Florida Music Director April 2018

‘REED’ MY LIPS: You Can Extend the Life of Your Reeds

Jumping on the Percussion Ensemble Bandwagon!

Heroes in the Classroom PLUS: Call for Session Proposals & Performing Ensembles 2018 NAfME Collegiate Advocacy Summit FMEA Scholarship Application

2019 FMEA Professional Development Conference Call for Session Proposals & Performing Ensembles The Florida Music Education Association is seeking proposals for sessions and performing ensembles for the 2019 Professional Development Conference to be held January 9-12, 2019.

The 2019 conference theme is:

ARTISTRY:

Teaching &Performing Each proposal will be submitted to the FMEA Conference Committee for consideration. Session proposals and ensemble performance applications must be submitted online by Apr. 30, 2018.

Notification of acceptance will be made by mid-June 2018.

NOTE: Only three (3) submissions per person.

To submit your session proposal or performance application …

Click here

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Music Director

Executive Director Florida Music Education Association Kathleen D. Sanz, PhD

Hinckley Center for Fine Arts Education

402 Office Plaza Tallahassee, FL 32301 (850) 878-6844 or (800) 301-3632 (kdsanz@FloridaMusicEducation.org)

Editor-in-Chief

Mark A. Belfast, Jr., PhD Southeastern University College of Arts & Media 1000 Longfellow Blvd.

Lakeland, FL 33801 (863) 667-5104 (office) (mabelfast@seu.edu)

Editorial Committee Terice Allen (850) 245-8700, Tallahassee (tallen1962@hotmail.com) Judy Arthur, PhD Leon High School, Tallahassee (850) 488-1971 (arthurj@leonperformingarts.org)

Contents April 2018

Volume 71

•

Number 7

F E AT U R E S

2019 FMEA Professional Development Conference Call for Session Proposals & Performing Ensembles. . . 2 ‘REED’ MY LIPS: You Can Extend the Life of Your Reeds . . . . . . . 6

William Bauer, PhD University of Florida, Gainesville (352) 273-3182; (wbauer@ufl.edu)

Heroes in the Classroom. . . . . . . . . . . 12

Alice-Ann Darrow, PhD College of Music, FSU, Tallahassee (850) 645-1438; (aadarrow@fsu.edu)

Jumping on the Percussion Ensemble Bandwagon!. . . . . . . . . . 18

Jeanne Reynolds Pinellas County Schools, Largo (727) 588-6055; (reynoldsj@pcsb.org) John K. Southall, PhD Indian River State College, Fort Pierce (772) 462-7810; (johnsouthall@FloridaMusicEducation.org)

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2018 NAfME Collegiate Advocacy Summit FMEA Scholarship Application . . . . . . . . . . 22

Valeria Anderson (val@FloridaMusicEducation.org) Richard Brown (richard@FloridaMusicEducation.org) 402 Office Plaza, Tallahassee, FL 32301 (850) 878-6844

Official FMEA and FMD Photographers

Bob O’Lary

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Circulation & Copy Manager

Valeria Anderson, (800) 301-3632

Copy Editor

Susan Trainor

D E PA R T M E N T S

26 Committee Reports. . . . . . . 27 Thank You, Donors. . . . . . . 31 Executive Director’s Notes. 34 Officers and Directors. . . . 35

4 Advertiser Index. . . . . . . . . . 5 Academic Partners. . . . . . . 20 Corporate Partners. . . . . . . 21 Component News. . . . . . . . 23 President’s Message..

Research Puzzles..

. . . . . .

. . . . . . .

April 2018

3

President’sMessage

Kenneth Williams, PhD President Florida Music Education Association

Are you feeling stress? ’Tis the season.

T

and take a deep breath. It is the season of

“Have no fear of perfection— you’ll never reach it.”

—Salvador Dali

concerts, recruiting and (of course) test-

observe the stress level rising as the days

calm, loving, joyful human beings, who

er and closer. Why is this? Well, from my

ake a deep breath … No! Take a really deep breath. This is the time of year

when every one of us needs to pause

music performance assessments, spring ing. It is also the season when normally

happen to teach music, often stress to near their breaking point.

There is never enough time … If we had just one more rehearsal … If I had just passed out the music a few weeks earlier

… If I could just have one rehearsal with

everybody present… If those kids would just go home and practice!

4 F l o r i d a

Music Director

In many music classrooms, you can

pass by and the concert or MPA gets closperspective, although Dali tells us we will

never reach it, perfection is our goal (at least for most of us), and if in our prepa-

ration we feel that we might fall short of that goal, our anxiety begins to build.

How do we counter this feeling of stress that is detrimental to our own well-being

as well as to the learning environment for our students? I have some thoughts.

Early in my career I would begin to

stress as those important performances

came closer in time. I never felt as if my kids would reach my performance

expectations, and it must be my fault.

What could I have done to better pre-

pare them for success? I was fortunate to have mentors nearby who consistently turned out stellar performances with their ensembles, and I began to closely observe

their day-to-day teaching and rehearsing because they never seemed stressed about

the quality of their impending performance. What were my takeaways?

These extraordinary music teach-

ers never thought of concerts or music performance assessments as important

SUBSCRIPTIONS: Direct correspondence regarding subscriptions to: Hinckley Center for Fine Arts Education, 402 Office Plaza, Tallahassee, FL, 32301-2757. Subscription cost included in FMEA membership dues ($9); libraries, educational institutions and all others within the United States: $27 plus 7.5% sales tax.

performances. Every note produced, in

musical sophistication is an invaluable

performance. Every moment of every

of that opportunity as often as possible.

whatever environment, is an important rehearsal is a special performance, and occasionally those special performances

resource, and we should avail ourselves

evaluation is looking at an isolated snap-

shot from our journey of learning.

focus of purpose for every instance of

ty music education students, after they

My observations of those exemplary

MPA, that the ensemble that performed

music making.

teachers drastically changed my mindset.

My students and I are on a journey, striv-

ing to become independent musicians whose craft always targets a high level of

sophistication and artistry. Occasionally, we pause and demonstrate for our par-

ents, our school community and perhaps adjudicators exactly where we are on

this particular day in our long journey,

a snapshot of our location on our path

I often would remind my universi-

mid-afternoon and received a “good” accomplished teaching we had witnessed

that day. “How is that?” they would minute snapshot of where that ensemble was in its learning journey, and we had

no idea where the group began or how

Taking stock and being proud of what we

do well and identifying our next steps in refinement are what learning is all about.

At the end of any day, if I feel that my

students have moved from where they began and are closer to where they need to be, that is a successful day.

Often, as teachers of music, we rely

on an external accolade to validate our work, such as a trophy or a festival rat-

ing. Having others share their evaluation

of our work and provide feedback on how we might move to the next level of

Visit FloridaMusicEducation.org to learn more about the benefits of active membership.

far it had come.

In my mind, it is the journey that is of

So, take a deep breath, keep your eye on

and joy of what we have accomplished.

2017-18 FMEA Membership: You are eligible for membership in The Florida Music Education Association if you are an individual engaged in the teaching, supervision or administration of music in elementary and secondary schools, colleges or universities within the state.

ask. Because that performance was a 20-

is our goal) allows us to celebrate how out diminishing our acknowledgment

Florida Music Director reserves the right to refuse any ad not prepared to the correct specifications OR to rework the ad as needed with fees applied.

rating might be the result of the most

utmost importance, and the goal of our

far we have come in that quest, with-

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had spent a couple of days observing

to excellence. The certainty that we will

never reach perfection (although that

SUBMISSIONS: Article and art submissions are always considered and should be submitted on or before the 1st of the month, one month prior to the publication issue to: Mark A. Belfast, Jr., PhD, mabelfast@seu.edu.

We must remember, however, that the

are shared with others as concerts. To

achieve that mindset requires an intense

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musical journey is to point to perfection.

Advertiser Index

the goal, work with purpose and take

The Florida Music Director is made possible by the participation of the following business whose advertisement appears in this issue. Our advertisers make it possible to provide you with a high-quality publication, and we gratefully acknowledge their support of our mission. We hope you will take special notice of this advertisement and consider the products and services offered. It is another important way you can support your professional association and the enhancement of Florida music education.

great joy in the opportunity to make music with the young people whose lives you help to enrich.

“Music expresses that which cannot be said and on which it is impossible to be silent.”

The publisher does not endorse any particular company, product or service. The Florida Music Education Association (FMEA) is not responsible for the content of any advertisement and reserves the right to accept or refuse any advertisement submitted for publication.

—Victor Hugo

Information for advertisers (rate card, insertion orders, graphics requirements, etc.) can be found at FloridaMusicEducation.org.

With warmest regards,

ADVERTISER

Kenneth Williams, PhD, President

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Florida Music Education Association

April 2018

5

‘REED’ MY LIPS: You Can Extend the Life of Your Reeds

by Margaret J. Flood

B

Band directors, have you ever had a stu-

clarinet and saxophone players will use

Moldy Reeds

and tell you that she broke her reed? How

dive straight into the box for a fresh reed,

looks like a leopard, it needs to be

dent come to you the night of the concert many of you have not been able to find

a new reed just moments before going on stage? Perhaps you have found a reed

that is too hard for your student and have no idea if you should even consider giving away that strength 4 from the back

one reed until it wears out. Then they will

right at the beginning of a dress rehears-

al. Many high school directors hope that

their single reed players have at least one

good reed for concert band and a separate reed for marching band.

For non-reed band directors, fixing

of your desk drawer. Will she be able to

or working on a clarinet or saxophone

risk that she could squeak, especially

difficult task to learn and later teach to

make a sound? Do you want to take the knowing she will need to blow her face

off to get a sound on a reed that strong?

Many directors can raise their hands in agreement; they have lived this scenario.

As much as we want our students to

have three or four rotating reeds in a reed case, the reality is that most of your

6 F l o r i d a

Music Director

reed may seem daunting, but it is not a

students. Furthermore, directors who can

refurbish reeds will save their programs

a significant amount of money over the course of the school year, and that is espe-

cially important for programs in lower income areas with small budgets and students who cannot afford to buy reeds.

I always tell my students, “If the reed retired.” I often cringe when I look into some of their cases and find they are

hoarding bad reeds. When I taught mid-

dle school band, I tried to convince my students to get rid of moldy reeds. As much as I emphasized how bad playing

on moldy reeds was to their health, my

students still struggled to let them go. A fellow middle school director, Missie Ellis

of Orange County Public Schools, sug-

gested creating a reed graveyard for dead

and often moldy reeds to rest in peace.

Before ceremoniously laying the reed to rest, I encouraged my students to write a

memorable concert date or music title on Continued on page 8

April 2018

7

‘REED’ MY LIPS Continued from page 6

the back and sign their initials. This activ-

to your students. Beginners should expe-

reed clipper can give new life to a soft

when they first start playing. I always

been chipped, but has been blown out.

ity is not only funny and strange (much

rience some resistance from a harder reed

but also a way for students to reflect back

started my clarinet and saxophones on a

like the average middle school student),

to their playing accomplishments on a

particular reed. In a practical sense, this

will also reduce the collection of old reeds floating inside their cases that too often

become jammed under rods and pads and damage the instrument.

Before I discuss how to work on reeds,

it is important to take a moment to talk

about reed strength. Reed strength differs

from brand to brand, and within each brand there are different degrees of reed

cuts. It is essential to ensure that your stu-

dents are playing on quality reeds that fit

strength 2-1/2 or 3 standard cut reed from a quality namebrand. This setup, paired with a proper embouchure, will help stu-

dents to produce a more focused, in-tune sound from the start. Since this article is

not about reed brands or choices, I recommend consulting a colleague whose pri-

mary instrument is clarinet or saxophone.

Your single-reed colleagues will be able to give you more detailed information about specific brands and reed styles and how they relate to mouthpiece facings.

their mouthpiece facings and are strong

Equipment

bre. The reed strength number does not

mouthpiece puller for the brass instru-

enough to produce a good tone and timequate to the ability level or grade level of the student; you will need to teach that

8 F l o r i d a

Music Director

Band directors know they should have a ments; they also should have a reed clip-

per for clarinet and saxophone reeds. A

reed, especially one that may not have A reed blows out when the microscopic

fibers at the tip of the reed become frayed.

It is impossible to see this without a mag-

nifying glass or a microscope, but if your student is squeaking, or there has been

a change in the focus of tone quality in one or more areas of the tessitura, there

is a good chance the reed is too soft or damaged to play. An easy fix to give this

reed an extended life is to clip off a frac-

tion of the tip (about half a millimeter or

less). For high school students who use their blown-out concert reeds for marching band, clipping the tip of the already

weakened concert reed will allow them to regain the support and strength of the

reed. This is especially important for reed players who are usually expected to project their sound more on a marching band

time assembling their instruments. Reeds

teach their advanced students the entire

appreciate your effort to help save them

sectional rehearsal or small group lesson.

process in less than 15 minutes during a

are expensive, and your band parents will

1. Find a troubled reed. Have the

some money.

Band directors can pick up other

student choose a reed that is causing

hardware store to keep in the classroom’s

should be a reed that has been taken out

problems in tone or timbre production. It

reed-working equipment from a local

of the box and played on a bit. Because

arsenal of instrument tools. Obtaining a field than in a band room. Your clarinet

and saxophone players will still be able to

produce a focused tone and clean timbre on their refurbished reeds.

Reed clippers can also be a quick fix

for young players who are still learning

to take care of their reeds. No matter

how much time I spend speaking about reed care and the appropriate way to

slide the ligature onto the mouthpiece

and reed, there have been years in which

a new reed is initially dry fresh out of

piece of 5”x5” safety glass (with sanded

the wrapper, it is important to break in

edges) and a variety of 350 to 600 grit wet/

the reed and loosen the fibers. To break

dry sandpaper is a great place to start.

in the reed, the student should play on

Another accessible and rather inexpen-

it for a few days. While breaking in the

sive tool to use is Dutch rush. Dutch rush

reed, I recommend using it during warm-

is a plant, otherwise known as horsetail

ups, specifically long tone exercises, and

or scouring rush. You can purchase it

only in the lower registers of the instru-

through your local music store, but only

ment. The lower notes will produce slow-

a small amount comes in the package.

er vibrations, thus slowly breaking in the

Thankfully, we live in Florida, and in

fibers of the reed.

some marshy areas of Central Florida and

2. Establish the notes you will test.

the Florida panhandle, Dutch rush is easy to find (for free!) and dry out ourselves.

Testing a troubled reed on the clarinet

over the course of two weeks. Rather

reed-working tools at our disposal, how

on a saxophone. For clarinet, you will

ately buy another box of reeds, it may

should not be scary, and it certainly

one or two students have nevertheless

managed to use an entire box of reeds than encouraging students to immedibe worthwhile to check and see if any of

those reeds can be salvaged with a reed clipper. There is a good chance your students know they should not have used an

entire box of reeds already, so this is an

opportunity to reteach them to take their

will be slightly different than testing one

Now that we have all of these

want to test a note within each length

do we use them? Working on reeds

of the instrument: a chalumeau E, C

and open G. Each of these pitches corre-

should not take long to get a good reed

sponds to a different vibrating area of the

to work. Above, I mentioned how to

reed. You want to start testing with the

deal with soft reeds; the process below

lowest note on the instrument because

is for reeds that are too stiff or inconsis-

adjusting the lower notes will affect all

tent between registers. This method is easy and should enable band directors to

Continued on page 10

April 2018

9

‘REED’ MY LIPS Continued from page 9

the notes above. Note that you will rarely have to worry about adjusting the reed

to fix the throat tone G. I have found that saxophone reeds tend to be less temper-

amental and require less refining. Since the saxophone consists of one long body, finding the inconsistency between different parts of the range should be a bit

easier than for a clarinet. For saxophone, you should test the reed consistency on second line G and fourth line D.

Video tutorial on how to balance a clarinet reed

and work your way up the instrument

the heart or hump in the middle, which is

est. The student should set the embou-

Stay away from the back or flat side of the

3. Now blow! Start with the lowest note

from the lowest testing pitch to the high-

chure and gently twist the mouthpiece

(saxophone) or entire clarinet about 50

percent to the right, hold it and blow. The side of the reed sitting on the lower lip should be fully dampened. It is important

ing, students should let the reed dry out

reed and the rails or edge of the reed. It

humidifier. If this isn’t possible, keep-

is important that the rails and back of the

reed remain flat and straight to stay flush to the front profile of the mouthpiece.

Before working on the reed, be sure

to note that when doing this, the student

it is free of excess moisture and that you

ward, not the side resting on the lip. Then

glass. Using a small piece of either Dutch

is testing the side of the reed facing out-

twist to the other side, dampen and test the same way. The student should compare if one side was more resistant than

the other and note it on a piece of paper.

The purpose of this testing exercise is to check resistance; the tone does not matter.

This process should be repeated for each

pitch listed in step two, and the results should be noted. The purpose of this pro-

cess is to find where the inconsistencies are, not only on each side of the reed but

also within each length of the instrument.

4. When and where to shave or sand

the reed. Do not adjust the heart of the reed! Think of the heart of the reed, or the

center section of the front of the reed, as the foundation or support center. When

you do basic home repairs, you don’t take a sledgehammer to the foundation

of your house, right? If a reed is causing problems, it is because the reed is imbal-

anced. You want to focus on shaving the

front right or left side of the reed next to

10 F l o r i d a

5. Preserving good reeds. After play-

where the vibration travels when playing.

and place it in a reed case with a two-way ing the reed or reeds in a sealed plastic

container or plastic bag will keep the

humidity consistent, allowing for better reliability when in use.

Be patient with this process. The more

have placed it flat on the piece of safety

you work on reeds, the faster you will be

rush or sandpaper will allow for more

students. By following this process, you

precise application. If a lower pitch is the problem, gently shave the problem side about halfway between the tip and the heart. Note, always direct your sanding

toward the tip of the reed! If a middle pitch is the problem, sand the side of the

reed next to the heart about a quarter of an inch down from the tip. If the throat tones of the clarinet (G) or the upper notes

able to do it yourself and/or teach your

are making sure each side of the reed is vibrating symmetrically. Band directors

need students on balanced reeds to produce a consistent timbre across the range

of the instrument and to allow the reed

to respond at its fullest potential. Believe

me, you too can extend the life of your reeds.

of the first octave of the saxophone (such

Contributor: Dr. Margaret Donaghue

top corner of the reed, in one direction,

of Music

as C or C#) are a problem, gently sand the toward the tip of the reed. Remember,

Flavin, clarinet professor, Frost School

you can always take more off, but you

Margaret Flood is a PhD

the tip of the reed, the more careful and

with a cognate in clarinet per-

can’t put it back on! The closer you get to

patient you will need to be. No matter

what part of the reed you are working on, always shave off a little at a time (one

or two strokes toward the tip) and then retest for resistance the way you did in step three.

Music Director

student in music education

formance at the University of Miami. She is a woodwind

specialist with 12 years of teaching experience.

She is an avid clinician throughout Southwest

Florida and a private studio instructor in Naples and Fort Myers.

April 2018

11

HEROES in the

Classroom

by Alice-Ann Darrow, PhD

am convinced that heroic actions play out in classrooms

every day. No one knows when one person’s seemingly

passing away when he was 9, and how

committing a harmful act, and unsuspecting teachers and

and hugged him as they waited for his

small act of kindness prevents another individual from

students may never realize they have saved a life. These heroes in the classroom see a dejected student and offer words

of encouragement. Heroes see a student who is bullied

and they intercede. Heroes see a student who is angry

and they do not respond in kind, but offer help instead. These teachers and students are not heralded in our newsfeeds, and yet their actions have the potential to change lives.

Every semester in my music education methods class, stu-

dents write an essay about the “best teacher” they had during

K-12. The teachers they write about represent every grade level

his teacher walked him to the office

father to pick him up from school. This

teacher attended the mother’s visitation and memorial service, came by the house with his wife and brought food and then

organized a tree planting ceremony at the elementary school in honor of his

student’s mother. My student wrote about sitting under that tree, now tall and stately, during his breaks from school.

Another student wrote about his

and every subject matter, but because my students are music

personal struggles in high school, and

educators. My students frequently recount something the

not been for his band director. A fam-

majors, often the teachers they choose to write about are music teachers said or did for them that stayed with them through

12 F l o r i d a

One student wrote about his mother

the years.

Music Director

where he might have ended up if it had ily man with a wife and children, this high school band director picked up his

This reminds me of a young man fea-

Because of his size and disability, Frank

Show who admitted he was headed down

Rod made Frank his band assistant.

was also a popular target for bullying.

tured in a reunion episode on the Today

Frank rode with the band to games and

a very dark path when a teacher in his

parades, helped load instruments on the

junior high school pulled him aside and

bus and put music away. Rod became a

said, “You matter to me. You do, and I am

father figure to Frank, and his students

afraid for you.” He wanted to find that

became Frank’s friends. One day, Frank

teacher, thank her and tell her how much

confided he wanted to play in Street

those simple words had meant to him. He

Gang Percussion, a drum line made up

also told about her husband, a teacher at

of at-risk students who had previously

the high school, who wrote daily sayings

spent much of their time in in-school

on the blackboard. He felt as if one of

suspension, and many of whom had also

those sayings was meant for him, so he

been among Frank’s tormentors. The

wrote it down. He told how their son, a

newly minted percussionists, certain the

popular football player, sought him out

popularity of their ensemble would be

in the school hallways to speak to him.

diminished if Frank joined their ranks,

An inspirational saying on a crumpled

threatened to quit. Furthermore, they let

piece of paper and the kind words of a

Rod know they would take their leather

junior high teacher and her son had given

jacket uniforms with them. At the end of

him the strength to carry on, despite hav-

a lengthy admonishment, Rod told the

ing few friends, experiencing difficulties struggling student from home and drove

at home and suffering from depression.

rehearsals every Saturday because his

and their son had no idea what their

take him. My student is certain it was the

young man when he was a struggling

him across town to all-county band

Like so many other teachers, this couple

single mother worked and was unable to

words and actions had meant to this

Saturday morning car conversations that

adolescent.

substantial young man he is today.

Classroom Heroes I Have Known

of personal inspiration. After writing a

and students who have acted in kindness,

tified as a “best teacher” and contributing

have the words or the opportunity to let

these essays to the respective teachers. In

on the power of positive models. I recount

helped shape him into the successful and

The students’ essays are a great source

I am sure there are many other teachers

congratulatory cover letter for being iden-

yet their students or classmates didn’t

to the education of our students, I mail

them know. One of my lectures in class is

the weeks that follow I often get calls or

the stories of Rod and Sheldon.

respond that they never knew at the time

high school band director. Frank, a large

meant to their students.

ties, was a student at Rod’s high school.

emails from the teachers. They frequently what their actions or words of kindness

percussionists that they weren’t really tough guys. If they were, they wouldn’t care if Frank joined the group. In fact,

they would defend Frank, even act as his

bodyguards; that is, if they really were as tough as they seemed to think. The Street

Gang Percussion members did, in fact,

become Frank’s personal bodyguards.

They shielded him in the hallways and

went after anyone who dared to bully him. Years after Frank left high school, he

came back to see Rod. Though the cuffs

were now frayed and worn, he was still proudly wearing his black leather jacket with Street Gang Percussion stretched across the back.

Rod was a doctoral student and a

Barbara, an attorney, was in love with

Sheldon, also an attorney. It was clear

young man with intellectual disabili-

Continued on page 14

April 2018

13

HEROES Continued from page 13

her love was not returned. When pressed why she could not let Sheldon go, she

replied, “Because of ninth grade PE.” She

told how all the students had completed

Students in Need of Classroom Heroes

We know that students who are targets of bullying are more likely to experience

lower academic achievement, higher tru-

a 600-yard run and were standing at the

ancy rates, isolation, poor peer relation-

because of his size and disability, still had

(Flynt & Morton, 2004; Ross, 2003). An

finish line, taunting the one student who,

a lap to run. Suddenly, Sheldon turned to his peers and called them “disgusting.”

He charged across the PE field to run the last lap with his classmate, talking to him all the way. Barbara suspected he

was offering words of encouragement

to “keep going, and ignore those stupid kids.” She said as Sheldon and his fellow runner passed the group at the finish line, he shot them all a “dirty look.”

Barbara confided she’d been in love with

Sheldon since that day in ninth grade, and I must admit, after hearing her story, I fell in love with Sheldon, too.

These acts of kindness and courage

were no small deeds, and no one will ever know their true impact.

14 F l o r i d a

ships, loneliness, anxiety and depression estimated 20 percent of youth have reported being bullied in school, translating to

millions of youth being impacted across the country each year (National Center

on Educational Statistics, 2016). Research indicates that students with disabilities

are at an increased risk of being bullied and that other factors such as physical vulnerability and social challenges may increase the risk (Espelage & Swearer, 2003; Rose, Monda-Amaya, & Espelage, 2011). These students are in need of classroom heroes who will intercede.

There are resources to help. Students

with disabilities often have Individual-

ized Education Programs (IEPs) or Section

504 plans that can include approaches for

Music Director

preventing and responding to bullying,

as well as identify additional support or counseling services that may be necessary. In addition, bullying behavior

can become disability harassment, which

is prohibited under Section 504 of the Rehabilitation Act of 1973 and Title II of the Americans with Disabilities Act of 1990. Teachers play a critical role in

preventing and responding to bullying.

McNamara’s (2013) suggestions for teach-

«« Maintain zero tolerance for bullying. ers are summarized below:

Teachers and administrators must

«« Encourage all students to report bulintervene.

lying. Praise students for their courage to report bullying. Protect ano-

«« Ask the victim of bullying what he or she needs to feel safe. «« Communicate with families, adminnymity of those who report bullying.

istrators and school counselors. Build a circle of support for the victimized student.

«« Follow up with the student and be

Researchers have found that childhood

ness is the greatest deterrent to students

If teachers have perpetrators of bul-

of victims as well as bystanders who observe bullying. Copeland, Wolke,

gests the majority of people hold negative

persistent in getting support for him or her.

lying in their classrooms, they have a

responsibility to hold them accountable,

to confront excuses that minimize their actions and to insist upon non-hostile consequences.

Students need a safe environment to

talk about bullying. Music can be a use-

ful medium for students to express their

feelings about bullying and a potential tool for bringing students together. Most

students consume music regularly and consider it to be an important part of

their lives. Discussing song lyrics, such as Mean by Taylor Swift, is one way to open

a discussion with students. Having stu-

that integrates the story of Cinderella with the music of Prokofiev. Students

build the skills to recognize bullying

behavior, come up with a plan for what to do about it and use the music to tell the

new anti-bullying version of the story.

Special school music programs or con-

certs with themes such as anti-bullying

or tolerance can be more effective statements regarding unity and mutual acceptance than speeches or lectures.

Bullying and Mental Health

“Mental health includes our emotional, psychological, and social well-being. It affects how we think, feel, and act. It

also helps determine how we handle stress, relate to others, and make choices.

tributes to the stigma of mental illnesses.

This stigma also results in a phenome-

to mental health issues such as depres-

non known as social distancing, whereby

sion and anxiety. Researchers, examining

individuals with mental health issues iso-

the impact of bullying on students who

late themselves from others, which only

witness it, found that risks to observers’

makes their mental health more tenuous

mental health were over and above that

(Crisp, Gelder, Rix, Meltzer, & Rowlands,

predicted for students directly involved

2000). Because of the associated stigmati-

in bullying behavior, as either perpetra-

zation and isolation, students with poor

tors or victims (Rivers, Poteat, Noret, &

mental health are in need of classroom

Ashurst, 2009).

heroes.

Not all students who are victims, per-

Teachers are often unfamiliar with

develop mental health problems. Mental

mental illnesses, their early signs or what

can adversely affect one’s mental health

ing poor mental health. Like the topic

they can do to assist students experiencof bullying, mental illnesses are gener-

are often unpredictable. Nevertheless,

ally not included in teacher preparation

mental health disorders are one of the

courses on disability. Yet these disabili-

most common health issues faced by our

ties can result in grave consequences if

nation’s school-aged children. One in five

left untreated. They also result in some

students suffers from a mental health dis-

of the poorest academic outcomes for stu-

order, with 80 percent of chronic mental

dents. Music educators, like all teachers,

disorders beginning in childhood (Child

have the potential to recognize students

Mind Institute, 2016). Students struggling

with mental illnesses and to seek support

with mental health are at risk for poor

for them. They can provide nonthreat-

outcomes in school and life. They have the

ening environments and safe havens for

worst graduation rate of all students with

students who are marginalized. Music

disabilities. Nationally, only 40 percent of

educators can seek and secure school-

students with emotional, behavioral and

based mental health supports for stu-

mental health disorders graduate from

dents if they are familiar with the early

high school, compared to the national

warning signs.

average of 76 percent (Dikel, 2014). These data, and the fact that many students are

not getting the services they need, have

Know the Early Warning Signs of

concerns a national crisis in our schools

Poor mental health is not a sign of per-

led some experts to call mental health

Poor Mental Health

sonal weakness. As is true for any illness,

(Mahnken, 2017).

many factors contribute to mental health

Less than 20 percent of children and

adolescents

through adulthood” (U.S. Department of

Department of Health and Human

Health and Human Services, 2018a, p. 1).

2002). Experts suggest such language con-

in low self-esteem and can contribute

Mental health is important at every stage

of life, from childhood and adolescence

cho” or “weirdo” (Corrigan & Watson,

problems later in life. Bullying can result

health is fragile, and circumstances that

“The Glass Slipper Bullies” is a lesson

called “crazy,” “nut-job,” “sick-o,” “psy-

higher risk of developing mental health

bullying. These music videos address bul-

«« To All You Guys by Eric Barao «« Dare to Be Different by Rachael Lynn «« Invisible by Hunter Hayes

uals with mental illness. They are often

victims of childhood bullying have a

petrators or observers of bullying will

lying:

attitudes and stereotypes toward individ-

Angold, & Costello (2013) discovered that

dents write their own songs is a powerful way for them to share their stories about

seeking mental health care. Research sug-

bullying can affect the mental health

with

diagnosable

«« Biological factors, such as genes or

problems, including:

men-

tal health problems get treatment (U.S.

brain chemistry

Services, 2018b). The stigma of mental ill

Continued on page 16

April 2018

15

To All You Guys

HEROES Continued from page 15

«« Life experiences, such as trauma or abuse «« Family history of mental health problems

Teachers can help by recognizing the

following early signs of mental health

conditions. One or more of the following feelings or behaviors can be an early

«« Eating or sleeping too much or too little «« Pulling away from people and usual activities «« Having low or no energy «« Feeling numb or like nothing matters «« Having unexplained aches and pains «« Feeling helpless or hopeless «« Smoking, drinking or using drugs more than usual «« Feeling unusually confused, forget-

warning sign of a problem:

Dare to Be Different

ful, on edge, angry, upset, worried or

«« Yelling or fighting with family and friends «« Experiencing severe mood swings that cause problems in relationships «« Having persistent thoughts and memories that can’t be dismissed «« Hearing voices or believing things that are untrue «« Thinking of harming oneself or others «« Inability to perform daily tasks like scared

Invisible

getting to school or work

What Music Educators Can Do to Help

If a student is showing signs of difficulty,

«« Express your concern and support «« Find out if the student is getting the

below are ways to offer support:

care that he or she needs and wants—

«« Remind your student that help is if not, connect him or her to help

available and that mental health prob-

16 F l o r i d a

lems can be treated

Music Director

D OW N LOA D

“The Glass Slipper Bullies”

«« Ask questions, listen to ideas and be responsive when the topic of person-

«« Reassure the student that you care al problems comes up

about him or her, and follow up on

«« Include your student or his or her family members in your plans to help «« Educate other people so they underoffers to help

stand the facts about mental health problems and take care not to dis-

«« Treat

criminate or judge

people with mental health

problems with respect, compassion and empathy

Beyond seeking school assistance for

students with poor mental health, music educators can recommend that parents and teachers request music therapy ser-

vices for students with severe behavioral or emotional problems. Music therapists

have a long history in treating mental

illness. Use the power of music to address the needs of students in distress by

opening appropriate discussions and

teaching tolerance. You may never know the result of your actions, but you may save a life.

Alice-Ann

Darrow,

PhD, is the Irvin Cooper professor of music education and music therapy at

Florida State University.

Her teaching and research

interests include teaching

Dingle, G. A., Hodges, J., & Kunde, A. (2016).

Tuned In Emotion Regulation Program Using Music Listening: Effectiveness for Adolescents in Educational Settings. Frontiers in Psychology, 7, 859.

music to special populations, inclusive practices for students with disabilities, particular-

ly those with behavior disorders or who are deaf/hard-of-hearing, and the role of nonver-

Espelage, D. L., & Swearer, S. M. (2003). Research on school bullying and victimization: What have we learned and where do we go from here? School Psychology Review, 12, 365-383.

bal communication in the music classroom.

She is chairwoman of the FMEA Diverse Learners Committee.

Flynt, S. W., & Morton, R. C. (2004). Bullying and children with disabilities. Journal of Instructional Psychology, 31(4), 330-333.

illnesses (Crowe & Colwell, 2007). Skilled

practitioners have used music listening

to regulate the mood and emotions of at-risk adolescents and young adults

(Dingle, Hodges, & Kunde, 2016). Music therapy interventions are particularly

effective with adolescents, who are some of the most active consumers of music. If

a school district doesn’t offer music therapy services, they can still be acquired

through a student’s IEP as a related service. The process to receive music

therapy as a related service is outlined in Music in Special Education (Adamek & Darrow, 2018).

Know the support options available in

your school for students who are bullied or experiencing poor mental health. If supports are not available in your school, help create them and develop a process

for accessing them. Be a hero in the classroom. Familiarize yourself with the

warning signs of bullying and mental

Mahnken, K. (2017, November). The hidden mental health crisis in America’s schools: Millions of kids not getting the services they need. Newsfeed. Retrieved from https:// www.the74million.org/the-hidden-mentalhealth-crisis-in-americas-schools-millionsof-kids-not-receiving-services-they-need/.

References Adamek, M. & Darrow, A. A. (2018). Music in special education. Silver Spring, MD: American Music Therapy Association.

Child Mind Institute (2016). Children’s mental health report. Retrieved from https:// childmind.org/report/2016-childrens-mental-health-report/

McNamara, B. E. (2013). Bullying and students with disabilities. Thousand Oaks, CA: Corwin Publishers.

National Center for Education Statistics. (2016).

Indicators of School Crime and Safety: 2016.

U.S. Department of Education. Retrieved from https://nces.ed.gov/pubs2017/2017064.pdf

Corrigan, P. W. & Watson, A. C. (2002).

Understanding the impact of stigma on people of mental illness. World Psychiatry, 1(1), 16-20.

Rivers, I., Poteat, V. P., Noret, N., & Ashurst, N. (2009). Observing bullying at school: The mental health implications of witness status.

School Psychology Quarterly, 24(4), 211-223.

Copeland, W. E., Wolke, D., Angold, A., & Costello, J. (2013). Adult psychiatric outcomes of bullying and being bullied by peers in childhood and adolescence. JAMA Psychiatry, 70(4), 419-426.

Rose, C. A., Monda-Amaya, E., Espelage, D. L. (2011). Bullying perpetration and victimization in special education: A review of the literature. Remedial and Special Education, 32(2), 114-130.

Crisp, A. H., Gelder, M. G., Rix, S., Meltzer, H. I., & Rowlands, O. J. (2000). Stigmatization of people with mental illnesses. The British Journal of Psychiatry, 177(1), 4-7.

U.S. Department of Health and Human Services.

(2018a, February). What is Mental Health?

Retrieved from https://www.mentalhealth. gov/basics/what-is-mental-health

Crowe, B. J., & Colwell, C. (Eds.). (2007). Effective clinical practice in music therapy: Music therapy for children, adolescents, and adults with mental disorders. Silver Spring, MD: American Music Therapy Association.

U.S. Department of Health and Human Services.

(2018b, February). Mental Health Myths and Facts. Retrieved from https://www.mentalhealth.gov/basics/mental-health-myths-facts

Dikel, W. (2014). A teacher’s guide to mental health. New York, NY: W. W. Norton & Company, Inc.

April 2018

17

Jumping on the Percussion Ensemble Bandwagon!

E

by Ashley Peek

Elementary percussion ensembles have

ultimate goal for the ensemble. Will this

last several years, and they are an excel-

after-school percussion club?

become increasingly popular over the lent way to reach even more of your gen-

group be a performing ensemble or an

For a performing group, teachers may

eral elementary school population. The

want to audition their students to obtain

have a separate chorus class, and they

also to assess ability. This is especial-

majority of elementary schools already

also have students who are musically inclined but singing “just isn’t their thing.” Adding a separate percussion

ensemble can help reach those students

and give teachers another outlet for cre-

ativity, moving beyond what can be done in a typical class period.

New teachers, or even experienced

teachers who have not started a new ensemble from the ground up, have many questions about how to get a new

group up and running. Here are just a

their ideal number for the group, and ly important in determining the repertoire the ensemble will be performing.

Having a select group of students allows

the teacher to expand well beyond the day-to-day curriculum to challenge the

students. To gauge individual strengths and weaknesses in different areas, con-

to train upcoming students for the elite

audition such as rhythm reading, body

have a performing ensemble for fifth

sider having multiple components of the

percussion, drum technique and mallet technique on Orff instruments.

Another great way to begin a per-

ensemble. For example, schools that grade students may want to include

fourth grade students in a percussion club to help refine their skills and pre-

few: Should this group be an auditioned

cussion program is to start with general

pare them for the following year.

ups? How do I prepare myself for teach-

club can include more students and will

bles may also be wondering about

to develop a more refined performing

with the instruction of their new

group, or should there be general sign-

ing a percussion ensemble? What should

I teach and perform with this type of ensemble?

As you are deciding how to select stu-

dents for this new group, consider your

18 F l o r i d a

sign-ups and form a percussion club. A

allow them to practice the skills needed ensemble later. For schools that reserve their ensembles for their upper grade, a percussion club can also serve as a way

Music Director

Teachers new to elementary ensem-

appropriate teacher training to help

ensembles and to learn what they

should teach. In addition to attending general music and percussion sessions

at state conferences and workshops,

writing and performance repertoire.

Ashley Peek is in her sixth

want to consider Orff levels training

will give teachers a plethora of mate-

teacher at Holley Navarre

teachers beginning an ensemble may or world music drumming training.

Both of these go into great detail on

process and performance. Teachers who

complete Orff training leave with a significant amount of knowledge on

how to process mallet ensemble piec-

The resources in both types of courses

rial to teach for both practice and performance, and will prepare teachers

with the necessary skills to write their own materials for their new performing ensemble or percussion club.

With these questions and topics

es and incorporate student improvisa-

as launching points, teachers can be

components. World music drumming

new group and expanding the cre-

tion as well as movement and recorder

provides an excellent foundation of drumming technique, ensemble part

well on their way to beginning their ativity of both themselves and their students.

year as the general music Intermediate

School

in

Navarre, Florida. She completed her Orff Schulwerk

certification in 2015 under the instruction of Jennifer Donovan and Sue Mueller. In 2014,

she was awarded the Santa Rosa Arts and

Culture Teacher of the Year award. She serves

as the FEMEA District VI chairwoman, is the

Southern Division representative to the NAfME Council for General Music Education and is in the FMEA Emerging Leaders program.

April 2018

19

20 F l o r i d a

Music Director

Please take time to thank and support our 2017-2018 Corporate Partners.

GOLD PARTNERS

SILVER PARTNERS

Music is Elementary

BRONZE PARTNERS

Breezin’ Thru, Inc. Cadence Music Carl Fischer Music Concept Tours, Inc. Eastman Festivals of Music & Music in the Parks Infinity Percussion J. W. Pepper & Son, Inc.

MakeMusic, Inc. Music & Arts Music Man, Inc. Music N’ More, LLC The Horn Section, Inc. UpBeat Music West Music Company

Partners as of March 7, 2018.

*Please visit FloridaMusicEducation.org for partnership details or call 850-878-6844.

April 2018

21

2018 NAfME Collegiate Advocacy Summit FMEA Scholarship Application

We are pleased to announce that the Florida Music Education Association (FMEA) will be choosing two exceptional collegiate music students to be awarded a scholarship to attend the 2018 NAfME Collegiate Advocacy Summit on Capitol Hill. The event will take place June 26-28, 2018, in Washington, D.C. Please complete the application and see additional instructions below.

Applications are due Monday, April 30, 2018. All forms must be postmarked no later than Monday, April 23, 2018, to meet the April 30, 2018, deadline.

For information regarding the event, visit hillday.nafme.org.

PLEASE PRINT: Applicant Name:________________________________________________________Home Phone:____________________________ Address:_________________________________________ City:_______________________ State:____________ ZIP:____________ School Name:________________________________________________________________________________________________ School Address:___________________________________ City:_______________________ State:____________ ZIP:____________ Chapter Advisor:______________________________________________________________________________________________ Advisor Phone:________________________________________ Advisor Email:____________________________________________ Instrument/Voice:______________________________________________________ Graduation Date:____________________________

List extracurricular activities in which you are involved: ____________________________________________________________________________ ____________________________________________________________________________

ESSAY Please attach a typed one-page essay that answers the following questions:

____________________________________________________________________________

• Why is advocacy for music education important?

List any leadership roles you have held for music-related organizations or ensembles:

• What leadership qualities do you possess?

____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________

Printed Name of Applicant

Applicant Signature Send this application form, essay and three letters of recommendation (one letter must be from your chapter advisor) to: NAfME Collegiate Advocacy Summit Scholarship Hinckley Center for Fine Arts Education 402 Office Plaza Drive, Tallahassee, FL 32301 Applications will be reviewed by a representative committee of teachers, administrators and music educators, convened by FMEA.

22 F l o r i d a

Music Director

• What are your future aspirations for leadership?

• Why should you be chosen to attend the NAfME Collegiate Advocacy Summit?

Essay may be selected to be printed in the Florida Music Director magazine published by FMEA.

If you have questions, please contact: Valeria Anderson val@FloridaMusicEducation.org (850) 878-6844 or (800) 301-3632

ComponentNews I

FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION

Rosemary Pilonero, President

hope everyone enjoyed a wonderful,

the Arts in Philadelphia. Both clinicians

do so. Whether you desire to become

as we jump into the last nine weeks of

ferences nationwide. Since many of you

improve your understanding of what

restful and well-deserved spring break

school. I know it is a busy time with

spring programs, testing, field trips, etc., but it is also time to begin thinking about

All-State. January may seem far off, but

the audition process will begin soon.

Start considering which of your stu-

in the fall.

Our 2018 All-State Elementary ensem-

bles encompassed approximately 300

is provided on the All-State Chorus page

materials for this group will be available

of our FEMEA website. Marie Radloff,

on the FEMEA website sometime in May.

FEMEA past president, will be looking

We will be recruiting judges for

minimum of Level I certification in Orff

cussion about auditioning for All-State

members. A link to the training program

pieces over the summer, the audition

Orff Ensemble. Spring is a great time to dedicated students and to begin the dis-

a fantastic tool that is free to all FEMEA

work on the recorder and xylophone

both ensembles. Judges of the All-State

identify some of your most talented and

the scoring rubrics really mean, this is

will probably want to have your students

dents would be good candidates for the 2019 All-State Elementary Chorus and

an all-state chorus judge, or simply to

present at various workshops and con-

for judges for both ensembles. If you

are interested in serving, please contact

Elementary Orff Ensemble must hold a

Marie at femeapastpres@icloud.com.

Schulwerk. If you qualify, please consid-

Finally, please save the date: the

er serving in this capacity. If you have not

FEMEA Summer Conference will be held

All-State Chorus Adjudicator training

for a great day of learning and fun with

already taken advantage of our FEMEA

at UCF on Saturday, July 21. Come join us

program, now would be a great time to

Angela Leonhardt. Hope to see you there!

musicians, with auditions from about

1,000! We are extremely blessed to have so many talented students and dedicated

FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION

music educators in the state of Florida.

Next year promises to be another great

Stacie Rossow, DMA, President

experience for our students.

Our 2019 All-State Elementary Chorus

conductor will be Dr. Kelly Miller, coordinator of music education at University

I

hope the semester has treated you well thus far and that the first round of

concerts and conferences was successful. As we bring spring 2018 to a close

of Central Florida. In addition to con-

in the final flurry of performances, final exams and auditions, I want to bring to

Miller teaches various courses, main-

for the FCMEA/FCNAfME Fall Conference is underway and will be finalized

ducting the UCF Women’s Choir, Dr. tains a private voice studio and serves as a clinician and festival adjudicator at

various events. Our commissioned com-

your attention the actions we have taken since our meeting in January. Planning in May. Be on the lookout for information over the summer.

In keeping with our communication action items

poser will be Jay Broeker, who will also

of the January meeting, we have created a Facebook

conference.

This is a place where we will post information, call to

be presenting some sessions at our 2019 Since its 2016 premiere, the FMEA

All-State Orff Ensemble has continued to

grow and is a huge success. Our 2019 Orff

page (CLICK HERE

). I hope you will join the group.

the membership and link relevant research items and questions.

If you have an idea for a presentation for the 2019 FMEA Professional

clinicians will be Michelle Przybylowski

Development Conference, please be sure you submit it through the FMEA

will also be our commissioned compos-

audiences. The leadership continues to look for ways to make the January con-

and Cyndee Giebler. Ms. Giebler, who er, teaches elementary music in northern Wisconsin and arranges children’s music. Ms. Przybylowski is an adjunct

senior professor at The University of

portal by the deadline and include college educators as one of the appropriate ference more relevant to college music educators. We hope once again to open a

round-table discussion with the two- and four-year colleges and universities to continue the discussion that began a few years ago.

April 2018

23

ComponentNews

FLORIDA BANDMASTERS ASSOCIATION

Jason Duckett, President

What I’ve Learned in the Last Two Years

M

y time as president of FBA has run parallel with my pursuit of

my master’s degree in conducting from the University of North Florida. As if I

become very clear to me over the last

indicators being marked—have made a

director:

rehearsals. I even have my students color

two years in making me a better band Score study is IMPORTANT! This is

wasn’t busy enough, I have also served

one of those things I was told, but never

It has been an enlightening experience!

chordal analysis, rhythmic irregularities

as the directing teacher for three interns.

Here are a few of the things that have

really did. Breaking down the music— and even things as simple as dynamic

big difference in the efficiency of my

code their dynamics (red for loud and blue for soft). The way they do it is up to them, but they are now more invested in

the success of the performance. Some of them go into great detail; a quick glance

FLORIDA COLLEGIATE NAFME

Michael A. Gabriel, President

I

write this article for you, my dear colleagues, in the midst

of what many call the “crunch time” of the school year.

Teachers are preparing for performance assessments, and college students are anticipating juries, auditions and class examinations. We are feeling the weight of responsibility

pressing on our shoulders. In these times it is easy for all of

for the families affected and continue to fully pledge my

all who are feeling the stress of the season to dig deep in

I have been inspired by the beautiful efforts of all those

us to begin to feel anxious or even burned out. I encourage

support to the community.

your heart and remember what drew you into this beautiful

in the Parkland area who have come together to support

myself somewhat uncomfortable (and woefully unqualified)

of Broward County and the entire state for their incredible

profession from the beginning. As a novice teacher, I find to offer you this advice; however, I do believe this idea rings

true for everyone from time to time. Regardless of age, back-

ground or situation, I suggest that we all must make time to celebrate the things we love, both in terms of ideas and relationships. It is our duty to ourselves to make an active effort

to preserve this for our own well-being, especially when we are in the midst of delayed gratification from our work.

“I don’t believe in the whole ‘suffering artist’ idea; do not

one another. I have extraordinary respect for the teachers

show of support for the Parkland community. The tributes to the MSD students that we still see on a regular basis are awe

inspiring. I implore everyone reading this to take action: make your voice heard in your government! If you disagree

with a law or a policy, I suggest it is your civic duty to make this known to your elected officials—remember, they are elected to represent you!

In the wake of this tragedy, we are reminded of how

kill the thing that you love, because no one else will.”

important we as (future) teachers are to the youth of this

On top of the general stress of the season, I write this

students, especially in times of great need such as these. I

—Mallory Beth Thompson

article at a time of unprecedented emotional instability in our state in the aftermath of the horrific tragedy at Marjory

Stoneman Douglas High School in Parkland. I feel so deeply

24 F l o r i d a

Music Director

nation. We have a beautiful and critical duty to support our

am so inspired by the teachers who have answered the call to support their community.

Now more than ever, our students need us.

FLORIDA ORCHESTRA ASSOCIATION

Jason Jerald, President

at their music gives me huge insight into who my true leaders are.

“To achieve great things, two things are needed; a plan, and not quite enough time.”

—Leonard Bernstein

Talk LESS, play MORE! If you have

an intern, you probably have noticed

that he or she uses 100 words to say what could have been said in 10. We are ALL

guilty of waxing poetic on the podium about some lofty concept that nobody

understands except us. (That reminds

me of some marching band shows I have seen, but I digress.) The kids came to class to play their instruments, not hear from you. Of course you have to correct

things, but do it in as few words as pos-

sible. About 80 percent of what we fix can be done in two or three words: loud-

er/softer, lighter/heavier, faster/slower,

more or less of that voice, etc. Try it. Your band will get a lot more done. There will

be fewer discipline issues. The kids will have a better experience.

Expand YOUR music experience! I

took a class in choral conducting with Dr. Cara Tasher. Besides the benefit of

her incredible conducting skills and pas-

sion for music making, I was exposed

to sublime and tender composition I never would have known otherwise. My

theory and history classes weren’t about

chord analysis and who composed in the romantic era, but instead about different

ways to look at music. Scholarly writings

gave some fantastic perspective. Seek out music you don’t hear all the time. You

may not like it all, but the growth is well worth it.

You can do ANYTHING you want!

Don’t give up. There will be obstacles and hard days. Don’t give up. If you want it, go get it!

Have a great last quarter. Make better

D

o these words ring true in your classroom lately? I hope you have had a chance to breathe a bit and reflect, or should I say survive your district

MPAs? I wish my high school colleagues the very best on any upcoming state solo and ensemble and concert MPAs you may have. I will be in attendance and look forward to seeing you and hearing your students.

It’s hard to believe the year is coming to a close with so much left to do,

from spring concerts to banquets and, oh yes, testing! As we head into our end-of-year district meetings, please remember to submit any motions or concerns to your district chairperson for the May FOA executive board meeting. If you have concerns or would like more clarification about items

in the handbook, please forward any concerns or thoughts to our past president, Valerie Terry, at vterry@myfoa.org.

be meeting in July.

The handbook committee will

Also, remember the new adjudication sheets are rolling out for the 2019

Concert MPA season. As a result, our adjudicator approval training has been

revised. Only those adjudicators who have trained with the new sheets and our lead adjudicators will be called upon to adjudicate for 2019 MPAs after this current school year. Anyone seeking adjudication approval will not be

voted on by their district or the Executive Board but can self-nominate if

all the initial requirements are met. All adjudicators will be required to go through the training before being placed on the approved list. Training for

adjudicators currently on the FOA approved list will take place in September before the Fall Conference at the Orlando Hilton. Please visit the FOA website (myfoa.org

) for further information.

Thank you to all of our current adjudicators for taking the time to share

your wisdom and words of encouragement during our district assessments.

Should you have questions or concerns, please always feel free to contact

one of us on the board. We are here to serve you and your students, and we value your input.

bands. Make better you.

April 2018

25

ResearchPuzzles

RESEARCH COMMITTEE CHAIRMAN

for music teachers

Don D. Coffman, PhD University of Miami

This ongoing column seeks to stimulate awareness of research issues for FMEA teachers and researchers.

What do we know about teacher certification practices across the United States?

My monthly columns for the past year or two have

pedagogical knowledge (23). In addition to testing, 12

for the Arts and from research journals in music educa-

lesson plans, video clips, student work) showing evi-

summarized reports from the National Endowment tion: NAfME’s Journal of Research in Music Education and

FMEA’s Research Perspectives in Music Education. Last

month I selected an article from NAfME’s Update. This month I have chosen a report from NAfME’s Journal

of Music Teacher Education. Established in 1991 by the Society for Music Teacher Education, it fills this niche: The aims of the JMTE are to: (a) strengthen

music teacher education; (b) publish research

that adheres to the highest standards for schol-

arship quality and ethics; (c) promote innovative approaches to music teacher research; (d) serve

as a clearinghouse for ideas among professors of music education; (e) disseminate informa-

tion about the National Association for Music

states required a teacher performance assessment (e.g., dence of student learning during the student teaching

experience. Most states (except for New Mexico, New

York and South Dakota) were signatories on the 2016 NASDTEC agreement, and therefore recognized some level of reciprocity with other states. Trends observed

since 1972 included: (a) a shift from restricted certifications (e.g. instrumental music) to broader music

designation; (b) expansion to include early childhood

education; and (c) increased testing for entering and completing certification programs.

The researchers note that the Every Children

Succeeds Act, while encouraging a well-rounded education that includes the arts, leaves licensing requirements up to the states, and they conclude:

Education’s Society for Music Teacher Education

While the long-term impact of ESSA is yet to be

music education researchers and professors.

mine how they choose to fill teacher vacancies

(SMTE); and (f) affect a sense of unity among

NAfME members can view the journal by log-

ging on to NAfME.org, navigating to the Journals/

seen, states and districts will ultimately deterand what comprises their specific teacher certification process.

Magazines page under “My Classroom” and clicking

The juxtaposition of increased external man-

I have selected “An Analysis of State Music Education

open-ended definition of teacher competency has

the JMTE link, which takes you to Sage Publications.

Certification and Licensure Practices in the United

States” by Brittany Nixon May, Karen Willie, Cherilyn Worthen and Allyssa Pehrson (2017, Volume 27, pages

65-88). Using data from 2016, these researchers com-

pared their results with similar surveys from 1972, 1983, 1992 and 2005 to see what changes had occurred.

A majority of states (39) certified broadly for music

rather than specifying instrumental music (15 states)

or vocal music (12 states) or combinations such as instrumental/general, and in nearly all states (49) the

certification was for all levels (e.g., K-12, P-12, early

dates in teacher certification and the ESSA’s more the potential to create friction between policy-

makers and stakeholders as they attempt to bring reforms and improvements to music education in the United States.

If you wish to examine in detail the certification

requirements and fees for a particular state, there is a sizeable table in the article. I hope this bit of informa-

tion intrigues you sufficiently to browse other articles in JTME.

childhood-12, early childhood-adult). Testing for cer-

Email your questions and feedback to d.coff-

Wyoming, most often relying on the Praxis exams (in

Research Puzzles. Your questions, if selected for

tification was required in all states but Montana and 32 states). Most states required basic skills tests (45) and music knowledge tests (48), but fewer tested for

26 F l o r i d a

Music Director

man1@miami.edu

with a subject heading

publication, will remain anonymous.

CommitteeReports

AWARDS COMMITTEE

Debbie Fahmie, Chairwoman

attending the 2018 FMEA Awards Breakfast:

Thanks again for the recogni-

tion from FMEA. I attended my

first conference as a member of

the All-State Orchestra in 1969.

Nothing could beat the acoustics

of the Jai-Alai Fronton in Daytona

Beach while playing behind the

screen. Forty-nine years later, it is a

distinct honor to receive an award

C

an you believe it is April already?

from the group I respect so much,

School Board Member of the Year. We rec-

Have you thought about a colleague

ognized not one, but two members of the

the FMEA awards? Be sure to check the

April Griffin and Rob Hyatt the dynamic

you might like to nominate for one of FMEA website for all the details about making a nomination.

The FMEA Awards Ceremony in

January was a wonderful celebration of some very inspiring individuals as well

as music programs that are flourishing

and teachers who have contributed many years of their adult life to the field of music education.

This year’s FMEA Awards were excep-

tional in that every award had multiple nominations. It is a wonderful state of affairs when we can celebrate outstand-

ing people and programs in so many categories. Particularly impressive were

the winners of the District School Board/

my professional home.

It is crucial that we keep music

and the arts at the forefront of public

School Board of Alachua County. I call

awareness as a vital part of the mis-

sion of our schools, creating a learning

duo, and I wish all 67 counties could have

environment for the whole child. A

school board members such as these serv-

strong music program is an antidote

ing their districts. Together, they were

for excessive testing and provides an

able to lead the school board through the

additional path to learning. Creativity

organization of supporting a One Mill

experienced through music education

initiative, which kept full-time art and

opens the door for a higher quality of

music educators in all public schools and

life for upcoming generations.

championed a capital outlay of resources

Please let me know if there is any

for arts classrooms. It was wonderful to

way I can be of further assistance to

be able to share these accomplishments

the mission of FMEA. Best regards

in Alachua County with a room full of

and Go, Gators!

administrators and upper-level leaders who attended our Awards Breakfast.

Alachua

County

School

Thank you to Mr. Hyatt for his inspira-

Board

tional words and also for the great things

thoughts with us as he reflected on

I hope this glimpse into the FMEA

Chairman Rob Hyatt shared these

he is doing to support music education.

Awards

program

has

inspired you to reflect on people you know who

deserve a nomination for the 2019 program. I look

forward to another great

year of celebrating the accomplishments of music

education throughout our state.

April 2018

27

CommitteeReports

DIVERSE LEARNERS COMMITTEE Alice-Ann Darrow, PhD Chairwoman

Take a Trip to Salzburg, Austria, and the Orff Institute to Learn More About Students With Disabilities

I

nterested in travel? Our international

dents with disabilities and other diverse

July 12-14, 2018, at the Orff Institute

for Music Education (ISME) holds a world

conference, the ISME Commission on

around the world will share their practic-

organization, the International Society

conference every two years, with orga-

nizational commissions sponsoring pre-

conference seminars. This summer ISME

will hold its 33rd world conference in Baku, Azerbaijan, July 15-20, 2018.

Interested in learning more about stu-

populations? In the days preceding the

Music in Special Education and Music Therapy will sponsor a preconference

seminar entitled Music Across the

in Salzburg, Austria. Presenters from

es and research with diverse populations of all ages.

Salzburg is an Austrian city on the

Lifespan: The Role of Special Music

border of Germany, with views of the

preconference seminar will be held

the Salzach River, with medieval and

Education and Music Therapy. The

Eastern Alps. The city is divided by baroque buildings of the pedestrian Altstadt (Old City) on its left bank, facing

the 19th century Neustadt (New City)

on its right. The Altstadt birthplace of famed composer Mozart is preserved

as a museum displaying his childhood

instruments. The Orff Institute (est. 1961) is devoted to training teachers at all

educational levels in music and dance/

28 F l o r i d a

movement.

Music Director

The Commission on Special Music Education and Music Therapy

The Commission on Special Music

Education and Music Therapy was established to contribute to the progressive development of special music education, music therapy and other related fields of practice that examine the

relationship between music, health and well-being. The commission seeks to

promote interdisciplinary communica-

tion and exchange among international practitioners and scholars involved in

these fields of study. The Commission

on Special Music Education and Music Therapy was established 1974.

«« promote and advocate for students in The vision of the organization is to:

need of special support—to ensure they are afforded the same quality

music education and practices as that

«« share international perspectives on of typical developing students;

the current research in special music

«« enhance the quality of life for all chileducation and music therapy;

«« stimulate international research con-

ing at seminar meetings and the

«« inform those responsible for funding world conference; and

nections and the initiation of interna-

tional practice and education projects (e.g., exchange programs) between

and policy making of the significance

«« share contemporary technologies and commission members;

of music for children and adults in need of special support.

products that enhance the musical

For additional information about the

lives of all children and adults who

«« provide support for music educators

Commission on Music in Special Educa-

need additional support;

tion and Music Therapy or the preconference in Salzburg, Austria,

and music therapists new to their

professions via mentoring in both

CLICK

HERE. For information about ISME and

research and best practices, network-

the world conference,

CLICK HERE.

dren and adults in need of support by sharing international practices in

special music education and music

«« improve

therapy; and

professional training/edu-

cation of practitioners working in special music education and music therapy.

«« promote music in the lives of all children and adults; «« provide an international forum for the The organization’s mission is to:

exchange of ideas regarding the edu-

cational and therapeutic professions, and their place within each country’s

«« increase the visibility of international musical culture;

research and best practices in the fields of special music education and music therapy;

April 2018

29

CommitteeReports W

PROFESSIONAL DEVELOPMENT COMMITTEE

Carolyn Minear, Chairwoman

hat is your first response when

workshop where one person shares his

our students the new tips, techniques

development? I hope it reminds you of the

ers we are lifelong learners, and we often

But true professional growth is achieved

you hear the phrase professional

annual FMEA Professional Development

Conference that 75 percent of our mem-

bership enjoyed in January. Perhaps you are actively engaged in another ongo-

ing professional growth journey of your own choosing. Frequently, however, professional development reminds us

of required meetings, recertification

requirements or perhaps a traditional

or her expertise with a group. As teachfind these designated activities inter-

and repertoire we have just experienced. when we make systemic changes in

esting and informative. But how often

our practice. True professional growth

impact our musical or pedagogical prac-

habit.

does professional development actually tice? For our purposes, let us consider

has occurred when a change becomes a

Transferring new life experiences into

this broad definition of effective pro-

systemic changes in our practice requires

contributing to systemic change in teach-

to engage in critical thinking to reflect

fessional development: a life experience er practice. Yes, we enjoy sharing with

an intense focus over time. It requires us on our current practice, asking what

is working and what we would like to change. Then we must create an action plan for change, both within and beyond

EMERGING LEADERS COMMITTEE

Mary Palmer, EdD, Chairwoman

the classroom. At this point, communi-

cation and collaboration with colleagues are key to carefully selecting life experiences for personal growth. Ask advice

A

of experts in your field and search for

minded people who are on their own leadership journeys can help you frame

requires the 4Cs: critical thinking, cre-

re YOU willing, and maybe even “burning,” to step up to leadership for

music education? Whether you’re interested in taking a greater leadership

role in your school, your district, your state or the nation, connecting with likeand achieve your aspirations. What do successful leaders have in common?

What’s necessary to build these habits of mind and actual skills? Are the char-

acteristics of leaders different in different settings? Why even invest time and energy into being a leader?

The FMEA Emerging Leaders program might be the springboard that will

benefit your pathway to leadership. This FMEA initiative provides guidance and support to outstanding music educators who demonstrate exemplary teaching

and the potential and propensity for professional leadership. Selected teachers

have the opportunity to participate in leadership development talks, workshops,

discussions and ACTION. Insofar as possible, each Emerging Leader will have a leadership mentor to support him or her. FMEA Emerging Leaders have oppor-

tunities to enhance and use their abilities in all aspects of music education, including at the FMEA Professional Development Conference.

CLICK HERE

due April 18.

for more information about the program. Applications are

All FMEA Emerging Leaders, and especially those in the 2018 group, are

invited to attend the annual FMEA Emerging Leaders Drive-In to Leadership one-day conference. This year’s conference will be held on Saturday, June 9, at the University of Central Florida in Orlando. More information on the conference will appear in the May issue of FMD.

We’re looking forward to YOUR application!

30 F l o r i d a

available online resources. Collaborate with others and seek feedback as you implement your plan. Systemic change ating, communication and collaboration.

The piece of the professional develop-

ment puzzle that is most challenging for

most teachers is the dreaded T word: TIME! In my experience, the best person-

al and professional growth opportunities often happen during the summer. What new life experiences have you planned

for summer 2018, both big and small?

Choose a musical and/or pedagogical

challenge. You may want to participate in

an international conducting symposium, learn to play the ukulele or any musical

experience in between. Collaborate with colleagues to map your 2018-19 curricu-

lum, because once the next school year begins, time for thoughtful planning

diminishes considerably. Register for a summer workshop or a summer convention. Now is the time to plan your Summer

Professional

Development

Journey, 2018 Edition. Bon voyage!

Music Director

April 2018

31

32 F l o r i d a

Music Director

Anonymous Donations

Donate today for a stronger tomorrow.

With your support, FMEA will continue to grow its programs for teachers and students, strengthen united advocacy efforts and improve your professional development opportunities. FMEA strives to recognize the support of our donors. Starting April 1, 2018, donors will be recognized based on their giving level in each Florida Music Director magazine and in the conference program.

Donor Levels

Friends: up to $24

Patrons: $25 to $99

Sustainers: $100 to $999

Artist’s Circle: $1,000 to $9,999 Maestro’s Circle: $10,000+

April 2018

33

FMEA ExecutiveDirector’sNotes The Power of Our Students

T

he power of our students is being felt in light of the tragic event that happened on February 14, 2018. On this day a young man terrorized Marjory Stoneman Douglas High School and massa-

cred 14 students and three adults.

Kathleen D. Sanz, PhD

The mission of the Florida Music Education Association is to promote quality, comprehensive music education for all Florida students as a part of their complete education.

The devastating emotions and feelings of the family members, the students, the Parkland com-

munity, the education community and people all over the world are too complicated to express.

I have a growing sense of hope because of these students who are demonstrating a newly planted

spirit of activism. I am hopeful that the era of children being seen but not heard is coming to an abrupt end, providing for mutual respect across generations.

As the mother of two sons who attended public schools and the grandmother of two grandsons,

I’m extremely encouraged by these brave and articulate students who are trying to make it a better

and safer place in our schools. The students are standing up and speaking out. As music educators and adults, we need to stand with them, encourage them and join them in their quest.

While we grieve for this tragic loss of life, I sincerely believe we must energize our resolve to take

action, to be informed and to help reform our laws and encourage voter participation.

It’s essential to recognize that our children and youth need every opportunity to grow to be

healthy and positive adults through quality education and strong music education K-12. This can only be accomplished by preparing a safer and more sustainable future.

Artists throughout time have helped us through times of distress after horrific events such as

what happened in one of our public schools. They lead us to perhaps a beacon of hope for the future.

Leonard Bernstein made a strong statement after the shooting of President Kennedy in 1963. He

stated: “This will be our reply to violence: to make music more intensely, more beautifully, more devotedly than ever before.”

So, I say go forth, stand up and believe in the power of our youth as we continue to make beau-

tiful music together.

Reference

Leonard Bernstein, “Tribute to John F. Kennedy,” Findings (1982): 218-220.

Sincerely,

Kathleen D. Sanz, PhD

When there is tragedy, music overcomes it all.

On March 6, the Marjory Stoneman Douglas High School Wind Symphony played a concert at Carnegie Hall in New York City. Click below for links to a story, photos and video from CBS News.

CLICK HERE FOR ARTICLE CLICK HERE FOR VIDEO

34 F l o r i d a

Music Director

F L O R I D A M U S I C E D U C AT I O N A S S O C I AT I O N OFFICERS AND DIRECTORS EXECUTIVE BOARD President..............................Kenneth Williams, PhD 3610 Beauclerc Rd.; Jacksonville, FL 32257 (904) 521-7890; kenwms@flmusiced.org Past President........................John K. Southall, PhD Indian River State College 3209 Virginia Ave.; Fort Pierce, FL 34981 (772) 462-7810 johnsouthall@FloridaMusicEducation.org President-Elect....................... Steven N. Kelly, PhD College of Music, FSU 128 Housewright Bldg.; Tallahassee, FL 32306-1180 (850) 644-4069; Fax: (850) 644-2033 skelly@admin.fsu.edu FBA President.....................................Jason Duckett Bartram Trail High School 7399 Longleaf Pine Pkwy.; St. Johns, FL 32259 (904) 343-1999; bartramtrailbd1@aol.com FCMEA President..................... Stacie Rossow, DMA Florida Atlantic University 777 Glades Rd.; Boca Raton, FL 33431 (561) 297-4230; srossow@fau.edu Florida Collegiate NAfME President.........................Michael A. Gabriel Florida State University (561) 762-0016 mgmagabriel@gmail.com Florida Collegiate NAfME Advisor................. Shelby R. Chipman, PhD FEMEA President.......................Rosemary Pilonero The Villages Elementary of Lady Lake 695 Rolling Acres Rd.; Lady Lake, FL 32159 (352) 751-0111; rosemary@femea.flmusiced.org FMSA President......................................Scott Evans Orange County Public Schools 445 W. Amelia St.; Orlando, FL 32801 (407) 317-3200; scott.evans@ocps.net FOA President........................................Jason Jerald Blake High School 1701 North Blvd.; Tampa, FL 33607 (813) 272-3422; jason.jerald@sdhc.k12.fl.us FVA President.................................Thomas Jomisko Manatee High School 902 33rd Street Ct. W.; Bradenton, FL 34205 (941) 714-7300; jomiskot@manateeschools.net Member-at-Large....................................Ted Shistle Douglas Anderson School of the Arts 2445 San Diego Rd.; Jacksonville, FL 32207 (904) 346-5620; shistlet@duvalschools.org EX-OFFICIO MEMBERS Historian/Parliamentarian Kathleen D. Sanz, PhD Hinckley Center for Fine Arts Education 402 Office Plaza Dr.; Tallahassee, FL 32301-2757 (850) 878-6844; Fax: (850) 942-1793 kdsanz@FloridaMusicEducation.org Executive Director...............Kathleen D. Sanz, PhD Hinckley Center for Fine Arts Education 402 Office Plaza Dr.; Tallahassee, FL 32301-2757 (850) 878-6844; Fax: (850) 942-1793 kdsanz@FloridaMusicEducation.org

FMD Editor-in-Chief......... Mark A. Belfast, Jr., PhD Southeastern University 1000 Longfellow Blvd.; Lakeland, FL 33801 (863) 667-5104; mabelfast@seu.edu FSMA President.....................................Michael Dye Niceville High School 800 E. John Sims Pkwy.; Niceville, FL 32578-1210 dyem@mail.okaloosa.k12.fl.us FMEA COMMITTEE CHAIRPERSONS Awards............................................... Debbie Fahmie Fine and Performing Arts Resource Specialist Osceola District Schools (407) 870-4904; fahmied@yahoo.com Budget/Finance, Development........................Kenneth Williams, PhD 3610 Beauclerc Rd.; Jacksonville, FL 32257 (904) 521-7890; kenwms@flmusiced.org Committee Council............................................. TBA Conference Chairman...........John K. Southall, PhD Indian River State College 3209 Virginia Ave.; Fort Pierce, FL 34981 (772) 462-7810; johnsouthall@FloridaMusicEducation.org Contemporary Media...............David Williams, PhD University of South Florida 4202 E. Fowler Ave., MUS 101; Tampa, FL 33620 (813) 974-9166; davidw@usf.edu Diverse Learners.................Alice-Ann Darrow, PhD Florida State University Music Education and Music Therapy 123 N. Copeland; Tallahassee, FL 32306 (850) 645-1438; aadarrow@fsu.edu Emerging Leaders....................... Mary Palmer, EdD 11410 Swift Water Cir.; Orlando, FL 32817 (407) 382-1661; mpalmerassoc@aol.com FMEA Corporate & Academic Partners...Fred Schiff All County Music 8136 N. University Dr.; Tamarac, FL 33321-1708 (954) 722-3424; fredallcounty@aol.com Government Relations.............Jeanne W. Reynolds Pinellas County Schools, Administration Bldg.

301 4th St., SW, P.O. Box 2942; Largo, FL 33779-2942 (727) 588-6055; reynoldsj@pcsb.org Multicultural Network..............Bernard Hendricks Ocoee High School 1925 Ocoee Crown Point Pkwy.; Orlando, FL 34761 (407) 905-3009; bernard.hendricks@ocps.net Professional Development............. Carolyn Minear carolynminear1@gmail.com Research.................................Don D. Coffman, PhD University of Miami d.coffman1@miami.edu Retired Members................................Cynthia Berry 1341 Dunhill Dr.; Longwood, FL 32750 (407) 310-1254; cberry1314@gmail.com

PROFESSIONAL DEVELOPMENT CONFERENCE

FLORIDA MUSIC SUPERVISION ASSOCIATION

Exhibits Managers........... Byron and Bobbie Smith 4110 Tralee Rd.; Tallahassee, FL 32309 (850) 893-3606 fmeaexhibits@FloridaMusicEducation.org

President.................................................Scott Evans Orange County Public Schools 445 W. Amelia St.; Orlando, FL 32801 (407) 317-3200; scott.evans@ocps.net

Local Co-Chairman.................................... Ted Hope Hillsborough County Public Schools School Administration Center 901 E. Kennedy Blvd.; Tampa, FL 33602 (813) 272-4861; ted.hope@sdhc.k12.fl.us

Past President............................Angela Hartvigsen ja.hartvig@comcast.net

Local Co-Chairwoman.................Melanie Faulkner Hillsborough County Public Schools School Administration Center 901 E. Kennedy Blvd.; Tampa, FL 33602 (813) 272-4461; melanie.faulkner@sdhc.k12.fl.us FLORIDA BANDMASTERS ASSOCIATION President.............................................Jason Duckett Bartram Trail High School 7399 Longleaf Pine Pkwy.; St. Johns, FL 32259 (904) 343-1999; bartramtrailbd1@aol.com Executive Director................................ Neil Jenkins Florida Bandmasters Association P.O. Box 840135; Pembroke Pines, FL 33084 (954) 432-4111; Fax: (954) 432-4909 fbaexecdirector@gmail.com FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION President.................................. Stacie Rossow, DMA Florida Atlantic University 777 Glades Rd.; Boca Raton, FL 33431 (561) 297-4230; srossow@fau.edu Past President........................Patricia Fleitas, PhD pfleitas@fau.edu President-Elect...........................................John Ash ashj@cf.edu FLORIDA COLLEGIATE NAfME President......................................Michael A. Gabriel Florida State University (561) 762-0016 mgmagabriel@gmail.com

Treasurer.................................................... Ted Hope Hillsborough County Public Schools School Administration Center 901 E. Kennedy Blvd.; Tampa, FL 33602 (813) 272-4861; ted.hope@sdhc.k12.fl.us FLORIDA ORCHESTRA ASSOCIATION President................................................Jason Jerald Blake High School 1701 North Blvd.; Tampa, FL 33607 (813) 272-3422; jason.jerald@sdhc.k12.fl.us Past President......................................Valerie Terry vterrymusic@gmail.com Executive Director........................Donald Langland 220 Parsons Woods Dr.; Seffner, FL 33594 (813) 502-5233; Fax: (813) 502-6832 exdirfoa@yahoo.com FLORIDA VOCAL ASSOCIATION President.........................................Thomas Jomisko Manatee High School 902 33rd Street Ct. W.; Bradenton, FL 34205 (941) 714-7300; jomiskot@manateeschools.net Past President.............................Carlton Kilpatrick ckilpat444@gmail.com Executive Director.............................. J. Mark Scott 7122 Tarpon Ct.; Fleming Island, FL 32003 (904) 284-1551; fva.scott@gmail.com Financial Officer..........................................Jo Hagan 8975 San Rae Rd.; Jacksonville, FL 32257 (904) 379-2245; Fax: (904) 379-2260 business@fva.net CENTER FOR FINE ARTS EDUCATION STAFF 402 Office Plaza Dr.; Tallahassee, FL 32301-2757 (850) 878-6844; Fax: (850) 942-1793

FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION

Executive Director...............Kathleen D. Sanz, PhD kdsanz@FloridaMusicEducation.org

President....................................Rosemary Pilonero The Villages Elementary of Lady Lake 695 Rolling Acres Rd.; Lady Lake, FL 32159 (352) 751-0111; rosemary@femea.flmusiced.org

Director of Operations............................Valeria Anderson, IOM val@FloridaMusicEducation.org

Past President.................................... Marie Radloff marie.radloff@ocps.net Executive Director........................ Jennifer Sullivan 1750 Common Way Rd., Orlando, FL 32814 (321) 624-5433; slljenn@aol.com

Secondary General Music........................Ed Prasse Leon High School 550 E. Tennessee St.; Tallahassee, FL 32308 (850) 617-5700; prassee@leonschools.net

Business Manager & Special Projects...................... Richard Brown, CAE richard@FloridaMusicEducation.org Technology Director.........................Josh Bula, PhD josh@FloridaMusicEducation.org Public Affairs & Communications Coordinator......Jenny Abdelnour jenny@FloridaMusicEducation.org Marketing & Membership Coordinator.....Jasmine Van Weelden jasmine@FloridaMusicEducation.org

Student Leadership............................. Ian Schwindt Titusville High School 150 Terrier Trail S.; Titusville, FL 32780-4735 (321) 264-3108; schwindt.ian@brevardschools.org

April 2018

35

2019 FMEA Professional Development Conference & All-State Concerts

ARTISTRY:

Teaching &Performing

January 9-12, 2019 Tampa Convention Center The FMEA Professional Development Conference is one of the largest music education professional development events in the United States. In addition to approximately 250 sessions and concerts, it is host to 22 all-state ensembles featuring Florida’s top band, orchestra, chorus, guitar, and elementary students conducted by world-class conductors and teachers. It is attended by more than 10,000 people, including secondary music directors, elementary music teachers, music supervisors, college students, college music teachers, school administrators, K-12 students performing in the all-state ensembles, students and professional musicians performing with invited performing ensembles, exhibitors and parents of performing students.

Now accepting session proposals and performance applications 36 F l o r i d a

Music Director