You Survived the First Year. Now What? PLUS:
COVID-19 IMPORTANT NOTICE
June M. Hinckley Music Scholarship Call for Applications
My Experience With Arts Integration
Social Justice in the Choral Classroom:
Teaching Empathy and Social Awareness as Skills Through Choral Repertoire
Twice Exceptional Students April 2020
1
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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 EX-OFFICIO MEMBERS
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
Cathi Leibinger
Ransom Everglades School 2045 Bayshore Dr.; Miami, FL 33133 (305) 250-6868; president@fba.flmusiced.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
Katherine Attong-Mendes
University of Miami; kxa395@miami.edu Florida NAfME Collegiate Advisor
Mark A. Belfast, Jr., PhD
Southeastern University 1000 Longfellow Blvd.; Lakeland, FL 33801 (863) 667-5104; mabelfast@seu.edu
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 Editor-in-Chief.....................................................D. Gregory Springer, PhD FSU College of Music; 122 N. Copeland St.; Tallahassee, FL 32306 (850) 644-2925; dgspringer@fsu.edu FSMA President................................................................Craig Collins, EdD College of Arts & Media, Southeastern University 1000 Longfellow Blvd.; Lakeland, FL 33801 (863) 667-5657; cscollins@seu.edu
FMEA COMMITTEE CHAIRPERSONS Awards.................................................................................... Debbie Fahmie fahmied@yahoo.com 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
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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 Business Manager..................................................................Jo Hagan, CPA 8975 San Rae Rd.; Jacksonville, FL 32257 (904) 379-2245; Fax: (904) 379-2260; jo@barefootaccounting.com
FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION President......................................................................... Marc Decker, DMA Florida Atlantic University; 777 Glades Rd.; Boca Raton, FL 33431 deckerm@fau.edu
FLORIDA NAfME COLLEGIATE President............................................................ Katherine Attong-Mendes University of Miami; kxa395@miami.edu Past President...............................................................Jennifer Luechauer jennifer.luechauer@browardschools.com
FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION
Committee Council............................................................... 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
Conference Planning Committee.............................John K. Southall, PhD Indian River State College; 3209 Virginia Ave.; Fort Pierce, FL 34981 (772) 462-7810; johnsouthall@me.com
Past President...............................................................Rosemary Pilonero rosemary@femea.flmusiced.org
Contemporary Media................................................... David Williams, PhD University of South Florida; 4202 E. Fowler Ave., MUS 101 Tampa, FL 33620; (813) 974-9166; davidw@usf.edu
Executive Director............................................................. Jennifer Sullivan 1750 Common Way Rd., Orlando, FL 32814 (321) 624-5433; slljenn@aol.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
FLORIDA MUSIC SUPERVISION ASSOCIATION
Emerging Leaders............................................................ Mary Palmer, EdD 11410 Swift Water Cir.; Orlando, FL 32817 (407) 382-1661; mpalmerassoc@aol.com
Past President............................................................................Scott Evans scott.evans@ocps.net
FMEA Corporate & Academic Partners....................................Fred Schiff All County Music; 8136 N. University Dr.; Tamarac, FL 33321-1708 (954) 722-3424; fredallcounty@aol.com Government Relations..................................................Jeanne W. Reynolds Pinellas County Schools, Administration Bldg. 301 4th St., SW, P.O. Box 2942; Largo, FL 33779-2942 (727) 588-6055; reynoldsj@pcsb.org Multicultural Network...................................................Bernard Hendricks Ocoee High School, 1925 Ocoee Crown Point Pkwy.; Orlando, FL 34761 (407) 905-3009; bernard.hendricks@ocps.net Professional Development........................................................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
President.....................................................................Harry “Skip” Pardee Collier County Public Schools; 5775 Osceola Trail; Naples, FL 34109 (239) 377-0087; pardeh@collierschools.com
Treasurer......................................................................................... Ted Hope Hillsborough County Public Schools, School Administration Center 901 E. Kennedy Blvd.; Tampa, FL 33602 (813) 272-4861; ted.hope@sdhc.k12.fl.us
FLORIDA ORCHESTRA ASSOCIATION President................................................................................Matthew Davis Harrison School for the Arts; 750 Hollingsworth Rd.; Lakeland, FL 33801 (863) 499-2855; matthew.lawson.davis@gmail.com Past President...........................................................................Jason Jerald jason.jerald@sdhc.k12.fl.us Executive Director............................................................. Donald Langland 220 Parsons Woods Dr.; Seffner, FL 33594 (813) 502-5233; Fax: (813) 502-6832; exdirfoa@yahoo.com
FLORIDA VOCAL ASSOCIATION
FMSA President
Secondary General Music.............................................................Ed Prasse Leon High School; 550 E. Tennessee St.; Tallahassee, FL 32308 (850) 617-5700; prassee@leonschools.net
Collier County Public Schools 5775 Osceola Trail; Naples, FL 34109 (239) 377-0087; pardeh@collierschools.com
President.................................................................................. Jason Locker Orange County Public Schools; 445 W. Amelia St.; Orlando, FL 32801 (407) 317-3200; jason@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
Past President.....................................................................Tommy Jomisko tommy@fva.net
FOA President
PROFESSIONAL DEVELOPMENT CONFERENCE
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
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Exhibits Managers................................................ Byron and Bobbie Smith 4110 Tralee Rd.; Tallahassee, FL 32309 (850) 893-3606; fmeaexhibits@fmea.org 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
Executive Director....................................................................J. Mark Scott 7122 Tarpon Ct.; Fleming Island, FL 32003 (904) 284-1551; exec@fva.net Business Manager..................................................................Jo Hagan, CPA 8975 San Rae Rd.; Jacksonville, FL 32257 (904) 379-2245; Fax: (904) 379-2260; business@fva.net
CENTER FOR FINE ARTS EDUCATION
402 Office Plaza Dr.; Tallahassee, FL 32301-2757 (850) 878-6844; Fax: (850) 942-1793 Executive Director....................... Kathleen D. Sanz, PhD (kdsanz@fmea.org)
FLORIDA BANDMASTERS ASSOCIATION
Director of Operations........................Valeria Anderson, IOM (val@fmea.org)
President.............................................................................. Cathi Leibinger Ransom Everglades School; 2045 Bayshore Dr.; Miami, FL 33133 (305) 250-6868; president@fba.flmusiced.org
Director of Finance & Client Relations...............................Richard Brown, CAE (richard@fmea.org)
Past President........................................................................Jason Duckett Bartram Trail High School; 7399 Longleaf Pine Pkwy.; St. Johns, FL 32259 (904) 343-1999; pastpresident@fba.flmusiced.org
Music Director
Technology Director......................................Josh Bula, PhD (josh@fmea.org) Public Affairs & Communications Coordinator..............................................Jenny Abdelnour (jenny@fmea.org) Marketing & Membership Coordinator................................. Jasmine Van Weelden (jasmine@fmea.org)
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)
Contents Volume 73 • Number 7
April 2020
June M. Hinckley Music Scholarship Call for Applications . . . . . . . . . . . . . . . . . . 8
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)
You Survived the First Year. Now What?
. . . . 14
SOCIAL JUSTICE IN THE CHORAL CLASSROOM:
Teaching Empathy and Social Awareness as Skills Through Choral Repertoire . . . . . . . . . . . . . . . . . . . 18
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
Bob O’Lary Debby Stubing
Art Director & Production Manager
Lori Danello Roberts, LDR Design Inc. (lori@flmusiced.org)
My Experience With Arts Integration . . . . . . . . . . . . . . . . . 23 D E PA R T M E N T S
Circulation & Copy Manager
Officers and Directors.. . . . . IFC
2019-20 FMEA Donors. . . . 11-13
Copy Editor
Executive Director’s Notes. . . . . 4
Component News.. . . . . . . . . 27
Advertiser Index. . . . . . . . . . . 5
Research Puzzles. . . . . . . . . . 31
President’s Message. . . . . . . . . 7
Committee Reports. . . . . . . . 32
Advocacy Report. . . . . . . . . . . 9
Corporate Partners. . . . . . . 38-39
Valeria Anderson, (800) 301-3632 Susan Trainor
Academic Partners. . . . . . . . . 10
April 2020
3
ExecutiveDirector’sNotes IMPORTANT NOTICE:
FMEA Executive Director
The President's Message and the Component/Commmittee
Kathleen D. Sanz, PhD
Reports were written prior to school closures to help stop the spread of COVID-19 and may reference events
The mission
that have been cancelled.
of the Florida Music
Education
Association is to promote quality, comprehensive
music education in all Florida schools.
TRYING TIMES: An Opportunity to Show Resilience and Creativity
I
n these trying times for our country and the world as the coronavirus continues to spread, we have been given the opportunity to show our resilience and cre-
ativity as we continue to educate our students and help them through this crisis. Based on recommendations from the Centers for Disease Control and Prevention (CDC) and the World Health Organization (WHO), schools are closing and asking students to learn remotely through virtual education. We know that’s difficult for our performance classes. We also are aware that not all students will have access to the technology needed for online coursework. We need to provide as much assistance as possible as we traverse this pandemic. In the coming days, we will send information on copyright to help with providing remote learning for our students.
NEWS FROM …
Florida School Music Association
FMEA has cancelled the Steel Band Festival
tion with the Florida Bandmasters Association,
Florida Music Education Association
in April. Components have cancelled solo and ensemble and jazz ensembles.
The National Association for Music Education
The National Association for Music Education (NAfME) is working through its societies and councils to provide online materials through
Amplify. The National Association of Music Merchants (NAMM) is collaborating with
NAfME to provide webinars on the pandemic and its effect on music education.
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The Florida School Music Association, in conjunc-
Florida Orchestra Association, and the Florida Vocal Association, is working diligently and care-
fully to continue our mission to provide strong
music education programs. We are aware of the uncharted territory in which we find ourselves with COVID-19. We want to assure our members
that the safety of our students and teachers is at
the forefront of all decisions made for our school music programs and ensembles. After careful
deliberation, FSMA and the component associa-
tions have decided to cancel the 2020 state concert music performance assessments.
Advertiser Index
Legislation
The legislative session was extended to March 13,
2020. We will continue to provide information to
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.
you as we receive it.
Membership Renewal Time
Each year beginning April 1, we open the mem-
bership registration process. The membership year
for FMEA is July 1 to June 30 of the following year. Joining is easy and online. If you need assistance,
ADVERTISERS Florida State University — Summer Camps ........................................................29 Smoky Mountain Music Festival .............................................................................26 Yamaha Corporation of America ............................................................................6 Advertisers shown in bold provide additional support to FMEA members through their membership in the Corporate and Academic Partners program. These advertisers deserve your special recognition and attention.
please call the FMEA office. This year as you join, call a colleague and encourage him or her to join
along with you to enjoy the many benefits FMEA
« FMEA represents K-20 music education through advocacy. « FMEA provides professional development to members. « FMEA provides scholarships to students. « FMEA conducts and promotes research. « FMEA submits and receives grants for projects. « FMEA works with industry. has to offer. For example:
These are just a few of the ways that FMEA
supports music educators and students in Florida. So again, as you renew, ask a friend to join you in the association.
Please let the FMEA office or the FMEA Board
of Directors know how we can continue to serve you and the profession.
Thank you so very much for everything you do
for Florida’s children. Do your best to stay safe in these tumultuous times. Musically,
Kathleen D. Sanz, PhD
SUBSCRIPTIONS: Direct correspondence regarding subscriptions to: Hinckley Center for Fine Arts Education, 402 Office Plaza, Tallahassee, FL, 323012757. 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. 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. 2019-20 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.
April 2020
5
EMPOWERING TEACHERS TODAY POWERS THE MUSIC OF TOMORROW 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 YamahaEducatorSuite.com
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President’sMessage What now?
H
ello, wonderful colleagues! By the time you read this column, many or most of you will have
completed your MPAs, presented at least one spring performance, completed some sort of
spring trip, began recruiting for next year, and maybe enjoyed a spring break. Every year the spring
semester seems to get more and more packed with events. I shake my head as I see so many terrific musical moments, and so many tired teachers! It is easy to glide to the end of this busy time. I want to encourage everyone to take a breath and think about finishing stronger than you started.
Steven N. Kelly, PhD President Florida Music Education Association
When I began teaching in 1980, I was fortunate to have a terrific music supervisor and colleagues
around the district who frequently reached out to me. (I was known as the rookie.) One of the most important lessons I learned was when to prepare for concerts, and when to teach more. I know
we strive to mix the two, but there are times when we can place more emphasis on one than the other. Aside from the very beginning of the year, perhaps the greatest time to teach is just after assessments. Usually there are few performances left, and the concentration of your students may be more focused without the pressure of performing. Looking back, this was the time I taught more music than any other time of the year. Yes, there are always fundamentals and music to be learned,
but during this time I focused less on notes and rhythms, and more on music. Composers, styles,
composition, genres, listening—the world was completely open. What a difference this made in my students. I could see them becoming musicians before my eyes! They were thinking musically and making musical decisions more than during any other time of the year.
I also encourage you to think about yourself and your own musical development. This is the time
of year to plan your summer growth. I hope you take time for yourself and your family. But I also
hope you will plan for your own musical development. Think different; don’t just focus on notes and rhythms! Yes, attend your component summer conference or workshop, connect with your friends
and colleagues, but take some time for musical growth that is different from your day job. Attend
concerts of genres you do not work with, talk to composers and performers, be a performer, learn a new instrument. A few years ago, I found myself in Phoenix, Arizona, where I heard about the Musical Instrument Museum. I thought “just another museum,” but no, that was not the case. What an experience, and it made me think in different ways about teaching.
Now I am not saying everyone should make the pilgrimage to Arizona (though it is a terrific
trip), but I do hope you participate in events that are different and that motivate you to think differently. It just so happens that FMEA has such an event. We will once again host the Summer Institute, June 3-5 at the University of South Florida. The Institute is a wonderful opportunity to
meet other Florida music educators from around the state and from so many different areas. The
discussions are hands-on approaches covering all kinds of professional development information and experiences, along with insightful opportunities to discuss the future of Florida music education. Check the FMEA website for specific information on this opportunity to step outside the box and grow as a musician.
As always, I am amazed at the work Florida music educators do. Your students are better people
as a result of your commitment to them. Thank you, and please let me know if I can be of assistance to you..
Sincerely,
IMPORTANT NOTICE: The President's Message and the Component/ Committee Reports were written prior to school closures to help stop the spread of COVID-19 and may reference events that have been cancelled.
Steven N. Kelly, PhD, President
Florida Music Education Association
April 2020
7
CALL FOR APPLICATIONS
June M. Hinckley Music Education Scholarship We are pleased to announce that the Florida Music Education Association (FMEA) is soliciting scholarship applications for the 2020 June M. Hinckley Music Education Scholarship. The association will award $1,000 scholarships to selected 2019-20 graduating high school students who participated in a Florida all-state ensemble and who intend to major in music education at a Florida college or university. Please access the application at the link below and encourage your students to apply. A P P L I C AT I O N
FMEA.org/Scholarship
About
June M. Hinckley As arts education specialist for the Florida Department of Education,
June Hinckley led the development
of the Sunshine State Standards for the Arts, which are based on the National Arts Standards and were
adopted by the Florida State Board of Education in 1996. Hinckley assisted
schools and school districts with the
implementation of the arts standards and with connecting the arts with
The following should be sent to the FMEA office after submitting the online application: Printed copy of the essay Official transcript — should remain sealed Three letters of recommendation
« « «
the state accountability and testing
program, and she served as a liaison among the various K-12 arts education
groups, higher education, and com-
munity arts organizations. She was a founding organizer of the Arts for
a Complete Education project, which
has coalesced the various community, industry, and school arts organiza-
Postmark Deadline: April 20, 2020
tions in Florida to work cooperatively
and proactively to improve the qual-
ity and quantity of arts programs throughout the state.
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Music Director
AdvocacyReport
10 Lessons Learned on Capitol Hill by Andrew Burk
Jeanne W. Reynolds
I
have one hope that drives my politics. I want people to want to be teachers. Teachers’ working conditions are students’ learning conditions, meaning that every political decision will affect our kids
and the quality of the music programs available to them. I was a legislative intern in the U.S. House of Representatives and approached my experience with this question in mind: how can we best influence our government to provide a quality education experience for our students?
1. Have a clear ask.
The national teacher unions will be influential in
what you want. Ask them to co-sponsor a bill, or to vote yes or vote no on something. “Support education” doesn’t translate into anything concrete.
2. There’s no extra credit for persuasive rants.
Whenever you call, email, or write a letter to your elected officials, you can just tell them to support
or vote no on something. Your opinion will become a tally mark to inform the lawmaker how many
people support something. No persuasive essay needed.
3. Calling is better than email.
Every office is different, but I really think phone calls are more impactful than emails.
4. Always confirm your mailing address.
Especially if you leave a voicemail, give them your
mailing address. They need to know that you do, in fact, live in their district.
5. Don’t live in their district? Don’t bother.
If you don’t live in their district, they will make
you feel heard, but they won’t record your opinion. Don’t waste your time.
6. The first rule for politicians is to win the election. The second rule is to win
me from the moment we
created equal.
some legislative offices. In other offices, invoking their name is not as helpful. Know your audience. staffers have 30.
Everyone who contacts the office comes in with passion for their issue. Not everything is a priority. Keep up with your issue; it’s time can come.
two other visionary young leaders, Michael Gabriel
and Emmanuel Rodriguez, Collegiate Advocacy Day in
2016 when they were college students. Andrew Burk is now a successful middle school band director.
9. Massage an issue—don’t hold staffers hostage.
I learned this from our legislative director. A big
dramatic display may make you feel good and create some buzz for a moment, but laying a foun-
dation for effective, lasting policy change will take
time, compromise, and persistence. You need to march, but one march will not change the world.
The march inspires the behind the scenes work that does change the world.
10. You need political will and political capital to get something done.
You need the will to push on, work well, and work for a length of time. You need political capital to get it done. Everything is based on seniority. Even who gets to sponsor what bill is based on a hierarchy and on taking turns.
Andrew Burk teaches middle school band in St. Johns County.
He graduated with the BME in 2017 from
The final lesson I learned is that people are the
same everywhere, and we should not be intimidat-
your candidate in. Make your issue so important in
what’s best for our class—now let’s work together to
your community that candidates run on your issue.
first met. Andrew Burk and
started the FMEA
8. An advocacy group has one issue—
reelection.
Vote, vote, vote. Bring friends with you to vote. Get
to feature a guest column colleague who impressed
Here are 10 things I learned: staff, get to your point quickly, and make it clear
This month, I am honored written by a young
7. Not all advocacy organizations are
When you contact or meet elected officials or their
Chairwoman Government Relations Committee
Florida State University.
ed about getting involved in this process. We know go get it.
April 2020
9
Please take time to thank and support our 2019-2020 Academic Partners.
GOLD PARTNERS
SILVER PARTNERS
University of North Florida
BRONZE PARTNERS
Cannon Music Camp - Appalachian State University Florida College Florida Gulf Coast University Florida Southern College Holy Cross Lutheran Academy Infinity Percussion Kent State University School of Music Mercer University Northwestern State University (LA)
Palm Beach Atlantic University Rollins College Department of Music Stetson University Union University University of North Texas University of Tampa Valdosta State University West Virginia University School of Music
Partners as of March 5, 2020.
*Please visit FMEA.org/partners for partnership details or call 850-878-6844.
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Music Director
FLORIDA MUSIC EDUCATION ASSOCIATION 2019-2020 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 Music Education Advocacy General Fund
June M. Hinckley Scholarship Professional Development for Members Mel & Sally Schiff Music Education Relief Fund
The following have graciously donated to FMEA from April 1, 2019, through March 5, 2020.
MAESTRO’S CIRCLE $10,000 and up
No current donors at this time.
ARTIST’S CIRCLE $1,000 – $9,999
All County Music, Inc. Clifford Madsen Russell Robinson
SUSTAINERS $100 – $999
Artie Almeida In Memory of June Audrey Grace Lucinda Balistreri In Memory of June Hinckley Shelton Berg Richard Brown Anthony Chiarito Alice-Ann Darrow In Memory of Mr. & Mrs. O. B. Darrow Virginia Densmore In Memory of Shirley Kirwin Cynthia Heidel Dennis Holt In Memory of Dr. Gerson Yessin Llewellyn Humphrey Steven Kelly
Carlton Kilpatrick Sheila King In Memory of John W. King Cathi Leibinger In Memory of Linda Mann; In Honor of Ken Williams Jason Locker In Memory of June M. Hinckley Angel Marchese Carolyn Minear Bob O’Lary & Debby Stubing Edward Prasse On Behalf of Nancy Masters Jeanne Reynolds On Behalf of Pinellas County Schools Performing & Visual Arts Teachers Mary Catherine Salo In Memory of Gary Rivenbark & Wes Rainer
April 2020
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SUSTAINERS continued Steven Salo In Honor of John Jamison & Dr. Bill Prince Kathleen Sanz In Memory of June M. Hinckley Fred Schiff J. Mark Scott In Honor of Judy Arthur & Judy Bowers Karen Smith In Memory of Retired SFC Alfred C. & Nita Greening D. Gregory Springer Harry Spyker In Honor of Fred J. & Marleen Miller
Jeannine Stemmer In Memory of Barbara Kingman & Lauren Alonso Leiland Theriot Robert Todd In Memory of Gary Rivenbark Richard Uhler Julian White In Memory of Kenneth Tolbert David Williams Kenneth Williams
PATRONS
$25 – $99
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12 F l o r i d a
Music Director
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April 2020
13
You Survived the First Year.
Now What?
I
by Katie Brimhall
If you are anything like me, your first year
tions as you did the first year. Continuing
deep into year two. You are no longer a
mentor teacher can lead to a lifelong
of teaching flew by, and you find yourself
“newbie,” you have a year of experience under your belt, and you can find your
way from the music room to the front office without asking for directions. That
being said, there is still a lot to figure out
to build a strong relationship with your friendship, a safe person at school with
whom you can discuss your victories and your defeats, and a teacher from whom you can continue to learn.
If you did not have a mentor for year
in year two. So, here are some tips and
one or if your relationship with your men-
ond year and beyond.
own mentor! Mentors are vital for keeping
tricks that will help you survive your sec-
tor teacher was less than ideal, find your new teachers in the profession because
Mentorship
During your first year of teaching, you
teachers with effective mentors are less likely to leave (Kent, Green, & Feldman,
were probably assigned a mentor teacher
2012). Hopefully by now, you know some
band/orchestra/choral/general
some of the other music teachers in your
by the school, the county, or your local music
association. Your mentor could have been a music teacher or a math teacher, an
experienced teacher or a newer teacher,
and a person who ended up being your best friend or a person you were required
to talk to on occasion. Regardless of your
experience with (or without) a mentor for
year one, a mentor is still a great resource to have for year two. Mentors can help
with anything from classroom manage-
ment to differentiated instruction and can offer encouragement that may be needed on a daily basis.
If you had a great mentor for year one,
hold on to that relationship. Just because
you are a second-year teacher does not mean you have it all figured out, and it
is likely you will have just as many ques-
14 F l o r i d a
of the other teachers at your school and city/county. Although it may seem intim-
idating, if you can identify a teacher you
value and respect, ask him or her to be your mentor. Invite the teacher out for coffee, talk about what you would like to
get out of a mentor/mentee relationship, and take charge of this vital relationship.
I am sure the person you reach out to will be honored and excited to be your mentor, and if not, try again with someone else! Keeping Support Personnel on Your Side
At some point in your collegiate education, I am sure you heard one of the
following statements: “Befriend the cus-
todians,” “Make sure you are nice to the
Music Director
Continued on page 16
If you had a great mentor for year one, hold on to that relationship. Just because you are a second-year teacher does not mean you have it all figured out, and it is likely you will have just as many questions as you did the first year.
April 2020
15
You Survived the First Year. Continued from page 14
athletic director,” or “The bookkeeper
cards. After concerts, my students write a
written for all-state, honor band, and solo
ers, we need help from and interact with a
set up the performance space to thank
long way. On a more personal level, I find
will be your best friend.” As music teachlarge range of school personnel on a daily basis. Support from these personnel can
make or break concerts, halftime performances, and field trips, so it is important to keep them happy. One of the easiest
ways to do this is by writing thank-you
16 F l o r i d a
card to the custodial staff members who
them for helping to make the concert so successful. High school students can write thank-you cards to athletic directors after
some extra field time to practice the halftime show and to your bookkeeper after he or she helps you get all of your checks
Music Director
and ensemble. A simple card can go a it helpful to talk to the staff I mentioned above whenever possible. Whether asking
about their day, inquiring about their kids, or just saying hi in the morning,
creating personal relationships with the people from whom you are often asking
At home, there are family members, pets, plants, and hobbies that deserve our attention. We also deserve time at home to unwind and to focus our minds on things unrelated to school. big favors can help the conversations to
flow more naturally and will increase the likelihood of positive outcomes.
Find Friends in Unexpected Places
As a first-year teacher, making friends can be hard. Natural professional friendships
occur between fine arts teachers, spe-
cials teachers, and music teachers. These
teachers understand your craft and your passion for teaching the arts, but they may not be the same age, have the same
interests outside of work, or be in the same place in life as you. Although these
friendships may be enough to sustain
experience, band directors love to stay in
their secluded offices to eat lunch, but simply showing your face in the lunchroom is
a great way to meet people. Another way to meet teachers from different grades
and subjects is to volunteer/attend afterschool functions and activities. We all
know that as music teachers we are busy, but we invite other teachers to attend our performances, and so we should make an
effort to attend other teachers’ activities.
These activities, such as sporting events, academic competitions, and school dance setups, can allow you an opportunity to talk with other teachers in low-stress
environments. While talking, you may realize that a sixth grade social studies teacher and the fifth grade English teach-
may seem just as hard, I hope these tips,
Rushton, 1985). Observing other teachers
coming to you for the first time or as
can show you a lot about their person-
reminders, will help you to build upon
ality while giving you ideas to use in
your knowledge from year one and to
your classroom. After you observe other
continue to be successful in your career
teachers, consider taking some time to
as a music teacher.
talk with them about their classroom, to understand their teaching philosophies,
Katie Brimhall grad-
and to get to know them.
uated magna cum laude from the University of
South Carolina with the
Teacher burnout is a real thing, and
BME in May 2018. She is a second-year teacher at
growing trend of teacher attrition. As
Hillsborough Academy of Math and Science
a first-year teacher, I personally found
where she directs the middle school bands and
it difficult to achieve work-life balance.
leads a K-8 show choir program.
After-school rehearsals, concerts, fieldtrip planning, and lesson planning are all
References
factors that keep teachers at school after
Bernhard, H. (2016). Investigating burnout among elementary and secondary school music educators: A replication. Contributions to Music Education, 41, 145-156. Retrieved from http://www.jstor.org/stable/24711133
hours and can contribute to high levels
of emotional exhaustion among newer teachers (Bernhard, 2016). Additionally,
novice teachers are exposed to a variety
Erdle, S., Murray, H. G., & Rushton, J. P. (1985). Personality, classroom behavior, and student ratings of college teaching effectiveness: A path analysis. Journal of Educational Psychology, 77(4), 394-407. https://doi.org/10.1037/00220663.77.4.394
of risk factors including isolation, anxi-
ety, role clarification, and even parents/ students that can lead to high turnover
rates (Prilleltensky, Neff, & Bessell, 2016).
Kent, A. M., Green, A. M., & Feldman, P. (2012). Fostering the success of new teachers: Developing lead teachers in a statewide teacher mentoring program. Current Issues in Education, 15(3), 1-17. https://doi. org/10.1177/0022487110372214
Teaching is stressful, and I have found one of the best ways to deal with the stress is simply to go home.
It can be hard for music teachers to
friendships is born.
to stay at work and we need to go home.
much as you do, and the opportunity for
but you have to remember you will be
year one. Although the following years
ity, and a bit of humor (Erdle, Murray, &
remember our job is just that—a job—and
new and more experienced teachers alike,
congratulations! You made it through
often exhibit leadership, emotional stabil-
er love watching football or crafting as
unrelated to school. This can be hard for
ond, third, or fourth year of teaching,
teachers. Teachers who are rated highly
music teachers are no exception to the
unwind and to focus our minds on things
Whether you are entering your sec-
ond-year teacher is to go observe other
your friends in and outside of work. In my
so important to find people who can be
attention. We also deserve time at home to
in refreshed and ready to teach.
and to continue your learning as a sec-
Go Home
plants, and hobbies that deserve our
better for your students when you come
Another way to meet teachers at school
you through year one, in year two, it is
At home, there are family members, pets,
Prilleltensky, I., Neff, M., & Bessell, A. (2016). Teacher stress: What it is, why it’s important, how it can be alleviated. Theory Into Practice, 55(2), 104-111. https://doi.org/10.1080/004058 41.2016.1148986
at some point every day, the work needs
April 2020
17
SOCIAL JUSTICE IN THE CHOR AL CLASSROOM:
Teaching Empathy and Social Awareness as Skills Through Choral Repertoire
W
by Rebecca Saltzman
When I was an undergraduate student, I
about social justice but had to change my
by their community. Many of them will
and how it is inspired in the classroom. I
new context as empathy and action in the
and influence post graduation. If they can
was always passionate about social justice dove into research on culturally responsive teaching and cultural representation and was fully ready to “change the world”
upon graduation. When I got my first job
at an upper middle class suburban high school, I felt a little lost. Most (not all) of
my new high school choral students saw their cultures represented every day and
had very few obstacles on their path to success. Instead, they were on an easy path to have very influential positions in the real world.
Five years later, I still cared deeply
18 F l o r i d a
lens. I now defined social justice in my
service of social awareness for an under-
served population. Rather than teaching my students in a way where I was par-
ticipating in social justice in service of
them, I now wanted to teach my students
find themselves in positions of power leave my classroom more empathetic and
willing to enact social justice actions in
these positions of power, that could make a positive impact on the world.
As a choral music educator, I found the
social justice as a skill they could employ
best pathway to do this was through rep-
words, I hoped to teach my students how
activities. I found the process to be quite
in their own day-to-day lives. In other to make room for and advocate for people
who have not been given the same advan-
tages as they have. This is something I saw as particularly valuable because of all the privileges given to my students
Music Director
ertoire and corresponding performance successful. Based on the surveys the stu-
dents took at the beginning and end of this past year, my informal data suggest
that the majority of my students gained
empathy and desire for social action on
the various causes. For those who would
was Don’t BE Afraid by Allyson Reigh,
watched and discussed a video about the
classroom, below are the steps I took.
BE Afraid message was created by found-
student-led discussion regarding the text
like to enact similar processes in your
Choral Repertoire and Teaching Procedure
In choosing repertoire for this semester, I chose three pieces to target different
social causes. I presented these pieces
to my students under the spring concert theme “Music for Something More.” I created lesson procedures for the pieces
that not only taught the notes, rhythms, and musical skills, but also focused on the causes associated with those pieces.
The first piece I presented to the choir
arr. Jennifer McMillan (2014). The Don’t
VOX social change choir. We then had a of the piece.
er Scott Jones shortly after he was
Then the students made a
the victim of a hate crime for
list of things not to be afraid
being gay that left him para-
of in their lives, along with
lyzed. The Don’t BE Afraid
a description of why they
foundation has created a
should not be afraid. They
global photo campaign, has
made
held many events in Canada
statements
such
as
“Don’t be afraid of people judg-
where the campaign is based,
ing you … because nobody’s per-
and has started a choir for social
change called VOX, conducted by Jones
fect,” “Don’t be afraid of hate … love
awareness of this piece to my students, I
ignorance … you can be the educator.”
conquers all,” and “Don’t be afraid of
himself (Jones, n.d.). In teaching the social told them about Scott Jones’ story, and we
Continued on page 20
April 2020
19
Social Justice in the les of this world fill our hearts with rage The troub Choral Classroom gham and LA
in from Soweto, to Stonewall, Birm s ve el rs ou in h it w es li t a th e op h We are searching for . S D I A d n a ed tr a h ce ra y n y as we fight against misog
Continued from page 19
The chorus student board decided to take
In an informal survey of my students,
Following this, I picked the top five songs
students had very little knowledge of the
factors. The students then debated the top
these statements and interweave them
I was shocked to find that most of my
BE Afraid photo campaign logo, and the
events at Soweto, Stonewall, Birmingham,
into a poster in the design of the Don’t
chorus then participated in the campaign itself.
The second cause-specific piece I pre-
sented to the choir was Light of a Clear Blue Morning with words and music by Dolly
Parton, arranged by Craig Hella Johnson
(2010). I introduced the piece to my stu-
dents through the lens of Dolly Parton being a symbol of women’s empowerment. As a class, we discussed the lyrics, and then I presented the context in
and Los Angeles. I then shifted away from
a traditional music class format to a histo-
ry-type class. I showed a documentary on the Soweto uprising, students did presentations on the Birmingham bombings and
the L.A. Riots, and through group discussion, students connected these historical
group discussion, the students made con-
nections to the #metoo social media movement, “mansplaining,” and privilege.
The third cause-specific piece I present-
tempo, instrumentation, genre, etc.), the
social cause was at the center of it, showcased by some of these student quotes from the discussion:
has a big moment at the end, and it’s
dents pick a “choice song” for the spring
Porter Wagoner (Nash, 2002). In a spirited
the discussion included lots of factors (i.e.,
community at Stonewall.
events and to the riots for the LGBTQ+
piece was written out of the pain from
longtime musical and business partner
be performed on their concert. Although
I feel like Dear Evan Hansen was the
The Choice Song
Dolly Parton ending her partnership with
five songs and picked a top choice song to
events of racial persecution to current-day
which Dolly wrote this song. According to Alanna Nash’s biography, Dolly, this
out of the nominations based on musical
Every year in my classroom, I let the stu-
concert. For this project, I laid out the parameters that the students’ song must represent a social cause we had not previously studied. Each student filled out
a nomination form with a song of his or her choice and the cause it represented.
ed to the choir was Spiritual, with words
song that took me on a journey … it something I will probably cry over.
I like ‘You will be Found’ a lot and I’ve seen Dear Evan Hansen so I know how important it is in the context of the show, but I think it’s really
cool because it can be used for its message even if you don’t know the
show, and it’s a very important message that needs to be stressed.
Following the discussion, the students
and music by Ysaye M. Barnwell (1992).
picked the song You Will Be Found from
a ballet theater event by David Rousseve
by Benj Pasek and Justin Paul, arr. Mac
This piece was initially written as part of called Urban Scenes ... Creole Dreams. In the
piece, Barnwell explores racial inequality through her use of song text. In Spiritual,
the text alternates between the repeated passage and mantra “Cain’t no one
know at sunrise how this day is going
to end, cain’t no one know at sunset if the next day will begin” and blunt social
the Broadway musical Dear Evan Hansen Huff (2017). They selected this piece with
the social cause of “mental health advocacy” in mind. This piece was particularly
impactful on the students, and they chose to donate the proceeds from their concert
to a mental health advocacy organization in honor of it.
justice aligned text meant to shock the
Taking Social Action
of the world fill our hearts with rage from
take part in some tangible social action
listener such as “You know the troubles Soweto, to Stonewall, to Birmingham,
and L.A. You know we’re searching for hope that lies within ourselves, as we
fight against misogyny, race, hatred, and AIDS” (Barnwell, 1992).
20 F l o r i d a
Music Director
It was important to me that the students
as well. I chose letter writing because it
was an accessible way for the students to
participate (and especially because it is a major plot point in Dear Evan Hansen). Students were able to choose one of six
organizations that sponsor letter writing
as a social justice action. Each organi-
zation was aligned with a social cause. Organizations included Letters Against Depression, a group that provides anon-
ymous letters of encouragement to people struggling with mental illness; Letters
of Hope, an organization that provides
« Do you think the song you listed « Do you think you would continue to
members; and First Friends of NJ and NY,
a group that upholds dignity and humanity of detained immigrants by providing
visitation and letters of encouragement, an organization aligned with the cause of immigration reform.
After writing their letters of choice, the
students filled out a reflection sheet ask-
« Which chorus song from this semester ing them the following questions:
do you feel encapsulated the message of your letter?
ingful performance and musical experience for the ensemble because the partici-
advocate for the cause associated with
pants will have a cultural context built
your letter? How?
better than I could have imagined. Several
ages to veterans and deployed military
of repertoire will also create a more mean-
not.
letters and pen-pals to homeless LGBTQ+
tion that provides letters and care pack-
time to teach social justice in the context
chose to write? Explain why or why
Student Reactions
youth; Operation Gratitude, an organiza-
students but society as a whole. Taking
above influenced which letter you
notes of hope to Syrian refugees; the
Indiana Youth Group, which provides
that can positively benefit not only those
through empathy and passion. At the risk of sounding hyperbolic, I believe every music teacher can truly change the world
My students’ reaction to this project was
through their students. We work hard to create communities, to teach musical
students expressed to me that they want-
excellence, and to give our students every
ed to continue with social action after this
opportunity we can think of. By taking
semester, and several students wanted to
the time to teach empathy and social
know what “important songs” they were
awareness as skills through choral reper-
singing next year because they were so
toire, we can give our students the gift of
empowered. One student even told me
helping others and making the world a
she was planning on majoring in commu-
more socially just place.
nity organization and advocacy in college
because participating in this project was so meaningful to her. I always wanted
Rebecca Saltzman is the
feel that through this project, I did. My
High School (Ramsey,
choral teacher at Ramsey
to make a difference in the world, and I
N.J.) where she directs
students are more empathetic and kind,
multiple choral ensembles
and they are ready to stand up for other
and teaches music theory
people. What is even more exciting is
and digital music produc-
I found that empathy and passion for
tion. She received the B.M. degree in music
social justice are skills that can be taught,
education from Ithaca College and a master’s
and music is the perfect vessel for that
degree in music education from Florida State
teaching. I cannot wait to see the good my
University.
students will do in the world! Recommendations
References
article will realize what an impact reper-
Barnwell, Y. (1992). Spiritual. Musical Source Publishing.
My hope is that teachers who read this toire choice can make. It can be easy as a
Nash, A. (2002). Dolly: The Biography. New York: Cooper Square Press.
and creating beautiful sounds with our
Parton, D. (1977). Light of a Clear Blue Morning (arr. C. Hella Johnson). Velvet Apple Music.
ever met a music teacher who does not
Pasek, B., & Paul, J. (2017). You Will Be Found (arr. Mac Huff). Hal Leonard Corporation.
dents’ lives. By integrating social aware-
Reigh, A. (2014). Don’t BE Afraid (arr. J. McMillan). Music Spoke.
musical factors), teachers can have the
Jones, S. (n.d.). VOX: A Choir for Social Change. Retrieved from https://youtu.be/zz8Uj04K5VI
music teacher to focus only on the music
students; however, I do not think I have want to make a difference in their stuness into repertoire choice (in addition to
ability to shape their students in a way
April 2020
21
AN ENSEMBLE EXPERIENCE OF A LIFETIME!
2020 All-National Honor Ensembles Gaylord Palms Resort & Convention Center Orlando, Florida
November 5—8, 2020 The All-National Honor Ensembles represent the top performing high school musicians in each state across the country. Students may audition for the following ensembles: • • • • • •
Concert Band led by Rodney Dorsey Symphony Orchestra led by Nobuyoshi Yasuda Mixed Choir led by Frances Fonza Jazz Ensemble led by Todd Stoll Guitar Ensemble led by Chuck Hulihan Modern Band led by Tony Sauza
Participants will learn from renowned conductors and showcase their musicianship in a final concert. Audition Deadline: May 1, 2020, 11:59 PM ET Learn more: nafme.org/ANHE
22 F l o r i d a
Music Director
My Experience With
ARTS INTEGRATION by Lesleigh Howard-Zeno, Chairwoman FEMEA District 7
The Medici Project
professional development points for “studio time” (i.e., play-
District) received a Professional Development in Arts Education
to participate and receive professional development in their
The school district where I work (St. Lucie County School
grant, which has been named The Medici Project. This grant “specifically supports the implementation of high-quality
model professional development programs for arts educators
and other instructional staff in the areas of music, dance, drama, media arts, and visual arts, including folk arts, for
ing in a community band). Grant participants have been able own art form—many of us have been able to attend national
conferences for arts educators and out-of-state professional development in our art discipline, as well as attend in-county professional development in the arts.
The Medici Project plan is to use arts-integrated lessons to
students in kindergarten through grade 12 (K-12) in which 50
help increase achievement in our students’ lower-scoring sci-
(U.S. Department of Education, 2017). The Medici Project focus-
project chose a “science buddy” to work with at their school.
percent or more of the students are from low-income families” es on arts and science integration. During the first years of the grant, professional development has included best practices and development of STEAM lessons. Participants have also been encouraged to continue to be practicing artists and receive
ence standards. Each of the arts teachers participating in the Then we chose one class to teach the arts-integrated lessons. The ultimate desired result for each year of the grant is to show that the students who received the integrated lessons improved
their science scores more than the students who did not receive Continued on page 24
April 2020
23
Arts Integration Continued from page 23
the arts-integrated lessons. We met with
My Experience in The Medici
al development provided to the partici-
science standards our students needed
I was accepted into The Medici Project
our county, I have been able to attend and
our science buddies to decide on which some extra instruction. Then we looked
at which of our arts standards would support the chosen science standards.
The key to aligning standards from dif-
ferent subjects is to look for the verbs. In
our Florida state standards, we have verbs such as describe, perform, compare/contrast, and create. Look for standards that
have the same verbs, and you will usually
be able to align those standards to cre-
ate an integrated lesson unit. According to our “Designed to STEAM” training
from the EducationCloset, once you have a topic that the students struggle with
in your class, you work to discover all
Project
because I am an elementary music edu-
cator at a Title I school, and our students’ science FSA scores were low, thus meeting the criteria for the PDAE grant. All arts educators in the St. Lucie School District
pants of the grant online and in person in complete Orff Level I at FIU, the NAfME National Conference in Orlando, and the
Arts Integration Conference presented by the Kennedy Center in Washington, D.C. I
attended
the
Arts
Integration
were invited to apply via a questionnaire.
Conference in June 2019. What an
chosen to participate in The Medici Project
all art forms and from all over the United
Forty-five arts educators were originally based on these criteria. The Medici Project
was especially attractive to me because
we were being offered professional development opportunities in our own discipline, both in county and out of county. In
addition to the many hours of profession-
the ways you can approach the selected topic (supporting content). From your supporting content, look at the standard
eye-opener! Teachers of all subjects and States, as well as other countries, came together to learn from master teachers and artists-in-residence how to integrate the
“academic” subjects with the art forms.
Here is the Kennedy Center’s definition of arts integration:
The Kennedy Center’s Definition for Arts Integration
and how you usually teach it, includ-
ing lesson activities and assignments. Do this for both the arts standard and the core content standard. Then look at your
assessments for each standard. Describe
the type of assessment; what are you specifically looking for in the assessment and what are the specific criteria expected
Arts Integration is an APPROACH to TEACHING in which students construct and demonstrate
all of this information, you plan your
UNDERSTANDING through an ART FORM.
integrated, there must be a balance of
Students engage in a
for success? What specific feedback do you provide when students do not meet
the criteria for success? When you have lessons. For your lessons to be truly arts time in teaching the core content and the
arts content. Using the Kennedy Center
model, the lesson unit should include five 25-minute lessons. One lesson may
be entirely on the core standard, the
next lesson entirely on the arts standard,
CREATIVE PROCESS which CONNECTS an art form and another subject area and meets
and the remaining lessons a balance of
EVOLVING OBJECTIVES
on both the core standard and the arts
in both.
each. Finally, you assess your students
standard, giving feedback as appropriate. The assessment can be a rubric to grade a
performance or a final project, or it can be a written test or quiz.
24 F l o r i d a
Music Director
© The John F. Kennedy Center for the Performing Arts
Above: Some of my students proving and disproving their hypotheses With the Kennedy Center’s model, the
assessments for the standards we chose to
ing strings by playing a ukulele, and
the arts-integrated lesson unit and col-
The first lesson unit was completed
to different pitches and how they could
classroom or subject-area teacher teaches
integrate with music standards.
laborates with the arts teacher in design-
in the fall semester. I gave the students
The Medici Project does things a little
(SC.P.5.10.1). They felt the vibrations made
ing, writing, and teaching the lessons.
differently: The arts teacher teaches the
arts-integrated lesson and collaborates with the science teacher. I have planned
and presented two science and music inte-
grated lesson units this school year, with the help of our science resource teacher,
Ms. Katelyn Donovan. I chose one fifth grade class to teach the AI lessons. The
taught them how the strings were tuned change the pitch of each string. The stu-
specific instruction on sound energy
dents watched a video that demonstrated
what sound waves look like, and we drew
when they struck a large triangle. They
a graph of a sound wave together.
saw the vibrations of a vibraslap when
The next lesson, the students wrote a
they played it. They felt and heard the
hypothesis based on the question: “How
ferent pitches on the Orff xylophones and
high-pitched sound and a low-pitched
different vibrations when they played dif-
could you illustrate the vibration of a
metallophones. Finally, I
sound?” Each group was given a bari-
demonstrated vibrat-
tone ukulele to play and observe how the strings vibrate when they played low
other fifth grade classes will serve as the
pitches and high pitches. They recorded
“control group”— receiving the science
their observations. At the end of each class
instruction from only their homeroom
period, we came back together as a whole
teacher and the science resource teach-
group. Each small group shared their
er. The class receiving extra instruction
hypothesis and their observations. The
from me through the AI lessons will
class asked questions of the small groups,
(hopefully) show higher gains on the
Continued on page 26
April 2020
25
Arts Integration Continued from page 25
and the group members either support-
the Orff Level I training from Gretchen
about the states of matter. Through cre-
conclusion, each group drew a high-
When we returned to school, I knew
ferent states of matter and how the mol-
ed their hypothesis or revised it. At the
Wahlburg and Sandy Lantz!
pitched sound wave and a low-pitched
I was going to have to present what I
dents wrote a rule that explains that the
in The Medici Project. I began to explore
sound wave on graph paper, and the stu-
difference in pitch depends on the speed of the strings’ vibration, citing evidence
from their experiments. This class did show improvement on unit test scores for this science standard.
I got the idea for the spring semester AI
lesson from one of the sessions I attend-
ed at the Kennedy Center Conference. Ms. Kimberli Boyd presented a workshop on “Integrating Movement and Creative Dance
With
Science
Concepts
and
Curriculum for Grades K-2,” specifically the water cycle. Ms. Boyd is the found-
er/artistic director of Dancing Between
learned at the conference to my colleagues the science standards for fifth grade that would work with the water cycle. Through
my planning time with Ms. Donovan, I learned that our fifth graders had diffi-
dance vocabulary was almost identical
to the movement vocabulary I learned at
including all three states of matter, as well as melting, freezing, condensation, and evaporation.
The next step is to organize the stu-
Ultimately, the students will be able to
temperature (SC.5.P.8.1). I decided to have my students create a movement piece to demonstrate the differences between solids, liquids, and gases, using the tran-
sitions between the different states of matter.
First, we reviewed movement. Using
of Ms. Boyd’s workshop and the move-
and creative dance, I realized that the
beginning pose and an ending pose, and
gases, such as volume, color, texture, and
basic properties of solids, liquids, and
Learner Through Movement and Creative
shop and began to explore movement
a sample choreography piece, adding a
dents into small groups to create and
the BEST (Body Energy Space Time) prac-
Dance.” As I participated in her work-
ecules in each state move. I led them in
culty in comparing and contrasting the
the Lines and the creator of the learning approach “Reaching the Kinesthetic
ative movement, they demonstrated dif-
tices and expectations I received as part
perform their own movement sequence. show their knowledge of the different
states of matter and transitions between them through their movement. As of the writing of this article, this final step has
not yet been completed, and I do not have the students’ scores on their unit assess-
ment for this standard. I plan to have this class perform their movement pieces at our school’s Science Night.
We have one year left in The Medici
ment vocabulary I learned at Orff Level I,
Project, and we will be designing and
music and without, with and without
throughout the year. I have grown as a
we practiced moving creatively, both with a steady beat. Then we reviewed what
the students had learned in science class
presenting arts-integrated lessons again music educator through the many hours of professional development I have
received in the first three years of the grant, and I am looking forward to learning more in the next year. Reference
Elementary, Middle, and High School Band, Choir, and Orchestra 2020: April 3 April 17 April 24
2021: April 9 April 16 April 23
2022: April 8 April 22 May 6
www.SMMFestival.com or call:1-855-766-3008 26 F l o r i d a
U.S. Department of Education. (2017, March 28). Applications for New Awards; Assistance for Arts Education Programs-Professional Development for Arts Educators Grants. Retrieved from https://www.federalregister.gov/documents/2017/03/28/2017-06123/ appl ic at ion s -for-new-awa rd s -a s si s tance-for-arts-education-programs-professional-development-for-arts
Lesleigh
Howard-Zeno
has been teaching elementary
music in St. Lucie County for 27 years, most of those years
at Weatherbee Elementary
School. She is the chairwoman
of FEMEA District 7. Lesleigh has been a part of The Medici Project since its start in 2018.
Music Director
ComponentNews
FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION
Ernesta Chicklowski, President
S
pring is here! This a great time
minimum of Level I certification in Orff
of sowing seeds of knowledge,
Schulwerk. If you qualify, please consid-
music, language, movement,
er serving in this capacity. If you
and other creative experi-
have not already taken advantage
ences that will continue
of our FEMEA All-State Chorus
to cultivate the lifelong
Adjudicator training pro-
love of music making for
gram, now would be
our students. Spring is a
a great time to do so.
time when our students
Whether
are blooming with
chorus
in their musicianship, budding
desire
to become an all-state
creativity, blossoming and
you
judge,
or
simply to improve
with
your understanding
enthusiasm for the musi-
of what the scoring
cal connections that we pre-
rubrics really mean,
As we continue to
tool that is free to all
pare for them each week.
this is a fantastic
water the “little garden
FEMEA members. A link
of musical flowers” in our
classroom with engaging music les-
to the training program is pro-
vided on the All-State Chorus
sons, it is incredibly important for us
and Orff Ensemble. Spring is a great time
page of our FEMEA website. In addition
during this busy time of year. Taking
and dedicated students and to begin the
ing our 2020 regionals this fall at three
to focus, too, on self-care and wellness care of yourself allows you to take care
of others. Be careful with your voice, get enough rest, and just learn to say “no”
during this very full time of the school year.
I hope your spring break was a restful
and relaxing time for you to unwind and
spend time with your family and friends before we barrel into the final quarter of the school year. Spring is a great time for
to identify some of your most talented discussion about auditioning for All-State
for the 2021 All-State Elementary Chorus
prestigious ensembles.
1,000! We are extremely blessed to have
Carry on and continue to make great
so many talented students, and dedicated
music!
music educators, in the state of Florida.
Next year’s concert will be another amazing experience for our students.
In preparation, many of you will prob-
summer. The audition materials will
your students would be good candidates
having your students audition for these
300 musicians with auditions of about
thinking about All-State. January may begin soon. Start considering which of
be coming soon. I hope you will consider
ensembles encompassed approximately
concerts, grade-level programs, testing,
seem far off, but the audition process will
different sites. Dates and information will
in the fall. Our 2020 all-state elementary
ably have your students work on the
field trips, etc., but it is also time to begin
to all-state groups, FEMEA will be host-
recorder and xylophone pieces over the be available on the FEMEA website in
May. We will be recruiting judges for both ensembles. Judges of the All-State Elementary Orff Ensemble must hold a
IMPORTANT NOTICE: The President's Message and the Component/Committee Reports were written prior to school closures to help stop the spread of COVID-19 and may reference events that have been cancelled.
April 2020
27
ComponentNews
I
FLORIDA NAfME COLLEGIATE
Mark A. Belfast, Jr., PhD, Advisor
Jazz
that time Louis knocked them out of the
National Museum of American History
civil rights movement, Hollywood, the
t’s
April!
That
Appreciation
means
Month
it’s
(JAM)!
The
first designated JAM in 2001 as a way to recognize and celebrate jazz heritage and
history. Leaders at the museum indicate the ongoing intent of celebrating JAM is
to “stimulate and encourage people of all
ages to participate in jazz—to study the
No. 1 spot on the Billboard charts?), the
American drug epidemic … you get the
idea … most everything associated with American culture in the last 150 years
responsibility to learn all you can about
As future music educators, you have
the incredible privilege of providing stu-
dents with opportunities to explore and
engage in ALL musics. Jazz is a uniquely American art form. Some might even argue it was the first truly American art form.
The history of jazz is inseparable from the history of America. Developments
jazz artists, music, history, heritage, etc.
You spend countless hours studying the
music and history of European cultures
op and thrive. Whether you’re studying slave work songs and field hollers, the
effects of hymns on the development of spirituals, the Great Migration or the
Harlem Renaissance, the development of
the radio, World War I, prohibition, the Great Depression, World War II, rock ’n’ roll, the space race, The Beatles (‘member
28 F l o r i d a
Finally, the NAfME national elections
… isn’t it time you discovered your own?
are over. Your 2020-22 national presi-
Here are a few, but feel free to contact me
southern division president-elect is James
Thankfully, there are lots of resources.
« Lots of information about jazz on
for more:
sociocultural landscape. Similarly, events people and enabled jazz music to devel-
CLICK HERE
history of music in your country. It is your
in jazz directly affected the American
within the American culture influenced
Video – JAZZ: A film by Ken Burns:
To be a truly affective (and effective)
jazz, and more.” This year’s JAM focuses have made to the idiom.
watch most of it on Amazon Prime
vice versa.
music educator, you ought to know the
on the incredible contributions women
entertaining documentary. You can
has been influenced by jazz music and
music, attend concerts, listen to jazz on
radio and recordings, read books about
« Here’s a pretty comprehensive and
Daugherty. Additionally, although a proposed bylaw amendment to extend
the Smithsonian Jazz website.
national election voting rights to collegiate
the page includes free lesson plans,
adopted an amendment to expand the
The Education tab on the left side of
members was defeated, NAfME members
recordings, etc.:
definition of collegiate membership to
CLICK HERE
« Train your ears with these
recommended listening lists for Apple Music and Spotify: CLICK HERE
« Great jazz education articles:
Music Director
dent-elect is Scott Sheehan, and our
CLICK HERE
include students who are not enrolled in
music teacher education programs. Yay! Now, go out, find all your non-music-ed
friends, invite them to your next chapter
meeting, FEED THEM, and help them to see why music education is so beneficial
for ALL children. Educating those engi-
neering, political science, and business majors in your choir, orchestra, or band might just pay dividends in the future!
FLORIDA ORCHESTRA ASSOCIATION
Matthew Davis, President
FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION
Marc Decker, DMA, President
C
ongratulations to our colleagues who completed their
district music performance assessments, and good luck to those mov-
ing on to state. As we transition into the season of standardized
testing and spring concerts, I hope you will encourage your students moving on to middle school, high
school, or college to continue to sing in choir or to play in orches-
tra and band. A simple word of encouragement from a music teach-
er goes a long way in nurturing a
statewide culture of lifelong music making.
To achieve great things, two things are needed; a plan, and not quite enough time. – Leonard Bernstein
D
o these words ring true in your
The adjudication committee will also
classroom lately? I hope you have
be meeting this summer to discuss revi-
upon, or should I say survive, your dis-
will receive an email this month with a
had a chance to breathe a bit and reflect
sions to the new adjudication sheets. You
trict MPAs. I wish my high school col-
link where you can provide your feed-
leagues the very best on any upcoming
back. You can also let me know of any
state solo and ensemble and concert MPAs
concerns, and I will be happy to share
you may have. I will be in attendance and
them with the committee.
look forward to seeing you and hearing
Thank you to all of our current adju-
your students. It’s hard to believe the year
dicators for taking time to share your
to do, from spring concerts to banquets,
during our district assessments. We are
is coming to a close with yet so much left
wisdom and words of encouragement
and oh yes, testing! As we head into our
always looking to add adjudicators to our
end of the year district meetings, please
approved list. Refer to the FOA website
remember to submit any motions or con-
(myfoa.org ) under the MPA heading for
cerns to your district chairperson for the
further information about becoming an
May FOA executive board meeting. If
approved adjudicator.
you have concerns or would like more
Should you have questions or concerns,
clarification about items in the handbook,
please always feel free to contact one of
Jerald, at jjerald@myfoa.org.
and your students, and we value your
please contact our past president, Jason
us on the board. We are here to serve you
The hand-
input!
book committee will be meeting in July.
A Summer That
PAST, PRESENT, & FUTURE
The May 12 deadline for pro-
posals for the 2021 FMEA
tation proposals and specifi-
cally ones directed toward an audience of college educators.
Be sure to check the appropri-
4-Day Workshops: Double Bass, Tuba, Euphonium
FLORIDA STATE UNIVERSITY SUMMER MUSIC CAMPS
music.fsu.edu/summermusiccamps
April 2020
MU C CA MP
Have a great spring term!
R
SI
ate boxes when you submit.
14 camps during June & July Attend as a day camper or an overnight camper Work with exceptional instructors Meet new friends Boost retention over summer months Make lifelong memories S U M ME
of FCMEA to submit presen-
A SUMMER EXPERIENCE THAT MATTERS.
SU
ing. I encourage all members
All Ability Levels One-Week & Two-Week Camps: Band Orchestra Chorus Guitar Piano K-5 Elementary Music Jazz Marching Leadership Color Guard
F
Development
Conference is fast approach-
S
Professional
29
ComponentNews
T
omorrow is the big day. Concert MPA.
Many directors spend the final days
FLORIDA BANDMASTERS ASSOCIATION
Cathi Leibinger, President
Getting to this point of relaxed pres-
The day I put my ego and professional
leading up to MPA stressing out. You
sure has taken me 31 years, and some
students and pray they don’t drop-kick
three weeks? I’ve been looking at scores
helped me tremendously is the habit of
reputation in the hands of middle school them across the stage. That has been my
yearly mantra, and it’s still true. In spite of the work we’ve put into preparing, it all comes down to the students during that one performance. Or does it?
If we are to gauge our success by the
overall ratings of the adjudicators and,
by extension, the judgment of our peers, then it is most definitely “do or die.”
We shout to anyone who will hear our success, and we feel shame if we “fail.”
(Note: Anything less than a superior is not a failure, no matter what social media may tell us.)
But if we truly look at the MPA as the
culmination of the learning process of one
particular concert cycle, it’s not the end of the world if the ratings fall short of our
hopes. It’s just an opportunity to examine
the goals we had and the steps we took in the journey, and to recalibrate for the next cycle.
30 F l o r i d a
know what I’ve been doing for the last and programming for my spring concert in May. I’ve been evaluating the skills my students are still struggling to demonstrate well and making plans to strength-
en their abilities so we can achieve our goals for the May concert cycle without
stress. I’ve been playing review games with my younger students and work-
ing like mad to keep them engaged and
days are still better than others. What has
long-range planning. Having sufficient
time to thoroughly develop goals and
action steps to achieve them offers the opportunity to step back and see if things
are working. If they aren’t, you may need to make adjustments along the way. That’s difficult to do if you aren’t leaving enough time to do so.
Now is the time to start planning your
enthused. Because not only is it MPA
next school year. Start putting in the big
students are picking their classes for next
MPA events. Be sure to give yourself
season, it is also that time of year when year. I can’t allow the stress of MPA to
seep into my relationship with my students, or I risk losing them to another
elective next year. I also risk developing
the reputation of being the “stressed out”
teacher with whom new students and their families are hesitant to begin a relationship. Everything lies in a balance of
pushing for excellence without breaking spirits. It’s a delicate dance, but we all need to know the choreography.
Music Director
pieces such as your concerts and district enough time to prepare properly for each one. Look at events you’ve always wanted to attend but never seem to have time for,
and put them in your schedule now. Start thinking about guest conductors or clini-
cians you may want to come and work with your students. If you’re like me, it
will get you energized for the next year,
which helps us get through the busy spring semester of activities.
ResearchPuzzles FOR MUSIC TEACHERS This on-going column seeks to stimulate awareness of research issues for FMEA teachers and researchers.
RESEARCH COMMITTEE CHAIRMAN
Don D. Coffman, PhD University of Miami
Do music students differ from other students in emotional intelligence and in coping with stress?
E
motional intelligence, being able to deal with one’s emotions and the emotions of others, has been positively
linked to mental well-being and successful functioning. Anna Nogaj (2020), noting that music students can regular-
ly encounter stress related to performing, speculated that
such experiences may be influential and wondered where music students’ coping strategies and emotional intelligence differed from other students. She administered two scales,
one that measured emotional intelligence and another that
measured coping strategies, to 354 students ages 16 to 19 years from music, art, and general education schools. The
variables derived from the emotional intelligence scale were (a) acceptance, (b) empathy, (c) control, and (d) under-
standing. The variables derived from the coping strategies scale were (a) task-oriented (focusing thoughts on the task), (b) emotion-oriented (focusing thoughts on themselves), and (c) avoidance-oriented (refraining from thinking about the situation) coping strategies.
The results indicated that music students had statistically significant differences from art students (i.e., higher
scores) in the level of their emotional intelligence in general and on the acceptance subscale:
they are more aware of the positive and negative emotions that they feel, express their emotions more easily, and can effectively use their knowledge about the emotions they experience. Moreover, in stressful situations, music students exhibit task-oriented coping strategies significantly more often and are significantly less likely to engage in substitute actions than are art students.
Music students’ scores were more similar to general students’ scores than the arts students’ scores. Nogaj did
emphasize that the size of these differences, while statistically significant, were not large and so the practical significance is questionable.
The JRME article referenced below is free to NAfME members from the publications page of the website. I encour-
age you to give it a read. Reference
Nogaj, A. A. (2020). Emotional intelligence and strategies for coping with stress among music school students in the context of visual art and general education students. Journal of Research in Music Education. Online First. https://doi.org/10.1177/0022429420901513
Email your questions and feedback to d.coffman1@miami.edu with a subject heading Research Puzzles.
April 2020
31
CommitteeReports
DIVERSE LEARNERS COMMITTEE Alice-Ann Darrow, PhD, Chairwoman
Twice Exceptional Students:
When Giftedness and Disability Coalesce
T
wyla was concert mistress of her
thing she put in front of him. Was he
to read music, but it is a slow process and
musical and, without a doubt, the most
forgot his music, never had a pencil, and
will have to work harder at it than her
high school orchestra. She was clearly
talented musician in her high school
orchestra. For two years she had passed every playing test flawlessly. Her orches-
tra director was sure she would major
in music and mostly likely be accepted at the university of her choice. One day
her director asked her to read through the violin part of a new piece he had just passed out. She asked, “You mean
right now, in front of the class?” When he replied yes, she bolted from the room
in tears. After school, she came to see
her teacher to explain: “I am a terrible
sight-reader. I really struggle through my part initially. I mean I eventually learn to
read it, but you have no idea how hard I
ever difficult in class, though! He often
was always late to any rehearsals outside
of the school day. In addition to that, he blurted out in class, talked constantly to
his stand partner, and managed to get
into mischief on every band trip. The last straw was when he put a frog down the uniform of a sweet, unsuspecting flute
player. “I am so done with you! You are no longer in band!” shouted Mrs. Moore.
director or peers. He is unorganized and
impulsive. He speaks and acts without the “what ifs” other students ask themselves
before speaking or acting. Though gifted,
school is challenging for both of these students.
you kidding me? You are the most frus-
The term twice exceptional, also referred
understand, why?” replied Thomas. “Are trating student I have had in my 20 years
of teaching!” replied Mrs. Moore. Thomas was dumbfounded and clearly upset.
Twyla and Thomas are twice excep-
player Mrs. Moore had ever had in her
processing. Their disabilities are different,
practice, yet was able to play most any-
the effect of his behaviors on his band
What We Know About Students
tional students. Both are gifted in music,
high school band. He seemed to rarely
peers. Thomas truly doesn’t understand
Thomas looked stunned. “But I don’t
work when you give us new music.”
Thomas was the most gifted trumpet
she knows it will take her longer and she
and both have difficulties in neurological however, and so are their abilities to man-
age their disabilities. Twyla has learned
Who Are Twice Exceptional
to as 2e, is used to describe gifted stu-
dents who have the potential for high achievement and also have one or more
disabilities as defined by federal or state eligibility criteria. These disabilities are
generally neurological processing disabilities such as specific learning disabilities or attention deficit hyperactivity disorder
(ADHD), which qualify these students for
an Individual Education Plan (IEP) or a 504 plan. Twice-exceptional students are highly knowledgeable or talented in at
least one intellectual domain; their talents, however, are often overshadowed by their disabilities. Some students are able
to mask or hide their learning disabilities
by using their talents to compensate or
by employing learning or coping strategies; however, most twice-exceptional students experience difficulties in school,
where organization, attention to detail,
and social skills play important roles in learning.
Twice-exceptional students can be
“highly creative, verbal, imaginative, curi-
32 F l o r i d a
ous, with strong problem-solving ability, Music Director
IMPORTANT NOTICE: The President's Message and the Component/Committee Reports were written prior to school closures to help stop the spread of COVID-19 and may reference events that have been cancelled.
D t H w D A i ce e res tles sness en t u x l g c e D p D O tion a l x corte mind
no ise
io n t n e t t a
and a wide range of interests or a sin-
gle, all-consuming expertise” (National Association for Gifted Children, 2020,
p.1). At school, they may have difficulty keeping up with school work or with
prioritizing their school assignments,
resulting in poor or inconsistent academic performance. Consequently, they can
become frustrated, angry, or depressed. Because they are gifted and so capable
in their areas of talent, these students’ learning challenges often result in them
being labeled lazy, unmotivated, and uninterested. Such labels can diminish their enthusiasm for school and can contribute to problems with self-confidence and depression.
Below is a list of 2e students’
« Have a specific talent or consuming common strengths (Chelin, 2012, p.11):
interest area for which they have an
sc
l o o
focus
h
executive fu nction
tal n o r f e r p itivity
sens
di ffi
co mpu l
depres
cognit i
ve
sion
g ifte d « Have
s
ive t n c o a i t r a e z memo
ry
d isorganization « Have motor difficulties exhibited by
advanced ideas and opin-
ions, which they are uninhibited in
clumsiness, poor handwriting, or
« Have a superior vocabulary « Have very high energy levels expressing
approach to tasks and as a technique
respond slowly, to work slowly, and to
ways
short-term memory
« Are extremely frustrated by school « Have an unusual imagination « Are humorous, often in “bizarre” « Have problems with long-term and/or to compensate for their disability
lti e
sive
i hyp organ
problems completing paper-and-pen-
« Lack organizational skills and study cil tasks
« Have a wide range of interests that are not related to school topics or learning Below is a list of 2e students’ com« Are interested in the “big picture” mon challenges (Chelin, 2012, p.11): « Have discrepant verbal and perforrather than small details « Are extremely curious and question- mance abilities « Have deficient or extremely uneven ing « Possess high levels of problem-solving academic skills that cause them to lack academic initiative, appear acaand reasoning skills « Have penetrating insights demically unmotivated, avoid school « Are capable of setting up situations to tasks, and frequently fail to complete assignments their own advantage, often as a coping « Have auditory and/or visual processmethod « Are extremely creative in their ing problems that may cause them to exceptional memory and knowledge
cu
skills, often appearing to be extremely
« Are unable to think in a linear fashion; have difficulty following directions « Are easily frustrated; give up quick“messy”
ly on tasks; are afraid to risk being
« Have difficulty explaining or expresswrong or making mistakes
ing ideas, “getting to the point,” and/
« Blame others for their problems while or expressing feelings
believing that their successes are due
« Are distractible; unable to maintain attention for long periods of time « Are unable to control impulses to “luck”
appear to think slowly
Continued on page 34
April 2020
33
CommitteeReports Diverse Learners Continued from page 33
« Have poor social skills; demonstrate antisocial behaviors « Are highly sensitive to criticism
What We Can Do to Assist Students Who Are Twice Exceptional
Assisting students who are twice exceptional is not as easy as employing
approaches appropriate for giftedness
and for neurological disabilities. It is the
interaction of these learner characteris-
tics and the resulting complications that makes their instruction unique and often
challenging. Employing strategies for their giftedness and neurological disabili-
their areas of challenge; allow flexibility
instructional approaches for all diverse
rather must be coordinated in meaningful
complete assignments; overtly teach orga-
who are twice exceptional. Providing
ties cannot be considered in isolation, but ways. Actively nurturing these students’
gifts and talents while providing accommodations for their learning challenges is not an easy task for any teacher.
Abramo (2015) and Kaufman (2018)
make these suggestions to educators: rec-
ognize students’ talents and accommodate
in how students respond to instruction or nizational skills, self-regulation, and com-
pensatory strategies; help students build positive relationships with their peers and adults; and provide a supportive
environment. Employing the principles
of Universal Design for Learning and differentiated instruction are effective
learners, but particularly so for students individualized and differentiated instruction while assisting students in building
relationships and maintaining self-con-
fidence can be difficult. Abramo (2015, p. 68) has provided a table of possible strategies to address the challenges of teaching 2e students:
STRATEGIES FOR TWICE-EXCEPTIONAL STUDENTS LESS
MORE
Memorizing
Big picture thinking
Lecturing
Hands-on, problem-based learning
Rigid rules
Flexibility in choice
One-size-fits-all teaching of material
Differentiation based on student strengths
Vague parameters
Specific strategies to complete tasks
Cold, “tough-love” demeanor
Warm, encouraging environment and relationship
Expecting 2e students to conform, regardless of strengths or areas of challenge
Consultation with other adults to improve and differentiate instruction
Ignoring or devaluating differences
Teaching all students to accept a variety of ways of learning and demonstrating knowledge
34 F l o r i d a
Music Director
Twice Exce pt Definition o ional f Terms
Twice Exceptional Students in the
Giftedness: Various appro aches to defi ning this term but generally , considered to be intelligence achievement, , and potentia l that are unu when compa sual red to one’s p eers (VanTassel-Ba ska, 2003)
Music Classroom
Hammel (2015), a dedicated parent, recounts many stories of her daughter
who is gifted in music; but like many students with learning disabilities, she
exhibited problematic behaviors and experienced numerous social challenges throughout her school years. The arts are one of the primary areas of giftedness in
Learning D isabilities Defined by ID EA as, “a dis order in one more of the b or asic psycholo gical process involved in u es nderstanding or in using language, sp oken or writt en, that may manifest itse lf in an impe rfect ability to list en, think, sp eak, read, write, sp ell, or to do mathematica l calculations …”
students who are twice exceptional. Their deficit areas, which are often in reading
or other areas such math, writing, or visu-
al and auditory processing, are seldom obvious in the music classroom; however, students’ lack of social skills due to their disability or inability to read nonverbal cues and other social cues may be quite obvious. The arts generally provide envi-
ronments where acceptance of differences and flexibility seem to be part of the
arts intellectual domain. Nevertheless, any students who experience behavioral
and social challenges will need help in addressing their social deficits to make it in the adult world.
The music classroom, where many 2e
students experience success, is an envi-
next to appropriate peers is not difficult;
practicing prosocial behaviors. Adapting
subject matter is difficult unless teachers
ronment that is conducive to learning and
the environment, instruction, expectations, and attitudes can be useful in teaching music to students with challenging
behaviors. Because of their giftedness,
options.
Instructional
accommodations
when the teacher believes the student can
problem behaviors generally perform better when they are (a) in close proximity to the teacher, (b) sitting beside model students, and (c) actively engaged in a
desirable activity. Moving students to the
front of the classroom or placing them
Students who are 2e often misbehave
when they are confused about what
« Know your students and use their they are to do.
are
tive behaviors when they are not active-
prompts these behaviors. Students with
instructional accommodations are:
edgeable about a wide range of curricular
often used for students with problem
ly engaged or when the environment
« Give clear, uncomplicated directions.
know their students well and are knowl-
2e students are frequently bored in class.
Consequently, they may exhibit disrup-
& Darrow, 2018). Some suggestions for
however, adapting instruction and the
names. All students are more likely to
behaviors. An accommodation is used
misbehave when they think they are
« Define
anonymous.
achieve the same level of participation as
his or her classmates but needs additional
expectations for classroom
behavior. Students who are 2e often
support. An instructional accommodation
misbehave because they do not know
allows a student to engage in the same
what behavior is expected. Be explicit,
musical activity as other students in the
as many 2e students do not read non-
class, but some change is made in set-
verbal cues; consequently, they do not
ting, presentation of the information, or
understand a teacher’s expectations
the type of accepted response (Adamek
Continued on page 36
April 2020
35
CommitteeReports Diverse Learners Continued from page 35
by merely observing those around
their peers and to practice prosocial
interest or talent and make it contin-
antecedents
(e.g., completing sight-singing exercis-
isolation. Often there are events that
« Plan an activity related to the student’s « Analyze
behaviors.
them.
gent upon a less desirable activity
consequences.
trigger the behavior and consequenc-
menus (lists of desired activities).
Asking 2e students to do something
and
Students’ behaviors rarely occur in
es). Many teachers use reinforcement
« Think “do” when you think “don’t.”
problem situations as to
es that either reinforce or extinguish the behavior.
Teachers frequently expect students
is a more positive approach than tell-
with social challenges to suppress their
me” instead of “Don’t bury your head
the music classroom. Our expectations
ing them don’t do something—“Watch
« Set the occasion for 2e students to in the music.”
be reinforced. Due to their disability, their self-confidence is often lacking.
Ask them to help move risers, put instruments away, help another student—any activity that will allow you to reinforce prosocial behaviors.
Teaching Discipline (Madsen & Madsen,
2000) includes helpful information related to the suggestions listed above, as well as
other suggestions for managing students’
« Avoid describing 2e students with behavior:
words such as exasperating or annoy-
ing. Students often live up to their
« Reserve emotions—choose your batdescriptors.
tles. Approach 2e students as you would any student with a disability. Decide which behaviors interfere the
most with learning and prioritize the behaviors that will receive your time
« Use peers as solutions. Solicit soulful and attention.
classmates to be part of the 2e student’s management strategy. Students
with social skills deficits sometimes respond more readily to their peers
than to their teachers. Students who are 2e need opportunities to relate to
36 F l o r i d a
disability and “behave” when they enter
of students, as well as their instruction, often have to be adapted. Like all new behaviors, appropriate behaviors have to
be shaped—shaped through successive approximations to the desired behavior.
Shaping desired behaviors takes time. In
the initial stages of shaping a student’s
« They prompt us to be more organized. There are numerous well-known
individuals and artists who have been identified as twice exceptional: Keira Knightly,
Orlando
Bloom,
Daniel
Radcliffe, Whoopie Goldberg, Steven
Spielberg, Justin Timberlake, Tom Cruise,
Keanu Reeves, Charles Schwab, Jay Leno, Richard Engel, Henry Winkler, Michael
Phelps, Tim Tebow, Anderson Cooper,
Cher, Richard Branson, Tommy Hilfiger. Clearly, these individuals have “learned
to learn” and have become successful in their adult lives, most likely due to their parents and patient teachers. There
are many twice exceptional students in
classrooms today, maybe yours, waiting and hoping to become successful adults as well.
behavior, accept and reinforce behaviors
References
ior.
Abramo, J. M. (2015). Gifted students with disabilities: “Twice Exceptionality” in the music classroom. Music Educators Journal, 101(4), 62-69.
that come close to the appropriate behavFinally, we often have to adapt our
attitudes about teaching students with social deficits. Most teachers have negative attitudes about teaching students
who challenge them (Darrow, 1999).
Madsen and Madsen (2000) discuss the strategy of “acting yourself into a new
way of thinking.” There is research to
support the notion that engaging in posi-
tive behaviors can result in more positive thoughts (Strack, Martin, & Stepper, 1988).
Developing a positive attitude about students with problem behaviors can do much to reduce the stress of teaching
these students. There are many other con-
structive outcomes that result from teach-
ing students who challenge us (Adamek &
« They require us to practice patience. « They motivate us to plan more effectively. « They keep us on task in the classroom.
Darrow, 2018):
Music Director
Adamek, M., & Darrow, A. A. (2018). Music in special education (4th ed.). Silver Spring, MD: AMTA publications. Chelin, D. (Ed.). (2012). Twice exceptional students: Gifted students with disabilities. Littleton, CO: Muddy Paws Publishing, LLC. Darrow, A. A. (1999). Music educators’ perceptions regarding the inclusion of students with severe disabilities in music classrooms. Journal of Music Therapy, 36, 254-273. Hammel, A. (2015). Twice exceptional. In D. V. Blair, & K. A. McCord (Eds.), Exceptional music pedagogy for children with exceptionalities. New York, NY: Oxford University Press. Kaufman, S. B. (2018). Twice exceptional. New York, NY: Oxford University Press. Madsen, C. H., & Madsen, C. K. (2000). Teaching discipline: A positive approach for educational development (4th ed.). Raleigh, NC: Contemporary. National Association for Gifted Children. (2020). Twice-exceptional students. https://www. nagc.org/resources-publications/resources-parents/twice-exceptional-students Strack, F., Martin, L. L., & Stepper, S. (1988). Inhibiting and facilitating conditions of the human smile: A nonobstrusive test of the facial feedback hypothesis. Journal of Personality and Social Psychology, 54, 768-777.
AWARDS COMMITTEE
Debbie Fahmie, Chairwoman
I
hope you have had the opportunity to check out all the
smiles of our 2020 FMEA award recipients (thank you
to Bob O’Lary for photographing the awards ceremony
and capturing all those smiles) and to read about what
each awardee is doing to support quality music education
throughout our state. In case you have not, please see the
spread in the February/March Florida Music Director. You
will learn about our six amazing major category award win-
ners as well as 19 individuals who collectively contributed 570 years of service to music education. These individuals
were recognized with the Music Education Service Award
for 25 or more years in music education. Additionally, we
awarded the FMEA Music Enrollment Award to 26 schools from throughout the state. To receive this award, at least 45%
at the middle school level and 30% at the high school level of
the student population must be enrolled in a music course. An impressive 16 of the schools recognized this year have half or more of their total student population
writes: t t o c S J. Mark
ers, ee memb t it m m o I know that reading about all of our 2020 FMEA aff and C k; MEA St F past wee e h t t u awardees will impress you, but I hope that it will also o ab now. thoughts m to you e h t inspire you to think about possible nominees for 2021. s s So many e r o exp be sure t ire The call for nominations is already available at https:// o t t n a Iw your ent d n a l, a V the fmea.org/programs/awards/. I know there are many nk you, to make a h d t i , d t s u o ir F all y amazing folks out there, and I look forward to receiving ct ittee for m m o c ked the fa li s d I . this year’s nominations. s s e awar c one a suc reakfast d and no b e r I would like to share with you what one of our awardees s o d n r o a h w s a wa led recipient had to say after returning home from this year’s FMEA ry humb y e r v e s v e a t w a th nally Awards Ceremony. J. Mark Scott has spent the last 49 years hing t. I perso u o t f e or somet l f s n a o i w it n of his life dedicated to the cause for music education. Due cog oing, e such re my life d f o lf to receiv a to the work he has done serving in many capacities within h an Music t more th d to do. e ll a c music education, FVA and the choral world will continue to l e I’ve spen inly fe mplete g I certa in thrive. Many letters of support came in for Mark’s nomination, h t e m t for a co o n s a t r o p proud to im o m s a s all with testimonies of the impact he has had on students and I i d n o n ent, a educati pen. ery stud v teachers throughout his long career. It was with great enthusie r ke it hap o f a n m o i o t t a g c edu orkin ion, asm that we awarded Mark with the FMEA Leadership Award part of w ic educat s a u n e m e b in e hav in January. His thoughts are shown at right … years ice t my 49 u o e s ke my vo a lo c m It is truly wonderful that we have folks like Mark Scott who d n a As I ocate e n to adv a l have not just carried the torch for such a long time, but who will p l il e continu t s w I t a h t l continue to carry it into their retirement. I appreciate that FMEA is so vita heard. It has a vehicle for recognizing these heroes among us. Think of who . the fight enrolled in music education courses!
you know out there and get those nominations submitted for the 2021 FMEA Awards Program.
April 2020
37
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SILVER PARTNERS Music is Elementary Music Man, Inc. The Horn Section, Inc. Partners as of March 5, 2020.
*Please visit FMEA.org/partners for partnership details or call 850-878-6844.
38 F l o r i d a
Music Director
Please take time to thank and support our 2019-2020 Corporate Partners.
PARTNERS
BRONZE PARTNERS Cadence Music Carl Fischer Music D’Addario Excelcia Music Publishing Head’s House of Music J.W. Pepper & Son, Inc. MakeMusic, Inc.
Music & Arts National Concerts Noteflight Romeo Music Spring Hill Music Academy Tampa Bay Institute for Music Therapy West Music Company
April 2020
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