2022 May TEMPO

VOLUME 76, No. 4

MAY 2022

IN THIS ISSUE ARTICLES: Approaching Education in an Urban Classroom Developing a District Arts Education Program Hosting a Region Rehearsal Fostering Positive Relationships with Paraprofessionals Also: NJMEA Conference, All-State String Audition Info, GuitarFest Info, All-State Band Solo List AND MORE!

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

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W P U N J .ED U / M U SI C

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WAYN E, N EW J ER SEY

Volume 76, No. 4 http://www.njmea.org

FEATURES

MAY 2022

DEPARTMENTS AND NJMEA BUSINESS

2

President's Message - Wayne Mallette

Advertisers Index & Web Addresses ...72

4

NJMEA Conference - William McDevitt

All-State Band Solo List........................7

6

News from Our Board of Directors

All-State Orchestra Audition Info .......18

22

Approaching Education in an Urban Classroom: A Discussion with Dr. Preston Wilson - Libby Gopal

Board of Directors ...............................70 Crescendo Foundation ................... 24-25

28

Developing a District Arts Education Plan - Dennis Argul

Editorial Policy & Advertising Rates ..71

30

Hosting a Region Rehearsal Can Help You and Your Program - Andrew Veiss

GuitarFest Audition Info................ 51-54

32

Fostering Positive Relationships with Paraprofessionals - Maureen Butler

34

NJMEA State Conference

NJMEA Awards ...................................68

36

Meeting Musicians Where They Are: Music Instruction for the Heart and Soul - Shawna Longdo

NJMEA Past-Presidents.......................71

40

Sound is for Sale - Entrepreneureal Opportunity for the 21st Century Musician - Charles Kim

Resource Personnel ............................ 69

46

First Graders Use of Singing Voice and Pitch Matching in the Elementary General Music Classroom - Amy Paz

50

2022 New Jersey Guitar Ensemble - Jayson Martinez

55

2021 - 2022 New Jersey All-State Students

61

2021 - 2022 New Jersey Governors Awards for the Arts Recipients

In Memoriam ................................. 66-67 NJMEA Marching Band Festival ........21 President’s Message...............................2 Round the Regions ........................ 62-65

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. 4, MAY 2022 TEMPO Editor - William McDevitt C/O NJMEA, 300 W Somerdale Rd, STE C, Voorhees NJ 08043 Periodicals Postage Paid at York, PA 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

It’s hard to believe that we have come to the end of another school year. While this school year definitely presented many challenges, I hope you had a moment to reflect on the many accomplishments you’ve had.

As you prepare for the summer break, I hope you’ll take time to relax and refresh. I also hope you’ll take the opportunity to participate in some professional development so you can reconnect with your love of music education.

As an organization, I am most proud of the way we are emerging out of this pandemic. Our New Jersey All-State ensembles are back up and running. This would not be possible without the hard work of our procedures chairs and committees. Having served in this role myself, I know the countless hours it takes to pull the auditions, rehearsals, and performances together. You’re doing it with grace and I truly appreciate all you do for our students.

Enjoy your summer and thanks for all you do to keep music education alive and well!

Wayne

We are not just returning back to normal, but we are taking our commitment to diversity, equity, and inclusion seriously. Our All-State ensemble chairs are focusing on ensuring that we not only bring in conductors of diverse backgrounds but that our programs reflect the great diversity of the world we live in. We are also pleased that the Crescendo Foundation is making a commitment to help lower the cost of our All-State ensembles. If you have any students who you feel can benefit from financial assistance to participate in our All-State ensembles, please visit our webpage and see the information on the organization.

I hope you would consider getting involved in some way with NJMEA. The more opinions we can add to our organization, the stronger we can make it.

TEMPO

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MAY 2022

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

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RIDER.EDU/MUSICEDUCATION MAY 2022

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TEMPO

2022 NJMEA Conference William McDevitt NJMEA Executive Director wmcdevittnjmea[at]gmail.com

On February 24, 2022, music once again filled the halls of the Atlantic City Convention Center! The planning for the return to an inperson conference began in the Summer of 2021 and went right up to the minutes before the doors opened. Below is some information that might interest you: When we decided that we were moving forward with an inperson event, we knew that much of its' success would be determined by the direction of the pandemic. In November, we were reassessing moving forward with the event because registration numbers were VERY low. In December, the numbers started to pick up and in January we knew tht a we had made the right decision. In meetings with other states, we found out that most states were experiencing about a 60% attendee registration and exhibit registration rate from their most recent conference. In the end, New Jersey came through and we were at around 70%.

In December, with the direction of Covid still not certain, I decided to rework the layout of the Exhibit Hall allowing for spacing between every booth. This would give attendees and exhibitors a greater comfort level and allow everyone the opportuinty to stop and talk with space for social distancing if desired. Interestingly the exhibit hall was sold out at the beginning of January. Two weeks later, I started receiving calls and emails form exhibitors that had to pull-out for one reason or another. Most were experiencing staffing shortages and couldn't give up the bodies for three days. Every time that someone pulled-out, within 24 hours I had a call or email from someone that wanted the space! The hall was quieter with some of our usuals missing, but we were prepared by the other states to be ready for the change in noise level. And the Exhibitors sponsored another amazing reception on Thursday evening!

In August we started looking for performers for the Gala Concert on Friday night. Service ensembles are always a great draw to our members. When you try to book these ensembles you have to go through a point person in Washington who puts the details out to all of the D.C. based ensembles and sees if anyone is interested. For months we didn't hear back from anyone. Then, out of the blue, we received an email from a scheduler with the Air Force Band. It took months of planning - but they rolled in on Friday afternoon and started working for the evening's concert. It was one of the most amazing concerts that I have seen! I thought that both the Concert Band and Singing Sergeants were phenomenal. What most attendees don't know is that this was their first indoor concert in more than two years!!! In the past two years they had been doing some recording and small ensembles, but had not been in front of an audience until February 25th.

TEMPO

On Saturday, the All-State Treble Chorus, Wind Ensemble, and Symphonic Band performed at NJPAC in Newark. They worked with a revised "commuter" event so no one was housed. The students had a few one-day rehearsals (the final one being on Friday, February 25th) and then reported to NJPAC on the 26th. Upon arrival, every student (and audience member) had to produce proof of vaccination or negative test witin 72 hours of the concert. With a lot of preparation and notification, the system went smoothly and the concert was performed in true New Jersey All-State fashion.

Throughout the magazine you will see some pics from the Conference, compliments of Rachel Nicastro. I would also be remiss if I did not thank Dawrell Rich for creating this year's logo. Also - thanks go out to Conference Staff that helped to piece together another amazing event and to all of the NJMEA Collegiate members that volunteered their time to make the event a success.

If you think you might be interested in presenting a session at next year's conference, you can fill out a proposal using the link under the Conferences tab on the NJMEA website. We have started working ot contracts for 2023 and 2024! Dates are:

2023 February 23 - 25 2024 February 22 - 24

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MAY 2022

2021-2022 NJMEA Award Recipients

Libby Gopal - NFHS Outstanding Music Educator Award Libby is a choral educator at East Orange Campus High School. This award is designed to recognize someone who goes beyond curricular work during the school day by providing opportunities and access for their students. Libby is a staunch advocate for her students and extremely active in both our professional organization and others.

Katherine McFadden - School Administrator Award Principal, Durban Avenue School - Hopatcong School District There are a variety of ways in which administrators can offer their support and exhibit caring for arts education, and Katherine checks all of those boxes - from scheduling and programming, to budgetary consideration, being present and intentional with the awareness of music education’s place in a child’s overall education and more. Katherine is also a former music educator!

Mrs. Karen Gorzynski - Master Music Teacher Mrs. Gorzynski is the Director of Choral Activities at Somerville High School where she has been teaching for 36 years. Through her teaching, Karen embodies something that we all know so well, and that is that we teach more than music as a content, we teach our students to be better people. Her vast work load of both curricular and extra curricular ensembles prioritizes community both through performance and service. Her groups have traveled across the country and beyond over the course of her career and we are honored to recognize her as our 2022 Master Music Teacher. For more information on Karen, please see the January 2022 issue of Tempo.

Bob Morrison - Distinguished Service Award Morrison, an acclaimed music and arts education advocate, social entrepreneur and businessman, participated in the launch of Arts Ed NJ as the New Jersey Arts Education Partnership in 2006 following years of planning and input by arts and education leaders statewide to create the proper conditions for arts learning to take place for the 1.4 million students attending more than 2,400 schools in the state. Through his leadership and with the help of strategic partnerships throughout the arts community, New Jersey has emerged as a leading state for arts education in the country.

Debbie Sfraga - Thank you and recognition Debbie has a cumulative 41 years of service to the region and state, most recently acting as the Secretary Treasurer for NJMEA since 2000.

Our association has grown exponentially under her watch and we thank her for her commitment and dedication to our students, teachers and programs. For a deeper dive into Debbie’s professional service, please see the May 2021 issue of Tempo.

MAY 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 Band Performance Nick Mossa nmossa16[at]gmail.com Greetings! As we near the end of this school year it is a nice time to look both behind at the long and arduous road we have all travelled as well as the miles ahead for us and our students. The past two school years and all of the consequential abnormalities have seen us all make radical changes to our own practices and programs in the spirit of safety and preservation of the student’s valuable experiences making music in schools. You will likely not be thanked or appreciated enough for just how much you have done over the course of this pandemic but know that in this shared experience across many, many band rooms in our state and beyond that your work has and will continue to matter a great deal for your students and your communities. I commend you for your dedication to your band throughout these two incredible years - your students are lucky to have you!

What lies ahead? Although we can never know for sure what the future may bring, I am hopeful that next year brings us more stability and support for our students to make music safely and happily. At this time, NJMEA is planning on returning to an ordinary All State Band event schedule in February 2023 including one reading rehearsal, weekend rehearsals and overnight housing in Atlantic City, and culminating with a concert at NJPAC. You can find the 2022/2023 All State Band Solo list in this issue of Tempo Magazine so that you may begin preparing with your students. Let’s hope that our school concerts, festivals, and shows of 2022/2023 can also be planned with a familiar and predictable approach!

Finally, this will be my last report as the band performance chair for NJMEA. I want to thank NJMEA for the privilege of serving in this volunteer position for this wonderful state organization for four special years. My successor will have the great honor of working with both the board of directors and the All State Band Committee and I look forward to all of the great happenings that await New Jersey bands in the coming years! I wish you and your students wonderful Spring concert performances and a joyful finish to this incredible school year. Be well, and see you soon!

Retired Members/Mentorship Kathleen Spadafino kspadeb[at]aol.com NJRMEA had a very successful meeting at the NJMEA convention in February. We had several new members sign up, and we all enjoyed a presentation by Libby Gopal, who talked about programs to boost All-State and Region participation by Title I schools. She will contact us with more details so we can help in this effort. Our president Ron Dolce has worked very hard to increase our membership, and will send out more emails this spring. Our next General Membership meeting is Wednesday, May 18 at the Asbury Park Music Foundation. We will have a short meeting followed by a tour of the building and recording studios. We will provide breakfast, but after our tour we can all go out to lunch at a nearby restaurant. This is a great day out at the Jersey Shore! Please email Ron at Rdolce561[at]aol.com with any questions.

We hope to see you there!

TEMPO

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MAY 2022

2022-2023 ALL STATE BAND SOLO LIST Instrument

Solo

Composer

Publisher

Piccolo

Espagnol

Christensen

Kendor 10420

Flute

Sonata in e, No. 5

Bach/Wummer

Southern SS120

Oboe

Sonata KV370, Mvts. 1 & 2

Mozart

International 1466

English Horn*

Concerto for English Horn

Donezetti

CF Peters EP4847

Eb Clarinet*

Adagio e Tarantella (Bb Clarinet Version)

Cavallini

Carl Fischer CU526

Bb Clarinet

Concerto, Mvts. 2 & 3

Mozart

Schirmer 50261780

Eb Alto Clarinet*

Darkwood

Bennett

Carl Fischer W1670

Bb Bass Clarinet

Ballade

Bozza

Southern SS287

Contra Clarinet*

Darkwood

Bennett

Carl Fischer W1670

Bassoon

Concert Piece

Pierne

International 1617

Bb Sop. Sax*

Sonata "Alpine", Op. 37

Lunde

To the Fore Publishing

Eb Alto Sax

Sonata, Mvts. 1 & 2

Lunde

Southern SS743

Bb Tenor Sax

Concerto in g minor

Bennett

Carl Fischer W1743

Eb Bari Sax

Sonata, Mvts. 1 & 2

Anderson

Southern ST172

Bb Trumpet

Sonata, Op. 18

Hansen

Hickman Music Editions

Horn

Concerto, No. 1

Strauss

International 1715

Trombone

Morceau Symphonique

Guilmont

Remick/Alfred TS0046

Bass Trombone*

Concerto

Lebedev/Ostrand

Ed. Musicus EMI128 Ens. Pub.

Euphonium

Lyric Suite, Mvts. 2 & 3

White

Schirmer 50365300

Tuba

Prelude, Variations, Chorale & Fugue

Mueller

Ed. Musicus EM426TU Ens. Pub.

Harp*

Imprompto Caprice

Pierne

Leduc AL 10381

Piano*

Fantasien, Op. 116, No. 7, Capriccio

Brahms

G. Henle Verlag HN1216

Timpani

Theme and Variations Fink (from Musical Etudes for the Advanced Timpanist)

Studio 4 Music

Mallets

Tambourine Chinois

Kreisler/Green

Carl Fischer F1934

Snare

Portraits in Rhythm, Etudes No. 1 AND No. 13

Cirone

Belwin/Alfred 00-HAB00101

Keyboard

Etude No. 8 (from Audition Etudes)

Whaley

Meredith Music

Battery Percussion

*Instruments will be used as needed.

MAY 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 Choral Performance Mike Doheny michaeldoheny70[at]gmail.com Congratulations to all of New Jersey’s choral directors! You have almost made it. It has been a year of trying to keep updated on endless changes to protocol, making sure we can deliver our art to our students and community while keeping everyone safe. You have done a tremendous job… so much more than your degree prepared you for, or your contract pays you for. In case it hasn’t been said to you often enough, thank you! You are appreciated!

We are thrilled to finally be able to announce our brilliant All State conductors for the 2022-23 season. Dr. Amanda Quist from the University of Miami, and formerly from Westminster Choir College, will be our conductor for the Mixed Chorus, and Ms. Argine Safari from Pascack Valley High School will lead our Treble Chorus. The Choral Procedures Committee is honored to have these two outstanding women with New Jersey roots to educate and inspire our ensembles this upcoming year!

The incorporation of the new solo - “Deep River” - into our audition process presented new opportunities for musical growth and discussion. For the first time in the history of our All State Chorus, an audition element allowed and encouraged our students to demonstrate their personal choices of expression and interpretation - essentially saying “New Jersey students, show us how you would sing this!” While this idea pushes some boundaries for many of us, it is absolutely necessary for the forward motion of our organization. As we attempt to continuously diversify our repertoire, conductors, and the students and school districts we serve, this was a valuable step forward, and the beginning of an exciting journey into new musical possibilities.

As my first full year as Choral Procedures Chairperson comes to a close, I can report that choral music is very much alive and vibrant in our state despite the setbacks we have all experienced. It is apparent to me, however, that finding schools and venues willing to host our rehearsals is getting increasingly more difficult. With fewer school districts enthusiastic about hosting large events for outside people, plus the rising costs of renting spaces, we have been unable to secure venues for our October 15 and 29, 2022 rehearsals. For months, the committee members and I have attempted to contact our former rehearsal locations, and followed leads provided to us by colleagues and the NJMEA Board, all to no avail. At this point, it appears that these rehearsals will be virtual unless a venue becomes available. Please, if you are able to host a rehearsal of the All State Mixed and Treble Chorus on October 15 and/or October 29, contact a committee member, or me at michaeldoheny70[at]gmail.com, as soon as possible.

Please join me in showing thanks and appreciation for our hard working and dedicated Choral Procedures Committee - Barbara Retzko, Viraj Lal, Libby Gopal, Matt Lee, Kahlil Gunther, Cheryl Breitzman, Romel McGinnis, Kristen Markowski, Arielle Siegel, and Hillary Colton!

You have almost made it! Thanks again for all you do. I hope you have a restful and rejuvenating summer. You deserve it!

TEMPO

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MAY 2022

Photos courtesy of:

Gary Gellman gellmanimages.com

MAY 2022

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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 K-12 Ed Tech & Innovation Shawna Longo shawnalongo[at]gmail.com Wow! What a year! I am very excited about our upcoming and revamped Music Technology Expo that will be happening later this month (May 19, 9am-1pm) at Lakeside Studios in Asbury Park.

Please note - you can attend as a teacher to observe and earn some professional development! If you want to check it out to see how you may be able to include your students next year, feel free to reach out to me via email or directly to Bill Grillo (william.grillo@wwprsd.org).

Our NJMEA Conference in Atlantic City also featured a new structure to the Technology Academy. We split into two academies: K-8 General Music and HS Music Production. We featured many amazing clinicians from across New Jersey and across the country in-person and via Zoom! The list included many nationally recognized presenters including Barbara Freedman, Amy Burns, Bryan Powell, Warren Gramm, Heath Jones, Ethan Hein, Marjorie LoPresti, myself, and Zachary Gates. We also, for the first time ever, featured student performances using technology! If you are a music technology teacher and are interested in featuring your students at our 2023 conference and/or if you have any ideas for potential presenters or topics, please let me know! I am already busy working on our technology academies line-up, which I promise will not disappoint!

PreK-8 General Music Amy Burns aburns[at]fhcds.org Welcome Spring! It has been wonderful to see more live, spring performances and ensembles coming back to the NJ schools this year.

Our online, live webinars have been a great success this school year. If you are a current NJMEA member and have not joined us for our webinars, we have recorded previous ones below. Please contact me and I can send you the links to view them and receive PD credits.

• Using Digital Portfolios to Capture Musical Creativity and Learning with Katie Wardrobe • Gender Neutrality in the Music Room with Amy Abbott • Creating Video Performances with Amy M. Burns • STEM with Music with Shawna Longo and Zachary Gates • NJMEA Conference Take-Aways from Elementary and Music Technology.

In addition, the North Jersey School Music Association (NJSMA) is hosting a free, in-person PD day on Monday, June 6, for the NJSMA (Region 1 of NJMEA) Membership PD Day. The Elementary Division of NJSMA has exciting and meaningful sessions planned for Elementary General Music Educators. Please check their website for more information: https://www. njsma.com/

TEMPO

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MAY 2022

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TEMPO 10/26/20 11:06 AM

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

News From Our Board of Directors Inclusion/Diversity/Equity/Access Katy Brodhead njmea.idea[at]gmail.com As we begin to close out the 2021-2022 school year and prepare for the fall, the IDEA Committee is focusing on three key initiatives. These priorities were developed with input from our membership at the 2022 State Conferenc and through responses to an equity and culturally responsive teaching survey shared in February. First, we are organizing professional development workshops on IDEA practices that will be accessible over the course of the year. Next, the committee is exploring how to support students with limited or no access to private lesson instruction. Finally, we are planning a statewide student conference to encourage student leadership and provide opportunities for students to engage in diverse musical experiences.

We are also excited to be growing our committee with the addition of a collegiate representative, as well as subcommittee chairs and members! Email NJMEA.IDEA[at]gmail.com to share your ideas or challenges, or to join us in our work!

Special Learners Maureen Butler maureenbutlermusic[at]gmail.com As the school year nears its end, this is a good time to evaluate how our special learners have fared in our classes. If you feel that you need more resources, summer is a great time to recharge and research. NAfME has many recorded webinars that you can access, at your convenience, under the topic of Special Learners. If you’re a FaceBook member, check out the Special Learners and Music group, where members share resources, upcoming conferences and strategies. As always, feel free to contact me with any questions or concerns you may have.

Someone on our state Special Learners committee will be able to share helpful advice and strategies. Collaborating with each other is a sure way to success!

TEMPO

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MAY 2022

TRAINING THE CREATIVE LEADERS OF TOMORROW JACK QUARTET

CALI IMMERSIVE RESIDENCY PROGRAM

Performance Music Education Composition Music Therapy Jazz Studies An exceptional artistic and academic education WYNTON MARSALIS

Mentorship by internationally acclaimed artists, educators and scholars

CHARLES YANG + PETER DUGAN DAME EVELYN GLENNIE

Inspiration and preparation to serve the community and enrich society using the transformative power of music Developing musicianship and professional skills in ensembles, masterclasses, clinical experiences, internships, and teaching

KAMALA SANKARAM

Join us Fall 2021 for a reimagined professional residency program that includes a rotationROB of ten ensembles KAPILOW and solo artists on campus for VOCES8 week-long visiting residencies across the academic year.

ROB KAPILOW

Experiencing the cultural riches of New York City nearby

VOCES8

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

TREVOR NEW

DEGREES Bachelor of Music, Bachelor of Arts, Master of Music, Master of Arts, Artist’s Diploma Music Education, Performance, Jazz Studies, Music Therapy, Theory/Composition

MICHAEL DAUGHERTY ROB KAPILOW

Graduate String Quartet Residency Program KRONOS QUARTET ROOMFUL OF TEETH

JAMES BLACHLY + EXPERIENTIAL ORCHESTRA

Co-Presented with Kaufman Music Center

MAY 2022

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MONTCLAIR.EDU/MUSIC

TEMPO

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

News From Our Board of Directors Choral Festivals Donna Marie Berchtold firesongwed[at]gmail.com NJMEA sponsors two Middle School Choral Festivals. We are extremely happy to once again be able to see our young musicians in person!

The first event was held at Rowan University on March 17, 2022. The festival scheduled for Rutgers University will be held on May 25, 2022. Each event features middle school – junior high choral groups ranging from grade 5 – 9. Those choirs which participated at Rowan University were from the following schools: William Davies Middle School, Buena Regional Middle School, Monroe Township Middle School, and Assumption Regional Catholic School. The adjudicators for that event were: Vanessa Bond, Associate Professor and Coordinator of Graduate Music Education at Rowan University in Glassboro, NJ, and Charles Bass, composer, publisher, and Retired Choral Director, Oakcrest High School, Mays Landing, NJ. The Hosts were Dr. Rick Dammers, Dean of the College of Performing Arts and Dr. Chris Thomas, Associate Professor and Director of Choral Activities at Rowan University.

The program for the NJMEA Choral Festival at Rutgers is still being developed for the event to take place on May 25th. At the time of this writing, there are still a few available time slots for schools to perform. There will be two adjudicators at the Rutgers Festival. Judith Nicosia, Associate Professor of Music at the Mason Gross School of the Arts, and Dr. Brandon Williams, Assistant professor of choral music and choral music education at the Mason Gross School of the Arts will serve as Hosts for the event.

The coordinators for both Festival events are: Donna Marie Berchtold, NJMEA Choral Festivals Chairperson, (Retired) from the Hamilton Twp. School District (Atlantic County), Mays Landing, and Karen Blumenthal, Von E. Mauger Middle School, Middlesex. At the Festivals, each participating choral group receives written and aural evaluations by the adjudicators, along with a plaque from NJMEA which recognizes the commitment and involvement by the school, its chorus, and the director(s).

Any schools interested in participating in the Middle School – Jr. High Choral Festival(s) next year, should be sure to complete the application form in the January 2023 issue of TEMPO magazine, or online at www.njmea.org.

For more information, contact Donna Marie at: firesongwed[at]gmail.com, 609-226-7751 or Karen Blumenthal, Von E. Mauger Middle School at: blumenthalk[at]middlesex.k12.nj.us , 908.581.5053

OPERA FESTIVAL Currently, the Opera Festival is going through a redevelopment stage with a small team of excellent volunteers who are rebranding the program to become more inclusive and accessible to more students. There is an anticipation for the Opera Festival to take place in early November 2022. The Location would be at Seton Hall University.

Please send your contact information if you are interested in having more details regarding sending students. We will also be looking for educators to assist with the programming.

Email: Donna Marie Berchtold, firesongwed[at]gmail.com (put Opera Fest in the Subject line)

TEMPO

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MAY 2022

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Unique autism concentration programs that prepare you to reach all learners Offerings that bridge pedagogical theory and practice Flexible schedule (summer, evenings, independent instruction)

Observe, assist, and teach in partner schools.

Teach music to students with disabilities at the Berklee Institute for Arts Education and Special Needs.

Learn More

Visit a class, meet faculty and students, and discover how you can create your future in music education at Berklee. To make an appointment, email bmurphy6@berklee.edu.

MAY 2022

berklee.edu/music-education

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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 Orchestra Performance/Festivals Susan Meuse susanmeuse[at]gmail.com It’s been three years, but we finally were able to have in-person auditions! The Orchestra Procedures Committee would like to Congratulate all of the students selected to participate in the 2022 All-State Orchestras and All-State Intermediate Orchestra. The Procedures Committee would like to thank Auditions Chair, Sue Mark and all of the directors who were there to help out. We would also like to thank Brian Verdi, and Justin Lee of JP Stevens High School in Edison for hosting.

During the auditions, the Procedures Committee met to discuss some important topics including the solo list and scales for auditions next year. There will be one big change for the ASO auditions. Students will be asked to prepare orchestral excerpts instead of solo excerpts. All of the excerpts will come from music in the public domain, so no music purchase is necessary.. Look for the requirements in this issue of Tempo and on the NJMEA website. The committee is always seeking ideas from teachers, so please reach out to anyone on the Orchestra Procedures Committee if you’d like to be involved.

Right now, the All-State Intermediate Orchestra is working hard to prepare for their concert on Saturday, May 14 under the baton of Dr. Arvin Gopal. Please come hear these talented students perform. The All-State Orchestra will begin rehearsing this June. The conductor bio and program will be in the next Tempo. As always, if you are interested in getting involved with the All-State Orchestras, please feel free to email me or stop by a rehearsal.

Festivals - I am in the process of working with high school and middle school directors to plan for festivals next school year. If you would like to be involved, please let me know!

Seen at the 2022 NJMEA Convention

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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.

MAY 2022

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All-State Orchestra High School Scales Revised 05/04/20

All scales are to be memorized. Please no vibrato.

Judges/Audition Chair will select which scale(s) is/are to be played.

A metronome tempo will be given before each scale.

Students will not receive extra points for additional octaves or a faster tempo.

Do not repeat tonic within the scale. Repeating highest note is acceptable.

VIOLIN All 12 major scales (C, G, D, A, E, B, F#, Db, Ab, Eb, Bb, F) 3 octaves, 8 slurred to a bow as 8th notes, with the quarter note = 120mm C# Melodic minor G Melodic minor F Melodic Minor The 3 minor scales above must be played in the following manner: 3 octaves separate bows as quarter notes with the quarter note = 120mm

VIOLA-CELLO All 12 major scales (C, G, D, A, E, B, F#, Db, Ab, Eb, Bb, F) 3 octaves, 8 slurred to a bow as 8th notes, with the quarter note = 120mm F# Melodic minor C Melodic minor B Melodic Minor The 3 minor scales above must be played in the following manner: 3 octaves separate bows as quarter notes with the quarter note = 120mm

BASS All 12 major scales (C, G, D, A, E, B, F#, Db, Ab, Eb, Bb, F) 2 octaves*, 4 slurred to a bow as 8th notes with the quarter note = 120mm D Melodic minor E Melodic minor B Melodic Minor The 3 minor scales above must be played in the following manner: 2 octaves* separate bows as quarter notes with the quarter note = 120mm *No octave drop.

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MAY 2022

All-State Intermediate Orchestra Scales Revised 05/04/20

All scales are to be memorized. Please no vibrato.

Judges/Audition Chair will select which scale(s) is/are to be played.

A metronome tempo will be given before each scale.

Students will not receive extra points for additional octaves or a faster tempo.

Do not repeat tonic within the scale. Repeating highest note is acceptable.

VIOLIN 9 Major scales: D, Eb, E, F in 2 octaves; G, Ab, A, Bb, C in 3 octaves Separate Bows: each note will be played as a quarter note with the quarter note = 104mm.

Slurred Bows: 8 notes slurred to a bow, as 8th notes, with the quarter note = 104mm.

VIOLA 9 major scales: G, Ab, A, Bb, in 2 octaves; C, D, Eb, E, F in 3 octaves Separate Bows: each note will be played as a quarter note with the quarter note = 104mm.

Slurred Bows: 8 notes slurred to a bow, as 8th notes, with the quarter note = 104mm.

CELLO 9 major scales: G, Ab, A, Bb, in 2 octaves; C, D, Eb, E, F in 3 octaves Separate Bows: each note will be played as a quarter note with the quarter note = 104mm.

Slurred Bows: 8 notes slurred to a bow, as 8th notes, with the quarter note = 104mm.

BASS 9 major scales: G, E, F, Ab, in 2 octaves*; A, Bb, C, D, Eb in 1 octave* Separate Bows: each note will be played as a quarter note with the quarter note = 104mm.

Slurred Bows: 4 notes slurred to a bow, as 8th notes, with the quarter note = 104mm. *No octave drop.

MAY 2022

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2022-2023 All-State High School Orchestra Solo List Excerpts will be posted for download/print on the NJMEA website INSTRUMENT

COMPOSER

TITLE & EXCERPT

VIOLIN

Beethoven Mozart

Symphony No. 9, Third Movement; Excerpt: m99-m110 Symphony No. 39, Fourth Movement; Excerpt: m1-m41

VIOLA

Beethoven Mendelssohn

Symphony No. 5, Second Movement; Excerpts: m1-m10, m49-m60, m98-m106 A Midsummer Night's Dream, Scherzo; Excerpt: m17-D

CELLO

Beethoven Mozart

Symphony No. 5, Second Movement; Excerpts: m1-m10, m49-m60, m98-m106 Symphony No. 35, Fourth Movement; Excerpt: m134-m197

BASS

Beethoven Mozart

Symphony No. 5, Third Movement; Excerpts: m141-m177 Symphony No. 40, First Movement; Excerpt: m115-m138

2022-2023 All-State Intermediate Orchestra Solo List Cadenzas are never required in any solos.

INSTRUMENT

COMPOSER

TITLE

EDITION

VIOLIN

Bach

Concerto in A minor Third Movement (Allegro Assai)

International

VIOLA

Bach

Suite No. 1 in G Major Courante

Any

CELLO

Squire

Tarantella Complete work

Fischer

BASS

Simandl, Franz

Simandl 30 Etudes for String Bass Etude No. 16

International

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MAY 2022

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

MAY 2022

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Approaching Education in an Urban Classroom: A Discussion with Dr. Preston Wilson Libby Gopal East Orange Campus High School libby.gopal[at]eastorange.k12.nj.us

Introduction: Describe your experience teaching in an urban setting.

I am a product of urban public schooling. From 6th to 12th grade, I attended an urban arts school: Durham School of the Arts. When attending undergrad at Fisk University, both of my student teaching experiences were in urban public schools During my masters at Bowling Green State University, I worked with the Music Plus program. Once a week, selected students were bussed from Toledo Public campus for two hours: one for private lessons, one for piano and composition My first job out of graduate school was at an urban charter school, L. Hollingworth School for the Talented and Gifted.

After that, I started working for Toledo Public Schools: 2 years in elementary schools, 3 years in high schools.

What are some recurring issues a new choral director might face when teaching in an urban setting?

I have found that many music educators made the decision to become music educators because of the experiences they had in school music. And when new teachers get their own classrooms they attempt to recreate those experiences. However, they are sometimes frustrated because they attempt to recreate those experiences they had but the context is different. Because of the transient nature of urban populations, assumed musical skills may not always be there. So be ready to teach them. Not in all urban contexts, but many times urban schools do not always have resources that make success easy.

Therefore, be prepared for creative fundraising and innovative lessons. Urban settings may present some behaviors not often discussed in teacher education programs.

Did you ever feel compelled to modify some pedagogical tools and/or resources in order to make them conducive for the setting in which you were teaching?

For one, I understood that in order to have a successful program, I had to have students in my class; I had to make my class worthy to be an elective. One strategy was relinquishing some of my repertoire selections. In my high school choir, I had a working agreement: if they worked hard at the music I selected, I would work hard on the music that I selected. If I selected a song in another language, the students worked TEMPO

hard on the IPA and technical things. So, when my students selected a song, I made sure they had lights and staging, edited backing tracks, and choreography. I also consider the student that knows the least (musically) in all of my lessons. If the student in my class that knows the least (musically) will not be able to grasp the content without assistance, I change the presentation of the content. I ensure that the images in my class and video selections for my lessons always include people that look like my students. I freshen routine things up: add click track to the warmups, play random music at the beginning of class, some classes just talk to the students as people.

And when they talk, allow them to be honest and authentic.

Students come to class carrying so much, both good and bad, and they deserve the opportunity to express it.

What are some ideas you would like to share that could be helpful for getting students interested and familiar with choral singing?

Make it accessible and make it engaging. I am not saying the tried and true classics of choral music should be abandoned.

I am saying they should be approached in a new way. Connect them to the students and who they are. For example, many operas are rife with drama…like many of the reality TV shows. Mozart’s Cosi Fan Tutti is literally like watching an episode of Cheaters. Listen to your students' music; you’ll be surprised. And you might not hate it (although the content and language can be a bit much). But then ask the student’s to tell you why they like the song or artist, and they must use vocabulary you've taught them in class. They must articulate why they like it. Recruit in unconventional ways. I would go to the cafeteria or listen to students sing in the hallway, then would march them to the counselors office to get a schedule change. I had students who were wonderful rappers and lyricists but not the best singers: guess who’s getting a solo?

I would see some students singing in their church choirs and ensembles, and I would of course ask them to join one of my choirs. I had amazing dancers that were not singers: guess who’ll be choreographing? Crowdsource your enrollment by telling your students to bring their friends. Be just as unconventional in fundraising and promotion. Use social media, 22

MAY 2022

make flyers, use coupons, beg. Most importantly, always keep your why of teaching music at the forefront of your intentions.

In all aspects of preparation for class, why do you do it? I feel reasonably assured in saying that none of us went through the trudges of college and certification programs just to teach a half note gets 2 beats in 4/4. We don't want to teach notes on a page, we want to make music; we want to create independent musicians. Yes, we want students to identify a ritardando in a piece of music, but most importantly, can the student perform it in the appropriate way of their own volition?

What do you see as possible solutions for the choral director navigating potential issues common in urban school districts?

Relationship building is critical: with students, their families, your administration, the school community, and the sur-

rounding community. It takes all of these cogs to make the machine that is music education run smoothly. Be your honest and authentic self as the teacher. You can not be everything to everybody, being the best you is the best thing. And if there is something that you do not know, bring in somebody that does. Change the rhetoric of urban music programs. When people hear the word urban, it is often attached to negative stereotypes and deficit perspectives. But urban music classrooms are very special places that are quite unique. Students possess so much talent. They merely need a safe space to cultivate it. In all my years of teaching in Toledo, I can look back and say that I never had a dull moment…ever.I would create opportunities to showcase my students' versatility, talent, tenacity, resilience, and humor.

ADVOCACY IN NJMEA What is Advocacy in Music Education?

• Connecting with our community of music educators through the act of verbal and written support.

• Contacting local political stakeholders & administrators to express why equitable access to a viable, sequential, and enduring arts program is important for all students and the communities that they serve.

Advocacy Statement

NJMEA joins our music students, educators and communities in celebrating the power of music education. Our advocacy work, therefore, focuses on raising awareness of the lasting positive impact of music education on the academic, personal, and professional growth of our students.

Music education is part of a well-rounded education for every student as outlined in the Every Student Succeeds Act. The National Core Arts Standards guide us to Create, Perform, Respond and Connect. Arts education shapes the way our students understand themselves and the world around them, allowing for a deep engagement with learning.

Students and communities throughout New Jersey demonstrate the importance of quality music education programs to the lives of young people. Therefore, we encourage all citizens to celebrate and acknowledge the importance of arts education to remain fully funded because it is an essential part of the well-rounded education of every student.

Advocacy Resources

NJMEA Advocacy Website: https://sites.google.com/view/advocacyinmusiceducation/home NAMM: Why Music Matters: https://www.nammfoundation.org/why-music-matters ?gclid=CjwKCAiAyPyQBhB6EiwAFUuakjzu1mSBhmKg6ROb8XTCaYScK7m2fRtVBn91VmVtlx1WXfpdVpVFPBoCt2AQAvD_BwE Music For All Bill: https://www.congress.gov/bill/117th-congress/house-bill/5581/ text?r=45&s=1 State Music Education Advocacy Grant: https://docs.google.com/ presentation/d/1zEZo-eFuKF4GjPgut0KzU1O9VAktYMmH/edit?usp=sharing&ouid =113988211313961463587&rtpof=true&sd=true Arts Ed NJ: March Forward - 2022 Guidance for Arts Education: https://www.artsednj. org/september-forward/ Cares Act II Funding Guidance: https://www.artsednj.org/wp-content/uploads/AENJCARES-II-Guidance-2021-03-18.pdf Crescendo Foundation Assistance Application: https://docs.google.com/forms/d/ e/1FAIpQLSeybhlFLl48_cE__kcHxRMadGcrpdYGRY7dSnwwE2CZbeEteQ/viewform

Philosophy

NJMEA celebrates & acknowledges the importance of the arts in our educational institutions & its connection to the social-emotional well-being of students. We will work with educational stakeholders so that it remains fully funded & recognized for its central role in a student’s well-rounded education.

Advocacy Goals

For teachers: to have a plethora of diverse resources & access to meaningful, purposeful, & effective professional development opportunities.

For students: to be provided with equitable musical opportunities & be celebrated, acknowledged, & recognized for their accomplishments.

For community members: to have equitable access to a viable, sequential, & enduring arts program in their public schools.

For administrators & policy makers: to fully fund, support, and promote the art’s central role in education.

MAY 2022

Questions? Contact: Libby Gopal

NJMEA Advocacy Chair libby.gopal[at]eastorange.k12.nj.us

Katy Brodhead Cullen

IDEA Committee Chair, NJSMA Diversity & Inclusion Chair njmea.idea[at]gmail.com diversity[at]njsma.com

Bobby Hamm

IDEA Committee, Data Lead njmea.idea.research[at]gmail.com

Isaiah Mason

CJMEA Diversity & Inclusion Chair imason[at]cjmea.org

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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.

MAY 2022

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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

AUDITIONS (by appointment)

B.A. IN MUSIC WITH K-12 CERTIFICATION

Scholarships available to Majors and Non-majors

• Outstanding Liberal Arts Program

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

• Accredited by Middle States Association • Performance Opportunities – Wind Ensemble – Jazz Ensemble

MARCHING BAND CAMP

– Marching Band – Chorale

August 23–25

– Opera & Musical Theatre Workshop

OPEN HOUSE

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

APRIL 30 RSVP caldwell.edu/visit

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MAY 2022

THE AMERICAN KODÁLY INSTITUTE AT LOYOLA UNIVERSITY MARYLAND

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• Teaching Lab with AKI Demonstration Singers • Build and play dulcimer, guitar, and ukulele • Learn quality songs, dances, and child-centered activities • Made for music teachers by music teachers

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240-993-9181 lkmcdougle@loyola.edu APPLICATION INFORMATION:

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EARN YOUR MASTER’S IN JUST 4 SUMMERS! APPLY ONLINE TODAY FOR SUMMER 2022 LOYOLA.EDU/KODALY

MAY 2022

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Administration

Developing a District Arts Education Plan Dennis H. Argul NJMEA Administration Chair dennisargul[at]gmail.com

On Friday, February 4, 2022, Dr. Laura Bassett, Supervisor of Arts Education, Bridgewater-Raritan Regional School District, presented to the NJMAA membership on the importance of developing a district arts education plan. Her presentation included a discussion of the NJ Department of Ed Arts Education Survey of 2021, district arts program goals, the process of developing an arts education plan, using the data collected in the plan development, surveying the key constituents of the district, providing resources, strategies, and recommendations for next steps, and finally, sharing the benefits of the process in her district.

What follows is an interview I held with Dr. Bassett on Tuesday, 3/8/22, as a follow up to her presentation and to possibly dig deeper in some areas.

members of my team. This was not something I did alone. This was a large committee that included the music teachers, teachers of other subjects, and additional administrators. So, part of this was a reaffirmation of ideas that were already out there. Things that come up at department meetings or are discussed on a yearly basis.

This process helped us support that, and in some cases helped us look at it a little bit differently than what we initially thought.

There were some new ideas and discoveries. An example would be looking at the demographics of a program or a group and seeing the story in that data. It was also interesting to get feedback from the stakeholders across the community. Hearing from students was useful information. How often do you get to have ‘big picture’ feedback from students? It made us go from saying ‘we think this is what’s happening’ to ‘our students are telling us this is what’s happening.’ We asked students to give feedback on their music classes and programs, tell us what they participate in and why (or why not), and tell us what they find most engaging. We also asked students what classes or opportunities they would be interested in that we don’t currently offer. A really powerful piece of this was asking our elementary students if the music they learn about in school includes music from their culture or music in the language they speak at home. The information we found here was a real driver to the discussions and work we did and are continuing to do.

We spent a great deal of time finding and analyzing data that would help us in this work - from the qualitative survey data to quantitative student information. Districts analyze data all the time, but sometimes that practice can seem disconnected from what we are doing in the arts. I would argue that they never really are disconnected, but it can feel like that if the conversations are not built in a way that allows arts educators to be a part of that conversation. This process allowed my team to look at data that districts usually look at - like student performance and student demographic information - but then we were able to disaggregate it and look at the students in our programs to find out who we have but also, and probably more importantly, who we don’t have. The data analysis helped to tell the story of our programs in our district.

I also think it was helpful for the teachers to see the relationship in the data as well. Our findings during this analysis continue to drive our discussions and planning.

DA: What is the importance of developing a district arts education plan?

Dr. B: The NJ Department of Ed Arts Education Survey asks districts to indicate whether or not there is a “written arts education plan.” This question was certainly the impetus within the group to be able to support administrators in terms of what a process like this can look like, if it is something they hadn’t done before. Think about our programs and the responsibility we have as supervisors. We are managing the day to day, but also always thinking about the big picture and long term goals of a program and how it serves the students in our district. Essentially, this was an example of a process or a framework that can be used to think through what you want to do, why you want to do it, and what it would look like to get there.

For me personally, processes like this help me to find the path towards enacting a plan or vision. When you have something concrete, with buy-in from your team, stakeholder input, and a clear set of steps to take to move forward, then even when there are unexpected changes - like a pandemic! - or transitions, the plan can remain in place as a guide.

DA: Did this work re-focus any of the work you were doing in your district, or did it help solidify the work you were already doing and tell you that you were on the right track?

Dr. B: I think a little bit of both. There were parts of this process that helped reaffirm ideas that I already had from observation and anecdotal evidence, mostly from talking to and learning from TEMPO

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DA: Was there one area that this process pointed out for you and your team to put extra attention on?

Dr. B: There were a couple of things that were driving us at the time that this process was started, which was right before the beginning of the pandemic. With the new VPA NJSLS coming out, this was an area of focus. We knew we wanted to and had to adjust our curriculum and instructional practices to align with the new standards and what the new standards mean for our field. To that end, one of the things that we tried to narrow in on was the opportunity for students to be creating, to be exploring, which are aspects that typically fall outside the traditional focus on performing. There was an intention in our work here to ask questions and to look at our program and our existing curriculum to find the gaps where standards were not being addressed, but also to determine, or maybe prove, that this [creating, exploring in music] is what students really want. We asked questions to students about what they connect to and enjoy in their music experiences both in school and out of school. We found clearly that they respond most positively to classes or learning activities where they are engaged in creating something they have ownership over. This impacted the way we looked at some of our existing classes. It has made us look at some of the traditional ensemble classes through a different lens, but also made us look at some of our electives and general music classes. The goal is to ensure that students are at the center of the planning, and they are learning by exploring and by doing through that artistic practice of creating.

When we looked at our programs and thought about what we needed to address, I’d say something that jumped out or was proven by the process were those barriers for students to participate in some of our programs. What we were able to do right away was work on getting information to students and getting it to their families in the language which they speak at home. Making sure families know there is a way of getting instruments through financial support/loaner instruments. There are some larger challenges such as scheduling. If an ensemble rehearses before school and students have a transportation need of taking a bus, then they cannot participate in the ensemble. We followed a cohort of students from 5th to 12th grade, and we found that after 5th grade, which is our beginning grade for band/orchestra, we didn’t get new instrumental students after that. Attrition is normal in an instrumental program, but we do not currently have a system that is truly accessible for students to change their mind after 5th grade and decide to take band or orchestra. That’s a pretty big deal.

That’s not to say we are unable to fulfill the music opportunities for our students. Even in the midst of the pandemic, and because of this program evaluation, we were able to introduce guitar classes at the high school level where previously there were no elective opportunities outside the traditional ensembles. In my mind that was an immediate win/ Because of the data we collected, I was able to go to the administration and the board and say ‘we are not meeting the needs of students in our high school because if they are not choosing to be in an ensemble, then there’s nothing else for MAY 2022

them to take in music. But they are telling us, because we surveyed them, that they want to take music.’ We were able to get the support and write the curriculum to start the class right away. There are many more examples of how this process helped. Some of it we were able to move on quickly and some of it was slowed or put on hold because of the pandemic and now we are getting back on track with those areas.

DA: As a newly appointed Board member at NJMAA, how can our Association work with those districts that do not have an arts person as their district arts program leaders on the work you presented to our membership?

Dr. B: Your question certainly brings to light some of the differences and inequities across the state that impact teachers and students in the arts, just in terms of the support and leadership structures. I think NJMAA could certainly have a role. What I see in NJMAA is that there is an invitation from the group for the arts leaders in a district to engage with us, regardless of if they come from a music background or not. Having virtual meetings, I think has increased the reach of our organization, and we do have members that wear multiple hats. This idea here, sharing through Tempo what we are talking about in our meetings and why, is helpful. Districts in New Jersey are all so very different, there is no ‘one size fits all’ model. All I did here is share an example of a framework that says, look at what you have, collect the data, some supporting research, some input from your stakeholders, and then create a plan for moving forward. Districts should already be doing this work as a part of their cycle of curriculum review. I didn’t invent this process; it was part of my district program evaluation process that is implemented across all content areas. Even in those districts where there is no arts supervisor, there are structures in place to ensure that curriculum is being reviewed on a regular basis. In the end it comes back to advocacy for the Arts and trying to make that heard across the state, trying to ensure that district leadership places value on carefully examining how their arts program is meeting the needs of their students. The change in the NJSLS should be an impetus for all districts to carefully review their Arts curriculum right now in a truly comprehensive way.

Dr. Laura Bassett Supervisor of Arts Education Bridgewater-Raritan Regional School District

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Hosting a Region Rehearsal Can Help You and Your Program Andrew Veiss South Plainfield Middle School aveiss[at]yahoo.com

Hosting a region rehearsal can be an awesome experience for you and your program. It helps to expose you and your students to a top-notch ensemble and it will enable you to gain some highquality professional development. I have hosted the Region II Intermediate Band and Orchestra Auditions and the first rehearsal in South Plainfield from 2003 until 2015 and I have hosted the Middle School Honors Band in 2022. Hosting has done great things for my program.

Below you can find some of the benefits of hosting a rehearsal.

Many times, the ensembles can use any open space. For rehearsals, we use my band room for the concert band and the cafeteria for the orchestra. Ensembles can rehearse in auditoriums, cafeterias, open atriums and any moderately large space your school can provide. I work closely with my district’s administration to ensure that we can continue to host every year because they see the benefit to our school and our community.

ticipate in the ensembles when our school hosts a rehearsal. If the rehearsals are in other locations, I usually try to help the parents by organizing car pools.

Also, when hosting an audition, students feel more comfortable auditioning because they are not in a strange place and they have “home-field advantage.” More students might be convinced to audition because of the increased comfort level and the close proximity to their homes.

4. Students can receive community service hours Students who participate in CCD, scouts, and other organizations need community service in order to complete the requirements for their programs. When our school hosts auditions and rehearsals, students sign up to help run audition sheets, sell food items, set up rehearsals areas and help clean up after the rehearsal.

In turn, they gain hours for their community service. This also helps the conductors, managers, and site hosts because it is just a little less work.

1. Directors can get Professional Development hours.

When you host a rehearsal, you can receive up to ten hours of professional development. If you need a certificate, please contact your region president. He or she should be more than happy to provide a document if you request it. Additionally, I always pick up many new techniques for conducting and running rehearsals just by observing another teacher. There is no better way to learn new and exciting ways to develop your band, orchestra, or chorus than to see another conductor at work!

5. Fundraising!

Hosting a rehearsal gives you the opportunity to sell snacks, drinks, and other food to help raise money for your program. I usually have parents donate food and drinks and volunteer to sell.

Our music program receives 100% of the profits from fundraising and our program easily raises hundreds of dollars with minimum effort.

2. Students can observe rehearsals!

When we have hosted a region band or jazz band rehearsal, it has been an incredible educational tool. The students who observed these rehearsals brought fresh enthusiasm and a new focus to my rehearsals because they have the opportunity to see an ensemble with the perfect instrumentation, optimal rehearsal conditions, and excellent discipline. In turn, they share the rehearsal techniques with their fellow students and it increases the productivity of my rehearsals.

6. Brings positive press for you and your school, and administrators can observe rehearsals.

In the current political climate, we need to do all we can to advocate for our programs and any “good news” will help promote your program. I usually do a press release to the local papers promoting our students participation in the auditions and the ensembles. Every time my students and I participate in a region event, I forward a program to my principals and my superintendent with my students’ accomplishments and my contributions highlighted.

In order to successfully advocate for my program, I do all I can to share as much positive press with my administration and my community so that they see the value of music education in South Plainfield. I have had administrators come to the auditions and

3. Convenience for your students who are auditioning and/or rehearsing It is very convenient for my students who audition and parTEMPO

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they are amazed by the coordination of the ensemble and the ability of the students. Also, they enjoyed seeing the school community working together for a common cause.

STEPS TO SECURING A REHEARSAL FOR YOUR SCHOOL The first step is to ask your principal or supervisor. Share with them the many positive aspects of hosting and let them know of the convenience for you, your students, and the community. You should make sure that you check with your school calendar to ensure that there is minimal conflict. Once you receive confirmation, contact the division chair and they will help you through the next process.

If you need an insurance certificate, the division chairs can request one and they are usually delivered to your business office within a couple of days. During the times of tight budgets, schools are apt to charge for the use of facilities. Our region has a small budget to pay for facility fees, but any assistance to minimize the fees is appreciated. With our auditions and rehearsal, we share the space with recreation basketball, so we do not have to pay for facilities or custodians. Some of our site will only charge for the

occasional custodian, but many times, those fees are waived because the school sees the value of having the rehearsal or concert at their school.

On the day of the rehearsal, there is minimal work to do. Usually, the managers and conductors will come early and set up the room, and with every rehearsal I have attended, they help clean up at the end of the day and help you to ensure that your facilities are exactly as they were before they arrived.

Every year, some of our division chairs struggle to find places to host our region band, orchestra, and chorus rehearsals and concerts. We have come to the point of having to come close to cancel region events because we could not get people to host rehearsals.

Region ensembles can only work with your help! No matter what region you are located in, please reach out to your region president or audition chairs and volunteer to help! It can only help you and your program!! ________________________________________ Andrew Veiss is currently the Middle School Band Director at the South Plainfield Middle School and District Team Leader. Mr. Veiss is an alumnus of William Paterson University and New Jersey City University. He has taught various marching and concert percussion ensembles throughout New Jersey. If you have any questions or if you would like any assistance in this process, please contact me at aveiss@yahoo.com

Seen at the 2022 NJMEA Convention

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Fostering Positive Relationships with Paraprofessionals Maureen Butler

maureenbutlermusic[at]gmail.com

Each year our state Special Learners committee presents a roundtable discussion at our February conference. It’s a wonderful opportunity for music teachers to bring their concerns and questions to a panel of educators who have expertise in special education. Without fail, each time we convene, at least one teacher will share their frustration in effectively working with paraprofessionals (also called paras, teacher aides, aides.)

Some teachers might be in a regular education setting, and work with a couple of paras throughout the year. Others may be in a program comprised solely of special education students, and their work may include paras in every class they see. Depending on the students’ needs, teachers may have several individual paras in a class, and perhaps a classroom aide as well.

Let’s see what we can learn from the questions our panelists typically see at our roundtable discussions; maybe you’ve experienced these concerns as well:

First, let’s give everyone the benefit of the doubt and assume that those who work with our students have the children’s best interest at heart. They may have different backgrounds than us, may or may not have college-level education, may or may not have had experience with special learners, might have years of experience or are new to the classroom. Whatever the case may be, treating everyone with sensitivity and respect will go a long way towards transforming your classroom environment into one where students are more likely to develop and grow. Sadly, there are some teachers who do not treat their paras with respect, and are rude, demanding or unkind. We don’t want to be responsible for someone dreading coming to our class! Foster a sense of relationship with your paras that includes concern for them. Recognize, too, that everyone has an off day occasionally (family problems, not feeling well, for example), and may not always be at their best. However, paras who work with their students on a daily basis become experts in understanding their special needs, learning styles and emotional states. Respect them for the valuable resource that they are.

If you are a younger teacher working with older paraprofessionals, recognize that you were placed in a position of authority and are in charge of your classroom. Create an environment that respects and appreciates all who enter. Follow your well-designed lesson plans that consider the special needs of your students, but be open to accepting the guidance and advice that some paras are willing to give you.

Secondly, be sure that your paraprofessionals understand what you require of them. Often a para will be just sitting or looking at their phone because they sincerely don’t know what they are supposed to be doing. Being clear about what you want will help: “Today we’re going to work on drumming rhythms and I need you to help Zach learn to manipulate the drumstick.” “Please sit next to Maria and point out the words in the song as we sing them.” “Angel is having trouble with this sequence of steps; can you please model the steps for them?”

• Some paraprofessionals sit in the back of the room looking at their phone during music class, and don’t do anything. What can I do to get them more involved?

• A one-on-one para discourages me from attempting something she thinks is too difficult for her student.

What can I say to her?

• A para’s negative attitude is getting to me and is affecting overall morale. How do I handle this?

• My paras are older and more experienced than me, and I’m a bit intimidated. How do I tell them what to do?

Our music education preparation taught us philosophies of education, as well as various methodologies for teaching general music as well as vocal and instrumental music. We may feel certain of our musical abilities and our strengths as teachers. But many of us were not prepared for sharing our classroom and our work with other adults, and like all human relationships, this collaboration requires sensitivity, respect and communication to succeed - all of which requires planning and forethought.

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Some teachers have found that a written Individual Paraprofessional Plan helps communicate basic expectations in a general way. (See sample at the end of this article.) If you hand this out in September, everyone who works with you will understand what you want them to do. This prevents any miscommunication right from the beginning of the school year, and helps avoid the build-up of misunderstanding and resentment. Notice that if your needs change throughout the year, it will then be easier to discuss them since you’ve developed a good working relationship. Try to keep the focus on the child, and what can be done to help the child participate successfully.

Encouraging everyone to feel that you are all part of a team will ensure that the students will have their best opportunity to learn. (You might want to suggest that all special subject teachers in your building create their own plan, as well.)

What to do about the para who discourages you from trying something new? First of all, discourage negative comments being expressed in front of the child. If you are offended by a statement such as “This won’t work, she can’t do that,” imagine how the student feels!

A positive statement such as this may help: “I appreciate your concerns. However, let’s give it a try and see how Katie does today. It’s something we’ll work on for several weeks, and I think she may improve as the weeks go on.”

Lastly, remember to express appreciation and give positive feedback to adults. We’re accustomed to doing this with our students, but feedback can help clarify things for paras, as well: “That worked really well today, thank you. Next time let’s build on that.” “You really made a difference with Billy today, thank you so much!” “Thanks for letting me know that Juan has been having a hard time all day, so I could modify my plans for him.”

Collaborating positively with the adults in our classrooms will benefit all of us, especially our students as they continue to thrive and flourish in our classroom. Moreover, as our Special Learners roundtable discussions have proved, networking with other music teachers will benefit us as well. Be sure to look out for our sessions in future conferences!

Sample Individual Paraprofessional Plan Welcome to Mrs. Butler’s Music Class!

As a paraprofessional, your work with our student will help them succeed in my class. Here are some ways you can help: • Redirecting your student as needed to remain on task.

• Helping your student learn to function as a member of a group, reminding the student of relevant directions, and helping the student wait their turn when needed.

• Assisting your student whose mobility issues present a challenge in movement and dance activities.

• Helping the student who may be having difficulty with individual reading and writing activities.

• Helping to enforce a student’s behavior management plan.

• Setting an example by modeling good music class behavior.

Thank you for all you do. I would appreciate any insight you give me as we go through the school year.

I look forward to working with you!

MAY 2022

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NJMEA State Conference Atlantic City, NJ February 24-26, 2022

Keynote and General Session

Save the Date February 25-27 2023

Exhibits

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Professional Development Sessions and Concerts

photo credits: Rachel Nocastro MAY 2022

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Meeting Musicians Where They Are: Music Instruction for the Heart and Soul Shawna Longo Durban Avenue School, Hopatcong Borough Schools shawnalongo[at]gmail.com

As musicians and music educators, we all know those moments where our “work” flows easily because of the people surrounding us. When Brent Paschke and I met and worked on a project with Jamstik, we had that experience – synchronicity and flow. We have many of the same views - including our philosophy of teaching music through inspiring students as well as the psychological aspects of music. During a recent conversation, I asked him to share his experience and approach with other music teachers. His approach as an accomplished pop musician gives a unique perspective on the development of young artists and the artist process. Though Brent’s path may have led to commercial and studio music, his life lessons translate across disciplines.

About Brent Paschke Brent Paschke aka Jerry Stringer, is a guitarist, producer, songwriter, and educator based in Los Angeles, CA. His professional career in music started when his band Spymob signed a record deal with Epic records in 1999. Epic dropped the band 18 months later, but that proved to be a stroke of luck because it prompted Spymob to connect with the Neptunes (Pharrell Williams and Chad Hugo), a then-up-and-coming production team also performing under the name N.E.R.D. N.E.R.D. had been nearing completion of their first album, In Search Of … using only synthesized instruments. But when they heard Spymob, they decided that the band’s realtime playing was the necessary ingredient to complete the album. Williams and Hugo signed Spymob to their own label, Star Trak Records. The band appears on 2003’s The Neptunes Present … Clones album. To this day Brent still works with Pharrell and Chad having played the majority of guitars on the duo’s critically acclaimed side project N.E.R.D, Pharrell’s Grammy winning album G I R L, the Grammy winning single “Happy” Live, and many other projects by the duo.

You can also find Brent’s playing, producing, and writing on other major label artists such as Snoop Dogg, Kid Cudi, Post Malone, Katy Perry, Britney Spears, Chris Brown, New Kids on the Block, Kelly Clarkson, and many others.

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Brent is very passionate about music education having cofounded Tuniversity, a company dedicated to reinvigorating music education using multimedia technology and the excitement of today’s pop music. Tuniversity’s development partners included Apple and Pharrell Williams.

Brent is currently working on his first solo project under the alias Jerry Stringer. His first single and video is scheduled for release spring of 2022. You can learn more about Brent’s work and reach out to him by visiting his website: https:// brentpaschke.com/.

Brent’s Journey in His Own Words I always remember being interested in music. I started playing at a young age. I took violin lessons when I was in grade school. Drums followed that. But around 13, I was introduced to guitar. And the day I got my first guitar I knew it was the path I’d be on for the rest of my life.

My parents were very supportive and got me into lessons with a great teacher in my small town. This was the 80s and my intent was to be a famous hair metal rocker! I was only interested in playing the rock songs that were popular at that time, AC/DC, Ozzy Osborne, Kiss, Ratt…. But my teacher would find clever ways to get me to practice chord melody versions of popular songs. He’d also pepper in some classic pop songs from the other genres and groups like The Beatles. To this day, I see the benefit of his approach. He met me where I was, and gave foundational training to my 13 year old mind.

At that time, I didn't realize how this “old” music would be helpful, but it turned out to be priceless. Not only did it help me as a player, but it also helped me in my approach to teaching: Meet students where they’re at. Offer them “candy” along with “steak” to keep them interested, provide the fundamentals, and ultimately help them find their true identity. This approach has been very helpful in the long term, and having a teacher with this mindset early has been a big asset in my career.

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In high school, I had a very heart-opening experience outside of my narrow rock music world. I sat down with the instructor of the Jazz Ensemble when I was in 10th grade. He said that we would play songs like this… and proceeded to play “Route 66.” I remember thinking “man that is cool,” so I joined the Jazz Ensemble. It didn’t come easy for me, but I put in a lot of time and learned the songs. It was an experience that was very helpful in shaping who I am as a player. Like my experience with my first teacher, this helped me expand my musical tastes.

I didn’t listen to jazz at the time and to be honest, I rarely do now. But I loved learning all those chords. To me, they were beautiful new colors. I remember playing them and feeling how different chords would move me emotionally in different ways. These new experiences outside my comfort zone were very helpful in expanding me as a more well-rounded musician.

Around this time, I had another heart-opening experience when my friend played me a CD with Steely Dan’s greatest hits. I remember having flashbacks to being a kid in my mom and dad's Oldsmobile hearing those amazing songs. At this time, my musical palette really started to open up. I was evolving into this interesting mix of who I feel I am as a player. My rock background is permanently ingrained in me. It gives my playing an edgy aggressive feel. But I also love the beauty and sentimental touch of jazz chords & progressions that go outside of the norm and bend your ear. This interesting mix of styles is something that really resonates with me.

At 20 years old, I moved to Minneapolis and went to school at McNally Smith which was then called Music Tech. It was in these years I helped form a band called Spymob, which led us to the eventual signing and working with The Neptunes (Pharrell Williams & Chad Hugo). That chance meeting has led me to the vast majority of work I’ve done with other artists to date.

Music Making – the Integration of Inner Life and Artistic Product

selves in the future, nor are we the images of the past, so creating in thought can never be a reflection of our truest selves.

What music teaches me directly aligns with my continual personal development as a human being. There really is no separation for me. Through music we can better grasp the lessons we need in our daily lives as we continue to grow and evolve.

When playing music, we get immediate feedback about our thoughts and emotions. We immediately understand the consequence of holding on to a “mistake.” (I don’t like using a strong word like mistake but for the sake of discussion let's define mistake as an unintended action.) We understand the importance of simply observing that “mistake” and not attaching to it, not giving it any energy good or bad. We learn how to listen. We learn how to work together and how the abandonment of ego/future and past images created by thought, is essential to the purest outcome. All of these are fundamental lessons when applied to any area of life.

These are truths that apply to everything. Music or creating in general just seems to be a piece where life lessons can be studied and felt at a deeper and clearer level.

Advice to Educators When I was a senior in high school, I took an art class. I was naturally very good at it, unlike music, which required me to work a little harder. We spent most of the time working on pencil art, and I got to a point where I could draw faces almost as realistic as a black and white picture. One day, the teacher (Max) came by my desk to see a piece I was working on. It was later in the year, so I was doing pretty well. He said to me Brent, you don’t have to make the picture look like a black and white photo. If you wanted a B&W you could take a picture.

There’s a place in the process before you get to the B&W stage where it will feel complete. I immediately knew what he was talking about. I knew that place instinctively and I ignored it.

In school, I thought perfection and technique was a means to the art being complete. But as I’ve developed more in my personal life I see that the art’s completion is more in the field of surrendering and not attaching to images and outcomes.

Learning when to stop in the process of creating is a tough lesson for all artists. A lot of times artists will pass that point due to insecurity. We’re worried about what someone might say, and that peer critiques might hurt the image we hold of ourselves. This fear drives us to emulate or copy something that’s already vetted as a great piece of art. In doing this, we’re not addressing the fear, but only feeding into it, further prolonging its life. It’s important to encourage students to explore these emotions and insecurities. If there’s emotional conflict, it’s a clear sign that something needs to be addressed. And it may not just be ego—it may be another situation in a student’s life. Encourage students to use art as a safe place for exploring these conflicts and trusting their intuition to make clear technical and aesthetic choices.

Since I can remember, performing has not been my primary interest. Don’t get me wrong, I do enjoy it but I’ve always preferred composing and production. The primary reason I was inspired to get into music was because of the feeling I got when I heard music. It moved me in an unexplainable way. The way certain rhythms and chord progressions work together touch my soul.

For me, creating music brings all things into harmony. The place we get to in the purest form of creation is a place of oneness. We find that place in the clear choiceless observation of our thoughts. Not moving from them but simply observing them. Seeing them as they are. Thoughts are movements in time away from the timeless eternal present moment that we will always be in. This is very clear when creating and it’s undeniable when we feel it. The attachment to thoughts takes us out of the present when creating. It’s only in the present that MAY 2022 we find our true selves. We are not the images we create of our- 37

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As teachers, we teach students using technique-based methods. We have them play patterns to practice and hone their skills and acquire as much technique and knowledge as possible. But technical methods, patterns and knowledge are only tools to help us express our truest feelings. The greatest gift we can give students is guidance to use the most effective tools and techniques that will help them best express their truest selves, and encourage them to go beyond the tools in their creation of new works.

Connecting the Dots to SEL Brent’s lessons in fostering self-awareness could be pivotal for your students. To quote Socrates, “To know thyself is the beginning of wisdom.” Whether following principles of Social & Emotional Learning (SEL) or great philosophers, self-awareness is key to self-management. These two SEL core competencies provide a solid foundation for the other three: social awareness, relationship skills, and responsible decision-making. To learn more about SEL, visit https://casel.org/fundamentals-ofsel/what-is-the-casel-framework/. For SEL integration in arts education, visit https://selarts.org/.

If you have students who will connect with Brent’s story or who may be interested in his work as a guitarist, composer, and producer, share his music via and connect with him on social media: https://www.instagram.com/jerrystringermusic/ and https:// linktr.ee/brentpaschke.

A special thanks to Marjorie LoPresti for her amazing copy editing skills and assistance with this article.

Brent Paschke 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.

Seen at the 2022 NJMEA Convention

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Sound is for Sale: Entrepreneurial Opportunity for the 21st Century Musician Charles Kim Teachers College, Columbia University cck2135@tc.columbia.edu

We live, we play, we record, we share, and then we feel together.

Such is the general order of music production, and hence the very logic upon which the music industry is built - here “music industry” as “…detaching the process of making and selling music from such activities as, for example, concert promotion or music publishing.”1 Yet such simplicity is frustratingly difficult to navigate, especially for an artist seeking to build a career. The music industry and its sale of recorded products, at least from a historical perspective, is fairly nascent when compared to the broad timeline of music as social experience.

We are barely past the centennial of sound chiseling onto mechanical plates, while facing the exciting-yet-daunting task of transitioning our analog past into the digital ether - not simply as the products of expression, but also our very mindsets that structure such processes.

To understand the digital present, and thus its entrepreneurial opportunities, it can be helpful to examine the revolution that is information technology. Analog-to-digital conversion is the shift from sound as physical (namely, the movement of compressed air into material archival) to sound as I/O (the inputs and outputs that enable travel and communication between computers). This seemingly subtle shift has effectively turned music into information, enabling radically efficient sharing, technological mobility, and instantaneous connectivity. For the 21st century musician, this means that every part of a song is for sale.

For the purposes of this article, I am limiting its scope to the entrepreneurial opportunities for the 21st century popular musician - here, read as one who combines the rich history of musical convention with the possibilities of contemporary music technologies, ultimately serving rapidly growing niche consumer communities. What is fascinatingly unique about the modern musical predicament is its access to a vast repository of recorded music. Such pre-recorded and readily available music, today in the information age, exists as media in a social space. Thus what was popularized as “sampling” by Hip-Hop, where media is selected and remixed to create new music, has now extended to any sound that populates the information network of our social connections. From another perspective, recorded music has offered us a new form of listening, one that invites an active reframing of sound as creative utility. In the words of the pioneering composer/ theorist Pierre Schaeffer, whose tape recording/looping techniques paved the way for the Beatles’ iconic use of tape-looping in the 1960s, “It is also, first and foremost (for research purposes), a machine for observing sounds, for ‘decontextualizing’ them, for rediscovering tradiTEMPO

tional objects, listening again to traditional music with a different ear, an ear that, if not new, is at least as deconditioned as possible.”2 Sixty years later, this deconditioning has generated a global marketplace for sounds, loops, and what Schaeffer would call “concrete musical ideas” - samples, in other words.

There are varying components to what a sound or sample can be. It can be as simple as an acoustic kick drum, processed with subharmonic frequencies to sway dance floor subwoofers, or it can be as complex as a pastiche of symphonic chords and orchestral melodies, designed to inspire compositions and lyrics that communicate towards an intended audience. Mastery, aside from the economics of demand, is the musician’s ability to serve the composition of songs in multiple genres, localities, and aesthetic tastes. It is algorithmic, namely in its unique goal of achieving scale. As we have already witnessed with Tupac Shakur’s “California Love” use of Roger Troutman’s music, a singular sound can be heard on multiple records, but today bypassing licensing via royalty-free business models. The creative reframing of pre-recorded media, however, has been wrought with frustration: licensing denials, legal battles, and perhaps even accusations of creative theft. But there is a silver lining. These chasms, having grown through the 90s and early 2000s, have created space for a new market made efficiently available via the internet. In other words, musicians can access new revenue streams via royalty-free sampling marketplaces that function on paid subscriptions.

This peculiar type of market offers a valuable perspective on creativity - that the selection of and connection between sounds is a value-add to production as musical activity. A sound, a note, or even a single percussive strike, while with its own merits of intrigue, is generally uninteresting in isolation. When such sounds are juxtaposed/ combined/sequenced, the relational connections between sounds create harmony - a fascinating unveiling of creativity within the user.

This is perhaps the deconditioning Schaeffer speaks of, that a modern listening of “what-was” postures itself in a creative imagining of “what-could.” It also disrupts the proximal and temporal nature of audio recording: a sound can be created anywhere, at anytime, and synthesized to generate any style. The user, or the musician/producer, is able to take such media and recondition it into a genuinely new idea. Given the mobility of recording and production technologies decentralizing the commercial music studio, musicians can simply create their own sounds, loops, and even fully-composed songs to sell at scale. In bypassing the royalty-based licensing industry altogether, a 40

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single sound can be bought repeatedly, often, and even collaboratively.

This begs a question, however: if the supply is decentralized, what demand is it serving?

According to the Recording Industry Association of America (RIAA), streaming occupied 83% of U.S. Music Industry Revenues of $12.2 billion in 2020, a $3 billion increase from 2018.3 From a wider perspective, the global recording industry grew from a stark $14 billion in 2014 to $20 billion in 2019, returning to its boasted 2004 numbers.4 With the growth of content output, the entire music industry is estimated to increase from $62 billion in 2017 to $131 billion in 2030 – approximately doubling in revenue size.5 Driving this growth are Millennials and Generation Z - of which the 21st century musicians find its inaugural class, spending an estimated $163 billion.6 With a revenue share of over 60%, the rising demand for audio content parallels the increasingly ubiquitous integration of technology into everyday life: “…listening to songs while commuting to work, exercising, or doing household chores. Moreover, the rising number of commercial end-users, such as restaurants, cafés, pubs, and gymnasiums, using audio streaming platforms to play songs in their commercial spaces is anticipated to drive the segment.”7 In other words, what was once centralized in radio and physical mediums like CDs and vinyl is today decentralized wherever one has access to the internet, with greater mobility, ease, and market penetration than ever before. Further, the emergence of “social music” has doubled-down on the consumer’s ability to actively curate - according to their own tastes or with assistance from playlisting algorithms - their auditory environment.

This growing consumer market, thus, requires an entrepreneurial class that can provide sonic tools, or musical sounds, to the content creators that generate new songs, podcasts, and videos.

To understand music as information, one must examine this notion of the “social music marketplace,” namely that music exists as information to be curated, interacted with, and shared at scale. Spotify, though the giant in the space, is but an example of the movement en masse.

While Spotify provides a user-friendly interface for consumers to digest content, music creator platforms like Splice (the leading global marketplace for sounds, loops, and samples) and BeatStars (the #1 site for licensing loop-based compositions) provide musicians a path to monetize short, yet exhaustive, libraries of musical concepts. Such services provide an efficient and highly lucrative way for musicians to both sell and purchase samples a la carte for the streaming market, as well as the traditional avenues of media like labels, radio, television, and beyond. It is worth noting that such platforms ought not to be viewed as opposed to conventional industry, rather as an auxiliary that provides multiple streams of income for musicians. As a music educator, it is my hope that while we dutifully prepare sound minds versed in the vernacular of musical past, we simultaneously equip our students with an entrepreneurial compass to navigate the digital present, envisioning paths to move musical culture forward through the digital age.

I must be clear: digital music, especially that of the often polarizing category of popular music, is not the only form of music worth analyzing from a business perspective, but rather that it is what I have come to cherish. I have spent the last decade producing Billboard-charting songs and designing community-based music technology programs in Boston, Los Angeles, NYC, and Seoul. Around the world, from bedMAY 2022

room studios to Hollywood production centers, I have had the privilege of hearing your favorite songs and film cues created on nothing more than laptops, mostly by youth from communities of color. So I am especially fascinated by the design of music ecosystems centered on technology, equity, and business opportunity - in essence, building new industries. Technology, however, does not merely imply the trendiest tools and processes, rather it points to the underlying base from which music, its instruments, and distribution pipelines are created. Perhaps it can be helpful to remember that the violin is the product of the advanced woodworking manufacturing processes of its time, and that the microphone is the product of electrical technologies pioneering in the early half of the 20th century. Music, in short, is adaptive and expressive of the technologies available. Thus today, we must understand the ways in which information technologies are expanding our preconceived limitations of music-making - and of course, the ripe opportunities for artists to build independent careers.

1 John Williamson and Martin Cloonan. “Rethinking the Music Industry”, Popular Music 26, no.2 (2007): 306.

2 Pierre Schaffer. Treatise on Musical Objects (Oakland: University of California Press, 2017), 16.

3 “Year-End 2020 RIAA Revenue Statistics,” Recording Industry Association of America, accessed July 30, 2021, https://www.riaa.com/wp-content/ uploads/2021/02/2020-Year-End-Music-Industry-Revenue-Report.pdf 4 “The State of the Music Industry in 2020,” Jimmy Stone, accessed July 30, 2021, https://www.toptal.com/finance/ 4 market-research-analysts/state-of-music-industry 5 Ibid.

6 “Music in Air: Streaming Turns Up the Beat for the Music Industry,” Goldman Sachs, accessed July 30, 2021, https://www.goldmansachs.com/insights/pages/infographics/music-streaming/ 7 “Music Streaming Market Size, Share & Trends Analysis Report By Service (Ondemand Streaming, Live Streaming), By Platform, By Content Type, By End Use, By Region, And Segment Forecasts, 2020 - 2027,” Grand View Research, accessed July 30, 2021, https://www.grandviewresearch.com/industry-analysis/ music-streaming-market

Bibliography Friedlander, Joshua P. “Year-End 2020 RIAA Revenue Statistics.” Accessed July 30, 2021. https:// www.riaa.com/wp-content/uploads/2021/02/2020-Year-EndMusic-Industry-Revenue-Report.pdf.

Goldman Sachs. “Music in Air: Streaming Turns Up the Beat for the Music Industry.” Accessed July 30, 2021. https://www.goldmansachs.com/insights/pages/ infographics/music-streaming.

Grand View Research. “Music Streaming Market Size, Share & Trends Analysis Report By Service (On-demand Streaming, Live Streaming), By Platform, By Content Type, By End Use, By Region, And Segment Forecasts, 2020 - 2027.”

Accessed July 30, 2021. https:// www.grandviewresearch.com/industry-analysis/ music-streaming-market Schaffer, Pierre. Treatise on Musical Objects. Oakland: University of California Press, 2017.

Stone, Jimmy. “The State of the Music Industry in 2020.” Accessed July 30, 2021. https:// www.toptal.com/finance/market-research-analysts/state-of-musicindustry.

Williamson, John and Cloonan, Martin. “Rethinking the Music Industry.” Popular Music 26, no.2 (2007): 305-322.

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What Is Social Emotional Learning?

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What does research tell us?

Now more than ever, music education is critical for all students. One significant impact is how it helps students with social emotional learning (SEL).

This brochure includes key talking points for music educators, school administrators, and school boards to connect music education and social emotional learning. For example: •

Teachers can create a classroom environment that is student-centered and driven by students’ social and emotional needs.

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School administrators can support certified music educators’ professional growth with professional development in SEL.

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School boards can ensure adequate mental health resources are available for students and staff to support teachers in implementing SEL.

Read more in this free resource to help advocate for music education for all students.

Download your brochure at bit.ly/ConnectMusicSEL Questions? Email advocacy@nafme.org

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First Graders Use of Singing Voice and Pitch Matching in the Elementary General Music Classroom Amy Paz Woodside Avenue School, Franklin Lakes apaz@franklinlakes.k12.nj.us

Helping children find their singing voices is one important aspect of early musical development in the general music classroom (Green 1990; Nichols, 2017). Although many young students often succeed in finding their singing voice and are able to match pitch, others will need help and benefit from multiple strategies. For instance, some children may sing the contour, but not the accurate pitch. Others may match pitch inconsistently or are unable to hear the difference between a singing or speaking voice. Some students may chant or waiver between a speaking and singing voice while sustaining pitch.

Invariably, teachers will often sing to their students and expect that they will be able to successfully sing back to them, but many children have a difficult time finding their singing voices. What follows are some strategies that potentially may help students who struggle to find their authentic singing voice. Why is this important?

Students who sing their authentic selves often open a “window” and, eventually a door, for the rest of their lives.

voices and assist teachers with promoting vocal exploration and pitch matching. Cardany (2017) posits that starting with free exploration of sound, and exploring melodic phrases and simple songs is a way to progress and succeed in voice development among children. Because of this, some of the strategies used in the general music classroom include play-party games, teacher modeling, and peer-echo. Sometimes there are visual props involved such as puppets or stuffed animals. Also included are techniques like vocal play such as imitating sounds such as ghosts or sirens.

Assessment in Pitch Matching The demand to provide solid data through both formative and summative assessment strategies has an impact on music teachers every day. In order to track the progress of children’s singing, it is important to measure vocal development and achievement. Notably, general music teachers should provide a valid, consistent measure of vocal development to accurately assess children’s singing (Salvador, 2010). Because of this, what follows is an assessment tool to measure for the singing voice:

Strategies to Improving Pitch Matching There are many approaches to help children find their singing

Singing Voice Development Measure (SVDM) 1

Pre-singer does not sing but chants the song text

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Inconsistent Speaking Range Singer sometimes chants, sometimes sustains tones and exhibits some sensitivity to pitch but remains in the speaking voice range (usually A2 to C3).

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Speaking Range Singer sustains tones and exhibits some sensitivity to pitch but remains in the speaking voice range (usually A2 to C3).

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Inconsistent Limited Range Singer waivers between speaking and singing voices and uses a limited range when in singing voice (usually up to F3)

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Limited Range Singer exhibits consistent use of limited singing range (usually D3 to F3)

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Inconsistent Initial Range Singer sometimes only exhibits use of limited singing range, but other times exhibits use of initial singing range (usually D3 to A3)

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Initial Range Singer exhibits consistent use of initial singing range (usually D3 to A3)

4.5

Inconsistent Singer sometimes only exhibits use of initial singing range, but other times exhibits use of extended singing range (sings beyond the register lift: B3-flat and above)

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Singer exhibits use of extended singing range (sings beyond the register lift: B3-flat and above)

Figure 1. Rutkowski’s (1996) Singing Voice Development Measure (SVDM).

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The SVDM can be used to measure childrens’ developing singing voice. It is a 5-point rating scale for general music teachers to exclusively evaluate the child’s singing voice aside from all other vocal and singing components. It is one way to “formulate a consistent vocabulary by which one can describe the singing voice development of children” (Rutkowski, 1990, p. 91).

Contextual Strategizing To test the validity of the SVDM model as an assessment tool in my own classroom, I examined different approaches and their effects with children in the first grade having difficulty finding their singing voice and accurately matching pitch. Specifically, I explored varied strategies with selected non-singers and analyzed for effectiveness in helping students match pitch. Students were selected for the study if they were evaluated at 2.5 or lower on the SVDM. Notably, students who measured 2.5 or lower were either incon-

sistently using their singing voices, wavering between speaking or singing, or unable to match pitch. The eleven students that scored 2.5 or lower then became my sample and those scores were recorded. This became their baseline score and I set up a chart to record the measurement for each new assessment.

Each succeeding class, I introduced a different strategy for matching pitch and finding their singing voice that involved individual singing. I taught a singing game, a vocal exercise, or a short song; then recorded the measurement assessment according to the SVDM. The strategies I tested included a play party game that included solo singing, self-led vocal exploration, teacher echo fragment singing, teacher echo fragment singing into a prop (toy microphone), partner singing, question and answer on so-mi to a puppet, peer echo, and solo singing a simple song.

Figure 2 shows and compares scores between the eleven tested students.

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Figure 2. SVDM Ratings on each strategy The most striking observation among all the vocal strategies showcased that vocal exploration seemed most successful for all students. Likely this is because students led their own vocalized patterns and created self-guided visual imagery. One way this strategy proved successful was that students focused on their fingers painting in the air while their fingers traced their voices. They laughed and enjoyed creating ghost and siren sounds. Additionally, there was a much higher success rate in finding their singing voice when doing so involved singing with a prop. Again, they were focused away from the sounds of their voices and instead focused on the prop and the imaginary play part of the strategy.

During the “puppet-based” question-and-answer activity, students thoroughly enjoyed answering individual questions and singing their answers. This particular strategy brought out lots of laughter and smiles. Indeed, students focused on the puppet in front of them and released any inhibitions about their singing voices. The simple song, “Frog in the Meadow,” seemed to be the most difficult MAY 2022

vocal strategy for many students. I needed to jump in several times and redirect their pitch.

In total, I examined eight strategies in the hopes of helping children match pitch and find their singing voice. I uncovered that, in the cases where the child’s focus was off their own singing and on a visual prop held in front of them (e.g., the puppet), there was a much higher rate of success in matching pitch and finding an authentic singing voice. In aggregate, the vocal exploration strategy where students controlled the pitch pattern showcased the greatest success. Notably, the absence of lyrics and the student-controlled vocalizations in combination helped students achieve higher scores on the SVDM. Final Thoughts When seeking strategies for helping students match pitch and find their singing voices, the simplest activities seem the most successful. The vocal exploration was not only a class favorite, but pro47

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References

duced the most successful singing among my students. This specific activity did not involve any lyrics and students vocalized on a neutral syllable. It was enjoyable, light and students had the opportunity to be playful and creative. They enjoyed making the sounds of ghosts, cars, sirens, and other reproducible sounds. They loved painting those creative sounds in the air with their fingers and thrived having control over the process The usefulness of “play” in the elementary classroom such as playparty games, dances, movement, circle games is undeniable. Such activities are important ways to assess student growth and practice skills; it is important to foster this play in music lessons for musical reasons, but also for more social and emotional considerations, too.

Finding ways to accomplish all these goals while helping students experience joy in school helps develop and support student confidence. It is not easy to fully be oneself in front of others; singing alone in front of others is one way in which students share who they are and can become. Because of this, developing the skills to sing, match pitch, and find one’s own singing voice is as much a musical endeavor as it is a keen lesson in vulnerability. Because of this, it is important for music teachers to help students in as many ways as possible to be themselves through their voices. Indeed, elementary general music teachers can help foster students’ sense of “fearlessness” by finding creative strategies so they can sing in front of others. Doing so is not only important in the elementary general music classroom; it is also important in order for students to develop the necessary skills and dispositions for a life filled with song.

Cardany, A. B. (2017). Favorite children’s books for vocal exploration and pitch-matching activities. General Music Today, 30(3), 22–25.

Green, G.A. (1990). The effect of vocal modeling on pitch-matching accuracy of elementary schoolchildren. Journal of Research in Music Education, 38(3), 225-231.

Nichols, B. E. (2017). Constructing singing assessments for the music classroom. General Music Today, 30(3), 13–17.

Rutkowski, J. (1990). The measurement and evaluation of children’s singing voice development. The Quarterly Journal of Teaching and Learning, 1(1& 2), 81-95.

Rutkowski, J. (1996). The effectiveness of individual/small-group singing activities on kindergartners' use of singing voice and developmental music aptitude. Journal of Research in Music Education, 44(4), 353-368.

Salvador, K. (2010). How can elementary teachers measure singing voice achievement? A critical review of assessments, 19942009. Update: Applications of Research in Music Education, 29(1), 40–47.

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2022 New Jersey Guitar Ensemble Jayson Martinez NJMEA Chair for Guitar Education jmarti37[at]webmail.essex.edu

The Coronavirus (COVID-19) pandemic brought a new definition to the phrase “The day the music died.” Originally sung by Don McLean in the song “American Pie,” that lyric accurately describes life in the times of the pandemic. Live music had tragically died while we were socially distant. But to quote another lyric by the Village People, “you can’t stop the music, nobody can stop the music.” Now that the COVID-19 crisis is waning, concerts and music festivals are thriving once again.

We are excited to announce that our NJMEA Honors Guitar Ensemble and the New Jersey Guitar Orchestra (NJGO) will perform four joint concerts throughout the spring and summer months. These concerts will also feature a world premiere commission work entitled, “Air and Lamentations”, by Kean University’s Dr. Matthew Halper.

Save these dates in your calendar:

The NJMEA Honors Guitar Ensemble, alongside the New Jersey Guitar Orchestra, are honored to perform with the United States Guitar Orchestra at the Kaufman Center.

The USGO is led by Professors Kami Rowan and Ethan Lodics of Guilford College. The group is comprised of nearly 50 guitarists , ranging from elite high school students to full-time tenured professors, as well as professional recording guitarists. They range from twenty different states and seven countries.

Lastly, our NJMEA Honors Guitar Ensemble extends their gratitude to NJCU MDT Dept Chair Dr. Desamparados Fabra, guitar professors Dr. Michael Newman, and Dr. Celil Refik Kaya for hosting our rehearsals at your campus. New Jersey City University continues to be a strong partner in guitar education.

Special thanks are also extended to our concert hosts, including William Paterson University’s Professors Seth Himmelhoch and Gabriel Handy; LIGQ GuitarFest Coordinator Harris Becker; Kean University Professor Dr. Matthew Halper, and USGO Director Dr. Kami Rowan.

We are looking forward to seeing you all at our concerts! For more information, including concert programs for each performance, visit my website @ jaysonmartinez.com

GuitarFest 2022 Saturday, April 23rd @1:00pm William Paterson University 300 Pompton Road, Wayne, New Jersey 07470 973-720-2000 https://www.wpunj.edu 30th Annual Long Island Guitar Festival Sunday May 15th @1:00pm Setauket Presbyterian Church 5 Caroline Avenue, Setauket, NY 11733 http://www.ligfest.net/ https://www.setauketpresbyterian.org GuitarFest Sunday, June 5th@1:00pm Kean University 1000 Morris Avenue, Union NJ https://www.kean.edu/ United States Guitar Orchestra special guests: NJMEA Honors Guitar Ens and the NJGO Thursday, July 7th@5:00pm Kaufman Center, Merkin Concert Hall 129 W. 67th Street , New York City kaufmanmusiccenter.org TEMPO

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2023 GuitarFest NJMEA Honors Guitar Ensemble Audition Information The NJMEA Honors Guitar Ensemble Audition will take place virtually. Students will upload the required audition materials to YouTube, then submit the link via email to jmartinez[at]nps.k12.nj.us.

Those accepted as Honors Guitar Ensemble members must attend all rehearsals and prepare music with our conductor for the 2023 GuitarFest at Kean University and William Paterson University. Concert dress is all black. The non-refundable Audition Fee is $20.00 per student. All applicants must submit the application (which can be found on the NJMEA website along with the non-refundable application fee of $20 by check made payable to "NJMEA". A copy of the sponsoring teacher's NAfME membership card must be included with the application and audition fee, and must be postmarked by November 30, 2022 Each participating student must fill out an application and, if accepted, must pay the $50 participition fee.

More info, e-mail only - jmartinez@nps.k12.nj.us.

All students must perform on a nylon string classical guitar (no steel string acoustic or electric guitars)

Audition Requirements for students in grades 9-12 • Solo Piece: Maria Luisa by J. Sagreras- which can be found in this issue and at www.njmea.org • Ensemble Excerpt found on NJMEA.org Website (Guitars in Classroom portal) • Scale Requirement: Choose two (2) out of the four following scales: F-sharp melodic minor, E major, C-sharp melodic minor, B major, edited by Abel Carlevaro. These scales can be found in this issue and at www.njmea.org Students will be judged on a point system for correct notes and rhythms, tone quality, musicality: dynamics, phrasing, interpretation and overall quality of preparation for prepared piece, ensemble excerpt, scale and sight reading.

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Maria Luisa "Tres piezas faciles" op.19 Mazurka Julio Salvador Sagreras (1879 - 1942) ₵5        43      

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Printed with the permission of Alfreda Music. All Rights Reserved MAY 2022

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Printed with the permission of Alfreda Music. All Rights Reserved TEMPO

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MAY 2022

NJMEA SALUTES NEW JERSEY’S OUTSTANDING ALL-STATE MUSICIANS The New Jersey Music Educators Association is proud of the hundreds of NJMEA members who sponsor the many thousands of students who audition for Region and All-State ensembles during the year. Listed below are the outstanding musicians who were accepted into the 2021-2022 New Jersey All-State Performing Ensembles. Many hours of practice and preparation have been spent by the students and the teachers who have helped these students attain this noteworthy goal. We congratulate everyone who has been a part of these activities.

2022 New Jersey All-State Wind Ensemble PICCOLO Yuma Okada

Fair Lawn HS

FLUTE Yuanning Hui Tenafly HS Karina Yang Ridge HS Jessica Hakanson Freehold Twp HS Ellen Wu W Windsor-Plainsboro HS S

Rachel Mattson

ALTO FLUTE Cinnaminson HS OBOE

Sophia Kim Celia Wojcik

Princeton HS Haddonfield Mem HS

ALTO CLARINET Michael Hanna Egg Harbor Twp HS BASS CLARINET Philip Om Joshua Rubin

Cresskill HS Watchung Hills Reg HS

SOPRANO SAXOPHONE Aryan AvadhanamW Windsor-Plainsboro HS S

TROMBONE Javid Labenski Justin Masi Vincent LaRosa Mohit Singh

Cherokee HS Roxbury HS Howell HS John P Stevens HS

BASS TROMBONE Ryan Parichuk Mount Olive HS EUPHONIUM Morristown HS W Windsor-Plainsboro HS S

ALTO SAXOPHONE Alexander Yuan W Windsor-Plainsboro HS S Andrew Xiong John P Stevens HS

Henry Mruz Allen Zhang

TENOR SAXOPHONE Isabelle Mailman Wayne Valley HS

Wesley Sanders Andrew Sieradzki

BARITONE SAXOPHONE Farah Mbahwe John P Stevens HS

STRING BASS Isabella Francisco Churchill Jr. HS

TRUMPET Matawan Reg HS Lawrenceville School Mountain Lakes HS Summit HS Montgomery HS Wayne Valley HS

BATTERY PERCUSSION Roland Yang Bridgewater-Raritan HS Andy Xu John P Stevens HS Johnny Xu John P Stevens HS Brandon Chang John P Stevens HS Vignesh Prakash John P Stevens HS

TUBA Vernon Twp HS Clifton HS

ENGLISH HORN Kayla Wang

Elizabeth Barlow Samhita Tatavarty

Millburn HS BASSOON Pascack Valley HS Ridge HS

Eb SOPRANO CLARINET Pablo Ramirez-Garcia South Brunswick HS Bb SOPRANO CLARINET Zachary No Rancocas Valley Reg HS Tim Liang Princeton HS Eric Xie Princeton HS Eugene Lee Cresskill HS Yerim Park Indian Hills HS Hong Cheng John P Stevens HS Christian Yoo Fort Lee HS Noah Kouhoupt Vineland HS Leah Kang No Valley-Demarest HS

Kassandra Miano Ian Lee Aaron Caso Brian Axtell Jonathan Zhang Nicholas Mikhail

PICCOLO TRUMPET Griffin Coolidge Union Co Magnet Sch FRENCH HORN Samantha Strickland Bridgewater-Raritan HS Julianna DeCesare Cinnaminson HS Nikhil Sampath Montgomery HS Elizabeth Ferrara W Windsor-Plainsboro HS S Christopher Juan John P Stevens HS

TIMPANI Josh Conklin

Joie Kuan

Ridge HS PIANO Central Jersey College Prep HARP

C CLARINET James Humphrey West Essex HS

MAY 2022

MALLET PERCUSSION Ethan Miller Hillsborough HS Elizabeth Tota Monroe Twp HS

Chloe Lau

55

Blair Academy

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2021 New Jersey All-State Orchestra VIOLIN I Krystal Sun No Valley Reg HS-Demarest Nicholas Yoo Delbarton School Daniel Xie High Technology HS Nora Lee Peddie School Stanley Liu Watchung Hills Reg HS Gia Shin Tenafly HS Isabella Jung Leonia HS Catherine Kong Bridgewater-Raritan Reg HS David Song Ridgewood HS Kevin Kang Bergen Catholic HS Elizabeth Morgievich Randolph HS Ethan Lee No Valley Reg HS-Old Tappan Joelle Kang Cherry Hill East HS Lindsey Ahn Bergen Technical HS Isabella Harelick Ridgewood HS Joanna Peters Randolph HS Amanda Sun East Brunswick HS Carmen Dai Newark Academy Cory Zhou Acad for Info Tech Sehoon Kim Cherry Hill HS East Selina Zhang North Hunterdon HS Daniel Song Pascack Hills HS Jocelyn Oberle Bergen County Acad VIOLIN II Pamela Davidson Newark Academy Angeluna Xu Peddie School Eugene Jang Tenafly HS Anthony Zhai Montgomery HS Juliet Bu Newark Academy Jiwoo Cha Glen Rock HS Verna Chen High Technology HS Edward Zheng Livingston HS Joseph Bejjani West Essex HS Will Sun Princeton Day School Patrick Powichrowski The Pennington School Bernard Liang Manalapan HS Isaac Jin Leonia HS Evelyn Chao Churchill Junior HS Choyoung Bang Fort Lee HS Ethan Song W Windsor-Plainsboro HS S Caleb Lin High Technology HS Chloe Choi No Valley Reg HS-Old Tappan Milind Bangalore Morristown HS Olivia Ma South Brunswick HS Michael Kim Churchill Jr. HS Sean Qin Millburn HS Laura Shim No Valley Reg HS-Old Tappan Alex Ho John P. Stevens HS

VIOLA Angelina Lee Tenafly HS Iris Hur Bergen County Academies Rachel Kim No Valley Reg HS-Demarest Elayne Jia W Windsor-Plainsboro HS S Alena Zhang Cherry Hill HS East Suhyoung Park Bridgewater Raritan HS Sarayu Kodali W-Windsor Plainsboro HS N Daniel Cho Tenafly HS Andrew Li Chatham HS Pranav Thota John P. Stevens HS Winston Wang Millburn HS Justin Woo Paramus HS Aaron Tsui East Brunswick HS Bori Chung Bergen County Academies Gabrielle Zammit Princeton HS Meredith Shepherd Westfield HS CELLO William Yoo No Highlands Reg HS Ryan Shim Bergen Catholic HS Eunsun Choi Tenafly HS Benjamin Chang Ridge HS JaeAh Shin East Brunswick HS Alexander Moon Governor Livingston HS Kathleen Zhang The Peddie School Alexander Kwak Moorestown Friends School Ian Chung No Valley Reg HS-Demarest Cecilia Yun Acad of the Holy Angels Justin Tam John P. Stevens HS Emily Zhu Princeton Day School Michelle Shi Moorestown HS Michelle Kwon Bergen County Academies Melissa Liu W Windsor-Plainsboro HS S Jason Han No Valley Reg HS-Demarest STRING BASS Madeline Epstein W Windsor-Plainsboro HS N William Shea Millville Senior HS Alexander Lu Bridgewater Raritan HS Julia Li Newark Academy Gaurav Kakarla W Windsor-Plainsboro HS N Karamsetty Ved W Windsor-Plainsboro HS S Austin Yang East Brunswick HS Henry Furey W Windsor-Plainsboro HS N Erin Goldsmith Hopewell Valley Central HS Geetika Komati Livingston HS Sojung Kim Joyce Zhu Rachel Tang Janice Park

FLUTE Palisades Park Jr/Sr HS W Windsor-Plainsboro HS S No Valley Reg HS-Old Tappan Paramus HS

OBOE

Sophia Kim Celia Wojcik Alexander Xia Kevin Moon Kayla Wang Kayla Wang

Princeton HS Haddonfield Memorial HS The Lawrenceville School Ramsey HS Millburn HS

ENGLISH HORN

BASSOON/CONTRABASSOON Samhita Tatavarty Ridge HS Bb CLARINET

Tim Liang Thomas Lee Temmie Yu Cameron Xu Philip Om

Princeton HS Montgomery HS Bergen County Academies Union County Magnet HS

BASS CLARINET

Joshua Shen John Rivas Jonathan Zhang Colin Morrissey

Jordan Guzzi Anmarie Kaczor Chris Toto Joshua Yoon Justin Masi Eric Tighe Wesley Sanders

TRUMPET Bridgewater- Raritan HS Clifton HS Montgomery HS Absegami HS

TROMBONE

Ridge HS Vernon Township HS East Brunswick Cresskill HS Roxbury HS Bridgewater-Raritan HS

TUBA Vernon Township HS

BATTERY PERCUSSION Lukas Kulesa Clifton HS Jenna Manalastas East Brunswick HS Sang Hoon Jung Bergen County Academies Andrew Kim Cresskill HS

Audrey Gang

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Cresskill HS

FRENCH HORN Samantha Strickland Bridgewater-Raritan HS Julianna DeCesare Cinnaminson HS Elizabeth Ferrara W Windsor-Plainsboro HS S Kaitlyn Ferrari Bridgewater Raritan HS Anthony D'Antuono Middletown HS South Leigh Rose Hart Vernon Township HS Shiv Goel Watchung Hills Reg HS

George Kalkanis

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Millburn HS

TIMPANI PIANO

Mahwah HS River Dell HS

MAY 2022

2022 New Jersey All-State Treble Chorus SOPRANO I Julie Alan Bergen County Acad Koharu Ando No Valley Reg HS-Demarest Abigail Camacho Hawthorne Christian Acad Kennedy Elsa Christensen Monroe Twp HS Anna Creel Summit HS Barenya Das East Brunswick HS Laura Margery Gallas Central RHS Kyra Elise Griggs Brick Twp Mem HS Ashley Hoberman Scotch Plains-Fanwood HS Margot Jerkovich Ridgewood HS Sarah LaMonica Westfield SR HS Chloe Lee Summit HS Emily Joy Leuenberger Summit HS Kaelan A Mattos Scotch Plains-Fanwood HS Adya Mohanty Mahwah HS Natalie Ann Morell Paramus HS Anika Mukherjee Ramsey HS Adeline Julianna O’Brien Roxbury HS Allison Paterno Parsippany Hills HS Kathryn Radcliffe No Jersey Home Sch Assn Rebecca Ryan Mount Saint Mary Acad Veronica Schneider Pennsville Mem HS Abigail Schwartz Ramsey HS Nehal Singhal Morris Hills HS Sanjana Thayi Bridgewater-Raritan HS Stephanie Alice Yakely North Hunterdon HS Stephanie Yau South Brunswick HS SOPRANO II Ella Rose Anzuini Burlington City HS Alyssa Bralow Eastern RHS Rebekah Colleen Calderon Monroe Twp HS Khushi Handa Monroe Twp HS Ashley Kornreich Parsippany Hills HS

MAY 2022

Annette Kroes Eastern RHS Prajakta Kulkarni East Brunswick HS Claire Kurisko W Morris Mendham HS Katherine Lim Bergen County Acad Aayushi Mallik John P Stevens HS Adeline McCloskey West Essex HS Vanya Medina Hillsborough HS Victoria Obaniyi Lindenwold HS Ella Osbeck Mainland RHS Madeleine Grace Otinsky Parsippany HS Sophia Bianca Passaro W Morris Central HS Trisha Sarma South Brunswick HS Abigail Simon W Morris Mendham HS Ria Singh Monroe Twp HS Mishti Tomar John P Stevens HS Saskia M Trommelen Bergen County Acad Manasi Volety John P Stevens HS Stephanie Marie Wilson Parsippany HS ALTO I Hanniver Acosta No Burl County Reg HS Rhythm Chaudhary John P Stevens HS Amber Lee Deegan W Morris Mendham HS Flory Deepak Monroe Twp HS Asvhi Desai Parsippany Hills HS Roselyn Marie Driscoll Mainland RHS Ashley Estrada Parsippany HS Alyssa Fox Morris Knolls HS Jerrine Elizabeth George Mt Saint Mary Acad Melanie Gilbert Mahwah HS Natalie Gonzalez Westfield SR HS Adwaitaa Goswami John P Stevens HS Isha Gullapalli Roxbury HS Olivia Jones Delran HS Faith Lee Eastern RHS

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Angelina Mora Westfield SR HS Niamh Morrison No Jersey Home Sch Assn Isabelle Pimentel Saddle Brook MS/HS Jasmin Ramos Saddle Brook MS/HS Rachel Marian Rodrigues Monroe Twp HS Erin Ryan Mahwah HS Sylvia Ryan Bloomfield HS Riley M Shivas Roxbury HS Gabrielle Vecciarelli Chatham HS ALTO II Veronica Baladi Bergen County Acad Maggie Rae Blake Ramsey HS Cheyanne Leigh Contron Roxbury HS Angela Ashley Claveria Mainland RHS Ayra Gulati No Burl County Reg HS Olivia Hachey Roxbury HS Niyati Kashyap Ridge HS Kathryn Kim Washington Twp HS Sabine Kwon Summit HS Aaliyah LaMarr Chartertech HS for the Perf Arts Madeline Leibman Pascack Hills HS Karinna Loayza Bloomfield HS Sheikh B Mahmud Egg Harbor Twp HS Miah Nicole Moore Roxbury HS Johanna Ocampo Saddle Brook MS/HS Nidhi A Padmanabhan John P Stevens HS Keira Park Rheinheimer Newton HS Sarah Rose Sammarone Lyndhurst HS Esha Shah Paramus HS Kelly Thornley Brick Twp Mem HS Dhwani Venkatarangan John P Stevens HS Eden Wilcomes Westfield SR HS

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2022 New Jersey All-State Jazz Band SAXOPHONES Ginger Meyer, Alto I Mark Escarrilla, Alto II Abhik Mojumdar, Tenor I Ethan Lee, Tenor II Jack Crawford, Bari

TROMBONES W Morris-Mendham HS Deptford HS South Brunswick HS Newark Academy Washington Township HS

Nathaniel Levas Kristian Raices Alexander Massuet Peter Eaton

Shawnee HS Washington Township HS Mount Olive HS Princeton HS RHYTHM SECTION

TRUMPETS Kass Farnum Jacob Tolentino Arin Kumar Jared Wyetzner

Nathanael Gaw, Piano Ryoma Takenaga, Bass Luke Mattessich, Guitar Raghav Mehrotra, Drums

Shawnee HS Newark Academy Ridgewood HS Metuchen HS

Gaw Academy Acad for Info Tech Morris Hills HS W Windsor-Pboro HS

2022 New Jersey All-State Jazz Choir Ella Anzuini Elliot Block Chloe Brijbag Kaitlyn Campbell Julia Gerst Lucas McDonald Lily Navarro Jeri Nestle Shraddha Rahul Aaron Reichert

Burlington City HS Hopewell Valley HS West Milford HS West Milford HS West Milford HS West Milford HS East Brunswick HS Hopewell Valley HS John P Stevens HS West Milford HS

Veronica Schneider Joseph Schuyler Nicole Sutera

Pennsville Memorial HS Burlington Township HS Burlington Township HS RHYTHM SECTION

Nirayka Monga, Piano Nicholas Olson, Bass Alexander Rausch, Guitar Ben Schwartz, Drums

Scotch Pl/Fanwood HS Cinnaminson HS Biotechnology HS Newark Academy

Seen at the 2022 NJMEA Convention

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MAY 2022

2022 New Jersey All-State Mixed Chorus SOPRANO I

ALTO II

BASS I

Sophia Ashbahian No Valley Reg HS-Old Tappan Isabella Brisson Parsippany Hills HS Grace Eunhae Chung Bergen County Acad Claire Elizabeth Flynn Delran HS Jenna Johnston Egg Harbor Township HS Navya Joshi John P Stevens HS Marisa Knipfer Seneca HS Charlotte Lemaire Moorestown HS Paige Amy Liloia Mahwah HS Emma Rose Milsom Roxbury HS Caroline Nieto Kinnelon HS Katie Nieto Kinnelon HS Sarah Patunas Ramsey HS Sanjna Rajagopalan Ridgewood HS Sania Sawale Bridgewater-Raritan HS Cecilia Soheily Hawthorne Christian Acad Grace Trenouth Columbia HS Srivalli Santhoshisrimai Valluri Hackettstown HS

Ashley Attieh Roxbury HS Olivia Baldwin Summit HS Isabella Balestrieri Paramus HS Chelsea Jean Bohn-Pozniak Cinnaminson HS Emily Broadhurst W Morris Central HS Tori Dillon Howell HS Lauren Holmes Howell HS Arianna Joseph Gateway Reg HS Katherine Grace Lanzerotti Morris Hills HS Ava Grace Milsom Roxbury HS Skye Muthuramalingam No Burl Co Reg HS Samantha Danielle Perez High Point RHS Emma Schrier Cinnaminson HS Krishi Shah Paramus HS Alexandra Smith Seneca HS

Steven Patrick Burns Roxbury HS Colin John Covington Delran HS Ben Harris Ridgewood HS SangHoon Jung Bergen County Acad Michael Gideon Leiderman Mainland Reg HS Mihir Malhotra John P Stevens HS Rowan Mastrangelo Ridgewood HS Matthew Nho East Brunswick HS Ayush Shailendra Patel John P Stevens HS Alan F Pinzon Saddle Brook MS/HS Philip Benjamin Regalado Monroe Township HS Aarush Reddy Rompally Morris Hills HS Evan Schaffer Moorestown HS Sidharth Sidharth Bergen County Acad Prashasth Turaga East Brunswick HS John Turner Woodstown HS Akshar Vedantham Monroe Township HS Shravan Venkat John P Stevens HS Jackson D Weber Delran HS Thomas Joseph Wojcik Saddle Brook MS/HS

SOPRANO II Vanessa Arango Morris Knolls HS Elizabeth Grant Wayne Hills HS Morgan Elizabeth Hoban Cinnaminson HS Evelyn Husta Oakcrest HS Maya Jacoby Ranney School Meera James Monroe Township HS Elizabeth LeBoeuf Hillsborough HS Emma Mach No Bur Co Reg HS Sanjana Madhukar John P. Stevens HS Caelen Mahoney Saddle Brook MS/HS Heidi Nosch Saddle Brook MS/HS Olivia Rose Pescatore W Morris Mendham HS Sarah Smith Highland RHS Faith Song Ramsey HS Sinclair Stevens W Morris Mendham HS Kelly Taylor Howell HS Sarah Tremmel Bloomfield HS Sarah Vawdrey Bergen County Acad ALTO I Natalee Joy Basile Woodstown HS Katherine Becker Roxbury HS Ava Connelly Eastern Reg HS Elise DeFazio-Brown Pompton Lakes HS Bianca Del Campo Bergenfield HS Alexa Farah No Valley Reg HS-Old Tappan Alexiad Gardella Bergen County Acad Chloe Han Paramus HS Laura E Justnes Montville Township HS Riya Kishen Scotch Plains-Fanwood HS Audrey Kuo Morris Hills HS Mia Miller Pitman HS Oorvee Mulay Monroe Township HS Zia C Sarkis Ridge HS Brianna Siochi Monroe Township HS Medha Valluri John P Stevens HS Lorelai Waka Howell HS

MAY 2022

TENOR I Kai Cleary W Morris Central HS Graeme Daniskas Scotch Plains-Fanwood HS Andrew L Darling Roxbury HS Aashna Dureja Bergen County Danny Fencik Rutherford HS Koda Ekim Gursoy Morris Hills HS Daniel C Hillig Washington Township HS Matthew James Jones Delran HS Krishna Lekhi Rutgers Prep School Joseph Muscarelle Ramsey HS Griffin C Petry Central Reg HS Samuel Alberto Sanchez Saddle Brook MS/HS Christian Alberto Soto Roxbury HS Joseph Abalo Tremitiedi Parsippany HS TENOR II Andrew C Berkemeyer Randolph HS Christopher Delanos No Burl Co Reg HS Anish Sandeep Dharam John P Stevens HS Daniel Jose Garcia Saddle Brook MS/HS Stavya Gupta John P Stevens HS Rowan Johnson Ranney School Samuel Young-Ki Kim Mahwah HS Matthew Kudler Roxbury HS Sharvil Limaye John P Stevens HS Seth Lines Roxbury HS Skyler Reed Lipkind Westfield Senior HS Philip Mathew North Hunterdon HS Connor McGorty Ridgewood HS John F McHugh Verona HS Christopher M Meehan W Morris Central HS Aditya Phatak Scotch Plains-Fanwood HS Prahalad Shumsher Rana John P Stevens HS Aadityaa N Singla John P Stevens HS Nicholas Patrick Stella Morris Hills HS

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BASS II Thomas D Alexander Eastern Reg HS Gavin Brophy W Morris Central HS Ronit Chakraborty John P Stevens HS Aprameyo Chakravarty Westfield Senior HS Brendan David Coulthurst Roxbury HS Thomas J Gilligan Ramsey HS Siddharth Lakkotu John P Stevens HS Tal Ledeniov Bergen County Acad Evan Leone Westfield Senior HS Justin Masi Roxbury HS Krish Nambiar John P Stevens HS Raymond Ocasio Ridgewood HS Jacob Shinder No Valley Reg HS-Demarest Gavin Tomasco Morris Hills HS Jordan Viszoki Monroe Township HS Ryan Williamson Westfield Senior HS Jonathan Yoo Hawthorne Christian Acad

TEMPO

2022 New Jersey All-State Symphonic Band Vishal Kumar

PICCOLO South Brunswick HS

FLUTE Rachel Tang No Valley-Old Tappan HS Mei-Ching Huang Governor Livingston HS Julia Zheng Newark Academy Ava Fong Princeton Day School Lia Choi Paramus Catholic HS Youngho Cho Ridgewood HS Mia Zhong John P Stevens HS Kevin Cho Bergen Co Tech HS-Teterboro Jacqueline Strickland Bridgewater Raritan HS Anny Shi Princeton Day School Joyce Zhu W Windsor-Plainsboro HS S Jamie Liu Tenafly HS Andrea Chen Amanda Sun Rachel Wang David Reinstein

OBOE Bergen Co Academies Princeton HS South Brunswick HS New Milford HS

EMGLISH HORN Erica Koenigsberg W Windsor-Plainsboro N BASSOON Seth Peiris Columbia HS Samuel Broytman Fair Lawn HS Rachel Ngai John P Stevens HS Hannah Cheung Edison HS Eb SOPRANO CLARINET Kevin Li Bridgewater-Raritan HS Bb SOPRANO CLARINET Luke Carlsen Hillsborough HS Allan Zhang Lawrenceville School John Harjes Toms River HS South Rishi Gurnani John P Stevens HS Sunny Rhew Ridgewood HS Jeffrey Fang John P Stevens HS Temmie Yu Bergen Co Academies Kevin Dai John P Stevens HS Seohyun Park No Valley-Demarest HS Sewon Kim W Windsor-Plainsboro HS S Noah Song Bergen Co Academies Madison Lee Tenafly HS Sanjiv Raghupathy Ridge HS Rithika Iyengar W Windsor-Plainsboro HS N Benjamin Chee Ridge HS Leon Guo Livingston HS Molly McPoland New Providence HS Thomas Lee Montgomery HS Hanyi Deng High Technology HS John Oths West Morris Mendham HS Aaron Wong East Brunswick HS Alexander Kang Cherry Hill HS East William Huang Lawrenceville School Sean Li Churchill Jr. HS

TEMPO

Shyla Murray

C CLARINET Cherry Hill HS East

ALTO CLARINET Brandon Colan Williamstown HS Jeffrey Wang Bridgewater-Raritan HS BASS CLARINET Christopher Hyon Metuchen HS Angelina Morizzo Southern Reg HS Dev Dalwadi Edison HS Evan Park Morris Hills HS SOPRANO SAXOPHONE Justin Morgan Freehold Twp HS ALTO SAXOPHONE Ginger Meyer West Morris Mendham HS Timothy Chen Montgomery HS Jack Crawford Washington Twp HS Kristin Field North Hunterdon HS TENOR SAXOPHONE Colin Kim Tenafly HS Matthew Ibrahim Paramus HS BARITONE SAXOPHONE Christian Heil Washington Twp HS Evan Góngora Hanover Park HS TRUMPET Nathan Lee Parsippany Hills HS Michael Minenna Morris Knolls HS Nicholas Del Rosso Bergen Co Academies Samarsimha Munagala John P Stevens HS Andrew Furst Chatham HS Ian O’Boyle Pitman HS Alvaro Trinidad Cherry Hill HS East Jonathan Xavier South Brunswick HS Teresa Wang Millburn MS Luke Ludwikowski Seneca HS Colin Mroczko Madison HS Arin Kumar Ridgewood HS Jaden Lathom Howell HS FRENCH HORN Anthony D’Antuono Middletown HS South Kayla Stanz Eastern Reg HS Joshua Chun Millburn HS Elizabeth Juan John P Stevens HS Alicia Hamm No Valley-Old Tappan HS Nathan Spergel Livingston HS Kaitlyn Ferrari Bridgewater Raritan HS Shiv Goel Watchung Hills Reg HS

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TROMBONE Michael Galsim John P Stevens HS Nicholas Andrade Roxbury HS Jordan Guzzi Ridge HS Eric Tighe Bridgewater Raritan HS Peter Eaton Princeton HS Artha Abeysinghe Madison HS Anmarie Kaczor Vernon Twp HS Keizo Katayama Fort Lee HS Matthew Nespoli John P Stevens HS Shane Duffy

BASS TROMBONE West Milford HS

EUPHONIUM Alexander Massuet Mount Olive HS Shikhar Ahuja Montgomery HS Katherin Garcia West Milford HS Jaden Mayer-Costa Indian Hills HS TUBA Derek Wang Bridgewater Raritan HS Zoe Jones Ridge HS Patrick Gallagher Westfield HS Dominick Minicucci Monroe Twp HS Jason Feldman Freehold Twp HS Daniel Garcia Saddle Brook HS William Shea

STRING BASS

Millville HS

BATTERY PERCUSSION Swapno Chaudhuri John P Stevens HS Logan Soltys Absegami HS Ankit Verghese Ramsey HS Shreyes Varde John P Stevens HS Luke Tan Wardlaw Hartridge Sch MALLET PERCUSSION Nicole Galicia Woodbridge HS Theodore Chun Millburn HS Julian DiMaggio Seoyeon Lee

TIMPANI Bridgewater Raritan HS PIANO Whippany Park HS

MAY 2022

New Jersey Governor’s Awards for the Arts in Education 2021-2022 NJMEA Recipients New Jersey All-State Orchestra

New Jersey All-State Mixed Chorus

Geetika Komati Livingston High School Sponsoring Teacher: Nancy Ciminnisi

Arianna Joseph Gateway Regional High School Sponsoring Teacher: Jason Straub

Kathleen Zhang The Peddle School Sponsoring Teacher: Alan Michaels

Skyler Reed Lipkind Westfield Senior High School Sponsoring Teacher: Maureen Francis

New Jersey All-State Band

Caelen Mahoney Saddle Brook Middle/High School Sponsoring Teacher: Malcolm Couden

Wesley Sanders Vernon Township High School Sponsoring Teacher: Max Taylor

Colin John Covington Delran High School Sponsoring Teacher: Kathy Drachowski

Seth Peiris Columbia High School Sponsoring Teacher: Peter Bauer

NJMEA Master Music Teacher Karen Gorzynski Somerville High School

New Jersey All-State Jazz Mark Escarilla Deptford High School Sponsoring Teacher: Carl Cox

Governor's Award Ceremony is scheduled for June 26, 2022 at the Trenton War Memorial MAY 2022

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NJSMA

North Jersey School Music Association www.njsma.com It’s hard to believe that this is our last article of the school year. It seems like just yesterday we were still navigating our way through many possibilities of what the months ahead would throw at us. It has been stressful at times and also exciting to see things come back to what we know as normal.

In the next few paragraphs I would like to share some highlights, thanks and plans for the end of this year and upcoming events for 2022-23.

Our elementary general music division was able to host their SOS! (Saturday Online Sharing) Workshops throughout the pandemic. These hugely successful and well attended workshops featured participant presentations, in addition to sessions by guest presenters: Bob Morrison, Rob DelGaudio, and Denise Gagne. Thank you to participants and presenters who shared successful ideas and activities at our virtual workshops. We are grateful to NJMEA for providing outstanding clinicians and sessions for Elementary General Music educators at the 2022 conference. New Jersey presenters, and featured guest presenters, Artie Almeida and Lynn Brinckmeyer, were inspirational, informative, and uplifting. If you plan to attend our PD Day in June the sessions will include World Drumming, Elementary Chorus Repertoire, and Culturally Responsive Teaching Practices.

This year, our diversity and inclusion division has been able to provide fee waivers and transportation support to students in region High School, Intermediate, and Elementary ensembles. We know that this initiative has helped increase TEMPO

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student access to Region I opportunities and we plan to continue the program moving forward. We also started 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. We are excited to be incorporating an IDEA track during the NJSMA General Membership Meeting on Monday, June 6th.

The orchestra division would like to thank all of the North Jersey Orchestra Directors who assisted with auditions, the High School Region Orchestra rehearsals and concert, and the Intermediate Region Orchestra rehearsals and concert! Without your help, the opportunities that we present to the students of North Jersey would not be possible.

Special thanks to Peter Pezzino for serving as this year’s Audition Chair and for working with us through the process of transitioning to virtual auditions. We also would like to thank the managers of this years High School and Intermediate Orchestras, Eve Yee, Sarah Wlazlowski, and Chryselle Yang. These directors made sure that rehearsals ran smoothly for everyone! A huge thank you to our conductors, Ms. Loni Bach and Mr. Brian Worsdale, for working with the students and providing them with the memorable in-person music making experiences that we have missed! We also would like to thank Oliver Hagen for assisting as Rehearsal Conductor for the High School Region Orchestra and working with the winds, brass, and percussion. Without schools and directors to host these rehearsals and concerts, none of the hard work of our teachers and students would have a chance to flourish!

Sincere thanks to Eric Schaberg (Randolph Township), Wendy Campbell (Mahwah Township), Genevieve Sallemi (Randolph Township), and Diana May (Randolph Township) for hosting rehearsals and concerts this year!

Our chorus division proudly presented our High School Region Concert on February 5th at Randolph High School.

Michael Semancik and Matthew Swiss did a beautiful job conducting the Mixed and Treble Choirs. We were very proud of the many talented High School students that sang.

Our Intermediate Mixed Choir performed on March 27th at Clifton High School. Ignacio Angulo-Pizarro did a wonderful job preparing our 6th grade- 9th grade singers. These talented singers worked very hard to help make the concert a success! We have started preparing for next year already and we are planning to be 100% back to normal! Look out for our usual region events (festivals, region chorus, and some PD)! As always, we are appreciative of the many volunteers that make our events possible. If you can help out by hosting, managing auditions, managing rehearsals, accompanying, etc ….. please reach out.

Congratulations to all students who successfully auditioned for the NJSMA Region Bands and to all the directors that helped with auditions, rehearsals and concerts. NJSMA would not be able to provide these wonderful opportunities MAY 2022

for students without the support and encouragement from their sponsoring directors. The Intermediate Region Band rehearsals and concert were held at Madison Junior School in Madison. Deborah Gianuzzi conducted the Symphonic Winds, and the Concert Band was under the direction of Adam Freeman, Band Director at Hackettstown High School. The concert was on March 13, 2022.

This year’s High School Region Concert Band Festival was held on March 22, 23, 24, 2022. Hosts included 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 Middle School Region Concert Band Festival was canceled due to lack of host sites.

The annual NJSMA Elementary Band Festival will take place on Saturday, May 7, 2022 at Belleville High School.

Sixth graders from North Jersey who have been nominated by their directors will rehearse and perform a concert in a oneday 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 Regional High School in Wanaque.

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.

The NJSMA Membership PD Day will be held on Monday, June 6th at the Mansion in Mountain Lakes. This valuable PD day for NJSMA members will include fabulous sessions for elementary music educators as well as workshops for band, orchestra and chorus teachers. We are also pleased to welcome Mr. Keith Hodsgon as our guest speaker for everyone in attendance. At this meeting, we will also have the chance to recognize our student scholarship award winners and hear them perform. Voting for the positions of Treasurer and Publicity/Corresponding Secretary will also occur. If you are interested in any of these positions, please reach out to president[at]njsma.com for more information. More details about the schedule of sessions for every division can be found on our website (njsma.com).

For the 2022-2023 year, we are planning to have all of our ensembles back to pre-pandemic participation numbers and part selection. All festivals are being planned to run and we are hoping to add some exciting professional development opportunities for all content/grade levels. For your planning, the elementary general music division has these dates already set: MAY 2022

- October Annual Fall (Columbus Day) Workshop (October 10, 2022) will feature nationally renowned clinician, Amy Abbott (Music a la Abbott). (“Hook, Line and Sinker: Catching the Attention of the Upper Elementary Student,” and “Tried and True Singing Games for Grades K-6.”).

- February 2023: It’s Elementary, My Dear Saturday Morning Workshop: will feature a variety of workshops for elementary music educators.

- May 2023: Elementary Choral Celebration: Elementary choirs will have an opportunity to participate in a noncompetitive event and receive feedback from master clinicians.

Registration and information for NJSMA Elementary workshops and events will be shared on the NJSMA Elementary Music Division webpage. If you’d like to join our mailing list to receive information about upcoming professional development opportunities and events, please place a request via email: elementary[at]njsma.com.

To conclude, I would like to thank the entire NJSMA executive board for their work and dedication. Our officers are as follows: Past President: Diana May President Elect: Anthony Lanzerotti Treasurer: Dave Walsh Publicity/Corresponding Secretary: Nick McGill Recording Secretary: Chris Zwarych Webmaster: Joseph Stella Band Division: Michelle Christianson, Lewis Kelly & Lyn Lowndes Chorus Division: Deana Larsen & Austin Vallies Diversity & Inclusion Division: Katy Brodhead Elementary General Music Division: Karen Andruska & Lisa Wichman Orchestra Division: Jordan Peters & Caitlin Shroyer Having such a fine group of colleagues to work with makes my job very enjoyable. It has been a pleasure working with them and the NJMEA executive board along with the entire membership of both organizations. I look forward to next year and even more continued success!

Christopher DeWilde NJSMA President president[at]njsma.com

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CJMEA

Brian for bringing his expertise to CJMEA as well as Division Chair Isaiah C. Mason for putting the event together.

We held our General Membership Meeting as part of the NJMEA Conference in February in Atlantic City. It was great to see so many new and familiar faces. It was so great to be part of an in person conference once again.

Thank you to all that attended!

Looking ahead, the CJMEA Board will be planning next years schedule and events during the Spring. If you would like to get involved with CJMEA please visit our website and reach out to the appropriate division chair. We are currently looking for host sites for each of our ensembles.

There are many benefits to hosting a rehearsal and concert.

We would love to bring one of our events to your district next year. Lastly, as this year wraps up, I would like to end by saying that it is truly and honor and privilege to serve in my role as CJMEA President. I look forward to another wonderful year ahead next year. If there is ever anything I can do to assist you, or your programs please always feel free to reach out! I look forward to seeing everyone soon!

Central Jersey Music Educators Association www.cjmea.org I hope this finds everyone well as we are in the home stretch of the school year. I look back at this year and know the many challenges everyone has faced in getting their programs back up and running in person. I commend each of you for your hard work, passion, resiliency, and dedication in making this happen. As we look ahead to the next school year, it is more important than ever to continue to advocate for our students, motivate them, and help them reach all of their goals.

I am so proud that despite some bumps in the road and moments of uncertainty, CJMEA had a full year of in person events and is back up and running! This is greatly due to the hard work of the CJMEA Board. I cannot thank each of them enough for pulling together to make this year happen. I am truly lucky to be able to work with such talented and dedicated individuals. In addition, the work of the all of the teachers throughout CJMEA is truly top notch. After so many months of remote learning, it was such a pleasure to see all the students back this year and sounding like they haven’t missed a step. This is the result of all our educators pushing through a difficult situation and making sure that their students still received the finest education possible. Bravo to each of you and your students!

We have just completed our Intermediate Season and I was truly blown away by some tremendous performances and getting to watch our students work with some amazing educators. I would like to give a heartfelt thank you to Adam Warshafsky (Wind Ensemble), George Heffentrager (Symphonic Band), Patty Gonsky (String Orchestra), John Enz (Chamber Orchestra), Kendra Balmer (Treble Chorus), Dr. Joyce Richardson-Melech (Mixed Chorus), and Chris Colaneri (Percussion Ensemble) for all of their hard work and bringing their expertise to our students by serving as this year’s guest conductors. In addition, we would like to thank all of our site hosts and managers for all of their work in making this a success. Lastly, a thank you goes out to our CJMEA Intermediate Division Chairs Sandy Olson (K-8 Band), Ashlen Udell (K-8 Band), Grace Lee (K-8 Orchestra), and Helen Kernizan (K-8 Classroom and Chorus) for all of their tireless work this year. Congratulations to all involved.

We held a Professional Development session on March 19th in our newly formed Diversity and Inclusion division. Brian J. Wagner-Young (NYSSMA Special Learners Chair) presented a workshop on the topics of Neurodiversity in the Music Classroom and Engaging All Learners: Tools and Techniques to Reach Different Types of Learners. The session was very well received and a thank you to TEMPO

Yale Snyder CJMEA President percussion[at]cjmea.org

SJBODA

South Jersey Band and Orchestra Directors Association www.sjboda.org Congratulations to all who were involved with the 44th Annual All South Jersey Junior High School Band Concert.

The performances were outstanding. The conductors this year were Mary Solanik (Clara B. Worth ES) and Matthew Holmberg (Mill Pond ES). Nancy Robinson (Linwood Public Schools) and Brian Strohmetz (Toms River HS East) provided excellent assistance as managers for these ensembles.

This concert would not be possible without the commitment and dedication of our colleagues. Joe Brausam (Mill Pond ES), our Junior High Band Coordinator, was responsible for organizing a wonderful event that our students will cherish for many years. Special thanks to Derek Rohaly (Mainland Regional HS), Marc Spatz (Fernwood Avenue MS), and Dawn Donchey (Alder Avenue MS) who offered their facilities and percussion equipment for the rehearsals and the performance.

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Our 14th Annual Chamber Ensemble Concert took place 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 (Cairn University), Clarinet: Emily McGovern (Grace N. Rogers ES), Flute: Kimberlee Speers (Slaybaugh Primary School), and Tuba/Euphonium: Michael Fahrner (Rowan University).

Our 28th Annual High School Concert Band Festival showcased 12 ensembles this year. This two-day event took place at Rowan University with Joe Higgins as our host. The performances by these groups are evidence of the many excellent instrumental music programs in South Jersey. Our festival coordinators were Mike Armstrong (Deptford HS) and Jon Porco (Deptford MS). The adjudicators were Joe Higgins (Rowan University) and Todd Nichols (Rutgers University).

Our Elementary Music Festival will be held on Saturday, May 7th at Absegami HS with Patrick O’Keefe as our host. The string ensemble and two bands will represent approximately 100 schools. Our coordinators will be Sue Moore (Mansion Avenue School) and Christine Macaulay (Clara Barton ES). Mark Przbylowski (Bunker Hill MS) will conduct the string ensemble. The band conductors will be Robin Soden (Pleasantville MS) and Andrew Lesser (Wilber Watts Intermediate School). Jake Weber (Cherry Hill Public Schools) will assist as a band manager. We were still in need of additional managers at the deadline for this article.

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[at]gmail.com if you plan to attend. Please continue to check the website, 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 held their annual Elementary Chorus Festival on March 5, 2022 at the Washington Township Performing Arts Center. Guest conductor Eric McLaughlin (G. Harold Antrim Elementary) led the 39th Annual Elementary Chorus in a wonderful concert program accompanied by Marilyn Rabbai at the piano.

SJCDA would like to thank everyone who contributed to the success of this year’s elementary festival: managers Matthew Guerrasio (Fernwood Ave MS) Theresa Hengeli (Central Park Elemetary), Festival Coordinator Amy Melson (Mainland HS), box office coordinator Kathy Drachowski (Delran HS), and our site host at Washington Township, Joe Zachowski and his wonderful Choir Parent Association. Of course, the festival would not be possible without the hard work, preparation and support of the sponsoring directors with 17 South Jersey schools that participated in the program.

Our organization held its annual SJCDA Spring General Membership Meeting & Seminar on Friday, April 29th at Scotland Run Golf course. We started the morning with a buffet breakfast together as well as a brief membership meeting. Following that, our two scholarship winners Benjamin Silvesti & Brianna Petrella presented outstanding performances of their winning audition pieces.

The presenters for this year’s inservice were Ariel Weiss who had wonderful workshops: (Up and Free: An Introduction to the Alexander Technique for Musicians) & Lauren Athey Anka: (Articulation and the ABCs of Vocal Warmups). We would like to thank Ariel and Lauren for their amazing workshops at our breakfast meeting.

Many thanks to all of the SJCDA membership for a wonderful performance season. We hope that as things are improving with COVID protocols our students and members continue to grow in number and participation. Thank you for all that you do for SJCDA in the past, present and the future.

David Taylor SJCDA President dtaylor[at]nburlington.com

MAY 2022

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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. home, at the beach on Long Beach Island or Cape Cod, or in the woods on a mountain trail.

Al Dorhout was preceded in death by his parents, Raymond B. Dorhout of Wyckoff, NJ, and later Carol K. Dorhout Cigol of Hackettstown, NJ. He is survived by his wife, Judith Kraemer Dorhout, their three sons: Dr. Peter K. Dorhout (and Carolyn) of Ames, IA; Bruce M. Dorhout of Allentown, PA; and Thomas E. Dorhout (and Lisa) of New York, NY. In addition, Al is survived by his granddaughters, Dr. Jacquelyn M. Dorhout of Los Alamos, NM; Kathryn Dorhout Ota (and Peter) of Silverdale, WA; and Ella S. Dorhout of New York, NY; as well as his older brother Raymond Miles Dorhout of Flint, MI.

Albert Jensen Dorhout Dr. Albert Jensen Dorhout of Topton, PA, sang his final note on the morning of January 29, 2022, just a few weeks after celebrating his 85th birthday. By his side in their room at the Lutheran Home was his wife of over 62 years, Judith K. Dorhout. Al and Judy spent a lifetime together as educators of thousands of elementary and high school students in New Jersey (GLHS, JDHS, Randolph HS) and Illinois (BHS Al was a dedicated and passionate educator throughout his entire life. Teaching high school music in the 1950s through the 1990s was celebrated with all genres of choral music, including musical theater, folk, classical, and contemporary music through training and performances.

Al believed in the value of music and the arts for all students, and that passion was embraced by many of his alumni who themselves became educators and performers. He believed in lifelong learning and earned a Ph. D. (Northwestern) later in life to enable him to transform education. He was a leader in gifted and talented education and a founding educator and leader in the Summer Institute for the Gifted (SIG) that combined his passion for education and his passion for the summer camp experience.

Al was compelled at an early age as an Eagle Scout to live the Scout Oath and Law every day, and he lived a servant leader philosophy as a Scout camp counselor and waterfront director, finally hanging up his towel and whistle as a lifeguard supervisor in Sparta, NJ, at the age of 81. He volunteered at the environmental learning center at Fairview Lake YMCA camp for years as a docent and nature guide for children from inner-city communities who rarely had an experience with nature – let alone heard anyone sing about it. There wasn't a family trip or gathering that didn't include singing. Al loved singing at TEMPO

Austin P. Gould Austin P. Gould was born on January 21, 1931, to the late Austin J. and Mary B. Gould and was the oldest of four children. He was a lifelong resident of Gouldtown, NJ. With encouragement from his mother, Austin developed a love of music at a very young age, while “fooling around on the family piano”. He attended Gouldtown Elementary School and graduated from Bridgeton High School.

Following high school graduation, he attended the Ornstein School of Music in Philadelphia, PA where he studied advanced piano with Leo Ornstein and Natalie Hinderas. His studies were interrupted when he was called to serve his country in the U.S. Army from 19521954. He honorably served in Special Services, where he played the organ for chapel services and in the Army Band. Austin then graduated from Temple University, earning both Bachelor’s and Master’s degrees. Austin 66

MAY 2022

married the late Muriel “Honey” Gould in 1970. They were married a total of 35 years, until “Miss Honey’s” passing in 2005.

Austin was a lifelong educator and began his teaching career at Vaux Junior High School in Philadelphia, PA. He eventually returned home and taught music in the Bridgeton Public School system for 36 years, as both choral director and music supervisor. He touched so many students’ lives throughout his career and was recognized everywhere in the community. You could not go out to breakfast or dinner with Austin, without a grateful and excited past student approaching the table to thank Mr. Gould for impacting his or her life. He retired from the Bridgeton Public School system in June 1996.

In addition to his committed service to the church, Austin was also extremely active in the community, serving in many roles, to include: National Association for Music Educators for 53 years, member of the Bridgeton Rotary Club for over 40 years, member of the New Jersey Music Educators’ Association, member of the Cumberland County Cultural and Heritage Commission, member of the Board of Directors of the YMCA and an advisor to the Student Chapter of the National Conference of Christian and Jews at Bridgeton High School. Austin broke down barriers and became the first Black chairman of the Board of Trustees at Cumberland County College – truly a trailblazer!

Austin left his earthly home on February 10, 2022. He leaves so many people to mourn his passing: his beloved sister, Diane Stills of Marietta, Georgia; his stepson, Gary Denby, Sr.; several step grandchildren, his nephews, Warren Wright, Jr. (Sonya) and Robert Stills Jr. (Ashley); a host of cousins, great nieces and great nephews, church family and hundreds of people that he touched.

MAY 2022

Carson Rothrock Carson Rothrock, 87, died February 11, 2022 after a brief illness in Las Vegas, NV. Carson was born in Tyrone, PA on January 25, 1935.He received B.S. and M.Ed. degrees from Penn State University. His further musical studies were at Temple University, New York University, and the Manhattan School of Music. Before beginning a career in teaching, Carson played drums, French horn, baritone horn, and trombone in bands and orchestras and the PA National Guard Band ( 28th) Division. Carson taught instrumental music in the Ewing Township, NJ School District for 34 years.

Carson has had many arrangements and several compositions published by Bill Holcombe’s Musicians Publications. His arrangement of the “Theme from Superman” by John Williams, was published by Warner Bros. and played by many orchestras. After 14 years of teaching, Carson wrote “ Training the High School Orchestra” for Parker Bros. Carson also played viola in the Trenton Symphony Orchestra for 18 years. Carson and his wife retired to Las Vegas in 1999. The book, “Music Around Us”, was written after he retired for people who expressed a wish to know more about the music they heard played in concerts.

Carson belonged to Musician’s Union Local 369 until his death. Carson was preceded in death by his daughter Shelley Rothrock Klek of Trenton NJ, in 2017. He is survived by his wife of 62 years, Mary Ann Rothrock, a daughter, Rosalind Rothrock Carrillo of Rancho Santa Margarita, CA, a son Randall Rothrock of Jim Thorpe, PA, 7 grandchildren and 5 great-grandchildren. Carson is sorely missed, and we hope music and great happiness will be with him forever.

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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.

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 & Elisabeth 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 MAY 2022

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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 70 quinnc1[at]tcnj.edu

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

Authors who submit an article to TEMPO Magazine for publication agree to all of the following 1. the editor may edit all articles for content, spelling and grammar.

2. the printing of the article in TEMPO Magazine, the printing date, and placement are at the discretion of the editor.

3. permission is granted to reprint the same article in any National or State Music Education Association magazine on the condition that the author’s name and TEMPO Magazine are to be mentioned in all reprinted articles.

4. no exceptions will be made regarding items 1 through 3 above.

5. the author of the article may submit his/her article to additional magazines for publication.

NJMEA Past Presidents 1924 1926 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

MAY 2022

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

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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Kean University

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montclair.edu/music

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www.njsymphony.org

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Performing Arts Consultants

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Percussive Arts Society of NJ

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49

www.peripole.com

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rider.edu/musiceducation

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Montclair State University, Cali School of Music New Jersey Symphony Orchestra

Peripole Rider University - Westminster Choir College Rowan University Department of Music

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Susquehanna University

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West Chester University

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William Paterson University

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Yamaha Corporation of America

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