2012 may tempo
DESCRIPTION
The Official Magazine of the New Jersey Music Educators AssociationTRANSCRIPT
MAY 2012
LOOK NO FURTHERLOOK NO FURTHERHAS ALL YOU NEEDHAS ALL YOU NEED
E D U C A T O R SE D U C A T O R S
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Volume 66, No. 4 http://www.njmea.org MAY 2012
18 Keeping The Beat With Adaptive Instruments, by Maureen Butler
24 Warm-ups For Choral Ensembles: Why Bother?, by Billy Baker
26 NJMEA 2012 Awards, by Joseph Jacobs
31 2011-2012 Young Composers Competition, by Jeffrey Lesser
32 What Guitar Students Have To Say!, by Thomas Amoriello
34-36 NJMEA 2012-2013 Calendar
38 To March Or Not To March? That Is The Question, by William L. Berz
42 Choral Programming: Choosing Music That Honors Tradition And Diversity, by Patricia Kelley Keith
46 A Plan Of Action: Aligning Curriculum Standards That Meet The 21st Century School & Beyond, by Suzanne M. Kane
Advertisers Index & Web Addresses ......63Board of Directors ................................60Division Chair News ......................... 6-14Editorial Policy & Advertising Rates .....62From The Editor .....................................4In Memoriam .......................................59Past-Presidents ......................................62President’s Message ............................. 2-3Resource Personnel ...............................61Round the Regions ......................... 56-58
FEATURES DEPARTMENTS AND NJMEA BUSINESS
FORMS AND APPLICATIONSSee NJMEA.ORG
“Files and Documents”for downloadable copies of all forms
TEMPO Editor - Thomas A. Mosher80 Jumping Brook Drive, Lakewood, NJ 08701
Phone/Fax: 732-367-7195e-mail: [email protected]
Deadlines:October Issue - August 1
January Issue - November 1March Issue - January 15
May Issue - March 15
All members should send address changes to:
[email protected] orNAfME, 1806 Robert Fulton Drive
Reston, VA 22091
Printed by: Kutztown Publishing Co., Inc.1-800-523-8211
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 66, No. 4, MAY 2012TEMPO Editor - Thomas A. Mosher, 80 Jumping Brook Drive, Lakewood, NJ 08701Periodicals Postage Paid at Lakewood, NJ 08701 and additional entries
POSTMASTER: Please forward address changes to:NAfME
1806 Robert Fulton DriveReston, VA 20191
NAfME SUMMER LEARNING ACADEMIES
June 22 - 25, 2012Baltimore, MD
NJMEA SUMMER WORKSHOPAugust 7, 2012
NJMEA CONFERENCEFebruary 21 - 23, 2013
East Brunswick, NJ
Summer Workshop 2012 ......................49All-State Opera Festival .........................50State Marching Band Festival ................51All-State Int./HS Orchestra Scales & Solo Lists ....................................52-54All-State Band Solo List ........................55NAfME Application .............................64
MAY 2012 3 TEMPOTEMPO 2 MAY 2012
Conference program information, but also an App that will access region sites, affiliates, board members, directions, music education links, as well as viewing and commenting on pictures, videos, Facebook and Twitter. New Jersey is taking the lead on having this type of interactive App for our music education association and community. The App draws much of its information from the NJMEA Website, so all website changes and updates are automatically pushed through the App instantly. If you are a proud owner of an iPhone or iPad, please visit the Apple App store and download your NJMEA App today!
HERE’S WHAT YOU CAN DO FOR NJMEA
• Encourage membership. An important part of our strength is in our numbers. The more music educators that we can cite as part of our association, the more clout we are able to wield as we spread the word of the importance of music education in our children’s lives. If you have colleagues that are not members of NJMEA (NAfME), apply some peer pressure! Let them know that their membership counts! The cost is tax-deductible, applies for an entire calendar year from when they join and entitles them to a host of services and resources.
• Attend State Music Conferences. There are three opportunities throughout the year to attend professional development conferences. NJEA in Atlantic City in November, NJMEA in East Brunswick in February, and the NJMEA Summer Workshop in August in Ewing on the TCNJ campus. Our members attend these events to get new fresh teaching ideas, stay current with technology, hear quality musical performances and network with colleagues, vendors and members of the music industry.
• Include legislators in your local activities. Invite your state senator, assembly representative and board of education members to your concerts, plays, festivals, etc. Send copies of programs to their offices. The parents of your students are voters, so let your elected officials see and hear that their constituents value the support of music education.
• Join NJMEA Online. Over 600 of your NJMEA colleagues are members of the NJMEA Facebook Group. Please join us on Facebook and on Twitter @NJMEA. Visit our new website often as important information is always being updated. If you have suggestions for our website please let me know.
AS WE LOOK AHEAD
I am looking forward to my second year as your President with great anticipation at all that we can accomplish together. Please feel free to contact me with any questions or concerns that you may have as we move forward. If you have any suggestions for improvements in what NJMEA does for our membership, please don’t hesitate to contact me. Have a wonderful, restful summer!
Greetings to all of my fellow music educators in New Jersey. I hope that the 2011-2012 school year has been successful and fulfilling for you professionally and that you and your students have had fun learning and making music!
During my first year as NJMEA President, not only was it a pleasure to see all of the All-State performances, but I also made it a priority to attend as many region and county performances around the state and college visits that I could schedule. Between concerts, convention sessions and performances and the work being done at the undergraduate collegiate level, I am inspired for the future of music education in New Jersey.
I am also very thankful to all of the volunteers that continue to give of themselves year after year for their local, county, region and state organizations: managing, hosting, organizing, mentoring new teachers, serving as officers and leaders of music organizations. Without your dedication to music, the student musicians in New Jersey would not have all the high quality musical experiences that they now enjoy.
2013 ALL-EASTERN APPLICATIONS
I would once again like to remind all high school music teachers that the deadline for the 2013 All-Eastern Applications for the Band, Chorus, Orchestra and Jazz are due to me by June 1st. The online application link and instructions can be found on the NJMEA website www.NJMEA.org and also in the several TEMPO Express emails that have been sent to all current NAfME members over March and April. Students must currently be a sophomore or junior and already accepted to the 2012-2013 All-State Ensembles.
NJMEA SUMMER WORKSHOP
As we wrap-up another school year and look to the summer to relax, re-energize and recharge our batteries... please consider the NJMEA Summer Workshop. It is a one day conference packed with sessions presented at The College of New Jersey Music Building on Tuesday, August 7th. Joe Akinskas and his team have once again developed a fantastic professional development opportunity for our members.
ASSESSMENTIf you have been following the legislation facing the teaching profession in New Jersey, you know that teacher tenure may become a thing
of the past. My advice to all music educators is to keep working on your craft. Your teaching evaluations, your students’ success in your class curriculum and how you and your students are meeting the standards are crucial. Be sure that performance classes have an assessment model in place. Continue to find new and fresh ideas in your teaching and more ways to infuse technology into the classroom. Work collaboratively with your colleagues and reach out to mentor teachers for assistance. My experience has been that there are many music colleagues around the state with great wisdom and doing wonderful things in their classrooms from whom we can all learn. Please do not be afraid to reach out for assistance.
NJMEA APP FROM THE APPLE APP STORE
I am pleased to announce that NJMEA has an App now available FREE from the iTunes App store. We worked hard to have the App ready by the February conference, however, wevran into difficulties getting the approval from Apple in time.
The NJMEA App for the iPhone and iPad will hopefully be a useful tool for all New Jersey music educators in the years to come. Jeff Bradbury has been working closely with me to develop and design this as a tool not only for the February, Atlantic City and Summer
President’s MessageKEITH HODGSON609-317-0906
[email protected]: http://www.njmea.org
MAY 2012 5 TEMPO
Music In Our Schools Month Celebrate
with the National Association for Music EducationSpotlight school music and your program during Music In Our Schools Month®.
Here Are a Few Suggestions: • Participate in the Concert for Music In Our Schools Month.* • Contact your state representatives and discuss their position on music in the schools; tell them about any upcoming concerts your students will perform. • Check out and print “Get the Message” Flyers at advocacy.nafme.org and distribute to your supporters. • Sign the Music Education Advocacy Pledge at advocacy.nafme.org and forward to your social media network. • Register for your MIOSM Flag Certificate at advocacy.nafme.org. • Invite a guest speaker to your class to talk about music’s role in his or her life. •Play NAfME “Why Music?” PSA’s during morning announcements. • Retweet and repost the MIOSM Fact a Day from the NAfME Facebook and Twitter pages. • Tie your events to another newsworthy happening or a public figure in your community. • Purchase the specialty items offered at www.nafme.org and give them to your students and colleagues to remind them of the importance of music education.
Find more ways to spotlight school music during MIOSM at nafme.org/events.
*The World’s Largest Concert Has a New a Name and is Now Online!Visit www.nafme.org/concert to download the 2012 Concert sheet music and rehearsal tracks— FREE! Start rehearsing now, then visit March 1 to download the program video, featuring special guest hosts and schools from around the nation.
®
he Rowan University, Master of Music program provides intensive experiences in performance, conducting, or composition as well as courses geared to enhance the students’ knowledge and understanding of the literature of their area of specialization,
and a greater understanding of music in general. Available specializations include: • Composition• Guitar• Jazz Studies• Keyboard: Piano/Organ• Orchestral Instruments
Get started as early as Summer 2012! For more information visit www.rowan.edu/cgce/music or call 856-256-4747
• Voice• Orchestral Conducting • Vocal Conducting• Wind Conducting
T
TEMPO 4 MAY 2012
MAY 2012 7 TEMPO
Past-PresidentWilliam McDevitt
856-794-6800 [email protected]
Random Thoughts
It’s been a few issues since I’ve written an article, so I thought that it was time to begin again. This is the perfect time because we just finished another successful NJMEA State Conference.
For the past several years, we have set up a survey for the membership to provide input about some of our major events. We did so again this year after the State Conference. We have had an amazing response! Within 24 hours of the TempoExpress notification, we had over 150 responses. At the close of the survey, it was up to 230. This is the best response that we have had of any survey to date. I thought that this would be the perfect time to address the membership on how we use this information, so you understand how important your input is to planning future events.
Some of the questions are used for general information. Others are used for targeted responses. For example, “If you stayed over-night, what nights did you stay?” would be general information. “What are your top 3 choices for Academies to be presented next year?” would be a targeted question. We use the targeted questions to get a sense of where the membership stands on some issues. We also understand that with 230 responses and almost 2000 people walking through the door over the course of the weekend, it is just a general idea of the membership’s thoughts, not a full set of responses. What we do look at are themes that seem to re-occur throughout the survey responses and try to address them the best that we can.
What most of our members don’t know is that on the Saturday evening of the conference, after everyone has gone home and the hotel is empty, the members of the committee meet to discuss emergent issues and changes that need to be made for the following year. For example, at this meeting last year, we discussed the idea of expanding Thursday into Academies like Eastern Division and having them open to everyone. After much planning, they were added to this year’s conference with much success. There were many positive comments about this new feature. There were also some negative ones that we had already addressed at this year’s meeting, like what Academies should be offered next year (hence the reason for the survey question).
Many of the comments that are made in the survey contradict others. For example, for every person that commented about how wonderful the conference was, there was another that thought that it was awful. For every person that cited an excellent clinician, there was a person that cited a terrible clinician (and some were the same clinician!). What I would like to do is provide our member-ship with some answers to a few of the topics that seem to have re-occurring questions associated with your responses. Hopefully you can come away with some helpful info. If not, maybe you can understand why we do things or at least know that we are discussing things that are important to you.
“Keep the registration table open all day on Thursday” – This was addressed at our post-conference meeting. In the past, all of our pre-conference attendees were registered before lunchtime. The NJMEA Executive Board meets late Thursday after-noon. In the past, the Exec Board ran registration, so they could not be in two places at one time. This will be fixed next year.
“It’s too crowded” or “Find a new location” – We have discussed this issue NUMEROUS times. Unfortunately, this is the best facility that is in a central location for our State – and yes, New Brunswick is central! We do the best that we can with the facility that we have available to us. One major decision last year was to leave the Ramada. This seems to have been a positive decision.
“Rooms were not appropriate for certain sessions” – This was also discussed after the conference. We are very limited by the space that we can have. In fact, we are not even guaranteed space in the Tower until January on the year of each conference. If that space is rented by a company, we don’t get to use it. We have to plan the conference knowing that the entire thing could be thrown into a shambles 6 weeks before we open the doors.
“The break on Friday is too long” – This was done because we had people comment in the past that they didn’t have time to visit the exhibits. Now the exhibits are open during the lunch. We will look at this for next year.
“Bring back the Thursday lunch” – There has been much discussion about this over the past few years. There were several problems with the Thursday lunch. First, the space that we needed for the luncheon is the space that is used for the General Music sessions. Second, the cost of a hotel luncheon is very expensive. Most of the cost that was continued on page 8
& News From Our Division Chairs &
TEMPO 6 MAY 2012
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New York CityMarch 24-25, 2012Highlights�� Broadway Shows�� Broadway Workshops�� Statue of Liberty/Ellis Island�� Lincoln Center
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MAY 2012 9 TEMPOTEMPO 8 MAY 2012
charged for the Thursday pre-conference in the past was to cover the luncheon. If it were brought back, it would have to be an additional charge like it is on Friday. This will be discussed again.
“Move the lobby concerts back to the hotel lobby” – These were moved to the tower to be a little more respectful to the students that were performing. The hotel lobby is too noisy and doesn’t have enough room for registration and the concerts. If you remember, a few years ago we moved registration to the 2nd floor for a year. That didn’t go so well. The Tower lobby is much more conducive to the performances.
“There are too many things to see at the same time” – That’s a good thing. It’s much better than not enough to see.“Handouts should be made available on the website” – We discussed this at the post-conference meeting. Unfortunately,
there are two problems with this. First, these are the intellectual property of the presenter. Second – if we provided all of the info to anyone, there would be no reason for the presenters to have an audience.
“Lower the price” – If we could, we would! The 2011 Conference lost money. We had to pay an enormous amount of money for the conference space because we did not sell enough rooms to cover our contract. Our goal every year is to break even. We have to balance the cost with the economic factors that have an effect on everyone’s bottom line.
“Parking” – This is being addressed. Just so the info is out there, the parking is a completely separate entity from the hotel. In our contract, we have a specific number of spaces in the lot that are designated to our conference. The rest of the spaces are designated to people that work in the towers. We are trying to get more spaces for the future. We’re trying to do everything that we can to avoid running a shuttle again!
“More/different exhibits” – At last year’s post-con meeting, we decided to change over to booths in the exhibit hall. We were crossing our fingers on this one because the change meant fewer vendors could fit in the space. We had to raise our prices to cover the adjusted sizes. We only turned away one vendor that wanted a large number of booths after the facility had been completely booked. What the booths did was allow vendors to actually bring things to sell instead of just handing out pamphlets. For the most part, the comments about the change were positive. If you know of anyone that would like to be an exhibitor, they can find info on the NJMEA website.
“Add more Academies” – We’re exploring the options at this time. Friday Night Concert suggestions – It’s great to get so many suggestions. Many of them have been contacted in the past
and were well out of our price range or cannot fit into our schedule. Groups like the “Manhattan Transfer” are a once in a lifetime choice and are economically draining to our NJMEA budget. We are continuing to look at some of those that you have suggested for future performances.
As you can see, there is a lot to consider when planning the conference. The planning is well under way for next year and your comments are a part of that process. We truly appreciate you taking the time to let us know what works and what doesn’t work. While I couldn’t possibly address all of the comments from the survey, I tried to address some of the ones that we saw more frequently with the hope that you would understand that your comments are heard. If you have any specific questions or concerns that you would like to have addressed, please feel free to email me and I can get an answer for you.
I hope that everyone has a restful summer and comes back in September ready for an exciting year filled with music making! To those that are retiring – I wish you the best. We’re all hoping to be there some day!
Administration Ronald P. Dolce - Secretary
It seems like it was just a few short months ago that I wrote this school year’s first article welcoming everyone back from the summer break. Here we are in May putting the finishing touches on our last concerts and music trips.
This year, we experimented by having joint meetings with the art administrators.Our workshops covered a variety of topics including “Supervising the Art Teacher: Effective
Evaluation Techniques”, presented by Joanie Rosen and Joan Conway from the AANJ and “Music
& News From Our Division Chairs &
continued on page 10
BE INSPIRED: Study with faculty from the New York Philharmonic, Philadelphia Orchestra, Metropolitan Opera Orchestra, and New Jersey Symphony.
BE CHALLENGED: Music conservatory training within New Jersey’s flagship public research university. BE ENGAGED: Over 15 performance ensembles with opportunities to perform in New York City and abroad.
n Bachelor of Music (Music Education, Classical Performance, Jazz Studies)n Bachelor of Arts in Music n Music Minor
UNDERGRADUATE MUSIC PROGRAMS:
MAY 2012 11 TEMPOTEMPO 10 MAY 2012
Festivals: Are High Stakes Festivals for You?” presented by Peter Griffin: Our January meeting was held at Kean University. The work-shop consisted of four mini workshops that were presented by teachers from the Orange School District, Woodbridge Township and the Clifton Public Schools.
Our members continued to share their expertise at the NJMEA Conference in February. Although a Job Fair was not held this year, members of the association presented workshops about interviewing techniques and information about landing that first job.
As we go to print, Peggy Cioce, music supervisor with the Clifton Public Schools, is preparing a workshop with staff members entitled, “You Tube as an Instructional Resource”. Our End of the Year Meeting will be held on June 3rd at the New Jersey City University in Jersey City. The program will feature the NJCU arts programs at the university. Check the www.njmaa.org for more detailed information as we get closer to the date.
The complexion of many of our school districts is changing for a variety or reasons whether it is retirement or economics. The NJMAA continues to reach out to those school districts that have supervisors, coordinators and administrators without a music background. Our members can serve as an invaluable resource to help the non-music administrator deal more effectively with music teachers and help them meet the special needs of the music program. If you are an NJMEA member with a supervisor that does not have a music background, tell them about our organization.
Check our website for more information about the NJMAA and its activities.
Band PerformanceAl Bazzel
856-358-2054 [email protected]
The All State Band Procedures Committee would like to congratulate the 2012 NJMEA Distinguished Service Award winners: James Beyer, Darryl Bott, Robert Frampton, Marie Malara, and Thomas Mosher.
The 2012-2013 solo list is included in this issue. All audition information and requirements are on the website. Continue to check www.njmea.org throughout the summer for updates, conference information, and important links. In addition, this being an All-Eastern eligibility year, please look for acceptance information in the coming months.
Please consider joining the consortium for the 75th anniversary of the New Jersey All State Band and taking your place in New Jersey band history! The piece by Dana Wilson, Professor of Music at Ithaca College, will be performed by the 2014 All State Symphonic Band. Each member of the consortium will receive a full score and parts with performance rights. Contact Lewis Kelly at [email protected]. You can visit www.danawilson.org to learn more about this wonderful musician and award winning composer.
If you have any concerns over the summer, please contact your region representatives to the committee: Region I - David Aulen-bach, Lewis Kelly, Mindy Scheierman; Region II - Jules Haran, Mark Kraft, Brian Toth; Region III - Ed Cook, Vinnie DeBeau, Deb Knisely.
Thank you all for another great year! We hope you have a wonderful summer!
Choral PerformanceKathleen Spadafino
Congratulations! Our choral directors can almost take a clear breath as the musicals, college auditions, and all the Spring Con-certs are finished. You’ve done such a great job this year, and with your help All-State Chorus is all auditioned, members of Mixed Chorus and Women’s Chorus have been chosen, and we are ordering music for the first Mixed Cho-rus rehearsal on Saturday, June 16. continued on page 12
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& News From Our Division Chairs &
But as we look ahead to a summer off and thinking about next fall, please thank these people along with me for their incredible work with All-State Chorus this year. Our fabulous committee – Tom Voorhis, Steven Bell and Matt Vanzini from Region I; Hillary Colton, Judy Verrilli and Wayne Mallette from Region II; and Helen Stanley, Art McKenzie and Cheryl Breitzman from Region III work together to handle all aspects of auditions, conductor selection, rehearsals and performances in a calm and professional man-ner. Our audition chairs, Barbara Retzko and Cheryl Breitzman work in tandem to process over 1300 applications and 130 choral directors that make up the auditions. Our managers for both Mixed Chorus and Women’s Chorus – Judy Verrilli, Sue Belly and Joe Cantaffa also work many hours for all the students who participate. Our hosts for auditions and rehearsals also put in extra time so that everyone has an excellent experience while there.
Do you notice some of these names more than once? That’s because they do at least two jobs! What about you newer, younger, more energetic folks? This All-State organization is run for you, your students, and your school and community. Please think about talking to me about getting more involved with All-State Chorus. You’ll learn some new ideas, share repertoire and ideas, commiserate over a tough situation, and end up feeling better about yourself. Please contact me – Kathy Spadafino at [email protected]. Enjoy the rest of your school year, and I look forward to hearing from you as we prepare for next year!
Retired Music EducatorsChristine Sezer570-756-2961
I hope you are all enjoying the warmth of the Spring weather. After an unusually mild winter here in the Endless Mountains it is still a delight to welcome nice weather as I am especially looking forward to planting my annual garden.
On a personal note, I have been elected to my School Board and being the Treasurer, I have been dealing first hand with deep budget cuts which have resulted in making some extemely difficult decisions regarding staff reduction, course offerings and cur-riculum revisions. The budget crisis is evident in most states and it does have a direct impact on education. We are in the process of negotiations for a new contract.The arts are always at risk -we must justify their extreme importance, state the research explaining just how the arts especially MUSIC contribute to educating the WHOLE child and touching the part of the brain that no other subject can the way in which music can - people just need to realize this. Advocacy is so important! We were successful in keeping our arts programs. Fighting for the arts is well worth the fight and the effort!!
Our retired educators mentoring program continues to expand - more retired educators have been added to our Mentoring Catagory list. Your experience and knowedge is very important - please consider adding you name, phone number and email to our Mentoring Catagories. The Mentoring Catagories can be found on our website of the NJMEA Retired Music Educators. Please email me [email protected] if you would like to be added to the Mentoring Catagories - you may add your name to whatever catagory or catagories you would like.
As you know the 2012 NJ Master Music Teacher Award was presented to Joyce Richardson-Melech, a very talented and truly a “Master Teacher”. In addition to this award, Richardson-Melech received the Governor’s Award for the Arts. So again we are very proud that our Master Teacher recieved this high honor.
Calendar Dates to remember: Wednesday Oct. 3rd - Executive Committee Meeting -12:00 pm; Friday February 22, 2013-NJMEA Conference - Gen. Membership Meeting - 10:15 am; Wednesday March 6, 2013 - Executive Committee Meeting - 12:00 pm; and Wednesday May 15, 2013 - General Membership Meeting - 10:15 am.
Our General Membership meeting will be May 16th at the House-by-the- Sea - Ocean Grove -10:15 am with Alyn and Sally Heim as our gracious hosts. Our guest speaker will be Roma Oster, elder law attorney who will advise on some issues of estate plan-ning and any questions we may have regarding planning for the future.
Hope to see you all at the General Membership Meeting on May 16th!
Orchestra PerformanceSusan Meuse
908-231-0230 [email protected]
Once again it is Spring, and things are very busy for everyone. The All State Orchestras are ready to go once again. The March auditions were very successful again this year, thanks to Audition Chair Mike Kallimanis! Congratulations to all of the students who were accepted, and thank you to all of the sponsoring teachers for your help.
During the auditions, the Procedures Committee met again, and finalized the solo lists. For the first time, this lists requires spe-cific editions. Next year’s solo and scale requirements are published in this issue of TEMPO, so please take a look. As far as the new edition requirements, keep in mind that they are there to provide consistency for judges listening to auditions. Students will only be judged on the notes and rhythms in the required editions. Teachers may still use their own preferred bowing, articulations, and fingerings. A student will not be penalized in an audition for having the wrong edition, only for playing incorrect notes and rhythms.
Right now the All State Intermediate Orchestra is preparing for the May 12th concert. The students are working very hard under the direction of Curt Ebersole. The concert is going to be great, be sure to come out to hear it! The All State Orchestra will be meet-ing for the first time soon. Look for more about that in the next issue of TEMPO. As always, we are looking for teachers to come to rehearsals and help out. If you are interested, please feel free to contact me!
Summer Workshop CoordinatorJoe Akinskas
Summer Workshop V
As announced previously, Summer Workshop V will take place on Tuesday, August 7, 2012, from 8:00-4:30 pm. All activities will take place in the Music Building on the College of New Jersey campus in Ewing.
You will find the updated session topic roster for the event on page 14 although proposals are still forthcoming. All sessions are designed to be interactive, in a relaxed summer setting, so come prepared to utilize your voice, instrument, I-devices, and musical skills, in activities designed to be brought back to your classroom.
The registration form can be found on our webpage www.njmeasummerworkshop.com as well as on page 47 of this edition of TEMPO. I encourage you to register immediately, before summer mode takes over! We will send you an electronic reminder as the workshop draws closer.
We look forward to another enjoyable and productive day for all in attendance. Periodic updates on program development will be forthcoming in TEMPO Express postings and on our website at www.njmeasummerworkshop.com.
MAY 2012 13 TEMPO
continued on page 14
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OCTOBER 2011 15 TEMPOTEMPO 14 MAY 2012
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NJMEA Summer Workshop VTuesday, August 7, 2012
The College of New Jersey8:00 – 4:30 p.m.
Workshop Sessions
CLASSROOM MUSIC· Games and Lessons from the Kodaly Tradition· Songwriting in the Elementary and Middle School Classroom· M.S. General Music for the 21st Century
INSTRUMENTAL MUSIC· Brass for the Non-Brass Player· Woodwinds for the Non-Woodwind Player· Strings for the Non-String Player· Percussion for the Non-Percussion Player· Instrumental Reading Sessions· Dealing With Imbalanced Instrumentation· Percussion Tuning and Maintenance 101
VOCAL MUSIC· Choral Reading Sessions· Opposite Gender Vocal Coaching· Vocal Health· Warm Ups and Vocalizing
SPECIAL EDUCATION· Hands-on Activities and Lesson Plans for Special Learners Part !· Round Table Discussions· Hands-on Activities and Lesson Plans for Special Learners Part II
TECHNOLOGY· Teaching With Garage Band and MixCraft· iPods and iPads in the Music Classroom-BYO Device· An I-Jam Session – BYO Device· Smart Board Techniques and Applications
SPECIAL TOPICS· Copyright: Get All Of Your Questions Answered· Body Mapping· Instrument Repair Clinic: What Not To Do!· Drum Circle· Guitar Workshops· Fund Raising-Why and How ?
& News From Our Division Chairs &
OCTOBER 2011 17 TEMPOTEMPO 16 MAY 2012
SAMUEL BARBER INSTITUTE FOR MUSIC EDUCATORS June 25-August 10, 2012
Innovative courses in music education taught by distinguished leaders in Music Education
MUSIC EDUCATION
MUE 503-21 Philosophical Foundations in Music Education June 25-29, J. Bryan Burton, West Chester University
MUE 528-21 Music in Special Education June 25-29, Angela Guerriero, West Chester University
MUE 544-41 Guitar Essentials for the Music Educator July 30 – August 3, Michael Miles, Musician and Composer
MUE 547-41 Choral Music Practicum for Music Educators July 30-August 3, Bradley Olesen, West Chester University
MUE 548-31 String Essentials for the Music Educator July 23-27, Janet Farrar Royce, Yale University, Cheshire Schools, CT
MUE 601-33 Innovations in Elementary Music Education: Conversational Solfege July 9-13, John Feierabend, University of Hartford
MUE 679-34 Acronyms and Acoustics: Taking the Mystery out of Special Education Terminology and Instruction in Music Education June 30, Maria Kreiter, West Chester University
MUE 691 Research Seminar in Music MUE 692 Research Report MUE 698 Recital Research Available as online courses in Summer I, II, and III Bradley Olesen, West Chester University
KODALY METHODOLOGY
Mue 560-31 Kodály I: Musicianship Training July 9-20, Janos Horvath, University of Calgary MUE 561-31 Kodály I: Methodology July 9-20, Kristen Albert, West Chester University Sallie Ferrebee, University of Hartford MUE 562-31 Kodály II: Musicianship Training July 9-20, Janos Horvath, University of Calgary MUE 563-31 Kodály II: Methodology July 9-20, Sallie Ferrebee, University of Hartford & Jennifer Irlen, White Plains, New York MUE 564-31 Kodály III: Musicianship Training July 9-20, Janos Horvath, University of Calgary MUE 565-31 Kodály III: Methodology July 9-20, Sallie Ferrebee, University of Hartford Jennifer Irlen, White Plains, New York MUE 567-31 Kodály Folk Song July 23-27, Kristen Albert, West Chester University
MUSIC THEORY & COMPOSITION
MTC 512-80 Advanced Composition I July 2- August 2, Robert Maggio, West Chester University
MUSIC HISTORY & LITERATURE
MHL 501-01 Style, Form, and Genre July 2-20, Ann Hiloski-Fowler, West Chester University
MUSIC TECHNOLOGY MUE 592-31 Introduction to Internet, Multimedia, and Computer
Assisted Instruction July 9-13, Marc Jacoby, West Chester University
MUE 596-31 Multimedia Authoring July 30-August 3, Marc Jacoby, West Chester University
ORFF-SCHULWERK METHODOLOGY
MUE 570-31 Orff-Schulwerk Level I: Basic Musicianship July 23 –August 3, Gloria Fuoco-Lawson, Las Vegas Schools MUE 571-31 Orff-Schulwerk Level I: Recorder July 23 -August 3, Marie A. Blaney, Englewood Schools MUE 572-31 Orff-Schulwerk Level I: Movement July 23 -August 3, Ann L. McFarland, West Chester University MUE 573-31 Orff-Schulwerk LeveI II: Basic Musicianship July 23 -August 3, Marie A. Blaney, Englewood Schools MUE 574-31 Orff-Schulwerk Level II: Recorder July 23 -August 3, Gloria Fuoco-Lawson, Las Vegas Schools MUE 575-31 Orff-Schulwerk Level II: Movement July 23 -August 3, Ann L. McFarland, West Chester University MUE 579-41 Orff-Schulwerk Recorder Ensemble August 6-10, Alejandro Jimenez, Harford Public Schools Retired MUE 580-41 Orff-Schulwerk Recorder Ensemble August 6-10, Alejandro Jimenez, Harford Public Schools Retired MUE 581-41 Orff-Schulwerk Instrumentarium Practium August 6-10, Alejandro Jimenez, Harford Public Schools Retired MUE 582-41 Orff-Schulwerk Final Project July 2- August 2, Ann L. McFarland, West Chester University
APPLIED MUSIC
AIM 679-31 Jazz Workshop July 16-20, Marc Jacoby, West Chester University AIM 679-33 Percussion Technique July 30- August 3, Christopher Hanning, West Chester University Ralph Sorrentino, West Chester University
AIM 679-36 Brass Repair June 25-28, Elizabeth Pfaffle, West Chester University AIM 680-31 Conducting Symposium July 16-20, Jerry Junkin, University of Texas Frank Battisti, New England Conservatory Andrew Yozviak, West Chester University Gregory Martin, West Chester University
AIM 679-35 Alexander Technique
July 2-August 2, Robert Bedford, West Chester University MWB 537-31 Marching Band Workshop July 24-27, Andrew Yozviak, West Chester University
John Villella, Associate Dean College of Visual and Performing Arts School of Music West Chester University West Chester, PA 19383 (610) 436-2495 [email protected]
J. Bryan Burton, Chair-Music Education Department College of Visual and Performing Arts School of Music West Chester University West Chester, PA 19383 (610) 436-2222 [email protected]
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School of Music
MAY 2012 19 TEMPOTEMPO 18 MAY 2012
especially when special learners come to music with their regular education peers. Alice-Ann Darrow and Mary S. Adamek, authors of the excellent resource, Music in Special Education, caution against using instruments that are markedly different from those used by the rest of the class, so as not to single special learners out. They suggest that we first select one of our instruments that may be more appropriate for the student, and if that is difficult, then look for ways to adapt instruments. The goal is the successful participation in what the authors call the most “normalized” way.
Our special learners require our attention, time and insightful preparation if they are to flourish in our classes. Remember that some of them deal with issues that are highly demanding in terms of their energy and concentration – they may fatigue easily. Others may have fine motor issues that are not as obvious, but are hindering their ability to learn. We might mistakenly conclude that a student is not trying hard enough when the underlying cause is really a motor issue. We also need to be sensitive to the fact that students may engage in misbehaviors as a way to disguise the fact that they’re having trouble. With our help, special learners can have an active role in our classes as they learn to express themselves through music.
Resources: Adamek, Mary S., and Darrow, Alice-Ann, Music in Special Education, Second Edition, Copyright 2010, The American Music Therapy
CorporationMcDowell, Carol (2010) “An Adaptation Tool Kit for Teaching Music,” TEACHING Exceptional Children Plus: Vol. 6: Iss. 3, Article 3.
Available at: http://journals.cec.sped.org/tecplus/vol6/iss3/art3
Adaptive equipment:
http://www.adaysworkmusiceducation.com/index.html westmusic.commusiciselementary.com
Classroom rhythm instruments can be a valuable and highly motivating part of elementary school music les-sons. Our students learn the proper technique to play
xylophones, tambourines, guiros, hand drums and more as they play rhythms, keep a beat, or accompany songs. For most of our students, learning the technique and putting it in the context of musical ex-pression might require concentration and practice, but is well within their capability. Some may even seem to be “naturals” at this, and easily accomplish the goals we set. But for others, the actual physi-cal ability needed to manipulate instruments and mallets may be compromised, and for them, even though they want to be success-ful, the task may pose significant challenges. How can we adapt our instruments to make this a worthwhile endeavor for our physically challenged students?
Ideally we should know the specific needs of our special learners before they come to class, but sometimes we’re not aware of their issues until a problem presents itself. Either way, a sound approach is to discuss specific challenges with the occupational and physi-cal therapists who are treating your students. I’ve been fortunate to work with some excellent therapists who have been willing to share their expertise with me. Many times I’ve gone to them with a situ-ation regarding a student’s difficulties, and left with both a deeper understanding of underlying conditions as well as practical solutions to problems. Your school’s therapists may be willing to observe stu-dents as they play, to identify impediments and suggest adaptations.
Here are some common difficulties you may see in your stu-dents:
• Weak or dysfunctional grasp• Poor muscle tone• Problems with depth perception• Fine motor issues• Uncontrolled movement• Stiff and difficult movements• Limited range of motion
Additionally, some students will have difficulty sequencing the steps to accomplish a task, some may have trouble with motor plan-ning, and others may find it impossible to hold an instrument in one hand while striking it with another.
Here are some adaptations you might consider:Mallets
• Add padding to a narrow mallet to help those with a weak grasp.
• Add weights to mallets to increase the child’s sense of movement.
• Insert mallets through a foam or rubber ball.• Attach mallets to gloves or child’s hands with Velcro.
Instruments
• Using a clamp that can be attached to a desk or wheelchair tray, makes a holder for triangles, tambourines, bells, or any other instrument that may be too heavy to hold.
• Attach small instruments to hands or gloves with Velcro. • Use non-slip gripping drawer liners to keep instruments firmly
in place on desk or tray.
Body placement
• Move the instrument closer to the student.• Position the child correctly, with feet on the floor, and knees
and hips at 90 degree angles to provide a stable base.
In addition to your own adaptations, you may find what you need in music catalogs, as well. The West Music catalog lists a num-ber of products that are made by the American Drum Company, including transverse mallets (t-mounts) with big vinyl grips; large grip mallets; instrument mounts and stands; and mallet cuffs (worn on the child’s hands, they eliminate the need to grip). Other music catalogs and websites offer similar selections.
You’ll have to use your judgment based on your understanding of your students when making decisions about adaptive instruments,
Keeping The Beat With Adaptive Instruments
By Maureen ButlerLake Drive School
Ideally we should know the specific needs of our special learners before they come to class, but sometimes we’re not aware of their issues until a problem presents itself. Either way, a sound approach is to discuss specific challenges with the occupational and physical therapists who are treating your students.
Graduate Summer Sessions for Music Educators
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NEW Jazz Arranging Techniques - Ron KerberNEW The School Jazz Band and Improvisation - Denis DiBlasioNEW El Sistema: The Method and How to Implement It - Stanford Thompson and staffNEW Steel Drum in the School and Community Level II - Marc Svaline, Tim Peterman NEW Instrumental Music Education: Inspiring with Passion - Peter Boonshaft NEW From Mashups to Reharms: Singing and Arranging for Contemporary Vocal Ensembles - Justin BinekNEW Let’s Put On a Show, A Pedagogical Approach to Musical Theatre - Jeff KernNEW Advanced Topics in Choral Music - Donald Nally NEW Villanova Summer Chorus - Donald Nally NEW TECHNOLOGY NEW The i’ s Have It : iMovie, iTunes and iPhoto for Music Educators - Floyd Richmond NEW Free and Easy Technology for the Music Classroom - Scott WatsonNEW Smart Music and Accompaniment Software for Practice, Rehearsal, and Performance - Tom RudolphNEW Using Technology for Authentic Assessment and Administering the Successful Music Program - Hank Wajda Plus 20 others
Our Low Tuition of $800, $890 for Technology, includes materials, all fees, and 3 graduate credits. Villanova is located in suburban Philadelphia and is convenient to all transportation. Affordable housing and meals are available on campus. For More Information: music.villanova.edu or contact George Pinchock, Director Summer Music Studies. [email protected]
New Courses, New Instructors, Same Old Low Prices
MAY 2012 21 TEMPOTEMPO 20 MAY 2012
UPCOMING EVENTSJazz & Percussion ConcertWednesday, May 2 • 8:00 PM Student Center Auditorium
Music Theatre WorkshopFriday, May 4 • 8:00 PMAlumni Theatre
Spring Department ConcertMonday, May 7 • 8:00 PM Student Center Auditorium
SUMMER 2012Summer IntensivePercussion CampMiddle, High School and CollegeJune 25 – 29Monday – Friday, 9:00 AM – 4:00 PMAlex Bocchino, DirectorFor information [email protected]
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For more information visit caldwell.edu/academics/music
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> Innovative programs> Development of global students> Inspiring people> Small class sizes> Personalized attention and advising> Second-lowest private tuition in NJ> 90% of students receive financial aid> Vibrant campus life> Safe, secure and beautiful campus> Located in one of the best towns in NJ
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November 8, 2012Senior On Campus Day
November 17, 2012Open House
February 2, 2013Open House
April 6, 2013Accepted Students Day
April 27, 2013Junior Open House
PROFESSIONAL RESIDENT ENSEMBLE • Garden State OperaSTUDENT ENSEMBLES • Wind Ensemble• Jazz Ensemble• Choir• Chamber Ensembles• Opera and Music Theatre Workshop
SCHOLARSHIP AND ENTRANCE AUDITIONSFor scholarships and entrance into the program contact Rebecca Vega at 973-618-3446 or [email protected]
MAY 2012 23 TEMPOTEMPO 22 MAY 2012
631.656.2110305 N. Service Road Dix Hills, New York 11746 www.ftc.eduA U D I O R E C O R D I N G T E C H N O L O G Y • B R O A D C A S T I N G • B U S I N E S S • F I L M / V I D E O • J O U R N A L I S M • E L E M E N T A R Y T E A C H E R E D U C A T I O NM U S I C T E A C H E R E D U C A T I O N • M U S I C B U S I N E S S • M U S I C P E R F O R M A N C E • M A S S C O M M U N I C A T I O N • T H E A T R E A R T S
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UP THE TEMPO OF YOUR BAND!
1 and 2 Day Leadership Workshops With Tim Lautzenheiser, John Villella and
Heidi Sarver (CO & PA only)
Vivace workshops and seminars have long been America’s most trusted band leadership training source.
Students work with top clinicians to develop their leadership and performance skills and learn the tools they need to jump start the energy and excellence in their band program.
Providing the ultimate summer band experience to students Vivace programs are an investment in your band and student leadership.
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Marching Band Workshops Teaching leadership and performance skills in
band, percussion, color guard and featuring the George N. Parks Drum Major Academy
Kutztown University, PA July 8 - 11
West Chester University, PA July 24 - 27
MAY 2012 25 TEMPOTEMPO 24 MAY 2012
Warm-Ups For Choral Ensembles:Why Bother?
By Billy BakerNew Jersey City University
Warm-ups are vital to the suc-cess of any performance en-semble. One purpose of the
warm-up in singing is related to that of any other physical activity: to tone up the mus-cles and improve coordination; in short, to exercise the voice. Singing is a physical ac-tivity; the muscles must be “loosened-up” to ensure maximum vocal efficiency during a rehearsal or performance. It would be un-fathomable for an athlete to begin a prac-tice session without some type of stretching and warm-up activity; the same is true of the choral rehearsal. A carefully planned and efficiently executed warm-up period is a necessity if the continuous musical growth and vocal development of the choral ensem-ble is to be assured.
The purposes of warm-ups are to ex-ercise the voice and promote good sing-ing. The objective is not to push the voice to the limits of pitch and dynamics so that every singer will be strained during the re-hearsal. It is rather, a time for the singers to focus on their identity in the ensemble, to develop appropriate singing habits, and to listen “across the ensemble” for balance and blend. It is also an opportunity for the con-ductor to nurture a sense of esprit de corps and unity.
The warm-up period should accom-plish the following goals: Establish good posture; establish basic principles of vocal production; improve upon basic musician-ship skills; correct errors of vocal technique; and prepare the singing voice for extended use. Every exercise used during the warm-up period must be carefully planned and de-signed to facilitate the musical growth of the ensemble. These vocalizes may incorporate rhythmic, melodic, or harmonic elements from the music that is being rehearsed. One
exercise may be related to a specific reper-toire problem while another warm-up may be used to improve upon technical skills such as articulation or resonation.
Conductors should avoid repeat-ing the same exercises for each rehearsal. This mundane practice discourages critical thinking and listening skills. While it may be advantageous to employ a steady cycle of tone development activities, variation of warm-ups will assist the conductor in main-taining singer focus and interest. Exercises may also be practiced at various points in the rehearsal. Singers may need to reorient themselves to appropriate tuning, listening, and balancing within the ensemble context. Vocalization “interruptions” may be pro-ductive in refocusing the ensemble.
Appropriate modeling of warm-ups is an important aspect of the procedure. Much of the coordination that exists in any activity is the result of imitating as precisely as pos-sible the same action which previously was successful. An “imitative” routine has be-come intuitive based upon certain physical experiences since infancy. Physical actions have become drilled until they are reflexes. Many of the technical aspects of singing may be channeled in the same manner.
A sequential approach to warming up might include preliminary, initial, and voice building exercises. Additionally, exercises that reflect difficult melodic intervals or passages in the performance repertoire may be created to promote transfer. While sight singing is an important component of many choral rehearsals, it should not be practiced before warming up, nor should it be con-sidered as an alternative to the warm-up exercises.
Preliminary Warm-Ups
The purpose of the preliminary warm-up is to engage students in the rehearsal process and prepare them to sing. These ex-ercises are not pitched in a specific key and they should be brief:
Yawning – Make the yawn a conscious act. The chest, throat, nose, and mouth are open to air and the velum (soft palate) is raised. Students should gently place their fingers on the larynx and notice that it de-scends. They should feel relaxed and yawn as quietly as possible.
• Flower sigh – Students should smell an imaginary flower and then sigh from the upper part of the vocal register. The “oo” [u] vowel is best to use first.
• Siren – Students should mimic a siren in the upper register with three ascending glissandi and release the third ascent with a relaxed sigh.
• Unvoiced lip trills – Unvoiced lip trills relax the facial muscles, engage breath support, and gently initialize vocal fold vibration. To produce a lip trill, force air between relaxed lips. The lips are the only noticeably vibrating facial feature.
• Voiced lip trills – A voiced lip trill uses gentle vocal fold vibration to create sound. Begin the lip trill on a mid-range pitch and gently slide the voice down to a low sounding pitch (less than an octave).
Initial Warm-UpsAll initial warm-ups should begin in
a comfortable tessitura and move down by half steps. This movement allows the vocal folds to warm up without undue strain. It is important to cease the downward move-ment before students lose core quality of
sound. Interval leaps should not exceed the fifth and transpositions should not extend the range of an octave. Several initial warm-ups include the following:
Initial Warm-Up 1:
The descending half notes should imitate a sigh and the eighth note pattern may be used to assist singers in bridging the break be-tween register changes of the voice. You may choose to begin the warm-up with a voiced consonant or an aspirate “h.”
Initial Warm-Up 2:
This exercise should be used to brighten the darker “ah” vowel sound. However students should be careful not to spread the “ee” vowel horizontally. The “ah” perfect fifth descent should be sung as a glissando. Once again, voiced consonants may be employed.
Initial Warm-Up 3:
The transition from staccato to legato is the focus of this exercise and these two forms of articulation may be alternated. The staccato passages should emphasize proper breath support with a “bumpy” feeling in the abdominal musculature and the legato phrases should emphasize support through the line with a strict adherence to tempo.
Voice Building Exercises
Voice building exercises may extend the octave. These warm-ups are usually more challenging than initial warm-ups and may encour-age singers to “stretch” beyond their comfortable tessitura in extend-ing range capabilities. It is critical for the conductor not to over exert the choir and strident singing should not be permitted. Several voice building warm-ups include the following:
Voice Building Warm-Up 1:
The closed “ng” should resonate throughout before propelling the “ee” vowel forward. Singers should also be careful not to let the “ee” vowel spread horizontally, but continue the resonation with a raised velum (soft palate). This warm-up should be legato and free of any pulsing of the beat.
Voice Building Warm-Up 2
Concentration should be placed on pure vowels with a bright to dark placement. The lips should remain puckered with the “ee” vow-el. This warm-up is also designed to extend the range of the singer’s voice. Proper breath support is critical for the correct execution of this exercise, particularly in the ascending pitches. The intervallic shifts of ascending fourths to descending thirds may also pose a challenge.
Voice Building Wam-Up 3:
This challenging warm-up exceeds an octave and may be used to extend the range of the voice. Breath support must be maintained and singers should be encouraged to place their hands on the ab-dominal muscles to feel the “bumping” sixteenth note passages.
Repertoire Application
Exercises that reflect difficult melodic intervals or passages in the performance repertoire may be practiced during the voice building period of the rehearsal. For example, the following slightly altered passage from Handel’s “Sing Unto God” may be transposed during the warm-up procedure to focus on breath support through melis-matic passages typical of the Baroque era and tonal sequences of as-cending fourths:
Preparation is the key!
While it may seem more time efficient to “warm-up” with famil-iar repertoire, the long term benefits of exercising the vocal mecha-nism with preliminary, initial, and voice building activities include a healthier model for your students. The development of tone, resonance, and overall musicianship are integral components of the warm-up process. These concepts should be introduced during the warm-up routine and reinforced throughout the rehearsal. Prepara-tion and execution of warm-ups should go beyond simple vocalizing and encourage a comprehensive musicianship approach. This prac-tice will result in a productive and pedagogically sound rehearsal.
ReferencesBaker, Billy, Jeffrey Beyers, Linda Matukaitis, John Pusateri, & Alyson
K. Shirk. Effective Choral Instruction: Grades 9-12, Baltimore County Public Schools Curriculum Guide, Towson, MD, 2004.
Holt, M. & Jordan, J. (2008). The School Choral Program. Chicago: GIA Publications.
Lamb, G. H. (1988). Choral Techniques. Dubuque, Iowa: William C. Brown Publishers.
Ware, Clifton. Basics of Vocal Pedagogy: The Foundations and Process of Singing. Boston: McGraw Hill, 1998.
Billy Baker is Assistant Professor of Music Education at New Jersey City University and Director of the New Jersey Youth Chorus Young Men’s Ensemble. He received his BM in Music Education from East Carolina University, his MM in Choral Conducting from Michigan State University, and his PhD in Music Education from Florida State University.
MAY 2012 27 TEMPOTEMPO 26 MAY 2012
2012 NJMEA School Administrator AwardAt the NJMEA conference luncheon on February 24, 2012 two outstanding school administrators were recognized for their support and
commitment to music education. Both of these gentlemen have made a dramatic impact in their school communities. By using their skills and talents as administrators they have made a difference by stressing and advocating the importance of music education in their schools.
William Trusheim, Superintendent of SchoolsPequannock Township Schools
William Trusheim’s professional career as an educator began in 1970 at South River High School where he was the music teacher. After 27 successful years he took a position as Director of Fine & Performing Arts (K-12) at Pequannock Township Public Schools. He later became Assistant Principal, and then Principal of Pequannock Valley Middle School. He has been the Superintendent since 2009.
Under his leadership the music program at Pequannock Township has ex-panded to include general music programs for all students in grades K–6, recorder instruction for grades 3-5, choir for grades 4-12, band for grades 5-12 and orches-tra for grades 5-12. Music electives include music technology, world music drum-ming, guitar, piano, theory, jazz band, marching band, swing band, swing choir, chamber choir, girls ensemble chorus, percussion ensemble and history of pop music. His most recent budget proposal included the purchase of guitars, West African instruments, choral risers, a music computer lab and wireless microphones.
Pequannock Township Schools have been recognized for years for their superior musical achievements. Trusheim’s commitment and advocacy for music education has inspired students and teachers to attain their musical goals.
John Sarcone, Principal Hackettstown High School
John Sarcone is an accomplished musician who has been actively involved in Hackettstown’s student musical presentations throughout his career. He has shared his talents as a jazz percussionist to assist various school productions. Sar-cone has supported music and arts programs by initiating art shows and upgrading equipment and performing facilities. His budget support has included the pur-chase of a marching band trailer, pit cart, stage lights and sound equipment for the auditorium. He is currently exploring the possibilities of implementing a rotating music lesson program in the high school and adding a percussion coordinator for the marching band.
The music program at Hackettstown High School includes chorus, jazz choir, concert band, wind ensemble, marching band, piano and theory. During Sarcone’s tenure as principal the chorus, band and drama department have won numerous awards. He is a strong advocate and mentor for the entire fine and performing arts staff.
2012 NJMEA Distinguished Service AwardThe 2012 NJMEA Distinguished Service Award was presented to 7 outstanding music educators. This award recognizes our colleagues
who have honored themselves with faithful service to music education in New Jersey. These ladies and gentlemen are excellent role models and are certainly a credit to our profession.
Peter Crosta, K-12 Assistant Director of Special ProjectsOrange Township Board of Education
Peter Crosta started his career as a music educator in 1977 at the Dover Public Schools. In 1979 he accepted a position at Orange High School where he was the band and choral director. He became Supervisor of Visual & Performing Arts in Orange Township in 1993. He is a former board member of the NJ Music Administrators Association and is the current webmaster for NJAA. Crosta has supported the music and arts programs by creating a partnership with NJPAC which has benefitted students and allowed for staff development. He created and maintains a website which is dedicated to student works in dance, music, theater and visual arts. Crosta is attributed with increasing the arts department staff by 150%, placing full-time personnel in every building in visual arts, vocal music, and instrumental music.
Gary Quam, Publicity ChairNorth Jersey Schools Music Association
Gary Quam has been a music educator for 41 years. He was the band director at Morris Hills High School and Mendham High School. Gary is responsible for introducing clinic-concerts by professional big bands to North Jersey high schools. He retired from Mendham last year and left behind a very strong music program which includes a symphonic band, 2 wind ensembles, 3 jazz bands, and a 110 member marching band. Gary has been actively involved in NJSMA since 1982. His involvement includes conductor for the symphonic band and the junior high orchestra, manager for the jazz band, host for the junior high band and orchestra, orchestra audition chair, corresponding secretary and publicity chair. His NJMEA involvement includes All-State Band and Orchestra Procedures Committee mem-ber, chaperone for All-State and All-Eastern ensembles, and clinician for the NJEA convention in Atlantic City.
James Beyer, Music EducatorWashington Township High School
James Beyer is currently in his 33rd year as a music educator. His concert band and marching band have won numerous awards including invitations to 11 NJ state galas. Jim organized and hosted the first concert band festival in South Jersey. He has supervised student teachers and practicum students from Rowan University, University of the Arts, and University of Delaware since 1985. Jim has been a guest conductor for ensembles from Rowan University, The College of New Jersey, University of Delaware, West Chester University, South Jersey Honors Band, Salem County Honors Band, and the Olympic Conference Honors Band. Forty one graduates of his music programs are employed in the music field includ-ing 17 New Jersey public school and private teachers.
NJMEA 2012 AwardsBy Joseph Jacobs
NJMEA President-ElectVentnor Middle School
continued on next page
MAY 2012 29 TEMPOTEMPO 28 MAY 2012
Darryl Bott, Associate Director of the Wind Studies ProgramRutgers University
Darryl Bott has taught for 30 years in the New Jersey public schools. He is the former director of bands at Roxbury High School where the wind symphony was selected to perform in the NJ State Concert Band Festival every year since its inception. This ensemble was also selected to perform at the Midwest Clinic in 2008. Darryl is a highly regarded clinician for honor bands and school en-sembles and has conducted the Interlochen Arts Academy Band, Ohio District 13 Band, NY Area All State Band, the NJ Region 1 & 2 Symphonic Bands and Wind Ensembles and the North Jersey Area Symphonic Band. He has established a regional concert band festival and the Mason Gross “Artist in Residence” series. His NJMEA involvement includes chairing the concert band festival and host for the all state ensembles.
Robert Frampton, Supervisor of Visual and Performing ArtsWashington Township Schools
Robert Frampton began his teaching career in the Cherry Hill Schools as a music teacher in 1984. Later he became the band director at Triton Regional High School in Runnemede. In 1994 he accepted the Supervisor of Music position at Washington Township. Bob is responsible for the expansion of a well respected arts program which includes multiple course offerings in music technology and a three level guitar program. During his tenure as supervisor he expanded the the-atre, dance and visual arts courses. He presently oversees and coordinates a depart-ment of 48 K-12 arts teachers in 11 buildings. Bob served on the executive board of the South Jersey Band and Orchestra Association as Treasurer and President. He is a Past President of the NJ Music Administrators Association and NJMEA. He is currently the NAfME Eastern Division President Elect.
Tom Mosher, Webmaster & TEMPO EditorNew Jersey Music Educators Association
Tom Mosher was the band director at Raritan High School from 1964 until 1997. He is currently the assistant conductor and first clarinetist of the Greater Shore Concert Band. Tom has held numerous executive positions since 1969 in the Central Jersey Music Educators Association including president, secretary, trea-surer, webmaster, and the CJMEA region representative to NJMEA. He has been a member of the NJMEA Board of Directors since 1985 and has served as the NJMEA All State Band Chair, Marching Band Festival Chair, Region II Represen-tative, and CJMEA President. He has been the NJMEA Webmaster and TEMPO magazine editor since 1998 and was just recently inducted into the All-Shore Band Directors “Hall of Fame.”
Marie Malara, Music EducatorSayreville School District
Marie Malara has been a music educator at the Sayreville School District for 34 years. She received the Governor’s Award for Distinguished Service in the Arts in 2002. Marie has been a member of the NJMEA Board of Directors since 1983 where she held various positions including Middle School/Junior High Choral Chair and Region Representative. She has been the NJMEA State Conference Manager since 1985 where she is responsible for coordinating the annual three day conference bringing world renowned clinicians and performers together with NJ Music Educators. During her tenure the conference has grown from an attendance of 350 to over 2,000 members, clinicians, exhibitors, and performers.
John J. Cali School of Musicat Montclair State University – College of the Arts
For information contact 973-655-7610 or [email protected]
Degrees: Bachelor of Music s Bachelor of Arts s Master of Arts s Artist’s Diploma s Performer’s Certificate Programs: Music Education, Performance, Jazz, Music Therapy, Theory/Composition
Brass, Guitar, Harpsichord, Organ, Percussion, Piano, Strings, Woodwinds, Voice
Cali School of Music 1 Normal Avenue Montclair New Jersey 07043 973-655-7212
montclair.edu/music
Here are some examples:
• Designing Effective Rehearsals• Creating a Student Handbook• Developing a Relationship with Administration• Your First Day of Class
Teaching Tips Featured on NAfME’s My Music Class!
Visit nafme.org/lessons to browse tips and add your own.
MAY 2012 31 TEMPOTEMPO 30 MAY 2012
SCENES FROM THE 2012 NJMEA CONFERENCE
The NJMEA Young Composers Competition recently concluded its fourth successful competition
on Saturday, February 25th at the NJMEA Conference held at the Hilton Towers in New Brunswick, NJ. The competition has contin-ued to draw many outstanding New Jersey student composers, submitting compositions in a variety of mediums, including chamber ensembles, full orchestra, vocal ensembles, and solo pieces. Stylistically this year’s submis-sions offered contemporary as well as tradi-tional compositions. This year the competi-tion included a division for Middle School, in addition to a category for solo pieces, both of which will be offered next year as well. The committee was extremely pleased to receive so many submissions that were accompanied
by live recordings of the compositions, many performed by the composers themselves. It is a reflection on the quality of work and the as-sistance and support provided by the music teachers of these students, and they are to be commended for their dedication.
The finalists were recognized at a critique session during the February Conference and presented with official NJ-YCC Finalist cer-tificates. All submissions were evaluated by the composition committee and four finalist com-positions were chosen to be featured in the cri-tique session. The finalists in the High School division were Matthew Liu from Marlboro High School for his piece “Sitting in an Open Field”, Jordyn Gallinek from Summit High School for her piece “Haunted House”, and John Petrie from West Morris Mendham High School for his piece “Island Honeymoon”. Our Middle School finalist was Nicholas McCon-nell from John Witherspoon Middle School for his piece “Evening”. The Grand Prize of the competition was awarded to Matthew Liu for “Sitting in an Open Field”. The critique
was led by members of the NJ-YCC Commit-tee, including Bob Frampton, Past-President of NJMEA, Andrew Lesser, Jeff Bradbury, and Doug Laustsen, who each held an interview with the individual composers focusing on their inspirations, compositional techniques,
and future goals in music composition. Con-gratulations to all of our student composers, their teachers, and their families.
The current level of participation in the competition demonstrates a significant inter-est in musical composition, and highlights the creative potential of music students through-out New Jersey. Application and submission guidelines for the 2012-2013 competition have been posted on the NJMEA website in addition to the audio files of the 2011-2012 Finalists. Music teachers are encouraged to bring this program to the attention of their students and assist them with the application process. Special thanks to all the committee members, including Bob Frampton, Andrew Lesser, Jeff Bradbury, Doug Laustsen and Pat-rick Burns for their assistance in developing this very successful program. We are looking forward to next year’s competition; submis-sions are due postmarked November 16th, 2012. The application and submission guide-lines are located on the NJMEA website under the “Projects” section.
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2011-2012 NJMEA Young Composers Competition
By Andrew LesserNJMEA-YCC Committee Member
Left to Right: Andrew Lesser, NJMEA YCCC Committee, Matthew Liu - 2011-12 Grand Prize Winner, Douglas Laustsen, NJMEA YCCC Committee, Nicholas McConnell - Middle School Finalist, Jordyn Gallinek - High School Finalist, John Petrie - High School Finalist, Jeff Bradbury, NJMEA YCCC Committee, Bob Frampton, NJMEA YCCC Committee Chair
Left to Right: Matthew Liu, Marlboro High School - 2011-12 Grand Prize Winner,
Nicholas McConnell, John Witherspoon Middle School - Middle School Finalist, Jordyn Gallinek, Summit High School - High School Finalist, John Petrie, West
Morris Mendham High School - High School Finalist
MAY 2012 33 TEMPOTEMPO 32 MAY 2012
I signed up because I love guitar.James M.
The fun atmosphere and learning about the guitar that way I can read notes & strings to play any song.
Natalie P.
I signed up to take guitar class for two reasons. One reason was because my parents recently bought me an acoustic guitar that I had no idea how to play. My second reason is because I am too busy with sports and clubs at school so I do not have time for private lessons.
Drew B.
It was difficult to learn on my own, so the school could give me lessons. Plus, chicks dig guitar players.
Anonymous
I signed up for guitar because I’ve always wanted to play the guitar. I’ve always been fascinated by professional players. I want to play just like that someday.
Brian L.
I like how people of all playing levels can come together and all learn something new.
Roy (no initial given)
Guitar Class is a great experience for kids to express themselves through music, especially those who aren’t able to at home. Guitar Class teaches you the fundamentals to learn any instrument if guitar isn’t your thing. It is a great addition to a school’s curriculum because every day you do something new and get another step closer to being an experienced guitar player.
Mark G.
I signed up to take this class because I wanted to learn guitar because it is a great skill to have and seems really fun. At first I just signed up because I needed a performing art but I ended up really liking the class.
Adam T.
What I like the most about this class is the sounds the guitar makes, it is beautiful. Plus I get to use my hands more which I like a lot.
Shakuwra B.
I signed up because I was interested in learning how to play and read music.Anonymous
What I like most about guitar class is the pace that we learn things. We don’t spend a week going over the same notes, but we don’t go too fast where I can’t keep up.
Matthew H.
I like being able to read music and play guitar on a regular basis. I like the lack of pressure if I don’t pick something up quickly.
Anonymous
What I like most about guitar class is that I’m learning how to play songs I always wanted to play and I wanted to take a performing arts class.
R.H.
It is a break in the middle of the day away from boring classes. It is something fun!
J.N.
I signed up to take guitar class because I love playing guitar and want to go to college for music.
Mike T.
I’ve always had a guitar at home, but now I can actually put it to use after this class.
Kyle H.
So when I’m a bum on the streets I’ll have some way of making money.Anonymous
I signed up for guitar class to pursue my hobby.N.F. (initials only)
I signed up because I wanted to extend my knowledge beyond tablature.Troy S.
I love playing guitar. I’ve been playing for four years now every time I walk into class I feel like it is the right place to be.
Anonymous
I didn’t want my parents to pay for guitar lessons so I took this class; it was the best choice I ever made. I learned more in class than any lesson. Mr. J is the BEST!!!
Sheila G.
I would like to thank Greg Janicki and the students of the Washington Township High School Guitar Program who provided their insight and par-ticipated in the survey to make this article possible. I wish them the best of luck in their musical pursuits and peace. You can contact Greg at [email protected] for further information.
&
Many times during parent teacher conferences or Back to School Night, I often hear a parent comment, “I wish we had this program when I went to school!” Today
we will take a journey to my Alma Mater, Washington Township High School in Sewell, NJ (Gloucester County) and hear what students en-rolled in the WTHS Guitar Program have to say about their experi-ence. These thoughts are of students enrolled in Guitar Class as a full year elective this 2011-12 school year. Unfortunately they did not have such a program when I attended way back in 1986-90, and I had to take private guitar lessons at the local music store. (Fortunately I was able to enroll in Music Theory at WTHS for two of those years.) Originally piloted by Gregory Janicki back in July 2001, with the help of an enthusiastic Superintendent Thomas Flemming, Music Supervi-sor Robert Frampton, and building Principals Jack McGee, Joseph Bollendorf & Rosemarie Farrow, the Guitar Program has grown into a first class program that stands strong against any such program in the United States. Janicki started the first two years with just 6 periods of Guitar I. During the third year Guitar II was introduced and Guitar III the following year. Today there are a total of 9 total guitar classes (6 in Guitar I that run in two rooms simultaneously, 2 Guitar II courses and 1 Guitar III). There are 170 students enrolled for the entire pro-gram this 2011-12 school year. David Cona and David VanAntwerp were later brought on board due to the overwhelming demand and are teaching guitar in addition to their other music instruction courses at WTHS. In addition to the regular daily hands-on classroom experi-ence, students have worked on special projects in the areas of Guitar History, Guitar Legends and Styles, as well as the guitar�s evolution during musical time periods, researching the Renaissance, Baroque, Classical, and Romantic eras of this plucked string instrument. Spe-cial lecturers and performers have visited WTHS, including Rowan University Classical Guitar Faculty members Joseph and Kathleen Mayes; Jazz Guitarist Thomas Giacabetti from the University of the Arts; Blues Guitarist Joe DiBartolo; and freelance jazz guitarist Joseph Federico. Students have also participated in ASTA string festivals. It is the good intention of the current WTHS Guitar Faculty to arrange a trip to the Martin Guitar Factory in Nazareth, Pennsylvania (www.martinguitar.com) to take the famous factory tour that is offered and see first hand how guitars are constructed in the hands of skilled lu-thiers and apprentices.
For this article we posed the question directly to the students and wanted to hear from them. This is important because many times net-working and sound bites are used to sensationalize a program. These provided quotes have not been edited; thirty students were surveyed,
and I have chosen what I thought to be the best representation of the WTHS program. As we know, young people can be brutally honest! The students were asked, “What I like most about Guitar Class” and “Why I signed up for Guitar Class.” Here is what we found out:
I signed up to take guitar class because I wanted to further my music education.Bruce T.
I signed up for guitar class because I wanted to become a better guitar player and not be limited to tablature.
Nathaniel M.
I like that I learn new things every day instead of only once a week like I do with my private lessons.
Jimmy P.
I signed up to take guitar class because I really wanted to learn how to play the guitar since my parents don’t have enough money to pay for the lessons outside of school.
Sheila G.
I like that I get to learn how to correctly play and learn to read notes. The class is very helpful to writing and playing my own music. It is great to learn the whole idea behind guitar.
Anonymous
What Guitar Students Have To Say!By Thomas Amoriello
Flemington Raritan School [email protected]
David VanAntwerp, David Cona and Gregory Janicki
PHOTO BY: Zahra Alkazaz
TEMPO 34 MAY 2012 MAY 2012 35 TEMPO
July 31 NJMEA Exec. Board Reorganization Meeting - EB Hilton 9:00 AM31 NJMEA Full Board Reorganization Meeting - EB Hilton 12:00 PM
August
07 NJMEA - SUMMER WORKSHOP V TCNJ 8:00-5:00 PM08 CJMEA Exec. Board Meeting 12:00 PM
September 03 Labor Day 04 SJCDA Board of Directors meeting 7:00 PM10 NJSMA Exec. Board Meeting 6:00 PM11 NJMEA Exec. Board Meeting Rutgers Club 5:00 PM12 CJMEA Exec. Board Meeting 6:00 PM14 NJMAA Exec. Board Meeting- Rutgers Club 9:30 AM15 All-State Mixed Chorus/Women’s Chorus Rehearsal 8:30-12:00 PM15 All-State Orchestra Full Rehearsal 1:00-5:30 PM15 All-State Orchestra String Reseating Auditions 10:00-12:00 PM17 Rosh Hashanah 25 All State Jazz Ens. Rehearsal 4:00-8:00 PM25 Honors Jazz Choir Rehearsal 4:00-8:00 PM26 Yom Kippur
October 01 NJSMA Exec. Board Meeting 6:00 PM01 SJCDA Board of Directors meeting 7:00 PM03 NJRMEA Exec. Committee Meeting - Seville Diner 12:00 PM05 NJMAA General Membership Meeting- Rutgers Club 10:00 AM08 Columbus Day 08 NJAJE Board Meeting 5:00 PM09 Honors Jazz Choir Rehearsal 4:00-8:00 PM09 NJMEA Exec. Board Meeting Rutgers Club 5:00 PM09 NJMEA Full Board Meeting Rutgers Club 6:30 PM10 CJMEA Exec. Board Meeting 6:00 PM10 SJBODA Fall Membership Meeting 9:00-11:00 AM13 All-State Mixed Chorus/Women’s Chorus Rehearsal 8:30-12:00 PM16 Honors Jazz Choir Rehearsal 4:00-8:00 PM20 Marching Band Festival 21 All-State Orchestra Full Rehearsal 1:00-5:30 PM21 All-State Orchestra Sectionals Everyone 10:00-12:00 PM23 Honors Jazz Choir Rehearsal 4:00-8:00 PM26 Opera Festival Auditions - Paramus HS 4:00-8:00 PM29 SJCDA Board of Directors meeting 7:00 PM30 All State Jazz Ens. Rehearsal 4:00-8:00 PM30 Honors Jazz Choir Rehearsal 4:00-8:00 PM
November 02 NJMAA Exec. Board Meeting- Rutgers Club 9:30 AM03 All-State Mixed Chorus/Women’s Chorus rehearsal 8:30-12:00 PM05 NJSMA Exec. Board Meeting 6:00 PM06 Honors Jazz Choir Rehearsal 4:00-8:00 PM06-08 All State Jazz Ens. Rehearsals, Atlantic City TBA07 All-State Mixed Chorus - Check-in 5:00 PM
07-09 All-State Orchestra - AC 08 All State Jazz Ens. and Honors Jazz Choir Concert, AC TBA08 All-State Band Procedures Committee Meeting - AC 9:30 AM08-09 All-State Mixed Chorus at NJEA convention, Atlantic City All Day09 All-State Mixed Chorus and Orchestra Concert 8:30 PM09 NJMEA Exec. Board Meeting AC - TRUMP 8:30 AM14 CJMEA Exec. Board Meeting 6:00 PM16 All State Jazz Ens./Honors Jazz Choir Concert, NJPAC 7:00 PM16 NJAJE Jazz Education Conference, NJPAC, Newark TBA17 Opera Festival- Paramus HS - Concert: 3:00 PM 9:00-5:00 PM17 SJCDA Jr/Sr High Chorus Auditions 8:00 AM18 All-State Mixed Chorus at NJPAC 10:30 AM18 All-State Orchestra - NJPAC 10:00 AM22 Thanksgiving 27 NJSMA HS Chorus Festival 28 NJSMA HS Chorus Festival 29 NJSMA HS Chorus Festival 30 NJSMA HS Chorus Festival
December 01 NJSMA Jr. HS Band Master Class 9:00 AM01 SJCDA Jr/Sr High Chorus Rehearsal 9:00-1:00 PM03 NJSMA Exec. Board Meeting 6:00 PM07 NJMAA General Membership Meeting- Rutgers Club 10:00 AM08 Channukah Begins At Sunset 08 CJMEA HS Band, Orchestra, Choral Auditions 8:00 AM08 SJBODA Wind/String & Percussion Auditions 9:00 AM08 SJCDA Jr/Sr High Chorus Rehearsal - Snow Date 1:30-5:30 PM11 NJMEA Exec. Board Meeting Rutgers Club 5:00 PM15 CJMEA HS Band and Orchestra Reading Rehearsal 9:00-1:00 PM15 CJMEA HS Band/Orchestra/Choral Aud. - Snow Date 8:00 AM15 CJMEA HS Percussion Ens. Rehearsal 9:00-1:00 PM15 SJBODA 1st Rehearsal - Audition Snow Date 9:00 - 3:00 PM
January TBA NJAJE Board Meeting 5:00 PM02 SJCDA Board of Directors meeting 7:00 PM04 CJMEA HS Chorus Rehearsal 9:00-4:00 PM04 CJMEA HS Orchestra Rehearsal 9:00-5:00 PM04 CJMEA HS Percussion Ens. Rehearsal 5:00-8:00 PM04 NJMAA Exec. Board Meeting-TBA 9:30 AM04 SJBODA Orchestra & String Ens. Rehearsal 9:00 - 5:00 PM05 CJMEA HS Orchestra Rehearsal 9:00-5:00 PM05 CJMEA HS Percussion Ens. Rehearsal 9:00-5:00 PM05 NJSMA HS Band/Chorus/Orchestra Auditions 05 SJBODA Orchestra & String Ens. Rehearsal 9:00 - 5:00 PM05 SJCDA Jr/Sr High Chorus Rehearsal 9:00-1:00 PM06 CJMEA HS Orchestra and Percussion Ens. Concert 3:00 PM06 CJMEA HS Percussion Ens. Rehearsal - Snow Date 9:00-1:00 PM06 CJMEA HS Percussion Ens. Sound Check 1:30-2:30 PM06 NJSMA HS B/C/O Auditions (Snow Date) 06 SJBODA Orchestra & String Ens. Concert 3:00 PM07 NJSMA Exec. Board Meeting 6:00 PM08 NJMEA Exec. Board Meeting EB - Hilton 5:00 PM
2012 – 2013 CalendarPlease See Calendar Updates at NJMEA.Org
QuickLinks/Calendar of Events
DATE EVENT TIME DATE EVENT TIME
08 NJMEA Full Board Meeting EB - Hilton 6:30 PM09 CJMEA Exec. Board Meeting 6:00 PM10 SJCDA Jr/Sr High Chorus Rehearsal 9:00-1:30 PM11 CJMEA HS Band Rehearsal 9:00-5:00 PM11 SJBODA Wind Ens. & Symph. Band Rehearsal 9:00 - 5:00 PM11 SJBODA Winter Membership Meeting 10:00 AM12 CJMEA HS Band Rehearsal 9:00-4:00 PM12 CJMEA HS Chorus Rehearsal 9:00-1:00 PM12 CJMEA Int. Chorus Auditions 8:00 AM12 SJBODA Wind Ens. & Symph. Band Rehearsal 9:00 - 5:00 PM13 CJMEA HS Band Concert 3:00 PM13 NJ Elementary & JH Honor Choir Audition Tapes Postmark Date 13 SJBODA Wind Ens. & Symph. Band Rehearsal 3:00 PM16 NJSMA HS Band Rehearsal 4:00-9:00 PM18 CJMEA HS Chorus Rehearsal 4:30-9:30 PM18 SJCDA Jr/Sr High Chorus Rehearsal 5:30-9:30 PM19 All-State Band Auditions - JP Stevens HS 9:00 AM19 CJMEA HS Chorus Rehearsal - Snow Date 9:00-1:00 PM19 CJMEA Int. Chorus Auditions - Snow Date 8:00 AM19 SJCDA Jr/Sr High Chorus Rehearsal- Snow Date 9:00-1:30 PM20 All-State Band Auditions snow date 9:00 AM21 MLK Jr. Day 21 NJSMA Winter Workshop-Music Tech. Applications 9:00-3:00 PM22 NJSMA HS Band Rehearsal 4:00-9:00 PM23 NJSMA HS Band Rehearsal (Snow Date) 4:00-9:00 PM24 NJSMA HS Chorus Rehearsal 4:00-9:00 PM24 NJSMA HS Orchestra Rehearsal (Strings Only) 4:00-9:00 PM25 CJMEA HS Chorus Rehearsal 4:30-9:30 PM25 NJSMA HS Band Rehearsal 12:00-6:00 PM25 SJBODA Chamber Ens. Festival Rehearsal 6:00 - 8:30 PM25 SJCDA Jr/Sr High Chorus Rehearsal 6:00-9:30 PM26 CJMEA Int. Band/Orchestra/Percussion Ens. Auditions 8:00 AM26 NJSMA HS Band Rehearsal 12:00-6:00 PM26 SJBODA Junior High Band Auditions 9:00 AM26 SJCDA 55th Annual Jr/Sr High Chorus Festival 8:00 PM27 CJMEA HS Chorus Concert 2:00 PM27 NJSMA HS Band Concert 3:00 PM27 SJCDA 55th Annual Jr/Sr High Chorus Festival 3:00 PM28 SJCDA Chorus Festival Concert - Snow Date 8:00 PM30 NJSMA HS Chorus Rehearsal 4:00-9:00 PM30 NJSMA HS Orchestra Rehearsal 4:00-9:00 PM31 All-State Band Rehearsal - South Brunswick HS 5:00-9:00 PM
February TBA NJAJE General Membership /NJMEA Jazz Procedures Meeting TBA01 NJMAA General Membership Meeting- Rutgers Club 10:00 AM02 CJMEA Int. Band and Orchestra Rehearsal 9:00-1:00 PM02 CJMEA Int. Band/Orch/Perc. Ens. Aud. - Snow Date 8:00 AM02 CJMEA Int. Chorus Rehearsal 9:00-1:00 PM02 CJMEA Int. Percussion Ens. Rehearsal 9:00-1:00 PM02 CJMEA Int. String Orchestra Rehearsal 9:00-1:00 PM02 NJSMA Jr. HS Band/Chorus/Orchestra Auditions 02 SJBODA Junior High Band Auditions - Snow Date 9:00 AM03 All-State Women’s Chorus Rehearsal 1:00-5:00 PM03 NJSMA Jr. HS B/C/O Auditions (Snow Date) 04 NJSMA Exec. Board Meeting 6:00 PM05 NJSMA HS Chorus Rehearsal 4:00-9:00 PM05 NJSMA HS Orchestra Rehearsal 4:00-9:00 PM06 NJSMA HS Chorus Rehearsal (Snow Date) 4:00-9:00 PM06 SJBODA Junior High Band Rehearsal 4:00 - 7:00 PM
07 NJSMA HS Chorus Rehearsal 10:00-4:00 PM07 NJSMA HS Orchestra Rehearsal (Snow Date) 4:00-9:00 PM08 NJSMA HS Orchestra Rehearsal 10:00-4:00 PM09 CJMEA Int. Band/Orchestra Rehearsal - Snow Date 9:00-1:00 PM09 CJMEA Int. Chorus Rehearsal 9:00-1:00 PM09 CJMEA Int. String Orchestra Rehearsal - Snow Date 9:00-1:00 PM09 NJSMA HS Chorus Concert 4:00 PM09 NJSMA HS Chorus Rehearsal 10:00 AM09 NJSMA HS Orchestra Rehearsal 8:00-12:00 PM10 NJSMA HS Orchestra Concert 3:00 PM12 NJSMA HS Chamber Ens.s Rehearsal 4:30-7:30 PM12 NJSMA Jr. HS Chorus Rehearsal 4:00-8:00 PM12 SJBODA Junior High Band Rehearsal 4:00 - 7:00 PM13 SJBODA Chamber Ens. Festival Rehearsal 6:00 - 8:30 PM14 NJSMA HS Chamber Ens.s Rehearsal 4:30-7:30 PM14 NJSMA Jr. HS Chorus Rehearsal 4:00-8:00 PM14 NJSMA Jr. HS Orchestra Rehearsal (Strings Only) 4:00-8:00 PM14 SJBODA Chamber Ens. Festival Concert 7:30 PM18 Presidents Day 19 SJBODA Junior High Band Rehearsal 4:00 - 7:00 PM20 NJAJE Jazz Combo Festivals, Locations TBA 5:00 PM21 All-State Band Rehearsal - Rutgers University 12:00 PM21 All-State Women’s Chorus NJMEA Conf. - Check-in 5:00 PM21 NJAJE Intercollegiate Jazz Band Concert - NJMEA Conf. 8:30 PM21 NJMEA Exec. Board Meeting EB - Hilton 4:00 PM21 NJMEA Full Board of Directors Dinner EB - Hilton 5:00 PM22 All-State Band Rehearsal - Rutgers University All Day22 All-State Women’s Chorus Rehearsal - Rutgers University All Day22 All-State Band Procedures Comm. Mtg - NJMEA Conf. 5:45 PM22 NJMAA Breakfast Meeting- NJMEA Conference 8:30 AM22 NJRMEA General Membership Meeting - EB Hilton 10:15 AM22 NJSMA Gen. Member Meeting - NJMEA Conf. 11:45-12:30 PM22-23 NJMEA State Conference 23 All-State Women’s Chorus and Bands - NJPAC 3:00 PM23 CJMEA Exec. Board Meeting-NJMEA Conference 8:00-9:00 AM25 NJSMA HS Chamber Ens.s Rehearsal 4:30-7:30 PM25 SJCDA Board of Directors Meeting 7:00 PM26 NJSMA HS Chamber Ens.s Rehearsal (Snow Date) 4:30-7:30 PM26 NJSMA Jr. HS Orchestra Rehearsal for All 4:00-8:00 PM26 SJBODA Junior High Band Rehearsal - Snow Date 4:00 - 7:00 PM27 NJAJE Jazz Combo Festivals, Location TBA 5:00 PM27 NJSMA HS Chamber Ens.s Concert 7:00 PM27 NJSMA Jr. HS Chorus Rehearsal 4:00-8:00 PM28 NJSMA Jr. HS Band Rehearsal 4:00-8:00 PM
March 01 CJMEA Int. Band & Orchestra Rehearsal 5:00-9:00 PM01 CJMEA Int. Chorus Rehearsal 5:00-9:00 PM01 CJMEA Int. String Orchestra Rehearsal 5:00-9:00 PM01 NJMAA Exec. Board Meeting- Rutgers Club 9:30 AM01 NJSMA Jr. HS Chorus Rehearsal 10:00-4:00 PM01 SJBODA Junior High Band Rehearsal 4:00 - 7:00 PM02 CJMEA Int. Band & Orchestra Rehearsal 9:00-1:00 PM02 CJMEA Int. Chorus Rehearsal Snow Date 9:00-1:00 PM02 CJMEA Int. String Orchestra Rehearsal 9:00-1:00 PM02 NJSMA Jr. HS Chorus Rehearsal 9:00-1:00 PM02 SJBODA Junior High Band Rehearsal 9:00 - 1:00 PM02 SJCDA Elementary Chorus Concert 4:00 PM02 SJCDA Elementary Chorus Rehearsal 9:30 AM03 NJSMA Jr. HS Chorus Concert 3:00 PM
DATE EVENT TIME DATE EVENT TIME
TEMPO 36 MAY 2012
University of MassachUsetts aMherst
Ba in MUsic
BM in Jazz, history, MUsic edUcation, PerforMance & theory/coMPosition
MM in collaBorative Piano, coMPosition, condUcting, Jazz coMPosition/arranging, MUsic edUcation, MUsicology, PerforMance & theory
Audition Dates• Applicants for Spring and Fall 2012: December 3 • Early action for Fall 2012: February 4 & 18 • Regular applicants for Fall 2012: March 3 • Transfer applicants for Fall 2012: April 14
Classical Strings only: • Tuesday, November 29, 2011 • Wednesday, February 15, 2012 • Saturday, March 3, 2012 • Monday, April 9, 2012
For More Information: [email protected] • 413-545-6048
www.umass.edu/music Department of music anD Dance
03 SJBODA Junior High Band Concert 3:00 PM03 SJCDA Elementary Festival - Snow Date 04 NJSMA Jr. HS Orchestra Rehearsal 4:00-8:00 PM04 SJCDA Conductor Selection Committee Meeting 6:00 PM06 NJRMEA Exec. Committee Meeting - Seville Diner 12:00 PM06 NJSMA Jr. HS Band Rehearsal 4:00-8:00 PM08 CJMEA Int. Band & Orchestra Rehearsal - Snow Date 5:00-9:00 PM08 CJMEA Int. Percussion Ens. Rehearsal 5:00-9:00 PM08 CJMEA Int. String Orchestra Rehearsal - Snow Date 5:00-9:00 PM08 NJSMA Jr. HS Orchestra Rehearsal 10:00-4:00 PM09 CJMEA Int. Band & Orchestra Rehearsal 9:00-1:00 PM09 CJMEA Int. Chorus Rehearsal 9:00-1:00 PM09 CJMEA Int. Percussion Ens. Rehearsal 9:00-1:00 PM09 CJMEA Int. String Orchestra Rehearsal 9:00-1:00 PM09 NJSMA Jr. HS Orchestra Rehearsal 9:00-1:00 PM09 SJBODA Elementary Honors Band Selection Day 9:00 AM10 CJMEA Int. Band & Orchestra Concert 3:00 PM10 NJSMA Jr. HS Orchestra Concert 3:00 PM11 NJAJE State Jazz Ens. Competition Prelims, Location TBA 5:00 PM11 NJSMA Exec. Board Meeting 6:00 PM12 NJAJE State Jazz Ens. Competition Prelims, Location TBA 5:00 PM12 NJMEA Exec. Board Meeting Rutgers Club 5:00 PM12 NJSMA Jr. HS Band Rehearsal 4:00-8:00 PM13 CJMEA Exec. Board Meeting 6:00 PM13 NJAJE State Jazz Ens. Competition Prelims, Location TBA 5:00 PM14 NJAJE State Jazz Ens. Competition Prelims, Location TBA 5:00 PM15 CJMEA Int. Percussion Ens. Rehearsal - Snow Date 5:00-9:00 PM15 NJSMA Jr. HS Band Rehearsal 10:00-4:00 PM16 All-State Orchestra/All-State Int. Orchestra Auditions 9:00 AM16 CJMEA Int. Chorus Rehearsal 9:00-1:00 PM16 CJMEA Int. Percussion Ens. Rehearsal 9:00-1:00 PM16 NJSMA Jr. HS Band Rehearsal 10:00-4:00 PM17 CJMEA Int. Chorus/Perc. Ens., & String Orch. Concert 4:00 PM17 CJMEA Int. Percussion Ens. Sound Check 1:30-2:30 PM17 NJSMA Jr. HS Band Concert 3:00 PM17 CJMEA Int. String Orchestra Dress Rehearsal 1:00 PM18 All Regions JHS/HS Jazz Ens./HS Jazz Choir Auditions 4:00 PM18 CJMEA HS Concert Band Festival 6:00 PM18 SJBODA Concert Band Festival 9:00 AM19 CJMEA HS Concert Band Festival 6:00 PM19 NJSMA HS Band Festival 19 SJBODA Concert Band Festival 9:00 AM20 CJMEA HS Concert Band Festival 6:00 PM20 NJSMA HS Band Festival 21 CJMEA HS Concert Band Festival 6:00 PM21 NJSMA HS Band Festival 25 All Regions JHS/HS Jazz Ens./HS Jazz Choir Reh. 4:00-8:00 PM26 Passover 30 All-State HS Orch./Int. Orch. Auditions - Snow Date 9:00 AM31 Easter
April 01 NJSMA Exec. Board Meeting 6:00 PM08 All Regions JHS/HS Jazz Ens./HS Jazz Choir Reh. 4:00-8:00 PM08 SJCDA Board of Directors meeting 7:00 PM09 NJMEA Exec. Board Meeting Rutgers Club 5:00 PM12 All Regions JHS/HS Jazz Ens./HS Jazz Choir Reh. 9:00-3:00 PM12 NJMAA General Membership Meeting - Rutgers Club 10:00 AM
13 All Regions JHS/HS Jazz Ens./HS Jazz Choir Reh. 9:00-3:00 PM13 All-State Chorus Auditions - South 8:00-4:00 PM13 CJMEA Elementary Honors Band Day 8:30-3:00 PM13 CJMEA Elementary Honors Orchestra Day 8:30-3:00 PM14 All Regions JHS/HS Jazz Ens./HS Jazz Choir Concerts 3:00 PM17 CJMEA Elem./Int. Concert Band/Orchestra Festival 9:00-1:30 PM18 CJMEA Elem./Int. Concert Band/Orchestra Festival 9:00-1:30 PM18 NJSMA Jr. HS Band Festival 9:30-12:30 PM19 SJCDA General Membership Meeting/Seminar 9:00 AM20 All-State Chorus Auditions - North 8:00-4:00 PM20 All-State Int. Orchestra Rehearsal 12:30-5:30 PM20 CJMEA Elementary Honors Chorus Day 8:30-3:00 PM24 NJ Elementary & JH Honor Choir Rehearsal 8:00-1:00 PM27 All-State Int. Orchestra Reseating Auditions 12:30-5:30 PM27 NJAJE State Jazz Ens. Competition Finals - Division 1 5:00 PM27 NJAJE State Jazz Ens. Competition Finals - Division 2 5:00 PM27 NJAJE State Jazz Ens. Competition Finals - Division 3 5:00 PM
May 01 NJ Elem. & JH Honor Choir Rehearsal & Concert 8:00-6:00 PM03 NJMAA Exec. Board Meeting - Rutgers Club 9:30 AM04 All-State Int. Orchestra Rehearsal 12:30-5:30 PM04 NJSMA Elementary Honors Band Festival 04 SJBODA Elementary Honors Band Festival 9:00 - 3:00 PM06 All State Jazz Ens. and Honors Jazz Choir Auditions 5:00 PM06 SJCDA Board of Directors Meeting 7:00 PM07 NJSMA Exec. Board Meeting 5:00 PM07 NJSMA Faculty Performance Showcase 7:30 PM07 NJSMA Gen. Member Meeting/Dinner 6:00 PM08 CJMEA Exec. Board Meeting 6:00 PM08 NJSMA Jr. HS Orchestra Festival 09 NJSMA Jr. HS Chorus Festival 11 All-State Int. Orchestra Concert 3:00 PM11 All-State Int. Orchestra Rehearsal 10:30 AM14 NJMEA Exec. Board Meeting Rutgers Club 5:00 PM14 NJMEA Full Board Meeting Rutgers Club 6:30 PM15 NJRMEA General Membership Meeting 10:00 AM16 CJMEA Elem./Int. Concert Band/Orchestra Festival 9:00-1:30 PM23 NJSMA HS Orchestra Festival 27 Memorial Day 29 NJSMA Elementary Chorus Festival 29 SJBODA Spring Membership Meeting 9:00 AMTBA NJSMA Exec. Board Meeting 6:00 PMTBA NJSMA Faculty Performance Showcase 7:30 PM
June TBA NJSMA Gen. Member Meeting/Dinner 6:00 PM 03 SJCDA Board of Directors Meeting 7:00 PM07 NJMAA General Membership Meeting- Rutgers Club 10:00 AM07 NJSMA Exec. Board Meeting 6:00 PM10 NJAJE Board Meeting 5:00 PM11 NJMEA Exec. Board Meeting Rutgers Club 5:00 PM12 CJMEA Exec. Board Meeting 6:00 PM15 All-State Mixed Chorus Rehearsal 8:30-12:00 PM22 NJSMA Exec. Board Summer Meeting 23 NJSMA Exec. Board Summer Meeting
DATE EVENT TIME DATE EVENT TIME
MAY 2012 37 TEMPO
MAY 2012 39 TEMPOTEMPO 38 MAY 2012
Unlike the title of the article might imply, this article is not about marching bands.
Instead, the question being addressed is: Should bands play marches?
In some ways, this follows a similar thread of the article that appeared in the last issue of TEMPO, “Where Have All the Marches Gone? Here They Are!” by Carolyn Barber, Director of Bands at the University of Nebraska.1 One of her basic points is that the form has fallen out of favor in part be-cause of a lack of knowledge about marches. Barber outlines a second issue: “…contem-porary composers tend to avoid the genre, or at least avoid success in the genre. My theory is that a good march requires at least three catchy tunes….”2
I am not so sure that I fully agree with Barber’s second point. Especially since the 1970s, many of the band’s leading conduc-tors have discouraged the performance of marches. Part of their rationale is centered on why marches were written.
1. To provide music for some basic function, often related to the military.
2. To provide entertainment in many different settings including at the circus.
These purposes are different from art-music of the Western tradition where most of the important compositions are intended for contemplation. In an effort to improve the band’s repertoire, many of our leaders have therefore encouraged performance of music from the Western canon, especially contemporary music originally conceived for the wind band. This is certainly an admi-rable goal. However, does this mean that we should cast aside the humble march?
What is a March?The first step might be to try to define
what a march is. It is a musical form in the same way as is a symphony, concerto, suite, or the like. The form dates back to at least the 16th century. Grove Music Online pro-vides one definition of a march:
Music with strong repetitive rhythms and an uncomplicated style usually used to accompany orderly military movements and processions. Since the 16th century, func-tional march music has existed alongside stylized representations of the march, which were often incorporated for programmatic purposes into art music. The distinction be-tween the functional and the stylized march is often blurred, however in the 18th centu-ry, functional marches were frequently im-ported virtually unchanged into wind-band music, often forming integral movements of serenades or divertimentos. During the 19th century, the functional military march declined, and the stylized march became popular in its own right, reaching its height in the works of the later Romantic compos-ers. After World War I, the idea of using an orchestral or choral march as a vehicle for paying homage to rulers and celebrating na-tions and ideals, which had prevailed since the time of Lully, fell into decline, and the march came to be seen principally as an art-music genre.3
Some marches were intended for mili-tary function. Marches are also found in the European art-music tradition as well. Haydn, Mozart, Beethoven, and Mahler all wrote marches, many of which are included in their symphonic and operatic repertoire.
Carl Chevallard, former conductor of the United States Air Force Academy Band, has written a book on marches as part of the GIA Teaching Music Through Performance se-ries. Like the format of the other GIA books, he focuses on providing analyses and teach-ing suggestions for fifty marches, mostly
from American and European heritages of the late-19th and early 20th centuries. He also includes introductory articles on various subjects relating to the march. He provides a general historical view of the march:
In the broadest sense, march histori-cally refers to many kinds of music, from symphonic works to incidental music. The form has served utilitarian and dramatic functions. For example, courtly proces-sional marches dating from the Renaissance brought order to large, royal entries and ex-its, while setting a tone of elegance. On the other hand, early twentieth-century com-poser Karl King wrote many of his marches to move wild animals to, from, and around a circus ring while augmenting the exciting move of the big top.4
When defining the march, many people think of the pieces by Sousa, Fillmore, King, Goldman, Jewell, Bagley, and the many other American bandmasters of the past. These short works were popular in Ameri-can culture in the past. The formal structure of these marches is fairly consistent: intro-duction, first and second strains, trio, break-strain, and trio. Each section follows certain conventions in terms of style, dynamics, and phrase structure.
Many later composers began to take these conventions and develop them into variations of the original. One of the most obvious results was the concert march, a piece that was intended for concert band; hundreds if not thousands have been com-posed. Perhaps one of the most famous is Commando March by Samuel Barber. While these do not formally follow the structure of the classic American march, the general style and format is similar, and in many ways, re-flective of the original.
It might be that the reason that marches are not being composed is because contem-porary composers simply don’t want to com-
pose them. The band already has a huge number from which to choose. This combined with the trend espoused by many of our leading conduc-tors discouraging the performance of marches would seem to be the primary rationale why marches are no longer regularly composed.
Should Bands Play Marches?As stated above, there are a number of band
conductors who consider marches to be unwor-thy of study. Some who criticize the performance of marches by school ensembles do champion the music of “educational” composers—those people who write primarily or entirely for school bands. Yet as Stephen Budiansky has pointed out and about which I have written several times for TEMPO, this music is not part of any culture ex-cept for school bands.5 I disagree in part with his point that the lack of a direct cultural link makes this literature lack validity and substance. How-ever he does raise an excellent issue with play-ing only “educational” music. He illustrates this point with a story about his children’s education.
But… [each of my children] emerged from 5 or 6 years of these school band programs liter-ally knowing almost nothing—and caring almost nothing—about music. They didn’t know any-thing about musical forms, music history; they had no knowledge at even the most rudimentary level of composers, or periods, or styles of classical music; they knew nothing about the great Ameri-can musical traditions of folk songs and jazz and rock and blues and musical theater. They literally knew nothing about music as an art form, had never even experienced music as the thing that has the capacity to inspire and move us and en-rich our lives as almost nothing on earth.
Within about one nanosecond of their last band class in high school, they never touched those instruments again. And I am not exaggerat-ing when I say they didn’t touch them. Both were by that point quite advanced technically—but once band class ended there was simply no reason in their lives to play those instruments again.
And clearly closely tied to this utter failure to give them any real knowledge or lasting apprecia-tion of music, or any motivation to keep playing their instruments, was the overriding fact that for all of their 6 or so years in band, all they did was play garbage. It was dull, gimmicky, pretentious, bombastic, simplistic, made-for-school music clearly written by mediocrities. It all sounded alike, it was all formulaic, none of it was remotely art and some of it was scarcely music—and with the possible sole exception of the “Flintstone’s” theme it had no connection to any real music or any living musical tradition outside of the closed world of music education. None. Much the same thing had gone in in my daughter’s chorus class—I especially remember her district chorus concert which did not include a single piece on the pro-
To March Or Not To March?That Is The Question
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MAY 2012 41 TEMPOTEMPO 40 MAY 2012
gram written by someone other than a con-temporary music educator.6
The point must be further considered in light of the argument of many current music education philosophers. There are an increasing number of scholars who stress the importance of educating students about mu-sic in relation to its cultural context instead of focusing entirely on skill development. Many scholars suggest that music educa-tors should devote more emphasis on the consideration of music’s social and cultural context. Those of an extreme position hold that bands in schools should be abolished because that culture is no longer relevant. While this position is both extreme and unrealistic, it does raise the concern that it might not be viable to base music education solely on aesthetic rationale.
This is somewhat related in part on the debate in band circles over what constitutes quality in music. An older view that certain-ly still has merit is that music must contain elements of high aesthetic value. One cannot argue that students gain immeasurably from studying and performing music by Bach, Mozart, and Beethoven. Music by these and
the other masters provide an opportunity to be immersed in the genius of art music from the Western European heritage.
However, having experience with a genuine culture, ranging from popular to the most esoteric, is one of the benefits of study in the arts. Bands of all forms—from the Harmoniemusik ensembles of the 18th century, to the Gilmore Band of the 19th century, to the Sousa Band which gave its first concert in Plainfield, and finally to the United States Marine Band of our current time—have performed marches. Marches in their many different forms are a vital part of the Western culture. Along with many other genres and styles of music, they need to be part of the band’s curriculum, in part be-cause they are part of the band’s culture. In addition, many possess wonderful melodies, engaging harmony, and interesting counter-point—clearly a winning combination.
It is difficult indeed to imagine the New Year in Vienna without hearing Radetzky March by Johann Strauss. Why should school bands avoid The Stars and Stripes For-ever?
(Endnotes)1 Barber, Carolyn. “Where Have All the
Marches Gone? Here They Are!” Tempo 66, no. 3 (March, 2012), pp. 42-43.
2 Ibid, p. 42.
3 Erich Schwandt and Andrew Lamb. “March.” In Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com.proxy.libraries.rutgers.edu/subscriber/article/grove/music/40080 (accessed February 16, 2012).
4 Carl Chevallard. Teaching Music Through Performing Marches. Chicago: GIA Publications, Inc., p. xvi.
5 See Budiansky’s website to read his articles on this subject: http://budiansky.com/MUSIC.html
6 Stephen Budiansky. Talk to the College Band Directors National Association, Eastern Division West Chester, PA, March 13, 2010, p.4-5. http://budiansky.com/MUSIC_files/CBDNA%20talk.pdf
MAY 2012 43 TEMPOTEMPO 42 MAY 2012
Statement from NAfME, National Association for Music Education, formerly MENC (full statement from NAfME: http://www.nafme.org/about/view/sacred-music-in-schools ):
Does music with a sacred text have a place in the public schools?
“It is the position of NAfME, The National Association for Music Education, that the study and performance of religious music within an educational context is a vi-tal and appropriate part of a comprehensive music education. The omission of sacred music from the school curriculum would result in an incomplete educational experi-ence.”
Guideline Questions To Consider:1. What is the purpose of the activ-
ity.7 Is the purpose secular in nature, that is, studying music of a particular composer’s style or historical period?
2. What is the primary effect of the activi ty? Is it the celebration of religion? Does the activity either enhance or inhibit reli gion? Does it invite confusion of thought or family objections?
3. Does the activity involve excessive entan-glement with a religion or religious group, or between the schools and religious organiza tions? Financial support can, in cer-tain cases, be considered an entanglement.
“If the music educator’s use of sacred music can withstand the test of these ques-tions, it is probably not in violation of the First Amendment.”
“Since music with a sacred text or of a religious origin (particularly choral music) constitutes such a substantial por-tion of music literature and has such an important place in the history of music, it should and does have an important place in music education.”1
What the American Choral Direc-tors Association has to say about this issue?
(ACDA’s stance in its en-tirety, http://acda.org/about_us/policies):
“GOAL: To improve music education by assisting educators and the community in identifying ways of studying, creating, and performing music from a wide vari-ety of religious/cultural traditions. “With-in limits defined by the United States Supreme Court, government (i.e., public schools) is neither to advance nor inhibit
religion(s). This commitment pro vides one of the important foundation stones for the establishment and mainte nance of an open, just, and peaceful multi-religious society.” What I hear in the above statement is that we should program a wide variety of reli gious/cultural traditions. We should do this neither to advance nor inhibit religions.
In summary, should we use our program ming to advance one particular re-ligion? Of course not! By the same token, should we inhibit all religions? Of course not!
Also From ACDA“Academic study about religions can
con tribute to the protection of this free-dom by providing information and experi-ences that help to dispel stereotypes. Such study can also help develop a sense of hu-man com munity and an appreciation of our common humanity in the midst of our di-versities. There are, of course, other impor-tant rea sons for studying about religion(s). For example, religions have had a continu-ing influence on human history. Develop-ing an adequate understanding of history thus requires study about religions.”2 (This brings to mind the inspiring and powerful Caldwell/lvory arrangement of the traditional Jewish song “Ani Ma’amin”.* Caldwell and Ivory have included a poignant narrative to be read during the stunning introductory violin obbligato that tells the history of the piece, makes connec-tums to the Holocaust, and sends the important message that we, the singers, sing this because we want this story to be heard. We want to learn from the past and prevent future atrocities. What could be more important?) “Academic study about religions in the public schools, contrary to widespread opinions, has not been prohibited by the United States Su-preme Court. “Any work of art studied or performed should be selected for its inher-ent beauty of structure and form. Its pur-pose in study should be learning for the sake of develop ing artistic understanding and responsive ness. Often artworks are related to a spe cific religious/cultural tradition. The study of such works of art can enhance one’s understanding and appreciation of a cul-tural product that a particular tradition has fostered.”2
First and foremost, music you pro-gram should stand alone as a musical work of excellence. Anyone who questions your pur pose in teaching a piece of music can and should he answered with your long list
of its musical values regarding, for instance: the registration, the historical perspective, the foreign language diction, the beauty of the musical line and more. “To exclude from a public school curriculum all choral music that has a religious meaning associated with the text is to limit severely the possibilities of teaching for artistic understanding and responsiveness. Such exclusion has as its parallel the study of art excluding paintings related to the various religions of the world, the study of literature without mention of the Bible, or the study of architecture with-out reference to the great temples and ca-thedrals of the world. “Care should be taken in the performance of music associated with any religious/cul tural tradition that it not be construed as a religious service or religious celebration. Whenever possible, a multiplic-ity of cul tural traditions should be included in musical programming.”2
In summary:1. Program a variety of styles of music.2. Immerse your students in the historical
significance of the pieces.3. Let your students delve into the deeper
meaning of the piece from a composer or lyri cist’s eye view.
4. Take an academic, not devotional, approach when programming religious music.
5. Educate, expose... do not impose or pro mote.Fellow music educators, let us be edu-
cated on this issue and stand together. Let’s take heed of the tenets outlined by ACDA and NAfME and make sure that we are not unnecessarily, unjustly excluding an entire segment of music from our curricula. When need be, let’s have the difficult conversations in our communities and with supervisors, principals, and Board of Education mem-bers. We owe this to ourselves as musicians, and we owe it to our musical colleagues from this era and all preceding ones. Most important, we owe it to our students: to of-fer them a broad musical, cultural, histori-cal, and stylis tic perspective.
How To Offer Perspective To Students In Your Choir Room
1. Discuss the composer’s/lyricist’s perspec tive from a historical, factual standpoint (e.g., composers’ roles as church musicians are historically significant and led to music that was religious).
Ah! ‘Tis the season for agonizing about what to program in your next concert! The octavos are
strewn about the piano. Lists. Piles. Ros-ters. There is so much to consider. Will I have enough male voices? What will please the crowd.? Actually, more specifically, what will please the stu dents and what will please the audience.? Is this the perfect music to educate my stu dents? How will this year’s selection of music teach them music theory concepts, music his tory concepts, and prop-er vocal technique.? Yes, we have all spent hours and hours, no, days and days, weeks and weeks pondering these questions in musty choral rooms in August when every-one else is still at the pool.
On top of all of that, how do I make each of these important decisions when I don’t even know all of the students yet? Even if I have heard every student on my roster sing before, I have never heard that totally original syner gy that occurs when all these voices come together for the first time in this year’s unique combination.
I typically have a few pieces ready to go on the first day of school that I know will work. This way I have a few songs we can begin preparing in September. To me, pieces with Latin text and canons offer benefits to every choir. With pieces in Latin, you can make so many historical connections, and the open ness of the vowels is perfect for learning tech nique. Canons are a great way to get every one singing in harmony early on in the year. I also always choose some-thing that I know they will consider “fun” in those early pieces too. I want them all to start the year knowing that choir is the best and most fun class. Bevond those first few pieces, though, I then wait until the end
of September to officially decide the rest of my program. I need to know what music will reach this year’s stu dents and meet their needs - intellectually, emotionally, and vo-cally.
When programming, there are certain things that I try to include in every program. This practice makes it almost im-possible to have a theme and I always felt themes limit ed me; my theme was variety! However, I have seen others use themes ef-fectively; keeping the theme broad seems to be key. Consider including:
1. Pieces of historical significance that demonstrate different styles of music as well as different style periods, being mindful to demonstrate many various religions, cultures, and languages. Thoughts of Medieval, Renaissance, Baroque, Classical, Romantic, and 20th Century musical periods helped me in my quest.
2. Other important genres, such as con-temporary choral gems, popular music, world music, spirituals, gospel, American patriotic and folk songs, jazz, musical theater.
(Not every concert had every category in #1 and #2, but throughout the year or over the course of a student’s time in the program, the goal was to capture many or most.)
3. Foreign language text (which lan-guages and how many various lan-guages are determined by the age/level of the choir).
4. Piece to feature the males: my person-al goal for this one is to select some-thing that will have the audience cheering. Men and boys in choirs aren’t cheered often enough!
5. Piece to feature the females.6. At least one piece of music that is a
cappella (the best way to teach into-nation and vowel matching).
7. Something to please the students. I unapologetically program something in a popular style that the students love. This is my gift to them. To them it means, “My teacher cares about what’s important to me”. In return, they then care about what I want to share with them. They are then much more will ing to give me the emotional space to stretch their musical boundaries later; it’s a gift that keeps on giving!
8. Something to please the audience, for the same reason. I want the audience to be happy too, and I will admit this loud and clear to anyone who asks. I am a musician; what I do in the prac-tice room/choir room is meaningful work, but never takes flight until I share it with an audience. The audi-ence is the final ingredient after months and months of preparation. Do I want to please them? Umm, you bet your sweet bippy!
Over the years, I listened as teachers told me that they had been instructed not to perform any music that is religious in na-ture. This makes my heart weep. It makes my mind scream. To simply wipe out an entire rich treas ury of music that our students de-serve; no, that our students need to experi-ence for countless reasons that include but also stretch far beyond religion? This practice is unreasonable and unacceptable. We all have to take the path of least resistance some-times, but I firmly believe this is not the place to take that path.
Choral Programming:Choosing Music That Honors
Tradition And DiversityBy Patricia Kelley Keith
Douglassville, [email protected]
Reprinted From Maryland Music Educator
MAY 2012 45 TEMPOTEMPO 44 MAY 2012
njcu.edu/mdt
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2. On a personal level, stay neutral and open up a discussion for your students to share their thoughts and feelings on the meaning of a par ticular piece. Openly and explicitly let them know that they are each entitled to and valued for their own personal beliefs. Insist on a respectful atmosphere in your classrtxmi with zero tolerance for disrespect or intolerance of others’ positions and views.
3. Remind your students that as singers we are also actors; quite often, we sing from the standpoint of the person narrating the song. When we sing, we briefly become that other person in a way and in doing so we are learn ing about who they were and what their life was like.As singers, we need to find connections
to music in order to give our best perfor-mance. Open an honest dialogue with your students and help them find ways to really connect to the meaning (or to their own meaning) of the text or the beauty of the music.
Final ThoughtsYou have to do what feels right to you,
but for me, this meant programming a wide vari ety of religious and holiday music in December. Parents always thanked me. They wanted to hear music of the season.
To protect yourself and be smart about your programming, educate yourself on ACDA and NAfME’s standards. Anyone who ques tions you will find that you are already pre pared with thoughtful answers to their inquiry. You may be surprised that people are thanking you and not condemn-ing you.
When programming for your choir, your students and their educational pursuit of excellence is your #1 concern. As educa-tors, we are to “know the learner”. Meet your stu dents where they are, and then you can take them where they need to be. It helps to also know your community. Give them what is important to them, give them the music that they love and relate to, and then you can stretch them little by little and introduce music that is new to them or that takes them a little out of their comfort zone. This plan applies to all styles of music, in-cluding jazz, classical, music with religious text, opera, musical theater, and various popular styles. Remember, real growth in a
choral program takes years, and if you go into this process with this expectation, you will feel less pres sure to suddenly program all of your dream repertoire this semester and have it be widely acclaimed and joyfully received overnight.
I really believe that if everyone hears a little of him or herself in your repertoire some where that they will all feel invested in what you have to offer. Everyone will be on board with you and will be less likely to judge. All of us want to be validated, and we want people to hear us. By giving your stu-dents and your audience what is important to them, you are letting them be heard. In turn, they will be more willing to hear what you want to share with them, whether that’s programming more classical music, more foreign language pieces, greater diversity of religious music, or maybe even throwing in a little show choir tune. Music is for every-one. I think we all are in this business be-cause singing brings people together. Your programming has that power.
Notes1 “Sacred Music in Schools.” 2011
National Association for Music Education (NAfME, formerly MENC) 17 June 2011. <http://www.nafme.org/about/view/sacred-music-in-schools>
2 “Policies and Statements.” 2011 American Choral Directors Association. 17 June 2011. <http://acda.org/about_us/policies>
3 Caldwell, Paul and Ivory, Sean. “Ani Ma’amin”. Earthsongs.
About The Author:Patricia Kelley Keith serves as a choral
clinician, guest conductor and adjudicator. She has served on the board of MCEA and has designed and implemented choral education clinics for Maryland colleagues. She was a vocal and general music educator for Carroll County, MD, Public Schools for thirteen years. Formerly, she was a member of the adjunct music fac ulty at College of Notre Dame of Maryland, teaching Applied Piano.
Keith majored in music at College of Notre Dame of Maryland with concentrations in piano and voice. She has completed graduate studies in music education, voice, and conducting at Towson and Duquesne Universities, and at
The Peabody Conservatory of Music.She has performed and served as music
director in theatrical productions; sung with the Baltimore Choral Arts Society; served as soprano soloist at Catonsville United Methodist Church and Gregory Memorial Baptist Church; and has sung professionally throughout the Baltimore metropolitan area.
She maintains a home music studio in Douglassville, Pennsylvania, where she teaches pri vate and group piano and voice lessons and classes to children and adults.Comments are welcome and may be directed to [email protected].
&
Online Professional Development!
NAfME offers this exciting free benefit to members throughout the school year. NAfME members visiting the
band, orchestra, chorus, and general music networks can get expert advice in answer to their questions. Our mentors rotate on a monthly basis and respond
to your questions every few days.
For more information, contact Susan Lambert at [email protected].
Visit www.nafme.org/mentors
Got music education questions? Want some expert advice?
MAY 2012 47 TEMPO
(music technology, piano, etc) allows for the continued development of the young musi-cian. For those in a PK-8 building, articu-late your scheduling needs based on the aca-demic needs of your student. What impact will Prep coverage have on the scheduling of your performing groups? How can you come to an equal and equitable solution to student access?
At the high school level, it is critical to articulate the necessity of the freshmen and sophomore classes having access to the entry level classes to expose them to school-to-career initiatives. It is near impossible to prepare students to compete with those who have had continued, scaffolded instruction in the junior year. It is important to explain the necessity to remove Music Foundations or Music Appreciation from the curriculum guide to higher-order course offerings like Music Business, Music Production and the like. Stress the importance of allowing the continued development, support and expo-sure of career development opportunities for students of music.
With thoughtful planning and dia-logue, we can ensure our students are pre-pared as consumers and producers of music for the 21st century and beyond.
BibliographyKane, S. M. (2011, October). TEMPO
A Plan of Action: Building Foundation to create effective change in Music Education in Urban Settings , p. 32.
The Common Core Initiative. (2011). Retrieved January 15, 2012, from http://www.corestandards.org/the-standards/english-language-arts-standards
TEMPO 46 MAY 2012
Learning is before and beyond the concert. The career world has changed drastically in the field of
Arts and Entertainment. How do we prepare our students for this next step? How do we reconstruct courses to provide for the techno-logical, critical and analytical thinking to be music moguls, editors, lawyers, etc?” How do we articulate to the decision makers the need for access to instruction? How do we articu-late the need for equipment, materials, etc. to provide that level of quality instruction to compete with the world? How do we articulate support (via curriculum, equipment, etc.) for our students to be able to compete outside of the schoolhouse doors? (Kane, 2011)
In many districts across New Jersey, administrative teams are forging ahead to the goals and realignment set by Common Core Standard adoptions (The Common Core Initiative, 2011) and the New Jersey Common Core Curriculum Standards for 2011-2012 and beyond. Being a “Prep, Activity, Relief or Elective” teacher cannot quantify your professional services as an educator that happens to be a teacher of music. How do you advocate for equal and equitable education with dwindling support where the bottom-line that equals to data that must equal 200+ will determine how we continue to focus our goal for access and equity for quality music education. How you articulate this information will deter-mine the support your program receives in a data driven environment.
If you have not begun the conversation, it is critical at this vignette to discuss how your program influences student achieve-ment. Historical data is available regarding how quality music education affects your choir, band, orchestra and general music students’ AYP (adequate yearly progress). The dialogue between you and the sched-
uling administrator/principal is what can ensure your students academic and musical success. Articulate the importance of equal access to your program and the affect it will have on overall success of the school’s mis-sion of academic achievement.
In grades PK-5, all students should have scaffolded instruction in music educa-tion that is sequential in nature (yearly). All students need access to a beginner’s perfor-mance group to develop foundational mu-sicianship skills outside of the general mu-
sic education classroom to ensure students are prepared for higher-order performance groups at the intermediate and advanced levels. Scheduling offerings for entry level performing groups (choir, orchestra, and band) at least one day a week as a vertical class offering (re: gifted and talented music course for example).
In grades 6-8 (middle school), contin-ued instruction in one of the performing groups (choir, orchestra, and band). This of-fered along with an alternate music program
A Plan Of Action: Aligning CurriculumStandards That Meet The
21st Century School & BeyondBy Suzanne M. Kane
West Side High [email protected]
GraduateSummer Sessions
for Music EducatorsJune 18 - July 27, 2012 Villanova, Pennsylvania
in association with
Our low tuition of $1075 includes materials, all fees, and 4 graduate credits. Located in suburban Philadelphia, Villanova is convenient to all transportation. Affordable housing and meals are available on campus. To learn more about this course and 30 others please visit music.villanova.edu or contact the Director of Summer Music Studies George Pinchock,at [email protected]
Orff Levels I & IIJuly 9 – 20, 2012
AOSA Approved Make your mark. Come to Syracuse.
[email protected] vpa.syr.edu/music
Undergraduate degrees_ Composition (B.M.)Music (B.A.)Music Education (B.M.) Music Industry (B.M., B.S.)Performance (B.M.)
Minors_Music IndustryMusic Performance
Graduate degrees_Composition (M.M.)Conducting (M.M.)Music Education (M.M, M.S., Ph.D.)Performance (M.M.)
Create the
future of music:
Be a Setnor musician.
Study the ways that music education develops creativity, instills disciplined work habits, and statistically correlates with gains in standardized test scores.
Speak with your local school board.
Be in touch with local music teachers on a regular basis. Offer to help out.
Take part in your school’s music booster organization.
The Many Benefits of Music Education— Tips to Share with
Parents
Here are some ways parents can assist their child’s
school music educators:
Visit www.nafme.org and search “Power of Music” for more
Parent Resources.
MAY 2012 49 TEMPOTEMPO 48 MAY 2012
Graduate Summer Sessions
for Music EducatorsJune 18 - July 27, 2012
Some of Our InstructorsPeter BoonshaftDenis DiBlasioKen RaesslerTom Rudolph
Larry EdwardsLois Fiftal
Donald NallyMike Miles
George HattendorfChuck Hagler
Quincy HilliardEileen Hower
June 18 - 22Band Instrument Repair I - Chuck HaglerPercussion for the Non Percussionist - George Hattendorf Printing Music by Computer using Sibelius - Steven EstrellaGuitar for the Non-Guitarist - Michael Miles NEW From Mash-ups to Re-harms: Singing and Arranging for Contemporary Vocal Ensembles - Justin BinekMiddle School Classroom and Choral Music Grades 5 - 8 - Lois FiftalNEW Advanced Topics in Choral Music - Donald Nally 1 credit 3:30 - 6:30 P.M.NEW Villanova Summer Chorus - David Nally 1 credit 7:00 - 10:00 P.M.
June 25 - 29NEW Using Technology for Authentic Assessment - Hank WajdaNEW Steel Drum in the School and Community Level II - Marc SvalineBand Instrument Repair I - Chuck HaglerAmerican Folk Instruments in the General Music Curriculum - Michael Miles Introduction to Playing the Drum Set - Marc Dicciani Multicultural Techniques for Teaching Rhythm - Anthony DeQuattroAspiring to Excel: Leadership Initiative for Music Educators - Ken Raessler
July 9 - 13NEW The I’ s Have It : iMovie, iTunes and iPhoto - Floyd RichmondBand Instrument Repair II - Chuck HaglerORFF Level I Training - Bethanne Hepburn, Nick WildORFF Level II Training - Michele Prybylowski, Janie Vance Let’s Put On a Show, A Pedagogical Approach to Musical Theatre - Jeffrey KernGarageBand Does It All - Scott Watson (at Parkland H.S., Allentown, PA)Instrumental Conducting: Elementary to High School - Jerry Nowak
July 16 - 20NEW Smart Music and Accompaniment Software for Practice, Rehearsal, and Performance - Tom RudolphNEW Instrumental Music Education: Inspiring with Passion - Peter BoonshaftBand Instrument Repair III - Chuck HaglerNEW Jazz Arranging Techniques - Ron KerberChoral Conducting Techniques - Larry Edwards NEW Free and Easy - Scott Watson (at Parkland H.S., Allentown, PA)String Instrument Repair - Chris Bluemel
July 23 - 27Garage Band Does It All - Scott Watson NEW The School Jazz Band - Denis DiBlasioNEW El Sistema in Action: The Method and How to Implement ItMethods, Materials, and Strategies for the Band Director - Quincy HilliardThe Male Changing Voice: New Directions - Eileen Hower
Orff.... July 9 - 27 Level 1 - Beth Ann Hepburn Level 2 - Michelle Przybylowski
Recorder - Nick WildMovement - Janie Vance
In association with.....
Why VILLANOVA?
New Courses New Instructors Same Low Prices
El Sistema July 23 - 27
Stanford Thompson and the staff and students of Play On Philly.
For Updated Information regarding registration and housing visit music.villanova.edu. choose summer studies. Course prices are $800, $890 for technology, and $1075 for Orff. All courses include 3 graduate credits (Orff 4 credits) and materials. There are no additional charges. An outstanding value!
Registration begins in mid-March. Questions? email the Program Director at [email protected]. Information is subject to change.
MAY 2012 51 TEMPOTEMPO 50 MAY 2012
New Jersey Music Educator’s Association
Proudly Announces:
“The 2012 State Marching Band Ratings 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 20, 2012 , 5:30 pm. Wayne Hills High SchoolContact: Christopher J. DeWilde or Matthew J. Paterno 973-317-2060
([email protected] or [email protected])
(Limit 15 bands)
Don’t miss out on this interesting addition to your present Marching Band activities!
Sign- ups begin MARCH 1, 2012!
2012 NJMEA ALL-STATE OPERA FESTIVAL Stevie Rawlings, Paramus HS - Festival Chair Solo/Ensemble Auditions: (no costumes) Fri., Oct. 26, 2012, 4:00 PM Festival Date: Sat., Nov. 17, 2012, 9:00 AM, Concert at 3:00 PM Audition and Festival Site: Paramus High School, East 99 Century Road, Paramus, NJ 07652
The NJMEA Opera Festival provides a unique opportunity for the most talented students in your chorus to perform opera literature, receive a critique, and attend a clinic and workshop. An aria from any opera is acceptable. To be considered for performance on the Festival day, soloists and ensembles must audition on the separate audition day. The term “ensemble” is used to designate any group other than a solo, e.g., duet, trio, and so on. A student can attend only the clinic and workshop on the day of the Festival and not perform a solo or in an ensemble selection, and therefore does not have to audition. We do require all students to sing in a chorus performance on the Festival day. The audition also serves as a competition for the designation of recipients for The Governor’s Award, Best Male and Female Soloists, and Best Ensemble. The chorus will sing two selections, the titles of which will be sent out via e-mail to sponsoring directors upon receipt of applications. Judging results (scores) and those accepted to perform on the Festival day will also be e-mailed to directors. Teachers, please prepare your students for the chorus numbers as time is limited on the Festival day. Concert dress is semi-formal or in character costume, your choice.
Audition/Participation Fee is $20.00 per student. Each participating student must fill out an application. Any voicing and any number of students may register. Directors, send all applications with ONE check payable to the NJMEA and enclose a copy of your current NAfME (formerly MENC) membership card postmarked by Wednesday, October 17, 2012 to Michael Kallimanis, All-State Opera Festival Audition Chair, Waldwick HS/MS, 155 Wyckoff Avenue, Waldwick, NJ 07463. After Oct. 17, applications will not be accepted. Sponsoring directors need not attend the audition but must be present from 10:30 AM until the end of the concert on the Festival day to assist with events.
More info, e-mail only - [email protected]. Phone for emergencies on 10/26 or 11/17 only: 201-370-0423.
STUDENT INFORMATION: (Please print neatly, use ball-point pen only).
FIRST NAME ________________________________________ LAST NAME ________________________________________________
ADDRESS___________________________________________ TOWN/(STATE)/ZIP__________________________________________
HOME PHONE ______________________________________ E-MAIL ____________________________________________________
GRADE (Circle one) 9 10 11 12 CHORUS VOICE PART _________________________________________________
Check all that apply: Solo (audition required) ____________ Ensemble (audition required) ____________ Chorus______________
Write the aria/ensemble selection, opera name and composer on the back of this application.
A professional accompanist is available for $25.00 cash for each day of service, to be given directly to the accompanist. (DO NOT SEND THIS FEE IN WITH YOUR APPLICATION)Check here if you will need a professional accompanist: ___________________ BE SURE TO BRING YOUR MUSIC!
CHORAL DIRECTOR INFORMATION:
FIRST ________________________________ LAST ____________________________________ NAfME # ________________________
SCHOOL________________________________________________________ E-MAIL__________________________________________
ADDRESS___________________________________________ TOWN_________________________________ ZIP__________________
SCHOOL PHONE _______________________ HOME PHONE_________________________ CELL PHONE _____________________
CONTRACT ENDORSEMENTS:
I certify that I will accept the decision of the judges as binding and if selected, will memorize my music, (chorus music need not be memorized) and dress appropriately. I am aware that I must attend the entire Festival, Saturday, November 17, 2012.
STUDENT SIGNATURE: ______________________________________________ DATE: ______________________________________
As parent/guardian, I give permission for my child to apply to the 2012 NJMEA Opera Festival. I understand that the NJMEA does not assume responsibility for illness or accident. I further attest that I will assist my child with obligations related to this activity.
PARENT SIGNATURE: ________________________________________________ DATE: ______________________________________
We endorse this applicant as an outstanding member of our school choral program. The director will attend the entire Festival day or provide an approved substitute who is also a NAfME member.
SCHOOL DIRECTOR: ________________________________________________ DATE: ______________________________________
PRINCIPAL’S SIGNATURE: ___________________________________________ _ DATE: ______________________________________
MAY 2012 53 TEMPOTEMPO 52 MAY 2012
All-State Orchestra High School ScalesRevised 3/19/11
All scales are to be memorized. Please no vibrato. Judges/Audition Chair will select which scale(s) is/are to be played. A metronome tempo will be given before each scale.
Students will not receive extra points for additional octaves or a faster tempo. Please play only one root position arpeggio.
VIOLIND Major Scale Ab Major Scale F Major ScaleThe 3 Major scales above must be played in the following manner:3 octaves 8 slurred to a bow as 8th noteswith the quarter note = 120mm
A Major Arpeggio Eb Major Arpeggio C Major ArpeggioThe 3 arpeggios above must be played in the following manner:3 octaves slurred as 8th note triplets (3 to a bow) with the quarter note = 88mm
E Melodic minor D Melodic minor C Melodic MinorThe 3 minor scales above must be played in the following manner:3 octaves separate bows as quarter notes with the quarter note = 120mm
VIOLA-CELLOA Major Scale Eb Major Scale G Major ScaleThe 3 Major scales above must be played in the following manner:3 octaves 8 slurred to a bow as 8th notes with the quarter note = 120mm
E Major Arpeggio Bb Major Arpeggio D Major ArpeggioThe 3 arpeggios above must be played in the following manner:3 octaves slurred as 8th note triplets (3 to a bow) with the quarter note = 88mm
B Melodic minor F Melodic minor D Melodic MinorThe 3 minor scales above must be played in the following manner:3 octaves separate bows as quarter notes with the quarter note = 120mm
BASSAb Major Scale G Major Scale F Major ScaleThe 3 Major scales above must be played in the following manner:2 octaves* 4 slurred to a bow as 8th notes with the quarter note = 120mm
Bb Major Arpeggio C Major Arpeggio E Major ArpeggioThe 3 arpeggios above must be played in the following manner:2 octaves* slurred as 8th note triplets (3 to a bow) with the quarter note = 72mm
G Melodic minor C Melodic minor F# Melodic MinorThe 3 minor scales above must be played in the following manner:2 octaves* separate bows as quarter notes with the quarter note = 120mm
*No octave drop.
All-State Intermediate Orchestra ScalesRevised 3/19/11
All scales are to be memorized. Please no vibrato. Judges/Audition Chair will select which scale(s) is/are to be played. A metronome tempo will be given before each scale. Students will not receive extra points for additional octaves or a faster tempo.
VIOLIN9 Major scales:D, Eb, E, F in 2 octavesG, Ab, A, Bb, C in 3 octaves
VIOLA9 major scales:G, Ab, A, Bb, in 2 octavesC, D, Eb, E, F in 3 octaves
CELLO9 major scales:G, Ab, A, Bb, in 2 octavesC, D, Eb, E, F in 3 octaves
Violin, Viola, Cello scales must be played in the following manner:Separate Bows: each note will be played as a quarter note with the quarter note = 104mm.Slurred Bows: 8 notes slurred to a bow, as 8th notes, with the quarter note = 104mm.
BASS9 major scales:G, E, F, Ab, in 2 octaves*A, Bb, C, D, Eb in 1 octave*
*No octave drop.
Bass scales must be played in the following manner:Separate Bows: each note will be played as a quarter note with the quarter note = 104mm.Slurred Bows: 4 notes slurred to a bow, as 8th notes, with the quarter note = 104mm.
MAY 2012 55 TEMPOTEMPO 54 MAY 2012
2012-2013 All-State High School Band
Solo List
INSTRUMENT TITLE COMPOSER PUBLISHER
PICCOLO Concerto in G RV438 Vivaldi International 2777
FLUTE Fantasie Faure Schirmer 50331090
OBOE Concerto (movements 1-2) Haydn Breitkopf 5349
*ENGLISH HORN Sonata Marcello Schirmer HL50333080
*Eb SOPRANO CLARINET Fantasie Concertante Lecail Rubank 4476866
Bb CLARINET Sonata Bernstein Warner Bros WS0021
*Eb ALTO CLARINET Sonata g minor Eccles B-M/Alfred ELO3877
Bb BASS CLARINET Sonata g minor Eccles B-M/Alfred ELO3877
CONTRABASS CLARINET Sonata g minor Eccles B-M/Alfred ELO3877
BASSOON Premier Solo Bourdeau Rubank 884-7
Eb ALTO SAXOPHONE Concerto (begin to 19 & 37 to end) Glazunov Kalmus A5405, solo part only
Bb TENOR SAXOPHONE Sonata in c minor Telemann Rubank 4471910
Eb BARITONE SAXOPHONE Sonatina (movements 1-2) Worley Dorn Publications
Bb TRUMPET Andante -Scherzo Barat Robert King 9921324
HORN IN F Concerto No.2 Mozart Schirmer 50261880
TROMBONE Concerto R. Korsakov International 1583
*BASS TROMBONE Andante (Tuba Version) Tcherepnin MP Belaieff-Bel 223
EUPHONIUM Beautiful Colorado DeLuca CF W2477
TUBA Concertino Frackenpohl Robert King AL28577
TIMPANI Sonata for Timpani Mancini Kendor 13705 (omit M.39, end solo on downbeat of M.117)
MALLETS Autumn Portrait Papador House Panther Press
BATTERY PERCUSSION (snare drum & traps):
SNARE DRUM Portraits in Rhythm (etude No.32) Cirone Belwin/Alfred
TRAPS Etude No.6, page 31 Whaley Meredith/Hal Leonard (Substitue the tambourine for snare drum) Mallet etude No.3, page 20
*PIANO Piano Sonata in F Major K.280 (189e) Mozart G.Henle Verlag HN1
*HARP First Arabesque Debussy, arr.Salzedo Schirmer 45852
* Instruments Will Be Used As Needed.
All Scales Are To Be Played From Memory
2012-2013 All-State High School Orchestra
Solo List
INSTRUMENT TITLE COMPOSER MOVEMENT(S) EDITION
VIOLIN Sonata in D Major, Op. 115 Prokofiev 1st movement Schirmer distributed by Hal Leonard
VIOLA Concerto in D Major Hoffmeister 1st movement International
CELLO Allegro Appasionato Saint Saens All International
BASS Concerto in F Major Capuzzi 1st movement Boosey and Hawkes, ed. by Baines
2012-2013 All-State Intermediate Orchestra
Solo List
INSTRUMENT TITLE COMPOSER MOVEMENT(S) EDITION
VIOLIN Concerto in gm Opus 12, No. 1 RV317 Vivaldi 1st mvt International
VIOLA Sonata in e minor Marcello 1st and 2nd mvts International
CELLO Sonata in C Major Breval 1st mvt International
BASS Caballero John Merle all Carl Fischer
MAY 2012 57 TEMPOTEMPO 56 MAY 2012
President-Andrew [email protected]
It has been a great year for the CJMEA. Congratulations to all of our students and conductors for
outstanding performances at all of our con-certs. Additionally, I would like to thank our executive board for their phenomenal work at all of the concerts and events. These folks work extremely hard to ensure that all of our activities are organized and well-run.
We are always thinking ahead and we are looking for conductors, managers, site locations, hosts, and sectional help for next year’s programs. If you would like to help out, please don’t hesitate to contact one of our division chairs. Please get involved! These programs cannot run without your help!
High School Band-Brian [email protected]
In this edition of TEMPO magazine you will find the solo list for 2012-2013. Being in one of the region or state ensem-bles is a great achievement for your students and brings a lifetime of memories. While in the process of encouraging your students to prepare the materials, consider also that we need your help to carry out our activi-ties. While we all make the effort to work at auditions, there remains a good deal of work once the ensembles are selected. Consider reaching out to a division chair (they all
have brief articles in this section of the mag-azine) and offering your assistance. I have worked with several first-time managers in the past couple of years and all have found it to be musically and personally rewarding.
As always, I would love to hear from you about suggestions for future conduc-tors, ways to improve what we’re offering our bands, or just to say hello. Have a great summer!
High School OrchestraKawika Kahalehoe
[email protected] fellow directors. I hope you are
all looking forward to the summer as much as I am, and I hope your school year has been enjoyable and successful. As of this publication there is nothing new to report, however, some people have expressed con-cerns about the region audition process for strings. Please feel free to reach out to me to express your concerns so that the CJMEA board and I can improve the audition pro-cess for next year. My email address is [email protected]
Intermediate BandCeleste Zazzali and Meg Spatz
[email protected] There’s never a dull moment in Inter-
mediate Band world! After the conclusion of the Intermediate Region Band, the fun continued in preparation for the Elemen-tary Honors Band. The event was held on April 21st at Rahway Middle School and was hosted by Meagen Spatz and Amara Van Wyk. Thirty-five band directors from the re-gion recommended students to participate in the three bands: Red Band conducted by Thomas Kamp; White Band conducted by Yale Snyder; and Blue Band conducted by David Rattner. A special thanks to Su-sanne Hughes and Lyn Lewis for acting as librarians for the event. The day ran very smoothly thanks to the help of all the direc-tors involved. We were able to provide 250 students with a rich and meaningful experi-ence in the Elementary Honors Band.
Michael Bartlett coordinated the El-ementary/Middle School Concert Band & Orchestra Festivals this year. The first two festivals were very successful on April the 18th and 19th at Monroe Township Middle School. Each ensemble had a chance to
perform in a beautiful facility, receive feed-back from the adjudicators, and hear other groups from around the region. We are looking forward to the last festival on May 17th at Freehold Township High School.
Even as it seems like things are winding down for this year, now is the time to get the ball rolling for next year’s events. If you are interested in getting involved – whether it’s by sponsoring students for an honors band, participating in a festival, conducting, man-aging or hosting – please reach out to us at [email protected] or [email protected]. We look forward to working with you again in the future!
Intermediate Orchestra-Penny [email protected]
We had another great concert sea-son for the Intermediate Orchestra groups this year. Thank you to Patty Gonsky for conducting the Symphonic Orchestra and Joann Manhardt for conducting the String Orchestra. Special thanks to Grace Lee and Flora Yousefi for managing the two ensem-bles, respectively. We couldn’t have done it without you!
If you are interested in being part of the CJMEA orchestra groups, please feel free to contact me at [email protected].
Percussion- Yale [email protected]
It has been an exciting few months in Region II percussion. Several Region II per-cussion ensembles were represented at the Randolph Percussion Ensemble Festival on March 1st, which included live comments from Jonathan Haas, Professor of Percus-sion at NYU. In addition, our Region II Intermediate Percussion Ensemble, now in its 5th year, was another huge success, hav-ing their concert on March 11th. I want to extend my thanks and gratitude to Kenneth Piascik of the New Jersey Youth Symphony for leading the ensemble and for being a fantastic guest conductor. This has been our finest year yet and we are looking at an even better year to follow. I am still looking for managers for both the High School and Intermediate Percussion Ensembles for next year. If you are interested in managing one of these groups please email me at [email protected].
Ro
und The Regions
CJMEACentral Jersey
Music Educators Associationcjmea.org
Michael A. Kallimanis, President
Now that most of our student pro-grams have taken place, teachers, this one is for you! We are hold-
ing our annual General Membership meet-ing this year on Wednesday, May 9, 2012 at Parsippany Hills HS. This is a change from the original date of April 30. We are also changing the format somewhat, coupling the complimentary buffet dinner meeting and board elections with the second annual Faculty Showcase concert. As a presiden-tial project by our previous president, Pete Pettinelli put together a band and chorus made up of Region I teachers for the pur-pose of creating an informational video for school administrators through the display of our talents in a performance. We were playing for the cameras then – this year we are planning to invite music parent groups, students, principals, superintendents and school board members – and make a pro-duction video as well! Hope to see you May 9, 6:00 PM dinner meeting, 7:30 PM con-cert at Parsippany Hills HS, 20 Rita Drive, Parsippany.
As the school year and Region calendar winds down, I would like to take a moment to thank the members of the Region I Board for their time and expertise in handling the many different programs of the NJSMA. Further, a big “Thank You” goes out to the many teachers who give of their time in as-sisting with Region activities for the benefit of students from all schools. Have a great summer! --MK
Band DivisionMatthew Spatz, Division Chair
Greg Mulford and Tim Rausenberger, Division Co-Chairs.
The North Jersey Band Division has had an exciting year. We have had two wonderful All-North Jersey concerts fea-turing four fantastic bands from students in Grades 7-12. The high school and ju-nior high school concert band festivals continue to be annual celebrations of the education through ensemble performance.
Our second annual High School Chamber Ensemble concert was a huge success with 40 of the top woodwind, brass and percus-sion students performing a superb concert of chamber repertoire at William Paterson University. We would like to thank every-one at William Paterson for their wonderful hospitality, especially Carol Frierson-Camp-bell, Music Department Chair and J. Craig Davis, Director of Bands.
Our first Elementary Honors Band Fes-tival will take place Saturday, May 5, 2012 at Columbia High School, Maplewood. Over 250 5th and 6th Grade students will perform in three ensembles. Fifty sponsor-ing directors will help run the one-day fes-tival concluding with the concert at 2 PM.
These successful region events do not happen by themselves. It takes many indi-viduals and school districts working in co-operation to make region events work. We would like to thank all those involved in planning and executing these events. Any-one interested in conducting any region en-semble should visit our region website and complete an application. If you would like to get involved as a host, manager, or assist in any way, please contact Matthew, Greg or Tim. We look forward to working with you again next year!
Choral DivisionShawn Michael Condon and Viraj Lal,
Choral Division Co-ChairsGreetings from the Choral Division
and Congratulations to all the students who participated in Honor Choirs this year! Both concerts were wonderful and there are a lot of acknowledgements that need to be made. We also extend our hearty thanks, for their hard work and expertise to our conductors: HS Women’s Choir - Lisa Graham, Welles-ley College; HS Mixed Choir - Steven Bell, Teaneck HS; Junior HS Treble Choir - San-dra Babb, Queens College; and Junior HS Mixed Choir - Jamie Bunce, Columbia HS.
First, we’d like to thank all the teach-ers who sponsored students to audition and their parents for supporting music educa-tion in your school. Second, we’d like to thank the host schools and teachers: Charles Linnell, Kinnelon HS; Barbara Klemp, Chatham HS; Lyle Leeson, Secaucus HS; George Glock, Memorial MS, Fair Lawn; Donna Girvan, Tenafly MS; and Pete Pet-
tinelli, Brooklawn MS who co-hosted with Linda Clark at Parsippany Hills HS. And last, but certainly not least, the dedicated managers and accompanists who provide so much support to our organization. Please check our website for information regard-ing the upcoming Junior High School & Elementary Choral Festivals.
Orchestra DivisionWendy Campbell and Nate Lienhard,
Division Co-ChairsHelen Cha-Pyo, from the Empire State
Youth Symphony, was the guest conductor of the All-North Jersey Junior HS Orches-tra. The ensemble performed an exhilarating program featuring Overture to the Marriage of Figaro - Mozart; Carmen Suite – Bizet; Suite for String Orchestra – Corelli; and Fi-nale from the New World Symphony – Dvor-ak. Kim Chiesa, string instructor at Ferndale Elementary School, Randolph Township and manager of the Orchestra, opened the performance with the Star Spangled Banner. Thank you to our rehearsal site hosts, Todd Urban, Eisenhower MS, Wyckoff, and Alex Soares, West Essex MS, which was also the concert site. Thank you to all the sectional coaches who dedicated their time to make this event a success: Strings - Valeria Toth, Samantha Tomblin, Jack Rosenberg, Lanny Paykin, Jason DePope; Brass - Amy Eme-lianoff and Scott Chamberlain; Woodwinds - Harry Searing; Percussion - Pete Abazia.
New this year is the Junior HS Region Orchestra Festival, set to take place May 9th at Randolph MS, Sherry Griggs, host. The annual HS Region Orchestra Festi-val will run on May 26 at Millburn HS, Karen Conrad, host. Registered schools include: Nutley HS, Andrew Macirowski, director; Millburn HS, Karen Conrad; Ramapo Ridge Middle School, Mahwah, Wendy Campbell; Maplewood MS, Jenni-fer Dodge; West Orange HS, Elena Peres; Livingston HS, Nancy Ciminnisi; South Orange and Maplewood Middle Schools, Bill Cook.
If you would like to find out more about hosting a site, conducting a group, or becoming more involved in the Region ex-perience, please e-mail Wendy or Nate.
continued on next page
NJSMANorth Jersey
School Music Associationnjsma.com
MAY 2012 59 TEMPOTEMPO 58 MAY 2012
Congratulations to all who were involved with the 35th Annual All South Jersey Junior High
School Band Concert. The performances were outstanding. The conductors this year were Joe Akinskas (Cherry Hill School District ret.) and L. Bruce Smith (Home School Director). Both of these gentlemen conducted the inaugural All South Jersey Ju-nior High Band Concert 35 years ago. Sue Mark (Rosa International MS) and Wendy Stocker (Paulsboro HS) provided excellent assistance as managers for these ensembles.
This concert would not be possible without the commitment and dedication of our colleagues. Glenn Motson (Gloucester City High School), our Junior High Band Coordinator, was responsible for organiz-ing a wonderful event that our students will cherish for many years. Special thanks to Keith Hodgson and Derek Rohaly (Main-land Regional High School) and Rick Dam-mers (Rowan University) who offered their facilities for the rehearsals and the perfor-mance. We would also like to acknowledge Karyn Park (Williamstown Middle School) for her role as percussion equipment man-ager for all of our performing ensembles.
Our 19th Annual High School Concert Band Festival showcased 12 ensembles this year. The performances by these groups are evidence of the many excellent instrumen-tal music programs in South Jersey. Our festival coordinator was Mike Armstrong (Deptford HS) and Rick Dammers (Rowan University) was our host. Tony Scardino (Indian Mills MS), Phil Senseney (Southern Regional), and Ben Fong (Reeds Road ES) assisted in creating a positive experience for all of the participants.
David Fox (Bowe Elementary School), Christine Moritz (Cherry Hill Public Schools) and William Trimble (Wenonah Elementary School) are finalizing arrange-ments for the 20th Annual Elementary Hon-ors Band Festival which will be hosted by Cheryl Breitzman at Absegami High School on Saturday, May 5th. Our conductors this year will be Judy Tabit (Lanoke Harbor El-ementary School), Ed Cook (Cinnaminson Middle School) and Ken Schultz (Rossi In-
termediate School). The managers for the festival are Rebecca Allen (Petway Elemen-tary School), Brian Bacon (Cinnaminson Middle School), and Rich Beckman (Sharpe Elementary School).
Our Spring Meeting will be held on Wednesday, May 30th at “Seven Star Diner” beginning at 9:00 AM. Please call 609-457-0590 and let John Stanz know if you are able to attend. Please continue to check the website, maintained by Scott McCarron (Delsea Regional High School), for the lat-est SJBODA updates. www.sjboda.org
Joseph Jacobs
Secretary, SJBODA
The South Jersey Choral Direc-tors Association (SJCDA) is winding down an extremely
busy, but exciting and rewarding year. Many thanks to Beth Wymer for the out-standing presentation “The Music Therapy Experience” at the annual Spring Breakfast Meeting on April 27th. Her presentation will certainly have a deep impact on all who attended.
Conductors for the 2013 Senior High Chorus and Junior High Chorus have been selected. Kahlil Gunther (Woodstown High School) will conduct the 2013 Senior High Chorus, and Pamela Barnes (Egg Harbor Twp High School) will conduct the Junior High Chorus. Watch our website, www.sjc-da.net, for details on who our Elementary Festival Chorus Conductor will be!
Have a restful summer!Art McKenzie, President
South Jersey Choral Directors AssociationOverbrook High School
&
SJCDASouth Jersey
Choral Directors Associationsjcda.net
SJBODASouth Jersey Band And
Orchestra Directors Associationsjboda.org
Evelyn Deats Starke Hartmann Evelyn “Eve” Deats Starke Hartmann
died peacefully at 3:30 p.m. on Saturday, Jan. 21, 2012. Eve was born Jan. 3, 1910, in her house in Middletown, N.J., and died in that same house. Eve lived all 102 years, 15 days in the same house. Eve’s mother, Sarah Morford Taylor Starke, lived to 97 and Sar-ah’s two sisters, Eva and Elizabeth, lived to 98 and 99 respectively. . Eve took her New York University degree and began teaching
music in the Hawthorne, N.J., schools start-ing in the 1st, 2nd and 3rd grades in 1935. She conducted the orchestra, later went to the high school, and finally became head of the music department. She took choirs to New York City and Washington, D.C. Eve retired in 1971. Eve’s mother, Sarah, started playing the Old First Church pipe organ in 1888 and Eve started playing after Sarah retired in 1938. Eve played until she broke her hip in 2008. Eve and Sarah played con-tinuously for 120 years. They also directed the choir. Old First Church was formerly called the Middletown Baptist Church,
which is the second oldest Baptist Church in the U.S. Eve talked Radio City Music Hall into donating their old pipe organ to her church in the 1940s and later led in obtaining the current pipe organ. Eve and her husband, George, enjoyed boating and fishing and took their Sea Bright-anchored boat out often. In retirement, Eve enjoyed traveling, reading crosswords, Ocean Grove, N.J., organ recitals, and traveling the coastal highway from Atlantic Highlands to Asbury Park, N.J.
IN MEMORIAMThis 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.
If you know of the passing of any music educator, please contact:Christine Sezer at 570-756-2961or [email protected]
(Please send obituary notices from your local newspaper concerning music teachers from New Jersey who have passed away. It is not possible to keep track of all the newspapers in the state and your help is needed.)
GraduateSummer Sessions
for Music EducatorsJune 18 - July 27, 2012
Villanova, Pennsylvaniain association with
Our low tuition of $800 includes materials, all fees, and 3 graduate credits. Located in suburban Philadelphia, Villanova is convenient to all transportation. Affordable housing and meals are available on campus. To learn more about this course and 30 others please visit music.villanova.edu or contact the Director of Summer Music Studies George Pinchock,at [email protected]
El Sistema in ActionJuly 23 - 27, 2012
Participate in an immersive learning environment by leading group lessons and rehearsals from chamber ensembles, string orchestras, wind ensembles, and the Play On, Philly! Symphony Orchestra in preparation for the final concert of the POP season at Villanova." Founded in 1975 by the social activist and musician Jose Antonio Abreu, the El Sistema program has been widely cited for rescuing youth from violence, drugs, and poverty. Led by Stanford Thompson, staff and students of Play On Philly, a Philadelphia based El Sistema program, the principals and practices of the lauded program will be explored and explained. This course might just be the answer for your String Program.
Education for LifeMusic
www.nafme.org
Join NAfME Today!
MAY 2012 61 TEMPOTEMPO 60 MAY 2012
President, Keith HodgsonMainland Regional [email protected]
Past-President, William McDevittVineland High [email protected] x2539
President-Elect, Joseph JacobsVentnor Middle [email protected]
Executive Secretary-TreasurerDeborah SfragaOcean Township [email protected]
Communications (TEMPO/Web)Thomas A. Mosher, [email protected]
NJSMAPresident, Michael KallimanisWaldwick Middle [email protected] 201-370-0423
CJMEAPresident, Andrew VeissSo. Plainfield Middle [email protected] x378
SJCDAPresident, Art McKenzieOverbrook High [email protected] 856-767-8000 x3044
SJBODAPresident, John StanzEastern Regional High [email protected]
AdministrationRonald [email protected]
AdvocacyNick [email protected]
Band Festivals/Classroom MusicNancy ClasenThomas Jefferson Middle [email protected]
Band PerformanceAlbert BazzelWinslow Twp. Middle [email protected]
Choral FestivalsViraj LalNewark [email protected] x238
Chorus PerformanceKathy SpadafinoEast Brunswick High [email protected]
Chorus/Orchestra/JazzJoseph CantaffaHowell High [email protected]
Collegiate ChaptersShannon ChaseRutgers [email protected]
ConferencesMarie MalaraSayreville Middle [email protected]
Corporate DevelopmentRobert [email protected]
Higher EducationLarry DePasqualeRowan [email protected]
Music IndustryRon BeaudoinMusic & Arts [email protected]
Opera FestivalStevie RawlingsParamus High [email protected] x3069
Orchestra Festivals/PerformanceSusan MeuseHammarskjold Middle [email protected]
Retired Music EducatorsChristine [email protected]
Urban Music InitiativeSuzanne M. KaneWest Side High [email protected],nj.us
NJMEA 2011-2012 Board of Directors
Executive Board Appointed Members
Region Executive Members
NJMEA RESOURCE PERSONNELArea of Responsibility Name Email AddressAdministrative Matters .....................................................Keith W. Hodgson ....................................................keithhodgson1@mac.comAll-State Band Coordinator ...............................................Donna Cardaneo .......................................................... [email protected] Chorus, Orchestra & Jazz Coordinator ................. Joseph Cantaffa ................................................. [email protected] COJ Committee ...................................................... Dick Smith ......................................................... [email protected] COJ Committee ......................................................Jack Roland ........................................................ [email protected] Business ........................................................... Deborah Sfraga ............................................................debnjmea@aol.comBand Procedures Chair ........................................................Matthew Spatz ..............................................matthew.spatz@millburn.orgChoral Procedures Chair .................................................. Kathleen Spadafino ............................................................kspadeb@aol.comCollegiate Student Volunteer Coordinator ............................Michael Saias ...........................................................saiasm@hotmail.com Composition Contest ........................................................Robert Frampton ..................................................rtframpton@comcast.netJazz Procedures Chair ............................................................ Jeff Kunkel .............................................................drkunk@comcast.netMarching Band Festival Chair ............................................. Nancy Clasen .................................................... [email protected] ....................................................................... Deborah Sfraga ............................................................debnjmea@aol.comMiddle/Jr. High School Band Festival .................................... Chris Pinto ...................................................... [email protected]/Jr. High School Choral Festival ............................ Larry De Pasquale .................................................... [email protected] .............................................................................. Nancy Clasen .................................................... [email protected] Historian ................................................................Nick Santoro ............................................................nb1331@quixnet.netNJMEA Solo & Ensemble Festival ...................................... Nancy Clasen ..................................................... [email protected] State Conference Exhibits Chair ............................ Nancy Clasen ..................................................... [email protected] Society for General Music .............................................. Nancy Clasen .................................................... [email protected] State Conference Committee .................................Ron Beaudoin .................................................rbeaudoin@musicarts.comNJMEA State Conference Manager ......................................Marie Malara ............................................................ [email protected]/ACDA Honor Choirs ........................................... Deborah Mello ................................................................dmello@nac.netNJMEA Summer Conference .............................................Joseph Akinskas............................................. [email protected] Convention-NJEA .............................................. Nancy Clasen ................................................... [email protected] Festival Chair ........................................................... Stevie Rawlings ............................................... [email protected] Procedures Chair .................................................. Susan Meuse ..................................................... [email protected] ......................................................................Carol Frierson-Campbell ................................... [email protected] with Special Needs ...............................................Maureen Butler ........................................................mbutler@mtlakes.orgSupervisor of Performing Groups ............................................ Joe Jacobs ................................................................jjacobs@veccnj.orgTri-M.................................................................................. Keith Hodgson .................................................keithhodgson1@mac.com
REPRESENTATIVES/LIAISONSTO AFFILIATED, ASSOCIATED AND RELATED ORGANIZATIONS
American Choral Directors Association ................................... Viraj Lal ..................................................................vlal@newarka.eduGovernor’s Awards for Arts Education ..................................................................................................................................................NJ Association for Jazz Education .......................................... Jeff Kunkel ........................................................... [email protected] .............................................................................. Keith Hodgson .................................................keithhodgson1@mac.comMusic Industry ....................................................................Ron Beaudoin .................................................rbeaudoin@musicarts.comNJ Music Administrators Association .....................................Ron Dolce .............................................................. [email protected] Retired Music Educators Association ............................. Christine Sezer ......................................................... [email protected] TI:ME ........................................................................... Rick Dammers ....................................................... [email protected] Arts Society ........................................................ Dominic Zarro ...................................................DEZarro@optonline.net
COMMUNICATION SERVICES/PUBLIC RELATIONS
Executive Secretary-Treasurer .............................................. Deborah Sfraga .......................................................... [email protected] - TEMPO Magazine ............................................. Thomas A. Mosher .......................................................tmosher@njmea.orgWeb Master (njmea.org) .................................................. Thomas A. Mosher .......................................................tmosher@njmea.org
MAY 2012 63 TEMPOTEMPO 62 MAY 2012
1924 - 1926 Josephine Duke1926 - 1930 R.W. Laslett Smith1930 - Jay W. Fay1930 - 1931 Wilbert B. Hitchner1931 - 1933 Thomas Wilson1933 - 1935 John H. Jaquish1935 - 1936 Clifford Demarest1936 - 1938 Mable E. Bray1938 - 1939 Paul H. Oliver1939 - 1941 K. Elizabeth Ingles1941 - 1942 Arthur E. Ward1942 - 1944 John T. Nicholson1944 - 1945 Frances Allan-Allen1945 - 1947 Philip Gordon1947 - 1949 Violet Johnson1949 - 1951 Samuel W. Peck
1951 - 1953 Janet G. Gleason1953 - 1955 Henry Zimmerman1955 - 1957 Agnes B. Gordown1957 - 1959 Leroy B. Lenox1959 - 1961 Elizabeth R. Wood1961 - 1963 Harold A. Brown1963 - 1965 E. Brock Griffith1965 - 1967 Robert C. Heath1967 - 1969 Edward Brown1969 - 1971 Rudolph Kreutzer1971 - 1973 Charles Wertman1973 - 1975 Stephen M. Clarke1975 - 1977 Herman L. Dash1977 - 1979 Buddy S. Ajalat1979 - 1981 Alyn J. Heim1981 - 1983 Robert Marince
1983 - 1985 Anthony Guerere1985 - 1987 Joan Policastro1987 - 1989 Joseph Mello1989 - 1991 Dorian Parreott1991 - 1993 David S. Jones1993 - 1995 Anthony Guerere1995 - 1997 Sharon Strack1997 - 1999 Chic Hansen1999 - 2001 Joseph Mello2001 - 2003 Nicholas Santoro2003 - 2005 Frank Phillips2005 - 2007 Joseph Akinskas2007 - 2009 Robert Frampton2009 - 2011 William McDevitt
NJMEA Past Presidents
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