelGaudio.

We are grateful to participants and presenters who shared successful ideas and activities at our virtual workshops.

Please check our website for information about 2022 NJSMA Elementary workshops and events.

If you’d like to join our mailing list to receive information about upcoming professional development opportunities, please place a request via email: elementary@njsma.com.

All NJMEA Elementary General Music Educators are invited to participate as we share our successes, struggles, support and stories with one another.

Lisa Wichman and Karen Andruska General Music Division Co-Chairs, elementary[at]njsma.com

Orchestra Division

We would like to thank Peter Pezzino for being this year's orchestra audition chair!

We are excited to announce the conductors for both region orchestra groups! The high school region orchestra will be conducted by Brian Worsdale, who is the music director of Three Rivers Young Peoples Orchestras (Pittsburgh, PA). He is also the artistic director and conductor of French Woods Festival of the Performing Arts. The intermediate region orchestra will be conducted by Loni Bach, who is the orchestra director at Sparta High School.

As always, please reach out to us if you have any questions!

Jordan Peters and Caitlin Shroyer, Orchestra Division Chairs, orchestra[at]njsma.com Central Jersey Music Educators Association www.cjmea.org

I hope that this finds everyone well and that you are having a great school year! The CJMEA Board has been working endlessly to plan a year of returning to all of our great events that we have all missed so much during the last year. By the time of this publication, CJMEA will be in the midst of having our High School Region Concerts through the month of January. It has been so nice to be able to be apart of the planning of these events and once again be in person with all our students and colleagues throughout our region. I would like to thank our High School Division Chairs: Chris Vitale (Westfield HS), Arvin Gopal (East Brunswick), and Arielle Siegel (Monroe Township) for all of their hard work and dedication in making this season a success. I would also like to thank Brian Toth (East Brunswick) for running our High School Auditions flawlessly and all of his work that goes into planning it. On January 29th, we will host our Intermediate Band, Orchestra, Chorus, and Percussion Auditions and we have a great middle school region season planned with our performances throughout the month of March. We will also have our Elementary and Middle School Honors Groups in March and April. Stay turned for information on these events and continue to check the CJMEA website for details. I also encourage everyone to ‘like’ our CJMEA Facebook page as we will be updating it with information throughout the year.

I am so excited that we will be back in Atlantic City for the NJMEA conference this February! On the Friday of the conference, we will be hosting our CJMEA General Membership Meeting. If you are attending the conference, we would love to see you there as all of our division chairs an elected officers will be speaking about our organization. We are always looking for teachers to get involved and attending this meeting is the perfect time to ask questions and find out information about what is currently happening in our region.

It is so important that all of us as a team continue to work together to push music education in our state forward. Being able to return to these in-person region auditions, events, and concerts with some of the top conductors and educators in the state and nation coming to work with our students is such a rewarding time for all of us. We look forward to seeing everyone at a region event or at the conference in February. In the meantime, if there are ever any questions or if I can be of an assist in any way, please always feel free to reach out and email me at percussion@cjmea.org.

Yale Snyder CJMEA President percussion[at]cjmea.org

South Jersey Band and Orchestra Directors Association www.sjboda.org

SJBODA will bring in the New Year with two very exciting concerts at Rowan University. On Sunday, January 9th we will present our Orchestra, Symphony, and String Ensemble concert. This is the 67th anniversary concert for the Orchestra which will be conducted by Bruce Yurko (Rowan University). Sue Mark (Rosa International MS) will conduct our Symphony and the Junior High String Ensemble will be conducted by Joseph Brennan (Haverford MS and HS). The manager for the Orchestra is Deb Knisely (Cinnaminson HS) and Samantha Sara (Rowan University, student teacher) will manage the Junior High String Ensemble. We were still in need of a manager for the Symphony at the deadline for this article. The following Sunday, January 16th the Wind Ensemble and the Symphonic Bands will perform in their 75th anniversary concert. The Wind Ensemble will be conducted by Robert W. Smith (Troy University). The conductors for our Symphonic Bands will be Tyler Wiemusz (Clearview Regional HS) and Art Myers (Glassboro HS). We were still in need of managers at the deadline for this article. Our concert host for these performances is Joe Higgins.

These concerts would not be possible without the commitment and dedication of our colleagues. Phil Senseney (Southern Regional Schools, retired) and Deb Knisely (Cinnaminson HS) did an outstanding job in providing our students with a positive audition experience. Patrick O’Keefe provided an excellent facility for our students, parents, and membership at the auditions which were held at Absegami HS.

The first rehearsal for these ensembles were held at Cinnaminson HS and hosted by Deb Knisely. Deb did a wonderful job in meeting the needs of our students. Our young musicians also benefitted from the efforts of Amanda Porco (Hamilton Township Schools), our Senior High Band Coordinator. We were still in need of a String Coordinator at the deadline for this article.

The Junior High Band auditions will take place on Saturday, January 29th at Southern Regional Middle School. Jennifer Hodgson and Andrew Wright will be our hosts. Audition information is available on our website. Jon Porco (Deptford Township MS) and Joe Jacobs (Ventnor MS, retired) are the Junior High audition chairs. Joe Brausum (Berkley Township ES) is our Junior High Band Coordinator. The concert will take place on March 6th at Fernwood Ave. MS. Marc Spatz will be our concert host. The rehearsals will take place at Mainland Regional HS with Derek Rohaly as our host. The conductors for the 44th Annual Junior High Band Concert are Mary Onopchenko (Clara B. Worth ES) and Matthew Holmberg (Mill Pond ES).

The 14th annual Chamber Ensemble Concert will take place on Wednesday, February 8th at Penns Grove HS with Ken Rafter as our host. Jon Porco (Deptford Township MS) is our Chamber Ensemble Coordinator. Our coaches this year are Art Myers (Glassboro HS) – Brass Ensemble; Michael Fahrner (Rowan University) – Tuba/Euphonium Quartet; Matthew Wyckoff (Egg Harbor Township HS) – Percussion Ensemble; Megan Carroll (Rutgers University) – Woodwind Quintet; and Kimberlee Speers (Egg Harbor Township School District) – Flute Quartet. We were still in need of coaches for the Clarinet Ensemble and the Sax Quartet at the deadline for this article.

Registration forms for our 28th annual Concert Band Festival are available on the SJBODA website. The festival, coordinated by Mike Armstrong (Deptford Township HS) and Jon Porco (Deptford Township MS), will take place on Tuesday, March 8th and Wednesday, March 9th at Rowan University. The snow date will be Tuesday, March 15th. The adjudicators will be Joe Higgins (Rowan University) and Julia Baumanis (Rutgers University). Joe Higgins will host this event.

The 29th annual Elementary Honors Band Festival will take place on Saturday, May 7th at Absegami HS. Patrick O’Keefe will be our host. Our coordinators are Sue Moore (Mansion Avenue School) and Ryland DiPilla (Milton Allen ES). Registration forms are available on our website.

Our 6th annual Elementary String Festival will take place on Saturday, May 14th at Egg Harbor Township HS. Christine Macaulay (Clara Barton ES) will coordinate this event and Kate Wyatt (Egg Harbor Twp. Schools) will be our host. Registration forms are available on our website.

The SJBODA Winter Meeting will take place on Friday, January 14th at 10:00 AM at Rowan University. All members are encouraged to attend. Please continue to check the website, maintained by Derek Rohaly (Mainland Regional HS) for the latest SJBODA updates. The SJBODA phone number is 609-457-0590.

Lori Ludewig SJBODA President sjbodapresident[at]gmail.com

South Jersey Choral Directors Association www.sjcda.net

Our 64th Annual South Jersey High School Choral Festival will be held at Investors Bank Performing Arts Center at Washington Township High School on January 29th and 30th, 2022. Our Senior High conductor is Rob DiLauro from Seneca HS , and our Junior High conductor is Cristin Introcaso of Collingswood High School. Auditions for these choirs will be held on Saturday, November 13th at Woodstown High School.

Our 39th Annual South Jersey Elementary Festival Choral Concert will be held at Investors Bank Performing Arts Center at Washington Township High School on March 5th, 2022; the choir will be conducted by Eric McGlaughlin of G. Harold Antrim Elementary School. Packets to participate for the festival are on the www.sjcda.net web site.

Full concert programs for all three honors choirs as well as bios of our conductors are available on our SJCDA website.

The South Jersey Choral Directors Association offers many opportunities for choral music teachers to participate, and in doing so, expand their knowledge as music educators. We encourage all music teachers to get involved with the honor choirs and take advantage of the professional development opportunities offered. We look forward to another exciting year working with the teachers and students of vocal music throughout South Jersey and encourage you to check our website for the latest updates. www.sjcda.net

At this busy time of year, SJCDA has many people to thank for their generous help and support. Our gracious rehearsal hosts are Brendan Moore of Lenape High School and Dr. Chris Thomas of Rowan University. Joseph Zachowski at Washington Township High School will host both the Jr./ Sr. Festival in January and the Elementary Festival in March. Also, we would like to thank our hard working SJCDA Board for all of their time in getting this years in person performances off the ground.

David Taylor SJCDA President dtaylor[at]nburlington.com

Area of Responsibility Name Email Address

Administrative Matters..................................................... Wayne Mallette........................................... mallette.njmea[at]gmail.com All-State Chorus, Orchestra, Jazz Coordinator............... Joseph Cantaffa.................................. jcantaffa[at]rocknrollchorus.com All-State Orchestra Procedures Chair ..................... Craig Stanton & Liza Sato................................... asoprocedures[at]gmail.com Association Business...................................................... William McDevitt...................................... wmcdevittnjmea[at]gmail.com Choral Procedures Chair ................................................. Michael Doheny.................................... michaeldoheny70[at]gmail.com Composition Contest......................................................... Andrew Lesser ........................................... andrew.lesser[at]yahoo.com Inclusion/Diversity/Equity/Access..............................Katy Brodhead-Cullen.............................................njmea.idea[at]gmail.com Jazz Procedures Chair ...................................................... Miguel Bolivar........................................... mbolivar.njaje[at]gmail.com Marching Band Festival Chair .......................................... Nancy Clasen ................................................ nancyclasen[at]gmail.com Membership.................................................................... William McDevitt...................................... wmcdevittnjmea[at]gmail.com Middle/Junior High Band Festival................................... James Chwalyk ..............................jameschwalyk[at]lyndhurst.k12.nj.us Middle/Junior High Band Festival................................. Manuel Martinez.......................................manuelmartinez[at]gehrhsd.net Middle/Junior High Choral Festival........................... Donna Marie Berchtold ....................................... firesongwed[at]gmail.com NJMEA Historian............................................................ Nicholas Santoro .................................................... n31b13[at]gmail.com NJMEA State Conference Exhibits Chair......................... Nancy Clasen ................................................ nancyclasen[at]gmail.com NJMEA State Conference Manager................................... Marie Malara ......................................................... malara97[at]aol.com NJMEA Summer Conference............................................. Jodie Adessa.................................................. jodieadessa[at]gmail.com NJMEA Summer Conference............................................ Casey Goryeb........................................... casey.goryeb71[at]gmail.com NJMEA/ACDA Honors Choir .......................................... Kaitlyn Reiser.........................................................kreiser[at]spfk12.org November Convention – NJEA..........................................Nancy Clasen................................................ nancyclasen[at]gmail.com Opera Festival Chair................................................... Donna Marie Berchtold ....................................... firesongwed[at]gmail.com Orchestra Performance Chair............................................. Susan Meuse................................................ susanmeuse[at]gmail.com Research ............................................................................. Colleen Sears ........................................................... quinnc1[at]tcnj.edu Students with Special Needs ............................................ Maureen Butler.................................. maureenbutlermusic[at]gmail.com Supervisor of Performing Groups .................................... Patrick O’Keefe .......................................... patrickaokeefe[at]gmail.com Tri-M ................................................................................ Wayne Mallette ...........................................mallette.njmea[at]gmail.com

REPRESENTATIVES/LIAISONS TO AFFILIATED, ASSOCIATED AND RELATED ORGANIZATIONS

NJ American Choral Directors Association....................... Kaitlyn Reiser ........................................................kreiser[at]spfk12.org Governor’s Award for Arts Education.............................. Patrick O'Keefe ...........................................patrickaokeefe[at]gmail.com NJ Association for Jazz Education................................... Miguel Bolivar............................................mbolivar.njaje[at]gmail.com NAfME........................................................................... William McDevitt ......................................wmcdevittnjmea[at]gmail.com NJ Music Administrators Association.............................. Jonathan Harris ..........................................................harrisj[at]nvnet.org NJ Retired Music Educators Association........................... Ronald Dolce ....................................................... rdolce561[at]aol.com NJ TI:ME.......................................................................... Andrew Lesser........................................... andrew.lesser[at]yahoo.com Percussive Arts Society........................................................ Joe Bergen ................................................joe[at]mantrapercussion.org

COMMUNICATION SERVICES/PUBLIC RELATIONS

Executive Director/TEMPO Editor................................ William McDevitt..................................... wmcdevittnjmea[at]gmail.com TEMPO Express................................................................ Andrew Lesser ........................................... andrew.lesser[at]yahoo.com Webmaster....................................................................... Matthew Skouras ..................................... mskouras.njmea[at]gmail.com

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.

Louis A. Andres

Louis A. Andres, age 76, passed away at his home in Sparta, on August 24, surrounded by his family. He was born on August 19, 1945 in Rahway, New Jersey to Helga and Jack Andres. Lou was raised in Carteret, New Jersey, graduating from Carteret High School in 1963. He went on to earn a degree in Music Education from Montclair State University, with a focus in voice. After college, Lou taught Music Education grades K-8 at the Ogdensburg School for 27 years. He also performed as a professional tenor all over the tri-state area. His passion was Musical Theater, Cabaret and Opera. In addition to music, he found his greatest peace on the water in his boat. This was only secondary to spending time with his 11 grandchildren and his family. Lou is survived by his wife Lynda Andres, his son Christopher, daughters, Solveig, Margit and Erika, stepdaughter Kristen, stepson Kurt, his sister Donna Jenkins and her husband Joel, his Niece Brett Higby, Nephews Damon and Aaron and their families, 11 wonderful grandchildren.

Sylvia S. Appel

Music educator in Newark, 'lived a life of travel & adventure,' 87 Sylvia S. Appel, a longtime resident of Nutley, died on October 21, 2021 after a long illness. She was 87. Born in Elizabeth, New Jersey, she was the daughter of Benjamin Appel and Mary Cisko Appel, both of whom predeceased her. Sylvia was a graduate of Nutley High School and Douglas College and proudly received a Doctorate from Columbia University. Sylvia spent her entire career teaching music to children in the Newark Public School System and expressed special pride that some of her former students became world renowned performers. Fiercely independent, she traveled the world and lived a life of culture, curiosity and adventure. She actively played tennis well into her retirement, and enjoyed gardening, theatre, the ballet and her beloved Metropolitan Opera. She was known for her quick sense of humor, astute observations, love of animals, and avid support of many animal welfare causes. She was a parishioner of Grace Episcopal Church in Nutley, particularly enjoying the Organist and Choir on Sunday mornings. Sylvia is survived by her many friends and neighbors as well as her Church Family.

Ruth Aslanian Avakian

Ruth Aslanian Avakian, born in Jersey City on November 5, 1926 to Richard and Zabelle (née Boyajian) Aslanian, Ruth Alice (née Aslanian) Avakian, aged 94, passed away peacefully at home on August 22, 2021 in the presence of her loved ones. Ruth was raised in Bayonne, NJ, graduated from Bayonne High School (1944) and New York University (1948) with a degree in Music Education. She married her childhood sweetheart, Leon S. Avakian, in 1948, and received an honorary degree from Lehigh University upon his graduation in 1949. She was a music educator first in Bogota, N.J., and later in Wall Township at West Belmar, Allenwood, and Central Schools from 1960 to 1980. She was and remains beloved by her students for her ability to encourage them to enjoy and participate in music. Ruth was a member of the Belmar Presbyterian Church for 60+ years, where she served as elder; sang with the Monmouth Civic Chorus for 20+ years, where she helped stage and direct musicals; and volunteered at Jersey Shore Medical Center and Seabrook Village where she resided. She is predeceased by her parents, husband Leon, and

brother Richard Aslanian, and survived by her sons Thomas L. Avakian and Peter R. Avakian, daughter-inlaw Lucille, grandchildren Peter A. Avakian, Meredith Z. Avakian, Robert T. Avakian and Samuel J. Avakian, granddaughters-in-law Markéta and Shiri, great-granddaughters Melody and Zabelle, Dr. José C. Divino and extended family of Brazil, sister-in-law Judith Aslanian, brother-in-law Daniel Eberle, nieces, nephews, cousins and friends.

Ann Marie Johnson Brutzman

Vocal music teacher for 31 years Ann Marie Johnson Brutzman passed away on September 17, 2021 at the age of 89. A Graduate of the college of St. Elizabeth, she earned a Master's Degree from Montclair State University and completed additional graduate courses at Montclair State, Kean University and Columbia University. She served as a vocal music teacher in Florham Park and West Orange public schools until retiring in 1999 after 31 years. Daughter of the late Hubert F. and Ann Cusick Johnson and sister of the late Donald P. Johnson, she was the beloved wife for 64 years of the late Donald E. Brutzman whom she married in 1955. She was the loving mother of Donald, William, Robert, Chris and Gregory, the cherished grandmother of twelve grandchildren, Brian, Hillary, Rebecca, Sarah, Patrick, Philip, Matthew, Melissa, John, Patrick, Kathryn and Elizabeth.

Dr. John H. Bunnell

John H. Bunnell, known as "The Music Man" of Madison, New Jersey, died peacefully at home on October 15, 2021. He was 94. "Mr. B," as the beloved music mentor was known by his students and colleagues, was Supervisor of Music for the Madison Public Schools until his retirement in 1990. He influenced the lives of thousands who continue to play and love the music he shared with them during his 40 years of teaching, conducting concerts, and putting on musicals at the high school. In 2016, the Madison High School auditorium was renamed the "John H. Bunnell Auditorium" in his honor. His life in music took him well beyond the classroom and the stage, however. He taught private lessons in voice and many instruments well into his 90s. He was also choir director at The First Presbyterian Church in Springfield, N.J., for 43 years, and director of three popular musical organizations -- the Union County Band (28 years), the Orpheus Glee Club (30 years), and the Madison Community Band (31 years). A native of New Providence, N.J., Mr. Bunnell lived most of his childhood in Summit, N.J., and graduated from Summit High School. He earned a bachelor's degree in music education at New York University, a master's degree in music education at Rutgers University, and pursued doctoral studies at Indiana University. After his retirement, he completed his doctorate at the Institute for Worship Studies – at the age of 79. A World War II veteran, he served in the Merchant Marines in 1945, and in the First U.S. Army Band, from 1946-48. The Museum of Early Trades and Crafts in Madison honored Mr. Bunnell as "Craftsman of the Year" in 2005. Mr. Bunnell leaves behind his wife of almost 71 years, Virginia; his children: Jane Bunnell (Marc Embree), David Bunnell (Jeri) and Margaret Slawinski (Steve); grandchildren: Katie Greene (Mahlon), Melissa Bunnell (Jon Humberd), Jonathan Bunnell (Kerrin), Emily and Adam Slawinski; and four great -grandchildren: Lillia, Atticus and Thea Greene and Landon Bunnell.

Audrey Jones

Audrey Jones - 78, of Monmouth Junction, NJ an accomplished musician and longtime elementary school music teacher who grew up in Pleasantville, went home to be with her Lord and Savior Jesus Christ on Aug. 20, 2021. The third oldest of eight children, Audrey was born in Atlantic City on July 3, 1943 to the late Thomas F. and Lillian M. Jones. It was not long before the family relocated to Pleasantville, where Audrey attended the city's public schools. She took private piano lessons from the late Louise Scott and Ms. Faber, both of Pleasantville, quickly becoming proficient in musical styles ranging from classical to gospel. Upon graduating from Pleasantville High School in 1961, she entered Glassboro State College (now Rowan University), majoring in music. Her skill level and repertoire of songs grew rapidly and Audrey was a featured pianist in many concerts, including one she gave in the U.S. Virgin Islands after winning a regional contest.

She began her teaching career at Chelsea Junior High School in Atlantic City after graduating from Glassboro with a bachelor's degree in music. Eventually, she relocated to North Jersey, joining the North Brunswick School District as an elementary music teacher. Audrey derived great joy and satisfaction from her profession. Over her 40-year plus career, it was not unusual for her to end up teaching three generations from the same family. When "Ms. Jones" finally retired on Sept. 1, 2014, the North Brunswick Board of Education accepted her letter of retirement "with regret." While she taught music, Audrey for many years was simultaneously serving as a musician and choir director for several church congregations in New Jersey cities including Plainfield and Scotch Plains. Audrey also loved to travel and her summer breaks customarily included a cruise. Audrey was blessed with a beautiful Soprano singing voice and a bubbly personality. And her music still brought joy to others, including at the Assisted Living facility where she last resided. Left to cherish her memory are four brothers, Thomas (Gloria) of Cleveland, OH; Dennis of Somers Point, Kenneth (Delores) of Egg Harbor Township and Alan Jones (Diana) of El Paso, Tex.; three sisters, Cheryl Harden of New York City; Mercedes (Jerome) Caesar and Angela (Robert) Stewart, all of Egg Harbor Township, and a host of nieces, nephews, other relatives and friends.

Barbara L. Wakeman

Barbara L. Wakemen, 87, of Sewell, passed away on October 7, 2021. Bobbi was born in Woodbury and has resided in Sewell since 1981. She was a vocal music teacher in Deptford, Williamstown and Haddon Heights. She was a Past Matron of the Order of Eastern Star and a prolific actor and director of Sketch Club Players in Woodbury where she served as President of the Board among many other capacities. Bobbi served on the NJ Retired Educators Association, and was a past vice-president, and also served on the NJ Education Association. Bobbi is survived by her brother Jim (Rose) Wakemen; nieces & nephews Sandy (Jeff) Hitchens, Jim Jr., Bill III (Donna) Jeff (Jennifer) & Steve (Jaclyn) Wakemen and many cousins & great nieces & nephews.

• Why It’s Essential • Hygiene • Research • Guidance • Social-Emotional Learning • Advocacy • Action

Music Education Advocacy Resource Center

bit.ly/NAfMEMusicEdAdvocacyResources (case-sensitive)

NJSMA, President Christopher DeWilde

Anthony Wayne Middle School president[at]njsma.com

Past President Patrick O’Keefe

Absegami High School patrickaokeefe[at]gmail.com

CJMEA, President Yale Snyder

Monroe Township Schools percussion[at]cjmea.org

Executive Board

President Wayne Mallette

Scotch Plains-Fanwood District mallette.njmea[at]gmail.com

President-Elect David Westawski

Executive Director William McDevitt

West Windsor-Plainsboro High School South dlwestawski[at]gmail.com

Retired wmcdevittnjmea[at]gmail.com

SJCDA, President David Taylor

Northern Burlington Reg HS dtaylor[at]nburlington.com

SJBODA, President Lori Ludewig

Collingswood/Oaklyn Schools sjbodapresident[at]gmail.com

NJMEA Board of Directors - Appointed Members

Administration

Dennis Argul Retired dennisargul[at]gmail.com

Advocacy

Libby Gopal East Orange Campus HS libby.gopal[at]eastorange.k12.nj.us

Band Festivals/NJEA Liaison

Nancy Clasen Thomas Jefferson Middle School nancyclasen[at]gmail.com

Band Performance

Nick Mossa Bridgewater Raritan High School nmossa16[at]gmail.com

Choral Festivals

Donna Marie Berchtold Retired firesongwed[at]gmail.com

Choral Performance

Michael Doheny Winslow Township High School michaeldoheny70[at]gmail.com

Chorus/Orchestra/Jazz

Joseph Cantaffa Howell High School jcantaffa[at]rocknrollchorus.com

Conferences

Marie Malara Retired malara97[at]aol.com

Guitar/Expanded Ensembles

Jayson Martinez Newark Arts High School jmarti37[at]webmail.essex.edu

Higher Ed./Research/Collegiate

Colleen Sears 70 The College of New Jersey quinnc1[at]tcnj.edu

K-12 Ed Tech and Innovation

Shawna Longo Durban Avenue School shawnalongo[at]gmail.com

Music Industry

James Frankel jim[at]musicfirst.com

Orchestra Performance/Festivals

Susan Meuse Hammarskjold Middle School susanmeuse[at]gmail.com

PreK-8 General Music

Amy Burns Far Hills Country Day School aburns[at]fhcds.org

Retired Members/Mentorship

Kathy Spadafino Retired kspadeb[at]aol.com

Special Learners

Maureen Butler Retired JANUARY 2022 maureenbutlermusic[at]gmail.com

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EDITORIAL POLICY

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

NJMEA Past Presidents

1924 - 1926 Josephine Duke 1926 - 1930 R.W. Laslett Smith 1930 - Jay W. Fay 1930 - 1931 Wilbert B. Hitchner 1931 - 1933 Thomas Wilson 1933 - 1935 John H. Jaquish 1935 - 1936 Clifford Demarest 1936 - 1938 Mable E. Bray 1938 - 1939 Paul H. Oliver 1939 - 1941 K. Elizabeth Ingles 1941 - 1942 Arthur E. Ward 1942 - 1944 John T. Nicholson 1944 - 1945 Frances Allan-Allen 1945 - 1947 Philip Gordon 1947 - 1949 Violet Johnson 1949 - 1951 Samuel W. Peck 1951 - 1953 Janet G. Gleason 1953 - 1955 Henry Zimmerman 1955 - 1957 Agnes B. Gordown 1957 - 1959 Leroy B. Lenox 1959 - 1961 Elizabeth R. Wood 1961 - 1963 Harold A. Brown 1963 - 1965 E. Brock Griffith 1965 - 1967 Robert C. Heath 1967 - 1969 Edward Brown 1969 - 1971 Rudolph Kreutzer 1971 - 1973 Charles Wertman 1973 - 1975 Stephen M. Clarke 1975 - 1977 Herman L. Dash 1977 - 1979 Buddy S. Ajalat 1979 - 1981 Alyn J. Heim 1981 - 1983 Robert Marince 1983 - 1985 Anthony Guerere 1985 - 1987 Joan Policastro 1987 - 1989 Joseph Mello 1989 - 1991 Dorian Parreott 1991 - 1993 David S. Jones 1993 - 1995 Anthony Guerere 1995 - 1997 Sharon Strack 1997 - 1999 Chic Hansen 1999 - 2001 Joseph Mello 2001 - 2003 Nicholas Santoro 2003 - 2005 Frank Phillips 2005 - 2007 Joseph Akinskas 2007 - 2009 Robert Frampton 2009 - 2011 William McDevitt 2011 - 2013 Keith Hodgson 2013 - 2015 Joseph Jacobs 2015 - 2017 William McDevitt 2017 - 2019 Jeffrey Santoro 2019 - 2021 Patrick O'Keefe

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ADVERTISER WEB ADDRESS

Calderone School of Music

Caldwell University

Case Western Reserve calderoneschoolofmusic.com

caldwell.edu

music.case.edu

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Gettysburg University - Sunderman Cons music.tcnj.edu

www.gettysburg.edu

Kean University www.kean.edu

Montclair State University, Cali School of Music montclair.edu/music

New Jersey Symphony Orchestra

Peripole www.njsymphony.org

www.peripole.com

Rowan University Department of Music

Susquehanna University

University of the Arts

West Chester University

William Paterson University

Yamaha Corporation of America go.rowan.edu/music

susqu.edu/music

www.uarts.edu

wcupa.edu/music

wpunj.edu/music

yamaha.com

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