2025 January TEMPO

VOLUME 79, No. 2

JANUARY 2025

IN THIS ISSUE 2025 NJMEA CONFERENCE Sessions, Performances, Registration and Hotel Information Also . . .

2024 Marching Band Festival Pedagogy Articles

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

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JANUARY 2025

Volume 79, No. 2 https://www.njmea.org

JANUARY 2025

FEATURES

DEPARTMENTS AND NJMEA BUSINESS

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President's Message - David Westawski

Advertisers Index & Web Addresses....54

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Past President's Message - Wayne Mallette

Board of Directors................................ 52

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2024 NJMEA Marching Band Festival

10 News from the Board of Directors 18 Interdisciplinary Teaching: Collaborate, Educate, Advocate!

Arwen Kapusta 20 Posture and Alignment Through Flexible Movement Lauren Athey-Janka 22 NJMEA Offers Another Year of Great Sessions for PK-8 General Music Educators - Amy M. Burns 24 NJMEA State Conference Information 32 The 63rd Army Band: An Interview with out Students Isaiah C. Mason 34 Five Reasons Elementary Music Educators Should Add QuaverMusic to their Classrooms - Catie Dwinal 36 Five Tips and Tricks for the Beginning Jazz Band Director Michael H. Webb 38 The First Day of Music: Considering our Approach -Megan Reilly

Editorial Policy & Advertising Rates.....53 In Memoriam....................................... 40 JrHi/MS Band Festival Information......19 JrHi/MS Choral Fest Application...........16 Marching Band Festival Information......9 NJMEA Awards..................................... 46 NJMEA Past Presidents........................53 Resource Personnel.............................. 48 Round the Regions............................... 42

FORMS AND APPLICATIONS Please go to

TEMPO Editor - William McDevitt 300 W. Somerdale Road, STE C Voorhees, NJ 08043 Phone: 856-433-8512 e-mail: wmcdevittnjmea[at]gmail.com Deadlines October Issue - August 1 January Issue - November 1 March Issue - January 15 May Issue - March 15 Printed by: Mt. Royal Printing 1-717-569-3200

The New Jersey Music Educators Association is a state unit of the National Association for Music Education and an affiliate of the New Jersey Education Association. It is a nonprofit membership organization.

TEMPO (ISSN 0040-3016) is published four times during the school year: October, January, March and May. It is the official publication of the New Jersey Music Educators Association.

The subscription rate for non-members is $20.00 per year.

The subscription for members is included in the annual dues.

A copy of dues receipts (Subscriptions) is retained by the NJMEA Treasurer. Inquiries regarding advertising rate, closing dates, and the publication of original articles should be sent to the Editor.

Volume 79, No. 2, JANUARY 2025 TEMPO Editor - William McDevitt C/O NJMEA, 300 W Somerdale Rd, STE C, Voorhees NJ 08043 Periodicals Postage Paid at Lakewood, NJ 08701 and additional entries

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

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

President's Message David Westawski West Windsor Plainsboro High School - South westawski.njmea[at]gmail.com

Greetings and Happy New Year!

Through our collaboration and shared passion with the NJAJE, we amplify the impact of music education, providing a stage for these exceptional young musicians to shine. I’d like to thank Darrell Hendricks, NJAJE President, and the entire NJAJE Board for making those concerts possible.

I hope your holiday season was filled with joy, laughter, and a much-needed chance to relax! As I pen this note in November, I find myself reflecting on the often hectic month of December and all the preparations we face in the lead-up to Winter Break. For those of us involved in December concerts and performances, it can be quite a whirlwind! But I have no doubt that you all delivered outstanding performances and created core memories with your students. For those of you with January concerts, I’d love to support you! Please send me the details via email and I’ll do my best to attend.

February Conference Next month, we will gather for our annual State Conference in Atlantic City. I’m both excited and proud of the impressive lineup of headliner clinicians who have chosen to include New Jersey in their schedules this year. I encourage you to explore the full array of outstanding clinicians, sessions, and performances featured in this issue.

This three-day event offers something for everyone, providing up to 20 hours of valuable and relevant professional development.

We all recognize the importance of lifelong learning, especially given the often limited professional development opportunities provided by school districts for music educators. If you're seeking ways to advocate for your attendance with your administrator, be sure to check out our Conference Justification Toolkit available on the NJMEA website. Additionally, we have secured a travel waiver from the NJ Department of Education, allowing teachers to receive reimbursement for overnight accommodations from February 20th-22nd.

If you haven't attended the conference in a while, I warmly invite you to join us again. Your contributions to music education are invaluable, and I believe that ongoing professional development and networking is essential for staying updated on the latest trends and teaching methods. In our rapidly changing field, adopting new strategies and technologies is vital for fostering the next generation of musicians.

Our conference serves as a unique opportunity for music educators to participate in engaging sessions, workshops, performances, and discussions that ensure you leave with fresh insights and renewed passion for your work. The exchange of ideas and shared experiences during the conference cultivates a collaborative atmosphere that extends well beyond the event itself, creating a lasting network of support and inspiration. Rediscover your love for learning, build meaningful connections, and become an active part of the community dedicated to advancing music education.

All-State Mixed Chorus and Orchestra I'm still feeling energized by the incredible experiences we had during our November All-State events in Atlantic City and at NJPAC. The student performances were among the best I’ve seen. I am continually inspired by the volunteers who generously give their time to support our students. I deeply value the contributions of our members throughout the extensive All-State process. From the educators who prepare students for auditions to our judges, managers, rehearsal conductors, and Procedures Committees, your commitment to ensuring these events run seamlessly year after year deserves high praise and great appreciation.

I would be remiss not to highlight a few individuals who make significant contributions to our association each year. Our performance chairs, Susan Meuse and Brian Williams, excelled in coordinating their teams and preparing the ensembles for Atlantic City. As always, Joe Cantaffa skillfully managed rehearsals and performances at both Atlantic City and NJPAC, ensuring that every detail was executed flawlessly. His deep understanding of professional environments allows our students to enjoy top-notch musical experiences.

Additionally, our Executive Director, Bill McDevitt, and Housing Director, Nancy Dickinson, undertook extensive preparations well before our students' arrival, ensuring their accommodations were organized and stress-free. Conductors Michael Semancik (Mixed Chorus) and Jose Luis Dominguez (Orchestra) created memorable experiences that transcended the music itself, forging connections with the ensembles that will be cherished for years to come. Lastly, our dedicated team of chaperones played a crucial role in maintaining the safety and focus of our students throughout their time in Atlantic City.

I look forward to welcoming you in person to the Annual Conference next month.

All-State Jazz Choir and Jazz Band Our invaluable partnership with the New Jersey Association of Jazz Educators resulted in wonderful performances by the All-State Jazz Choir and Jazz Band in both Atlantic City and NJPAC. Led by conductors Pete McGuinness and Andrew Neu, the students celebrated the richness of American musical culture during their performances.

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Past President's Message Wayne Mallette Scotch Plains-Fanwood District mallette.njmea@gmail.com

Speaking of which, I am looking forward to seeing all my music teacher friends at the NJMEA 2025 State Conference in Atlantic City! This conference is a great way to give you that mid-school-year motivation.

Happy New Year! I hope your 2025 is off to a great start. As we begin this new year, we are almost mid-way through the 2024-2025 school year. I always take this time to reset norms with students and remind them of their great privilege of making music! I encourage you to take stock of good habits you want to reestablish with your students. This is an excellent time to start going back to the basics and pull out those sight-reading examples that got swept away in the concert preparation momentum.

As I close my article, I want to encourage you to find a way to get involved with NJMEA. In my 20+ years in public education, I have found that by being on a committee or helping out at an All-State rehearsal, I indeed received more than I gave. I learned so much just from watching conductors and even talking with colleagues. These encounters changed how I taught and made me the educator I am today.

I would like to congratulate the students and conductors of the All-State Ensembles (Choir, Orchestra, and Jazz) who performed in November at the NJMEA Conference.

The stellar programming and performances were captivating. I also want to express my gratitude to the members of the production and procedure committees, who work tirelessly to bring our students an exciting and transformative performance experience. I cannot wait to see the All-State Bands and Treble Choir in February!

Yours in song,

Be sure to check out the

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2024 NJMEA Marching Band Festival

The 24th annual NJMEA State Marching Band Ratings Festival held at Wayne Hills High School on October 19th was, “one of the finest and most diverse festivals yet,” said show coordinator Matthew J. Paterno.

Bands came early to watch each other perform and the large crowd enthusiastically supported all the students’ performances. The wide range of show concepts and themes also added to the enjoyment of the evening. The weather was beautiful, and the atmosphere was exciting!

Bands performing included: Saddle Brook, Garfield, Bernards, Pascack Hills, Ramapo, Emerson, Whippany Park,

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P.C.T.V.S., Pompton Lakes, Indian Hills, Dover, Hackensack, Midland Park, Demarest, Bergenfield, and Wayne Hills. Each band received quality feedback from our team of “Evaluators” and a rating of Bronze, Silver or Gold. Bands also received awards for the most outstanding musical contribution and most outstanding visual contribution to their show.

The band members, directors and spectators deserve to be proud of both their individual performances and the way they supported each other.

Mark your calendars for next year’s festival on Saturday, October 18th, 2025. Sign-ups begin 3/1/2025!

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The 24th Annual

NJ State Marching Band Festival A unique opportunity for your Marching Band to perform in a Festival (rating only) setting.

Quality Evaluation!

Local Bands!

Enthusiastic Audiences!

State Sponsored!

Non-Competitive!

One time commitment!

State Marching Band “Ratings” Festival Saturday, October 18, 2025, 5:00 pm. Wayne Hills High School Contact: Matthew J. Paterno (mpaterno[at]wayneschools.com) or Anne Pascale (annepascale[at]wayneschools.com) Don’t miss out on this unique addition to your present Marching Band activities!

Sign-ups begin MARCH 1ST, 2025

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News From the Board of Directors Choral Festivals Donna Marie Berchtold firesongwed[at]gmail.com The 70th Annual NJMEA Middle School – Junior High Choral Festival dates are scheduled for the spring of 2025. Donna Marie F. Berchtold, chairperson, and Karen Blumenthal will once again coordinate the Festivals.

The Festivals are currently scheduled to be held at these two separate locations.

• The first event (South Site) will take place at Rowan University on Thurs. March 20, 2025 from 9:00 AM – 1:30 PM. The deadline for applications is February 8, 2025. 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 from 9:00 AM – 1:30 PM. The deadline for applications is Thurs. April 11, 2025.

Any school interested in participating in either of these 2025 events, should be sure to complete the application form in this January 2025 issue of TEMPO magazine, or online at www.njmea.org. 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, and a photocopy of your NAfME Card, (per the instructions) on the application form. Each participating choral group will receive written and aural evaluations by the adjudicators, along with a plaque from NJMEA which recognizes the commitment and involvement by the school, its chorus, and the director(s).

Anyone with questions or concerns may contact Donna Marie at firesongwed[at]gmail.com.

Collegiate/Higher Ed/Research Marissa Silverman silvermanm[at]montclair.edu Happy January, New Jersey music educators. The end of autumn and the beginning of winter signals a time for reflection and renewal. About this season, poet Anne Bradstreet wrote: “If we had no winter, the spring would not be so pleasant: if we did not sometimes taste of adversity, prosperity would not be so welcome.” Indeed, this season, with potential snow, ice, and cold give way to, not only spring and its fruits, but also readily to snowflakes, hand-made wool hats and scarves, warm apple cider, and more.

So, the plans for the annual convention are near complete, and we shall see each other soon. Regarding the Collegiate Division of NJMEA, upon sending out a Call for Research Papers, we received research proposals for the poster session at the 2025 NJMEA Conference from inservice teachers, doctoral students, and faculty in higher education. This kind of breadth is reassuring, exciting, and, quite frankly, what “should” be. All teachers research best practices (or the lack thereof). Because of this, it is important that NJMEA members hear about a variety of professionally based questions and problems; that a variety of teachers feel that their teaching-based pursuits get shared and heard.

As Aristotle stated: “To appreciate the beauty of a snowflake, it is necessary to stand out in the cold.” Perhaps warm sweaters, mittens, the thoughts of ice-skating, and the glories of winter will help us absorb all the good this time of year will yield? We’ll see. I look forward to seeing you at the NJMEA Conference in February.

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News From the Board of Directors Choral Performance Brian Williams NJAllStateChoir[at]gmail.com Happy New Year Everyone! While we are looking forward to another fantastic year of choral singing, I wanted to highlight the accomplishments of the New Jersey All-State Mixed Choir last November.

Singing under the incredible Mike Semancik, the Mixed Choir dazzled audiences at Boardwalk Hall and NJPAC. An All-State experience does not happen without the dedication and expertise of a small army. Special thanks to Rich Tinsley and Sara Munson for their brilliant leadership as choir managers. Paul Conrad for his exquisite piano playing.

Joe Cantaffa for being the genius behind all the production operations. Nancy Dickinson for her tireless and brilliant work as Housing Director. Bill McDevitt for all his work behind the scenes to make sure everything runs as smoothly as it does. David Westawski for his continued guidance and leadership as our President. Lastly, an immense thank you to all of you who chaperoned and gave of your time, we could not have done it without you.

Looking ahead into 2025, we have an amazing array of presenters and ensembles at the NJMEA Conference in February.

If you have not already taken the opportunity to register for this amazing professional development, make sure it is something you do immediately. Also in February, the New Jersey All-State Treble Choir will be performing under the baton of Amanda Hanzlik. As a reminder to our directors that have students involved in this ensemble, we are utilizing a MailChimp account to send emails out. If you are not receiving emails about this group, please contact Brian Williams and Ken Bryson at NJallstatechoir[at]gmail.com. Finally, make sure to check the NJMEA website to keep up to date on audition materials for the 2025-2026 All-State Choirs Audition information.

Accessible Music Education Maureen Butler maureenbutlermusic[at]gmail.com As a new calendar year begins, we can take the opportunity to reflect on the first four months of the school year and consider how our special learners are faring. Have you been successful in teaching all of your students? Are you looking for more insight into how to include students with disabilities? If so, you’re in luck! Come to this year’s conference in Atlantic City, where there will be several sessions dedicated to this important topic. Plan on attending our annual Roundtable discussion, where music teachers bring their concerns and questions to our panel of experts. It’s a wonderful opportunity for learning and sharing ideas, as we discuss how to help all our students develop the musical skills we want them to have. You may have successful experiences of your own that you can share with the group - we all benefit by supporting and learning from each other!

Hope to see you at the conference! In the meantime, if you have questions or concerns about any of your students, please contact me at the email listed above.

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News From the Board of Directors Diversity/Equity/Inclusion/Access Isaiah C. Mason deia.njmea[at]gmail.com I hope the first half of the school year was rewarding! The Diversity, Equity, Inclusion, and Access (DEIA) Committee is excited to provide multiple sessions for you at the 2025 NJMEA Annual State Conference. We look forward to seeing you at our sessions in February!

Breaking Down Barriers: Perspectives on Accessibility This expert panel will identify existing barriers to music education, discuss how to break down those barriers, and highlight successes in making their programs more accessible to all students. Join current teachers, professors, and administrators in a conversation that will move the needle forward.

Band & Orchestra Reading Sessions: A Focus on Diverse Repertoire Members of the DEIA Committee will introduce repertoire by composers from various backgrounds for your consideration. Orchestra members - bring your instruments, play along, and discover new repertoire that reflects your students' culture and experiences. Band members, be prepared listen and observe as The North Brunswick Township High School Wind Ensemble plays through several pieces of new music by historically underrepresented composers.

Updates on Diversity, Inclusion, Equity, and Access (DEIA) Connect with the NJMEA DEIA Committee to learn about state and region initiatives, opportunities for involvement, and the next steps on topics of Diversity, Equity, Inclusion, and Access in music education. Participants are encouraged to share resources, recommendations, and expertise to help shape future programming.

Email deia.njmea[at]gmail.com to learn more about our various initiatives or to join our team.

Orchestra Performance/Festivals Susan Meuse susanmeuse[at]gmail.com Congratulations to the All State Orchestra on two fantastic performances in November! Thank you to conductor José Luis Dominguez for working so well with these students. Thank you to our staff including managers Caty Butler and Laura Kearney, percussion coordinator Chris Janney, and procedures chairs Liam Keller and Liz Sato. As I sat and watched the rehearsals, I could hear the students working hard and making terrific progress. The students performed very difficult music including Stravinsky’s Firebird Suite and Marquez’s Conga Del Fuego Nuevo. They had a wonderful All State experience. Both the Orchestra and the Mixed Chorus performed very well under fantastic conductors. I hope you were able to see it!

We are in the process of planning two orchestra festivals this year. Please see the NJMEA website for more information and updates including the registration links.

The All State Orchestra and All State Intermediate Orchestra auditions will be taking place on Saturday, March 15. We are in the process of confirming the site for this year. Please keep an eye on the NJMEA website for the information. I look forward to seeing everyone there!

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News From the Board of Directors Retired Members/Mentorship Kathleen Spadafino kspadeb[at]aol.com We retired music educators salute all of you still in the trenches! Hopefully you have completed one concert or musical, and are finishing up the first semester. Many of us are still helping out with marching band, playing in your pits, giving lessons and helping with rehearsals. We continue to enjoy working with musicians and students. Just ask!

We are having difficulty reaching new members – those who are newly retired and so are eligible to join NJRMEA. NAfME is no longer giving out email addresses, so we are relying on your help to contact members of NJMEA who would like to continue being involved with the music community. Please contact our president, Ron Dolce at rdolce561[at]aol.com or me at kspadeb[at]aol.com. We would LOVE to hear from you! And we look forward to seeing you at the conference in February!

Band Performance Patrick O'Keefe patrickaokeefe[at]gmail.com All State Band auditions are quickly approaching and I am excited to confirm our conductors for this year. Dr. Courtney Snyder, from the University of Michigan, will be conducting the Wind Ensemble. Dr. Catherine Sinon Bushman, from St. Cloud State University, will be conducting the Symphonic Band. We are so grateful to have both of these inspiring leaders work with our students this year.

Auditions are scheduled to take place on Saturday, January 18 at JP Stevens High School. All State Band weekend will occur Thursday, February 20 through Saturday, February 22. The ensembles will once again perform in Atlantic City at our February Conference at the Atlantic City Convention Center before taking the stage at the New Jersey Performing Arts Center (NJPAC) on Sunday, February 23. We hope you can join us for one, if not both, of these performances. Keep in mind that you are also able to observe rehearsals as part of the conference as well, so if you are planning on being in attendance, be sure to stop in.

Best of luck as we head into this next phase of the school year. Special thank you to the All State Band committee, who is working diligently to make this year’s events a success, handling all details and logistics behind the scenes. As always, please do not hesitate to reach out with questions or concerns.

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News From the Board of Directors

PreK-8 General Music Amy M. Burns aburns[at]fhcds.org The upcoming NJMEA Conference promises an abundance of resources for general music educators from preschool to grade eight. Be sure to check out the article highlighting our Elementary Academy headliners, Stephanie Leavell and Dr. Missy Strong. Additionally, explore the sessions they will be presenting along with our Friday-highlighted speaker, Lillie Feierabend. This issue also includes a list of our many general music presenters whom you don't want to miss.

Continuing our focus on the elementary music curriculum, we are pleased to feature an article about Quaver Music. For details on the Essential Elements Music Class, refer to the October Tempo, and for MusicFirst Elementary, check out the May Tempo. I look forward to seeing everyone at the conference!

Administration/K-12 Ed Tech Shawna Longo shawnalongo[at]gmail.com Over the past year, NJMAA worked to revamp their website - https://njmaa.weebly.com/. Membership is open to any and all administrators who supervise music educators. All meeting are held at The Rutgers Club from 8:30-11:00am with dates and topics/presentations below: • November 22, 2024 Incorporating Movement in Arts Classrooms Facilitators: Broadway Works • February 7, 2025 - AI In Music Education Facilitator: Dr. Jim Frankle, Music First • April 4, 2025 - Social Emotional Learning Community & Belonging Facilitator: Rebekah Sterlacci Piscataway • June 6, 2025 - A Reflection on 2024-2025 & Field Trip/Virtual Ed Camp Facilitators: NJMAA Executive Board Thursday of the NJMEA Conference will be the place to be this year for everything music tech! The NJMEA Music TechFEST will take place on Thursday, February 22, 2024 at The Atlantic City Convention Center. The Music TechFEST 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 featuring four different Masterclasses!!

The best part - you can attend both as part of your Conference registration! Come hear from amazing educators from across the country and see them putting their practices into action working with students during the Music TechFEST! Not only can you hear them talk about the amazing work they do with their students, but you can experience them working with our New Jersey high school students! If you’ve ever wondered - “how can I do that?” Well, this is your chance!

Music TechFEST Masterclass Teachers/Presenters: • Richard McCready from Columbia, MD • Bob Habersat from Brookfield, IL • Stefani Langol from Berklee College of Music, MA • DJ Hapa from Los Angeles, CA Schedules for the Music TechFEST will be posted in the Conference Booklet.

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News From the Board of Directors

Jazz Education Darrell Hendricks dhendricks.njaje[at]gmail.com Greetings to everyone and hoping that you have had a solid start to your school year!! Please help me in congratulating all of the All State Jazz Band and Jazz Choir students on their November performances at the Claridge Hotel (AC) and NJPAC. Additional congratulations to the Jazz Band director, Andrew Neu (Swarthmore College, PA) and Jazz Choir director, Peter McGuinness (William Paterson University) on their contributions and leadership to the outstanding performances by the All State Jazz Ensembles. The managers for the ensembles included Miguel Bolivar, Andrew Lopez, Doug Heyburn, and Robert VanWyk. The NJAJE (New Jersey Association of Jazz Educators) met in October and held our full board meeting and worked together to provide new and exciting opportunities for students and membership for the 24-25 School Year. Audition materials for Region and All State Jazz ensembles are now available! More information can be found on the NJAJE website. www.njaje.org Please contact us if you have any questions and or concerns about opportunities for auditions, performances, festivals, or how you can be a part of NJAJE. 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.

Advocacy Arwen Kapusta arwenkapusta[at]gmail.com Hello New Jersey Music Educators! My name is Arwen Kapusta, and I am thrilled to be serving the NJMEA as your Advocacy Chair. I am here for all of your advocacy needs, and I encourage all of you to promote the importance and the incredible positive impact music education can provide the students in your district.

As this school year progresses, consider inviting your district board members and even local town council members to your concerts. This will give them firsthand experience of the value and outstretch of your program.

If there is any way I can be of help to you or your district, please reach out at arwenkapusta[at]gmail.com. I am looking forward to serving the NJMEA and hope to meet many of you at the conference in February.

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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: (during school:

Please check the appropriate category below: (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 Selection (Maximum of 3)

Complete Name of Composer/Arranger

Voicing

1.

2.

3.

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

FESTIVAL DATES: (Limited to the first TEN (10) Groups on each date)

DEADLINES: Thursday, February 13, 2025 for Rowan University Wednesday, April 9, 2025 for Monroe Twp MS

Thursday, March 20, 2025 (Snow Date: Friday, March 21, 2025) South Site: Rowan University TIME: 9:15 - 1:30 pm

SEND TO:

EMAIL:

Donna Marie Berchtold, Registrar 545 South Buffalo Avenue Galloway Township South Egg Harbor, NJ 08215-1720

Wednesday, May 21, 2025 North Site: Monroe Township Middle School TIME: 9:15 - 1:30 pm

firesongwed@gmail.com

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

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

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If your school is paying by Purchase Order, it must be sent to: NJMEA 300 W Somerdale Road, STE C Voorhees, NJ 08043

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Riverwalk RiverwalkPlaza Plaza 34 34Ridgedale RidgedaleAvenue Avenue East EastHanover, Hanover,NJ NJ 07936 07936 (973)428-0405 428-0405 (973)

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276Morris MorrisAvenue Avenue 276 Springfield,NJ NJ 07081 07081 Springfield, (973)476-4888 476-4688 (973)

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Interdisciplinary Teaching:

Collaborate, Educate, Advocate!

Arwen Kapusta John Adams Elementary School arwenkapusta[at]gmail.com

We all know the saying “there is strength in numbers”. The special area teachers at John Adams Elementary School in North Brunswick Township have found more than just strength in numbers. They have discovered there is support and educational value in numbers as well. For the past four years, Arwen Kapusta -General Music (GM), Karen Famiglietti - Art (A), Suzanne Martin - Library (L), and Corinne Blaine- Technology (T), have banned together to create an interdisciplinary experience for their third grade students across their four different disciplines.

The benefits of interdisciplinary or cross curricular teaching are vast, and the teachers at John Adams have discovered, first-hand, that this method serves as a great way to deepen student connections, increase collaboration with colleagues, and even advocate for your program by showcasing the incredible educational value and positive impact this style of learning has had on the students. The four participating teachers were interviewed to share their experiences and some of the benefits manifested through this project.

Q 1: What is the greatest value of collaborating across disciplines?

GM: I love to see the confidence it builds in students. When students come to music with prior knowledge about the subject we are learning, they are more likely to be an active participant in class discussions. Though all of my students are musicians, not all of them believe they are. The interdisciplinary unit makes music accessible to the students who feel like music isn’t their top achieving subject because they are able to draw on the experiences they felt in art, computers, and library.

A: Time and perspective. Students can spend more time with a theme when it is spread out in different classes. Time allows repetition of the theme, but from different points of view, which leads students to develop a deeper understanding. It also allows for different access points for each individual student to make a connection.

When they can connect with the theme, they can absorb the objectives of each lesson.

L: The excitement students feel when they make the “connection” that learning can expand beyond the original subject area is profound. They meet learning objectives that they remember into later school years. For example, after reading a variety of Cinderella stories in the library and completing related art, computer, and music projects, students continued to take home library books in the following school year. The connection between disciplines made their learning meaningful, and it stayed with them throughout their years in elementary school.

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T: The greatest value of collaborating across disciplines is that it connects different ideas and approaches, allowing students to apply what they learn in new and meaningful ways. For example, in your class, students took what they learned from the story of Cinderella and used it to guide the design of their robots. Just as Cinderella had to solve problems to reach her goal, the students had to figure out how to navigate their robots through different obstacles to get to their "end character." This kind of interdisciplinary project helps deepen understanding, sparks creativity, and builds problem-solving skills.

Q 2: How do you feel this project has impacted you as an educator?

GM: Beyond serving as an incredible learning opportunity for the students, this project has also become a meaningful support system for the participating teachers. Teaching, in general, is an isolated profession, especially for “one of one” teachers in a building who do not have a grade level in-house to support them. The professional conversations during the Interdisciplinary Unit PLC are incredibly thought provoking, and ideas regularly blossom from the questions and suggestions brought to the table in the planning stages. I believe the collaborative mindset from the Interdisciplinary Unit has carried into the work we do with our other classes and grade levels and has encouraged more frequent conversation about supporting students, behavior management techniques, and more.

A: It has improved my professional relationships with my colleagues, where I have observed their passion for the subject that they teach. It has allowed me to see different perspectives from my students; seeing their learning that happens outside of my own classroom and subject. It also keeps me motivated to create engaging lessons in a way that connects to the lives of my students.

L: This project has impacted me as an educator because it allows me to plan lessons and activities that I may not have engaged with otherwise. It gives me the opportunity to expand my knowledge of literature and curriculum, integrating new topics and skill sets into the library lessons. By exploring diverse themes and innovative approaches, I can create a more dynamic learning environment. This not only enriches my teaching but also inspires students to develop a deeper appreciation for learning.

T: As an educator, this project has highlighted the true value of interdisciplinary learning and how integrating different forms of problem-solving benefits my students. Watching them take a familiar story like Cinderella and translate it into a robotics challenge revealed just how capable and creative they can be when given the freedom 18

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to explore a project through multiple mediums. It’s been amazing to see their critical thinking skills flourish as they connected literature, coding, and teamwork in a meaningful way.

Q 3: How has this project impacted the school community?

GM: The final project was shared with the families of the participating 3rd Grade students and also with each of our subject supervisors and our school and district administrators. It gave parents a glimpse into the interconnected nature of all of our subject areas, and the administrative team loved the collaborative nature of the project. We were even invited to present the unit to parents during American Education Week. There were parents with students in all grade levels at this presentation, and it built excitement and interest in each of our subject areas.

A: For the students, it got them excited about how the next discipline was going to teach the topic. This project got them talking about their learning. It was a way to showcase our subjects to colleagues, administrators, and parents in an innovative way.

L: It shows administrators that our curriculum is important and that students gain a great deal of skills and knowledge from integrated work. It also supports teacher growth, allowing us to learn from one another and demonstrating that we are valuable when we work together. It encourages creativity and new ideas that may not have been explored otherwise. Additionally, it brings students together, as they enter each “special” eager and excited to build on what they have already done in other special areas. This integration highlights that our subjects are not isolated.

T: This project impacted the school community by fostering excitement and collaboration across classrooms. It encouraged interdisciplinary learning, sparking conversations among teachers about integrating subjects in new ways. For the administration, it highlighted the value of creative, hands-on projects and reinforced the importance of supporting innovative teaching approaches. The project helped create a more connected, collaborative environment.

Q 4: How does this project showcase the importance of your discipline?

GM: This project has allowed parents, administrators, students, and my colleagues the opportunity to see not just the scholastic nature of music, but also the fluidity of the subject matter and how it is related to many other disciplines.

A: I believe that art education is a highly academic discipline. It is essential for an educated understanding of the world. This project helps students showcase the importance of the arts by being able to create visual representations of their collective knowledge gained from studying the same topic in different disciplines.

L: These projects showcase how the library's resources and materials can support the curriculum across all disciplines. They demonstrate that the library is a place that facilitates collaboration, creativity, and critical thinking. It goes beyond just checking out books; it serves as a space that helps students develop skills important for their future.

This illustrates how the library makes learning meaningful beyond the classroom setting.

T: This showcases the importance of computer class by demonstrating how coding and technology can be applied to solve real-world problems. It goes beyond just learning programming; students used their coding skills to design and navigate robots, linking them to the story of Cinderella. This project highlights how technology fosters creativity, critical thinking, and problem-solving, skills that are essential not just in computer science, but in every subject and real-life situations. It shows that computer class is a key part of developing well-rounded, innovative thinkers.

Overall, the outcome of this collaborative work has increased student engagement and retention, created a space for meaningful conversation between colleagues, and also put a spotlight on the incredible educational offerings of the four subject areas. If you are looking for ways to place a positive emphasis on your program, an interdisciplinary project such as this one is a great way to do so. Need help getting started? Reach out to Arwen Kapusta, NJMEA Advocacy Chair at arwenkapusta[at]gmail.com for support.

2025 NJMEA Middle School/JrHi Concert Band Festivals SOUTH SITE March 17, 2025 - Rowan University NORTH SITE April 22, 2025 - Summit Middle School Information available at: www.njmea.org/middle-school-band-festival

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Posture and Alignment Through Flexible Movement Lauren Athey-Janka

Rowan University, Assistant Professor of Voice and Vocal Pedagogy athey[at]rowan.edu

Posture is often felt as static and intimidating by young students.

The way in which alignment is addressed is important for creating experimental, experiential, and active participation. Movement-based exercises can promote freedom and flexibility in the body. Offering physical exercises that are fun, upbeat, and positive will encourage students to be in a playful mindset, rather than one of self-judgment, allowing them to stretch and explore freely.

Posture and alignment should never feel frozen or stoic. When the body is static, the full lung capacity and core muscles are not actively engaged. A playful and energetic way of addressing posture, alignment, and body awareness is the concept of “readiness”. The following examples encourage movement, body engagement, breath energy, and “readiness”: • • • • •

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Run in place quickly, then suddenly stop to feel the engagement of balance. Students can do this before the start of vocalises or in between phrases in studied music.

Jump in place, then suddenly stop, but imagine getting ready to jump again. This can also be applied before scales, vocalizes, or between phrases.

Set students in a position to “swing a baseball bat”. Have the students “swing” during the breaths and be in a state of “preparing to swing” during phrases or vocalizes.

Set students in a position to “guard a soccer net”. Have the students “jump to protect the net” during the breaths and be in a state of “readiness to guard” during phrases or vocalizes.

Set students in a position to “shoot a basketball”. Have the students “shoot the ball” during the breaths and be in a state of “dribbling” during phrases or vocalizes.

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Helpful toys and tools for the classroom or the voice studio which can create the feeling of balance with “readiness”: •

A small trampoline A student can gently jump on the trampoline, then stop, then begin again to engage the lower part of their body. The focus should be on the momentum, energy, and grounded sensation in the lower part of the body.

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A bosu ball The rounded surface of the bosu ball should be touching the ground. Have the student balance on the flat, harder surface to engage the lower core. Often students describe this as feeling like surfing. Have students sing phrases while on the ball to feel the engagement of the core while in a tall and aligned posture.

A tug-of-war rope Have members of the choir play tug-of-war while singing.

Then, they can drop the rope, but maintain the found engagement in their singing. Encourage students to “pull” from their core to prevent hunched-over shoulders.

Rainbow play parachute Have members of the choir lift the parachute over their head and elongate the spine as they do so. As the parachute comes back down, maintain the tallness of the spine.

Have the students lift the parachute in the air to feel an active movement in the rib cage. As a group exercise, have the students inhale and exhale with the rise and fall of the parachute. Add musical phrases to address the physicality required in singing.

Walking lunges While singing vocalises or repertoire, have students move around the classroom while doing walking lunges to engage the full body. Encourage students to engage their core muscles during lunges to maintain a tall posture.

Hula hoop The lumbar spine attaches to the pelvis. A hula hoop can encourage flexibility and release of this muscle group, which is not often given the required attention to achieve freedom.

Students can also practice this with an imaginary hula hoop, which will allow them to change directions, move the hips in figure-eights, etc.

Beginning a class or lesson with movement-focused exercises can prevent rigidity and lack of breath movement. All of these exercises will encourage flexibility. Be playful, explore, and have fun when addressing posture and alignment. And remember, there is a natural curve in the spine; it is impossible to “stand up straight”!

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INSPIRED TO BE HEARD B.A. IN MUSIC

2025 AUDITION DATES

• Outstanding Liberal Arts Program

• SATURDAY FEBRUARY 1 • SATURDAY MARCH 1 Scholarships available to majors and non-majors

• Accredited by Middle States Association

MUSIC ADMISSIONS RECEPTION:

B.A. IN MUSIC WITH K-12 CERTIFICATION

JANUARY 23 • caldwell.edu/visit

• Performance Opportunities – Wind Ensemble

– Marching Band

FLUTE CHOIR DAY

– Jazz Ensemble

– Opera and Musical Theatre Workshop

NECESSARY NOISE PERCUSSION FESTIVAL

– Chorale

MARCH 22

MARCH 29

– Chamber Ensembles: Brass, Woodwinds, Percussion, Strings

ACCEPTED STUDENTS DAYS APRIL 5 • APRIL 26 Contact Rebecca Vega for more information.

Email: Rvega@caldwell.edu • Phone: 973-618-3446

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NJMEA Offers Another Year of Great Sessions for PK-8 General Music Educators Amy M. Burns Far Hills Country School aburns[at]fhcds.org

NJMEA is thrilled to present another year filled with incredible sessions designed for general music educators from preschool through grade eight. Kicking off with the Elementary Academy on Thursday, February 20, and continuing with a variety of sessions until Saturday, February 22, elementary music teachers will have the opportunity to select sessions that will inspire them, revitalize their classroom lessons, enhance their resource access, and provide them with innovative ideas to implement in their classes for years ahead. Here’s a glimpse of some of the scheduled presenters. Please keep in mind that, as with any conference, this information may change at any time.

turing creative songs and activities designed to immerse children in the joy of rhythm. Through imaginative exercises and adaptable techniques, kids will explore rhythm, enhancing their musical experience and fostering creative expression.

Dr. Missy Strong has taught general, choral, and instrumental music at the early childhood, elementary, and middle school levels for 27 years and is the host and Executive Producer of the Music Ed Amplified podcast and recently received the 2023 Master Music Teacher Award from the New Jersey Music Educators Association. Missy holds a Master of Music Education degree from Rowan University and a Doctor of Musical Arts degree in Music Education with a specialty in Early Childhood Musical Development from Rutgers University, New Brunswick. She currently teaches elementary general and choral music in Mount Laurel Township, NJ and is adjunct professor at Rowan University. She served as the Senior Research Assistant for Music Together and was the Director of Children’s Music Education at Philadelphia’s historic Tenth Presbyterian Church for over a decade. A frequent music education consultant and clinician, Missy presents conference sessions, professional development workshops, webinars, and courses at the collegiate, international, regional, state, and local levels. She is a published author and editor with articles in both state and national music education journals and books from GIA Publications and Oxford University Press.

Elementary Music Academy The NJMEA conference kicks off on Thursday, February 20, featuring a range of academies that encompass different facets of music education. Among these is the Elementary Music Academy. This year, we are thrilled to welcome our headliners, Stephanie Leavell MT-BC, and Dr. Missy Strong!

Stephanie Leavell is an award-winning songwriter, a music therapist, and the creator of Music for Kiddos, an online education company that provides high-quality music resources and continuing education for music therapists, music educators, and parents. Stephanie is a Berklee College of Music graduate and is passionate about using music to help kids succeed. She specializes in working with babies and kids through age 10.

Stephanie’s sessions: Move It, Move It! Structured Movement Songs Sequences for Classroom Management Music therapist Stephanie Leavell offers a dynamic approach to classroom management by exploring various types of movement songs and how they can be strategically sequenced to prepare kids for learning. Attendees will gain practical insights and a toolkit of movement songs to implement in their own classroom, enhancing engagement, academics, and overall well-being.

Missy’s Sessions: More Modern Music in the Elementary General Classroom We will review what the research says about the power of Groove in movement experiences as we experience activities that will engage, excite, and include all students. Bring comfy shoes, an open mind, and get ready to move!

“Be Musical”: How Two Words Revolutionized Engagement and Community in My Classroom Two simple words, “Be Musical” coupled with some knowledge about the power of belonging transformed my music classroom, helping create a foundation for what is now a community of (almost always) joyful, cooperative musicians. Learn

Feel The Beat: Creative Rhythm Resources for Early Elementary Music Join music therapist Stephanie Leavell in a presentation feaTEMPO

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what the research says so you can make this happen in your classroom.

mind that schedules may change, and the following list might differ from what was printed. Additionally, there will be more presenters at the conference beyond those mentioned here: Allison Kipp, Amanda Clarfield Newell, Amy M Burns, Amy Paz, Andrew Lesser, Austin Cooper, Brent Geyer, Christine Nowmos, Christopher Cavarretta, Darrah McCreath, Diana May, Dr. Brian Gellerstein, Dr. Bryan Powell, Dr. Michael Francis Smith, Dr. Missy Strong, Hayley Ashe, Jeanna de Waal, Kathleen Singh, Kathryn Brennan, Kelly Ruggieri, Krysta Mirsik DePuy, Laura Montanari, Lauren Athey-Janka, Lillie H Feierabend, Lisa Wichman, Maureen Butler, Michelle Williams, Rachel Goldenberg, Rebekah Sterlacci, Sarah Perry, Stephanie Leavell, Tony Rideout, Vanessa L. Bond, and Vince Guerrero.

These sessions cover a wide range of topics, including content creation, classroom management, culturally responsive teaching, and much more. We invite you to join us from February 20-22, 2025, at the Convention Center in Atlantic City, NJ!

Thursday will also feature more sessions focused on elementary music curriculum, music technology, movement in music, ukuleles, and many other topics.

Friday and Saturday Sessions But wait! There’s more! Friday’s schedule includes two sessions from Lillie H. Feierabend. Lillie is a dedicated music educator with over thirty years of experience, known for fostering a love of music in young children. She has conducted the Connecticut Children’s Chorus for eighteen years and has received multiple accolades, including Teacher of the Year and the Outstanding Elementary Music Educator Award. Lillie frequently presents at conferences, conducts honors choirs, and teaches workshops nationwide. Lillie is a founding member of the Feierabend Association for Music Education (FAME) and actively participates in several music education organizations, including NAFME and ACDA, where she previously chaired the National Children’s Honor Choir. She became an endorsed Teacher Trainer for First Steps in Music and Conversational Solfege in 2012.

Lillie’s Sessions Everybody Claps! Clapping Games from Around the World Everybody claps, yet language isn’t required. Humor, love, kindness and joy are universal. This lively session will explore clapping games from at least six of the following countries, Japan, Germany, Ghana, Norway, Mexico, Zimbabwe, Canada, Nicaragua, and the Basque culture to meet wonderful people through the gift of their music.

Bridges to the Community Music educators plant seeds for a lifetime of music making but teachable moments do not always happen in the classroom. Discover a dozen ways to enrich, not only the musical growth of your students, but your greater community, as well, by creating musical opportunities outside of the music schedule.

Curriculum Sessions There will be multiple sessions featuring elementary music curriculum. If you are looking for a curriculum or your district will be adopting a curriculum soon, come to these sessions featuring MusicFirst Elementary, Purposeful Pathways, and Quaver Music.

Presenters This conference is one you won't want to miss for all three days, as we have an array of incredible elementary music sessions led by outstanding presenters. Below is a list of presenters scheduled to focus on elementary topics. Please keep in JANUARY 2025

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The New Jersey Music Educators Association State Conference Atlantic City Convention Center Atlantic City, NJ February 20-22, 2025

REGISTRATION INFORMATION Full Conference - Members - $200 Full Conference - Collegiate and Retired Members - $50 Single Day - Members - $150 Full Conference - Non-members - $390 Single Day - Non-members - $300 Clinicians - $90 (All clinicians MUST register) Add $10 for late and on-site registration

To Pre-Register

The Pre-Registration process will also be the same this year as last. You can follow the link below to our website and the Eventsquid page. You will need to know your NAfME log-in to start the registration process. Your NAfME membership must expire no earlier than 2/23/25. Please renew prior to registering to avoid problems!

Payment

There are three forms of payment. You will see forms of payment listed - check one.

You may pay by:

Credit Card - Upon completion of the form you will be asked if you want to pay now or pay with check or PO. For credit card you select, "Pay Now" and you will be directed to the payment page. If you need a receipt, either for you own records or to show your school, please print out the confirmation page upon completion of registration.

Check – Upon completion of the form, you will opt to pay by check or PO. Print out the confirmation page, and send a check, made out to NJMEA, for the correct amount, with a copy of the confirmation to: NJMEA 300 W Somerdale Road, Suite C Voorhees, NJ 08043 Purchase Order – You MUST register online first then opt to pay bu check or PO. Print out the confirmation page, give it to your Board Office and then have your school send the PO with the confirmation page to the above address. If you need an Invoice before creating the PO, contact wmcdevittnjmea[at]gmail.com.

Pre-registration will end on Friday, February 7, 2025 and the site will SHUT DOWN. ALL PO’s MUST BE RECEIVED IN THE OFFICE NO LATER THAN Friday, February 7, 2025.

There will be NO REFUNDS after Friday, February 7, 2025.

To register:

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www.eventcreate.com/e/conf25

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2025 NJMEA State Conference Hotel Reservations

Conference Hotel Sheraton Atlantic City Two Convention Boulevard Atlantic City, NJ 08401 609-244-3535 Use the link on the NJMEA website to access the special NJMEA Convention rate of $119 per night.

Go to njmea.org and click on the "Conventions" tab.

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Preliminary List of Sessions The list below is a preliminary list as of 11/18/24.

The list will continue to be updated on the NJMEA website.

Build Confidence in Kids through DJing, without being a DJ! Clinician: DJ Hapa

Say "Yes"! Embracing Leadership as a Young Professional Clinician: Kyla Surajbali

Start to DJ with Just a Phone or Chromebook Clinician: DJ Hapa

Experiencing Flow in the Music Classroom: Perspectives from Early and Mid-Career Educators Clinicians: Megan Reilly, Drew X Coles

Empower the next generation of curators with DJ education Clinician: DJ Hapa Passion to Paycheck (TechFEST) Clinician: DJ Hapa What I Wish I Knew in Undergrad Clinicians: Darrah McCreath, Arianna Granda Trials and Triumphs: The Kindergarten Chronicles Clinician: Darrah McCreath It is my first day and my cymbal handles are Wal-Mart bags!

Clinician: Dr. John R. Carlisle For Real Life! Bluey for Team Building and Character Education Clinician: Michael Gonzalez "We Love This Song!"

Clinician: Michelle Williams “Choir is...Family!”: Creating safe, expressive and connected spaces nurtured through intentional relationships and love.

Clinician: Dr. Whitney Covalle Love City Sings: Come As You Are. Clinician: Dr. Whitney Covalle "Indie"pendence + Joy: Songs for building early success in beginning and amateur choirs Clinicians: Rebekah Sterlacci, Megan Suozzo Helping or Hindering?: AI in Music Education Clinicians: Mittie Cowan, Violet Robinson

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The Contemporary Chorus: Starting a contemporary A Cappella ensemble at your high school!

Clinician: Matthew Wolf Student-led Community Connections!

Clinician: Meghan K. Sheehy 10 Tools For Your Retention and Recruitment Toolbox Clinician: Spencer M. Brooks Tune Up Your Technique! Revisiting Woodwind Pedagogy for Band Directors Clinicians: Dr. Vincent S. Du Beau, Anthony Orecchio "Empowering Women in Music: Continue the talk on advancing support and advocacy for female band directors" Clinicians: Ms. Jenna DiSalvio, Dr. Deborah Gianuzzi Count Me in: Supporting ESL/ELL Students In Your Middle School/High School Music Ensemble Clinicians: Mittie Cowan, Ayden Bradley, Dominique Barthole Instrumental and General Music Collaboration: Coming Together for a Wild Symphony!

Clinicians: Vanessa L. Bond, Joseph Higgins Educating our Queer Students: a 360 Roundtable Discussion- Teacher, Student, and Parent Clinicians: Amanda Clarfield Newell, Tony Rideout, Lizzy Newell

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Body Music for Spontaneous Musicking Clinician: Laura Montanari Where's My Mute Button?: Classroom Management for Your Music Class Clinician: Amanda Clarfield Newell The Sound of Civics: Exploring Presidential Campaign Music in the General Music Classroom Clinician: Hayley Ashe Marching Percussion for Non-Percussionists Clinicians: Jacob Ford, Cai Ronquillo The Core Saxophone Tonal Concept: How to improve your saxophone section's tone.

Clinician: James Aslanian Resilience and Innovation in Choral Music Clinician: Wendy K Moy Sound Healing to Induce Concentration and Healing in the Classroom Clinicians: Cassady Maria Grablauskas, Dr. Drew X. Coles Everybody Claps! Clapping Games from Around the World Clinician: Lillie H Feierabend A Closer look at the use African American Gospel Music in Singing: Bringing authenticity to students' learning and performance Clinician: Beverly J. Vaughn Vocal Development and Health Throughout the Lifespan Clinicians: Lauren Athey-Janka, Vanessa L. Bond Tune Into History: Utilizing Musical Primary Sources from the Library of Congress Clinician: Hayley Ashe Stuck In The Middle Clinicians: Christopher DeWilde, Anthony Lanzerotti, Jr., Lyn Lowndes

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The 8-Year Cycle: Navigating Recruitment & Retention Clinicians: Dr. Latasha Casterlow-Lalla, John DiEgidio Nonverbal Communication for String Players Clinician: Andy Bhasin The Three Pillars of Vocal Hygiene: Keeping Your and Your Student’s Voice(s) Healthy Clinician: Dr. Rachel Goldenberg TCNJ Rocks On! - Successfully Integrating Chorus and Modern Band in Performance Clinicians: John P. Leonard, Steven Thompson; José Bevia; Jason Thompson Intro to Live Audio Clinician: Evan Kempey Bridges to the Community Clinician: Lillie H Feierabend Lights, Chorus, Action! Ways To Add A Little Extra “Sparkle” To Your Choral Stage Choreography Clinician: Amy Paz Sharing best practices for orchestra Clinician: Melissa Clark Developmental Language Disorder and Dyslexia in the Music Classroom. What Every Music Teacher Needs to Know.

Clinician: Rachel Goldenberg Looking Ahead: Anticipating the Opportunities, Threats, and Surprises of AI for Music Education Clinician: Rick Dammers Dysregulation Nation: A whole new take on "self care!"

Clinician: Val Luther Trauma-Informed Music Teaching Practices Clinician: Val Luther Passing the "Audition": Strategies for Applying and Interviewing for Teaching Positions in Music Clinicians: Jonathan Harris, Latasha Casterlow-Lalla, Alfred Hadinger, Matthew Lorenzetti, Michelle Van Hoven

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Free Internet Resources for Elementary Music Teachers Clinician: Amy M Burns Creative Music Tech Tools for Your Elementary Music Class Clinician: Amy M Burns Simplifying Strings: Back to the Basics Clinician: Haley Lopez Rock-solid Beginnings: Technology Tools for Elementary Music Clinician: Amy M Burns Help! Preschool and Kindergarten Have Been Added to My Schedule!

Clinician: Amy M Burns “Be Musical”: How Two Words Revolutionized Engagement and Community in My Classroom Clinician: Dr. Missy Strong

To Not Look Away: Social Justice, Shared Humanity, and Interdisciplinary Collaboration in Music Education Clinicians: Colleen Sears, Eric Laprade French Horn Refresher - Tools for Success on Horn Clinician: Libby Ando Creative Music Production Audio Effects for the Music Technology Class Clinician: Werner Colmon Your Voice, Your Story: How to Create Your Own Podcast TechFEST25 Clinician: Stefani Langol Generative AI for Songwriting Clinician: Dr. Bryan Powell Improving the Ensemble Playing Habits of Your Secondary String Players Clinician: Joseph Brennan

More Modern Music in the Elementary General Classroom Clinician: Dr. Missy Strong

Improve Your Clarinet Section; Sound, Technique, and Equipment.

Clinician: Laurie Kunzle

Feel The Beat: Creative Rhythm Resources for Early Elementary Music Clinicians: Stephanie Leavell, Amy Burns

From Covers to Creation on the Ukulele Clinicians: Dr. Bryan Powell, Katherine Brodhead Cullen

Modern Band Roundtable: Tips & Success Stories from NJ Schools Clinicians: Katy Brodhead Cullen, Dr. Bryan Powell, Dr. Latasha Casterlow-Lalla, Steven Thompson, Vincent Inciong

Breaking Barriers: Engagement & Retention in Beginning Band & Strings Today Clinician: Dr. Michael Francis Smith

Move It, Move It! Structured Movement Songs Sequences for Classroom Management Clinicians: Amy M Burns, Stephanie Leavell Forming a Fellowship: Supportive Structures for a Successful Journey from Undergrad to the K-12 Classroom Clinicians: Elizabeth Graber, Dr. Lyn Schraer-Joiner Leaning into the Responding and Connecting Standards Clinician: Michelle Van Hoven MORE Innovative Uses of Technology in Your Orchestra Rehearsal Clinician: Joseph Brenan

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It's Time to Play the Recorder Clinician: Dr. Michael Francis Smith Building the Machine – Gear, Production, and Structuring Rehearsals for Your Pop Music Group Clinician: Danielle Collins The Art of the Setlist – Pop Music Selection and Student Creativity Clinician: Danielle Collins Industry-Ready: Empowering Student Autonomy Through Curated Content Clinician: Danielle Collins Sight Reading Simplified Clinician: Steve Goss What's That Wiggly Thing? Tips and Tricks for Teaching Vibrato!

Clinicians: Dr. Elisabeth Sato, Aimee Nishimura

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Trailblazers on the PATH: Finding and Supporting Pride, Affirmation, Togetherness, and Happiness for Women Band Directors Clinicians: Dr. Julia Baumanis, Dr. LaToya Webb Transform Your Program Tomorrow Clinician: Steve Goss Updates on Diversity, Inclusion, Equity, and Access (DEIA) Clinicians: Isaiah C. Mason, Katherine Brodhead-Cullen, Linda Grossman, Emma Gibbins Creating an Essential Travel Itinerary Clinicians: Werner Colmon, Joe Akinskas Leading Voices in Music Education: Perspectives from New Jersey’s Flagship Institutions – A Panel Discussion Clinicians: Mackenzie Miller, Dr. Drew X. Coles Sign Language Fun for General Music and Chorus Clinician: Maureen Butler Roundtable Discussion: Focus on Accessible Music Education Clinician: Maureen Butler Parents and Paras and Teachers, Oh My! Clinicians: Maureen Butler, Barbara Avento Weiner On-the-spot Pop A Cappella Arranging: Project Based Learning For The Choral Classroom Clinician: Bob Habersat Pop Guitar Literacy: Preparing Students for Any Gig Clinician: Bob Habersat Do Teachers Ever Retire? Come Plan Your Second Act Transition!

Clinicians: Betsy Maliszewski, Loni Bach

The Art of Mixing in Online DAWs (e.g. Soundtrap / Bandlab) Clinician: Richard McCready Collegiate Swap Shop: Sharing Music Education Lesson Plans and Ideas Clinician: Sarah Perry Harmonizing Learning: Music Therapy Strategies for the Music Education Classroom Clinician: Sarah Perry Stupid Things I Have Done, Things I Learned in 27 Years the Hard Way: The Untaught Lessons for Beginning (and Veteran) Music Teachers Clinician: Domenic Pisano (self)-ADVOCACY Fighting (and winning) the Good Fight: Successfully advocating for your program, getting a yes from power, and speaking up for yourself.

Clinician: Domenic Pisano Progress & Pushback: LGBTQ+ Affirming Practices in Divisive Times Clinician: Nick McBride (he/him) Songwriting With A DAW Workshop (TechFEST25) Clinician: Bob Habersat Electronic Music Elements: Empowering Students through Music Technology Clinician: Bob Habersat Orchestra Program Ask Me Anything- No Question Denied!

Clinicians: Betsy Maliszewski, Dr. Elisabeth R. Sato I Continue to Teach, Not Less, But More: The Life and Careers of Paula Grossman (1919–2003), a New Jersey Music Educator and Trans Activist Clinician: Austin Norrid

Color Guard Basics for Marching Band Directors featuring the Rutgers University Marching Band Color Guard Clinicians: Tony Rideout, Julia Baumanis, Todd Nichols Informances: Using Informal, Informative Performances to Educate Parents and Demonstrate the Music Learning Process Clinician: Christine Nowmos Zah Bah Doo Bop! - Incorporating Jazz Improvisation into Elementary Beginning Band Clinician: Emily Gaul Success from the Start! Practical tips for anyone teaching beginner ensembles Clinician: Diana May Rock&Roll Academy: Building a Modern Band Program Clinician: Steven Thompson The Avatar: Cheat Codes for an Effective Ensemble Experience!

Clinician: Christin Schillinger, Daniel Cook Is It Possible? LGBTQ+ Inclusion in Elementary Music Clinician: Kelly Ruggieri Incorporating Student-Centered Learning in the Large Ensemble Music Classroom Clinician: Ryan Diefenderfer “New to the Field - Now What? A Round Table Session for 1st Year Music Educators“ Clinicians: Mackenzie Miller, Dr. Drew X. Coles Movement Creation for Non Movers Clinician: Jeanna de Waal 'Managing The Early Years' In Music Education Clinician: Joseph Akinskas

Contemporary Korean Choral Music Clinician: Hyejung Jun

Revolutionizing Recruitment for Secondary Music Programs Clinician: Sean Ferguson

Success with School-Community Ensembles: Temple University Night Owls Clinician: Keith Roeckle

Building Sound Through Conducting Gestures Clinician: Hyejung Jun

Postcards from Abroad - Green Grass from the Other Side Clinician: Dr. Joe Cernuto

Favorite Free Online Tools for Creating Music - TechFest 25 Clinician: Richard McCready

Global Grooves 101: Best Loved Early Elementary Multi-Cultural Dances Clinician: Lisa Wichman

Confessions of an AP Music Theory Reader - Demystifying Sight-Singing Grading Clinician: Keith Roeckle

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Celebrating Great works by Female Band Composers Clinician: Lauren Diaz

Move and Groove: Modern Ideas for Movement in the Music Room Clinician: Vince Guerrero

Hand-Clapping Games: Not Just for the Playground Clinician: Brent Geyer

Be Cool with Warm-Ups: Maximize the First 10 Minutes of Your String Rehearsal Clinician: Dr. Elisabeth R. Sato

Little Ears, Big Impact Clinician: Vince Guerrero

Pathways to Success: Exploring Playful Possibilities with Purposeful Pathways Clinician: Brent Geyer

Repertoire that Represents Clinician: Dr. Larisa Skinner Start 'Em Young! Strategies for Teaching Younger Strings Clinician: Dr. Larisa Skinner Teach Urban! Qualities of a Successful Urban Music Educator Clinicians: Dr. Larisa Skinner, Krysta Mirsik, Laurie Lin-Jenkins. Christine Sweet

Components of a Music Teacher's Personality: The Relationship Between the Performing Personality and the Pedagogical Figure Clinician: Yuval Katz The ABCs of LGBTQIA+: An Introductory Guide for Music Educators Clinicians: Tony Rideout, Amanda Clarfield Newell

Critical Race Theory: Fact vs Fiction Clinician: Tony Rideout Anti-Racist Elementary General Music Repertoire Clinician: Tony Rideout Too many flutists? Start a flute ensemble!

Clinician: Rebecca Vega

Songs for Special Occasions Clinician: Melissa Manzano

Succeeding in Clinical Practice: Tools, Techniques, and Strategies.

Clinicians: Joseph Akinskas, Dr. Adrian Barnes

Even More Global Grooves! A Celebration of Lesser-Known Multi-Cultural Dances, 2025 Edition Clinician: Lisa Wichman

Breaking New Ground: Culturally Generative Music Pedagogy Clinician: Dr. Brian Gellerstein

Fostering Vocal Health in the Choral Classroom Clinician: Dr. Rachel Carlson

Full Disclosure: Exposing and Confronting White Supremacy in Music Education Clinician: Dr. Brian Gellerstein

Turning Choral Warm-Ups Upside Down Clinician: Dr. Jami Lercher

Orchestra Reading Session: A Focus on Diverse Repertoire Clinicians: Isaiah C. Mason, Cooper Ford, Katherine Brodhead-Cullen, Linda Grossman, Emma Gibbins

The Creative Ensemble: Using Student Voice to Inspire a Creative Classroom Clinician: Sarah Gulish Releasing Music: A Guide for Educators Clinicians: Sarah Gulish, Kat Reinhert You Can (Sometimes) Get What You Want: A Music Advocacy Toolkit for Educators Clinicians: Shawna Longo, Jeff Santoro Student-Centered Tips for New(ish) Music Teachers Clinicians: Shawna Longo, Jeff Santoro The Student Teaching Placement: Creating a Mutually Beneficial Experience Clinician: Daniel Albert Creating, Responding, and Connecting in the Ensemble Setting Clinician: Daniel Albert Rolling for Marimba and Xylophone Clinician: Greg Giannascoli

JANUARY 2025

A Powerhouse of Sound - Rehearsal Techniques for Student Orchestras Clinician: Sandra Dackow Karaoke Conducting Clinician: Sandra Dackow Breaking Down Barriers: Perspectives on Accessibility Clinicians: Isaiah C. Mason, Katherine Brodhead-Cullen, Dr. Bryan Powell, Arwen Kapusta, Linda Grossman, Dr. Larisa Skinner Band Reading Session: A Focus on Diverse Repertoire Clinicians: Isaiah C. Mason, Katherine Brodhead-Cullen, Cooper Ford, Jeffrey Smith, Emma Gibbins, Linda Grossman You're Never Too Young for Jazz: Jazz Is Elementary Clinician: Allison Kipp 5 S.M.A.R.T. Ideas to RETAIN This Year's Beginners: A Primer for Middle & High School Directors Clinician: Marcia Neel

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Makey Makey in the Music Classroom Clinicians: Kathryn Brennan, Marisa Stettner On the Contrary: White Music Educators Challenging the Dominant Paradigm in Music Education Clinician: Allyson Rottman Transparent Rehearsing: Connecting Your Students to One Another by Allowing Them to See, Hear, and Feel Your Rehearsal Process Clinician: Dr. Thomas McCauley The Pursuit of Happiness...Reconnecting to Your "Why" Clinician: Karl Stewart Help! I want to teach jazz choir but I'm not a jazz musician Clinician: Tina Beveridge Technology in the Elementary Music Classroom: Where Do I Start?

Clinician: Kathleen Singh Creating Positive, Reflective, and Fully Engaged Classrooms Clinicians: Michael Lichtenfeld , John DiEgidio

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Listening For Social Justice Through Music Education Clinician: Marissa Silverman

Gaining Community Support to Advocate for your Music Program Clinician: Lisa Michaels

The Pep in Your Step: Using Pep Band to Grow Your Program and Connect to Your Community, A Workshop for Middle School and High School Band Programs Clinician: Craig Yaremko

Musical Chairs: Optimum Results Through Strategic Placement of Musicians Clinician: John Ginocchio

Don’t Just Stand There!

Clinician: Dan DIPasquale Building a Modern Band from your Music Scene: A Guide For Getting Started Clinician: Vincent Inciong

Unhelpful Conducting Habits Learned from "Helping" Students Clinician: John Ginocchio

Conquer your Intermediate Band! - with “Make It Happen!” A new approach for YOUR developing band Clinician: Rayne Ellison

Job Readiness: Thinking about the before, during, AND after of the interview Clinician: Malcolm Jones

Inclusive Curriculum Design for the K-8 Modern Music Instructor Clinician: Christopher Cavarretta

Music Portfolio Roundtable Clinician: Dr. John A. Gordon

Con Your Percussionists Into Enjoying the Fundamentals Clinician: Trevor Sindorf

Conducting Gestures through Laban's Efforts in Action Clinician: Malcolm Jones

Adaptive Education Support for the Inclusive Arts Classroom Clinician: Krysta Mirsik DePuy

Are you listening? Unpacking and harnessing the power of Suzuki education Clinician: Dr. Elizabeth Guerriero

Learning Styles and Your Students: An Overview of How Experiential Learning Theory Can Apply to Your Classroom Clinician: Dr. John A. Gordon

Sensory Safety for Students: Predictable Routines in Instrumental Music Clinician: Krysta Mirsik DePuy

Enhancing the Collegiate Percussion Experience by Integrating Music Technology, Electronics, and Amplification Education into the Applied Percussion Curriculum Clinician: Dr. Andrew Veit

New Jersey Young Composers' Competition Finals Clinician: Andrew Lesser Gamifying the Music Classroom: Digital Tools for Practical Application Clinician: Andrew Lesser So You’re Getting a Student Teacher: Now What?

Clinicians: Dr. John Gordon, Brian Endlein

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Partnering with Paraprofessionals: Examining Roles in the Inclusive Music Classroom and Beyond Clinician: Krysta Mirsik DePuy Field Trips, Fundraising, and Fanfare Clinician: Melissa Manzano

Making Pop Culture Rigorous and Relevant Clinician: Michelle Van Hoven What’s New for Jazz Ensemble - A New Music Reading Session Clinician: Joseph J. Verderese, Jr “Snap Back to Reality…” achievable and musically rewarding literature for emerging High School Choirs and beyond.

Clinician: Victoria Kerper

Building the Best Feeder Program & How to Feed Yourself Clinicians: Dan DiPasquale, Dan DiPasquale

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Preliminary List of Performers The list below is a preliminary list as of 11/18/24.

The list will continue to be updated on the NJMEA website.

Paramus String Quartet Paramus High School Director: Yoonhee Roberts

Paramus High School Honors Flute Choir Paramus High School Director: Tyler Adel

Monroe Township Chamber Singers Monroe Township Middle School Director: Nina Schmetterer

East Brunswick High School Chamber Orchestra East Brunswick High School Director: Dr. Arvin Gopal

PCTI Vocal Technique Program Passaic County Technical Institute, Wayne, NJ Directors: Professor Jose Martinez, Lauren Competello (D'Imperio)

Randolph High School Wind Ensemble Randolph High School Director: Nick Fantazzi

Academy Choir Atlantic County Institute of Technology Director: Romel Kadeem McInnis

"The Happy Accidentals" Egg Harbor Twp HS Director: David Milnes

Rowan University Concert Band Rowan University Director: Professor Megan Cooney

The Piazzolla Project New Jersey City University Directors: Greg Giannascoli, Behn Gillece

The Ram Jams Ramsey High School Director: Matthew Wolf

Kean University Concert Choir Kean University Director: Dr. Rachel Carlson

Wind Ensemble Northern Valley Regional High School at Old Tappan Director: Amy Wilcox

OBHS Brass Ensemble Old Bridge High School Director: Kyle Jackier

Monroe Township High School Wind Ensemble Monroe Township High School Director: Martin Griffin

Kreps Middle School 7th Grade Band Melvin H. Kreps Middle School Mr. Randall Longwill

NBTHS Select Strings North Brunswick Twp. HS Director: Cooper Ford

Montclair State University Wind Symphony Montclair State University Director: Dr. Thomas McCauley

Perth Amboy High School "Jubilant Voices" Perth Amboy High School Director: Jeffrey Pando

Madrigal Singers Rutgers Preparatory School Director: Jeron Stephens

TCNJ Chorale with Vintage Feedback The College of New Jersey Directors: John P. Leonard, Steve Thompson

West Essex Percussion Ensemble West Essex High School Director: Elise McAloon

Highland Park Philharmonic Orchestra Highland Park High School Director: Mx. Samuel Perez

A cappella Ensemble John P. Stevens High School Directors: Matthew Chi Lee, Regina McElroy

Bridgewater-Raritan Wind Ensemble Bridgewater-Raritan High School Directors: Thomas Bourgault, Nicholas Mossa

MTMS Falcon Jazz Ensemble Monroe Township Middle School Director: David Rattner

JANUARY 2025

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The 63rd Army Band:

An Interview with Our Students

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 second installment connecting you with current soldiers and sharing how the 63rd Army Band can serve the music education community and our students. This segment interviews some of our college students who balance pursuing their education and military service - Sergeant (SGT) William Applegate, SGT David Weintraub, and SGT Sophie McNeal.

strengths and overall made the entire process super comfortable and low-stress. The actual music requirements were also not overly intimidating–it wasn’t easy, but it was totally within reach with some focused effort. I didn’t perform nearly as well as I wanted to, but I got excellent feedback and felt very supported throughout the whole process.

McNeal: The Army Band audition process was actually something that further convinced me I wanted to be a part of the band. It asks you to demonstrate your musical capabilities in various styles - and not just Baroque versus neoclassical. My audition included rock, funk, jazz, and salsa songs. The audition reflects the variety of music you get to play in an Army Band, and I was thrilled to have the opportunity to play all kinds of music I love in the same place.

Where do you attend school, and what is your major?

Applegate: I attend Rutgers University-New Brunswick School of Environmental and Biological Science, majoring in environmental planning and minoring in plant science.

Weintraub: I am a music education student at Rutgers University, and I am currently in my final year of student teaching.

McNeal: I attend Rutgers University-New Brunswick as a music major.

How would you describe the Army Band audition process?

Applegate: The Army band audition is a fairly straightforward process usually beginning with a visit to the band to see our operations and then a simple audition involving three prepared pieces and some pieces given days prior. After the audition, a score based on six categories is given out of forty points, of which eighteen is a passing score. After that, it's the same process as anyone joining the military going through medical screening and eventually basic training at the Army School of Music Weintraub: Above all, the word that comes to mind is “approachable.” When I scheduled my audition, our command was extremely warm, welcoming, and invested in my success; I was encouraged to send in any recordings I wanted prior to the audition for feedback and asked if there was anything they could do to help me prepare. They were extremely helpful in talking me through repertoire selection and playing to my TEMPO

How would you describe the balance between serving in the 63rd Army Band and committing to your academic studies?

Applegate: The balance between the band and school is a pretty easy one for me since the drilling schedule is only one weekend a month. I always ensure all my schoolwork is done before the weekend so I can focus on our work while on duty and vice versa during the month, focusing on schoolwork while still practicing and training on the side before our drill weekends.

Weintraub: Balancing academic and military responsibilities has been tough but worthwhile. On one hand, as a music student, to a certain extent, practice is practice. All time on my horn–for school or service–is helping my chops. On top of that, my professors have generally been very understanding of military obligations–Dr. Todd Nichols and Dr. Julia Bau32

JANUARY 2025

manis have been especially supportive. On the other hand, my degree program is intense. It has been something of a juggling act to keep up with readings and essays and classical euphonium rep during the week and then totally switch gears as a mission approaches and jump back into playing big-band-style trombone or ceremonial tuba. Overall, it’s not easy, but a high degree of organizational and time-management skills give me success in both areas–and the military benefits and professional skills I’m developing make it well worth the effort.

McNeal: I can’t imagine a better job to have while in school than being a Soldier Musician in an Army Band. The numerous education benefits are unbelievable - what other gig can get you free tuition? Not to mention how much I’ve learned from my training at the Army School of Music and everything I continue to learn from my peers. And despite how busy my school schedule gets, I always look forward to the 63rd’s drill weekends. Our rehearsals are an escape from the high-stakes academic world and a place I get to do something I love with some of the best people I know.

What are your favorite aspects of being in the 63rd Army Band and the New Jersey National Guard?

Applegate: My favorite aspect of being in the band is the opportunity to perform music, even though it is not my main profession. This allows me to continue to stay active with music, as it was a big part of my early education. The other aspects that I love are the bonds we make while in the unit. I met some of my closest friends here. We stay connected outside of drill and plan trips like camping or going to concerts. There is no better group of people than those you meet in the 63rd.

Weintraub: My favorite part of being in the 63rd is the people. I’ve always believed that what you do is secondary to who you do it with. The people I get to spend time with, perform with, and hang out with are what make it all worthwhile. I love our performances. I love playing while overlooking New York City across the water or right by the beach on a beautiful summer evening. The venues are fantastic, but what it really comes down to for me is the funny, crazy, incredible family I have at the 63rd Army Band.

McNeal: The best thing about the 63rd Army Band and the National Guard is the people. People may join the Army for one reason or another, but the reason they stay is the people they serve alongside. I have learned an immeasurable amount from my unit members and from Soldiers I have met through various JANUARY 2025

trainings. There is no other opportunity that could provide the same wisdom, memories, and experiences my battle buddies have given me.

What Army Value(s) best exemplify you as a military musician?

Applegate: Loyalty and integrity are the two values that exemplify my time with the band, without each. We can not complete our mission to be the connection between the civilian and military worlds. Integrity is needed to continue to work throughout the month since we only have a limited time together each month to rehearse and get what we need done to be successful in our mission.

Weintraub: I believe Selfless Service best exemplifies me as an army musician. I give a lot of myself for the good of the unit, putting in a lot of extra hours working in our Music Library and investing a lot of time in learning adjacent doubling instruments to fit the ensemble's needs. Aside from the extra responsibilities, being an Army Bandsman means that on every national holiday when everyone else has off, you’re the one playing a gig. Memorial Day, Veteran’s Day, Fourth of July, whatever, everyone else goes home, and you’re still wearing the uniform for the good of the unit and the good of the mission. I believe in our mission, and I think the work we do is really important. Selfless service is a big part of what it means to wear the uniform.

McNeal: As a military musician, I would like to think the Army Value I exemplify the most is duty. It is an honor to serve, and I strive to fulfill my duty to my unit, fellow Soldiers, state, and country. There are always obstacles in the way. When I first learned about the 63rd Army Band, I had no idea what military life was like, and I was worried about basic training. I took a chance and pushed myself to reach out and go for it. I learned that the best things happen when you decide to face the uncomfortable and that it’s your duty to yourself to push and reveal your potential.

In future installments, we will continue to connect with soldiers of the 63rd Army Band. In particular, we will meet current New Jersey educators who have turned their passion for music into service for our country. If you want to explore ways the 63rd Army Band can support you and your music program with these free clinics, performances, and outreach opportunities, please stop by their booth in the exhibit hall at the Annual NJMEA Conference. We also hope you will join us at the Conference Gala Concert at 7:30 pm on Friday, February 21st. The 63rd will showcase several of our performing groups, and we would love to 33

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Five Reasons Elementary Music Educators Should Add QuaverMusic to their Classroom Catie Dwinal QuaverEd Training Manager

QuaverMusic is a PreK-8th grade general music curriculum developed by the edtech company QuaverEd over a decade ago.

This resource has gained momentum in the last several years, creating a name for itself with its interactive and fully in-depth platform created by music educators for music educators. Starting out as just a video resource, it has expanded into an entire platform of songs, games, fully pre-built lesson plans aligned to state and national standards, and so much more. It’s not just a sit-and-watch resource; it’s a whole experience where learning can come to life for classrooms full of students who crave digital interaction. The program focuses on the educator and student experience, delivering engaging resources in a meaningful and balanced way. QuaverMusic is a living and breathing platform that evolves—it has grown with the needs of technology in education that any skill level can use. It gives educators a choice in what they develop and deliver to their students. If you really count it all up, elementary music educators may see their students for just a short time each year. With just this brief window, there is a great deal of pressure to fit things in, like covering standards, scaffolding lessons, cultivating productive and engaging learning spaces, and trying new instructional requirements. The platform makes it easier for the educator to plan and put everything in one place. QuaverMusic isn’t a plug-and-play resource; it’s an all-in-one platform that assists educators in creating core memories in the music room.

With everything that QuaverMusic is, here are five big benefits of why It is a complete educator resource.

ucators to learn about topics such as active music making and the basics of music pedagogy!

3. If you have not recently reviewed the resources inside QuaverMusic, I highly recommend it. In the last several years, Quaver has introduced many customizability tools to its platform to increase the extent to which you can make it your own. You can now create your own lessons and customize existing ones, create a custom scope and sequence to plan your lessons for each week, and even create your own screens!

4. Student-centered is the best way to describe most of the materials in QuaverMusic. They are made with the end user, the student, in mind. Each resource, tool, and lesson is built to help the educator and engage the learner. Quaver takes lesson planning a step further, building out the tools you need at the moment while giving you the tools to expand and create for the future.

5. The last and absolutely the most important aspect is the flexibility of the program. You are never expected to get to everything in the resource, and that is its beauty. It’s the amount of options and customization tools that allow you to create a program that fits you and your students. Have a class that needs something a little different? Done, customize different lessons for them. Need to put together lastminute lessons for a substitute? No need to go to school.

Customize resources for them at home and leave the sub with instructions on how to access them without stepping foot in school. Need to change plans 5 minutes before the students walk into the room? You got this! Imagine having a program that ebbs and flows with your needs.

1. QuaverEd takes great care in creating high-quality resources that are engaging and fun to create an environment where every student can thrive. Everything created is done in-house by dedicated professionals. The resources are made by educators, for educators, and with the students in mind. Every screen has a purpose, and Quaver provides an extensive library of resources that fit every educator and learner's needs.

QuaverMusic is not just a program, it's a community. As someone who has used it in the early years of my teaching career and witnessed its growth while working with music educators globally, I can attest to the strong connection that has formed around this product. This community, united by a passion for education, is dedicated to creating core memories with their students using engaging, high-quality, and flexible resources.

2. The support you receive from QuaverEd is out of this world. Not only is their customer service team always ready to help, but their Training and Implementation team also creates professional learning opportunities to ensure all users are fluent with QuaverEd products. They also curate live general professional learning opportunities for edTEMPO

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Five Tips and Tricks for the Beginning Jazz Band Director Michael H. Webb Teacher's College, Columbia University mhw2159[at]tc.columbia.edu

In recent decades, Jazz ensembles of all shapes and sizes have become an integral part of secondary-level instrumental music programs – but this growth has not been met with a corresponding increase in focus on teacher preparation in Higher Music Education.

Programs, even those that excel in every other area, often relegate Jazz pedagogy to a sole lecture in an instrumental methods course, or perhaps might rise to the level of an intermittently offered elective.

Due to this imbalance at the collegiate level, some music teachers enter the profession with limited knowledge of a frequently taught ensemble. Because of this, it is not out of the realm of possibility that a classical flutist who has never played a lick of Jazz before might find themself helming a high school Jazz ensemble. To those individuals, feel free to consider the following points as they serve as a springboard for you and your students' journey into Jazz.

1.

2.

Listen to the Masters. For both you and your students, listening may be the most crucial thing you could do to immerse yourself in the Jazz world. Listening can inform discussion about the feel of swing, rhythmic and harmonic vocabulary, and interaction between the rhythm section and the soloist, to name a few. Familiarizing yourself with the work of the giants of the genre can improve the depth of your playing and teaching. The world of Jazz can sometimes feel like an overwhelming ocean of music, and it is okay to start small.

For small groups, consider either of Miles Davis's Quintets or his music with Gil Evans, John Coltrane's albums from the late 1950s to mid-1960s, Charles Mingus's Mingus Ah-Um, or Wayne Shorter's Witch Hunt. Listen to the music of Duke Ellington, Count Basie, Thad Jones, or Maynard Ferguson for Big Band inspiration. The world of vocal Jazz contains giants such as Ella Fitzgerald, Bessie Smith, Billie Holiday, and Nat King Cole. Please find a short list at the end of this article to get you started. Note that this list is not exhaustive nor all-encompassing, and many of these albums heavily reflect the music of the 1950s and 1960s. While Jazz has a long life outside these two decades, the music created during this period may be particularly poignant to the beginning of your Jazz ourney.

Focus on the Feel. The most significant reason for beginning with listening is to help you and your students understand the feel of swing and what it means for the rhythm section and the wind instruments to interact in that environment. If you want your pianist or guitarist to be more interactive and reactive under a soloist, search for the listening examples that

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3.

4.

can illustrate your point instead of simply explaining. As educators, it is natural for many of us to focus on how we can teach swing rhythms and communicate said information in music notation – that is just what we do! However, the reality is that through listening and playing, we accomplish much of the same thing without getting into the weeds of notation – something that is, by nature, an imperfect system of compromises. Nobody told Louis Armstrong, “Make sure you’re phrasing your eighths as if they’re one quarter note triplet and one eighth note triplet instead of a dotted eighth and onesixteenth note!” Instead, the masters learned by listening and participating.

Don’t Be Afraid of Small Groups. Much of the history of Jazz took place in the small group format. Only in secondary schools and in Higher Music Education do we predominantly see Jazz “happening” in a Big-Band context. There are many opportunities to explore groups of differing sizes and instrumentations by embracing a small group model with the added benefit of possibly including students who may otherwise have been excluded due to their instrument not fitting into the secondary school convention of a Big Band. If your enrollment is not large enough to field a complete Big Band, look at that as an opportunity – not a drawback. Small group ensembles provide a unique opportunity for students to take a more proactive role in their learning. Let the students take charge while you enjoy the backseat and allow them to improvise and explore their creativity in a supportive environment.

You’re not there to teach your students Jazz; you are there to make music with them collaboratively and provide guidance when needed. Don’t be afraid to play with them!

Perform Music With Authenticity. Do your best to provide students an opportunity to perform music from the Jazz Canon.

If students listen to Ahmad Jamal play a tune, give them the opportunity to play it as well. There is a shocking amount of "real music" – music that is a part of the Jazz Tradition or written by notable musicians and composers – that is playable by musicians at any level past elementary. Numerous Duke Ellington charts are a Grade 3! They aren’t pieces that have been watered down or diluted for young players, but legitimate original compositions by Ellington that are playable by a good Middle School Jazz Band! If you choose to embrace smaller ensembles, you have the added benefit of exploring the Great American Songbook through Leadsheets. The modJANUARY 2025

FIND YOUR MUSIC

5.

ern music publishing space has a plethora of "Jazz Ed" pieces written for school bands of all ages. But, leaning too heavily on this repertoire deprives students of an education inclusive of the actual music they think they are learning to play. This results in a wake-up call for students who continue to music school or interact in community ensembles as they find that their experience playing Jazz music in school is very different from the experiences and customs of those playing Jazz around the world. Do your best to balance performing pieces written to serve an educational purpose and works that best represent the music and the culture.

Give Students Ample Opportunities to Improvise. Improvising can be scary to students and teachers alike, but it is also one of the most central concepts to playing this music. For many students, improvisation presents the first opportunity to play something on their instrument that is not someone else’s, but instead uniquely theirs. Try to encourage this at every opportunity. Many big band charts provide for the odd Tenor 2 or Trumpet 2 solo, but feel free to pass these opportunities around to accommodate the largest number of students. Encourage students to ignore the prewritten solos in favor of their experimentation. Let the rhythm section improvise beyond their own prewritten parts. Above all, foster an environment that embraces mistakes and encourages students to try continuously.

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While these five items are neither exhaustive nor terribly prescriptive, they should give the beginning Jazz director or Jazz musician something to think about and encourage them to embrace the music in a way they may not have previously. Jazz is America's unique original art form and is integral to many of our students' cultural heritage. The education we endeavor to provide to our students should be one to match its importance.

Ideas for First Stops in Jazz Listening Ornette Coleman - The Shape of Jazz to Come (1959) John Coltrane - Blue Train (1958) John Coltrane - A Love Supreme (1964) Miles Davis & Gil Evans - Miles Ahead (1957) Miles Davis - Workin’ with the Miles Davis Quintet (1960) Miles Davis - Live at the Plugged Nickle (1965) Duke Ellington - Far East Suite (1968) Duke Ellington - Ellington at Newport (1956) Bill Evans - Sunday at the Village Vanguard (1961) Ella Fitzgerald and Louis Armstrong - Ella and Louis (1956) Charles Mingus - Mingu-Ah-Um (1959) Charlie Parker - Charlie Parker with Strings (1950) Frank Sinatra & The Count Basie Orchestra - Sinatra at the Sands (1966) Wayne Shorter - Speak No Evil (1966) Vanguard Jazz Orchestra - Centennial-The Music of Thad Jones (2024)

Bachelor of Arts in Music Double Major with Music Bachelor of Music Education Bachelor of Music in Performance For Open House and Audition dates, go to: www.gettysburg.edu/music Sunderman Conservatory of Music Gettysburg College, Gettysburg, PA 17325 tel: 717-337-6815 • www.gettysburg.edu/music

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The First Day of Music:

Considering Our Approach

Megan Reilly Edgewater Park School District Teachers College, Columbia University mr4222[at]tc.columbia.edu

For so long, the first day of school or of a new semester—no matter how many first days I had—brought with it feelings of excitement, but also a lot of nerves. Will I effectively cover all of my classroom expectations? What should the classroom expectations even be in elementary school? Is everyone’s name on the seating chart? Do I have enough spots on the carpet? And, oh yeah, will we get to make music today? I have finally found a routine that pushes all of those questions aside and alleviates all of the nerves that I once felt going into the first day.

On the first day of Music, my intention is to give students a taste of the classroom routine and some of the activities they are going to encounter throughout the school year, while allowing for organic moments to practice those routines, problem-solve as a class, and intentionally address key social-emotional skills. As educators, we know that “when you have an orderly, predictable opening routine, students are more likely to feel safe, competent, and comfortable, develop confidence and independence, and focus on and get excited about the day’s learning” (Responsive Classroom, 2016, p.7). The same can be applied to the first day of class. The first day of Music introduces the year’s routine while giving students something to be excited about moving forward.

Below is the overarching structure I follow for a successful first day of Music in grades K–2. My personal approach is adjusted slightly for grades 3 and above, though I follow the same basic structure. Each of these strategies are, of course, intended to be rearranged and adapted in ways that best fit your classroom and your students.

Enter in a Meaningful, Engaging Way Choose a song or chant for the first day that allows students to engage right away, with as little direction from the teacher as possible.

For example, this past school year my K–2 classes responded well to Stephanie Leavell’s (Music for Kiddos) “Walk, Walk, Walk,” which embeds instructions and opportunities for movement exploration right into the song lyrics. After a quick “hello” in the hallway, I may give a reminder to “listen closely to what the song asks us to do” before I sing. If I start with a chant, a quick “repeat after me” is all I will give.

Avoid the temptation to have students enter and gather in the front or back of the room while calling out names to take attendance or assign spots. Your students are excited to start making music right away!

Learn (or Review) Names Right Away Personally, I do not worry about giving students assigned spots on the first day of class. Once the welcome song has guided us into the room and into sitting in a circle, introductions begin. Whether the students are new to you this year, or you have been teaching them for multiple years in a row, they should always have a chance to (re) TEMPO

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introduce themselves to you and their peers. Choose a name song, chant, or game that engages the whole class in the process. This may be accomplished through a song with a chorus that the whole class can sing between each student introduction, or a chant that gives students the opportunity to repeat the names of their classmates.

This activity is a great time to address classroom expectations that come up organically, such as the importance of listening closely to classmates when they speak or sing.

Practice a Transition At this point in the class, since students have now been sitting in a circle for a while, invite them to find a new place to sit in the room through either revisiting the song or chant used to enter the room, or introducing a new one. Ideally, no matter what material you choose to use, it is something that invites students to provide movement exploration suggestions. This once again allows for expectations such as safe ways to move in the music room to be explored together. For example, I can always count on a student suggesting we run while we sing and move around the room. This turns into the perfect opportunity to discuss why we may not run in the Music Room, but we will run when we play games outside or in the Gym. Once students have found a new place in the room to sit, this is another point in the first day routine that I allow to unfold naturally. If students are making unsafe choices with how they choose to occupy their space on the carpet, we may brainstorm ways to sit (positions such as “criss cross,” “mountain,” and “rock” are popular in my building) or introduce their access to fidgets in the Music Room.

Learn Something New About Each Other To focus and calm students down after practicing transitions, give them an opportunity to share something about themselves with you and their classmates. There is so much flexibility in choosing an activity here, but for the first day I tend towards having students sing a fun fact to a partner (or choose to answer a question from a list on the board). This is a great opportunity to walk around the room and get a general idea of where they stand with their ability to access their singing voices and create tunes. There is no right or wrong response!

Of course, older students may already have an idea of how to do this, and younger students may need an example or two. This activity also serves as another way to reinforce procedures for wanting to share answers with the whole class and listening to classmates as they sing.

Move!

Before winding down the class, I try to incorporate at least one more opportunity for movement. There is a lot of energy in the room on the first day of a new class, and continually providing opportunities for movement keeps both me and my students much more calm.

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A simple body percussion routine (or play along video) is usually my choice, but any sort of movement activity that is typical for your classroom would work great here.

Cool Down After a class full of movement, the first day is the perfect time to start to introduce self-regulation strategies to the students. I like to pick one for the first day and slowly introduce more throughout the first month of school so students build a library of tools to use when the Music Room inevitably becomes overstimulating or we need to transition to something with a slower pace. While all social emotional learning domains have a place in the music classroom, self-awareness and self-management are particularly useful to introduce and reinforce from day one. These components help students to identify and “deal with stress, impulse control, and self-motivation, assess abilities, and use resources” (Edgar, 2017, p.97). A successful strategy for my students has been to speak a phrase such as “I am loved” or “peace begins with me” while slowly tapping each of their fingers to their thumb. Each time we repeat the phrase, we get quieter until we are all saying it in our heads.

Routine for Leaving Procedures for exiting the Music Room vary depending on how transitions from class to class work in any given building, but I typically have my classes lined up and ready to go for their classroom teacher to come pick them up. For this, I sing a song that will be our signal for the rest of the year that it is time to line up for the end of class. As students hear the song in each class, they eventually begin to sing along as they line up. Keeping students engaged with a song has alleviated so many challenges that typically come with transition-

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ing out of the room. On the first day, and even in the first month, we will practice this consecutively multiple times. Between each time that students line up and return to their spots, we will discuss together ways to line up safely and show that they are ready to go into the hallway.

Regardless of how you structure the first day of Music, or the exact activities you choose, this is a time to set aside all the worries about how the day “should” look and focus on having fun with the students.

Every piece of information on how the classroom functions does not need to be covered on the first day, and every planned activity does not need to be squeezed in. The following classes can build off of day one, methodically introducing new structures and continuing to reinforce routines and expectations. By allowing activities and conversations to flow organically, students gain agency and learn how to construct classroom expectations alongside their classmates with the teacher as their guide. The first day of Music is the first day of fostering strong relationships with your students, and those relationships are not fostered through lists of rules and expected behaviors.

Students are excited to come to Music Class, and we can foster that excitement through planning an engaging first day that sets them up for success.

References Edgar, S. N. (2017). Music education and social emotional learning: The heart of teaching music. GIA publications.

Responsive classroom for music, art, PE, and other special areas.

(2016). Center for Responsive Schools, Inc. Resources https://www.musicforkiddos.com/

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This column salutes the lives and careers of recently departed colleagues. It is the way NJMEA and NJRMEA can express appreciation for the work that they have done and the lives that they have touched. We mourn their passing and salute their contributions, which are the basis for music education in the state of New Jersey. was also the Artistic Director and Conductor of Philomusica Chamber Choir for 39 years. He was honored to have celebrated the choir’s 50th anniversary season in 2018-2019. Based in Middlesex County, NJ, Philomusica is an auditioned choir of over 40 voices, “committed to excellence in choral sound, performance, and musicianship.” In addition to its own concert schedule, Philomusica performed at special events, benefits, and commemorations.

Making music with dear and treasured friends was a highlight of Dennis’ life. For nearly a decade, the high point of Dennis’ summer was the 2 weeks spent at the Westminster (Choir College) Summer Choral Festival in Princeton, NJ. Under the baton of Robert Shaw, then Music Director of the Atlanta Symphony, Dennis joined 200 other singers in rehearsing choral masterworks for performances at venues such as Princeton Chapel and the Mostly Mozart Festival. Deep and long-lasting friendships were forged during these workshops.

In addition to sharing a love of music, Dennis and Diane enjoyed traveling. Many summers were spent attending concerts at Tanglewood in the Berkshires and cruising the East Coast.

Dennis F Boyle Dennis F. Boyle passed away peacefully at home on Wednesday, September 25.

Son of John F. (Frank) and Rose (Juchter) Boyle, Dennis was the beloved husband of Diane Erbeck Boyle.

They were married for 40 years and have lived in Linden, NJ, since 1991.

Born in Brooklyn, NY, on February 3, 1948, Dennis grew up in Scotch Plains, NJ, from the age of four. He attended St. Bartholomew School in Scotch Plains and was a member of the first graduating class of Union Catholic Boys High School (1966). In 2017 Dennis was the inaugural recipient of the newly established Arts Award when he was inducted into the Union Catholic Hall of Fame.

Dennis received a Bachelor of Arts in Music (cum laude) at Montclair State University, and both a Master of Education and a Music Supervisor’s Certificate in Music at The College of New Jersey.

With a grandmother who was a church organist and a mother who was an original member of Robert Shaw’s Collegiate Chorale, it came as little surprise that Dennis became a music educator and choir director. He taught for 44 years at a wide variety of levels: Union Township Elementary and Junior High School, Highland Park Middle School and High School, East Brunswick High School, Seton Hall University, and Rutgers Preparatory School in Somerset. Dennis was both humbled and proud to have been given the opportunity to share his love of choral music with thousands of students over the decades.

Dennis founded and served as Music Director and Conductor of the Woodlyn Chorale in Linden, was Assistant Conductor of the Summit Chorale, founding Music Director and Conductor of the Highland Park Community Chorus, and both founded and directed Diaden, a semi-professional chamber choir. Dennis TEMPO

Leonid J. Gallo Leonard J. Gallo passed away on Friday, August 30, 2024 at JFK Medical Center in Edison. He was 94 years old.

Born in Dunmore, PA on April 16, 1930 to the late Anna and Joseph Gallo, he has resided in the Colonia section of Woodbridge Township since 1962.

Mr. Gallo was a United States Army veteran of the Korean War; and received his Bachelor’s and Master’s Degrees from Montclair State College. He was employed 40

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as a music teacher for the Woodbridge Township Board of Education for 43 years, retiring from Colonia High School in 1996 as band director.

In addition to his parents, Mr. Gallo was predeceased by his beloved wife, Joan Gallo, in 1997; daughter, Lynn Gallo, in 2022; and brothers, Joseph Gallo and Robert Gallo.

Surviving are his children, Leonard S. Gallo of Colonia, James Gallo and his wife, Dawn, of Jim Thorpe, PA and Jill Gallo of Colonia; sisters, Patricia Meyer of West Orange and Anne Udell of Osprey, FL.

Isabel Hauge Liz grew up in the hustle and bustle of Philadelphia, PA. She completed high school in 3 years, and was accepted to Temple University in 1954 as a Music Education Major, and worked part time playing piano for a Ballet Studio, as an Accompanist. She also played piano with a few local jazz bands. In June of 1957, just three years later, she graduated from Temple University with her Bachelors of Science in Education.

Liz got married 1957. Liz and Kris lived in a few towns in Monmouth County before settling in Brielle. Liz worked in a few School Districts as a Music teacher before deciding to take a job at the Point Pleasant Beach school systems. She had a passion for teaching her students music from all of the Eras. She had a great sense of humor and was very easy to talk with, which her students Loved. Students shared their lives with her from good times to bad times, but they always knew, she was there for them. She instilled in her students the importance of exploring what you enjoyed, and to never give up. Liz was also an avid tennis player, and very competitive. In the early 1980's she was able to form the first Girls Tennis Team for Point Pleasant Beach High School and was accepted into the Division 1 line up. Her team, the first year, went all the way, and won the Division.

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Liz and her husband Kris shared their love of traveling and antiques, and traveled all over the United States, Canada and to France a few times. She loved spending time with friends and family, and of course catching Wimbleton and the US Open on television.

Nancy H. Miller Nancy H. Miller died on October 23, 2024, at the Center for Hope Hospice in Scotch Plains, NJ. She was 92 years old and a resident of Cranford.

She was born on August 14, 1932, in Elizabeth, NJ, to Gustav and Eleonora Hoffacker, the third of three daughters after sisters Eleanor and Carolyn.

Nancy graduated from Battin High School in Elizabeth.

She elected to pursue music at New Jersey College for Women, later Douglass College of Rutgers University. In 1954, she received a B.A., with honors, in music education and was the recipient of the Julia Carlie Memorial Prize in Original Composition. She went on to receive a Master’s degree in music education from Rutgers University and subsequently worked as a music teacher in the Highland Park, NJ schools and later as a private flute teacher.

She married Clinton H. Miller, III,. They had five children.The family settled in Cranford and joined Trinity Episcopal Church and she and Clint quickly became pillars of that community. She sang in the soprano section of the choir for many decades and formed and led a children’s choir.

Nancy was an accomplished composer who wrote incidental service music, some of which is still occasionally sung at Trinity Church Cranford. Of her many achievements, one gave her particular pride and pleasure. In 1955, she entered and won a competition to write the music for a new Alma Mater commemorating the renaming of Douglass College.

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NJSMA

North Jersey School Music Association www.njsma.com Greetings Music Colleagues!

Happy New Year! I hope your 2024-2025 school year is going well and that your Winter/Holiday performances were a success. As we kick off the new year, I'm excited about all that NJSMA has in store for our teachers and students. Thanks to the continuing work of our Diversity & Inclusion Division we were able to continue our fee waiver program this year making participation more accessible.

This program is making a significant difference for many, providing more students with the opportunity to engage in music education.

The NJSMA Region I High School Band, Chorus, Orchestra & Intermediate Orchestra auditions will be held on Saturday, January 4, 2025 with a snow date of Sunday, January 5, 2025 at Clifton High School. We would like to thank Bryan Stepneski, Leonid Wesimantel and Paulina Edel at Clifton High School for hosting auditions.

What's happening around our Region: NJSMA Band Division : Co Chairs - Michelle Christianson, Chris Zwarych & Amy Wilcox – band[at]njsma.org The NJSMA High School Region Band rehearsals and concert will be held at Parsippany Hills High School. Special thanks to host band directors, Mr. Michael Iapicca and Ms. Michelle Christianson. The concert will be held on January 26, 2025. Thank you band division audition chair, Ms. Taylor Rehe from Northern Highlands High School.

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9, 2025 at 3:00 p.m. The location for the rehearsals and concert will be announced shortly.

This year’s High School Region Concert Band Festival will be held March 18, 19, 20. Thank you to our host schools: Parsippany Hills High School, Hanover Park High School, West Essex Regional High School and Mount Olive High School.

The Intermediate Concert Band Festival will be held April 8, 2024. The location for the Intermediate Concert Band Festival will be hosted by Ms. Crystal Yoon at West Essex High School.

The annual NJSMA Elementary Band Festival will take place on Saturday, May 3, 2025. Fifth and sixth graders from North Jersey who have been nominated by their directors will rehearse and perform a concert in a one-day festival.

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

NJSMA Choral Division : Co Chairs - Deana Larsen & Leonid Weismantel - chorus[at]njsma.org Our NJSMA HS Chorus Festival took place on November 22, December 3, and December 4,2024. Many thanks to participating choirs and directors. Thanks also to Brian Lang (Lyndhurst MS), Heather Buchanan (MSU) and Matthew Vanzini(Mount Olive HS) for hosting!

Our Intermediate Chorus Festival will take place on Friday, March 7, 2025. At the time of submission, we are still finalizing details, but we certainly would like to thank our participating choirs, their directors, our host school, and our adjudicators!

We are excited to announce that Dr. Dustin Cates will be our guest conductor for our High School Region Chorus concert which will be held on Saturday, February 1st, 2025.

We are also delighted to announce that Dr, Rachel Carlson will be our guest conductor for our Intermediate Chorus concert on Sunday, March 23, 2025.

NJSMA Elementary General Music Division : Co Chairs Lisa Wichman & Karen Andruska – elementary[at]njsma. org The NJSMA Elementary Music Division Fall workshop featuring presenter Missy Strong("Movement and Modern Music") was a tremendous success. Thank you to everyone who attended and contributed in any way! Participants left feeling inspired and energized, with fresh ideas for bringing joyful music-making into their elementary music classrooms.

The NJSMA Elementary Music Division is hosting a workshop, "It's Elementary, My Dear," on Saturday, March 29.

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The workshop features several rotating workshops and a choral reading session. Registration information is on the NJSMA website. All NJMEA elementary music educators are welcome to attend.

NJSMA Orchestra Division : Chair - Jason DePope – orchestra[at]njsma.org Our NJSMA High School and Intermediate Orchestra concert will take place on Sunday, February, 16th, 2025. Our High School Orchestra Conductor is Mr. Mike Montero, who is the Director of the Pocono Youth Orchestra and music director for the Moravian University Community Orchestra. Our Intermediate Orchestra Director is Mr. Jim Millar, who is the recently retired Orchestra Director at Tenafly High School.

This year’s HS and Intermediate Orchestra Festival, will be a two-day event held on April 8th and 9th, 2025. Please contact our orchestra division if your orchestra(s) is interested in participating.

Our Region I Elementary Honors Orchestra is going to be on April 5th, 2025 and the Middle School/High School Honors Orchestra is slated for March 1st, 2025.

The Region I Orchestra Division is looking for another Division Chair. If you are interested in being more involved with the Region I Orchestra as a Division Chair, or in any other way, please let us know.

Looking ahead to 2025!

We hope to see many of you at the NJMEA State Conference in February 2025. There is a great slate of workshops planned for every grade level and performance area. NJSMA will be having a membership meeting on Friday, February 21, 2025. Please check the schedule of events for the exact time and location. We are also planning to once again host a social gathering for our members. That information will also be communicated by email once time and location are confirmed.

The NJSMA Intermediate Band & Chorus auditions will be held on Saturday, February 8, 2025 with a snow date of Sunday, February 9, 2025 at Wayne Hills High School. We would like to thank Mr. Matthew Paterno and Ms. Annie Pascale from Wayne Hills HS for hosting auditions.

None of our events would be possible without the many helping hands working behind the scenes! We’re always looking for volunteers of all experience levels to serve as site hosts, audition chairs, managers, and even executive board members, to name a few. If you want to get involved, we have a spot for you and will work with you throughout the entire process.

We’re also reaching out to connect with new teachers in our region and those who may not yet be active members of NJSMA. If this applies to you—or if you know someone it does—please contact our corresponding secretary at JANUARY 2025

publicity[at]njsma.org or complete the contact form on our website. Our website (njsma.org) includes all relevant information about our region, with the calendar section updated to reflect all confirmed events. Contact information for executive board members and division officers is available in the “Officers” section.

Thank you for everything you do to give our students high-quality music education. Your hard work makes a difference! If you have any questions or need further information, please feel free to reach out—we’re here to help.

Anthony Lanzerotti NJSMA President president[at]njsma.org

CJMEA

Central Jersey Music Educators Association www.cjmea.org Happy New Year! At this point CJMEA is well within the High School Region schedule. Region information for intermediate ensembles and honor ensembles will be posted this winter, so make sure to keep checking back to cjmea. org for that information. I wanted to take a moment to thank the CJMEA Board Members that make opportunities like this possible. The division ensemble chairs of CJMEA: Clay Beyert (HS Band), Arvin Gopal (HS Orchestra), Adam Good (HS Choir), Maddie Meier & Sarah Williams (MS Choir), Grace Lee & Caty Butler (MS Orchestra), Sandy Olson & Ashlen Udell (MS Band), and Yale Snyder (HS & MS Percussion). Thank you to all of the managers who dedicate hours making sure every detail is in order. To our Webmaster, Trevor Sindorf, for maintaining our ability to reach out to all of our members throughout this process.

I would also like to take this opportunity to thank all of our amazing teachers in Region II for helping prepare the students so well. I know we have all dealt with a bunch of new procedures this year, thank you as well for being flexible as we worked out new systems. We are always looking ahead into next year’s ensembles and procedures, if there’s any part of the process you think can be improved upon please reach out!

Finally, I’d like to invite you to our general membership meeting at the NJMEA conference in Atlantic City this February. At this meeting, you’ll be able to interact with the board members and have your voice heard on how to best support music educators in Region II. Additionally, my presidency is quickly coming to a close and you will get an opportunity to connect with our incredible president elect, Rebekah Sterlacci. We are always looking for help in various 43

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capacities as well, so if you are interested in aiding CJMEA this is a great place to make connections. I look forward to seeing many of you there, and if there’s anything I can do for you please reach out.

Brian Williams CJMEA President president.cjmea[at]gmail.com

SJBODA

South Jersey Band and Orchestra Directors Association www.sjboda.org SJBODA will bring in the New Year with two very exciting concerts at Rowan University. On Sunday, January 5th, we will present our Orchestra and String Ensemble concert.

This is the 70th anniversary concert for the Orchestra, which will be conducted by José Luis Dominquez (Temple University). The Junior High String Ensemble will be conducted

by William Einhorn (Pottsgrove HS). Samantha Sara (Egg Harbor Township HS) will manage the Orchestra. We were still in need of a manager at the deadline for this article for the String Ensemble. The following Sunday, January 12th, the Wind Ensemble and the Symphonic Band will perform in their 78th anniversary concert. The Wind Ensemble will be conducted by Lauren Reynolds (University of Delaware) and the Symphonic Band will be led by Jon Porco (Deptford MS). Our rehearsal conductor for the Wind Ensemble will be Jim Mark (Cherry Hill West HS, retired). Our managers for this weekend are D. Michael Lynch (Cherokee HS), Brian Shugarts (Galloway Township MS) and Patrick O’Keefe (Absegami HS). Our concert host for these performances will be Jiannan Cheng, Joe Higgins, and Megan Cooney. Both of these events will take place at Rowan University.

These concerts would not be possible without the commitment and dedication of our colleagues. Phil Senseney (Southern Regional Schools, retired) and Jeffrey Moore (Palmyra HS) did an outstanding job in providing our students with a positive audition experience and Patrick O’Keefe provided an excellent facility for our students, parents, and membership at the auditions, which were held at Absegami HS. The first rehearsal for these ensembles were held at Cinnaminson HS and hosted by Nick DiSalvio. Nick did a wonderful job in meeting the needs of our students. Our young musicians also benefited from the efforts of Amanda Lakits Porco (Hamilton Township Schools), our Senior High Band Coordinator and Carrington Thompson (Eastern Regional HS), our String Coordinator.

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The Junior High Band auditions will take place on Saturday, January 25th, at Southern Regional Middle School.

Jennifer Hodgson and Andrew Wright will be our hosts.

Audition information is available on our website. Jon Porco (Deptford Township MS) and Joe Jacobs (Ventnor MS, retired) are the Junior High Audition Chairs. Nancy Robinson (Linwood Public Schools, retired) is our Junior High Band Coordinator. The concert will take place on March 9th at Fernwood Avenue MS. Marc Spatz and Dawn Donchey will be our concert hosts. The rehearsals will take place at Mainland Regional HS with Derek Rohaly as our host. The conductors for the 47th Annual Junior High Band Concert are Jim Mark (Cherry Hill West HS, retired) and Andrew Owens (Ann A Mullen MS). We were still in need of managers at the deadline for this article.

The 17th annual Chamber Ensemble Concert will take place on Wednesday, February 5th, at Penns Grove HS, with Ken Rafter as our host. Jon Porco (Deptford Township MS) is our Chamber Ensemble Coordinator. Our coaches for this year are Jack Franchi (Lenape HS) – Sax Quartet, Barry Plevinsky (Deptford Township, retired) – Percussion Ensemble, Donna Scharfetter (Ocean City HS, retired) – Flute Quartet, Anita Gosevska (Upper Township MS) – Clarinet Quartet, Rick Maxwell (Middle Township ES #2) - Tuba/ Euphonium Quartet, and Amanda Spratt (Estelle Manor Public School) – Woodwind Quintet, Registration forms for our 31st annual Concert Band Festival are available on the SJBODA website. The festival, coordinated by Jim Mark (Cherry Hill West HS, retired), will take place on Tuesday, March 18th and Wednesday, March 19th at Rowan University. The snow date will be Tuesday, March 25th. John Lindner (Montclair State University) and Laurie Kunzle (Lakeland Regional HS, retired) will be the adjudicators. Joe Higgins and Megan Cooney will host this event.

The 31st annual Elementary Honors Band Festival will take place on Saturday, May 3rd, at Absegami HS. Patrick O’Keefe will be our host. LeeAnn Hewitt (Frog Pond ES and Eagleswood ES) will be our coordinator for this event. Our conductors will be Amanda Lawless (Delsea Regional MS), Rich Beckman (Cherry Hill Public Schools), Kevin Flaherty (Pleasantville HS), and Anthony Orecchio (Robert L Horbelt Intermediate School).

The 8th annual Elementary String Festival and our Inaugural Intermediate String Festival will take place on Saturday, May 10th, at Egg Harbor Township HS. Kate Wyatt will be our host and Christine Macaulay (Clara Barton ES) will be our coordinator. Joe Brennan (Rowan University) will conduct the Intermediate String Ensemble and Rebecca Peterson (Pilgram Academy) will conduct one of the elementary string ensembles. We were still in need of one additional conductor at the deadline for this article. Registration forms are available on our website.

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

Sue Mark SJBODA President sjbodapresident[at]gmail.com

SJCDA

South Jersey Choral Directors Association www.sjcda.com SJCDA Junior and Senior High choirs are currently in rehearsals for our Choral Festival, held at Republic Bank Performing Arts Center at Washington Township High School on January 25th and 26th, 2025. Our Senior High conductor is Vinroy Brown from Westminster Choir College. Our Junior High conductor is Katie Kershaw of Northern Burlington Township High School. Auditions for these choirs were held on Saturday, November 16th at Clearview Regional High School. Singers and conductors are working hard and achieving great music together.

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Our South Jersey Elementary Festival Choral Concert will be held at Republic Bank Performing Arts Center at Washington Township High School on March 1st, 2025. This choir will be conducted by Melissa Manzano who teaches at 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.

At this busy time of year, SJCDA has many people to thank for their generous help and support. First our audition hosts Scott Garvin and Chelsea Franchi and our gracious rehearsal hosts Brendan Moore of Lenape High School and Dr. Chris Thomas of Rowan University. Amy Melson and Casey Corigliano at Washington Township High School will host both the Jr./ Sr. Festival concerts in January and the Elementary Festival in March. Also, we would like to thank our hard working SJCDA Board, managers and directors for all of their time behind the scenes making these events possible, especially our Audition Chairs Jessica Thomas and Cheryl Breitzman.

Cristin Introcaso SJCDA President sjchoraldirectors[at]gmail.com

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NJMEA RESOURCE PERSONNEL Area of Responsibility

Name

Email Address

Administrative Matters.................................................... 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 Diversity/Equity/Inclusion/Access.................................... Isaiah C. Mason..................................................deia.njmea[at]gmail.com Guitar Education............................................................... Jayson Martinez................................................jmartinez[at]nps.k12.nj.us Jazz Procedures Chair...................................................... Darrell Hendricks....................................... dhendricks.njaje[at]gmail.com Marching Band Festival Chair............................................. Nancy Clasen................................................. nancyclasen[at]gmail.com Membership.................................................................... William McDevitt....................................... wmcdevittnjmea[at]gmail.com Middle/Junior High Band Festival....................................... Nancy Clasen ................................................. nancyclasen[at]gmail.com Middle/Junior High Choral Festival............................. Donna Marie Berchtold........................................ firesongwed[at]gmail.com Modern Band........................................................................ Zach Gates......................................... zacharygatesmusic[at]gmail.com MusicTECH Fest................................................................. Shawna Longo............................................... shawnalongo[at]gmail.com NJMEA Historian.............................................................. Nicholas Santoro .................................................... n31b13[at]gmail.com NJMEA State Conference Exhibits Chair............................. Nancy Clasen................................................. nancyclasen[at]gmail.com NJMEA State Conference Manager..................................... Marie Malara ........................................................ malara97[at]aol.com NJMEA/ACDA Honors Choir................................................ Kaitlyn Reiser.......................................................... kreiser[at]spfk12.org November Convention – NJEA............................................ Nancy Clasen................................................ nancyclasen[at]gmail.com Opera Festival Chair.................................................... Donna Marie Berchtold........................................ firesongwed[at]gmail.com Orchestra Performance Chair............................................. Susan Meuse................................................ susanmeuse[at]gmail.com 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

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JANUARY 2025

PRESENTED BY

Schedule will be announced and registration opens mid-December 2024.

Select “Stay Informed” at marching.musicforall.org to get an email notification when registration is open.

Learn more at marching.musicforall.org

BOA25 NJMEA AD.indd 1

JANUARY 2025

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10/31/24 1:44 PM

TEMPO

AT SUSQUEHANNA BACHELOR OF MUSIC Music Education Performance Composition

BACHELOR OF ARTS IN MUSIC Offering convenient opportunities to double major.

SELINSGROVE, PENNSYLVANIA SUSQU.EDU/MUSIC

TEMPO

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JANUARY 2025

NAfME Music Teacher Profession Initiative “The process of preparing music educators to meet the needs of a nation with rich diverse needs, cultures, and resources embodies the challenges colleges and universities must recognize to improve candidate readiness to enter and thrive in any community.”

—A Blueprint for Strengthening the Music Teacher Profession, June 2023 NAfME formed the Music Teacher Profession Initiative in 2021 to identify barriers to equity in music teacher recruitment, education, and retention. A task force of NAfME leaders representing institutions of higher education across the country conducted research related to the challenges facing high school students as they make the decision to pursue a career in music education, preservice music educators in their undergraduate degree programs, and novice music educators in their first five years in the profession.

The project was executed with the perspective of widening the path to the profession by cultivating and strengthening more inclusive and equitable processes in recruiting, teaching, and nurturing a robust music teacher workforce. A Blueprint for Strengthening the Music Teacher Profession (released in June 2023) describes the task force’s process, outcomes, and recommendations for action. The report reveals the deeply complex nature of tackling evolution in music teaching and learning.

The issues addressed are not easily remedied. We call on educators and administrators who have a vested interest in music teaching and learning to take an active role in moving our culture forward in ways that are inspiring, inviting, and inclusive.

The Future of Music Education https://bit.ly/NAfMEMTPI

BEFORE THE DEGREE PROGRAM Challenge Solution

Inequitable distribution of funding, physical resources, and human resources

Federal policymakers should increase funding for Titles I and IV-A of the Every Student Succeeds Act to ensure students have equitable access to a well-rounded education that includes music.

Challenge

Participation, transportation, and private instruction expenses

Solution

School districts should offer free or highly subsidized rental programs and private lessons for students from low-income families.

DURING THE DEGREE PROGRAM

DURING THE FIRST 5 YEARS OF PROFESSIONAL LIFE

Persistent inequities in how students are recruited, auditioned, and enrolled

Low teacher pay and professional expenses (student loan debt, certification, etc.)

Higher education should expand audition/interview requirements to be more inclusive of diverse ways of being musical and demonstrating musical knowledge.

Federal, state, and local policymakers should position salaries, raises, bonus structures, tax credits, and other financial incentives to entice new music teachers into the field.

Lack of alignment between university program content and professional expectations in PK12 instruction

Isolation stemming from geography or being the only music teacher in a building

Higher education should revise music education curriculum to be more culturally sustaining, equitable, and reflective of the needs of schools and communities.

State and national music education organizations should promote the institution of affinity groups to serve as safe spaces in which educators’ identities are reflected and open and honest discourse is fostered.

Challenge

Limited curricular offerings

Lack of funding and time for meaningful professional development and mentoring.

Solution

Music educators should create new courses that engage a wider array of students.

State and national music education organizations should prioritize programs, professional development, and conferences for new-career music educators. © 2023 National Association for Music Education

bit.ly/NAfMEMTPI | #MoreTeachersMoreMusic JANUARY 2025

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TEMPO

NJMEA 2023-2025 Board of Directors EXECUTIVE BOARD

President David Westawski

Past President Wayne Mallette Scotch Plains-Fanwood District mallette.njmea[at]gmail.com

President-Elect Yale Snyder

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

Monroe Township District snyder.njmea[at]gmail.com

Executive Director

NJSMA, President

CJMEA, President

Woodrow Wilson MS president[at]njsma.org

Robbinsville HS president.cjmea[at]gmail.com

Anthony Lanzerotti, Jr

Brian Williams

William McDevitt Retired wmcdevittnjmea[at]gmail.com

SJCDA, President

SJBODA, President

Collingswood HS cintrocaso[at]collsk12.org

Rosa International MS sjbodapresident[at]gmail.com

Cristin Introcaso

Sue Mark

APPOINTED MEMBERS

TEMPO

Accessible Music Education Maureen Butler Retired maureenbutlermusic[at]gmail.com

Band Performance Patrick O'Keefe Absegami High School patrickaokeefe[at]gmail.com

Jazz Education Darrell Hendricks Mt. Olive High School dhendricks.njaje[at]gmail.com

Administration/K-12 Ed Tech Shawna Longo Westfield Public Schools shawnalongo[at]gmail.com

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

Orchestra Performance/Festivals Susan Meuse Churchill Junior High School susanmeuse[at]gmail.com

Advocacy Arwen Kapusta John Adams Elementary School arwenkapusta[at]gmail.com

Choral Performance Brian Williams Robbinsville High School NJAllStateChoir[at]gmail.com

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

All-State Production Manager Joseph Cantaffa Howell High School jcantaffahhs[at]hotmail.com

Conferences Marie Malara Retired malara97[at]aol.com

Research/Collegiate/HigherEd Marissa Silverman Montclair State University silvermanm[at]montclair.edu

Band Festivals/NJEA Liaison Nancy Clasen Lodi Public Schools nancyclasen[at]gmail.com

D.E.I.A Isaiah C. Mason Linwood School deia.njmea[at]gmail.com

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

Emerging Ensembles Zach Gates East Brunswick High School zacharygatesmusic[at]gmail.com

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

Ads which exceed the specified sizes will be charged at next ad size.

All Measurements In Inches

1color or black/white

4 color

Full Page

(7.5 x 10)

$350.00

$800.00

Two Thirds Page

(7.125 x 6.66 or 4.625 x 10)

$290.00

$790.00

Half Page Horizontal

(7.5 x 5)

$235.00

$735.00

One Third Page

(2.5 x 10 or 4.625 x 5 or 7.125 x 3.33)

$175.00

$675.00

One Sixth Page

(2.25 x 5 or 4.625 x 2.5)

$120.00

$620.00

EDITORIAL POLICY Articles may be submitted to the editor of this magazine by anyone who wishes to write about topics related to music or music education.

All articles which are selected for publication will be proof read for content, spelling and grammatical errors.

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

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

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

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

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

NJMEA Past Presidents 1924 - 1926 1926 - 1930 1930 1930 - 1931 1931 - 1933 1933 - 1935 1935 - 1936 1936 - 1938 1938 - 1939 1939 - 1941 1941 - 1942 1942 - 1944 1944 - 1945 1945 - 1947 1947 - 1949 1949 - 1951 1951 - 1953 1953 - 1955

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

JANUARY 2025

1955 - 1957 1957 - 1959 1959 - 1961 1961 - 1963 1963 - 1965 1965 - 1967 1967 - 1969 1969 - 1971 1971 - 1973 1973 - 1975 1975 - 1977 1977 - 1979 1979 - 1981 1981 - 1983 1983 - 1985 1985 - 1987 1987 - 1989 1989 - 1991

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

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1991 - 1993 1993 - 1995 1995 - 1997 1997 - 1999 1999 - 2001 2001 - 2003 2003 - 2005 2005 - 2007 2007 - 2009 2009 - 2011 2011 - 2013 2013 - 2015 2015 - 2017 2017 - 2019 2019 - 2021 2021 - 2023

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

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New Jersey Symphony

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William Paterson University

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Calderone School of Music Caldwell University Gettysburg - Sunderman Conservatory

Music for All Music is Elementary

JANUARY 2025

Concerts for Young People

These interactive concerts will spark your students’ imaginations and enrich their learning with music that is sure to excite! Buy your tickets today.

Newark → April 4, 2025, 9:45am | New Jersey Performing Arts Center Morristown → April 10, 2025, 10:30am | Mayo Performing Arts Center

$8 TICKETS | RESERVE TODAY! FOR MORE INFORMATION

njsymphony.org/cyp | education@njsymphony.org Made possible by funds from the New Jersey State Council on the Arts, a partner agency of the National Endowment for the Arts.

The New Jersey Symphony Concerts for Young People are also supported by Marjorie Bunnell Charitable Fund, Richard H. Holzer Memorial Foundation, Rosalind Pio Costa Foundation, Merck Foundation, Turrell Fund and Victoria Foundation.

JANUARY 2025

55

TEMPO

2025 NJMEA STATE CONFERENCE February 20 - 22 Atlantic City Convention Center All Conference Information is available at: www.njmea.org/state.conference

TEMPO

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JANUARY 2025