CHAOS TO ORDER Repurposing the First 10 Minutes of the Ensemble Rehearsal
BRINGING GOOD FROM THE BAD:
Moving Forward in Music Education PLUS: FVA & FEMEA Candidates 2021 Conference Reimagined Promoting Social and Emotional Learning Being Resilient During COVID-19
EVEN TEACHERS NEED TEACHERS As an educator, one of the most impactful ways to improve is by educating yourself. That’s why the Yamaha Educator Suite (YES) helps music teachers access professional development opportunities, music teacher resources, program health support, advocacy assistance and more. YES brings you a network of like-minded teachers, experts and professionals, who want to help you achieve your goals. Let us help you raise the bar. Go to Yamaha.io/educatorsFMD
2
Florida 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@fmea.org)
Editor-in-Chief
D. Gregory Springer, PhD Florida State University College of Music 122 N. Copeland Street Tallahassee, FL 32306 (850) 644-2925 (office) (dgspringer@fsu.edu)
Editorial Committee Terice Allen (850) 245-8700, Tallahassee (tallen1962@hotmail.com) Judy Arthur, PhD Florida State University, KMU 222 (850) 644-3005 (jrarthur@fsu.edu) William Bauer, PhD University of Florida, Gainesville (352) 273-3182; (wbauer@ufl.edu) Alice-Ann Darrow, PhD College of Music, FSU, Tallahassee (850) 645-1438; (aadarrow@fsu.edu) 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@fmea.org)
Advertising Sales Valeria Anderson (val@fmea.org)
Director of Finance and Client Relations
Richard Brown , MBA, CAE, CMP (richard@fmea.org) 402 Office Plaza, Tallahassee, FL 32301 (850) 878-6844
Official FMEA and FMD Photographers
Contents November 2020
Volume 74 • Number 4
F E AT U R E S
FVA President-Elect Candidates. . . . . . . . . . . 6 FVA Middle School Chair-Elect Candidates. . . 8 2021 Virtual Conference. . . . . . . . . . . . . . . . 9
Chaos to Order:
Repurposing the First 10 Minutes of the Ensemble Rehearsal. . . . . . .
12
Bringing Good From the Bad:
Moving Forward in Music Education. . . . . . . . . 20
FEMEA President-Elect Candidate.. . . . . . . . . . . . . 28 D E PA R T M E N T S
Bob O’Lary Debby Stubing
Advertiser Index. . . . . . . . . . . . . . . . . . . . . . 4
Art Director & Production Manager
President’s Message. . . . . . . . . . . . . . . . . . . . 5
Circulation & Copy Manager
Corporate & Academic Partners. . . . . . . . . . . 19
Copy Editor
Component News.. . . . . . . . . . . . . . . . . . . . 25
Lori Danello Roberts, LDR Design Inc. (lori@flmusiced.org) Valeria Anderson, (800) 301-3632 Susan Trainor
2020-21 FMEA Donors. . . . . . . . . . . . . . . 10-11
Research Puzzles. . . . . . . . . . . . . . . . . . . . . 30 Committee Reports. . . . . . . . . . . . . . . . . . . 31 Executive Director’s Notes. . . . . . . . . . . . . . . 38 Officers and Directors.. . . . . . . . . . . . . . . . . 39
3
Advertiser Index
The Florida Music Director is made possible by the participation of the following businesses whose advertisements appear in this issue. They 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 these advertisements 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. 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. Information for advertisers (rate card, insertion orders, graphics requirements, etc.) can be found at FMEAMediaKit.org. ADVERTISERS Florida Gulf Coast University.............................................................................4 University of Florida...........................................................................................7 Yamaha Corporation of America................................................................... IFC The advertiser in bold provides additional support to FMEA members through membership in the Corporate and Academic Partners program. This Partner deserves your special recognition and attention.
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. 2020-21 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. Visit FMEA.org/membership to learn more about the benefits of active membership.
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. CIRCULATION: 4,500 educators. Published eight times annually by The Florida Music Education Association, Hinckley Center for Fine Arts Education: 402 Office Plaza, Tallahassee, FL 32301-2757. FMEA reserves the right to approve any application for appearance and to edit all materials proposed for distribution. Permission is granted to all FMEA members to reprint articles from the Florida Music Director for non-commercial, educational purposes. Non-members may request permission from the FMEA office. 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: D. Gregory Springer, PhD, dgspringer@fsu.edu.
All articles must be provided in digital format (e.g., Microsoft Word). All applicable fonts and images must be provided. Images must be at least 300 dpi resolution at 100% of the size. All submissions must be accompanied by a proof (color, if applicable). Ads may be submitted via email to val@fmea.org.
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GENEROUS SCHOLARSHIPS AND OUT OF STATE TUITION WAIVERS AVAILABLE FOR TALENTED UNDERGRADUATES
4 F l o r i d a
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Steven N. Kelly, PhD
President’sMessage
President Florida Music Education Association
Celebrate Returning to Our Goals H ello, FMEA members. I hope this
issue of the Florida Music Director
finds you well. FMEA has been busy. I am returning to my theme of Celebrating
to Debbie Fahmie and the FMEA Awards
not have to choose from the many out-
spent on this special endeavor.
time!
standing sessions occurring at a single
Committee for their hard work and time
Every component and committee
Congratulations to our all-state stu-
Music Excellence: Past, Present, and Future.
dents, both to those who auditioned and
will have sessions you will want to see.
reasons to celebrate success around our
to the teachers of these students. All-State
sions especially for them. There will be
Even with so many difficulties, there are state and throughout our organization.
I know many of you were able to join us
for our first Wellness Webinar hosted by
Dr. Alice-Ann Darrow. The success of this
webinar has led to the development of a
series of wellness webinars that FMEA will offer that will focus on our teachers’
mental health in coping with anxiety and
stress. Many thanks to Alice-Ann and to Josh Bula for putting together these
opportunities. I hope our members will
take time to join one or more of these webinars. They are only one hour long, and they are free to our members.
I cannot tell you how excited I was
to see the list of outstanding individ-
uals who received FMEA awards for their work during this challenging time.
Despite so many obstacles, there is so
much music occurring around our state, so many successes in our schools, and
so much being done for our students.
When you see the list of awardees, please
know that for every category there was at least one other incredible individual who was also deserving of an award.
Congratulations to everyone who was
nominated in addition to those selected to receive an award. So many thanks go
Our all-state students will have ses-
to those selected. Congratulations also go
“happy hour” opportunities to network
this year has been a challenge in so many
and reconnect with your colleagues and
ways. Auditioning in itself is an achieve-
friends around the state. We will still
ment to celebrate. These kinds of efforts
have our Preconference. There will even
go a long way toward keeping music in
be virtual exhibit rooms so you can keep
music education as we look to our future
up-to-date on current music materials.
beyond the pandemic.
You will be hearing so much more about
Finally, I am so happy to
our conference! Many, many thanks to
announce that we will indeed
our Conference Planning Committee led
have a virtual Professional
Development Conference in
by Dr. John Southall, to the FMEA com-
aware of Zoom fatigue, I
FMEA office staff for their work in
ponents and committees, and to the
January. While I am fully
making this opportunity to celebrate
promise this is an event you
will not want to miss. The dates of our
music excellence a reality.
Weekday sessions will go from 5 p.m. to
difficult time. Yet, there are reasons to
will not be necessary. The Saturday of the
and teachers to celebrate, and music to
Yes, our profession is facing a most
conference will be January 13-16, 2021.
celebrate, successes to celebrate, students
9 p.m. EST, so getting time off from school
celebrate. We are moving forward, and
conference will be a full day with so many
there will be better days ahead for us. No
opportunities for all of our members.
success is too small. So now, while you
A very special component of this virtu-
can, take a second, catch your breath, and
al conference is that every session will
pat yourself on the back for the terrific job
be recorded and made available beyond
you are doing.
the conference to members who register.
I hope you enjoy this issue of the FMD.
Registrants will be able to visit and revisit these sessions as many times as they like,
As always, FMEA is here to help you
This feature is indeed a silver lining to
you have any questions or if FMEA can
achieve your goals. Please let me know if
even after the official conference is over.
help you in any way.
having a virtual conference as you will
Steven N. Kelly, PhD, President
Florida Music Education Association
November 2020
5
FVA President-Elect Candidates Jeff Bogue
David Pletincks
A
D
Florida Native, Jeff Bogue graduated with a bachelor’s and a master’s degree in cho-
avid Pletincks is a music education graduate of Nyack College in Nyack, New York. He received the MM from the University
ral music education from the College of Music
of Tennessee. This year marks his 24th year as a middle school music
15th year of teaching chorus at Newsome High
Mr. Pletincks started his career as a middle school band director
at Florida State University. Mr. Bogue is in his
educator in the state of Florida.
School in Lithia, Florida.
in Fort Myers. He spent seven years teaching band, and an addition-
clinician in Pasco, Clay, and Manatee counties
Currently in his 19th year at Powell Middle
Mr. Bogue has been honored to be a guest
al four years teaching both band and choir.
and has served as a board-approved Florida
School Performing Arts Center in Spring Hill,
cator in many outstand-
years. His choirs at Powell have consistently
Vocal Association adjudiing districts throughout the state. Jeff has also
served as chairman of
he’s taught exclusively choir for the past 12
received superior ratings at district performance assessments for the past 15 years.
Mr. Pletincks has also served in church
FVA District 7 and as a
music ministry for over 25 years. Eight years
Youth Choirs.
es in Tennessee, Washington State, and
director with Lumina As a student musician
growing up in music pro-
grams in the state of Florida, he was inspired
were in a full-time capacity serving church-
Pennsylvania. He is now in his fourth year at SpringLife Church in Spring Hill as director of the chancel choir and traditional worship.
Mr. Pletincks has directed more than 15 elementary and middle
and enriched by the incredible experiences pro-
school honor choirs in Miami-Dade, Polk, Brevard, Hernando, Pasco,
growth opportunities continue to inspire him
Florida Vocal Association adjudicator and currently serves FVA as
vided by the Florida Vocal Association. These
as an educator. It is his belief that the influence and opportunities provided by FVA are vital to the students and teachers of Florida. It would
Citrus, Clay, Lee, and Marion counties. He is a board-approved the music committee chairman. He has previously served FVA as the middle school chairman and as chairman of District 5.
If he is given the honor of serving FVA as president, Mr. Pletincks
be his great honor to serve this organization
would continue to look for ways to embrace the incredible diversity
the organization exists to serve the musical
great young directors in leadership capacities and develop a more
and to continue working tirelessly to be sure needs of all students and teachers of the state.
of our association. He would also love to see FVA involve more of the extensive mentorship program.
Mr. Pletincks has been married to his wife Sandy for 32 years.
They have two adult children, Alexis (25) and Jonathan (21). Alexis is the choral director at Bayshore High School in Bradenton, and Jonathan is a senior at Florida State University.
6 F l o r i d a
Music Director
Bridging Music and Medicine
XANDER BOGGS IS COMBINING MUSIC AND MEDICINE.
WHY NOT BOTH?
“Music is all about the communication of emotion. It’s all about recognizing other people’s feelings and what they’re trying to say without words. With medicine, you have to have that same compassion.”
• Master of Arts in Arts in Medicine
Study music in combination with... • Master of Science in Management or Entrepreneurship • Pre-Health Professions • Second Bachelor’s Degree (engineering, psychology, journalism and more) • Minors & Certificates
READ MORE:
arts.ufl.edu/bridging-music
Photo by Brianne Lehan / UF Photography
AUDITIONS WILL BE CONDUCTED BY PRE-RECORDED VIDEO SUBMISSIONS All Incoming Freshman
Transfer Students
January 16, 2021 January 23, 2021 January 24, 2021
March 20, 2021 Recorded auditions should be submitted by March 1, 2021
Recorded auditions should be submitted by December 31, 2020 for review and scholarship consideration.
UF Application Deadline: Nov. 1
MORE INFO: music@arts.ufl.edu or 352.392.0224
In addition to video submissions, virtual meetings with faculty and students will occur on one of the selected dates. A detailed schedule and links to meetings will be available two weeks prior to each pre-selected date.
ARTS.UFL.EDU/MUSIC
November 2020
7
FVA Middle School Chair-Elect Candidates Michelle R. Tredway
Amber Turcott
M
education from Florida State University. During her 29-year
A
teaching career, she has served as collaborative pianist for
Southeastern Lyric Theater, Lakeland Imperial Symphony
choral music education and the
MM in vocal performance. While
ichelle Tredway earned the BM degree from the
University of West Florida and the MM in music
Orchestra, Okaloosa Chamber Singers, the Northwest Florida State College Symphony
Chorale, many Okaloosa all-coun-
ty chorus concerts, and six Florida all-state choirs. Orff certified and Kodály trained, Michelle has taught
elementary general music in both
mber Turcott is a graduate of the University of South
Florida, earning both the MA in
at USF, Ms. Turcott was a mem-
ber of the Opera Theatre program
and the USF Chamber Singers. She is a past member
of the Master Chorale of Tampa Bay, performs locally, and is a section leader at Trinity Presbyterian Church in Clearwater, Florida.
Ms. Turcott has served as choral director at Tarpon
Polk and Okaloosa counties, AP
Springs Middle School for the past 17 years. During her
School, chorus classes at Lewis
performed in community and civic events and have con-
Music Theory at Niceville High Middle School and Ruckel Middle
School (Okaloosa County), and
most recently changed schools in order to build a chorus program at Walton High School in Walton County. She
currently serves as pianist at Rocky Bayou Baptist Church in Niceville, playing for services and the church choir. Mrs. Tredway is an active member of ACDA and FMEA/FVA.
tenure at Tarpon Springs Middle School, her choirs have sistently earned superior ratings at music performance assessments. In 2016, her choir performed a mini-con-
cert at the FMEA Professional Development Conference. Choral students at Tarpon Springs Middle are active par-
ticipants of all-county and all-state honor choirs as well as district solo and ensemble MPA each year.
Ms. Turcott is an active member of NAfME, FMEA,
She is currently serving her second year as chairwoman of
and FVA and has served in leadership roles throughout
It is her goal to help Florida choral directors feel more
FVA district treasurer, Pinellas all-county middle school
FVA District 1.
successful as they participate in the all-state process.
Communication with directors throughout the summer and into the fall semester about timelines and content for
the three audition segments can create a less daunting pro-
cedure in a normal (non-COVID) school year. The state cho-
the district and state, including FVA district chairwoman,
choir coordinator, and PCMEA (Pinellas County Music Educators Association) board member. She is also a member of her School Advisory Committee, having served as both chair and treasurer in past years.
In addition, Ms. Turcott is an active FVA board-ap-
ral programs can only become stronger if more students
proved adjudicator and frequently serves as an adjudica-
in a Florida all-state choir! Mrs. Tredway would consider it
ensemble throughout the state.
strive to learn all they can to become the best-of-the-best
an honor and privilege to serve the members of the Florida Vocal Association as middle school chairwoman.
8 F l o r i d a
Music Director
tor for middle and high school MPAs as well as solo and
If elected, Ms. Turcott will continue to advocate for
middle school/junior high choirs and teachers and focus on ways to make FVA events more engaging and relevant.
PAST, PRESENT, & FUTURE
Join Us VIRTUALLY FOR THE
2021 FMEA Professional Development Conference W
e are excited to announce that the FMEA Professional Development
Conference will be reimagined into a virtual online experience for
January 2021! This decision was based on many factors, with the health and
well-being of our teachers, students, parents, exhibitors, and all other attend-
ees being of the utmost importance.
We are committed to providing you the quality musical and professional
development experience that you expect from the FMEA Conference, adapted
into a flexible and easy to use online format you can experience in the comfort and safety of your own space.
Regarding All-State: The all-state and honors ensembles are an important
part of the FMEA Conference, and the audition process is a valuable educational experience for all of our students. Auditions for the All-State Bands,
Choruses, Orchestras, Guitar Ensemble, and the new Popular Music Collective will proceed as planned. Students accepted into these ensembles will be rec-
ognized for their achievement, and we are planning virtual opportunities
to provide a musical and educational experience and to encourage lifelong involvement in music.
More information will be available within the next several weeks, includ-
ing information about program offerings, dates, and costs, as well as all-state opportunities.
November 2020
9
FLORIDA MUSIC EDUCATION ASSOCIATION 2020-2021 DONORS Thank you to all of the donors who have shown their dedication to the improvement of music education in Florida by supporting our Mission through financial contributions. Our donors support specific causes by donating to the FMEA funds of their choice: FMEA Scholarship Fund
June M. Hinckley Scholarship
Music Education Advocacy
Professional Development for Members
General Fund
Mel & Sally Schiff Music Education Relief Fund
The following have graciously donated to FMEA from April 1, 2020, through October 6, 2020.
MAESTRO’S CIRCLE ($10,000 and up) No current donors at this time
ARTIST’S CIRCLE ($1,000 – $9,999)
Artie Almeida In Honor of June Audrey Holcombe Grace & Katie Grace Miller Clifford Madsen Russell Robinson
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. Visit FMEA.org to learn more information about each fund and to make a donation.
10 F l o r i d a
Music Director
SUSTAINERS ($100 – $999)
Ann Adams-Valle In Dedication of Bobby L. Adams Lucinda Balistreri In Honor of June M. Hinckley Anthony Chiarito Dayna Cole In Memory of Linda Mann Alice-Ann Darrow In Honor of Mr. & Mrs. O. B. Darrow Virginia Densmore In Memory of Jeff Bradford, Byron & Bobbie Smith
Jason Dobson Florida Bandmasters Association In Memory of Bobbie & Byron Smith Patricia Flowers Stanley Hoch Dennis Holt Marsha Juday Steven Kelly Sheila King In Memory of John W. King Jason Locker In Memory of June M. Hinckley
Natalie Mallis Angel Marchese Carolyn Minear Ree Nathan John Nista Kimberly Oppermann On Behalf of the Board of Directors of HCEMEC, Inc. David Pletincks In Honor of Alexis & Jonathan Pletincks Mary Catherine Salo In Memory of Gary Rivenbark & Wes Rainer
Steven Salo In Honor of John “Buck” Jamison & Dr. Bill Prince Kathleen Sanz In Honor of June M. Hinckley & In Memory of A. Byron Smith J. Mark Scott In Honor of Dr. Judy Arthur & Dr. Judy Bowers D. Gregory Springer Harry Spyker In Honor of Fred & Marlene Miller
Gregory St. Jacques In Honor of Bobbie & Byron Smith Jeannine Stemmer In Memory of Barbara Kingman & Lauren Alonso Leiland Theriot In Memory of Clayton Krehbiel Robert Todd In Memory of Gary Rivenbark Richard Uhler David Williams Kenneth Williams
Robert McCormick Jeneve Medford Jarvis Katie Grace Miller In Honor of My Aunt Artie Ronald Miranda Amy Nickerson In Memory of Carola F. Nickerson Mary Palmer Galen Peters Edward Prasse Marie Radloff In Memory of Charles F. Ulrey C. William Renfroe In Memory of Herbert Beam, past FVA President & my high school choral director
Alicia Romero-Sardinas In Honor of John Rose Melissa Salek Ted Shistle Kyle Spence Missy Tanton Dobson In Memory of Bobbie & Byron Smith Valerie Terry Howard Weinstein In Memory of Barry Weinstein Julian White In Dedication of Kenneth Tolbert Marguerite Wilder In Memory of Bobbie & Byron Smith
Deborah Mar In Memory of Barbara Kingman Christopher Miller Kristy Pagan Hank Phillips Edgar Rubio Jack Salley
Thomas Stancampiano Phil Tempkins Michelle Tredway Gary Ulrich Lisa Wilson
PATRONS ($25 – $99)
Carlos Abril David Bayardelle In Memory of Matthew Jensen Mark Belfast In Memory of Dr. Mark A. Belfast, Sr. Karen Bradley In Memory of Harold Bradley Katarzyna (Kasia) Bugaj Alexander Busby Stanley Butts Tara Callahan In Memory of Kristin Y. Clark Audrey Carballo In Memory of Irwin Bernard
Greg Carswell Renee Cartee Carol Casey Shelby Chipman Dale Choate Zachary Chowning Debbie Cleveland Don Coffman David Cruz Matthew Davis In Memory of Robert Morrison Marc Decker Virginia Dickert In Memory of Lindsay Keller & Deborah Liles Debbie Fahmie Melanie Faulkner
Margaret Flood In Memory of Dr. Karen Kennedy Bradley Franks In Memory of Gary W. Rivenbark Tina Gill In Memory of Gary W. Rivenbark Cheryce Harris Julie Hebert John Henderson Michael Johnson Mary Keyloun Cruz In Memory of George & Laurice Keyloun Lu Anne Leone Joseph Luechauer Kevin Lusk
Anonymous (7)
FRIENDS (up to $24)
Shirley Andrews Gloria Berkowitz In Memory of Judy Berger Crystal Berner Antonio Borges Dan Brockman
Nicholas DeCarbo Beth Ann Delmar Dennis Demaree Jodie Donahoo Wanda Drozdovitch Ashley Espinal
Anna Marie Friars In Memory of Matthew McLaughlin Walter Halil Harold Hankerson Jason Jerald Patricia Losada
Anonymous (4)
November 2020
11
CHAOS TO OR Repurposing the First 10 Minutes of the Ensemble Rehearsal
I
by Brandon Meeks
In many public schools today, music education is achieved
for music teachers to show student growth or progress
band, chorus, or orchestra. This Lowell Mason model of
there is not enough time to address these objectives in the
through participation in large-ensemble courses such as
music education is often criticized for exposing students to only one style of music—typically Western art music—
to parents and administrators. A possible concern is that limited amount of rehearsal time.
A strategy that ensemble directors can use to fulfill this
and not giving students the opportunity for input and
standard and demonstrate student growth and mastery
To address this need, the National Association for Music
listening journals provides opportunities for students to
active participation on an individual basis (Kelly, 2011). Education (NAfME) released a new set of instructional
standards in 2014 tailored to give music teachers direction in developing curricula that are challenging yet
diverse for students. Although most of the standards are
pretty simple and unambiguous, Anchor Standard 11
offers more difficulty in documenting student growth. Specifically, Anchor Standard 11 addresses how stu-
is through the use of daily listening journals. Using daily experience different styles of music, allows them to apply
musical knowledge to various styles of music, provides tangible proof of student growth, allows instruction to take place during a time in class when there is usually no
instruction, and offers students an opportunity to simply have fun.
dents should be able to “relate musical ideas and works
Student/Teacher Materials
2014). A main objective as a part of that standard is that
rehearsal is inexpensive and requires minimal materials
with varied context to deepen understanding” (NCCAS,
students should “Demonstrate understanding of relationships between music and the other arts, other disciplines,
varied contexts, and daily life” (NCCAS, 2014). Although participation in music affords students this opportunity through basic connections with math, science, and lan-
guage skills, at times this standard may make it difficult
12 F l o r i d a
Music Director
Implementing a daily listening journal activity during
on the part of both students and teachers. Students will need a spiral or composition notebook. The students’ lis-
tening journal notebooks should remain in the classroom in a designated location so they are available every day and so they can be checked and graded periodically by Continued on page 14
RDER
November 2020
13
Chaos to Order Continued from page 12
the teacher. A crate or a cubby works best to house these notebooks, and students should place their name in large print on the front cover to aid in easy access
each day. Students will also need a pencil, which should also be used during
« President’s Day could be paired with be assigned to each day of the week: « Monday could be devoted to movie Hail to the Chief. (History) « First day of spring could be coupled soundtracks. « Tuesday could be famous ensemble with The Four Seasons by Vivaldi, or day with selections from famous ensembles such as “The Presidents
rehearsal time. So, in a sense, using daily listening journals also helps students
remember to have a pencil for class every day.
The teacher will need access to various
styles of music through programs such as iTunes, Spotify, or Pandora. Teachers
also will need a way to amplify the music
using a sound system or a speaker. A per-
sonal iPod/iPad connected to a speaker or a wireless speaker system works best.
The last resource should be some type of board, whether it is an active board, a
white board, a traditional chalkboard, or even a poster board with prewritten journal questions to display each day.
Own” Marine Band, the Mormon
Tabernacle Choir, Chicago Symphony
« Wednesday
Orchestra, etc.
world music so different cultures are
When selecting a piece of music, the
important thing is for students to listen to different styles each day. Below is an
« Pi Day (March 14) could be coupled Korsakov. (Science)
with Sugar Pie Honey Bunch by The
« Halloween
Temptations. (Math)
could be paired with
Thriller by Michael Jackson (Social
« Thursday could be throwback day « The anniversary of the Titanic disaster explored each week.
where pieces from the Medieval, Baroque, Classical, and Romantic
« Friday could be popular music day. periods are played.
Teachers have the flexibility of choos-
ing how they wish to structure the listen-
ing activities. Unique interdisciplinary
connections can also be made by playing certain songs on certain days of the school year. Here are some examples:
Musical Selections
« Anniversary of the attack on Pearl
example of how musical selections could
14 F l o r i d a
could be devoted to
Flight of the Bumblebee by Rimsky-
Music Director
Harbor (December 7) could be cou-
pled with The Star-Spangled Banner. (History)
Knowledge)
(April 12) could be paired with a song
« Significant annual anniversaries of from the Titanic soundtrack. (History)
great literature such as The Divine
Comedy or Romeo and Juliet could be
paired with music that represents these texts. (Literature)
These examples are not meant to be
standards that must be played. They are simply recommendations to stimulate
thinking and to offer ideas about how to select pieces for each day. A suggested list
of music sorted by month of the school year is listed in Table 1. Continued on page 17
Table 1
Suggested Song Titles for Each Month of the School Year Month
September
October
November
December
January
February
March
April
May
Artist(s)/Composer(s) Earth, Wind, and Fire Beethoven The Jackson 5 Joplin, Scott Weber, Andrew Lloyd Adele Whitacre, Eric Jackson, Michael Jackson, Michael Destiny’s Child Horner, James Marquez, Arturo Jager, Robert Gould, Morton Houston, Whitney Barber, Samuel Shostakovich, Dimitri Menzel, Idina
Title September Symphony No. 5 ABC The Entertainer Phantom of the Opera (Overture) Hello October Thriller Beat It Survivor Coming Home From the Sea Danzon No. 2 Esprit de Corps American Salute The Star-Spangled Banner Adagio for Strings Symphony No. 5 (Movement 4) Let It Go (from Frozen)
Pentatonix Williams, John Five for Fighting Various Cultures Kloser, Harold Black Eyed Peas Sanderson, James Vivaldi Pasek, Benj and Paul, Justin Camphouse, Mark Ellington, Duke Beyoncé Larson, Jonathan Dilloworth, Rollo Ticheli, Frank Temptations Vivaldi Holsinger, David Grainger, Percy Horner, James Broughton, Bruce Coldplay Puccini, Giacomo Ticheli, Frank Joplin, Scott Perry, Katie Kool and the Gang Journey Rascal Flats Menken, Alan and Rice, Tim *NSYNC
Carol of the Bells Setting the Trap (from Home Alone) 100 Years Holiday Songs White House Down Opening Where Is the Love? Hail to the Chief (for President’s Day or the Inauguration) The Four Seasons (Winter) This Is Me (from The Greatest Showman) A Movement for Rosa Take the A Train Love on Top Seasons of Love (from Rent) Walk in Jerusalem Vesuvius Sugar Pie Honey Bunch The Four Seasons (Spring) On an American Spiritual (for Easter) Children’s March Hard to Starboard (from Titanic) Silverado Viva la Vida Nessun Dorma An American Elegy (for Columbine High School) The Entertainer Firework Celebration Don’t Stop Believin’ Life Is a Highway A Whole New World (from Aladdin) Bye, Bye, Bye
November 2020
15
Rating: Rate this piece on a scale from 1-5.
1 means you hate it, and 5 means you love it.
Music Journal
1
2
3
4
5
Date:_________________________________ Title:__________________________________________________________________________________________________ 1. What is the tempo of this piece?________________________________________________________________________ 2. What is the mood of this piece? (transfer to tonality major vs. minor as the year progresses)___________________ ______________________________________________________________________________________________________ ______________________________________________________________________________________________________ 3. What images come to mind when listening to this piece?__________________________________________________ ______________________________________________________________________________________________________ ______________________________________________________________________________________________________ ______________________________________________________________________________________________________ 4. An interdisciplinary question (e.g., for Hail to the Chief): Who is usually present when this song is played? ______________________________________________________________________________________________________ ______________________________________________________________________________________________________ ______________________________________________________________________________________________________ Other questions could include: (1) Have you heard the piece before?
YES
No
(2) Do you think your parents/guardians would enjoy this music?
YES
No
(3) When do you think this piece was written?_____________________________________________________________ OTHER THOUGHTS:__________________________________________________________________________________ ______________________________________________________________________________________________________ ______________________________________________________________________________________________________ ______________________________________________________________________________________________________ ______________________________________________________________________________________________________
16 F l o r i d a
Music Director
Chaos to Order Continued from page 14
Journal Entries
When writing the journal entry on the
board, the questions listed in the example form on the previous page could be used.
Along with the interdisciplinary ques-
tions in each entry, the complexity of the
questions should increase as the school
year progresses. Using the tempo ques-
tion as an example, during the first couple of months of school, give students answer choices for this question, such as fast or
slow. As students learn to identify different tempos, add more choices, such as
slow, medium slow, medium fast, or fast.
As students learn the actual musical terminology, transfer these choices to those
musical terms (e.g., largo, moderato, allegro, presto). Once students gain an understanding of the musical terms, remove the
choices and have them identify the tempo they think works best. You will find that
students will have different interpretations. That is O.K., and it transfers to the
concept that we each experience music differently. This concept of scaffolding
toward more complex concepts can be transferred to the other questions as well .
The Process
Each day the teacher writes the date, the word title (the students will learn the title
of the piece after they listen to it), and three or four questions on the board for
students to copy and answer. As students
should not be talking, the teacher now has
gather materials, music stands, music fold-
logistics and announcements, the teacher
enter the room for rehearsal, they should
the full attention of students. After the
ers, and journals, and then have a seat and
should take no more than three min-
begin writing the journal entry for the
utes to review the journal entry for the
day in their journals. When the bell rings,
day. This process involves answering the
or whenever it is time for class to begin,
questions and asking students what they
the teacher begins to play the “Song of
thought about the piece. The last step
the Day.� While the piece is playing, stu-
should be to give the students the title
dents are listening, gathering materials
of the piece, which they need to write in
needed for rehearsal, thinking about the
their journals. The entire process should
answers to the journal questions, turn-
take no more than the first 10 minutes
ing in any logistical information such
of class. It is important to remember that
as forms, money, etc., or just asking the
listening journals do not take away 10
teacher individual logistical questions.
minutes of rehearsal time. The listening
It is essential that teachers maintain the
journals actually repurpose 10 minutes
expectation that students should not be
that are usually wasted while students
talking while the music is playing unless
complete the logistics that are needed for
they are in direct communication with the
a music class to function effectively.
teacher. Instead of students wasting the
first 10 minutes of class while completing
Evaluation/Assessment
listening journal focuses the first 10 min-
the music classroom, some are confused
mundane and routine tasks, the use of the
When administrators come to observe in
utes on something instructional that can
as to how students are evaluated on an
prepare students for rehearsal and shows
individual basis in a large-ensemble set-
administrators that learning is occurring
ting. Daily listening journals are a sim-
from bell to bell.
ple yet effective way to evaluate student
At the conclusion of the piece, or
mastery of basic music vocabulary. One
after a few minutes, rehearsal should be
way journals can be graded every week
ready to begin. Rehearsal can begin with
concerns vocabulary usage. For example,
announcements or whatever logistical
as students learn different tempo mark-
procedures the teacher has established.
ings, do they continue to answer tempo Continued on page 18
Since there is an expectation that students
November 2020
17
Chaos to Order Continued from page 17
questions in their journals using fast, medium, or slow, or have they made the
transfer to replacing those basic terms
with words such as presto, moderato, or
Daily class discussions that accompany
the listening journals are an excellent way
also important to note that listening jour-
Once listening journals are implement-
chronous online classes. Students who are
to reach students on an individual basis.
adagio? Furthermore, listening journals
ed into rehearsals, they can also be used
and accuracy. The goal is for students to
sections achieve at a high level, they can
can also be evaluated based on neatness write neatly in their journals, all while
achieving the academic content. This important social skill, one that is prob-
ably introduced and addressed in other classrooms, can be reinforced in the music classroom to show students how this life
skill is essential across all disciplines. It is
as a form of reward. When individuals or be granted the opportunity to select or
bring in a song to share with the class. If this process is going to be implemented, it
is essential that the teacher listen to and
approve the song selection prior to using it in the classroom.
evaluate the journal entries is left to the teacher.
days, fire drills, state testing days, and
As discussed earlier, music education in
ensemble classes is often criticized for attempting to meet the needs of students
by extending the process and listening of a three-to-five-minute excerpt. Also, a full class discussion can occur instead of a quick rundown of the questions.
Substitute teachers who are able to
is absent. This can be especially helpful
expanding their musical palate.
18 F l o r i d a
can be a great addition to the online music class.
Listening journals can be an effective
dents’ exposure to music, and the best day!
and is pursuing the PhD in
this issue by allowing students to indi-
variety of music selections in addition to
online will find that listening journals
nals can be used to fill this awkward time
rehearsals from occurring. Listening jour-
facilitate a class discussion can use the
vidually express their thoughts about a
to do with their students when teaching
Brandon Meeks is from
only through Western art music. Listening
journals offer educators a way to combat
are looking for new learning activities
field trip days can prevent full ensemble
to an entire movement of a work instead
Conclusions
they were in the classroom. Teachers who
part is they only require 10 minutes a
time for a full rehearsal. Early dismissal
answers are correct. The choice of how to
in the activity the same as they would if
needs to take place, but there is not enough
grade, based only on participation. As they receive full credit, whether or not the
participating from home can participate
Listening journals can be used as class-
room fillers for times when instruction
long as students answer all the questions,
nals can work well when teaching syn-
tool to aid in widening the scope of stu-
also important to note that listening journals can be graded as a simple completion
Finally, as we are in the year 2020, it is
listening journals when the music teacher when the music teacher has an emergency
situation and doesn’t have time to create substitute lesson plans.
Music Director
Charlotte, North Carolina, music education at Florida State University. Prior to
studying at FSU, Mr. Meeks
was the director of bands at East Lincoln
Middle School in Iron Station, North Carolina. References Kelly, S. N. (2011). Teaching music in American society (2nd ed.). Routledge. National Coalition for Core Arts Standards. (2014). National Core Arts Standards: Music, Grades Pre-K to 12. National Coalition for Core Arts Standards. Retrieved from https://www.nationalartsstandards.org/
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November 2020
19
BRINGING GOOD FROM THE BAD
Moving Forward in Music Education by Tina Beveridge
T
Unprecedented. Uncertain. Trying. Difficult. Challenging. Extraordinary. Unusual. These accurate words, used often in the past few
Racism in the Music Classroom
upheaval we are experiencing in the United States.
there are still educators in denial that it exists at all
months, do not seem to convey the magnitude of
Racism can be hard to identify in music education when
“Challenging” does not begin to describe the scramble
(Ryan, 2003). Bias will always be present even among
teachers went through to create meaningful online
curriculum. “Difficult” does not cover the heartbreak of teachers, parents, and students who were looking for-
ward to their final performances, awards, graduation, and promotion ceremonies.
Then as educators, students, and parents across the
country began to heave a well-earned sigh of relief near
the end of the school year and the survival of emergency
online instruction, the tragic deaths of Ahmaud Arbery,
Breonna Taylor, George Floyd, and others were brought to public attention. The revelations of these deaths happened in such quick succession that there was no
emotional recovery time, and an already weary and frustrated public turned to mass protest. The protests,
in turn, exposed festering wounds of racism in every
aspect of American society, and music education has been no exception. In this article, I hope to give some
suggestions on how the profession may use these truly
extraordinary circumstances to rethink and reshape how music education can best serve all students.
20 F l o r i d a
Music Director
the most well-intentioned teachers because the majority of education professionals are White. Although students of color and students from racial and ethnic minority
groups are socioeconomically diverse, there is a wealth of research documenting minority overrepresentation in poverty or the lower middle class compared to the
White population (Shapiro et al., 2013). As such, there
are some class-related discrimination behaviors that exist in music classrooms that disproportionately affect Black and Hispanic students, but also affect low-income
White students (Howard, 1999; Noltemeyer, Ward, & McLoughlin, 2015). These same discrimination factors
particularly affect Black students, since those students are overrepresented in special education and in disci-
pline policies. That, in turn, affects their ability to access elective courses (Togut, 2011). Below are some of the ways discrimination can appear in classrooms:
1. Deficit mindset (Delpit, 2006). A deficit mindset
occurs when a teacher lowers expectations for a student based on stereotypes or preconceived
Continued on page 22
November 2020
21
BRINGING GOOD FROM THE BAD Continued from page 20
bias. Deficit mindset is most com-
monly seen in music when the teacher insists that the students need to learn
“quality” music or makes disparaging remarks about the “simplicity” of pop
or world music. What the teacher is really communicating is a value hierarchy to different genres of music,
and that students are expected to conform to the teacher’s value system
(Bauder, 2002). Deficit mindset can also be more insidious when teachers
or administrators assume parents or
students of color “don’t value” music or education in general.
2. Implicit bias/Color-blind racism (Bonilla-
Silva, 2013). All human beings have
bias; the denial that such bias exists with regard to race is called color-blind
racism. The teacher who is “color blind” is the opposite of the deficit
since the effect of such actions tends
reinforce a power dynamic or when it
educator holds all students to exact-
example, more accurately calls it racial
sion of the culture bearers. Rogers
mindset teacher in that the color-blind
to be cumulative. Ibram Kendi, for
ly the same standard with the same
abuse (2019, p. 47), given the cumula-
resources and attention, regardless of
tive effect of these types of actions. I
circumstance or context. This teacher
use the term microaggressions here
might say something to the effect of
to bring awareness to actions that
“When do the needs of all my [White
may not be entirely conscious but are
middle class] students outweigh the needs of the [Black] individual?”
3. Microaggressions
(Perez-Huber
&
adjustable, and also so the overall idea is not dismissed because of a knee-jerk reaction to the word abuse.
is done without the explicit permiscalls these forms of appropriation
exploitation and dominance. Tokenism
in music is a form of appropriation where pieces of music are added to a
performance to draw attention away from an otherwise homogenous program, such as adding one Hanukkah
song to a program of sacred or secular
Solarzano, 2015). Racial microaggres-
4. Cultural appropriation and tokenism
[that] are not gross and crippling.
means to borrow. Cultural appro-
Progress That Has Been Made
be negative, but the author Richard
in secondary ensembles, though choirs
sions are defined as “offensive actions
They are subtle and stunning” (p. 299). In a classroom this can be seen in the teacher who gives up on trying
to correctly pronounce a name that is unfamiliar or who assumes that when
performing an African song, the Black students will have particular expertise or desire to play percussion. It is
also seen in “no excuses” behavior policies that are unequally applied. It
should be noted that microaggressions is not a universally accepted term,
22 F l o r i d a
Music Director
(Rogers, 2006). Appropriation simply
priation is commonly understood to Rogers explains that certain types of appropriation such as cultural exchange
or transculturation can be acceptable,
especially in an educational setting where the goal may be simply to
introduce students to an unfamiliar
culture, or where resources are not
sufficient for a more full and complete learning experience. Appropriation becomes negative when it is used to
Christmas music.
Minority students are underrepresented
appear to have made some progress in this area (Elpus & Abril, 2011). Elpus and
Abril (2011) reported that “music students
were 1.7 times more likely to be white than Hispanic” (p. 8). Also, the odds that
a music student would be from the highest socioeconomic status (SES) was “1.71 times more likely … than they were to be
in the lowest SES quartile” (p. 8). In a 2019 follow-up study, the same authors said:
Enrollment in choral music was not
ance, with the teacher holding power
be. Many teachers attempted to maintain
nicity, reflecting the reality for the
is exaggerated when the teacher is White
video projects, but for others, the resourc-
dents were not significantly different
cation envisioned by John Dewey turns
in terms of their racial and ethnic
modern version of this idea is called
were also statistically similar to the
tered approach, as the name suggests,
their native language. (Elpus & Abril,
of their own learning and decide their
associated with student race/eth-
over the students. This power structure
class of 2013 that choral music stu-
and the students are not. Democratic edu-
from the population of all students
this power structure on its head. The
composition. Choral music students
assumes that the students can be leaders
2019, p. 12)
own path for mastery. In this approach,
Other researchers have explored the
expert resource rather than a director
the recession on schools with high pover-
ty, which usually corresponds to schools with higher diversity, and those studies
show a negative effect on the ability of those students to access music instruc-
tion (Beveridge, 2010; Costa-Giomi &
Chappell, 2007). However, because the problem of access has been well iden-
tified, creative solutions have begun to
emerge. Nonprofit and foundation grants and partnerships have helped to reboot
neglected urban music programs, and even some suburban programs where
urban gentrification has pushed poverty outward. Although this movement
toward equality across schools is a posi-
tive step forward, it only addresses access
to physical and financial resources, and
does not address the cultural disconnect that may prevent students from enrolling or feeling welcome in the classroom (Yale School of Music Symposium, 2017).
Using Learner-Centered Pedagogy to Address Systemic Racism
The four categories of systemic educa-
tional racism discussed previously all stem from the concept of a power imbal-
ance. One group holds power; the other
does not. In the classroom, the traditional structure has an inherent power imbal-
es or time commitment made that option impossible. The proliferation of these
videos raised some questions: Are large ensembles the best way to teach playing or singing skills? Are large ensembles
learner-centered pedagogy. A learner-cen-
population of all students in terms of
effect of modern education reform and
their ensembles through virtual group
the only way to teach musicianship and
musical understanding? Are large ensembles the only way to build bonds and rela-
tionships? Of course, in many cases, the
videos were clearly intended to maintain
the teacher is more of a facilitator or an
some sense of normalcy, since individual recordings of students are no substitute
giving instructions. The best aspect of
for ensemble playing in person and pro-
this approach is that it negates almost
vided a way to grieve the loss of collective
all of the systemic problems listed above.
music making. Also, the amount of time
A teacher cannot easily or accidentally
teachers were given to prepare for online
commit acts of negative appropriation or
instruction was not sufficient to pivot
tokenism if the students choose the music.
into unfamiliar instructional methods.
If the students are in charge of their own
The danger moving forward, however, is
learning, the teacher must use a growth
continuing to use virtual ensembles as the
mindset rather than a deficit mindset, or
only type of musical instruction simply
assessment is not possible. Color-blind,
because it might be the most comfortable.
all-st udents-get-t he-same-treat ment
Learner-centered pedagogy is not the
approaches are not possible because indi-
vidual students work at their own pace
exclusive domain of general music or
learner-centered approach changes the
cepts and principles can be applied to
the online/quarantine setting. The con-
with their own ideas. In other words, the
ensemble settings as well. For example,
power structure. It has been my personal
University of Washington wind ensem-
experience that changing the power struc-
ble director Timothy Salzman adjusted
ture was helpful in building trust and
his spring 2020 curriculum to small-en-
relationships among students of ethnic
semble composition projects. This change
and racial minority groups who had no
put the responsibility for learning onto
initial reasons to trust me, a middle-class
the students, both to create the music
White woman.
and to figure out a way to perform it
as an ensemble using digital tools at
Using the Pandemic Experience to
hand (Joseph, 2020). Of course, the inde-
Rethink Power Structures
pendence of collegiate-level musicians is
During this past spring of 2020, schools
higher than middle or high school stu-
across the country shifted into emergen-
dents, but learner-centered teaching exists
cy online instruction. Online quarantine
on a continuum depending on the needs
teaching offered unique challenges to
of the students. Although this instance is
music instruction that forced a conversa-
another example of virtual ensembles, the Continued on page 24
tion about what the ultimate purpose/goal
of music education is and what it should
November 2020
23
BRINGING GOOD FROM THE BAD Continued from page 23
difference is who is in control of the learn-
room. Diversifying the ensemble curric-
why a similar project could not be given
appealing for students who did not take
ing and production. There is no reason to middle or high school students, with guidance from the teacher. In addition, these types of projects could be valuable
additions to ensemble instruction when it eventually resumes in person.
Whether an assignment or a project is
ulum could also make school music more
a traditional path and may not have felt welcome in the current paradigm. That
makes this approach something that cannot be abandoned once face-to-face teaching resumes in full.
teacher or learner centered can be judged
Tina Beveridge is a sec-
ers interact directly with one another and
the Frost School of Music at
using the following litmus test: (a) learnthe teacher throughout the process; (b)
learners engage directly with music; and (c) learners interact directly with authen-
tic processes of performing, listening, and
creating (Wiggins, 2016). This test could be applied to projects or assignments
involving any combination of voices or
other instruments. Learner-centered ped-
agogy is not mutually exclusive from ensemble work.
Using a learner-centered approach can
be an easy way to survive any additional online teaching that might be required
as the pandemic continues. It certainly can cost less than expensive micro-
phones and software, while allowing for a more reasonable teacher work schedule.
Allowing students to take more own-
ership of their own learning eliminates many of the power structures that con-
tribute to systemic racism in the class-
ond-year PhD student at
University of Miami. A choral specialist, she has also taught
elementary general, band, and
community college for over 17 years. Her research focuses on issues of education policy and access to music instruction. References Bauder, H. (2002). Neighbourhood effects and cultural exclusion. Urban studies, 39(1), 85-93. https://doi.org/10.1080/00420980220099087 Beveridge, T. (2010). No Child Left Behind and fine arts classes. Arts Education Policy Review, 111(1), 4-7. https://doi. org/10.1080/10632910903228090 Bonilla-Silva, E. (2013). “New racism,” colorblind racism, and the future of Whiteness in America. In Doane, A. & Bonilla-Silva, E. (Eds.). White out (pp. 268-281). Routledge. https://doi.org/10.4324/9780203412107 Costa-Giomi, E., & Chappell, E. (2007). Characteristics of band programs in a large urban school district: Diversity or inequality? Journal of Band Research, 42(2), 1-19. Delpit, L. (2006). Other people’s children: Cultural conflict in the classroom. The New Press.
For Further Reading on Learner-Centered Music Teaching Barrett, J. (2005). Planning for understanding: A reconceptualized view of the music curriculum. Music Educators Journal, 91(4), 21-25. https://doi.org/10.2307/3400154 Bartel, L. (2004). Music making for everyone. In L. Bartel (Ed.) Questioning the Music Education Paradigm (pp. 228-241). Canadian Music Educators’ Association. Green, L. (2017). Music, informal learning and the school: A new classroom pedagogy. Routledge. https://doi.org/10.1017/S0261143011000110 Kladder, J. (2019). Learner centered teaching: Alternatives to the established norm. In D. Williams & J. Kladder (Eds.) The Learner-centered music classroom: Models and possibilities (pp. 1-17). Routledge. https://doi.org/10.4324/9780429261510
24 F l o r i d a
Music Director
Elpus, K., & Abril, C. R. (2011). High school music ensemble students in the United States: A demographic profile. Journal of Research in Music Education, 59(2), 128-145. https://doi.org/10.1177/0022429411405207 Elpus, K., & Abril, C. R. (2019). Who enrolls in high school music? A national profile of US students, 2009-2013. Journal of Research in Music Education, 67(3), 323-338. https://doi. org/10.1177/0022429419862837 Howard, G. R. (2016). We can’t teach what we don’t know: White teachers, multiracial schools. Teachers College Press. Joseph, N. (2020). Making music, from a distance. Perspectives Newsletter, University of Washington College of Arts and Sciences. Retrieved from https://artsci.washington. edu/news/2020-05/making-music-distance Kendi, I. X. (2019). How to be an antiracist. One World. Noltemeyer, A. L., Ward, R. M., & Mcloughlin, C. (2015). Relationship between school suspension and student outcomes: A metaanalysis. School Psychology Review, 44(2), 224240. https://doi.org/10.17105/spr-14-0008.1 Pérez Huber, L., & Solorzano, D. G. (2015). Racial microaggressions as a tool for critical race research. Race Ethnicity and Education, 18(3), 297-320. https://doi.org/10.1080/136133 24.2014.994173 Rogers, R. (2006). From cultural exchange to transculturation: A review and reconceptualization of cultural appropriation. Communication Theory 16(4), 474-503. doi:10.111/j.1468-2885.2006.00277.x Ryan, J. (2003). Educational administrators’ perceptions of racism in diverse school contexts. Race, Ethnicity and Education, 6(2), 145-164. https://doi. org/10.1080/13613320308197 Shapiro, T., Meschede, T., & Osoro, S. (2013). The roots of the widening racial wealth gap: Explaining the black-white economic divide. Institute on Assets and Social Policy. Brandeis University, Feb. 2013, 1-8. Retrieved from https://drum.lib.umd.edu/bitstream/ handle/1903/24590/racialwealthgapbrief. pdf?sequenc Togut, T. D. (2011). The gestalt of the schoolto-prison pipeline: The duality of overrepresentation of minorities in special education and racial disparity in school discipline on minorities. American University Journal of Gender, Social Policy, & the Law, 20, 163-182. Wiggins, J. (2016). Teaching music with a social constructivist vision of learning. In C. R. Abril & B. M. Gault (Eds.) Teaching general music: Approaches, issues, and viewpoints (pp. 49-72). Oxford University Press. Yale School of Music Symposium. (2017). Declaration on equity in music for city students. Retrieved from https://www. declaration.yale.edu/declaration
ComponentNews
FLORIDA VOCAL ASSOCIATION
Jason Locker, President
A
It is amazing how quickly time
llow me to be the first to congratulate all members of the
flies! Our association once again
will be announced during the first
tasked with choosing the leadership
finds itself in an election year,
2021 Florida All-State Choruses, who
that will determine the vision and
half of this month. FVA members
future direction of the Florida Vocal
and their students worked diligent-
Association. Check out pages 6 and
ly through a very different audi-
8 to read about our outstanding slate
tion process to achieve this honor.
of candidates: Michelle Tredway and
I appreciate both your patience and
Amber Turcott for middle school
resolve in keeping All-State alive in
chair-elect, and Jeff Bogue and
this most unusual school year.
We can’t forget to acknowledge
and thank the people who have done the
edge and resources available, I hope it is
track toward achieving this goal. David
this year’s virtual conference presents to
work behind the scenes to keep us on Verdoni, all-state chairman, has been
hard at work for over six months planning
obvious what an incredible opportunity
FLORIDA ORCHESTRA ASSOCIATION
audition process. David Pletincks, music chairman, coordinated the adjudication
Matthew Davis, President
process again this year. And of course, out the adjudicators themselves, and we thank them for their dedicated service to their colleagues and the profession.
tions from FMEA.
each music educator.
(and continuously revising) this year’s
we could not have gotten it all done with-
David Pletincks for president-elect.
Keep an eye out for online voting instruc-
H
appy fall, everyone! I hope the cool temperatures and fall weather provide
a welcome break from the stress of the classroom. During these busy
weeks ahead, make sure to take time for yourself. Something as simple as a
As of this writing, your FVA leadership
walk around the neighborhood can do wonders to clear your mind and ease
State “Virtual Experience” for our accept-
one understands your frustrations and challenges better than your colleagues.
tions with conductors, masterclasses with
Committee. Remember: We are here to help and support YOU!
more. Stay tuned for more information
begin thinking of topics you would like to see for the 2021 conference and
I encourage all members to register for
all-state coordinators for the 7-8 Middle School Honors Orchestra and the 11-12
Conference in its new, reimagined vir-
serving in any of these capacities, please contact our executive director, Donald
sions, musical performances, and a virtu-
Again, congratulations to all those students who prepared and auditioned for
is hard at work designing the 2021 All-
stress. Connections to colleagues can also help you face difficult situations. No
ed students. We envision virtual interac-
Seek out string teachers in your district or contact FOA through the Mentoring
university vocal/choral faculty, and much
We are already looking ahead, planning for the 2021 Fall Conference. Please
about All-State as it becomes available.
share them with us so we can best serve you. We also need people to serve as
the 2021 FMEA Professional Development
Symphonic Orchestra, as well as for president-elect. If you are interested in
tual format. In addition to general ses-
Langland, at exdirfoa@yahoo.com.
al exhibit hall, there will be a number of
All-State, and thank you to the teachers who inspire these students daily. We
that will be available both in real time and
Conference in January. Many thanks to the hard work of the FMEA Conference
ees will continue to have access to watch
check the FMEA website for the most up-to-date information about the confer-
sessions specific to the choral classroom
are looking forward to our reimagined 2021 FMEA Professional Development
on demand. Registered conference attend-
Planning Committee in moving the conference online in record time! Please
recorded sessions at their convenience for
ence, schedule, and featured sessions. It will be an event not to be missed!
a period of time after the conclusion of the
Wishing you all the best as we continue to inspire our future.
conference. With such a wealth of knowl-
November 2020
25
ComponentNews
FLORIDA NAfME COLLEGIATE
Mark A. Belfast, Jr., PhD, Advisor
If we could change ourselves …
T
he world around us is rapidly chang-
ing. There’s no doubt about that. I’ve
often encouraged you to explore ways of adapting, without losing yourself, in
order to remain relevant and impactful in an evolving environment. Mahātmā Gandhi is often misquoted as saying, “Be
the change you wish to see in the world.” That is a wonderful sentiment, but there’s little evidence to support that Gandhi
ever said or wrote it. The closest refer-
ences attributed to Gandhi come from a 1913 publication in which Mohandas
Karamchand Gandhi (Mahātmā is an honorific similar to the term saint) provided a
piece about snake bites. Within the piece, he included the following passage:
We but mirror the world. All the ten-
dencies present in the outer world are
to be found in the world of our body. If we could change ourselves, the
tendencies in the world would also change. As a man changes his own
nature, so does the attitude of the world change towards him. This is
the divine mystery supreme. A wonderful thing it is and the source of our
happiness. We need not wait to see
what others do. (The Collected Works of Mahatma Gandhi, 1999, p. 241)
That’s deep. Gandhi was essentially
saying the world around us is a reflection
of our inner selves, and we are a reflection
of the world. He went on to explain he was writing at great length about “snakebite” with hopes the reader might “dis-
ately control or modify our behaviors.
your vote for their candidate. First, just
control the environment that in turn con-
list. Then, make sure you have done your
Dr. Clifford Madsen says it this way, “we trols us.”
Regardless of how you state it, the idea
is that we cannot reasonably expect to exist within the world — the social, polit-
ical, economic, religious, American, collegiate, minority, technological, spiritual, middle class … world — without both
directly affecting it and being affected by it. What you do and how you are matters, and both involve choice.
Indeed, life is a series of choices. This
cover a miraculous remedy with which
month, we find ourselves charged with
that statement as conflict. Considering the
for the next president of the United States
to face all such terrors.” Read terrors in aforementioned passage regarding the interconnected relationship of all things,
that desired miraculous remedy may be the ability to effectively and appropri-
26
the responsibility of voicing our choice
reply STOP to be removed from their
research and cast your ballot in favor of the folks who support issues you care
about. Remember Gandhi’s words? “We need not wait to see what others do.”
Don’t just vote for someone because your parents or friends are voting for that
individual. Take the time to ask yourself why you believe that candidate would be
the best person for the job. Why do you believe he or she will impact YOUR world
in a way that is consistent with your goals,
dreams, desires, or values? An uneducated vote may be worse than no vote at all!
For many years, the college-aged voter
(amongst other things). You have probably
turnout was terrible. In as recent as 2014,
from strangers, who know your name
in America was an abysmal 19% (Thomas,
been getting robocalls and text messages
(sketchy!), asking if they can count on
Florida Music Director
the voting rate at colleges and universities Gismondi, Gautam, & Binker, 2019).
Although there were a number of meth-
text. BallotReady.org
ods available to submit an absentee vote,
view candidates and ballot measures
many college students chose to ignore Election Day because they were away at
school and thus outside of their voting district. Others didn’t believe their single vote could make a difference. By 2018,
however, many attitudes (and behaviors) had changed. Many institutions developed unique initiatives to educate col-
lege students about voting options and to encourage them to vote. As a result, the
2018 midterm elections saw the voting rate at colleges and universities across the
country rise from 19% to 40% (Thomas,
Gismondi, Gautam, & Binker, 2019)! As wonderful as that was, there remained an astounding 60% of college students, who
were eligible voters, that failed to cast a ballot in 2018.
I encourage you to make a choice to be
heard. Now. Consider ways to make vot-
ing fun! During the 2018 midterms, many
universities developed voting challenges
either across their campus (i.e., College of
Arts & Sciences vs. College of Business,
football vs. baseball, choir vs. band, etc.) or with sister or rival institutions. What can you do to encourage your peers to vote
this month? I challenge you to get 100% of eligible voters within your chapter to
cast a ballot! Maybe have a socially dis-
tanced bonfire, roast marshmallows, and make s’mores if you pull it off! Or maybe challenge another group on campus.
Can ΦΜΑ achieve a higher percentage
of voter participation than ΚΚΨ? ΣΑΙ vs.
ΤΒΣ? Education majors vs. performance majors? A three-way challenge between the band, string, and choral departments? The possibilities are endless.
As you encourage your peers to partic-
ipate, here are some resources you might find useful:
enables you to
based on your address. It isn’t a bad
« How
place to start, but it certainly shouldn’t Americans
Have
Voted
Through History: From Voices to Screens
— This is a brief but inter-
esting history of the various methods
« How,
of voting in the United States.
Where, and When to Vote
— USA.gov provides a great deal of
information regarding actually cast-
ing your vote. Follow the link to learn more about absentee and early vot-
ing, Election Day voting procedures,
required identification, and who
is allowed to vote in U.S. elections.
Remember, you must vote in your home district, which may or may not
be where you are attending school. If you live too far away your home district to
from
head home to vote, I
hope
you’ve
already requested
an absentee bal-
lot, because it’s too
late now! Deadlines
for requesting and returning absen-
tee ballots vary by state and county. Check with your district’s election
« Decide for whom you plan to vote office for details.
— There are countless voter guides
available in print media and online.
Explore a few! Remember, everyone has a bias. It’s just a characteristic of the human condition. Furthermore,
an N of one does not good research
make! Find time to explore voter guides that provide links to their
sources so you can view candidate statements and voting records in con-
be the only place you look.
« October
2020
Florida
Director Advocacy Report
Music
—
Jeanne Reynolds wrote a wonderful
report in last month’s FMD. I believe
her directive to pay attention to down ballot races is especially important. The national races typically get all the
media attention, but it’s those state legislators, county commissioners,
and school board members who will have a more direct impact on your daily experience as a teacher.
According to the National Study of
Learning,
Voting,
and
Engagement
(NSLVE), approximately 7.5 million students enrolled in colleges and universi-
ties voted in the 2018 midterm elections (Thomas, Gismondi, Gautam, & Binker,
2019). That means an estimated 10 mil-
lion eligible college students failed to
cast a ballot that year. What if we could change ourselves, our schools, or our environments this year? What if your world began to look a bit more like you,
rather than you resigning to mirror the world? You matter. Your voice matters. Your choice matters. Make it known. References Gandhi, M. K. (1999). The collected works of Mahatma Gandhi (Vol. 13). Publications Division Government of India. Retrieved from https://www.gandhiashramsevagram. org/gandhi-literature/collected-works-ofmahatma-gandhi-volume-1-to-98.php Thomas, N., Gismondi, A., Gautam, P., & Binker, D. (2019). National study of learning, voting, and engagement. Tufts University.
November 2020
27
ComponentNews
FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION
Ernesta Chicklowski, President
FEMEA President-Elect Candidate
Ashley Peek
A
shley Peek is a native of Oxford,
General Music. Mrs. Peek
confidence. By giving my
Gulf Breeze, Florida. She is a graduate of
Florida Music Director and
opportunities and tools
Alabama, and currently resides in
Auburn University. She is in her ninth
year at Holley Navarre Intermediate
School in Navarre, Florida, where she
teaches third through fifth grade general music, fourth grade Orff club, fifth
grade chorus, and fifth grade percussion
for Teaching Music Magazine,
Association Music.
for
phy, I believe music is a medium that can
Music Educators Association, and she is
currently serving as the FEMEA member
engagement co-chairwoman. In addition
to her work with FEMEA, she has served two terms as southern division representative for the National Association
for Music Education Council for General Music. She is currently serving as a member at large for the NAfME Council for
leave with the ability to be successful in whatever
General
Teacher of the Year for Santa Rosa County. for District VI for the Florida Elementary
cians, I know they will
lished through the National
Mission
She has served two terms as chairwoman
to be successful musi-
as well as lesson plans pub-
ensemble and “Orff-estra.” For the 2014-15 school year, she was awarded Fine Arts
students the performing
has written articles for the
they may choose to do in life, even if they don’t
pursue music later on.
As part of my personal teaching philoso-
Within FMEA and FEMEA, I strongly
reach each and every person in the world
help them achieve this in their own class-
in some way, no matter how small or
big that may be. Through singing, danc-
believe in giving teachers the tools to rooms.
In alignment with my teaching phi-
ing, and performing on Orff instruments,
losophy, my vision for FEMEA is that
ukuleles, my students leave as true per-
needed to give their students that feeling
percussion instruments, recorders, and formers of music, with the teamwork and
critical thinking skills that each of those things require. Music teaches responsibility, adaptability, perseverance, and dedication. Through those things, it instills
we provide teachers with the resources of success and musicianship so that we
can reach all of our students in some way,
no matter how big or small. Professional
development is vital for teachers to
be able to strengthen their educational
NAfME All-National Honor Ensembles Due to the ongoing COVID-19 pandemic, the National Association for Music Education (NAfME) made the difficult decision to cancel the in-person All-National Honor Ensembles, originally scheduled to take place November 4-8 in Orlando. This virtual event will include several rehearsals with the 2020 ANHE conductors and workshops with renowned clinicians, and each ensemble will create a final recorded performance, which will be premiered online. Details regarding other exciting opportunities including merchandise pre-orders, mock auditions, and a College Fair will be shared in the coming weeks. For more information, CLICK HERE .
28 F l o r i d a
Music Director
A VIRTUAL 2020
All-National Honor Ensembles (ANHE)
program will take place on Thursday, January 7 – Saturday, January 9, 2021.
FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION
Marc Decker, DMA, President
R
ecently I had the opportunity to present a virtual session to a group of high school music students. Having only 10 minutes to talk with them toward the
end of a long afternoon, it was challenging to determine the subject. The last thing I
foundation and keep the joy of music alive
in their classrooms. I believe in the power
of our all-state and regional chorus and Orff ensembles and how these ensem-
bles give students a once-in-a-lifetime experience that will help them be suc-
wanted to do was a lecture on breath support, articulation, or some aspect of musi-
cianship. Ultimately, I decided to focus on their emotional well-being, with a short list of things I thought would encourage them.
Today I’ve been reflecting about that session and have come to realize that
although the reasoning is slightly different, what is true for the students is true for us teachers as well. I hope you enjoy:
1
cessful in many other areas of their lives.
5 Things Every Student Teacher Must Know
each year and continues to flourish. The
1. You are important. So many of us say we entered this profession because we felt
has thoroughly enhanced the conference
It’s the students! They called because they need you, trust you, and believe in you.
Our All-State Chorus program has grown addition of the All-State Orff Ensemble experience for both our teachers and stu-
called to do so. But have you ever thought about who it is that called us to teach? You’re important to them.
2
dents by adding another outlet for teach-
2. You can only avoid failure by not trying. The last few weeks I’ve been teaching
excited seeing the growth in our regional
challenging and frightful for us both! She doesn’t want to fall, and who can blame
ing and sharing music. I am even more
my daughter to ride her bike without training wheels. This process has been
ensembles in such a short time because of
her. Learning requires tremendous bravery and an acceptance that failure will
so many more lives. In my vision for
accomplish what they think is impossible, provide a learning environment where
development of these ensemble experi-
3. You are an inspiration to others. Teachers have a superpower, and that’s our
the ability for these ensembles to impact
happen before success can be achieved. As teachers we encourage students to
FEMEA, I would like to continue the
they can safely fail, and build them up afterward to try again.
3
ences to provide meaningful enrichment
ability to convince others to feel and act differently. Have you ever walked into
Finally, through professional develop-
expressions, energy, and emotions of a great conductor? All the members of
envision that we use these components to
4. We succeed by lifting each other up. In my first teaching position, the district
our members have incredible conference
cert MPA. They would sit in the audience through the concert performance, fol-
spark, they will be our very best advoca-
were amazing administrators who wanted to make the students feel important
to their classrooms and pass it along to
meaningful thing. It spreads throughout a community and allows us to reach
school districts, and community members
5. Don’t let what we can’t do interfere with what we can. This advice I’m borrow-
exuding from our students, it is the best
much more then one-way conduits by which to funnel musical knowledge to
schools.
engage, connect, and express themselves. It’s easy to focus on what we can’t do,
to serve as your District VI chair, and I
ties. Stay positive, try new things, learn what others in our profession are doing,
nity to serve and lead as your FEMEA
I hope this list made your day a little brighter. Stay safe and teach well!
for our young Florida musicians.
a teacher’s room and immediately felt a sense of joy, or seen the infectious facial
ment and our performing ensembles, I
FMEA inspire and give hope to so many. Continue to be a great inspiration!
4
strengthen music advocacy in our state. If
superintendent and high school principal made it a point to travel with us to con-
experiences and leave with a renewed
low us into the sight-reading room, and congratulate the group afterward. They
cy resources as they take that spark back
and to celebrate their accomplishments. Being supportive is such a simple and
their students. When our administrators,
even higher.
5
see this knowledge and love of music
ing from John Wooden, an inspirational basketball coach. Our classrooms are
proof of the importance of music in our
students. Our classrooms are desperately needed opportunities for students to
It has been a great privilege and honor
but virtual learning and hybrid teaching offer many new and exciting opportuni-
would be honored to have the opportu-
and you will continue to find success.
president-elect.
November 2020
29
ResearchPuzzles FOR MUSIC TEACHERS
Can middle school band students improve their practice strategies? “How do you get to Carnegie Hall? Practice, practice, practice!” We want students to practice at home, but how strategic are their decisions? Stephanie Prichard (2020) examined this using
a quasi-experimental pretest-posttest design. Students (N=105) who had been assigned to one
RESEARCH COMMITTEE CHAIRMAN
of two bands in a middle school by school counselors, based on skill level and academic sched-
uling needs, were randomly assigned to experimental (n=52) and control (n=53) groups. During
the three-week treatment phase of the study, the experimental group received instruction about
Don D. Coffman, PhD University of Miami
how to practice during a 10-minute warm-up at the start of rehearsal for three of the five weekly rehearsals (30 minutes per week). The control group warmed up with their usual routine of rhyth-
This on-going column seeks to stimulate awareness of research issues for FMEA teachers and researchers.
mic and melodic exercises. Following these separate warm-up sessions, the groups were joined together for the remainder of the 45-minute rehearsal.
For the pretest and posttest, students received an unfamiliar musical excerpt and were given
this prompt:
Look over the musical excerpt in front of you. If you were asked to go home and learn how to
play this excerpt by practicing it on your own, what kinds of things would you do in order to be able to play it? After you’ve taken a moment to look through the music, make a list of all of the strategies you would use to practice this excerpt.
For the experimental group students, the teacher modeled an applicable strategy by applying it
to a specific excerpt of music and then guided students through practicing the strategy as a group.
To measure the effectiveness of the instruction, Prichard used two forms of data: (a) students’
self-reported data (she had two experienced teachers code strategies from students’ written lists of strategies and then tallied the codes) and (b) observational data (she asked 10 randomly select-
ed students from each group to practice for 20 minutes while she video recorded them). Two experienced instrumental music teachers viewed the recordings and analyzed them for behavior strategies.
From the self-reported data, Prichard observed that “the most commonly listed pretest strat-
egies were repetition, play from beginning to end, and counting rhythms. Compared to pretest lists, MPI group participants’ [experimental group] posttest lists of practice strategies were much more varied,” but control group participants’ lists did not show increased variety. Furthermore, Posttest experimental group practice sessions also revealed a more mature approach to practicing, including more strategic behaviors, greater variety in musical objectives, and longer periods spent focused on short excerpts of music.
Details about the content of the instruction appear in the article, so I encourage you to give it a
read.
Reference Prichard, S. (2020). The impact of music practice instruction on middle school band students’ independent practice behaviors. Journal of Research in Music Education. https://doi.org/10.1177/0022429420947132
Email your questions and feedback to d.coffman1@miami.edu
30 F l o r i d a
Music Director
Research Puzzles.
CommitteeReports I
AWARDS COMMITTEE
Debbie Fahmie, Chairwoman
bet that right about now you could use
tions and the testimonies about the folks
for good news to share these days. The
The FMEA Awards Committee has select-
challenges stand in the way of providing
an FMEA award not only provides the
some good news. Well, I’ve got some.
ed some outstanding awardees in each of the major categories. The pandemic did
are able to select a winner for every single
districts and local communities putting
was so heartwarming to read the applica-
and praise, but it is also great advocacy
Since the winning individuals and
their nominators were informed of the
category, but this year was exceptional. It
awardee with well-deserved recognition
a quality music education for all.
not put a damper on the nominations of
worthy candidates. It’s not every year we
excitement about an individual winning
out there whose determination hasn’t let
for our mutual cause and creates awareness of the importance of quality music
awards, I have seen some of their school
education for all.
Thank you to everyone who took the
out press releases and media about the
time to submit a nomination packet or
recognition. I believe everyone is hungry
to write a letter of support for the 2021
FMEA Awards. It was obvious that the nominators put much time and effort
EMERGING LEADERS COMMITTEE
into the application process. The selection
committee was impressed by the evidence
Mary Palmer, EdD, Chairwoman
of quality music education happening
I
in a variety of demographic settings. We
am marveling at the heroic work of Florida’s music educators during these
certainly have many worthy individuals
very difficult times. Resilience, compassion, creativity, and commitment are
we will be celebrating this year. As with
on display as music teachers blaze new pathways to ensure their students have
the entire conference, our celebration will
meaningful experiences with music. Bravo to each of you! You make a difference
be reimagined in a virtual way. What this
in so many lives. People need music on this day … and every day. Thank you for
means is that family and friends from far
your leadership!
away can participate by viewing the pre-
With the 2021 FMEA Professional Development Conference going virtual, we
sentation and joining in the celebration
all are pivoting to new ways of being together to celebrate and renew practices
of our FMEA awardees this year. So, stay
and friendships. The Emerging Leaders will continue with our very popular
tuned and plan to join our 2021 Virtual
“Coffee Talk” with FMEA and NAfME leaders. With the magic of technology,
FMEA Awards Ceremony.
this event will still be interactive with time for questions and comments from
I also want to thank my very dedicat-
all. Our fast-paced, multifaceted Pecha Kucha presentation of what’s happening in
ed Awards Committee, which had the
the classrooms of 10 FMEA Emerging Leaders will be included in the conference
daunting job of selecting just one nom-
program. I can’t wait!
inee from each category. With so many
Elementary teachers, how about a change of pace? Join the Orlando
nominations in every category, this was
Philharmonic Orchestra for the 2020 Virtual Young People’s Concert: Where
no small task. The committee members
in the World Is the Orlando Philharmonic Orchestra? (The children will become
did due diligence in reviewing each and
spies to help with the quest!) Designed for children in grades 3-5, a well-con-
every list of achievements and letter of
structed Teachers’ Guide to the music (created with the assistance of several
support presented in each nomination
past FMEA Emerging Leaders) will provide specifics for in-class lessons.
packet. Ultimately, they had the tough
This year’s professionally produced virtual program will be available for
decision of selecting just one awardee
online viewing worldwide on November 18 and 19. While we all want chil-
per category. I certainly appreciate the
dren to have the experience of coming to a concert hall to hear live music,
time, thought, and effort they put into
this year that isn’t possible, so I hope you’ll consider joining the Orlando
this process.
Philharmonic’s offering. Please let me know if you are interested (mpalmerassoc@aol.com
Soon you will have the opportunity
), and I’ll provide more information.
to read about all of the 2021 awardees. I know you will be just as inspired by them
I’m looking forward to seeing you soon! In the meantime, stay strong, try out
as I am. Until then, best wishes for this
your new ideas, and know that your work is making a difference.
fall season.
November 2020
31
CommitteeReports
DIVERSE LEARNERS COMMITTEE Alice-Ann Darrow, PhD, Chairwoman
Promoting Social and Emotional Learning for Students With Disabilities, Their Classmates … and Their Teachers!
L
ize such an approach? The Collaborative
et’s just face it …
for Academic, Social, and Emotional
this year has been
Learning (CASEL), which defined social
difficult, most likely one
and emotional learning (SEL) more than
of the most difficult of our
two decades ago, devised a widely
lives. During this time of adver-
used framework that identifies five
sity and isolation, we can take
core competencies (CASEL, 2020,
advantage of opportunities for
para 2):
personal growth. What can
1.
I learn about myself during this time? What can I
Self-awa reness —t he
ability to accurately rec-
ognize one’s emotions
do to improve my life
and
and those of others?
their
How can I shore up
influence
and on
behavior. This abil-
my resilience during
ity
this time? One friend is
includes
accu-
rately assessing one’s
taking Spanish online so she can
eventually volunteer with immigrants,
thoughts
strengths and limitations
and possessing a well-grounded
another is working as an online personal
What is social and emotional
technologies he can use in his teaching.
Social and emotional learning (SEL) is
2. Self-management—the ability to reg-
adults understand and manage emotions,
behaviors effectively in different sit-
trainer, and still another is learning new One group of friends is organizing virtual social hours with seniors at various
nursing homes. Cipriano and RappoltSchlichtmann (2020) suggest that “Social
and emotional learning (SEL) can provide us all with the basis for support and inclu-
sion during the pandemic and beyond. We can reframe this difficult time as an opportunity to connect, to care for each
other, to innovate and to move us all toward more inclusive practices where all
teachers and students can thrive” (para 9). By leaning in to SEL—the practice of cognitive, affective, and behavioral competencies that aid us in developing mutually
supportive relationships and sustaining physical and psychological health—we
can develop strategies that will benefit us
all when we return to in-person learning and living.
32 F l o r i d a
learning?
the process through which children and set and achieve positive goals, feel and show empathy for others, establish and
maintain positive relationships, and make responsible decisions (CASEL,
sense of confidence and optimism.
ulate one’s emotions, thoughts, and uations. This ability manages stress, controls impulses, motivates oneself, and sets and works toward achieving personal and academic goals.
2020). Indeed, we all can benefit from
3. Social-awareness—the ability to take
ever, learning requires more than a sin-
others from diverse backgrounds and
such social and emotional learning; how-
gle lesson. Learning requires time and practice. In addition, social and emotional learning requires an approach that
intentionally cultivates a caring, partic-
the perspective of and empathize with cultures, to understand social and ethical norms for behavior, and to recognize family, school, and community resources and supports.
ipatory, and equitable learning environ-
4. Relationship skills—the ability to
that actively involve all participants. The
rewarding relationships with diverse
ment, as well as evidence-based practices
approach to social and emotional learning must also be systemic, infusing social
and emotional learning into every part our daily lives. How do we conceptual-
Music Director
establish and maintain healthy and
individuals and groups. This ability includes communicating clearly, listening actively, cooperating, resisting inappropriate social pressure,
negotiating conflict constructively,
and seeking and offering help when needed.
5. Responsible
decision-making—
the ability to make constructive and
respectful choices about personal
behavior and social interactions based on consideration of ethical standards, safety concerns, social norms, the
realistic evaluation of consequences of various actions, and the well-being of self and others.
Frameworks
draw
on
extensive
research and complex theories derived from the research. Typically, teachers
and researchers use the social-emotional learning (SEL) framework cited above to organize, define, and describe a com-
bination of competencies students must possess to be successful in school and life. Students need opportunities to practice
these competencies in school, at home, and in the community. Teachers and par-
relation to social
and emotional learn-
ing. Consequently, these fac-
tors must be taken into account in struc-
to the marginalization of students with
students’ differences is key to reaching
with disabilities develop competence in
turing SEL learning lessons. Adapting to students with disabilities, who are often
considered at risk for delays in social and emotional development.
ents can structure both natural and pur-
Students With Disabilities and SEL
tice these skills. Open discussion should
challenges as they progress through their
posefully contrived situations to pracaccompany skill practice, particularly in
the early stages of social and emotion-
al development. In addition, a process should be in place for assessing students’
acquisition of social and emotional competencies.
Numerous factors can affect SEL skill
development. These factors include cul-
ture, race, ethnicity, inequalities such as language differences and language competence, age, maturation, and lived expe-
riences such as personal adversity and trauma. While these factors may affect all learning, they are especially potent in
© 2020 CASEL. All rights reserved
Students with disabilities face various
disabilities. It is important that students
skills that will promote their social and
emotional success in school. Affective
education during their school years may improve the quality of life for students with disabilities as they transition into adulthood (Zins & Elias, 2007).
Researchers have found that children
school years. In addition to disability-re-
with disabilities often exhibit a variety
additional difficulties such as bullying
disabilities (Adamek & Darrow, 2018;
lated challenges, they may encounter
in school and lack of social acceptance by their peers (Darrow, 2014). These difficulties have the potential to affect their self-esteem and, consequently, their willingness to take social risks in school
and to apply for jobs in their adult lives. Disability is often seen as a negative con-
dition that is characterized by deficiency, dysfunction, or disorder (Darrow, 2015).
Such perspectives contribute to view-
ing disability as a social construct, often
of social characteristics related to their Darrow, 2014). Children with autism
spectrum disorder (ASD), for example,
are frequently less responsive to others’ social behaviors; in general, they produce
fewer positive responses and more nonresponses than children without disabil-
ities (Jackson, et al., 2003). Both children with autism and those with intellectual disabilities tend to respond more often
and positively to adults than to other Continued on page 34
November 2020
33
CommitteeReports Diverse Learners continued from page 33
children. Children with multiple disabili-
and never allowed to experience the
riences? Various lyric
and desires through smiles, eye move-
the student sits on the piano bench
can be found online;
joy of helping someone else. Even if
ties, meanwhile, may show their feelings
with the choir accompanist and turns
ments, breathing, and different types
pages when instructed to do so, he or
of crying (Wilder & Granlund, 2003). Additionally, when compared to children
without disabilities, children with disabilities have been found to exhibit fewer social initiations, more negative and less
adaptive interactive styles, and fewer pos-
she will have a role that is integral to
« One way to avoid cliques in a class the accomplishments of the group.
or an ensemble is to have students sit
next to different classmates each week
itive affect displays (Guralnick, et al.,
and to allow time for conversing.
2007; Wilson, 1999). One of the most pow-
Giving topics for discussion, such as
erful tools for teaching social and emo-
songs you both like, music artists you
tional skills to students with disabilities,
both like, and concerts you both want
and indeed all students, is music.
The Use of Music to Promote SEL
Music-making experiences can be motivating, flexible, and enjoyable while at
the same time provide opportunities to
to attend, is one way to initiate conver-
sations and to open up opportunities
« Structure repertoire choices so that for sharing interests and experiences.
students with and without disabilities
can perform together. The group can
practice important life skills that will
benefit students’ social and emotional
development. Croom (2012) maintained
that music engagement contributes to an individual’s well-being by influencing positive emotions, engagement with others, achievement, and self-awareness. These elements of music engagement are
engage in music-making experiences with
« Simple Music Teaching has provided productive and rewarding. an SEL YouTube song list
children. Many of the songs
for young
are appropriate for students with disabilities.
For secondary students, lessons must be
these experiences to the emotional devel-
terest themes and materials.
opment of their students. A number of
authors have provided suggestions and resources for infusing SEL into music
age appropriate and incorporate high-in-
« Music interventions such as lyric anal-
classrooms and curricula (Adamek & Darrow, 2018; Darrow, 2014; Doerr, 2020; Edgar, 2017; NAfME, 2020; Quaver, 2020;
« Use peer partners that include both TMEA, 2020).
students with and without disabil-
ities. Students with disabilities are
34
often relegated to the role of “helpee”
Florida Music Director
vide students an outlet for expression
and a nonthreatening forum for shar-
ing feelings. The songwriting product
can instill in students a sense of pride and productivity. Songs can also be
recorded to share with family and
friends to prompt communication and
« Teachrock.org
socialization with others.
has provided groups
of secondary lessons using popular music to address typical social and emotional issues faced by teens.
available to music educators wishing
their students every day; however, they may need additional knowledge to link
one is provided here.
learn the choreography? When all stutheir classmates, socialization will be
emotional intelligence. Music educators
« Songwriting activities can also pro-
Various professional organizations have
dents are invested in the success of
also fundamental to the development of
worksheets
pose solutions for questions like this one: How will Susan who is blind
development—as well as their music
analysis
compiled resources and made them to incorporate SEL objectives in their
« National lessons.
Association for Music
Educators (NAfME)
has compiled
a list of music and SEL resources that includes pertinent reports, research,
« Texas Music Educators Association books, articles, webinars, and blogs.
(TMEA)
has also compiled a list of
music and SEL resources that includes
pertinent research, books, articles, webinars, and podcasts.
ysis of popular (or classical) songs
Existing and specially designed curric-
ductively identify and express feel-
SEL in the music classroom.
can help students positively and proings about themselves, their relationships, and others. Prompt questions
like these can be used: What song describes how you feel today? What
song describes a life experience you’ve had? What are some productive ways
to manage such feelings and expe-
ula have addressed the incorporation of
« The new QuaverSELMusic lum now includes
curricu-
many songs and activities directly
tied to the five core
CASEL competencies of self-management, self-awareness, social awareness,
responsible decision-making, and
health of many students and teachers.
Bell and Adrien Palmer are
health of our students, we often find our-
« Paige
relationship skills.
music teachers who create songs for social and emotional learning. Their SEL curriculum includes lyrics, chord charts, lesson plans, and
activities
that correspond with each of the songs on their Simple SEL
album.
The COVID-19 pan-
demic and the resulting economic reces-
sion have negatively affected the mental
References Adamek, M., Darrow, A. A. (2018). Music in special education (3rd ed.). Silver Spring, MD: American Music Therapy Association.
In attending to the social and emotional selves the beneficiary as well. The sugges-
CASEL. (2020). What is SEL? Retrieved from https://casel.org/what-is-sel/
tions, resources, and curricula above pro-
Cipriano, C., & Rappolt-Schlichtmann, G. (2020, June). Special ed students have lost many services: Here’s how SEL strategies can help. Retrieved from https://www.edsurge. com/news/2020-06-04-special-ed-studentshave-lost-many-services-here-s-how-selstrategies-can-help
vide ways of using music to address social
and emotional issues. Music is a valuable
resource, as is spending time with friends and family, which requires exercising our social and emotional skills. When we
Darrow, A. A. (2015). Ableism and social justice: Rethinking disability in music education. In C. Benedict, P. Schmidt, G. Spruce & P. Woodford (Eds.), The Oxford Handbook on Social Justice in Music Education: From Conception to Practice (pp. 204-200). Oxford: Oxford University Press.
are on the other side of this virus, may
we all find our lives improved in some
way, our relationships stronger, and our social and emotional skills heightened.
Darrow, A. A. (2014). Promoting social and emotional growth of students with disabilities. General Music Today, 28(1), 29-32. Doerr, E. (2020). 5 Ways to build social and emotional skills through music. Retrieved from https://apertureed.com/5-ways-buildsocial-emotional-skills-music/ Edgar, S. N. (2017). Music education and social emotional learning: The heart of teaching music. Chicago, IL: GIA Publication, Inc. Guralnick, M. J., Neville, B., Hammond, M. A., & Connor, R. T. (2007). Linkages between delayed children’s social interactions with mothers and peers. Child Development, 78, 459-473. Jackson, C. T., Fein, D., Wolf, J., Jones, G., Hauck, M., Waterhouse, L. & Feinstein, C. (2003). Responses and sustained interactions in children with mental retardation and autism. Journal of Autism and Developmental Disorders, 33(2), 115-21. NAfME. (2020). Music education and social emotional learning. Retrieved from https:// nafme.org/advocacy/quarterly-advocacywebinars/social-emotional-learning/ Quaver. (2020). Creating a culture of caring. Retrieved from https://www.quaversel.com/ info/ TMEA. (2020). SEL in music education. Retrieved from https://www.tmea.org/ teaching-resources/sel-in-music-education/ Wilder, J., & Granlund, M. (2003). Behavior style and interaction between seven children with multiple disabilities and their caregivers. Child: Care, Health and Development, 29, 559567. Wilson, B. J. (1999). Entry behavior and emotion regulation abilities of developmentally delayed boys. Developmental Psychology, 35, 214-222. Zins, J. E., & Elias, M. J. (2007). Social and emotional learning: Promoting the development of all students. Journal of Educational and Psychological Consultation, 17, 233-255.
November 2020
35
CommitteeReports
MULTICULTURAL NETWORK Bruce J. Green, Chairman
Being Resilient During COVID-19 by Jack A. Eaddy, Jr., DMA
M
usic is not only our expertise; it’s
to overcome, such as inequitable techno-
screen, but it’s our duty to try. We need to
parental involvement, student responsi-
conventional strategies. For example, we
our passion. We spend our careers
logical resources, food insecurity, lack of
sure their every need is met, musically
bilities as the primary caregiver for their
giving our all to our students, making
and otherwise. In mid-March our lives were turned upside down due to the COVID-19 virus, changing the course of
music education as we know it. Teachers
all over the country were thrust into what we have come to know as virtual teaching. Teaching virtually has its challenges, but the resilience of our teachers has been
remarkable. There have been and con-
siblings, and unstable home lives that may not allow complete participation in virtual instruction via online platforms. Through their challenges, we should still
is to be prepared. Being prepared does not happen by accident; the more pre-
pared you are for the different challenges, the better prepared you will be for your
students. By now, we’ve welcomed our students, distributed instruments, shared music, and checked on our kids who
haven’t attended class. Not having a band camp or concerts, interacting with stu-
dents or any other task we are used to doing in person can be daunting. Our resilience, however, will allow us to reach and teach all students.
“Doing our homework” is part of our
preparation. Pre-COVID-19 and now,
it’s integral to know our students and
should not derail their futures.
Many students will not be transparent
issues might be uncovered by their inabilon their camera), being abnormally defiant (I don’t want to play today), or not
being attentive. Sadly, some students feel
like the weight of the world is on their shoulders, while we ask them questions
like “Do you have enough rosin for your
bow?” In situations like these, I challenge you to first consider if your students’
most basic needs are being met. Do they feel safe? Are they hungry? Do they have
clean clothes to wear? Although we may not be able to address these needs our-
selves, we can help connect students with resources that can help. With that being said, educators need to continue this year
with sensitivity, understanding that students may have difficulty being present or completing tasks.
Our classrooms need to be our stu-
their individual situations. This includes
dents’ safe space. This begins with the
minority students endure on a day-to-day
them. Our students want to know we
understanding the unique circumstances basis. Once we are informed, we must plan accordingly. There are many barriers
that educators must help some students
36 F l o r i d a
hang session.
Finding ways to communicate effective-
the technology your district provides, or
ity to follow simple instructions (turning
The biggest key to continuing to cre-
movie together, or we can have a Zoom
home situations may create barriers, but
lence, but with compassion. Students’
positive musical experience despite the
ate positive experiences for our students
students (who have Netflix) to watch a
ly has been challenging during COVID-19.
about their situations at home, but their
obstacles we face.
can host a Netflix party, which allows
strive to maintain a standard of excel-
tinue to be challenges, but we must find
ways to make sure our students have a
challenge our thinking and move beyond
relationships we create and build with care about their well-being before we
care about their grades and musicianship.
It’s difficult to create relationships via a
Music Director
Open the lines of communication using use free applications to help you. Your learning management system (i.e., Canvas
or Blackboard) can be the primary hub for
your
students
to receive information. Mobile applica-
tions such as BAND, Remind, etc., can be
a secondary platform
for announcements or a different way to
reach your students. Social media groups are another way to share information. The more ways you communicate, the more
opportunities your students will have to
see your messages. Think of every possible way you can communicate with every student. If you are not technology savvy, get a colleague to help you or have your stu-
dents set it up (under your strict supervi-
sion). If you know
100% of your class is
on TikTok, create a class account and post announcements there. Your goal should
be to find any and all ways to reach your
students. Educators should strive to have
a plan and share as much detail of the
plan with students. The earlier you can
to see what you can use in your class-
Don’t get so bogged down with seeming-
ter teachers in FMEA to help guide you
and taking care of yourself. Follow all of
share the plan, the more comfortable it
room. Utilize the great wealth of mas-
Educators also need to find ways to
through any issues that may occur. Create
will make your students.
open individual lines of communication
(emails, calls, and online office hours) to build relationships. It’s easier to tell Johnny to turn on his screen and sing measures 1 through 4 if you know
Johnny’s favorite color and that he loves
Snickers. Genuine conversation will open those lines of communication.
Your colleagues are your biggest sup-
porters and have a ton of information to share with you. Talk with your peers in
the COVID-19 recommendations and stay
group chats with friends and people in
healthy. Your students and family need
similar situations and ask questions. The
the best version of you to make this the
more you ask, the more information you
most successful year yet.
will receive, and you can help others in
Jack A. Eaddy, Jr., earned the DMA from
the process. Our current climate also provides so many professional development
the University of North Texas, the MM from
our field, while also giving you opportu-
Florida State University. Dr. Eaddy taught for
the University of Georgia, and the BME from
opportunities with the top educators in
12 years in Orlando, where he developed a pro-
nities to network with educators across
gram that was recognized throughout the state
the country and world.
for maintaining high standards. Dr. Eaddy
Last but not least, use this time to take
and out of your district, and learn what is
care of yourself and your family. There
with your colleagues in other disciplines
to take care of the priorities in your life.
and isn’t working for their programs. Talk
ly infinite tasks that you aren’t resting
received the FMEA Tom Bishop Award and has presented at several conferences, including
is a lot being asked of you, and you need
the Midwest Clinic.
November 2020
37
ExecutiveDirector’sNotes 2021 FMEA Professional Development Conference and All-State Experience
… Go VIRTUAL
FMEA Executive Director Kathleen D. Sanz, PhD
T
he Florida Music Education Association recently
The mission
of the Florida
Music Education Association is to promote quality,
comprehensive music education in all
Florida schools.
Legislation/Advocacy
announced that the Professional Development
FMEA has been diligent in seeking information
State Experience) scheduled for January 13-16, 2021,
to determine the outlook for the future of education
Conference and All-State Concerts (now the Allwill be a virtual event. The FMEA leadership and
component leadership have been meeting weekly
from our lobbyists and administrator associations in Florida in light of COVID-19.
Florida remains far below the projections that
to develop an exciting experience for teachers and
were used to build the 2020-21 budget. Unless there
forward to seeing everyone virtually in January.
by state leaders, a special session to adjust the bud-
students, as well as our exhibitors. We are looking
In light of COVID-19, the FMEA Board of Directors
believes it is necessary to move from a face-to-face
event to a virtual format to meet the professional development needs of our teachers and to provide a safe and enriching experience for students.
The overriding concern of our board members is
the health and well-being of our teachers, students,
and conference participants. Echoing that concern, school districts across the state are restricting travel for both teachers and students.
Many students are looking forward to the All-
are additional federal funds or other decisions made get for the remainder of the fiscal year cannot be
ruled out. Unfortunately, we are also hearing that it may continue to be bleak for the next school year. The Florida Association of School Administrators
(FASA) states: “We would expect superintendents
and school boards to work hard to conserve cash until we move further into the fiscal year. School
and district leaders are advised to work cooperatively to help ensure the fiscal stability of the district in volatile and uncertain times.”
State Experience to help prepare them for college
Elections
experiences. The audition process has been com-
outcome could change the majority party of the
auditions, scholarship opportunities, and other
The elections are being held as we speak, and the
pleted for secondary students, which allowed stu-
Legislature, which in turn could impact the passage
dents to work toward perfection of their individual
performance skills and to be assessed by trained adjudicators.
We thank you for your support during the dif-
of arts-related legislation. More to come on this after the results of the election have been determined. 2021 Legislative Session
ficult times we all are facing in light of COVID-
The 2021 Session is scheduled to begin on March 2
move ahead with plans for the virtual All-State
mittees and committee chairs will be appointed.
19 and look forward to working with you as we Experience. There will be a lot more communication throughout November and December.
We continue to provide periodic updates from
the COVID-19 aerosol study being conducted by the
University of Colorado Boulder and the University of Maryland. Please visit FMEA.org
for current
information on the preliminary results of this study.
and end on April 30. Following the election, comThe FMEA leadership, along with the leadership
of FSMA and FAEA, will meet with lobbyists in late November-early December to determine strat-
egies for the 2021 session. We will be reaching out to everyone with our message that The Arts Are Essential in all Florida schools.
Stay safe and healthy!
38 F l o r i d a
Kathleen D. Sanz PhD Music Director
�
F LO R I DA M U S I C E D U C AT I O N A SSO C I AT I O N
Officers and Directors
EXECUTIVE BOARD President
Steven N. Kelly, PhD
Florida State University; College of Music, KMU 330 Tallahassee, FL 32306 (850) 644-4069; skelly@admin.fsu.edu Past President
Kenneth Williams, PhD
Douglas Anderson School of the Arts 2445 San Diego Road; Jacksonville, FL 32207 (904) 346-5620; kenwms@flmusiced.org President-Elect
Shelby Chipman, PhD
Florida A&M University, Department of Music Foster-Tanner Music Bldg., Room 318 Tallahassee, FL 32307; (850) 599-8165 shelby.chipman@famu.edu FBA President
Ian Schwindt
Titusville High School 150 Terrier Trail S.; Titusville, FL 32780-4735 (321) 264-3108; schwindt.ian@brevardschools.org FCMEA President
Marc Decker, DMA
Florida Atlantic University 777 Glades Rd.; Boca Raton, FL 33431 deckerm@fau.edu FEMEA President
Ernesta Chicklowski
Roosevelt Elementary School 3205 S. Ferdinand Ave.; Tampa, FL 33629 (813) 272-3090 ernesta.chicklowski@sdhc.k12.fl.us Florida NAfME Collegiate President
Julian Grubb
Florida Gulf Coast University 1519 Neptune Dr.; Lakeland, FL 33801 (863) 430-9466; grubb.julians@outlook.com
Historian/Parliamentarian & 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@fmea.org
FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION President......................................................................... Marc Decker, DMA Florida Atlantic University; 777 Glades Rd.; Boca Raton, FL 33431 deckerm@fau.edu
Editor-in-Chief.....................................................D. Gregory Springer, PhD FSU College of Music; 122 N. Copeland St.; Tallahassee, FL 32306 (850) 644-2925; dgspringer@fsu.edu
FLORIDA NAfME COLLEGIATE
FSMA President ........................................................................Valerie Terry Carlos E. Haile Middle School 9501 SR 64 E.; Bradenton, FL 34212 vterrymusic@gmail.com
President....................................................................................Julian Grubb Florida Gulf Coast University, 1519 Neptune Dr.; Lakeland, FL 33801 (863) 430-9466; grubb.julians@outlook.com Past President................................................... Katherine Attong-Mendes University of Miami; kxa395@miami.edu
FMEA COMMITTEE CHAIRPERSONS
FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION
Awards.................................................................................... Debbie Fahmie fahmied@yahoo.com
President..................................................................... Ernesta Chicklowski Roosevelt Elementary School; 3205 S. Ferdinand Ave.; Tampa, FL 33629 (813) 272-3090; ernesta.chicklowski@sdhc.k12.fl.us
Budget/Finance, Development.................................. Steven N. Kelly, PhD Florida State University, College of Music, KMU 330 Tallahassee, FL 32306; (850) 644-4069; skelly@admin.fsu.edu
Past President...............................................................Rosemary Pilonero rosemary@femea.flmusiced.org
Committee Council............................................................... Debbie Fahmie fahmied@yahoo.com
Executive Director............................................................. Jennifer Sullivan 1750 Common Way Rd., Orlando, FL 32814 (321) 624-5433; slljenn@aol.com
Conference Planning Committee.............................John K. Southall, PhD Indian River State College; 3209 Virginia Ave.; Fort Pierce, FL 34981 (772) 462-7810; johnsouthall@me.com
FLORIDA MUSIC SUPERVISION ASSOCIATION
Contemporary Media................................................... David Williams, PhD University of South Florida; 4202 E. Fowler Ave., MUS 101 Tampa, FL 33620; (813) 974-9166; davidw@usf.edu
President.....................................................................Harry “Skip” Pardee Collier County Public Schools; 5775 Osceola Trail; Naples, FL 34109 (239) 377-0087; pardeh@collierschools.com
Diverse Learners.....................................................Alice-Ann Darrow, PhD Florida State University, Music Education and Music Therapy 123 N. Copeland St.; Tallahassee, FL 32306 (850) 645-1438; aadarrow@fsu.edu
Past President............................................................................Scott Evans scott.evans@ocps.net 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
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
FLORIDA ORCHESTRA ASSOCIATION President................................................................................Matthew Davis Harrison School for the Arts; 750 Hollingsworth Rd.; Lakeland, FL 33801 (863) 499-2855; matthew.lawson.davis@gmail.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
Past President...........................................................................Jason Jerald jason.jerald@sdhc.k12.fl.us
Multicultural Network...........................................................Bruce J. Green (407) 927-3141; bruce.green@ocps.net
Executive Director............................................................. Donald Langland 220 Parsons Woods Dr.; Seffner, FL 33594 (813) 502-5233; Fax: (813) 502-6832; exdirfoa@yahoo.com
Professional Development........................................................Scott Evans Orange County Public Schools; 445 S. Amelia St.; Orlando, FL 32801 (407) 317-3200; scott.evans@ocps.net Research...................................................................... Don D. Coffman, PhD University of Miami; d.coffman1@miami.edu
Southeastern University 1000 Longfellow Blvd.; Lakeland, FL 33801 (863) 667-5104; mabelfast@seu.edu
Secondary General Music.............................................................Ed Prasse Leon High School; 550 E. Tennessee St.; Tallahassee, FL 32308 (850) 617-5700; prassee@leonschools.net
Mark A. Belfast, Jr., PhD
Business Manager..................................................................Jo Hagan, CPA 8975 San Rae Rd.; Jacksonville, FL 32257 (904) 379-2245; Fax: (904) 379-2260; jo@barefootaccounting.com
EX-OFFICIO MEMBERS
Florida NAfME Collegiate Advisor
�
FLORIDA VOCAL ASSOCIATION President.................................................................................. Jason Locker Orange County Public Schools; 445 W. Amelia St.; Orlando, FL 32801 (407) 317-3200; jason@fva.net Past President.....................................................................Tommy Jomisko tommy@fva.net
Student Development.............................................. Michael Antmann, EdD Freedom High School; 2500 W. Taft-Vineland Rd.; Orlando, FL 32837 (407) 816-5600; michael.antmann@ocps.net
Executive Director....................................................................J. Mark Scott 7122 Tarpon Ct.; Fleming Island, FL 32003 (904) 284-1551; exec@fva.net
Collier County Public Schools 5775 Osceola Trail; Naples, FL 34109 (239) 377-0087; pardeh@collierschools.com
PROFESSIONAL DEVELOPMENT CONFERENCE
Business Manager..................................................................Jo Hagan, CPA 8975 San Rae Rd.; Jacksonville, FL 32257 (904) 379-2245; Fax: (904) 379-2260; business@fva.net
FOA President
Local Co-Chairpersons Ted Hope—(813) 272-4861; ted.hope@sdhc.k12.fl.us Melanie Faulkner—(813) 272-4461; melanie.faulkner@sdhc.k12.fl.us Hillsborough County Public Schools, School Administration Center 901 E. Kennedy Blvd.; Tampa, FL 33602
CENTER FOR FINE ARTS EDUCATION
FLORIDA BANDMASTERS ASSOCIATION
Director of Finance & Client Relations...............................Richard Brown, CAE (richard@fmea.org)
FMSA President
Harry “Skip” Pardee
Matthew Davis
Harrison School for the Arts 750 Hollingsworth Rd.; Lakeland, FL 33801 (863) 499-2855; matthew.lawson.davis@gmail.com FVA President
Jason Locker
Orange County Public Schools 445 W. Amelia St.; Orlando, FL 32801 (407) 317-3200; jason@fva.net Member-at-Large
Edgar Rubio
Silver Trail Middle School 18300 Sheridan St.; Pembroke Pines, FL 33331 (754) 323-4321; merenguesax@aol.com
Exhibits Managers fmeaexhibits@fmea.org
402 Office Plaza Dr.; Tallahassee, FL 32301-2757 (850) 878-6844; Fax: (850) 942-1793 Executive Director....................... Kathleen D. Sanz, PhD (kdsanz@fmea.org) Director of Operations........................Valeria Anderson, IOM (val@fmea.org)
President...................................................................................Ian Schwindt Titusville High School; 150 Terrier Trail S.; Titusville, FL 32780-4735 (321) 264-3108; schwindt.ian@brevardschools.org
Technology Director......................................Josh Bula, PhD (josh@fmea.org) Public Affairs & Communications Coordinator..................................... Jenny Abdelnour, CAE (jenny@fmea.org)
Past President..................................................................... Cathi Leibinger Ransom Everglades School; 2045 Bayshore Dr.; Miami, FL 33133 (305) 250-6868; pastpresident@fba.flmusiced.org
Marketing & Membership Coordinator................................. Jasmine Van Weelden (jasmine@fmea.org)
Executive Director......................................................................Neil Jenkins Florida Bandmasters Association P.O. Box 840135; Pembroke Pines, FL 33084 (954) 432-4111; Fax: (954) 432-4909; exec@fba.flmusiced.org
November 2020
39