Violins Prepare Kids for Future Musicianship: And So Much More! Approaches to
Programming Band Performances Planning for success by choosing the right music! PLUS: ADVOCACY: A TEACHER’S PERSPECTIVE FSMA SPECIAL SECTION FMEA Steel Band Festival
April 2022
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Music Education Scholarship Are you a high school senior who intends to major in music education at a Florida college or university? Consider applying to FMEA's June M. Hinckley Music Education Scholarship. Selected winners will receive a $1000 scholarship award. Scan the QR code to learn more about the scholarship and apply. The postmark deadline to mail your application is April 22, 2022.
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www.FMEA.org Florida Music Director
1-800-301-3632
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 75 • Number 7
April 2022
F E AT U R E S
FMEA Summer Institute. . . . . . . . . . . . . . . . 6 Back From the Brink: A Teacher’s Perspective. . . 8 FSMA Special Section. . . . . . . . . . . . . . . . 12-13
Editorial Committee Terice Allen (850) 245-8700, Tallahassee (tallen1962@hotmail.com)
Violins Prepare Kids for Future Musicianship: And So Much More!. . . . . . . 14
Judy Arthur, PhD Florida State University, KMU 222 (850) 644-3005 (jrarthur@fsu.edu)
Approaches to Programming Band Performances: Planning for success by choosing the right music! . . . . . 22
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 (jeannewrey@gmail.com) John K. Southall, PhD Indian River State College, Fort Pierce (772) 462-7810; (johnsouthall@fmea.org)
Advertising Sales
Valeria Anderson (val@fmea.org) 402 Office Plaza Tallahassee, FL 32301 (850) 878-6844
Official FMEA and FMD Photographers
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Valeria Anderson, (800) 301-3632
Copy Editor
Susan Trainor
D E PA R T M E N T S President’s Message. . . . . . . . . . 4
Component News.. . . . . . . . . . 29
Advocacy Report . . . . . . . . . . . 7
Research Puzzles. . . . . . . . . . . 34
Academic Partners . . . . . . . . . 11
Committee Reports. . . . . . . . . 36
2021-22 FMEA Donors. . . . . 20-21
Executive Director’s Notes. . . . . 40
Corporate Partners. . . . . . . . . . 28
Officers and Directors.. . . . . . . 41 April 2022
3
President’sMessage
Shelby R. Chipman, PhD President Florida Music Education Association
Inspiration Starts From the TOP GREETINGS, COLLEAGUES!
excitement. We are some of the most fortunate individuals
ing how the power of music encourages students to think
primarily due to our INSPIRATION of music students
As a teacher, some of my proudest moments are witnesspositive, be determined, and most importantly, believe
in themselves. COVID had a tremendous impact on the
state of learning and particularly on music programs throughout the world. We all managed to skillfully
navigate in unusual ways, and the ensuing inspiration
of music teachers bridged the gap for so many students who felt lost and in fear. The good news is we are
rebounding with amazing creativity, collaboration, and critical thinking.
I’m sure by now all of you are well into spring semester
activities with concerts, festivals, spring trips, and mak-
ing your plans to set the stage for next year’s school-based
I N S P I
in the world, in that we shape lives beyond the classroom, and communities. As challenging as the past two years have been, there is still light at the end of the tunnel. We
continue to provide mentorship and to think positive as our students progress in general education, Orff, Kodály, guitar, string, voice, band, music industry, and other
diverse music ensembles. Your commitment to our profession is extraordinary, and we as an association could not function in the manner we do without your valued contributions and work.
As I personally reflect on INSPIRATION and some
of my music hero teachers from the past, I think of the sidebar below.
= Integrity and always providing professional leadership = Nuances in dealing with the multiplicity of the classroom = Synergy as we must be spirited from the time we step foot on campus = Pride in every aspect of our program in delivering the values that build communities = Inclusiveness to ensure Florida music students are true participants in every realm
from approaches that might subvert the role of a positive teacher, always R = Refrain maintaining boundaries of appropriate motifs to know we increase the pace in music, but realize we’re meeting the A = Accelerando students where they are in the program T = Tone that focuses on students’ sound and their skill sets and relationship of how half and whole steps relate to progress in the music I = Interval classroom as related to each student having their own learning curve that we as music teachers O = Opus must address and inspire to be successful Never satisfied with mediocre work but incorporating strong fundamentals that N = support the mission and motto within our music education ideals 4 F l o r i d a
Music Director
2021-22 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.
Music connects different cultures, promoting diver-
sity and growth.
Music is the language of the spirit. It opens the secret of life bringing peace, abolishing strife. — Kahlil Gibran Ludwig van Beethoven reminds us that “music can
change the world.” Strive to be the change on your campus.
Consider the following in establishing worldly
approaches to meeting your communities where they are and focusing on their needs for multicultural and shared musical experiences.
As I stated last month, it is our responsibility to
SUBSCRIPTIONS:
Direct correspondence regarding subscriptions to: Hinckley Center for Fine Arts Education 402 Office Plaza, Tallahassee, FL, 32301-2757 Subscription cost included in FMEA membership dues ($9); libraries, educational institutions, and all others within the United States: $27 plus 7.5% sales tax.
CIRCULATION:
The circulation of the Florida Music Director is 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:
ensure that music is provided in urban and rural set-
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.
music instruction due to multiple problems. FMEA
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.
tings, where in some cases children are not receiving will continue to take the lead in providing professional
development webinars as well as sessions that promote mental and physical health awareness. We must
honor our music profession through inspiring the next generation of school musicians who expect the highest
degree of instruction permeated by knowledge, valu-
able resources, technology, welcoming instruction, and attainable yet heartfelt standards.
I’ve learned that people will forget what you said, people will forget what you did, but people will never forget how you made them feel. — Maya Angelou Let us all continue to study the language of music
and how it influences communities. Continue to be
amazing, everyone. I look forward to hearing from you as we make progress and build stronger music communities.
It ALL starts from the TOP!
Shelby R. Chipman, PhD, President
Print. Digital. Direct. Florida Music Education Association offers advertising in: � The Florida Music Director Magazine � Conference Program � All-State Concert Program � Conference Sponsorships � Direct Sponsored Emails � Website Banner Ads C L I C K TO L E A R N M O R E
Florida Music Education Association April 2022
5
FMEA Summer Institute The FMEA Summer Institute brings together music educators across all components and grade levels to envision future trends and discuss how to embrace the changes in music education. Join a small group of current and future leaders in music education in an inspiring multi-day training program. All full active FMEA members are encouraged to apply! Cost to apply is $75. Applications must include 2 letters of references.
Apply by April 10, 2022 Visit FMEA.org for more details and to apply.
20 Summer 22 Institute 6
Florida Music Director
June 5-8, 2022 USF School of Music
AdvocacyReport
Jeanne W. Reynolds Chairwoman Government Relations Committee
Inspiration From the Past T he legislative session has ended. It will take time to
pany, four professional theaters, a professional ballet
most effective action plan moving forward. More infor-
club in America, an internationally acclaimed art muse-
analyze fully the impact of this session and create the
mation will be provided in the coming months. One thing
is certain – the importance of strong grassroots networks
cannot be overstated. This month I am featuring an article written 23 years ago by this year’s Hall of Fame recipient, Cindy (Lippert) Balistreri. This story is inspiring because it refers to a major district challenge that was transformed
company, a major chamber music festival, the largest jazz
um, and a 1,700-seat performing arts hall that engages
national touring companies and shows in all the art forms. People actually move to Sarasota County because
of its abundant, thriving arts culture. Sarasota County likes to call itself “Florida’s Cultural Coast.”
So, when the Sarasota County School Board voted in
into a triumph nearly overnight due to strong grassroots
1995 to eliminate music and art classes from the elemen-
ships. Fortunately, we have the same tools to transform
through arts communities from Pensacola to Miami. “If
efforts, strategic planning, and vital community partnertoday’s challenges into triumphs. And we can all use a little inspiration right about now.
The following is reprinted with permission from the
tary and middle schools, a perceptible shudder rippled this could happen in Sarasota County, of all places, it could happen here,” everyone was thinking.
The following three articles* tell how the arts program
National Association for Music Education, formerly
in Sarasota County schools was not only pulled back from
Back From the Brink
ened, and enriched. Three people who participated in
MENC, Teaching Music, February 1999.
The Arts in Sarasota County Schools
S
arasota County, with a population of about 300,000, basks
in the Florida sun
about an hour’s drive
south of Tampa, on the
state’s west coast. The
county has long been dis-
tinguished by its intense
commitment to the arts. This
relatively small but affluent
community supports a profes-
sional symphony and opera com-
the brink of disaster but was actually bolstered, broadthese dramatic events recount essentially the same story
from different perspectives. The authors—a former music teacher, a school district administrator, and a representative of the arts community in Sarasota County—reflect the perspectives of the three groups that have been the
principal players in the drama: Sarasota County’s
arts teachers, the school district administration,
and the professional arts community. These groups worked together diligently to rescue
arts education in Sarasota County schools,
and they continue to pool their resources in order to build a program that will reflect the shared values, spirit, and dreams of Sarasota County.
— Bruce E. Rodgers Continued on page 8
*FMD editor’s note: we are including only the article from the teacher’s perspective.
April 2022
7
AdvocacyReport
This article, which is part of the “Back From the Brink” series originally
published in February 1999, is reprinted with permission from the National Association for Music Education, formerly MENC, Teaching Music.
A Teacher’s Perspe by Cindy Lippert
A
As a music teacher in the Sarasota County School District
from 1971-97, I spent much of my career being proud of Sarasota County schools. In fact, I had attended elemen-
tary, junior high, and high school in Sarasota myself. As a product of the system, I knew firsthand that we had great music education in our schools, and I also knew that we had wonderful music, art, and theater in our community.
As a young teacher in the 1970s, I was incredibly busy,
learning how to teach well and raising my own family. It was not until the 1980s that I began to notice that the arts
were not valued as highly as before in Sarasota County schools. Programs were not as well funded as they had been. Suddenly, everyone seemed to be focused on getting
“back to the basics”—and the “basics” apparently did not include the arts.
In 1988, the position of fine arts specialist for the school
district was eliminated. Music and art teachers were devastated. The Sarasota County School District embraced
the idea of school-based management and decentralization, calling on each school to manage most of its own
funds and staffing. Meanwhile, state funding for public education, always a complex issue in Florida, continued to decline.
In 1995, a particularly acute budget shortfall prompted
school administrators to propose a new plan. Elementary and middle school art and music teachers would be eliminated, with the exception of band teachers. Only eight
itinerant consultants would continue to work in these Elementary school music students playing percussion in a Sarasota music classroom. Photo: Ann Wykell, Sarasota County Arts Council
special areas, traveling from school to school in order to help classroom teachers “integrate” the music and art
curricula into their classroom content areas. This plan,
implemented in the fall of 1995, failed miserably. During the ensuing academic year, classroom teachers became
painfully aware that they did not want to teach music and art, nor did they feel capable of delivering the specialized curricula of these subjects.
Fortunately, relief came with unexpected speed. In
the spring of the same academic year (1995-96), the arts community, through the Arts Education Task Force of the
8 F l o r i d a
Sarasota County Arts Council, staged a major campaign Music Director
ective that succeeded in returning art and music teachers to their
classes and in launching a new world-class arts education program for Sarasota County.
As a result, new art and music teachers were hired.
In fact, the number of arts teachers doubled in one year.
During the 1995-96 academic year, there were only twenty-three music teachers; in 1996-97, there were forty-seven.
In January 1996, the district hired a new superintendent,
who promised to bring to our schools a curriculum and education—including education in the arts—of highest
quality. A coalition of arts advocates, the Community/
Photo: Frank Weber
Schools Partnership for the Arts (C/SPA), was formed at
the superintendent’s direction. This alliance included art
and music teachers—of whom I was one—community members, central school administrators, principals, and
classroom teachers. Many arts teachers distrusted the new superintendent’s claims initially, suspecting that he might
be simply trying to pacify the noisy community arts leaders. Teachers wondered if he would really implement
Everyone seemed to be focused on getting “back to the basics”—and the “basics” apparently did not include the arts. In 1997-98, C/SPA began to develop an extensive five-
recommendations that C/SPA made.
year plan. We called together groups that we considered
defining our mission and our vision. The partnership was
welfare of the arts in Sarasota County—and we asked
Within C/SPA, we immediately set about the task of
co-chaired by Wilma Hamilton, then director of curricu-
lum, and Ann Wykell, assistant director of the Sarasota County Arts Council. Hamilton saw her first task as fostering a sense of trust among county administrators, teachers, and members of the arts community.
Next, C/SPA put together an “advocacy packet” for
principals, citing research that supports arts education. We also included a “wellness audit,” showing a profile
of a thriving arts program, based on recommendations in National Standards for Arts Education (MENC, 1994).
to be “stake holders”—those with vested interests in the them what they thought music, visual art, theater, and dance education should look like in the schools, now and
in the future. These groups included community arts representatives, teachers of the various art forms, parents,
and students. Each group was invited to dream freely—to imagine the very best. All were encouraged to think of
ways in which the schools and community could collab-
orate to create a unique, ideal arts education program for Sarasota students.
The old styles of art, music, theater, and dance edu-
In addition, we worked out K-12 course and scheduling
cation were declared to be inadequate, although every-
academic year. The partnership leaders addressed the
should be preserved. Teachers often referred to guide-
recommendations in music and art for the following
principals and recommended that a fine arts coordi-
nator be hired. The recommendation was accepted and quickly implemented. Teachers—myself included—
were amazed that things were really happening—and so quickly!
one agreed that the best aspects of these traditions lines in National Standards for Arts Education and opportunity-to-learn standards (from Opportunity-to-Learn
Standards for Music Instruction: Grades PreK-12, MENC,
1994) in expressing their ideas for the “dream.” Members Continued on page 10 April 2022
9
AdvocacyReport Continued from page 9 of the community produced ideas that ranged much more widely and were far
less conventional—suggestions for “art-
ist-shadowing” (having students spend
a day “shadowing” a professional artist, such as a symphony conductor, director of a theatrical company, or painter),
school-to-work projects (having art stu-
I now believe that arts educators must call upon arts advocates in their own communities. In fact, a number of collaborative proj-
dents work alongside curators, restor-
ects between community arts organiza-
for example) and unique collaborations
tence already. Professional theaters are
ers, and archivists in the art museum, between community and school groups
(such as workshops run by professional theaters for drama teachers and students).
It was exciting and exhilarating to imagine the possibilities!
Some arts teachers were concerned
that these ideas were too big, embraced too much, or would be impossible to
implement. Community arts leaders were
tions and the schools have come into exis-
providing workshops for drama teachers
and students in acting and set design. Our opera company provides teacher in-service workshops. Our symphony sends
small ensembles to perform in schools,
provides an annual children’s concert for
fourth and fifth graders, and runs an excellent youth orchestra program.
and refining an arts curriculum. We have
attention to what the community wanted.
comes for music and art, and we are cur-
I joined a core of dedicated teachers who
volunteered time for C/SPA committees and meetings. We worked to provide expertise in the areas we knew best:
curriculum, scheduling, equipment, and
now designed most of the curricular outrently working on outcomes for dance and theatre. We will be developing a teaching
strategy, assessment, and connection to another subject for each outcome.
Recently, C/SPA has been investing
student needs.
considerable time and energy in efforts to
are focusing on several issues that are
transform it into a realistic strategic agen-
With C/SPA now in its third year, we
important to arts teachers. We are work-
«
ing to
« « «
condense its extensive five-year plan and da for presentation to the school board.
of time devoted to arts classes, and courses offered
create more opportunities for in-ser-
vice training to meet the needs of arts teachers
increase the opportunities for schools to collaborate with community arts organizations.
10 F l o r i d a
Music Director
County schools had not eliminated art and music teachers, thereby sinking to
the depths, they might not have risen
to where they are now. There is perhaps
some truth to this idea. It is harder to
fight a slow decline in arts education, as we in Sarasota County schools tried to do from 1988-95, than it is to recover from a sudden fall, such as we suffered in 1995.
«
I believe that two things energized the
turnaround in Sarasota County:
The chance to create a new arts education
program that would be better than we had.
This possibility appealed to members of the community and administrators
who were not entirely enthusiastic
«
about some of the things that they had seen in arts education in our schools.
The collaboration between the communi-
ty and the school district. This unique cooperation has enabled the school
district to see how the arts are perceived and valued by the community
and has generated new ideas for, interest in, and understanding of school arts programs.
I now believe that arts educators must
programs. They should make their appeal
mine needs and possible grant sources
ing the numbers of teachers, amount
Some people have said that if Sarasota
arts equipment in the schools will deter-
and quality of arts education
each school through records show-
has been accomplished in just three years.
call upon arts advocates in their own com-
sue several long-term projects. A survey of
continue to monitor arts education at
It is difficult to believe that so much
During 1999, we will continue to pur-
increase the number of certified arts teachers in order to boost the quantity
proposals seeking grants.
C/SPA will also be focusing on creating
committed, however, to dreaming big,
and school district leaders were paying
possible sources of funding and write
to meet these needs. A subcommittee of C/SPA will focus on early childhood
music. A nationally recognized early
childhood music specialist will spend
eight days in Sarasota County over a sixmonth period, working with elementary
music teachers, preschool teachers, pre-
munities to help support their school arts broad and inclusive, perhaps embracing
parent activists and members of the business community. People other than arts
educators value arts education. We must collaborate with these individuals to marshal sufficient strength to provide the arts education that our students deserve.
school advocacy organizations, and com-
Cindy Lippert is the fine arts coordinator
oversee the creation of a preschool music
music teacher in the Sarasota County School
munity preschool teachers. C/SPA will
program. A subcommittee will identify
and former elementary and middle school District in Sarasota, Florida.
Please take time to thank and support our 2021-2022 Academic Partners.
GOLD PARTNERS
BRONZE PARTNERS Cannon Music Camp - Appalachian State University Florida Southern College Orlando Philharmonic Orchestra Rollins College Department of Music
University of North Texas The University of Tampa Valdosta State University
Partners as of March 9, 2022.
*Please visit FMEA.org/partners for partnership details or call 850-878-6844. April 2022
11
FLORIDA SCHOOL MUSIC ASSOCIATION N O T E S
1-800-301-3632
FloridaSchoolMusic.org
FSMA
Leadership Training Building the Team: Equipping the Music Leaders of Tomorrow July 17-20, 2022 Renaissance Orlando at SeaWorld Orlando, FL FSMA has designed a professional learning opportunity for current and future component leaders to have the necessary skills to find success in their position. Become a part of a select group and apply for the 2022 training today. Scan the QR code for further details and to apply. Application Deadline: April 1, 2022
About the Training This professional development opportunity will provide communication training, team-building, scenario-based problem-solving, and other skills identified by participants as a need to find success as a leader in Florida.
12 F l o r i d a
Music Director
2022 STATE MPA CONCERTS Concerts open to the public! Full schedule at FloridaSchoolMusic.org BAND North West Site April 26-27 NWFSC Mattie Kelly Arts Center Niceville North Site April 21-22 Faith Presbyterian Church Tallahassee
North Site April 21-23 UF Phillips Center for the Performing Arts Gainesville
VOCAL
Central Site April 25-29 First Presbyterian Church Lakeland
Central/South Site April 27-30 Vero Beach High School Vero Beach South Site April 18-20 American Heritage School (Broward) Plantation
ORCHESTRA
April 25-27 Howard W. Blake High School Tampa Photos provided by the Florida Music Education Association
April 2022
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Photos: Anne C. Jacob
Violins Prepare Kids for Future Musicianship
And Much More! by Anne C. Jacob
“Open your cases.”
I watched with growing horror and dismay as the middle school beginning band students in front of me awkward-
ly but enthusiastically began unlatching and unzipping the shiny black cases of the newly rented instruments they had been holding on their laps. Within seconds,
mouthpieces, barrels, ligatures, and even entire instruments were strewn about the floor of the band room. This enlightening moment occurred over 30 years ago. At the
possible to these very young children. I decided to explore
on the events of that day and am reminded of the need for
Suzuki must have felt when he said, “I am preparing
beginning of each school year since, I wistfully reminisce explicit instruction broken down into the smallest tasks. Recalling this experience reaffirms my obligation as a
teacher to anticipate students’ reactions and to establish routines, processes, and procedures that promote stu-
the world of pre-K and wondered if this was how Shinichi myself for the five-year-old mind. I want to come down to
their physical limitations and up to their sense of wonder and awe” (as cited in Dobkin, 2015, p. 6).
dents’ success at every level.
Why start so early?
violin curriculum as an innovation component of Kings
everything is new to them. Researching Florida’s pre-K
In 2014, I accepted the challenge of developing a pre-K
Highway’s pre-K/VPK classes. With enthusiastic backing
from Pinellas County School Board’s Music Department
and a highly supportive principal, all of the physical and logistical resources, including violins, classroom space,
and time in the schedule, were provided. It was up to me to figure out how to provide the best violin instruction
14 F l o r i d a
Music Director
Young children are very receptive to new ideas; almost curriculum in 2014, I learned that this concept was the
underlying theme of The Florida School Readiness Program Curriculum (Florida Department of Education Office of Early Learning, 2014). By 2017, the Florida Department
of Education’s Office of Early Learning had revised the curriculum and published the Florida Early Learning and
Pre-K students enjoy learning to play the violin.
Developmental Standards Ages 4-Kindergarten. This inter-
patterns, cause and effect, and communication (Office of
domains that “reflect the knowledge and skills that a child
students as they advance through the benchmarks and
active website lists standards and benchmarks in eight on a developmental progression should know and be able
to do at the end of an age-related timeframe” (Office of
Early Learning, 2017). A beginning violin class benefits progress toward the standards in each domain.
As I developed the curriculum for this new violin pro-
Early Learning, 2017, para. 4). The eight domains are
gram, I realized that a highly structured routine would be
II.
this first instrumental experience to be enjoyable for the
I.
Physical development
III.
Social and emotional development
IV. V.
Approaches to learning Language and literacy
Mathematical thinking
VI. Scientific inquiry VII. Social studies
VIII. Creative expression through the arts
As music teachers, we can easily relate our lessons
to the four concepts that connect all the domains: play,
necessary for success, but it would also be important for
students. Using the domains as guidelines, I broke down the skills necessary for successfully beginning to learn
to play a violin, made a list, and came up with a way to incorporate each skill into a step-by-step routine. I wrote a verse of a song for each step to help students remember
the sequence, and taught one or two verses per lesson
until the entire routine was established. Continued on page 16 April 2022
15
Violins Prepare Kids for Future Musicianship Continued from page 15
Routines and procedures are estab-
violin so they can hold it securely. The
previous lesson, so make sure to ask them
the first day of class, I strongly recom-
engaged in making the prediction and
Discuss that these violins are made of
lished in the first four lessons. Prior to
mend meeting with the classroom teacher
to come up with a plan for how students will enter the room and where they will
sit. Once students are seated, bring three different violins (1/4, 1/8, and 1/10 sizes)
in their cases to the front of the room and
ask students what they think is inside. Tell students they will take turns finding
out which violin will be their best fit.
Explain that violins are like shoes, and it
is important that they are not too big, not too small, but just right. Have students “try on” each size to see if their prediction
was correct. There are many ways to size violins, so use the method you are most
comfortable with. I have found that if I
rest of the class is always enthusiastically looking to see which size fits. I recommend taking a photo of the student hold-
ing the instrument and quickly writing down the violin size next to the student’s
name on a roll sheet. This helps to learn
students’ names and to figure out which
students from different classes will be
able to share violins. The “try-on” process takes about 15 minutes for a class of 10
students. It is very important to keep the process moving and not waste any time,
but also not to make the students feel rushed or pressured. Ensure that this first
16 F l o r i d a
Music Director
violin correctly, they will get to play a real violin. Instruct students to practice standing up and sitting down without touching
the violins, and teach them to identify the chinrest and the scroll. If there is time in
this lesson, I also have a puppet I use for students to echo “hello” and/or to tell the puppet their name in a high voice or a low voice.
Lesson three is all about the bridge.
if they are not careful. I have a violin
around the violins and sit down. They
Establishing routines is important.
they demonstrate they can use the box
In the second lesson, have box violins
students.
the scroll, it is a good fit if they can reach guide their hand to the shoulder of the
be able to practice with them so that when
Show students the bridge on a real violin
on the floor when students enter, and
around the end of the scroll, and I gently
cardboard, like a box, and how they will
day is a positive experience for all of the
lightly place the violin under the student’s
chin and have them reach their arm to
for reasons why this might be important.
instruct the students to carefully walk will quickly recognize that the violins are not “real” like the one they held in the
and explain that the bridge can fall down
with a missing bridge to show the stu-
dents how the bridge supports the strings but is not permanently attached to the instrument. With students standing and holding their box violin like a tray in front
Box violins can later be used as “rosin holders” and to help students practice bowing.
of them, place a block, a lid from a mini
verse to the song, chinrest bridge and neck
of Early Learning, 2017). Bow hold and
violin to represent the bridge. Challenge
Chinrest bridge and neck and scroll, I love my
while physical warm-ups and movement
rosin, or other small object on the box
students to move the violin up and down without the object falling off, and reas-
sure students that it is okay if it falls because that is why we practice. Students
will discover it is easier to keep the object in place if they move slowly. In this lesson,
I also like to teach the students the song
and scroll; neck and scroll; neck and scroll.
violin. In future lessons, we will add to this verse. After collecting the box violins, review the song “London Bridge,” but this
time with partners (everyone is a bridge). Discuss safety, and if time permits, guide students in playing the actual game of
“London Bridge” in groups of three or
finger dexterity rely on fine motor skills
of the bow arm develop gross motor skills. Standing with correct foot position
and moving the feet from rest position to
playing position requires balance, and the actual act of playing the violin requires coordination.
Domain II deals with approaches to
four.
learning and includes eagerness, curiosity,
hands like the bridge in front of them and
appreciation of this curriculum, a brief
2017). Before students even come into
In the fourth lesson, teach students
Domain I is physical development, which
“London Bridge” but not play the game
yet. Instead, I have students raise their bring their hands down on the word lady.
the parts of the violin—chinrest, bridge,
neck, and scroll. I introduce the second
In order for the teacher to gain a full
review of the eight domains is necessary. consists of fine motor skills, gross motor
skills, balance, and coordination (Office
and persistence (Office of Early Learning, my classroom, I bring a violin in its case
to their classroom and ask, “What do you think is in this case?” Eventually, a Continued on page 18
April 2022
17
I Love My Violin
Verses to the tune of “Wheels on the Bus”
Violins Prepare Kids for Future Musicianship Continued from page 17
student will answer, “a violin.” They are
VERSE 1
I undo the latch and open my case… open my case… open my case. I undo the latch and open my case.
I love my violin!
curious to see it, and I dramatically open the case and let them ask questions about
it. They are curious about how to play, what it sounds like, and if they can play
it. The children’s curiosity and eagerness
VERSE 2
Chinrest, bridge, and neck and scroll… neck and scroll… neck and scroll. Chinrest, bridge, and neck and scroll.
I love my violin!
remain throughout the school year as
they learn more about the instrument,
and they demonstrate persistence by con-
tinuously increasing their new skills and knowledge.
VERSE 3
Pinkie in the fish and thumb in the frog… thumb in the frog… thumb in the frog. Pinkie in the fish and thumb in the frog.
I love my violin!
Routines and self-awareness are two
of the standards in Domain III, which is
based on social and emotional develop-
ment (Office of Early Learning, 2017). In
VERSE 4
violin class, students follow routines for
My bow’s on my head while I stand up… I stand up… I stand up.
find their violin, open the cases, rosin the
My bow’s on my head while I stand up.
I love my violin!
everything—how to enter the classroom, bow, etc. They exhibit self-awareness in
a variety of ways, including when they
VERSE 5
maintain proper behavior and safely stay
I put some rosin on my bow… on my bow… on my bow.
poignant example of self-awareness is
I put some rosin on my bow.
I love my violin!
in their own space, but perhaps the most
when they recognize that their instru-
ment is out of tune or that their playing
VERSE 6
does not sound the same as the others.
Under the neck and on the button… on the button… on the button.
ment of musicianship and inner self-con-
Under the neck and on the button.
I love my violin!
This is also a huge step in their developfidence.
Domain IV consists of language and
literacy and comprises listening, under-
PROCEED WITH LESSON
standing, and vocabulary (Office of Early
VERSE 7
these skills by listening and understand-
I clean, clean, clean my violin… violin… violin. I clean, clean, clean my violin.
I love my violin!
ing instructions in the violin class and also by listening to music. Students develop new vocabulary by learning the parts
of the violin and the bow and by learning
VERSE 8
I close my case and lock the latch… lock the latch… lock the latch. I close my case and lock the latch.
Learning, 2017). Students demonstrate
I love my violin!
SPOKEN: Clap, Clap… Hands in your Lap.
basic music terms.
Mathematical thinking is Domain V
and covers patterns, counting, and spatial relations (Office of Early Learning, 2017).
One of the first activities I do with the students is counting the strings, counting the
tuning pegs, and counting the fine tuners. Verses are loosely based on the tune “Wheels on the Bus.” They also work with the tune “London Bridge.”
18 F l o r i d a
Music Director
Through this activity they learn that the violin has four strings and that the strings
are connected to the tuning pegs and the
tings (Office of Early Learning, 2017).
By age 5, that child may have heard 50
and create rhythmic and melodic patterns
unique in that, in order to be successful,
a child not living in poverty. After two
fine tuners. Students also play, identify,
and imitate bowing patterns. There are many other opportunities for exploring counting and patterns in the violin class.
Spatial relations and vocabulary related
to proximity (next to, under, over, above, below, etc.) are other components of this
domain that are used in violin instruction.
Students begin to understand the five
senses and the concept that vibration
produces sound in Domain VI, scientific inquiry (Office of Early Learning, 2017). This domain requires collabora-
tion with the classroom teachers. When they reach the curricular component of
the five senses, I ask the students to describe how they use each sense with
The social setting of the violin class is
the students must all be doing the same thing at the same time—bowing together,
playing correct notes, moving together,
etc. This helps students to internalize the
million fewer words in his or her life than
years of music lessons, those same kids’ academic performance went through the roof” (Hudziak & Picard, 2018, para. 3).
In addition to brain development and
importance of conforming to the group’s
growth, through learning basic violin
individual identity, and to recognize
integral part of the school day, students
mores and rules while maintaining their how their efforts contribute to the whole
group’s success. Musically, at four and
five years old, children begin to develop an awareness of the incredible power
of making music as a part of a group. Belonging to a music ensemble becomes as normal a part of the school day as reading or math, and when the children
get older, they will likely have a sense that
something is missing if they are not a part
concepts and establishing music as an are much more comfortable signing up for
traditional instrumental music ensembles in intermediate elementary and middle school. In this article, I hope to have pro-
vided tools and rationale that will spark ideas and concepts for music teachers to provide highly effective instrumental music instruction to students at every grade level.
of a music ensemble.
Anne C. Jacob is a nation-
becomes a favorite line, especially when
expression through the arts, is perhaps
(renewed 2018) in ele-
and procedures to their parents. The use
educators and potentially the most
the violin, and which of the senses they do not use (taste). “Don’t lick the rosin”
students are describing the violin rules
of sight, hearing, and touch are obvious, but perceptive students will notice that
string instruments have a unique smell because of the varnish, glue, cases, and rosin. I also collaborate with the teachers
on teaching the concept of vibration. The students can see the strings vibrate, and
I allow them to experiment with gently stopping the vibration with their fingers. They learn that they can use the bow or
they can use pizzicato to produce vibration of the strings and create sound. They
also discover that the thicker strings are lower pitched and the thinner strings are
higher pitched, a much more advanced notion that they will learn in their science class in later years.
Domain VII is all about social stud-
ies with components including culture, individual and group development and
identity, time, continuity and change, and rules and expectations in various set-
The status of Domain VIII, creative
the most encouraging domain for music confusing for classroom teachers. This domain specifically includes music as a component, and one of the standards is “actively participates in a variety of
individual and group musical activities.” The reason this can be misleading to
classroom teachers is that, in order for
the benchmark to be adequately reached,
this domain needs to encompass more than just singing along with a recording. The violin class is a vital key in helping
students to work through this benchmark at such a malleable moment in their
brain development. By learning to play an instrument, students improve muscle
control and coordination, increase atten-
tion span, and are more able to regulate their emotions than their peers. Practicing
music is a workout for the frontal and
prefrontal regions of the brain. According
to a 2018 study, “a child raised in poverty often grows up with a massive word gap.
al board certified teacher mentary/early
childhood
music. She teaches K-5
music and VPK violin at
Kings Highway Elementary, Pinellas County Schools, Clearwater. Mrs. Jacob holds the
BME from West Virginia University and the MA in education (curriculum and instruction) from the University of Phoenix. References Dobkin, L. (2015). The history and evolution of the Suzuki School. The Suzuki School. Florida Department of Education, Office of Early Learning. (2014). Florida school readiness program: Curriculum approval specifications [Form]. https://www.fldoe.org/core/fileparse. php/5444/urlt/0074888-7102.pdf Hudziak, J. and Picard, K. (2018). How does learning to play an instrument affect a child’s brain? VT Kids Magazine. https://www.kidsvt.com/vermont/how-doeslearning-to-play-an-instrument-affect-a-childsbrain/Content?oid=2757234 Office of Early Learning. (2017). Florida early learning and developmental standards. http:// www.floel.org/standardsresource/ Suzuki, S. (1981). Ability development from age zero. (M. L. Nagata, Trans.) Warner Bros. Publications (Original work published 1969).
April 2022
19
FLORIDA MUSIC EDUCATION ASSOCIATION 2021-2022 DONORS
Thank you to all of the donors who have shown their dedication to the improvement of music education in Florida by supporting our Mission through financial contributions.
Our donors support specific causes by donating to the FMEA funds of their choice: FMEA Scholarship Fund June M. Hinckley Scholarship Music Education Advocacy Professional Development for Members General Fund Mel & Sally Schiff Music Education Relief Fund The following have graciously donated to FMEA from April 1, 2021, through March 9, 2022. MAESTRO’S CIRCLE $10,000 and up
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Approaches to Program Band Performances Planning for success by choosing the right music!
F
by Thomas Willmann
For bands, concerts serve a variety of functions. Concerts
can strengthen the reputation of your music program.
community, build a sense of unity by bringing people
and the audience’s reception when selecting a program’s
provide opportunities to offer musical enjoyment for the
together, and provide challenging artistic outlets for students. With the COVID-19 pandemic affecting every music program, now is the time to consider alternatives
and new approaches. A well-planned performance, live-
stream, recording, or socially distanced in-person concert
22 F l o r i d a
Music Director
Directors should always consider the students’ growth
content and the performance medium. Student growth is vital; however, the audience’s approval is also a necessary
consideration for continued support. Knowing how to accomplish both can be challenging even for the expe-
rienced director, especially in the pandemic age. When
mming thoughtful and deliberate attention is given to the repertoire choices and performance type, you will have many of the ingredients for success.
composition, a well-balanced program will have some variety, unity, and contrast” (Cooper, 2004, p. 141).
The compositions chosen for a program will repre-
The values of your music program are reflected in each
sent your values in music and those of the department.
to understand where your priorities lie. Public appearanc-
audience learns more about the conductor’s choices and
performance. The community and the administration get es of the ensembles reflect what music is deemed worthy
of practice and performance, but recordings and livestream events now serve as artifacts and evidence of these values. Therefore, considerable forethought in choosing
Consequently, each time the ensemble performs, the the ensemble’s abilities. If an ensemble only performs one
genre/type of music, even if it is performed flawlessly, the ensemble may be considered a “one-trick pony.”
Keep students learning new types of music. At the
the repertoire each year will guide directors toward
primary and secondary levels, students need meaning-
chosen is similarly crucial, as is the ability to defend the
is new to the students can increase their versatility of
success. This transparency of how and why repertoire is choice of specific selections.
Choosing the Repertoire
Balanced concerts should include a variety of selections, including core repertoire, contemporary music, lyrical pieces, transcriptions/arrangements, marches, lighter selections, and crowd-pleasers. The pieces that fit these categories should challenge the students musically
and technically. Simply put, “As with a fine musical
ful exposure to a variety of music. Choosing music that
playing skills. Students may narrow their focused genre in post-secondary classes or experiences, but a music edu-
cator is responsible for broadening students’ knowledge and experience. Choose music from around the world for
your students. Seek music from different continents and regions each year. Some world music is already integrat-
ed into the standard repertoire for concert bands, and
students will likely play certain region-based pieces Continued on page 24 April 2022
23
Approaches to Programming Band Performance Continued from page 22 Rather,
anced instrumentation. Many can be performed with
you have not explored. The
Flex-band arrangements are often 5-parts plus percussion;
countless
times.
search for music from regions Wind Repertory Project (win-
drep.org) has dozens of cate-
gories from different regions. Knowing Where to Look
Finding music suitable for socially distanced ensembles
can be difficult. Directors may find that suitable music for
their altered ensemble is not in the band library. The plac-
es to look are on popular music publishers’ websites, and
nearly all publishers have flex/adaptable categories. These categories are for concert bands with incomplete or unbal-
combinations of string, brass, or woodwind instruments. however, other voicings exist, and knowing which type
works best for your band will determine which type is appropriate. There are four broad categories of these new
«
instrumentations:
« «
«
Flex arrangements typically need at least one instru-
ment on each part (soprano voice on part 1, bass voice on part 4).
Full flex arrangements have more options and can use
any instrument for any part (e.g., 4 flutes, 1 on each part).
Modular/cellular arrangements can use any instrumenta-
tion and any size ensemble, encouraging students to choose elements such as dynamics and repeats.
Improvisatory arrangements incorporate verbal direc-
tion, jazz chords, and alternative notation.
The Creative Repertoire Initiative (creativerepertoire.
com) is one website a director
can use to find flex arrangements. It is home to a collective
of composers who write specifically adaptable compositions.
Interestingly, some compos-
ers have started rewriting their music for smaller instrumenta-
tion, and these pieces can now be performed by ensembles that recently were unable to do so due to instrumentation
issues. Contacting composers directly may also encourage them to modify or arrange their existing compositions if they have not already done so.
Choosing What Is Best for the Musicians
Choosing the music the ensemble will perform is a primary concern for band directors. Start with introducing students to great literature (new and old) that will challenge
them. Students often respond favorably to challenges and well-crafted music. Building performances with this in
mind can highlight their skills and versatility, connecting them to new and exciting music as well as classic compositions.
Think of the students first when choosing concert
music. A director may find themselves too ambitious and
pick only highly challenging pieces. It is easy to do this
24
unknowingly and with great excitement, and unless one Florida Music Director
has unrestricted rehearsal time (unlikely), the director
music by composers that may not be included in their
Eric Leinsdorf cautioned conductors about this possibil-
bles make musical choices, correct errors, and become
may need to choose music of varying difficulty levels. ity by saying, “The question of sufficient rehearsal time
is affected by more than one factor. The strengths and
weaknesses of particular orchestras should be taken into account” (Leinsdorf, 1982, p. 205). Although Leinsdorf was speaking about the orchestra, his message applies
full ensemble performances. Students in chamber ensemleaders, gaining valuable skills for future performing.
Furthermore, the small setting is perfect for social distancing guidelines and adds a new skill set to the musicians.
To provide students with opportunities for success,
to any ensemble and the process and preparation. A pro-
a band director must be ready to adapt and learn. The
rehearsal time and could reduce the quality of each com-
knowledge of chamber music repertoire,
gram filled with challenging pieces will need extended position’s performance. In the case of unprepared music, the musicians may lose a degree of interest leaving them feeling unsuccessful in completing the task. Taking the
appropriate rehearsal time for each piece of music will
ensure a successful performance and a positive experience for students.
Adapting to Your Students’ Needs
One alternative to flex-band arrangements can include
the programming of chamber music. Chamber music
provides musicians with a diverse and extensive range of music, challenges in teaching themselves performance
techniques, and opportunities in leadership. This is an opportunity for students to perform and connect with
director will adapt by expanding their providing methods for students on how to make musical decisions (normally
assigned to the conductor), and arranging music to fit new instrumentation. Using websites similar to the ones previously mentioned, band directors can search specifically for chamber music and use
organizations’ websites like the Chamber Music Society (chambermusicsociety.org) to discover music. The band
directors may also need to arrange existing music for
the needs of the altered ensemble. Band arranging skills will provide directors with the ability to organize music specifically for their students. New students and new Continued on page 26 April 2022
25
Approaches to Programming Band Performance Continued from page 25 situations, like the COVID-19 pandemic,
In short, promoting your ensemble with
Sousa, King, and Fillmore marches will
ertoire. For directors, having knowledge
toire will be the best approach to connect
many generations of audience members.
present these new opportunities for repof chamber music, flex-band arrange-
ments, smaller instrumentation, and arranging music precisely for their students is priceless.
Knowing Your Audience
Directors must consider how best to show-
case the ensemble and simultaneously
give the audience a reason to listen and then choose to attend more performances.
Performances may be the only method for promoting a band program, and getting
the community on board is an important step. Featuring new repertoire can help draw an audience, or featuring music that
appeals to a wide variety of listeners can
superior performances of varied reperwith an audience.
The age of the audience can also deter-
mine the choice of repertoire. An experi-
enced concert “regular” might expect to
hear band standards and marches while a new audience member may be excited to hear popular music or music that appeals to a younger ear. In other words,
heritage, and the very best should be a regular part of band concert programs. Most audiences, especially older audiences, respond very favorably to performanc-
es of the vast variety of march types” (Cooper, 2004, p. 142). Themes
different than an evening concert for the
to unify a concert. Explore new and old
student body will look and sound much
community with parents and grandparents present. These performances may call for different music to connect with an audience.
With this in mind, do not underes-
timate the power of concert marches.
of music can leave audience members
obligatory at times, they provide variety
sleeping, bored, agitated, or disinterested.
“Marches are an important part of band
performances at a school assembly for the
effectively leave the audience wanting
to hear more. Conversely, the wrong set
be easily recognized and enjoyed by
Although programming marches may feel
and can connect with most audiences.
A theme can be a fun and useful way themes, and do not be afraid to be cre-
ative. When thinking about what could be celebrated during the time of the con-
cert, one may exercise their creativity and use occasions like space shuttle launches/ space exploration, Earth Day and con-
servation, holidays celebrated in other
countries, and contributions from Frank Oz and Jim Henson (or any influential fig-
ures) to select a variety of repertoire that follows a common theme. It is important to note, however, that with a specific
theme, there is the potential to lose the interest of the musicians and the audience members. Find a variety of music within a theme. A theme based on movies,
Broadway, or a decade may have music that has too many similarities between pieces, saturating the audience with like styles, forms, keys/meters, or orchestra-
tions. An alternative approach might be to use a theme such as “The Natural World” to bridge a variety of styles together with
selections like Colors of the Wind arranged by Paul Lavender alongside Loch Lomond
by Frank Ticheli, Chasing Sunlight by Cait Nishimura, Themes from Green Bushes by
Percy Grainger, Summit by Kevin Day, and
Bonsai Tree by Julie Giroux. This selection
of music combines a variety of composers and styles. Regardless of thematic perfor-
26 F l o r i d a
mances, maintain variety. Drawing music Music Director
from strictly one source will not offer the students and the audience much variety in style.
When considering a variety of music,
be aware of the genre, style, and time period of the selection. Sousa once claimed, “I
believe a programme composed entirely of so-called popular music would now be
as dismal a failure as one wholly made up of classical pieces” (John Philip Sousa
and the Culture of Reassurance, n.d., Para.
44). Take time to consider the selection of
music as a whole and weigh the options.
videos for the band program. Online con-
pandemic seems to have forever changed
concert program.
less people to watch, and if prerecorded,
al and performance, meaning adapta-
Remember, a good director crafts a good
Adapting to Zero Audience Performances
Many places have resumed in-person concerts while others maintain a virtual approach. Regardless of what has been
certs provide the opportunity for countthe best possible performance can be pre-
sented—however, careful consideration
should be given to copyright laws when performances are livestreamed or prerecorded and posted on a school’s website.
implemented, band directors must dis-
Finding Success
for an audience—not only if their region
for the program, and a satisfied, con-
cover new and creative ways to perform
returns to a virtual system, but also to reach a larger audience. Although most
directors have access to the internet, it is
still an underutilized resource for perfor-
mance. Creating an online concert will
challenge the director to become better acquainted with technology, but can pro-
vide numerous opportunities for concert viewing. Provided there is permission
from the district and the parents, the director can record and post each per-
formance online for the community to
Success for our students, gaining support nected audience (success for the listener)
ways to engage students. The director can encourage students with skills in audio/ visual technology to organize the record-
ing and gain experience in producing
adaptable and imaginative. So, if your plans unexpectedly fail, or if you are
looking for a more effective approach,
consider exploring some of these creative
options for your next concert cycle. Have a great show!
is a PhD candidate and
above are intended to help guide them
toward success. Performing successful
concerts throughout the year can provide positive experiences for the students, a
baseline for success in the future, steady audience attendance, and potential donations.
A director “… should usually plan
119). It is hardly feasible to program so far
prerecorded concerts can also be used as
learn from their teacher include being
program, the considerations mentioned
When a band director plans a concert
tunity for members of the community to
cert, and gain support. Livestream and
Remember, valuable skills students can
Thomas Willmann is
each season’s program at least one year
enjoy the performance, archive the con-
tion is now more essential than ever.
are the objectives of every performance.
watch. Posting performance videos on the school’s website can provide an oppor-
the band director’s approach to rehears-
in advance” (Hunsberger et al., 1992, p. in advance with class schedules changing, conflicts with sporting events, or
not knowing the instrumentation in the ensemble, but having an intimate knowl-
edge of full, flex, and chamber music for band students can assist with prepara-
tion time. More recently, the COVID-19
from St. Louis, Mo., and graduate
assistant
at
Florida State University in
Tallahassee, studying music education with
an instrumental conducting emphasis. He has been a music educator for primary and
secondary grades for 14 years in Colorado and Indiana.
References Cooper, L. G. (2004). Teaching band & orchestra: Methods and materials. GIA Publications. Hunsberger, D., Ernst, R. E. (1992). The art of conducting. McGraw-Hill. John Philip Sousa and the Culture of Reassurance. (n.d.). [Online text]. Library of Congress, Washington, D.C. 20540 USA. https://www.loc.gov/item/ihas.200152753/ Leinsdorf, E. (1982). The composer’s advocate: A radical orthodoxy for musicians. Yale University Press.
April 2022
27
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28 F l o r i d a
Music Director
ComponentNews M
FLORIDA VOCAL ASSOCIATION
Jeannine Stemmer, President
the
afraid to set the bar high,
before the pandemic. Step-
achievements on the way
arch
marked
as long as you celebrate the
first live MPA since
up.
ping foot on site was a huge
As I entered the presi-
sigh of relief, a light at the end of a seemingly endless
dency of FVA, I told myself
of the hardships we faced. I
organization and to learn
to lean on the pillars of this
tunnel, and not just because
from the “tried and true.”
forgot all that goes into an
That legacy is the key to
event of this magnitude:
endless sight-reading practice, tone quality develop-
FVA District 8, Wolf Lake Middle School, Ashley Norville, director
ment, the technical preparation of two
culture.
I have also found that the
new generation of music educators is thor-
that can be easily reached so that larg-
upon the legacy that is the Florida Vocal
goals for your program. Make small goals
field trip forms, bus companies, chap-
er goals seem more attainable. Don’t be
erone releases, finding an accompanist,
this
Finally, organize your plans and set
or three choral pieces, shaping phras-
es, dynamics, syllabic stress, expression,
continuing
oughly equipped to continue building Association.
attendance office, administrative signatures, business office purchase orders, payments, and finally, remembering how to conduct.
It was a such a joy to once again experi-
ence the live music-making with our col-
FLORIDA ORCHESTRA ASSOCIATION
Laurie Bitters, President
leagues and students. The Florida Vocal
s I write this, I am in the process of hosting and participating in MPA. What
sons for their outstanding leadership in
few years, it is amazing the resilience our teachers and their groups have shown
opportunity for our students. Many of
their hard work, and it is my intention to focus on that when we discuss our MPA
time and stepped into a culture with
everyone recognizing their students’ hard work. I also want to thank our adjudi-
education.
us and to give us their words of wisdom and encouragement.
some decay in culture, and many need
riences for both you and your students as you prepare for state MPA and end-of-
that culture is by understanding your stu-
left to do, which includes spring concerts and banquets and, surprise, testing!
or. Being successful is fun! Enjoy every
any motions or concerns to your district chairperson for the May FOA executive
accomplishment even in the failures.
in the handbook, please contact our past president, Matthew Davis. The handbook
by evaluating your tools for development.
always feel free to contact one of us on the board. We are here to serve you and
Association thanks its district chairper-
a wonderful feeling it is to hear so many wonderful groups! After the past
reinstituting this invaluable academic
in their performances and in sight-reading. I am so proud of my students for all of
them experienced MPA for the very first
performances. As I read your posts on Instagram and Facebook, it is good to see
deep roots of integrity in choral music
cators for taking the time from their own school programs to come and listen to
Our choral programs have experienced
rebuilding. The first step to rebuilding
dents’ desires for success in this endeav-
High school directors, I hope that your rehearsals continue to be learning expe-
year performances. It’s hard to believe the year is coming to a close with so much As we head into our end-of-year district meetings, please remember to submit
opportunity, and teach them how to find
board meeting. If you have concerns or would like more clarification about items
The second step to rebuilding culture is
committee will be meeting in July. Should you have questions or concerns, please
Be innovative. Refresh your ideas. Call on friends and colleagues for inspiration and
your students, and we value your input.
Best wishes on all of your end-of-year endeavors!
sanctuary.
April 2022
29
ComponentNews
FLORIDA MUSIC SUPERVISION ASSOCIATION
Lindsey R. Williams, PhD, President
W
e are still feeling the effects of the
“[W]e have all gone through some trauma in our experiences with the pandemic … we all need a bit of trauma care strategies in our lives…”
global pandemic that has inun-
dated us with all sorts of COVID-related
stimuli via social interactions, news, and social media feeds for nearly two years.
This may have led to a good deal of fear (still) as well as exhaustion. Further, I believe this fear has caused some adults
in our world to act irrationally, which only
I overheard my wife, a board certified
ing article by Jessica Minahan, a board
all gone through some trauma in our
educator. The article was written before
exacerbates the situation.
music therapist, suggesting that we have
son, I have had numerous conversations
experiences with the pandemic, which
As we work through concert MPA sea-
with teachers about how this MPA is a “first” for many of their students, and they expressed, either directly or indi-
rectly, anxiety both for their students and for themselves personally. These feelings seem to be more acute this year. Many of
my colleagues across the state have indi-
cated they have had similar conversations.
30 F l o r i d a
Music Director
made me wonder if we all need a bit of trauma care strategies in our lives, and
perhaps, we may want to explore some
trauma-informed teaching strategies to help our students cope with the world we now live in.
In trying to better understand trau-
ma-informed teaching, I found a fascinat-
certified behavior analyst and special COVID-19, but her recommendations hold
true today. I believe we can all agree that students are more likely to learn when
they feel safe, heard, and supported. Minahan (2019) stated that “small changes
in classroom interactions can make a big difference for traumatized students.”
It is important that we address our
students’ needs as well as our own, and
FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION
some of the suggestions in Ms. Minahan’s article are worth mentioning.
1. Expect Unexpected Responses
Uncertainty can cause stress and uncom-
to be mastered. Remember to show that
you value their efforts and the numerous skills that were demonstrated correctly instead of only addressing the problems.
Marc Decker, DMA, President
I
hope you all enjoyed a well-de-
served spring break and are
mon responses. The entropy of the last
5. Create Islands of Competence
recharged for the remainder of
somewhat wonky. Our students feel the
“learning gap” or how “far behind” their
active this semester with the launch
that are inappropriate. Students hear
the FCMEA Mentorship Project,
assume that they continue to accumulate,
ulty members in higher education
quacies. Students have no perspective
share the same teaching areas and
them are experiencing your class or their
ing to connect with a mentor, or
have your experience and the benefit—or
visit fcmea.org and complete the
are where they are because we have all
FCMEA president-elect, will con-
altered reality. They can’t help it. We need
coming weeks.
the most yearly growth we’ve ever seen.
tion of the FCMEA Professional
We all function better when we know
6. Limit Exclusionary Practices
is led by our immediate past
what to expect when they enter a class-
COVID was feeling separated from oth-
membership of FCMEA faces
ing are challenging for humans who
er education, and this committee
dents, especially our youngest ones, have
material for everyone’s benefit.
opportunities, so their social maturity is
sure trove of syllabi, or listening
have the COVID interruption. We need to
Teacher Certification Exam, ten-
frequently and repetitively.
development. These are just a few
often implored by one of my mentors,
what we have each day. Be kind, and con-
can accomplish. If you are inter-
dents often take in information with a
to yourself.
member, please let the FCMEA
Reference
Enjoy the rest of the semester.
two years has likely caused us all to feel
same way, but without the maturity and
coping strategies that we have developed
as adults. First listen to understand and show grace.
2. Employ Thoughtful Interactions
Students who have experienced trauma may be prone to feeling defensive espe-
cially as it relates to the student/teacher
power structure. Minahan stated that “the teacher is 50 percent of every interac-
tion with a student: By changing the way we give a direction or respond, we can reduce problematic behavior.”
3. Promote Predictability and Consistency
what to expect. When students know room—both environment and behavioral expectations—they are more likely to respond and behave in predictable ways. 4. Give Supportive Feedback to Reduce Negative Thinking
As music teachers, we are adept at finding “what is wrong” and correcting it. While this is certainly part of the teaching/learning process, it is important that
we also “catch them being good,” as is Cliff Madsen. Minahan suggests that stu“negativity amplifier.” Sometimes we can
be guilty of assigning motive to an error rather than just assuming it was simply a mistake or a concept or skill that has yet
If I hear one more person lamenting the
the school year. FCMEA has been
students are, I might just say some words
of two new initiatives. The first is
these negative comments, and I can only
designed to connect younger fac-
leading them to feel all sorts of inade-
with experienced veterans who
of “behind” or “ahead” as nearly all of
research interests. If you are look-
grade level for the first time. They do not
are willing to serve as one, please
the curse—of hindsight. Our students
interest form. Dr. Sandra Adorno,
weathered almost two academic years of
nect mentors and mentees in the
to treat this unique time as a way to see
The
second
is
the
forma-
Development Committee, which
One of the most prominent effects of
president, Dr. Stacie Rossow. The
ers. Virtual courses and social distanc-
many challenges specific to high-
are by nature social animals. Our stu-
can collect, centralize, and create
missed consequential social interaction
Imagine having access to a trea-
different than those students who did not
in on a webinar about the Florida
find ways to include students and do so
ure and promotion, or curriculum
We’re all doing the best we can with
examples of what this committee
tinue to show grace to one another and
ested in serving as a committee
Minahan, J. (October 1, 2019). Trauma-Informed Teaching Strategies. https://www.ascd.org/el/ articles/trauma-informed-teaching-strategies
leadership team know.
Stay safe and teach well!
April 2022
31
ComponentNews
FLORIDA NAfME COLLEGIATE
Mark A. Belfast, Jr., PhD, Advisor
a style and a language they might have
ignored under different circumstances. Last fall, I told you of my determination
to listen to and more closely study Latin
music in order to expand my musical knowledge. As we continue to see music
as a medium to introduce culture and to
connect people across the globe, I hope you will also push yourself to explore
music and/or cultures with which you
are unfamiliar. April is Jazz Appreciation Month, so why not start there? Jazz is
deeply rooted in American history, and although our education system insists
all K-12 students learn about the history of our country, little emphasis is placed
F
or several weeks the world has
which was not a style or a text I expected
astated millions of people. If any of you
check it out on YouTube. When I first
watched as yet another war has dev-
have loved ones involved in the war in Ukraine, I hope and pray they are safe and will be able to return home soon.
It has been interesting to see how the
arts community has responded to the war. I found it fascinating that Saturday
Night Live, a mainstream, prime time, network television show, chose to open
one weekend with a performance by the Ukrainian Chorus Dumka of New York instead of a comedy sketch. I was espe-
cially intrigued because (1) they did not sing in English, and (2) they performed Молитва за Україну (Prayer for Ukraine),
to hear on SNL. If you missed it, you can saw the performance, I was overcome
with a sense of pride. In that moment, I
on the history of jazz. As future music teachers, I encourage you to spend this month learning how to play, teach, and speak intelligently about the first truly American art form: jazz.
Most streaming video services have
was proud to be a musician and a music
one or more great documentaries on sig-
think the producers at SNL believed what
ing Quincy Jones, Nina Simone, John
educator, and it warmed my heart to
people needed most at that time was not
to laugh, but to be still and experience music.
It is likely many of the people who
saw that performance had no experience
with or interest in that type of music.
nificant figures in jazz history, includColtrane, Frank Sinatra, Miles Davis, Lee Morgan, Ella Fitzgerald, and others. Add
them to your watchlists and start educat-
ing yourself while having movie nights with friends!
Finally, here are some other resourc-
Nevertheless, they watched because they
es you might find helpful as you begin
open.” In doing so, they were exposed to
jazz education.
recognized the significance of such a “cold
exploring (or take a deeper dive) into your
ADDITIONAL RESOURCES
32
Florida Music Director
Let Freedom Swing Resource Guide
http://bit.ly/FMD-LFS
Jazz Academy
https://academy.jazz.org
Jazz Academy on YouTube with more than 600 instructional and performance videos
youtube.com/c/JazzAcademy
Swing University ($10 per class)
https://2021.jazz.org/swing-u
Jazz (the Ken Burns documentary)
https://amzn.to/3HUiomU
PBS – Blues Classroom
pbs.org/theblues/classroom.html
FLORIDA BANDMASTERS ASSOCIATION
Ian Schwindt, President
W
hat a wonderful time to be a music teacher! There have been so many
instances of triumph and perseverance throughout our state. Over this year
I have had the opportunity to attend
marching band MPAs, jazz band MPAs, chorus MPAs, orchestra MPAs, and con-
cert band MPAs. I find myself at each one of these MPAs being overwhelmed by the
sheer numbers. Ensemble after ensemble after ensemble all full of students striv-
ing to create music together. So many
incredible music teachers and SO MANY STUDENTS!
Please always remember, you are not
alone. You are not on an island. You are part of a HUGE music education family that is so grateful you are a part of it. If you make an impact on even just one stu-
dent, you are a success. And believe me, you are making an impact on more than
one student. You are working in the greatest subject to impact students, MUSIC! You are educating their humanity.
Missionaries have to be encouraged
constantly due to the frustrating nature of their work. One of the biggest principles
they have to remember is that it takes 10 witnesses to create a convert. You may
spend your whole life being witness num-
You are truly making a difference, even when you can’t see any results.
You have a powerful network and an
ber seven and never see a conversion. But
even more powerful subject matter. What
ber 10 becomes witness number nine and
to help you and support you. You are
if the missionary gives up, witness num-
there is no conversion. You are the music missionary. Don’t give up! Be the witness for music. Advocate in your school, advo-
cate in your town, advocate in the state.
you do matters, and so many people want what makes music education in the state of Florida so wonderful. Music education is truly alive and vibrant in the state of Florida.
Print. Digital. Direct.
April 2022
33
ResearchPuzzles FOR MUSIC TEACHERS
William I. Bauer, PhD FMEA Research Committee Chairman, University of Florida
Research Perspectives in Music Education
D
o you know that FMEA has a journal focused on
Survey items were focused on participants’ incorporation
Research Perspectives in Music Education (RPME) has been
utility of popular music to achieve a variety of musical goals.
research related to music teaching and learning?
published for over 30 years, providing reports of formal research studies conducted by scholars from throughout the United States. Past issues (https://bit.ly/rpme-past
)
have included articles on a plethora of topics such as music
aptitude, creative musicianship, curriculum issues, technol-
ogy, music listening, and music ensembles, to name only a
few. The journal is a valuable resource for music teachers looking for research-informed insights into student learning
of popular music into concert programming and perceived Results revealed that popular music made up less than half
of most directors’ concert programs, and responses regard-
ing the frequency of popular music rehearsal varied widely. Results also suggested that participants generally found popular music to be useful for motivating students and teaching musical concepts, although there were some differences in popular music usage in the classroom.
and instruction. All issues of RPME are available to FMEA
Effects of Score Study on Undergraduate members without charge and can be downloaded from the Musicians’ Performance Ratings and Rehearsal Attitudes in Chamber Ensembles: FMEA website. The latest issue of RPME (2022, volume 22) has recently An Exploratory Study been published. In it are five articles on topics that include
(a) using popular music in middle school band, (b) the effect of providing undergraduate musicians with a score to use
during rehearsals, (c) strategies for facilitating the melodic singing accuracy of second graders, (d) music opportunities for students in Florida charter schools, and (e) resources for
working with diverse music students. Below are abstracts of
each of these articles. The entire issue that includes the full text of each article can be downloaded from the journal’s page on the FMEA website (https://bit.ly/rpme-journal
).
Directors’ Use and Perceptions of Popular Music in Middle School Concert Band Julia R. Weinstein & Marshall Haning
The purpose of this descriptive, exploratory research study
was to investigate to what extent middle school band directors incorporate popular music in their programs and how they perceive the utility of popular music in their music curriculum. Middle-school band directors in Florida (n = 52) com-
pleted a researcher-designed survey containing Likert-type and open response items related to their use of popular music.
34 F l o r i d a
Music Director
Alec D. Scherer & Brian A. Silvey
The purpose of this exploratory study was to investigate the effects of score study on undergraduate musicians’ per-
formance ratings and rehearsal attitudes in chamber music ensembles. Undergraduate trumpeters (N = 8) were assigned to one of two matched quartets. In the control condition, quar-
tet members rehearsed without any restrictions, whereas in
the experimental condition, a portion of rehearsal was spent completing score study tasks. All rehearsals were 10 minutes
long. No significant difference in performance ratings or
performers’ rehearsal attitudes based on rehearsal condition were found. In addition to our primary research questions, we also compared performance ratings between sight-reading and post-rehearsal recordings. Our analysis indicated that
post-rehearsal recordings were rated significantly higher
than sight-reading recordings (p < .001). Because the time spent engaged in score study activities did not detract from
performance or attitude ratings, further investigation into incorporating score study within the rehearsal process seems warranted.
This on-going column seeks to stimulate awareness of research issues for FMEA teachers and researchers.
The Effect of Self-Evaluation, Self-Recording Along With Self-Listening, and Modeling on 2nd Graders’ Melodic Singing Accuracy
First, do overall music course offerings and the specific classes
Dylan D. Fixmer
in music courses differ between charter and traditional pub-
of (a) self-recording along with self-listening and (b) self-record-
between enrollment in Florida middle school music courses
graders’ melodic singing accuracy. Pre- and post-treatment
the state, percentage of minority students, or percentage of
children from two schools in southern Indiana, who were
effect of school management type and student enrollment
group. Participants in “Treatment A” sang a song taught to
the majority of traditional schools offered at least one music
to a recording of their own voice, and sang again. Participants
least one music course. Significant, positive, weak correlations
rated their performance, listened back to an exemplar model
(a) school size, and (b) school grade. Significant negative
sang a song taught to them by the researcher, rated their perfor-
courses and (a) percentage of minority students, and (b) per-
vidually in sessions lasting from one to five minutes. Melodic
cally significant difference was found between music course
absolute value of cents deviation from the correct pitch adjust-
and between traditional schools and nonprofit charter schools.
that are offered differ between charter and traditional public middle schools in Florida? Second, does student enrollment
The purpose of this study was to investigate the relative effects
lic middle schools in Florida? Third, is there a relationship
ing along with self-listening and listening to a model on second
and school enrollment, annual school grade assigned by
singing performances were collected from 48 second-grade
economically disadvantaged students? Fourth, what is the
randomly assigned to one of two treatment groups or a control
on music courses at charter schools in Florida? In this study,
them by the researcher, rated their performance, listened back
course, whereas only around half of the charter schools had at
in “Treatment B” sang a song taught to them by the researcher,
were found between students enrolled in music courses and
of the song, and sang again. Participants in the control group
correlations were found between students enrolled in music
mance, and sang again. The conditions were administered indi-
centage of economically disadvantaged students. A statisti-
singing accuracy was measured as pitch deviation (i.e., the
enrollment in traditional schools and for-profit charter schools,
ed for the participant’s chosen key center). Results indicated
Additional analyses and implications are included.
improved in melodic singing accuracy, whereas participants in
Music Is for Everyone: Scholarly Resources for Teaching Diverse Students
no improvement, and participants in the control group per-
Barry Hartz & Megan M. Sheridan
may benefit from the use of self- and model-listening, as well
diverse, coming from a variety of cultural and social back-
that children in Treatment B (e.g., self- and model-listening) group A (e.g., who only listened to their own recording) made formed worse at post-test. The findings suggest that children as the use of self-listening as part of the self-evaluation process.
Music for All? A Comparison of Florida Middle School Music Enrollment in Traditional, For-Profit, and Nonprofit Charter Schools
Students in today’s American classrooms are exceptionally
grounds, and have a wide variety of learning needs. Music classrooms are no different. The purpose of this article is to introduce a collection of research-informed resources
to help music educators support the music learning of all
their students. The information is divided into four sections
Melissa A. Salek
addressing racial and cultural diversity, socio-economic
school (grades 6-8) students in charter schools had similar
with disabilities.
their counterparts in traditional public middle schools during
Email your questions and feedback to wbauer@ufl.edu
The purpose of this study was to examine if Florida middle opportunities to access and enroll in music courses as did
the 2019-20 school year. Four questions guided this research.
diversity, gender-based diversity, and supporting students
with a subject heading Research Puzzles.
April 2022
35
CommitteeReports I
hope you have the opportunity to read about how each 2022 FMEA award recipient is supporting and furthering quality
and exemplary music education throughout our state in the February/March Florida Music Director. You will learn about
AWARDS COMMITTEE
Sondra A. W. Collins, Chairwoman
that they better understand and make connections as they continue to grow. I just happen to do all of that through music.
I want to ensure that my students know that I want them
our nine major category 2022 FMEA award winners, includ-
to be in my class. That them being there matters to me.
Collegiate), the Administrator of the Year, the Leadership in
challenging than others. I want them to know that they can
ing the Educators of the Year (Elementary, Secondary, and Music Education awardee, the Distinguished Service in Music
Education awardees, the Exemplary Music Model Project and
Program awardees, and the Conference Service awardee. You
will also see the 19 FMEA Music Education Service awardees who collectively contributed 565.5 total years of service to music
education. And you will see the 18 schools that were awarded the FMEA Music Enrollment Award, reaching at least 45% at the
middle school level and 30% at the high school level of their total student population with music education.
In the coming months I would like to share with you a lit-
Life isn’t easy, and sometimes we have days that are more
count on me to be there for them. That I’m only as good a music teacher as they make me out to be. And together we
will make beautiful music memories. I feel privileged to be able to be a part of educating the children who pass through
my classroom each day. I have several students who tell me
how lucky I am because I get to go to music class all day, every day. And I tell them that they are right!
And Connie Drosakis states, in her own words:
Development Conference. These words of inspiration I share
F
students, as well as the drive to help shine a light on others in our
Cecilia” by Dello Joio, accompanied by the
tle of the brilliance that our awardees shared with us at our 2022 FMEA Awards Ceremony during the FMEA Professional
with you to give you that confidence to be the light to your own
next nomination period. I know that reading about and hearing
words from all of our 2022 FMEA awardees will impress you, but I hope it will also inspire you to think about possible nominees for 2023. The call for nominations is already available at https:// fmea.org/programs/awards/.
I know there are many amazing
music educators and music education supporters out there, and I look forward to receiving the next new round of nominations.
First off this month, we will start with some inspiring
words from our 2022 FMEA Elementary Music Educator of the Year, Beth Ann Delmar, and our 2022 FMEA Secondary Music Educator of the Year, Connie Drosakis.
As Beth Ann Delmar states, in her own words:
orty years ago, I was a member of the All-State Concert Choir, under the
direction of Dr. Robert Summer. I remem-
ber two pieces in particular, “To Saint All-State Orchestra, and the schmaltziest arrangement of “All the Things You Are”
I think that has ever been written. To this day, I can still remember how I felt singing those songs, singing with an orchestra. It was the first time that I had the opportunity to do that. It was that day that I decided that I wanted to
become a music educator. I wanted to teach others. I wanted
to help others feel music … feel what music could do for them … feel the opportunities that they could have, through music.
I’m so proud of this award, because I was selected by my
peers. But I’m most proud, because through the letters of
congratulations I received from sweet students, I learned
W
how they feel about music. Yes, they thanked me. They
them deserve to have. I want to make sure
thanked me for teaching them music theory! But even
hen I go to school each day, it is a goal for me to not just be my best for my students, but
to truly be the music teacher that each of
that I’m putting forth my best effort to give them the best music education I can in the
short amount of time that I have them. I don’t just teach music. I teach my students
knowledge and skills to help them in all aspects of life so
36
Florida Music Director
thanked me for teaching them certain songs. They recalled certain songs and how it made them feel in that particular
moment of their life and how it helped them. They even more, every letter said something about life skills that they
learned. They spoke about responsibility. They spoke about
teamwork. They spoke about how music made them more
confident and how it made them proud. As a teacher, I’m not sure that we could ask for much more.
STUDENT DEVELOPMENT COMMITTEE
Michael Antmann, EdD, Chairman
A
s the year starts to wind down, it’s
students lead sectionals. This might be
give them the opportunity to work as a
ing the groundwork for next year. One of
they have clear parameters and objectives.
to apply musical knowledge critically. We
time to start making plans and lay-
my favorite things this time of year is the process of interviewing and selecting student leaders. It’s an opportunity for both
me and my students to reflect on the past year and to find opportunities for growth. While selecting student leaders is important, we must recognize that selection itself is only a small part of the process.
Leadership needs to be cultivated and
encouraged in all students throughout the year. Fortunately, in music, there are many opportunities for students to lead.
You don’t have to be in leadership
to be a leader. This is one of the most important lessons a student can learn.
Leaders set an example. I often ask my
students, “If everyone gave the same effort as you, would our organization be better
or worse?” It’s important to inspire the
people around you to do better. Students who exhibit these behaviors should be
scary at first, but can be highly effective if
This also gives them ownership of the
learning process, which is a critical factor for the students’ and the ensemble’s suc-
cess. There are many other opportunities to let students lead. One of my students’
favorite events is when we host middle school solo and ensemble (S&E) MPA. It
is student-organized and student-run. As a teacher, it’s a great feeling to see my stu-
team, to organize and execute a plan, and already know that S&E is one the most
important things a student can do to grow musically, but the leadership and person-
al responsibility benefits should not go unnoticed.
Finally, when it is time for the inter-
view, my students are asked only the three questions shown below.
One of the most important lessons
dents take these opportunities seriously
we’ve learned over the last two years is
Speaking of S&E MPA, that is probably
students. Have a great end of the school
and to see them take pride in their work.
one of the best opportunities to develop student leaders. Student-led ensembles
that everything we do should be about
year, and get some much-needed rest this summer. Next year is going to be great!
INTERVIEW QUESIONS 1. “What have you done this year that makes you a good candidate to be on the leadership team?” This is because leadership is an action, not an idea or a title. Change and growth both require actions.
2. “What is something you wish you had done better this year?”
reinforced and recognized as a positive
Growth cannot happen without humility. The ability to recognize needs for improvement in oneself can inspire others to do the same.
rected. All young people have leadership
3. “What is something you think we should do differently, or something new we should do next year?”
example. Students who do not can be rediabilities; it’s our job to help them realize their potential.
Give them opportunities to lead. This
Students have great ideas, and I feel like we learn a lot by giving them the opportunity for input. Some of the most effective changes I’ve made in my current position came from students’ suggestions.
is remarkably easy in music programs. Let
April 2022
37
CommitteeReports
W
EMERGING LEADERS COMMITTEE
Mary Palmer, EdD, Chairwoman
e have heard the word resilience
and opportunities … and increases the
your community, and much more.
Here is how it is defined in the dictionary:
and sharing is an important part of
expected to attend the annual FMEA
Program participants have guided oppor-
to be held in Orlando on Saturday, June 11
« «
frequently in these troubled times.
the capacity to recover quickly from difficulty; toughness
the ability to spring back; elasticity
Here is the Mary Palmer definition:
music educators! It has thrilled me to see
value of the initial idea. Friend-building the FMEA Emerging Leaders program. tunities to help each other grow as music educators and leaders … and have FUN.
Now is the time to shape your future. If
the will to make it work in action; to see
you’d like to be a leader for music educa-
students and audiences to experience
to be a 2023 FMEA Emerging Leader.
music educators create new ways for both music; to feel the JOY of accomplishment.
Yes, resilient … and a whole lot more! Thank you for continuing to change lives through music!
What I’ve discovered is that it is much
more fun when we work together. Each
shared idea sparks more and more ideas
The 2022-23 Emerging Leaders are
Emerging Leaders Drive-In to Leadership (9:30 am-3:30 pm). We’ll hear from FMEA
leaders, award-winning music educators, and more. You won’t want to miss it!
We urge experienced teachers, district
tion, we hope you will consider applying
leaders, and school principals to nomi-
You’ll have front row opportunities to
come, too. Please visit: http://FMEA.org/
participate in the “inner workings” of the
annual FMEA Professional Development
Conference, to present your own ideas/
work in our Pecha Kucha session, to learn more about how to advocate for music
education not only in your school but in
nate candidates. Self nominations are welprograms/emerging-leaders/
for the
application form. Please be sure to include your resume/vitae. Applications are due by April 26. Questions? Please contact
Dr. Mary Palmer at mpalmerassoc@aol. com.
The Tri-M Music Honor Society is a program of the National Association for Music Education, which focuses on creating future leaders in music education and music advocacy. Learn more at:
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musichonors.com
Partners Make It Possible The Florida Corporate and Academic Partners help strengthen music education in Florida through their tireless work to support teachers. FMEA expresses its greatest thanks to each of our Partners, Corporate and Academic, for their partnership over the past year. We hope that FMEA members from across the state support our partners as they support FMEA and Florida music educators. The Academic Partner memberships are for colleges, universities, and military organizations, and the Corporate Partner memberships are for businesses and organizations. Please choose the appropriate button for more information.
FMEA is a not-for-profit professional education association that serves and supports music education across Florida. FMEA promotes and publishes the Florida Music Director and music education research, organizes professional development programs, and broadens teachers’ knowledge and interest in their profession through affiliation with colleagues. Membership in FMEA is open to music instructors from pre-kindergarten level through college, including music supervisors, and component organization membership is available for your specific music education focus.
Corporate Partners
Academic Partners
April 2022
39
ExecutiveDirector’sNotes
FMEA Executive Director
The mission of the Florida Music Education Association is to promote quality, comprehensive
Kathleen D. Sanz, PhD
music education in all Florida schools.
Florida Legislature Passes Several Bills Related to Education he regular 2022 Legislative Session closed on March 11. The « SB 1054 Financial Literacy: Even though this bill passed, as
T
Legislature approved a resolution that extended the session
through March 14 for budget bills only. Legislation That Passed
Several education-related bills passed both the House and the
Senate and have been sent to the governor for his signature,
«
including:
CS/CS/HB 1557 Parental Rights in Education: Requires district school boards to adopt procedures that comport with
certain provisions of law for notifying student’s parent of
specified information; requires such procedures to reinforce
as the FMEA advocacy committee recommended. So, thank you for your work. And huge thanks to our lobbyists, Tony and Mike, who made this magic happen. Florida Seal of Fine Arts
The Florida Seal of Fine Arts bill was filed in the Senate (SB 318) with no companion bill in the House. It was indefinitely postponed and withdrawn on March 12.
K-12 Education Budget/Grant Funding
district from adopting procedures or student support forms
pupil funding from $7,758.30 to $8,142.80.
that prohibit school district personnel from notifying parent
Funding for public schools is slated to be up by 4.96%, raising per The Florida Division of Arts and Culture’s Cultural and
about specified information or that encourage student to
Museum Grants, which FMEA falls under for grant funding,
district personnel from discouraging or prohibiting parental
news! There is always the possibility that Governor DeSantis
withhold from parent such information; prohibits school notification and involvement in critical decisions affecting student’s mental, emotional, or physical well-being; prohib-
were approved by the House and Senate at 100%. This is great could veto this line item, but we will keep our fingers crossed.
its classroom discussion about sexual orientation or gender
Commissioner of Education
notify parents of healthcare services; authorizes parent to
announced he will be stepping down from his
identity in certain grade levels; requires school districts to bring action against school district to obtain declaratory
judgment; provides for additional award of injunctive relief, damages, and reasonable attorney fees and court costs to certain parents.
CS/HB 7 Individual Freedom: This bill will limit discussions teachers and businesses can have about race. The bill reads in
Commissioner of Education Richard Corcoran position at the end of April. He has served as the commissioner of education for more than
three years since his appointment in December 2018, and he has served the state continuously since 2010, including his time as a
member and as speaker of the Florida House of Representatives.
part, “A person should not be instructed that he or she must
ESSER Funds
for actions, in which he or she played no part, committed in
funding available for arts education. You need to work closely
feel guilt, anguish, or other forms of psychological distress
«
amendment added to put off implementation for one year,
fundamental right of parents to make decisions regarding upbringing and control of their children; prohibits school
«
we suspected it would, in good news we were able to get an
the past by other members of the same race or sex.” It applies to K-12 public schools, but not universities.
CS/HB 1467 K-12 Education: The Florida Legislature is
imposing 12-year term limits for school board members in 67 school districts, a new standard for locally elected board
members who currently don’t have term limits. At issue is whether the bill may overstep local authority or constitution-
al rules. Local boards, under the Florida Constitution, have the authority to operate public schools.
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While initially the ESSER funds were very limited, there is with your school district and school administration to request the funds. Remember that you must have a needs assessment
and a plan with specificity on how the funds would be used for students.
I hope the remainder of the year is productive for you and
your students.
Kathleen D. Sanz, PhD
�
F LO R I DA M U S I C E D U C AT I O N A SSO C I AT I O N
Officers and Directors
EXECUTIVE BOARD President
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 Past President
Steven N. Kelly, PhD
Florida State University; College of Music, KMU 330 Tallahassee, FL 32306 (850) 644-4069; skelly@admin.fsu.edu President-Elect
Jason Locker
Orange County Public Schools 445 W. Amelia St.; Orlando, FL 32801 (407) 317-3200; jasonlocker@fmea.org FBA President
Ian Schwindt
Titusville High School 150 Terrier Trail S.; Titusville, FL 32780-4735 (321) 264-3108; schwindt.ian@brevardschools.org FCMEA President
Marc Decker, DMA
Florida Atlantic University 777 Glades Rd.; Boca Raton, FL 33431 (561) 297-3883; deckerm@fau.edu FEMEA President
Joani Slawson
Holy Trinity Episcopal Academy 1720 Peachtree St.; Melbourne, FL 32901 joanislawson@gmail.com Florida NAfME Collegiate President
Allison Yopp
Southeastern University ayopp@seu.edu Florida NAfME Collegiate Advisor
Mark A. Belfast, Jr., PhD
Southeastern University 1000 Longfellow Blvd.; Lakeland, FL 33801 (863) 667-5104; mabelfast@seu.edu FMSA President
Lindsey R. Williams, PhD
Seminole County Public Schools (407) 320-0434; willialz2@scps.k12.fl.us FOA President
Laurie Bitters
Winter Park High School 2100 Summerfield Rd.; Winter Park, FL 32792 (407) 622-3200; laurie.bitters@gmail.com
EX-OFFICIO MEMBERS
FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION
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
President......................................................................... Marc Decker, DMA Florida Atlantic University; 777 Glades Rd.; Boca Raton, FL 33431 deckerm@fau.edu
Editor-in-Chief.....................................................D. Gregory Springer, PhD FSU College of Music; 122 N. Copeland St.; Tallahassee, FL 32306 (850) 644-2925; dgspringer@fsu.edu
President....................................................................................Allison Yopp Southeastern University; ayopp@seu.edu
FSMA President ........................................................................Valerie Terry vterrymusic@gmail.com
FMEA COMMITTEE CHAIRPERSONS
Past President............................................................ Ernesta Chicklowski Roosevelt Elementary School; 3205 S. Ferdinand Ave.; Tampa, FL 33629 (813) 272-3090; ernesta.chicklowski@sdhc.k12.fl.us
Committee Council...........................................................Bernie Hendricks Ocoee High School; bernard.hendricks@ocps.net
Executive Director............................................................. Jennifer Sullivan 1750 Common Way Rd., Orlando, FL 32814 (321) 624-5433; slljenn@aol.com
Conference Planning Committee.............................John K. Southall, PhD Indian River State College; 3209 Virginia Ave.; Fort Pierce, FL 34981 (772) 462-7810; johnsouthall@me.com
FLORIDA MUSIC SUPERVISION ASSOCIATION
Contemporary Media................................................... David Williams, PhD University of South Florida; 4202 E. Fowler Ave., MUS 101 Tampa, FL 33620; (813) 974-9166; davidw@usf.edu Emerging Leaders............................................................ Mary Palmer, EdD 11410 Swift Water Cir.; Orlando, FL 32817 (407) 382-1661; mpalmerassoc@aol.com FMEA Corporate & Academic Partners.....................................Fred Schiff All County Music; 8136 N. University Dr.; Tamarac, FL 33321-1708 (954) 722-3424; fred@allcountymusic.com Government Relations..................................................Jeanne W. Reynolds jeannewrey@gmail.com Health & Wellness........................................................ Revae Douglas Ross Brandon High School; 1101 Victoria St.; Brandon, FL 33510 (813) 744-8120, ext. 311; revae.douglas@hcps.net Multicultural Network...........................................................Bruce J. Green (407) 927-3141; bruce.green@ocps.net
President.............................................................. Lindsey R. Williams, PhD Seminole County Public Schools (407) 320-0434; willialz2@scps.k12.fl.us Past President............................................................Harry “Skip” Pardee 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.................................................................................Laurie Bitters Winter Park High School; 2100 Summerfield Rd.; Winter Park, FL 32792 (407) 622-3200; laurie.bitters@gmail.com Past President.......................................................................Matthew Davis Harrison School for the Arts; 750 Hollingsworth Rd.; Lakeland, FL 33801 (863) 499-2855; matthew.lawson.davis@gmail.com
Professional Development........................................................Scott Evans Orange County Public Schools; 445 S. Amelia St.; Orlando, FL 32801 (407) 317-3200; scott.evans@ocps.net
Executive Director............................................................. Donald Langland 220 Parsons Woods Dr.; Seffner, FL 33594 (813) 502-5233; Fax: (813) 502-6832; exdirfoa@yahoo.com
Reclamation.............................................................. William “Bill” Reaney Buffalo Creek Middle School, 7320 69th St. East; Palmetto, FL 34221 (239) 826-8077; billreaney64@gmail.com
FLORIDA VOCAL ASSOCIATION
Research......................................................................William I. Bauer, PhD University of Florida; wbauer@ufl.edu Secondary General Music.............................................................Ed Prasse Leon High School; 550 E. Tennessee St.; Tallahassee, FL 32308 (850) 617-5700; prassee@leonschools.net Student Development.............................................. Michael Antmann, EdD Freedom High School; 2500 W. Taft-Vineland Rd.; Orlando, FL 32837 (407) 816-5600; michael.antmann@ocps.net Social Justice & Diverse Learners..................................Bernie Hendricks Ocoee High School; bernard.hendricks@ocps.net
PROFESSIONAL DEVELOPMENT CONFERENCE Exhibits Manager fmeaexhibits@fmea.org Local Chairman Ted Hope—(813) 272-4861; ted.hope@sdhc.k12.fl.us
FLORIDA BANDMASTERS ASSOCIATION
Past President..................................................................... Cathi Leibinger Ransom Everglades School; 2045 Bayshore Dr.; Miami, FL 33133 (305) 250-6868; pastpresident@fba.flmusiced.org
Miami Northwestern Senior High School cnorton@dadeschools.net
FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION
Budget/Finance, Development................................ 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
Florida Christian School 4200 SW 89th Ave.; Miami, FL 33165 j9stemmer@floridachristian.org
Chad Norton
Past President..........................................................................Alexis Hobbs Southeastern University; (352) 220-2791; aphobbs@seu.edu
President.................................................................................Joani Slawson Holy Trinity Episcopal Academy; 1720 Peachtree St.; Melbourne, FL 32901 joanislawson@gmail.com
FVA President
Member-at-Large
Florida NAfME Collegiate
Awards............................................................................Sondra A. W. Collins sondra.collins@marion.k12.fl.us
President...................................................................................Ian Schwindt Titusville High School; 150 Terrier Trail S.; Titusville, FL 32780-4735 (321) 264-3108; schwindt.ian@brevardschools.org
Jeannine Stemmer
�
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
President........................................................................ Jeannine Stemmer Florida Christian School, 4200 SW 89th Ave.; Miami, FL 33165 j9stemmer@floridachristian.org Past President......................................................................... Jason Locker jason@fva.net Executive Director.....................................................................Michael Dye 231 S. Bayshore Dr.; Valparaiso, FL 32580 (850) 217-7419; mike@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 President..................................... Kathleen D. Sanz, PhD (kdsanz@fmea.org) Director of Operations........................Valeria Anderson, IOM (val@fmea.org) Technology Director......................................Josh Bula, PhD (josh@fmea.org) Public Affairs & Communications Coordinator..................................... Jenny Abdelnour, CAE (jenny@fmea.org) Marketing & Membership Coordinator................................. Jasmine Van Weelden (jasmine@fmea.org)
AFFILIATIONS
April 2022
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TES A D THE E V SA
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