2013 october tempo

OCTOBER 2013

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

888-323-0974 • [email protected]

LIFETIMEOFA

EXPERIENCE

INTERNATIONAL PERFORMANCE TOURSCLINICS • FESTIVALS • PUBLIC PERFORMANCES

THE

Volume 68, No. 1 http://www.njmea.org OCTOBER 2013

28 Preparing For A Successful Audition, by Andrew Lesser

30 Thoughts On Seating Bands, by Jacques Rizzo

36 This Article Is Not Just For Guitarists, by Thomas Amoriello

42 Teaching Internal Aspects Of Instrumental Technique, by Carol Hohauser

48 Is It Ever Too Early To Start Learning Music? E-I-E-I-No!, by Abby Connors

50 Don’t Omit The Punctuation, by William L. Berz

52 Kids As Composers: Ten Approaches To Composing, by Bradley L. Green

55 New 2013 Band Music From Carl Fischer/Theodore Presser, by Thomas A. Mosher

56 Recent Themes In Teacher Evaluation, by Doug Orzolek

58 Getting To Know You: Thoughts For A New School Year, by Maureen Butler

62 Music Soothes The Ravaged Brain, by Dorita S. Berger

65-69 NJEA/NJMEA Convention Information, by Nancy Clasen

Advertisers Index & Web Addresses ......87Board of Directors ................................84Division Chair News ......................... 6-24Editorial Policy & Advertising Rates .....86From The Editor .....................................4In Memoriam ................................. 80-82Past-Presidents ......................................86President’s Message ............................. 2-3Resource Personnel ...............................85Round the Regions ......................... 76-79

FEATURES DEPARTMENTS AND NJMEA BUSINESS

FORMS AND APPLICATIONSSee NJMEA.ORG

“Files and Documents”for downloadable

copies of all forms & applications

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

Phone/Fax: 732-367-7195e-mail: [email protected]

Deadlines:October Issue - August 1

January Issue - November 1March Issue - January 15

May Issue - March 15

All members should send address changes to:

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

TEMPO (ISSN 0040-3016) is published four times during the school year: October, January, March and May. It is the official publication of the New Jersey Music Educators Association. The subscription rate for non-members is $20.00 per year. The subscription for members is included in the annual dues.

A copy of dues receipts (Subscriptions) is retained by the NJMEA Treasurer. Inquiries regarding advertising rate, closing dates, and the publication of

original articles should be sent to the Editor. Volume 68, No. 1, OCTOBER 2013TEMPO 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

2013 NAfME NATIONAL CONFERENCE

October 27-30, 2013Nashville, TN

NJMEA CONFERENCEFebruary 20 - 22, 2014

East Brunswick, NJ

NJMEA State Music Conference ..........64NJAJE Jr. Jazz Requirements .................70NJAJE HS Jazz Requirements ...............71Elem./Jr. High Honor Choirs ..........72-75NAfME Membership ............................88

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

NJMEA Visits Capitol Hill

Last June I had the opportunity to visit Capitol Hill with Keith Hodgson, Bill McDevitt, Debbie Sfraga, and Bob Frampton. The NJMEA representatives had six

scheduled appointments for the day with the Legislative Assistants of Congressman Sires, LoBiondo, Lance, Frelinghuysen, Pascrell, and Holt. We were also able to visit all of our other NJ Congressmen’s offices where we left behind some informative reading material.

On The Cover:NJMEA Goes To Washington, DC

left to right: Keith Hodgson (past president), Debbie Sfraga (executive secretary), Bill McDevitt (president elect),

Joe Jacobs (president), and Bob Frampton (Eastern president)

Our meetings with the Legislative Assistants were very encouraging. The dialogue was excellent and we received support and understanding from all of the Legislative Assistants who seemed to be genuinely interested in our concerns. Our discussion points included:

That Congress should maintain the arts as a core academic subject in any reauthorization of the Elementary and Secondary Education Act.

Music educators should be evaluated by qualified individuals using reliable measures germane to their field.

Funding should be made available to music programs through all appropriate ESEA-authorized programs particularly Title 1 monies.

Charter schools should provide students with a comprehensive education including access to sequential, standards-based music education.

Awareness of the bipartisan Congressional STEAM caucus which is being lead by Congresswomen Suzanne Bonamici from Oregon and Congressman Aaron Schock from Illinois. The STEM to STEAM initiative (adding the Arts to the STEM subjects) may bring increased attention to and funding for arts education.

It was a very productive day but we must all continue to advocate and express our passion for music education. Our students are depending on us.

NJMEA Board Continues to Evolve

In past years our NJMEA Board of Directors has done an outstanding job. We have been very fortunate to have had excellent leaders who have shared their talents and skills to benefit our organization. Our goals, which include music advocacy, performance opportunities for our students, and professional development for our membership, will remain as our board continues to evolve to meet our changing needs as music educators.

Board reorganization meeting on July 30th

At our reorganization board meeting in July we welcomed eight new members to the table. Besides our new region presidents we have added a guitar education chair, early childhood music education chair, music teacher education chair, and technology education chair. Our new members are: Peter Bauer, Jeff Santoro, Ben Fong, Bill Yerkes, Amy Burns, Tom Amoriello, Al Holcomb, and Beverly

TEMPO 2 OCTOBER 2013

president’s messageJOSEPH JACOBS609-335-6429

[email protected]: http://www.njmea.org

Robinovitz. Our new jazz liaison with the NJ Association for Jazz Educators will be David May. I am sure that this new infusion of talented and gifted educators will complement our experienced and dedicated board members in continuing to move NJMEA forward.

Congratulations and thank you to Joe Akinskas and his outstanding team of music educators on a very successful NJMEA Summer Workshop VI. This annual event took place on August 6th at The College of New Jersey. There were excellent sessions on choral music, technology, instrumental music, special education, classroom music, and even a couple of sessions on creating Student Growth Objectives. The Summer Workshop Planning Committee included Sue Mark, Rick Dammers, Rachel Klott, Joe Cantaffa, Shawna Longo, Betsy Maliszewski, Maureen Butler, Nick and Barb Santoro. It was a very inspiring and informative day which was made possible by dedicated NJMEA members. Thank you all very much!

This year NJMEA will be offering one-day Saturday workshops that will focus on specific topics. These sessions will give us the opportunity to receive professional development without having to take a day off from school. Our coordinator for the Saturday workshops is Joe Akinskas.

Nick Santoro and his colleagues from the NJ Music Administrators will be offering assistance in creating and implementing Student Growth Objectives. These clinics will give you the opportunity to meet with a supervisor who is familiar with creating Student Growth Objectives. During this one-on-one meeting you will actually write the SGO’s and discuss how to assess student progress by creating rubrics. Additional information can be found on our Web site.

The 2013 NAfME National In-Service Conference titled “Hitting a Different Note” will take place on October 27th through October 30th in Nashville at the Gaylord Opryland Resort. The four day schedule includes an abundance of workshops on a wide variety of topics and performances by the All-National Honor Ensemble. NJMEA will be represented by 59 New Jersey students who will perform in these ensembles. Registration information for this conference can be found on the NAfME web site.

The November NJEA convention in Atlantic City is a wonderful opportunity for NJMEA members to attend outstanding professional developments workshops and hear some excellent musical performances for free. Nancy Clasen has put together an exciting assortment of workshops that will be offered on Thursday, November 7th and Friday, November 8th. Our All-State Jazz Band and Honors Jazz Choir will give a performance Thursday evening and the All-State Chorus and Orchestra will perform on Friday. These musical performances will be coordinated by Joe Cantaffa, Susan Meuse, Kathy Spadafino, and Dave May. The concerts will

be repeated at NJPAC the following week. I highly recommend that you make plans to attend the convention and especially the concerts.

Our NJMEA State Conference will take place on February 20th through February 22nd. Marie Malara will once again provide us with a superb event that will meet our musical and educational needs. You will definitely want to save these dates on your calendar. Additional information and registration material can be found on our Web site.

Attending the NAfME National Leadership Assembly was an inspiring and informative event. The opportunity to collaborate and discuss important issues with other state music education leaders was priceless. The hot topic once again continues to be advocacy. NAfME is the foremost advocacy organization for music education. They advocate at the national level for the issues that affect music educators, including standards and evaluation, classroom time, funding, and access. They have a very impressive team working on our behalf on Capitol Hill. I encourage you to visit their Web site www.nafme.org for a wealth of information and resources that will keep you updated on issued that pertain to all music educators.

I would like to take this opportunity to thank and congratulate Keith Hodgson on his successful term as President of NJMEA. His leadership and initiatives will have a lasting impact on our organization for many years. I feel very fortunate and thankful for being part of a team which includes Keith Hodgson, Bill McDevitt, Debbie Sfraga, Tom Mosher and our entire NJMEA Board. Thanks to all of our New Jersey music educators for all that you do for our students. You do make a difference!

&

OCTOBER 2013 3 TEMPO


The state music conference will be held on February 20-22, 2014 in East Bruns-wick. The application is on page 64 of

this issue. We are trying to make it easier for every-one to get started requesting approval from their school boards and to process purchase orders. It is too early to list all of the sessions and activities which will be offered, but many of the “early bird” clinicians who have signed on to present sessions are listed on page 26.

Last year was one of the finest conferences NJMEA has presented and this year promises to be even better. There are three ways in which you can register for the music conference: 1) go to the njmea.org website and register online with a credit card; 2) print a copy of the application form from the website or use the one in this magazine to fill-out and mail in with a check; or 3) mail a copy of your completed application WITH a purchase order from your school. Many school boards are ex-tremely slow in processing these purchase orders. It is wise to start the process NOW to avoid problems at the conference.

A copy of the conference book from LAST YEAR is on the website in case you need to show your principal or supervisor what occurs at our conference. The book for 2014 will be posted at the beginning of February. This cannot be accom-plished earlier because of changes with clinicians and rooms which take place at the last minute.

Once we send the book to the publisher, we can post it for online viewing.

A new item for new music teachers is a reduced rate. The catch is, you must be a 1st time teacher, newly graduated from college/university, who was a member of their collegiate music education chap-ter. Those who qualify will receive a $50 discount on the registration fee.

A new string academy has been added for this year giving us seven (7) academies: Choral, Wind Band, Technology, Strings, Jazz, Marching Band, and Elementary.

There is an eighth academy for collegiate NAfME members on Saturday. This is a special day for our collegiate members to attend sessions together, have their annual luncheon meeting, and socialize… and it includes lunch! All for $50.00!

NJMEA presents one of the largest music con-ferences in the country. There are only 1 or 2 larger than ours. We did some calculations at our summer re-organiztion meeting and found that the confer-ence costs NJMEA close to $200 and you only pay $150. Now that is a bargain no matter how you look at it! It is also an excellent method to earn your professional development hours and to improve your teaching skills.

The NJMEA State Music Conference

Editor’s MessageThomas A. Mosher

[email protected]

Website: http://www.njmea.org


BE INSPIRED: Study with faculty from the New York Philharmonic, Philadelphia Orchestra, Metropolitan Opera, and New Jersey Symphony.

BE CHALLENGED: Music conservatory training within a large public research university.

BE ENGAGED: Over 15 performance ensembles with opportunities to perform in New York City and abroad.

UNDERGRADUATE AND GRADUATE DEGREES INCLUDE:BM, BA, MM, MA, AD, PHD, DMA AREAS OF STUDY:CLASSICAL PERFORMANCE, COLLABORATIVE PIANO, COMPOSITION, CONDUCTING, JAZZ STUDIES, MUSICOLOGY, MUSIC EDUCATION

Plus: Summer camps | Extension Division | Nondegree courses | Online courses

WWW.MASONGROSS.RUTGERS.EDU/ADMISSIONS

Past PresidentKeith Hodgson609-317-0906

[email protected]

Leading And Embracing ChangeNew Jobs / Old Jobs / Sgo’s / Evaluation And More

As summer winds down and I am thinking about getting started with a new school year, I’m sure I am not alone in my thoughts of all the changes that lie ahead for our profession in the coming months and years. I look at change in two ways: First, as something that is forced upon you, where you have little to no input as to how it will affect you; where the natural tendency is to resist and rebel against the change making your job or that part of your life miserable; second, as an opportunity to grow, open new doors, build new relationships, establish new directions and produce change that will be truly transformative for you, your organization and your life. I would like to highly recommend the second!

New Job / Old Job... Leading Change...

It is very encouraging to see the excitement of new teachers posting their new jobs on Facebook and other forms of social media as they announce to the world with their youthful spirit how enthusiastic they are about having the chance to finally join our noble profession. There are many others who are moving into new jobs and are anticipating fresh challenges, new relationships and the chance to affect change in alter-native ways in their professional lives. The majority of us will hopefully return to jobs that we have dedicated ourselves to for many years, and to the students that will be eagerly expecting us to teach and lead them to many motivational, musically inspired and memorable experiences.

A successful “organization of the future” always involves the changing of a culture. So often for teachers, the dangerous trap of doing things and teaching the way we have always done not only fails to produce change, but over time our methods and techniques tend to become stale and outdated, lose student interest and produce lower quality experiences in the classroom and on the performance stage.

In a highly recommended book, “Leading Change” by the world’s foremost expert on business leadership John Kotter, Kotter explains the change framework as a roadmap or “multi-stage process” that must be driven by high-quality leadership. The book discusses in detail how a purely managerial mindset inevitably fails but when combined with a well-communicated and inspiring vision, and a well-developed process to address the culture, it WILL produce positive change.

Isn’t that exactly what every principal wants to see from each and every teacher? Isn’t that what student growth objectives, if designed and assessed properly, could do to produce change in every classroom in every school? I believe that music educators are in a very unique position to have a tremendous effect on the growth of students in a way that will not be seen in any other classroom. In what other discipline do you have all of the students wanting to be in your class; a curriculum that all students love; all students being physically, mentally and emotion-ally engaged daily; the ability to see, hear and experience the improvement and success of each and every student everyday; more fun-filled technology to motivate, engage and assess music students; and the ability to inspire creativity, express oneself and emotionally inspire young lives? I can’t think of any?

Lastly, is there any other subject area where the educator presents every student’s growth and accomplishments, the curriculum, as well as the teacher’s professional growth and development to all of the parents, administration, Board and community several times each and every year? Isn’t that what is really taking place at a concert performance? So, how will you plan your SGO’s this year?

SGO’s...

Who can honestly say that a having growth objectives for our students is not EXACTLY what we should ALL be doing, for ALL of our students, ALL of the time?

Last spring, I served on a statewide committee of teachers that were involved in validating and fine tuning the proposed SGO document by the NJDOE. The proposed student growth objectives were overwhelmingly supported as a positive change by teachers at all levels, in all subject areas and from a variety of teaching experiences. In a nutshell, I saw student growth objectives as a way of formalizing what we already do so well, with the added component of developing ways to assess and document that growth.

Unfortunately, what I see as the flaw in the SGO plan is that teachers and administrators might agree on sub-standard student goals that will be below what we would in reality expect from our students. The fear of evaluation concerns due to student growth accomplishments by both teachers and principals may cause some to lower standards so as to see and present high growth.

continued on page 8


& News From Our Division Chairs


Join Us!... for an exciting season of vocal jazz!

NJAJE Jazz Concert in Atlantic City ....................11/7/13NJAJE Jazz Education Conference ...................11/15/13NJAJE Jazz Concert at NJPAC ..........................11/15/13NJ Region I, II, III Jazz Choir Auditions ...............3/17/14NJAJE Honors Jazz Choir Auditions .....................5/5/14

*** Any NJMEA member can sponsor a singer from your school for our region and Honors vocal ensembles, regardless of whether you are a vocal or instrumental director. Instrumental directors will NOT be required to perform double services should you choose to sponsor a vocalist. ***

Audition materials will be available on the NJAJE website (www.njaje.org), or you can contact [email protected]. All materials should be ready by 12/1/13.

If you would like to help us continue to keep vocal jazz as an integral part of the musical fabric throughout the state, or if you’d like to inquire about setting up a vocal jazz workshop near you, please contact us at [email protected].

Here’s to another great season!

Calendar

Materials

New Info

Spread the Word

What I would like to challenge every music educator (every teacher) to do is to design high and worthwhile goals for all of your students. Why play a game of hoops just for the sake of SGO’s? What happened to holding HIGH EXPECTATIONS for all students in all our classes at all times? I hope nothing!

Here are some ideas and areas to consider when developing measurable SGO’s for music classes:• Technical Proficiency - (Keys, scales, arpeggios)• Rhythmic Accuracy • Facility of Technique & Rhythm• Sight Reading • Ear Training and Solfeggio• Musical Expression• Muti-cultural awareness & historical understanding

Teacher Evaluation - Are You “Highly Effective?”

We are all aware that this year all NJ educators will be evaluated by our individual school’s approved teacher evaluation instrument (Dan-ielson, Marzano, etc.) and given a status on the NJDOE’s teacher effectiveness rubric. I would like to point out once again the very unique position you are in by being a music educator! Music is a subject that gives you the best curriculum and the best students. If you believe this and you “lead” with the right attitude and continually look for ways to engage and inspire your students, you will certainly have the oppor-tunity to be a “highly effective” music educator each and every year.

I believe it is very natural for many of us to feel resistance to change in our lives. I suggest that the first step for “embracing change” is to understand our tendency toward resistance. Leading change in education needs to be a “full-thrusters” kind of attitude with a “picture of the future” whereas you are breaking through resistance with vision! It will be plainly obvious to any evaluator that the music teacher is the model of highly effective teaching in their building. Isn’t that what WE want?

NJMEA Continues to evolve...

In the past few months, there have been many changes with regards to the NJMEA and Region level leadership. There have been changes on committees, new faces on the State Board, changes in policy and procedures and new initiatives being implemented and discussed. NJMEA has finally moved to consolidate and centralize our organization with an professional office space that will provide a central meeting site, tech-nological upgrades and support, All-State library organization and historical storage and an address! This is an exciting time for NJMEA and the State Executive Board is committed to looking for ways to continually make positive changes for our membership, for your professional development needs and for providing the student musicians of New Jersey the very best musical experiences. I wish each of you a wonderful school year as you look to embrace positive changes in your life and lead your students on all thrusters!

As always, I am available and willing to discuss these and any other areas of music education, advocacy, assessment and professional de-velopment with any of my colleagues. Don’t hesitate to contact me: [email protected]

Recommended reading and references:

Leading Change by John KotterMaking Musical Meaning by Elizabeth SokolowskiThe Creative Director - Conductor, Teacher, Leader by Edward LiskReflective Practice in Action by Thomas FarrellTransformational Leadership by James MacGregor BurnsThe NJ Department of Education website: http://www.state.nj.us/education/

continued on page 10



BACHELOR OF MUSIC PROGRAMS

• Composition

• Education

• Jazz Studies

• Liberal Studies

• Performance

MASTER OF MUSIC PROGRAMS

• Composition

• Conducting

• Jazz Studies

• Performance

For more information, visit

ROWAN.EDU/MUSIC

Sunday, November 3, 2013Sunday, December 8, 2013Sunday, January 19, 2014Sunday, February 8, 2014Sunday, March 2, 2014


President ElectWilliam McDevitt

856-794-6800 [email protected]

Random Thoughts

Before I begin my ramblings, I would like to express my thanks to the NJMEA membership for electing me to the position of President-Elect. Six years ago, I ran unopposed, so this election was a vote of confidence for me. In the last 6 months, many people have asked me why I wanted to do this again, and I would like to explain my motivations.

If you go back four years ago and think about what was going on in the State of New Jersey, you will remember that we were going through a period of teacher bashing. The Governor was targeting the NJEA and as a result, the approval rating for teachers was at an all-time low. While there were many things that I wanted to do during my presidency, I instead spent two years trying to maintain what we were do-ing and cut costs to remain solvent. Before I knew it, two years were over and I didn’t feel like I had accomplished anything. Now I have that chance. In the meantime, I will be there to support Joe Jacobs in whatever capacity he needs.

One of the goals that I am starting to work on immediately is membership. While we are still one of the top 6 states in the country when it comes to membership, our numbers have dropped. I plan to focus on convincing expired members to renew their membership and encouraging collegiate members to become full members as soon as they graduate from college. In the very near future, we will be announcing a few programs to help with this process.

And now – an update. In the last TEMPO issue, I discussed some of the changes on the horizon for teacher evaluation. Interestingly enough, by the time the edition was published, the information was outdated. We do know, however, that student growth is a part of every teacher evaluation in the state this year. Student Growth Objectives (SGOs) are the major part of this initiative when it comes to non-tested areas. These SGOs are individualized to each teacher and must be approved by your administrator. While the process is somewhat tedious, it will give us some real data to evaluate our own teaching. If you are confused or don’t know where to begin, read the TEMPO Express editions that will be coming around in the first two months of the year. Some experts from our Music Administrators Association will be holding a few sessions to give advice and guide teachers in writing their SGO’s for this current year.

Don’t feel like we are isolated in our evaluation changes. At the National Assembly in Washington this past June, we found out that every state in the country is going through some type of evaluation reform. Many of them are doing exactly what we are doing.

Finally – a teaser: Keep your eyes and ears open for a major announcement about NJMEA and its movement into the 20th century.I am very happy to be in for the next six years and hope that in June of 2019 I will be ready to fade into the background of the fabric that

we call the New Jersey Music Educators Association.

Administration Ronald P. Dolce732-574-0846

[email protected]

On behalf of the New Jersey Music Administrators Executive Board and General Membership, I would like to welcome back to a new school year the members of the New Jersey Music Educators Association; and a special welcome to the NJMEA’s new president, Joe Jacobs and the new members of the NJMEA’s Board of Directors.



the college of new jersey

We hope that everyone had time to reflect on the past year’s activities and was able to take time to relax the body and mind. By the time you receive this edition of TEMPO magazine we will be well into our fall activities and will probably be planning or rehearsing concert mate-rial for the winter concerts.

About this time, the music administrators will have been visiting the classrooms and trying to work with the new evaluation procedures. The members of the NJMAA spent much of last year at our workshops working together to help each other through the process of the new evaluation system that has been set up by the state and the boards of education. Our Executive Board along with selected presenters offered informative topics to our members relating to the new evaluation process and our membership had ample opportunity to discuss issues that might be unique to their district.

Many of the workshops we hold this year will continue to relate to the new evaluation process.The following is a list of the workshops and dates:10/4/13 “Assessment in Music Education Continued: Where are We with SGO’s?”12/6/13 “Higher Education Update: Focus on Teacher Evaluation:What College Graduates Need to Know”2/7/14 “Teacher Evaluation Models: A Panel Discussion: Danielson, McRel, Marzano, Marshall, Strong”2/21/14 NJMEA Conference: Breakfast, Feb. 21st (8:30 a.m.), Job Fair, Feb. 22nd and Workshops, Feb. 22nd and 23rd. 4/4/14 “Assessments in the Cloud”6/6/14 “Hot Off the Press:Wrap Up and Round Up”

We continue to encourage our NJMEA members who have a supervisor, chairperson or administrator without a music background to invite them to join the NJMAA to help them to become more effective and efficient in meeting the needs of your music program. Please have them send their name and email address to our treasurer/membership chairperson, Thomas Weber, at [email protected] so that they can become part of a resourceful organization.

Our meetings are held at the Rutgers Club on the campus of Rutgers University on the New Brunswick campus. Meetings/Workshops begin at 9:00 a.m. with hospitality starting at 8:30 a.m. Check the NJMAA website-www.njmaa.org or http://rutgersclub.edu/directions.pdf for information and directions.

Band PerformanceAl Bazzel


We hope that you had an enjoyable summer and are having a successful start of the school year. During the summer months the NJMEA Band Procedures Committee has met several times to plan for the upcoming school year.

The 2014 NJ All-State Bands will be conducted by Richard Clary, Wind Ensemble and Patrick Dunnigan, Symphonic Band, both from Florida State University.

In celebration of the 75th anniversary of the New Jersey All-State Band, NJMEA has commissioned composer Dana Wilson to write a piece to be premiered by the 2014 All-State Symphonic Band at the concert in February. Wilson will be in attendance at the NJMEA confer-ence and anniversary concert and will present an open rehearsal with Dunnigan to present the commission to conference attendees.

Any solo suggestions need to be submitted to Bruce Yurko, solo chair, or any region representative. The recommendation must include a copy of the suggested solo, the solo it is recommended to replace and rationale for the change. The region representatives for the committee are: Region I - Lewis Kelly, Gregory Mulford, Mindy Scheierman; Region II - Jules Haran, Mark Kraft, Brian Toth; Region III - Deb Knisely, Phil Senseney.

Thank you to the committee for their hard work this summer and throughout the year, for their tireless work for the students of New Jersey!





Pursue Your Music CareerUndergraduate Programs

Music (B.A.)Popular Music (B.A.)

Classical Performance (B.M.)Jazz Studies (B.M.)

Jazz/Classical Performance (B.M.)Music Education (B.M.)

Music Management (B.M.)Sound Engineering Arts (B.M.)

Graduate ProgramsJazz Studies (M.M.)

Music Education (M.M.) Online and On-Campus ClassesMusic Management (M.M.)

2013-2014 AuditionsOn-Campus Auditions for Classical Degree Programs

and B.A. Music Placement TestsNovember 1, 2013

January 31; February 14; February 28; March 14; April 4, 2014

Recorded Auditions Deadline (Jazz and Popular Music Degrees only)

February 1, 2014

Wayne, New Jersey973.720.2315 • wpunj.edu/coac/music

[email protected]

Will. Power.


Choral PerformanceKathleen Spadafino

[email protected]

A new school year! New, excited, talented students! New repertoire that you’re excited to start working on! New op-portunities for you and your students! I love a blank slate every fall - your best work ever is waiting to happen this year! While I hope you found time to relax this summer, I hope you also had time to stimulate your mind and expand your choral/vocal knowledge by attending a workshop or class, like the NJ-ACDA Summer Conference in July, or the NJMEA Summer Conference in August. If not, plan to attend one of these conferences next summer. They are a great way to learn something new and connect with old friends and new colleagues.

But back to this new exciting year! Our present All-State Choruses are already rehearsing. Art McKenzie is the conductor of the Mixed Chorus, and Deanna Joseph of Georgia State University will conduct the Women’s Chorus. While your students are getting a fabulous choral experience from you and your program, everyone will benefit more when you participate in your County, Region and All-State Choral groups. Your students will share a quality musical experience with other singers, and you all will enjoy making new friends with others who love singing as much as you do! Here is some basic information:

Your best resource is our website, www.njmea.org. Please check it regularly, as well as emails known as TEMPO Express, for all related activities. Please note: the deadline is usually 5-8 weeks BEFORE the actual audition. Mark your calendar!

Region Choruses for HS students: New Jersey has 3 regions I (North), II (Central) III (South). Students in grades 9-12 are eligible to audition.

Audition Dates: Region I (NJSMA) - Saturday, January 4, 2014 Region II (CJMEA) - Saturday, December 14, 2013

Region III ( SJCDA) - Saturday, November 16, 2013New Jersey All-State Chorus: Students in grades 9 – 11 are eligible, as they audition in the spring and perform during the following

school year. Students do not have to be accepted into their Region Choruses to audition for All-State Chorus, unlike band and orchestra. There are 2 audition dates to choose from, and many schools split their students between the dates. All choral directors must help out at one audition each year, and must serve as a final room judge (both auditions) once every four years. The All-State Chorus Audition Bulletin will be available at www.njmea.org by January 15, 2014. Please read all sections carefully – everything you need is there. Audition dates for 2014 are Saturday, April 5th (North) and Saturday, April 12 (South).

Honor Choirs: Both NAfME and ACDA have Honor Choirs open to high school students. As a choral director, you should belong to both of these organizations. ACDA alternates between a national conference one year and a divisional conference the next year. 2014 is an Eastern Division conference – in Baltimore on February 5 – 8, 2014. Audition applications were due on April 30, and accepted students will be notified later this fall. NAfME will host their National Conference in Nashville, TN October 27-30, 2013. Students’ eligibility was based on their All-State Chorus participation and recommendation from NJMEA. If you have interested students and missed these application deadlines, there’s always next year! Check the ACDA and NAfME websites for future information. Please plan to attend at least one of these conferences whether you have students in the honor choirs or not!

I know that being a choral director is an exhausting job. I also know that there is a growing number of new, young directors in New Jersey, taking their choral programs to new heights! I invite all of you to become involved with NJMEA and all the opportunities offered for you and your students. Your Choral Procedures Committee consists of nine truly awesome choral directors that I am honored to call my friends: Steven Bell, Jamie Bunce and Tom Voorhis from Region I; Hillary Colton, Wayne Mallette and Judy Verrilli from Region II; and Cheryl Breitzman, Art McKenzie and Helen Stanley from Region III. Get to know these extremely talented and fun people – they’ll be at the Region auditions, All-State auditions, and most of the rehearsals as well. Go there, meet them, get involved! Or email me – Kathy Spadafino, Chairperson, at [email protected]. Have a great year, and I look forward to seeing all of you soon!




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Collegiate ChaptersRick Dammers, state collegiate advisor

[email protected]

The New Jersey Collegiate Chapters of NAfME have elected a new executive board for the 2013-2014 school year. The board members are: Andrew Cox, Westminster Choir College, President; Mary Onopchenko, Rowan University, Vice President; Leslie Marquez-Salmeron, Rowan University, Secretary; Ashlie Morro, Rowan University, Treasurer; Brian Chesney, The College of New Jersey, Media Coordinator.

Under their leadership, the collegiate chapters will have a meeting at the NJEA Conference in Atlantic City in November and a Collegiate Academy in conjunction with the NJMEA conference in February in East Brunswick. The board will also be working on exciting service projects and events designed to support and connect the individual NAfME chapters.

It shall be the purpose of this organization to: make available to members opportunities for professional development; acquaint students with the privileges and responsibilities of the music education profession; provide all members with the opportu-nity to become acquainted with leaders in the music education profession through participation in programs, demonstrations, discussions, workshops, and performances planned by this chapter, the state music educators association, and the National Association for Music Education;assist the school in various proj-ects throughout the year; and provide the opportunity to have contact with Collegiate members from other schools the profes-sional interests of members involved in the local, state, division, and national levels; the music industry’s role in support of mu-sic education; and the knowledge and practices of the profes-sional music educator as facilitated through chapter activity. It shall be the purpose of this organization to: make available to members opportunities for professional development; acquaint students with the privileges and responsibilities of the music education profession; provide all members with the opportu-nity to become acquainted with leaders in the music education profession through participation in programs, demonstrations, discussions, workshops, and performances planned by this chapter, the state music educators association, and the National Association for Music Education;assist the school in various proj-

Collegiate Members –

Step up and be involved in Share Your Story

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Corporate/Music IndustryRon Beaudoin

[email protected]

The role of the Corporate/Industry liaison for the NJMEA Board of Directors is to serve as the bridge between music educators and the business sector. If you have an idea for a project that includes help from the business community feel free to contact me, as I may be able to offer assistance or advice. For example, you may be interested in adding a guitar class at your school. But you may not know that GAMA (Guitar & Accessories Manufacturing Association) has many free resources available to educators and even provides training workshops for non-guitar players who want to teach classroom guitar.

It’s important to be realistic when looking for financial support. Since the recession, many businesses have drastically trimmed their budgets for charitable contributions. But every business has a marketing budget with funds devoted to promoting their business. The key to a successful business partnership is finding the win/win opportunity in which the business is eager to invest.




Early Childhood Music EducationAmy M. Burns

[email protected]

I am thrilled to see the Board of NJMEA have representation from music educators that teach a variety of grades and musical subject areas, such as band, orchestra, chorus, advocacy, corporate, jazz, opera, retirees, conferences, summer workshop, festivals, collegiate, technol-ogy, guitar education, and now, early childhood music education. I am honored to chair this position on the board. Currently, I am planning on connecting with numerous NJ early childhood music educators to brainstorm ideas and goals for this division. If you are interested, please contact me at the email listed above.

Guitar EducationThomas Amoriello

[email protected]

As the new chair of Guitar Education on the New Jersey Music Educators Association Board of Directors for the 2013-2014 school year, I am looking forward to sharing ideas, information and becoming a liaison to those schools which offer guitar programs. Ultimately, I would like to unify and create a synergy between guitar programs throughout the state. With your help, I would like for guitar education to benefit as many children and young adults in our public schools as possible.

If you currently lead a guitar program or have a guitar ensemble, I would like you to contact me. Your experience regarding curriculum, repertoire, student involvement and the impact your program has made upon your district can benefit others greatly. Please feel free to contact me via either email or phone. Currently, states such as Virginia, Florida, New Mexico, Nevada, Texas and Oklahoma have well established guitar curriculums and I would like for New Jersey to follow suit. Furthermore, it is my opinion that New Jersey can not only follow the standard that these states already in place, but even improve upon it.

A great place to begin is to create a unified approach to guitar ensemble repertoire and I would recommend using the Guitar Ensembles series available from Class Guitar Resources of Tallahassee, Florida www.classguitar.com or (800)-440-1914. In addition, if you are willing to share arrangements, transcriptions or original compositions which you have created and use as part of your curriculum with other NJ guitar educators please forward them to me. I would like to create a non-profit publication specific to NJ guitar educators and will include these materials as part of the publication, with your permission of course. The idea is to develop a standard guitar ensemble repertoire that can be used in the future at guitar events. Keith Calmes of Wall High School (Monmouth County) hosts an annual festival each spring, the details of which can be obtained by contacting him by email: [email protected] or telephone: (732) 556-2077. Another performance and master class opportunity for your ensembles is offered by the Philadelphia Classical Guitar Society Festival and will be held on Sunday, April 27, 2014 from 10:00 - 6:00 pm at the Settlement Music School, 416 Queen Street, Philadelphia. More information may be found on their webpage: www.phillyguitar.org.

In closing, if you are a music teacher with limited guitar experience and have an interest in establishing a guitar program in your district I invite you to attend my lecture, “Incorporating the Guitar Into Your School Music Program” at the NJEA Convention in Atlantic City on Friday, November 8th, 2013 from 3:00 - 4:30 pm. The guitar has brought great joy to my life and I look forward to helping you and your students elevate the status of this wonderful instrument in our state!




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Opera FestivalStevie Rawlings


The Opera Festival is anticipated to be an exciting one this year. We will be celebrating Sixty-five years of extraordinary, young singers learning, singing, and experiencing operatic repertoire. Paramus High School will host both the auditions on Friday, October 25th from 4:00-8:00 pm as well as the Opera Festival itself, held on Saturday, November 16th from 9-5. A gala concert at 3:00 pm will feature the highest scor-ing singers, singing arias, duets and ensemble pieces, chosen from the October auditions by judges from the Metropolitan Opera. Three opera choruses as well as orchestral selections will enhance the event on the festival day. All singers who audition are eligible to participate in the celebration on November 16th. Director/sponsors are also an integral part of the extraordinary day as conductors, monitors, and participants.

Look for the NJMEA Opera Festival audition form on the website, in the May issue of TEMPO or contact Stevie Rawlings by email. We look forward to a landmark year for the Opera Festival and trust that many of our fellow music educators will participate with their outstand-ing vocal students.

Orchestra PerformanceSusan Meuse


It’s another school year, and I hope everyone is off to a great start! Welcome to all of the new orchestra teachers in New Jersey. I hope you are enjoying everything so far. If you have any questions about the All-State Orchestras or are interested in getting involved, please feel free to contact me or come to a rehearsal. I would enjoy meeting you!

The All-State Intermediate Orchestra gave a wonderful concert last May. Congratulations to Jack Rosenberg and the 2013 ASIO! A big thank you to managers Sarah Donatelli and Penny Martin, as well as Auditions Chair Mike Kallmanis for making the event so successful.

The All-State Orchestra is currently preparing for performances this November. We would like to welcome our new ASO conductor, Gemma New, from the New Jersey Symphony Orchestra. Maestro New is taking over for Maestro Yaffe’ who is unfortunately unable to conduct this fall. Both concerts will be great, so I recommend coming to either Atlantic City or NJPAC this November!

Retired Music EducatorsBeverly Robinovitz

[email protected]

I’m back! Whodduh thunk? I am three years into retirement already. (Time really does go faster as you get older, just like my folks said.) The NJRMEA Executive Committee is inviting all retired NJMEA members, especially recently retired members, to an open house at my

home in Somerset, NJ, on Wednesday, October 2, 2013 at 12:00 noon. Come and meet the committee members and learn about the activi-ties of the NJRMEA which will enhance your retirement. Please contact me (number and email above) for more information and to RSVP by September 25th. Coffee and refreshments will be served. (The Executive Board meeting is at 10:00 am.)



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There are usually two general meetings, one at the February NJMEA State Conference, and another in May. We are adding this October meeting for you to come out and renew old friendships.

I want to thank the wonderful Master Music Teacher Committee who worked with me this past spring: Paul Oster, Dorian Parreott, Kathy Spadafino, and Bill Shoppell. We will announce our 2014 Master Music Teacher at a later date.

Thank you to Chris Sezer for your great leadership the past two years. Well done! Congratulations to Kathy Spadafino, President-Elect of NJRMEA.

When I retired, and was ill, I really thought I was walking away from music and NJMEA. (Yeah, right.) I’m feeling great and a few months later I went to my first NJRMEA meeting and had a ball, meeting up with fellow music educators. Two and half years later I started a chorus at an Active Adult Community; what a pip! Think of your non-auditioned, “ya’ll come” choir. (Thank you, Tom Voorhis, for that terminology.) But I’m having a blast. And now, five of us retirees are singing in a quintet: Fred Ford, Bill Holmes, Kathy Spadafino, Laurie Wellman, and me! (Gee, all Region II people.) Life continues…How did we ever have time to work?

I hope to see our new retirees in October.

Summer WorkshopJoe Akinskas

[email protected] Workshop Coordinator

NJMEA Summer Workshop VAugust 6, 2013

The sixth annual summer workshop was held on the delightful campus of The College of New Jersey in Ewing in the Graphic Arts and Communication building.

As in past years, the workshop addressed six Music Education content areas that included: Choral Music, Instrumental Music, Technol-ogy Applications, Classroom Music Techniques and Strategies, Special Education implications in Music Instruction, and an SGO support and triage room staffed by Tom Maliszewski and Nick Santoro.

Additionally, a roster of Special Topic presentations included a presentation on Advocacy, by noted clinician Emily Swartz from Arizona State University; hands-on instrument repair techniques by our resident repair specialist Dave Kaplan; all were entertained at lunch by the amazing Rock N Roll chorus, directed by Joe Cantaffa; followed by the grand lunch wrapup with Rachel’s Raffle.

The workshop registered a record high 90 music educators from across the State, along with a roster of 24 clinicians.Commendations are in order for the members of the summer workshop committee who share the workshop vision and commitment

to the benefit of their statewide colleagues. The committee members include: Maureen Butler, Joe Cantaffa, Rick Dammers, Rachel Klott, Shawna Longo, Betsy Maliszewski, Susan Mark, and Nick Santoro.

I have to thank them for bearing with my moments of temporary insanity as follows:During our setup the night before, I asked everyone to do a check of all presentation rooms for chairs, tech etc. Shortly after, a commit-

tee member comes flying around the corner announcing that we had scheduled four sessions in room 106. So, what’s the problem… it’s a restroom! and…

Likewise, I must publicly thank several members of the TCNJ Music Department, and Event staff, who were wonderful hosts. They include: Bob McMahan Music Department Chair; James Day, Dean of Arts and Communication; and event staff members Rachel Reinhart, Richard Kroth, and Mark Kalinowski.

The entire workshop program, along with pictures from this year’s event, can be found on the conference-workshop link at njmea.org.Workshop Seven is tentatively scheduled for August 5, 2014. Additional information will be posted in the January edition of TEMPO.

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Young Composers CompetitionRobert Frampton

NJMEA Past [email protected]

NJMEA Young Composers Composition Competition 2013-14

The New Jersey Music Educators Association is proud to announce the 2013- 14 Young Composers Competition. This will be the sixth year for the competition and is for New Jersey students. Previous competition finalist compositions are outstanding and can be found on the NJMEA website. The competition will include two divisions: one for middle school students in grades 6 – 8; and one for high school students in grades 9 – 12 (graduating June 2014).

Finalist composers will be invited to attend a critique session to be held in conjunction with the NJMEA February Conference at the East Brunswick Hilton. The composition recordings will be played and the finalists will participate in the critique session. In addition, the winning composer(s) will be announced at that time and awards will be presented. All other participating student composers are welcome to attend. The exact date, time and location will be announced in January 2014.

A new online application process has been initiated for the 2013-14 Competition and can be located in the Young Composers Competi-tion section under the Projects tab of the njmea.org website. Teachers are encouraged to assist their students with the application process. The deadline for application submissions is November 15, 2013.

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NJMEA will expand on the popular academies for the 2014 State Conference! After reviewing survey information submitted by our membership, the professional development committee has added new and exciting changes to this year’s conference program.

Modeled after the Professional Learning Academies presented by NAfME the National Association for Music Education, the NJMEA academies will feature eight professional learning academies as part of the Thursday pre-conference schedule:

& Elementary Music Academy& Technology Academy& Wind Band Academy& Choral Academy& String Academy& Jazz Academy& Marching Band Academy& Collegiate Academy

A program specific to each academy will include workshops by outstanding clinicians and formal concert performances by some of the finest high school and collegiate ensembles in the area. In addition to the exhibits, concerts and extensive choral, general music, strings, instrumental and special needs workshops offered on Friday and Saturday, each academy will continue to offer a program thread as part of the overall conference line up. There will be something for everyone!

It is the conference committee’s goal to put forward a comprehen-sive program that will provide all of our members with in depth, hands on, and practical strategies and skills that they will be able to put to immediate use in the classroom and rehearsal setting. This year’s conference changes will help to do just that! We have not changed the things that have worked in the past, just expand-ed on the needs for our future! A rough draft of the 2014 offerings will be available on or about November 1st. Detailed program information regarding the academies, conference offerings, concerts, and exhibits will be available on the NJMEA website www.njmea.org beginning February 1st, 2014. Conference registration forms are included in this issue of TEMPO on page 64 and can also be found on the NJMEA.ORG website.

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This year’s conference boasts a wide range of sessions as of June 30th, including:


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As we are aware, auditions are a necessary assessment to evaluate quality musicians in a competi-

tive setting, often employed to gain entrance to an institution or ensemble in addition to determine ranking within a specific group. Unfortunately, auditions are also situations that exhibit an enormous pressure on the participant and can often result in a mis-communication as to their true ability. We have often heard of auditions being referred to as “snapshots” of a performer’s technique, and does not always reflect true ability in the short span of time an adjudication generally takes. However, it is also considered one of the only means of a fair and unbiased evalu-ation that can focus on the core ability of an individual performer. Many auditions, spe-cifically for performing ensembles including both student honor groups and professional organizations, are held as “blind” adjudica-tions. These auditions eliminate any bias by preventing the judges from seeing the can-didate, usually by placing them behind a screen. The candidate is only known by their adjudication number, and no other profes-sional or personal information is disclosed. Other auditions, such as part of a college or university entrance application, must be held with the judges’ full knowledge of the individual. Sometimes, due to proximity or as part of a preliminary round, the organiza-tion may require a recording to be presented before the individual can progress. However, in these cases, it will eventually become nec-essary to take part in a live audition at a loca-tion determined by the organizing entity. In either case, the preparation for any kind of live audition is universal and can be refined so as to maximize the candidate’s advantage.

Preparation is Key

It may seem like an obvious statement, but preparation is truly the key to a suc-

cessful audition. However, it is the way in which we prepare that can separate success and failure. For any adjudicated perfor-mance, it is necessary to begin practicing a minimum of six months in advance. For Re-gional and State honor bands, for example, requirements such as a repertoire list are nor-mally released in the spring for an audition scheduled in the winter. For a professional organization, this time may be shorter as it is generally understood that prospective candidates would already have studied the required material previously. Regardless, it is imperative to begin studying the necessary repertoire as soon as it has been released, in addition to all rudiments and basic skills if required. Once all materials have been ac-cumulated, it is vital to know exactly what requirements will be asked during the audi-tion. In many cases, an entire piece is not necessary to be learned, and only a single movement or section will be required. To not perform the proper research and prac-tice music that judges will not ask for poten-tially wastes an enormous amount of time and energy. Acquiring the correct publisher’s edition of all musical repertoire is also man-datory, in addition to reviewing the accepted performance standards of all basic skills and rudiments. As an adjudicator myself, it is frustrated and disappointing to disqualify a candidate who does not prepare according to the audition instructions, especially if they possess great ability. If there is any confusion as to exactly what is required on a audition, the organization will most likely provide contact information so correct information can be obtained.

More than Just Practicing

The art of practicing is such a universal statement, yet the act of practicing is highly individual. Some people need complete

quiet in order to practice effectively, while some function better with extraneous noise. Some perform better depending what time of day it is, or based on a specific location they prefer. While we are most effective in environments in which we feel comfortable, auditions are not generally a comfortable situation. In fact, many adjudicators inten-tionally make the audition process more un-nerving to ascertain the performer’s ability to react to pressure. To effectively prepare for this, it is helpful to mimic the conditions of the audition itself. If the audition is to be held in a school or auditorium, it is benefi-cial to seek out areas to practice where these conditions can be simulated. When I was a high student preparing for my regional au-ditions, I would often stay after school and practice in an empty classroom, instead of my home although it would be more conve-nient. As a college student, I would schedule as much time as I could to practice in the school’s recital hall or concert auditorium when preparing for a competition or evalua-tion. In this way, I felt that the audition site became a home field advantage, instead of a completely foreign and unfamiliar area. In addition, it is also helpful to practice at the relatively same time when the audition is scheduled, if that information is disclosed. Performing in front of people also serves multiple purposes. First, it offers the unique opportunity to experience an environment where others are listening and critiquing your performance. Generally, it is more ben-eficial to perform for colleagues and those who are educated in the specific repertoire so that they can provide authentic feedback and offer constructive criticism. In the ab-sence of an audience, however, an excellent substitute is to record yourself and analyze the performance later. Though our analysis will be decidedly subjective, as are our own harshest critics, it does provide insight into

Preparing For A Successful Auditionby Andrew Lesser

Burlington City Public [email protected]


our own performance that we cannot obtain during the act of performance itself.

Mind Over Matter

Regardless of the specifics of an audi-tion situation, the most important thing to take with us into the audition room is our personal assurance that we have done all the necessary preparation to perform to the best of our abilities. We cannot control how our competitors perform, nor can we account for every variable that may arise, but we can gain the peace of mind that on the day of the audition, we have prepared ourselves one hundred percent. There is no worse feeling than to walk out of a audition knowing that we could have done more to perform bet-ter. But even if we crack a note, squeak, or have some other mishap occur during the audition, knowing that these accidents have nothing to do with our overall ability will al-

low us to look back at our performance with a clear mind and focus on the future. With that said, perseverance is essential for devel-oping the mental fortitude and confidence to keep auditioning for the opportunities that present themselves. The life of a pro-fessional musician is extremely demanding and stressful, and requires the innate ability to carry one’s self through failure and start over with the next audition. The competi-tion in a performing musician’ career is con-sidered one of the most taxing in the world, though the potential benefits of refining our craft and seeing ourselves reach the success we’ve imagined is worth all the hard work in the end.

Feel free to contact me at the informa-tion provided above, or visit my website at www.andrewlessermusic.com if you have any questions or anything you’d like to share. I look forward to hearing from you!

Sources:Boonshaft, Peter. Teaching Music with

Passion. Meredith Music Publications: Maryland, 2002

Boonshaft, Peter. Teaching Music with Purpose. Meredith Music Publications: Maryland, 2006

Gladwell, Malcolm. Outliers: The Story of Success. Little, Brown, and Company: New York, 2008

Andrew Lesser is the Director of General and Vocal Music at the Wilbur Watts Intermediate School at the Burlington City School District. He has taught band, chorus, jazz, music theory, general music, and marching band in grades K-12 and is also a published composer. Lesser also serves as Prin-cipal Clarinet of The Philadelphia Wind Symphony, a community ensemble dedicated to the development and performance of quality wind band literature. Please visit the ensemble’s website at www.philadel-phiawindsymphony.org.

The Monmouth Symphony Orchestrain our 65th Season

announces our 20th Annual

GoldwasserYoung Artist Concerto Competition

Our first prize winner will perform their complete chosen concertowith The Monmouth Symphony Orchestra

in concert the following season

♪ Open to all students throughout the State of New Jerseynot yet graduated from High School

♪ String, Woodwind, and Brass players are eligible*

♪ Monetary prizes will be awarded

♪ Application and recording due December 13, 2013

♪ Attend our first concert OCT 27: Student tickets are only $5

♪ Check our website www.monmouthsymphony.org for an application and full details

* Because of limitations at our venue, we cannot accept applicants competing on piano this year


General Considerations1

Few bands have an ideal instru-mentation, and even those that do often have sections that are

stronger or weaker than others. Though not a cure-all, seating can help balance the sound by screening stronger sections and/or giving an acoustic advantage to weaker sections. By not using risers, students in the front rows can absorb the sound of instru-ments in the rows behind them. Conversely, risers may be used to give certain players an acoustic advantage, alleviating some of the reflection and sound absorption for players placed in the rear rows.

Softer instruments, such as flute, oboe, bassoon (and to a lesser extent clarinets) should be given an acoustic advantage by placing them in the front row or across the front of the band. Louder instruments such as trumpets and trombones should be placed in the rear rows to help balance their sound with the softer instruments.

With the exception of bell-up eupho-niums and tubas, the sound of band instru-ments is directional. Those instruments seated facing the listener have an advantage over those that face across the band. For ex-ample, flutes placed in the front rows on the left side of the band with tone holes facing the audience are given an acoustic advan-tage. Trumpets placed in the rear row fac-ing across the band are at an acoustic dis-advantage. However, if you have too many flutes and wish to place some of them at a disadvantage, you may seat only one stand of flutes in each of the first few rows on the left and place the remaining flutes in the left rear row to screen their sound. You might also seat the flutes on the right. Similarly, lighter percussion instruments such as bells and traps should be placed on the outside of their row with stronger instruments such as

timpani and bass drum placed toward the center of the band.

Seating within the Sections

Seating students in order of ability lev-el2 leaves the lower parts of that section (2nd and 3rd trumpets, 2nd alto saxophone, etc.) insecure—without leadership. It is better to equalize the ability levels within the section in a manner that allows for both a strong lead voice and leadership in the lower parts. For example, a nine member trumpet sec-tion might be seated 1a, 1b, 2a, 3a, 1c, 2b, 3b, 2c, 3c, and a four member alto saxo-phone section 1a, 2a, 1b, 2b.

Many directors prefer a greater number of players on third clarinet, who often play in the less brilliant chalumeau register, and fewer first clarinets, who play in the more intense sounding upper register. Thus, a clarinet section of twelve players might be divided into three first clarinets, four sec-onds, and five thirds and seated 1a, 1b, 2a, 3a, 1c, 2b, 3b, 2c, 3c, 2d, 3d, 3e.

It is also advantageous to have the weakest and strongest players in a section share a stand, as the stronger player provides a model for the weaker player. For example, in a 3rd clarinet section of five clarinets, 3a (the strongest player) and 3f (the weakest player) would share a stand, as would 3b (the second strongest player) and 3e (the second weakest player). It also helps to place the strongest players (Cl 3a, 3b, and 3c) to-ward the middle of their section. The sec-tion, from left to right, would be 3e-3a, 3c, 3b-3d.3 A six player section would be seated 3d-3c, 3a-3f, and 3b-3e.

Lastly, vary the difficulty level of the repertoire so students play different parts on various selections. This allows a better clarinetist to play the 1st clarinet part on the more difficult pieces, the 2nd clarinet part on pieces of moderate difficulty, and 3rd

clarinet on easier pieces. A weaker player would play 1st clarinet on an easy selection, 2nd on a moderate selection, and 3rd on the more difficult pieces.

This challenge to weaker players pro-vides incentive to improve. It also helps diminish the “swelled head” syndrome that some better players develop. Assigning parts in this manner teaches students to value their contribution to the group no matter what part they play, raises morale (as all stu-dents have an opportunity to play all parts at some time), and prepares younger players to assume leadership in future years.

Placing the Sections within the Band

Judicious seating can aid intonation, precision, balance and blend, and help pro-vide support for weaker students or sections. Four general principals for placing sections within the band are:

1. The various sections (woodwind, brass, and percussion) should, where practi-cal, be seated contiguously.

2. The first part can best exert leader-ship if it is placed in the middle of the sec-tion. That is, if all trumpets are seated in the same row, the 1st trumpets should be in the center of the section. The 2nd trumpets and 3rd trumpets would be seated on either side of the 1st trumpets.

3. Instruments that usually play the bass line (bassoons, bass clarinets, and bari-tone saxophones, tubas and string bass) should be seated in the center of the band. This minimizes the distance of other players from the bass pitch to which they tune. Bas-soons, the weakest of the bass instruments, should be given the advantage of first row placement. Bass clarinets and baritone sax might be placed in the middle rows, and tu-bas in the back row.

4. Players who often play the same mu-sical line or have the same musical function

Thoughts On Seating Bandsby Jacques Rizzo

[email protected]

should, where practical, be placed in proxim-ity to each other. For example, tenor saxo-phone and baritone horn should be seated near one another, even if not in the same row.

A Suggested Seating Arrangement

Most directors have decided views on seating the band. I offer an arrangement I have found successful, in which the wood-winds are placed on the left side of the band with percussion behind them, brass are placed on the right side, and bass instru-ments in the center.

Flutes are placed on the outside of each row on the left side to give them tonal advantage. For the same reason, oboes are placed on the right in the first row, and bas-soons in the center.

Clarinets are placed in second, third, and fourth rows inside the flutes, with 1st clarinets in row two, 2nd clarinets in row three, and 3rd clarinets in row four. With more advanced players, a better blend will be obtained when one stand each of 1st, 2nd, and 3rd clarinets is placed in the sec-ond row, one stand each of 1st, 2nd, and 3rds in the third row, and the remaining stands of 1st, 2nd, and 3rds in the fourth row. In this mixed arrangement, 1st clari-nets would be placed in the middle of the section in each row, with 3rd clarinets on the outside and second clarinets on the in-side. Bass clarinets are placed in the center of the third row.

Saxophones and French horns form a bridge between the woodwind and brass sections. Alto saxophones are placed in the right side second row with 2nd alto

saxophone on the outside and 1st alto saxo-phone on the inside. Horns are seated right side in the third row. Because of their direc-tional characteristics, 1st horn can best exert leadership by being seated on the outside of the row.

Beginning with the third row, the chairs on the end of each successive row are set back one space, rather than being set straight across the front of the forma-tion. Thus, the outside chairs on each side of the third row is set back one space, those in the fourth row set back two spaces, and those in the fifth row set back three spaces. This has the advantage of forming a more compact formation overall, with the band more in the shape of an oval as opposed to a semicircle.4

Trombones are seated behind the French horns, on the right in the fourth row. Placing the middle and low brass in close proximity allows better balance to the chordal structures often played by these instruments. Placing trombones in front of the trumpets to absorb their sound pro-motes better balance and blend within the brass section than placing trumpets in front of trombones. Put the 3rd trombones on the outside of the row, 1st trombones in the middle of the section, and 2nd trombones on the inside.

Tenor and baritone saxophones are placed in the center of the fourth row, be-tween the clarinets and trombones. The tenor saxophone is placed in front of the baritone horns. The baritone saxophone is next to the tenor saxophone and in front of the tubas.

Trumpets are seated on the right in the fifth row, with 3rd trumpet on the outside,

1st trumpet in the middle of the section, and 2nd trumpet on the inside. If there are separate trumpet and cornet parts, the cor-nets are placed as above and the trumpets seated in the same row toward the inside of the band. Baritone horns, and then tuba (and string bass or bass guitar if there is one) follow after the trumpets in the fifth row. I have found bass guitar (played discreetly) adds incisiveness to the tuba attack.

Percussionists are placed on the left in the fifth row behind the woodwinds, with mallets on the outside, followed by traps, cymbals, snare drum, bass drum, and tim-pani. Mallet percussion are behind the woodwinds, who often play a similar part. The bass drum is near the center to facilitate rhythmic precision and timpani are close to the basses.

(Endnotes)1 Although much of the following is standard

practice, a review may not be amiss. A number of the concepts presented here are based on Mark Hindsley’s “Seating Arrangements for Concert Band,” The Instrumentalist, May 1976, also found in The Conductors Antholgy, Vol. II, p. 451, (Northfield, IL: The Instrumentalist Publishing Company, 1989)

2 That is, seating a section of nine trumpets 1a, 1b, 1c, 2a, 2b, 2c, 3a, 3b, 3c.

3 The players joined by a hyphen share a stand.

4 I remember an aphorism of a former teacher, Arthur Christman: “Distance is the enemy of music.”

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This Article Is Not Just For Guitarists

By Thomas AmorielloFlemington Raritan School District

[email protected]

In the Editorial Policy & Submission Guidelines for this music education magazine it states that: “Articles should be educational, new, controversial, inspiring, informative,

etc.” I am hoping our readers will find something mentioned in the previous sentence to share or investigate with fellow educators and students after perusing this interview with our featured artist. Ul-rich Roth (b. 1954 www.ulijonroth.com), while in his early twen-ties, was once a member of a popular music group in Germany and later worldwide. He left the group in pursuit of a different artistic journey. His vision included composing original music not intended for the purposes of commercial success, in addition to recording and performing transcriptions, arrangements, and pastiches of works by major classical composers such as Beethoven, Mozart, Vivaldi, Cho-pin & more. He used the unlikely instrument of the electric guitar, in an approach more similar to a violin, as opposed to stereotypical guitar playing or even formal classical guitar playing techniques. His music was performed on a unique variant of his instrument that Uli Jon Roth conceptualized and designed along with Greek-born luthier Andreas Demetriou in England. The intention of his creation, known as a Sky Guitar, was to be able to emulate the high notes of a violin, it contained many extra frets and at times an additional string.

Earlier this year I attended and participated in the Sky Academy workshop he conducted at the Sellersville Theater 1894 in Sellersville, Pennsylvania. This was a unique presentation unlike others that I have frequented in the past that encouraged students to reconsider their approach to music or even their instrument at hand. Roth is a brilliant technician with astounding facility that transcends his instrument, but many may consider his musical philosophies as esoteric, sometimes being viewed as too “new age,” too metaphysical, or including elements of cosmology. Though I am ignorant to these practices, my interest was piqued after his workshop, as I became more open to this aspect of Roth’s thought

process even more so than his physical ability and approach to the instrument. Afterwards I felt perhaps that our readers would also want to contemplate his thoughts. I want to thank Roth for granting

an interview exclusively to me for TEMPO magazine (NJMEA), with his words being unedited, and also for the inspiration for the title of this article, as Roth was neither “guitar centered” nor monomaniacal in his responses to the questions.

What are some of your earliest musical experiences and do you come from a family of musicians?

I did not come from a family of musicians, but my fa-ther was very musical and my uncle studied the concert violin. Before I started playing, I was a huge Beatles fan. I knew all their songs by heart and I believe that gave me a very good grounding in melody and harmony in a primal kind of way.

Growing up in Germany, did you participate in any state or school music programs as a child? Were there re-strictions put on your “art” during this time period?

No music programs… I had trumpet lessons by an orchestra musician before I picked up the bass and the guitar. That’s how I learned to read music. Later I gravi-tated towards piano and violin. There were no restric-tions. I was completely free to do what I wanted and my parents were very supportive. I also studied the classical guitar intensely for several years in my teens.

What inspired you to form your Sky Academy and share your knowledge and musical philosophies with other musicians?

It was something that was my calling. Something that was an important part of my destiny. I love exploring that which is hidden under the surface layers of music, that which is not usually spoken about, but which is at the very heart of music. I have occupied myself intensely for some 45 years with these kinds of questions and I am still always finding new things! I am only teaching that which I know works from my own experiences and that which has helped me to get better. I love teaching those things that I am convinced about, which have the potential to make a contribution to the progress of others. I feel connected to my students. We are all fellow jour-neymen and we are all students. There are still so many things to be discovered…

Does Sky Academy have a mission statement?

Not really yet, but it should have… I guess, perhaps the cen-tral purpose of Sky Academy is to find a way to live life ac-


cording to the principles of music, which are also the same laws that govern the Universe. Music can teach us so much more than just how to play an instrument. Music can heal us and help center our minds and souls. It can help us find our true selves and it can help us to communicate and in-teract with others in a much more “musical” – a better way. Sky Academy aims to be a source of inspiration to the students and to help them find their own voice in music and in life. The aim is to become in tune with the musical laws and to overcome obstacles in our own minds in order to be “musically liberated”. Then, anything is possible. You will also become a much better musician and instrumentalist in the process, as long as you go about it in the right way and have sufficient dedication to embark on the journey you must travel in order to get there. The aim is to transcend the necessary level of pure craftsmanship and to reach the much rarer plateau of the true artist. Craftsmanship is the lower octave of Art. Most musicians are craftsmen; few are artists. But we definitely need more art-ists in this world!

What is your view on the link between music and spirituality?

Music originates from the world of the Unseen. Spirit is what gives all living things the spark of life. It makes them expand, lifts them up and fills them with positive energy – the life force. It also imbues music with life and meaning. Music is very close-ly connected with spirit. For me, music without those kinds of sparks is pretty much dead, or without strength or higher value. Just like our guitars, pianos, violins need to be in tune, we also need to be in tune. That is what I connect with the word spirituality.

During one of your workshops I attended you often relate musical notes to colors and taste. Do you have synesthesia?

Yes, I have it to a good degree, but I hasten to add that it is not a medical condition. And I have learned to kind of switch it on and off at will, more or less. Therefore I am not at the constant mercy of it like some people and I’m glad about that. I think it would cloud my judgment. With some people these things tend to take over and then these abilities are pretty useless in terms of doing anything meaningful with them. I don’t want to be at the mercy of any of my senses. On the contrary, sense perception needs to be mastered, interpreted and used wisely, meaning intentionally and skillfully. That goes for all the senses, of which there are quite a few more than the five that we learn about in school and science, by the way... I am very lucky in that I can consciously switch to various modes of perception at will and I can do it pretty much instantly. This is something I have learned to do and practiced a lot when I was much younger. Back then I did investigate my senses, ex-perimented a lot and trained them in a kind of Jedi way almost, but there is still vast room for improvement. I never cease to learn and try to improve my abilities. That’s very important, otherwise there’s no point continuing the journey, is there? The most powerful tool is to juxtapose the way we employ the senses and to combine their strengths. To tune into their

different, hidden octaves so-to-say and to use a tunnel-vision approach, magnifying the results to see what is really there. Cross-connecting the various senses in unusual but pow-erful combinations and juxtaposing, translating the mes-sages from one sensory organ to the next. The results can be amazing and revealing. These, in conjunction with in-spiration, intuition and inner knowledge are the best tools to get to the root of things to connect with the true essence. For instance, in Sky Academy, I am always making a big point of encouraging the students to close their eyes and to start SEEING with their ears. I do that all the time… The results are magical. Yes, ears can see! And so can the nose, the skin, the third eye and so forth. And yes, eyes can hear and they can feel the velvet of a Rembrandt brush stroke. Because photons are carrying the message undiluted and in real time directly into the center of our perception. All we need to do is tune in on the right wavelength and we start perceiving amazing things. That way I have access to many different angles of the spec-trum. And I am still finding new angles, which is very exciting! It is endless… Synesthesia takes on so many different forms with different people, but it is not always the same, scientifically speaking. One needs to learn how to use it effectively. Other-wise it is just like a drug and offers little meaning. Synesthe-sia offers a gateway to unseen worlds and it helps enormously when it comes to a 3-dimensional kind of musical perception. It is the difference between superficial listening and the full-on 360-degree experience that can unfold if we have access to the keys, which can unlock these vistas. Over the years, I have found ways to use synesthesia in a meaningful way which is very helpful in understanding and connecting with the deeper layers, the spirit of music. Some of that – quite a lot, actually – can be taught. But not all of it. Not everyone can have access to the inner sanctum of music itself. To enter there one needs a positive and loving heart and the deepest commitment. There is much more to it than just the colors of the notes, however. That is just the tip of the iceberg, or perhaps a scintillating icing on the cake. There is so much more to it than that, fascinating as this is, though. The whole thing is a beautiful interlocking, multi-facetted system, which includes frequencies of emotions, the world of numbers, astrophysical aspects, symmetries and even more. I am particularly fascinated by the realization how interconnected all these different vantage points are and why things are the way they seem to be. There lies a vast storehouse of knowledge in this; and it is as yet largely unexplored. Music resonates deeply within us, and in a wider sense we ourselves are music. Every organ of the body has a root note and our minds work in a similar way as harmonies, melodies and rhythms do.

“Just like are guitars, pianos, violins need to be in tune, we also need to

be in tune”. ULR


These things are not something that can be explained in a single sentence. One needs to delve into it deeply and then a whole new world opens up. One begins to see music in a new way. It is like a rebirth of the senses, or rather an awakening of the senses to experience and fathom the higher octaves which are hidden within and emanate from all things. It is the dif-ference between active listening – which I call alpha listening - on a deep level – and passive listening, which is the way most musicians and most people are experiencing music and all things.

This magazine is read by mostly non-guitarists who teach music to children in a school setting. Do you have any advice or thoughts that would be inspiring or a message that you feel will benefit them?

Maybe, although it is hard to give ran-dom advice like that. Each situation is different, as is each class and each teacher. In general, I have a feeling that a lot of teachers are over-chal-lenging the “not-so-musically-aware” children with too much unnecessary information. Stuff they are not ready to digest yet. Stuff that means very little to them and which they cannot resonate with. The result is alienation. I am always trying to first connect people with the roots and heart of music and that can be done in sur-prisingly simple ways. Above all, one needs to be inspired when teaching and one needs to achieve an inner resonance with the children. A good teacher of children is he who can still think and feel like a child. That is the first pre-requisite. A child teaching a child, but with the knowledge and “wisdom” of an adult…

Please share with us your philosophy and views that led to the creation of your innovative instrument that you have po-etically called the SKY Guitar?

I designed the Sky Guitar in or-der to enable me to do things that were previously impossible on tra-ditional guitars. In the beginning, it was particularly the somewhat limited 3-and-a-half octave range of standard guitars that I found very limiting. I of-ten found myself literally running out of frets and the logic of several of my solos demanded that I needed some higher notes. Therefore the 7-string Sky Guitar encompasses the range of a Cello plus that of a violin. That is almost double the standard range for guitars. I wanted an instrument which enables me to play the exact part of a violin concerto, without having to transpose the melody down an octave. That would ruin the orchestration and sounds completely wrong in most cases.

You have been a pioneer in the area of performing classical melodies and ar-rangements by historical composers such as Vivaldi and Paganinni on the electric guitar in addition to incorporating this genre into a rock setting. Was this a gradual development or a revelation that came to you at once?

It was a gradual development, al-though early on I dreamed of one day being able to write my own violin con-certo. In the beginning I didn’t have the skills for that. I first had to learn the tools of the trade so-to-speak. It was just a distant, somewhat preten-tious dream.

You have traveled the world and pre-sented your workshops to guitarists of various playing abilities. Is there a uni-fying factor or statement that is close to your heart that you feel will benefit all?

All persons are at different stages in their personal lives. Some are begin-ners, some are advanced, some are ac-tive seekers and ambitious to improve, others are more passive in their gen-eral outlook. There isn’t a single idea or sentence that can be understood by all in the same way. Instead, it is more the combined impact of the teachings which is important. Certain key ideas may be completely inspirational and eye-opening for some, while others are struggling to comprehend them, or it completely passes them by. In my seminars I am always trying to bring across the gist, the essence of those ideas, but not all ideas will reach all people on the same level, because not all people have equal access to the same mental frequencies. That access is contingent on the respective level of their mental and emotional evolve-ment, as well as their ability to open up to new ideas and assimilate their implications. I aim to turn on light bulbs in the minds of the participants, to light up parts of their subconscious, which they have had no access to, but which should be lit up. We are using the language of music to do that. One has to be ready for certain ideas. We can only understand that which we

“ A good teacher of children is he who can still think and feel like a child. That is the first pre-requisite. A child teaching a child, but with the

knowledge and “wisdom” of an adult”. UJR


are ready for. I am always aware of that and am trying to tailor the teachings to the level of those who are in front of me without compromising and diluting the essence. Sometimes that is not an easy thing to do, though, and I don’t think I’m always fully succeeding. I guess, that’s life.

Most of our readers of TEMPO earn their living by teaching orchestra, band and chorus students between the ages of 10-17 in large group settings. This can be stressful and equally rewarding work. Sometimes it can deter from their “per-sonal art.” Any advice in this area?

I don’t think there are easy answers to this very real problem… Yes, a lot of poten-tially creative people are forced by life’s circumstances to spend most of their valuable time making a living. That is a shame, but this is the way this world is structured unfortunately. Music and art don’t have the position and importance in todays’ societies that they should have. A McDonald’s approach to culture seems to rule the world increasingly. As a result, nowadays it is extremely difficult for the vast majority of musicians to make a de-cent living. So, something has to give and there needs to be compromises. I think, those of your readers who feel that way need to budget their precious time wisely… Otherwise they will not have enough energy left to be creative after a hard day’s work. Our psychic energy supply is not endless. It resembles fuel in a tank, and during sleep and rest it gets recharged. We only have a cer-tain amount of high-octane quality fuel each day. Use it wisely. It is all about ones’ priorities. And those choices have to be made by all of us. Sometimes it is not easy. But where there is a will there is usually a way.

Thomas Amoriello currently teaches guitar classes at Reading Fleming Intermediate School in Flemington, NJ where he has introduced the instrument to over 5000 students and counting. He earned his Master of Music in Classical Gui-tar Performance from Shenandoah Conservatory and Bachelor of Arts in General Music from Rowan University. He resides in Lambertville, NJ. You can learn more about Tom by visiting www.tomamoriello.com

&Recommended Classroom Listening for Uli

Jon Roth The Heart of Chopin

Spanish FantasyFire, Ice & Wind

Rondo Alla Turka (Mozart)Beethoven Paraphrase

Baba Yaga (Mussorgskij)Air De Aranuez

Paganini ParaphraseMetamorphosis of Vivadi’s Four Seasons

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and 22 Artist Affiliate Faculty

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CREATE AND FOSTER AN ENVIRONMENT OF SUPPORT:• Study the ways that music education develops creativity, enhances cooperative learning,

instills disciplined work habits, and correlates with gains in standardized test scores.• Provide adequate funding for instruments and music education materials.

COMMUNICATE CONSTRUCTIVELY• Encourage music teachers to support their cause by writing articles in local newspa-

pers, professional journals, or by blogging online about the value of music education.• Share your students’ successes with district colleagues.

The Many Benefits of Music Education—Tips to Share with Your Principal

Here are some simple ways principals can assist their school’s music educators:

Visit www.nafme.org for more Principal Resources.


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Department of Music and Dance

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I am a flutist and have always been intrigued by the uniqueness of musical expression created by ma-

nipulating air. Performers of wind and brass instruments use physical movements that happen inside the body to shape air into sound, while other instruments are played using external movements to strike or vi-brate their instruments. The use of the in-side of the body to produce musical sound is shared with singing, although instrumen-talists direct and conduct air while vocal-ists also produce sound within their bodies. Strings, percussion and keyboards are all played entirely using external movements that are visible to the student. As a young flute student I was jealous of my string-play-ing friends because their goals were visible. On the flute, techniques like vibrato, mouth shape and tonguing were more mysterious than bowing, vibrato and fingering were to string players, or hand and arm move-ments were to percussionists and pianists. Interestingly, of the many different teaching methods I experienced over the years that addressed tonguing, vibrato and the shape of the mouth, throat and tongue, I found that some worked better for me while oth-ers seemed to work better for other players. During my recent doctoral study at Teach-ers College, Columbia University, I was able to investigate how teachers address internal areas of flute technique for my dissertation study. The results of the study gave a snap-shot of what methods flutists are currently using to address internal techniques and what they find to be the most effective. The findings are very relevant to the practice of teaching internal techniques on other wind and brass instruments.

Method books, articles and books on playing the flute offered a picture of the strategies that teachers have historically used to address tonguing, vibrato and the shape of

the mouth, throat and tongue. I did not in-clude breathing in the study because I found that the external and visible movements that result from breathing were the basis of teach-ing, while the tonguing, vibrato and mouth, throat and tongue shape produced no visible motions on which to base teaching methods. I categorized the strategies for internal tech-niques according to teachers’ strategies. The categories of strategies that I created based on the teaching literature included several areas. The practice of teacher modeling, or demonstration, with student imitation, I de-fined as one in which the teacher plays an example of the internal technique and the student attempts to imitate by ear. In this strategy, a student is expected to imitate a technique like vibrato, tone or tonguing by trial and error, with the performed example as their only guide. An example would be a teacher playing a sample and asking the student to imitate the technique without further verbal explanation of the technique. Teachers also used teaching strategies that involved us-ing speech syllables or vocal tech-niques. Examples of these would be a vowel syllable as an example of mouth shape, or a consonant syllable as an example of a tongue posture for articulation. Teachers also use verbal descriptions, where they describe the internal technique with words. This was done in sev-eral ways, either by using anatomi-cal language, such as “bring your tongue forward” or with imagery or creative visualization such as, “play with an edgy sound”. Teachers also use visual representations, either of anatomy (cross sections of the head and throat are common) or artis-tic representations of sound (such as wavy lines to depict vibrato).

In my recent flute studies I had also expe-rienced some newer strategies and practice devices that I did not find in the traditional literature. I wanted the study to reflect cur-rent practice and so I decided to name this category “other strategy” including devices and to solicit information from participants about newer methods.

A survey was used and was returned by 159 flutists who were or had been perfor-mance majors. The survey questions sought to find out how the strategy categories were perceived in general and then how they were rated when applied to tonguing, vibrato and general tone production (as affected by the inside of the mouth, tongue and throat). Respondents were also asked to name “oth-er” strategies they found useful for internal techniques. When rating the strategy cat-egories, flutists overwhelmingly reported

Teaching Internal Aspects Of Instrumental Technique:

Summary Of A Dissertation Studyby Carol Hohauser

Graduate, Teachers College, Columbia University [email protected]


that teacher modeling or demonstration was their preferred method. The second highest rated strategy was the use of speech or vo-cal techniques, followed by verbal descrip-tions of internal physiology, which was rated third. The fourth highest rating was given to the use of imagery or creative visualization, after which the percentages of respondents rating strategies as effective dropped con-siderably for the remainder of the strategies. When asked later in the survey to rate strate-gies for specific internal techniques, the top four strategies remained consistent with mi-nor changes in order regarding the use of the strategy for techniques such as tonguing. In this area, speech syllables were rated higher, which is understandable because the tongue is used to articulate usually based on a speech syllable. The lowest number of flutists rated “other strategy not listed or practice device” as being effective. While this was expected because newer strategies and devices were not mentioned in traditional literature and would have had less exposure, I wanted to gain more information about current prac-tice, which led to part two of the study.

The second part of this study was an investigation of newer strategies that were nominated by survey participants. Flutists were asked to name other strategies or devic-es that they found to be effective for internal techniques. They were also asked to suggest players who use the strategies to be later inter-viewed and observed using the strategy. This part of the study investigated newer strate-gies that have been in use over the last few decades. The strategies that were nominated and investigated were: the Pneumo-Pro© device, the breath-builder machine, buzzing the lips, finger breaths, the breathing bag, Al-exander Technique, spectral analysis and the use of the newer mp3 and mp4 video and recording capabilities in teaching, as well as slow-down software and web streaming of performances and lessons. Participants in the survey also mentioned alternatives to some of these newer techniques. These low-cost options were pinwheels, papers strips, plastic bags and straws. Interviews and observation with nine flutists who were either nominated by others or who volunteered themselves led to some interesting discoveries.

The participants in part two of the study were: Rachel Brown (Royal Conser-vatory); Paula Gudmundson (doctoral stu-dent at University of Minnesota); Catherine

LeGrand (Campbell University); Hillary Jones (Masters student at New York Univer-sity); Keith Underwood (Mannes School of Music; NYU and Aaron Copeland School of Music); Immanuel Davis (University of Minnesota); Tina Christie (Piedmont Sym-phony Orchestra); Katherine Saenger (Col-legium Westchester); and Patricia George (Sewanee Music Festival). Several of the par-ticipants had studied with Keith Underwood or Immanuel Davis. Underwood and Davis had previously played for brass players who had introduced them to aspects of Arnold Jacobs’ teaching (former tuba player with the Chicago Symphony). Jacobs was known for helping brass players who had developed problems in their playing, by using various devices and breathing strategies. Davis and Underwood were also introduced to using the lip buzzing practice technique by trum-peter Jerome Cal-let. All the flutists who volunteered to participate in this study and who used breathing bags, finger breaths, the breath builder ma-chine and buzzing had studied with ei-ther Underwood or Davis. The common ge-nealogy of these strategies became clear and so I dubbed this the “Brass-Derived” strat-egy category. The flutists who used Spectral Analysis shared a commonality in both being employed in the sciences, one in computers and the other in sound wave technology. The Pneumo-Pro© seemed to have few users be-cause of the recent invention of the device. I had to contact the inventor, Kathy Blocki in order to find teachers who use the device. I did find that the use of mp3 and mp4 re-cording, web streaming and slow-down soft-ware in teaching was almost common, as was the use of the Alexander Technique.

I examined the newer strategies and devices to see if they fit into the modeling categories I had created for traditional strategies and found that several did fit. Spectral Analysis is a way of creating a visual representation of sound, including volume, pitch and duration. Students are then able to compare their spectograms with those of their teachers or other professionals. Mp4 recordings gave students unlimited access to excellent aural and visual performance

models, and slow-down software enabled them to listen to the performance models slowly and at correct pitch in order to analyze vibrato or tonguing. I found that the practice devices and several practice techniques necessitated creating a new teaching category. I called these strategies kinesthetic models because the devices, the buzzing technique and finger breaths were ways to practice a feeling related to blowing or tonguing. The feeling memory of using the device or technique was then transferred to playing the instrument. An example is the breath-builder machine, in which a ping-pong ball is elevated both by blowing and inhaling with sufficient speed and continuity of air to keep the ball from dropping. Tonguing is also practiced on the machine while keeping the ball elevated and stationary. The player is instructed to replicate the feeling they gained

from using the machine on their instrument. Buzzing was explained to be a method limiting the amount of air used while creating a forward tongue position. When the instrument is played after practicing the buzzing technique, the mouth position and use of air is supposed to be maintained even though the lips do not buzz while playing the flute. Some players who were interviewed were not in favor of using the techniques and devices that came from the brass world on the flute. These players used other methods to illustrate limiting the air, such as blowing through small straws. The Pneumo-Pro© was used to practice continual breath movement and direction, while other flutists used toy pinwheels for the same purpose. I realized that the category of kinesthetic models included one traditional method: Suzuki tonguing, so called because it came from Suzuki flute pedagogy. This technique uses rice or objects that the player spits out to illustrate tonguing technique. The intention is for the feeling of all kinesthetic methods to be transferred to playing the actual instrument.

continued on next page


It was interesting that many of the newer methods were kinesthetic in nature, including the Alexander Technique. This body-awareness strat-egy uses lots of imagery, creative visualization and also kinesthetic memory. Directives such as to “lengthen and widen” and “float your head” are used to create feeling memory that is intended to help with internal techniques. Body Mapping, using visual representations of anatomy is also used in conjunction with Alexander Technique to add a visual representation. High-level flutists were using the newer strategies and devices that I investigated so it will be interesting to see if these become more popular in the future. Meanwhile, the study showed that while the traditional strategies were perceived to be most effective by participants in the survey, there are other strategy categories that are considered to be effective for some flutists. Teachers may want to experiment with all the strategy categories when addressing internal techniques. Understanding how a strategy works, as a visual model, a descriptive model, a kinesthetic, speech/vocal or a performance model, will be informative for teachers looking to expand their teaching tools. Future study within each category will be informative, such as comparing devices, types of demonstra-tions or the kinds of verbal description. There will always be a need for alternative teaching strategies for some students, so teachers can seek to expand their teaching tools to include newer categories or alternatives within a category.

The entire dissertation is available from Pro-Quest and is titled: Internal Aspects of Flute Tech-nique: A Mixed Method Investigation of Teaching Strategies and Their Effectiveness.

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This comprehensive education tool brings harmony training,rhythm training and ensemble timing together in one convenienteducator resource. It enables music educators to clearly demonstrate for students how to tune individual notes withinchords, so that entire chords may be tuned. The HD-200 HarmonyDirector helps musicians understand how their parts fit into thecomplete harmony of the ensemble.

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When I first started leading music classes for toddlers, it was relatively rare. Usually

it came about when a school where I was teaching older preschoolers and kindergar-teners requested a music class for their very little ones. Now I see music classes for babies and toddlers everywhere – sometimes in a day care or preschool setting, sometimes in private music schools. It seems like everyone is hopping on this baby bandwagon. But is it really beneficial for babies and toddlers to attend music classes?

All children have unlimited creative potential. Yet in my twenty years of teach-ing music enrichment classes to young children, I’ve noticed something. In almost every class, there’s one or two or three chil-dren who seem to be absolutely exploding with musicality. These are the ones who dance like dervishes at the slightest provo-cation, beat on the drum with confidence and enthusiasm, and sing along exuberantly – even when they don’t know the words! They make up their own words, or happily sing nonsense syllables without a trace of self-consciousness. Where does this kind of unstoppable creativity come from?

DNA only builds the nuts and bolts of our minds, like Geppetto built Pinocchio – it takes a little fairy dust to bring real musi-cal creativity to life. This fairy dust comes in the form of caring, involved teachers – one or a handful – who share their time, energy and imaginations.

Benefits Of Early Music Activities

Numerous studies have shown that participating in musical activities can in-crease young children’s cognitive skills such as reasoning and memory. Playing and lis-tening to music actually promotes healthy brain development. “Nothing activates

as many areas of the brain as music,” says researcher Donald A. Hodges, Covington Distinguished Professor of Music Education and director of the Music Research Insti-tute at the University of North Carolina at Greensboro. Because music is so enjoyable and exciting for little ones, it’s a uniquely ef-fective way to organize their thinking skills and help them be ready to learn.

Making music together builds bonds of trust and communication, and strengthens the feeling of belonging in a group. And music activities are so much fun that tod-dlers are motivated to behave appropriately to join in. When young children sing, move, and play instruments together, they’re prac-ticing social skills like taking turns, respect-ing others’ boundaries, and listening to oth-ers’ ideas in a relaxed, playful setting. These social skills are vital for emotional well-be-ing and success in school.

Toddlers love to move to music – to march, stretch, stomp their feet, wave their arms, bounce , clap or just dance to the beat. Music is a great way to keep young children active – even when the weather keeps them inside. Research suggests that children who are physically active in school are more like-ly to be physically active at home. Moving to music is a wonderful way to keep chil-dren fit and prevent childhood obesity.

There’s no right or wrong way to shake maracas or tap on a tambou-rine. There are no rules to fol-low or complex directions to u n d e r s t a n d . Music gives tod-dlers the free-dom to think,

imagine, and create on their own. The joy of expressing one’s individuality supports every aspect of learning and makes every day more meaningful and fun.

Every toddler needs and deserves the joy of music - and the intellectual and phys-ical benefits of singing, listening, playing instruments, and moving to music.

Musical Play

It’s never too early for children to enjoy the creative benefits of musical play. Even babies respond to bouncing rhymes, “pat-a-cake” and “peek-a-boo.” As they grow to be toddlers, teachers can make galloping, rhythmic horsey rides, sing nursery rhymes while clapping to the beat, and dance and sing with puppets, stuffed animals, and simple dolls. They can get on the floor and look in toddlers’ eyes and be part of their playtime world.

Toddlers don’t need brand names or TV characters to play with, or even CD’s (though some children’s entertainers are excellent). When I first heard about smartphone apps with games for toddlers, I was appalled. There will be plenty of time to learn to press buttons for a quick fix of entertainment. What a growing, creative mind needs are loving, playful adults and instruments that

Is It Ever Too Early To StartLearning Music? E-I-E-I-No!

by Abby ConnorsEarly Childhood Music Specialist

[email protected]

Here are some examples:• Designing Effective Rehearsals• Creating a Student Handbook• Developing a Relationship with Administration• Your First Day of Class

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support their developing musicality, such as drums, maracas, bells – even good old pots and pans.

Starting With Music And Dance

Music has been called “creative play with sound” (Brandt et al., 2012). The first of the senses to be fully developed is hear-ing, so music should be a part of life from the beginning. Sing every day and play all kinds of soothing, relaxing and fun music. Older babies and toddlers will also love to play instruments with you. Studies show that making music with adults may help babies be more sensitive to music and more communicative in general (Gerry et al., 2012).

Don’t forget to dance! Research indi-cates that infants “may be born with a predis-position to move rhythmically in response to music” (Zentner and Eerola, 2010). Sing and bounce babies on your knee, and when he can toddle, do the “toddler bounce” to your favorite tunes. Clap your hands, swing your arms. Watch how toddlers move and copy them – it’s tremendously empowering for them to “lead the way.” Toddlers are also excited and engaged by dancing with their favorite stuffed animals or (soft) baby dolls. Simple props such as hats and scarves can also add to the fun. Dancing is a natural, age-appropriate way to work off some of that toddler energy and express thoughts and feelings creatively.

A Couple Of Other Tips…

When it comes to musical creativity, a good rule of thumb: “If it isn’t fun, don’t do it.” Be observant. If toddlers look uninter-ested or they’re getting tired, stop and move on to something else. This may be after two minutes or twenty, depending on the day and the toddlers’ mood.

Remember, it’s all about the process, not the product. Go easy on the praise, the compliments, the “good job!”s and the “oohs” and “aahs.” The goal isn’t for tod-dlers to perform at Carnegie Hall. It’s to introduce them to the sheer joy of using their minds and bodies to sing, dance, play, imagine, pretend, and create music.

References

Brandt, Anthony, Molly Gebrian, L. Robert Slevc. Music and Early Language Acquisition. Frontiers in Psychology, 2012; 3

Gerry, David, Andrea Unrau, Laurel J. Trainor. Active music classes in infancy enhance musical, communicative and social development. Developmental Science, 2012; 15 (3): 398

Zentner, Marcel, Tuomas Eerola. Rhythmic engagement with music in infancy. Proceedings of the National Academy of Sciences, 2010.

Abby Connors is an early childhood mu-sic educator, author, and presenter. Her books include “101 Rhythm Instrument Activities for Young Children” (Gryphon House, 2004), “Teaching Creativity” (Whitmore Books, 2010), and her latest book, “The Musical Toddler,” (Whitmore Books, 2013).

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Last spring in one of the music education classes that I teach, I was emphasizing the importance of clearly defin-ing phrases in the large ensemble. This is one of the most

vital ways of fashioning one’s interpretation since it is such a basic element in showing musical structure. After giving several examples, one student offered a comment: “That isn’t how they do it in the Midwest!” That puzzled me especially since I had lived the first 29 years of my life in Michigan.

After some discussion I discovered that the student had been working with a highly successful competitive marching band in Indiana. He told me that in their marching band shows, the band never took a breath at the same time. In this way, the judges could never fault the group for poor phrasing or bad releases. I could im-mediately see the logic: releases could not be evaluated because there were no real phrases. It seems to be a great methodology to improve contest ratings.

With my newly found knowledge, I discovered that some high school bands in New Jersey have adopted this approach with both their marching and concert ensembles. In clinics and rehearsals, I found that some groups NEVER took breaths together. One par-ticular example was a rehearsal where the group was playing a slow piece by Percy Grainger. Even with its clearly defined structure, the ensemble never made a satisfying phrase. The players had been in-structed never to breath together in this highly Romantic and flex-ible piece.

High school band directors face one specific major challenge, and it has been this way since the beginning of the school band movement since the early 20th century. Not only do they have to teach music, but they also need to win contests or be successful at festivals. While the festi-val/contest movement has helped bands to prosper, it has also at times fos-tered an approach where winning has become the primary goal in rehearsal and performance. As I wrote in the May issue of TEMPO, “While accu-racy is certainly an important goal, precision does not really teach students about the true nature of music.”1 At the time that I wrote the article, I had not yet learned about the “new” approach to phras-ing—or in other words, not to phrase. Like stressing ensemble pre-

cision, insisting on not phrasing is directed to the goal of fostering winning over teaching musical values.

What is a Phrase?

The structure of music occurs on many different levels. The elements of music—melody, harmony, timbre (color), rhythm, and form—are the most basic. Each of these occurs on multiple dimen-sions. Form, the topic here, can be considered on large or small levels: entire pieces, movements, sections of movements or pieces, phrases, and motives.

The phrase is one of the basic building blocks in music, perhaps the equivalent of a sentence in writing and speech. Without some kind of structure, we are not able to perceive the shape of the music. It is the conductor’s responsibility to help the audience—and stu-dents in an educational ensemble—to be able to perceive the nature of the piece. Form is a primary element.

Each piece is subject to a different interpretative view. In terms of phrasing, certain pieces might allow greater flexibility than oth-ers. Grainger is different from Stravinsky; Wagner is different from Mozart. Tension and release are determined in large measure by the musical elements that come directly from the composer. It is then the conductor’s role to shape the notation to serve the composer’s intent. Works with greater inherent flexibility require a different ap-proach than those with less. Conductors must help to provide shape to the piece on all levels, and the phrase might be one of the most important.

A look at the first phrase of Wagner’s Elsa’s Procession to the Ca-thedral might help to illustrate this point (see figure 1).

The eight-measure phrase is divided into two clearly linked and related halves (mm. 1-4 & 5-8). A moving figure in the oboe not

Don’t Omit The Punctuation

By William L. BerzRutgers: The State University of New Jersey

[email protected]

Figure 1. Elsa’s Procession to the Cathedral, mm. 1-8.

shown in figure 1 connects the two. While the people playing the melody take a breath, the oboe connects the two sections at measure 4. There are two points of relaxation: measures 4 and 8. If these points are ignored through the elimination of the breath, the musical structure is obscured.

There are multiple smaller structural elements within the phrase, including several arrival points, which are labeled 1-6 in the example. These indicate structural contours of the melody, parallel to clauses in a written sentence. All of the notes are connected and rise and fall in intensity as the music dictates. Some conflict some-what with the marked dynamics.

Each half of the phrase has the same relative melodic contour: an arch with an E-flat as its highest note. Almost naturally, these two E-flats (#2 & 4) are arrival points; number 4 represents the most important part of the entire phrase. It must be emphasized that the highest note of the phrase does not always receive the greatest stress, although it does here.

The dotted lines in figure 1 approximate the proposed sense of direction for the phrase. However, it is absolutely vital that a sense of the whole be maintained. With the six arrival points indicated, it might appear that the line should be broken into many different parts with swooping crescendos and decrescendos. This is absolutely not the case. These points are intended to be part of a whole with swells, perhaps like gentle waves on a lake. They are not units of singular importance but part of the larger whole; the listener should not become seasick. Many motives need to be connected to show the sense of line.

For those interested in more detail, The Art of Interpretation of Band Music provides a more thorough discussion about both phras-ing in general and interpreting Elsa’s Procession specifically.2

Musical Meaning = Understanding Structure

As I have written several times in previous articles for TEMPO, interpretation is not just about producing a technically accurate and clean performance. This does not mean that accuracy is unimport-ant. However, some band directors work almost entirely on technical purity and ignore musical meaning.

Likewise, fashioning one’s interpretation is more than simply feeling the music. Understanding structure is of vital importance in discovering and conveying the musical meaning of a given composition.

In preparing a work for performance, one should be able to identify the function of each note (appoggiatura, passing tone, neighbor tone, etc.). This is the first step to-ward revealing the music’s grammatical structure. Once one knows the function of a note, it will never change. The grammatical functions of the individual notes having been determined, identifying the skeletal structure of the music, often obscured beneath hordes of ornamental notes, is the next step. When this underlying framework is understood, then the phrasing and articulation of music become clear in almost every instance. Defining this grammatical structure lead one to communicate the music’s true meaning.3

There are many parallels between language and music in terms of form. These can be very helpful in teaching about structure and phrasing.

Language MusicSyllable NoteWord Motive or notesClause Motive or sub-phraseSentence PhraseParagraph Small section (period, etc.)Chapter Section (exposition, development, recapitulation,

movement, etc.)Book Composition

When we speak or write, we do not normally think about syl-lables or words. We think about a given idea and then convey it in language. When young children learn how to read, they first learn letters and then short words. When they read an early sentence, “See Jane Run” they are decoding words and probably do not have a men-tal image of a young girl running, which is the message of the sen-tence. Language is intended to convey meaning.

Just as we don’t speak in separate syllables and words, we should not play notes. Instead we should play in phrases. Notes are grouped together to form motives that are further connected to form larger units and phrases, just as syllables, words, and clauses are brought together to form a sentence.

All sentences have punctuation: commas, semi-colons, colons, dashes, question marks, exclamation points, and periods. Without these markers, the meaning of language is blurred. They give shape to the writing or speech.

The same is true for music. Musical punctuation gives shape to work. In the Elsa’s Procession example (figure 1), one might see a comma at measure 4 and a period or semi-colon at measure 8. More conclusive phrases could end with an exclamation point or a ques-tion mark. Eliminating punctuation obscures musicality. This brings us back to the original point of obscuring the phrase to avoid poor precision.

Obviously the phrases in some works need to be blurred how-ever to develop a universal policy to never breath in order to obscure possible performance errors seems to be wrong to deliberately go against basic musical principles does not help to foster the musical education of young students music needs punctuation it is a primary element to show musical content

Oops—I forgot the periods! Don’t forget to phrase. It’s the mu-sical thing to do.

Endnotes1. William Berz. “Considering the Importance of Structure.”

TEMPO, 67, no. 4, (May 2013), p. 54.2. William Berz. “The Art of Interpretation of Band Music.” The

Art of Interpretation of Band Music, ed. M. Walker. Chicago: GIA Publications, 2013, pp. 81-102.

3. David McGill. “Sound in Motion: A Performer’s Guide to Greater Musical Expression”. Bloomington, IN: Indiana University Press, 2007, p. 26.



The image of a composer is of the creative type at the up-right piano, pencil in hand, getting just the right sound on manuscript paper. With Beethoven, Bach, and Mo-

zart as the most famous models, it is no wonder that composing-es-pecially in the general music class, can be sidestepped for something appearing to be a bit more achievable and less time consuming.

Even so, music teachers continually discover ways to help stu-dents become composers. They are tearing down the boundaries that can exclude composition from music learners at many levels. These music teachers are achieving the kind of music education Paul Hindemith described as “not a special branch of knowledge... to be taught to those gifted or interested enough” but a “logical outgrowth of a healthy and stable system of education.”

The standard perception of the process of composition is also changing. Over the past two decades, the computer, along with oth-er recently developed tools, has allowed the craft of composition to be both accessible to and understandable by a larger audience. Countless technologies for recording, arranging, notating, and editing music are available for musicians at skill levels ranging from the elementary school child to the professional musician. Free open-source notation, sequencing, and audio editing software such as Noteflight, Musescore, Linux multimedia software, and Audacity, make creating and manipu-lating music inexpensive as well.

This article identifies ten approaches to teaching composition in the general music classroom. There are many resources for finding composition activities, and some examples are mentioned here. However, the main purpose is not to present activities so much as it is to point out alternative methods. Have you become stuck in one “go-to” approach to exposing your students to composition? Then read on for alternate ways to bring music creation to your classroom, sparking new musical life into the curriculum.

Music creation is arguably the highest order of thinking. It re-quires synthesis and evaluation of materials. Perhaps the most im-portant thing to remember is to provide a structure, but don’t be too strict about the process.

1. Composition as a way to synthesize and apply musical learning

After students have learned a new musical element, they can compose a piece based on that element as a way to synthesize and ap-ply the new learning. For example, after students learn paired eighth notes, ask them to compose a piece that uses paired eighth notes in different patterns. A sample activity in a first grade classroom learn-ing songs about insects might look like this:

a. Ask students to think of an insect word that has one syllable (e.g., fly). Draw the word with a quarter note above it. Then think of an insect word that has two syllables (e.g., spi-der); draw paired eighth notes above it.

b. Ask students to combine the quarter and eighth note words into four beats, and draw one example on the board (e.g., fly, spi-der, spi-der, fly). Ask students to draw three more phrases for a total of four phrases, including both the notation and the words.

c. Let students speak the four measures and transfer the rhythm to unpitched rhythm instruments.

d. Ask the students to evaluate the composition and refine the composition to satisfaction.

2. Composition as a culmination of improvisation

At Claxton Elementary in Claxton, GA, Rita Ponder, the mu-sic teacher, often asks fifth graders to improvise a melody on the recorder with notes they already know: B, A, G, and E. She invites several students to the large staff rug in the middle of the room. The students improvise several variations and patterns of these notes. Af-ter everyone takes their turn at improvising, the students experiment and evaluate the patterns, deciding which ones they like best, and notating them on staff paper.

3. Composition as a basis for the entire curriculum

Teachers can approach composition as the primary tool in their music classes, making it a medium through which all other music concepts and elements ate introduced. Students in these classes com-pose for the duration of the school year, using composition as a tool to explore and apply learning. Programs such as Composers in the Classrooms and the Manhattanville Music Curriculum Project were designed with composition as the primary component.

4. Composition as a tool for group learning

Composition is often the product of group work in music class-rooms. In schools where cooperative learning groups are the norm, composition is a natural fit. Many teachers value cooperative learn-ing for its strengths: peer-teaching and learner-centered instruction. There are three grouping options: composing individually, compos-ing in a group of two to five students, and composing as an entire class. In a group learning environment, the teacher serves as a guide and support.

Kids As Composers:Ten Approaches To Composing

by Bradley L. GreenGeorgia Southern University

Reprinted from Georgia Music News


As with any cooperative learning group, students need structure to complete the task: defined roles for each group mem-ber; a musical goal or problem to be solved; a time limit; sound sources or instruments to be used; and clearly stated expectations for the musical product.

5. Composition as a tool for expressing emotion

Students immediately take ownership of their compositional task when they are asked to represent emotions. Students enjoy sharing feelings through poetry and visual art; composition can be another mode of personal expression. Using musical con-cepts that students have already learned, ask them to introduce expressive elements such as tempo, tempo changes, dynamics, and phrasing. Play recordings that can be perceived to express a certain emotion. For example, ask students to record an emotion with descriptive words. Then with specified sound source (e.g., found sounds, barred instruments, rhythm instruments), students can identify sounds that represent the de-scriptive words. These sounds can then be structured and formed into a composition.

6. Composition as a representation of a picture, story, or poem

Mussorgsky’s “Pictures at an Exhibi-tion” or Saint-Saens’”Carnival of the Ani-mals” are famous examples of compositions promoted by pictures, stories, or poems. Music teachers can come closer to, reach-ing the goal of MENC Standard 8: “Un-derstanding relationships between music, the other arts, and disciplines outside the arts” by using famous works from visual arts and literature as prompts for writing music. Many important works of art are available in general music texts, and most school li-braries have access to an abundance of these materials through online databases. The use of pictures, stories, or poems as prompts for music composition is usually associated with Orff teaching, but can also be found in Kodaly, Dalcroze, and other music educa-tion approaches.

There are countless ways that students can use materials from other artistic disci-plines to create. For example, when a cer-tain picture or word appears in a storybook, students might choose an unpitched percus-

sion sound to identify it.The sounds could then be organized into a musical form, eval-uated, and performed.

7. Composition to explore elements such as rhythm, melody, harmony, timbre, or expressive elements

Composition allows students to cre-atively explore the wide range of possibili-ties within a single area of music. For the purpose of exploring rhythm, for example, a composition might include combinations of quarter and eighth notes. These two sim-ple rhythms can become interesting when combined with expressive elements like dy-namics, phrasing, and tempo changes. Sim-ple melodies and harmonies can be added. The addition of movement to the rhythm composition would add even more interest. The possibilities are endless.

8. Composition to explore musical forms

As a student progresses through general music, musical forms move from simple to complex. The first musical structures that are explored are same/different phrases, echo, and call/response. Question/answer,

song forms cumulative songs, a and b com-binations (e.g., aba, aaba, aabb, etc.) coda, repetition, and blues forms are just a few structures to explore through composition. Composing in different forms gives a stu-dent a direct experience with musical struc-tures that analysis alone does not provide.

9. Composition to teach cross curricular themes

Music teachers are increasingly asked to reinforce other subject areas. Only a portion of music teachers teach music alone; most music teachers work as part of a team with teachers of other subjects. Music composi-tion is especially useful in getting students to organize thoughts into a new framework, which makes it an ideal tool for cross cur-ricular learning. For example, a class might create a melody based on the symbols of the state of Georgia: setting each syllable of the symbols to pitches (e.g., Che-ro-kee rose, peach, brown thrash-er); combining the beats into a four beat motive; varying the motive to make a b motive; and finally combining the motives to form an aaba structure. In another example, students who

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create a digital photo story to present infor-mation on a topic can compose their own background music for these presentations. Web 2.0 tools such as Microsoft’s Photos-tory or Voicethread (www.voicethread.com), easily guide students through the process of uploading pictures and music to create a fi-nal product.

10. Composition to practice and develop skills with standard notation

The performance standards for music frequently mandate the use of standard no-tation in the music education environment. Iconic/graphic notation is an intermediate step, but literacy with standard music no-tation is the goal. Music teachers can use composition in the general music classroom to improve this skill. A number of tools for developing skill in standard notation ex-ist. Aside from worksheets and manuscript paper, computerized notation, web based instructional tools, manipulatives, and in-structional aids such as Ready to Read Music by Jay Althouse, help students to use stan-dard notation in the compositional process.

There are many benefits to using com-position as a teaching tool for understand-ing. Music creation is arguably the highest order of thinking. It requires synthesis and evaluation of materials. The approaches listed above are mutually beneficial. For example, using a poem as a compositional prompt may also be an expression of emo-tion and a way to practice using standard notation. Perhaps the most important thing to remember about composition in the classroom is: provide a structure, but don’t be too strict regarding the process. As Carl Orff reminds us, “Let the children be their own composers.”

References

Kaschub, M., & Smith, J. (2009). Minds on music: Composition for creative and critical thinking. Lanham, Md.: Rowman & Littlefield Education.

Sloboda, J. A. (2000). Generative processes in music: the psychology of performance, improvisation, and composition. Oxford: Oxford University Press.

Kratus, J., & Wilcox, E. (1994). How do children compose? Teaching Music, 2(3), 38. Retrieved from EBSCOhost

Hindemith, P. (1961). A composer’s world, horizons and limitations. Garden City: Doubleday.

Bradley Green is on the faculty at Georgia Southern University, where he supervises music student teachers and teaches music education and technology courses.

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Music creation is arguably the highest order of thinking. It requires synthesis and evaluation of materials... Perhaps the most important thing to remember is to provide a structure, but don’t be too strict about the process.


The Carl Fischer Performance Series has many different levels of performance for all types of bands with 10 weeks of study through advanced. The music at all lev-els is interesting and can be of value to all band directors at these various levels. There are many titles to choose from at the Carl Fischer website where one can listen to them prior to purchase. Listed below are descrip-tions of these levels with some of the 2013 listings which have just been published and sent to TEMPO for review.

The Primer Band Level (Grade .5) re-quires only 10 weeks of study and contains only the first six notes of the concert Bb scale. The pieces are short and only require one part per instrument. It uses basic 3-4 part writing with bass parts fully covered in low brass and woodwinds. Some of the titles contained in this level are:

Anasazi Legend by Joseph CompelloBuglers Rule by Joseph CompelloChristmas Mash-up March by Larry

ClarkColossus by Larry ClarkIn Time for the Holidays (Jingle Bells) by

Bill CalhounOmicron by Sean O’LoughlinRolling Tough by Kevin Mixon

The Beginning Band Level (Grade 1) is intended for the first year band with bass parts being played by low brass and wood-winds. Ranges are limited and only simple eighth note rhythms are employed. Clari-nets are below the break, the percussion parts are active, and all are playable with limited study. Selections contained in this level include:

Danza Latina by Gene MilfordExpressions by Bill CalhounHard Drive by Kevin MixonHidden World by Sean O’LoughlinRecognition March by Larry ClarkTrolls! By Peter Terry

The First Plus Band level (Grade 1.5) is playable by 1st year developing bands. Sec-ond parts are now written for clarinet and trumpet, the bass parts are still covered by

the low brass and woodwinds, there are more eighth notes, and first clarinet will now play above the break. Some of the se-lections in this group are:

Nordic Vision by Bill CalhounO Christmas In Three (contains three

carols in traditional ¾ meter: O Christmas Tree, Away in the Manger, and We Wish You a Merry Christmas) arranged by Joseph Compello

Epic by Larry ClarkBridges by Alan Lee SilvaDominion by Sean O’LoughlinBattle Quest by Mike ForbesChant and Ritual Dance (c minor) by

Joseph Compello

The Young Band Level (Grade 2) adds a separate Trombone and Baritone part, six-teenth notes, and easy low brass writing. The limited independence of parts keeps everything playable by developing bands while introducing them to new materials. Selections included in this series contain:

Black Mast by Peter TerryCeltic Dreams by Mike ForbesChant, Chorale and Dance by Bill

CalhounChristmas Rondo by Gene MilfordElation by Sean O’LoughlinEnvisage by Larry ClarkJuba by Kevin MixonLeaning on the Everlasting Arms by

Anthony J. Showalter, arr. Carl Strommen

Morning Glory March by Joseph Compello

Ripcord by George SweetShepherd’s Hey arranged by Andrew

BalentSide by Side March by John L. Klohr, arr.

Laurie LaffertyWelcome March by Harold Bennett, arr.

Larry Clark

The Flexible Band Level (Grade 2.5-3) is designed with flexible instrumentation to assist bands with incomplete or unbalanced instrumentation. It uses five part scoring plus percussion. An optional keyboard part is provided to enhance the sound if needed.

The series will include already popular titles re-scored for five part flexible instrumenta-tion and new works. Some titles include:

Achilles’ Wrath by Sean O’LoughlinDigital Prisms by Larry ClarkMight Mite March by Ted Mesang, arr.

Sean O’Loughlin

The Concert Band Series (Grades 3 – 3.5) uses full instrumentation with ex-panded use of rhythms, ranges, and keys, but technical demands are carefully consid-ered. Generous cross cuing of solo parts is maintained. A few of the selected titles are:

Angels Sing by Bill CalhounSoaring (solo Trumpet with Band) by

Sean O’LoughlinAscending by Larry ClarkInnisfree by Carl StrommenResiduum by George SweetCircle in a Square by Ed KieferWith Visions of Tomorrow by Brant

KarrickMatinee by Bill CalhounThe Ides of March by Sean O’LoughlinThe Picadore March by John Phillip

Sousa, arr. Andrew Balent

The Symphonic Band Series (Grade 5) uses standard band instrumentation and is of a difficulty level within reason for high school groups. Some titles are:

Setting Sail (Freedom of the Spirit) by Carl Strommen

Alexander’s Ragtime Band by Irving Berlin, arr. Jerry Nowak

Joy to the Season (based upon Hark! The Herald Angel Sing!; Patapan; It Came Upon The Midnight Clear; and Joy to the World) by Sean O’Loughlin

The Authentic Fillmore Series in-cludes:

A Review March To The U.S. of A. Armed Forces by Henry Fillmore, arr. Robert E. Foster

Teddy Trombone (A brother to Miss Trombone) by Henry Fillmore, arr. Robert E. Foster

New 2013 Band MusicFrom Carl Fischer/Theodore Presser

by Thomas A. Mosher, editor


The dialogue about teacher eval-uation in the United States has reached a pinnacle with myriad

reports, research, and papers that opine about the best possible approaches for hold-ing teachers accountable for student learn-ing and growth. This article offers a brief look at some of the recent themes related to teacher evaluation and considers a number of practical applications of those ideas for the evaluation of music educators.

In recent months, the following catego-ries of music teacher evaluation seem to be surfacing and are worthy of further study and consideration. Teachers and administra-tors alike, with limited time and resources, are threading a complex maze of regulations that vary from state to state. It is likely that your state and school is considering the use of one or a combination of these approaches in the development of the process that will be used to evaluate your work. Those cat-egories include:

• Teacher evaluations tools that are linked to the assessment of student outcomes;

• Teacher evaluation tools that are connected to teacher practices via observations;

• Teacher evaluations linked to practice through self-assessment/critical reflection/narrative; and

• Teacher evaluations that are multifaceted—that is, that involve some combination of the previous three.

Themes From Evaluation Of Student Outcomes

Effective teaching in a music class re-quires different professional practice and outcome measures than effective teaching in algebra class, which means that the mea-sures of collecting evidence may vary based upon the subject area of the teacher.1

Many organizations are recognizing that the evidence of student learning in some disciplines will look entirely different from that in other areas. This realization is important and vital to the development of music teacher evaluation tools. Statements like the quote above also remind us of con-cerns and questions that are raised when sta-tistical models [such as value-added models (VAMs) or evaluation tools derived from standardized tests] are used in the evalua-tion of teachers. The use of student learning outcomes (SLOs) also fits into this category, and, in general, this approach is considered flexible and most directly tied to teacher practice, since teachers establish the goals set for each student. The literature also re-minds us “the arts rely primarily on indi-vidual evaluation rather than standardized testing,”2 meaning that issues of time and numbers of students begin to play a factor in using student evidence in the evaluation of music educators.

In summary, the following are the themes for us to address, monitor and con-sider:

• Music educators must develop clear, concise and assessable outcomes/objectives for the learning occurring in our classrooms;

• Music educators must understand and articulate our stance on the use and implications of statistical models (like VAMs) in the evaluation of our work;

• Music educators need experiences with a wide variety of assessment tools and various means of collecting the evidence of student learning in our classrooms; and

• Music educators need to develop an efficient and clear means of reporting our findings with others.

Themes From Evaluation Through Observation

The various comments, opinions, and conjectures about evaluation of educators through observation are equally taxing to absorb, but there are some apparent themes for our consideration. Most agree that ob-servers need to be carefully trained in order to provide fair and consistent feedback and, in general, the reliability of the observations increases when more than one observer is part of the process. In addition, the use of domain-based observation tools (e.g., the Danielson or Marzano models) with mul-tiple rating levels (at least four) seems to provide more substantive feedback that en-courages teacher growth and development. Some have shared their concerns about making these observation tools as music-education-friendly as possible. That might be accomplished by ensuring that the dis-positions exclusive to teaching music and all of the contextual pieces related to mu-sic classrooms are included and taken into consideration. There is some support for the use of student perception surveys in the ob-servation process as well. Overall, it’s impor-tant that music educators take an active role in the development and implementation of the observation process.

Themes From Evaluation Through Self-Reflection

Self-reflection is typically done through a narrative or oral interview. Several authors suggest that this type of evaluation can be enhanced and be more effective when teach-ers focus their reflections on the processes of student learning rather than that of their own teaching. In addition, however, when teacher reflection is focused on the final products of student learning, the results of-

Recent Themes In Teacher Evaluation

by Doug OrzolekSMTE Chair

University of St. Thomas, [email protected]

Society for MusicTeacher Education


ten include changes in the teaching process to enhance learning. The process of reflect-ing on your teaching is very time consum-ing and can be quite difficult, but the ad-vantages seem to outweigh the difficulties:

Abundant evidence… indicates that a thoughtful approach to teacher evalua-tion—one that engages teachers in reflec-tion and self-assessment—yields benefits far beyond the important goal of quality assurance. Such an approach provides the vehicle for teacher growth and development by providing opportunities for professional conversation around agreed-upon standards of practice.”3

This type of reflective process has be-come a relatively consistent part of learning to teach and many pre-service teachers are entering the field with a means of making this happen. The ability for us to articulate and share these reflections with others may hold a key to helping our colleagues and administrators evaluate our work more ef-fectively.

Themes From Multifaceted Evaluations

Most of those involved with teacher evaluation understand that teaching is a highly complex and challenging thing to do. Which, in turn, makes the evaluation of a teacher’s work equally difficult (if not more so!). Some argue that by incorporating a balanced, multi-measure approach using information collected from some combina-tion of student outcomes, observations and narratives, we may get the best picture of

a teacher’s impact on student learning. Of course, the question then falls to how we might define that “balance.” While most recent research seems to be suggesting that an equitable distribution of the facets (test-ing/outcomes, observations, student evalua-tions) seems to be the most reliable, it also implies that the least effective model is one that is wholly based on the observation of student work. Music educators should care-fully monitor the weighting of each piece of these types of evaluations and, in my opin-ion, be armed with a model that they feel would best support their growth and devel-opment needs.

Be Involved, Stay Informed!

To me, evaluation should always be about the process of gathering and weighing evidence that informs us about the changes we need to make to improve something. While that may seem simple, the issue be-comes much more challenging when we think about the complexities of teaching music and the very definition of what con-stitutes music teacher effectiveness. To that end, we must keep music teacher evaluation at the top of our agenda, coordinate efforts of research and experimentation and, most importantly, share our findings to determine the best means to meeting the call for ac-countability and advancing our profession.

The Society for Music Teacher Educa-tion (SMTE) is engaged with research, discussions, analysis, and a variety of proj-ects that not only address the concerns re-lated to teacher evaluation, but also those

of preparing music educators to work in this educational climate. I encourage you to visit SMTE’s page (http://smte.us) on the website of the National Association for Music Education, where you will find links to our teacher evaluation portal. You are al-ways welcome to contact SMTE’s national or your state SMTE leadership with com-ments, thoughts, or ideas about how we can work together to continue the dialogue.

Notes

National Education Association, “Promoting and Implementing: The National Education Association Policy Statement on Teacher Evaluation and Accountability,” NEA Toolkit, 2012. http://www.nea.org/assets/docs/2011NEA_Teacher_Eval_Toolkit.pdf.

Samuel Hope, Assessment on Our Own Terms,” Arts Education Policy Review 114, no. 1 (2013): 4.

Charlotte Danielson, “Evaluations that Help Teachers Learn.” The Effective Educator 68, no. 4 (2011): 39.

Doug Orzolek is chair of the Society for Music Teacher Education of the National Association for Music Education (NAfME) and an associate pro-fessor of music education at the University of St. Thomas in St. Paul, Minnesota. He can be reached at [email protected]. This article, © 2013, is printed with permission of the author.

Need information about your membership?

Contact NAfME Member Services at 1-800-336-3768 or

[email protected].

www.nafme.orgMusic Education • Orchestrating Success


Now that we’ve begun to learn the names of our new stu-dents and gotten reacquaint-

ed with former students, this is a good time to think about how we might identify and plan for any special needs that we’ve ob-served since the beginning of the school year. Some behaviors that we’ve seen could point to deeper issues that may not have been identi-fied or addressed. Strategies that were successful last year with individual students may no lon-ger be as effective. We may even be puzzled by certain behaviors and don’t know what to make of them. Taking the time now to accommodate the needs of our special learners will help the next nine months go more smoothly.

Hopefully your special ser-vices department has already giv-en you modifications and accommodations for the students that are included in your regular music classroom. If not, now is the time to reach out and obtain a written copy. If necessary, meet with specific case manag-ers to determine more specific instructions as well as more detailed information about a child’s special needs.

Understanding Behavior

Underlying issues may cause some of what we’re seeing in our classes. A typical example is when new students have diffi-culty transitioning to a different school and district. By October, most have settled in, but if not, we can help children feel more comfortable by demonstrating an interest

in the student, using positive reinforcement and by including lessons with small groups or partner work.

More serious issues such as emotional disturbances at home or changes in a child’s physical health and their impact on student learning are not as easy to deal with. More-

over, any condition that makes it difficult to learn can prevent students from doing their best. For example, a student with an undi-agnosed hearing loss may be acting out be-cause he is having difficulty hearing what’s going on. A child with learning disabilities may become the “class clown” to try to hide the fact that he is struggling to learn.

Sometimes underlying conditions are obvious; others are not. In any case, a wise course of action is to seek out the classroom teacher or school counselor for more infor-mation. It’s possible they already have the answers you’re looking for, and may have practical suggestions for you.

Some parents are effective advocates for their children and provide details about their child’s special needs at the onset of the

school year; others sadly provide nothing, making it more difficult for everyone in-volved, particularly their child. Parents can be a valuable resource for questions you may have about a student’s disability and how it affects learning, and most would welcome meeting with you to discuss concerns.

If you determine that a stu-dent would benefit from an in-dividual behavior modification plan, check with the classroom teacher to see if one is already set up for him. Some classroom teachers set up a system for their entire classroom and would wel-come your input.

Lastly, accept that some stu-dents do better at a focused, indi-vidual task than in a large-group environment such as the music class, and the ability to function as a member of a group is a pro-

cess that may take time and practice. Here are some questions we might

ask ourselves:• Am I communicating effectively with all

students? Consider what communica-tions strategies work best with your spe-cial learners. For example, if you teach students with a hearing loss, be sure that you’re facing students and not covering your mouth when you’re speaking to them in order to facilitate lip-reading. For students with learning disabilities, or communication and language delays, be sure to speak clearly, “chunk” informa-tion, use repetition, and allow time for your words to be processed before con-tinuing.

Getting To Know You:Thoughts For A New School Year

by Maureen ButlerMountain Lakes [email protected]

Music class should be a place where all students feel comfortable, challenged, and engaged. Special learners can find it to be an enriching environment where they can grow and learn.


• Does my classroom environment support learning? (My apologies to those of you work-ing from a cart!) Too much visual input may distract or overwhelm students who have learning disabilities, sensory disorders, or Autistic Spectrum Disorder. Sounds at high volume may bother students with an auditory sensitivity as well as those with either cochlear implants or hearing aids.

• Does my seating arrangement foster learning? Besides the somewhat obvious practice of separating students who distract each other, or placing children with visual impairments in front, think about who else would benefit from a change of seats. Children with ADHD may benefit from sitting front and center, be-tween two role models who are less distract-ible, or at the end of a row where they have more “wiggle room.” Students who have a hearing loss will be trying to read lips and use their residual hearing at the same time; they need to be in a place where they can easily see you, as well as other speakers.

• Do I cultivate collaborative relationships among staff members? In addition to class-room teachers, reach out to special education teachers, occupational and physical thera-pists, school psychologists or social workers, and speech and language pathologists. Speak with the art and physical education teachers to determine if they’re having similar experi-ences with students that you do. The value of networking can’t be overstated. None of us has all the answers, and often it is in open discussion that we can find creative solutions. Also, let’s be careful to present ourselves as flexible and open to learning; remember the primary focus should be on students and on what needs to be done to help them succeed.

Music class should be a place where all stu-dents feel comfortable, challenged, and engaged. Special learners can find it to be an enriching environment where they can grow and learn. By addressing their concerns now, you may prevent future problems, ensure better learning oppor-tunities for all your students, and make the year easier on yourself as well!

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It shall be the purpose of this organization to: make available to members opportunities for professional development; acquaint students with the privileges and responsibilities of the music education profession; provide all members with the opportu-nity to become acquainted with leaders in the music education profession through participation in programs, demonstrations, discussions, workshops, and performances planned by this chapter, the state music educators association, and the National Association for Music Education;assist the school in various proj-ects throughout the year; and provide the opportunity to have contact with Collegiate members from other schools the profes-sional interests of members involved in the local, state, division, and national levels; the music industry’s role in support of mu-sic education; and the knowledge and practices of the profes-sional music educator as facilitated through chapter activity. It shall be the purpose of this organization to: make available to members opportunities for professional development; acquaint students with the privileges and responsibilities of the music education profession; provide all members with the opportu-nity to become acquainted with leaders in the music education profession through participation in programs, demonstrations, discussions, workshops, and performances planned by this chapter, the state music educators association, and the National Association for Music Education;assist the school in various proj-

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Collette walked into the room with a frown on her brow, a look of doubt and confusion

on her face, and fear in her eyes.She scanned around the room as she sauntered toward the couch, dragging her legs in a very unstable walk.Collette was grunting sounds of disap-proval, resistance, disturbance. Mumble…mumble…mumble… mumbling some low-tone jumbled commentary we could not un-derstand.She gazed intensely at my face ex-pecting a response to her gibberish chatter.I did not understand what she was trying to communicate, but I smiled and continued singing “Hello Collette” to the tune from Hello Dolly. It took some 10 minutes to settle her comfortably onto the couch on which she would remain during our session.

Collette has been suffering from De-mentia with Lewy Body (DLB) for several years, progressively losing speech, cognition, motor control, self-care skills, and more. De-mentia with Lewy bodies overlaps clinically with Alzheimer’s and Parkinson’s diseases but is more associated with the latter. Within DLB, the loss of cholinergic (acetylcholine-producing) neurons is thought to account for the degradation of cognitive functioning, as in Alzheimer’s disease, while the loss of dopaminergic (dopamine-producing) neu-rons is thought to account for the degrada-tion of motor control, as in Parkinson’s dis-ease. Thus, DLB is similar in some ways to both the dementia resulting from Alzheim-er’s disease and the movement problems of Parkinson’s disease. Collette’s demeanor re-sultant from her diagnoses is/was generally morose, unresponsive, quite stubborn and feisty, resistant to any new undertaking, fear-ful of crowded environment, and frightened when her friend Laura was not immediately available. I was told that she is very difficult to handle, has very little self-care skills, can be quite belligerent and moody. Added to this is Collette’s continual loss of expressive language. She mumbles gibberish continu-

ally and incomprehensibly to others, though it often seems as though she understands what it is she is trying to convey.These char-acteristics are inherent in the dementia diag-nosis. It is unclear how self-aware Collette is regarding her condition and behaviors. It is also unclear whether she can still read or fully comprehend complex spoken language.In addition, her information processing and responsiveness is extremely slow, and she can be quite unresponsive to directives much of the time.

Music Therapy has been known to have positive impact on several dementia symp-toms, including long-term memory retriev-al, movement organization, self-awareness, and some cognitive abilities. Mood shifts are common in patients with dementia, pre-dominantly triggered by inner systemic fear responses. Music has been known to calm systemic fear responses. There has also been some research on music’s ability to influ-ence and help increase dopaminergic neu-rons. Music indeed has a great influence on movement, and has been known to induce organized movement activities throughout the body, from heart-rate to rhythmic head swings, shoulder bounces, to fancy hip and foot work akin to ‘dancing’.

So there we were: Collette, her col-league Laura, my music therapy assistant Christine, and another music therapy col-league, Bruce, about to experience a 1-hour music encounter once or twice a week, over a period of three months.What was designed as a one-on-one music therapy session was, in reality, a group encounter with Collette being the center of attention, and the rest of us participating together in a ‘group music making session’.In fact, this format hit upon a very unusual and one-of-a-kind situation: Collette had the advantage of observing and imitating non-diagnosed persons (i.e., “typi-cally functioning” individuals) surrounding her in making music.

This was quite interesting, because most of the time, such diagnosed persons meet in group therapy sessions with other diagnosed persons, who may or may not provide “positive role models” to be imitated during music-making. In addition, the only person receiving attention from this ‘group’ was Collette, who indicated strong aware-ness that she was the center of the attention, by her smiles, exaggerated responses, fleeting eye movements focused on each of us from time to time, and other indicative gestures.In all, five persons partook in this activ-ity, with occasional additional one or two non-diagnosed visitors, increasing the size of this group from time to time.Therefore, although the focus was one-on-one, with ac-tivities and music selected specifically to ad-dress Collette’s diagnosed issues, the sessions felt more like “party” than therapy, which served to calm Collette’s “fear” and anxiety.

My clinical goals for Collette were:1. Reduction of “fear” response (5+

minutes quiet listening to start session);2. Consistent engagement musically

and jointly with us;3. Organized rhythmic movements,

such as pulsed hand-clapping, dancing (even when seated), marching, drumming, playing xylophone in tempo, etc.;

4. Breath control (blowing recorder in pulsed tempo), vocalizing (singing) and language use (recalling lyrics and fill-in songs), rhythmic speaking;

5. Verbal response to simple ques-tions (i.e., “did you like this song?”, “what’s your favorite song?”, “which instrument(s) would you like to play?”… etc.)

My notes from the first session, after Collette settled onto the couch, and we four circled in chairs around her, were as follows:

Hello Song: Hello Collette (to tune of “Hello Dolly”). I was at the piano, Bruce and Christine held guitars, Laura had a tambou-rine.Placed before Collette were a pair of ma-racas, a tambourine, and a small 5-tone xylo-

Music Soothes The Ravaged Brainby Dorita S. Berger, adjunct faculty

Conservatory of MusicKean University, Union, NJ

[email protected]


phone (wooden) with a mallet. We sang and played “Hello” to each member of this quintet and noticed Collette able to look to the person to whom we were saying “hello”, and she smiled as we continued around the group.We then continued with “Getting to Know You” (“The King and I”), directed toward each member of the group, beginning with Collette, who rec-ognized this song. She smiled and mumbled something unrecognizable to the rest of us, but she was trying to communicate, making eye-contact when directing her ‘mumble’ to some-one specific.

As we continued singing and emitting much musical sounds and energies, Collette first played the tambourine for a short time, then took the maracas and began shaking them in pulse with the song. Basically, Collette used only her right hand throughout her playing activities. She then held one maraca over the standing drum (a conga) and began to beat a specific pattern along with the song: / / / // / / / // (quarter-quarter-quarter-2-eighths, repeat).Collette was very focused on playing this pat-tern, and continued playing even as we brought the song to a close.Soon we continued with just rhythm and Collette maintained her own pat-terns, being totally engaged in the music-mak-ing.As she ended, she picked up the maracas and shook them into a finale!

The session continued, and by now some 45-minutes had elapsed. Added to the session was a sequencing task (“Pass The Shaker”), which was difficult for Collette. We also undertook to march, but in a sit-ting position… and this, too, was difficult for Collette who seemed resistant to lift-ing each leg in a march tempo. (Things to work on in future sessions). We concluded with singing “Michael Row Your Boat”, which she thoroughly enjoyed, smiled, and attempted to repeat the word “Hallelujah” quite clearly, smiling throughout. The last few minutes of the sessions provided quiet relaxation music (I played Keyboard) to al-low a calm-down conclusion.We were done with the first meeting and Collette was now reluctant to leave!

The results of this first session indicated that my clinical goals seemed well-targeted.Collette ‘came into herself ’ during this session, and displayed what was left from the ravages of this illness – quite a bit was left! When I asked her to use more of her left hand to play, she clearly stated, “It hurts, I hurt it!” She did allow me to prompt her as we worked on the use of the left arm.

In all other respects, she could control her movements at least in playing the rhythms; she could track the melodies and even attempt lyric inclusions; she could enjoy a portion of “normalcy”, smile, awareness of the rest of us. By the fourth encounter (virtually the 4th hour of meeting), Collette was entirely engaged in this activity. My notes are as follows:

Session four: Collette was highly responsive today! She entered the room which was already filled with the “Hello Collette” song(being played by me) as we all sang the greeting to her! Walking into the music environment made a big difference in Collette’s desire to participate. She smiled, looked at each of the four of us, and did not rush to the couch. Instead, Collette stood and “danced” to the music, moving from side to side, alternating legs, smiling broadly, picking up and shaking the maraca (again right hand only) in perfect rhythm! This focused activity continued for at least 10 plus more minutes, and finally we concluded the ‘hello’, and helped Collette settle onto the couch: same arrangement as in previous sessions, same instruments before her.

In this session, I attempted to do more playing of the recorder (we each had one), but Collette had great difficulty understand-ing how to put it in her mouth and blow. However, she sang the pitches we were pro-ducing, instead, and smiled in awareness that she was imitating the pitches we were playing on the recorder! Obviously Collette was engaged!

Her all-time favorite activity was play-ing the 5-tone xylophone. Her focus on this (which we have on video) lasted more than 20-minutes. She used her right arm pre-dominantly, but said, clearly… “I should use the left hand…!” Surely we were obtaining some small break-throughs. Collette seemed much more lucid and understandable in this session, and was extremely appropriately en-gaged throughout.

We sang a tune suggested by Christine, with adapted lyrics, “I don’t want to work, I just wanna beat the drum all day.” It was amazing to observe Collette’s energy output here, as she beat the drum! She was totally engaged. Laura played the xylophone with her, then took some videos of the activity (through the iPhone)

It was an excellent session, and obvious-ly this woman was displaying some changes back to parts of her that could function “nor-

mally.” She even spoke in a less mumbling manner.Not only was Collette enjoying the music-making, but the group interaction as well. External energy that music provides is an important stimulus to keep the brain and body appropriately engaged; and rhythm was and is the admission ticket to her (and anyone’s) brain. The more we used rhythm, the more creative and responsive Collette be-came, developing and sustaining clear rhyth-mic patterns, and making continuous eye-contact with her own playing on the drum.

We had twelve hourly sessions in all, over three months, and although there were times when Collette was less motivated to participate, the musical energy often pre-vailed and induced her to do ‘something’, however minimal. Collette was never given specific directions, except once in awhile a request to blow recorder, or use the left hand. Otherwise, the music took control of the activities in which Collette engaged. Our final session was in the form of a holiday par-ty. We played, sang holiday songs. It was dif-ficult to say good-bye (she is bi-coastal and was leaving for the West Coast), but all told, it must be said that the music treatments were able to bring out the working portions of Collette’s brain.

What’s more, one must conclude that creating a gathering of “normal” members of a group may provide better opportunity for progress in brain-injured patients. A person with dementia needs role models to recreate “normal” imitative behaviors. Collette cop-ied our movements, manners, and language. This is not unlike the “inclusion” trend for diagnosed children attending school, in which parents prefer to have the child in a class with typically functioning children rather than a closed classroom only for chil-dren with various diagnoses.

Perhaps an advocacy group for adult in-clusion should be considered. In any event, there is no mystery about the fact that music plays an important role in bringing out the working parts of the human system, as Col-lette and other clients clearly demonstrate. The energies, vibrations, pitches, timbres, and music-playing processes involved have no competitors in resonating with, and driv-ing a system toward response.

Science is simply verifying what musi-cians have known for centuries – that indeed music soothes the ravaged brain.

*(Names have been changed to preserve confidentiality and anonymity).


A list of those who are registered for the conference will be posted weekly at njmea.orgTo register by credit card, please go to njmea.org and click the link on the home page.

February 20-22, 2014 * One form per registrant * Pre-registration deadline: February 8, 2014

Name Name for Badge First Name or Nickname ONLY (One Word)

Address City: State: Zip:

Email Address:

Home Phone #: School District Name: Are you an NAfME member? NAfME members must attach a copy of their NAfME Card showing ID # and Expiration Date.q Yes (Must expire Feb 2014 or later) q No (If NAfME membership expires later than February 2014, you must renew before registering).

GO TO NJMEA.ORG AND CLICK THE LINK TO REGISTER BY CREDIT CARD.ONLY CHECKS, MADE PAYABLE TO NJMEA WILL BE ACCEPTED WITH THIS FORM.

PURCHASE ORDERS RECEIVED AND ACCOMPANIED BY A COPY OF THIS FORMWILL BE SIGNED AND RETURNED FOR PAYMENT.

PURCHASE ORDER PAYMENT MUST BE MADE BY APRIL 1, 2014.* * * * Send All Checks & Purchase Orders To: * * * *

NJMEA, 1806 Hwy 35, Suite 201, Oakhurst, NJ 07755(DO NOT SEND SIGNATURE REQUIRED)

Questions: [email protected] or 732-367-7194

THE FULL CONFERENCE INCLUDES ONE ACADEMY BEING OFFERED ON THURSDAY AT NO ADDITIONAL CHARGE;ALL OF FRIDAY AND SATURDAY; PLUS ONE (1) CONCERT TICKET

PLEASE CHECK ONE (1) ACADEMY FROM THE LIST BELOW THE CONFERENCE REGISTRATION(Please note: lunch will be on your own on Thursday)

Category (PLEASE CHECK ONLY ONE) Pre-Register On-Site Amount Due

❑ Full Conference $150.00 $160.00 ____________

❑ Full Conference (1st time music teacher who was a Collegiate member last year) $100.00 $110.00 ___________

❑ Family Member* = Non-Music Teacher (FM Requires separate form) $150.00 $160.00 ____________

❑ Full Conference - Retired NAfME Member (Does not include concert ticket) $30.00 $40.00 ____________

❑ Full Conference - Retired NAfME Member Family Member* (RMS Requires separate form) (No CT) $30.00 $40.00 ____________

❑ Full Conference - Non-Member - (Does not include NAfME Membership) $350.00 $350.00 ____________

❑ Full Conference - Collegiate NAfME Member (Includes Collegiate Academy & Lunch on Saturday) $50.00 $60.00 ____________ (Does not include concert ticket)

PLEASE CHECK THE ACADEMY YOU WISH TO ATTEND ON THURSDAY (NO CHARGE)You may attend academies other than the one you check, but we need to know the main selections

IF YOU ARE NOT ATTENDING AN ACADEMY ON THURSDAY, PLEASE CHECK “NONE”

❑ Choral Academy ❑ Wind Band Academy ❑ Technology Academy ❑ Strings Academy

❑ Jazz Academy ❑ Marching Band Academy ❑ Elementary Academy ❑ NONE

❑ Luncheon Ticket (Required to Attend Ballroom Friday Lunch) $35.00 $____________Extra Concert Ticket may be purchased at the conference registration desk.

TOTAL $____________

❑ I will attend Friday Concert (TBA) ❑ I will not attend Friday Evening Concert Friday Evening Concert: (1 concert ticket is included with all Friday/Saturday conference registrations of $150 or more if checked above)

Concert tickets are NOT included with collegiate and retired member registrations.Tickets will be issued to the first 750 requests. If the “will attend” box is unchecked, no ticket will be provided.

Additional tickets may be purchased at the registration desk on Friday February 21, 2014 at $25.00 each.

NJMEA Music Conference Pre-Registration Form

CONFERENCE REGISTRATION FEES


NJEA ConventionNovember 7-8, 2013 – Atlantic City

Sponsored byNew Jersey Music Educators Association

An affiliate of the New Jersey Educators Association

Thursday 9:30 am - 11:00 amRoom 419, Convention CenterMore Than Just A Stick Monkey: Establishing Musical Communication

This presentation will examine additional ways to establish both a verbal and non verbal musical connection with your en-semble, beginning with the warm-up!

Clinician: Milton Allen and Barbara Pavesi, sponsored by Music and Arts Center.

Thursday 9:30 - 11:00 amRoom 421, Convention CenterQuaver’s Beyond Marvelous Curriculum: The New Benchmark in PreK-5 Curriculum

Participants will be presented with information about Quaver’s new curriculum. Clinician: Gregg Roman, QuaverMusic Representative.

Thursday, 9:30 - 11:30 amAmbassador Room, Sheraton HotelNew Jersey All-State Band Procedures Committee Meeting

Clinician: Albert Bazzel, WinslowTownship Schools.

Thursday 12:00 - 2:00 pmShelbourne Room, Sheraton HotelNew Jersey All-State Choral Procedures Meeting

Clinician: Kathy Spadafino, Retired.

Thursday 1:00 - 2:30 pm Room 419, Convention CenterTeaching Beginning Improvisation Skills

David will present unique methods in teaching improvisation to beginning jazz students. Clinician: David B. Demsey.

Thursday 1:00 - 2:30 pm Room 421, Convention Center Rethinking The Beginning: Improving Note Reading Skills

This session will be focused on ways to teach note reading to beginning students. Clinician: Rick Dammers, Rowan University.


Thursday 3:00 - 4:30 pmRoom 419, Convention Center Choral Reading Session

This reading session will include octavos appropriate for SATB, SAB, TTB, SSA and SSAA. Clinician: Hillary Colton, Hunterdon Central Regional High School.

Thursday 3:00 - 4:30 pmRoom 421, Convention Center Supporting Musical Learning Through Technology

This session will be focused on technology based strategies to support and expand students’ musical learning in general and performance music classes.

Clinician: Rick Dammers, Rowan University.

Friday 8:30 - 10:00 amTrump Plaza, Westminster ABNJMEA Executive Board Meeting

Friday 9:30 - 11:00 amRoom 419, Convention CenterCreativity And Literacy In The Classroom.

Participants will be able to define creativity from a social perspective; by looking at the person and more specifically the per-sonality traits that are most characteristic of creative individuals.

Clinician: Sharyn Fischer, Manalapan-Englishtown School District.

Friday 9:30 - 11:00 amRoom 421, Convention CenterWhy Is The Bow 90% Of String Teaching?

Teach the Bow first. All instrumental string teachers need to concentrate on the bow to create an outstanding sound. This session will provide exercises and tricks of the trade.

Clinician: Mimi Butler, Self-Employed.

Friday, 9:30 - 11:30 amCrown Ballroom I, Sheraton HotelCollegiate MENC Chapter Meeting

Clinician: Rick Dammers, Rowan University.

Friday 1:00 - 2:30 pmRoom 419, Convention CenterTake Note! Incorporating Music And Literacy Into The Elementary Classroom

This session is designed to help the teachers find ways to promote active engagement, interest, and appreciation throughout the school day.

Clinician: Amanda Newell and Sharyn Fischer, Manalapan-Englishtown School District.

Friday 1:00 - 2:30 pmRoom 421, Convention CenterInstructional Strategies That Work In The String Classroom

Clinician: Mary Maliszewski, West Orange Public Schools.


Friday 3:00 - 4:30 pmRoom 417, Convention CenterIncorporating The Guitar Into Your School Music Program

The objective of this workshop is to advise music educators about the benefits of starting a guitar program. The popularity of the guitar is a great tool to reach those students not currently involved in arts program. Equipment, lesson plan ideas and more will be presented.

Clinician: Thomas J. Amoriello, NJMEA Board of Directors.

Friday 3:00 - 4:30 pmRoom 419, Convention CenterElementary/Middle School Choral Reading Session

Participants will focus and implement choral methods and techniques of blending, diction, and multicultural styles for an elementary/junior high choral group.

Clinician: Christine Sezer, Retired.

Friday 3:00 - 4:30 pmRoom 421, Convention CenterRecruiting For Retention: Building And Maintaining Your 4-12 String Program

Clinician: Mary Maliszewski, West Orange Public Schools.

Join us in Music City for a conference that’s designed for you! This year, you’ll have a whole new range of practical sessions to choose from – giving you tools and techniques you can take right into the classroom. Plus, you’ll find inspiring performances throughout the conference, including music at the Grand Ole Opry House, a performance based on the new Disney musical Tarzan and a special headliner we’ll be announcing soon. Don’t miss this chance to kick up your heels - and get credit for it.

RESERVE YOUR SPOT TODAY AT WWW.NAFME.ORG/NASHVILLE2013


New Jersey All-State Chorus and OrchestraThe Eighty-Third Annual Program

THE NATIONAL ANTHEMChorus, Orchestra and Audience

Conducted by Joseph Jacobs, PresidentNew Jersey Music Educators Association

Gemma New, Orchestra Conductor

Joyeuse marche .........................................Emmanuel ChabrierDaphis et Chloé, Suite No. 2 ............................. Maurice RavelSouthern Exposure..................................... John David Earnest

Orchestra

PRESENTATION OF PINSTO THE CHORUS AND ORCHESTRA

Wendell Steinhauer, PresidentNew Jersey Education Association

Art McKenzie, Chorus Conductor

Hodie Christus natus est ...............................................David FrylingIf Music be the Food of Love ......................................... David DickauSfogava con le Stele ............................................ Claudio MonterverdiCloudburst ................................................................... Eric WhitacreBogoroditsye Dyevo ............................................. Sergei RachmaninoffPokpok Alimpako .............................................. Francisco F. FelicianoChildren Go Where I Send Thee ................... Paul Caldwell/Sean Ivory

Chorus

Make Our Garden Grow (Candide) .......................Leonard BernsteinCombined Orchestra & Chorus

Friday, November 8, 2013 at 8:00 p.m. Adrian Phillips Ballroom of Boardwalk Hall

Atlantic City

and

Sunday, November 17, 2013 at 3:00 p.m. NJ-PAC Prudential Hall

Newark, NJ

Art McKenzie, Chorus

Art McKenzie has had a long and varied ca-reer as a music educator, minister of music, voice teacher, performer and musical theatre director. He is a cum laude graduate of Westminster Choir College in Princeton, NJ (BMEd/Voice), and a magna cum laude graduate of Indiana University in Bloomington, IN (MMVoice).

Art has been conducting choirs for many years, beginning with his eleven years as Minister of Music in Haver-town, PA and Plainfield, NJ. He has taught music in schools for fifteen years. As a private voice teacher, Art has taught his students the Bel Canto technique he learned while studying with Metropolitan Opera singers Margaret Harshaw and Nicola Rossi-Lemeni. He has performed in con-certs, recitals, operas and oratorios throughout the United States and in Spoleto, Italy.

Art is presently the Director of Choral Music at Overbrook Senior High School in Pine Hill, NJ. In the nine years Art has taught at Over-brook the choral program has grown from 29 to 205 members. His choirs consistently receive superior 1st place ratings at festivals and competitions, and they have performed at the NJ MENC 2010 conference and at the Kimmel Center in 2012. In addition to his choral position, Art has also directed musicals there for the past nine years. In 2006 he had the honor of receiving the Teacher of the Year award for Pine Hill schools.

McKenzie also has an extensive background in theatre, where he has stage direction, musical direction and performance experience. He has been involved in over 50 musicals at the Ritz Theatre Company in Oak-lyn, NJ, where two of his productions were nominated for Philadelphia Barrymore Awards. Art has directed dozens of musicals at high schools as well. He has served as vocal director for musicals and as choral accompa-nist at Haddon Township High School for the past 22 years, where his wife is the choir and musical director.

Art conducted the 2009 New Jersey All-State Women’s Chorus and the 2009 South Jersey Senior High Chorus. He will be an Adjunct Profes-sor at Westminster Choir College this fall. He resides in Cherry Hill with his wife, Maryann.

Gemma New, Orchestra

Praised by the Baltimore Sun for her ‘absorbing and well-honed performance’, Gemma New is Assis-tant Conductor for the New Jersey Symphony Or-chestra, and Director of the Baltimore-based Lunar Ensemble. Originally from New Zealand, New has conducted orchestras on multiple continents, includ-ing the Danish National, BBC Scottish, Baltimore,

and Christchurch Symphony Orchestras as well as the Orchestre sympho-nique de Trois-Rivières (Canada). New made her Carnegie Hall debut in April this year, conducting in two American Soundscapes programs. In May she returned to New Zealand, conducting an extensive program with Opus Orchestra to high critical acclaim. Highlights for New’s 2013-2014 season include her conducting debuts with the Hamilton Philharmonic (Canada) and New Amsterdam Symphony Orchestra in New York. In 2012 New received the American Prize 1st place for orchestral conducting and was selected by members of the Vienna Philharmonic to reside at the Salzburg Music Festival, as an Ansbacher Conducting Fellow. She was a semi-finalist of the 2012 Donatella Flick LSO competition and in 2010 received first prize in the International Conducting Competition in Ma-con, GA. This summer New was the David A. Karetsky conducting fellow at the American Academy of Conducting of the Aspen Music Festival. She has studied with Kurt Masur in Germany and New York. A gradu-ate of the Peabody Institute, New studied conducting with Gustav Meier and Markand Thakar. Before moving to the United States in 2009, New was assistant conductor of the Christchurch Symphony, and conductor of the Christchurch Youth Orchestra. During her time with the CYO, the orchestra grew from around 40 to over 70 players, and performed around nine concerts a year.


The New Jersey Music Educators Associationproudly presents

The 2013 New Jersey All-State Jazz Ensemble

andHonors Jazz Choir

David Demsey, Jazz Ensemble Conductor(Selections to include the following:)

Tuning Up ...................................................Toshiko AkiyoshiWho, Me? ................................. Frank Foster, for Count BasieLil’ Darlin’ ............................................................. Neal HeftiBig Dipper .. Thad Jones (from the WPU Thad Jones Archive)Stolen Moments ....................Oliver Nelson arr. Paul JenningsRandi ....................................................................Phil WoodsTake the ‘A’ Train ....................... Strayhorn arr. Ernie WilkinsMy Foolish Heart ...................Victor Young, arr. Dave RivelloUs ...........................................................................Thad Jones

Justin Binek, Honors Jazz Choir Conductor(Program to be selected from the following:)

Beloved ...........................................Daahoud, arr. Justin BinekBlue Skies .................................................. arr. Stephen ZegreeSingin’ In The Rain/Umbrella ........................arr. Kerry MarshThere Is No Greater Love ............................... arr. Justin BinekVoice Dance II .....................................................Greg JasperseYour Eyes ............................................ LaRue, arr. Justin Binek

FinaleNJ Honors Jazz Choir & All-State Jazz Ensemble

TBA

Thursday, November 7 , 2013 at 4:30 p.m. Trump Plaza Hotel, Atlantic City

and

Friday, November 15, 2013 at 7:00 p.m. NJ-PAC Prudential Hall

Justin Binek, Jazz Choir Director

Justin Binek is the Head of Vocal Jazz Stud-ies at The University of the Arts in Philadelphia, PA, where he directs the UArts Jazz Singers and Vox pop a cappella ensemble; teaches Jazz Impro-visation, Musicianship, and Applied Voice; and serves as a voice department concert coordinator, accompanist and vocal coach. Under his direction, the UArts Jazz Singers performed at the 2008 In-

ternational Society for Music Education (ISME) World Conference in Bologna, Italy; the ensemble has also given feature performances at the Berks Jazz Festival, Ohio Jazz Summit, and the Delaware Music Educators Association and New Jersey Music Educators Association Conferences. Justin has also helped UArts develop relationships with the Liverpool Institute of Music and the Projazz Escuela Internacio-nal de Musica in Santiago, Chile. Justin also maintains an active jazz and classical performing schedule as a singer, pianist, and clinician/adjudicator. He is an active arranger and composer whose works are published by Sound Music Publications. A contributing author to Di-ana Spradling’s groundbreaking book, Jazz Singing: Artistry and Craft, Justin presented “The Ten Habits of Highly Effective Scat Singers” at the 2008 International Association for Jazz Education (IAJE) annual conference in Toronto, Ontario, and at the 2008 ISME World Confer-ence. He has been the music director and conductor of the New Jersey Honors Jazz Choir since Fall 2007, and has directed numerous other state and region level jazz and classical honor choirs. Justin also serves on the faculty of the Halewynstichting Jazz Workshop in Dworp, Bel-gium, and the Pro Music Summer Camp in Tiffin, Ohio, and previ-ously served as the Director of Jazz and Choral Ensembles at the Uni-versity of Mary in Bismarck, ND. He holds a Master’s Degree in Voice Performance and Jazz Studies from Western Michigan University and Bachelor’s Degrees in Music Performance and Music Education from the University of Mary.

David Demsey, Jazz Ensemble Director

David Demsey has been Professor of Music and Coordinator of Jazz Studies at William Paterson Uni-versity since 1992, having formerly been a member of the music faculty, then Dean of Arts and Sciences at the University of Maine at Augusta for twelve years. A Boston area native with a bachelors degree

in music education from the University of Maine, he earned a Doctor-ate in Performance at the Eastman School of Music and a Master of Music in Saxophone from the Juilliard School, the only saxophonist to hold graduate degrees from these two schools. Demsey is equally active as a classical and a jazz performer. He was featured with the Metro-politan Opera and on tour with the Kirov Orchestra of St. Petersburg. A member of the American Saxophone Quartet for a decade, he has premiered numerous solo and chamber works for saxophone. He was the National Anthem performer at the 2005 Baseball Hall of Fame In-duction Ceremony, at the Major League Baseball Hall of Fame Game in 2003 and 2005, for the Boston Red Sox, and regularly for the NBA New Jersey Nets. Demsey is a busy educator and author. Winner of the New Jersey Jazz Educator of the Year and William Paterson Alumni Association Faculty Service Awards, he is a Selmer Jazz and Classical Saxophone Clinician, and has been a guest performer, lecturer or con-ductor at over 90 universities, public schools, and festivals, including recent residencies in Nanjing and Hangzhou, China, and in Ramallah, Bethlehem and Jerusalem. He is Curator of the newly established Wil-liam Paterson University Living Jazz Archives, containing the archives of Clark Terry, Thad Jones and James Williams.


2014 Region Jazz Ensembles Junior Jazz Ensemble Audition Requirements (Grades 7 - 9)

All Solo Etudes, Scales, Applications, and Locations may be found on the NJAJE Website:

www.njaje.org

***IMPORTANT DATES FOR ALL REGIONS*** Audition Date: Monday, March 17, 2014

(Director’s Meeting - 4PM; Auditions - 4:30PM) Rehearsals: March 24, April 7 (4 - 8 PM) April 11 & 12 (9 AM - 3 PM) Concert: April 13 (3 PM)

***Audition Requirements for ALL INSTRUMENTS***

• SOLO - All students are required to prepare the solo listed below in its entirety. Note new solo editions! All Solo etudes may be downloaded from the NJAJE Website: www.njaje.org

• SCALES / STYLES - Saxes, brass, piano, guitar, and bass students are required to prepare the scales listed below. Scales are listed in WRITTEN pitch. All scales should be played in a swing style. Drummers are required to demonstrate the ability to keep time in the styles listed below.

Scale sheets & basic drumset patterns may be downloaded from the NJAJE Website: www.njaje.org

• SIGHT READING - All students are required to perform a short excerpt never previously seen. Students will be given 30 seconds to look over the piece before playing.

All Saxophones: *Required solo: NJAJE Junior Saxophone Etude No. 4A NEW EDITION! *Scales [ALL SCALES MEMORIZED]: Alto/Bari : G & D Blues - 2 Octaves, A Blues - 1 octave. G & A Dorian mode - 1 octave, D Dorian mode - 2 octaves. Tenor : C, D, & G Blues - 2 octaves. C & D Dorian mode - 2 octaves, G Dorian mode - 1 octave.

Trumpet: *Required solo: NJAJE Junior Trumpet Etude No. 4A NEW EDITION! *Scales [ALL SCALES MEMORIZED]: Blues & Dorian mode C, D, & G - 1 octave.

Trombone: *Required solo: NJAJE Junior Trombone Etude No. 4A NEW EDITION! *Scales [ALL SCALES MEMORIZED]: Blues & Dorian mode C, F, & Bb - 1 octave.

Piano: *Required solo: NJAJE Junior Piano Etude No. 4A NEW EDITION! *Scales [ALL SCALES MEMORIZED and 2 HANDS]: Blues & Dorian mode C, F, & Bb - 2 octaves.

Guitar: *Required solo: NJAJE Junior Guitar Etude No. 4A NEW EDITION! *Scales [ALL SCALES MEMORIZED]: Blues & Dorian mode C, F, & Bb - 2 octaves.

Bass: *Required solo: NJAJE Junior Bass Etude No. 4A NEW EDITION! *Scales [ALL SCALES MEMORIZED]: Blues & Dorian mode C, F, & Bb - 2 octaves.

Drums: *Required solo: NJAJE Junior Drum Etude No. 4A NEW EDITION! *Styles [ALL STYLES MEMORIZED]: Swing (slow w/brushes, medium w/sticks, fast w/sticks), Jazz Waltz,

Shuffle, 8th Note Rock, 16th Note Rock (Funk), Latin (Samba). Students must be able to play 2, 4, & 8 bar phrases with a fill at the end of each phrase.

*Free Improvised Solo included as part of the solo etude. Students should demonstrate creativity, technique, musicality.


2014 Region and All State Jazz Ensembles Senior Jazz Ensemble Audition Requirements (Grades 9 - 12)

All Solo Etudes, Scales, Applications, and Locations may be found on the NJAJE Website: www.njaje.org

***IMPORTANT DATES FOR ALL REGIONS***

Audition Date: Monday, March 17, 2014 (Director’s Meeting - 4PM; Auditions - 4:30PM) Rehearsals: March 24, April 7 (4 - 8 PM); April 11 & 12 (9 AM - 3 PM)

Concert: April 13 (3 PM)

***Audition Requirements for ALL INSTRUMENTS*** • SOLO - All students are required to prepare the solo listed below in its entirety. Note new solo editions!

All Solo etudes may be downloaded from the NJAJE Website: www.njaje.org

• SCALES / STYLES - Saxes, brass, piano, guitar, and bass students are required to prepare the scales listed below. Scales are listed in WRITTEN pitch. All scales should be played in a swing style. Drummers are required to demonstrate the ability to keep time in the styles listed below.

Scale sheets for all instruments may be downloaded from the NJAJE Website: www.njaje.org

• IMPROVISATION - All students are required to play an improvised solo demonstrating creativity, technique, & musicality. *Saxes, brass, piano, guitar, and bass students must improvise a solo over 2 choruses of Blues in F or Bb concert using the Jamey Aebersold "New Approach to Jazz Improvisation, vol. 1." Student will pick a card to determine key.

*Drum improvisation is included as part of the solo etude.

• SIGHT READING - All students are required to perform a short excerpt never previously seen. Students will be given 30 seconds to look over the piece before playing.

Saxophones: * Required solo: NJAJE Senior Saxophone Etude No. 4A NEW EDITION! NOTE - Bari Sax: Students will play the entire saxophone etude using the bottom lines in the ossia section. * Scales [ALL SCALES MEMORIZED]: Alto/Bari: C, G, D Blues - 2 octaves, A Blues - 1 octave. G & A Dorian & Mixolydian modes - 1 octave. C & D Dorian & Mixolydian modes - 2 octaves. Tenor: F, C, G, D Blues - 2 octaves. G Dorian & Mixolydian modes - 1 octave. F, C, D Dorian & Mixolydian - 2 octaves.

Trumpet: * Required solo: NJAJE Senior Trumpet Etude No. 4A NEW EDITION! NOTE - Lead Trumpet: Students will play the entire trumpet etude using the top lines in the ossia section. * Scales [ALL SCALES MEMORIZED]: C, D Blues - 2 octaves; F, G Blues - 1 octave. C Dorian & Mixolydian modes - 2 oct.; D, F, G Dorian & Mixolydian modes - 1 oct.

Trombone: * Required solo: NJAJE Senior Trombone Etude No. 4A NEW EDITION! * Scales [ALL SCALES MEMORIZED]: Bb, C Blues - 2 octaves; Eb, F Blues - 1 octave. Bb Dorian & Mixolydian modes - 2 oct; C, Eb, F Dorian & Mixolydian modes – 1 oct.

Bass Trombone: * Required solo: NJAJE Senior Bass Trombone Etude No. 4A NEW EDITION! * Scales [ALL SCALES MEMORIZED]: Bb, C Blues, Dorian & Mixolydian modes - 1 octave (begin below the staff.) Eb, F Blues, Dorian & Mixolydian modes - 2 octaves (begin below the staff.)

Piano: * Required solo: NJAJE Senior Piano Etude No. 4A NEW EDITION! * Scales [ALL SCALES MEMORIZED and 2 HANDS]: C, F, Bb, and Eb Blues, Dorian, & Mixolydian modes - 2 octaves.

Guitar: * Required solo: NJAJE Senior Guitar Etude No. 4A NEW EDITION! * Scales [ALL SCALES MEMORIZED]: C, F, Bb, and Eb Blues, Dorian, & Mixolydian modes - 2 octaves.

Bass: * Required solo: NJAJE Senior Bass Etude No. 4A NEW EDITION! * Scales [ALL SCALES MEMORIZED]: C, F, Bb, and Eb Blues, Dorian, & Mixolydian modes - 2 octaves.

Drums: * Required solo: NJAJE Senior Drum Etude No. 4A NEW EDITION! * Styles [ALL STYLES MEMORIZED]: Swing (slow w/brushes, medium w/sticks, and fast w/sticks), Jazz Waltz, Shuffle,

8th Note Rock, 16th Note Rock (Funk), Latin (Samba). Styles must be memorized. Students must be able to play 2, 4, & 8 bar phrases with a fill at the end of each phrase.


The New Jersey Music Educators Association in cooperation with the New Jersey American Choral Directors Association is proud to announce the annual statewide Honor Choir program for outstanding elementary and junior high

singers in grades 4 through 9. Once again, two performing ensembles will be formed:The NJ Elementary Honor Choir (grades 4-6, treble voicing)The NJ Junior High Honor Choir (grades 7-9, mixed voicing)

DIRECTOR RESPONSIBILITIES Any church, school, or community choir director who is a member of NAfME and/or ACDA is eligible to sponsor students for membership in the Honor Choirs. Students must be residents of New Jersey. There is a limit of 16 student applicants from each school, church, or community chorus for each honor choir. The director will be responsible for:

a. supervising the preparation of application & audition materials and sending all materials in one mailingb. ensuring that students are musically prepared for the first rehearsalc. coordinating efforts with the parents and sponsoring organization to assure that the singer is financed and has trans-

portation provided and has all required paper work completed and submitted according to guidelinesd. Rehearsal & Festival Days: attending both days in their entirety and assisting is required of the director or a

pre-approved member of either NAfME or NJACDAe. Directors who serve as an audition judge may be excused from one of the rehearsal days. Please check the box

provided on the application form and also email Carol Dory Beadle at [email protected] if you would like to serve as a judge.

APPLICATION AND REGISTRATION All details of this general information, the audition instructions, and the application form have been assembled with extraordi-nary care by the Honor Choir Committee. To ensure that applications and audition materials will be considered, all directions must be followed exactly as printed. Questions may be addressed to the Honor Choirs Coordinator. Applicants should submit a fully-completed application, a high-quality audition CD, and an application fee of $8.00 postmarked by Wednesday, January 10, 2014. Audition results will be emailed following auditions. A hard copy will be mailed to directors, if request-ed. Registration forms and a $25.00 student participation fee must be postmarked no later than February 10, 2014. Remember: for this initial application process, submit ONE check for the total amount of $8.00 application fees for your stu-dents. In all cases, checks must be made out to NJMEA (no school vouchers).

STUDENT PREPARATIONMusic will be sent in early March, providing ample time in which to learn and memorize the material prior to the first rehearsal. It is ex-pected that teachers will ensure complete student preparation. Student preparation will be monitored at the first rehearsal.

FESTIVAL SCHEDULE Saturday, April 26, 2014: REHEARSAL DAY The selected choirs will rehearse at New Providence HS, 35 Pioneer Drive, New Providence from 8:30 – 1:00 p.m. Saturday, May 3, 2014: CONCERT DAY (J.P Case Middle School, Flemington, NJ) 8:30 am - Full Rehearsals with guest conductors 4:30 pm - Gala Final Concert~ All singers must attend both dates for the full duration to be eligible to perform in the concert. There are no exceptions. ~

HONOR CHOIR COMMITTEE Coordinator: Carol Dory Beadle - [email protected] Elementary Manager: Elementary Conductor: Robyn Lana Junior High Manager: Joanna Scarangello Junior High Conductor: Jessica Harrison

2014 NJ Elementary & Junior High Honor ChoirsNJ - Music Educators Association & American Choral Directors Association

U General Information UPage 1

All communications are done through email. Directors must provide a current email address.Prompt notification of email address changes is requested.

NOTE: The audition committee will meet on January 25, 2014. Audition materials received after this time cannot be considered, even if they are postmarked prior to the January 10, 2014 deadline. It is the responsibility of the director to ensure audition materi-als arrive prior to the selection committee date.


These directions are for the ELEMENTARY HONOR CHOIR ONLY. See the next page for Junior High instructions.Follow these directions exactly. Failure to adhere to these specific instructions will result in disqualification of the

auditioning singer. Remember that each school or organization may submit up to 16 sets of audition materials. However, careshould be taken to only submit tapes which represent a substantial amount of preparation.


& ELEMENTARY Audition Instructions &Page 2

1. APPLICATION FORM (see page 4 for Form) •Duplicateasneeded.Completethoroughlyandlegibly. 2. PREPARING TO RECORD THE AUDITION CD

•Useonlynew,qualityCDandqualityrecordingequipment.•Onlythestudent’svoicemayappearontheCD.Atnotime may sounds, instruments or voices assist the student during singing.•Startingpitchesonlymaybegivenbypitchpipe,accuratelytunedpianoor

voice.

3. LABELING THE AUDITION CD •CD’smustbeincommercialcases. •Only1singermayberecordedperCD. •LabelBOTH the CD and case with only: a.Thesinger’sname b.Thesinger’svoicepart 4. RECORDING THE AUDITION CD

•Therecordedauditionhas3partswhichmustappearintheorderlisted:I. SPOKEN INTRODUCTION. At the beginning of the CD, in a clear voice,

the singer (not the teacher) must speak the following sentence, filling blanks with appropriate information: “My name is ____, I am in the ____ grade, and I am auditioning for the voice part of ____.”

II. VOCALISE. As indicated in the column at the left, elementary applicants will sing the two printed vocalises, using the two starting pitches indicated in the column at left. The initial pitch must sound prior to the sung scale. All vocalises must be sung a cappella. The vocalise is printed on the staff below. The student will introduce each vocalise by speaking the following sentence, filling the blank with the pitch name:

“My starting pitch for this vocalise is ____ .” Ill. “Dona Nobis Pacem” (see Application Form for solo). The song must be sung a cappella. Starting pitches are given in the

column at the left. The initial pitch must sound prior to the sung solo. The student will introduce the solo by speaking the following sentence, filling the blank with the appropriate information:

My starting pitch for “Dona Nobis Pacem” is ____.”

Elementary Honor Choir

STARTING PITCHES(note: C2 = 8va abovemiddle C)

VocaliseElementary Honor Choir:Sing the 2 indicated vocalises:

Voice Part Pitch Treble I 1. E above mC 2. C2

Treble II 1. middle C 2. Bb above mC

“Dona Nobic Pacem” soloSing the solo

(found on the application form)with the following starting pitches:

Voice Part Key Starting Pitch

Treble I Ab Eb above C2Treble II F C2


These directions are for the JUNIOR HIGH HONOR CHOIR ONLY.Follow these directions exactly. Failure to adhere to these specific instructions will result in disqualification of the

auditioning singer. Remember that each school or organization may submit up to 16 sets of audition materials. However, careshould be taken to only submit tapes which represent a substantial amount of preparation.


? JUNIOR HIGH Audition Instructions ?

1. APPLICATION FORM (see page 4 for Form) •Duplicateasneeded.Completethoroughlyandlegibly.

2. PREPARING TO RECORD THE AUDITION CD•Useonlynew,qualityCDandqualityrecordingequipment.•Onlythestudent’svoicemayappearontheCD.Atnotime may sounds, instruments or voices assist the student during singing.•Startingpitchesonlymaybegivenbypitchpipe,accuratelytunedpiano

or voice.

3. LABELING THE AUDITION CD •CD’smustbeincommercialcases. •Only1singermayberecordedperCD. •LabelBOTH the CD and case with only: a.Thesinger’sname b.Thesinger’svoicepart

4. RECORDING THE AUDITION CD •Therecordedauditionhas3partswhichmustappearintheorder

listed:I. SPOKEN INTRODUCTION. At the beginning of the CD, in a clear

voice, the singer (not the teacher) must speak the following sentence, filling blanks with appropriate information: “My name is ____, I am in the ____ grade, and I am auditioning for the voice part of ____.”

II. SCALES Junior High applicants will sing two diatonic scales (each spanning the range of an octave), using the starting pitches indicated for their voice part in the column to the left. Scales must be sung a cappella, using the vowel sound “Ah” Legato Style. The initial pitch must sound prior to the sung scale.

Tempo: mm = 66 to 80 (one pitch = one beat). High Scale - ascend, breath, descend Low Scale - ascend, breath, descend “My starting pitch for the scale is ____.”

Ill. “Dona Nobis Pacem” (see Application Form for solo). The song must be sung a cappella. Starting pitches are given in

the column at the left. The initial pitch must sound prior to the sung solo. The student will introduce the solo by speaking the fol-lowing sentence, filling the blank with the appropriate information:

My starting pitch for “Dona Nobis Pacem” is ____.”

Junior High Honor Choir

STARTING PITCHES(note: mC =middle C)

Scales Voice Part Starting Pitches

Soprano I 1. E above mC 2. A above mC

Soprano II 1. D above mC 2. G above mC

Alto 1. A below mC 2. E above mC

Tenor 1.EbelowmC• 2. G below mC Bass I 1. B 9th below mC 2. D below mC

BassII 1.G11thbelowmC• 2. C 8va below mC•Maybesungdescendingfirst

“Dona Nobis Pacem” solo

Voice Part Key Starting Pitch

Sop I A E 10th above mC

Sop II G D 9th above mC

Alto Eb Bb above mC

Tenor Ab Eb above mC

Bass I E B below mC

Bass II B F# below mC


STUDENT: Name_____________________________________________________________________________________________________ Last First Grade

Address___________________________________________________________________________________________________ Street, City, State, Zip

Voice Part: Elementary (circle one): Treble I .....Treble II Junior High (circle one): Sl SII A T BI Bll

If selected, I will memorize all my music before attending Honor Choir activities on April 26, 2014 (8:30 -1:00 p.m.) & May 3, 2014 (8:30 - 6:00 pm).I understand that I must attend both of these dates for their full duration to be eligible to perform in the Honor Choir Concert June 15, 2014.

_______________________________________________________________________________ _____________________________________ Singer’sSignature Date

_______________________________________________________________________________ _____________________________________ Parent’s/Guardian’sSignature Date

DIRECTOR: Name_____________________________________________________________ Member: NJMEA ACDA Last First

Organization Address__________________________________________________________________________________________ Street, City, State, Zip

Phone: (H)_____________________________ (W)___________________ (Cell) ________________________

Email: _______________________________________________________________________________________

I have read and accept the Teacher Responsibilities outlined on page I of this application packet.

❏ I would like to judge on January 25, 2014

_________________________________________________________ ________________________________ Director’sSignature Date

Checklist: 1.) Thoroughly read all information. 2.) Include audition cassette/cd(s) as per instructions on preceding page. 3.) Include a completed application form for each student. 4.) Include one check to “NJMEA” ($8.00 per student) 5.) Include a photocopy of your NAfME or ACDA membership card (include expiration date). 6.) Postmark deadline for all materials is FRIDAY, JANUARY 10, 2014. Mail applications, CDs & fees to: 2014 NJ Elementary Honor Choir 2014 NJ Junior High Honor Choir Carol Dory Beadle, Coordinator Joanna Scarangello 65 Western Avenue C/O Briarcliff Middle School Apartment B 93 Briarcliff Road Morristown, NJ 07960 Mountain Lakes NJ 07438


B Application Form B

Please PRINT Legibly

Page 4

Student’sSponsoringOrganization(school,church,communitychorus,etc.): Town:

______________________________________________________________ ____________________________

PLEASE NOTE:

To insure the safety and deliverability of your student CDs, please use padded envelopes or boxes (preferred) and use

appropriate postage.

When using USPS, please use Priority

Mail.

Do not use Parcel Post to mail your

audition materials.

2014 NJ Honor Choirs Audition Solo


CJMEACentral Jersey

Music Educators Associationcjmea.org

Welcome back to school. I hope the first few weeks have gone smoothly for you

and that the coming months are reward-ing and enjoyable. Things in CJMEA are moving along as we prepare for this year’s auditions and concerts. I’d like to welcome our new members to the board. Adam War-shafsky is our new president elect and Adam Good is our new secretary. Additionally I’d like to acknowledge Jeffrey Woodworth who joined the board as co-chair of High School Chorus.

If you have any questions or sugges-tions on how we can make the CJMEA work better for you and your students, please don’t hesitate to contact me, or any of our board members. The directory can be found at www.cjmea.org

I would like to also encourage you to check our website frequently as all of our important announcements will be posted there. Additionally, please connect with us on Facebook and Twitter.

Again, I hope this year is a great one and I’m happy to serve as your Region Presi-dent!

Jeff Santoro - [email protected]

Brian Toth - High School [email protected]

I’d like to start the year off with a cou-ple of reminders as you gear up for region auditions on December 7th. First, please be sure to stay on top of the deadlines for region and All-State applications as they approach. You can help the chairpersons and leadership involved by staying on top of your students for correctly completed ap-plications and timely submissions. Second, identify those students in your school, lo-cal magnet schools, or home-schooled stu-dents who may have unique eligibility situa-tions. By setting expectations for their role, if any, in your program from the outset, you can avoid headaches down the road. (It helps to do this in concert with your ad-ministration.) Finally, be involved in your students’ preparation for the audition. Let them know what to expect when they walk in the room and encourage them to develop their skills as much as possible. Have a great year and keep in touch!

Hillary Colton & Jeffrey Woodworth-High School [email protected]

I’d like to take this time to welcome our new HS Women’s Choir Chair, Jeff Woodworth from Montgomery HS. We’re looking forward to working together. We are looking forward to a great school year. There are several NEW choral directors in Region II this year. Please stay informed by reading TEMPO and contacting Hillary Colton, Choral Chairperson at [email protected] if you have any questions about Region Chorus. Get involved and make some new friends!

Kawika KahalehoeHigh School [email protected]

I hope your year has started off well and your ensembles and students are set-tling into a productive and successful school year. Region auditions are right around the corner. If your students plan to audition, they should be reminded that an original copy of the solo is required at auditions. Good luck with your winter concert prepa-rations, and good luck to your students who plan to audition.

Nina Schmetterer Intermediate [email protected]

We are working to bring you an ex-citing Intermediate Choir Concert, Treble Honors Choir Concert, General Music Teachers Workshop, and more!

We are currently looking for volunteers to host the Intermediate and Treble Choirs this year.

If you have rehearsal space available in your district, please contact us.

Penny Martin - Intermediate [email protected]

We are looking forward to a great In-termediate orchestra season. Anyone wish-ing to conduct either the string orchestra or symphonic orchestra should consider managing the ensembles first to “get your feet wet”. We also need volunteers to host rehearsals. Cafeterias work just fine… it doesn’t have to be anything fancy. If you are able to host a rehearsal or concert we need space for the chamber orchestra, which is approximately 50 students and the string orchestra, which is 90 students. Please con-tact me through email if you have questions, concerns or if you would like to volunteer.

Yale Snyder - [email protected]

I hope everyone had a wonderful sum-mer and great start to the 2013-14 school year. I am very excited about the year ahead. This summer, several Region II high school students participated in the second annual week long Leigh Howard Stevens HS Summer Marimba Seminar at New Jer-sey City University. I want to thank Greg Giannascoli for hosting a wonderful and much needed event in our state. Students were treated to classes with Stevens, con-certs, trips, and had the chance to partici-pate in mass marimba ensembles. Each day a different NJ percussion educator came in to do a masterclass, which included Gary Fink, Ken Piascik, Peter Saleh, Chris Cola-neri, and myself. It was a great experience for the high school students. There will be many exciting events happening in Region II this year including our region percussion ensembles, Holiday Percussion, days of per-cussion, percussion ensemble festivals, and more. Please keep checking the CJMEA

Roun

d The Regions


Facebook page for dates as they become available. I am still in need of managers and rehearsal hosts for our region percus-sion ensembles. If you are interested in ei-ther please email me ASAP. For a non-per-cussionist teacher looking to further your percussion skills and knowledge, being part of our region ensembles is a perfect chance to do so. I wish everyone all the best for a successful school year.

NJSMANorth Jersey

School Music Associationnjsma.com

I hope this finds all of the music teachers in North Jersey well, hav-ing enjoyed a restful summer break

and a successful start to the 2013-2014 school year. The Region I executive board is looking forward to this year with great anticipation as we continue to serve all of your music programs with the finest music experience for both you and your students.

At our summer meeting the board was able to conduct most of the business needed to ensure a smooth start to the school year. Janell Kallimanis began another two-year term as our recording secretary, and we wel-comed Russ Batsch as our new President-Elect. Over the summer we also welcomed Irene Lahr from Mahwah as one of our new Choral Division chairs, as we thank both Stephanie Quirk and Austin Vallies for their outstanding work last year. We thank Mi-chael Kallimanis for his service as President for the past two years and look forward to his mentorship as past-President. Lastly, we thank Pete Pettinielli for the past six years of service to the region board, having complet-ed his final year as past President in June.

Like many other years, the NJSMA calendar is full of exciting events at all lev-els and in all performance disciplines. The cornerstones of the year are our honor en-semble, taking place on January 4, 2014 for high school and February 1, 2014 for junior high. For most of us the reason we decided to become musician educators was because of outstanding honor ensemble experiences like those we offer in Region I, so I encour-age everyone to sponsor students so we can pass along the gifts we were given early on in our musical careers. I also encourage every-

one to participate in the many other festivals we offer, featuring some of the top clinicians in the nation and providing a showcase for the outstanding school music programs in our region.

The essence of our organization, and the reason it works so well, is because of the exhaustive efforts of everyone who volunteers to help with our events throughout the year. If you are interested in helping with the region in any way, whether it is hosting an event, managing an ensemble, running a sectional, or in whatever way you are able, please feel free to contact me or any of the division chairs. Our region lives and thrives because of the talents of its’ member teachers and their students, and I encourage everyone to get involved in any way you see fit. Lastly, please help us increase our membership buy reaching out any colleagues you may know who are not currently members of NAfME. A large and active membership ensures years of continued success in the future.

Please visit our website (www.NJSMA.com) for updated information, application, forms, audition requirements and anything else concering our Region. As always, please contact me or any one of the board mem-bers if we can assist you in any way. Best wishes to you all for a successful school year!

Peter Bauer, President NJSMA

Orchestra DivisionNate Lienhard and Michael Holak

Orchestra Division Co-Chairs

Audition dates for the 2013-2014 NJSMA orchestra season is as follows: High school – Saturday, January 4th, 2014; Ju-nior HS – Saturday, February 1st, 2014. Our high school orchestra concert is sched-uled for Sunday, February 9th, 2014. The junior high school orchestra concert is set for Sunday, March 9th, 2014. NJSMA Or-chestra division follows the scale and solo repertoire requirements of All-State Orches-tra. Please check the region or state website for further details.

We would like to promote the NJSMA Orchestra Festivals which are held at Mill-burn High School and Randolph Middle School under the auspices of Karen Con-rad and Hsiao-yu Lin Griggs. This is an excellent venue for orchestra directors who would like to highlight their students’ ac-complishments and at the same time receive

valuable insight on improving performance through an accomplished adjudicator. We are looking forward to increasing the num-ber of orchestras this year. This is a great opportunity for directors and students alike to meet prominent string educators in our tri-state area. Try it, you’ll love it!

We are very excited to introduce our 1st Elementary Honors Orchestra. This will be an all-day event on April 5th 2014. Please let your elementary school orchestra/string colleagues know we are looking for them to nominate their students. Keep an eye open for details.

All accepted region orchestra members will be mailed concert music prior to the first strings rehearsal based on the scores of the first audition. A second audition based on the concert material will ensue on the first full orchestra rehearsal. The first and second audition totals will be accumulated to determine the seating within their respec-tive string section.

Band DivisionMatthew Spatz and Gregory Mulford

Band Division Co-Chairs

We hope that everyone is off to a suc-cessful start of the year. We are looking for-ward to a wonderful year and continuing to work with all of the directors and students in North Jersey.

We are pleased to announce that our high school ensembles will be perform-ing on Sunday, January 26, 2014. Bradley Genevro, Director of Bands at Messiah Col-lege, will be conducting the wind ensemble and William Stowman, Music Department Chair at Messiah College, will be conduct-ing the symphonic band.

2014 will present the fourth annual NJSMA high school chamber music con-cert and will be held on Wednesday, Febru-ary 26 at 7:00 pm. Ensembles will include chamber winds, flute, clarinet, saxophone, brass and percussion ensembles. Please en-courage your students to select this option on their high school application.

The junior high school band require-ments have a new look. The scales have been updated and a new timpani rudiment has been added. Please print off the updated requirements for you and your students.

All students interested in auditioning for any region ensembles should visit www.


njsma.com to obtain the appropriate audi-tion information, requirements, solos and forms. All rehearsal and performance dates and times are printed on the application. Students should be reminded of these obli-gations prior to submitting the application. If a student elects to participate in an en-semble that student will be expected to ful-fill the scheduled rehearsal and performance dates if accepted.

Region events do not happen without help from the directors within the region. If you are interested in participating as a host or manager please contact Greg or Matt.

Directors who would like to suggest a new high school or junior high school solo for future auditions are encouraged to do so. The process for having a new solo consid-ered is to contact the band chairs and pro-vide a copy of the music for them. Your sug-gestion will be submitted to a committee for review (All-State band procedures for high school solos) and added to the list if deemed appropriate. NJMEA Band Procedures Representatives for NJSMA: Lewis Kelly, Gregory Mulford and Mindy Scheierman.

Any band division details can be found on the region website as well as contact in-formation for Matt or Greg. We look for-ward to working with all of you throughout the upcoming year.

SJBODASouth Jersey Band And

Orchestra Directors Associationsjboda.org

Our first membership meet-ing for this school year will be held on Wednesday, Oc-

tober 9, 2013. This breakfast meeting will take place at Seven Star Diner in Sewell at 9:00 AM. Please notify Ben Fong (609-457-0590 or [email protected]) if you are able to attend. Audition materials will be available and our new online registration process will be explained.

The new officers elected at our Spring meeting are: Vinnie Du Beau, President-Elect (Delsea Regional HS); Joe Jacobs, Sec-retary (Ventnor MS); Tony Scardino, Trea-surer (Indian Mills MS); and Phil Senseney, Auditions Chair (Southern Regional MS). Deb Knisely (Cinnaminson HS) will serve

as Past President and Ben Fong (Reeds Road Elementary Sschool) is our President.

Auditions for the 2014 All South Jer-sey Orchestra, Wind Ensemble, Symphonic Band and Junior High String Ensemble will take place on Saturday, December 7, 2013 at Eastern Regional HS. John Stanz and Gail Posey will be our hosts. Applications and directions are available on our website. Deb Knisely (Cinnaminson HS) is our se-nior high auditions chair.

Congratulations to Susan Meuse (East Brunswick Public Schools) who was selected to conduct the 2014 Junior High String En-semble. Our 2014 Orchestra conductor is Michael Gagliardo (Etowah Youth Orches-tra, Alabama). The conductor for our 2014 Wind Ensemble is Darryl Bott (Rutgers University) and Andrew Seigel (William Davies MS) will conduct the Symphonic Band. Nichole Delnero (Toms River HS South) will continue to be our High School Band Coordinator along with Glenn Mot-son (Glocester City HS) who will be our String Coordinator.

The South Jersey Band and Orchestra Directors Association offer many oppor-tunities for instrumental music teachers to expand their involvement and expertise as music educators. We provide excellent vehi-cles for professional development including conducting and managing our ensembles. Many teachers have gained wonderful ideas and strategies by observing rehearsals and meeting with colleagues. You can enhance your school music program to include ex-cellent performing opportunities for your students and ensembles. We encourage all music teachers to take advantage of the wonderful resources offered by SJBO-DA this year. Please contact Ben Fong at [email protected] or 609-457-0590 for additional information.

We encourage you to check our web-site, which is maintained by Scott McCar-ron, (Delsea Regional HS) for the latest SJ-BODA updates. www.sjboda.org

We wish everyone an exciting and suc-cessful year.

Joseph JacobsSecretary, SJBODA

SJCDASouth Jersey

Choral Directors Associationsjcda.net

The South Jersey Choral Di-rectors Association (SJCDA) lost a dear friend, mentor,

and dedicated music educator, Richard M. Smith, who passed away suddenly on June 22, 2013. Mr, Smith had been a member of SJCDA for over 50 years and was our long time Treasurer. Our organization will feel a tremendous sense of loss for a long time to come.

The Board of Directors has worked throughout the summer on the planning of our activities for the 2013-14 school year.

The slate of officers for the 2013-14

year is as follows:William Yerkes (West Deptford High

School), President;Nancy Cecilio (Bunker Hill MS), 1st Vice-President/President ElectDennis Lupchinsky (Lindenwold

Schools), 2nd Vice-President/Coordinator of Choral Festivals;

Duane Trowbridge (Audubon High School), Secretary;

TBD Treasurer.

Members at Large for the Board of Directors, who will be responsible for the overseeing of our Senior High, Junior High, and Elementary Choral Festivals are: Cristin Charlton, Collingswood High School; Amy Troxel, Clearview Middle School; Cheryl Breitzman, Absegami High School; Hope Knight, William Allen Middle School; Patricia Allen, Salem Public Schools; and Shaun Brauer, Salem Middle School.

Our festival conductors this year will be Chris Thomas, Rowan University (Se-nior High Chorus), Brian Kain, Cherry Hill Beck and Carusi Middle Schools (Ju-nior High Chorus), and Cristin Charlton, Collingswood High School (Elementary).

Junior and Senior High Chorus audi-tions will be held Saturday, November 16th. Kahlil Gunther at Woodstown High School will once again host the auditions. Thanks very much to Kahlil for always doing an outstanding job!

Please take note of this year’s Jr/Sr schedule:

Saturday, December 7 – Rehearsal @ Lenape HS - 1:30-5:30 pm

Saturday, December 14 – Rehearsal @ Lenape HS - 1:30 – 5:30 pm (SNOW DATE)

Saturday, January 4 –Rehearsal@ Lenape HS - 9:00 – 1:00 pm

Thursday, January 9 – Rehearsal @ Rowan University - 9:00 – 1:30 pm

Friday, January 17 – Rehearsal @ Lenape HS - 5:30 – 9:30 pm

Saturday, January 18 – Rehearsal @ Lenape HS - 9:00 – 1:30 pm (SNOW DATE)

Friday, January 24 – Rehearsal @ Eastern HS - 6:00 – 9:30 pm

Saturday, January 25 – Concert @ Eastern HS - 8:00 PM (Call 7:00 pm)

Sunday, January 26 – Concert @ Eastern HS - 3:00 PM (Call 2:00 pm)

Monday, January 27 – Concert @ Eastern HS - 8:00 PM (Call 7:00 pm) (SNOW DATE)

The SJCDA Executive Board looks forward to another exciting year working with teachers and students of vocal mu-sic throughout South Jersey. Anyone with questions regarding our organization can contact Board members through our web-site, www.sjcda.net.

William Yerkes, PresidentSouth Jersey Choral Directors Association

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Michael Patrick Gabriel

Michael Patrick Gabriel, 70, of West New York, NJ passed away on Wednesday, June 12, 2013 at the Hackensack Univer-sity Medical Center. He was a retired mu-sic teacher for the West New York Board of Education.

James R. Lenney

James R. Lenney, 85, an active and longtime Cranford, N.J., resident, died June 16, 2013, following a brief illness at Over-look Medical Center. Born and raised in Staten Island, N.Y., Lenney graduated from Port Richmond High School in 1946, NYU in 1950, with a B.A., and in 1957 with his M.A. in music education. Postgraduate work included NYU, Seton Hall, and Kean Uni-versities, as well as Westminster Choir Col-lege. Many consider Lenney the patriarch of Cranford’s music community. He inspired literally thousands of students with and through music. Lenney began teaching in Cranford during the 1952 to 1953 school year, and served as music teacher, director

of choral activities at Cranford High School, and supervisor of music for the entire dis-trict. A tradition of excellence in singing was established under his leadership, and each year numerous students were selected from his choir to participate in the New Jersey All-State Choir, a tradition that continues to this day. In 1964, Lenney conducted the New Jersey All-State Choir, and he continued to be active in the state music educators’ orga-nizations. During the Vietnam War era, Len-ney was among a small handful of citizens to carry on the Memorial Day tradition honor-ing our veterans. After retiring from Cran-ford public schools in 1988, Lenney served on the faculty at Kean University, and was their interim coordinator of music education from 1998 to 2001. He held music posi-tions at numerous churches in the area, but since 1983, for the past 30 years, he served at Trinity Episcopal Church as choirmaster and organist. One of Lenney’s crowning achieve-ments was the renowned 1980 Cranford High School Choir, and their performance at the European Music Festival for Youth in Neerpelt, Belgium, at which the choir was awarded the summa cum laude medal. The Cranford Chronicle dubbed that ensemble “our triumphal choir,” stating in an edito-rial that “Cranford’s remarkable achievement entitles the choir to call itself ‘the best,’ and both the school and the town have reason to be very proud.” Lenney faithfully served the community for 60 years, inspiring everyone he taught to reach their greatest potential, in music making and in living life honorably. Three days before driving himself to the hos-pital, Lenney, accompanied by the current Cranford High School choir director, Antho-ny Rafaniello, presented the James Lenney Choral Excellence Scholarship for the first time to two graduating high school seniors.

Lorena Linhares

Lorena Linhares, passed away on April 26, 2013 at Sarasota Memorial Hospital, Sara-sota, Florida. Lorena was born in West Virginia and attended Westminster Choir College, Princeton, N.J. where she met her husband Inocencio (Ike) Linhares. Lorena and Ike married on December 26, 1953 and settled in East Hanover and later Boon-ton N.J. Lorena was a music teacher with the Morristown, NJ School district for 25 years and was a driving force in the music program at 1st Presbyterian in Boonton for many years where she shared her talent and love of music with countless people. Lorena and Ike retired to Sarasota, FL where she en-joyed singing in the 1st Presbyterian (Sara-sota) church choir, attending opera, walking the beach and reading.

Lizbeth S. Mildner

Lizbeth S. Mildner, 75, passed away on Thursday, April 18, 2013. Born in Newark the daughter of the late Thomas and Janet (Anderson) Sneddon, she lived in Newton coming to West Milford 43 years ago. Before retiring, Mildner had been a music teacher in the Pequannock Township Schools. She was a member of West Milford Presbyterian Church; its Senior Choir and former Junior Choir Director. Liz was also a member of the Serendipity Choir at Bald Eagle Commons, West Milford.

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.


Robert A. Miller

Robert A. Miller, 76, of Blairstown, N.J., passed away on Sunday, March 31, 2013, at Newton Medical Center, Newton, N.J. Born in Newark, N.J., Miller was a son of the late George and Loretta M. (Im-feld) Miller. He was retired, and had been an instrumental music teacher, employed by the East Orange Board of Education, East Orange, N.J. He had also performed as a professional musician. Miller lived in Blair-stown since 1977, having moved from Hill-side, N.J. He was an Army veteran serving during the Korean War, and was a member of the Lutheran Church of the Good Shep-herd in Blairstown.

Richard M. Smith

Born in 1938 in Philadelphia, PA, Richard “Dick” Smith earned his Bachelor of Science in Music Education from West Chester State College in 1960. Dick was later awarded an Honorary Master of Mu-sic for Choral Conducting (1971) from Temple University Philadelphia, PA. He spent his entire career as a music educator as the Director of Choral Activities, Music Theory, and Electronic Music at Audubon Jr/Sr High School in Audubon, New Jersey. He served there from 1960 to 1994, as well as serving as

Chairman of Fine and Performing Arts Department from 1964 to 1987. Richard Mount Smith had a multifaceted career which continued even after his retirement as Director of Choral Activities at Audu-bon High School. He established many of the musical organizations at Audubon High School, as well as founding one of the first

music technology labs for high school stu-dents in Southern New Jersey. He was an ac-tive conductor, teacher, composer, adjudica-tor, and choral clinician.

As a conductor, Smith directed the New Jersey All-State Chorus twice, first in 1970 and then in 1979. In February 1998, he conducted the Region III Senior High Honor Chorus for an unprecedented 4th time. He first conducted the Region III Senior High Chorus in 1968. He returned as conductor in 1978 and 1988, and then at the request of the SJCDA Executive Board and Conductor Selection Committee, he directed the 1998 South Jersey Senior High Chorus. Richard Smith served as the Conductor and Music Director for several outstanding choral organizations, including the Pitman New Jersey Choral Society (1963-1966), the Rittenhouse Square (PA) Choral Society (1964-1969), the Musical Arts Society of Camden (1968-1972), and the Ulster County, New York Choral Festival (1995). He served as the conductor of the Haddonfield Symphony Orchestra Chorus from 1968 through 1975, leading the chorus in the successful performance of some of the most difficult works of choral and symphonic literature. He was the guest conductor of the Salem County Festival Chorus in 1987. He received the unique honor of serving as a Participating Conductor for the Messiah “Sing-In” held at the Philadelphia Academy of Music from 1978 through 1980. Smith also conducted two performances of the b-minor Mass by Johann Sebastian Bach at the Academy of Music and Carnegie Hall.

Smith conducted several choral tours with the Audubon High School Choir through Europe in 1964, 1975, 1979, and 1980. It was the Audubon High School Concert Choir under the direction of Smith that was requested to appear in the NBC National Network Memorial the day follow-ing the assassination of President Kennedy in 1963. His Madrigal Singers were selected to perform at the Eastern Division Music Educators National Conference Convention in Hartford, Connecticut in 1987. Smith also led choral groups in performances at the Philadelphia Academy of Music and Carn-egie Hall in New York.

Smith distinguished himself through his selfless devotion towards others through service on many levels. Richard Smith served the Region III South Jersey Choral Directors

Association as its President (1965-1967), Assistant Corresponding Secretary, (1984-1992), and Senior High Chorus Manager (1964 & 1973). He was a member of the Region III Choral Conductor Selection Committee on numerous occasions. Even more extraordinary was his role as the Trea-surer of the South Jersey Choral Directors’s Association for the past 45 years! At the state level, Dick Smith served the New Jersey state music educator organization, NJMEA, as a member of the Choral Procedures Commit-tee from 1964 to 1983. He assumed the role of Choral Procedures Chairman from 1983 to 1988. Smith served on the All-State Cho-rus Conductor Selection Committee from 1977 through 1979, and as the NJMEA Ex-ecutive Secretary in 1989 and 1990. Smith not only conducted the All-State Chorus twice but served as its manager on two occa-sions and was the Housing Director for the New Jersey All-State Chorus and Orchestra for nearly 25 years. During this time, he continued his daily teaching duties at Audu-bon Junior/Senior High School, conduct-ing, composing, adjudicating, and serving as a consultant to hundreds of other music educators.

In the summer of 1998, Dick Smith was selected, along with four other music educa-tors, to review and analyze music preserved by the Unites States Holocaust Memorial Museum. Smith spent several intensive days studying choral and instrumental music in the museum archives. Numerous hours were spent along with his four colleagues inside the Holocaust Museum, including those hours after it had closed to the general pub-lic. The goal of this project was to place the literature in a relevant social and historical context. This music included the haunting refrains of folk songs and symphonies that had been silenced for over half of a century. Smith was privileged to have access to pre-viously unseen compositions and special collections discovered after the Holocaust. Smith also served on the Educational Out-reach Committee for the Philadelphia Or-chestra, working closely with their staff on concerts and programming for young people in the Tri-State area.

Richard Smith served as a Cooperat-ing Teacher for many future music educa-tors. This includes several renown directors presently teaching in New Jersey whose programs set the standard for contemporary choral instruction. Numerous outstanding


choral directors, composers, and music educators presently working throughout the United States began their careers under the tutelage of Richard Smith. Several hundred other music educators were for-tunate to have him as their conductor in Region and State Choirs.

Richard Smith was listed in the Who’s Who Among America’s Teachers, as well as having received the New Jersey Governors Award for Distinguished Leadership in Music Education (1995) and the New Jersey Music Educators Association Distinguished Leadership and Service Award (1992). He was also the proud recipient of the West Chester University Distinguished Alumni Award.

Jennifer Lynn Puff

Jennifer Lynn Puff passed away Saturday, May 18, 2013. She was 34 years of age. Born in New Brunswick she was a lifelong resident of East Brunswick before moving to Clifton 3 years ago.She received her BA Degree in Music Education from the College of New Jersey. She obtained a Master Degree in Supervision and School Administra-tion from Jones University. Jennifer was a Music Director currently employed by Union City Board of Education, Union City for 7 years. She was previously employed by Plainfield Board of Education, and Jersey City Board of Education. Jennifer had a lifelong career in mu-sic and music education.

Doris J. WelleDoris J. Welle, formerly of Morris Plains, more recently of Caldwell, passed away on May 17, 2013. She was 93 years old. Born in Bloom-field, Doris lived in Morris Plains until she moved to Caldwell eight years ago. Doris was a Music Teacher for the East Hanover School System for over 15 years until she retired. She earned her Bachelors degree in 1943 from Syracuse University, where she was a member of Sigma Alpha Iota (Music Fraternity). Doris was also a member of the Presbyterian Church of Morris Plains, Walsh Memorial Bell Choir, Senior Choir, and the Morris Plains Garden Club. Doris performed in numerous presentations in the late 1940s at the Paper Mill Play-house in Millburn, and in the Community Theatre thereafter.

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BACHELOR OF ARTS DEGREE IN MUSICCERTIFICATION K-12 MUSIC• Outstanding Liberal Arts Program • Accredited by the Middle States Association• Scholarships for Non-majors and Majors• Professional Concert Series on campus

For more information visit caldwell.edu/academics/music

CALDWELL COLLEGE MUSIC

> Nationally recognized programs> Development of global students> Inspiring people> Personalized attention and small

class sizes> Affordability: Low tuition and 90% of

students receive financial aid> Catholic and Dominican values> Community service> Vibrant campus life> A safe, secure, and beautiful campus> Located in one of the best towns in NJ

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to chooseCaldwell College

PROFESSIONAL RESIDENT ENSEMBLE • Garden State OperaSTUDENT ENSEMBLES • Wind Ensemble• Jazz Ensemble• Choir• Chamber Ensembles• Opera and Music Theatre Workshop

SCHOLARSHIP AND ENTRANCE AUDITIONSFor information on scholarships and entrance into the program contact Rebecca Vega at973-618-3446 or [email protected]

CONCERT SERIESGarden State OperaIl Campanello and the premiere of Tamar• Sunday, October 27, 2013 at 4:00 p.m.FREE matinee of Il Campanello for school groups• Friday, October 25, 2013

11:00 a.m. – 12:00 p.m.Christmas Spectacular!• Friday December 6 at 8:00 p.m.

Information: [email protected]

UPCOMING EVENTSThe Happy Prince, A children’s opera• Saturday, November 23 at 1:00 p.m.

Alumni TheatreCaldwell College Wind Ensemble and High SchoolHonor Band to work with award-winning composerJoseph Turrin• Rehearsals: November 4, 11, 18 & 25• Concert: December 6 at 8:00 p.m.• Information: [email protected]

UNDERGRADUATE OPEN HOUSESSaturday, October 19, 2013 Saturday, November 23, 2013 Saturday, February 1, 2014 For more information, visit: caldwell.edu

120 Bloomfield Avenue • Caldwell, NJ 07006caldwell.edu


President, Joseph JacobsVentnor Middle [email protected]

Past-President, Keith HodgsonMainland Regional [email protected]

President-Elect, William McDevittVineland High [email protected] x2539

Executive Secretary-TreasurerDeborah SfragaOcean Township [email protected]

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

NJSMAPresident, Peter BauerColumbia High [email protected] x1183

CJMEAPresident, Jeff SantoroAllentown High [email protected] x1422

SJCDAPresident, Bill YerkesWest Deptford High [email protected] 856-848-6110 x2220

SJBODAPresident, Ben FongReeds Road Elementary [email protected] x1562

AdministrationRonald [email protected]

AdvocacyNick [email protected]

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

Band PerformanceAlbert BazzelWinslow Twp. Middle [email protected]

Choral FestivalsDonna Marie BerchtoldWilliam Davies Middle [email protected] x1013

Chorus PerformanceKathy Spadafino, [email protected]

Chorus/Orchestra/JazzJoseph CantaffaHowell High [email protected]

Collegiate Chapters/TechnologyRick DammersRowan [email protected]

ConferencesMarie MalaraSayreville Middle [email protected] x2370

Corporate/IndustryRon [email protected]

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

GuitarTom AmorielloFlemington Raritan [email protected]

Music Teacher EducationAl HolcombRider [email protected] 609-921-7100 x8104

Opera FestivalStevie RawlingsParamus High [email protected] x3069

Orchestra Festivals/PerformanceSusan MeuseHammarskjold Middle [email protected]

Retired Music EducatorsBeverly [email protected]

NJMEA 2013-2014 Board of Directors

Executive Board Appointed Members

Region Executive Members


NJMEA RESOURCE PERSONNELArea of Responsibility Name Email AddressAdministrative Matters .........................................................Joseph Jacobs ............................................................... [email protected] 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 ............................................................ David May ....................................philadelphiaflyersorganist@gmail.comMarching Band Festival Chair ............................................. Nancy Clasen ...................................................... [email protected] ....................................................................... Deborah Sfraga .............................................................debnjmea@aol.comMiddle/Junior High Band Festival ....................................James Chwalyk, Jr. .............................................murphysoutlaw@gmail.comMiddle/Junior High Choral Festival .............................Donna Marie Berchtold ................................ [email protected] In Our Schools Month ................................................ Amy Burns ...................................................................aburns@fhcds.orgNJMEA 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 ........................................................... Stevie Rawlings ..............................................srawlings@paramus.k12.nj.usOrchestra Procedures Chair .................................................. Susan Meuse ........................................................ [email protected] ............................................................................ Frank Abrahams ...........................................................abrahams@rider.eduStudents with Special Needs ...............................................Maureen Butler .......................................................... [email protected] of Performing Groups ........................................ Keith Hodgson ................................................... [email protected]...................................................................................... Gail Posey .................................................................... [email protected]

REPRESENTATIVES/LIAISONSTO AFFILIATED, ASSOCIATED AND RELATED ORGANIZATIONS

NJ American Choral Directors Association ........................... Carol Beadle ............................................... [email protected]’s Award for Arts Education .................................. Stevie Rawlings ............................................ [email protected] Association for Jazz Education .......................................... David May ................................... [email protected] ................................................................................Joseph Jacobs ...............................................................jjacobs@veccnj.orgNJ Music Administrators Association .....................................Ron Dolce ................................................................ [email protected] Retired Music Educators Association .......................... Beverly Robinovitz ...........................................................beviewgr@aol.comNJ TI:ME ........................................................................... Rick Dammers ......................................................... [email protected] Arts Society .........................................................Chris Colaneri.......................................................... [email protected]

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


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 Hodgson

NJMEA Past Presidents

EDITORIAL POLICYArticles may be submitted to the editor of this magazine by anyone who wishes to write about topics related to music or music education. All articles which are selected for publication will be proof read for content, spelling and grammatical errors. Authors who submit an article to TEMPO Magazine for publication agree to all of the following:

1. the editor may edit all articles for content, spelling and grammar.2. the printing of the article in TEMPO Magazine, the printing date, and placement are at the discretion of the editor.3. permission is granted to reprint the same article in any National or State Music Education Association magazine on the condition that

the author’s name and TEMPO Magazine are to be mentioned in all reprinted articles.4. no exceptions will be made regarding items 1 through 3 above.5. the author of the article may submit his/her article to additional magazines for publication.

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American College of Musicians http://pianoguild.com 42

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Messiah College http://www.messiah.edu/conducting 59

Monmouth Symphony Orchestra http://www.monmouthsymphony.org 29

Music and Arts Center http://www.musicarts.com Inside Back Cover

NJ City University Dept. Music, Dance & Theatre http://www.njcu.edu/mdt 60

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Sam Ash Music http://www.samashmusic.com 79

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Susquehanna University http://www.susqu.edu/music 34

The College of New Jersey, Music Dept. http://www.tcnj.edu/music 11

Umass Amherst Department of Music & Dance http://www.umass.edu/music 40

University of Maryland http://www.music.umd.edu 32

Westminster College of Rider University http://www.rider.edu/whywestminster 27

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