Inquiries regarding advertising rate, closing dates, and the publication of original articles should be sent to the Editor.
Volume 80, No. 1, May 2025
TEMPO Editor - William McDevitt C/O NJMEA, 300 W Somerdale Rd, STE C, Voorhees NJ 08043
President's
Message
Yale Snyder
Monroe Township Schools
snyder.njmea[at]gmail.com
There’s a certain magic to the start of a new school year—the sound of the first warm-ups, the buzz of students reconnecting, and that electric moment when we open our folders, raise our batons, or sit down at the piano for the first rehearsal. No matter how many years we’ve been doing this, that feeling never gets old.
I want to start by wishing each of you a year filled with inspiration, joy, and those unforgettable moments that remind you why you chose to be a music educator. Whether you’re just starting out year 1 or have been in the field for decades, your impact is immeasurable. Across all 3 regions of NJMEA, you are the heartbeat of music education in New Jersey, and I am deeply honored to serve you as your new NJMEA President.
Every one of you plays a role in making our state’s music education community one of the strongest in the country. You do so much more than teach notes and rhythms; you open doors, change lives, and create lifelong memories. Thank you for every rehearsal, every extra hour, every piece of encouragement, and every moment you spend believing in your students.
This year, I am thrilled to welcome new leaders in NJMEA who will help guide our work forward. Liz Sato joins us as our new Orchestra Performance Chair, and Jesse Argenziano as our new Band Performance Chair. Their knowledge and dedication are going to make a tremendous difference for our students. I also want to take a moment to thank the outgoing respective chairs Susan Meuse and Patrick O’Keefe for their years of outstanding service.
We also have an exceptional new Executive Board stepping into their roles: Anthony Lanzerotti, Jr., President-Elect; David Westawski, Past-President; Lyn Lowndes, NJSMA President; Rebekah Sterlacci, CJMEA President; John Drechen, SJBODA President; and Brendan Moore, SJCDA President. This is a great team of visionaries for music education, and I couldn’t be more excited to work alongside them.
Another source of inspiration for me has been meeting our new collegiate officers. I had the privilege of spending time with them at the NAfME National Assembly in Washington, D.C. back in June, and their energy and passion for the future of our profession is contagious. These young leaders are eager to do great things for NJMEA, and I look forward to finding ways to bring all of our music education college students together as we support the next generation of educators.
Of course, none of our work happens without the steady hand of Bill McDevitt, our Executive Director. Bill has streamlined so many behind-the-scenes processes especially our insurance protocols and background checks. This year’s preparations have been smoother than ever. Bill, thank you for making the logistics so effortless so we can focus on what matters most: our students and our music.
If you’re looking for a way to connect more deeply with NJMEA and make a real difference, I encourage you to consider serving as a chaperone for our November and February All-State events in Atlantic City. These aren’t just performances, they are life-changing experiences for our students, and being part of them is both an honor and a joy. You’ll work with the best young musicians in the state and some of the most inspiring conductors in the profession. Trust me—once you do it, you’ll never forget it.
And speaking of unforgettable experiences, I can’t wait for our NJMEA State Conference, February 19–21, 2026, at the Atlantic City Convention Center. This is our time to come together, learn from one another, and recharge our passion for teaching. Our 2026 theme, “Catch the Groove, Fuel the Passion, Grow the Future,” captures everything we’re aiming for; bringing energy, inspiration, and forward momentum to every corner of music education in New Jersey.
We are beyond lucky to have Dr. Peter Loel Boonshaft—Director of Education for Jupiter Band Instru-
ments, Professor Emeritus at Hofstra University as our keynote speaker. Dr. Boonshaft’s ability to inspire, challenge, and uplift educators is unmatched, and hearing him speak will be worth the trip all by itself!
And then there’s our Gala Concert… one word: unmissable. We are thrilled to have BRASILIAN VIBES, an electrifying NYC main stage group with a fresh twist on Brazilian music. Blending classic Bossa Nova and Samba with infectious dance and pop grooves, they create a sound that’s as vibrant as it is irresistible. Without giving too much away, I promise one thing—if you’ve ever wanted to leave a concert smiling, dancing, and completely energized and motivated, this is the night for you!
Throughout the year, NJMEA offers a wealth of opportunities for professional growth, student engagement, and community connection. Whether you're involved in elementary, middle school, high school, or collegiate music education, our divisions are here to support you. From jazz educators to choral directors, from technol-
ogy integration to advocacy, there's a place for every educator to thrive. I encourage you to explore our divisions and find the resources and networks that best align with your needs and passions. Together, we can make this year one of growth, collaboration, and lasting impact.
My email inbox is always open. Whether you have an idea, a question, or just want to share something great happening in your program, please reach out. I’m here for you, and I’m proud to be walking this journey alongside such an extraordinary group of music educators.
Here’s to a year of catching the groove, fueling the passion, and growing the future—together.
With excitement,
Yale Snyder
President Elect's Message
Anthony Lanzerotti, Jr. Clifton Schools lanzerotti.njmea[at]gmail.com
Greetings fellow music educators! I hope you had an amazing and restful summer. I wish you all a productive and successful school year ahead . It is an honor and pleasure to serve as President-Elect of NJMEA, and I am eager to support each of you in our shared mission of promoting music education.
Thank you all for your hard work and dedication to your students and communities. Your commitment to working with our young musicians not only shapes their musical abilities but also builds their confidence, creativity, and passion. Your efforts truly make a difference in the lives of your students.
This past June, I had the incredible opportunity to attend the NAfME Hill Day. It was a rewarding experience where I met inspiring music educators from all over our country. Together, we advocated for the importance of music education, sharing our insights and stories on
Capitol Hill.
As we move forward, I am excited to collaborate with you all and to be part of the amazing NJMEA team. I look forward to working together to inspire our students. Please feel free to reach out if I can be of any assistance to you or your school community. We have planned an exciting and informative conference and I hope to see many of you there this February.
Thank you for believing in me and your support through this new chapter ahead.
Here’s to a fantastic year ahead!
All the best,
Anthony Lanzerotti, Jr.
public college
U.S.News & World Report 2025 Rankings #1 in Regional Universities North #1 in Top Public Schools
Programs of Study
B.A. in Music
B.M. in Music Education
B.M. in Music Performance
Minor in Music
Minor in Music Performance
Minor in Music Technology
Minor in Theatre
Executive Director's Message
William McDevitt wmcdevittnjmea[at]gmail.com
The 2024-2025 fiscal year was a rough one for NJMEA. When our budget was developed in the Summer of 2024, we were not prepared for the financial changes that came about over the following 12 months. Our income was $100K less than projected. Even with rising prices - many of which happened after the budget was approved - our expenses were only $12K less than anticipated.
We spent a lot of time formulating this year's budget - trying to anticipate what the next 12 months might hold for the organization. The full NJMEA Board of Directors added their input for where we could cut expenses.
Several fees have been increased. We have tried for years to keep fees stable, but we are definitely spending more than we are bringing in for numerous activities. Cuts to some line items have been made and after much debate, a final budget has been passed.
One of the immediate changes that you will see is in this publication. If you look at the balance sheet on the next page, you will see that TEMPO lost almost $10K last year. For purely financial reasons, the NJMEA Board of Directors decided to cease providing a print version of TEMPO magazine. It will continue to be digitally published. While I (and many of you) will miss having the paper edition in my hands, we cannot justify that type of loss on an annual basis. Our online publication app is Issuu. You can access our current and past publications (going back to 2011) by clicking the link on the NJMEA Website (www.njmea.org/tempo).
Here are some other items to consider for the coming school/fiscal year:
INSURANCE - Last year, we began our journey to complete background checks on any adults that have contact with students on behalf of NJMEA, our Regions, or our affiliated organizations that have a coordinated project. These checks included a criminal background check and the National Sexual Abuse Registry check. This was a reguirement for our acquisition of Sexual Abuse and Molestation Insurance Coverage which has been required for several of the facilities that we use during the year.
I am happy to report to the membership that more than 1300 submissions were requested! Every completed submission came back clear.
After a year of working on the project, we came up with an easier way to collect the information that we need. We started in July and over the summer more than 600 members submitted for early clearance! We will continue to run the clearance application in the weekly TEMPO Express to give everyone the opportunity to complete the requirements.
NJMEA CONFERENCE - Last year, I reported that we were taking a close look at the Sheraton before signing a new contract. I am happy to report that we have been informed that the Sheraton will be going through a huge make-over! This will cause some minor inconveniences this year as they close off floors and meeting spaces to complete their renovations. We have been promised a new experience when they are completed. Keep watching the website and Weekly TEMPO Express as we provide information when it is received.
NJMEA DUES - Once again, the NJMEA Executive Board voted to keep the NJMEA portion of our dues at the same rate as last year ($31 for Active Membership). When comparing our dues to the other states in the country there are still 32 states that have a higher dues rate than NJ! The highest rate is $70!
WEEKLY TEMPO EXPRESS - Changing to a weekly TEMPO Express has been a great idea. It includes all of the information that you used to receive in tiny emails sometimes 4 or 5 times a week. Narrowing it to once a week has increased our click rate. Most weeks we have an almost 60% open rate - which is amazing especially considering that many members are on the server list multiple times!
If you ever have questions, please contact me. If I can't find your answers, I can do some research or point you to the person that can help. Most days, my office hours are 8amnoon. Sometimes I'm there much later.
The office phone number is 856-433-8512.
Have a great year!
Bill McDevitt
NJMEA Year-End Financial Statement
ORDINARY INCOME/EXPENSE July
Trumpeter/Educator/Composer/Arranger
A Day in the Life of a Jazz Ensemble Director: Thoughts & Ideas for Improved Performance
Free to all NJAJE Members
Non members: $75 includes 1 year NJAJE membership and Downbeat Magazine
Register by Monday, November 3 at https://www.njaje.org/application.html or contact Conference Chair Jeffrey Haas (201) 207-6736 jhaas.njaje@gmail.com
Professional Development Credit Issued the industry's best New Jazz Band Music Reading Session with Joseph Verderese, Director and Clinician
Bring your horn!
Please join us as at the luncheon as we honor the 2025 NJ Jazz Education Achievement Award recipient
Join us later that evening for the All State Jazz Choir and Jazz Band at 7:00 PM Chase Room at NJPAC, Newark Conducted by Doug Heyburn and Dr. David Demsey
News From the Board of Directors
Band Performance
Jesse Argenziano njmeaband[at]gmail.com
Welcome back to another great year for New Jersey All State Band. My name is Jesse Argenziano and I am proud to represent our All State Bands on the NJMEA Board this year. I have had the pleasure of teaching in all three regions of the state, finally settling in Region II at West Windsor-Plainsboro HS South.
All State Band auditions are set to take place this year on Saturday January 24, 2026 at J.P. Stevens High School. Be sure to double check the solo list on the website as some instrumental solos have been changed in the repertoire rotation. Any questions regarding auditions can be sent to me (njmeaband[at]gmail.com) or our new Band Procedures Chair, Allan Daleus (adaleus[at]whrhs.org).
This year’s conductors are, for the Wind Ensemble, Dr. T. Andre Feagin from Florida State University and for the Symphonic Band, Dr. Kevin Holzman from the University of Cincinnati. The concert performances will be on Saturday February 21, 2026 at the Convention and Sunday, February 22, 2026 at NJPAC. The Fall All-State Procedures Meeting will take place November 7, 2025 during the NJEA Convention in Atlantic City.
Choral Festivals
Donna Marie Berchtold firesongwed[at]gmail.com
We hope all of you have had an exciting start to your school year, and your programs are developing with much enthusiasm for this upcoming year!
The 71st Annual NJMEA Middle School – Junior High Choral Festival dates are scheduled for the spring of 2026. The Festivals are currently scheduled to be held at two separate locations.
• The first event (South Site) will take place at Rowan University on Thurs. March 19, 2026. The deadline for applications is February 6, 2026. (Event time: 9:00 AM – 1:30 PM). A SNOWDATE has been scheduled for Fri. March 20, 2026.
• The second event (North Site) will be held at Monroe Township Middle School on Wed. April 29, 2026. The deadline for applications is March 13, 2026. (Event time: 9:00 AM – 1:30 PM)
The application forms will be on the NJMEA web site, however, they can also be found in the January edition of TEMPO Magazine. A maximum of ten (10) registrations will be accepted at each site. The Registration Fee per school group is $150.00 for either site. Please send the Completed Form, listing your two (2) song titles and composers’ names, along with the registration fee (per the instructions) on the application form.
Each participating choral group will receive written and aural evaluations by the adjudicators, along with a plaque from NJMEA which recognizes the commitment and involvement by the school, its chorus, and the di-rector(s). The students and teachers will be involved in an interactive event where the adjudicators may offer a Q & A experience with a mini clinic demonstration for each choir on stage.
Any schools interested in participating in either of these events next year, should be sure to complete the application form in the January issue of TEMPO magazine, or online at www.njmea.org.
Anyone with questions or concerns may contact Donna Marie at: firesongwed[at]gmail.com, or 609-226-7751 (cell)
Wishing you all a most successful year!
News From the Board of Directors
PreK-8 General Music
Amy M. Burns aburns[at]fhcds.org
This issue is packed with fresh insights and resources for elementary music educators. Brent Geyer continues our series on general music curricula with five compelling reasons to bring Purposeful Pathways into your classroom. This follows our May 2024 series and complements reviews of MusicFirst Elementary, Essential Elements Music Class, QuaverMusic, and MusicPlayOnline. Don’t miss my article, “Elementary Music Class: Canva vs. Google Slides,” offering a breakdown of these two popular programs.
Looking ahead, mark your calendars: Rob Amchin leads an NJSMA workshop on October 13, and Bill Henry of Mr. Henry’s Music World is our featured Elementary Academy presenter at NJMEA on Thursday, February 19. Plus, a lineup of other outstanding elementary music educators will be sharing their expertise at this year's conference. Stay updated with the latest details in the January issue of TEMPO and on our social media channels.
Choral Performance
Brian Williams
NJAllStateChoir[at]gmail.com
I hope this message finds you in good spirits after an exciting start to another school year. The AllState Choirs have been selected from a very successful audition season last April. I want to take a moment to thank all of the wonderful people who made auditions run so smoothly: First off, Barbara Retzko for being the wizard of all things auditions and Rick Retzko for his help with AuditionForms.com. Next, a warm thank you to our registration managers; Cheryl Breitzman and Kristen Markowski. Thank you to Sara Munson for being our systems administrator helping answer questions, solve problems, and supplying missing passwords. Next up is Ken Bryson, our choral procedures chair, for steering the ship and keeping everything in line. Finally, thank you to all of our members that helped with auditions!
We are pleased to announce our audition numbers are up significantly from the previous year, thank you so much to everyone who helped their students prepare for the process! Later this month, the all-state mixed choir will come together to rehearse before the NJEA conference in November. We are so excited to have Dr. Kim Adams working with our mixed choir this fall and our very own Patrick Hachey conduct our treble singers later in February. We are in the process of looking for conductors for the next few years. If you are interested in conducting an all-state ensemble, please feel free to email me using the address below to get more information on applying.
We are continuing to use MailChimp as a way to reach our active choirs - including students, directors, and parents. We understand that some school district’s firewalls will consider these messages as spam and block them before they get to your mailbox. If you have been expecting correspondence from us, either check your junk folder or reach out to myself or the choral procedures chair, Ken Bryson at NJAllStateChoir[at]gmail.com.
News From the Board of Directors
Accessible Music Education
Maureen Butler maureenbutlermusic[at]gmail.com
By this time each year, we are typically acquainted with our students with disabilities, and have begun to make adaptations and modifications for them. Additionally, there may be students on our radar who are not classified, but about whom we have concerns. If you need help making your lessons accessible to all, check out The Berklee Institute for Accessible Arts Education website at https://college.berklee.edu/BIAAE/professional-development. You’ll find a wealth of free resources including recorded workshops, lectures and presentations.
Our state Accessible Music Education committee continues to be available to respond to any questions you may have about the students you teach. You may wish to contact one of us to give a professional development workshop at your school. They include: Steve Braun from the Center of Lifelong Learning and the Academy Learning Center, Valerie Luther, Moorestown Township, Krysta Mirsik from Passaic, Glennis Patterson from Roxbury, Sarah Perry from Westminster Choir College, Brian Wagner-Yeung from Cuny Brooklyn College, Barbara Weiner from Saddle Brook, Michelle Williams from Woodbridge, and myself. All of us have expertise in teaching students with disabilities, and are willing to share our insight and strategies. Many thanks to all of them for their passion and dedication! Feel free to contact the committee through me at my e-mail address.
Diversity/Equity/Inclusion/Access
Isaiah C. Mason deia.njmea[at]gmail.com
I hope you had a relaxing summer and have had a successful start to your school year! The Diversity, Equity, Inclusion, and Access (DEIA) Committee is excited to serve you.
We know that many of you are doing incredible work to foster diversity, equity, inclusion, and access (DEIA) in your classrooms. Your efforts make a meaningful difference in the lives of students—and we want to hear about them! Whether it's a successful lesson, a classroom initiative, or a school-wide effort, your story can inspire and inform other educators who are looking for effective DEIA strategies and resources. Help us build a community of shared learning and support. Use the QR code or the link below to submit your story:
https://forms.gle/DGKD27YKHW9NsmWF8
Thank you for the work you do—your voice matters!
Email deia.njmea[at]gmail.com to learn more about our various initiatives or to join our team.
News From the Board of Directors
Orchestra Performance/Festivals
Elisabeth Sato
orchestra.njmea[at]gmail.com
Welcome to the 2025-2026 school year! The All State Orchestra is currently preparing for their upcoming performances in November. The conductor, Lou Kosma, has selected a fantastic program, and students are working very hard to learn the music. We hope to see you in Atlantic City or NJPAC - you won’t want to miss this!
Since the last issue of TEMPO, the All-State Intermediate Orchestra had a wonderful performance on May 17, at Egg Harbor Township High School. Conductor Sue On was great working with the students, the repertoire was challenging and diverse, and the orchestra delivered a high quality performance for family and friends. A huge thank you to Samantha Sara and her Tri-M students for hosting the performance and assisting throughout the day, to Caty Butler for managing the Orchestra, and to the chaperones who attended the rehearsal and performance.
Orchestra Festivals – be on the lookout for more information soon. I am working on finalizing sites and times. If you think you may be interested in participating and/or helping out, please send me an email!
Retired Members/Mentorship
Kathleen Spadafino kspadeb[at]aol.com
Welcome back to your best year ever! It certainly is for this committee – we are enjoying the cooler weather, traveling and attending concerts to our hearts’ delight. We are here to assist NJMEA in its many activities, such as our annual conference in February and helping boost our presence at the NJEA convention in November. We also choose a Master Music Teacher each year who is celebrated at our February conference. Our executive board, headed by our new president Frank Hughes, had our first meeting in September and we are busy planning some fun activities for our members and guests. If you know anyone who has recently retired and has a lot of free time on their hands, please have them contact me at kspadeb[at]aol.com or Frank Hughes at Bugle11[at]yahoo.com. We would love to have you join us!
News From the Board of Directors
Administration/K-12 Ed Tech
Shawna Longo shawnalongo[at]gmail.com
Year 3 of the NJMEA Music TechFEST for everything music technology will take place during the NJMEA Conference on Thursday, February 29, 2026 at The Atlantic City Convention Center from 10:00am-5:00pm!
The Festival will be open to all New Jersey music educators, students grades 9-12 with accompanying music teacher (who must be a member of NJMEA/NAfME), and COLLEGE STUDENTS! NJ music educators and pre-service college students are highly encouraged to come experience the latest technologies and instructional techniques for effectively utilizing music technology within all music classrooms.
Are you intrigued? Here are a few of the Festival perks:
• Students and teachers will attend 4 masterclasses taught by master music tech teachers and music professionals from across the country! It will be an immersive, hands-on experience that is sure to inspire creativity!!
• All submitted projects will be adjudicated ahead of time. Please note that you don’t have to submit projects to attend with your students or by yourself!
• Did someone say DJ? A world-renowned DJ will be performing and running a masterclass for students/teachers!! Fees:
• Teacher(s) - regular conference rate (one day or full)
• Students - $30 (includes attendance and 1 project submission)
• Additional $10 fee per extra project submitted
• College Students - attendance included in conference fee of $60 (no additional cost) Masterclass Teachers:
• Ryan VanBibber from Columbus, OH
• Jeremy Fogel from Cranford, NJ
• Arin Canbolat from GRAMMY Museum (NJ)
• Eric Jao (aka DJ Enferno) from Centerville, VA
Got questions or looking to register? Head over to our website: https://www.njmea.org/music-technology-expo or, feel free to email Shawna Longo, Technology & Administration Chair for NJMEA - shawnalongo[at]gmail.com
Administration: The NJMAA Executive Board met on Monday, July 8th to plan for the upcoming year. Dr. Latasha CasterlowLalla is the new President. Alfred Hadinger is serving as President Elect. Discussions included:
• General Membership Meeting Schedule:
• October 10, 2025 - Joint Workshop/Meeting w/ AANJ
• December 5, 2025- Workshop/Meeting
• January 30, 2026 - Workshop/Meeting * In-Person
TECH FEST
2.19.2026 10am to 5pm Atlantic City Convention 2026
ERIC JAO
“Referencing: Create
With 20 years of experienc (aka DJ Enferno) has perfo this hands on session learn intention.
RY
“Re Mus will work through the steps to creating a high quality remix of a song From editing vocals to adding new instruments this session will cover various techniques to improve any remix
ARIN CANBOLAT
“Music Industry & Entrepreneurship in Education”
Vice President of Education at the GRAMMY Museum, Arin Canbolat, will help unlock the modern music industry in this interactive session Explore current career pathways, key industry roles, and emerging trends that are reshaping how students can succeed in music today
JEREMY FOGEL
“The Future of Music”
Explore the tools utilized in creating music past, present, and future from renowned Audio Specialist Jeremy Fowler Examine the development of technology used in music creation and what is on the horizon
News From the Board of Directors
Collegiate/Higher Ed/Research
Marissa Silverman silvermanm[at]montclair.edu
Happy October, New Jersey music educators. Not sure about you, but, if I had to pick a favorite season, I’d pick autumn. The colors of newly fallen leaves, cinnamon, nutmeg, and apple flavors, carving pumpkins, and more. For me, autumn signals magic. Because of this, at this time of year, we plan now for NJMEA.
Nearing the end of summer, I sent out a Call for Research Papers—the selected of those will present during a poster session at the 2026 NJMEA Conference. How wonderful to receive proposals from inservice teachers, doctoral students, and faculty in higher education. This kind of breadth is reassuring, exciting, and, quite frankly, what “should” be. All teachers research best practices (or the lack thereof). Because of this, it’s important that NJMEA members hear about a variety of professionally based questions and problems; that a variety of teachers feel that their teaching-based research pursuits get heard.
I look forward to seeing you at NJMEA in February.
Advocacy
Arwen Kapusta arwenkapusta[at]gmail.com
Welcome back to the 2025-2026 school year. By now you are probably well into the swing of things: planning and teaching exciting content, working on winter concert material, and participating in valuable professional development. While you are always your own best advocate, it could be beneficial to add collaboration to your advocacy strategy this year.
Collaborations with colleagues and the community can increase student learning, maximize numbers in your program, and put more eyes on the positive impact music can bring to your students. If you have any questions or need suggestions of ways you can incorporate a collaborative approach, please don't hesitate to reach out: arwenkapusta[at]gmail.com
Riverwalk Plaza
Riverwalk Plaza
276 Morris Avenue
276 Morris Avenue
34 Ridgedale Avenue East Hanover, NJ 07936 (973) 428-0405
34 Ridgedale Avenue East Hanover, NJ 07936 (973) 428-0405
Springfield, NJ 07081 (973) 476-4888
Springfield, NJ 07081 (973) 476-4688
News From the Board of Directors
Emerging Ensembles
Zachary Gates zacharygatesmusic[at]gmail.com
The NJMEA Honors Modern Band is back and it is going to be a great one! If you missed out last year, that is all the more reason to get more info and get involved this year. Audition requirements, rubrics, and instructions are available on the NJMEA website. Auditions will be accepted until the due date, November 14th 2025. We are seeking talented drummers, guitarists, bassists, singers, keyboardists, and any other instrument that would add to the band, including sound engineers to run the performance!
Selected students will meet virtually with the director and myself in the months leading up to our in-person rehearsals and performance in February in Atlantic City as part of the NJMEA Conference.
The deadline for audition submission is approaching, so if you have a student you think would be a good fit for this ensemble, we would love to hear from them! For more information on auditions or NJMEA Modern Band, please visit the NJMEA website or feel free to reach out.
Jazz Education
Andrew Lopez alopez.njaje[at]gmail.com
Hello friends of Jazz Education! This November, we invite you all to attend our annual NJAJE Fall Conference on Friday, November 14, 2025. Attendance at this conference is free for NJAJE members, and is $75 for non-members. This fee includes a one year membership with NJAJE and a subscription to Downbeat Magazine . This year’s conference is going to be held at the state-of-the-art New Brunswick Performing Arts Center, in New Brunswick, NJ. The day starts with a light breakfast sponsored by Peak Group Travel , followed by several sessions, a live reading session (all are invited to perform if you’d like, just bring your horn!), and the day will conclude with a lunch at The Tavern on George just down the street. Our keynote presenter at our 2025 conference is acclaimed composer and educator, Doug Beach, who is being sponsored by Kendor/Doug Beach Music Publishers, and the Yamaha Corporation. We will also be celebrating our 2025 recipient of the 2025 Jazz Education Achievement Award, Mr. Carl Cox of Deptford High School. Later that evening, join us at NJPAC to watch the All State Jazz Band and Jazz Choir in concert at 7:00 pm, under the direction of Dr. David Demsey and Doug Heyburn. Tickets can be purchased at www.njmea.org.
We also invite you to visit our website www.njaje.org to find out more about our NJ State Jazz Ensemble Festival which takes place next Spring. We provide numerous opportunities for middle or high school students to gain valuable performing experience in front of their peers, and also receive feedback from renowned educators, and performers. Festivals will be running for both vocal and instrumental jazz ensembles. We encourage you to sign up early as spots fill up quickly.
I hope you will review the Region Jazz Ensemble audition criteria listed in this edition of TEMPO , and please share it with your students. Please be reminded that we now accept vibraphonists in our jazz ensembles, so please be sure to share that info with your mallet players. We have conductors set up for junior and senior high school ensembles throughout all regions in the state and are excited to have your students participate in those ensembles!
And finally, I would like to ask you, what can we do for you ? What experiences are you hoping to share with your students? If you feel there is a service that we are not currently providing that would benefit you and your program, I invite you to email me directly and share your ideas.
For students with an interest in or major in music worth up to $6,000/yr.
Music Majors:
• B.A. in Music
• B.A. in Music with K-12 certification
Resources & Accolades:
• New Yamaha Clavinova Piano Lab
• Outstanding Liberal Arts Program
• Accredited by the Middle States Commission on Higher Education
Performance Opportunities:
• Ensembles: Wind Ensemble, Marching Band, Jazz Ensemble, Chorale, Opera & Musical Theatre Workshop
• December 20, 2025; February 28, 2026; March 28, 2026
For More Information:
• Rebecca Vega rvega@caldwell.edu | 973-618-3446
Since 1939, Caldwell University has been home to some of the best and brightest from around the globe, which means students find their perfect fit among our 84 programs, 50+ student clubs and organizations, and personalized approach to academic and career guidance. Caldwell University is proud to be a test-optional institution, and there is no fee to apply. All applications are automatically reviewed for merit scholarships up to $27,000, as well as for other University grants. | www.caldwell.edu/apply
2026 Region Jazz Bands
Junior Jazz Band Audition Requirements (Grades 7 - 9)
All Solo Etudes, Scales, Applications, and Locations may be found on the NJAJE Website: www.njaje.org
*** REGION JAZZ BANDS - IMPORTANT DATES FOR ALL REGIONS ***
Audition Date: Monday, March 16, 2026
Rehearsals: March 23, April 13, April 16 (4 – 8 PM) April 18 (9AM – 1PM)
Concert: April 19 (3 PM)
***Audition Requirements for ALL INSTRUMENTS***
• SOLO - All students must prepare the solo listed below in its entirety. All Solo etudes are downloadable from the NJAJE Website: www.njaje.org
• SCALES / STYLES - Sax, brass, guitar, piano, vibraphone and bass students must prepare the scales listed below. Scales are listed in WRITTEN pitch. All scales must be played in a swing style. Drummers must demonstrate the ability to keep time in the styles listed below.
Scale sheets & basic drumset patterns are downloadable from the NJAJE Website: www.njaje.org
• SIGHT READING - All students must perform a short excerpt never previously seen. Students will be given 30 seconds to look over the piece before playing.
*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, and musicality.
2026 Region Jazz Bands
Senior
Jazz Band Audition Requirements (Grades 9 - 12)
All Solo Etudes, Scales, Applications, and Locations may be found on the NJAJE Website: www.njaje.org
*** REGION JAZZ BANDS - IMPORTANT DATES FOR ALL REGIONS ***
Audition Date: Monday, March 16, 2026
Rehearsals: March 23, April 13, April 16 (4 - 8 PM) April 18 (9AM – 1PM)
Concert: April 19 (3 PM)
***Audition Requirements for ALL INSTRUMENTS***
• SOLO - All students are required to prepare the solo listed below in its entirety. All Solo etudes are downloadable from the NJAJE Website: http://www.njaje.org
• SCALES / STYLES - Sax, brass, piano, guitar, vibraphone and bass students must prepare the scales listed below. Scales are listed in WRITTEN pitch. All scales must be played in a swing style. Drummers must demonstrate the ability to keep time in the styles listed below. Scale sheets & basic drumset patterns are downloadable from the NJAJE Website: www.njaje.org
• IMPROVISATION - All students must play an improvised solo demonstrating creativity, technique, & musicality.
*Sax, brass, guitar, piano, vibraphone and bass students 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."
*Drum improvisation is included as part of the solo etude.
• SIGHT READING - All students must perform a short excerpt never previously seen. Students will be given 30 seconds to look over the piece before playing.
*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). Students must be able to play 2, 4, & 8 bar phrases with a fill at the end of each phrase.
2026 Region Jazz Choirs
Vocal Jazz Audition Requirements (Grades 9 - 12)
All Solos, Scales, Audio Tracks, Applications & Audition Submission Guidelines may be found on the NJAJE Website: www.njaje.org
*** REGION JAZZ CHOIRS - IMPORTANT DATES FOR ALL REGIONS ***
Audition Video Submission Deadline: Monday, March 9, 2026, BY 11:59 PM
Rehearsals: March 23, April 13, April 16 (4 - 8 PM) April 18 (9AM – 1PM) Concert: April 19 (3 PM)
Audition Video Information
• Auditions are accepted via YouTube only.
• Applicants must include all components of the audition on ONE VIDEO without edits.
• Each application video must contain the following audition materials in the order below:
1. SLATE: student’s full name & school
2. Low Major Scale
3. High Major Scale
4. Chromatic Scale
5. Solo 1
6. Solo 2
• Complete Instructions for compiling and submitting the audtion video can be found on the NJAJE Website: www.njaje.org
• Videos and online registration must be submitted NO LATER than 11:59 PM 3/09/2026.
***Audition Requirements***
All scales must be sung ascending and descending, with the exception of the LOW major scale for ALTOS & BASSES, who may choose to begin with descending order for that scale only.
• Low Major Scale:
(sung a cappella on “AH”, ♩ = 80 approx. – starting pitch provided, or use your own pitch source)
ü Soprano – C; Alto – F; Tenor – D; Bass – G
• High Major Scale:
(sung a cappella on “AH”, ♩ = 80 approx. – starting pitch provided, or use your own pitch source)
ü Soprano – G; Alto – D; Tenor – G; Bass – C
• Chromatic Scale:
(sung a cappella on “AH”, ♩ = 80 approx. – starting pitch provided, or use your own pitch source)
ü Soprano/Tenor – G to D; Alto/Bass – C to G
• Solo 1 (music & accompaniment track downloadable from www.njaje.org):
ü Must be sung in one of the two keys provided.
ü Must be sung to accompaniment track from the website.
ü Student may include vocal stylings to demonstrate understanding of jazz style.
• Solo 2 (music & accompaniment track downloadable from www.njaje.org):
ü Must be sung in the key provided.
ü Must be sung to accompaniment track from the website.
ü Student may sing the solo in any of the following manners:
Ø Sing as written
Ø Sing the melody as written with student’s own syllables.
Ø Sing an altered version of the melody using syllables of the student’s own choosing
Ø Sing an entirely improvised scat solo
Elementary Music Class: Canva vs. Google Slides
Elementary music teachers know the drill: we wear a dozen hats every day. We’re musicians, classroom managers, cheerleaders, medics, referees—and yes, graphic designers. The visuals we create can be the secret ingredient that keeps lessons running smoothly and students engaged.
That’s why the debate over Canva vs. Google Slides has become a hot topic among music educators. Whether you need something quick and functional or bold and beautiful, each platform offers unique strengths. And often, I feel that the real magic happens when you use both.
Tech Tip: Always check with your IT team. If your school is "Googlefirst," they may not be able to support Canva as easily.
Canva: Bold, Creative, and Feature-Rich
Canva has quickly become a favorite for educators thanks to its free Canva for Education program (canva.com/education). The platform’s rich library of templates and graphics makes it easy—even for those who don’t consider themselves “designers”—to create polished, professional-looking visuals.
Key Advantages:
• Free Pro Access for Educators: Get premium features at no cost with a school email.
• A One-Stop Shop: From presentations to certificates, manipulatives, and posters, you can design it all in one place (https:// public.canva.site/teacherresources).
• Aesthetically Rich Designs – An amazing and large built-in graphics library, which allows you to upload your own materials, makes slides visually engaging for young learners.
• Creative Flexibility: Access to fonts, layouts, color palettes, and clip art for any theme.
• Music-Friendly: Upload notation like Music Ed or music-specific graphics for customized visuals.
• Animations – There are fun and exciting animations in presentation mode.
• Video Editing Capabilities - Though not a complete webbased video editor like Clipchamp or WeVideo, it still has video editing capabilities, and you can create and edit videos using Canva and its many versatile templates.
• Hybrid Use: Export slides as PNG, JPG, or PPTX to integrate with Google Slides or PowerPoint.
• AI Tools: Canva has a plethora of built-in AI tools, as well as apps. Some popular ones are background remover, blur tools, filters, text-to-image, Magic Write, Magic Studio, templates, image generators, music generators, and so much more.
• Templates - Look at these wonderful teacher templates Canva has set up: https://www.canva.com/design/DAFAb626QKM/_xcjbGr8v2zIgDR86MR3TA/view?
• Copying items from one project to another - You can copy slides, elements, and other items from one slideshow to another. In addition, you can access a previous project within a current project that you are working on.
Potential Drawbacks
• Audio Limitations: Adding per-slide audio isn’t as intuitive.
• Internet Dependence: Presentations may lag or fail without strong Wi-Fi.
• Steeper Learning Curve: Navigating Canva’s options takes some practice.
• Account Risks: Changing schools could mean losing access to your original designs.
• Takes more time – The sheer number of design options can slow down prep for many of us who feel like the manipulatives need to be perfect.
• YouTube - You can embed the video, but you have to edit the video in the timeline so it begins and ends when you would like.
Google Slides: Simple, Reliable, and Classroom-Friendly
Google Slides may not be flashy, but its functionality and reliability make it a classroom staple—especially in Google-driven schools. It integrates seamlessly with Google Drive for easy organization and collaboration.
Key Advantages
• Fast Editing: Can move elements around live (e.g., dragging rhythm cards, reordering images).
• Built-In Media and Better Audio Capabilities: Easily embed YouTube videos, MP3s, or clickable audio buttons.
• Offline Access: Works even when Wi-Fi is down.
• Music Snippet Integration (Formerly Flat for Docs - https:// workspace.google.com/marketplace/app/music_snippet/324260072797): Quickly insert notation or tablature into your slides.
• YouTube - You can embed the video and set where the video should begin and end by adding the start and end times.
• Easy Collaboration: Share and edit in real time with colleagues.
Potential Drawbacks
• Design Limitations: Fewer creative tools without third-party add-ons.
• Less Visual “Wow”: Graphics and fonts are basic unless you put in extra effort.
The Best of Both Worlds: A Hybrid Workflow
For many music educators, the sweet spot is designing in Canva and organizing in Google Slides.
Here’s how:
1. Create polished slides in Canva.
2. Export them as PNGs or PPTX files.
3. Import them into Google Slides to add audio, links, and other interactive features.
This hybrid approach combines Canva’s creative power with Google Slides’ reliability, which can be the best of both worlds.
Practical Tips for Music Educators
To maximize your productivity and creativity, consider the following practical tips:
• Keep it simple: Focus on clean, easy-to-read designs that won’t overwhelm students.
• Leverage templates: Pre-made designs save time and spark ideas.
• Use for play-along activities: If you want to create a playalong video, you can make the slides in Canva and then export them as a PowerPoint presentation. You can then open it up in PowerPoint or Keynote or Google Slides, add the music, and use a screen recording tool like Loom to screen record the play-along, advancing one slide per beat. One caveat is that it is more accurate to screen record with a presentation tool that is offline or not relying on the internet. Please message me if you would like to learn more about this process.
• Collaborate and share: Don’t hesitate to share resources with colleagues—collaboration builds stronger programs.
• Experiment and have fun: Try new layouts, animations, or integrations to keep your lessons fresh.
Final Thoughts
Whether you’re team Canva, team Google Slides, or firmly in the hybrid camp, these tools can help you create lessons that resonate with students while saving you time and stress. The key is to find a workflow that fits your teaching style and technology environment.
With a little experimentation and a touch of Canva sparkle, you’ll discover how these platforms can transform your classroom visuals and engage your students in powerful, memorable ways.
Language Matters
Val Luther Elementary Music Teacher
Moorestown, NJ
vluther[at]mtps.com
I love a play on words, and the title of this article was chosen intentionally. Not only will I be exploring the matter (topic) of language, but I will also be sharing how language matters to the disability community. The terms we use when discussing our disabled learners carries a lot of weight, history, and importance to these communities. And I am so grateful for the disabled adults I am learning this from!
If reading the term “disabled” in that first paragraph gave you pause or created resistance in your body, then you were probably taught like so many that “disabled” is an unkind word. There have been multiple terms created to avoid saying “disabled” like “special needs,” “differently abled,” or “exceptional learners.” But what the disability community is telling us is that “disabled” is not a bad word. In fact, they find place holders like “special needs” offensive. Why?
In the neurodiversity and disability movements, every brain and body is equally important and valid. In supporting those with brains and bodies that are not neuronormative (following the standard of “normal”/neurotypical), saying that a person’s needs are “special” is inherently othering and dehumanizing.
The disability community is saying, “we have human needs, not special needs.”
There are some disability communities that have specific language standards that have regrettably not been updated yet in pre-service teacher training or in our school communities.
I want to share specifically about Autism. If you look it up in the current Diagnostic and Statistical Manual (DSM-5), you will see it listed as “Autism Spectrum Disorder.” This diagnostic tool is not exactly known for staying current (homosexuality was not removed from the list of disorders until 1973). We are learning that Autism is better described as a difference in neurobiology. Autistic brains are running a different operating system on different hardware. Check out neural pruning as an example! Autistic brains are taking in and processing 40% more of the environment. In our music rooms, that means if a student covers their ears, we should honor and respect that it is too loud for them because we do not know what their individual brain is experiencing.
And yes, I wrote “Autistic.” Another practice that has been perpetuated that does not reflect the community for whom it describes, is the use of person-first language when referring to disabilities.
For years, the standard has been that it is more respectful to say “person with Autism” rather than “Autistic.” The reasoning behind this was the assertion that the individual is more than their disability. Again, this is inherently othering and ableist. It has also contributed to the misinformation that Autism can and should be cured. How-
ever, Autism is not a disease and the language we use can help to move past that stigma.
By saying “student with Autism” we are trying to separate their neurobiology from them as a person. Members of the Autistic community who have co-occurring disabilities differentiate their neurobiology from their other disabilities. They may say that they have POTS (Postural Orthostatic Tachycardia Syndrome) because it is a condition that they developed. If you took their POTS away they would generally be the same person. However they would also say that they are Autistic because you cannot take away their Autism. It is how their brain is structured and operates. Without their “Autism” they would not exist.
This language preference was evident in a 2022 survey from the UK done by autisticnotweird.com. 11,212 people, 7,491 of whom were Autistic, were asked which language they prefer for identifying themselves. 91% stated they prefer identify-first language (Autistic person).
As an educator, I find it best to ask the family which language they prefer, but it is also important to share the communities’ preferences. If a family is using person-first language, it may be because they too have been given outdated information by medical professionals or organizations that are not yet listening to Autistic voices.
When in doubt, ask the community! A rallying cry for the disability movement is “nothing about us without us.” Representation matters and so does the language we use.
I will admit that it is difficult to change the language or culture in our buildings as some of us may be viewed as “just the music teacher.” It was being told to “stay in my lane” when I tried to advocate for a student that led me to get a graduate certificate in Applied Educational Neuroscience. I loved seeing Franklin Willis at the NJMEA convention a few years ago as I have always connected with his mantra that we are “more than a music teacher.”
I understand if you are not comfortable challenging the norm in your buildings, but know that as some of the few people in a building who teach our students for multiple years, shifting our language can also shift our lens and relationships with our students. It matters.
Val Luther is a late-diagnosed Autistic mother of 2 neurodivergent children. She is in her 20th year as an elementary music teacher in Moorestown, NJ and holds a certificate in Applied Educational Neuroscience. She is the Book Study Coordinator for the Alliance Against Seclusion and Restraint, a volunteer with EndSaR-NJ, and a board member of Jacob’s Ladder Nature School.
All the World is a Stage: A Global Classroom
Dr. Keith W. Hodgson Retired khodgson.ama[at]gmail.com
What happens when high school musicians’ step beyond the classroom and onto the global stage? Recent research reveals that international travel, cultural immersion, and the shared experience of making music abroad can profoundly shape students’ perspectives, fostering both global awareness and personal growth. A study of sixteen student musicians traveling and performing across Europe explored how musical performance, cultural experiences, and social connections interact to nurture global citizenship and shift mindsets in lasting ways. The findings suggest that music education, when paired with real-world international experiences, can become a transformative pathway to developing empathy, cultural competency, and a deeper sense of global responsibility.
In the symphony of human experience, this study embarked on a musical journey into the realm of phenomenology, exploring the nuances of experiential learning abroad through the lived experiences of performing high school musicians. Specifically, it examined the perceptions of sixteen high school music students as they navigated cultural awareness and appreciation, musical motivation and inspiration, educational growth and opportunities, and social connectedness. Beyond exploring these dimensions individually, the research examined how their combined impact shaped a global citizenship mindset and influenced the fulfillment of the students’ basic psychological needs.
For more than two decades, educators and policymakers have pointed to the importance of study abroad in shaping students’ global mindset. Reports from political (Commission on the Abraham Lincoln Study Abroad Fellowship Program, 2005), economic (AACU, 2007), and educational voices (Perry et al., 2012; Tarrant, 2010) all highlight how travel and cultural immersion foster deeper understanding across cultures. Universities have embraced this idea, embedding global experiences into mission statements and expanding international programs to build cross-cultural skills and promote global citizenship (Stearns, 2009).
This work has clear implications for music educators. Research shows that experiential learning transforms students’ perspectives by exposing them to “triggers” that shift their worldview (Mikulec, 2019). Likewise, structured travel opportunities support student growth by encouraging them to examine fundamental issues through a global lens (Tarrant et al., 2011). As the American Academy of Arts and Sciences emphasized in The Heart of the Matter (Stoner et al., 2014), preparing young people to navigate complex global challenges requires fostering empathy, cultural sensitivity, and collaboration.
Music ensembles are uniquely positioned to meet this need. International tours combine performance, cultural immersion, and social
connection—creating powerful, real-world learning that extends well beyond the classroom. By offering these experiences in high school, music educators can help students build the knowledge, skills, and attitudes necessary to thrive in an interconnected world while shaping them into more compassionate, globally minded citizens.
This study explored how international travel, musical performance, cultural experiences, and social relatedness interact to influence global citizenship in high school students. Specifically, it examined whether students’ perceptions of these experiences differed by age among 15–18-year-olds, and whether participants felt that their basic psychological needs of autonomy, competence, and relatedness were fulfilled through group travel and music-making. In addition, the study investigated how international travel, and cultural engagement might contribute to the development of a growth mindset in high school students.
Theoretical Framework
This study integrates Kolb’s (1984) experiential learning theory, Mezirow’s (1997) transformative learning theory, and Vygotsky’s (1978) sociocultural theory to examine the impact of international
Figure 1: Focusing the Lens: A Multidimensional Theoretical Framework Alignment (Hodgson, 2024).
music performance on high school students. Kolb emphasizes learning through experience (Lewis & Williams, 1994), Mezirow focuses on perspective transformation (Strange & Gibson, 2017), and Vygotsky highlights learning through social interaction. Figure 1 illustrates how together; these theories provide a multidimensional framework for understanding how cultural immersion and musical engagement foster global citizenship and growth mindset.
Learning Beyond the Classroom
At its core, experiential learning is about growth through doing. More than a century ago, John Dewey (1916, 1938) argued that education should be participatory and interactive—a philosophy later expanded by David Kolb (1984/2005), who framed learning as a cycle of experience, reflection, and application. When educators guide students through this process, the results reach far beyond the classroom, fostering both personal and academic development (Tarrant et al., 2011).
Educational travel has long been shown to spark this kind of growth. Students who experience other cultures firsthand often develop intercultural competence (Hovland, 2009), greater global awareness (Chieffo & Griffiths, 2004; Dolby, 2007), and even a stronger sense of global citizenship (Tarrant et al., 2011). Research consistently shows that immersion and active engagement leave a deeper impact than passive learning (Palmer, 2015; SYTA, 2017), with short-term trips often planting the seeds for lifelong global engagement (Engle & Engle, 2003).
When paired with reflection, these experiences can be transformational. Mezirow’s (1978/2003) transformational learning theory explains how cultural encounters prompt students to re-examine assumptions and shift perspectives. Immersion encourages adaptability and creativity (Leung & Chiu, 2010; Martin et al., 2015), builds cross-cultural competence (Narvaez & Hill, 2010), and even strengthens confidence and professional skills (Cubillos & Ilvento, 2012; DuVivier & Patitu, 2017).
sources: on-tour observations, journals, and interviews, along with follow-up focus groups held after the students had time to reflect. This mix of methods provided a rich picture of their perspectives and helped confirm findings from different angles.
Guided by established learning theories (Dewey, Kolb, Mezirow, Vygotsky), the study focused on four key lenses—travel, cultural, musical, and social experiences. Together, these dimensions offered insight into how students’ worldviews shifted, how they built empathy and cultural understanding, and how core psychological needs like autonomy, competence, and relatedness were met through the tour. By listening to the voices of these “experiential experts,” the research highlights how international music performance can be a powerful catalyst for both personal and global growth.
Although study abroad is well established in higher education, its role in high school music programs has only begun to be explored. Scholars note that global identity is shaped where education and cultural immersion meet (Gaudelli, 2016). Music performance travel, when intentionally designed, has the power to transform young musicians into globally minded citizens (Antonelli, 2021). This study examines how international performance tours for high school students can nurture global citizenship and growth mindset by connecting travel, music, culture, and social relationships.
How the Study Was Conducted
This study followed sixteen high school musicians on a three-week performance tour of Western Europe, exploring how international travel, cultural immersion, music-making, and social connections shaped their growth as young global citizens. Out of a larger group of 150 students from seven states, these sixteen were purposefully selected to represent different ages (15–18), genders, and regions. Each participant was an active band, orchestra, or choir member in their home school program and on the tour.
The case study approach allowed for a deep dive into their lived experiences—what it felt like to perform abroad, interact with new cultures, and share the journey with peers. Data came from multiple
What the Students Discovered
For these high school musicians, the blend of international travel, performance, cultural immersion, and social connection was truly transformative. Several powerful themes emerged from their reflections.
Students emphasized respect as a central lesson—gaining a deeper appreciation for cultural differences and the importance of treating others with dignity. Cultural learning enriched their perspectives, with historic sites, diverse traditions, and performances abroad offering insights that no classroom could replicate. Openness became essential as they embraced new foods, customs, and experiences, while empathy grew through meaningful cross-cultural exchanges. Many also noted the impact of travel itself as a catalyst for growth, fostering independence, problem-solving, and a willingness to step outside their comfort zones.
Equally important were the personal and social dimensions of the journey. The formation of friendships played a pivotal role in meeting students’ need for relatedness, providing emotional support and a strong sense of belonging. Collaborative performances and group activities built trust and teamwork, while success in new and challenging musical contexts reinforced competence and affirmed their growth as young musicians. These experiences validated their skills
Figure 2: Data Analysis Framework of Experiential Learning (Hodgson, 2024)
and fueled confidence, leaving them proud of their artistic achievements.
Students also reported greater self-efficacy as they learned to navigate unfamiliar cultural and social landscapes. Opportunities to explore independently—whether managing schedules, handling money, or solving day-to-day problems—helped them develop autonomy, decision-making, and leadership skills. Together, these experiences nurtured resilience and a growing belief in their ability to adapt and thrive in diverse environments.
Perhaps most significantly, the trip contributed to the development of a growth mindset. While not formally measured, students’ reflections during interviews, observations, and focus groups consistently revealed motivation, curiosity, and inspiration that pointed to a shift in how they viewed learning and personal growth. They described greater curiosity, perseverance, and the belief that intelligence and abilities can grow through effort. By navigating cultural
differences, engaging in collaborative performances, and reflecting on their experiences, students built a foundation for lifelong learning and adaptability.
Taken together, these findings show how international performance travel helps music students grow not only as musicians but as people—cultivating empathy, independence, resilience, and global awareness. For many, this was more than a trip abroad; it was a transformational step toward becoming compassionate, confident, and globally minded citizens.
Conclusion: Music as a Gateway to Global Citizenship
This study showed how powerfully international travel, cultural immersion, and music-making can shape the lives of high school students. Performing for European audiences, exploring diverse traditions, and connecting socially across borders gave students more than memorable experiences—they fostered respect, empathy,
Figure 3: An Emerging Theme Analysis
and a deeper awareness of the world. For many, these encounters expanded their sense of autonomy, validated their musical competence, and strengthened the friendships and connections that fulfill their need for belonging. Just as important, the challenges of travel encouraged adaptability, resilience, and the belief that growth comes through effort—hallmarks of a growth mindset.
In short, music performance abroad can be far more than a tour; it is a transformative learning experience. By engaging with the world through music, students not only develop as musicians but also as globally minded citizens ready to contribute with empathy, creativity, and purpose.
Looking Ahead
While this study captures immediate insights, important questions remain. How do these experiences differ for students from other cultural or educational backgrounds? What long-term influence might they have on students’ future studies, careers, or civic engagement? And how much do factors such as the intensity, length, or focus of a program—especially the role of music itself—shape the depth of transformation?
For music educators, the message is clear: international performance opportunities are not just enrichment activities, but powerful tools for developing students’ character, mindset, and global awareness. As our world grows more interconnected, these experiences may well be among the most meaningful we can offer the next generation of musicians and leaders.
See Full Dissertation: https://tinyurl.com/HodgsonDissertation2024
References
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Antonelli, D. (2021). The Educative Impact of Music Study Abroad Teachers College, Columbia University.
Chieffo, L., & Griffiths, L. (2004). Large-scale assessment of student attitudes after a short-term study abroad program. Frontiers: The Interdisciplinary Journal of Study Abroad, 10, 165-177. Commission on the Abraham Lincoln Study Abroad Fellowship Program. (2005). Global competence and national needs. Washington, DC: Lincoln Commission.
Cubillos, J. H., & Ilvento, T. (2012). The impact of study abroad on students' self-efficacy perceptions. Foreign Language Annals, 45(4), 494–511. https://doi.org/10.1111/ j.19449720.2013.12002.x
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Keeping in the (Infinity) Loop: What I've Learned from Working With My Students on the Spectrum
Benjamin Norkus
Wilson Elementary School, Westfield bnorkus[at]westfieldnjk12.org
When I first told my friends, family, and teacher colleagues that I had signed my contract to go into my fifth year as a Preschool Music and Movement teacher for students on the autism spectrum and with multiple disabilities, their eyes widened in surprise. The general discussions ranged from the difficulties of classroom management at the Preschool level to the energy required to sustain that type of position to providing different supports to help all of my students to diapers and potty training. I was green and I needed to make a big change in my career so I was excited for the year ahead.
My first day felt, to put it bluntly, like a train wreck at super speed. Some students ran happily into the building while others, some of whom had never before been in a school setting, had to be carried in, screaming and crying all the way. My daily schedule was eight thirty-minute classes where the “show had to go on.” Each room I entered was vastly different. I had come in with a single lesson plan for the day and I tried to make it work for each group. Some groups were more successful than others, and I left feeling a little defeated eardrums pounding. I was confused about what to do to move forward. I just didn’t have the background experience and enough tried-and-true activities to pivot my lesson plan to something that would engage the students that needed it while also soothing those who had a lot of first day feelings. I was determined from that not-so-successful first day to find a path forward that would help my students get the most out of my time with them while also helping me to feel more confident teaching all different types of musicians and learners. Through my own experiences in the field, these are the top three tips I wish someone had brought to me before that first day.
Tip #1: Seek it out, and then make it your own!
As a millennial, I immediately sought the advice and knowledge from two of my favorite teachers out there: “YouTube
University” and Google. My searches included articles and videos specifically dealing with Pre-K learners, music therapy, and professional development opportunities that would help give me direction. The first resources I found were from the amazing music therapists and educators Ryan Judd and Stephanie Leavell.
Ryan Judd has videos on his YouTube page @RyanJuddMusic which show some of his sessions with clients. Ryan utilizes calming strategies for his clients that include blowing bubbles to encourage deep breathing and using his guitar to play music at a tempo close to that of a resting heart rate. Ryan’s recorded guitar tracks are a great way to establish a safe space while students are entering the music room.
Stephanie Leavell has an extensive online community and brand called Music for Kiddos that provides music educators and therapists with a database of original songs that can be utilized to work on specific music ed. and music therapy goals. Many of these songs and strategies are catered towards Pre-K, Kindergarten, and First Grade musicians. The types of songs range from greeting songs to movements songs to instrument songs to holiday songs to mindfulness songs. All of these songs are well thought by Stephanie herself, and students of various ages will enjoy them due to their catchy nature. With so many different types of songs, you can find favorites that can be repeated week after week so students develop familiarity and confidence. Stephanie also provides blog posts with different sensory props and instruments to use with your students. These include canopy scarves, egg shakers, drums, cabasas, stretchy bands, fidgets, and thunder tubes.
Utilize the songs and knowledge of other music educators and therapists who have experience working with students on the spectrum to get comfortable, but don’t be afraid to come up with your own ideas and run with it! Starting with simple traditional songs and changing the words to fit the goals and activities you want to work on with your students is a great starting point.
Tip #2: Don’t rush the silence!
Allowing for processing time is one of the most helpful things we can provide for our students. Don’t be afraid to create pauses and breaks in your lesson so students have the agency to finish them (fill-in-the-blank) and demonstrate that they are following along. These silences will feel extremely long at first, but I urge you not to rush through. Your students might be just a moment longer away from responding. Everyone is moving at their own pace, so as the teacher you can cater the length of silences to the student you are working with. Knowing your students and building those genuine connections will help with this. Take the time.
Tip #3: Flexibility is your best friend!
Changing your mindset from one that is married to your lesson plan to one that is open to change in the moment is freeing. When I discovered that my ABA lesson objectives could include sequencing with rhythms, following musical directions, instrument exploration, as well as academic goals, taking turns with shared equipment, and fine and gross motor skills, I had a full change of perspective. I was now using my songs and activities to help my students work on skills for life which is POWERFUL. My choices within the lesson were purposeful and catered to the goals of my students at that moment.
There will be potential for random outbursts: screaming, crying, calling out, spontaneously getting up out of our seats, etc. You will use your best judgment on whether to address these behaviors, ignore them, or call on the help of your excellent paraprofessionals in the room. Don’t let these distractions “trip you up.” Keep the class moving and be ready to meet your students where they are on that day. For some of our students who are nonverbal or who are just beginning to use speech to communicate, this might be their only way of communicating their big feelings.
I am currently working at an elementary school that houses my district’s ABA programs, and I could not be happier with my position. Using music making to work on my student’s goals and see their joy makes the work I do worthwhile. Everyone in my classroom is a part of a team when we make music together, and I will always be the first to cheer and highlight student successes along the way.
My unique teaching experiences have ignited a passion for working with students on the spectrum. This passion led me to complete various training programs such as NYU’s Introduction to Nordoff-Robbins Music Therapy, and I am also hoping to pursue a music therapy certification in the future. I’m in no rush though! My mindset is to stay flexible and give myself permission to take the time I need in my own life, too. We all deserve that, teachers and students alike.
New Jersey Young Composers Competition
Information & Registration
The New Jersey Music Educators Association is proud to announce the 2025-26 New Jersey Young Composers Competition (NJYCC) for high school students in grades 9–12 (graduating June 2026). Finalists will be invited to attend an interview and critique session to be held in during the NJMEA State Conference at the Atlantic City Convention Center on Saturday, February 21, 2026. 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 time and location will be announced in January 2026.
The deadline for online application submissions is December 12, 2025. Endorsement page and application fees must be postmarked by December 1, 2025.
Questions about the competition may be directed to Dr. Andrew Bleckner, NJYCC Chairman at: andrew.bleckner[at]prismsus.org
Why Music is Important
Arwen Kapusta North Brunswick Township NJMEA Advocacy Chair arwenkapusta[at]gmail.com
If you joined us at the NJMEA Conference in February, you may have dropped by the NJMEA Advocacy booth in the main hall. At the booth, we asked students, music educators, and other conference attendees to fill out a postcard prompting them to describe why they felt music is important to have in schools. We received hundreds of wonderful responses to our prompt that are a true testament of the feelings and beliefs of real music students, music educators and friends of music across the state of New Jersey. Special thanks to everyone who took a few moments out of their conference time to submit a response.
After reviewing all of the responses, I divided them into four categories of answers: Skill Building, Social Emotional Learning, WellRounded Education, and Self Worth and Community Building. While many of the responses can fit into several categories, I have placed each response into a category I believe to be most fitting. All four of these overarching themes are critical pieces to student learning and development.
SKILL BUILDING
• Music develops personality and interest in self-promotion
• Music builds confidence
• Music empowers students
• It is an interdisciplinary subject that promotes critical thinking, social emotional learning, confidence, responsibility, goal setting, and more
• Enhances cognitive development which improves math and language development
• It is a curricula that aids all students in learning academic and life skills
• It teacher perseverance
• It instills that time and practice produce positive results
• Helps students to build social skills
• Music helps students to build organizational skills
• Music helps develop listening skills
• Music can help students process emotions
• Music teaches empathy
• Participating in music encourages collaboration
• It fosters maturity
• It fosters responsibility
SOCIAL EMOTIONAL LEARNING
• Humans need an outlet
• Music saves lives
• Music fills our soul
• Music is a place where people can express themselves and feel like they belong
• Music is a place where students can have fun
• Music is the fullest and most sincere catalyst for human expression
• It intertwines with human development physically, emotionally, and spiritually
• Music brightens peoples’ day
• Music expresses what words cannot
• It gives students passion and provides joy
• Music allows for self-expression
• Music spreads kindness
• Music has healing powers
• Music makes us better people
• Music provides emotional release
• Supports social emotional well-being
• Music is exciting to participate in and gives students something to look forward to
• It helps reduce stress
• Music is inspirational
• Music is essential to life
WELL-ROUNDED EDUCATION
• Music supports all other subjects
• Music makes connections with the world
• Allow students to have a creative outlet
• Music encompasses all core subjects
• Most students who are also musicians are in the top percentile of academic achievers
• Music is a place where students who may not excel in math, science, or ELA can find a place to thrive and excel.
• When you grow up with music and other arts, it becomes part of who you are
• Provides balance and peace to an AP/Honors class schedule
• Music is important because all subjects matter
• Music uses the whole brain
• Allows non-linear students an opportunity to excel and lead
• Music is a versatile career opportunity for students
• Provides great extra-curricular experience
• Music is a life-long skill
• Music takes students beyond their comfort zone and pushes them to new levels
SELF WORTH AND COMMUNITY BUILDING
• Give students a place to listen to voices different than their own and learn to create harmony
• Music does not discriminate against race, gender, or disability
• Music is universal and safe for everyone
• Music builds value and community
• Music brings people together
• Music presents authentic expression and connects everyone on a universal level
• Music is essential because it can reach those that nothing else touches
• It helps spread people’s culture and tell stories
• Brings people out of their shell
• Teaches a sense of community and is akin to team sports
• Gives students an opportunity to discover their talents
• Allows people to connect with cultures other than their own
• It gives the sense of connection and family outside of the home
• Music unites people from all walks of life
• It gives people purpose and a zest for life and love
• Provides opportunities to get involved
• It helps people make friends
• Music connects families
• Music allows students to feel included
• Empowers students to explore their potential
• It is a gateway for students to understand more about themselves
• It includes all children
As you already know and may have experienced first-hand, we currently live in an educational world that continuously places a high emphasis on “tested subject areas” like Mathematics, Language Arts, and Science. Too often, the validity of courses related to the arts is questioned. While we as musicians and music educators know and understand the incredible value a music education brings to our students, our community, and our person, it is our responsibility to be able to articulate to others the positive impact of music and what specifically makes a music education a non-negotiable and necessary subject area in schools.
A great way to advocate is simply by reminding parents about the positive impact of music. At school functions like Back to School Night, Parent-Teacher Conferences, and even school music performances, handouts can be made available to parents that describe the benefits of a music education. Feel free to use these lists as a guide. Modify and add to them as you see fit! If you need support or additional ideas for program advocacy, please email me at arwenkapusta[at] gmail.com.
2026 marks the 41st anniversary of the annual observance of Music In Our Schools Month® in March. Visit nafme.org/MIOSM for lesson plans, shareable materials, and more to help you advocate for and promote your school music program. We remain United Through Music!
nafme.org/MIOSM | #UnitedThroughMusic | #MIOSM
5 Reasons to Include Purposeful Pathways in the Elementary Classroom
Brent Geyer
Westfield Public Schools
rgeyer[at]westfieldnjk12.org
If you’re looking for a versatile, well-sequenced curriculum that brings your elementary music classroom to life, Purposeful Pathways, written by veteran teachers Roger Sams and BethAnn Hepburn, is an excellent choice. I’ve personally used this series for nearly a decade with great success, so here are five reasons to add this resource to your teaching toolkit.
1. Great for New Teachers & Teachers Switching to General Music
For teachers without extensive training in Orff-Schulwerk, Kodály, or eurhythmics, Purposeful Pathways is a lifesaver. Each lesson is thoughtfully sequenced with detailed steps and clearly listed concepts to help align with your district’s curriculum. If you need help with understanding how to get started with this series, a quick online search will lead you to hours of video demonstrations by the authors themselves.
2. A “Choose Your Own Adventure” for Music Teachers
Unlike other resources, Purposeful Pathways offers multiple “pathways” for each lesson that includes singing, playing, literacy, movement, improvisation, and composition. You decide which approach best suits your students and your teaching style. Teach a song through a game or creative movement, revisit it next week or next year through notation, and differentiate with ease between classes and grade levels.
3. Includes Electronic Visuals & Manipulatives
Say goodbye to endless evenings creating slides from scratch. Each lesson has ready-made visuals for PowerPoint, Promethean, and Smart Notebook (sold separately). Plus, free printable manipulatives, like rhythmic building blocks, make handson learning easy and fun. I’ve laminated mine on cardstock and they’ve lasted for years!
4. Encourages Playful and Active Music Making
Children learn through play and movement, and these lessons encourage that. Whether it’s pretending you’re a squirrel climbing a tree using short staccato movements or walking through deep snow with heavy, sustained steps, Purposeful Pathways taps into children's imaginative side of music-making. Visuals and diagrams are also included to help you teach singing games, folk dances, and purposeful creative movement.
5. Encourages Creativity & Collaboration through Improvisation & Composition
Not sure how to tackle improvisation or composition at the elementary level? Purposeful Pathways breaks it down with clear steps to introduce these important skills. Just learned Do, Re, Mi or the pentatonic scale? Your students will improvise question & answer phrases through singing and playing. Just learned sixteenth notes? Students will collaborate in creating a 16-bar composition in elemental form using the provided rhythmic building blocks.
Tips & Tricks
These lessons aren’t meant to include every pathway in one lesson. Instead, spread them out over several weeks or revisit pathways in future grades to deepen students’ understanding and skills. The books aren’t tied to specific grade levels. Instead, match the concepts to your curriculum and modify freely. For example, I use Book 2 for grades 1–3, and Book 3 for grades 3-5.
Want to perform a song for a concert? Take a simple song or chant and turn it into an even bigger performance. For example, have an entire grade sing a song, and assign each class a pathway to be performed in between each repetition of the song, creating a grand rondo form (ABACADA). The A is the pathway to singing with everyone, then the B class performs their pathway to composition on instruments with speech, and then the C class performs their pathway to movement, etc. Before you know it, you’ve turned a 20-second song into a 5-minute performance, and at the same time, you’ve included your students' creativity, giving them ownership of their performance.
If you’re ready to make active music-making, creativity, and flexibility the heart of your classroom, Purposeful Pathways is the perfect place to start. It’s truly a pathway worth taking!
School Name:
The 71st Junior High/Middle School Choral Festival Application Form
School Phone:
School Address: City: Zip:
Director’s Name : Home Phone :
Home Address: City: State: Zip: Email:
NAfME Membership #: Expiration Date: _______________ (Please include a photocopy of your NAfME card)
Name of performing group:
Voicing:
Number of singers:
Number of rehearsals per week: Please check the appropriate category below:
Will participate at Rowan University, (South Site) March 19, 2026: 9:15 - 1:30 pm: (Snow date: March 20th)
Will participate at Monroe Twp MS, (North Site) April 29, 2026: 9:15 - 1:30 pm:
We can arrive at: We must depart no later than:
Proposed Program (Time limit: Not to exceed 10-12 minutes, no more than 2 titles) THIS SECTION MUST BE COMPLETED AT THIS TIME! Please Print or Type Legibly
(If any of the above titles are folk songs, please indcate country or region of origin)
FEE: $150.00 per group (non-refundable)
FESTIVAL DATES: (Limited to the first TEN (10) Groups on each date)
DEADLINES: Thursday, February 6, 2026 for Rowan University Thursday, March 19, 2026 (Snow Date: Friday, March 20, 2026) Wednesday, March 13, 2026 for Monroe Twp MS South Site: Rowan University TIME: 9:15 - 1:30 pm
SEND TO: Donna Marie Berchtold, Registrar 545 South Buffalo Avenue
Wednesday, April 29, 2026 Galloway Township North Site: Monroe Township Middle School South Egg Harbor, NJ 08215-1720 TIME: 9:15 - 1:30 pm
EMAIL: firesongwed@gmail.com
FESTIVAL HOST: Donna Marie F. Berchtold & Karen Blumenthal
Other information including directions and schedules will be mailed.
ALL INCOMPLETE FORMS WILL BE RETURNED! MAKE CHECK PAYABLE TO NJMEA (Do not send cash) CHECKS MUST ACCOMPANY ALL REGISTRATION FORMS BE SURE TO INCLUDE A PHOTOCOPY OF YOUR NAfME CARD
If your school is paying by Purchase Order, it must be sent to: NJMEA
300 W Somerdale Road, STE C Voorhees, NJ 08043
A Follow Up: "New to the FieldNow What? A Roundtable Discussion for 1st Year Music Educators" NJMEA 2025
Mackenzie Miller
Dr. Drew X. Coles
Teachers College, Columbia U Teachers College, Columbia U mm6077[at]tc.columbia.edu dxc2102[at]tc.columbia.edu
During the NJMEA 2025 Conference, we presented a session called “New to the Field-Now What? A Roundtable Discussion for 1st Year Music Educators”. The panel included: Elise McAloon, Band Director at West Essex High School. Annie Pasacle, Associate Director of Bands at Wayne Hills High School. Grace Gardner, Choir Director at Carteret High School. Hayley Ashe, Music Teacher at Veterans Memorial Middle School. Ronald Bonilla, Elementary Music Teacher at Hurffville Elementary School. This session consisted of 5 Early Career teachers in the field of music education representing different New Jersey institutions who were willing to share their experiences and advice for 1st Year Educators in attendance.
This session brought together these passionate educators to share their experiences, advice, and strategies for navigating the first year of teaching. Below are some key questions from the discussion, along with panelist responses:
Q: Our panelists up here today do more than just teach during the day. They're in charge of multiple extracurricular ensembles and activities. How do you all balance work life and home life?
A: “Focus on yourself. Focus yourself mentally, decompress, think about what you need to do, right?” -Ron
“When I go home, I'm a huge self care person. I started having hobbies when I started teaching. I read. Now, if you knew me a few years ago, I have a Kindle. I love to lay in bed and drink tea and read. I like to crochet. I like to craft. I like to find other creative outlets. Because sometimes, when you're making music all day, when you go home, it’s hard when the thing you love is also work” -Annie
“I learned the hard way that being the last car in the parking lot does not make you a better teacher. You cannot water plants from an empty watering can, giving time for yourself to recharge. That is what makes you a better teacher. So you can give your students 100% and be present with them. And that was probably my hardest lesson that I learned to set boundaries as a first year teacher last year”. -Haley
Q: How do you recruit and retain students in your program, especially after COVID?
A: “Have a good relationship, like, with the middle school middle school program. Get your middle school director involved. Our middle school teacher works with our marching band percussion ensemble. Like, I'll go to middle school to help them out..It's good for the kids to see that and to know that it's just like, you could just keep going and then, like, we're both still here, and like, nothing really changes”. -Elise
“For marching band, we have eighth grade band night. So the eighth graders will come on a field trip, and they'll come right after school. They'll learn stand tunes and sit in with the high schoolers. And then we give them all pizza, and they sit in sections. We also do a concert in February called band through the ages, where we go down to the middle school and the sixth grade band will play. The seventh and eighth grade band plays together, then the high school band will play”-Annie
“ We go perform at flyers, games and stuff like that, you know. And they really love it” -Ron
“We also have on our student council for choir, a retention and recruitment officer, so it's a student who's in charge of recruitment. And your biggest asset, again, is your students. They will go and they will bring their friends”. -Grace
Q: What new tools or methods have you explored to enhance student learning?
A: “I'm always looking up others, like the curriculum, like at other schools, see what other people are doing, and just gather as much and then make it my own” -Elise
“Really, a lot of times that technology will help make your job easier. Like, I love sight reading factory,” -Grace
“Really good resources, smart music or make music, right? We pay for the subscription for all of our kids. And then you can assign, there’s a huge catalog of pieces, and probably the piece that you programmed is in the catalog. And then the child puts in what their instrument is, and then it opens their part, and if you click on a note. It gives the fingering chart for that note. And you can have a metronome. You can speed
it up, you can slow it down. You can have it play the whole song. You can have it play just the part, it's a really nice practicing tool. You can also assign homework through it. There's also sight reading through it, scales, different exercises”
-Annie
Q: Think back to when you were in your first year teaching. What advice would you give yourself?
A: “I would tell myself to be patient. I would be like, just wait. Just be patient. Take it one day at a time”. -Annie
“The advice that I would give myself is just like, go with the flow”. -Elise
“I think that would be my advice too, honestly, is just go with the flow, take it one day at a time. I'd say the other part that's kind of connected to that is "have fun with it”. -Grace
“Mine would probably be don't be afraid to ask for help. No one is going to think less of you for asking for help. In fact, asking for help shows that you care a lot about what you do”.
-Hayley
“For me, it would definitely be like slowing down. Slow down. Crazy, like, I want to do everything, but, like, I didn't want to do things frankly, definitely slow down”. -Ron
Being a first-year teacher brings new perspectives and challenges. This Roundtable Discussion highlighted the experiences, insights, and obstacles faced by educators in their Early Career years. Our hope is that every first-year music educator reading this feels reassured-they are not alone, and they are making a difference in students’ lives, one lesson at a time.
The Online Community Exclusively for NAfME Members
NJMEA & NJ Symphony Partnership 2024/25 in Review:
Symphony personnel utilized for All State Orchestra sectionals in the fall Symphony personnel utilized for our Masterclass Series, as structured and scheduled between NJMEA and Symphony staff for New Jersey students
The partnership brought Symphony musicians into 13 schools! Last year visits occurred in: Bergen, Hunterdon, Mercer, Middlesex, Salem and Union counties
Testimonials:
“A great opportunity for our students and they loved seeing and talking to someone that plays professionally!”
“Multiple students commented that they liked having the perspective of another professional in the room! Thanks for offering this!”
Through a special partnership between New Jersey Symphony and the New Jersey Music Educators Association (NJMEA), teachers can request a free in-school visit from a Symphony musician.
Choose your format:
• Sectional or ensemble coaching
• Performance demo + Q&A
O ered at no cost to you or your school with an NJMEA membership Sessions run January–June and are scheduled based on availability.
Sound Healing in the Music Classroom: Insights and Questions from our 2025 Conference Session
Drew X. Coles
Cassady Maria Grablauskas Teachers College, Columbia U Teachers College, Columbia U dxc2102[at]tc.columbia.edu cmg2275[at]tc.columbia.edu
During our recent presentation at the New Jersey Music Educators Association (NJMEA) conference, music educators engaged deeply with the concept of sound healing, exploring practical applications and raising thoughtful questions about integrating these practices into their classrooms. Sound healing, defined by Heather (2007) as “the therapeutic application of sound frequencies to the body/mind to bring harmony and health,” resonated profoundly with educators eager to foster enhanced concentration, relaxation, and emotional well-being among their students.
Educators at the session were particularly intrigued by the principles of resonance and entrainment. Resonance, the concept that every organism and object possesses a unique vibrational frequency, offered practical implications for educators considering how intentional sounds could harmonize classroom environments. Jiminez’s (2022) explanation of entrainment—the synchronization of biological oscillators such as brain waves and respiration through sound—further grounded participants' understanding of how intentional auditory experiences might support students' cognitive and emotional states.
One practical application discussed was our demonstration of "Sound Bath for the Chakras," a composition we designed to introduce educators and students to sound healing within educational settings. This piece incorporates yoga philosophy and the chakra system, linking specific pitches, colors, vocal tones, and themes to distinct areas of the body and emotional states. Educators reported experiencing profound relaxation, improved concentration, and emotional relief during the demonstration. For example, one participant described significant relief from a muscular injury along the spine, prompting a broader discussion around the potential therapeutic benefits of sound healing beyond emotional and cognitive improvements.
Several educators expressed interest in applying simplified or scaffolded versions of "Sound Bath for the Chakras" to meet diverse learning standards within general, vocal, and instrumental music curricula. They particularly appreciated the flexibility of the composition, allowing adaptations ranging from brief transitional activities to comprehensive ensemble performances. These educators identified potential for increased student engagement, focus, and relaxation, envisioning sound healing as a valuable component of their pedagogical toolkit.
Another important topic raised by in-service educators was the use of recorded sound healing resources—particularly YouTube videos featuring drones, singing bowls, tuning forks, and other meditative sounds—as a quick way to recenter students during times of class-
room transition. Educators noted that even brief intervals of exposure to calming frequencies or guided relaxation recordings could help students shift focus between tasks, reduce fidgeting, and create a more collaborative learning environment. Teachers shared experiences of playing these recordings for one to two minutes between activities, observing noticeable improvements in student engagement and readiness to learn.
The NJMEA session also surfaced several important questions from educators regarding implementation. They inquired about optimal durations for sound healing exercises, strategies for introducing students to mindfulness and sound-focused practices, and methods for evaluating their impact on classroom dynamics and individual students’ emotional and cognitive health. Educators were particularly interested in measurable outcomes, inspired by evidence such as Goldsby’s (2022) findings, which indicated significant improvements in tension, anxiety, depression, and overall mood states following sound healing interventions.
Participants concluded that incorporating sound healing into music education could significantly enrich their teaching practice, offering a meaningful approach to addressing both student and teacher wellbeing. As music education increasingly recognizes its role in holistic student development, sound healing presents itself as a promising and deeply resonant practice for educators committed to nurturing comprehensive wellness in their classrooms.
Link to Sound Bath: https://youtu.be/D_Zto_ZlVYc
References
Goldsby, T. L., et al. (2022). Sound healing: Mood, emotional, and spiritual well-being interrelationships. Religions, 13(2), 123. Heather, S. (2007). What is sound healing? The International Journal of Healing and Caring, 7(3).
Jiminez, R. (2022). Biological oscillators and entrainment in neuroscience. Frontiers in Neuroscience, 16, 567-583.
Instrument Solo
2025 - 2026
ALL STATE BAND SOLO LIST
Composer
Publisher
Piccolo Concerto in C Vivaldi International 2782
Flute Sonata - mvmts 1, 3, March Hindemith Euro Am/Schott ED2522
Oboe Concerto in d minor Marcello Schott OBB32
English Horn* Divertissement Bozza Southern SS268
Eb Clarinet* Concertino (Bb Clarinet Version) vonWeber Carl Fischer W1893
Bb Clarinet Solo de Concours (No pg 1; Lento-16th note=63) Rabaud Southern SS282
Eb Alto Clarinet* Sonata in a minor (Bass Clarinet edition) Marello Southern SS159
Contra Clarinet* Sonata in a minor (Bass Clarinet edition) Marello Southern SS159
Bassoon Sonata in f minor Telemann International 1151
Bb Sop. Sax* Incantation and Ritual Gates To the Fore Publishing
Eb Alto Sax Sonata Creston Shawnee Press
Bb Tenor Sax Sonatina Schmidt Western International AV138
Eb Bari Sax Ssptieme Solo de Concert Singelee Northeastern Publications
Bb Trumpet Concert Etude Goedicke Hal Leonard HL00121835
Horn Morceau de Concert Saint-Saens Alfred TS0002
Trombone Contest Piece Alary Carl Fischer CU754
Bass Trombone* Sonata Wilder Margun Music/Shawnee
Euphonium Rhapsody Curnow Winwood Music
Tuba A Stylized Suite Salotti Schaffner Music 051222
Harp* Concerto for Harp Handel Schirmer/Hal Leonard HL50502290
Piano* Sonata Op 13 - mvmt 1 Beethoven G. Henle Verlag HN1348
Timpani Solo No. 3 - "Timpanese Waltz" Rieppi Bachovich Music Publications (from 12 Modern Timpani Solos)
Mallets Yellow After the Rain Peters TRY Publishing 1082
Battery Percussion
Snare Etude No. 8 from 12 Studies for the Drum Delecluse Leduc AL23410 (Douze Etudes)
Keyboard Etude No. 9 Whaley Meredith Music (from Audition Etudes)
*Instruments will be used as needed.
"Is
Music Easy or a Hard Discipline?" Pedagogical Wisdom from a Conservatory Artist: Martin
Canin of the Julliard School
Frances Covalesky, DMA, MM, BA
Saint Elizabeth University & Dover Public Schools
fcovalesky[at]dover-nj.org
Martin Canin (1930-2019)
The Juilliard School Faculty (1976-2016)
“If you can do what you love and have a degree of natural talent or affinity for a field of endeavor, go for it! I think that self-motivation is the key here. (Any profession can be easy or hard depending on circumstances.) – Martin Canin
Foreword
Foremost, the beloved world of music, whether performance or education or a combination… is a beautiful, awe-inspiring legacy. In order to afford future students opportunity to experience the genius of classical music in all forms, legacies must be preserved, protected, and handed down. Talented teachers are instrumental. Passion and hard work are requisites. Presented herein, a sampling of geniuses from the historical past and the coeval present whom many might well agree constitute this legacy.
It Begins with Great Music Teachers
The wisdom gained from extraordinary teachers incentivizes pursuit of a seemingly difficult art. Embracing the best of the past, present and future emboldens the investment in this type of transformational education. Two iconic music giants who led the way were also teachers namely Johann Sebastian Bach (1685-1750), and Ludwig van Beethoven (1770-1827). The outpouring of these masterminds displayed in the magnitude of their masterpieces established foundational pillars. Their stories extending beyond the grave crowned with victory are further affirmation. Many respect Bach and Beethoven’s homage to the Divine Creator. Prior to releasing his compositions, Bach ascribed three Latin words, Soli Deo Gloria, English, Only God’s Glory. These words could well reveal the impetus behind courage of conviction, fortified wisdom and exuberant talent. In a letter, Beethoven encouraged friend Emilie, “Do not practice art, but get at the very heart of it; this it deserves, for only art and science raise men to the God-head.” (Beethoven: Letters, Journals and Conversations.) Contemporaneous, Martin Canin of the Juilliard School, an internationally sought after pianist and intellect was a remarkable master artist teacher who understood well the prodigious nature of music including demands, nuances, and intricacies of the profession. His
insight further suggested a nod to the past. This writing seeks to synthesize past with present in response to a question asked of me by a student… “Is music easy or a hard discipline?”
Martin Canin: Lang Lang and Glenn Gould
Martin Canin, Juilliard School (1976-2016), epitomized many facets about which had one been fortunate to experience, insight was gained into the world of music extraordinaire. An adjudicator of the sensational Chinese pianist, Lang Lang (b. 1982), Mr. Canin remarked, “I judged him in Germany” and smiled, “he won that competition.” A personal friend of the highly acclaimed pianist, Glenn Gould (19321982), Mr. Canin commented, “…he was an extremely individual player. I often wonder what his teacher must have thought.” He explained, “He was a genius and he played so wonderfully… his teacher must have been pulling his hair out… your bass is too loud. Why are you doing it this way?” He continued, “But that’s what he did and it was something so wonderful that it was huge.” Mr. Canin recalled his friendship with Mr. Gould, that they first met at (The Manhattan School of Music, NYC, proudly an alma mater of mine, and at that time…) the Juilliard School. As a graduate student, I too, met Glenn Gould… through his recordings. Inspired by one particular music class, I hurried with my colleagues to the top floor music library on mission to hear Gould on the record player. His audible breaths captured in stunning performance were mesmerizing. Fast forward to future study with Mr. Canin, my re-introduction to Gould expanded into fascinating discourse with someone beyond reputable who knew him personally. Gould, “in terms of natural ability and intellect I considered him a genius” (Personal email, Martin Canin 19, June, 2018) revealed interpretive liberties in LP recordings that surely would have been ridiculed in the studio. “Do as I say, not as I do” bears mention. Yet, there it was and remains as is. Undoubtedly, a teacher is an invaluable guiding light whereby education may not reveal everything and then again, much more. Mr. Canin reflected, “Glenn Gould died at age fifty. He was my friend. To know him on a personal level was to understand him...” “It is terribly sad he left us so soon.”
Mr. Canin’s Teacher: Rosina Lhévinne (1880-1976)
A telling sign of an extraordinary teacher is being selected by the same to carry on similarly. As so, Mr. Canin became the assistant to an esteemed preeminent master artist/pedagogue, the iconic Madame Rosina Lhévinne (1880-1976). When asked how he acquired that role, his response, “Luck?” Questioned about the criteria for her recognition as an internationally sought after teacher, Mr. Canin warmly explained. “One of the reasons for her great success was her personal involvement. She really cared about the students as
people and she was interested in everybody.” Mr. Canin continued, “Madame Lhévinne was the teacher of Van Cliburn (1934-2013) and John Browning (1933-2003), and many other wonderful pianists.” Reflecting upon her teaching style, “She had a very definite approach to music that was always encouraging and at the same time demanding so that you felt you had something to achieve.” Further, “…and sometimes she was happy to accede that you did well.” He prefaced that she wasn’t always positive, but she was always “appropriate for what you were doing.” “If you did well, she liked it, she praised you a lot. If you did not do well, she encouraged you to work hard at it.” He summed it up this way, “the usual.” Admittedly, the usual encompasses discipline, commitment, unrelentless perseverance... on both the part of the student and teacher. This combination may indeed be luck (or ignorance) however there is merit in the applied benefits of faith (I can do it!), steady encouragement (keep practicing!) and unwavering perseverance (again?!). Music study involves much more than perfunctory execution and that’s when amazing grace happens.
Who are your favorites? “Bach and Beethoven: No Surprise!”
Martin
Canin
Relevance to artistry remains integral in the music classroom (E.g. opening reference to Bach and Beethoven). Coincidentally I asked Mr. Canin his preferred composers: “I would rate Bach and Beethoven (no surprise) as the 2 very great composers, in my humble opinion. Bach, for his compositional craft and lofty inspiration and Beethoven, who enlarged the scope of classical music and laid the groundwork for what followed over the centuries.” Mr. Canin’s remark “no surprise” was re-affirming. Separately, at a music workshop, the “three B’s” (a.k.a. Bach, Beethoven and Brahms) were characterized as no longer relevant. The remark was surprising. Serendipitous? I took refuge in Mr. Canin’s words prior. “In regard to the relevance of Bach in our world of today, it seems to me to be part of the “crisis” facing serious classical music, at least in our country.” Moreover, “It does seem to be doing better in Asia, especially China and Korea. Juilliard enrollment will prove that!” “Only time will tell the outcome here for our beloved art!” (Email communication Feb 19, 2018) While it is prudent to recognize the present challenge to traditional music education, the legacy of greatness continues to support advocacy and represents in an extraordinary way, artistry. Popularity persists with Beethoven’s instantly recognizable Symphony no. 9, that incontrovertible melody and world-wide hymn of peace, An die Freude, or “Ode to Joy.” Pedagogical brilliance, how about those steps and skips? And, the magnetic response to Bagatelle no. 25 in A minor (Wo0 59-Bia 515). That would be Für Elise (scholars suggest dedicated to a student), which wasn’t discovered until forty years following Beethoven’s death. (https://lvbeethoven.com/furelise-unravelingthe-mystery-of-beethovens-masterpiece/)
Bach and Beethoven’s lives were not without challenge. J.S. Bach died in relative obscurity. Felix Mendelssohn (1809-1847) reversed that course with the rediscovery of St. Matthew’s Passion. The name J.S. Bach in practical terms is synonymous with “baroque,” more than rightful laudation. Bach died in 1750 and Mendelssohn was born in 1809! Beethoven’s genius prevailed despite his deafness. Might Beethoven have been acclaimed had he flourished this century? All extraordinary, eye-brow raising, and above all… legacy.
In conclusion
The dedication and fulfillment of superlative beauty and breadth, the gift from those collectively referenced in this writing, are cause to
celebrate artistry and music education. Music performance and artistic expression maintain a long and noble history positively impacting our world and above all, students.
Finally, Martin Canin was an internationally sought-after artist and pedagogue whose inherent wisdom and mastery of a rather difficult art form made approach to the study of music accessible. Now it’s your turn. “Is music easy or a hard discipline?”
Five guiding principles courtesy of Martin Canin
1. It takes dedication and desire to master a difficult art.
2. Try to teach the person, not just the piece. You will see the weaknesses; you will see the strengths. Try to encourage and praise the strengths and at the same time, begin to work on what is not right. Try to suit the lesson to the individual student.
3. Set the bar high. Sometimes you must be a little tougher if they are serious young professionals because you don’t want to just make them happy at everything. You want them to see their faults and improve. So, you have to set the bar high. However, it is person by person situation.
4. A concert is like an exam. Focus… focus your thinking! Sometimes students try to learn too many composers so that they don’t learn any one piece to the best of their ability. Try to address all of the possible weaknesses. Remember… that requires practice!
5. Now that we have technology, record your practicing, and listen to yourself and hear what you hear. You can’t play better than what you hear.
Sources and References:
Martin Canin, NYC, personal communication, May/June, 2015
Martin Canin, NYC, personal communication, 20, June, 2015
Email: Canin, Martin, “Questions Music Education”, Received by Frances Covalesky - 19, February, 2018
Email: Canin, Martin, “Questions Music Education”, Received by Frances Covalesky - 03, April, 2018
Email: Canin, Serena, “Martin Canin” Permission to Use Photo Received by Frances Covalesky - 19, July, 2019
Beethoven: Letters, Journals and Conversations (public library); letter to Emilie, July 17, https://www.themarginalian.org/2017/05/18/beethovenemilie-letter/
The Three Bs: Lawrence E. Anderson, https://aliveeastbay.com/the-threebs/ - April 5, 2017, Alive Magazine
Soli Deo Gloria: Podcast Transcript 164: Shea Houdmann, Jeff Laird, Kevin Stone, https://www.gotquestions.org/soli-Deo-gloria.html
Library of Congress, Felix Mendelssohn: Reviving the Works of J.S. Bach, https://www.loc.gov/collections/felix-mendelssohn/articles-and-essays/ felix-mendelssohn-reviving-the-works-of-bach/
Fur Elise: Unraveling the Mystery of Beethoven’s Masterpiece, https:// lvbeethoven.com/furelise-unraveling-the-mystery-of-beethovens-masterpiece/
Beethoven Fur Elise meaning and story behind this beautiful classical work: https://www.chosic.com/why-is-beethoven-fur-elise-so -popular-andwho-was-elise/ - Classical/Jan 01, 2020
Beethoven Lives Upstairs: HBO. Classical Kids. 1992.
NJMEA RESOURCE PERSONNEL
Area of Responsibility
Administrative Matters
Name Email Address
Yale Snyder
snyder.njmea[at]gmail.com
All-State Coordinator Joseph Cantaffa jcantaffa[at]rocknrollchorus.com
Association Business ....................................................... William McDevitt ...................................... wmcdevittnjmea[at]gmail.com
Band Performance Chair Jesse Argenziano njmeaband[at]gmail.com
Band Procedures Chair ....................................................... Allan Daleus ......................................................... adaleus[at]whrhs.org
Choral Performance Chair Brian Williams njallstatechoir[at]gmail.com
Choral Procedures Chair Ken Bryson njallstatechoir[at]gmail.com
Composition Contest .................................................... Dr. Andrew Bleckner ................................. andrew.bleckner[at]prismsus.org
Diversity/Equity/Inclusion/Access Isaiah C. Mason deia.njmea[at]gmail.com
Jazz Procedures Chair ....................................................... Andrew Lopez ................................................ alopez.njaje[at]gmail.com
Marching Band Festival Chair Nancy Clasen nancyclasen[at]gmail.com
Membership ................................................................... William McDevitt ...................................... wmcdevittnjmea[at]gmail.com
Middle/Junior High Band Festival Nancy Clasen nancyclasen[at]gmail.com
Middle/Junior High Choral Festival ............................ Donna Marie Berchtold ....................................... firesongwed[at]gmail.com
Modern Band ....................................................................... Zach Gates ........................................ zacharygatesmusic[at]gmail.com
MusicTECH Fest Shawna Longo shawnalongo[at]gmail.com
NJMEA Historian ............................................................. Nicholas Santoro ................................................... n31b13[at]gmail.com
NJMEA State Conference Exhibits Chair Nancy Clasen nancyclasen[at]gmail.com
NJMEA State Conference Manager Marie Malara malara97[at]aol.com
Orchestra Performance Chair ............................................ Elisabeth Sato .......................................... orchestra.njmea[at]gmail.com
Research Marissa Silverman silvermanm[at]montclair.edu
Students with Special Needs............................................ Maureen Butler ................................ maureenbutlermusic[at]gmail.com Supervisor of Performing Groups David Westawski westawski.njmea[at]gmail.com
Tri-M ........................................................................... Anthony Lanzerotti, Jr ................................... lanzerotti.njmea[at]gmail.com
REPRESENTATIVES/LIAISONS TO AFFILIATED, ASSOCIATED AND RELATED ORGANIZATIONS
NJ American Choral Directors Association Kason Jackson njacdapresident[at]gmail.com
American String Teachers Association/NJ ........................ Jennifer Meckler ............................................ njastachapter[at]gmail.com
Governor’s Award for Arts Education David Westawski westawski.njmea[at]gmail.com
NJ Association for Jazz Education ...................................... Andrew Lopez................................................. alopez.njaje[at]gmail.com
NAfME William McDevitt wmcdevittnjmea[at]gmail.com
NJ Music Administrators Association Dr. Latasha Casterlow-Lalla njmusicaa[at]gmail.com
NJ Retired Music Educators Association ............................ Frank Hughes ...................................................... bugle11[at]yahoo.com
Percussive Arts Society Joe Bergen joe[at]mantrapercussion.org
COMMUNICATION SERVICES/PUBLIC RELATIONS
Executive Director/TEMPO Editor/ TEMPO Express/NJMEA Website .................................... William McDevitt ..................................... wmcdevittnjmea[at]gmail.com
Carolann Aspray
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.
Carolann Aspray, 89, of Scotch Plains, passed away on July 3, 2025. Born to George and Florence Zust, Carolann led a vibrant and purposeful life filled with music, travel, and a deep appreciation for the world around her.
A devoted educator, Carolann dedicated many years to teaching music in the Cranford School District, where she inspired generations of students with her passion and creativity. She also spent time living and teaching in Hawaii, sharing her gifts and love for music in new and enriching surroundings. She retired from Cranford, leaving a legacy of excellence and joy in music education.
She will be remembered for her adventurous heart, intellectual spirit, and the quiet strength she brought to all aspects of her life.
Carolann is predeceased by her parents, George and Florence Zust. She is survived by her sister, June Wood, her two nieces, Christine Murphy and Laurie Wood; her grand-nieces, Katie Murphy, Colleen Michalczyk (and her husband, Kevin Michalczyk), and Samantha Seliga; as well as her beloved great grand-nieces, Isla and Frankie Michalczyk.
John V. Baratta, age 73, passed away on Monday, June 16, 2025 at Overlook Hospital in Summit after a lengthy illness. Born in Brooklyn, New York to the late Ross and Phyllis (Di Sciorio) Baratta, John lived in Lodi before moving to Sussex County 35 years ago. He attended Jersey City State College, where he studied piano and organ, graduating with a Bachelor of Arts degree in music education. He taught at West Essex Middle School and retired from Roxbury Middle School as band director. After retiring from teaching instrumental and vocal music in the public school system with thirty-two years of service, John served as the Minister of Music for The Old Dutch Church in Kingston, New York; where he was organist, choir director, and hand bell ensemble director. He had served as the house organist for the Middletown Paramount Theatre and Lafayette Theatre located in the state of New York. John also served as organist for the silent film series at the Grand Theatre located in East Green-
ville, Pennsylvania. He was the Minister of Music at Grace Lutheran Church for over 20 years. Most recently, John was the organist for St. Monica R.C. Church in Sussex. Other activities include, past chairman of education for the North Jersey Chapter of the American Guild of Organists. In the past, John has partnered with the New York Theatre Organ Society presenting organ demonstrations to students aged kindergarten through high school. In addition, he also provided organ lessons for interested students at Roosevelt High School in Hyde Park, New York as part of an outreach program sponsored by NYTOS. During his tenure as a band director in the public schools, he was awarded the honor of conducting the New Jersey Region One Middle School Concert Band and Jazz Ensemble. John is survived by his husband, Robert G. Holler and his two brothers, Ross Baratta and his wife Cheryl of Clifton and Steven Baratta and his wife Lori of New York.
Beverly Ann Cagliostro, 73 of West Long Branch, passed away on Wednesday, March 5, 2025. Bev was a much-loved music teacher for the West Long Branch Board of Education. She retired in 2015 after 18 years of teaching. She was in fellowship at Fifth Avenue Chapel in Belmar. Bev was born in Mechanicsburg, PA and lived in Dover, PA before moving to West Long Branch in 1975.
Bev is survived by her beloved husband, Benny of West Long Branch; her children, Dan and his wife Monika and their children, Enzo, Raegan and Hudson of West Long Branch, Kristin and her husband Jordan and their children, Paige, Easton, Parker and Jackson of Lancaster, PA, Jim and his wife Lisa and their children, Brooklyn, Savannah, Charlotte, Madison and Dakota of West Long Branch, and Joe and his wife Julianne and their children Maggie, Wesley, Dexter, August and Daphne of West Long Branch.
She had a love for her family, music, traveling with her husband, riding on the motorcycle, mint chocolate chip ice cream, but most of all she loved her Lord and Savior Jesus Christ.
John Baratta
Beverly Ann Cagliostro
Marissa Cofsky
Marissa Faith Cofsky (née Walvick) passed away on Tuesday, April 1, 2025, at Villa Marie Claire in Saddle Brook, NJ. She was 41 years old. Born in Manhasset, NY, to Allan and Helene (née Cohen) Walvick, she resided in West New York, NJ, Montclair, NJ, and Monroe Township, NJ before settling down in Ridgewood, NJ 12 years ago.
Prior to retiring in 2018, she was an Elementary School Music Teacher for West New York Board of Education where she worked for 10 years. In her spare time, she enjoyed spending time with her family and children, Ethan and Shane, reading and watching Jeopardy and The Gilmore Girls.
Marissa was predeceased by her father, Allan Walvick.
Surviving are her husband of 15 years, Steven Cofsky of Ridgewood; her sons, Ethan Cofsky and Shane Cofsky of Ridgewood; her mother, Helene Walvick of Clifton; and her brother, Ronn Walvick of Livingston.
John J Collins
John Joseph Collins, age 77, of Eatontown, New Jersey, passed away peacefully at home surrounded by family. Born in Brooklyn, New York, and raised in Staten Island, John was a 1965 graduate of Xavier High School in Manhattan. He earned his degree from Berklee College of Music in Boston in 1970 and later received two master’s degrees from Kean University — one in Education and one in Public Administration.
John dedicated 35 years of his life to education as a vocal and instrumental music teacher in the Eatontown Public School System. He also served on the Eatontown Council from 1984 to 2005, contributing significantly to the community he loved. A gifted musician and devout Catholic, John served as the organist at St. Dorothea's Church in Eatontown, where his music enriched countless services and brought comfort and joy to many. He was a loving husband of 58 years to Patricia Ann Collins (née McInerney), a devoted father to John Patrick Collins, and a proud grandfather to Cole Collins. John is also survived by John Patrick’s partner, Sue Gnadinger, and her grandson, Justin Gnadinger. He was predeceased by his beloved son, Michael Christopher Collins, and is survived by Michael’s wife, Bernadette Toner Collins. He was also preceded in death by his parents, Eugene and Agnes Collins, his sister Mary Ann Collins, and his sister Patricia Hannis.
John will be remembered for his deep faith, kind spirit, musical gifts, and decades of dedication to his students and community. His legacy lives on in every life he touched.
Joseph Daley
Joseph Peter Daley, 75, passed away on August 3, 2025, in Hackensack. A gifted musician, composer, and educator, Joe leaves behind a legacy of artistic brilliance and a profound impact on generations of students and listeners.
Born on August 6, 1949, in New York City to John Joseph Daley and Margaret Ann Daley (née O'Garro), proud immigrants from Montserrat, Joseph's musical journey began early. He graduated from The High School of Music & Art in 1967 and earned both a bachelor's degree in Performance (1972) and a master's degree in Music Education (1973) from the Manhattan School of Music.
Joe began teaching with the New York City Board of Education (1972-1976), serving as Band Director at Wadleigh Junior High School 88 and associate director of the Manhattan Borough-Wide Band. He later joined the Englewood, New Jersey Board of Education, where he taught music and directed bands at Janis Dismus Middle School and Dwight Morrow High School until his retirement in 2005.
A versatile performer from his high school years onward, Joe played alongside Latin music greats such as Rene McLean and Monquito Santamaria. Over five decades, he became a celebrated sideman in jazz and beyond-collaborating with luminaries including Cecil Taylor, Anthony Braxton, Carla Bley, Gil Evans, Taj Mahal, Natalie Merchant, and the Kronos Quartet.
He is survived by his son Christopher Daley; daughter Devorah Daley; grandson Wynton Daley; brother Nimrod Daley; and many nieces and nephews. He was predeceased by his wife Wanda Daley; sister Evelyn Kirnon; brothers Irod, Winston, and Benjamin Daley; mother-in-law Dorothy Haskett; and sister-inlaw Winifred Brent.
Margaret Julianna (Lucas) Denes, 83, of Knoxville, Tennessee, passed away on 04/11/25. Margaret, better known as Marge or Margie, was born and raised in Trenton, New Jersey. Following a call for faith and service, Marge entered the convent with the Sisters of Mercy, took the name Sister Anicetus, and began a nearly 40-year teaching career. Marge subsequently left the order but continued to follow her passion for education and music by working as a Music Teacher in Sayreville, New Jersey, and earning her Master's Degree from Westminster Choir College. Marge was an accomplished violinist and performed in numerous orchestras and even played in a handbell choir that performed for a visit by Pope John Paul II. Marge was a regular participant in the alto section of church choirs in both New Jersey and Tennessee. Marge had a zest for life, loved unconditionally, was a steadfast friend, and had the purest of hearts. Marge was preceded in death by her mother, Irene (Borbely)
Margaret Denes
Lucas; her father, Victor Lucas; and her brother, Donald Lucas. She is survived by her former husband, Laszlo G. Denes of Jackson Heights, NY; daughter, Julianna E. Denes of Somerville, AL; and her partner, Jared Smyda; son, Laszlo Denes of Knoxville TN; her favorite person in the entire world, grandson Gabriel M. Denes, of Knoxville, TN; his partner, Samantha Hicks; and numerous nieces, nephews, and cousins.
Lorraine Goldenring
Mrs. Lorraine Goldenring (née Postoff), a gifted opera singer, devoted music educator, and lifelong patron of the arts, passed away peacefully on July 24, 2025,in Morristown. She was 90 years old.
Born on August 25, 1934, in Poughkeepsie, New York, Lorraine's passion for music emerged early and shaped the course of her life. She pursued her formal education at the prestigious New England Conservatory of Music and later at Montclair State University, where she refined her vocal talents and deepened her understanding of musical theory and performance. Lorraine's extraordinary voice led to her acceptance to the Metropolitan Opera. Her desire to have children and start a family led her in that direction instead.
Beyond the stage, Lorraine dedicated herself to nurturing young talent as a beloved music teacher at Ridgedale Middle School in Florham Park, New Jersey. There, she taught chorus and directed numerous musicals and plays, inspiring generations of students with her enthusiasm for performance and her unwavering belief in the transformative power of music. Her love for teaching extended beyond the classroom. Lorraine was passionate about playing and teaching piano and voice, sharing her knowledge generously with students of all ages. Her home was often filled with music-whether from her own playing or from those she mentored-and she found joy in every note.
She was predeceased by her husband, Joseph Goldenring. She is lovingly remembered by her son Stephen Goldenring; daughter Susan Goldenring; daughter-in-law Debra Semel Goldenring; grandsons Jake Goldenring and Sam Goldenring; granddaughter-in-law Rachel Weil; and great-granddaughter Lily Weil Goldenring.
Alan Kinsey
Alan Scott Kinsey, 73, of Williamstown, NJ entered into eternal rest on Wednesday, September 3, 2025, at Jefferson Hospital in Washington Township.
He was born in Souderton, PA to the late W. Russell Kinsey and the late Anna (Souder) Kinsey. Alan graduated from Souderton HS, class of 1969. Alan started his musical career working
aboard several different cruise lines which enabled him to see various parts of the world. He then returned to school receiving a Bachelor’s degree in music education and Master’s degree in Percussion Performance in Jazz and Classical areas from Temple University. Alan holds a Doctor of Arts degree in Jazz administration and percussion performance from the University of Northern Colorado.
He held a certification to teach K – 12 music in New Jersey public schools. He taught various school programs throughout his career the Gloucester City HS Band Program, Gloucester City, NJ . His current employment was Northeastern Music as an Instrumental teacher servicing various parochial schools throughout the Archdiocese of Camden.
Alan was involved in instructing Marching Bands through out NJ and PA, Egg Harbor Township HS, Jackson Liberty HS, Lacey Township HS, Pennsbury HS, Southern Regional HS, Woodbury HS, and Williamstown HS. Over the years Alan has also directed HS Jazz Ensembles, taught various clinics and been a Judge for Tournament of Bands, Tournament Indoor Association, Calvcade of Bands and Music in the Parks. Alan was active in the Percussive Arts Society, Jazz Educator’s Network, New Jersey Music Educator’s Association and TI:ME. Alan also owned his own business, Jackson Avenue Music where he wrote, arranged, and composed marching band and percussion arrangements for indoor and outdoor percussion ensembles.
Alan gave private lessons at his home and enjoyed being able to give the students his time and direction to help them succeed. He enjoyed traveling, watching the Philadelphia Phillies, bird watching, spending time outside and spending time with family, friends and especially his loving wife Lori. Alan was a hardworking, independent, compassionate, and loving man.
Steven Allen Krantz
Steven Allen Krantz, a beloved brother, uncle, teacher, and friend, passed away on July 4, 2025, at the age of 78. Born on April 6, 1947, in Chester, Pennsylvania, Steve was the cherished son of the late Joseph and Julia Krantz.
A proud graduate of West Chester University, Steve earned his degree in 1969 and quickly made a name for himself through his passion and talent in music. His time in the university’s marching band and as a member of the Criterions jazz band were the highlights of his academic career, where he not only excelled musically but also built lifelong friendships and memories.
Steve’s love for music became a lifelong vocation. As an instrumental music teacher in the Linden Public Schools in New Jersey, he dedicated his career to nurturing the talents of countless students. Through his teaching, he inspired a love of music in generations of young people, sharing with them his deep knowledge of instruments and the joy of playing in a band.
A talented saxophonist and clarinetist, Steve was known for
his expressive and skillful performances. He delighted audiences not only in educational settings but also as a performer in his own right. Notably, he played clarinet in a musical group called The Musical Chairs, bringing joy and entertainment to many through his artistry.
Steve is survived by his loving brother, Robert A. Krantz, and sister-in-law, Barbara Krantz. He was a proud uncle to his two nieces, Danielle Myrick of Perkasie, PA, and Jeanette Krantz of Pennsburg, PA. He also leaves behind two sons-in-law, Zach Myrick and Clayton Kissel, as well as several great-nieces and nephews who will carry on his legacy of kindness, humor, and a deep appreciation for the arts, sports, and the finer things in life. He was preceded in death by his niece and goddaughter, Stephanie Kissel.
Elizabeth Ann Sauerland
Elizabeth Ann Sauerland passed away peacefully on August 6, 2025, in Flemington, NJ. Born on January 22, 1935, in Stanton, NJ, Ann was a beloved music teacher and educator at Hunterdon Central Regional High School, where she shared her passion for music with students for many years. She taught music theory, keyboard instruction, and directed choral ensembles. Known for her kindness and creativity, she often delighted students with her special “chocolate experience” rewards, fostering a nurturing environment that inspired many.
Ann was a proud graduate of Douglass College, with further studies at Rutgers University and a Master’s Degree in Education from Fairleigh Dickinson University. Her education paved the way for a fulfilling career, positively impacting countless lives through music and education.
Throughout her life, Ann was deeply committed to community service, working alongside her late husband, Paul C. Sauerland, Jr., with whom she shared a remarkable 65 years of marriage. A lifetime member of Stanton Reformed Church, Ann served for over 40 years as both Organist and Choir Director, contributing her musical talents selflessly to the church community. Her commitment extended to a 75-year membership with the Stanton Grange and her involvement with the Darcy Chapter of the Order of the Eastern Star.
In her personal time, Ann enjoyed a variety of hobbies, including sewing, knitting, quilting, crocheting, tending to her flower garden, and indulging in her love of reading. Known for her signature baking, her famous ginger snaps were a favorite among friends and family, often shared during cherished gatherings.
Ann was not only dedicated to her profession and community but also to her family. She is survived by her daughter, Debra Stillman of Mahwah, NJ; her son, Richard Sauerland of Stanton, NJ; and her cherished granddaughter, Kate Stillman. She also leaves behind many nieces, nephews, and cousins who will remember her warmth and generosity.
Preceding her in death were her parents, Richard S. and Eloise (Force) Schomp, and her husband, Paul C. Sauerland.
Constance Thomas
Constance "Connie" Thomas (née Efthemios, formerly Drimones), of Cranford, New Jersey, passed away on July 3rd, 2025, at the age of 66. A devoted mother, grandmother, sister, mentor, and music educator, Connie left behind a legacy of joy, talent, and service that continues to resonate in the lives of her students, family, and community.
Born in the Bronx, NY, on September 20, 1958, Connie's lifelong passion for music began at an early age. She started playing piano at just eight years old, and by the time she was 14, she was already teaching others and playing the organ in church. It was clear from the beginning that playing music wasn't just something she did--it was a part of who she was.
She earned her Bachelor of Arts in Music Education and Elementary Education from Kean University, where she later returned to complete a Master of Arts in Educational Administration. She went on to teach at Kean as an adjunct instructor, sharing her knowledge and passion with future educators.
Connie spent over 30 years with the Cranford Public School District, specifically at Orange Avenue School, where she taught general music, led choruses, and served as music director and stage crew manager for school musicals and drama productions. Her classrooms were filled with energy, creativity, and encouragement--and her students never forgot the impact she made.
In addition to her time teaching in the school district, she taught piano and voice from her private studio in Cranford and served as the choir director and organist at Holy Trinity Greek Orthodox Church in Westfield, leading congregational music and coordinating countless weddings with grace and professionalism.
Connie was a pioneer in music education. She introduced an innovative music technology curriculum to her students, incorporating iPads and GarageBand to help them create their own blues tracks, sound collages, rap verses, and original songs. She found joy in bridging classical training with modern expression.
She is survived by her mother, Mary Vastardis; her sons, Michael and Anthony Drimones; daughters-in-law, Marie and Melissa respectively; and her beloved grandson, Lucas. She is also survived by her sisters, Irene and Dorothy; brothers-inlaw, Vinnie and Eddie respectively; and her nieces, Christina and Cheryl. She was preceded in death by her father, Nicholas Efthemios, and stepfather, William Vastardis.
NJSMA
North Jersey School Music Association www.njsma.com
Greetings Colleagues in Region I and around New Jersey! On behalf of the entire NJSMA Executive Board, we hope the beginning of the 2025 school year is going well!
Welcome to our newly elected officers: Sue Piombo (President Elect), Meaghan Mulligan (Recording Secretary) and our newly appointed executive board members for 2025-2026: Chris DeWilde and Xavier Bonilla (Band Division), Samantha Bream and Kim Kanefke (Orchestra Division) and Rebecca Polynice (Chorus Division). On behalf of the executive board, we welcome you and look forward to working together to create a strong partnership.
Special thanks to Chris DeWilde (Past President), Elizabeth Monkemeier (Recording Secretary), Michelle Christianson, Chris Zwarych (Band Division), Jason DePope (Orchestra Division) and Leo Weismantel (Chorus Division) for their service to our organization. Good luck as you pursue new adventures.
News From Around Region 1
Elementary Division
The NJSMA Elementary Music Division offers exceptional workshops and events for NJMEA elementary general/choral music educators. We are proud to offer
fantastic 2025-2026 events, which include:
NJSMA Fall Workshop with Rob Amchin
Date: Monday, October 13, 2025
Time: 9:30 AM – 3:15 PM
Location: Community Church of Mountain Lakes, Briarcliff Road, Mountain Lakes
Join nationally renowned clinician Rob Amchin for a hands-on workshop featuring:
"Morning Sun and Fun!" – Songs, games, and dances for any time of day and the autumn season (Grades K–5) and "Adventures in Movement and Instrument Explorations" – Creative ways to bring movement and instrumental play into your music classroom (Grades K–5)
All NJMEA members are welcome to attend. Email elementary@njsma.org for registration details. PD certificate provided.
For additional information, including registration links and details, please visit the NJSMA Elementary Music Division webpage: https://njsma.org/elementaryhome
Orchestra Division
We hope your school year has been off to a great start! For 2025-2026, Kim Kanefke and Samantha Bream are the new NJSMA Region 1 Orchestra Division Co-Chairs. We are looking forward to this year’s Region 1 Orchestra events! Intermediate Orchestra (Grades 6-8) and High School Orchestra auditions will take place on the same day, January 10, 2026. Please check the NJSMA website, www.NJSMA.org, for important calendar dates, deadlines, and audition information. We are looking for orchestra directors to help serve the division in a variety of ways, i.e., by hosting, managing, and/or coordinating performances and festivals. Please reach out to us if you would like to volunteer! If you are new to Region 1 or your contact information has changed in the last year, please contact us so we can update it. We look forward to collaborating with you! Feel free to contact us at: orchestra[at] njsma.org
Chorus Division
NJSMA Chorus Division would like to introduce Rebecca Polynice as a new chorus division co-chair. We would also like to thank Leo Weismantel for his service
the past two years. We would like to encourage the choral directors to apply to conduct one of our region choirs. If you ever thought about doing it, to quote Charlie Parker "Now's the Time"! Deana and Rebecca are working on finalizing the guest conductors for the 2025-2026 season. Also, we will be opening up registration for our HS Chorus Festival shortly. Please check the website for updates, and ultimately, to register.We would love to have you at our Chorus Festivals! ● HS Chorus Festivals: Set for the week of December 1st, 2025
● Intermediate Chorus Festival is set for March 6, 2026.
Continuing this year, we are excited to be running our high school and intermediate region ensembles for chorus, band and orchestra. We will also be having our high school, intermediate, and elementary festivals. Please see our website for more information. Our events can only run with the help and support of all of you. We are always looking for volunteers with any level of experience to serve as site hosts, rehearsal conductors, audition chairs, managers and committee members. If you wish to be involved, we have a spot and will work alongside you throughout the entire process.
Welcome to any new teachers in our region and to those who have not been active as NJSMA members. If you are reading this or know someone who desires to join us, please have them reach out to our corresponding secretary (publicity@njsma.org), or fill out the contact form on our website. The calendar section is up to date with all of our confirmed events as of this publication. Contact information for all executive board members/divisions is listed under the officers’ section.
I am looking forward to another successful year and collaborating with all the exceptional music educators in Northern New Jersey. Your dedication and passion are truly inspiring, and I am excited about the possibilities ahead.
All the best,
Lyn M. Lowndes President, North Jersey School Music Association president[at]njsma.org
CJMEA
Central Jersey Music Educators Association www.cjmea.org
Greetings! I’m hoping your school year has been off to a good start!
I want to take an opportunity to introduce myself if we have not already had an opportunity to meet. My name is Rebekah Sterlacci, and I am the District Supervisor of Visual and Performing Arts for the Piscataway Township School District. I am also the artistic director for the Piscataway Choral Collective - an adult community choir in Piscataway. This is my 20th year in public arts education, having previously served as a middle school choir and general music teacher before taking on my current role. Growing up, my experiences participating in New Jersey region ensembles changed my life. The joy of making music with musicians across the state and the rigor of working with inspiring conductors and educators ignited a spark in me that has been sustaining and fulfilling. As an educator, I have seen the same impact on my students and students across our region. It is a gift and an honor to serve the Central Jersey community as CJMEA President - with gratitude for the experiences I had as a student, and have now as a music educator.
The Central Jersey Music Educators Association board is a passionate and dedicated group of music educators that serves our members throughout our region and provides students with meaningful and authentic musical experiences. I am so grateful for the mentorship of Brian Williams and Yale Snyder over the past two years - your leadership and friendship are so valued. Over the next two years, my goals are to provide professional learning resources to our membership that can be accessed on a flexible and convenient schedule, continue music education advocacy through the sharing of music education stories across our region, and to increase opportunities for intergenerational mentorship and community-building spaces. We look forward to connecting with you throughout the year! Please follow us on instagram (@cjmea_official) and stop by our website, CJMEA.org, where you can find all of the ensembles and professional development opportunities that we have available for you this year.
I look forward to the opportunity to work with our community over the next two years. Please know I am here to help you - feel free to reach out via email if there’s anything I can do!
With gratitude and joy, Rebekah Sterlacci
CJMEA President president.cjmea[at]gmail.com
SJBODA
South Jersey Band and Orchestra Directors Association www.sjboda.org
Welcome Back! Our first membership meeting for this school year will be held on Wednesday, October 8, 2025. This breakfast meeting will take place at Seven Star Diner in Sewell at 9:00 AM. There is no fee to attend the meeting. Please notify John Drechen (609457-0590 or sjbodapresident[at]gmail.com) if you plan to attend. The NJMEA General Liability Insurance and the procedures for background clearance for all volunteers will be explained in detail at this meeting. Our new officers that were elected at our spring meeting are: Jim Mark, President-Elect (Cherry Hill HS West, retired), Joe Jacobs, Secretary (Ventnor MS, retired), Rich Beckman, Treasurer (Cherry Hill Public Schools), and Phil Senseney, Auditions Chair (Southern Regional MS, retired). Sue Mark (Rosa International MS, retired) will serve as Past President and John Drechen (Lower Cape May Regional HS, retired) is our President.
Auditions for the 2026 All South Jersey Orchestra, Wind Ensemble, Symphonic Band and Junior High String Ensemble will take place on Saturday, December 13, 2025 at Absegami HS. Jeffrey Moore (Palmyra School District) is our Senior High auditions chair and Patrick O’Keefe (Absegami HS) will be our host. Audition information, applications, and directions are available on our website. The first rehearsal for these
ensembles will take place on Saturday, December 20th at Cinnaminson HS. Nick DiSalvio will be our site host for this rehearsal.
Our 2026 Orchestra will be conducted by Robert Bradshaw (South Jersey Pops Orchestra). The Wind Ensemble will be conducted by Julia Baumanis (Rutgers University) and Jennifer Hodgson (Southern Regional HS) will conduct the Symphonic Band. We were still in need of a Junior High String Ensemble conductor at the deadline for this article. Carrington Thompson (Eastern Regional HS) is our Strings Coordinator and Amanda Lakits Porco (Hamilton Twp. Schools) is our High School Band Coordinator.
The Junior High Band auditions will take place on Saturday, January 31st, at Southern Regional Middle School. Andrew Wright will be our event host. Audition information is available on our website. Joe Jacobs (Ventnor MS, retired) and Jon Porco (Deptford Twp. MS) are the Junior High auditions co-chairs. Nancy Robinson (Linwood Public Schools, retired) is our Junior High Band Coordinator.
The South Jersey Band and Orchestra Directors Association offers many opportunities for instrumental music teachers to expand their involvement and expertise as music educators. We provide excellent vehicles for professional development including conducting, coaching, and managing our ensembles. Many teachers have gained wonderful ideas and strategies by observing rehearsals and collaborating with colleagues. There are plenty of excellent performing opportunities for your students and ensembles to enhance your school music program. We invite all music teachers to take advantage of the wonderful resources offered by SJBODA this year. For additional information, please contact John Drechen at sjbodapresident[at]gmail.com or 609-457-0590.
We encourage you to check our website, which is maintained by Derek Rohaly (Mainland Regional HS), for the latest SJBODA updates. www.sjboda.org We wish everyone an exciting and successful school year.
John Drechen SJBODA President sjbodapresident[at]gmail.com
SJCDA
South Jersey Choral Directors Association www.sjcda.com
Although we greatly appreciated our summer break, the Executive Board of the South Jersey Choral Directors worked hard throughout the summer to plan our upcoming choral festivals!
I would like to thank all of our current board members, Cristin Introcaso, Amy Flynn, Nancy Dickinson, Sarah Mickle and Elisa Contrevo for their hard work and continued efforts in making the South Jersey Choral Directors Association a great success.
We started off our year with our Fall Membership Meeting on September 8th at the White Horse Winery. The membership was introduced to our Region III Festival conductors, who also discussed their pieces and what they look forward to most this year. It was also an excellent opportunity for our membership to get together, meet with old and new friends, and discuss new ideas and opportunities for SJCDA.
Our 68th Annual South Jersey High School Choral Festival will be held at the Investors Bank Performing Arts Center at Washington Township High School on January 24th and 25th 2026. I am very pleased to an-
nounce that our Senior High conductor will be Richard T. Tinsley II (Egg Harbor Township High School) and our Junior High conductor will be Matthew Guerrasio (Fernwood Avenue Middle School/Miller Elementary School). Auditions for the 68th Festival Chorus will be held on Saturday, November 15 at Clearview High School.
Our 43rd Annual South Jersey Elementary Festival Choral Concert will be held on Saturday, February 28 and I am pleased to announce our Elementary conductor will be Kayode Gloster (West Deptford Middle School).
The programs and biographies for all three concerts and conductors are available on our website, sjcda. com The website is an excellent resource for dates, audition and concert information and past concert programs, dating back to 1958!
I look forward to working with and leading the board of the South Jersey Choral Directors Association, and on behalf of the board I would like to thank our members for their hard work and dedication to the success of our association!
Brendan Moore SJCDA President bmoore2[at]lrhsd.org
SUPPORTIVE INCLUSIVE EXCEPTIONAL
NJMEA 2025-2027 Board of Directors
EXECUTIVE BOARD
Past President
David Westawski
High School Choir Director westawski.njmea[at]gmail.com
Shawna Longo Westfield Public Schools shawnalongo[at]gmail.com
Advocacy
Arwen Kapusta
John Adams Elementary School arwenkapusta[at]gmail.com
All-State Production Manager
Joseph Cantaffa
Howell High School jcantaffahhs[at]hotmail.com
Band Festivals/NJEA Liaison
Nancy Clasen
Lodi Public Schools nancyclasen[at]gmail.com
President Yale Snyder
Monroe Township District snyder.njmea[at]gmail.com
Executive Director
William McDevitt Retired wmcdevittnjmea[at]gmail.com
President-Elect
Anthony Lanzerotti, Jr Woodrow Wilson MS lanzerotti.njmea[at]gmail.com
SJCDA, President Brendan Moore Lenape High School bmoore2[at]lrhsd.org
APPOINTED MEMBERS
Band Performance
Jesse Argenziano W Windsor-Plainsboro HS South njmeaband[at]gmail.com
Choral Festivals
Donna Marie Berchtold Retired firesongwed[at]gmail.com
Choral Performance
Brian Williams
Robbinsville High School NJAllStateChoir[at]gmail.com
Conferences
Marie Malara Retired malara97[at]aol.com
D.E.I.A
Isaiah C. Mason Linwood School deia.njmea[at]gmail.com
Emerging Ensembles
Zach Gates
East Brunswick High School zacharygatesmusic[at]gmail.com
SJBODA, President John Drechen Retired sjbodapresident[at]gmail.com
Jazz Education
Andrew Lopez Sparta High School alopez.njaje[at]gmail.com
Orchestra Performance/Festivals
Elisabeth Sato
Martin Luther King Elementary orchestra.njmea[at]gmail.com
PreK-8 General Music
Amy Burns Far Hills Country Day School aburns[at]fhcds.org
Research/Collegiate/HigherEd
Marissa Silverman
Montclair State University silvermanm[at]montclair.edu
Retired Members/Mentorship
Kathy Spadafino Retired kspadeb[at]aol.com
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EDITORIAL POLICY
Articles may be submitted to the editor of this magazine by anyone who wishes to write about topics related to music or music education. All articles which are selected for publication will be proof read for content, spelling and grammatical errors. Authors who submit an article to TEMPO Magazine for publication agree to all of the following
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