2016 march tempo

M A R C H 2 0 1 6

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

The Official Magazine of the New Jersey Music Educators Association

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Volume 70, No. 3 http://www.njmea.org MARCH 2016

20 Getting Schooled In The Feierabend Fundamentals, Missy Strong 26 JamHub Provides 2nd & 3rd Grade Students With Opportunities To Create And

Improvise On iPad Instruments At Young Composers Night, Daniel Beal 32 Getting Your Rhythm Section To Swing, Ronald E. Kearns 34 Teaching Today, Joseph Pergola 36 What Instruments Should Be In A Band?, William L. Berz 40 Celebrate Music In Our Schools Month®, Amy Burns 42 A Modern Exploration Of Gender Stereotypes In The Selection Of Muic Teacher

Applicants, Andrew Lesser 46 Empowering The Musician In Your Classroom, Thomas Amoriello & Mathhew S. Ablan 52 Effective Practicing With G.F.R., Dan Halpern

Advertisers Index & Web Addresses ......63Board of Directors ................................60Division Chair News ......................... 6-18Editorial Policy & Advertising Rates .....62From The Editor .....................................4In Memoriam ................................. 58-59Past-Presidents ......................................62President’s Message ............................. 2-3Resource Personnel ...............................61Round the Regions ......................... 54-57

FEATURES DEPARTMENTS AND NJMEA BUSINESS

FORMS AND APPLICATIONSSee NJMEA.ORG

“Forms and Documents”for downloadable

copies of all forms & applications

TEMPO Editor - Thomas A. Mosher80 Jumping Brook Drive, Lakewood, NJ 08701

Phone: 732-367-7194Fax: 732-367-7195

e-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

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[email protected]

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 70, No. 3, MARCH 2016TEMPO 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

National In-Service Conference

November 10-13, 2016Grapevine, Texas

NAfME Biennial Eastern Division Conference

April 5-8, 2017Atlantic City, NJ

NAfME Membership ............................64

ATTENTION MEMBERS:Please go to nafme.org to record email and address changes.

TEMPO 2 MARCH 2016

At the time of this writ-ing, I am sitting at home watching the snow fall

during the “Blizzard of 2016”. Twenty years ago, I was doing the same thing, but it was when the South Jersey Orchestra Concert was supposed to be happening. I learned a long time ago that there are certain things that you cannot control, one of which is the weather. As a march-ing band director, this concept is difficult to understand, but I take a deep breath and make decisions based on the information that is available at the time. This happened with our All-State Band Auditions, as you will see below.

Also, at the time of this writing, we are quickly approaching our an-nual NJMEA Conference and our February All-State activities. These events come at a perfect time to re-vitalize our minds for that push to the end of the year. We eagerly an-ticipate the annual Music in Our Schools Month and the activities that occur in each of our schools to celebrate the fact that music has been taught in public schools since Lowell Mason introduced the sub-ject in Boston in 1838! We are also preparing to host the 2017 Eastern Division Conference and All-East-

ern Ensembles. There is so much happening that it is difficult to know where to begin.

FEBRUARY CONFERENCE

I would like to thank Marie Ma-lara and her staff for putting together another excellent conference. Over the years, Marie and her committee have noticed the trends and changed to fit those trends. The planning for next year’s conference always begins on the last evening of the current year’s conference. After the All-State concert, a dozen people get together and discuss what problems were en-countered and what worked flaw-lessly and begin to map out the plans for the next year. Thanks go out to Debbie Sfraga and Nancy Clasen for their work putting together the exhibits. I would also like to thank Debbie for her work registering this year’s attendees. By now, everyone knows that we have implemented a new registration process. Regis-trations for everything will now go through NAfME. At the time of this writing, we are expecting a slight learning curve at the check-in desk at the conference, but it will become a procedure that we will follow for the future.

I would also like to thank Tom Mosher for preparing the confer-ence booklet. This smaller booklet along with Guidebook, is bringing our NJMEA Conference up-to-date. There are so many people that come together to make the conference a success. I truly appreciate the work of every volunteer on this project.

FEBRUARY ALL-STATE

Despite some weather-related changes, 2016 All-State Wind En-semble, Symphonic Band, and Tre-ble Chorus was another successful February endeavor. Under the lead-ership of Band Performance Chair Al Bazzel and Choral Performance Chair Kathy Spadafino, nearly 400 students rehearsed at Rutgers Uni-versity and performed at the New Jersey Performing Arts Center in Newark. Once again, the weekend experience was well coordinated by Donna Cardaneo, who scheduled housing, buses, meals and rehearsals. I would like to thank both commit-tees for making sure that the students had both an educationally and musi-cally rewarding experience. It’s also important to thank the music teach-ers that prepared the students, par-ticipated in auditions and rehears-als, and chaperoned the students in New Brunswick.

president’s messageWILLIAM McDEVITT

856-794-6800 [email protected]

Website: http://www.njmea.org

MARCH 2016 3 TEMPO

As I alluded to earlier, sometimes the weather alters our plans. With the “Blizzard of 2016” an imminent threat, the All-State Band Commit-tee made the decision to postpone auditions. While some people think that this is a simple decision, there are many facets to the decision. The simple answer is to make the deci-sion in the best interest of the stu-dents, parents, and teachers. The difficult aspect is where and when to hold the auditions and how to coor-dinate a program, that normally has 4 weeks to prepare, in two weeks. Over the past few years, this com-mittee has had to make changes in their normal routine and always pro-duced excellent ensembles.

EASTERN DIVISION CONFER-ENCE

Plans are well under way for the 2017 Eastern Division Conference in Atlantic City. The conference will be held from April 5th through April

8th. Because we are hosting, this will replace our normal February Con-ference. While we are continuing the planning process, you can keep up-dated by visiting the website www.menc-eastern.org often. It will be updated as we continue to plan. Ma-rie Malara will be our Conference Chair, Keith Hodgson will be our Band/Orchestra/Chorus/Jazz Coor-dinator, Debbie Sfraga will be our Conference Manager, and Nancy Clasen will be our Exhibits Chair. I have every confidence in the world with these chairs and know that it is going to be an amazing conference.

ADVOCACY

Since our last publication, the US Congress has passed, and Presi-dent Obama has signed the “Every Student Succeeds Act” (ESSA). This legislation replaces “No Child Left Behind”. By now, everyone has been informed that Music is listed as a stand-alone subject in a well-round-

ed eucation. Visit the NAfME web-site for update on how this legislation can be used to help your situation: http://www.nafme.org/wp-content/files/2015/11/ESSA-Implementa-tion-and-Music-Education-Oppor-tunities-Abound-FINAL.pdf

We are currently in the process of revising the NJCCCS. There are 7 excellent representatives from our membership on the committee. As information is released, we will be notifying our membership.

Until the next issue, keep warm, keep the snow shovel close by and look forward to Spring Break!

Bill McDevitt

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TEMPO 4 MARCH 2016

TEMPO Magazine is one of the best Music Educator Journals in

the country thanks to the many people who contribute their efforts to our magazine. Amy Burns has secured two new authors for this issue: Missy Strong & Daniel Beal. They are helping to continue our efforts to provide more helpful information to our elementary music teachers. We have “outsiders” such as Joseph Pergola and Ronald E. Kearns who have been assisting me by providing excel-lent, timely articles to use as needed.

The articles which Bill Berz from Rutgers University has been providing for many years concerning band, and those by Tom McCauley from Montclair State University have been extremely educational.

There are several talented NJMEA Board members who have been writing as well. Nick Santoro has been writing or providing articles on “Music Advocacy” and keeps us informed with articles in TEMPO Express. Amy Burns writes many well informed articles about “Early Childhood Music” and Maureen Butles writes about “Special Learners”: two areas in which we are sorely in need of more information. Marj LoPresti is new to our board and is keeping us up-to-date with her articles about “Music Technology.” Tom Amoriello is another board member who is trying very hard to educate us all about using guitars in the classroom. This is also an area of mu-sic education which has not been properly addressed in the past, and Tom is quickly taking the reins concerning that subject.

If I start naming all of our contributors, I am sure to miss someone, but please read all of the articles we print and be sure to send your thoughts to those who are mak-

ing the effort to write. Without them, TEMPO could not exist.

Do you have something to say? Then don’t be afraid to write down your thoughts and email them to me. All of you are well educated music teachers who are bound to be “expert” in some area or have thoughts about how to do something well. The tendency is to say “I am not a good writer.” What you really mean is that you do not write often, but you do write lesson plans and many oth-er things as required in your school. You just need time to sit down and think about what to say and then do it! For more information, go our website (njmea.org) and look for the Submission Guidelines under the TEMPO pull-down menu. We will fix any spelling or grammatical errors.

Thank You To Our TEMPO Contributors

Editor’s MessageThomas A. Mosher

[email protected]

Website: http://www.njmea.org

SAVE THE DATE

MARCH 2016 5 TEMPO

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TEMPO 6 MARCH 2016

Administration Ronald P. Dolce732-574-0846

[email protected]

By the time that you read this article spring will be just around the corner and the weather will be getting warmer. Most of our districts will be preparing for their spring concerts and travel plans to various festivals and competitions. The members of the New Jersey Music Administrators Association’s Executive Committee and Board of Directors continue to prepare for the upcoming workshops for its members. We have had three workshops so far with varied subjects including arts and the common core, recruitment and retention and interviewing techniques.

Our most recent was held on February 5, 2016. The workshop, “Building a Dream Team: Interviewing Tech-niques”, was presented by Peter Griffin, Supervisor of Music for the Hopewell Valley School District. The workshop presented a positive practice for selecting the best candidate for your posted position. This workshop also gave our members an opportunity to share with others how they interview candidates for positons in their school district.

In February, several members of the NJMAA presented at the annual NJMEA Conference at the Hilton Hotel on East Brunswick. The workshops were designed to help the administrator, new teachers and music education students from our colleges. Joe Akinskas, adjunct professor from Cumberland County College and Rowan University presented a workshop entitled, “Teacher Preparation- The Collaboration” and also facilitated the NJMAA Collegiate Academy Wrap Roundtable. Peter Griffin, Music Supervisor from the Hopewell Valley School District presented, “Nail Down that Job! Strategies for Interview Success”. Robert Pispecky, Supervisor of Music from the Edison Public Schools pre-sented, “Transitioning from Music Student to Music Teacher”. Dennis Argul, Supervisor of Music from the Elizabeth Public Schools with Marissa Silverman from Montclair State University, presented, “ Building, Creating and Sustain-ing Community for Urban Music Education”. Our presentations have always been well received and we are happy to continue to contribute to the Collegiate Academy at the conference.

On Friday, February 19th at 8:30 a.m., The NJMAA held their Annual Welcome Breakfast hosted by our Presi-dent, Robert Pispecky from the Edison Public Schools and President- Elect, Thomas Weber Supervisor of Music from the Egg Harbor School District. This is an informal breakfast that allows the members to meet and greet. This year, our guess speaker was Jim Frankel from Music First. A brief presentation was made as a prelude to our June meeting.

Our next general membership meeting will be on Friday, April 8th at the Rutgers Club on the campus of Rutgers University in New Brunswick. The meeting begins at 9:00 a.m. with hospitality at 8:30 a.m. The topic of the meeting is “College Connection.” The facilitator is Joe Akinskas.

The NJMAA continues to reach out to music supervisors, program directors and administrators that are respon-sible for the music education of the students in their district. Pass along to them our website, njmaa.org so that they can become familiar with us and perhaps become a member of the association.

continued on page 8

THE NEW JERSEY MUSIC EDUCATORS ASSOCIATION

a federated state association of NATIONAL ASSOCIATION for MUSIC EDUCATION

News From Our Division Chairs

MARCH 2016 7 TEMPO

TEMPO 8 MARCH 2016

Band PerformanceAl Bazzel


Congratulations to all involved with this year’s All State Band process, culminating with the concert at NJPAC on Saturday, February

21st. Special thanks to our conductors, Allan McMurray and Matthew Roeder, the entire band procedures committee, coordinators, manag-ers, hosts, and band directors throughout the state. Your students did a wonderful job! Please note the 2016-17 solo list will be published in the May 2016 issue of TEMPO. On behalf of the entire committee, I hope you have a successful spring performance season at your respective schools.

Choral PerformanceKathleen Spadafino

[email protected]

Now you’re in the hardest part of the year, but hang on! Soon the musical, the trip, the spring concert and the All-State auditions will be over and you can look forward to summer. But not yet! I want to thank you for taking the time to keep up with Choral activities in New Jersey. I also want to thank you for the time you took in coaching a senior for their college auditions, helping a newly aware young singer realize their great gift, and for making that school musical a triumph for all involved. Many pats on the back and “bravos” for you!

I saw many of you at the NJMEA convention in February. It was great sharing ideas and celebrating our colleagues who presented and performed. We also had a great time at the Eastern ACDA convention in Boston. Those performances were amazing! If you’re not already a member, check the NJ ACDA chapter at: www.njacda.com.

Speaking of great performances, our All-State Treble Chorus performed brilliantly, conducted with great energy by Michael Seman-cik. Many thanks to our dedicated managers, Joe Cantaffa and Jennifer Alagna; plus all the chaperones who worked together to make this experience fun and musically uplifting. Also thanks to Donna Cardaneo, who expertly organized our housing, meals and transportation.

It’s time to start thinking about next year. Your Choral Procedures Committee is hard at work preparing for this year’s auditions on April 9th and April 16th. Please keep checking our website and your emails for ALL information and updates. Please practice with the tonal mem-ory examples shared on the website. You will be hearing soon from our audition chairs, Michael Schmidt and Cheryl Breitzman to confirm your registration information and audition times. If you have any questions, email me at [email protected]. There are no stupid questions!! I cannot stress enough the importance of having even one of your students participate in All-State Chorus! They will bring a whole new level of excellence to every part of your program. Bravo to all of you for your incredible work ethic, and I look forward to seeing you at auditions!

continued on page 10




MARCH 2016 9 TEMPO

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TEMPO 10 MARCH 2016

Early Childhood EducationAmy Burns

[email protected]

I hope that you all enjoyed the recent NJMEA conference this past February. One of the reasons I love attending our state conference is because it rejuvenates me. I adore listening to and learning from other music educators and seeing how they are enhancing their teaching tech-niques in their elementary and early childhood music classrooms. That is why I am so passionate about having webinars for elementary music educators to easily access at any time of the day, from the convenience of their classroom or their own home. For the months of September and October, I gave a webinar about the “10 Organizational Apps for Elementary Music Educators.” For the months of November and December, Jenny Amaya from MusicFirst (musicfirst.com) gave a webinar about their elementary cloud-based music programs. For the months of January and February, Catie Dwinal from Quaver Music (www.quavermusic.com) gave a webinar about their curriculum. In addition, Daniel Beal, elementary music educator from Lawrenceville Elementary School, gave a webinar about iPads and Jamhub. This month, elementary educa-tors can access a webinar about Silver Burdett’s program: “Online Learning Exchange™ Interactive Music” powered by Silver Burdett. There are more webinars coming, so please keep an eye out for announcements on the NJMEA Facebook page and TEMPO Express. If you would like access to a previous webinar, please contact me.

Finally, in the January TEMPO article titled, “Amazing Day at the NJSMA’s John Feierabend Workshop,” John’s name was misspelled in the title and in the article. When I wrote the article, I worked diligently at making sure to spell his name correctly and had one of the organizers of the event proof it for me. However, during the process of publishing, I did not cross check the spelling of his name and I take responsibility for the errors. My deepest apologies to John Feierabend, as he is a great music educator and his publications are exceptional and staples to those who teach music.

Guitar EducationThomas Amoriello

[email protected]

Please spread the word and mark your calendars for April 16, 2016 as this will be the NJMEA Guitar Festival at The College of New Jersey in Ewing, NJ which will feature the chosen students as well as featured guest artist for performance and master class with the Atlantic Guitar Quartet.We need to have student and teacher participation on many levels. Please consider volunteering your time to help as an adjudicator, sectional coach, and other festival duties. Otherwise this will be unsuccessful! Please feel free to share any classroom guitar news with [email protected]





MARCH 2016 11 TEMPO

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TEMPO 12 MARCH 2016

Guitar Events for March/April

Sunday, March 13, 2016 - 3:00 pm Settlement Music School, 416 Queen St. (free parking)

General: $25; Student/Senior: $15; Member:$10

Over the last decade, guitarist Emma Rush has established herself as one of Canada’s top classical guitarists. Emma Rush is based in Hamilton where she is on the faculty at Mohawk College and Redeemer University College. She performs throughout North America and Europe and appears regularly as a performer and teacher at international music festivals (Iserlohn, Acadia, Great Lakes). In 2011 she was a top prize winner at the Columbus State International Guitar Competition and the Great Lakes International Guitar Com-petition.

Her much anticipated debut album, Folklórica, was re-leased in the summer of 2014. Emma Rush is the founder and artistic director of the “Guitar Hamilton” concert series and the “Hamilton International Guitar Festival.”

Philadelphia Classical Guitar Society Festival FULL DAY FESTIVAL

Sunday, April 10, 2016 10:00 - 7:00 pm Settlement Music School, 416 Queen St.

A full day of events including over 100 student recitals, PCGS competition finals, professional workshops, vendor fair, Antigoni Goni master class, PCGS Orchestra recital, and PCGS 2015 competition winner recital, Alec Holcomb.

NJ Association For Jazz Education Mike Anzuini

609-631-4150 x3412 [email protected]

As we turn our calendar to Spring, NJAJE is busy hosting our annual State Jazz Band Festival. During the second week of March, 48 High School Jazz Bands participate in the weeklong preliminary round of the State Festival. They perform over 5 nights at various schools around the state. Thanks go out to Liberty Middle School, Steinert High School, Cherokee High School, Bridgewater Raritan High School and Jackson Liberty High School for hosting a night of prelims! After the results of the preliminary round are calculated, the top 9 Bands in each division will perform in the Final round on Saturday April 30th. A special thank you to our Membership Chair/Festival Coordinator Jeffrey Lesser for organizing this statewide event.

NJAJE is also sponsoring Jazz Combo Clinics once again! If you have a small jazz group (10 members or less) you can request a clinic with a Jazz Educator from one of the NJ Colleges/Universities local to your area. Don’t miss out on this fabulous opportunity for your students Information can be found on our website www.njaje.org

As always, we are here as your resource for Jazz Education! Feel free to contact any of our Board Members if you have any questions. Keep on Swingin’!





MARCH 2016 13 TEMPO

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TEMPO 14 MARCH 2016

Orchestra PerformanceSusan Meuse


It’s March, so we are once again preparing for the All Sate Orchestra auditions. They will be held on Saturday, March 19th at West Windsor-Plainsboro High School North. Both the high school (ASO) and Intermediate (ASIO) auditions will be taking place at this time. New this year is the NJ Honors Chamber Orchestra (HCO). It is a second high school ensemble made up of string players who are not in ASO. It will take place during the spring, so seniors may audition for this ensemble. I look forward to seeing everyone at March auditions!

Recently we had our 2nd NJMEA Orchestra Festivals. The middle school festival took place on Friday, January 22nd, and the high school festival took place on Friday, February 5th. Both events were small, but successful. I would like to thank Sandra Dackow and Sal Scarpa for adjudicating these events and doing a great job working with the young musicians. It would be great to see even more schools participate next year, so please let me know if you are interested!

February was also the String Academy at the February Conference. Thank you to everyone who participated and made it a success. It would not have happened without the hard work of Betsy Maliszewski and Marie Malara!

At the end of April, the ASIO will begin rehearsing. As I write this, we are in the process of finalizing the conductor and program. Look for more information in the May issue of TEMPO!

Retired Music EducatorsKathleen Spadafino

[email protected]

Congratulations to our two 2016 Master Music Teachers: Amy Burns (Far Hills Country Day School) and Lisa Lepore (Crossroads South Middle School). Our Master Music Teacher Award committee observed these fine teachers last spring. They were presented with their awards at the NJMEA conference in February.

Do you know an NJMEA Music Educator who is truly an outstanding teacher? Help recognize this person by nominating them for the 2017 Master Music Teacher Award. Please note that the application form for this nomination can be found in the January issue of TEMPO and also on the njmea website. The deadline is March 15th, so there still is a little bit of time to get your nomination in!

Our General Membership meeting took place at the NJMEA conference on Friday, February 19th. It was great to see so many of you as we continue to share our friendships and our experiences of how we stay involved in our profession!

Our end of the year General Membership meeting will be held on Wednesday, May 11th at 10:15 a.m., place TBA. I will be sending out a reminder in April, or you can email me for any further information. That includes YOU – anyone who joined our ranks in the middle of the year!

Best wishes for a happy and healthy 2016. Yay, retirement!





MARCH 2016 15 TEMPO

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Special LearnersMaureen Butler973-299-0166

[email protected]

There were wonderful discussions about the special learners at the February convention. It’s inspirational and motivating to see how mu-sic teachers throughout our state are seeking ways to include students with disabilities in their classes – while juggling all the other demands of their jobs! As we know, this can be a challenging but highly rewarding endeavor.

Looking ahead to the NJMEA Summer Session, which will be held at TCNJ on Tuesday, August 2nd, the schedule of workshops is cur-rently being planned. If you have any ideas for special education topics that you’d like to see addressed, please send them to me. Also, if you have questions or concerns about the students you now teach, you can reach me by email at the above address.

Summer WorkshopJoe Akinskas

[email protected] Workshop Coordinator

Summer Workshop IX

I am pleased to announce that Summer Workshop IX will take place on Tuesday, August 2, 2016, from 8:00-5:30 pm. All activities will take place in the Music Building on the College of New Jersey campus in Ewing.

Below you will find our session topic roster at this early stage of planning. All sessions are designed to be interactive, in a relaxed sum-mer setting, so come prepared to utilize your voice, instrument, I-devices, and musical skills, in activities designed to be brought back to your classroom.

Presenters needed: Although we are well on our way regarding sessions, we are still open to proposals from the membership. Please complete and return the presenter request form on the Summer workshop homepage, or via email to: [email protected] or [email protected] , on or before April 4, 2016.

We look forward to another enjoyable and productive day for all in attendance. Periodic updates on program development will be forth-coming in TEMPO Express postings and on our website at the conference tab on the TEMPO homepage.

MARCH 2016 17 TEMPO

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LIKE Vivace Productions on Facebook and Instagram

FOLLOW @Vivaceworkshops on Twitter CONTACT [email protected]

TEMPO 18 MARCH 2016

TechnologyMarjorie LoPresti732-613-6969

[email protected]

Thank you to all of the amazing presenters at the NJMEA Workshop. Please be sure to check the virtual music tech sandbox. Special

thanks to Rachel Michel and Shawna Longo for maintaining this resource. The link is at www.njmea.org/classroom/technology/Do you teach with technology? Please share your expertise by volunteering to lead a session at the NJMEA Summer Workshop! You don’t

have to know everything about a topic to present a session. Share what you do in your classes that works with your students. The Summer Workshop has a really relaxed, supportive environment for presenters as well as attendees.

If your students compose and arrange with technology, plan to attend the 6th Annual NJ Student Music Tech Expo. This student-centered event features exhibits of adjudicated student works, as well as hands-on workshops and performances. Mark your calendar now: Expo North will be held on Monday, May 16, 2016 at Rutgers, and the Expo South will be on Thursday, May 19, 2016 at Rowan. Registra-tion will open March 1st. More information is available at http://www.njmea.org/classroom/technology/ or at https://sites.google.com/site/njtimeexpo.



News From Our Division ChairsNJMEA Summer Workshop IX

Tuesday, August 2, 2016The College of New Jersey

8:00 a.m. – 5:30 p.m.Proposed Workshop Sessions

CLASSROOM MUSIC:Guitar class for the non-guitaristApproaches/techniques/strategies for teaching middle school

general music - hands on lessons (beat box, trash can drumming)

Technology...developing units of instruction/lessonsThe “Modern” HS Music Classroom - interesting electives/topics

outside of performing ensembles and AP theoryEffective ways to teach Music Theory (include technology options)Bucket drumming 101 Exploring instructional pedagogies and practical applications Drum circle

INSTRUMENTAL MUSIC:Technique sessions for the non-stringist-brassist-woodwind-ist-

percussion-ist- choral-ist….every-ist!Chamber music in the string classroomThe challenges of adding winds to a string orchestraString Program Repertoire: How to Spot What WorksTechnology For String InstructionElementary instrumental reading session, Recruiting and retraining low brass players

Exploring performance literature for elementary and middle school band.

TECHNOLOGY:Technology Sandbox…Play All DayChromebooks in the Music ClassroomLive Sound BasicBasic Audio Recording Exploring ‘Music First’Creativity in The Secondary General Music ClassroomElementary Classroom TechMic-ing the chorus, How to record your rehearsals, setting up and

basing audio equipment for performancesExploring multi level apps for the music classroomAssessment Apps-Assessing with Edmoto, Plickers, Prezi Music Apps for ‘Google Classroom’

SPECIAL TOPICS:

Managing the Non Musical aspects of your jobI Don’t Have A Music Supervisor Instrument Repair: What Not To DoA Cookie For Your Thoughts

A Full day of Collegial Networking and Camaraderie in summer garb!

** Choral and Special Ed sessions under development

MARCH 2016 19 TEMPO

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“I have no idea what I’m do-ing!” This is the unfortu-nate cry of many a new

general music teacher. I know it was a la-ment of mine as I embarked on my own teaching career 21 years ago. While I’d love to think differently, I fear that there are still many teachers who enter their first job with the same sense of confusion. As a result of my undergraduate work, I had a solid performance foundation, a love for kids, a minimal understanding of a couple of the major music educa-tion pedagogies, and several fun activi-ties that I had picked up during student teaching. What I did not have, though, was an overarching philosophy and set of practical, specific musical goals for my students, nor a timeline for rolling these things out during the school year.

As I started teaching and soon af-ter entered graduate studies, I began to have more of a sense of the things my students should be learning. I slowly be-gan to develop my own philosophy for how children processed music. Yet I still longed for excellent, engaging, and sys-tematic ideas for teaching music in my classroom every day in a way that was based on early musical development. I not only wanted someone to confirm the ways children should be taught music, I wanted to see excellent pedagogy in ac-tion.

Enter John Feierabend

When I learned about Feierabend’s “30-year plan” for children, I was sold. At its most simple, Feierabend wants all students to be tuneful, beatful, and

artful. This means that as our students grow into adulthood, they are able to sing Happy Birthday in tune, move competently to the beat to Take Me Out to the Ballgame played during the 7th inning of a ball game, and feel the hushed wonder of bonding with their own children while singing a lullaby to them. To help music teachers guide their students to this point, Feierabend created two overarching curricula: “First Steps in Music”, to help young students become tuneful, beatful, and artful; and his notational literacy program for older students who have achieved musical readiness, “Conversational Solfege”.

It was very quickly evident to me that his curriculum for preschool and early elementary, “First Steps in Music: Preschool and Beyond,” met all the cri-teria for best practices in music educa-tion. At the foundation of the program is an excellent, research-based philosophy. It is developmentally-appropriate, uses rich, authentic repertoire, is sequentially laid out, and is extremely engaging. To be honest, though, the thing that put it over the top for me back then was the fact that if I wanted to, I could utilize the 3 years of detailed lesson plans that are laid out in the back of the book!

Very young children on the road to literacy readiness are exposed to a tre-mendous amount of aural input in their earliest years. They hear the adults in their environment talking, mumbling, shouting, exclaiming, whispering-- you name it! The stage immediately follow-ing this exposure to spoken language is characterized by the child’s attempts to approximate the sounds they’ve heard in

as conversational a manner as possible. This ability to converse verbally is re-fined until the child eventually embarks on formal instruction in reading and writing as they enter their school years.

Musical acquisition follows along very similar lines. Musically speaking, the musical environment of a baby/tod-dler should take the form of the heavily-inflected baby talk, songs, and chants of their primary care-givers. Unfortunately music teachers at the elementary level find that the overwhelming majority of incoming Pre-K and Kindergarten stu-dents are greatly lagging behind in their musical development. This is most often a result of a sparse musical home envi-ronment.

Sadly, most young children are not experiencing rich musical environments in their early years. Instead of students who can sing in tune, move to the beat, and connect with the expressive level of music, the music teacher is confronted with students who are deficient in any or all three categories. The music teacher must then remediate so that when stu-dents are ready to start formal instruc-tion in notational literacy, they have a solid musical foundation. In other words, they must be tuneful, beatful, and artful before they can fully embark on their journey to read and write nota-tion.

Through his First Steps curriculum, Feierabend seeks to foster this musical readiness, as well as an appreciation of great music and wonder at the expres-sive piece of music. The curriculum is comprised of authentic repertoire from folk music and was based on the vast

Getting Schooled In The Feierabend Fundamentals

Missy Strong Mount Laurel Township Schools

[email protected]

MARCH 2016 21 TEMPO

wealth of research regarding singing and movement of young children. It was also based on Feierabend’s own extensive expe-rience working with young children. And although that alone would have been enough, it was also influenced by his work with many of the music education undergraduate and gradu-ate students whom he mentored during his time at the Hartt School of Music and around the world, where his curricular approach and materials have been used for years.

Each lesson in the First Steps approach is based on what Feierabend has termed the “Musical Workout”. This is an 8-part process that takes the class from start to finish and is comprised of these 8 parts (taken from the “First Steps in Music: Preschool and Beyond” teachers manual, p. 11):

1. Pitch Exploration (the vocal warm-up)2. Song Fragments (consisting of Echo and

Call-and-Response songs)3. Simple Songs4. Arioso (child-created tunes)5. Songtales6. Movement Warm Ups (movement

exploration)7. Movement for Form and Expression8. Movement with the Beat

If you look closely, you may be able to discern which parts of the workout fit well under either the tuneful, beatful, and/or art-ful categories. The tuneful portion consists of Pitch Exploration, Song Fragments, Arioso, and Simple Songs. Pitch Exploration is always one that my own students look forward to doing, since it often involves any number of fun toys or manipulatives to help them engage their head voice in preparation for the singing they will do in class. It is usually just a minute or two long and could be echoing a slide whistle, or following a flowing ribbon or a tossed bean bag as they stretch their vocal folds before heading into the Song Fragment portion of class.

During the Song Fragments and Simple Song parts of the workout, it is imperative to make sure that we are always singing for the students as opposed to singing with them. This is one of the first and most challenging things I learned from Feierabend, and it has made a world of difference in my instruc-tion. I am now able to hear exactly what my students are able and not able to sing so that I can adjust my teaching accordingly. One added benefit is that training my youngest

students to truly listen (not hum or partially sing along as I sing something for them) has sharpened their ability to focus. I have seen the benefit of this as they move into the older grades and are able to audiate very easily.

Arioso is a unique and wonderful part of the “First Steps” music lesson. Children are eventually asked to create original tunes and lyrics during Arioso, building up to this over time. The ability for children to do this, Feierabend says, represents

John J. Cali School of Music

Email: [email protected]

Degrees: Bachelor of Music Bachelor of Arts Master of Arts

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Programs:Music Education

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montclair.edu/music

TEMPO 22 MARCH 2016

BucknellUniversityDepartmentOfMusic @BucknellMusic

Music without bounds.

bachelor of music in: Music Education | Vocal Performance

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Bucknell Music Students had Amazing Opportunities in 2015.

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the highest form of musical thinking. This is why Arioso is such a vital piece of the Musical Workout puzzle. Again con-sidering the language acquisition paral-lels, we hope that once our children have amassed a very large array of vocabulary words, they are able to create multiple in-teresting sentences. In Arioso, the teacher may start by first modeling what it is to create original tunes. Eventually, she will “dialogue” musically with the students individually on humming or neutral syl-lables, then move on to students creating original tunes for words that are already familiar to them, like nursery rhymes. The crowning point, and certainly one of the most artful components of a First Steps lesson, is when students are able to freely create both tune and text in a giv-en context such as delivering a pretend weather forecast, or singing with their friend about all the different things they did over a break.

As children head toward the final part of the Musical Workout they are in the more purposefully beatful por-tion of their experience. During these final parts children will do fingerplays, action songs and circle games to repre-sent form and expression in music. A highlight for many practitioners is the time where they move expressively with their students to outstanding classical music that comes from either of Feiera-bend’s amazing “Move It!” DVDs. These DVDs were done in conjunction with Peggy Lyman, a former dancer with the Martha Graham dance company. Stu-dents may follow along with the DVDs themselves during a class, or teachers can learn the dances and then lead their students through the movements before moving on to the Beat Motion portions of the lesson.

Though it is officially listed in the middle of the workout, many teachers

choose to end their lessons with the Song-tale portion of the workout. While there are several magical moments throughout any given First Steps lesson, the Song-tale time is one of the most enchanting of them all. As with a parent reading a book aloud to a child, music teachers use this part of the lesson to sing for the students using wonderful songs that are often accompanied by beautiful picture books. Closing the lesson this way pro-vides a necessary breath and “cool down” after all the music making that has just taken place, and has the added benefit of demonstrating how much we care for our students. The hope is that these stu-dents, one day tuneful, beatful, and art-ful themselves, will be sitting down with their own children and grandchildren singing them a story!

If I haven’t yet completely convinced you about how wonderful “First Steps in Music” is for your youngest students, I hope I’ve at least whet your appetite to find out more. If you have any questions, please look at the homepage for the Fei-erabend Association for Music Educa-tion at http://www.feierabendmusic.org, or at http://www.giamusic.com/mu-sic_education/johnfeierabend-main.cfm where you can also peruse many of Fei-erabend’s materials. You can also join the conversation at our bustling Facebook page, Feierabend Fundamentals. I would greatly encourage you to take a course or workshop with Feierabend himself, or with one of FAME’s fantastic Endorsed Teacher Trainers. These courses run pri-marily during the Spring and Summer and can be found on the FAME website.

I hope you will join me next time as I look into Feierabend’s notational liter-acy program, “Conversational Solfege!”

&

MARCH 2016 23 TEMPO

The Caroline L. Guarini Department of

Music, Dance and Theatre

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¡ B.A. in Music Education ¡ B.A. in Music Theatre ¡ B.A. in Music Business ¡ B.M. in Classical Studies ¡ B.M. in Jazz

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¡ M.M. in Composition

Min Kim, D.M.A. ChairThe Caroline L. Guarini Department of Music, Dance and Theatre(201) [email protected]

Contact

njcu.edu/mdt

2039 John F. Kennedy Blvd, Jersey City, NJ 07305

The Caroline L. Guarini Department of Music, Dance and Theatre is an accredited institutional member of the National Association of Schools of Music (NASM) and a collegiate member of The National Association for Music Education (NAfME).

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TEMPO 26 MARCH 2016

Jamhub Provides 2nd & 3rd Grade Students With Opportunities To Create And Improvise

Music On iPad Instruments At Young Composers Night

Daniel BealLawrenceville Elementry School

[email protected]

When I started working at Lawrenceville Elementary School in Lawrenceville,

New Jersey, it was important to me from day one that I would give my students nu-merous opportunities to discover their mu-sical individualities. In my opinion, the best way for students to make this discovery is through the creation of their own music and through improvisation. Each student has their own unique musical voice and music teachers have an obligation to help them to discover that voice.

One event that I have created that has best demonstrated the results of this process is “Young Composers Night”. I have al-ready had two of these events at my school, and at these events, the students premiere pieces of music they created on an iPad and they also improvise along with their piece on an iPad instrument of their choice. In addition, students break into several iPad bands and take turns improvising on iPad instruments in live performance. How did my students get to a point where they were capable, knowledgeable, and confident enough to create and improvise music on an iPad instrument in a public performance? I can answer that question in one word: Jam-hub

Jamhub In The Music Classroom

Using a Jamhub is an excellent way to make music making on iPads a shared expe-rience. Up to seven students can plug an iPad and headphones into the Jamhub and be in complete control of whom and what they hear at all times. No longer does one have to switch headphones with someone else to hear what they are doing on their iPad. No longer does a group of students need to plug into a splitter so that they can all hear the music coming out of one iPad.

Finally, no longer does a group of people

need to crowd around an iPad speaker hop-ing to hear everything clearly. A Jamhub al-lows all of the amazing music making apps on iPads to be heard in studio quality sound and it allows students to collaborate with one another seamlessly and without distrac-tion or inconvenience. Also, by using a headset with a microphone (such as the Au-dio Technica BPHS1), teachers can easily communicate with one student or all stu-dents plugged into a Jamhub without any sort of hindrance or distraction.

I am incredibly fortunate to have an education fund in my school district called the Lawrence Township Education Fund (LTEF), which funded a grant that I wrote, titled, “Jammin’ with Jamhub”. Their funding helped me to purchase six iPads that would belong to the music room and be “attached” to a Jamhub on a daily basis. For me, justifying the grant was simple because there are so many amazing opportunities that using iPads with a Jamhub provides for students. Students listening to each other and collaborating with one another

are both important life skills to be learned, and the Jamhub provides them with these opportunities.

Here is a short video that features the executive director of LTEF, Ivy Cohen, ex-plaining why they funded, “Jammin’ with Jamhub” and other grants that are similar to it. https://goo.gl/AXAw4I

The Process Leading Up To “Young Composers Night”

In order to prepare my students for “Young Composers Night,” I needed to have several composition and improvisation lessons with them. When students are creat-ing music on iPads, students will arrange/record/create music using the GarageBand app. By using the microphone on my head-set, I am able to check in with each student and give him/her feedback on his/her com-position. I encourage the students to work on their own music; however, I also encour-age the students to check in on one another by turning up the volume knob that corre-sponds to a particular student. This usually leads to students communicating with one another and sharing thoughts and opinions on each other’s songs.

Oftentimes, a student will make changes to his/her song because he/she re-ceived feedback from another student that they found helpful or beneficial. A typical scenario would start off with one student saying, “Do you want to listen to my mu-sic?”, and then one or more students at the Jamhub table would turn up the knob of that student requesting feedback. Once they begin to hear the music, the conversa-tion and collaboration begin. At the same time, the teacher can listen in with his/her headphones and offer advice using the mi-crophone on the headset.

It has been such a pleasure for me to

MARCH 2016 27 TEMPO

observe how my students’ songs change and grow over time, to see how much pride they have in their compositions, and to see how students influence each other’s musical deci-sions. Once students have completed their compositions, I always have each person share his/her piece with everyone plugged into the Jamhub. This is a great opportunity to teach young students how to give feed-back, whether it be positive or constructive criticism.

When teaching my students about im-provisation, I tell them we are going to have a “Jam Session”. I instruct each student to choose an instrument that they like, usually from GarageBand or ThumbJam, and I help them choose the right key and scale that will fit the background music I am going to play for them. One of the nice things about Ga-rageBand and ThumbJam is that you can set the instrument into “scale mode”, meaning that each note on the screen will fit perfectly into a specific key and/or scale. This is a way to make any student feel successful since this setup does not require anyone to be taking private music lessons or have an advanced music theory background. No matter what note they play, it will fit the music well. They can focus more on the creativity and playing what sounds best to them without any fear of playing a wrong note.

Before the jam session begins, I always remind my students that they need to use their musical manners and only play when they are instructed to play. Although every-one could play and be heard all at once, at the elementary level, this can sometimes lead to cacophony. During these jam sessions, I usually allow one person to improvise at a time, unless the group is well skilled, in which I will have two students improvise at a time. I provide the background music and I tell everyone whose turn it is. Usually, each student will get to improvise for 8-16 measures, and other times much shorter. To keep things exciting, I do not give stu-dents a heads up as to who is next, which keeps them on the edge of their seat as they wait for their turn. Students also have op-portunities to improvise alone along with their solo compositions. During these ses-sions, one student improvises on an iPad instrument with his/her solo composition, while the other students observe the playing (watching the fingers) and listen to it all in their headphones.

“Young Composers Night”

Once the students have completed their compositions, and have had a suffi-cient amount of practice with improvisa-tion, they are ready for “Young Composers Night”! At this event, each student gets to share a piece of music he/she has created in front of a live audience. “Young Composers Night” is not a passive listening experience for the audience; rather, it is an engaging and exciting experience! Each student im-provises along with his/her solo piece on an iPad instrument of his/her choice. Each student gets to experience the satisfaction of hearing an audience applaud a piece of mu-sic that he/she can call their own.

In addition to these solo performances, all of the “Young Composers Night” par-ticipants break into “bands” and they have a live jam session that is not too different from a big band jazz performance. Each stu-dent takes turns improvising along to back-ground music that is coming through the speakers. After each student finishes solo-ing, the crowd cheers wildly just before the next student begins.

During the “Young Composers Night”, the Jamhub is still being used with one dif-ference: the Jamhub is being run through a speaker system. And rather than using a mixer to adjust volumes, the teacher is us-ing a Jamhub Solemix Remote to adjust all the volume levels accordingly during live performance. The Jamhub is not just for the classroom. It is excellent for live perfor-mances as well!

JAMHUB SOLEMIX REMOTE

“Young Composers Night” is an ex-ample of students sharing their artistic in-dividualities. Students at this event are pre-senting music that represents their musical thoughts, opinions, and preferences. Each

composition at this event comes 100% from each student, and not the teacher. I of-fer very little guidance in the compositional process and I leave all the decision making up to them. The improvisation that comes from each student is a pure form of his/her personal musical expression. I offer some generic tips on improvisation, but I try not to get in the way of letting them listen to themselves and deciding what sounds best to them. It is my hope that “Young Com-posers Night” has provided my students with an experience that has helped them grow in confidence not only as musicians, but also as people. In addition, I hope that I have set them on the journey of discovering who they are as musical individuals.

Additional NotesTeachers can buy a Jamhub Bedroom (up

to 5 people), Jamhub Greenroom (up to 7 people), or a Jamhub Tour Bus (up to 7 people and can do live stereo recording) for their classroom. www. Jamhub.com

Information about the headphones I referred to can be found here: http://goo.gl/lpi6Ox

To see some examples of Jamhub being used in my classroom, use this link: https://goo.gl/UygzD9 This link will take you to a 5 part mini-documentary created by the Jamhub company to display how I am using Jamhub at my school.

To see a sixty minute webinar that I created to going over all the aspects of using a Jamhub with students, use this link: https://goo.gl/Hbjxaw

To see “Young Composers Night” June 2015, click here: https://goo.gl/zkHii3

To see “Young Composers Night” Nov 2015, click here: https://goo.gl/Y0kV5A

If you have any questions about iPad apps, Jamhub, or “Young Composers Night”, email me anytime at [email protected]

Daniel Beal has been teaching in the music classroom for over nine years now, and he is cur-rently teaching Pre-K to 3rd grade at Lawrenceville Elementary School in the Lawrence Township Pub-lic Schools district. He is particularly interested in the integration of music technology into the music curriculum and loves to use composition and im-provisation with his students to help them discover their musical individuality. You can follow Dan on Twitter at @LESMusicMan

TEMPO 28 MARCH 2016

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One of the most impor-tant things a jazz in-structor can do to have

a successful jazz ensemble or combo is to help them understand the concept of swinging. The first step in this pro-cess is to provide audio and video re-cordings of model groups. The second thing is to help each player understand the function of their instrument and their responsibilities as players. You-Tube has a wealth of videos of live per-formances and entire albums to listen to and watch. If you are near an area where there are professional jazz per-formers, invite them to your school or go out to one of their live performanc-es. If you get to be around these pro-fessionals, arrange for your students to ask them about how they view their function in the group. There’s noth-ing like one on one contact for your students to learn firsthand. With technology, you can arrange Skype or FaceTime interactions. Whatever you do, make listening the first step.

Let’s explore the function of each instrument in the rhythm section. My model rhythm section for large jazz ensembles comes from the Count Basie Orchestra. The players in this great group defined what swing was to be. They include William “Count” Basie (piano), Freddie Green (gui-tar), Walter Page (bass) and Jo Jones (drums). Each of these players had a style that has been imitated and re-fined over the years.

Bass

It is the func-tion of the bass to keep the time. One of the prob-lems young jazz groups have is for the drummer to attempt to be the time keeper. This

usually creates a “vertical feel” with ac-cents on one and three. For a jazz group to swing the strong beats have to be on two and four. This gives a linear feel that doesn’t start over every time you get to a bar line. Walter Page achieved this by playing lines where the strong notes fell on two and four. Think of playing a major scale starting on the seventh degree. If seven is on beat one, leading to eight means the resolution from seven to eight leads you from a weak note (demanding resolution) to a strong note (the resolution). Now all of the accents shift and two and four are the notes of resolution or strong beats. You feel constant motion in a horizontal line rather than a vertical line with accents on one and three. This is the foundation of the swing feel but it can’t stand alone.

Drum Set

The function of the drum set is to complement the bass and give em-phasis on two and four. Jo Jones did

this with the hi-hat (sock cymbal) by clapping the cymbals on two and four. He also used patterns on the ride cymbal to play eighth notes

with emphasis on the second eighth note in a two-eighth note pattern. Years later Kenny Clarke developed a pattern he and others called “spang a lang” because that’s how the pattern sounds (two eighth notes followed by a quarter note). One of the first things I do with young drummers is to remove the bass drum pedal. Drummers play-ing the bass drum on one and three negates all that the bass is doing. The bass drum will be used for kicks and accents that will add emphasis to horn lines that have nothing to do with swinging. Once the drummer listens to recordings he/she learns to use hits on the snare drum for added emphasis and to push the swing feel forward.

Piano

Count Basie used a pattern known as “comping” short for complement-

ing. Besides pro-viding the chord progressions the piano accentuates the “back beat” which comes on two and four.

Getting Your Rhythm Section To Swing

Ronald E. KearnsVandoren Performing Artist

Conn-Selmer Performing [email protected]

MARCH 2016 33 TEMPO

Together with the bass and drums, the piano creates a strong swing feel which “leans” on the weak beats. De-fying the classical music feel of one and three and comping on the second eighth note on two and four there is tension developed. This tension helps to reinforce beats two and four as the target beats.

Guitar

F r e d d i e Green created a style of play-ing that has borne his name

over the years. The “Freddie Green Style” is a way of playing chords on each quarter note in a measure. Most young players find this to be very dif-ficult. One, because they have to rap-idly change chords; two, because the rest of the rhythm section sounds like they are accenting on two and four. I always had my students practice it slowly and then I would have them play along with Freddie. If you have a device or software that will slow the music down without altering the key, use it. I would use a metronome at a slow tempo and have my guitarists play one chord per beat.

Once you’ve given each player their purpose and responsibility, it’s now time to teach them to function as a single unit. There are two ways to achieve this. First, have them lis-ten to recordings again but this time focusing on the rhythm section as a whole with each instrument complet-ing the puzzle. Second, what I con-sider the most important thing, have them play together. Encourage them to listen carefully to one another and get a “feel” for how they can “fill in the blanks.” The more mileage they can get by playing together, the more natural they will begin to feel.

Once you’re satisfied that your students understand the concept of swinging, be sure to select music that gives them the opportunity to put their newly acquired skills to good use. Songs like Groove Merchant have good arrangements for young bands that mirror the arrangements played by Basie. Swinging is an attitude as well as a style. As Duke Ellington

said, “It don’t mean a thing if it ain’t got that swing.”

Ron Kearns is the author of Quick Reference for Band Directors and is a Vandoren Performing Artist and a Selmer of Paris Performing Artist.

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TEMPO 34 MARCH 2016

Throughout history, public edu-cation has often been the focus of national discussion. Today,

teachers and teaching are the target of every pundit, politician and self-proclaimed ex-pert. If you follow the noise, you will hear teachers blamed for everything from failing schools to bankrupting state budgets.

Yes, it’s true that too many children in too many school districts fail. But let’s not lose sight of the improvements we have made with a quickly changing student demograph-ic for whom English is a second language and for children growing up in homes where par-ents have little or no formal education.

Most teachers still lack the financial, scientific and technological resources neces-sary to maximize instruction and improve their effectiveness. We are responsible for preparing students for the twenty-first cen-tury without the resources or common tools of the modern work world.

The Future Of Teaching

The world of public education and the future of teaching has changed dramatically over the last decade. The economy, new tech-nology and changing demographics are three important factors that have changed the face of education and the way teachers teach.To insure student learning, teachers today must possess a combination of unique human and pedagogical skills.

The Human FactorEducation needs teachers who see

teaching as a career calling to which they are prepared and ready to pursue as their life long work. All teachers must demonstrate real pleasure in teaching. Their subject area should be a true source of joy which they desire to share with students. A love for children and a concern for their intellectual development as well as their emotional and physical well-being is a critical characteristic

necessary for success. Outstanding teachers understand the importance of maintaining excellence in teaching and learning.

“It’s All About Relationships”Building trusting relationships with stu-

dents is crucial to successful social interac-tions with your students. Effective teachers have developed an important set of unique social skills that allow them to successfully interact with their students. Chief among these skills is:

1. An understanding that words and actions affect students

2. The discipline to censor their comments and use tact

3. The ability to be flexible4. The ability to read facial expressions5. The means to modulate student anxiety6. The ability to change student behavior7. The capacity for empathy

PedagogyIt has always been expected that teach-

ers know their subject matter well enough to transfer their knowledge to their students. Today, teachers need to be experts in their field. Not only must they know the history of their subject, but they must understand the full scope and sequence of the curricu-lum and all the latest research that effects their subject area. Teachers need to master two types of knowledge:

Content Knowledge which is a deep knowledge of the subject to be taught, the applicable theories, principles and ideas of a specific discipline.

Curricular Knowledge which involves the scope and sequence of concepts as well as the forms and means for communicating content.

• How will your students learn thesubject matter?

• Whatnewskillsandknowledgeshouldyour students develop?

• Howwillyouhelpyourstudentsgainliteracy?

• How will your students use theirlearning?

• Howwillyouenableyour students toenjoy their learning experiences?

• Howwillyourstudentslearntoinquireand discover new information?

• Howwillyourstudentself-assesstheirlearning?

The EconomyThe economic conditions of the first

quarter of the twenty-first century have cre-ated trying times for public education. The economic recession has caused serious tax shortfalls resulting in lower state aid to pub-lic education. Since taxes and state aid are the backbone of educational funding, schools have had to make severe budget cuts to com-pensate for this significant lose of funding. Such conditions have translated into pro-gram reductions, program elimination and fewer teaching positions.

DemographicsToday, many students speak different

languages and have different cultural tradi-tions. More than half of the foreign born children in the United States are Hispanic and speak Spanish as their native language. Although trends in immigration and birth rates predict no single racial or ethnic group will make up a majority of the population in the very near future, the Hispanic popula-tion is growing faster than all the other racial and ethnic groups combined.

Being prepared to address the chang-ing cultural face of today’s students requires a new approach to teaching; an approach that focuses on the following questions about di-versity, culture, language and differentiation. Ask yourself:

• Doyouholdapositiveviewofdiversity?• Areyouveryfamiliarwiththecultures

Teaching TodayJoseph Pergola

William Floyd School District, Eastern Long Island, [email protected]

MARCH 2016 35 TEMPO

of the students in your classroom?• Can you understand and speak their

native language?• Are the principals of “Differentiated

Instruction” applied?

TechnologyToday, teachers need to make the

integration of technology into their curriculum a priority. Students expect to have and use technology in their classrooms. They are part of the new digital and informational age.

Teachers who incorporate various forms of technology in their instruction have more motivated students. When technology is ef-fectively implemented in the classroom, it makes significant difference in the level of student learning. Technology allows students to become active participants in the learning process.

The following are essential technology skills a teacher should understand and be able to use in the teaching / learning process:

1. Internet Search and Research2. Email3. Word Processing4. Databases5. Presentation Tools6. Grade Books

7. Productivity Apps8. Social Media

Additional Technology Skills Every Teacher Should Possess:

1. Edit Digital Audio2. Use Video Content3. Use Social Networking4. Compile Digital Portfolios5. Curate Web Content6. Use Digital Assessment7. Use Mobile Devices8. Employ Graphic Organizers9. Use File Sharing

ConclusionAlthough teachers today continue to be

faced with lower wages than other occupa-tions requiring the same or less formal edu-cation, individuals motivated to teach today must commit to developing a unique set of skills while exhibiting the best of human qualities; the desire to give, to contribute and to make a difference. If the definition of a “hero” is a person of distinguished courage and ability who displays self-sacrifice for the good of humanity, then teachers today are truly society’s heroes.

Joseph Pergola is the retired Director of Fine Arts from the William Floyd School District on Eastern Long Island, New York. A graduate of the New York College of Music, he received his undergraduate degree and teacher certification from Dowling College, a Masters Degree from SUNY Stony Brook and his Administrative Degree from C.W. Post University.

During his tenure at William Floyd, he taught elementary, middle school and high school band. His performance ensembles received the highest rating at New York State Ensemble Adjudication for 21 consecutive years.

Shortly after being named Director of Fine Arts at Willaim Floyd, the music department was named a MENC Model Music Program. Both the New York State Theater Association and the National Theater Association named Pergola, Arts Administrator of Year.

He currently works for the National Education Service Company as Director of Education and Arts Development and is a member of the adjunct faculty at C.W.Post, Long Island University. Joseph Pergola is a published author with numerous books and articles to his credit, serves as a frequent clinician at NAfME Conferences throughout the United States and is a frequent contributor to TEMPO Magazine.

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TEMPO 36 MARCH 2016

What Instruments Should Be In A Band?

William L. BerzRutgers: The State University of New Jersey

[email protected]

Bands have had a long history of inconsistent instrumentation. For well over two centuries,

band directors have struggled to define what instruments should be included.

In an article that I wrote for TEMPO in May of 2014 (“What is the Band Sound of the Future?”), I suggested that concert bands were starting to change their instru-mentation. Certain instruments, notably horns, bassoons, and trombones were be-ginning to disappear in a great many high school and college bands. Simply put, young students were not choosing to play those instruments. In the article, I suggested that some composers and arrangers were be-ginning to assume that bands in the pres-ent and future would not feature a complete and traditional instrumentation. Instead, they are writing for a band that might fea-ture several soprano voices along with alto, tenor, and bass lines assigned to groups of instruments. The article seemed to resonate a little and was reprinted in several other state music magazines.

If my theory is true, then maybe chang-es in band instrumentation are being made now. If so, teachers need to consider what music should be played in order for students to gain general musical insight.

Is Band Instrumentation Standard?

Wind bands have changed their instru-mentation dramatically over the past. This is due in part because of the relatively recent development of many wind and percussion instruments. After all, the valve was not de-veloped until the early nineteenth century; some percussion instruments were invented yesterday!

The modern large concert band had its birth during the French Revolution in

the late 1700s and early 1800s. The bands prior to that time where generally small and often featured the oboe as the most important soprano instrument. The newly conceived French bands featured the clari-net as the main soprano instrument partly because the oboe had been considered to be an instrument of the recently deposed king. Also, many of these bands played out-doors for public ceremonies; this required larger groups. Eventually brass instruments replaced woodwinds so that the ensembles could be better heard outdoors. It was for this purpose that Adolphe Sax developed the saxhorn family of brass instruments.

Even in the United States, the brass band became extremely popular. The tradi-tional band of the Civil War featured brass and percussion. One of the earliest college bands in America was the all-brass band at Indiana University.

As the nineteenth century progressed, woodwinds again found an important place in the band. Probably the most important leader with this was Patrick Sarsfield Gilm-ore (1829-1892). After hearing some of Europe’s finest bands, which included more woodwinds, he added them to his band. It became the finest band in the United States and proved to be a model for the Sousa Band. Gilmore, Sousa, and other leaders ex-perimented with adding or subtracting dif-ferent instruments to their band.

The person who many consider to be the founder of the college-band movement, A. A. Harding (1880-1958) made major experiments with instrumentation. At the University of Illinois he increased the num-ber of players—especially woodwinds, and tried including new and sometimes exotic instruments into the band. They included oboe d’amore, Heckelphone, E-flat flute, A-flat flute, a family of sarrusophones,

ophilicleide, octavin, antoniophone, corno-phone, along with alto and bass trumpets. He expanded the clarinet family to include the full range from E-flat to contrabass with as many as 30 B-flat sopranos. For over 20 years, he included at least one cellist. There were multiple players on each part in most sections and the membership could exceed 100 players.

After this period of unbridled experi-mentation, many bandleaders called for standardizing the band’s instrumentation. High school bands in contests of the 1920s were penalized for not having specified in-strumentation. This idea reached its zenith during the early 1960s when the leadership of the College Band Directors National As-sociation called for a standardized instru-mentation for bands. The idea never caught on in part because of Frederick Fennell’s founding of the Eastman Wind Ensemble. Fennell called for a flexible instrumentation following what composers specified in the score. It was this idea that has been adopted by many elite collegiate ensembles.

What Is A 21St Century Band?

Bands—be they wind ensembles, wind orchestras, concert bands, symphony bands, symphonic winds, or any other label—can consist of almost any combination of wind and percussion instruments. However, much of the music that has been composed for the band has been intended for a group-ing of instruments that roughly parallels that of the Sousa Band from the turn of the 20th century. It is that basic instrumenta-tion for which composers like Grainger, Per-sichetti, Schuman, Dello Joio, Gould, Han-son, Holst, Vaughan Williams, Milhaud, Chance, Schoenberg, and many others con-ceived music for the band. Ideally, if school

MARCH 2016 37 TEMPO

bands are to study and perform this style of music, the groups should have something approaching this instrumentation.

We obviously do not live in an ideal world; bands may well not have a complete traditional instrumentation. Conductors should feel free to make alterations when certain instruments are not available.

However, instrument substitution can only go so far. If classic literature for band is to be performed as part of the core cur-riculum, then the band’s instrumentation should at least approximate the composer’s intentions. If the Holst Suite in E-flat is to be studied, then the band should have some-thing of a traditional instrumentation in-cluding tubas and euphoniums; an electric bass is not a good substitute at the begin-ning of the piece.

A more radical choice would be to aban-don the traditional band. Instead, teachers might lead whatever instruments happen to be in an ensemble and adapt music to fit the instrumentation that exists. The litera-ture could be in a great many musical styles, not limited to traditional band repertoire. Certain styles of music, including classical, do not require traditional band instrumen-tation to be valid. As has been done many times in the past, what constitutes a band can be redefined. Directors might change the nature of the band to align with current cultural ideals. No longer would instrumen-tation be such a challenge because most any configuration might work. Obviously, this would be a dramatic change for the profes-sion.

Vertical Curriculum

Assuming that traditional bands will continue in the schools, the instrumenta-tion problem must be addressed. In the past, band teachers often spoke of a feeder program assuming that elementary and middle school teachers were solely respon-sible for instrumentation. The term implies that there is only one direction of commu-nication: elementary to high school. This would seem to place the high school band as the only real goal for the instrumental music program. This is not correct since the development of students at each level is important. Instrumentation is everyone’s problem.

A vertical concept implies that there is communication between the three levels—elementary, middle, and high schools—recognizing that each level is important in its own way, and that everyone must work together. By working collaboratively, all stu-dents and all programs will prosper. If each level works autonomously, all will suffer. It would seem that all instrumental teachers would all benefit by making sure that the curriculum is consistent and united.

Finding New Solutions To Old Problems

Instrumentation was a challenge even in the distant past when I was a school band director. The problem is much more com-plex now. American culture is different and nature of education has changed dramati-cally. This is a time of high stakes testing and significant accountability measures.

It is abundantly clear that it is difficult to persuade students to play certain instru-ments, particularly double reeds, horns, eu-phoniums, and trombones. Many of these

instruments are not part of any popular cul-ture. Also, they tend to be more expensive than instruments like the flute and trumpet.

If schools are to continue to include traditional concert and marching bands in their curriculum, administrators and teachers might develop concrete plans to address the problem of promoting the less popular instruments. Everyone must work together and consider what instruments should be encouraged at the elementary school and how teachers at the middle and high schools will make adjustments. While having a large number of students in band is important, instrumentation must be a vital consideration as well. Otherwise instrumental music teachers must consider the possibility that the instrumentation and repertoire of the band must change to meet current conditions.

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TEMPO 40 MARCH 2016

March is the official month designated by the Nation-al Association for Music

Education (NAfME) for the observance of Music In Our Schools Month® (MI-OSM®). This event first occurred as a statewide celebration in 1973. From there, it grew to become a day, then a week, and now a month-long celebration. The purpose of MIOSM is to raise aware-ness of the importance of music educa-tion and to remind everyone that schools are where all children should have access to music. In 1985, NAfME started “The World’s Largest Concert” as a highlight for MIOSM. This concert is a sing-along that has reached an estimated six mil-lion students, educators, and supporters of music. In 2012, the concert became known as the “Concert for Music in Our School’s Month.” This concert would probably have already taken place by the time this article is published. However, there are other ways to celebrate MIOSM. Here are a few ideas that I have used and some that I discovered by reading posts from numerous music educators through social media.

Early Childhood

At the beginning of each month, I teach a “Parent and Me” music class at my school for the younger siblings who are not old enough to enter the PreK program yet and for those young children in the com-munity. This class is for children ages six months to three years. During the month of March, I am going to give the parents a CD of the songs (public domain) and lul-labies that we have been singing in class.

The CD cover will have “Music In Our Schools Month” on the label. This will help the parents reinforce the songs by playing the CD (or uploading it to their streaming service) in the car or around the house. It reminds the parents how music can have so many positive effects on their children from soothing their crying, to lulling them to sleep, to them becoming tuneful, to so much more.

In the same respect, one can text the parents a MIOSM text that includes links to websites that have recordings of songs, links to information about MIOSM, links to music books, links to children’s song books, and links to wonderful recordings that the parents could purchase to play for their children from classical to contemporary.

Since MIOSM is about music advocacy, I always tell those in my music education workshops that if there is a way that music educators can get their music classrooms onto the parents’ smartphones, then the advocacy for music education will quickly follow.

Elementary

Bulletin Boards: The first place to begin is to update your current bulletin board (if you are on a cart, then a bulletin board within the school) with a MIOSM theme. This theme could include any of the following: Students’ and teachers’ fa-vorite songs, student compositions, stu-dents’ and teachers’ favorite composers, students’ drawings to music, students’ and teachers’ reflections on what music means to them, a survey from the teach-ers that shows their musical backgrounds

from instrumental to dance to vocal, and so much more. The possibilities are end-less.

Getting Teachers Involved: Expand-ing from the bulletin board idea, ask teachers to participate in MIOSM. Have them post a music note on their class-room door to show support for music in the schools. I adored an idea I read where a music educator asked the teachers to hang a poster in support of MIOSM and if they did this for the entire month, they would receive a small prize.

Sing-Alongs: If you could not par-ticipate in the Concert for Music in Our School’s Month, then there could be the option to hold a school assembly sing-along to raise awareness of MIOSM. This s i n g - a l o n g could have a variety of songs from patriotic,

to folk, to previous concert songs, to pop songs, to anything you think that your students would enjoy singing. In addi-tion, open up the sing-along to invite the local community into the school to enjoy it as well. You can turn the sing-along into a wonderful concert event where between the songs, you continuously talk about music in our schools. I do this at the be-

Celebrate Music In Our Schools Month®Ideas For Early Childhood

And Elementary Music Classes

Amy BurnsFar Hills Country Day School

[email protected]

MARCH 2016 41 TEMPO

ginning of each school year for the stu-dents in grades kindergarten through five and it is a great success. I sing and play piano, while my good friend accompanies me on the drums. However, if you pre-fer not to play live, make a playlist of the songs and have the audience sing along with the recordings. In addition, make a

simple powerpoint for the lyrics so that they all can see them and sing along with them.

Performances: If you cannot invite your community or parents into your classroom for an informance, then record your class performing a musical activ-ity. This could vary from performing an Orff arrangement on Orff instruments, to performing a recorder piece, to perform-ing a movement activity, to the students singing as they accompany themselves on ukuleles. If it is possible, post the re-cording (audio or video) on the school’s website or email or text the parents a link where they can view the video or audio recording.

Community: Along with the sing-along listed above, survey the teachers and community to research their musical backgrounds. Invite them to join in on a musical activity by singing along with the students or accompanying/playing along with their instruments.

Bring Your Parent to Music Class: Every winter, I invite the parents (or relatives) of my students in grades PreK through one to come to music class and experience the class with their child. Dur-ing this class, we sing, perform movement activities, perform on classroom instru-ments, read music, and experience cross-curricular connections. I have been doing this since 2007 and the parents look for-ward to this event every year.

School’s Sound System: Play mu-sic over the school’s sound system every morning during MIOSM.

Prizes: Through the school’s com-munication system, whether it be a web-site, email, or placing a display by the front door of the school, create a musical trivia game where the students, teachers, and parents can answer questions to win small prizes.

Cross-Curricular Connections To MI-OSM

Reading: One of my favorite activi-ties from one of the Orff workshops I at-tended, was reading, moving to, acting out, and performing on instruments to Robert Munsch’s book, Mortimer.

Writing: Have your students write a poem about music and use GarageBand, SoundTrap, Soundation4Education, or Incredibox.com to create and accompa-niment for the poem. Give the students guidelines so the poem stays more on the serious side, and video the students creat-ing and performing the musical poem.

Art: Create a coloring sheet about MIOSM and music advocacy for young students to color and take home.

What About Spring Break Or Testing?

For many private schools, spring break occurs during the month of March. For many public schools, standardized tests occur during this month as well. Though March is the official MIOSM, truly any month can be dedicated to mu-

sic in our schools. Therefore, pick the month that best works for your curricu-lum and promote it.

Where Can We Get More Ideas?

There are numerous places to find ideas for MIOSM. Here are a few:NAfME website: http://www.nafme.

org/programs/miosm/music-in-our-schools-month-miosm/miosm-activity-ideas/

Facebook Music Teachers Group: https://www.facebook.com/groups/musicpln

Facebook I’m a General Music Teacher Group: https://www.facebook.com/groups/generalmusic/

Pinterest: https://www.pinterest.com/ Publishers have given out free

resources during MIOSMTeachers Pay Teachers: https://www.

teacherspayteachers.com/ Though every month is MIOSM,

it is wonderful to see our national organization promote this month and to bring awareness to music advocacy. To learn more about MIOSM, please check out NAfME’s official website: http://www.nafme.org/programs/miosm

Amy M. Burns is an elementary music educator, clinician, author, and musician. She currently works at Far Hills Country Day School (http://www.fhcds.org) in Far Hills, NJ teaching PreK through Grade 3 general music, grade 5 instrumental music, and grades 4-8 instrumental band.

Resources

Music In Our Schools Month® (MIOSM). (n.d.). Retrieved January 14, 2016, from http://www.nafme.org/pro-grams/miosm/

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TEMPO 42 MARCH 2016

Sex stereotyping in the professional workplace continues to be a nationally significant issue, particularly in the field of music education (Abeles & Porter, 1978; Lamb, 2010).

While administrators’ individual perceptions of what constitutes an effective candidate for a music teaching position remains ambigu-ous, the sex of the applicant may result in an unethical, though per-haps unintentional bias. Studies previously conducted by Cohen and Bunker (1975) and Kopetz (1980) were based on the hypothesis that sex is a substantial factor in administrators’ decisions regarding the hiring of potential candidates. The present study seeks to partially replicate Kopetz’s research by determining if a modern context dem-onstrates any changes in sex stereotyping when evaluating applicants for an elementary or secondary instrumental music position.

Literature Review

Research concerning sex stereotyping in the hiring of corpo-rate workers has been conducted by scholars for several decades. Though Title VII of the 1964 Civil Rights Act legally prevents all potential employment discrimination based on sex, gender, race or religion, the act of employers favoring certain applicants based on these factors remains present in the modern day workplace. Cohen and Bunker (1975) revealed that although eleven years had passed since the enacting of Title VII, only 32% of female “white collar” workers were employed in managerial occupations, demonstrating the perception among employers that women professionals are “less suitable than males” for high-level positions that are considered too demanding (567).

Cohen and Bunker’s experiment consisted of providing 150 male job recruiters from two large southeastern universities (n = 68; n = 82) with fabricated materials concerning a male or female ap-plicant. The position sought was either a “male oriented” person-nel technician or a “female-oriented” editorial assistant, in which the application blanks were varied by sex (566). Results showed that while the individual quality of the applicant’s sex was not a definitive factor in the hiring process, a combination of sex and the position variables constituted a significant bias toward females in the editorial assistant position, while males were favored heavily by recruiters in the personnel technician position. This study contributes evidence that “sex discrimination may occur at the very initial stages of the job selection process” (570).

Cohen and Bunker’s work was referenced by Kopetz (1980) in his application of sex stereotyping in the workplace to music educa-

tion. Though Kopetz acknowledged that most administrators differ as to what characterizes an effective teacher, a trend emerges as to the relationship between the sex of the teacher and the specific grade level where that teacher is employed (3). In regards to music teach-ers, 83% of all secondary instrumental teachers are male, while 80% of female music teachers are employed at the elementary level (3). As hypothesized by Kopetz, this may also be due to the stereotype of “male” or “female” oriented instruments, such as the trumpet or clarinet (male) as opposed to the oboe or violin (female).

Kopetz developed four fictitious sets of biographical informa-tion in combination with an application form designed for a sec-ondary instrumental music teacher. This position involved responsi-bilities including directing a concert band, jazz ensemble, marching band and orchestra. Two of the four applications were designed with the names of a male applicant, with the other two originating from a female applicant. Each of the resumes were codified into sets which provided a different combination of sex, instrument (clarinet, trum-pet, violin, and oboe) and the applicant’s institution of study (music performance-based or music education-based).

Two hundred respondents, including superintendents, prin-cipals and supervisors participated in the study. While results did not show a significant difference between both sex and instrumental preference, males were generally preferred over females by evalua-tors to receive a formal interview. In addition, the “male” oriented instruments of trumpet and clarinet were also slightly preferred over the “female” violin and oboe. Kopetz thus concluded that “being a male is a clear advantage in obtaining an interview for an instru-mental music position” while females may have a better chance of being interviewed if their instrumental choices were either trumpet or clarinet (65).

Kopetz also theorized that since most administrators do not have specific knowledge of music content, they are more likely to focus on other criteria such as sex, preferred instrument or institu-tion of study (75). While it cannot be proven that sex stereotyping directly influenced the participants in their selections, this research contributes to the evidence that gender bias is active in all forms of job fields, and that music education in particular adds specific vari-ables that are unique in the work force.

Methodology

To replicate Kopetz’s study, four resumes of applicants were cre-ated with fictitious backgrounds, including a clearly defined male

A Modern Exploration OfGender Stereotypes

In The Selection of Music Teacher Applicants

Andrew LesserBurlington City Public Schools

[email protected]

MARCH 2016 43 TEMPO

or female name, institute of study, primary instrument and relevant work experience. The resumes were organized into four sets of pack-ets, which rotated the name of each applicant with the background information. The resume sets were circulated to various administra-tive professionals, including both within and outside of a music-specific position.

The primary experimental variable in this case was the sex of the applicant, with additional experimental variables including the instrument, institute of study and work experience. The final experi-mental variable was the job description. In this study, two separate packets were circulated with differing job applications; an elementa-ry instrumental music teacher and a high school instrumental teach-er. The author’s research team was instructed to focus on research-ing the high school position, while additional teams were assigned the elementary position. The high school position’s responsibilities were clearly defined in the packet; job duties included directing the marching band, orchestra and concert band, in addition to manag-ing the music budget, participating in local and state music func-tions, maintaining community relations through a booster club and music programs at lower grade levels.

The dependant variable was the rankings of the applicant by each evaluator. Each evaluator was required to complete a Likert scale of ten choices, ranging from 1 (“not likely”) to 10 (“very likely”) of the evaluator’s likelihood of inviting the candidate for a formal interview. In addition, the participant was asked to choose one of the four applicants based on the initial impression of the resume as to which candidate they would most likely hire. Finally, specific back-ground information was requested from the participant, including college major/profession, age and sex.

The author chose eight administrators, all of which had no pro-fessional background in music training or supervision. The admin-istrators included one superintendent, four school principals, two vice-principals, and one curriculum supervisor. The administrators represented schools in both the elementary and secondary levels. To-tals were then calculated and tabulated individually (elementary or secondary) and collectively. In total, 143 questionnaires were com-pleted and submitted representing both applications for the elemen-tary and high school positions.

Results

Table 1 illustrates the individual ratings of each position in re-gards to the sex of the applicant. As notated in the table, the mean difference between the elementary instrumental music teacher and the high school instrumental music teacher positions did not repre-sent a statistical significance as calculated by an Analysis of Variance (ANOVA).

However, resumes with female names were clearly evaluated by participants as more likely to be granted a formal interview as opposed to resumes with male names. This is present in both the elementary and high school positions with an ANOVA of 4.10, p < .05. The variance between the different levels of the positions rep-resents an ANOVA of .266, p > .05. Resumes with female names were significantly favored in both positions regardless of the level of the position.

Table 1: Mean (Average) Resume Rating by Level of the Po-sition and Sex of the Candidate.

High School Instrumental Teacher

Rating

Male 7.30

Female 7.71

Total 7.51

Elementary Instrumental Teacher

Male 7.31

Female 7.89

Total 7.51

Total for both levels

Male 7.27

Female 7.76

Similarly to the Kopetz study, each candidate’s resume con-tained a primary instrument that was interchanged with the appli-cant’s names on each set of packets. Although a gender role was not previously assigned to any specific instrument, there was a statis-tically significant relationship between the pairings of instruments with the sex of the applicant (ANOVA Instrument by Sex F = 2.83, p < .05). This is evident in Table 2, in which female flute players are significantly preferred to male flutists. Female trombonists were also rated significantly higher than male trombonists. Trumpet and clarinet players in regards to sex did not display a significant vari-ance. For both levels combined, however, there was a not a specific instrumental grouping that advantaged a particular candidate.

Table 2: Mean (Average) Resume Rating by Instrument Played by the Candidate and Sex of the Candidate

Instrument Male Female Total

Trombone 6.99 7.90 7.38

Clarinet 7.79 7.56 7.68

Flute 6.77 8.18 7.57

Trumpet 7.49 7.75 7.5

Total 7.27 7.75 7.51

Table 3 illustrates the combination of the instrument played by the candidate and the level of the specific position. Depending on the level of the position, candidates that played certain instruments were favored over other candidates, regardless of sex. Flutists were the highest ranked in the elementary position, while they placed the lowest in the high school position. Clarinetists, by contrast, were the lowest ranked in the elementary position, though they were the highest ranked in the high school position.

TEMPO 44 MARCH 2016

Table 3: Mean (Average) Resume Rating by Level of the Po-sition and Instrument Played by the Candidate

Instrument ElementaryHigh

SchoolTotal

Trombone 7.04 7.49 7.38

Clarinet 6.82 7.93 7.67

Flute 8.61 7.25 7.57

Trumpet 7.57 7.38 7.43

Total 7.50 7.51 7.50

There was not a significant difference between the ratings of resumes by instrument (ANOVA Instrument F =.85, p > .05), al-though a statistically significant difference existed between instru-ments and the level of the position (ANOVA Instrument by Level F = 4..56, p < .05). Once again, this difference does not take into account the sex of the applicant.

Discussion

The implications of this study share many factors with Kopetz’s research; however, several differences were noted during the experi-ment. First, letters of recommendation were included in the appli-cation packets created by Kopetz, while the present study only in-cluded the resumes of each individual applicant. Kopetz states that “letters of reference are very important for inexperienced teachers” (20), therefore future researchers may wish to include this aspect in subsequent studies.

Additionally, Kopetz placed an emphasis on the applicant’s in-stitution in his hypothesis, stating that recruiters would rank stu-dents from a music-education school differently as opposed to a per-formance-oriented school (9). Four fictitious schools were created for each resumé, two for a performance-based music institution and two emphasizing a curriculum in music education. In the present study, the names of real universities were used, each representing large state-level institutions. All four candidates possessed a degree of Bachelor of Music Education from these universities.

It is unlikely that the applicant’s university portrayed a signifi-cant factor in evaluators’ decisions in their rankings. As stated, each university is characterized as a traditional state-level four year institu-tion located in a similar region in the U.S. Furthermore, it is also un-likely that the majority of the evaluators possess the specific knowl-edge as to which schools have a greater prestige in music education training. Future studies may wish to focus on only using subjects with training and experience in music supervision to ascertain if the applicant’s university is a significant factor in the ranking process.

Kopetz’s results place males as receiving a higher percentage of favorable rankings in all four of the application sets (57). Females had a weaker chance of being ranked first, but their percentages im-proved when the application noted their choice of instrument were the “male” characterized trumpet or clarinet. In the present study, females were given preferences in both the elementary and second-ary music positions, although the difference in variance was much smaller than the gap between the male and female applicants in Kopetz’s research. However, this new data contributes evidence that

sex stereotyping in the present has potentially become less biased and more equitable in the field of music education.

The applicant’s instrument of choice also did not seem to pro-vide a definitive conclusion when compared to sex or the level of the position. While female flutists at the elementary level were the high-est ranked, it is not enough evidence to produce a definitive correla-tion between these variables and evaluator preference. A factor that should be explored further in future studies is the work experience and professional background notated on the resume. The work ex-perience accounts for the majority of the information on the resume, and could be the most significant aspect in evaluators’ decisions.

These results may have also been influenced by the fact that there are more female administrators working in school systems than there were in 1981. Out of the eight subjects the author utilized, four were male and four were female. Kopetz did not state the per-centage of male to female ratio in his study, nor was the ratio of male to female evaluators given for the total of the 143 subjects. Focusing on this data in future studies may possibly reveal a correlation be-tween the results and the individual sex of the evaluator.

Conclusion

Much has changed in the thirty-four years since Kopetz’s re-search in the field of gender studies and sex stereotyping. This partial replication of Kopetz’s original study suggests that sex stereotyping has become less biased against women and that administrators are more sensitized to promoting equality in the workplace. However, future research must be continued in all fields of industry to properly gauge how far American society has progressed in this issue. While this study does not prove that the proverbial “glass ceiling” has been wholly eliminated, it does provide some evidence that it has signifi-cantly thinned over time.

References

Abeles, H. F., & Porter, S. Y. (1978). The sex-stereotyping of musical instruments. Journal of Research in Music Education, 26, 65-75.

Anyon, J. (2009). Theory and educational research: Toward critical social explanation. New York: Routledge.

Cohen, S., & Bunker, K. (1975). Subtle effects of sex role stereotypes on recruiters’ hiring decisions. Journal of Applied Psychology, 60(5), 566-572.

Kopetz, B. E. (1981). The effect of selected characteristics of first-time applicants for instrumental music positions on teacher employment decisions (Doctoral dissertation). Indiana University, Bloomington, Indiana.

Lamb, R. (2010). Music as sociocultural phenomenon: Interactions with music education. In Abeles, H. & Custodero, L. (Eds.), Critical issues in music education: Contemporary Theory and Practice (p. 23-38). Oxford University Press, USA.

Sensoy, Ö., & DiAngelo, R. (2012). Is everyone really equal? New York: Teachers College Press.

Tarnowski, S. (1993). Gender bias and musical instrument preference. Update: Applications of Research in Music Education, 26(5), 14-21.

MARCH 2016 45 TEMPO

Visit Us Online at www.lvc.edu/music

Undergraduate and Graduate Programs

Lebanon Valley College®101 North College Avenue, Annville, PA 17003-1400

Lebanon Valley College’s music programs feature student-centered curricula and individualized attention. The programs emphasize sensitive and critical listening skills, composing and performing, and the role of music throughout history and in contemporary society.

• The Master of Music Education (MME) Program enables scholars to learn new ideas and technologies that can be immediately applied in their classrooms.

• Visiting Faculty in Music: S. Alex Ruthmann, associate professor of music education and music technology at NYU Steinhardt, will visit campus to teach a class the week of June 20–24, 2016.

• The LVC MME Program is organized to enable learning from fellow music educators who share personal classroom adventures and resolutions, which often leads to networking that lasts a lifetime.

• The MME program can be completed in two years. Online courses are offered during the fall and spring semesters, and one- to two-week courses are offered during the summer. Students can earn college credits and ACT 48 credits.

• Undergraduate and graduate degree programs are accredited by the National Association of Schools of Music (NASM).

• 4 Undergraduate Degree Programs: B.S. in Music Education, B.M. in Audio & Music Production, B.A. in Music Business, and B.A. in Music (various concentrations available)

• Students have the opportunity to gain field experience as a freshman in the program and gain hands-on experience using the newest technology available.

• Multiple performance spaces, four recording studios, technologically advanced classrooms, and a music technology center

• Opportunities to perform in approximately 20 music ensembles and experience more than 75 performances and master classes a year

• Competitive tuition rates

• Lebanon Valley College is nationally recognized for its music program and successful graduates; a success achieved through strong student-faculty relationships, personal faculty attention, and premier academics.

Visit us online at www.lvc.edu/music, call 717-867-6275 or 1-877-877-0423, or email [email protected] to learn how to get started toward your degree.

TEMPO 46 MARCH 2016

Empowering The MusicianIn Your Classroom

Thomas Amoriello & Mathhew S. [email protected]

matthewablan.com

You may not know the name, but you probably know the hair! In the 1980’s and 90’s Jennifer Batten came to prominence as the touring guitarist for none other than

Michael Jackson and in the late 90’s/2000’s was one quarter of guitar legend Jeff Beck’s band. Since that time she has worn many hats in-cluding player, performer, teacher, author and clinician.

In recent years films such as Twenty Feet from Stardom, The Wrecking Crew, Muscle Shoals and Standing in the Shadows of Motown have shined the spotlight on backup musicians (or “hired guns” as they are commonly referred to) who are finally getting the respect and credit that they deserve for providing the soundtrack of our lives. Although, like many of the musicians featured in these films Jennifer Batten may not be a “household name” she is a highly re-spected musician to those “in the know”.

This past summer Batten hosted a new seminar entitled Self-Empowerment for the Modern Musician which she developed to offer valuable information to the professional, amateur and aspiring musician alike - the authors of this article separately attended the workshop in Charlotte, NC and King of Prussia, PA. We thought an interview with an artist of her caliber would be a wonderful coda to our January 2015 TEMPO article Mo’ Money: Entrepreneurship for the Classroom Musician where we discussed strategies and concepts for earning income outside of the classroom. Enjoy!

What Inspired Your New Seminar Self-Empowerment For The Modern Musician Experience?

The inspiration came from a number of different places. For instance, I do a segment on software called “Transcribe!” which is a looper, slow downer, pitch changer, EQ-able, and karaoke-able (if

that’s not a word, it is now) software - I wish every musician was born with it. The reason I included this in the seminar is due to decades of playing with musicians from all levels who fail to learn tunes properly, and ultimately I find it frustrating to play with them. They may get close or claim the proverbial “just fake it”, but for me it’s not good enough. “Transcribe!” is the tool that removes virtually all excuses from “not hearing it properly”. That segment is also inte-grated into a segment of how the brain learns and how it memorizes. I’ve learned a lot about the subject and it’s dramatically changed how I learn, so my time spent is more efficient than in the past. That seg-ment goes into all aspects of learning, not just music.

In A Nutshell, How Would You Describe “Self-Empowerment For The Modern Musician” To Our Readers?

Honestly it’s a holistic approach to being a musician. I didn’t use that specific term in advertising because it could easily get confused with a goofy new age thing. But in saying holistic I mean all aspects of being a creative human including self-confidence, brain science, digital age multi income streams, travel, creativity enhancing tools and habits, plus a section on “fuel” which to me is not only creating an awareness of what foods can either break you down or build you up but controlling negative vs positive mental input as well.

It wasn’t until we became empowered via the internet to take charge of our own destinies… that I took a big interest in taking the reins.

How Did Some Of Ideas You Are Talking AboutIn Your Seminar Searching Come About?

I’ve been on a path to research all those elements for myself for many years plus some of it is just what I’ve lived through and learned. I find pretty consistently that people I speak with around the world are very unaware of the modern tools available to them. Plus the internet is so overwhelming it’s difficult to filter out the worthless and the valuable without wasting a lot of time. So in a sense I become the filter and share the best of what I’ve learned and morph it with my own experience.

MARCH 2016 47 TEMPO

For Example, “Affiliate Programs” – Did Someone Tell You About That, Did You Come Across It On Your Own Or Were

You Approached By A Company?

I learned about it from a killer podcast I recommend in my seminar called “Smart Passive Income”. Each episode is an inter-view with an entrepreneur. I heard an epi-sode explaining affiliate programs and with-in 2 days discovered that the “Transcribe” software company offers an affiliate pro-gram. So I put their code in my web store and get almost 1/3 of any sale that happens from someone discovering it from my site. That company is more generous than most I must add. A company like Amazon doesn’t need your help so you get 3%.

During Your Workshop You Discuss “Branding”, How Important Is Image To A Career In The Music Industry?

It’s extremely important. Anyone on the planet with internet access can now have music distribution, a store, and make videos with free software and smart phone cameras if they choose to learn how. So there are so many people out there doing it that it takes something special and thoughtful and cre-ative to actually grab someone’s attention for more than the average attention span of 7 seconds. If a great player puts out a video with crap lighting and sound and someone that’s average has a beautiful looking presen-tation, guess who will get the most viewers? The presentation is part of the brand way beyond content. A great example of a great brand is Imogen Heap. Her creativity seeps through all aspects, from how she dresses

which she obviously puts effort into, to all aspects of her creative musical output. Fans know she’ll look wild, have deep lyrics, and creative music as well as being on the cut-ting edge of technology. It’s all part of her brand that makes her stand out.

Did You Have A “Music Business Mentor” When You Were Coming Up?

No, that side was always a mystery and there were always middle men like A&R guys at record companies before wide spread internet use. They were like big road blocks to progress; beyond them were the purse strings, you needed to get into a good studio and get in debt to the record com-pany. It was not a pretty or hopeful sight for most. It wasn’t until we became empowered via the internet to take charge of our own destinies combined with repeated manage-ment failures, that I took a big interest in taking the reigns.

How “Hands-On” Are You In The Business Of Your Career Today As Opposed To When You Were The Side-Player With Michael Jackson

Or Jeff Beck?

I’ve had “run ins” with four or five dif-ferent ‘managers’ in my career during the MJ/Beck days, and they all turned out to be psycho liars so I refrain these days. I once asked John Jorgenson who managed him and he said he is self-managed. That was a little confirmation that maybe that’s the best way to go. And NOW he has a manager! He must have found someone special. I have to admit that for me it’s really nerve racking that someone else is speaking and making deals on my behalf. It can be a bit of a shock if your minds are not in alignment. When word got back to me of things that were said by various “managers,” I flipped a few times. I remember I told a guy who got involved just prior to the Jeff Beck gig that basically I’d play with Jeff for a cup of coffee. He turned around and told Jeff ’s manager what I was used to making and expected Michael Jackson pay. Michael charged a lot per seat and could fill 50k continuously. That could have lost me the gig. It’s much easier these days now that anyone can contact me via the internet. When people say “I didn’t know how to reach you”, I just want to say “Was your Google finger broken!?” That

excuse doesn’t even exist anymore. So 99% of my gigs and sessions are sorted out on line whether via Facebook or just clicking “Contact” on my batten.com site. I’ve done sessions for people all over the planet from the comfort of my home. So to answer your question, I do it all. For last summer’s tour, it was more than full time for 6 months, cre-ating content and doing logistics. Taking it all on yourself is not for the faint hearted. It’s all encompassing, but at least I know ex-actly what’s being done and there are no sur-prises of something that’s been neglected. I guess the best case scenario would be to be in complete alignment with a manager who has significant contacts and isn’t a rip off. I don’t know if that exists.

When You Speak To Young Musicians Do You Believe They Are Prepared

For The Current Climate Of The Music Business?

(Meaning, Being More DYI In The Busi-ness Aspect Of Music –

Websites, Branding, Recording, Etc).

No, they’re not prepared unless they’re open to learning. There is a lot of informa-tion on line but it’s confusing and a lot of it is predatory. If you have to pay a lot of mon-ey to “get your music heard”, you’ve found yourself a predator. I don’t think there’s any shortcut to getting out there unless you get launched into the 1% with significant in-vestment money. There’s a small % that go viral on Youtube, which can often be a tem-porary launch. There’s a lot more work to go into continuing the attention so you really need a solid foundation and a vision. Young musicians need to focus 90% on the music and growing in artistry and 10% on their branding. Branding isn’t something I think the young need to stress about. Instead, they should just be open to sending creativity into those thoughts. There is a certain amount of time I think you just need to focus on devel-oping your craft. 10,000 hours is the com-mon belief in ‘mastering’ anything. In the beginning it’s going to morph 1000 times before you find an original voice. I think the whole “American Idol” mentality of in-stant fame from obscurity is dangerous on a person’s phyche. Most of the top 10’s have been forgotten by now. If you don’t grow into your career organically and learn and become strong in the process there’s a good

TEMPO 48 MARCH 2016

chance you’ll be eaten up and spit out by the industry before you even realize what hap-pened. Michael Jackson’s manager Frank Dileo once said he could make anybody a star. The real challenge was to keep them there. When I speak about branding in my seminar it’s with a big focus on creativity and quality. To me, that’s important. To a record company, there’s a good chance you’ll lose your voice and choices and be placed into the closest mold they think will sell. If red jelly beans are selling, that’s what you’ll be. Sheryl Crow was headed that way, along the Paula Abdul path until she pulled the breaks. Obviously opting for authenticity and a slower path worked out for her.

How Important Is The Audition Process Or A Promo Package To A Career?

As far as auditions, you need to know how to be calm (which can be dealt with via visualization) and bring the goods, i.e. put in the work and then let go of the result. If you do the work and do your best then you win whether they pick you or not. In the 80’s more people were chosen for looks than skill so some of those decisions are just out of your hands. For myself, I took 3 or so days off when I had the chance to audi-tion for MJ so I could focus on the music and nail it as well as I could. For Jeff Beck, I forced an audition on myself. He was going on the strength of my CD’s and was good to go, but I booked myself to his house to play the entire Guitar Shop record for him and got a guitar synth to cover past keyboard parts. It just showed him I’d do the work. Give the leader a reason to believe in you; CD’s and demos only get you in the door to possibility; live is another beast altogether.

As for a promo package, I think you need it because it makes you look like you have your stuff together. I know amazing players that don’t have anything together: web site, promo kit, CD, or even a Face-book page. They have to rely on word of mouth for work and it’s limiting. For my PPK (powerpresskit.com), I put together a comp of my last CD rather than expecting anyone to listen to whole songs. The aver-age attention span these days is 7 seconds. It’s hard to wrap your head around but people need to be wowed immediately. I’ve seen Beck listen to CD’s and not last more than 10 bars. If there’s nothing fresh there,

he’s done. It’s also a bit of a statement as to who you are and how you want to present yourself to the public, from music to photos to videos. The text really needs to be looked at as well, a page full of misspellings and bad grammar kind of makes you look like a dumb***; with so many random smart phone videos out there, taking control with-in a website, Youtube channel or press kit is the only control you have over what people see of you.

You Worked With Some Legendary Musicians In The Industry, Tell Us About The “Work Ethic” Of Band

Leaders And Producers With Whom You Have Worked.

MJ was the best. He was like the Ener-gizer Bunny and had limitless energy dur-ing “BAD” tour rehearsals. He expected the same from all of us and the end product showed it. It was a tight show we put enor-mous hours into. To date it was the most intense rehearsals I’ve ever done. I think the best video of that time was the one released a couple years back of “BAD 25.” MJ was at his peak then. Jeff Beck also rehearses a lot, especially with a new band, but it’s a differ-ent animal altogether when it’s a show based on improv. I always wanted another week of rehearsal with him, in part to get more rep-etitions in with choosing patches between guitar and synth. I had some pretty intense footwork. His rehearsals were more relaxed than MJ’s though. In part because it was such a smaller show. There were just the 4 of us on stage. No dancers, singers, or special effects. As far as producers, Michael Sem-bello was the only one I’ve worked with to any great extent. I disagreed with 90% of his decisions and think the best thing he did for me was to teach me about the auto punch (ed., a recording process that involves pre-defined start and stop points), I’ve been on my own ever since. A producer can upgrade your product for sure, especially if there’s a band involved that can’t agree on anything. The producer can take the pressure off of everyone by making final decisions.

You Have Been On The Cover Of The Most Important Guitar Magazine

(“Guitar Player”). When Something As Monumental As That Happens In Your Life, What Is The Immediate Impact

Felt? Any Specific Incidents?

I actually tried to get them to wait un-til my debut CD was done, but they didn’t. They were taking advantage of the heat from just having finished the “BAD Tour.” It was a mental adjustment for me since I had been a reader for a long time. I’d fanta-sized being in it but to be launched to the cover was a test of any insecurities residing in me. I was proud but I knew it would tick off other guitar players I’d been hanging around, and it did. Jealousy is a whole other thing to get used to and you find out who your true friends are. It happened after the tour was over though, so I at least had be-ing in that band for 1 ½ years and loads of interviews previous to the Guitar Player one to get used to being at a different level.

Many High Profile Musicians Often Neglect Their Healthy Lifestyles Due To Pressure, Tight Scheduling, What Are

Some “Quick Remedies” That Serve You In A Pinch When You Are Under The

Gun?

I can’t say it’s easy by any stretch, but you need to make your dietary needs known when you’re touring which may mean to at least learn a little of the language of the country you’re in if needed. There are sim-ple apps for all of them. I often stay in a cer-tain Italian hotel. Typically they only serve espresso and a pile of gluten for breakfast. So I learned the word for eggs. I recently heard that Ella Fitzgerald blamed her diabe-tes on a career on the road. Food conscious-ness wasn’t anywhere near what it is now when she was touring as a young woman, but it’s all about choices these days com-

MARCH 2016 49 TEMPO

bined with effort. I actually went gluten free for one of my Italian tours but it does take a lot of effort. Italians are perfectly happy to eat bread and pastries for breakfast, pizza for lunch and pasta for dinner. When you’re at home it means planning ahead. Juicing for instance is something that’s not difficult to take with you when you’re on the run. Plus you can make up a ton at a time to stock up.

Technology Is Important Specifically To Your Career As A Musician, Any Advice For Young Musicians

Looking To Be Successful?

Always keep an open mind to learning. Lynda.com is one of many learning sites that are very reasonably priced to keep you up with empowering apps. It’s important to anyone who wants a career in music to have many branches of abilities to offer in order to stay afloat. Drummers than can program are going to be a lot more valu-able than ones that can’t.

What Are Your Thoughts On Guitar Education And How This Relates To Your Career

As A Musician (Multiple Income Streams)?

Guitar is just the instrument that allows your musical expres-sion. Being able to play to a certain level is just step one. Being able to play in a band is a whole other skill which takes time. Skills like being able to read and write and record music are not imperative but make you stronger and more employable, so why not dig into it all? Everything you learn empowers you even more. I’ve made money from a dozen skills beyond just playing which really helps in dry spells. It’s also good to constantly be changing it up in the creative arts. I spent 6 months in Cirque Du Soleil’s “Zumanity” show. I loved it the first 3 months as it was all new but I couldn’t wait to leave by the end. Cirque shows go 10 times a week with the same music. Even this last summer, I did around 50 clinics, seminars, and concerts across the USA. If I was only doing one event it wouldn’t be as good as mixing it up.

How Have The Changes In The Music Industry Over The Last Decade Affected You, If At All?

I’m much less likely to spend my own money to record another record when people can get it for free. In fact I currently have zero motivation and have moved my focus to education and live playing. If or when I start to record again, I’ll release a tune at a time instead of waiting until I have an hour of material. It’s much more manage-able financially and psychologically. But I now understand that the money comes from sponsorship just like free TV, so my thoughts have moved toward developing a Youtube channel, writing books, collecting email addresses like any other business out there. Plus you have to offer some goods for free in order to get people into your zone and coming back. Music is already free so you have to come up with another product. I heard a statement that I really resonate with. If you want to make a million dollars, help a million people. I’m in giving back mode and am more focused on what I’ve learned to date to share than solely trying to get attention for my music.

Any further plans for “Self-Empowerment for the Modern Musician” seminar after this current tour such as a DVD edition?

I have a million thoughts to expand it which includes doing a streamed seminar this winter at some point. I’m still researching how to make it happen but the info will be posted on my site as soon as I nail it down. There will also be a book and DVD at some point. I was so glad to be able to tour it last summer and get feedback from people. It gave me a lot to think about in creating the next chapter and refining what I did already.

Thomas Amoriello is currently teaching guitar at Reading Fleming Intermediate School and Hunterdon Academy of Arts in Flemington, NJ. He is a graduate of Rowan University and Shenandoah Conserva-tory and has presented guitar workshops for various music organizations including the NJMEA, Guitar Foundation of America and Philadel-phia Classical Guitar Society. He is the author of the children’s picture book, A Journey To Guitarland With Maestro Armadillo to be published by Black Rose Writing in April 2016. You can follow Tom on Twitter @ www.twitter.com/armadilloguitar.

Matthew S. Ablan is an elementary music educator in Charlotte, North Carolina. He is a graduate of SUNY Stony Brook and The Cleve-land Institute of Music as well as holding a Masters in Music Education from Case Western Reserve University. Ablan’s list of teaching credentials include having served as adjunct instructor of classical guitar studies at Allegheny College in Meadville, PA and maintaining a successful pri-vate guitar studio for close to two decades. Most recently he was a guest lecturer at the 2012 Guitar Foundation of America International Fes-tival and Competition in Charleston, SC and is the author/founder of The Guitar Teaching Blog. For more information about Matthew please visit: www.matthewablan.com

TEMPO 50 MARCH 2016hartford.edu/hartt/summerterm

SESSION 1: JUNE 27–JULY 1An Introduction to Orff-Schulwerk Penny MahoneyHartt Baroque Orchestra Seminar Emlyn NgaiBrass Refresher Matt Aubin Introduction to Music Recording Justin KurtzGordon’s Music Learning Theory Ken Trapp Piano Tuning I and II Kenneth LawhornGuitar Basics for the Music Teacher Christopher Ladd—NEW!

SESSION 2: JULY 5–8Technologies in the Music Classroom Miriam Schreiber and Leslie CohenMusic Production, Pro Tools I Gabe Herman

Percussion Know-How for Music Educators Ben TothBlending Pedagogy: Incorporating General Music Methods in Children’s Choir Vanessa Bond

SESSION 3: JULY 11–15Folk Instrument Performance Jeff RhoneTransforming Your Choir through Diction Edward Bolkovac—NEW!Rhythmic Workout for Music Educators Rogerio BoccatoHartt Guitar Festival Christopher Ladd, Richard Provost, Scott TennantMusic Video Production Gabe Herman—NEW!Expanding Musicianship: Being Musical Inside and Outside of School Dan Isbell—NEW!

SESSION 4: JULY 18–22Instrumental Conducting Clinic Glen Adsit and Edward CummingRehearsing the Secondary Jazz Ensemble: Technique and Repertoire Haig ShahverdianJump-Start Your Choir Edward Bolkovac and Stuart YounseAround the World in Song and Dance Lillie FeierabendBody Mapping for Music Educators Kay Hooper

Diverse Learners in the Music Classroom Heather WagnerString Refresher: Basic Techniques and Their Relationship to Long- Term Success—NEW! Teri Einfeldt and Carlynn Savot SESSION 5: JULY 25–29World Percussion and Drum Set Survey for Music Educators Ben Toth Woodwind Refresher Dan HigginsBand Instrument Maintenance for Wind Educators Glen GrigelThe Music and Literacy Connection Dee HansenTeaching Children How to Create and Conduct Music Glen Adsit and Michael Colgrass

SESSIONS 4–5: JULY 18–29The Hartt Choral Conducting Institute Edward Bolkovac and Stuart Younse The Hartt Kodály Certification Program John Feierabend, Jeff Rhone, Edward Bolkovac, Gabor ViraghTHE FEIERABEND ASSOCIATION FOR MUSIC EDUCATION (FAME)First Steps in Music John FeierabendConversational Solfege Beginning John FeierabendConversational Solfege Advanced John Feierabend

Dr. Warren Haston, Director, Hartt Summerterm [email protected] 860.768.5526

EXCITING NEW WORKSHOPS FOR 2016Expanding Musicianship: Being Musical Inside and Outside of School Dan IsbellMusic Video Production Gabe HermanTransforming Your Choir through Diction Edward BolkovacGuitar Basics for the Music Teacher Christopher LaddString Refresher: Basic Techniques and Their Relationship to Long- Term Success Teri Einfeldt and Carlynn Savot

Starting Summer 2017, Orff-Schulwerk Certification

THE HARTT SCHOOLMUSIC • DANCE • THEATRE

SUMMERTERM 2016

SUMMERS ONLY MASTER OF MUSIC EDUCATION Earn your MMusEd during the summer. Choose an emphasis in Pedagogy, Kodály, or Instrumental or Vocal Conducting and complete 37–42 credits in just three summers!

MARCH 2016 51 TEMPO

TEMPO 52 MARCH 2016

Success in playing a musical instrument is predicated on effective practicing. Often the content of a music lesson is different from what students will do when

practicing at home. Most teachers are able to help young stu-dents understand the “what” and “why” of practicing, but communicating the “how” can be challenging. In some cases students spend significant time practicing, but make little or no progress. In the worst scenario, students who are not reflec-tive are simply reinforcing bad habits when they practice. A straightforward approach can help these students. It is called G.F.R: Goals, Feedback, Repetition.

How G.F.R. WorksIn a typical instrumental lesson, teachers often guide stu-

dents in developing technical and musical goals. Teachers then provide feedback relating to how the students have met those goals, and encourage them to do repetition at home. Since the teacher is not at home with the student when she is practic-ing, the student must be able to set her own goals and give herself feedback. Guidelines provided in lessons, such as “play exercise #7,” or “practice measures 20-32” are potentially too vague to be useful to students without the help of a trained ear. G.F.R. works because students understand the process of effective practicing, and are able to set their own specific goals and provide their own feedback.

The basics of G.F.R. are:1. The student sets a specific goal for the selection she is

practicing.2. She then asks herself feedback questions to determine

her success.3. Based on the result, she does another repetition starting

with a specific goal.The rest of this article outlines details of how to introduce

this approach to students.

GoalsWhen a student is practicing she needs to know more than

just what to do; she needs to know how it should be done. In lessons the teacher should guide the student in thinking about

what criteria constitute a successful performance. Rather than saying “Play a C Major scale,” one might say “play a C Ma-jor scale with good posture, correct hand position, good tone, clear articulation or correct bowing, and good intonation.” To avoid overwhelming students, have them create a checklist for the particular exercise or passage. In this case a checklist might look like this:

C Major Scale

Goals

• Posture• Hand Position• Tone Quality• Articulation/Bowing• Intonation

This checklist implies that several repetitions will be re-quired to ensure that each goal has been met. Goals should be tailored to suit the specific needs of each student. For a student who needs to focus on a particular skill such as embouchure or bow grip, this goal might take precedence.

To ensure that each goal has been met, the goals are then translated into feedback questions.

FeedbackUsing feedback to improve performance is the very es-

sence of what practicing is about. This is often where young players struggle the most, due largely to a lack of awareness of how to direct their attention when practicing. Helping them develop the skill of self-reflection will improve the effective-ness of their practicing.

A simple way to do this is to take each goal and convert it to a question. The questions should reinforce positive hab-its, and will usually begin with “Did I.” For example, “Did I make my best sound while playing a C Major scale?” Each student should have a set of feedback questions established before working on a selection. Here is an example:

Effective Practicing With G.F.R.Dan Halpern

Vernona Schools, Verona, [email protected]

MARCH 2016 53 TEMPO

C Major Scale

Goals Feedback

• Posture• Hand Position• Tone Quality

• Articulation/Bowing• Intonation

• Did I have good posture?• Did I use correct hand position?• Did I make my best sound? (air, embouchure, etc.)• Did I use the correct bowing?• Did I play in tune?

Using very specific questions will help students who strug-gle. For example, “Did I make my best sound” might be re-phrased, “Did I use good air and correct embouchure to make a beautiful sound?” Instead of asking, “Did I play the correct articulation,” one might ask, “Did I correctly play the slur-two, tongue-two pattern?”

RepetitionRepetition serves two main purposes: to ensure that goals

are met, and to develop habits of good performance. It is im-portant to emphasize to students that habits are constantly being formed, both good and bad. Focused repetition will lead to the development of positive habits. Fundamental aspects of playing, such as posture and hand position, will become auto-mated so attention can be directed elsewhere.

Each repetition should focus on achieving one or two specific goals. Before each repetition the student should know what feedback question she is going to ask herself at the end. If the answer is positive then she should do it again the same way, or move on to the next goal. If the answer is negative then the next repetition should involve an adjustment.

Knowing how much repetition is necessary is also crucial. Some students have a clear sense of when the material is mas-tered. Others need concrete parameters to guide them or when to move on. Some examples are:

•Threegoodrepetitionsin-a-row•4outof5goodrepetitions•5totalcorrectrepetitions

C Major Scale

Goals Feedback Repetition

• Posture• Hand Position• Tone Quality

• Articulation/Bowing• Intonation

• Did I have good posture?• Did I use correct hand position?• Did I make my best sound? (air, embouchure, etc.)• Did I use the correct bowing?• Did I play in tune?

Yes-Repeat #1-Repeat #2-Move on

No-Repeat with adjustment

Using G.F.R.G.F.R. works for students because all three steps are clear

and simple. When presenting G.F.R. to students it is useful to write the letters on the board and refer to each step of the pro-cess. Students need to understand how each part of the process is interrelated. When students are engaged in setting goals and generating feedback questions they will take greater ownership over the process and will use it more effectively.

As students continue to use this approach, they should generate standard checklists and feedback questions that can be applied to new material. Rather than starting from scratch with new music the student will select goals and feedback questions from existing lists. Selecting the appropriate procedure will encourage students to think critically about the music they are learning, and foster a deeper understanding.

G.F.R. is also a useful tool for helping students who strug-gle when practicing on their own. Reviewing each step of the process can help students identify why their practicing is not effective, and guide them to improve. Rather than asking, “did you work on this?” a teacher might ask, “what sort of feedback did you give yourself?” or “did you ask yourself a question about articulation?” This type of guidance focuses students on specifically what they need to do when practicing. They are also more likely to practice when they have a clear sense of what to do and how to do it.

Once the basic principles of effective practicing are intro-duced, the process will be eventually become integrated into how students approach learning music. Using the language of G.F.R. in lessons and rehearsals will further encourage stu-dents to be mindful of their own progress. When students ex-perience the success that comes from effective practicing they will be more motivated to continue their efforts.

For more please visit www.danhalpernmusic.com

TEMPO 54 MARCH 2016

CJMEACentral Jersey

Music Educators Associationcjmea.org

I’d like to thank the many people who made our High School concert season go

smoothly. From our Division Chairs to our managers, site hosts and conduc-tors, these volunteers have dedicated themselves to providing high quality musical experiences for our students.

Also, for the first time, CJMEA has created a scholarship program for students that have participated in our region ensembles for all 4 years. We will be awarding three scholarships, each in the amount of $1,000. We are excited to review the application mate-rials and will be making our decisions in the spring.

This month will feature our Inter-mediate ensemble concerts. Many of you have sent students to participate and we hope to see you at the concerts. Please also be aware of our many fes-tivals and honors ensemble days that will be taking place in the next few months. Information about all of these events can be found on our website.

This is an exciting time for mu-sic education. In the past couple of

months, the federal government passed legislation making music and art equal in importance to the subjects tradi-tionally known as the academic core. Additionally, the state of NJ passed legislation that requires equality be-tween the weighting of grades in arts courses with the other academic core courses. These types of things do not happen without significant work from many people who have made it their mission to advocate for the arts. Our thanks to everyone who contributed to these efforts.

I wish you all a successful Spring season and as always, please visit our website for information and connect with us on Facebook and Twitter!

Adam Warshafsky - [email protected]

Brian Toth-High School [email protected]

The CJMEA Region Bands en-joyed a wonderful concert weekend on January 15th-17th with Andrew Yoz-viak from Westchester University and M. Gregory Martin also from West-chester University on the podium. Many thanks go out to our manag-ers, Chris Vitale and Mike Anzuini as well as our hosts at Montgomery High School, Adam Warshafsky, Kawika Kahalehoe, and Michael Brennan.

We also had another successful concert with our Symphonic Band Invitational of Central New Jersey, which was organized by Paul Caruso, conducted by Thomas McCauley from Montclair State University. Thank you to the Sayreville Public Schools for their support of this event

We are looking forward to the upcoming CJMEA concert band fes-tival in March! Our schedule is full of wonderful ensembles from across central New Jersey. Thank you to all

those directors who are sending their ensembles to this wonderful event.

Seth Davis-Intermediate [email protected]

By the time you read this, the Intermediate Symphonic Band and Wind Ensemble will be hard at work with Jeffrey Smith and Michelle Lind-ner, respectively. We’d like to offer a special thank you to the directors and administrators at Community Middle School, Crossroads North Middle School, Branchburg Middle School and Steinert High School for team-ing up to host the auditions, rehearsals and concert. Thank you to all who are participating this year by sponsoring students, helping them through the audition and rehearsal processes, and attending the concert. Special thanks Jennifer Tobin and Sarah Benkert, our two ensemble managers, and to those who volunteered their time to host rehearsals, run sectionals and usher at the concert! Managing an ensemble and hosting a rehearsal or concert are great ways to get involved, meet other directors, and support the students in CJMEA. Please contact Seth Davis if you are interested in either of these for the future, or for the current concert coming up.

Preparations for the Elementary Honors Band are under way. Directors have recommended students by filling out the application (always posted on www.cjmea.org) and accepted students were placed into an ensemble. Music is currently being organized and will be distributed soon. Please help your stu-dents to practice their music as soon as you receive it. Also make sure they are prepared with a folding music stand and all the necessary accessories for their instrument (reeds, valve oil, etc.) for the day of the event. The rehearsal and concert will be held on April 16th.

MARCH 2016 55 TEMPO

Coming soon will be information about the CJMEA Elementary & In-termediate Band and Orchestra Festi-val, which will be held on April 13th and 14th at Neptune High School and also May 12th and 13th at Freehold Township High School. For more in-formation on dates or locations or to download registration forms, please visit www.cjmea.org.

Heather Mount-Intermediate [email protected]

This spring season will bring many exciting concerts! We are working hard with our Intermediate Choirs. SSA Choir will be conducted by Brian Sch-keeper and SSAB Choir will conduct-ed by Kale Thompson. A big thank you goes to the teachers who are host-ing rehearsals in February and March: William Alzaher (Green Brook); Dan-iel King (Lawton C Johnson Summit); Kathy Reid (Churchill); and Shannon Maddolin (South Plainfield) and to our two outstanding managers: Shan-non Maddolin (South Plainfield) and Rebakah Hamilton (Edison). Thank you to all the intermediate teachers for helping at each rehearsal. We wouldn’t be able to do this without you!

The Treble Honors Choir will have a concert at the end of May at Edison High School. Check the web-site for more information.

If you are interested in getting involved or more involved with any of the K-8 activities next year, please email me. Some fun activities you can volunteer for are: the Intermediate Choir, the Treble Honor Choir, K-8 General Music Workshops, and the Intermediate Choir Festival. We are looking for rehearsal hosts, and con-ductors. Thank you.

Penny Martin-Intermediate [email protected]

Greetings from the Intermedi-ate Orchestra Chair. We are having a successful Region Orchestra season. I would like to thank everyone who stepped up to volunteer to make it all happen, including my fellow conduc-tor, Arvin Gopal, as well as our manag-ers, Susan Meuse and Dan Martinho. It has been such a pleasure conduct-ing the Chamber ensemble and seeing the String Orchestra in action and I can't wait for the concert on Satur-day, March 5th at the Neptune High School PAC. Thank you to the Nep-tune school district for providing this wonderful facility.

The New Jersey Youth Orchestra facility in New Providence was used for our rehearsals this year and I would like to thank the teachers and adminis-trators at these schools for inviting the CJMEA Intermediate Orchestras to use their buildings. I would like to be prepared in advance for next year’s re-gion rehearsals, so if anyone would like to host a rehearsal for any of the or-chestra ensembles, please let me know right away. It’s a great opportunity to fundraise for your group by holding a baked goods/snack sale. Also, if you are interested in putting your name in the hat to conduct, please consider managing so you have the opportunity to work with the ensemble ahead of time.

Have a wonderful Spring Con-

cert Season! I would like to wish all students auditioning for the All-State Intermediate Orchestra to break a leg!

Yale [email protected]

I hope everyone is having a fantas-tic 2016 and that all Winter Concerts went well! I want to commend ev-eryone involved with our Region HS

Percussion Ensemble this year. It was truly the finest concert the group has ever had in it's 8 plus year existence! Our concert at Montgomery HS on January 10th with the orchestra was amazing. I have never been so proud as a percussion educator to have such a legendary figure in the percussion world such as Jonathan Haas, timpani virtuoso and NYU professor of percus-sion as our guest conductor. Our stu-dents had an amazing weekend of mu-sic making and learned such valuable life lessons from Haas of what it takes to be a percussionist on a professional level. Watching the growth of the stu-dents in 48 hours was simply a joy from start to finish. The program of music was extremely difficult includ-ing a movement from renowned com-poser Eric Ewazen's "Palace of Nine Perfections" which may have been the most challenging piece the group has ever taken on. I also want to thank my colleagues involved with the HS or-chestra for allowing us to utilize some of the brass section to perform Frank Zappa's "Regyptian Strut" with the percussion ensemble. A big thank you goes out to Tom O'Hara for managing the group. Bravo to all of our fabulous percussion students!

I am looking forward to our Inter-mediate Percussion Ensemble. We are thrilled to have Peter Saleh of the Exit 9 percussion group and director of the Rutgers Youth Percussion Ensemble as our guest conductor. Our concert will be with the intermediate chorus on March 13th at Monroe Township HS. I hope to see you all there. If anyone has any questions or is looking to get involved please email me at [email protected].

continued on next page

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NJSMANorth Jersey

School Music Associationnjsma.com

Gregory Mulford and Lewis KellyBand Division Co-Chairs

Congratulations to all students who successfully auditioned for the NJSMA region bands and to all the di-rectors that helped with auditions, re-hearsals and concerts. NJSMA would not be able to provide these wonder-ful opportunities for students without the support and encouragement from their sponsoring directors.

The Junior High School Concert will be March 6, 2016 at Northern Valley Demarest High School. Jeffrey Conrad, band director at Eisenhower Middle School, will conduct the In-termediate Band, and the Junior Band will be under the direction of Mark Donellan, band director at Paramus High School.

This year’s High School Region Concert Band Festival will be held April 5-7. Hosts include Morristown, West Essex, Hanover Park, Mt. Olive and West Orange High Schools. The Junior High School Concert Band Festival will be held April 21 at West Essex High School and Westwood Jr./Sr. High School. Thank you to all our hosts and all participating ensembles. Special thanks to our festival coordi-nators John Maiello, Pete Bauer and James Lawrence.

The fifth annual NJSMA Elemen-tary Band Festival will take place on Saturday, May 7, 2016 at South Or-ange Middle School. Sixth graders from north jersey that have been nom-inated by their directors will rehearse and perform a concert in a one-day festival. Bands will be conducted by Don Van Teyens, Ringwood Public

Schools, and Jeanette Basilicato, An-thony Wayne Middle School. Special thanks to our festival coordinator Jen-nifer Wise and librarians Dan Halpern and Brian Michalowski.

Please check www.njsma.com for updated and detailed information.

Lisa WichmanNJSMA Elementary Chairperson

The NJSMA Elementary Music Division is hosting an Elementary Choral Celebration at Drew Univer-sity on Tuesday, May 31. Elementary Choirs from schools in Region 1 are invited to participate. Our guest clini-cians are Jason Bishop and Deborah Mello. More details can be found on the NJSMA webpage.

In addition, plans are underway for our 2nd Annual Columbus Day Professional Day. Please check back on the NJSMA Elementary page for in-formation.

SJBODASouth Jersey Band And

Orchestra Directors Associationsjboda.org

The past few months have been very exciting and re-warding for the members

of SJBODA. On January 10th our Senior High School Orchestra and Ju-nior High String Ensemble performed at Rowan University and the follow-ing week our Senior High Wind En-semble and Senior High Symphonic Band performed at the same venue. Their music was beautiful and the result of the many excellent music teachers and programs throughout our region. The conductors for these con-certs were Paul Bryan (Curtis Institute of Music), Tim Schwarz (Rowan Uni-versity), Tom McCauley (Montclair University) and Scott Visco (Point

Pleasant Borough HS). The coordina-tors for these performances were Mark Kadetsky (Fernwood Avenue MS) and Nichole DelNero (Toms River HS South). The managers of the Or-chestra and the String Ensemble were Amanda Lakits (Hamilton Township Schools), Don Wittenwiler (Charter Tech HS) and Marlee Ernst (Chelsea Heights School). The managers of the Wind Ensemble and Symphonic Band were Matt Holmberg (Lacey Town-ship HS), Nicole Baldelli (Mill Pond School), Lisa Simone (Hopper Av-enue Elementary), and Carlye Waniak (Dawes Avenue School). Our hosts for these concerts were Sal Scarpa and Rick Dammers. The equipment man-ager for both of these events was Karyn Park (Williamstown MS).

Congratulations to Sara Corson (A. P. Schalick HS) who received the 2016 SJBODA orchestra scholarship and Luke Bakanas (Shawnee HS) who was the recipient of the band scholar-ship. We wish these students and all of our seniors continued success in their future endeavors.

Our 9th Annual Chamber Ensem-ble Concert took place on February 10th and was hosted by Keith Hodg-son and the Mainland TRI-M Music Honor Society Chapter. The ensemble coaches were Brass: Ben Fong, (Reeds Road ES), Percussion: Vince Gat-tinella (Resonance School), Sax: Jon Porco (Absegami HS), Woodwind: Joe Brausam (Mill Pond ES), Clarinet: Amanda Latkits (Hamilton Township Schools), Flute: Roberta Beckler (Egg Harbor Township School District, re-tired) and Tuba/Euphonium: Patrick O’Keefe (Smithville ES). This event was coordinated by Keith Hodgson (Mainland Regional HS).

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

MARCH 2016 57 TEMPO

event. The efforts of Tony Scardino (Indian Mills MS) and Joe Jacobs (Ventnor MS), our Junior High Audi-tions Chairs, were greatly appreciated by teachers and students. With the assistance of Phil Senseney (South-ern Regional School District, retired) and Deb Knisely (Cinnaminson HS) they provided a positive experience for all involved. These auditions were hosted by Andrew Wright, Jennifer Hodgson and the Southern Regional TRI-M Music Honor Society Chap-ter. Glenn Motson (Gloucester City Jr/Sr HS) is doing a wonderful job in assisting the conductors and stu-dents as the Junior High Band Coor-dinator. The conductors for the 39th Annual All South Jersey Junior High School Band concert are Ken Rafter (Fairfield Township Schools) and Lori Ludewig (Oaklyn Public School). The managers for this event will be Scott McCarron (Delsea Regional HS) and Lori Ludlum (Oaklyn Public School, retired). The rehearsals were hosted by Keith Hodgson at Mainland Regional High School and the concert will take place on February 29th at Lower Cape May Regional HS. John Dreshen and Bethany Wiberg will host this event.

The 23rd Annual SJBODA Con-cert Band Festival will take place on Tuesday, March 8th and Wednesday, March 9th at Rowan University. Our festival coordinators are Mike Arm-strong (Deptford HS) and Jon Porco (Absegami HS). Rick Dammers (Row-an University) will host this event.

The 24th Annual Elementary Honors Band Festival will take place on Saturday April 23rd at Absegami HS. Jon Porto will be our host. Mike Daly (Pleasantville School District), Beth Rohaly (R. M. Bacon ES), and Amy Bliss (Rowan University) are the conductors for this festival. Our coor-dinators will be Sue Moore (Mansion

Avenue School) and Bill Trimble (We-nonah ES).

The SJBODA Inaugural Elemen-tary String Festival will take place on Saturday, April 30th at Cinnaminson HS. Jayne Weiner (Evesham Town-ship School District) will conduct and her managers will be Ashley Rothkopf (Evesham Township School District) and Mary Jo Zahradnik (Washington Township School District, retired) Ian Miller (Thomas E. Bowe School) will coordinate this event and Deb Knisely (Cinnaminson HS) will be our host.

The SJBODA Spring Breakfast meeting will take place on Wednesday, June 1st at 9:00 a.m. at “Seven Star Diner.” Please contact Patrick O’Keefe at 609-457-0590 or [email protected] if you plan to attend. Please continue to check the Web site, main-tained by Keith Hodgson and Derek Rohaly (Mainland Regional HS), for the latest SJBODA updates.

Joseph Jacobs Secretary, SJBODA

SJCDASouth Jersey

Choral Directors Associationsjcda.net

The South Jersey Choral Di-rectors’ Association held their annual concerts at

Eastern High School on January 30th and 31st. Despite losing a rehearsal to the blizzard of 2016, both choirs sounded beautiful and gave fabulous performances. Conductors David Tay-lor, of Northern Burlington and Sarah Mickle, of Clayton, led their groups, of almost 200 singers each, and end-ed with a rousing performance of Let Everything That Hath Breath. I would like to thank everyone who contrib-uted to the success of this year’s festi-

val, from audition day to performance day; managers, hosts, teachers, as well as the Board of Directors and Festival Coordinator, Hope Knight. After the final performance, conductors, retirees and other honored guests gathered to-gether for a wonderful meal and cel-ebration at “Viana’s Italian Bistro” in Voorhees.

We look ahead now to our El-ementary Chorus Festival, to be held on March 5th at the Investors Bank Performing Arts Center in Washing-ton Twp. Students from 4th, 5th and 6th grades will come together for one performance, led by invited guest Conductor , Past-President of SJCDA, William Yerkes of West Deptford High School. Thank you to all participating directors who have worked diligently with their students to assist them in the learning of the music. I look for-ward to a wonderful performance!

Directors are reminded to attend our Spring Breakfast General Mem-bership Meeting, to be held again at the “Crowne Plaza” in Cherry Hill on April 15th. Professional Development will be offered, as well as an oppor-tunity to discuss the continued im-provement of the organization and its events. Please consider attending and socialize with your colleagues, as we make the push to the end of another successful school year together!

Nancy Dickinson, SJCDA [email protected]

www.sjcda.net

&

TEMPO 58 MARCH 2016

Laurel Ruth Chamberlin Crowley

Laurel Ruth Chamberlin Crowley passed away on No-vember 16, 2015 in her home surrounded by her loving fam-ily. Laurie, as she preferred to be called, led a life devoted to love, service and compassion to friends and family. Born Sep-tember 3, 1928 in Syracuse, New York, Laurie was the first of three children born to John Reading Chamberlin, Jr. and Ruth Hazel Doman of Elbridge, New York. She was a 1950 graduate of Syracuse University College of Fine Arts, earning her degree in music. Musically gifted, Laurie played trumpet, piano and a number of other musical instruments. Her first employment was as a music teacher in the Union County, New Jersey public school system. Laurie married Noel Chase Crowley of Rhinebeck, New York on June 27, 1953 in the Elbridge Community Church. The couple lived first in Rhine-beck and then in Charlottesville, Virginia, until her husband, with the support she provided through various employments, graduated from the University of Virginia Law School.

Darienne T. Franks

Darienne T. Franks died December 13. She was born in Washington, DC and had been a resident of Bridgewater since 1988. She retired in 1998 after more than 30 years as a music teacher for Washington School in East Orange. She later opened the “Dari Franks Voice Studio” in Bridgewater, teaching private voice lessons until 2013. A Bachelor of Fine Arts graduate of SUNY, Potsdam, NY, and a member of the Immaculate Conception Church, Somerville, she belonged to the choir and served as a Eucharistic Minister.

Esther M. Harris Linden

Esther M. Harris Linden, music teacher, who organized programs for veterans, passed away on Thursday, Dec. 31, 2015, at University Hospital in Newark, N.J. Harris was a music teacher for the Linden Board of Education for 38 years, retiring in 2011. She was a member of the New Jersey Music Teachers Association and was very dedicated to our veterans, organizing music programs on veterans’ holidays.

Grace D. Larsen

Grace D. Larsen, age 96 of Whitehouse Station, NJ, died Saturday, January 2, 2016 at her home. Born in Bridgewater Twp., NJ, she was the daughter of the late J. VanNest and Flor-ence DuMont. Grace resided in Bridgewater Twp. for many years before moving to Whitehouse Station in 1995. She was a music teacher for Bridgewater Twp. Schools for 27 years be-fore retiring in 1966. Along with her late husband, she was an extremely active member of the North Branch Reformed Church, playing the organ for services for many years. She was a member of the Raritan Valley Grange and the Daughters of the American Revolution, Whitehouse Chapter.

Bonnie Laub

Bonnie Laub, age 63 of Wyckoff, died peacefully at her home on Thursday, October 29, 2015 with her husband Ed by her side. Born in Columbus, Ohio, Bonnie lived in Wyckoff for the past 41 years. Bonnie was an accomplished professional musician and teacher, receiving her Bachelor of Arts in Mu-sic Education from the Westminster Choir College in 1974. Bonnie was a 1970 graduate of Northern Highlands Regional High School in Allendale. Throughout her professional ca-reer, Bonnie performed internationally with the world-famous Westminster Choir and as a member of the Riverside Church

This column salutes the lives and careers of recently departed colleagues. It is the way NJMEA and NJRMEA can express appreciation for the work that they have done and the lives that they have touched. We mourn their passing and salute their contributions, which are the basis for music education in the state of New Jersey.

MARCH 2016 59 TEMPO

Choir in New York City. Bonnie was the soprano soloist for many years at the Wyckoff Reformed Church, as well as a fea-tured soloist at many churches across the Tri-State area. She served as director of The Wyckoff Reformed Church Nursery School music program for over a decade, and a music teacher at Washington Elementary School in Wyckoff. Additionally, she established and was the director of The Wyckoff Reformed Church Handbell Choir, and the director of the Riverside Church Handbell Choir as well. Bonnie also developed an all-women A Cappella group, Sirène. She also taught privately out of her home studio.

Jerry Nowak

Gerald Chester Nowak, the prolific arranger/composer, author and music educator better known as Jerry Nowak, 79, died on Dec. 14, 2015, following a protracted illness. Jerry achieved an international following as an arranger, composer, conductor and teacher, known especially for his innovations in the techniques and teaching of conducting and phrasing. With his brother, Henry Nowak, he co-authored two innova-tive college textbooks published by Carl Fischer: Conducting the Music, Not the Musicians, and The Art of Expressive Playing, the latter being the first comprehensive textbook on expressive performance. His writing career began in the early 1970s as an arranger for Paul Simon’s publishing company, “Charing Cross Music.” Over a 40-year period, he went on to contrib-ute over 1,100 arrangements and compositions for publishers in the U.S. and abroad, making him one of the most widely published musicians of his generation. He arranged vocal and instrumental works in a broad range of styles for both youth and professional ensembles, including concert band, march-ing band, chamber winds, and jazz band. Through his ar-rangements, teachings and books, he influenced thousands of amateur and professional musicians, conductors, and music teachers around the globe. Born in Detroit, MI, and raised in Trenton, NJ, he achieved his bachelor of science in music and master of music composition from the College of New Jersey, formerly Trenton State College. Early in his career, Jerry worked as a woodwind player and session singer in New York and Philadelphia. He was a fixture on the Dixieland jazz scene in the 1950s and 1960s, and played with a diverse range of singers and groups, including “Big Bands,” jazz ensembles, and national pop and R&B groups, including Stevie Wonder, among many others. He also toured with Burt Bacharach and was a founding member of the Philadelphia Saxophone Quar-tet and New Jersey Saxophone Quartet. Jerry was a co-founder and the music director of the Delaware Valley Wind Sympho-

ny and appeared as a guest conductor with the Delaware Val-ley Philharmonic Orchestra, and numerous professional, col-lege and high school ensembles across the U.S. Jerry started his teaching career at Hunterdon Central High School in Flem-ington, NJ, where he taught from 1959 to 1969. Thereafter, he taught at Bucks County Community College in Newtown, PA, until 2005, when he retired as professor emeritus of mu-sic. He traveled extensively as a clinician and adjudicator, and taught graduate level courses at colleges throughout the U.S., Canada, Australia, and New Zealand. Jerry also served as an adjunct professor at the College of New Jersey and taught at The University of the Arts on the campus of Villanova Univer-sity for 20 years. In 2014, he completed his 30th consecutive season of teaching at the Jerry Nowak Summer Conducting School in Sydney, at the invitation of the Australian Band and Orchestra Directors Association in New South Wales. He also taught at the summer school of Melbourne Youth Music for 26 seasons.

Tatyana G. Shestakova

Tatyana G. Shestakova 56, died December 1, 2015. Taty-ana was born in Russia and formerly of Highland Park before moving to Somerset in 2009. She graduated with a BA degree from the University of Russia and St. Petersburg Music Col-lege. She was employed as a kindergarten music teacher by the Morganville Board of Education for 40 years.

Dorothy S. Underhill

Dorothy S. Underhill, age 86, of Ware Presbyterian Vil-lage, Oxford, PA, passed away on Wednesday, December 23, 2015. She was the wife of the late Charles A. Underhill who died in 1996. Dorothy was a member of Penningtonville Pres-byterian Church, Atglen where she sang in the choir. Previ-ously she was a member for over 50 years and former elder at Manasquan Presbyterian Church in Manasquan, NJ. While she was at Manasquan she sang in the choir, taught Sunday School and Bible School, and founded and directed the wom-en’s handbell choir. Dorothy received her Bachelor’s of Educa-tion Degree from Temple University. She was a music teacher in the public school system retiring from Brielle Elementary School in 1992. While living at Ware Presbyterian Village, she served on the Welcoming Committee and played in the Choir Chime Group.

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TEMPO 60 MARCH 2016

President, William McDevittVineland High [email protected] x2539

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Communications (TEMPO/Web)Thomas A. Mosher, [email protected]

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AdministrationRonald [email protected]

AdvocacyNick [email protected]

Band Festivals/Classroom MusicNancy ClasenThomas Jefferson Middle [email protected]

Band PerformanceAlbert BazzelWinslow Twp. Middle [email protected]

Choral/Opera FestivalsDonna Marie BerchtoldWilliam Davies Middle [email protected] x1013

Chorus Performance/NJRMEAKathy Spadafino, [email protected]

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Corporate/IndustryRon [email protected]

Early Childhood Music Ed.Amy BurnsFar Hills Country Day [email protected] 973-493-5797

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Guitar Tom AmorielloFlemington Raritan [email protected]

Orchestra Festivals/PerformanceSusan MeuseHammarskjold Middle [email protected]

Special LearnersMaureen ButlerLake Drive [email protected]

TechnologyMarjorie LoPrestiEast Brunswick High [email protected]

NJMEA 2015-2016 Board of DirectorsExecutive Board Appointed Members

Region Executive Members

MARCH 2016 61 TEMPO

NJMEA RESOURCE PERSONNEL

Area of Responsibility Name Email Address

Administrative Matters .....................................................William McDevitt ............................................................billnjmea@aol.comAll-State Band Coordinator ...............................................Donna Cardaneo ........................................................... [email protected] Chorus, Orchestra, Jazz Coordinator .................... Joseph Cantaffa .................................................. [email protected] Business ........................................................... Deborah Sfraga .............................................................debnjmea@aol.comBand Procedures Chair ........................................................Matthew Spatz ...............................................matthew.spatz@millburn.orgChoral Procedures Chair .................................................. Kathleen Spadafino .............................................................kspadeb@aol.comComposition Contest ........................................................Robert Frampton ...................................................rtframpton@comcast.netJazz Procedures Chair ........................................................ Michael Anzuini ................................................ [email protected] Band Festival Chair ............................................. Nancy Clasen ...................................................... [email protected] ....................................................................... Deborah Sfraga .............................................................debnjmea@aol.comMiddle/Junior High Band Festival ....................................James Chwalyk, Jr. ........................................... [email protected]/Junior High Choral Festival .............................Donna Marie Berchtold ................................ [email protected] Historian ................................................................Nick Santoro .............................................................nb1331@quixnet.netNJMEA State Conference Exhibits Chair ............................ Nancy Clasen ...................................................... [email protected] State Conference Committee .................................Ron Beaudoin ........................................................ [email protected] State Conference Manager ......................................Marie Malara ...............................................................malara97@aol.comNJMEA/ACDA Honors Choir ............................................. Carol Beadle ................................................ [email protected] Summer Conference .............................................Joseph Akinskas.................................................... [email protected] Convention – NJEA ........................................... Nancy Clasen ...................................................... [email protected] Festival Chair ........................................................ Michael Kallimanis .......................................... [email protected] Procedures Chair .................................................. Susan Meuse ........................................................ [email protected] ............................................................................. Rick Dammers .........................................................Dammers@rowan.edu Students with Special Needs ...............................................Maureen Butler .......................................................mbutler@mlschools.orgSupervisor of Performing Groups ..........................................Joseph Jacobs ............................................................... jjacobs@veccnj.orgTri-M................................................................................William McDevitt ............................................................billnjmea@aol.com

REPRESENTATIVES/LIAISONSTO AFFILIATED, ASSOCIATED AND RELATED ORGANIZATIONS

NJ American Choral Directors Association ........................... Carol Beadle ............................................... [email protected]’s Award for Arts Education ....................................Joseph Jacobs ...............................................................jjacobs@veccnj.orgNJ Association for Jazz Education ...................................... Michael Anzuini ................................................manzuini.njaje@gmail.comNAfME ............................................................................William McDevitt ...........................................................billnjmea@aol.comNJ Music Administrators Association .................................Robert Pispecky .................................... [email protected] Retired Music Educators Association .......................... Kathleen Spadafino ............................................................kspadeb@aol.comNJ TI:ME ........................................................................... Rick Dammers ......................................................... [email protected] Arts Society ....................................................... Domenico 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

TEMPO 62 MARCH 2016

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 McDevitt2011 - 2013 Keith Hodgson2013 - 2015 Joseph Jacobs

NJMEA Past Presidents

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