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TEMPO Editor - William McDevitt
300 W. Somerdale Road, STE C Voorhees, NJ 08043
Phone: 856-433-8512
e-mail: wmcdevittnjmea[at]gmail.com
October Issue - August 1
January Issue - November 1
March Issue - January 15 May Issue - March 15
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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.
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Greetings!
President's Message
David Westawski West Windsor Plainsboro High School - South westawski.njmea[at]gmail.com
Welcome to the 2024-2025 school year! I hope that the hectic month of September treated you kindly and that you feel somewhat settled into another school year. Some of you walked into a classroom for the first time without a cooperating or supervising teacher alongside you while others are doing this for the 30th or even 40th time! Somehow this will be my 24th year of teaching. I still get those first day jitters of excitement during Labor Day weekend and as I see my classes for the first time. I always joke that when those go away, it’ll be time for me to retire! Regardless of your years of experience, each school year brings exciting new challenges and the opportunity for us to create meaningful relationships with our students. My hope is that the passion and excitement you feel now can be sustained throughout all 180 days. NAfME and NJMEA are always here to serve as resources in that regard!
By now you’ve likely heard about our need to acquire a new General Liability Policy that included Sexual Abuse and Molestation coverage. I want to thank our Executive Director, Bill McDevitt, for all the work he’s done with this over the past year and for skillfully walking us through the process during last month’s Zoom meetings.
This change was necessary in order for us to be able to utilize rehearsal/performance spaces at many colleges and schools throughout the state. The new requirements include Criminal Background Checks, Sexual Abuse Registry Checks, and Abuse Training. These will need to be completed before any volunteer can participate and sponsor students in Region or All-State activities. There’s no doubt that this is a huge change to our normal operating procedures. I personally want to thank each of you for your flexibility, cooperation, and patience as we get through this first year of the requirements.
In the summer of 2023, I laid out three goals for my presidency: greater communication and transparency, expanding our tent by expanding our offerings, and evolving and elevating our work. I’m happy with the progress
that was made in all three goal areas. We’ve streamlined our communication via the Weekly Tempo Express to provide predictable access to important information. Our Sunday Office Initiative created the opportunity for Board members to interface with you directly to answer questions and address concerns “face to face.” We had our first ever State-level Honors Modern Band and will see those ensembles begin in each of our regions soon. And we thought about new ways of doing things, such as rolling our Student Tech Festival into our conference to allow more people access to those sessions. I look forward to working with our tremendous Board to make more progress in those goals during my second year as President.
Our Strategic Goal Team met with its facilitator, pastpresident Jeff Santoro, in May. The day was spent creating action steps and revising NJMEA’s mission statement. The thoughts, concerns, and priorities of the members will be integral to this revision process, so please keep your eye on the Weekly Tempo for more information as we begin this exciting process. It is my hope that we have a new strategic plan in place before June 30th.
As always, I encourage you to connect with me or any fellow Board member to share your questions, insights, and thoughts. We are here to serve and support you. I also invite you to consider becoming more actively involved with NJMEA or with your region. Within an organization of this magnitude, there's always room for individuals who seek to contribute as we evolve and elevate our work. Your dedication to advancing music education in New Jersey is greatly noted and sincerely appreciated. Thank you for the invaluable contributions you make each and every day.
Gratefully,
President-Elect's Message
Yale Snyder Monroe Township Schools snyder.njmea[at]gmail.com
I hope everyone had a wonderful summer and an even better start of the school year! As the new year begins, I want to wish everyone the best and for you to have a successful year with your students. I am very excited to be starting my second year as President-Elect of NJMEA. Last year was such a rewarding learning experience for me, and I look forward to another one as I prepare to begin my term as NJMEA President on July 1, 2025. I had the honor of attending the NAfME National Assembly back in June in Reston VA. It was great to be able to collaborate with so many other state officers and executives from all over the country. Hill Day was truly an eye-open-
ing experience as the NJMEA Delegates spent the day on Capitol Hill meeting with NJ Senators and representatives advocating for music education. The NJMEA Board of Directors have been working tirelessly throughout the summer and we have some wonderful things ahead of us. I encourage all of you to please consider joining us for our February Conference in Atlantic City. While it may seem early, the time is now to put in for the days! I hope to see all of you there! If there is anything I can ever do to assist you, please know I’m only an email away. Best of luck this school year!
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Executive Director's Message
William McDevitt wmcdevittnjmea[at]gmail.com
The 2023-2024 fiscal year was a bit brighter for NJMEA than the previous year. At this point last year, we were discussing $40K deficit that was brought about by rising costs and smaller than projected income. This was a problem that was being realized by every state in the country. I am happy to report that, with the changes that we made in anticipation, our deficit for the past fiscal year was lessened and brought in line to what we were anticipating when creating the budget. While we lost money, we did forsee the probability and worked accordingly.
The budget that has been passed for the 2024-2025 fiscal year puts us back into the black with projected income vs. expenses. The Executrive Board continues to monitor spending monthly and reviews the budget vs. actual quarterly. As an organization, we are quickly approaching an annual operating budget of $1 million. As we move forward and start to move back onto the positive side, we will need to start adding to our savings. It is suggested that we have an amount in reserves equal to 1 year's operating expneses. Since Covid, we have not been able to put money into savings. That will be a focus in the coming years.
I have had questions from members asking why we need to have savings and investments. It's just like insurance - you have to have it and hope you never have to use it. If one of our major events (conference, all-state) were canceled, there are contractual expenses that we would have to cover. Assuming that fees would have to be refunded to students and members, we need our savings and investments to keep us solvent. Hurricaine Sandy was a good example. All of the All-State fees were returned to students. Luckily it was an event that was declared an emergency by the Governor. If it had not been declared an emergency we would have been liable for hotel and banquet costs!
As we move forward into the new school year, here are some things to consider:
INSURANCE - This has been on the horizon and we now have to make some changes. NJMEA carries a General Li-
ability policy for our events. Last year, we had to cancel several events because the facility required Sexual Assault and Molestation (SAM) coverage. Our policy at the time did not include it. Long story short - we had to change carriers to attain SAM coverage at a reasonable cost. There are several stipulations that we must follow to maintain the coverage:
1-Criminal/Sex Offender Registry Background Checks. We already started this before the end of last school year. Anyone that works with students on behalf of NJMEA or the Regions will need to complete this. It is a very simple process. There is a fee involved and this is the reason for an increase in audition fees for All-State and Region ensembles. This will need to be completed annually.
2-Abuse Training. We are using an NFHS traning module that takes about 20 minutes to complete. This also will need to be complete annually.
Unfortunately, the insurance company will not accept training that has happened at your school because they cannot monitor its delivery. The two requirements above have been approved by our carrier. Once your name has been submitted to me by an auditions chair you will receive instruction on how to complete the process. If you do not complete both parts, you will NOT be eligible participate in auditions or rehearsals.
NJMEA CONFERENCE - We are still under a two-year contract with the Sheraton in Atlantic City. After the problems that arose last year we will be closely monitoring their performance this year. If they do not meet our expectations, we will be considering our options moving forward.
NJMEA DUES - At the end of last school year, the NJMEA Executive Board voted to keep the NJMEA portion of our dues at the same rate as last year ($31 for Active Membership). When comparing our dues to the other states in the country we dropped three spots from last year! There are 32 states that have a higher dues rate than NJ! The highest rate is $66!
NJMEA Year-End Financial
News From the Board of Directors
Choral Festivals
Donna Marie Berchtold firesongwed[at]gmail.com
I hope all of you have had an exciting start to your school year, and your programs are developing with much enthusiasm for this upcoming year! The 70th Annual NJMEA Middle School – Junior High Choral Festival Dates are scheduled for the spring of 2025.
The Festivals are currently scheduled to be held at two separate locations. The first event (South Site) will take place at Rowan University on Thurs. March 20, 2025. The deadline for applications is February 8, 2025. (Event time: 9:00 AM – 1:30 PM). A SNOWDATE has been scheduled for Fri. March 21, 2025. The second event (North Site) will be held at Monroe Township Middle School on Thurs. May 21, 2025. The deadline for applications is Thurs. April 11, 2025. (Event time: 9:00 AM – 1:30 PM)
The application forms will be on the NJMEA website, however, they can also be found in the January edition of TEMPO Magazine. A maximum of ten (10) registrations will be accepted at each site. The Registration Fee per school group is $150.00 for either site. Please send in a Completed Form, listing your song titles and composers’ names, along with the registration fee (per the instructions) on the application form. Each participating choral group will receive written and oral 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 either of these events next year, should be sure to complete the application form in the January issue of TEMPO magazine, or online at www.njmea.org. Anyone with questions or concerns may contact Donna Marie at: firesongwed[at]gmail.com.
Collegiate/Higher Ed/Research
Marissa Silverman silvermanm@montclair.edu
The summer is a time for regeneration, renewal, and reinvigoration. As such, over the summer months, most of the higher education researchers I spoke to attended conferences, read, and reviewed all that occurred this past academic year in the hopes that this next academic year will be stronger. For example, many New Jersey-based researchers and higher-education faculty members attended and presented at the International Society for Music Education 36th World Conference (Helsinki, Finland). The overall theme for this conference: Advocacy for sustainability in music education . Accordingly, New Jersey music educators alongside music educators from around globe considered the ways in which music teaching and learning advances “the wellbeing of the individual, community and society.” Indeed, exceptionally important ends for this new academic year. While it seems like NJMEA’s Annual Convention is far in the future, it is just around the corner. In July, I sent out a Call for Research Papers. I am particularly hopeful that many early-career researchers will, through their research, assist all New Jersey teachers—within public school systems, community music organizations, and higher education—examine “what is” across music education in the hopes of considering “what could be” for numerous areas of music teaching and learning. Because of this, I wish all music educators a hope-filled school year.
News From the Board of Directors
Choral Performance
Brian Williams
NJAllStateChoir[at]gmail.com
I hope this message finds you in good spirits after an exciting start to another school year. The allstate choirs have been selected from a very successful audition season last April. I want to take a moment to thank all of the wonderful people who made auditions run so smoothly: First off, Barbara Retzko for being the wizard of all things auditions and Rick Retzko for his help with AuditionForms.com. Next, a warm thank you to our registration managers; Barbara Retzko, Cheryl Breitzman, Kristen Markowski, and Viraj Lal. Thank you to Lindsey Reinhard for being our systems administrator helping answer questions, solve problems, and supplying missing passwords. Next up is Ken Bryson, our choral procedures chair, for steering the ship and keeping everything in line. Finally, thank you to all of our members that helped with auditions!
We are pleased to announce our audition numbers are up significantly from the previous year, thank you so much to everyone who helped their students prepare for the process! Later this month, the all-state mixed choir will come together to rehearse before the NJEA conference in November. We are so excited to have Michael Semancik working with our mixed choir this fall and Amanda Hanzlik conduct our treble singers later in February. We are in the process of looking for conductors for the next few years. If you are interested in conducting an all-state ensemble, please feel free to email me using the address below to get more information on applying.
We are continuing to use MailChimp as a way to reach our active choirs - including students, directors, and parents. We understand that some school district’s firewalls will consider these messages as spam and block them before they get to your mailbox. If you have been expecting correspondence from us, either check your junk folder or reach out to myself or the choral procedures chair, Ken Bryson at NJAllStateChoir@gmail.com.
Accessible Music Education
Maureen Butler
maureenbutlermusic[at]gmail.com
By this time each year, we are typically acquainted with our students with disabilities, and have begun to make adaptations and modifications for them. Additionally, there may be students on our radar who are not classified, but about whom we have concerns. If you need help making your lessons accessible to all, check out The Berklee Institute for Accessible Arts Education website at https://college.berklee.edu/BIAAE/ professional-development. You’ll find a wealth of free resources including recorded workshops, lectures and presentations. Our state Accessible Music Education committee continues to be available to respond to any questions you may have about the students you teach. They include: Steve Braun from the Center of Lifelong Learning and the Academy Learning Center, Lucia Marone from Vineland, Krysta Mirsik from Passaic, Glennis Patterson from Roxbury, Sarah Perry from Westminster Choir College, Lauren Shanahan from the Ellisburg Campus of Y.A.L.E. Schools Inc, Brian Wagner-Yeung from Cuny Brooklyn College, Barbara Weiner from Saddle Brook, Michelle Williams from Woodbridge, and myself. All of us have expertise in teaching students with disabilities, and are willing to share our insight and strategies. Many thanks to all of them for their passion and dedication! Feel free to contact the committee through me at my e-mail address.
News From the Board of Directors
Emerging Ensembles
Zachary Gates zacharygatesmusic[at]gmail.com
The 2025 NJMEA Honors Modern Band, sponsored by Sweetwater, is here and it is going to be a great one!
If you missed out last year, that is all the more reason to get more info and get involved this year. Audition requirements, rubrics, and instructions are available on the NJMEA website. Auditions will be accepted until the due date, November 15th 2024. We are seeking talented drummers, guitarists, bassists, singers, keyboardists, and any other instrument that would add to the band. New this year though, we are also looking for students to audition/interview to be FOH audio engineers for the band!
Selected students will meet virtually with the director and myself in the months leading up to our in-person rehearsals and performance in February in Atlantic City as part of the NJMEA Conference.
The deadline for audition submission is approaching, so if you have a student you think would be a good fit for this ensemble, we would love to hear from them! For more information on auditions or NJMEA Modern Band, please visit the NJMEA website or feel free to reach out.
Diversity/Equity/Inclusion/Access
Isaiah C. Mason deia.njmea[at]gmail.com
I hope you had a relaxing summer and have had a successful start to your school year! The Diversity, Equity, Inclusion, and Access (DEIA) Committee is excited to serve you.
We want to hear your success stories! We know that many of you are doing great work in your classroom to promote diversity, equity, inclusion, and access. We would love to hear about your success and be able to provide effective strategies to teachers looking for more resources. Use the QR code or the link to complete a form and share your stories. https://forms.gle/DGKD27YKHW9NsmWF8
Email deia.njmea[at]gmail.com to learn more about our various initiatives or to join our team.
News From the Board of Directors
Orchestra Performance/Festivals
Susan Meuse susanmeuse[at]gmail.com
The All State Intermediate Orchestra performed a great concert last spring. The concert was held on May 11 at Westfield High School. The students skillfully performed an exciting program under conductor Kyle Ritenaur (Montclair University). The Procedures Committee would like to thank Caty Butler (Bridgewater-Raritan Middle School) for managing and Craig Stanton for hosting.
The All State Orchestra had their first rehearsal on June 1. Rehearsal conductor Jim Millar (Tenafly High School) led the students through the difficult music. Everyone is looking forward to meeting conductor Jose Luis Dominguez (Temple University). The program features great music, and there will be two wonderful performances in November!
I am in the process of planning the Middle School and High School Orchestra Festivals for this year. If you are interested, please keep an eye on the NJMEA website and Tempo Express.
Finally, I would like to encourage any NJMEA member to get involved with the All State Orchestras. We are always in need of help at rehearsals. We are particularly in need of chaperones for All State Orchestra in Atlantic City this November. Getting involved is a great way to meet other music teachers, learn from great conductors, and make new friends!
Retired Members/Mentorship
Kathleen Spadafino kspadeb[at]aol.com
To all of you starting a new year, we hope it is your best ever! To those of you nearing retirement and reading our article enviously, we want to tell you there is definitely a life after full time teaching! We in NJRMEA are actively performing, teaching privately, working with our NJ colleges and taking time off pretty much whenever we feel like it! We work with NJMEA on several projects and plan outings for our members only for musical experiences and sharing our current lives.
Our first General Membership meeting is during the NJMEA conference in Atlantic City, Friday, February 21, 2025. Please reach out to our president, Ron Dolce at rdolce561[at]aol.com or me at kspadeb[at]aol.com and we will get you included in all of our correspondence. If you know someone who has recently retired, please send their email address to one of us and we will reach out. We don’t want anyone sitting around staring at your walls once you retire! Enjoy this new year!
News From the Board of Directors
PreK-8 General Music
Amy M. Burns aburns[at]fhcds.org
Welcome back to the 2024-2025 school year! Exciting events are on the horizon. Dr. Missy Strong will lead an elementary music workshop for NJSMA this month. The Tempo editions will showcase the elementary general music curriculum. In the May 2024 edition, Dr. Jim Frankel discussed the MusicFirst Elementary music curriculum for grades K-5, featuring scope and sequence lessons, creative tools for music creation and movie scoring in a web-based platform, supplementary play-along videos, and so much more. Shawna Longo's article in this issue highlights 5 Reasons to Use Essential Elements Music Class by Hal Leonard, offering a comprehensive solution for vibrant and fun elementary general music classrooms along with an excellent focus on SEL. The next issue will feature Catie Dwinal discussing the Quaver Music curriculum, which is an educational platform designed to provide music education resources and curricula for teachers and students. It also includes a suite of digital tools and interactive content tailored for use in K-12 classrooms.
Guess who's joining NJMEA? Two distinguished clinicians will be featured at the Elementary Academy! Meet the incredible Stephanie Leavell, MT-BC from Music for Kiddos, and the NJ music educator and recipient of the 2023 NJMEA Master Music Teacher Award, Dr. Missy Strong. If you are involved in teaching elementary general music and/or early childhood music, make sure to visit their websites and save the date for the Elementary Academy on Thursday, February 20. Don't miss the opportunity to witness these outstanding elementary music educators in action!
Band Performance
Patrick O'Keefe patrickaokeefe[at]gmail.com
Welcome to another school year and one that again promises to be a successful one for our All State students. I’m excited to continue to represent our all state band students program on the NJMEA board. For those that I have not met or collaborated with, my name is Patrick O’Keefe and I am a high school band director from Region III, currently teaching at Absegami High School in Galloway.
Looking ahead to our All State experience, auditions are set to take place on Saturday, January 18, 2025 at JP Stevens HS. The solo list, first published in this year’s May Tempo, can also be found on the website. If there are any questions regarding auditions, the process, or the material, please always feel free to reach out to me (patrickaokeefe@gmail.com) or Tyler Wiernusz, our Procedures Chair (allstateband.njmea@gmail.com). The conductors for this year are Dr. Courtney Snyder, from the University of Michigan, and Dr. Catharine Sinon Bushman, from St. Cloud State University, for our Wind Ensemble and Symphonic Band, respectively.
We look forward to another great year, and will continue to share information as it progresses. As was done last year, we will feature our All State Wind Ensemble and Symphonic Band as a part of the February Conference in Atlantic City, and look forward to their culminating performance at NJPAC in Newark on February 23.
News From the Board of Directors
Administration/K-12 Ed Tech
Shawna Longo shawnalongo[at]gmail.com
The NJMAA Executive Board met on Monday, July 8th to plan for the upcoming year. Dr. Latasha Casterlow-Lalla is the new President. Alfred Hadinger is serving as President Elect. Discussions included the General Membership Meeting Schedule: September 27, 2024 - Joint Workshop/Meeting w/ AANJ (In-Person); November 22, 2024 - Workshop/Meeting (Hybrid); February 7, 2025 - Workshop/Meeting (In-Person); April 4, 2025 - Joint Workshop/Meeting w/ AANJ (Hybrid); TBD, 2025 - Professional Development Field Trip; June 6, 2025 - Workshop/Meeting (Virtual). All In-Person meetings are held at The Rutgers Club beginning at 9:00am. Breakfast is served starting at 8:30am. Visit njmaa.org to complete your membership application!
Year 2 of our newly envisioned Music TechFEST for everything music technology will take place during the NJMEA Conference on Thursday, February 20, 2025 at The Atlantic City Convention Center! The Festival will be open to all New Jersey students grades 9-12 with accompanying music teacher (who must be a member of NJMEA/NAfME) and will run from 10:00am-5:00pm!!
Are you intrigued? Here are a few of the Festival perks: Students and teachers will attend 4 masterclasses taught by master music tech teachers and music professionals from across the country! It will be an immersive, hands-on experience that is sure to inspire creativity!! All submitted projects will be adjudicated ahead of time. Please note that you don’t have to submit projects to attend with your students or by yourself! Did someone say DJ? A world-renowned DJ will be performing and running a masterclass for students/teachers!!
Fees: Teacher(s) - regular conference rate (one day or full); Students - $30 (includes attendance and 1 project submission; Additional $10 fee per extra project submitted
Masterclass Teachers: Richard McCready from Columbia, MD; Bob Habersat from Brookfield, IL; Stefani Langol from Berklee College of Music (MA); DJ Hapa from Los Angeles, CA.
Got questions or looking to register? Head over to our website: https://www.njmea.org/music-technology-expo or, feel free to email Shawna Longo, Technology & Administration Chair for NJMEA - shawnalongo[at]gmail.com
Jazz Education
The NJAJE (New Jersey Association of Jazz Educators) has begun to plan for the upcoming school year. We held our full board meeting and are working together to provide new and exciting opportunities for students and membership for the 24-25 School Year. The 2024 All State Jazz Ensemble and All State Jazz Choir will have performances in Atlantic City and Newark in addition to the annual NJAJE State Conference. Please feel free to join us for the performances and conference! Our conference theme for this year is “Vocal Music at the Heart of Jazz Tradition” and will include Vocalist and Saxophonist, Darmon Meader from New York Voices as our keynote speaker. This conference will be informative to both instrumental AND vocal ensembles and directors. Please join us!! More information can be found on the NJAJE website. www.njaje.org
Lastly, please join me in thanking the NJAJE State Board for their dedication, time and commitment to help bring Jazz opportunities to students, teachers, and communities in New Jersey.
Riverwalk Plaza
Riverwalk Plaza
34 Ridgedale Avenue
East Hanover, NJ 07936 (973) 428-0405
34 Ridgedale Avenue East Hanover, NJ 07936 (973) 428-0405
Music Classrooms as in Emotional and Cognitive Processing Spaces
Drew X. Coles Teachers College, Columbia University drew.coles@tc.columbia.edu
Can we hold space in our classrooms to be places of emotional processing and healing? Is it perhaps our duty to do so during particularly tumultuous times?
Music has always been more than just a form of entertainment; it is a powerful tool for emotional and cognitive processing. From ancient rituals to contemporary social movements, music has played a pivotal role in human expression and connection. In today's world, where students are constantly bombarded with information and often face overwhelming societal issues, our music classes can offer a unique and essential outlet for them to process their experiences and emotions.
Explanation of How Music Influences Emotions and Cognitive Functions
Research has shown that music has a profound impact on both our emotions and cognitive functions. Listening to and creating music can stimulate the release of dopamine, a neurotransmitter associated with pleasure and reward, thus improving mood and emotional well-being. For example, Salimpoor et al. (2011) demonstrated that dopamine release is enhanced during peak emotional arousal when listening to music. Additionally, music engages various parts of the brain simultaneously, enhancing cognitive abilities such as memory, attention, and problem-solving skills. Research by Thaut et al. (2014) has shown that musical training can lead to structural and functional changes in the brain, which enhance these cognitive abilities.
When students engage with music, whether through performance, composition, or critical listening, they activate these emotional and cognitive pathways. This engagement allows them to process complex feelings and thoughts in a structured and meaningful way. Music can serve as a mirror to their inner experiences, providing a safe space for reflection and expression. According to a study by Hallam (2010), music education can significantly improve students' emotional and social skills by offering an outlet for emotional expression and by fostering a sense of accomplishment and self-worth.
Music Classes as a Medium for Processing Current Events and Broader Societal Issues
Thoughtful class structure, repertoire selection, and feedback processes are essential components in achieving the goal of offering students a powerful medium to make sense of the world around them.
Class Structure: Creating a classroom environment where students feel safe and supported is crucial. This involves not only physical safety but also emotional and psychological safety. Encouraging open discussions and providing opportunities for students to share their thoughts and feelings about current events can help them feel heard and validated. Activities such as group improvisation or songwriting can foster a sense of community and collective expression.
Repertoire Selection: Choosing music that reflects current events or addresses broader societal issues can make the learning experience more relevant and impactful for students. For instance, selecting songs that speak to themes of social justice, environmental concerns, or personal resilience can resonate deeply with students and prompt meaningful conversations. Additionally, allowing students to bring in music that they find personally significant can empower them and make the learning experience more inclusive. Further, depending on the structure of your curriculum, there may also be space to collaboratively create pieces as a class.
Feedback Processes: Providing constructive feedback is an integral part of any educational process, but in the context of music education, it can also be a means of fostering personal growth and reflection. Feedback should be framed in a way that encourages students to explore their emotions and thoughts further. For example, discussing the emotional impact of a student's performance or composition can help them gain deeper insights into their own experiences and perspectives.
Historical Contexts: Music's Role in Social Movements and Personal Expression
Throughout history, music has been a driving force in social movements and a powerful medium for personal expression. During the Civil Rights Movement in the United States, songs like "We Shall Overcome" and "A Change Is Gonna Come" became anthems of hope and resistance. These songs provided a sense of solidarity and motivation for those fighting for equality and justice.
In more recent times, music continues to play a vital role in addressing contemporary issues. For instance, in the wake of climate change activism, artists like Billie Eilish and bands like Coldplay have used their platforms to raise awareness and inspire action through their music. Similarly, the Black Lives Matter movement has seen musicians creating works that highlight the struggles and resilience of Black communities.
By integrating such examples into the music curriculum, educators can help students understand the broader impact of music on society and inspire them to use their musical talents to engage with the world around them. Through thoughtful repertoire selection and class discussions, students can learn about the historical significance of music in social change and develop their own voices to contribute to ongoing dialogues. Addition-
ally, the classrooms themselves can be transformative spaces where students process emotions, understand complex societal issues, and express themselves authentically. By leveraging the emotional and cognitive power of music, we can help students navigate the challenges of the modern world with creativity and resilience.
References
Hallam, S. (2010). The power of music: Its impact on the intellectual, social and personal development of children and young people. International Journal of Music Education, 28(3), 269289.
Salimpoor, V. N., Benovoy, M., Larcher, K., Dagher, A., & Zatorre, R. J. (2011). Anatomically distinct dopamine release during anticipation and experience of peak emotion to music. Nature Neuroscience, 14(2), 257-262.
Thaut, M. H., Trimarchi, P. D., & Parsons, L. M. (2014). Human brain basis of musical rhythm perception: common and distinct neural substrates for meter, tempo, and pattern. Brain Sciences, 4(2), 428–452.
Addressing Articulation via Isolation: Engaging and Energetic Exercises for Singers
Lauren Athey-Janka
Rowan University, Assistant Professor of Voice and Vocal Pedagogy athey[at]rowan.edu
Articulation is “the process by which the joint product of the vibrator (vocal folds) and the resonators (vocal tract) is shaped into recognizable speech sounds through the muscular adjustments and movements of the speech organs” (McKinney, 1994, p. 27). Improving singers’ articulation helps to create vocal freedom by minimizing unwanted tension and achieving independence of the tongue and jaw; it also allows for recognizable speech sounds and audibility. The vernacular of students can interrupt the clarity and purity of the desired sound.
The articulators can be broken down into the following parts: the jaw (necessary for pitch change and clarity of articulation), the tongue (comprised of many muscles), the lips (comprised of many small muscles), the teeth (aids in articulation), the soft palate (creates nasality when lowered), and the larynx (responsible for onsets).
Articulation Exercises for Singers
Opening the Throat: Speech does not require the same awareness of pharyngeal and acoustical space as singing. The following exercises can help singers feel the sensations of a relaxed and open throat, without hyper-extending the jaw or over-widening the mouth.
• Gently tuck the chin. Stretch the back of the neck wide with the fingertips. Slowly inhale through the nose to stretch the throat open.
• Take in three quick inhalations, aiming to stretch the back of the throat and palate wider and wider.
Jaw: Vowels and consonants can be created without over-reliance on the jaw. Jaw tension interferes with optimal resonance and causes tightness in the muscles of the face, neck, and larynx.
• Bring the lips together and chew as if you were a lazy cow, moving your lips in a circle. Add humming and explore the range of the voice.
• Massage the joint muscles of the jaw in front of your ears while you sing to feel a release.
Tongue: The tongue is much bigger than what is seen in the mouth. The tongue is connected to the jaw, the hyoid bone (from which the larynx hangs), and even to the soft palate. Because these muscles are connected, a retraction of the tongue will have an impact on the other parts of the system.
• Circular Tongue Stretch: Move the tongue in a 360 circular motion around the outside of the teeth/inside of the lips. Do five repetitions clockwise before reversing to five repetitions counterclockwise.
• Stretch the tongue outside of the mouth. Close the lips around the tongue. Hum and explore.
• Sing a five-note descending scale, first staccato, then legato. Release the tongue outward at the onset of each pitch/vowel, with the following vowel patterns: [i e a o u] or [u o a e i] or [a e i o u]
• Use your forefinger to gently unhinge the jaw. Sing a nine-note scale with the vowel pattern [i e i e i e . . .] using only the tongue to quickly change vowels.
Lips: When the lips are released, there is an elongation of the vocal tract, which aids in releasing the larynx and creating resonance. In our vernacular, the lips tense when creating [p]/[b], [f]/[v], and [m]. While this area doesn’t often receive much attention, it is important to develop these fine motor skills.
• Sing “bubba” quickly on 5-4-3-2-1. Repeat this with the following patterns: “pwi pwe pwa pwo pwu”, [mi me ma mo mu], or [vi ve va vo vu]. Maintain soft lips for each exercise.
• Sing “wi we wa wo wu” on 5-4-3-2-1, then [i e a o u] remembering lip release.
Teeth: The following 8 consonants should be created only with the tongue: d, n, t, l, r, g, k, and y. These combinations on various scale patterns will train the tongue to make contact with the teeth: [kidi kidi kidi], [baja baja baja], [gala gala gala], or [digga digga digga].
Soft Palate: The soft palate is a complex series of muscles that retract and elevate to close the nasopharynx. In singing, this separation is necessary to separate the oral cavity from the nasal cavity. When air escapes through the nose, a nasal sound is created.
• Pant slowly, aiming the breath towards the “cold spot” in the back of the throat. Gradually speed up.
• Inhale to lift the soft palate and sigh on [a]. Practice feeling “the lifted [a] space” while sighing on all vowels.
Larynx: Creating a balanced onset can be achieved through gentle glottal onset exercises. Speak, then sing the following phrases without over-pressurizing the onsets. Practicing glottal onsets can also strengthen the chest voice.
• Uh oh!
• Every apple and every orange
Bringing awareness to the articulators can provide a pathway to improvement. Encourage playful exploration as these exercises are utilized.
References
McKinney, J. C. (1994). The Diagnosis & Correction of Vocal Faults. Waveland Press, Inc.
Boyer College of Music and Dance
FESTIVAL OF WINDS
Friday, March 14, 2025
Our annual festival for middle and high school bands includes an adjudication by guest clinicians, a post-performance clinic, and master classes with Temple faculty and Philadelphia Orchestra members.
Five Must-Have Tools to Enhance Your Elementary Music Class
Amy M. Burns
Far Hills Country School aburns[at]fhcds.org
Looking for Free Tools to Enhance Your Elementary Music Class? Here are five must-have tools, plus a couple of exciting bonuses!
1. Rhythm Dice (https://4four.io/rhythm/dice)
This tool is fantastic for assessing students' rhythm skills through a game. Visit https://4four.io/rhythm/dice and pick a dice between one and four, then assign rhythms to each side. Remember to select six rhythm values since the dice has six sides. Once done, click OK. To use the rhythms, just click the "Roll" button. For adjustments, click on the settings icon to deselect current rhythms and choose new ones. You can share the rhythm dice link with students or embed the code on a website for their use.
Uses in the elementary music classroom:
• Assess students reading and performing rhythms
• Tool for a game where rhythms are prevalent
• Create rhythm patterns that students use as improvisation guidelines for pitched and unpitched instruments
1: Settings in https://4four.io/rhythm/dice
Figure 2 https://4four.io/rhythm/dice
2. Wheel of names (https://wheelofnames.com/)
The Wheel of Names tool offers more than just randomly selecting names. While it excels in that function by allowing you to input your
students' names and save different class wheels, it also provides the option to include images. This feature enables you to create wheels for various music-related elements like rhythm patterns, solfege patterns, clef notes, and more. Moreover, you can use the text tool to incorporate emojis, crafting an arioso wheel with four emojis for young students to improvise a new tune. Additionally, customization options allow you to add music, choose an ending tone, select a color scheme, and set an image for the wheel.
Figure 3 Adding images in https://wheelofnames.com
Figure 4 https://wheelofnames.com/ Arioso wheel
Uses in the elementary music classroom:
• Random Name Picker
• Arioso Wheel
• Rhythm Reading Wheel
• Note Reading Wheel
• Solfege Pattern Wheel
Figure
3. Transpose Extension
Have you ever wanted to adjust both the speed and pitch of a YouTube video to match your students' voices or instruments? If the answer is yes, then look no further than the Transpose | Pitch Shifter - Browser Extension (Transpose pitch speed loop). This Chrome extension allows users to adjust the pitch and speed of audio played in the browser and includes looping capabilities.
Uses in the elementary music classroom:
• Transpose the key of the video so you can have the song played in a key that is more appropriate for your students.
• Change the pitch so that if you are working with beginner instrumentalists, you can detune the video so that it will sound like it is tuned to your beginner instrumentalists.
• Alter the tempo.
• Set markers to loop certain sections for students to practice.
#4. Screen Recording Tools
Need to download the new key and tempo so you can use it without internet access? Transpose Extension does not have a download function. However, a screen recording tool like Loom (https://www. loom.com/education) or Screencastify (https://www.screencastify. com/education/teachers) would allow you to screen record it with the new tempo and key and allow you to save it to your hard drive. Loom is free to verified teachers at schools, universities, or educational institutions who are using Loom for classroom work. Screencastify is also free for the first ten videos with a 30-minute maximum per video.
Uses in the elementary music classroom:
• Screen record videos to download to your hard drive to use as accompaniments for concerts.
• Create tutorials for your students to show how to use a program.
• Create tutorials on how to play an instrument from assembling the instrument to cleaning to how to play a song.
#5 ChatGPT (https://chatgpt.com/)
There are several AI tools available for educators to aid in tasks such as research, songwriting, lesson planning, rubric creation, syllabus design, and more. Among these tools is ChatGPT, which offers a free version that can be used to generate emails, song lyrics, progress reports, and various other tasks through a series of prompts. An interesting suggestion is to prompt ChatGPT to:
“Write a short story for an elementary general music class where the characters are a violin, a flute, a trumpet, a snare drum, a xylophone, a piano, a saxophone, an oboe, and a trombone. Each instrument introduces itself and speaks about how it makes sound and what instrument family it belongs to. They go on an adventure to find their conductor and performance hall so that they can play together before the concert begins.”
After that, I continued guiding ChatGPT on refining descriptions when needed. For instance, I suggested replacing "flute’s mouthpiece" with "headjoint" and changing "the snare drum banged to produce a sound" to "the snare drum played to produce a sound."
Once I completed these additional prompts, I had a story ready for my students to read and learn about musical instruments, enabling
them to incorporate classroom instruments for sound effects and even illustrate the story. If you have the paid version of ChatGPT, you can utilize DALL-E to generate prompts for illustrations that complement the story.
Bonus: If you are looking for an AI tool specifically designed for educators to aid in various tasks such as creating lesson plans, rubrics, email responses, song lyrics, 504 Plan Generator, report card comments, YouTube video questions, and more, explore the free platform called MagicSchool.ai at https://app.magicschool.ai/. This AI generative tool is tailored for educators to save time and assist in initiating the writing process for essential documents.
Uses of these AI Tools in the elementary music classroom:
• Saving time writing numerous documents
• Generate lesson plans
• 504 Plan generator
• Writing song lyrics and parodies
• Create rubrics
• Generate assessment questions for a YouTube video
• Create musical stories from prompts
• Generate email responses
• Generate report card comments
Figure 5 https://app.magicschool.ai/tools
What about Canva (https://www.canva.com/education/)?
Canva for Education offers an incredible free resource for K-12 educators with a school email address. It provides a wide range of capabilities for teachers and students, particularly in creating manipulatives, videos, and more. Here are three top AI tools commonly used by teachers:
• Magic Write: An AI-powered writing assistant that aids in generating text, brainstorming ideas, and drafting.
• Magic Design: Offers design recommendations and streamlines the design process by suggesting layouts, fonts, and images.
• Magic Edit: Enables users to edit images with AI features, simplifying photo enhancement and alterations.
These tools are designed to streamline creativity and boost efficiency for educators and students using Canva.
Why not explore one of these tools today?
The 63rd Army Band: An Interview with the Command Team
Isaiah C. Mason North Brunswick Township Schools imason[at]nbtschools.org
The 63rd Army Band is the premier music ensemble of the New Jersey National Guard. The band rehearses one weekend a month and two weeks over the summer, supporting the musical mission of the United States Army.
The soldiers in this unit have successful careers in healthcare, engineering, law enforcement, trades, academia, and education, among other careers. This article will be the first installment connecting you with current soldiers and sharing how the 63rd Army Band can serve the music education community and our students. We will begin by interviewing our unit’s Commanding Officer, Chief Warrant Officer 2 (CW2) Zachary Appleton, and the unit’s highest enlisted Non-Commissioned Officer, First Sergeant (1SG) Kencis Kleinschmidt.
Can you explain your path to joining the 63rd Army Band and eventually becoming a member of the command team?
CW2: I was initially encouraged to visit the band by two of my fellow classmates and fraternity brothers at Rutgers, who were in the band at the time and who both went on to become officers and assume full-time positions in the NJ Army National Guard. I thought it was a great opportunity for a part-time gig that would also help pay for college and repay some of my student loans. It turned out to be all that and much more, as over the years, I've had opportunities to develop as a musician and leader, culminating in my recent transition to the Commander of the band.
1SG: Starting in the Marine Corps band provided me with a strong foundation in military music and leadership, which ignited my passion for continuing my service in a musical capacity. During my break in service, I was balancing raising young children and working on my Master’s degree. Incurring student loan debt during that period was challenging, but it motivated me to seek opportunities that would support both my family and my professional development. The Army National Guard's commitment to paying off my student loans was a significant factor in my decision to join, as it alleviated financial pressures and allowed me to focus on my musical and leadership growth. My deep love of music and the pride I feel in wearing the military uniform have been driving forces throughout my career.
These experiences and values ultimately guided me to the 63rd Army Band, where I am honored to contribute to its mission and serve as a member of the command team, furthering my commitment to both my craft and my country.
How has your background prepared you musically for your initial audition and to consume a command position?
CW2: When I joined in 1999, the audition wasn't quite as rigorous as it is today, but I feel that my experience with multiple auditions throughout high school and college certainly helped prepare me for what to expect. In terms of my leadership roles, I have always felt drawn toward assuming leadership positions in the organizations that I've been involved in. Having those opportunities in the 63rd helped to develop and refine my leadership style.
1SG: My musical background has been thoroughly shaped by a combination of formal education, extensive performance experience, and leadership roles. Prior to receiving my Bachelor’s degree in Fine Arts, I served on active duty in the Marine Corps Band. I developed a strong foundation in both theory and practice, honing my skills on multiple instruments and deepening my understanding of musical structures. My extensive experience performing in diverse settings, from small ensembles to large orchestras, has developed my ability to adapt to different musical environments and collaborate effectively with fellow musicians, all of which assisted me in preparing for my initial audition. Additionally, my previous roles of teaching college musical ensembles and different leadership opportunities have equipped me with strong organizational and leadership skills, essential for commanding an army band. These experiences have not only refined my musical abilities but also instilled in me the confidence and expertise needed to effectively assume an army band command position, where strategic planning, coordination, and musical excellence are paramount.
What musical opportunities are there in the 63rd Army Band for current and future soldiers?
CW2: I think the 63rd has a lot to offer, musically and be-
yond. We have several different ensembles that offer the opportunity to perform in various musical genres and settings, from classical to contemporary and small to large performing groups. As a leader, I've always encouraged a culture of collaborative development, where all members of the organization feel empowered to share their experience and knowledge to help the growth and development of the group, regardless of rank structure. Also, for multi-instrumentalists, there are always opportunities within our ensembles to keep your chops up on multiple instruments.
What is your favorite aspect of leading the 63rd?
CW2: As much as I really enjoy being on the podium and growing as a conductor, I'd say the aspect I love the most about leading the 63rd is the ability to explore new and exciting opportunities, such as working with our State Partnership Program with Albania and Cyprus, and push the band to new heights of musicianship. This is all while maintaining the tight-knit atmosphere that's made the band like a second family to me and many other members.
1SG: My favorite aspect of leading the 63rd Army Band is the opportunity to foster a sense of unity and pride through music. Witnessing how our performances bring together soldiers, enhance morale, and support the Army’s mission is incredibly rewarding. Leading such a diverse and talented group allows me to shape the band’s artistic direction while ensuring that we maintain the highest standards of excellence. I cherish the challenge of balancing musical creativity with the operational demands of the Army, and I find immense satisfaction in seeing the band grow and succeed as a cohesive unit. The ability to influence our members' musical and personal development and to see the positive impact we make within the broader military community is truly the highlight of my leadership role.
How can the 63rd Army Band service New Jersey’s music education community?
1SG: The 63rd Army Band can greatly service New Jersey's music education community through various impactful initiatives. By organizing performances and demonstrations at local schools, they can inspire and engage students with live music, participate in music festivals, and offer instrument demonstrations showcasing various music styles and techniques. Collaborative efforts, such as joint performances with school bands, can provide young musicians with the invaluable experience of playing alongside professionals. Additionally, the band can conduct workshops, including masterclasses and clinics, to share professional expertise with students and music educators. Another option is to host or sponsor music competitions, encouraging student excellence. Establishing mentorship programs where band members work closely with students can further deepen the connection between the military band and the education
community, offering guidance and motivation for aspiring musicians. The band can also support schools by assisting with recording sessions to provide professional-level recordings of student performances. Through these diverse efforts, the 63rd Army Band can significantly enrich New Jersey's music education community, fostering a deeper appreciation and love for music among students and supporting the growth and sustainability of school music programs.
What Army Value(s) best exemplify you as a military musician?
CW2: As a musician and, more importantly, the commander of the 63rd, I try to embody the Army Value of Selfless Service. I truly believe the servant-leader model to be the most effective way of ensuring the holistic growth of not only the organization but each individual within it. We are at our best when we feel seen and looked after and that we have the support of our colleagues and leadership in our lives.
1SG: As a military musician, the Army Values of Integrity and Loyalty best exemplify my approach to both performance and service. Integrity drives me to uphold the highest standards of professionalism and ethical conduct, ensuring that every note and every interaction reflects the honor and trust placed in me by the Army. I am committed to Loyalty in all aspects of my musical and leadership duties, constantly seeking to improve my skills and contribute to the success of my unit through superior performance and dedication. These values guide me in creating impactful music that supports the Army’s mission and fosters a sense of pride and cohesion within the ranks.
In future installments, we will continue to connect with soldiers of the 63rd Army Band, current college students, and music teachers. If you want to explore ways the 63rd Army Band can support you and your music program with these no-cost services, please stop by their booth in the exhibit hall. You can also contact our office at linda.c.chapin.mil[at]army.mil.
Chief Warrant Officer 2
Zachary Appleton
First Sergeant
Kencis Kleinschmidt 63rd Army Band
63rd Army Band
5 Reasons to Use Essential Elements Music Class
Shawna Longo Supervisor of VPA - Westfield Public Schools shawnalongo[at]gmail.com
Music education fosters creativity, teamwork, and cognitive development in students. But for busy teachers, finding engaging and effective music lesson plans can be a challenge, let alone working to create your own. Essential Elements Music Class (by Hal Leonard) offers a comprehensive solution, providing a treasure trove of resources designed to make your elementary general music classroom vibrant and fun. Here are five reasons to give EE Music Class a try:
Flexible Lesson Plans That Grow With Your Students
EE Music Class boasts a library of 180 fully developed and vetted lessons, created by music teachers to align with the NJSLS. These lessons are thoughtfully sequenced and aligned horizontally and vertically to ensure a logical progression of skills that builds upon itself year after year. But, you’re not locked in to following the suggested sequence - you have the flexibility to complete the lessons in any order, mix up grade levels, allowing you the opportunity to pick and choose what works for you and your students! If taught in order, the vertical alignment eliminates the need for scrambling to find appropriate materials for different grade levels. Whether you're teaching kindergarteners the basics of rhythm or guiding fifth graders through more complex musical concepts, EE Music Class has you covered.
Extensive, Engaging Song Library
EE Music Class features an ever-growing song library containing over 600 songs that includes childhood favorites, popular music, broadway show tunes, and even Disney classics – all professionally arranged and recorded specifically for the elementary music classroom using culturally appropriate instrumentations to showcase the style of each song. The vocal demonstration tracks also feature student voices, so that students hear similar vocal qualities to their own. The program includes access to accompaniment tracks that come in very handy for practicing and performances! The variety of song selections ensures there's something for every student to enjoy, fostering a sense of connection and excitement for learning music.
Interactive Features that Make Learning Fun
EE Music Class goes beyond static lesson plans. It incorporates interactive features that transform passive learning into active partici-
pation. Students can access engaging activities, listen to professional recordings, interact with videos (visual learning aids), and even follow along with downloadable sheet music. The program also offers a wealth of multimedia resources, including captivating videos and interactive games/quizzes, that make learning music theory and skills an enjoyable experience.
Flexibility and Customization for Every Classroom
EE Music Class recognizes that no two classrooms are exactly alike. The program offers a high degree of flexibility, allowing you to tailor lessons to your specific needs and teaching style. You can easily create custom playlists and adapt activities to suit the learning pace of your students. It is also an amazing tool to leave for a substitute with no musical background! Simply by sharing a playlist, you can give them access to an entire lesson plan without the need for any login to the program! Not needing logins also makes sharing your custom curated playlists with students or other classroom teachers a breeze through email, your website, Seesaw, Google Classroom, or any other platform!
A Treasure Trove of Additional Resources to Enrich Your Program
EE Music Class is more than just lesson plans – it's a comprehensive music education toolkit. The program includes a virtual library of Hal Leonard Digital Books, offering hundreds of songs and activities as well as in-depth exploration of instruments like the recorder and ukulele (which include instructional videos and play-along tracks). The listening maps are a combination of interactive videos and downloadable sheets to guide your students through aural exploration. There are also hundreds of downloadable worksheets and activities that reinforce key musical concepts and provide valuable practice opportunities for students. This wealth of additional resources allows you to create a truly enriching and well-rounded music education program.
Bonus Reason: Dive in Risk-Free with a Free Trial
Perhaps the most compelling reason to try EE Music Class is the opportunity to experience it firsthand. The program offers a 30-day free trial, allowing you to explore the curriculum, sample the resources, and see how EE Music Class can transform your classroom. The annual subscription rate is also very reasonable and budget-friendly considering the amount of resources that you have at your fingertips! By incorporating EE Music Class into your curriculum, you can make music education a fun and enriching experience for your students. With its engaging content, interactive features, and wealth of resources, EE Music Class equips you with everything you need to create a vibrant music classroom that fosters a lifelong love of music in your students!
The Shift Towards Music Technology Labs in Schools
Do We Need Them? How Can We Advocate for Them?
Joel Noonan
Valley Middle School, Oakland Public Schools
Teachers College of Columbia University
jsn2149[at]tc.columbia.edu
In the past few decades, technology has advanced to a degree that many could not have predicted. Many daily tasks have become digitized or are in some way aided by modern technology. Imaniah (2023) describes the emergence of Society 5.0 as one “in which technology is integrated with human beings” (p.1). Human demands are increasingly becoming tailored to the futuristic world we live in now, and products and services are making lives easier and more comfortable.
The field of education is embracing the advancements of technology at a rapid rate. More districts are becoming 1:1, in which every student is given some kind of device, artificial intelligence policies are being implemented, and different kinds of technology instruction are even being added to curricula across many subject areas. I believe it is becoming more and more important and valuable for our students to have access to music technology, and therefore a music technology lab is the perfect setting for instruction that is relevant and modern, thus engaging our students further in our curricula.
In music education, we are seeing an increase in the instruction of music software and online tools to aid students in learning fundamental music concepts. When it comes to how much technology should be incorporated into our instruction, some music educators find themselves at a crossroads. Let’s consider two scenarios where a music educator teaches their high school music theory class about musical form, once without music technology and once with it.
Scenario 1: WITHOUT Music Technology
The class analyzes Beethoven’s Minuet in G by following a printed score and listening to a recording. As a class, they write brackets on the score to separate this piece's different sections, eventually labeling them as A, B, and A, thus introducing the ternary ABA form. In small groups, students would be assigned to compose a 24-measure rhythm ensemble piece in ternary form to be performed for the class, making clear distinctions between the rhythmic elements of the A section and the B section. Compositions would be written by hand on large poster paper, making it easy for them to read as a group and for the rest of the class to read as they listen to the per-
formance. Groups can exchange compositions and read each other’s work to make the lesson more engaging.
Scenario 2: WITH Music Technology
The class analyzes Beethoven’s Minuet in G. However, in this scenario, it can be done with a visual score and a recording, or it can be done by having students view and listen to a recording that’s been made in a Digital Audio Workstation (DAW), such as Soundtrap. In a DAW, sections can already be labeled as A and B along the top of the interface to visually represent the ternary form. The accompanying assignment would be for students to compose a song in ternary form using loops, voice recordings, or MIDI instrument recordings, once again making distinctions between their A and B sections. This assignment can be done individually or in groups, as Soundtrap can be used as a collaborative DAW. Students could then share their songs via their learning management system and listen to the work of their peers, leaving affirming feedback and constructive criticism.
Personal Experience with Music Technology
I have been fortunate enough to experience many kinds of music technology that have proven valuable in the classroom for all levels. My current middle school teaching placement allows me to implement several online tools and resources via district-assigned Chromebooks. Rhythmic and melodic content that we learn is applied to performance through basic keyboard skills on mini 44-key Casio keyboards assigned to each student during class time.
Chrome Music Lab experiments, particularly Song Maker, have been great tools for teaching pitch and melody writing. The colors of each note on the interface even match the colors of Boomwhackers, which makes this tool especially useful for middle or elementary school music classes. It is very easy to write creative lessons for Song Maker, and there are many lessons for perusal and purchase out there as well. Online DAWs, like Soundtrap or Bandlab, are fantastic for music production projects. Sites like these can even allow your students to collaborate on compositions. At the height of the COVID-19 pan-
demic, there was a huge uptick in virtual ensemble videos made in schools from elementary to higher education. Many virtual ensembles used sites like Soundtrap to assemble their parts.
I have previously worked and studied in environments with full music technology labs––equipped with full-sized MIDI keyboards and Mac computers installed with notation software and DAWs (e.g., Logic Pro, GarageBand, Sibelius, Finale). Having a lab like this would be the most ideal situation for a music educator whose goal is to implement as much music technology as possible into their curriculum. It would serve as the ultimate classroom for a music technology elective. It could even serve well for secondary general music lessons like the one described in Scenario 2.
Advocating for Music Tech Labs
It’s been predicted for years that technology will greatly impact music education. The traditional way of teaching music still proves to be effective. I personally still enjoy teaching traditional music notation and keyboard skills, and I think it takes students’ eyes off a screen for some time. Even so, Sussman (2013) investigated this shift in music education, and in an interview with Richard McCready, a teacher of music technology, it was found that music tech merely alters the way music is taught to align with the skills that many children today have been developing from an early age already: “Rather than having the conductor in the middle of the room serving as the vessel through which music flows, what we’re doing is giving much more ownership to the kids to design their education their own way, how they want to learn, where the technology takes them” (p. 34).
This aligns with Allsup’s (2016) idea of shifting towards a laboratory learning model rather than teaching solely through the Master-apprentice model. The laboratory learning model allows for a more cooperative and socially just learning environment. In contrast, the traditional Master-apprentice model has preestablished rules and procedures, and there are clear and particular goals that students must meet (pp. 67-69).
For those who would like to shift towards more technologybased instruction in our classes, how do we advocate for ourselves and our needs? In the best-case scenario, a music technology lab would include all the bells and whistles mentioned previously––MIDI instruments and state-of-the-art computers and software, but this is not a realistic goal for every school district, at least not at first.
As Sussman’s (2013) interviewee emphasized, administra-
tive support is a big factor. If your administration values what your music department does and your music program positively contributes to the overall school climate, the kind of support you need will eventually come. Progress toward implementing music technology may even start small, with software being installed on student devices or small MIDI keyboards being added to your budget. While building up on the technology in your class may be a years-long process, it will ultimately be well worth the wait.
Call to Action
Constant self-advocacy will get you far. When initiating these conversations with administrators, you should have a plan for what your potential music tech lab will look like. How will you use it in your existing classes, and what are your ideas for new classes to offer? What new skills can your students learn from engaging with this lab? How can something like a music tech lab contribute to the overall school environment? Tom Dean (2018) has a wonderful blog post on J.W. Pepper’s blog about building your own advanced music lab, listed in the references following this article.
Showing your students, parents, colleagues, and administrators what you are trying to do for them will make your job seem so much more valuable, especially at a time when the arts are being challenged in schools. It is important to understand that while a music technology lab may not seem realistic due to money or space constraints, any progress that can be made toward your goals is a win. Any effort to enrich your students’ music education is something to be proud of, regardless of the outcome.
References
Allsup, R. E. (2016). Learning in laboratories. In Remixing the Classroom (pp. 66-105). Indiana University Press.
Dean, T. (2018, January 11). Building an advanced music lab in your classroom, part 3: Do it yourself. Cued In. https://blogs. jwpepper.com/building-an-advanced-music-lab-in-your-classroom-part-3-do-it-yourself/
Imaniah, I. (2023). The synergy of educational technology advancement and human capabilities in the era of society 5.0. E3S Web of Conferences, 452. https://doi.org/10.1051/e3sconf/202345207010
Sussman, E. (2013). A glimpse into the future of music education. School band and orchestra, 16(4), 26-40.
A Guide to Auditioning for Prestigious Orchestra
Grace Kim
Private
Violin/Viola Teacher
gracekim61899[at]gmail.com
In the world of classical music, the audition process for prestigious orchestras stands as a defining moment for aspiring musicians. It represents not just a chance to exhibit technical prowess and musicality but also a pathway to a career teeming with artistic fulfillment and professional accolades. Preparing effectively for such auditions demands a comprehensive approach that integrates mental resilience, structured practice routines, technical mastery, interpretative depth, performance finesse, and a keen awareness of the audition landscape.
Before digging into the difficult journey of audition preparation, cultivating a strong mindset is most important. Managing audition anxiety and nurturing confidence are pivotal aspects of mental readiness. Techniques such as deep breathing, positive visualization, and mindfulness serve as invaluable tools to relieve nervousness and build a sense of tranquility prior to performances. By envisioning successful audition scenarios, musicians can mentally rehearse their performances, ingraining a feeling of assurance and competence in their abilities. Having clear goals, passion for those goals, and the perseverance and patience to achieve them are essential. Additionally, approaching preparation with a positive attitude can yield positive results. Even if a musician is highly skilled, relying solely on arrogance and confidence may not yield the desired outcome.
Central to effective audition preparation is the establishment of a disciplined and structured practice regimen. This training should encompass a judicious balance of technical exercises, repertoire exploration, and performance refinement. Setting specific, attainable objectives for each practice session offers guidance and impetus, ensuring steady progress toward proficiency. By devoting focused time to scales, arpeggios, and intricate passages, musicians fortify the groundwork necessary for navigating the challenges posed by audition repertoire.
Solid intonation, rhythm, and tone quality form the bedrock of exceptional musical performance. Devoting dedicated practice time to these foundational elements is imperative for success in auditions. Strategies such as deliberate practice, tempo variation, and attentive listening aid in honing technical prowess. Furthermore, integrating etudes and exercises tailored to individual technical deficiencies facilitates targeted improvement and overall skill elevation. A comprehensive and methodical study of audition repertoire is indispensable for attaining mastery and confidence in performance. Techniques for memorization and internalization of music, such as visualization, and contextual analysis, expedite the learning process and deepen musical comprehension. Interpretation, expression, and musicality are cultivated through attentive listening, historical exploration, and experimentation with nuanced phrasing and dynamics.
Beyond technical awareness, auditions necessitate musicians to release compelling stage presence and effective communication.
Practice methodologies aimed at augmenting stage presence, such as simulated auditions and performance visualization, equip musicians for the rigors of the audition milieu. Strategies for managing nerves and sustaining focus during performances, such as centering techniques and pre-performance rituals, ensure a self-assured demeanor on stage. Moreover, recording and self-evaluation empower musicians to pinpoint areas for enhancement and refine their performance skills iteratively. Navigating the audition process necessitates meticulous preparation and strategic execution. Meticulously organizing audition materials and logistics in advance minimizes stress and facilitates seamless execution on the audition day. Time management strategies, encompassing prioritization of repertoire and judicious allocation of practice time, ensure comprehensive preparation within constrained timeframes. Furthermore, creating adaptability and composure enables musicians to navigate unforeseen challenges and fluctuations in the audition environment.
An interview was conducted with the concertmaster of the Qatar Philharmonic Orchestra about his experience preparing for auditions. He emphasized the importance of having a plan and strategy for practicing during the preparation period. Simply practicing for longer hours and excessively does not guarantee success in auditions. Success depends on how time for practice is managed and how performance skills are improved within the given time frame. Since audition repertoire is diverse and requires showcasing different techniques and musicality, practice strategies should be adjusted for each piece. Additionally, since the order of pieces may change in each round of the audition, preparation and adaptation are necessary. Another important aspect is starting practice for real auditions about two weeks before the audition date. This involves practicing in a setting that can mimic the feeling of actually auditioning, whether it's imagining practicing alone behind a curtain or performing in front of a few people as if they were judges. By preparing in this way, familiarity with the audition environment is gained in advance, reducing some pressure and potentially boosting confidence. He lastly said, “Instead, I believe that the best results come when one approaches preparation with a humble attitude, striving to showcase their best abilities to the fullest.”
In conclusion, the odyssey of auditioning for prestigious orchestras embodies a test of fortitude and resilience, as much as a showcase of musical prowess and artistry. By embracing a holistic approach to audition preparation, enshrining mental resilience, structured practice routines, technical proficiency, interpretative depth, performance finesse, and a nuanced understanding of the audition landscape, aspiring musicians can embark on this odyssey with poise and conviction. With unwavering dedication, perseverance, and an unwavering commitment to excellence, the symphony of success beckons.
NJMEA GuitarFests 2024-2025
Jayson Martinez
Music Supervisor, Newark Public Schools
jmartinez[at]nps.k12.nj.us
The 2023-24 academic year represented the pinnacle of performance and accomplishment for the NJMEA High School Honors Guitar Ensemble. First, we joined forces with the New Jersey Guitar Orchestra to produce a new music video: “Autumnal”, composed by Matthew Halper. The composer, who is the Chair of Kean University’s music department, was deeply impressed by the exceptional performance and is expressing his appreciation by commissioning another piece for the NJMEA. The video premiere of this eclectic composition is anticipated to take place in October 2024. We express our gratitude to the Augustine Foundation and the Virtual Guitar Orchestra (VGO) team for their continuous support of our endeavors.
Next, our NJMEA HS Honors Guitar Ensemble achieved a significant milestone by participating in a series of three GuitarFests, both within and outside of New Jersey. In April, both the NJMEA and NJGO ensembles participated in the 32nd annual Long Island Guitar Festival, an event that showcased various solo guitarists and ensembles from high schools across the nation. The LIGF also showcased international soloists who conducted workshops and performed recitals. In addition, both ensembles debuted Autumnal, with the composer in attendance. Undoubtedly, our students were filled with excitement to have the opportunity to perform at this historical event.
In May 2024, both ensembles participated in William Paterson's annual GuitarFest, which was organized by the esteemed guitarist and educator Seth Himmelhoch. Later that month, they also performed at New Jersey City University in a tribute concert for classical guitar legend Andrew York. This
Grammy®️Award winning guitarist and composer was also in attendance, enjoying an evening of his compositions performed live. In June, the NJMEA Guitar Ensemble had the privilege of performing at Kean University's annual GuitarFest. The student performances from various high schools in NJ, local music establishments, colleges, and universities were thrilling to witness. These performances culminated in a remarkable set by our NJMEA Guitar Ensemble.
What are the upcoming plans for the guitar students in the upcoming academic year? A significant number of our NJMEA HS Honors Guitar students intend to audition for the United States Guitar Orchestra, with the aim of enhancing their skills and showcasing their abilities on an international stage. Dr. Kami Rowan, the founder and conductor of the USGO, will lead the ensemble in performances, scheduled to take place in NYC and Portugal. We are also looking forward to bringing in the winner of the 2024 GFA Competition, Leonela Alejandro. This new star, who is the first Puerto Rican guitarist to win this prestigious competition, will perform at our annual GuitarFest at Kean University in June 2025.
Clearly, we are poised to experience yet another remarkable guitar season. Thus, please make sure to have your guitar students audition for the NJMEA HS Honors Guitar Ensemble in order to participate in our upcoming festivals and events. As always, all materials are due in December. Audition application and audition materials can be found at:
In today’s music classroom, technology has become a big part of our lives. We used to create our programs on Microsoft Word, create posters with simple generic clip art of music notes, and have simple templates for flyers and lesson plans. During my time in my graduate studies, I took a music course elective called “Music Entrepreneurship” with Dr. Drew X. Coles. In this course I learned the importance of using CANVA and the benefits of using it in my classroom.
Why Use CANVA?
Before I started using Canva, I used google docs to make my programs, lesson plans, just about everything. My google classroom was a generic template and I felt like my presentations and programs were not as creative and eye-catching as I wanted them to be. After being introduced to Canva,, I found my creative outlet that matches my personality in the classroom. A great aspect of Canva is that there are thousands of templates that you can personalize. If you want a light blue flier, you simply search for it in the search bar and many light blue flier templates will appear! You simply click on the one you like, and just like that you can edit your information in. It is also very easy to add clip art and pictures into your account to use for your projects.
Here are 5 tips I want to share regarding CANVA in your classroom.
1. Google Classroom Header
In an age where google classroom has become the staple for posting assignments, having a creative google classroom header is a fun way to showcase your personality as well as have all the details of your class available for your students. Canva has free google classroom templates available for your use. You can adjust the font, the pictures, and even the colors to match your classroom aesthetic. I teach three very different
2. Concert Programs/Concert Flyer
When you have your annual winter or spring concerts, your fliers and programs will be shared by those attending and around the school building and district. It is easy to create a themed flier template on Canva. I have used CANVA to create jazz band festival programs that my school hosted, as well as a program page with info about our program for the jazz band and marching band that are used in programs at competitions. You can print your programs and or create a QR Code that takes you to an online program format.
3. Design You Own Lesson Plan
Lesson Plans are normally submitted via your school's choice of online format. You can use the Canva template to create your weekly, daily, or unit lesson plans. You can export your lesson to PDF format and add it as an attachment when submitting your lesson plans. I like the use of the creative templates when creating my lesson plans, especially when I know I have observations.
music classes and each header has its own personality thanks to Canva.
4. Create Quizzes, Tests, and Worksheets
You can create a test, quiz, and even worksheets on Canva. Formatting on google docs can sometimes be a difficult task, but Canva has already made templates to plug in your information. This takes less time out of your already short prep period to create your tests or worksheets. You can change any fonts, colors, and design as you wish.
5. Certificates/Awards
When it comes to creating certificates for the end of the year, it can be tricky to find accessible templates to add in your information. Canva has a variety of templates to choose from that are music related to sports to academics. They also have badges as well that you customize. I used Canva to create my band awards that I presented at an event and I was able to customize the school colors, add the logo, and also use fonts to make the certificate look more professional.
Canva is a great tool to use in your everyday classroom. Reach out to your school district to see if you can use your school email for setting up a Canva educator account. Although there are some templates that require payment as such will appear with a crown symbol, there are many free templates to choose from to create your future projects. Lastly, Canva offers more than just the above suggestions I have mentioned. Canva also offers great presentation templates for powerpoint and can also help create videos for presentations at professional developments or in your classroom.
Instrument Solo
2024 - 2025
ALL STATE BAND SOLO LIST
Composer Publisher
Piccolo Concerto in G, RB438 Vivaldi International 2777
Flute Fantasie (from Flute Music by French Composers) Faure Schirmer HL50331090
Euphonium Beautiful Colorado DeLuca Carl Fischer W2477
Tuba Concertino Frackenpohl R King/Alphonse Leduc AI28577
Harp* First Arabesque (from Solos for the Harp Player) Debussy/Salzedo Schirmer 45852
Piano* Sonata in F, K280 Mozart G. Henle Verlag H1
Timpani Solo No. 1 - "The Rite" Rieppi Bachovich Music Publications (from 12 Modern Timpani Solos)
Mallets Concertino for Marimba - mvmt. 1 Creston Schirmer 50337080
Battery Percussion
Snare
Etude No.3 from 12 Studies for the Drum Delecluse Leduc AL23410 (Douze Etudes)
Keyboard Minuet - pg. 6 (no Trio) Whaley Meredith Music (from Musical Studies for the Int Mallet Player)
*Instruments will be used as needed.
The 70th Junior High/Middle School Choral Festival Application Form
School Name: School Phone:
School Address: City: Zip:
Director’s Name : Home Phone :
Home Address: City: State: Zip:
Email:
NAfME Membership #: Expiration Date: _______________ (Please include a photocopy of your NAfME card)
Name of performing group:
Voicing:
Number of singers:
Number of rehearsals per week: Please check the appropriate category below: (during school: (evening): (before school): (after school):
Will participate at Rowan University, (South Site) March 20, 2025: 9:15 - 1:30 pm: (Snow date: March 21st)
Will participate at Monroe Twp MS, (North Site) May 21, 2025, 2024: 9:15 - 1:30 pm:
We can arrive at: We must depart no later than:
Proposed Program
(Time limit: Not to exceed 10-12 minutes, no more than 3 titles) THIS SECTION MUST BE COMPLETED AT THIS TIME! Please Print or Type Legibly
(If any of the above titles are folk songs, please indcate country or region of origin)
FEE: $150.00 per group (non-refundable)
FESTIVAL DATES: (Limited to the first TEN (10) Groups on each date)
DEADLINES: Thursday, February 13, 2025 for Rowan University Thursday, March 20, 2025 (Snow Date: Friday, March 21, 2025) Wednesday, April 9, 2025 for Monroe Twp MS South Site: Rowan University TIME: 9:15 - 1:30 pm
SEND TO: Donna Marie Berchtold, Registrar 545 South Buffalo Avenue Wednesday, May 21, 2025 Galloway Township North Site: Monroe Township Middle School South Egg Harbor, NJ 08215-1720 TIME: 9:15 - 1:30 pm
EMAIL: firesongwed@gmail.com
FESTIVAL HOST: Donna Marie F. Berchtold & Karen Blumenthal
Other information including directions and schedules will be mailed.
ALL INCOMPLETE FORMS WILL BE RETURNED! MAKE CHECK PAYABLE TO NJMEA (Do not send cash) CHECKS MUST ACCOMPANY ALL REGISTRATION FORMS BE SURE TO INCLUDE A PHOTOCOPY OF YOUR NAfME CARD
If your school is paying by Purchase Order, it must be sent to: NJMEA
300 W Somerdale Road, STE C Voorhees, NJ 08043
Kenneth Lee Bell
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.
Kenneth Lee Bell, 85, passed away peacefully while surrounded by his family on Saturday evening June 22, 2024 at his Stow Creek Township home after a brief illness. He was born in Shiloh on January 28, 1939. The son of the late Russell H. Sr. and Mildred Tomlinson Bell, he was the husband, for the past 9 years, to Janice Richman Bell.
Ken graduated from Bridgeton High School with the Class of 1957 and received his Bachelor's Degree in Music Education from Mars Hill College in North Carolina. His career of 25 years as a music teacher began in the Bridgeton Elementary School System, then Lower Alloways Creek Township School, and finally Alloway Township School before retiring in 1993.
Following retirement, Ken established Cedar Knoll Baskets where he spent 25 years harvesting trees from his 23-acre tree farm and turning them into beautiful and functional wooden baskets in his basket shop. He and his first wife, Patricia Robinson Bell, who died in 2014, worked together on their family tree farm. In 2015, Janice and her "Kenny" were married and lived a life of love, laughter, and adventure. They shared many memorable excursions, whether they were riding the auto-train to Florida or camping in their camper trailer at their numerous favorite destinations.
Music was also one of Ken's greatest passions. In addition to teaching music to school children, Ken was a performer, most notably as a singer, guitar player, and washtub bassist. He performed as a father-daughter duo with Linda Jean for over 40 years, as a member of the George Fox Five through the 80's and 90's, and for the past decade he performed with his sister, Bev, and his daughter, Linda Jean, as The Bell Family Singers.
Hazel Ann Davis
Hazel Ann Davis, age 87, formerly of Quinton, passed away Tuesday, May 28th at Autumn Lake Healthcare at Southgate, Carneys Point. Born in Salem, she was the daughter of the
late Smith B. and Mary Tyler Davis. A graduate of Salem High School. Hazel earned a B.S. in Music Education from Lebanon Valley College and a Master's degree from Temple University.
Hazel was a music teacher in the Penns Grove/ Carneys Point School District. She was a member of the Salem American Legion Band where she played the clarinet, the Delta Kappa Gamma International Society (an organization for outstanding women teachers) and a faithful member of the Memorial Baptist Church of Salem where she directed the choir for over fifty years. Hazel played with the Haddonfield and Bridgeton Symphonies and also studied with Anthony Gigliotti, principal clarinetist of the Philadelphia Orchestra.
Hazel is survived by her sister, Patricia Davis Bullock of Quinton and several nieces and nephews. She is predeceased by her brother, John T. Davis.
Andrew S. DeNicola
After many years of battling heart disease, Andrew S. DeNicola rejoined his loving family in heaven on May 20, 2024. He lived a remarkable life, with a celebrated 50-year career in music education during which he was awarded innumerable accolades as Director of Bands at John P. Stevens High School in Edison, NJ. Andy delighted generations of students with his tough love and practical jokes. He also held many titles, including Finalist for the first-ever Grammy Music Educator Award, inductee of the invite-only American Bandmasters Association (considered the highest honor in wind studies), and his self-proclaimed, “World’s Best Third Trumpet Player.” However, to those who loved him and were fortunate enough to be taught by him, he was known affectionately by many other names: “Pop pop,” “Grandpa,” “Andy Boy,” and most notably, “Dean.”
Dean was a die-hard fan of Maynard Ferguson, Tower of Power, and the New York Yankees, but his greatest love was reserved for his beloved wife of 50 years, Katherine “Kathy” DeNicola, as well as his two incredible children, Albert (Michelle) DeNicola and Katie (Jay) Roman, and his four grandchildren, Jalen, Albert, Maggie, and Gianna. He is also
survived by his siblings, Albert (Gerry) DeNicola and Patty (John) Owens; his brother- and sisters-in-law, Lou (Robyn) Zandomenego, Gayle Schlett, Beth Vittor, and predeceased Amy Sub. He also dearly loved his nieces and nephews: John and Courtney DeNicola; Micaela and Molly Owens; Brianna Olesen, Tyler and Matthew Zandomenego; Niki and Dan Schlett; Zachary and Gabby Vittor; Sadie and Julian Sub.
Dr. Susan Guerrini
On July 14, 2024, Dr. Susan Guerrini (nee Seybold) peacefully passed away after courageously fighting a brief illness. Susan is survived by her loving husband of 53 years, Frank, her sons Dominic (Andrea), Jimmy (Anastasia) and Ben (Suzie), as well as 8 precocious grandchildren.
Fittingly born on Mother's Day, May 8, 1949, Susan was raised in the Olney section of Philadelphia as the second oldest of five children (Mary Agnes Williams, Jeanette Richardson, Henry Seybold and Lisa Perrine). Susan attended Cardinal Dougherty High School where she and Frank started dating, beginning their life-long partnership.
Susan's love of music brought her to Temple University where she obtained her Bachelor's degree in music education. Susan pursued her passion for music education with vigor, beginning her career with short stints teaching in Moorestown and Mantua before finding her home as the general music teacher at Evans Elementary School in Marlton. At Evans, Susan worked to instill a love of music into a generation of students. Despite decades of success there, Susan remained committed to her own education and development. With three young boys at home, Susan began a new journey, first obtaining a Master's degree at Rowan University and then a Ph.D. in Music Education from Temple. Susan was extremely proud of her educational attainment and upon receiving her Ph.D., she embarked on a new journey to teach the next generation of music educators as a college professor at Rutgers University and later, The College of New Jersey. Even in retirement, Susan maintained music as a focus in her life by teaching piano lessons and regularly playing four-hand piano with Frank.
While she cared deeply about music education, Susan's primary passion was her family. Fiercely proud of her sons and their families, Susan believed strongly in the importance of time spent together. While she enjoyed traveling and had the opportunity to visit far-flung locations like Portugal, Italy and Malaysia, her favorite destination was undoubtedly Hershey, Pa, a place she first visited with her sons over 30 years ago. As the family grew and life always attempted to interfere, Susan insisted on having the entire family vacation in Hershey together every year.
Francis Carroll Lefurge
Francis Carroll Lefurge of Forest Lakes in Byram Township, NJ passed away of natural causes with family by his side on Tuesday evening May 28, 2024, at the Newton Medical Center.
Francis was born on January 14, 1933, to Harold Stephen and Margaret (Jaeger) Lefurge. He was raised in Jersey City, NJ, and attended and graduated from a local area Catholic High School. He later earned his bachelor's degree from Long Island University.
Mr. Lefurge had proudly served in the United States Army in the post Korean War era from August 16, 1956, until August 20, 1958.
Francis had resided in Wood Ridge before moving to Byram Twp. in 1977 where he was devout parishioner of the Good Shepherd Roman Catholic Church in Andover, NJ.
He had a long and very rewarding career as a Music Teacher with the Harrison Board of Education retiring after forty years. Throughout his career, he was proud to have guided many of his students into both teaching and musical careers.
Francis was a very talented and passionate gardener, who also liked model trains, vacations and travel. He also enjoyed spending time with his family, children and grandchildren. He will be missed by all who knew and loved him.
Lucile Harkness Pfleeger
Lucile Harkness Pfleeger passed away on May 6, 2024. She was born on October 29, 1921 in Fredonia, NY to Roland Zello Harkness and Blanche Ella Smith. She was raised in Randolph, NY and often spoke fondly of the simple pleasures of the farm. Lucile graduated as Salutatorian of her high school at age 16 and then attended Fredonia State College to become a music teacher. She married Clarke on May 1st, 1943 after he was drafted into the US Army. After the war, Lucile and Clarke moved to NYC to attend Columbia University before moving to Glassboro in 1947. She was a lifelong learner taking classes at Glassboro State College (now Rowan University) in early child development, as well as, law and justice.
Lucile was committed to social justice, including her participation in countless organizations, boards, marches and demonstrations to drive change. Her civil rights work started through education. She and Clarke served on the committee that developed the Education Opportunity Fund (formerly the Martin Luther King Program) to increase enrollment and
representation of minority students at Glassboro State College. They actively participated in organizations to prevent discrimination in the community, to include working with their church, the NAACP, the Fair Housing Commission, the board of the Economic Development for Minorities, and the Migrant Health Program. She also worked with Glassboro programs instituted to keep young people out of the court system.
Lucile spent 26 years as a public school music teacher starting at the Academy Street School. She created many opportunities to expose her students to the arts and variety of performances at the college. Lucile championed preschool education in her community before Head Start Programs were mandated nationally. She was an innovative teacher, using music to teach reading and students with hearing impairments. She often attended conferences and lectures to develop new techniques from the latest research in music education and inclusion for students with disabilities. Lucile was also proud of the Pfleeger Family Piano Quartet and their involvement in the Woodbury Symphony. She and Clarke travelled the world together to attend international music education conferences and to explore music and culture. They studied early childhood education in China and music education in Hungary.
Post-retirement, Lucile advocated full-time for rights and protections of women, children and the LGBTQ+ communities through organizations such as Alice Paul NOW, PASA and Rainbow Place. She lobbied her legislators by letter, telephone and personal interviews for decades. She also campaigned to ban smoking in public places. A lifelong patron of the arts, Lucile served as a charter member of Friends of the Arts at GSC/Rowan, which raised money to provide scholarships for music, art, theater and dance students.
Michael Plunkett
Mike Plunkett, beloved husband, father, grandfather, and esteemed member of the community passed away surrounded by loved ones on April 13th, at the age of 69, in his home in Woodbury, NJ, after a long and courageous battle with frontotemporal dementia. He leaves behind a legacy of love, laughter, and profound impact on all who were fortunate enough to know him.
Born in Newark, NJ, on April 24th, 1954, to his late parents Joseph and Irma, Michael was a proud graduate of Glassboro State College, under the guidance of his good friend and mentor, Joseph Mayes. During his time at Glassboro State, he cultivated his passion for music and education, laying the foundation for his impactful career. Professionally,
Michael dedicated himself to education, serving as a music teacher in the Deptford Township School District. His love for music inspired countless students; and his guidance left a lasting impression on all those who had the privilege of learning from him.
In addition to his role as a teacher, Mike was deeply involved in the community. He served as a choir director at St. Patrick's Church in Woodbury, where his passion for music and devotion to his faith shone brightly. His leadership and talent enriched the spiritual lives of many parishioners.
Mike's love for life was infectious- he enjoyed countless hours on the beach in Cape May and Wildwood teaching his children, nieces, and nephews how to boogie board and fish. He also had a deep love of History that he passed along to his children through his Civil War Band and many trips to Gettysburg. Mike felt a deep connection to his roots in Ireland and went on many trips there with his family. He greatly admired Irish music playing in numerous Irish music bands and attending frequent sessions.
Scott Singer
Scott Singer, beloved educator and musician, died May 2 in Jupiter, Florida after a brief illness. He was 72 years old.
A graduate of Syracuse University and Carnegie Mellon University Scott was a longtime music teacher at the Ridge School in Mahwah, N.J. where he was named Teacher of the Year in 1992. As a professional musician, he also taught clarinet to scores of talented youngsters and performed at sites as varied as the circus in New York City and with the New Jersey Symphony Orchestra in Ireland accompanying Luciano Pavarotti.
NJSMA
North Jersey School Music Association www.njsma.com
Greetings colleagues in Region I and around the state! On behalf of the entire NJSMA Executive Board, I hope the beginning of the 2024 school year is going well and look forward to the amazing work you and your students will create this year.
It is with great optimism and enthusiasm that I begin my 2nd year as President. Together, we will continue to uphold the high standards of excellence that define our association and your school music programs of Northern New Jersey.
I would like to thank Lew Kelly (Band Division) Paulina Edel (Orchestra Division) and Justin Louie (Orchestra Division) for their service to our organization. Good luck as you pursue new adventures and thank you for your leadership and guidance these past years. I would like to welcome our new executive board members for 20242025: Amy Wilcox (Band Division) from Northern Valley Regional HS at Old Tappan, and Jason DePope (Orchestra Division) from Copeland Middle School in Rockaway Township. On behalf of the executive board, we welcome you and look forward to working together to create a strong partnership.
The NJSMA Elementary Music Division offers exceptional workshops and events for NJMEA elementary general/choral music educators. We are proud to offer fantastic 2024-2025 events, which include:
● Annual Fall workshop on Monday, October 14, 2024 - Guest Clinician, Missy Strong
● "It's Elementary, My Dear" Saturday morning workshop, featuring multiple topics and clinicians, on March 29, 2025.
● NJSMA Choral Celebration for elementary choirs on May 28, 2025 - Guest Clinicians: Dr. John Wilson and Prof. Tom Shelton
For additional information, including registration links and details, please visit the NJSMA Elementary Music Division webpage: https://njsma.org/elementaryhome/.
We are excited to introduce a Modern Band festival event to
align with the NJMEA emerging ensemble. More information will be available on our website. Any questions, please reach out to Jordan Peters, Diversity/Inclusion Chair - diversity[at]NJSMA.org.
Continuing this year, we are excited to be running our high school and intermediate region ensembles for choir, band and orchestra. We will also be having our high school, intermediate, and elementary festivals. Please see our website for more information. Our events can only run with the help and support of all of you. We are always looking for volunteers with any level of experience to serve as site host, audition chair, manager and committee members. If you wish to be involved, we have a spot and will work alongside you throughout the entire process.
Welcome to any new teachers in our region and to those who have not been active as NJSMA members. If you are reading this or know someone who desires to join us, please have them reach out to our corresponding secretary (publicity[at]njsma.org), or fill out the contact form on our website. All relevant information about our region is on the website (njsma.org). The calendar section is up to date with all of our confirmed events as of this publication. Contact information for all executive board members/divisions is listed under the officers’ section.
I am looking forward to another successful year and collaborating with all the exceptional music educators in Northern New Jersey. Your dedication and passion are truly inspiring, and I am excited about the possibilities ahead. Please do not hesitate to reach out if you have any questions.
Anthony Lanzerotti NJSMA President president[at]njsma.org
CJMEA
Central Jersey Music Educators Association www.cjmea.org
Welcome back to another school year! In addition to the excitement a new year brings, I am overjoyed to be able to bring our new offerings to you this year.
As I wrote about at the end of last year, CJMEA is offering Modern Band through its new High School Emerging Ensemble. Keep checking the website to catch updates about Emerging Ensemble’s audition requirements. As we begin fleshing out this ensemble this year, we will be collecting your thoughts on how to make it better. Throughout the process, please feel free to email our chair about thoughts going into next year that will make the ensemble work better.
One of our goals is to be more accessible for communities that may not have participated in CJMEA events in the past. We are actively trying to make our offerings less reliant on passed down knowledge and making our information more readily available. Last year we added timelines that stay on our individual ensemble pages all year detailing general schedule outlines and created succinct “cheatsheets” for our honors groups (which will be expanding to regions this year). To continue on this path, early Fall we are releasing a directors duty living document that lays out what sponsoring teachers are required to do for their students to participate in CJMEA’s ensembles. We are hoping by having all information in one simple
to access location we make participating in regional activities easier. Stay up to date with everything CJMEA through our website (CJMEA.org) and our TEMPO Express blasts. As we are moving into new waters this year, please know that we are so thankful for all of your help. We all will figure out these new challenges together!
Brian Williams
CJMEA President president.cjmea[at]gmail.com
SJBODA
South Jersey Band and Orchestra Directors Association www.sjboda.org
Welcome Back! Our first membership meeting for this school year will be held on Wednesday, October 9, 2024. This breakfast meeting will take place at Seven Star Diner in Sewell at 9:00 AM. There is no fee to attend the meeting. Please notify Sue Mark (609457-0590 or sjbodapresident[at]gmail.com) if you plan to attend. The NJMEA General Liability Insurance and the procedures for background clearance for all volunteers will be explained in detail at this meeting.
Auditions for the 2025 All South Jersey Orchestra, Wind Ensemble, Symphonic Band and Junior High String Ensemble will take place on Saturday, December 14, 2024 at Absegami HS. Jeffrey Moore (Palmyra School District) is our Senior High auditions chair and Patrick O’Keefe (Absegami HS) will be our host. Audition information, applications and directions are available on our website. The first rehearsal for these ensembles will take place on Saturday, December 21st at Cinnaminson HS. Nick DiSalvio will be our site host for this rehearsal.
Our 2025 Orchestra will be conducted by José Luis Dominquez (Temple University). The Wind Ensemble will be conducted by Lauren Reynolds (University of Delaware) and Jon Porco (Deptford MS) will conduct the Symphonic Band. Carrington Thompson (Eastern Regional HS) is our Strings Coordinator and Amanda Lakits Porco (Hamilton Twp. Schools) is our High School Band Coordinator.
The Junior High Band auditions will take place on Saturday, January 25th, at Southern Regional Middle School. Andrew Wright will be our event host. Audition information is available on our website. Joe Jacobs (Ventnor MS, retired) and Jon Porco (Deptford Twp. MS) are the Junior High auditions co-chairs. Nancy Robinson (Linwood Public Schools, retired) is our Junior High Band Coordinator.
We are pleased to announce that we will be hosting our firstever Junior High Honors Orchestra in 2025. This orchestra will follow our elementary honors bands and orchestras model and will be open to any string player in grades 6 - 8 (who was not accepted into the South Jersey Junior String Ensemble) who wish to explore the honors orchestra experience. More details will be discussed at our October membership meeting and, as always, can be found on our website.
The South Jersey Band and Orchestra Directors Association offers many opportunities for instrumental music teachers to expand their involvement and expertise as music educators. We provide excellent vehicles for professional development including conducting, coaching, and managing our ensembles. Many teachers have gained
wonderful ideas and strategies by observing rehearsals and meeting with colleagues. There are plenty of excellent performing opportunities for your students and ensembles to enhance your school music program. We invite all music teachers to take advantage of the wonderful resources offered by SJBODA this year. For additional information, please contact Sue Mark at sjbodapresident[at]gmail. com or 609-457-0590.
We encourage you to check our website, which is maintained by Derek Rohaly (Mainland Regional HS), for the latest SJBODA updates (www.sjboda.org). And take a moment each month to check out the President’s Message which strives to offer some inspiration throughout the school year and keep you up-to-date on SJBODA happenings and other important news.
We wish everyone an exciting and successful school year.
Sue Mark SJBODA President sjbodapresident[at]gmail.com
SJCDA
South Jersey Choral Directors Association www.sjcda.com
The South Jersey Choral Directors Association Board of Directors worked throughout the summer and are looking forward to a successful year of choral activities in Region III.
We began the year with our annual General Membership Meeting and Reception at White Horse Winery on September 9th. Conductors for our honors choirs presented their programs and the executive board discussed new opportunities and initiatives for SJCDA members. In addition, our membership had the opportunity to connect with their colleagues and share ideas about the upcoming school year.
Our 67th Annual South Jersey High School Choral Festival will be held at Investors Bank Performing Arts Center at Washington Township High School on January 26th and 27th, 2025. Our Senior High conductor is guest conductor Vinroy D. Brown of Westminster Choir College and our Junior High conductor is Kathleen Kershaw of Northern Burlington High School. Auditions for these choirs will be held on Saturday, November 16 at Clearview Regional High School.
Our 42nd South Jersey Elementary Festival Choral Concert will be held on March 1st, 2025 and will be conducted by Melissa Manzano of West Deptford Middle School.
Full concert programs for all three honors choirs as well as bios of our conductors are available on our website- sjcda.com. You can also find all the dates for the upcoming year on the site as well.
Thank you to our webmaster and past president, Hope Knight who recently completed an extensive listing of all our past concert repertoire, going back to the first concert in Region III in 1958! I encourage you to check it out.
We look forward to another exciting year working with the teachers and students throughout South Jersey!
Cristin Introcaso SJCDA President sjchoraldirectors[at]gmail.com
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UNDERGRADUATE PROGRAM
• Bachelor of Music in Music Education
Teacher licensure program (PK–12, music)
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GRADUATE
PROGRAMS
• Master of Music in Music Education
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• Graduate Certificate in Music Education and Autism
Distinctive programs that advance the art of teaching music
Unique autism concentration programs that prepare you to reach all learners
Offerings that bridge pedagogical theory and practice
Teach music to students with disabilities at the Berklee Institute for Accessible Arts Education.
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 or call 617-747-2425.
Please donate to the following Music Education Scholarships honoring the memory of Deanna Kidd-Szymczak, Faith Lueth, and Dr. Jarritt Sheel: college.berklee.edu/giving/active-scholarship-initiatives berklee.edu/music-education
NJMEA RESOURCE PERSONNEL
Area of Responsibility
Administrative Matters
Name
Email Address
David Westawski westawski.njmea[at]gmail.com
All-State Coordinator Joseph Cantaffa jcantaffa[at]rocknrollchorus.com
Association Business ....................................................... William McDevitt ...................................... wmcdevittnjmea[at]gmail.com
Band Performance Chair
Patrick O'Keefe patrickaokeefe[at]gmail.com
Band Procedures Chair ..................................................... Tyler Wiernusz ................................. twiernusz[at]clearviewregional.edu
Choral Performance Chair
Brian Williams williams.brian[at]robbinsville.k12.nj.us
Choral Procedures Chair Ken Bryson kennethbryson[at]gmail.com
Composition Contest ........................................................ Andrew Lesser .......................................... andrew.lesser[at]yahoo.com
Opera Festival Chair ...................................................
Orchestra Performance Chair
Nancy Clasen nancyclasen[at]gmail.com
Donna Marie Berchtold ....................................... firesongwed[at]gmail.com
Susan Meuse susanmeuse[at]gmail.com
Orchestra Procedures Chair Liam Keller & Elisabeth Sato orchestra.njmea[at]gmail.com
Research ........................................................................ Marissa Silverman ........................................ silvermanm[at]montclair.edu
Students with Special Needs
Maureen Butler maureenbutlermusic[at]gmail.com Supervisor of Performing Groups .................................... Wayne Mallette .......................................... mallette.njmea[at]gmail.com Tri-M Yale Snyder snyder.njmea[at]gmail.com
REPRESENTATIVES/LIAISONS TO AFFILIATED, ASSOCIATED AND RELATED ORGANIZATIONS
NJ American Choral Directors Association .......................... John Wilson ................................................... jwilson[at]brrsd.k12.nj.us Governor’s Award for Arts Education Wayne Mallette mallette.njmea[at]gmail.com
NJ Association for Jazz Education ................................... Darrell Hendricks ....................................... dhendricks.njaje[at]gmail.com NAfME William McDevitt wmcdevittnjmea[at]gmail.com
NJ Music Administrators Association Alfred Hadinger alfred_hadinger[at]nplainfield.org
NJ Retired Music Educators Association ............................ Ronald Dolce ....................................................... rdolce561[at]aol.com
Percussive Arts Society Joe Bergen joe[at]mantrapercussion.org
COMMUNICATION SERVICES/PUBLIC RELATIONS
Executive Director/TEMPO Editor/ TEMPO Express/NJMEA Website .................................... William McDevitt ..................................... wmcdevittnjmea[at]gmail.com
The New Jersey Association for Jazz Education presents the 20th Annual
New Jersey State Jazz Conference
Darmon Meader
Vocalist/Saxophonist/Composer/Arranger
The Fundamental Connections Between Vocal and Instrumental Jazz Performance
Friday, November 15, 2024 NJPAC Center for Arts Ed
Free to all NJAJE Members
Non members: $75 includes 1 year NJAJE membership and Downbeat Magazine ~
Join us for the All State Jazz Choir and Jazz Band at 7:00 PM (Tickets available from NJPAC)
Conducted by Pete McGuinness and Andrew Neu
Attention Vocal Directors! Attend this session and receive a one-year NJAJE membership for almost half-off our regular membership price ($40 instead of the usual $75). Band Directors—bring your school’s Vocal Director!
Register by Monday, November 4 at www.njaje.org or contact Conference Chair
Jeffrey Haas (201) 207-6736 jhaas.njaje@gmail.com Professional Development Credit Issued the industry's best New Jazz Band Music Reading Session with vocal soloists sitting in! with Joseph Verderese, Director and Clinician Bring your horn or your voice, or both!
Please join us as at the luncheon as we honor the 2024 NJ Jazz Education Achievement Award recipient
Pete McGuinness
NJMEA 2023-2025 Board of Directors
EXECUTIVE BOARD
Past President
Wayne Mallette
Scotch Palins-Fanwood District mallette.njmea[at]gmail.com
NJSMA, President
Anthony Lanzerotti, Jr
Woodrow Wilson MS president[at]njsma.org
President David Westawski
West Windsor-Plainsboro High School South westawski.njmea[at]gmail.com
Shawna Longo Westfield Public Schools shawnalongo[at]gmail.com
Advocacy
Arwen Kapusta
John Adams Elementary School arwenkapusta[at]gmail.com
All-State Production Manager
Joseph Cantaffa
Howell High School jcantaffahhs[at]hotmail.com
Band Festivals/NJEA Liaison
Nancy Clasen
Lodi Public Schools nancyclasen[at]gmail.com
Executive Director
William McDevitt Retired wmcdevittnjmea[at]gmail.com
President-Elect
Yale Snyder
Monroe Township District snyder.njmea[at]gmail.com
SJCDA, President Cristin Introcaso Collingswood HS cintrocaso[at]collsk12.org
APPOINTED MEMBERS
Band Performance
Patrick O'Keefe Absegami High School patrickaokeefe[at]gmail.com
Choral Festivals
Donna Marie Berchtold Retired firesongwed[at]gmail.com
Choral Performance
Brian Williams
Robbinsville High School NJAllStateChoir[at]gmail.com
Conferences
Marie Malara Retired malara97[at]aol.com
D.E.I.A
Isaiah C. Mason
Linwood School deia.njmea[at]gmail.com
Emerging Ensembles
Zach Gates
East Brunswick High School zacharygatesmusic[at]gmail.com
SJBODA, President
Sue Mark
Rosa International MS sjbodapresident[at]gmail.com
Jazz Education
Darrell Hendricks
Mt. Olive High School dhendricks.njaje[at]gmail.com
Orchestra Performance/Festivals
Susan Meuse
Churchill Junior High School susanmeuse[at]gmail.com
PreK-8 General Music
Amy Burns Far Hills Country Day School aburns[at]fhcds.org
Research/Collegiate/HigherEd
Marissa Silverman
Montclair State University silvermanm[at]montclair.edu
Retired Members/Mentorship
Kathy Spadafino Retired kspadeb[at]aol.com
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EDITORIAL POLICY
Articles may be submitted to the editor of this magazine by anyone who wishes to write about topics related to music or music education. All articles which are selected for publication will be proof read for content, spelling and grammatical errors.
Authors who submit an article to TEMPO Magazine for publication agree to all of the following
1. the editor may edit all articles for content, spelling and grammar.
2. the printing of the article in TEMPO Magazine, the printing date, and placement are at the discretion of the editor.
3. permission is granted to reprint the same article in any National or State Music Education Association magazine on the condition that the author’s name and TEMPO Magazine are to be mentioned in all reprinted articles.
4. no exceptions will be made regarding items 1 through 3 above.
5. the author of the article may submit his/her article to additional magazines for publication.
