2022 March TEMPO

VOLUME 76, No. 3

MARCH 2022

IN THIS ISSUE ARTICLES: Elementary Cross-Curricular Activities Inspiring Students using Childrens Books NJMEA Master Teacher Award NJMEA Young Composers Finals Results NJMEA Marching Band Festival Info Crescendo Foundation Info

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

MARCH IS ®

Learn about this year’s direction for Music In Our Schools Month® (MIOSM®), as we focus on lessons for second- and fifth-graders that help them learn elements of music through some classic children’s songs in English and Spanish. The lessons and songs, however, can be shared at many levels. All are available without charge to teachers for their use during MIOSM and beyond.

Read about this year’s theme and the direction for Music In Our Schools Month in years to come; obtain lesson plans and other resources; and take part in the Biggest School Chorus in the World with American Young Voices by visiting nafme.org/MIOSM. Follow the hashtags #MIOSM and #MusicTheSoundOfMyHeart on Twitter and Instagram.

Questions? Call 1-800-336-3768 or email memberservices@nafme.org.

Volume 76, No. 3 http://www.njmea.org

MARCH 2022

FEATURES 2

President's Message - Wayne Mallette

4

Past President - Patrick O'Keefe

6

News from Our Board of Directors

DEPARTMENTS AND NJMEA BUSINESS Advertisers Index & Web Addresses....56 All-State Chorus Conductor App............9 Board of Directors................................54 Crescendo Foundation.................... 20-21 Editorial Policy & Advertising Rates...55

18

NJMEA Master Music Teacher - Karen Gorzynski

22

Administration - Dennis Argul

26

Five Cross-Curricular Activities for Elementary General Music Classes

In Memoriam.................................. 52-53 JrHi.MS Choral Festival Application...11 NJMEA Awards....................................45 NJMEA Marching Band Festival.........16 NJMEA Past-Presidents........................55

- Amy M. Burns 30

Inspiring Students in Music Through Children's Books - Shawna Longo

34

Searching for Revancy As We Teach Chords - Erik Lynch

40

Students Enrolled in Instrumental Music Have Higher ELA Test Scores - Dr. Thomas Santone

44

The 13th Annual New Jersey Young Composers Competition Finals - Andrew Lesser, Ed.D.

President’s Message................................2 Resource Personnel............................. 50 Round the Regions......................... 46-49

FORMS AND APPLICATIONS Please go to

TEMPO Editor - William McDevitt 300 W. Somerdale Road, STE C Voorhees, NJ 08043 Phone: 856-433-8512 e-mail: wmcdevittnjmea[at]gmail.com 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[at]nafme.org or NAfME, 1806 Robert Fulton Drive Reston, VA 22091 Printed by: Mt. Royal Printing 1-717-569-3200

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 76, No. 3, MARCH 2022 TEMPO Editor - William McDevitt C/O NJMEA, 300 W Somerdale Rd, STE C, Voorhees NJ 08043 Periodicals Postage Paid at Lakewood, NJ 08701 and additional entries POSTMASTER: Please forward address changes to: NAfME, 1806 Robert Fulton Drive, Reston, VA 20191

njmea.org Click on the desired activity for downloadable copies of all their forms & applications

EMAIL/ADDRESS CHANGES Please go to nafme.org to record email and address changes.

President's Message Wayne Mallette Scotch Plains-Fanwood School District mallette.njmea[at]gmail.com

Renew. Refresh. Refocus. Rethink. Reimagine. These 5 words were the focus of our 2022 NJMEA State Conference. I hope all of those who attended the conference were able to embrace this theme and left the conference with a renewed focus on being the best music educator possible.

It was such an honor to greet you all at our first inperson state conference since February 2020! This conference would not have been possible without the creative team behind the scenes. I would like to thank Marie Malara and her team for their unwavering commitment to organizing a conference that is exciting and meaningful for the attendees. I would also like to thank Bill McDevitt for his strategic thinking and drive which were necessary to bring this conference together. This year, the conference strands were organized by the Division Chairs.

Thank you Mike Doheney, Susan Meuse, Nick Mossa, Amy Burns, and Shawna Longo for dedicating the time to find the talent and construct the conference sessions to best suit your needs.

Our culminating All-State Band and Choir concert was the highlight of our conference. To see our students performing live on stage again reminded us of why we do what we do! I would like to thank our Band (Nick Mossa) and Choral (Mike Doheney) Procedures chairs and committees for organizing the rehearsals and concert.

A very special thank you goes to Joe Cantaffa for creating a professional All-State concert experience.

As with every event we do, we are assessing how the conference went this year, and look forward to making it even more meaningful next year.

As my tenure as President progresses, I am turning our focus to the actionable steps of our strategic planning area of diversity. The IDEA committee, which is led by our IDEA Chair Katy Broadhead, our Advocacy Chair Libby Gopal, and IDEA liaison Bobby Hamm has been helping us put policy and practices in place which will TEMPO

create a more diverse organization and ultimately impact our students. I want to thank them for helping to shape our latest survey of teacher practices and helping us steer our latest efforts to create a more open and diverse AllState experience for our students.

One opportunity I would also like to highlight is the Crescendo Foundation. This organization is committed to providing financial resources to students who want to participate in our honor ensembles. If you have a student who you feel could benefit from this type of financial support, information can be found on the NJMEA website under the All-State Section.

Mentorship Program While we have all been dramatically affected by the COVID-19 pandemic, our young music educators may have been the most affected. Whether it has been a virtual student teaching experience or a hybrid start to their first year of teaching, our novice educators have had their foundational years marred by this pandemic. I want to thank our Past President, Patrick O’Keefe for his leadership in the organization of our NJMEA Mentor Teacher Program. It is vital to our profession that we support our youngest professionals. This program will have a last impact on our state music education field. ____________________ Music Educators, as we progress in this last leg of the school year, please remember to be kind to yourselves.

NJMEA is here to support you, so please feel free to reach out to let us know how we can best serve you.

Best!

Wayne 2

JANUARY 2022

From left to right: Dr. Sarah Perry; Dr. G. Preston Wilson, Jr.; Dr. Sangmi Kang; Dr. Jason Vodicka

Music Education at

Westminster Choir College A REPUTATION FOR EXCELLENCE Our innovative four-course Art of Teaching Music sequence integrates theoretical foundations of planning, teaching, assessing, and musicianship development with practical application through peer teaching and field-based music teaching. Students are in the classroom starting in their first year and benefit from longer and more intensive field experiences each subsequent year.

RIDER.EDU/MUSICEDUCATION JANUARY 2022

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TEMPO

Past President Updates Patrick O'Keefe Absegami High School patrickaokeefe[at]gmail.com

Over the past several years, NJMEA has made a concerted effort to create a wider array of membership offerings in supporting both teachers and students throughout the state. As we attempt to continue to widen the lens on what we do and who is able to get involved, I wanted to update the membership in highlighting some of the recent work that has gone on in these newer endeavors.

Our Mentor Program is officially underway as of this fall and has had several great networking and professional development opportunities. For those that were unaware, we did a call to the membership last spring for any veteran teachers that would be able and willing to serve as a mentor for educators new to the profession or in a new role. We had an incredible response, and I thank all of those volunteers in their willingness to help. As this 2021-22 school year got underway and teachers returned to the classroom, we put out an additional call for anyone who felt they would benefit from this program and its support as a new teacher.

While we did not have nearly as many new teachers as we did veteran volunteers, we were able to successfully pair up all participants with supporters that shared similar content and educational backgrounds. The creation of this network was designed as a system that could offer resources, insight, best practices and more as challenges arose. In addition, we coordinated monthly guest speakers and virtual whole group meetings where teachers could receive professional development on a variety of topics, including teacher evaluation and the standards.

As we look to next year, it is our hope that we can expand this network and build on the little bit of traction we gained this year. Please look for communications on this new program if you are interested in becoming involved, either as a new or veteran teacher.

TEMPO

In the spring of 2020 and onset of the pandemic, NJMEA and the New Jersey Symphony came together to bring virtual resources to educators as additional tools in navigating the quickly changing educational landscape of remote and hybrid teaching. In the spring of 2021, after recognizing the great benefit and impact these resources and programs had, we formalized this partnership and built a framework of services we would be able to provide our members and school communities moving forward.

One such example is the concept of a Clinic and Masterclass Program. Members now have the opportunity to fill out a very simple form (on our website, njmea.org) in applying to have a New Jersey Symphony musician come to your school and serve as guest conductor, clinician, performer, etc. based on the need of the program. Bringing in guest artists can be challenging and expensive, so it is our hope that members take advantage of coordinating this opportunity and membership benefit as a great experience for your students and school.

Lastly, an update and reminder that the Crescendo Foundation is active and looking to support your students as they participate in the All-State programs. Posted last year (njmea.org), there is an online form that can be filled out to apply for funding to cover all state costs.

As a first action step of the Foundation’s work, the hope is to make an expensive program more financially viable.

Realizing that this is only a first step, please be on the lookout for future Foundation work beyond this scholarship component, as NJMEA and the Crescendo Foundation work to make music education and its programs more equitable and accessible throughout the state.

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TEMPO

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

News From Our Board of Directors Band Performance Nick Mossa nmossa16[at]gmail.com Congratulations to the students of the 2022 NJMEA All State Symphonic Band and Wind Ensemble! It was such a joyful experience to see New Jersey’s talents on full display and to celebrate the tremendous work of New Jersey music educators and their students. The concert on February 26 at NJPAC was a thrilling success as the two bands put on stellar performances under the batons of Ray Cramer and Jay Gephart. New Jersey should be so proud to have such high quality student musicianship on display, especially as we emerge from such abnormal times in music education!

Every year it takes many dedicated individuals to put together the All State Band experience for our students. We are grateful for our All State Band managers - Deb Knisely (who is also our auditions chair), Pamela Ferrali, and Joshua Oldham - who support our conductors and manage the day-to-day preparations to help the students get the most out of their time in the ensembles. I’d like to thank our rehearsal conductors - Dr. Todd Nichols and Dr. Bill Berz for preparing our students at their first rehearsals. Thank you to Joe Cantaffa for organizing our chaperones and for his leadership, expertise, and professionalism. The members of the All State Committee, led by committee chairperson Tyler Wiernusz, deserve many thanks for the myriad obstacles and hurdles that were overcome in order to ensure our students could have the best possible experience this year. Thank you to Scott Visco, our percussion coordinator, for always setting up our percussionists with everything they need and lastly, we are grateful for the two schools that graciously provided rehearsal and audition space - Bridgewater Raritan High School and JP Stevens High School. You can expect next year’s band solo list to be published in the next edition of TEMPO Magazine.

It is not lost on me that most band teachers in the state do not have a student that they sponsored for New Jersey All State playing in their band at home. However, it is worth noting that each student that performed in the All State bands is a product of their entire music education including all the knowledge gained from all of their music teachers over the years. There is excellence in band rooms all over the state with students young and old, even if it is not on display within our All State Bands and our work as band directors has always been and remains so valuable for our students and communities - keep up the great work!

Some of that great work was shared at the NJMEA conference in February, as well! I hope you found value in your time at the conference, which featured some great band performances and sessions. Each year, NJMEA seeks applications for clinicians, vendors, performing ensembles, and presenters to share growth and perspective over the course of our few days together. Please consider preparing your students or yourself to share a performance or a presentation offering for next year. Keep up to date with TEMPO Express, TEMPO magazine, and the NJMEA website for updates and information in the coming months if you may be interested in putting something together. Thank you, and I wish you and your students all the best in the coming (warmer) weeks ahead!

TEMPO

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JANUARY 2022

KEITH KYEWALABYE Class of 2021 Major: B.A. in Biology Minor: Music

The music department

Internship: Cancer research internship at MD Anderson

gave me a family to belong to; both faculty

Campus Participation: Marching Band University Chorale Commencement Speaker

and students.

INSPIRED TO BE HEARD B.A. IN MUSIC

2022 AUDITIONS (by appointment)

B.A. IN MUSIC WITH K-12 CERTIFICATION

• SATURDAY, MARCH 5, 2022

• Outstanding Liberal Arts Program

• SATURDAY, APRIL 2, 2022

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Scholarships available to Majors and Non-majors

• Performance Opportunities

Contact Rebecca Vega at rvega@caldwell.edu or call 973-618-3446

– Wind Ensemble – Jazz Ensemble – Marching Band – Chorale – Opera & Musical Theatre Workshop

OPEN HOUSE

– Chamber Ensembles: Brass, Woodwinds, Percussion, Strings & Popular Music

APRIL 30

JANUARY 2022

RSVP caldwell.edu/visit

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TEMPO

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

News From Our Board of Directors Choral Performance Mike Doheny michaeldoheny70[at]gmail.com As we continue to navigate between a return to live performance and maintaining everyone’s health and safety, the NJ All State Choruses have managed to thrive in new and unexpected ways. Thank you to all of you who have kept faith in the organization and have continued to give your dedication despite all the challenges!

In February, we were treated to a fabulous performance by our All-State Treble Chorus. Meeting virtually for their first three rehearsals, and singing together only twice before the performance, the Treble Chorus’ brilliant concert was quite an achievement. Dr. Brandon Williams from Rutgers University conducted an outstanding program, and we were indeed glad to have the brilliant James Lubrano accompanying the chorus. Many thanks to managers Alex Minter and Amanda Blutner, who had the double responsibility of overseeing the technological end of the virtual rehearsals as well the usual duties of live rehearsals and performance. Congratulations and bravo to all involved!

Meanwhile, we are busy getting ready for auditions for the 2022-23 choruses. We are planning and hoping for a “normal” year… fingers crossed! At press time, we were not quite ready to announce our conductors, but they have been selected, and you and your students will absolutely not be disappointed! Your Choral Procedures Committee is hard at work preparing for the virtual auditions. Registration and audition submission is open for students until March 25, and for teachers until March 31. Judging will be done April 28-30. Please keep checking our website and your emails for ALL information and updates. If you have any questions, please email me at michaeldoheny70@gmail.com.

WANTED! Conductors, Recordings, and Rehearsal Venues!

•

We are accepting nominations for the conductors of the 2023-24 All State Choruses. Please see the information elsewhere in this magazine or in your Tempo Express for more details.

•

We would like to borrow your old recordings of All State Chorus concerts to add to our digital archive. Please email me (michaeldoheny70@gmail.com) or Barbara Retzko (barbararetzko@hotmail.com) and let us know what years/ ensembles you have and what format (record, cassette, CD, mp3).

•

We are in search of rehearsal venues for the 2022-23 All State Chorus. Region II schools strongly preferred. Please contact me (michaeldoheny70@gmail.com) if you think you may be able to host!

Hang in there everyone, and keep up the good work. Your dedication to your craft during this time is impacting so many young lives. BRAVO to all of you for your incredible work ethic, and I look forward to seeing you at All State Chorus events this year!

TEMPO

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JANUARY 2022

NJ ALL-STATE CHORUS CONDUCTORS WANTED

The New Jersey Choral Conductor Selection Committee is in the process of choosing conductors for the 2023 Mixed Chorus and the 2024 Treble Chorus. Why not make this the year you submit your application?

CONDUCTOR SELECTION: NJ ALL STATE CHORUSES Current NAfME members in good standing.

Who is eligible?

New Jersey Choral Educators.

Submit a DVD and/or links to posted videos of your choral conducting of THREE selections - not to exceed 12 minutes - (please see below for required selections What is include a list of these selections), a proposed program not to exceed 30 minutes of required? music, your resume, and a letter of intent which states why you feel you are the best candidate for this position.

Please indicate the group for which you would like to be considered Nicole Snodgrass, Selection Committee Chairperson Cherokee High School Where do I send 120 Tomlinson Mill Road my materials?

Marlton, NJ 08053 nsnodgrass@lrhsd.org What is the due April 15, 2022 date?

Anything postmarked after this date will be returned to sender.

What happens next? The Conductor Selection Committee will review the submitted materials. Once the videos have been reviewed, all paperwork is read and assessed. The rubrics are collected, scores tallied and the lowest score is chosen. We use the same numeric scoring system as in the NJ All-State Chorus auditions.

The chairperson does not participate in the scoring, but acts to organize the packets, give process direction to the committee members and provides the results to the Choral Procedures Committee. The chairperson does not share any information regarding the materials submitted and the panel is requested to keep their reviews confidential. To date, this system has worked with great success.

A WORD ABOUT THE MATERIALS YOU SUBMIT *You must submit one selection from the NJ-ACDA high school required repertoire list. (Below is the link to the list.) https://docs.google.com/spreadsheets/d/1e6f8GGUg05z7z6RehQjDUnYXhz8adA56t7dzuNtWku4/ htmlview?pli=1 *Second piece - from your school repertoire, your school group. *Third piece – your choice – any ensemble. (Region, County, Honors) The required piece and the second piece MUST be your school ensemble.

Your conducting must be visible throughout the recording.

If you wish to be considered as the Mixed Chorus conductor, your 3 pieces should demonstrate Mixed Chorus repertoire.

If you wish to be considered as the Treble Chorus conductor, your 3 pieces should demonstrate Treble Chorus repertoire.

Please use your best judgment when submitting materials for consideration. Ask colleagues to review your work. Bring in all kinds of people to give you feedback! Consult the All-State conductors who have gone before you for critique and advice. Remember that we are looking for a conductor, so it does not work to your advantage if your video does not include considerable evidence of your conducting! The panel cannot assess your conducting if your group is filmed from the rear of an auditorium and all that is seen is your back! You may submit work representative of different ensembles in your school, but NO MORE THAN THREE selections.

Good Luck!!! We look forward to hearing from you.

JANUARY 2022

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

News From Our Board of Directors K-12 Ed Tech & Innovation Shawna Longo shawnalongo[at]gmail.com Fellow Music Educators!

Please consider participating in the 2022 NJMEA Music Technology Expo! This year's expo will be held at Lakehouse Recording Studios in Asbury Park, New Jersey. This world class facility will allow our student composers, producers and songwriters to present their work in an inspiring space that will provide an incredible culminating experience for all of our student technologists. Your students will have the opportunity to: • • • •

Observe a live recording session with world class performers and audio engineers Participate in workshops that teach them how music technology is leveraged throughout a professional creative studio Present and have their work adjudicated by leaders in our local and national music industry Connect with other student musicians from across NJ

Our planning committee this year has really worked hard to ensure all of your students have an environment that values and celebrates music creation across all genres & presentation mediums. We truly hope to see you at the event and cannot wait to hear some of your students' work!

The registration deadline for the event is March 7th so please speak with your administrators now to reserve a spot!

Please note that this festival is most appropriate for grades 6-12, but any students are welcome to attend whether they are submitting work or not. Please go to the NJMEA website for more information under the "festivals" tab.

TEMPO

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JANUARY 2022

The 67th Junior High/Middle School Choral Festival Application Form

School Name:

School Phone:

School Address:

City:

Zip:

Director’s Name :

Home Phone :

Home Address: City:

State:

Zip:

Email: NAfME Membership #:

Expiration Date: _______________ (Please include a photocopy of your NAfME card)

Name of performing group: Voicing:

Number of singers:

Number of rehearsals per week: (during school:

Please check the appropriate category below: (evening):

(before school):

(after school):

Will participate at Rowan University, (South Site) March 17, 2022: 9:15 - 1:30 pm:

(Snow date: March 18th)

Will participate at Rutgers University, (North Site) May 25, 2022: 9:15 - 1:30 pm: We can arrive at:

We must depart no later than: Proposed Program (Time limit: Not to exceed 10-12 minutes, no more than 3 titles) THIS SECTION MUST BE COMPLETED AT THIS TIME! Please Print or Type Legibly

Selection (Maximum of 3)

Complete Name of Composer/Arranger

Voicing

1.

2.

3.

(If any of the above titles are folk songs, please indcate country or region of origin) FEE: $150.00 per group (non-refundable) FESTIVAL DATES:

(Limited to the first TEN (10) Groups on each date) DEADLINES: Wednesday, February 9, 2022 for Rowan University Thursday, March 17, 2022 (Snow Date: March 18, 2022) Wednesday, April 13, 2022 for Rutgers University South Site: Rowan University

TIME: 9:15 - 1:30 pm SEND TO: Donna Marie Berchtold, Registrar 545 South Buffalo Avenue Wednesday, May 25, 2022 Galloway Township North Site: Rutgers University South Egg Harbor, NJ 08215-1720 TIME: 9:15 - 1:30 pm

EMAIL: firesongwed@gmail.com FESTIVAL HOST: Donna Marie F. Berchtold & Karen Blumenthal firesongwed@gmail.com Other information including directions and schedules will be mailed.

JANUARY 2022

ALL INCOMPLETE FORMS WILL BE RETURNED! MAKE CHECK PAYABLE TO NJMEA (Do not send cash) CHECKS MUST ACCOMPANY ALL REGISTRATION FORMS Purchase Orders Are NOT Accepted BE SURE TO INCLUDE A PHOTOCOPY OF YOUR NAfME CARD

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

News From Our Board of Directors Retired Members/Mentorship Kathleen Spadafino kspadeb[at]aol.com As the music community slowly moves through another difficult year, we retired teachers are will all of you - cheering you on from the sideiines and commiserating as we hear reports from our friends and colleagues. Part of our initiative this year is advocacy, both in our towns and our former schools. Our president, Ron Dolce, has reached out to all retirees through email and hopefully some of you joined us at the February conference where we discussed this topic at length. We also celebrated Karen Gorzynski when she was honored as the 2021 Master Music Teacher. We are constantly working to increase our membership, and we hope you can join us for our Spring General Membership meeting on Wednesday May 18 at 10:15 am. We will be meeting at the Asbury Park Music Foundation and will have a tour of their studios. Please contact Ron at rdolce561@aol.com or myself at kspadeb@aol.com for more information. Come out and join other musicians who are passionate about keeping music alive into the future!

Inclusion/Diversity/Equity/Access Katy Brodhead njmea.idea[at]gmail.com At this year's NJMEA Music Conference, the IDEA Committee had the opportunity to meet with many of the outstanding music educators from across our state to share updates and discuss next steps in Inclusion, Diversity, Equity, and Access.

We are now forming subcommittees that will each support a key initiative to ensure that our association is accessible by and representative of all the educators and students in our state. Email NJMEA.IDEA@gmail.com to learn more or join us in this work!

The IDEA Committee is also conducting a survey to gather information about Music Teacher equity and culturally responsive teaching practices that will be used to guide NJMEA decision-making. All teacher participants who complete the survey will have a link to a certificate of completion worth one (1) hour of Professional Development from NJMEA. Please reach out directly for more information.

In case you missed it, the Central Jersey Music Educators Association (CJMEA) recently added a Diversity & Inclusion position to their board! Division Chair Isaiah C. Mason can be reached at imason@cjmea.org. On March 19th, CJMEA is hosting a virtual zoom professional development session on music and special learners. More information on this *FREE* PD session that is open to all can be found at https://cjmea.org/professional-development.html.

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JANUARY 2022

THE HARTT SCHOOL SUMMERTERM 2022

Jazz for the Common Pianist Greg Babal

SESSION 2 JULY 5–8 8 a.m.–5 p.m.

SESSION 5 JULY 25–29 8:30 a.m.–4:30 p.m.

Music Business I—Starting a Modern Music Label: Contracts and Formation Marcus Thomas

The Music and Literacy Connection Dee Hansen 2 credits, half-day, noon–5 p.m.

Instrumental Conducting Clinic Glen Adsit and Edward Cumming

Music Business II—Beats Working: Music Publishing and Licensing Marcus Thomas World Music Pedagogy Juliana Cantarelli Vita

SESSION 3 JULY 11–15 8:30 a.m.–4:30 p.m.

A Ukulele Curriculum from Beginner to Advanced Ken Trapp

Designing Standards-Based Teaching and Learning in the Arts Dee Hansen July 11–14, 9 a.m.–3 p.m.

Jump Start: Energizing Student Leadership and Programming Within Your Music Program Scott Glaser 2 credits, half-day, 8 a.m.–noon Producing and Marketing Class for Music Teachers Kristin Huffman Low Brass Refresher Matt Russo 2 credits, half-day, 1–5 p.m.

High Brass Refresher Daniel Daddio 2 credits, half-day, 8 a.m.–noon Music Business I—Starting a Modern Music Label: Contracts and Formation —NEW Marcus Thomas

We are planning for a full, in-person 2022 Summerterm. The University of Hartford will continue to follow State and CDC guidelines for the health and safety of students, faculty, and staff.

Please check the website for updates.

Concert Percussion for Music Educators Ben Toth 2 credits, half-day, 8 a.m.–noon

Music Business II— Beats Working: Music Publishing and Licensing—NEW Marcus Thomas

SESSION 1 JUNE 27–JULY 1 8:30 a.m.–4:30 p.m.

Jazz for the Common Pianist—NEW Greg Babal

World Percussion for Instrumental and Vocal Music Educators Ben Toth 2 credits, half-day, 1–5 p.m.

Movement-Based Active Learning Through Orff Schulwerk: A Process Developed

by Phyllis Weikart Penny Mahoney

School String Fleet Maintenance Glen Grigel K–12 Choral Music Teaching Edward Bolkovac and Julie Hagen Upper Strings Refresher Melinda Daetsch 2 credits, half-day, 8 a.m.–noon Lower Strings Refresher David Kramer 2 credits, half-day, 1–5 p.m.

Extraordinary Ensembles—Inclusion, Diversity, Equity, and Access Chris Ramos

SESSIONS 4-5

Diverse Learners in the Music Classroom Heather Wagner

JULY 18–29

THE HARTT KODÁLY CERTIFICATION PROGRAM John Feierabend, Edward Bolkovac, Connie Greenwood, Jeff Rhone, Gabor Viragh

SESSION 4 JULY 18–22 8:30 a.m.–4:30 p.m.

THE FEIERABEND ASSOCIATION FOR MUSIC EDUCATION (FAME)

Teaching Children to Create and Conduct Music Glen Adsit

First Steps in Music® Connie Greenwood

Arranging for Choral and A Cappella Singing Andrey Stolyarov

Conversational Solfege™ Beginning John Feierabend Conversational Solfege™ Advanced John Feierabend

World Music Pedagogy Juliana Cantarelli Vita Band Instrument Maintenance Glen Grigel Flute, Clarinet, and Saxophone Refresher Andrew Studenski 2 credits, half-day, 8 a.m.–noon Double Reeds Refresher Michael Raposo 2 credits, half-day, 1–5 p.m.

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

JANUARY 2022

Warren Haston PhD, Director, Hartt Summerterm

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haston@hartford.edu

860.768.5526

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

News From Our Board of Directors Special Learners Maureen Butler maureenbutlermusic[at]gmail.com The February conference was a wonderful opportunity for music teachers to learn more about how to include special learners in their classes. Many thanks to the presenters who shared valuable information and insight!

At this point in the school year, it’s more important than ever that we don’t lose sight of the special learners in our classrooms. Let’s continue to evaluate how they are managing, and seek ways to ensure that they are learning in ways that are meaningful and enriching, in any setting. If you have questions or concerns, feel free to reach out to me. The members of our state Special Learners committee have a variety of experiences and backgrounds, and would be happy to help!

Also, if you’ve developed successful strategies working with special learners that you’d like to share, consider writing about them in TEMPO. Your insight could be just what someone else is looking for!

Orchestra Performance/Festivals Susan Meuse susanmeuse[at]gmail.com As I am writing this, we are very excited to be planning in person auditions this year. They will be held on Saturday, March 19 at JP Stevens High School in Edison. Both the High School (ASO) and Intermediate (ASIO) auditions will be taking place at this time. Auditions Chair Sue Mark is hard at work preparing for the event.

Unfortunately, the 2022 Middle/Junior High School Orchestra Festival has been canceled. We are hoping to bring the event back next year and would like to see new groups participate. Please let me know if you are interested!

At the end of April, the ASIO will begin rehearsing. Dr. Arvin Gopal (East Brunswick HS) will be conducting. The group will rehearse and perform in person.

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82 Years of Unparalleled Opportunities for Exceptional Music Students The Philadelphia Youth Orchestra is one of the world’s top youth orchestras. Under the direction of Maestro Louis Scaglione and guidance from prestigious faculty members, students from the tri-state area receive superior technical, musical, performance, and life skills instruction through PYO Music Institute’s six program divisions: Philadelphia Youth Orchestra for ages 15-21; Philadelphia Young Artists Orchestra for ages 13-18; Young Musicians Debut Orchestra for ages 11-17; Bravo Brass for ages 12-21; Prysm Strings for ages 6-14; and Tune Up Philly - Orchestral Pathways Program, an after-school engagement program from 1st-8th grade students.

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schedules and info visit online: pyomusic.org/audition

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Proudly Announces:

The 21st Annual

NJ State Marching Band Festival 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 15th, 2022, 5:00 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 1ST, 2022

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CHAMBER ENSEMBLES

CONCERT BAND, PEP BAND

JAZZ ORCHESTRA

DREXEL

UNIVERSITY THE DEPARTMENT OF PERFORMING ARTS

UNIVERSITY CHORUS

WHERE PERFORMING ARTS COME ALIVE! For information on auditions, performance scholarships, and our numerous choral and instrumental ensembles, please go to: drexel.edu/performingarts All ensembles and scholarships are open to non-music majors

JANUARY 2022

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SYMPHONY ORCHESTRA

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2022 NJMEA Master Music Teacher KAREN GORZYNSKI Somerville High School

MRS. KAREN GORZYNSKI is the Director of Choral Activities at Somerville High School, NJ where she is currently celebrating her 36th year. Mrs. “G”. directs three curricular and four extra-curricular vocal ensembles and also serves as vocal director for the annual spring musical. She is involved in the Central Jersey MEA and the New Jersey ACDA and is a longstanding member of NAfME and ACDA. She was chosen to conduct the Region II Women’s Chorus in February 2011.

In 2013, she was named as both the Somerville School District’s Teacher of the Year and Somerset County Teacher of the Year. In 2014, she was a finalist for the National Teachers Hall of Fame. She has also enjoyed serving as a director with the American Music Abroad Red Tour and traveling with them to Europe on seven wonderful excursions.

Mrs. Gorzynski has been privileged to combine her passion for music and adolescents into a long and healthy career.

She believes choral music is a conduit for helping others. Her choirs often perform in the community and have developed relationships with local senior citizens facilities, businesses, The Rotary Club, Women’s Club, The Visiting Nurse Association, Safe and Sound Somerset, and the broader Somerville and Branchburg communities. Of all the relationships that have been established, Mrs. Gorzynski is most proud of her Chamber Choir’s collaboration with the chorus at the Midland School, a school for special needs children. She says, “Groups of good people can do good things” and finds choral ensembles are a natural fit for service and charitable acts. Together, she and her students have participated in walk-a-thons and Relay for Life. They have cleaned up trash in the neighborhood surrounding the high school and left goodie bags on neighbors’ doors. Funds collected at concerts are often donated to charities. Food pantry items are collected as admission to SHS winter concerts and given to local food banks.

The Somerville High School Choirs have traveled to many festivals, creating wonderful musical moments and memories. Destinations have included Toronto, Montreal, Chicago, Nashville, Norfolk, Atlanta, Boston, Williamsburg and Vir-

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ginia Beach. Mrs. G. treasures these travel experiences and believes a complete education must include activities outside of the classroom walls.

Mrs. Gorzynski’s choirs have received many invitations and participated in several collaborations. They have performed for the Somerset County Board of Chosen Freeholders and The New Jersey Department of Education. They have sung with the Raritan Valley Symphonic Band, The Peter Mayer Group and Five O’Clock Shadow. A career highlight was the collaboration with several area choirs and the New Jersey Youth Symphony to perform “Carmina Burana” at NJPAC under the direction of Dr. Helen Cha-Pyo. Karen is well aware that no one successfully achieves any sort of success in the demanding field of music education without the support of others. She has many people to thank for their contributions to her life as a choral educator. First, the passion must be recognized and encouraged. For that, she thanks her high school choral and band directors Joe Suchocki, Chris Wilhjelm and Nick Santoro. She is grateful for loving and supportive parents and siblings who never missed a performance.

She is thankful for the wonderful education she received at Gettysburg College that prepared her for this role. She would also like to thank her family - her husband Gary and their three children Amanda, Daniel and Matthew, who always understood when she was not home because she had rehearsal or a performance. She would like to thank the many clinicians and instructors who accepted her invitation to come into her classroom and help her continue to grow in her craft and move her ensembles forward. She is grateful for all supportive administrators and colleagues, especially her beloved “Screen Porch Guild” who keep each other positive and energized even on the toughest days. Finally, she thanks her dear friend and colleague Matthew Krempasky for nominating her for this award and NJMEA for finding her worthy to receive it.

Some folks say they teach music. Karen Gorzynski teaches kids life lessons through music. That is the formula that has worked for her and brought her 37 years of joy and gratitude.

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EVEN TEACHERS NEED TEACHERS As an educator, one of the most impactful ways to improve is by educating yourself. That’s why the Yamaha Educator Suite (YES) helps music teachers access professional development opportunities, music teacher resources, program health support, advocacy assistance and more. YES brings you a network of like-minded teachers, experts and professionals, who want to help you achieve your goals. Let us help you raise the bar. Go to Yamaha.io/educatorsNJT

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The Crescendo Foundation is a Not For Profit Corporation initially formed by leadership of the New Jersey Music Educators Association, who serves as the registered agent. The Association’s mission includes the advancement of music instruction in New Jersey’s educational institutions at all levels that provide in-service and enrichment opportunities for music educators, as well as sponsoring various festivals and All-State performing groups for K-12 students. As a result, the Foundation’s goal is to provide financial support to underserved students and communities to create access to the aforementioned festivals and performing groups. In this first phase of giving, funds will go to a scholarship model geared towards students aspiring to participate in All-State ensembles.

The Scholarship Framework Through data assessment, it has been identified that All-State ensemble participation is not reflective of statewide total population demographics when comparing race and socio-economic status. The scholarship opportunities from the Crescendo Foundation gifts will allow students to apply for financial support to assist with any or all of the fees associated with participation including: • Audition Fee - $25 • Participation Fee - $35 • Housing - $315 As part of the All-State experience and upon acceptance, students are housed together throughout the performance weekend. Scholarship opportunities would be available to cover the entire cost of this invaluable experience. In subsidizing these costs for qualified students and easing the burden of financial access, it is the hope of the Foundation that our All-State programming will become more inclusive, diverse and equitable.

We Need Your Help We acknowledge that the Foundation’s ability to realize the plans outlined in the Scholarship program will require the generous support of the community. The initial phase of the program will require $50,000 which aims to assist 150 students over the course of the next three years in the areas of All-State Orchestra, Choir, Band and Jazz. All-State ensembles contribute to a total of 6 concerts annually in both Atlantic City and Newark. The vision for the Foundation is to eventually go beyond the scope of All-State ensembles to positively support several aspects of music education programming both at the State and Region levels, making this an important first step.

All gifts are tax deductible and there are many ways and opportunities to support this important effort. We thank you in advance for your support of our state’s students and providing transformative experiences outside of their school programs.

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Giving Opportunities Large Ensemble Concert Sponsorship - $5,000 • All State Orchestra and Mixed Chorus, Atlantic City • All State Orchestra and Mixed Chorus, New Jersey Performing Arts Center, Newark • All State Symphonic Band, Wind Ensemble and Treble Chorus, Atlantic City • All State Symphonic Band, Wind Ensemble and Treble Chorus, NJPAC, Newark Concert Sponsorship - $2,500 • All State Jazz, Atlantic City • All State Jazz, New Jersey Performing Arts Center, Newark Crescendo Giving Level - $1,000 Sforzando Giving Level - $500 Arts Advocate - $250 Friends of the Arts - $100 Other $_____________ All gifts and giving levels will be recognized in programs for that school year and program cycle, including concerts listed above, as well as NJMEA conference materials.

All gifts are tax deductible. Checks should be made payable and sent to: The Crescendo Foundation 300 W Somerdale Road, Suite C Voorhees, NJ 08043-2236 Please include contact information and appropriate name listing for program printing.

JANUARY 2022

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Administration Dennis H. Argul NJMEA Admonistration Chair dennisargul[at]gmail.com

On Friday, December 3, 2021, at the NJ Music Administrators Association general membership meeting, held in a hybrid setting, Ms. Latasha Casterlow-Lalla, newly appointed NJMAA Board member and Supervisor of the Visual and Performing Arts for the Passaic Public Schools, provided an evocative presentation on the topic of Diversity and Equity in the Arts.

The presentation covered a myriad of topics which included: Arts Education being a Human and Civil Right, defining Diversity and Equity, a breakdown of the racial makeup of NJ students and educators, Culturally Responsive Pedagogy, a Collective Conversation on Culture, a renewed look at the NJSLS and SEL Standards and Building a Capacity for Culturally Responsive Pedagogy at the building and district levels.

Suffice to say, the presentation led to lively discussion and reflection from the membership and there are plans to advance this discussion not only for the remainder of this academic year, but well beyond as we continue our efforts to remain intentional as an association in providing our members with the information they need to lead their music faculty more effectively.

I decided to continue the discussion with Ms. Casterlow-Lalla, who often refers to herself as Arts Educator, District Leader, Innovator, and Disrupter in the Arts. We met via zoom on Wednesday, 1/5/22 and what follows is a summary of our discussion.

connections to music for their community beyond the legacy of the school music department. Connecting with our students is an essential component of our work followed by supporting their instruction with standards and musical knowledge. Second is exploring our student musicians' interests and what draws them to a vast variety of genres. This knowledge will support teachers in connecting students’ interests to the school program. Musical taste is an expression of lived experiences even if we as individuals do not identify with the music. Creating space for students to articulate their musical taste enables them to make connections with genres they learn in school with music that moves them as individuals.

Our students are equipped with unique perspectives of the world and desire to feel their opinions heard and valued. Lack of these opportunities can lead to enrollment dips in our programs since students have so many more choices for programs and activities.

NJMAA can continue to work with its members to support educators in meeting these needs.

DA: As we look at your slide with the NJ Enrollment numbers which lists the racial backgrounds of the teachers in NJ vs. the students in NJ, how can we get more of our students who represent the racial background of the students in the state to become music educators and administrators in NJ so that the ratios in the breakdowns are lessened and the students see themselves in their music teachers and arts administrators?

LCL: The shift in our state’s student population has been quite remarkable over the past two decades. When you review the 2020 2021 data available on the NJDOE website, it reveals that 58.98% of our students enrolled at schools across the state are composed of Asian, American Indian, Black, Hawaiian/Native, Hispanic and Two or More Races. Meanwhile, the total number of certified staff members from the same subgroups total 17.6%. As an educational community, we have to reflect on intentionality to ensure students have educational access to post secondary studies beginning in our K-12 learning environments. Awareness is key to making an impact within the field of music education. During my presentation, I discussed the difference between Individualistic and Collectivistic cultures. There is a critical need to learn about the students we serve and how our community values are similar as well as how they may differ. In an individualistic culture, the

DA: First of all, congratulations to you on your appointment to the NJMAA Board! It is great to have you as a member and I look forward to our continued collaboration.

LCL: I am so excited to learn and grow with this great group of colleagues from across the state. It's been a pleasure getting to know and reacquaint myself with the team.

DA: I am also thrilled to have had you present on this topic for our members and you had a lot of information to share with us. What do you think is the most important, most pressing issue for NJMAA to consider as what our members might need for support and consideration?

LCL: That is a big question which requires a tiered approach.

First, educators must connect with students through knowledge about the students and communities they serve. This requires educators to gain an understanding of the values, perspectives and TEMPO

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belief is, ‘I succeed…I make it’. Success may be valued by the single individual. In a collectivistic culture, the belief is, ‘I succeed…we make it.’ My success is my entire family’s success, for example. Gaining a clear perspective on community norms as well as the possible intersectionality of these two cultural thoughts can be beneficial for educators to know.

Categories

% White

% Black

% Hispanic

% Asian

% American Indian

% Hawaiian Native

% Two or More Races

Certified Staff

82.4

7.3

7.7

2.1

0.1

0.1

0.2

NJ Students

41.03

14.8

30.75

10.52

0.16

0.2

2.55

DA: Let’s extend that conversation and what can you and I do? What can our association do to work with universities to help address inequities with regard to global population students successfully auditioning for their schools?

LCL: One approach I am exploring is offering a 4 hour symposium to address this very topic. I hope to bring music educators together, from all levels of K-12 to the collegiate level, including teacher preparation programs, so we can collectively reflect on how our programs can do more to inspire a wide variety of students to want to pursue music education, with the accessibility to match.

Access to a high quality music education with appropriate resources for every student across the state needs to be a primary goal of all of our organizations. As educators, we have a responsibility to create a safe learning environment that is open to all students throughout the year, without limitations. Our students have unlimited access to embrace the cultures of the world through the internet and social media. Sharing the joy and creative possibilities within our content inclusive of music technology, deejaying, composition, modern band, concert band, chorus, orchestra and more, is the key to reaching all students. Embracing the wealth of musical genres in our classrooms and repertoire demonstrates the cultures of our students, parents and communities, validating the importance of cultural responsive arts education to every student we serve.

DA: What do you believe to be the next steps so that this discussion remains a part of the fabric of what we continue to work on here in the state of NJ and improve in the areas of Diversity and Equity, Inclusion and Understanding?

LCL: Intentional conversations are necessary at every level to embrace and welcome the diverse perspectives of the students we serve.

We need to connect the music we use for learning to the music the students experience in every aspect of their lives. This is ultimately how music programs reflect and represent the diverse student body that makes up our state. It is everyone’s collective responsibility.

Here are the NJMAA remaining general membership meetings and topics: 4/1/22 A Multifaceted Approach to SEL in the Arts - Facilitator: Shawna Longo, Hopatcong Borough Schools 6/3/22 Roundtable, Topic TBA For further information or assistance, contact our Treasurer, Lou Quagliato: lquagliato@westorangeschools.org (973) 669-5400 ext. 20570

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Five Cross-Curricular Activities for Elementary General Music Classes Amy M. Burns Far Hills Country Day School aburns[at]fhcds.org

There are many times that I have read on various elementary music networks that elementary music educators are being asked to show how they implement cross-curricular connections. These connections can range from showing the relationship between math and music, reading and music, and integrating particular units studied in the classroom to music, and more. Whether one agrees with it, in all likelihood, you are already connecting other subjects into your music classes, even ones as young as early childhood. Here are five cross-curricular activities (and one bonus with tech tips!) for elementary grades that connect other subjects into your music classroom, while keeping your music objectives and standards at the center of your lessons.

draw the letter in the air making the sound and vocalizing to the direction that they draw the letter. For example, if the letter is V, and I show a picture of the letter V (see figure 1), I ask the students what the letter is and the sound of the letter. We then begin high, singing “V” as we trace the letter in the air.

This reinforces the letter and its sound while you are having the students vocalize or perform a pitch exploration.

#5: Connecting Preschool and Kindergarten Letters and Sounds with Vocalizations or Pitch Explorations

Kindergarten curriculum includes learning to read and write sight words such as “the”, “at”, “I”, “am”, and “to”, to name a few. Many of the songs used in the Kodály approach or step three of Dr. Feierabend’s First Steps, “Simple Songs” include songs with these sight words. An example is the song “Teddy Bear” (see figure 2). After teaching this song through sound before sight, movement, sol-mi melodic body percussion, and

Tech Tip: Use the free educator’s version of Canva (https:// www.canva.com/education/) to create the letters so you can print them or display them on a screen. #4: Kindergarten Sight Words

If you begin your classes with vocalizations to warm up the class, or if you are following Dr. Feierabend’s eight-step workout found in his book, First Steps in Music for Preschool and Beyond: Revised Edition (GIA, 2020), then connecting letters and sounds come naturally. Whether I am correlating with the letter of the week in the preschool or kindergarten classrooms, or if I am subtly implementing the letters of the musical alphabet, I will begin my classes with a letter on the screen.

The students then identify the letter and its sound. Then they

Figure 1: Displaying a letter for a pitch exploration exercise

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Figure 2: Teddy Bear from https://kodaly.hnu.edu/song.cfm?id=877

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performing the sol-mi pattern on pitched instruments, you can show them the song and have the students find the sight words. In this song, such sight words that they may know include “the”, “go”, and “that”. The process focuses on singing, identifying high and low pitches, performing rhythm patterns, and identifying the melodic pitch pattern of sol-sol-mi. When showing them the music, you are having them experience the written notation of the music, but the focus is on the sight words as they would most likely not be ready to read the music notation yet.

Tech Tip: Websites such as https://kodaly.hnu.edu/ and https://www.bethsnotesplus.com/ have many songs free to use as manipulatives in your classroom. #3: First Grade Math Equations and the 100th Day of School First grade is a time when many students begin to learn basic addition and subtraction, as well as celebrate the number 100 (this occurs in younger grades as well). For basic addition and subtraction equations, we build upon the vocalizations and pitch explorations described in #5. My first graders will answer the math equation and then perform pitch explorations as we trace the equation in the air (see figure 3). The pointers are added so that the students identify whether they begin that number with a high or low voice.

can be placed on the list. Though this activity might not work for all music classes, it is one to consider if the 100th day of school is a prominent day at your school.

Tech Tip: The Figure 3 was created in Google Slides using the scribble and shapes tools. #2: Music and Art: The study of Kandinsky with Grade 1 Chrome Music Lab’s Kandinsky App (https://musiclab.chromeexperiments.com/kandinsky/) lends itself well to a crosscurricular study of Wassily Kandinsky, an artist who compared painting to making music. By collaborating with the art teacher, music and art came together by first using the book, The Noisy Paint Box (Knopf, 2014), by Barb Rosenstock (Author), Mary GrandPre (Illustrator). Then, in art class, the students created works inspired by Kandinsky. In music class, they took their artwork and recreated it using the Kandinsky App. One suggestion for this project is to let them create freely first when they use the Kandinsky App because they might want to create many smiley faces. Then, have them replicate their artwork using the app. There are some challenges as the app only allows the creator a limited number of items on the screen before it begins deleting them. And, what they create in art class might not be able to be recreated by the app. Therefore, allowing the students the freedom to create new artwork within the app works as well as replicating their original artwork. Finally, when the art teacher and I collaborated on this project, we brought it all together by placing the artwork and the music into an ebook (see figure 4).

Figure 3: Math equations as vocalizations and pitch explorations

The number 100 can be integrated into the music class in various ways. I have had students add up rhythm values so that as a class combined, their rhythm patterns equal 100. My first graders have also created a “100 Favorite Song List”. With this activity, we have guidelines such as the songs can or cannot have lyrics; the songs have to have a title (so that they do not just name a movie or an artist); they cannot “yuck someone’s yum”, meaning that they do not have to like all of the songs, but they have to respect the songs on the list; and that the songs have appropriate lyrics. The latter is a challenge, but many songs that they might name have Kidz Bop versions that JANUARY 2022

Figure 4: Kandinsky artwork by grade 1 found at https://www.youtube.com/watch?v=HE42SF08ZR4

Tech Tip: We used Book Creator (https://bookcreator. com/) to create the ebook. We added pictures of their artwork along with screen recordings or video recordings of their music created with the Kandinsky App since the app does not have a sharing feature at this moment.

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#1: Science and Music with Grade 5 Science and music are two subjects that do naturally connect, especially if your school focuses on Science, Technology, Engineering, and Mathematics (STEM) or Science, Technology, Engineering, Arts, and Mathematics (STEAM), or some additional variation of the acronym. There are numerous examples that connect science in music class from studying how sound is produced in various instruments, to creating music when students are studying certain animals. In the latter, music class has integrated the students’ study of whales. We have used composition tools such as Flat.io to have the students compose a melody that emulates songs they hear the whales produce. The students then use Soundtrap EDU (https:// www.soundtrap.com/edu/), which is a combination of GarageBand and Google Docs so students can collaborate as they create music all housed in the cloud, to give their melodies an accompaniment. Another great music creation tool that my good friend, Dr. Jim Frankel, recently posted is Google Arts and Culture Paint with Music (https://g.co/arts/B6ut6Kya28UZ1ier5). Students can click on the underwater music tab and create music with whale sounds.

The fifth graders then create Google Sites that give information about the whales that they studied. They can place the music that they created onto their google site by embedding it. If they used Soundtrap, they can download the music as an mp3 file. They can then upload it to their Google Drive, make the audio file shareable, and copy the link. When they open their Google Site, they can click the embed button and paste the link. It will now appear on their Google Site. To learn how to do this, here is a YouTube video that explains it: https://www.youtube.com/watch?v=irSTS8CF4eU If they use the Google Arts and Culture Paint with Music to create their underwater music for their site, they can click the share icon and share the link to their Google Site.

music class when the students might be studying the country of China in their classroom. They can listen to the song, learn a ribbon dance to the song, and then learn how to read and perform rhythm patterns or the melody to a play-along video of the song.

My hope is that this article helps with ideas that can be adapted or with ways that one can see that integration has been occurring naturally in their elementary general music class while keeping the music concepts, approach, or standards as the focus of the lessons.

References: BandLab for education: Free award-winning Education Platform.

BandLab. (n.d.). Retrieved January 31, 2022, from https://edu. bandlab.com/ Book creator - bring creativity to your classroom. Book Creator app.

(2022, January 27). Retrieved January 31, 2022, from https://bookcreator.com/ Chrome Music Lab. (n.d.). Retrieved January 31, 2022, from https://musiclab.chromeexperiments.com/kandinsky/ Create and collaborate | CANVA for education. (n.d.). Retrieved January 31, 2022, from https://www.canva.com/education/ Feierabend, J. M. (2020). First steps in music for preschool and Beyond: The curriculum. GIA Publications.

Google Arts & Culture. (n.d.). Paint with music. Google Arts & Culture. Retrieved January 31, 2022, from https://g.co/arts/B6ut6Kya28UZ1ier5 Home. Beth's Notes. (2020, September 10). Retrieved January 31, 2022, from https://www.bethsnotesplus.com/

Tech Tip: Soundtrap EDU is a paid subscription. If you need a subscription that is EDU and free, try BandLab (https://edu.bandlab.com/).

How to add audio files to your new google sites - YouTube. (n.d.).

Retrieved January 31, 2022, from https://www.youtube.com/ watch?v=irSTS8CF4eU

Bonus Cross-Curricular Activity: The Study of Countries in 2nd Grade Music Class

Kandinsky - Grade 1 at Far Hills Country Day ... - youtube.com. (n.d.). Retrieved January 31, 2022, from https://www.youtube.com/ watch?v=HE42SF08ZR4

Each grade level studies various places from around the world. Whether it is the study of continents, countries, states, etc., this study can connect naturally in music class. In the example of the study of certain countries, when the students come to music class, we can incorporate dances and songs from those countries. We can also incorporate rhythm playalong videos of songs from various countries. One example of this is the song Gong Xi, a popular song sung around the start of the Lunar New Year. This song can be integrated into TEMPO

Rosenstock, B., & GrandPré Mary. (2014). The noisy paint box: The colors and sounds of Kandinsky's abstract art. Alfred A. Knopf.

Soundtrap for education - make music and podcasts online. Soundtrap. (n.d.). Retrieved January 31, 2022, from https://www.soundtrap. com/edu/ Teddy Bear 2. Kodály Center for Music Education - Song. (n.d.).

Retrieved January 31, 2022, from https://kodaly.hnu.edu/song. cfm?id=877 28

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Inspiring Students in Music Through Children's Books Shawna Longo Durban Avenue School, Hopatcong Borough Schools shawnalongo[at]gmail.com

One way to keep our students at the forefront of our teaching while still meeting the requirements of various schoolbased or district-wide initiatives is through finding commonalities across initiatives. These commonalities can then be aligned to who, what, why and how you teach music. I have found an intersection between initiatives and artistic processes through children’s books.

Children’s books are at the heart of teaching in K-5 and they often pair seamlessly with music concepts and artistic processes. Through their beautiful illustrations and meaningful, authentic messages, we can deepen our connection with and understanding of our students all while preparing them for their future.

There are a few initiatives that are at the forefront of education right now: 1) Social Emotional Learning (SEL) 2) Culturally Responsive Teaching (CRT) 3) Inclusion, Diversity, Equity, Access (IDEA).

Let’s first lay a foundation for each of these initiatives.

SEL - As defined by CASEL, “Social Emotional Learning is an integral part of education and human development. SEL is the process through which all young people and adults acquire and apply the knowledge, skills, and attitudes to develop healthy identities, manage emotions and achieve personal and collective goals, feel and show empathy for others, establish and maintain supportive relationships, and make responsible and caring decisions.”

CRT - Brown University states, “Culture is central to learning.

It plays a role not only in communicating and receiving information, but also in shaping the thinking process of groups and individuals. A pedagogy that acknowledges, responds to, and celebrates fundamental cultures offers full, equitable access to education for students from all cultures. Culturally Responsive Teaching is a pedagogy that recognizes the importance of including students' cultural references in all aspects of learning (Ladson-Billings,1994).”

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IDEA - “Teaching for diversity refers to acknowledging a range of differences in the classroom. Teaching for inclusion signifies embracing difference. Teaching for equity allows the differences to transform the way we think, teach, learn and act such that all experiences and ways of being are handled with fairness and justice.” (University of Delaware) IDEA is an acronym for Inclusion, Diversity, Equity, and Access.

IDEA highlights efforts toward underserved communities by addressing structural inequities. IDEA assists in fostering cultures that minimize bias and recognize and address systemic inequities, which, if unaddressed, create disadvantage for certain individuals or groups.

• “Inclusion: All feel welcomed and valued Inclusion is the act of creating environments in which any individual or group can be and feel welcomed, respected, represented, supported, and valued to fully participate.

• Diversity: All the ways we differ Diversity includes all of the ways in which people differ, encompassing the different characteristics that make one individual or group different from another. While diversity is often used in reference to race, ethnicity, and gender, we embrace a broader definition that also includes age, national origin, religion, disability, sexual orientation, socioeconomic status, education, marital status, language, physical appearance, geography, and any other identifiers that make one individual or group different from another.

• Equity: All having the opportunity to fully participate Equity encompasses the policies and practices used to ensure the fair treatment, access, opportunity, and advancement for all people, while at the same time trying to identify and eliminate barriers that have historically prevented the full participation of some individuals or groups.

• Access: Of any and all abilities Access refers to the commitment for everyone to be included in all programs and activities.” (Indiana Arts Commission) The commonalities that exist between SEL, CRT, and IDEA assist in fostering an intentionally embedded and sustained teaching practice that values all students. Through this 30

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intersection with children’s books we can promote a growth mindset through music, while cultivating creativity and inspiring our students to value themselves and better understand the world around them.

In K-5 general music classes, these can be accomplished while teaching the artistic processes and music concepts that fill our curriculums. It is a synergistic pairing that can greatly impact your students as you instill a deeper understanding and passion for music. This can occur during a discussion or analysis of protest songs or while teaching simple rhythmic patterns or melody. The skys the limit in terms of how you choose to create your own intersection between music, SEL, CRT, and IDEA. Here are a few books that I love to use with my students.

Book Suggestions I Am One: A Book of Action - By Susan Verde, Art by Peter H. Reynolds (Abrams Books for Young Readers, New York, 2020) “Every movement and moment of change starts with purpose, with intention, with one.” (quote from book jacket) This is the same for composing music! Whether you use iconic notation, traditional notation, or technology (Chrome Music Lab, Garage Band, etc), every melody or song begins with one note. That note may be the start of a rhythmic phrase or a melody that floats in our heads. Regardless, it still starts with one - one person, one note, one idea. This book offers social emotional learning themes of perseverance, confidence, empathy, kindness, connection, and caring. And, it touches upon all five SEL competencies of: self-awareness, self-management, social awareness, relationship skills, and responsible decision-making. It also ties in culturally responsive teaching through the theme of bridging physical (location and self ) and cultural differences.

SEL competencies of: selfawareness, self-management, social awareness, relationship skills, and responsible decision-making. It also ties in culturally responsive teaching through the theme of bridging physical (location and self ) and cultural differences. It can also serve as a great resource for a lesson or unit on anthems focusing on social change, activism, and restoration through music.

Playing from the Heart - By Peter H. Reynolds (Scholastic, 2016) This inspirational book reminds us all that sometimes we just need to play from the heart. As music teachers, we all know how important it is to learn how to read music. It is a big part of many of our philosophies around teaching music. But, isn’t it just as, or more, important to feel a connection to the music. How does it make you feel?

How can you turn your feelings into a song? How can you portray your feelings through music? These are all big questions that can have an even bigger impact on our students and their musical journeys. This book offers all five of the social emotional learning competencies: self-awareness, self-management, social-awareness, relationship skills, and responsible decision making.

The Word Collector - by Peter H. Reynolds (Scholastic, 2018)

Although this book is all about words - words have many connections to teachChange Sings: A Children’s Anthem - Words by Amanda Goring music. Multi-syllable man, Pictures by Loren Long (Viking, New York, 2021) words connect to rhythmic phrases and motifs. Words “I can hear change humming in its loudest, proudest song. I can be strung together as a don’t fear change coming, and so I sing along.” (p2) This story poem to create the lyrics to begins with one child and her guitar. Throughout the book, a song. And, most impormore children join her song each with a different instrument, tantly, words can move people and have an emotional impact until the end where the girl invites the reader to join her in - even more so when paired with music! This book offers a song. This book offers social emotional learning themes of connection to all five social emotional learning competencies: tolerance, courage, confidence, empathy, connection, hope, self-awareness, self-management, social-awareness, relationJANUARY 2022 and caring. And, it touches upon all five 31ship skills, and responsible decision making.

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Further Resources:

Resources

Two additional resources for children’s books and lesson ideas that you may consider using can be found through The Institute for Arts Integration & STEAM and The Immigrant History Initiative. These resources support the integration and fostering of IDEA, culturally responsive teaching, social emotional learning, and growth mindset into any music classroom.

Culturally Responsive Teaching. Brown University. https:// www.brown.edu/academics/education-alliance/teachingdiverse-learners/strategies-0/culturally-responsive-teaching0#ladson-billings Fundamentals of SEL. CASEL. https://casel.org/fundamentals-of-sel/

The Institute for Arts Integration & STEAM: IAS has an amazing resource that is great for ALL teachers, not just the arts! It’s called “CATCH a Spark.” In this series, author Holly Valentine, provides access in to big ideas - sparking creativity, imagination, and thinking in and through children’s book and the arts. She accomplishes this through the same 5 points for each featured book: C - Context A - Arts T - Themes C - Create H - Heart Words Each month she releases a new list of 6 books with teaching ideas following the CATCH acronym. As of the writing of this article, there are over 65 different books featured spanning K-8 grade levels. Use the link below to find all of the free “CATCH a Spark” postings! https://artsintegration.com/?s=catch+a+spark The Immigrant History Initiative The Immigrant History Initiative is developing K-5 resources to promote young children being able to see their own histories. They are creating read-aloud lesson plans for K-5 students that center Asian American (as well as other cultures) voices and stories, exploring diasporic family dynamics, intergenerational conflict & dialogue, and discrimination and stereotypes.

Their first lesson plan is available and uses the picture book Binny’s Diwali to explore themes of belonging, cultural difference, and family. More books and corresponding lessons will be released in the coming months. You can find their first one focusing on Diwali using this web link: https://www.immigranthistory.org/k5.html#binny

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Diversity and Inclusive Teaching. University of Delaware. https://ctal.udel.edu/resources-2/inclusive-teaching/ Inclusion, Diversity, Equity and Access (IDEA). Indiana Arts Commission. https://www.in.gov/arts/programs-and-services/ resources/inclusion-diversity-equity-and-access-idea/ Shawna E. Longo is the General Music (Music Technology) teacher and Arts Integration Specialist at Durban Avenue School, Hopatcong, NJ. She is also a published author with her book, "Integrating STEM with Music," with Oxford University Press. Additionally, she serves as a Practice Advisory Board Member for The Center for Arts Education & Social Emotional Learning, K-12 Educational Technology & Innovation Through Music Chair for the NJMEA Board of Directors, Coach for The Institute for Arts Integration & STEAM; the Arts Integration & STEAM Specialist for TMI Education; Lead Consultant for Essential Elements Music Class (Hal Leonard); and an Ambassador/Consultant for The Rock and Roll Forever Foundation, Music First and Jamstik.

She is an internationally recognized clinician and consultant for music education, music technology, social emotional learning, arts integration, and STEAM. She is also a recipient of the 2021-2022 Sussex County Teacher of the Year, 2021 New Jersey Arts Educator of the Year, 2021 Governor’s Educator of the Year for Durban Avenue School, 2019 Mike Kovins Ti:ME Music Technology Teacher of the Year, 2019 New Jersey Governor’s Award in Arts Education, 2019 Teach Rock Star Teacher Award from The Rock and Roll Forever Foundation, 2018 NJMEA Master Music Teacher Award, and 2016 Governor’s Educator of the Year for Hopatcong Middle School. Mrs. Longo also serves on the Morris Plains Board of Education.

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Searching for Relevancy As We Teach Chords Erik Lynch Verona High School elynch[at]veronaschools.org

Seasoned music educators draw from a myriad of pedagogical modalities to connect with our students. This has been particularly apparent throughout Covid-19, as many of the traditional activities of the performance classroom (warming up, sight reading, rehearsing festival/concert repertoire) were abandoned out of sheer necessity.

In pandemic times or not, music theory is one of the most poignant vessels we can integrate in our daily journeys to help students get “down and dirty” with the music. Music teachers have a golden goose here: human beings, some of whom are our students, love music, and the music we predominantly play and listen to in our culture is grounded in tonal harmony and chords.

However, as we search for relevance with our students, we should be aware that the traditional system of tonal harmony (roman numerals, inversions symbols, etc.) can potentially ostracize students, especially those who read pop/jazz symbols. Therefore, I am proposing that we strike a balance of traditional and contemporary notational symbols when it comes to chord analysis.

Before we go any further, let us address the potential elephant in the room - not all music can be decompressed into chords. It would be frivolous to assign a roman numeral to an excerpt from George Crumb’s Makrokosmos, or to attempt to label an authentic cadence in Edgard Varese’s Ionisation. Fully acknowledging that fact, we cannot deny the importance of chords in tonal harmony.

Fresh off the holiday season, I do not remember any of Michael Buble’s tunes using an inverted tone row, or one of the eightyseven versions I heard of “All I Want for Christmas” set aleatorically.

With that said, I think we can all agree that chords are at the epicenter of the structure of classical, symphonic, operatic, jazz, pop, and vernacular music in the Western world. If we anchor ourselves to this presupposition, it is important for music teachers to imagine the different ways we can label a single chord.

A quick bit of background: my training is in orchestral music, with a particular affinity for timpani, meaning that my upbringing steers me in the direction of traditional roman numerals/ chords/ progressions. However, of late, I have been a bit bored with this language, and have been pushing myself to learn more of the jazz canon, challenging myself to play out of the Real Book on piano TEMPO

(though I am in no danger of being picked up by the Village Vanguard Orchestra). I have found that trying to learn the jazz vocabulary, which, in many ways, is the pop vocabulary, has helped me connect on a deeper level with my students, particularly those who play non-traditional band instruments such as guitar and bass. Let’s look at a few examples: Example 1

Example one illustrates, arguably, the most common overlap in the two styles. Either way we are dealing with the notes D-F-Ab-C (that generally serve pre-dominant functions), but our approach to spelling the chord yields different conceptual paradigms. The first is congruent with a traditional way of teaching seventh chords, focusing on the quality of the triad (D-F-Ab : diminished) and the interval between the root and the seventh (D-C: minor 7th). The jazz/pop approach asks us to imagine a minor seventh chord on D, and then to lower the fifth above the bass to attain the half-diminished quality. Both approaches have validity, with the latter being a gateway to more sophisticated jazz chords (b9, #11, b13, etc.)

Example 2

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The second example is easy to understand - both are dominant seventh chords (aka major-minor), yet there is more to unpack here. The larger lens is simple yet fundamental: the dominant seventh chord is the undisputed royalty of seventh chords. It gives us a chance to unpack the word dominant in tonal harmony, (somewhat similar to saying I will have “the fish” at Red Lobster), which has three different connotations: scale degree five, a quality that is major-minor, and, finally, a general encapsulation of chords that move to the tonic. From the jazz/pop side, it is essential to point out that any note followed by a seven is assumed to be dominant in this particular vernacular. Though rudimentary, it is an essential concept for transfer.

Example 3

The final example is a bit more complex, both eliciting a triad portion of the seventh chord that is augmented, a rare quality in both the traditional canon and more modern jazz/pop music.

From the tonal harmony schema, it is a great chance to discuss with our students the important distinction between theoretical possibilities and theory-in-practice! In theory (pun intended) there are four types of triads (major, minor, diminished, augmented), yet

in practice the augmented is rarely, rarely utilized, and if it does appear, it is likely to do so as a non-chord tone/suspension.

When thinking about the jazz/pop notation of example three, we can reflect upon salient points from the prior two examples: we start with the classic dominant seventh chord, and then raise the E to E# to get the augmented portion of the chord. Perhaps the largest lens here is that jazz is a free, fluid, and ever evolving language.

Coda/Outro As I evolve as an educator, I am convinced that we must fundamentally connect with our students by building relationships and searching for relevancy in their lives. As reflective practitioners in the arts we are blessed to teach an art form that undoubtedly has universal attributes. Oftentimes, however, politics, bureaucracy, and competition can corrupt the values that we know to be true to us. About two weeks after the pandemic hit, a band director of a competitive program in the United States joined a podcast to help colleagues navigate the educational landscape. This podcast posited that “now” that competitions/festivals/concerts are canceled, we can focus on the historical, contextual, and theoretical aspects of the repertoire and composer. I hope that I do not have to point out what an indictment this is of our culture.

Music theory is a modality like no other to help us motivate and connect with our students. I encourage you to experiment with both classic and modern chord labels as a small example of how to do so.

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Students Enrolled in Instrumental Music Have Higher ELA Test Scores Dr. Thomas Santone Music Teacher, Camden, NJ tsantone@camdencsn.org

In a 2018 study at a mid-sized public charter school in Camden, NJ, students enrolled in their instrumental music program were able to increase their PARCC ELA scores significantly when compared to students who were not enrolled in instrumental music. PARCC and NJ ASK scores from students who took instrumental music lessons were analyzed and compared to a randomized sample of the general population. It was found that there was no significant difference between the two groups in the ELA scores from 3rd, 4th, and 5th grades, but the students who began instrumental music lessons at the end of 5th grade and beginning of 6th grade scored significantly higher in the 6th, 7th, and 8th grade PARCC tests when compared to a randomized sample of non-band students.

Standardized testing data was analyzed from 2012-2017 where students enrolled in the instrumental band program were matched up with a randomized sample of non-music students. During their 3rd, 4th, and 5th grades (2012-2014), the students took the NJ ASK test. The state of New Jersey switched to the PARCC during the 2014-2015 school year, when the students were in the sixth grade.

For the ELA portion of the NJ ASK during the students' 3rd, 4th and 5th grades, the band group and non-band group's scores were statistically equal (p<0.05). Students then had an option to join band. After taking instrumental music lessons for at least 8 months, PARCC ELA scores of the band students where statistically higher when compared to the randomized sample of non-music students.

This statistical significance continued throughout the students' middle school experience.

The connection between music, brain activity and language skills has been known to researchers for years now. Back in 1995 Peter Fox et al. studied brain activity on piano players while playing Bach’s “Italian Concerto” and two-handed scales. They report several regions of the brain are active during the performance. These are the left lateral cerebellum and the right supplementary motor areas, which are known as the auditory association areas in the right temporal cortex.

With current technology, scientist have been able to take a closer look at the brain to see what brain functions are active while children are listening to and are playing music. Lehr (1998) writes that playing a musical instrument establishes more neural pathways in the brain. Because 80 to 90 percent of the brain's motor control capabilities regulate stimuli to and from the hands, mouth, and throat, playing a musical instrument at an early age can develop highly refined motor control and can stimulate almost the entire brain, increasing its total capabilities (Lehr, 1998). Lehr recommends introTEMPO

ducing the recorder by the second grade, and band instruments by the fourth grade to help facilitate this growth.

Norman M. Weinberger, Ph.D., is a research professor and founder of University of California, Irvine's Center for the Neurobiology of Learning and Memory and of the Music and Science Information Computer Archive [MuSICA]. He has done extensive research in this area. Weinberger's (1998) research concludes that, "Learning and performing music actually exercise the brain - not merely by developing specific music skills, but also by strengthening the synapses between brain cells" (p. 38). Weinberger also lists the major functional brain systems that depend on this synaptic strength. These include: • The sensory and perceptual systems: auditory, visual, tactile, and kinesthetic • The cognitive system: symbolic, linguistic and reading • Planning movements: fine and gross muscle action and coordination • Feedback and evaluation of actions • The motivational/hedonic (pleasure) system • Learning memory (Weinberger, 1998, p. 38) Weinberger (1998) also states that brain scans of students engaged in musical performance show that the entire cerebral cortex is active during the performance. The cerebral cortex is involved in many brain functions including memory, awareness, attention, thinking, language, and consciousness. If this is true, every student should be engaged in musical performance as part of class every day as a brain exercise, especially early in childhood, during pre-school years, when children are developing these brain functions. Weinberger concludes, "In short, making music actively engages the brain synapses, and there is good reason to believe that it increases the brain's capacity by increasing the strengths of connections among neurons" (p.

38) and "music making appears to be the most extensive exercise for brain cells and their synaptic interconnections" (p. 39).

Wilfried Gruhn (2005), Emeritus Professor of Music Education, University of Music Freiburg, Germany, agrees with Weinberg, stating: "Music can stimulate the growth of brain structures and connects many activated brain areas" (p. 100).

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Gruhn goes on to say that music can act as a stimulus for the auditory cortex, which is underdeveloped in young children. As a music educator, Gruhn believes that the highest degree of musical potential in children is right after birth, after which that potential win decrease and eventually fade away without proper stimulation.

If this is true, we would have to conclude that all forms of early childhood development classes and pre-school classes should contain an intensive music program.

Previous research has led us to believe that most musical processing takes place in the right hemisphere of the brain. Donald Hodges (2000b), Professor of Music at University of Texas at San Antonio, states that musical processing is not just limited to the right hemisphere of the brain, rather it involves the entire brain: front/ back, top/bottom, and left/right. He also writes that musical experiences involve the auditory, visual, cognitive, affective, memory, and motor systems of the brain. Music reading activated an area of the brain's right side parallel to an area on the left side activated during language reading (Hodges 2000b). Instrumental music lessons as part of a school curriculum would be the easiest way to activate functions across the entire brain.

There is further research to back up Hodges' research. Ella Wilcox (2000), Associate Editor for Teaching Music magazine, wrote that in children who begin stringed-instrument or keyboard lessons before the age of seven have an increased cerebral hemisphere and increased thickness of neural fibers connecting the two hemispheres of the brain compared to those children who are not exposed to instruments. Bennett Reimer (2004), a professor emeritus in the School of Music at Northwestern University agrees, saying musical instruments "activate both brain hemispheres and involve cerebral cortex activity and memory retrieval mechanisms" (p. 23). To play almost all band instruments, the student is required to use both hands in a way that most other school activities, including sports, do not; therefore, the anterior corpus callosum, which carries most the communication between the two hemispheres of the brain is larger in musicians than in non-musicians (Reimer 2004). Research

by Schlaug, Jancke, Staiger, & Steinmetz (1995) at Harvard Medical School reported that the anterior half of the corpus callosum was indeed larger in musicians. They also observed an increase in interhemispheric communication and hemispheric symmetry of sensorimotor areas in musician's brains.

Schlaug (2001) also writes, “Our main hypothesis was that early and intensive training in keyboard and string players and the requirement for increased and faster interhemispheric exchange in order to perform bimanual complex motor sequences might lead to structural changes in the callosal anatomy” (p. 285). He found that the anterior half of the corpus callosum in musicians was significantly larger.

Schlaug, Jancke, Huang & Steinmetz (1995) also found through magnetic resonance imaging that the left planum temporale region of the brain is larger in musicians. According to Moreno (2009), the planum temporale region is associated with verbal memory.

Schlaug (2001) reports that there are several regions in the brain that show “some form of adaptation to extraordinary challenges and requirements of performance” (p. 281). These regions are the corpus callosum, motor cortex, and the cerebellum.

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Schlaug theorizes musicians can be used as a model for “functional and structural adaptation of the brain” (p. 281) because much of the musical training that musicians receive occurs at younger ages, when the brain can still adapt to these challenges of learning a musical instrument. Schlaug states that challenges of learning a music instrument may lead to these functional and structural changes to the brain.

Reimer (2004) also notes that musical activity utilizes widely distributed brain activity because each music role, i.e. improvising, singing, composing, arranging, uses a different set of brain involvements. Because of this, Reimer feels, "Every musical experience that we offer our student affect their brains, bodies, and feelings. In short it changes their minds permanently, and, if we are conscientious, it does so progressively" (p. 25). This is more support that music making utilizes processes and stimulates areas across the entire brain.

John W. Flohr, Daniel C. Miller, and Roger deBeus (1996) wrote that we can look into the child’s active brain through an electroencephalogram [EEG]. They wrote what EEG data can reveal about children and learning. Through their work, they have published five hypotheses (1996): • The impact of music education may be dramatic and specific, not merely influencing the general direction of development, but actually affecting the circuitry of the human brain.

• Our music education programs need to emphasize preschool music. Early care and nurture can have a long-lasting impact on how people develop, their ability to learn, and their capacity to regulate their own emotions.

• There is an indication that a significant window of opportunity for music learning in in early childhood.

• The brain’s plasticity also means that there are times when negative experiences or the absence of appropriate stimulation are more likely to have serious and sustained effects. Good preschool and elementary music education experiences are important for the music development of young children.

• Substantial evidence amassed by neuroscientists and child development experts over the last decade points to the wisdom and efficacy of early intervention. The findings indicate that all music educators and parents should be informed about the advantages of early music education. (p. 32) Hallam (2010) set out to see how music impacts intellectual, social and personal development in children. She writes that “extensive active engagement with music” (p. 270) can actually cause the cerebral cortex to reorganize itself which can change how the brain can process information. These changes can become permanent if the engagement with music occurs at a young enough age. These changes in the brain can transfer into other domains if the processes involved are similar. For example, processing music and processing speech uses many of the same shared processing systems. Hallam states that one benefit of musical training is that it can “sharpen the brain’s early encoding of linguistic sound leading to superior coding” (p. 271). Essentially, as Hallam writes, “Musical training improves how the brain processes the spoken word. It improves the ability to distinguish between rapidly changing sounds. Those with musical training have superior brain-stem encoding of linguistic 41

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pitch patterns” (p. 272). Not only that, but Hallam concludes that the younger the child is exposed to active music participation, and the longer the engagement lasts, the greater the impact.

This ability of brain to change that Hallam (2010) mentioned above is known as brain plasticity or neuroplasticity. Neuroscientists have been studying how music can change the brain for about 15-20 years now. Munte, Altenmuller, & Jancke (2002) write that “professional musicians represent an ideal model in which to investigate plastic changes in the human brain” (p. 473). They claim that, “Performing music at a professional level is arguably among that most complex of human accomplishments” (p. 473). In order to perform music on a professional level, musicians must undergo thousands of hours of training and practice to master such complex compositions.

These thousands of hours of practice can actually re-wire the brain and make some areas larger. Wan and Schlaug (2010) write that “Engaging in musical activities not only shapes the organization of the developing brain but also produces long-lasting changes even after brain maturation is complete” (p. 567).

According to Anita Collins (2014):

“learning arts skills forces mental ‘stretching’ useful to other areas of learning” (p. 284).

Costa-Giomi (2004) found that piano instruction results in a significant increase in the development of self-esteem while a Demorest and Morrison study (2000) claimed that “Students in pull-out programs and those with greater years spent in arts education maintain a higher than average level of academic achievement” (p. 38). In another finding, Demorest and Morrison (2000) point out that the longer students participate in music, “the greater the improvement in academic performance will be” (p. 38). As much as this could be an indication that continued participation in music will result in greater academic achievement, the authors warn that “students who are the highest academic achievers are the ones who tend to remain music participants throughout their school years, while students who struggle academically may be more likely to end their musical involvement early” (p. 38).

Bilhartz et al. (2000) set out to see if early music training had any effect on cognitive development. He gave the experimental group of 4-6-year-olds a 30-week, 75-minute weekly structured music curriculum. He found that the students receiving the music curriculum showed significant gains in the Stanford-Binet Bead Memory subtest and in the Young Child Music Skills Assessment.

More recently, Schellenberg (2016) reported research in which he took 144 children, randomly assigned them to either keyboard lessons, voice lessons, drama lessons, or no lessons. He found that children in the music groups “exhibited greater increases in full-scale IQ” (p. 511). Schellenberg writes, "Music lessons involve long periods of focused attention, daily practice, reading musical notation, memorization of extended musical passages, learning about a variety of music structures, and progressive mastery of technical skills and the conventions governing the expression of emotions in performance." (p. 511) Schellenberg believes that the combination of these experiences can transfer into cognitive ability, especially during early childhood development when the brain is highly plastic and “sensitive to environmental influence” (p. 511).

Morrison (1994) studied the First Follow-Up to the National Education Longitudinal Study of 1988, conducted by the National Center for Educational Statistics. In his paper, he points out that even though only 22.8% of students in that study identified themselves as participating in a school-based musical activity, the percentage of those students receiving special recognition and honors were much higher. For example, while 22.8% of a school’s population participate in music activities, 29.5% of students elected class officer, 28.6% of students receiving academic honor, and 27.2% of students who received recognition for good grades were in a music activity.

Another factor that improves academic achievement is social and personal development. Hallam (2010) writes that “achievement may in part be mediated by an increase in social and cultural capital” (p.

278). This social and cultural capital comes from the participation in music and related activities. Broh (2002) concluded that these social benefits were likely to lead to higher self-esteem in the children in turn leading to increased motivation and self-efficacy.

There are many different ways music can help children develop and achieve academic success. Suzanne Gellens, in her book Activities That Build the Young Child's Brain, states that when students

“Playing a musical instrument engages practically every area of the brain at once, especially the visual, auditory, and motor cortices” (para. 4).

She goes on to say that practicing a musical instrument strengthens these brain functions and these strengthened functions can help us complete other activities.

In other words, as Collins summarizes, “Playing music is the brain’s equivalent of a full-body workout” (para. 3).

Because of this workout, several areas in the brain, including the planum temporale, the anterior corpus callosum, the primary hand motor area, and the cerebellum, “differ in their structure and size between musicians and control subjects” (Munte et al., 2002, p. 474).

Hyde et al. (2009) claim that these structural changes in the brain can happen after only 15 months of musical training in early childhood. Collins (2014) states that these changes in the brain may allow musicians to solve problems more effectively and creatively, in both academic and social settings. Because making music also involves crafting and understanding its emotional content and message, musicians often have higher levels of executive function, a category of interlinked tasks that includes planning, strategizing, and attention to detail, and requires simultaneous analysis of both cognitive and emotional aspects. (para 5-6) For over a hundred years, proponents of music in schools have claimed that music training helps students achieve higher levels of academic success. There have been claims that participation in band, orchestra, and choir can help students improve academic achievement, self-discipline, citizenship, and even personal hygiene. (Morrison, 1994). Gardiner, Fox, Knowles, and Jeffrey (1996) believe that arts training can help children become better students in school.

They believe “when students discover that participation in arts activities is pleasurable, they become motivated to acquire skills in the arts” (p. 284). This motivation to acquire new skills, “students’ general attitude towards learning and school can improve.” In addition, TEMPO

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are happy and enjoying something, chemicals are released in the brain that makes learning easier (Gellens, 2000). In District Administrator, Jennifer Covino writes that: "Children learn better and remember more when their studies are mixed with music and drama, experience, emotion and real-world context" (Covino, 2002. p. 25).

Gardiner et al. also show that students’ attitude and behavior can improve with arts training (1996).

We also now know through research that by playing a musical instrument, children can strengthen synapses between brain cells, activate the entire cerebral cortex, increase the size of the auditory cortex, increase the size of the anterior corpus callosum, increase the thickness of neural fibers connecting the two hemispheres of the brain, and increase motor skills. When music is exposed to young children, it could improve pitch discrimination, therefore improve phonemic awareness and, possibly, improve reading skills. Music has also been proven to improve spatial-temporal reasoning, a necessary skill for math and science.

There is even research to show that music helps alleviate stress and reduce pain. Ralph Spintge, a pain specialist and the executive director of the International Society for Music in Medicine, states in an interview with Donald Hodges (2000a) that "First, selected music significantly decreases the psychological and somatic stress response to acute stressors and acute pain in various medical settings such as surgery, dentistry, labor and childbirth, and intensive care. Second, specifically designed music significantly decreases chronic pain in patients suffering from syndromes such as musculoskeletal pain, low back pain, headache, and rheumatic pain." (p. 42) He also states that the music can medicate pain because listening to music helps the brain release the pain-relieving endorphins. This information could easily be adapted to help children in school settings.

In addition to the skills that children acquire while learning and practicing their instruments, there is also the factor of motivation.

It could be that higher motivated students want to play instruments and do well in school. It could also be that the study of a musical instrument helps student become more motivated. Hallam (2005) believes that motivation and selfperceptions of ability are closely linked. If the study of and performance of musical instruments can lead to the positive perceptions of self, Hallam believes that it may increase the motivation to persevere.

These findings should be the first steps in revolutionizing early childhood development school operate. Susan Lang (1999) writes about one school in New York that is already starting to implement this research into its curriculum. In her paper, Lang (1999) quotes Elizabeth Stilwell, director of the Early Childhood Center at Cornell University in Ithaca, NY as saying: "Early musical experiences can dramatically enhance a child's ability to acquire language, vocabulary, sensory motor skills, spatial reasoning, logic, and rhythmic skills" (para. 5).

At the Early Childhood Center, teacher directions arc sometimes recited as a chant with a drum. The center also developed a "Soundscape" where at recess, the students can play in a playground with musical instruments, and sound toys, a musical jungle gym. There is a giant marimba, xylophone, chimes, Tibetan bells, and drums. Each classroom at the center also has a set of authentic world instruments for each classroom. Children are also exposed to the recorded music that is played in every classroom many times during the day. Children are also expected to make new lyrics to old melodies.

By implementing music research in a pre-Kindergarten curriculum, we can possibly improve the academic achievement in children in primary school. By starting recorder lessons in the second grade, then by implementing a structured instrumental music program during fourth grade, we can possibly improve students' academic achievement through high school.

Music can be played in hallways during change of class to help reduce stress, in nurses’ offices to help children with headaches or other pain and be used during the school day to help students relax, reset, and focus.

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The 13th Annual New Jersey Young Composers Competition Finals Andrew Lesser, Ed.D. Chairman, NJ Young Composers Competition andrew.lesser[at]yahoo.com www.andrewlessermusic.com The 13th annual New Jersey Young Composers Competition (NJ-YCC) finals were held on Saturday, February 26th, 2022 at the annual New Jersey Music Educators Conference in Atlantic City. Students from all over the New Jersey area submitted original compositions in both instrumental and vocal divisions. Finalists were interviewed by a panel of judges representing the NJ-YCC committee; special thanks to Dennis Argul, Joe Bergen, Thomas Bourgault, Patrick Burns, Vincent DuBeau, Cooper Ford, Raif Hyseni, Michael Jedwabnik, Scott Ordway, Serge Puchinsky, Erik Stenswold, Bruce Yurko, and Dan Zugale for volunteering their time and expertise to this project. Congratulations to the following finalists:

Grand Prize Alexander DeStefano - Holy Spirit High School “No Longer, Not Yet” Finalists Ben Janiszewski - Pope John XXIII Regional High School “Triumphant Overture” Gavin Tomasco - Morris Hills High School “The Cloths of Heaven” Arya Jeraled - Piscataway High School “Dance of the Equinox” Sylvanus Jumbo - Mount Olive High School “The Lost Year” Recordings of each finalists' compositions are now posted on the NJMEA website under the Young Composers Competition link. Applications for the 2022-23 competition will also be posted on the website in the Fall of 2022. Congratulations to all who participated, and we look forward to receiving more exemplary submissions for our next competition.

We are also looking for volunteers to participate in the committee of next year's competition. You do not need to be a professional composer to be part of the committee, only a New Jersey music teacher and NJMEA member. If you would like further information, please contact Dr. Andrew Lesser, NJ-YCC Chairman at andrew.lesser@yahoo.com.

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NJMEA Awards all Award applications available at https://njmea.org/awards SCHOOL ADMINISTRATOR AWARD

DISTINGUISHED SERVICE 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.

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.

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.

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

MASTER MUSIC TEACHER 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.

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

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.

- 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.

NJSMA

North Jersey School Music Association www.njsma.com Hello NJMEA colleagues! As I am writing this article in mid-January, I want to share my excitement that we are back on track with in person ensembles. The road to this point has been an adventure and our ultimate goal to provide our students with an authentic musical experience has been achieved. If you were able to attend the NJMEA conference in February, I hope you found it to be enjoyable. It was a pleasure to connect with everyone again face to face! NJSMA will be hosting a professional development day/general membership meeting on Monday, June 6th. If you are interested in presenting, please reach out to your division. More info about this will be distributed through email and will be posted on the website as we develop more detailed plans. There is quite a bit of info that our divisions want to share with you that you will read below. As always, if you have any region related questions, concerns or suggestions please don’t hesitate to reach out. I hope you all have a successful spring concert season. I will have a more detailed end of the year wrap up for the next issue.

Christopher DeWilde NJSMA President president[at]njsma.com

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

Band Division Congratulations to all students who successfully auditioned for the NJSMA Region Bands and to all the directors TEMPO

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. A special thanks to our audition chairs, Michelle Christianson and Danielle Wheeler and audition host Bryan Stepneski for all of their hard work.

The High School Region Band rehearsals and concert were held at Parsippany Hills High School. The conductor of the Wind Ensemble was Dr. Mary K. Schneider; Director of Bands and Professor of Conducting at Eastern Michigan University, and the conductor of the Symphonic Band was Dr. Shelley Axelson, former Director of the Campus and Symphonic Bands at Montclair State University. The concert was on January 30, 2022.

The Intermediate Region Band Concert will be on March 13, 2022 at the Madison Junior School in Madison. Deborah Gianuzzi will conduct the Symphonic Winds, and the Concert Band will be under the direction of Adam Freeman, Band Director at Hackettstown High School.

This year's High School Region Concert Band Festival will be held March 22, 23, 24, 2022. Hosts include Bergenfield HS, Hanover Park Regional HS, Parsippany Hills HS, Verona HS, and West Essex Regional HS. Thank you to all our hosts and all participating ensembles. Special thanks to our festival coordinators 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. Bands will be conducted by Mr. Andre Baruch, Band Director at Patrick M. Villano Elementary School in Emerson and Mr. Matt Testa, Band Director at Lakeland High School in Wanaque.

More information on nominations and location will be coming shortly.

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.

If you are interested in presenting for our NJSMA Professional Development Day in June, please contact us.

As always, please check www.njsma.com for updates and detailed information.

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Diversity and Inclusion It was wonderful to connect and see many of you at the NJMEA State Conference in February! This year, NJSMA has continued to provide fee waivers and transportation supJANUARY 2022

port so that students experiencing financial difficulty are able to participate in regional auditions. We are in the process of forming a North Jersey IDEA (Inclusion/Diversity/Equity/ Access) working group to discuss strategies for increasing accessibility and representation of educators and students in our region. Reach out to diversity@njsma.com to join us! We hope to see you at the NJSMA General Membership Meeting in June!

Katy Brodhead Cullen, diversity[at]njsma.com

Chorus Division We have finished our virtual High School Region Chorus Auditions. We wish to thank Clifton High School and Mr. Bryan Stepneski for being willing to host the auditions this year. Due to Covid-19, we ended up having virtual auditions. We have a huge amount of gratitude for Michelle Lampert (Bloomfield) who went above and beyond as Chorus Audition Chair to make sure that auditions ran smoothly despite the decision to go virtual. We also are very grateful for the directors that were able to send us the audio files of their students so they could audition for the region ensembles. As this is being written we have not started High School rehearsals yet. We are optimistic about having live rehearsals and of course, a live concert that is scheduled to occur on February 5th. We are optimistic about congratulating and thanking Michael Semancik for conducting the Mixed Choir and Matthew Swiss (Randolph) for conducting the Treble Choirs. The repertoire chosen is exciting, challenging and will certainly provide a great experience for the kids. As always, it takes many hands to give our students the experience of being in the Region Choirs. We are grateful to all of our directors for your patience and support as we navigate through this challenging year! We can not do this without you! We would like to specifically thank Joanna Scarangello (Mount Olive) and Matt Swiss (Randolph) for hosting the rehearsals and concert. Thanks also to Dave Malyszko and Lisa Wichman for accompanying the choirs and Libby Gopal (East Orange) for managing.

The Intermediate Auditions (6th grade - 9th grade) are scheduled for February 12 at Clifton High School - thanks again to Mr. Bryan Stepneski and Clifton for hosting! We are hoping to host live rehearsals and a concert. We would like to thank George Glock (Fairlawn), Chris Henke (Newton), and once again, the people at Clifton High School for hosting.

We look forward to congratulating Ignacio Angulo-Pizarro for conducting the Region Concert this year!

As always, feel free to contact us at chorus@njsma.com and thank you for your dedication to your students and the region!

Deana Larsen and Austin Vallies, Chorus Division Co-Chairs,

Orchestra Division JANUARY 2022

We would like to congratulate all students who were accepted into the Region 1 High School and Intermediate Orchestras this year! It was refreshing to listen to student auditions once again and to begin returning to the musical opportunities that we have missed throughout the height of the pandemic. We wish all of our Region 1 students the best of luck with their All-State Orchestra auditions! Without the help of our directors, the audition process would not have been possible, and our students would not have these opportunities. This year was especially challenging, but the directors and students of Region 1 put in the time and attention to pivot to a virtual audition process. We want to extend our sincere thanks and appreciation to all Region 1 Orchestra directors for their commitment and professionalism throughout this school year, and especially throughout the audition process. We also want to extend our gratitude to Peter Pezzino, Audition Co-chair, for all the work he did to run a successful High School and Intermediate Orchestra audition this year!

Jordan Peters and Caitlin Shroyer, Orchestra Division Chairs, orchestra[at]njsma.com

CJMEA

Central Jersey Music Educators Association www.cjmea.org I hope everyone had a wonderful winter season! It has certainly been a roller coaster of a ride with things changing almost by the week. I have been so impressed with all of our great educators in the region that have been able to adapt to constant changes and continue to make their programs and music education prosper. Bravo to all of you!

It has been so nice to have live concerts once again. We had our high school season is wrapping up and we were fortunate to have all in person events this year. The students took stage and sounded amazing like they haven’t missed a beat after a year of not having region ensembles. I want to give my sincerest thanks to our conductors of our High School Ensembles: Bill Trigg from TCNJ (Percussion Ensemble), Jiannan Cheng from Rowan University (High School Orchestra), Todd Nichols from Rutgers (High School Wind Ensemble), Dr. Trae Blanco from Murray State University (High School Symphonic Band), Dr. David Fryling from Hofstra University (High School Mixed Chorus), and Matthew Chi Lee from JP Stevens (High School Treble Chorus). Our students were so lucky to be able to learn from these top-notch educators and we are all appreciative and grateful for their passion and efforts. I want to give a huge thanks to our High School CJMEA Division Chairs 47

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for their endless work to make this happen: Chris Vitale (band), Arvin Gopal (orchestra), and Arielle Siegel (chorus).

South Jersey Band and Orchestra Directors Association www.sjboda.org The past few months have been very exciting and rewarding for the members of SJBODA. On January 9th our Senior High Orchestra, Senior High Symphony, and Junior High String Ensemble performed at Rowan University and the following week our Senior High Wind Ensemble and Senior High Symphonic Bands 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 Bruce Yurko (Rowan University), Sue Mark (Rosa International MS), Joseph Brennan (Haverford MS and HS), Robert W. Smith (Troy University), Tyler Wiernusz (Clearview Regional HS), and Art Myers (Glassboro HS). Amanda Lakits Porco (Hamilton Township Schools) was our band coordinator. The manager of the Orchestra was Deb Knisely (Cinnaminson HS) and Samantha Sara (Rowan University) was the manager of the String Ensemble. The managers for the Wind Ensemble and Symphonic Bands were Brian Shugarts (Rowan University), D. Michael Lynch (Cherokee HS), and Ashley Taylor (J. Mason Tomlin ES). Joe Higgins was our host for these concerts.

Congratulations to Noah Kouhoupt (Vineland HS) who received the 2022 SJBODA Cheryl Rothkopf Memorial Scholarship for orchestra and Julianna DeCesare (Cinnaminson HS) who was the recipient of the band scholarship. We wish these students and all of our seniors continued success in their future endeavors.

Our 14th Annual Chamber Ensemble Concert took place on Tuesday, February 8th at Penns Grove HS. Jon Porco (Deptford Township MS) was our Chamber Ensemble Coordinator and Ken Rafter was our concert host. The ensemble coaches were Brass: Art Myers (Glassboro HS), Percussion: Matthew Wyckoff (Egg Harbor Township HS), Sax: Howard Isaacson (Dr. Joyce Miller ES), Woodwind Quintet: Megan Carroll (Rutgers University), Clarinet: Emily McGovern (Grace Norton Rogers ES), Flute: Kimberlee Speers (Egg Harbor Township School District), and Tuba/Euphonium: Michael Fahrner (Rowan University).

Once again our Junior High Band auditions, held at Southern Regional Middle School, were a successful event.

The efforts of Jon Porco (Deptford Township MS) and Joe Jacobs (Ventnor MS, retired), 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

From left to right: Chris Vitale (HS Band Chair), Todd Nichols (Wind Ensemble Conductor), Dr. Trae Blanco (Symphonic Band Conductor), Yale Snyder (CJMEA President)

Our intermediate auditions were held on January 29th at Manville HS. We have a wonderful season ahead. I want to thank our intermediate chairs Sandy Olsen and Ashlen Udell (K-8 band), Grace Lee (K-8 orchestra), and Helen Kernizan (K-8 Chorus) for putting together a fantastic intermediate season. Our concerts are being held in March.

This year we have a brand new division on the board for Diversity and Inclusion. Our chairperson is Isaiah C. Mason (North Brunswick). Isaiah has been working very diligently with research and outreach. He will be hosting a PD session on March 19th on Zoom with Brian J. Wagner-Young (NYSSMA Special Learners Chair) who will be presenting a workshop titled “Engaging All Learners: Tools and Techniques to Reach Different Types of Learners in the Music Classroom”.

Our HS Concert Band festival will be held in March and our Middle and Elementary Honors Groups are also being held throughout the Spring.

Please go to our website for more info on these great events.

Lastly, as the region seasons begin to wrap up, I want to remind everyone that we as an organization are always here to help. If anyone ever has any questions, suggestions, ideas on any topic, I urge you to reach out to myself or any of our division chairs. We would love to hear from you. As we look toward the future, we are always looking for teachers to become involved. We are always in need of rehearsal and concert hosts, managers, registrars, and more. I look forward to seeing you all in near future!

Yale Snyder CJMEA President

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auditions were hosted by Andrew Wright, Jennifer Hodgson, and the Southern Regional TRI-M Music Honor Society Chapter. Joe Brausam (Berkeley Twp. ES) is doing a wonderful job in assisting the conductors and students as the Junior High Band Coordinator. The conductors for the 44th Annual Junior High Band Concert are Matthew Holmberg (Mill Pond ES) and Mary Solanik (Clara B. Worth ES).

Jeremy Leighty (Lacey Township MS) and Nancy Robinson (Belhaven MS) are the managers. The rehearsals were hosted

by Derek Rohaly at Mainland Regional High School and the concert will take place on March 6th at Fernwood Avenue MS. Marc Spatz will host this event.

The 28th Annual SJBODA Concert Band Festival will take place on Tuesday, March 8th and Wednesday, March 9th at Rowan University. Our festival coordinators are Mike Armstrong (Deptford Township HS) and Jon Porco (Deptford Township MS). Joe Higgins (Rowan University) will host this event. The adjudicators will be Todd Nichols (Rutgers University) and Joe Higgins (Rowan University).

The 28th Annual Elementary Honors Band Festival will take place on Saturday May 7th at Absegami HS. Patrick O’Keefe will be our host. Robin Soden (Pleasantville MS) and Andrew Lesser (Wilber Watts Intermediate School) are the conductors for this festival. Our coordinators will be Sue Moore (Mansion Avenue School) and Ryland DiPilla (Milton Allen ES).

The 5th 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 will be our host. The conductors will be Mark Przyblowski (Bunker Hill MS) and Kate Wyatt (Fernwood Avenue MS).

The SJBODA Spring Breakfast meeting will take place on Wednesday, May 25th at 9:00 AM at Seven Star Diner.

Please contact Lori Ludewig at 609-457-0590 or sjbodapresident@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.

Lori Ludewig SJBODA President sjbodapresident[at]gmail.com

SJCDA

South Jersey Choral Directors Association www.sjcda.net The South Jersey Choral Directors Association had their annual concerts which were scheduled on January 29th and 30th postponed to Monday January 31st at Washington Township High School. The board of directors, choir directors, and the W- Twp HS teachers and staff worked so hard to keep the building open and running for our kids to be able to have 1 concert this year. Both choirs gave excellent performances and we were so proud of our student's and directors for doing such and amazing job under such difficult circumstances. Rob Dilauro of Seneca High School led the senior high chorus and Cristin Introcaso of Collingswood HS led the junior high chorus, and the two groups ended with a combined performance of “Circus Band” by Charles Ives. We would like to thank everyone who contributed to the success of this year’s festival, from audition day to performance day; managers, hosts, directors as well as the Board of Directors and especially our Festival Coordinator, Amy Melson. Everyone went above and beyond to make sure that we could make this a safe and enjoyable concert for all to enjoy.

This year we would like to additionally thank our amazing hosts for all of our events. They had to advocate for the students having in person rehearsals and performances and kept us focused through this difficult time. Cheers to Kahlil Gunther & Paula Gorman from Woodstown School District, Brendan Moore from Lenape High School, Dr. Chris Thomas, Joe Higgins & Deanna Ford from Rowan University, and Joeseph Zachowski, Casey Corigliano, Jime Weiner and Kevin Lindstedt from Washington Twp. High School. Each year, SJCDA gives two scholarships to deserving senior members.

Our annual Founder’s Scholarship was awarded to Benjamin Silvesti of Atlantic County Institute of Technology and the Richard M. Smith Scholarship for Music Education was awarded to Brianna Petrella of Cinnaminson High School.

Directors are reminded to attend our Spring Breakfast and General Membership Meeting to be held on April 29, 2022, from 9:00 AM to 12:00 PM. Location and workshop to be announced. Professional development will be offered, as well as an opportunity to discuss the continued improvement of the organization and its events. Information will be available on our website at www.sjcda.net. Please consider attending this event as we make the push to the end of another successful school year together.

David Taylor SJCDA President dtaylor[at]nburlington.com

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NJMEA RESOURCE PERSONNEL 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 TEMPO

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Music Educator Appreciation In appreciation of all your efforts as music educators, your New Jersey Symphony welcomes you to our 2021–22 classical season with a special discount of 40%! Bring your loved ones and enjoy your favorite works!

Visit njsymphony.org/tickets, select your classical concert and use promo code NJMEA to activate your savings!

Please note: Ticket prices and availability are subject to change. NJMEA discount offer ends June 12, 2022. Film concerts are not available through this promotion.

And be sure to share free New Jersey Symphony virtual content like this with your students!

The Planets: An NJSO Interplanetary Adventure An interactive journey through the solar system. njsymphony.org/planets

This New Jersey Symphony adventure is generously sponsored by the Horizon Foundation for New Jersey.

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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. vice Award in 2012. Wanda introduced generations of junior high and middle school students to the joys of music performance during her 37-year career as a choral director with the Ewing Township Public Schools.

She passed her lifelong love of music and theatre to her grandsons, Andrew and Greg Redlawsk, who credit her with actively supporting their musical and performance development. Wanda was a life-long lover of horses.

While she never had one as a child, she followed her dreams in 1969 and independently purchased a beautiful parcel of land in West Amwell on which she oversaw construction of a house, barn, and paddocks, creating her working horse farm and retreat. Some of Wanda's other activities included serving as a Music Therapy Volunteer at Little Hill-Alina Lodge, Blairstown, NJ, Vocal Soloist at numerous local churches, and as a volunteer Lay Chaplain at Doylestown Hospital. She was a member of Abiding Presence Lutheran Church in Pennington, NJ. Born in Lancaster, PA, Wanda grew up in Margate, NJ, graduating from Atlantic City Friends School. She was the daughter of the late George C.T. Kunkle and Wanda Mikulski Kunkle. She was the widow of Welling C. ("Doc") Howell, VMD, and was previously married to George Bruce Morgan. In addition to her grandsons, Wanda is survived by her daughter, Aletia Morgan and son-in-law David Redlawsk of Newark, DE, and sister Kazmira Heinbaugh of Warminster, PA

Dorothy R. Hooven Dorothy R. Hooven, 93, of Egg Harbor Township passed away peacefully on January 21st after a long illness. Dorothy was born in Elizabethtown Pa on June 8th, 1929. She graduated with a degree in music education from West Chester State College. After graduation, she moved to Ocean City, NJ and met and married Frank W. Hooven and raised five boys. She had a successful career teaching music in Northfield and EHT public school systems. Dorothy is predeceased by her husband and her brother, James. She is survived by her children; Robert, (James) Richard, (Mickey) Daniel, Frank, (Virginia) and William, and her sister Jean. She will be sadly missed by her six grandchildren and six great-grandchildren. The sound of her Piano and Violin playing filling the house will be missed.

Wanda Kunkle Howell Wanda Kunkle Howell, 88, passed away at her beloved horse farm in West Amwell, NJ on Sunday November 28, 2021 surrounded by her family and treasured aide, Mercy. Known by all as a leader, Wanda was driven by two passions: musicianship and her horses. A superb vocalist and violinist, she was a 1956 graduate of NJ State Teachers College (The College of New Jersey) with a BS in Music Education, where she was Concertmaster of the orchestra and a frequent choir soloist. She also earned a Master's Degree in Choral Conducting from TCNJ in 1966. As an annual Alumni Weekend organizer as well as founder and first President of the TCNJ Music Alumni Association, Wanda was honored for 40 years of alumni leadership with the college's Distinguished SerTEMPO

Dr. Stephen P. Phillips Dr. Stephen P. Philips, educator, of Whiting, NJ passed away peacefully from natural causes June 12, 2021 at the age of 90. Stephen was born May 14, 1931 in Philadelphia and after a couple of years there and in New York City, he spent his formative years in rural New York in 52

JANUARY 2022

the Oneonta area. After graduation from high school he attended Ithaca College, where he received his Bachelors degree in Music in 1952. He began his long career in education in Earlville, NY as the school district's music teacher and also played part-time in the local dance bands popular in that era. In 1958 the family moved to Brick, NJ when Steve was appointed as the high school's music teacher and where he proceeded to create and head the high school's innovative Fine Arts department, one of the first high school programs in the country to integrate the performing arts into a cohesive interdisciplinary program. The program went on to receive awards for its innovation, quality, and active musical and dramatic performance schedule. Stephen developed the concept of integrated fine arts programs for public schools into his master's thesis and PhD dissertation, which he pursued at Rutgers and Columbia universities while teaching full time. In 1966 Dr. Philips was hired as the Assistant Superintendent of the Saucon Valley School District in Hellertown, PA. After a four-year stint there, he advanced in 1970 to the post of Associate Professor of GraduateLevel Administrative Education at Rider College in Lawrenceville, NJ for what became a 30-year college teaching career, until his retirement in 2001. Steve was predeceased by his second wife Patricia of Whiting and his daughter Catherine, also of Whiting. He is survived by first wife Jean Houston of Whiting; daughter Christine Philips and her husband Jim McGuinness of Whiting; son Curtis Philips and his wife Akiko Watanabe of Pacifica, CA; step daughter Traci Paterson and Gary Beesley of Lakewood, NJ and her children Jonathan, Ryan, and Katherine; and step daughter Debra Graves of Brick, NJ and her children Sean, Connor, and Calli.

JANUARY 2022

John P. Swoboda John P. Swoboda, 76, of Monroe Twp, passed away in the early morning hours of January 1, 2022. A retired music teacher who spent almost 40 years inspiring young minds in the Old Bridge Twp school district, John successfully ran the marching band program at Cedar Ridge High School from the early 90s through the merger with Madison Central into a unified Old Bridge High School and crafted the Old Bridge Marching Knights into one of the finest high school marching units in the state. "Papa Smurf", as he was affectionately known by his students, also spent many years prior teaching at Carl Sandburg Middle School. Originally from Perth Amboy, John went on to earn a bachelor's degree in Music Education from Montclair State and a master's degree in Musical Conducting from TCNJ, then Trenton State Teacher's College. A devoted family man, John stayed close with his relatives and was beloved by all who knew him. He enjoyed 51 wonderful years of marriage to the love of his life, his wife Carol (nee Devecka) and was the most wonderful and dedicated father and grandfather to his children and grandchildren. He loved all genres of music, but especially enjoyed classical music and both classic and modern jazz. He is survived by his wife Carol of Monroe Twp, daughter Stacie Schmidt and her husband Harold of Shaler Twp PA, son John C. Swoboda and his wife Ariel of North Brunswick, and his five beloved grandchildren Eddie and Carrie Schmidt and Lena, Sean, and Dylan Swoboda.

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TEMPO

NJMEA 2021-2023 Board of Directors Executive Board

President Wayne Mallette

Past President Patrick O’Keefe

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

Absegami High School patrickaokeefe[at]gmail.com

President-Elect David Westawski

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

Executive Director

NJSMA, President

CJMEA, President

Anthony Wayne Middle School president[at]njsma.com

Monroe Township Schools percussion[at]cjmea.org

Christopher DeWilde

Yale Snyder

William McDevitt

Retired wmcdevittnjmea[at]gmail.com

SJCDA, President

SJBODA, President

Northern Burlington Reg HS dtaylor[at]nburlington.com

Collingswood/Oaklyn Schools sjbodapresident[at]gmail.com

David Taylor

NJMEA Board of Directors - Appointed Members

TEMPO

Lori Ludewig

K-12 Ed Tech and Innovation Shawna Longo Durban Avenue School shawnalongo[at]gmail.com Music Industry James Frankel jim[at]musicfirst.com

Administration Dennis Argul Retired dennisargul[at]gmail.com

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

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

Chorus/Orchestra/Jazz Joseph Cantaffa Howell High School jcantaffa[at]rocknrollchorus.com

Orchestra Performance/Festivals Susan Meuse Hammarskjold Middle School susanmeuse[at]gmail.com

Band Festivals/NJEA Liaison Nancy Clasen Thomas Jefferson Middle School nancyclasen[at]gmail.com

Conferences Marie Malara Retired malara97[at]aol.com

PreK-8 General Music Amy Burns Far Hills Country Day School aburns[at]fhcds.org

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

Guitar/Expanded Ensembles Jayson Martinez Newark Arts High School jmarti37[at]webmail.essex.edu

Retired Members/Mentorship Kathy Spadafino Retired kspadeb[at]aol.com

Choral Festivals Donna Marie Berchtold Retired firesongwed[at]gmail.com

Higher Ed./Research/Collegiate Colleen Sears The College of New Jersey 54 quinnc1[at]tcnj.edu

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

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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.

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

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1926 1930 1931 1933 1935 1936 1938 1939 1941 1942 1944 1945 1947 1949 1951 1953

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

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1953 1955 1957 1959 1961 1963 1965 1967 1969 1971 1973 1975 1977 1979 1981 1983 1985

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1955 1957 1959 1961 1963 1965 1967 1969 1971 1973 1975 1977 1979 1981 1983 1985 1987

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

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1987 1989 1991 1993 1995 1997 1999 2001 2003 2005 2007 2009 2011 2013 2015 2017 2019

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1989 1991 1993 1995 1997 1999 2001 2003 2005 2007 2009 2011 2013 2015 2017 2019 2021

Joseph Mello Dorian Parreott David S. Jones Anthony Guerere Sharon Strack Chic Hansen Joseph Mello Nicholas Santoro Frank Phillips Joseph Akinskas Robert Frampton William McDevitt Keith Hodgson Joseph Jacobs William McDevitt Jeffrey Santoro Patrick O'Keefe

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University of Hartford - Hartt School

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yamaha.com

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Performing Arts Consultants Peripole Philadelphia Youth Orchestra Rider University - Westminster Choir College Rowan University Department of Music

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TRAINING THE CREATIVE LEADERS OF TOMORROW JACK QUARTET

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Each week-long residency will contribute to an ongoing exploration of the ever-changing landscape of music today, introducing students by example to a future that will be, at times, less traditional. Through the multiple opportunities to learn from guest artists like Wynton Marsalis, a Roomful of Teeth, and Kronos Quartet, students will learn more broadly not only about music of the future but also their careers.

VOCES8

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ROOMFUL OF TEETH

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MONTCLAIR.EDU/MUSIC