Planning for success by choosing the right music

Approaches to Programming Band Performances

Planning for success by choosing the right music!

by Thomas Willmann

FFor bands, concerts serve a variety of functions. Concerts provide opportunities to offer musical enjoyment for the community, build a sense of unity by bringing people 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, livestream, recording, or socially distanced in-person concert can strengthen the reputation of your music program. Directors should always consider the students’ growth and the audience’s reception when selecting a program’s 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 experienced director, especially in the pandemic age. When

Approaches to Programming

thoughtful and deliberate attention is given to the repertoire choices and performance type, you will have many of the ingredients for success.

The values of your music program are reflected in each performance. The community and the administration get to understand where your priorities lie. Public appearances 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 the repertoire each year will guide directors toward success. This transparency of how and why repertoire is chosen is similarly crucial, as is the ability to defend the 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 composition, a well-balanced program will have some variety, unity, and contrast” (Cooper, 2004, p. 141).

The compositions chosen for a program will represent your values in music and those of the department. Consequently, each time the ensemble performs, the audience learns more about the conductor’s choices and 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 primary and secondary levels, students need meaningful exposure to a variety of music. Choosing music that is new to the students can increase their versatility of playing skills. Students may narrow their focused genre in post-secondary classes or experiences, but a music educator 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 integrated into the standard repertoire for concert bands, and students will likely play certain region-based pieces

Approaches to Programming Band Performance

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countless times. Rather, search for music from regions you have not explored. The Wind Repertory Project (windrep.org) has dozens of categories 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 places 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 unbalanced instrumentation. Many can be performed with combinations of string, brass, or woodwind instruments. Flex-band arrangements are often 5-parts plus percussion; 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 instrument 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 instrumentation and any size ensemble, encouraging students to « choose elements such as dynamics and repeats. Improvisatory arrangements incorporate verbal direction, 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 composers have started rewriting their music for smaller instrumentation, 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 unknowingly and with great excitement, and unless one

has unrestricted rehearsal time (unlikely), the director may need to choose music of varying difficulty levels. Eric Leinsdorf cautioned conductors about this possibility 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 to any ensemble and the process and preparation. A program filled with challenging pieces will need extended rehearsal time and could reduce the quality of each composition’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 music by composers that may not be included in their full ensemble performances. Students in chamber ensembles make musical choices, correct errors, and become leaders, 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, a band director must be ready to adapt and learn. The director will adapt by expanding their knowledge of chamber music repertoire, 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

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situations, like the COVID-19 pandemic, present these new opportunities for repertoire. For directors, having knowledge of chamber music, flex-band arrangements, smaller instrumentation, and arranging music precisely for their students is priceless.

Knowing Your Audience

Directors must consider how best to showcase 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 effectively leave the audience wanting to hear more. Conversely, the wrong set of music can leave audience members sleeping, bored, agitated, or disinterested. In short, promoting your ensemble with superior performances of varied repertoire will be the best approach to connect with an audience.

The age of the audience can also determine the choice of repertoire. An experienced 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, performances at a school assembly for the student body will look and sound much different than an evening concert for the community with parents and grandparents present. These performances may call for different music to connect with an audience.

With this in mind, do not underestimate the power of concert marches. Although programming marches may feel obligatory at times, they provide variety and can connect with most audiences. Sousa, King, and Fillmore marches will be easily recognized and enjoyed by many generations of audience members. “Marches are an important part of band heritage, and the very best should be a regular part of band concert programs. Most audiences, especially older audiences, respond very favorably to performances of the vast variety of march types” (Cooper, 2004, p. 142).

Themes

A theme can be a fun and useful way to unify a concert. Explore new and old themes, and do not be afraid to be creative. When thinking about what could be celebrated during the time of the concert, one may exercise their creativity and use occasions like space shuttle launches/ space exploration, Earth Day and conservation, holidays celebrated in other countries, and contributions from Frank Oz and Jim Henson (or any influential figures) 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 orchestrations. 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 performances, maintain variety. Drawing music

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. Remember, a good director crafts a good concert program.

Adapting to Zero Audience Performances

Many places have resumed in-person concerts while others maintain a virtual approach. Regardless of what has been implemented, band directors must discover new and creative ways to perform for an audience—not only if their region 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 performance. Creating an online concert will challenge the director to become better acquainted with technology, but can provide numerous opportunities for concert viewing. Provided there is permission from the district and the parents, the director can record and post each performance online for the community to watch. Posting performance videos on the school’s website can provide an opportunity for members of the community to enjoy the performance, archive the concert, and gain support. Livestream and prerecorded concerts can also be used as ways to engage students. The director can encourage students with skills in audio/ visual technology to organize the recording and gain experience in producing videos for the band program. Online concerts provide the opportunity for countless people to watch, and if prerecorded, the best possible performance can be presented—however, careful consideration should be given to copyright laws when performances are livestreamed or prerecorded and posted on a school’s website.

Finding Success

Success for our students, gaining support for the program, and a satisfied, connected audience (success for the listener) are the objectives of every performance. When a band director plans a concert program, the considerations mentioned 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 each season’s program at least one year in advance” (Hunsberger et al., 1992, p. 119). It is hardly feasible to program so far in advance with class schedules changing, conflicts with sporting events, or not knowing the instrumentation in the ensemble, but having an intimate knowledge of full, flex, and chamber music for band students can assist with preparation time. More recently, the COVID-19 pandemic seems to have forever changed the band director’s approach to rehearsal and performance, meaning adaptation is now more essential than ever. Remember, valuable skills students can learn from their teacher include being 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!

Thomas Willmann is from St. Louis, Mo., and is a PhD candidate 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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FLORIDA VOCAL ASSOCIATION Jeannine Stemmer, President

March marked the first live MPA since before the pandemic. Stepping foot on site was a huge sigh of relief, a light at the end of a seemingly endless tunnel, and not just because of the hardships we faced. I forgot all that goes into an event of this magnitude: endless sight-reading practice, tone quality development, the technical preparation of two or three choral pieces, shaping phrases, dynamics, syllabic stress, expression, field trip forms, bus companies, chaperone releases, finding an accompanist, attendance office, administrative signatures, business office purchase orders, payments, and finally, remembering how to conduct.

It was a such a joy to once again experience the live music-making with our colleagues and students. The Florida Vocal Association thanks its district chairpersons for their outstanding leadership in reinstituting this invaluable academic opportunity for our students. Many of them experienced MPA for the very first time and stepped into a culture with deep roots of integrity in choral music education.

Our choral programs have experienced some decay in culture, and many need rebuilding. The first step to rebuilding that culture is by understanding your students’ desires for success in this endeavor. Being successful is fun! Enjoy every opportunity, and teach them how to find accomplishment even in the failures.

The second step to rebuilding culture is by evaluating your tools for development. Be innovative. Refresh your ideas. Call on friends and colleagues for inspiration and sanctuary.

Finally, organize your plans and set goals for your program. Make small goals that can be easily reached so that larger goals seem more attainable. Don’t be afraid to set the bar high, as long as you celebrate the achievements on the way up.

As I entered the presidency of FVA, I told myself to lean on the pillars of this organization and to learn from the “tried and true.” That legacy is the key to continuing this culture. FVA District 8, Wolf Lake Middle School, Ashley Norville, director

I have also found that the new generation of music educators is thoroughly equipped to continue building upon the legacy that is the Florida Vocal Association.

FLORIDA ORCHESTRA ASSOCIATION Laurie Bitters, President

s I write this, I am in the process of hosting and participating in MPA. What a wonderful feeling it is to hear so many wonderful groups! After the past few years, it is amazing the resilience our teachers and their groups have shown in their performances and in sight-reading. I am so proud of my students for all of their hard work, and it is my intention to focus on that when we discuss our MPA performances. As I read your posts on Instagram and Facebook, it is good to see everyone recognizing their students’ hard work. I also want to thank our adjudicators for taking the time from their own school programs to come and listen to us and to give us their words of wisdom and encouragement.

High school directors, I hope that your rehearsals continue to be learning experiences for both you and your students as you prepare for state MPA and end-ofyear performances. It’s hard to believe the year is coming to a close with so much left to do, which includes spring concerts and banquets and, surprise, testing!

As we head into our end-of-year district meetings, please remember to submit any motions or concerns to your district chairperson for the May FOA executive board meeting. If you have concerns or would like more clarification about items in the handbook, please contact our past president, Matthew Davis. The handbook committee will be meeting in July. Should you have questions or concerns, please always feel free to contact one of us on the board. We are here to serve you and your students, and we value your input.

Best wishes on all of your end-of-year endeavors!

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FLORIDA MUSIC SUPERVISION ASSOCIATION Lindsey R. Williams, PhD, President

We are still feeling the effects of the global pandemic that has inundated 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 exacerbates the situation.

As we work through concert MPA season, I have had numerous conversations with teachers about how this MPA is a “first” for many of their students, and they expressed, either directly or indirectly, 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 indicated they have had similar conversations. “[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…”

I overheard my wife, a board certified music therapist, suggesting that we have all gone through some trauma in our experiences with the pandemic, which 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 trauma-informed teaching, I found a fascinating article by Jessica Minahan, a board certified behavior analyst and special educator. The article was written before 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

some of the suggestions in Ms. Minahan’s article are worth mentioning.

1. Expect Unexpected Responses

Uncertainty can cause stress and uncommon responses. The entropy of the last two years has likely caused us all to feel somewhat wonky. Our students feel the 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 especially as it relates to the student/teacher power structure. Minahan stated that “the teacher is 50 percent of every interaction with a student: By changing the way we give a direction or respond, we can reduce problematic behavior.”

3. Promote Predictability and Consistency

We all function better when we know what to expect. When students know what to expect when they enter a classroom—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 often implored by one of my mentors, Cliff Madsen. Minahan suggests that students often take in information with a “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 I hope you all enjoyed a well-deserved spring break and are recharged for the remainder of the school year. FCMEA has been active this semester with the launch of two new initiatives. The first is the FCMEA Mentorship Project, designed to connect younger faculty members in higher education with experienced veterans who share the same teaching areas and research interests. If you are looking to connect with a mentor, or are willing to serve as one, please visit fcmea.org and complete the interest form. Dr. Sandra Adorno, FCMEA president-elect, will connect mentors and mentees in the coming weeks.

The second is the formation of the FCMEA Professional Development Committee, which is led by our immediate past president, Dr. Stacie Rossow. The membership of FCMEA faces many challenges specific to higher education, and this committee can collect, centralize, and create material for everyone’s benefit. Imagine having access to a treasure trove of syllabi, or listening in on a webinar about the Florida Teacher Certification Exam, tenure and promotion, or curriculum development. These are just a few examples of what this committee can accomplish. If you are interested in serving as a committee member, please let the FCMEA leadership team know.

Enjoy the rest of the semester. Stay safe and teach well!

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.

5. Create Islands of Competence

If I hear one more person lamenting the “learning gap” or how “far behind” their students are, I might just say some words that are inappropriate. Students hear these negative comments, and I can only assume that they continue to accumulate, leading them to feel all sorts of inadequacies. Students have no perspective of “behind” or “ahead” as nearly all of them are experiencing your class or their grade level for the first time. They do not have your experience and the benefit—or the curse—of hindsight. Our students are where they are because we have all weathered almost two academic years of altered reality. They can’t help it. We need to treat this unique time as a way to see the most yearly growth we’ve ever seen.

6. Limit Exclusionary Practices

One of the most prominent effects of COVID was feeling separated from others. Virtual courses and social distancing are challenging for humans who are by nature social animals. Our students, especially our youngest ones, have missed consequential social interaction opportunities, so their social maturity is different than those students who did not have the COVID interruption. We need to find ways to include students and do so frequently and repetitively.

We’re all doing the best we can with what we have each day. Be kind, and continue to show grace to one another and to yourself.

Reference

FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION

Marc Decker, DMA, President

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FLORIDA NAfME COLLEGIATE Mark A. Belfast, Jr., PhD, Advisor

For several weeks the world has watched as yet another war has devastated millions of people. If any of you 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 especially intrigued because (1) they did not sing in English, and (2) they performed Молитва за Україну (Prayer for Ukraine), which was not a style or a text I expected to hear on SNL. If you missed it, you can check it out on YouTube. When I first saw the performance, I was overcome with a sense of pride. In that moment, I was proud to be a musician and a music educator, and it warmed my heart to think the producers at SNL believed what 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. Nevertheless, they watched because they recognized the significance of such a “cold open.” In doing so, they were exposed to 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 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 one or more great documentaries on significant figures in jazz history, including Quincy Jones, Nina Simone, John Coltrane, Frank Sinatra, Miles Davis, Lee Morgan, Ella Fitzgerald, and others. Add them to your watchlists and start educating yourself while having movie nights with friends!

Finally, here are some other resources you might find helpful as you begin exploring (or take a deeper dive) into your jazz education.

ADDITIONAL RESOURCES

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

What 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 concert 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 striving 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 student, 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 number seven and never see a conversion. But if the missionary gives up, witness number 10 becomes witness number nine and there is no conversion. You are the music missionary. Don’t give up! Be the witness for music. Advocate in your school, advocate in your town, advocate in the state. You are truly making a difference, even when you can’t see any results.

You have a powerful network and an even more powerful subject matter. What you do matters, and so many people want to help you and support you. You are 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.

FOR MUSIC TEACHERS

William I. Bauer, PhD FMEA Research Committee Chairman, University of Florida

Research Perspectives in Music Education

Do you know that FMEA has a journal focused on research related to music teaching and learning? Research Perspectives in Music Education (RPME) has been 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, technology, 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 and instruction. All issues of RPME are available to FMEA members without charge and can be downloaded from the FMEA website.

The latest issue of RPME (2022, volume 22) has recently 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) completed a researcher-designed survey containing Likert-type and open response items related to their use of popular music. Survey items were focused on participants’ incorporation of popular music into concert programming and perceived utility of popular music to achieve a variety of musical goals. Results revealed that popular music made up less than half of most directors’ concert programs, and responses regarding 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.

Effects of Score Study on Undergraduate Musicians’ Performance Ratings and Rehearsal Attitudes in Chamber Ensembles: An Exploratory Study Alec D. Scherer & Brian A. Silvey

The purpose of this exploratory study was to investigate the effects of score study on undergraduate musicians’ performance ratings and rehearsal attitudes in chamber music ensembles. Undergraduate trumpeters (N = 8) were assigned to one of two matched quartets. In the control condition, quartet 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 Dylan D. Fixmer

The purpose of this study was to investigate the relative effects of (a) self-recording along with self-listening and (b) self-recording along with self-listening and listening to a model on second graders’ melodic singing accuracy. Pre- and post-treatment singing performances were collected from 48 second-grade children from two schools in southern Indiana, who were randomly assigned to one of two treatment groups or a control group. Participants in “Treatment A” sang a song taught to them by the researcher, rated their performance, listened back to a recording of their own voice, and sang again. Participants in “Treatment B” sang a song taught to them by the researcher, rated their performance, listened back to an exemplar model of the song, and sang again. Participants in the control group sang a song taught to them by the researcher, rated their performance, and sang again. The conditions were administered individually in sessions lasting from one to five minutes. Melodic singing accuracy was measured as pitch deviation (i.e., the absolute value of cents deviation from the correct pitch adjusted for the participant’s chosen key center). Results indicated that children in Treatment B (e.g., self- and model-listening) improved in melodic singing accuracy, whereas participants in group A (e.g., who only listened to their own recording) made no improvement, and participants in the control group performed worse at post-test. The findings suggest that children may benefit from the use of self- and model-listening, as well 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 Melissa A. Salek

The purpose of this study was to examine if Florida middle school (grades 6-8) students in charter schools had similar opportunities to access and enroll in music courses as did their counterparts in traditional public middle schools during the 2019-20 school year. Four questions guided this research. First, do overall music course offerings and the specific classes that are offered differ between charter and traditional public middle schools in Florida? Second, does student enrollment in music courses differ between charter and traditional public middle schools in Florida? Third, is there a relationship between enrollment in Florida middle school music courses and school enrollment, annual school grade assigned by the state, percentage of minority students, or percentage of economically disadvantaged students? Fourth, what is the effect of school management type and student enrollment on music courses at charter schools in Florida? In this study, the majority of traditional schools offered at least one music course, whereas only around half of the charter schools had at least one music course. Significant, positive, weak correlations were found between students enrolled in music courses and (a) school size, and (b) school grade. Significant negative correlations were found between students enrolled in music courses and (a) percentage of minority students, and (b) percentage of economically disadvantaged students. A statistically significant difference was found between music course enrollment in traditional schools and for-profit charter schools, and between traditional schools and nonprofit charter schools. Additional analyses and implications are included.

Music Is for Everyone: Scholarly Resources for Teaching Diverse Students Barry Hartz & Megan M. Sheridan

Students in today’s American classrooms are exceptionally diverse, coming from a variety of cultural and social backgrounds, 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 addressing racial and cultural diversity, socio-economic diversity, gender-based diversity, and supporting students with disabilities.

Email your questions and feedback to wbauer@ufl.edu with a subject heading Research Puzzles.

CommitteeReports

Ihope 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 our nine major category 2022 FMEA award winners, including the Educators of the Year (Elementary, Secondary, and Collegiate), the Administrator of the Year, the Leadership in 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 little of the brilliance that our awardees shared with us at our 2022 FMEA Awards Ceremony during the FMEA Professional Development Conference. These words of inspiration I share with you to give you that confidence to be the light to your own students, as well as the drive to help shine a light on others in our 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:

When 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 them deserve to have. I want to make sure 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

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 to be in my class. That them being there matters to me. Life isn’t easy, and sometimes we have days that are more challenging than others. I want them to know that they can 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:

Forty years ago, I was a member of the All-State Concert Choir, under the direction of Dr. Robert Summer. I remember two pieces in particular, “To Saint Cecilia” by Dello Joio, accompanied by the 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 how they feel about music. Yes, they thanked me. They 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 thanked me for teaching them music theory! But 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

As the year starts to wind down, it’s time to start making plans and laying the groundwork for next year. One of 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 reinforced and recognized as a positive example. Students who do not can be redirected. All young people have leadership abilities; it’s our job to help them realize their potential.

Give them opportunities to lead. This is remarkably easy in music programs. Let students lead sectionals. This might be scary at first, but can be highly effective if they have clear parameters and objectives. This also gives them ownership of the learning process, which is a critical factor for the students’ and the ensemble’s success. 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 students take these opportunities seriously and to see them take pride in their work.

Speaking of S&E MPA, that is probably one of the best opportunities to develop student leaders. Student-led ensembles give them the opportunity to work as a team, to organize and execute a plan, and to apply musical knowledge critically. We already know that S&E is one the most important things a student can do to grow musically, but the leadership and personal responsibility benefits should not go unnoticed.

Finally, when it is time for the interview, my students are asked only the three questions shown below.

One of the most important lessons we’ve learned over the last two years is that everything we do should be about students. Have a great end of the school 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?” Growth cannot happen without humility. The ability to recognize needs for improvement in oneself can inspire others to do the same.

3. “What is something you think we should do differently, or something new we should do next year?” 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.

CommitteeReports

EMERGING LEADERS COMMITTEE Mary Palmer, EdD, Chairwoman

We have heard the word resilience frequently in these troubled times. Here is how it is defined in the dictionary: « 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 the will to make it work in action; to see music educators create new ways for both students and audiences to experience 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 and opportunities … and increases the value of the initial idea. Friend-building and sharing is an important part of the FMEA Emerging Leaders program. Program participants have guided opportunities to help each other grow as music educators and leaders … and have FUN.

Now is the time to shape your future. If you’d like to be a leader for music education, we hope you will consider applying to be a 2023 FMEA Emerging Leader. You’ll have front row opportunities to 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 your community, and much more.

The 2022-23 Emerging Leaders are expected to attend the annual FMEA Emerging Leaders Drive-In to Leadership to be held in Orlando on Saturday, June 11 (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 leaders, and school principals to nominate candidates. Self nominations are welcome, too. Please visit: http://FMEA.org/ programs/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: 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.

Corporate Partners

Academic Partners

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.

The mission of the Florida Music Education Association is to promote quality, comprehensive music education in all Florida schools.

Florida Legislature Passes Several Bills Related to Education

FMEA Executive Director Kathleen D. Sanz, PhD

The regular 2022 Legislative Session closed on March 11. The 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 fundamental right of parents to make decisions regarding upbringing and control of their children; prohibits school district from adopting procedures or student support forms that prohibit school district personnel from notifying parent about specified information or that encourage student to withhold from parent such information; prohibits school district personnel from discouraging or prohibiting parental notification and involvement in critical decisions affecting student’s mental, emotional, or physical well-being; prohibits classroom discussion about sexual orientation or gender identity in certain grade levels; requires school districts to notify parents of healthcare services; authorizes parent 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 part, “A person should not be instructed that he or she must feel guilt, anguish, or other forms of psychological distress for actions, in which he or she played no part, committed in 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 constitutional rules. Local boards, under the Florida Constitution, have the authority to operate public schools. « SB 1054 Financial Literacy: Even though this bill passed, as we suspected it would, in good news we were able to get an amendment added to put off implementation for one year, 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

Funding for public schools is slated to be up by 4.96%, raising per pupil funding from $7,758.30 to $8,142.80.

The Florida Division of Arts and Culture’s Cultural and Museum Grants, which FMEA falls under for grant funding, were approved by the House and Senate at 100%. This is great news! There is always the possibility that Governor DeSantis could veto this line item, but we will keep our fingers crossed.

Commissioner of Education

Commissioner of Education Richard Corcoran announced he will be stepping down from his 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.

ESSER Funds

While initially the ESSER funds were very limited, there is funding available for arts education. You need to work closely 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.

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

FVA President Jeannine Stemmer

Florida Christian School 4200 SW 89th Ave.; Miami, FL 33165 j9stemmer@floridachristian.org

Member-at-Large Chad Norton

EX-OFFICIO MEMBERS

Historian/Parliamentarian & Executive Director...................................................Kathleen D. Sanz, PhD

Hinckley Center for Fine Arts Education 402 Office Plaza Dr.; Tallahassee, FL 32301-2757 (850) 878-6844; Fax: (850) 942-1793; kdsanz@fmea.org

Editor-in-Chief ....................................................D. Gregory Springer, PhD

FSU College of Music; 122 N. Copeland St.; Tallahassee, FL 32306 (850) 644-2925; dgspringer@fsu.edu

FSMA President .......................................................................Valerie Terry

vterrymusic@gmail.com

FMEA COMMITTEE CHAIRPERSONS

Awards...........................................................................Sondra A. W. Collins

sondra.collins@marion.k12.fl.us

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

Committee Council..........................................................Bernie Hendricks

Ocoee High School; bernard.hendricks@ocps.net

Conference Planning Committee ............................John K. Southall, PhD

Indian River State College; 3209 Virginia Ave.; Fort Pierce, FL 34981 (772) 462-7810; johnsouthall@me.com

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

Professional Development.......................................................Scott Evans

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

Reclamation ............................................................. William “Bill” Reaney

Buffalo Creek Middle School, 7320 69th St. East; Palmetto, FL 34221 (239) 826-8077; billreaney64@gmail.com

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

President ..................................................................................Ian Schwindt

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

Past President..................................................................... Cathi Leibinger

Ransom Everglades School; 2045 Bayshore Dr.; Miami, FL 33133 (305) 250-6868; pastpresident@fba.flmusiced.org

Executive Director.....................................................................Neil Jenkins

Florida Bandmasters Association P.O. Box 840135; Pembroke Pines, FL 33084 (954) 432-4111; Fax: (954) 432-4909; exec@fba.flmusiced.org

Business Manager .................................................................Jo Hagan, CPA

8975 San Rae Rd.; Jacksonville, FL 32257 (904) 379-2245; Fax: (904) 379-2260; jo@barefootaccounting.com

FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION

President ........................................................................ Marc Decker, DMA

Florida Atlantic University; 777 Glades Rd.; Boca Raton, FL 33431 deckerm@fau.edu

Florida NAfME Collegiate

President. ..................................................................................Allison Yopp

Southeastern University; ayopp@seu.edu

Past President. ........................................................................Alexis Hobbs

Southeastern University; (352) 220-2791; aphobbs@seu.edu

FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION

President ................................................................................Joani Slawson

Holy Trinity Episcopal Academy; 1720 Peachtree St.; Melbourne, FL 32901 joanislawson@gmail.com

Past President............................................................ Ernesta Chicklowski

Roosevelt Elementary School; 3205 S. Ferdinand Ave.; Tampa, FL 33629 (813) 272-3090; ernesta.chicklowski@sdhc.k12.fl.us

Executive Director............................................................ Jennifer Sullivan

1750 Common Way Rd., Orlando, FL 32814 (321) 624-5433; slljenn@aol.com

FLORIDA MUSIC SUPERVISION ASSOCIATION

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

Executive Director............................................................Donald Langland

220 Parsons Woods Dr.; Seffner, FL 33594 (813) 502-5233; Fax: (813) 502-6832; exdirfoa@yahoo.com

FLORIDA VOCAL ASSOCIATION

President ....................................................................... 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

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