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Executive Director
Florida Music Education Association
Kathleen D. Sanz, PhD Hinckley Center for Fine Arts Education
402 Office Plaza Tallahassee, FL 32301 (850) 878-6844 or (800) 301-3632 (kdsanz@fmea.org)
Editor-in-Chief
D. Gregory Springer, PhD Florida State University College of Music
122 N. Copeland Street Tallahassee, FL 32306 (850) 644-2925 (office) (dgspringer@fsu.edu)
Editorial Committee
Terice Allen (850) 245-8700, Tallahassee (tallen1962@hotmail.com)
Judy Arthur, PhD Florida State University, KMU 222 (850) 644-3005 (jrarthur@fsu.edu)
William Bauer, PhD University of Florida, Gainesville (352) 273-3182; (wbauer@ufl.edu)
Alice-Ann Darrow, PhD College of Music, FSU, Tallahassee (850) 645-1438; (aadarrow@fsu.edu)
Jeanne Reynolds (jeannewrey@gmail.com)
John K. Southall, PhD Indian River State College, Fort Pierce (772) 462-7810; (johnsouthall@fmea.org)
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Greetings, colleagues!
I’m thrilled to be a music educator, and I’m convinced many of you are equally excited to be a Florida music educator! Congratulations to all our Florida music teachers and their students who participated in music component music performance assessment activities, performed on their various (K-21) campuses for other students and in their communities, and/or participated in Music in Our School Month (MIOS) events. The process of teaching music and developing a shared love for musical compositions is truly amazing. Who else in this world takes an idea on paper and shapes it into an artistic presentation to be performed before full audiences/communities, sometimes within 48 to 72 hours of rehearsal?
MUSIC—thank you!
More importantly, music is a profession that continually inspires people of ALL cultures and backgrounds. In this regard, we must continue to focus our attention
on being advocates for music education, particularly in light of recent Florida laws that could prohibit our K-12 students and collegiates from experiencing music at the level many musicians received in the past. Florida music teachers and many communities have led the way in bringing out the best in students who desired to participate in Florida School Music Association and Florida Music Education Association activities. This partnership has been a vehicle that provides opportunities for life-changing careers as well as avocational interests, to include music educators, professional musicians, music therapists, music merchants, church musicians, connoisseurs of music, concert attendees, and community activists who support music, to name a few.
In the sidebar on page 5, our National Association for Music Education (NAfME) reminds us of ways to support music education in our communities.
Each year, the Florida Music Education Association and Florida NAfME Collegiate host annual Collegiate Music Education Advocacy Day at the Florida Capitol. This year it was held on March 28, and the Advocacy Agenda included:
w 8:00 am: Check-In, Welcome & Introductions
w 8:30 am: Advocacy Briefing Meetings With the FMEA Advocacy Committee
w 9:00 am: Group Collaboration Meetings
w 9:30 am – 3:00 pm: Legislator Visits, with lunch and professional development between meetings
The purpose of this month’s reflections from my perspective is important as we MUST galvanize our creative energies to maintain a strong position on the effects of music on students and its myriad advantages for students’ success beyond the classroom.
Remind your students how much you appreciate their presence in your classrooms. Show them the videos of their performances and then remember to acknowledge their great work to parents, others on campus, districtwide, and politicians in your communities.
We’re so grateful to our FMEA teachers who believe in our mission statement “to promote quality, comprehensive music education in ALL Florida schools.”
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 AngelouAll the best to each of you who continues to inspire our Florida students in the classroom and who advocates for music education WORLDWIDE.
All the best,
Shelby R. Chipman, PhD, President Florida Music Education AssociationNational Association for Music Education (NAfME)
Advocacy, which is defined as the act of speaking or writing in support of something or someone, is essential to every music educator’s career and to the profession. Every music educator needs to be a strong advocate for viable, sequential, enduring music programs for all students.
The Music Educator’s Role as a Leader Includes:
1. Contacting your state’s MEA for advice and materials
2. Logging onto websites that deal with advocacy efforts for music education, e.g., SupportMusic.com; AMC-Music.com; NAfME.org
3. Calling key players in your area to set up a meeting to discuss the crisis and to develop an action plan
Subsequent Steps
1. Creating a network database (phone numbers, email addresses, etc.) that will be in place before an emergency exists
2. Seeking potential leaders from parent groups for advocacy efforts and presentations
3. Defining and coordinating advocacy efforts in a crisis
4. Being proactive in developing positive relationships (administrators, boards of education, parents, legislators) as a means of avoiding adversarial relationships
5. Educating parents, administrators, board of education members, and the community about the importance and value of music for all students
6. Maintaining ongoing awareness after a crisis
Collaborator
In advocacy efforts, the music educator plays the role of a collaborative leader with those who support music education. This collaboration includes:
1. Determining the nature of the situation and providing guidance and advice
2. Evaluating the music program and its support to know their strengths and weaknesses
3. Learning how budgets and politics work year-round; monitoring that information and sharing it with others, including parents, other teachers, music retailers, and anyone who supports music education
4. Involving oneself continuously with overall school planning
5. Working with others to define and guide an ongoing effort, heading the effort that determines the arguments and data to be used, sharing responsibility for advocacy activities, and ensuring that all involved are well informed
6. Understanding the power structure, working with natural allies, designing a well-orchestrated effort, developing a coalition, and providing clear lines of communication
7. Many music educators have parent booster groups to provide financial as well as other types of support for their music programs.
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.
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.
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.
Article and art submissions are always considered and should be submitted on or before the 1st of the month, one month prior to the publication issue to: D. Gregory Springer, PhD, dgspringer@fsu.edu.
All articles must be provided in digital format (e.g., Microsoft Word). All applicable fonts and images must be provided. Images must be at least 300 dpi resolution at 100% of the size.
All submissions must be accompanied by a proof (color, if applicable). Ads may be submitted via email to val@fmea.org
The Florida Music Director is made possible by the participation of the following businesses whose advertisements appear in this issue. They make it possible to provide you with a high-quality publication, and we gratefully acknowledge their support of our mission. We hope you will take special notice of these advertisements and consider the products and services offered. It is another important way you can support your professional association and the enhancement of Florida music education.
The publisher does not endorse any particular company, product, or service. The Florida Music Education Association (FMEA) is not responsible for the content of any advertisement and reserves the right to accept or refuse any advertisement submitted for publication. Information for advertisers (rate card, insertion orders, graphics requirements, etc.) can be found at FMEAMediaKit.org Florida Music Director reserves the right to refuse any ad not prepared to the correct specifications OR to rework the ad as needed with fees applied.
Belmont University
Yamaha Corporation of America
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IFC
The advertiser shown in bold provides additional support to FMEA members through membership in the Florida Corporate and Academic Partners (FCAP) program. FCAP partners deserve your special recognition and attention.
The2023 Legislative Session is in full swing. It began on March 7 and is scheduled to run for 60 days. Things change daily and even hourly during the legislative session. No doubt you have noticed many bills filed that pertain to education directly and indirectly. Some FMEA members have expressed feeling a bit overwhelmed.
Recently, I called my state senator to talk about SB 202 regarding universal vouchers. I was not surprised to hear that his aide was somewhat unfamiliar with the bill. Bills were and are coming so fast and furious in this session that it is understandably hard for legislators and their aides to keep up with all the nuances of each bill. What did shock me was that the aide had not received other calls prior to an important committee meeting that was to be held the next day. That suggested to me that citizens who are concerned about this bill are commiserating with other like-minded people and not contacting their decision makers. That doesn’t help. Preaching to the choir accomplishes nothing. Speak up.
Each year the leadership of FMEA, FAEA, and FSMA meet with our lobbyists to create a platform. With the number of bills being filed, and the speed with which the bills are moving, it was a little tricky to get the platform finalized. With so many bills on so many fronts, we might have been overwhelmed. Fortunately, that was not the case. These extraordinary, brilliant leaders knew that “less is more” this year. Our platform follows below. Embrace the major philosophy and the themes. Then anchor your actions and conversations with decision makers around this philosophy and these themes:
Jeanne W. Reynolds Chairperson Government Relations Committee
The arts unite people and communities together in unique and meaningful ways in an age where polarization is all too common.
(This is our superpower—use it!)
You don’t need to be a political wonk and follow the hourly and daily activities of this legislative session. You do have a responsibility to speak up if you think legislation will negatively affect students’ access to programs, the funding of music programs, or if the legislation could potentially jeopardize music teacher recruitment and retention. It doesn’t take many voices to make positive change. It does require that these voices speak up. If you need help or have questions, we are just a phone call or an email away.
“Never doubt that a small group of thoughtful, committed citizens can change the world; indeed, it’s the only thing that ever has.”
– Margaret Mead
The arts unite people and communities together in unique and meaningful ways in an age where polarization is all too common.
Arts education inspires success across the curriculum and builds strong communities.
Access
w Ensure ALL students have access to high quality sequential arts courses.
w Empower families to make informed school choices by providing accurate data on arts programs throughout the state.
w Support strong arts programs to provide students with creative outlets that honor student “voice” and support mental health initiatives.
w Support use of multiple rigorous criteria beyond standardized tests to measure student learning and teacher effectiveness.
w Consider the inclusion of outstanding arts education achievement in the calculation of school grades.
w Support access to advanced arts courses such as AP and Honors Arts courses for all students.
w Oppose bills that may unintentionally restrict students’ access to high quality arts programs or weaken the Fine Arts Graduation Credit.
Funding
w Support identical fiscal accountability and transparency requirements for all educational entities receiving PreK-12 state funding.
w Support full funding for instructional materials, transportation, professional development, and technology.
w Support full funding for Division of Arts and Culture.
Teacher Recruitment and Retention
w Increase teacher salaries in a meaningful sustainable manner to attract and retain highly effective teachers.
w Support strong professional development of arts educators.
w Address the mental and emotional health of teachers and staff.
w Extend the temporary certification period to five years for teachers with college degrees outside a college of education.
w Strengthen the relationship between PreK-12 and higher education to better prepare and retain teachers.
w Incentivize students to enter the education profession.
Please take time to thank and support our 2022-2023 Academic Partners.
SILVER PARTNERS
University of Central Florida
BRONZE PARTNERS
Cannon Music Camp - Appalachian State University
Florida Southern College
Rollins College Department of Music
St. Thomas University
Partners as of March 20, 2023.
University of North Florida
University of North Texas
University of Tampa
Valdosta State University
*Please visit FMEA.org/partners for partnership details or call 850-878-6844.
About the Training:
The aim of state and district leadership of our component organizations (FBA, FOA, and FVA) is to provide excellent stewarding of existing music programs, as well as the championing of better opportunities for aspiring musicians. This requires leaders to be efficient organizers of persons, resources, and projects, in addition to being able to plan paths to fulfilling the vision of a better tomorrow for music education in Florida.
This professional development opportunity will provide communication training, team building, scenario-based problem-solving, technology, laws relating to music education, and other skills identified by participants as a need to find success as a leader in Florida.
Schedule Overview:
w Sunday: Arrival and orientation, possible evening activity.
w Monday and Tuesday: Full days of sessions and activities, with social activities in the evenings. Meals provided.
w Wednesday: Final session will be finished by 11:00 a.m. (Subject to change; More details will be forthcoming.)
Date and Location
July 16-19, 2023
Renaissance Orlando at SeaWorld Orlando, Florida
Application Deadline
April 1, 2023
Limited Participation and Cost
Approximately 16 to 20 participants will be selected through an application process. Hotel expenses and meals will be covered by FSMA during the training.
The training is designed in partnership with the FSMA component organizations: Florida Bandmasters Association, Florida Orchestra Association, Florida Vocal Association.
Beginning piano instruction has become an increasingly popular elective option in Florida’s schools in recent years (Pozenatto, 2021). With this rise in popularity comes the need for many music teachers to seek further education and training to teach these classes effectively. Piano pedagogues tend to agree that foundational technical training is essential to the development of the aspiring musician (Knerr, 2006). Thus, it is imperative for music educators to prioritize healthy technique starting from the first time a student sits at the piano.
Because piano technique is an essential element of a student’s foundational piano education, proper technical training for the young pianist should be a priority for the beginning piano teacher. In her 2006 dissertation, Julie Knerr researched which technical strategies should be implemented in the first year of piano study. These strategies included correct posture paired with relaxed shoulders while sitting the proper distance and height from the piano to play efficiently. She also found that a rounded hand position with firm fingers and a prominent
hand bridge were important. Additionally, she discussed the importance of arm weight as one of these foundational techniques (Knerr, 2006).
Posture
Although many have probably heard that good posture is needed for playing an instrument, what that means can vary from person to person and from instrument to instrument. Asking a student to “sit up straight” could actually be confusing or cause unnecessary tension. The idea of stacking the bones aligning head, spine, and hips is one that invites a more appropriate posture full of ease (Savvidou, 2021). When this image is employed, the body naturally falls into a healthy position.
The student should first be reminded to keep the feet flat on the floor. For younger students, a footstool might be needed to give them secure footing. With the feet securely anchored in place, the knees should create right angles, creating a grounded sensation for both the feet
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and the hips. The head then should be balanced above the spine, which should be balanced above the hips. This posture uses the bones to hold the weight of the head and body and reduces tension that slouching would cause (Savvidou, 2021). The shoulders should also feel free from tension. The image of the shoulder blades sliding down the back can be useful for some students. Figure 1 shows an example of a pianist playing while sitting with proper playing posture.
Teachers can turn proper posture learning into a game where students have to correct the teacher’s poor posture. Alternatively, students can pair with another student with one intentionally sitting incorrectly while the other corrects their posture. Students, especially young ones, often enjoy balancing small objects such as stuffed animals on their heads to encourage sitting in a balanced position.
Learning to use arm weight properly is an essential foundational technique young pianists must master early in their formative years of piano study. This technique allows the pianist to produce a rich tone when playing
while avoiding strain on the wrists, hands, and fingers (Knerr, 2006). Proper application of arm weight requires the pianist to play while engaging with the arm’s natural “dead weight” and allowing the arm to move freely without tension. When arm weight is properly employed and combined with the release of tension and efficient movements, the pianist can play with ease (Savvidou et al., 2015). Freefall and gravity can also be employed, so the pianist does not have to exert effort into striking the key (James, 2012). When pianists attempt to overly control movements, their physical approach is often uncomfortable and can lead to strain or injury (Savvidou et al., 2015).
To introduce engaging arm weight, have the student hang their arms loosely by their sides. Before moving to the piano, a useful preliminary activity is to simply have the student lift their arms and then drop them with dead weight either into their lap or back to their sides with a slight free swing. This motion can then be transferred to the piano where the student could play one note at a time with a full rich tone dropping the finger to the bottom of the key. Proper engagement of arm weight will result in an effortless feeling in the playing apparatus and reduces strain on the fingers, wrists, and forearms. Figure 2 demonstrates a pianist with her arms falling at her sides. Activities engaging the dead weight of the arm are usually fun for students. Imagery can be used such as pretending the arms are cooked spaghetti or pretending to have your bones vanish from your arm like Harry Potter! This is also a great activity to take away from the piano to give the students a break from sitting and get them moving around the room.
The wrist is an essential component of the playing apparatus. Connecting the hand to the arm, the wrist functions as somewhat of a shock-absorber allowing the arm and fingers to remain free of tension. Many have developed habits of keeping the wrist too high, too low, or simply ignoring it altogether. Most researchers agree that keeping the wrist in a neutral position while keeping it flexible and free from tension is best practice for the pianist (Oikawa et al., 2011).
When paired with an appropriate hand shape, the wrist should rest slightly below the hand bridge. Holding the wrist too high will cause unnecessary tension while holding it below the keyboard will cause unnecessary strain on the arms and fingers. This ideal neutral position is rather natural. Students can practice using the wrist appropriately by playing notes one at a time with the wrist flexing up and down matching the direction of the key.
When teaching the student to engage the wrist, imagination can be employed. With young students, I often like to pretend that the hand is a fish, dolphin, or other sea creature. We then let our hands “swim” around the room finding different surfaces to “eat.” This gives the student the chance to practice playing with one finger (perhaps the middle finger) in a round hand shape while using a flexible wrist. After practicing this motion away from the piano, the student can bring it to the piano. Figures 3 and 4 show a student performing this exercise.
The position of the hand in addition to the wrist is also vital when learning to play the piano appropriately. One may observe pianists holding their hands in awkward, unnatural shapes with the hand bridge collapsing causing the fingers to strain. These errors can be harmful to the pianist both physically and musically (Savvidou et al., 2015). Keeping the wrist in a neutral position that feels natural paired with a round hand shape will keep the hand playing efficiently (Oikawa et al., 2011).
It is ideal for the hand to rest on firm fingertips with a strong, supported hand bridge. When the arm is fully at rest, this position allows the wrist to fall slightly below the bridge creating a rounded shape in the hand. When
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paired with firm finger playing and a flexible wrist, this hand shape should be relatively easy for the pianist to maintain and return to after playing wide intervals.
Figures 5 and 6 demonstrate this hand shape.
This round hand with a supported bridge can be introduced and maintained through a simple exercise. Start with students holding their hands in fists palm down resting gently on the keyboard or the fallboard. Then, instruct the students to gradually bring their fingers into a piano-playing position while maintaining the same curve of the bridge they had as a fist. This exercise encourages a focus on the bridge and gives students a point of reference to return to if they lose their hand shape.
Playing with firm fingers is yet another essential technical practice young pianists must acquire. When joints are collapsed or hyperextended, the pianist loses control over the weight placement coming from the arm and the sound produced suffers. This practice can even lead to injury if not addressed (Savvidou et al., 2015). Every joint of the finger should be engaged in order to produce a round hand shape and a supported hand bridge.
The point of contact of the finger with the key should be emphasized for the beginning student. Fingers should make this contact with the key close to the tip of the fingernail. This manner of playing will encourage the knuckles to stay engaged. For the first and fifth fingers, the point of contact should be the side tip of the finger. Paired with these firm fingertips, the fingers should maintain a rounded shape while avoiding becoming overly curved. This shape can be seen in Figure 6.
A great way to practice firm fingertips is to repeat playing a key with each finger several times followed by a pause. This can engage the arm, wrist, and hand as well as the firm finger to ensure everything is moving appropriately. Students often enjoy saying silly rhymes or phrases while playing a seemingly monotonous exercise. My students particularly enjoy chanting the name of the popular folk tune Ebenezer Sneezer. Another activity students enjoy is to try to push on the engaged knuckles trying to make them collapse. This activity can be done solo or in pairs but should always be done gently!
When first introducing a student to playing the piano, consistent reminders of these essential techniques are of the utmost importance to aid students in developing as musicians in a healthy and appropriate way. These can be done as standalone exercises or incorporated into games in which the whole class can participate. The piano method Piano Safari by Julie Knerr Hague and Katherine Fisher provides many strategies for teaching technique paired with animal imagery. Another fantastic resource for beginning piano technique is Fit 4 Piano by Rae de Lisle. Both of these resources are accompanied by online videos that reinforce what has been introduced in the classroom. Consistent emphasis on piano technique throughout the students’ foundational piano experiences will set them up for a lifetime of playing with ease and musicality.
Stephanie Archer holds degrees in piano performance and pedagogy from the University of Mobile and Louisiana State University. She is a PhD candidate at Florida State University where she studies music education and piano pedagogy. Her research interests include musician wellness and effective beginner teaching strategies.
References
James, B. (2012). The art of pianism meets science, sustainable performance: Use of arm weight. Australian Journal of Music Education, 2, 92–101.
Knerr, J. (2006). Strategies in the formation of piano technique in elementary-level piano students: An exploration of teaching elementary-level technical concepts according to authors and teachers from 1925 to the present (Publication No. 3237529) [Doctoral dissertation, University of Oklahoma]. ProQuest Dissertations and Theses Global.
Oikawa, N., Tsubota, S., Chikenji, T., Chin, G., & Aoki, M. (2011). Wrist positioning and muscle activities in the wrist extensor and flexor during piano playing. Hong Kong Journal of Occupational Therapy, 21(1), 41–46. https://doi.org/10.1016/j. hkjot.2011.06.002
Pozenatto, R. A. D. (2021). A descriptive study of class piano courses in Florida’s secondary public schools (Publication No. 28317126) [Doctoral dissertation, Florida State University]. ProQuest Dissertations and Theses Global.
Savvidou, P. (2021). Teaching the whole musician: A guide to wellness in the applied studio. Oxford University Press.
Savvidou, P., Willis, B., Li, M., & Skubic, M. (2015). Assessing injury risk in pianist: Using objective measures to promote self-awareness. MTNA E-Journal, 7(2), 2–16.
Thank you to all of the donors who have shown their dedication to the improvement of music education in Florida by supporting our Mission through financial contributions.
Our donors support specific causes by donating to the FMEA funds of their choice:
FMEA Scholarship Fund
Music Education Advocacy General Fund
June M. Hinckley Scholarship
Professional Development for Members
Mel & Sally Schiff Music Education Relief Fund
The following have graciously donated to FMEA from April 1, 2022, through March 20, 2023.
$10,000 and up
$1,000 – $9,999
No current donors at this time. All County Music
Artie Almeida
In Honor of June Audrey Grace & Katie Grace Miller
Clifford Madsen
Russell Robinson
$100 – $999
Carlos Abril
In Honor of Dr. Nicholas DeCarbo
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In Honor of music educators in Sarasota
Christopher Banks
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Dale Choate
Deborah Confredo
In Honor of the fine folks of FMEA who work hard to keep the music education fire lit!
Alice-Ann Darrow
In Memory of Mr. & Mrs. O.B. Darrow
Virginia Densmore
In Honor of Vicki Rhodes
Virginia Dickert
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In Honor of Pinellas County Performing Arts Teachers
Rollins College Department of Music
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$25 – $99
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Music educators tackle increasingly complex responsibilities beyond what is typically covered in a collegiate degree. Most university preparation focuses on producing capable musicians with heavy emphases on musically centered skills. However, in-service music educators spend significant energy on nonmusical concerns such as classroom management, assessment, effective technology integration, and serving students with diverse needs. There appears to be a lack of experience at the undergraduate level in identifying a classroom problem, implementing a plan to collect relevant data, and using the data to promote positive change. Using research methodology to problem-solve in the classroom, as opposed to trial-and-error approaches or anecdotal evidence, may empower teachers and improve educational environments. Conducting action research during preservice education provides the tools and experiences needed during in-service employment.
Action research, or practitioner-based research, improves teaching and learning through a process of observation, reflection, and change (Stringer, 2013). The goals of action research in education focus on making changes in curriculum and school practices (Cochran-Smith & Lytle, 2009). Although the popularity of action research appears to be rising (Noffke, 2009), there is also growing concern about the limited extent to which teachers engage with research evidence (Wright, 2020). This can be attributed to factors such as poor research quality, lack of relevance, inaccessibility to teacher-practitioners, time constraints for teachers, and inadequate access to resources (Wright, 2020). Conducting action research empowers educators by localizing the context of research results (Pine, 2008). Indeed,
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action research can be a powerful tool for professional learning and development (Stapleton, 2018).
Conducting action research within a single semester can include challenges—such as lack of time and acquiring research approval—that may lead preservice educators to become frustrated and not complete their projects. To address these concerns and provide preservice educators the opportunity to practice action research within a semester, one suggestion is to remove all components of human subjects’ research and therefore, the external review process (Woodrow, 2020). Additionally, collegiate students may construct realistic pseudo-data to practice data analysis. This empowers preservice educators to conduct a realistic research study within their own classroom as in-service educators (Woodrow, 2020).
This article illustrates how to scaffold action research during undergraduate field experiences in the stages of planning, conducting, reflecting, and sharing and provides suggestions for applying action research in educational settings.
I designed an assignment for undergraduate student teachers to create and implement an action research study based on their placement site in which they create research questions, conduct a literature review, collect and analyze data, share findings, construct recommendations, and reflect upon the process and outcome. The action research project is assigned in four stages: (1) planning for research by submitting a draft of their title, abstract, purpose statement, and research questions; (2) conducting research through a literature review, references, data collection and analysis; (3) reflecting upon research by crafting their conclusion, recommendations, and action plan; and (4) sharing findings, where students communicate their work through a written report and presentation to peers (see Figure 1).
During each class, I introduce a component of action research, provide examples, and give students an opportunity to brainstorm together. There are typically at least two weeks between each class for students to produce the next project component.
Teachers may feel intimidated by conducting action research amidst the already time-consuming challenges of their positions. However, educators should feel free to creatively think about what best serves their environments (Gitlin & Peck, 2008).
In the first stage of the action research project, students develop a topic idea and construct a draft of their title, abstract, purpose statement, and research questions. Topics should relate to an educational aspect in students’ individual school setting that warrants change, constitutes a problem, requires additional information, or needs validation. To help students brainstorm topic ideas, I ask them to fill out the table on page 21.
After students consider topic ideas, they visit with their cooperating teacher to determine viable project options and obtain approval for the assignment. Since the project occurs over one semester, students are encouraged to contemplate topic ideas that can be explored in a relatively short timeframe and that are already embedded within the curriculum.
Once a topic is solidified, students construct research questions to guide the study that can be resolved through a literature review and data collection at the school site. Questions should be unbiased without presuming a specific result, allowing the literature and data to illuminate the outcome. Examples of research questions my students developed include:
w What is the relationship between students’ performance ability and the number of hours spent practicing?
w How has COVID-19 affected music students in my setting?
w Can using Quaver in elementary music classes improve motivation?
What are my teaching/learning interests in my setting?
What problems or concerns have I observed in my classroom?
Why is it important that we do ___________________ (e.g., scales, tuning, classroom management procedures, solfège, etc.) in my setting?
What would I like to learn more about in my setting?
I would like for my students to improve in ___________________ (e.g., rhythmic accuracy, ear training, classroom behaviors, pitch identification, etc.).
I would really like to apply the following teaching methods in my classroom …
In the second stage, conducting research, students find and evaluate scholarly references related to their topic, construct a literature review, collect data relative to their research questions, and analyze data.
Students generate a bibliography of five to 10 resources related to their topic and research questions. Before collecting any
original data, it is important for students to gather information that might support or refute their work. Locating resources also helps students determine whether their topic choice is too broad or too narrow. Gathering information guides students not only to become informed learners, but also gives them skills, knowledge, and the confidence needed to be professional music educators.
Once students locate resources and craft a reference list, they develop a literature review. For organization and clarity, the headings within the literature review should be related to the research questions. The narrative within the literature review illustrates how the references support or contradict the main topic, using paraphrases and direct quotes to cite sources. continued on page 22
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The next step is to collect data from their assigned placement site that answer the research questions. For this assignment, I give students six options for data collection. They can choose a quantitative design using numerical data in a pre-test/post-test, checklist, or survey using a Likert-type or numerical rating scale. Alternatively, they can choose a qualitative design using narrative data through observations with field notes, interviews, or a survey that collects open-ended, written responses.
It is best if students integrate data collection with activities that are already planned as part of the curriculum. Therefore, conducting observations of the classroom setting and taking notes, using checklists to count tallies, or completing a pre-test/post-test based on curricular components are generally the least time-consuming or invasive. Although interviews or surveys may be the best option for data collection based upon the topic and research questions posed, they can take more time and be trickier to navigate.
Because this is a class project for educational use that will not be published, presented publicly, or shared outside of school, institutional review board approval should not be required. The purpose of this class project is for preservice music educators to practice action research—through research design, collecting and analyzing data, and improving writing skills—to best prepare them to make positive changes in their classrooms as in-service educators. In addition, in accordance with a central goal of action research itself, the assignment is not intended to lead toward any generalizable findings, but toward findings that improve specific and individual teaching settings (Pine, 2008). Nonetheless, students should seek the approval of
their school at a minimum prior to data collection. If necessary, students may also use pseudo-data, doing their best to determine what realistic data might look like. Students should use pseudonyms when appropriate, keep observations of school settings confidential, and protect the anonymity of all individuals.
Students then analyze data and report their findings. For quantitative data, descriptive statistics such as the mean, standard deviation, and correlation summarize and organize data sets. For qualitative data, students organize, describe, and interpret the material using codes, categories, and themes to present key findings related to research questions. Once data are analyzed, students are ready to generate an action plan and reflect upon their research.
The third stage of the action research project consists of reflecting upon research, in which students craft their conclusion and action plan. Five common outcomes of action research studies include (1) a greater understanding of the situation, (2) discovery of a new situation, (3) a method is found to be effective, (4) a method is found to need modification, and (5) a method is found to be ineffective (Mertler, 2020).
In the action plan, students build recommendations based on what was learned related to their specific research questions. They address who is responsible for the action, who needs to be involved in the discussion regarding classroom change, who will monitor or collect future data, a timeline for implementation, and any resources needed (Mertler, 2020). After reflecting upon the project and considering an action plan, the final stage is to share the research with others.
Though educational action research should be approached collaboratively to maximize the benefit, it is challenging because stakeholders have differing values and influence (Greenbank, 2007). For example, teachers, administrators, and school board members all have a vested interest in what occurs within a classroom, but each represents a different perspective on how best to support growth and success. For action research to be effective, the researcher must clearly communicate and share findings with others.
In the final stage, sharing findings, students communicate their work through a written report and presentation to peers. Writing the report requires students to clarify meaning and purpose in their project and to reflect upon their teaching. Presenting their work to others gives students validation as both a learner and an expert in their teaching setting. Both methods of sharing empower preservice music education students to continue seeking ways to improve their teaching and the learning experiences they provide.
One of the greatest challenges to conducting action research in educational settings is a widespread view that it is limited in scope and lacks rigor (Wyse et al., 2018). In addition, the attention can be more on social transformation without enough focus on reflexivity (Cain, 2008). Teachers may seldom be given the opportunity to wholly engage in research. Their contributions may be overlooked, their opinions and experiences marginalized, largely because they may lack the training and support—and therefore, the confidence—necessary to undertake research endeavors in their classrooms. However, benefits to
implementing action research in educational settings include an ability to focus on a wide variety of concepts within the discipline, work on solutions to classroom problems or questions collaboratively, base change in a body of existing knowledge, and lead to powerful learning opportunities. For teachers to undertake high-quality action research, they need a fundamental understanding of the process, a focused approach to gathering existing materials and resources, and knowledge about how to effectively analyze and report findings (Cain, 2008). Perhaps the best time and place for educators to gain such valuable knowledge and skills would be during the final stages of undergraduate teacher preparation. Educators can then begin their careers armed with the tools needed to advocate effectually for positive classroom change.
Danni Gilbert, PhD, is associate professor of practice in music education at the University of NebraskaLincoln where she teaches courses in undergraduate music education and serves as the coordinator of music field experiences. In addition, Dr. Gilbert teaches online graduate music education courses for Kent State University.
Cain, T. (2008). The characteristics of action research in music education. British Journal of Music Education, 25(3), 283–313. https://doi. org/10.1017/S0265051708008115
Cochran-Smith, M., & Lytle, S. L. (2009). Inquiry as stance: Practitioner research for the next generation. Teachers College Press.
Gitlin, A., & Peck, M. (2008). Educational poetics: An aesthetic approach to action research. Educational Action Research, 16(3), 309–319. https://doi. org/10.1080/09650790802260224
Greenbank, P. (2007). Utilising collaborative forms of educational action research: Some
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.
reflections. Journal of Further & Higher Education, 31(2), 97–108.
Mertler, C. A. (2020). Action research: Improving schools and empowering educators (6th ed.). Sage.
Noffke, S. (2009). Revisiting the professional, personal, and political dimensions of action research. In Noffke, S. & Somekh, B. (eds). SAGE Handbook of Educational Action Research (pp. 6–23). Sage.
Pine, G. J. (2008). Teacher action research: Building knowledge democracies. Sage.
Stapleton, S. R. (2018, January). Teacher participatory action research (TPAR): A methodological framework for political teacher research. Action Research
Stringer, E. T. (2013). Action research. Sage.
Woodrow, K. E. (2020). Challenges with external research reviews shape new practices for university teacher action research courses. Curriculum & Teaching Dialogue, 22(1/2), 303–306.
Wright, P. (2020). Developing an empowering school curriculum: A renewed focus on action research. London Review of Education, 18(3), 323–338. https://doi.org/10.14324/ LRE.18.3.01
Wyse, D., Brown, C., Oliver, S. & Poblete, X. (2018). The BERA Close-to-Practice Research Project: Research report. British Educational Research Association.
visit:
n a post-COVID world, humanity seems to be painfully aware of isolation and the repercussions of it. Before COVID, there had been some discussion in the general education literature concerning professional isolation, which is a general feeling among teachers that no one cares about them (Robert, 1973). This is a reality among music teachers as well, but there is a gap in the depth of research available (Sindberg, 2011). In most public schools, there will be a small number of music teachers as compared to the rest of the teaching staff. This article seeks to share a small glimpse of my own personal journey and the components that helped ensure my survival as a music teacher.
I am a first-generation American, and my Cuban parents believed that teaching is a noble profession and instilled in me a love of learning and a respect for teachers. As far back as second grade, I remember wanting to become a teacher and being encouraged constantly by my family. During my first year at the university, I was on track to study education and joined the choir that was open to all students. A music education student getting ready for her internship informed me that I could become a music teacher. She prepared me for auditions, and I had the pleasure of turning my lifelong hobby of singing in choir into my profession and vocation.
Although being a music teacher has been a mostly joyful adventure, I have felt professional isolation. At my first full-time teaching position in a high school, I was
the sole music teacher. I had to run the band (including marching band), the orchestra, and the choir program. My only support was a booster organization that had preceded me, but I later learned they had bets to see how much time would pass before I would quit. The administration at the time was not one I would categorize as bad, but more laissez-faire. During my first official observation, the administrator stood at the door to my room, peered in the window, waved at me, and walked away. My analysis was that as the students were not being excessively rambunctious, I had passed the observation.
If this had been my only support system, I do not know that I would be here today to tell the story. Although I felt professionally isolated within the walls of that building,
I had a mentor, John Rose, who kept me going. He would stop by after school as I was running marching band rehearsals, just to bring me a cup of coffee. He took time off from his job and sat in my classroom to give me specific feedback so my teaching would improve. He offered literature suggestions when my ensembles had strange voicings. When I needed to be in two places at once, he would watch my choral students so I could simultaneously work with another group. By continually checking on me, connecting with me, and helping me, my mentor was instinctively doing what the research has stated. He was helping me connect with other music teachers and was essential in helping to reduce my professional isolation (Davidson & Dwyer, 2014; Sindberg & Lipscomb, 2005).
Thankfully, this reality changed. I survived that first year. I advocated for myself, and during my second year at the school, we hired a band director. Although I now
had a colleague who had studied music, our specializations still made us very independent. At my most recent position, we had three full-time music teachers: a band director, a guitar teacher, and myself—the choir director. Our specific grouping worked so well together that I did not feel professional isolation.
What do we do? How do we move forward? One of my professors would always ask me, “so what?” We are dealing with one of the largest national teacher shortages since I began teaching. Since we are in what appears to be the last stages of COVID, and given all the new information concerning mental health, it is not surprising that we are struggling to retain teachers. Education is a profession that requires a lot from teachers while also constantly removing their value. Although my Cuban parents believed in education as a noble profession,
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I sometimes look around at my society and recognize the incongruence I live in. All these things are true, and there are things we can do right now to help mitigate the problems and to support and nourish our teacher tribes.
w Join your specific organizations— FMEA, FEMEA, FBA, FOA, FVA. These organizations host events that provide opportunities for students but also a place to meet other teachers in your discipline. It provides a venue for communion with others who understand the particulars of your reality. It builds camaraderie, and it can help you come up with solutions to problems by learning from those who have walked in your shoes.
w Find an outlet for your individual music-making needs. Before we were teachers, we were performers who made music with our ensembles, and then we performed as we learned the inner workings of our individual instruments. Join a community band or choir, go to an open mic event. Reconnect with your own music-making as a means of maintaining your
musical being. Finding ways to make music with others can help us to find a community as well and recognize we are not as alone in the world as it may seem in our classrooms.
w Find a group of colleagues within your district or area, and find ways to assist each other as teachers and build all your students up together. Share your successes; if music is happening, you’re all winning.
w Collaborate with others for concerts. Provide your students opportunities to sing or play with others, and allow yourself to share the responsibilities as opposed to carrying the musical weight of the world on your shoulders. Although my personal reality has changed, I recognize that we as music teachers need to take care of ourselves. We also need to connect with others so that we do not feel isolated. Music teachers are a small group, and professional isolation can be a reality we must contend with. As musicians who build communities in our classrooms, let’s build communities with each other and help keep our art forms alive and thriving.
Alicia Romero-Sardiñas, PhD, is a visiting professor of music education at Florida International University. A first-generation American daughter of Cuban immigrant parents, Dr. Romero-Sardiñas holds degrees in music education from Florida International University (BS) and Florida State University (MMEd) and a degree in curriculum and instruction (PhD ) from Florida International University.
References
Bautista, A., Stanley, A. M., & Candusso, F. (2021). Policy strategies to remedy isolation of specialist arts and music teachers. Arts Education Policy Review, 122(1) 42–53. https:// doi.org/10.1080/10632913.2020.1746713
Davidson, J., & Dwyer, R. (2014). The role of professional learning in reducing isolation experienced by classroom music teachers. Australian Journal of Music Education, 1, 38 – 51.
Robert, M. (1973). Loneliness in the schools. Argus Communications
Sindberg, L. K. (2011). Alone all together- The conundrum of music teacher isolation and connectedness. Bulletin of the Council for Research in Music Education, 189, 7–22. https:// doi.org/10.5406/bulcouresmusedu.189.0007
Sindberg, L. & Lipscomb, S. D. (2005). Professional isolation and the public school music teacher. Bulletin of the Council for Research in Music Education, 166, 43 – 56. https://www.jstor.org/stable/40319279
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
June 12-14, 2023
University of South Florida
S u m m e r I n s t i t u t e 20 22
June 5-8, 2022
Please take time to thank and support our 2022-2023 Corporate Partners.
Lindsey R. Williams, PhD, President
In my last submission for the Florida Music Director, I attempted to show how don Miguel Ruiz’s The Four Agreements might function within both the teacher and student perspectives of the teaching/ learning paradigm. This short and fascinating tome helps to remind me that how we relate to and with our students will likely determine the effectiveness of the learning environment we strive to create and modify over our careers. To get you up-to-speed, the Four Agreements are:
1. Be Impeccable With Your Word.
2. Don’t Take Anything Personally.
3. Don’t Make Assumptions.
4. Always Do Your Best.
Work to speak and act with integrity and to establish clear expectations for students within your sphere of influence.
Not all feedback is created equal, and you get to decide whose accolades and/or critiques you will accept.
Ruiz’s next Agreement, DON’T MAKE ANY ASSUMPTIONS,
can be quite challenging. We do this all the time and, mostly, unconsciously. For me, it manifests itself in my internal dialogue. I think this is even more problematic in our current political climate where
we tend to limit our categorizations of people into a sadly dichotomic “us/them” structure. I know I have been guilty of assuming that if a person supports Party X or Candidate Y, they hold all of the same values and/or beliefs. I know I’m guilty of this when I see a bumper sticker or a yard sign that supports a person who I believe is diametrically opposed to my own belief system. The problem with this is it’s lazy and does not generally allow for grace and completely ignores the complexity of the system and banishes all nuance.
Now let’s take this into the music classroom when a student acts out and we assume we know “why” they did this without seeking further information and seeing if we can provide comfort or support. If someone is late or hasn’t completed a task, it doesn’t make them “lazy” or a “bad student.” It means that life can be challenging and sometimes we fall short.
How about in an adjudication setting as the ensemble walks on stage? It’s human nature to begin establishing expectations based on what we see.
In fact, many adjudication forms across the United States actually score “deportment.” One limitation to this approach is that we are creating preconceived ideas of what we will hear and, in some instances, functionally starting the group at a deficit before they play a note. I was at an adjudication event where a fellow judge was railing on the fact that a student had on white socks and how poorly this reflected on the student, group, school, etc. I was
confused by the weight this person put on socks. I asked him, “What if the kid simply forgot, and it was either make the bus or miss it to return for socks?” He didn’t have an answer. Some things matter a great deal and, in music, details matter. Not all details have to carry the same importance.
The fourth and final Agreement is ALWAYS DO YOUR BEST
This admonition seems rather easy, but it can be one of the most challenging unless you remember that our “best” is a variable state, as is the best of our students. My wife often shares with her students and our children (and her husband) that “we are all doing the best we can with what we have on that day,” and I think is what Ruiz was going for. Much like what I mentioned above with a student who is late to class or with an assignment, getting to my room may be the best they could do that day, and I want to be grateful for their presence. Maybe there are extenuating circumstances or challenges they are going through that I’m not privy to. All in all, I choose to accept that my students, peers, and colleagues are all striving to the best they have and that “best” isn’t a static level.
If these missives lead to you choosing to read Ruiz’s tome or at least to spend some time reflecting, I feel that this article was successful. Please continue to do your best and know that your students are too.
Please enjoy the end to another fascinating academic year!
Spring is a beautiful time of year. The weather is nice, flowers are in full bloom, and the birds seem to be chirping louder than ever.
A couple of weeks ago, I left the house bright and early with my teenage son Sammy to go pick up doughnuts for breakfast. We sat in the drive-through line for a lot longer than we had expected. I kept the window open as I was stuck in between the speaker box and the pickup window. In the tree directly to the left of my car was a bird singing loudly and full of joy for the start of its day. After about 10 minutes of anxiously waiting for the car ahead to move, my son yelled at the bird, “AHHHH! SHUT UP—You are so annoying!” There is no denying that the bird’s singing was beautiful, happy, and full of energy. There is also no denying that Sammy was grumpy, sleepy, and easily annoyed.
This spring, make sure to rest, relax, and recharge so you don’t miss the beauty in the loudly singing birdies. If you haven’t already heard about your district spring meeting, please contact your district chairperson. I am looking forward to hearing from every district in our spring FVA executive board meeting. Your voices keep our organization growing.
Can you see it? The end of another academic year is right around
ought not wait until the dress rehearsal for that. The list of things left to do in
that WE MADE IT and SO CAN YOU! Successfully navigating a heavy load of responsibilities often depends on one fundamental skill: time management.
We’ve often been told we needed to develop time management skills, but attempting to do so can also feel like another task on the list! What we need is TIME to develop time management skills, but since we can’t create more time, real, practical, achievable strategies for managing our time will have to do. The faculty of the University of Georgia Extension posited, “the term time management is a misnomer. You cannot manage time; you manage the events in your life in relation to time.” They recommended 10 strategies for better time management:
1. Know how you spend your time.
2. Set priorities.
3. Use a planning tool.
4. Get organized.
5. Schedule appropriately.
6. Delegate: Get help from others.
7. Stop procrastinating.
8. Manage time-wasters.
9. Avoid multitasking.
10. Stay healthy.
Practical methods of implementing these 10 time management strategies are included in the UGA Extension publication available here. It’s a quick read, but it includes suggestions that could have an enduring effect on your ability to increase productivity and decrease stress. I highly recommend you MAKE TIME to read it, and do your very best to implement the strategies as soon as possible. As always, I’m here to help. Don’t hesitate to contact me if you need help making these strategies work with your particular situation.
Take care!
Spring is here and I hope preparations for your upcoming concerts are going well! Today I want to take a moment to talk about the future of music education. That future, as distant as it might seem, is in the hands of our young and eager students who will one day become music educators. Many started singing or playing an instrument for the first time in August, but they are already flourishing and have found a home in your classrooms. They are inspired by you and each day fall more in love with the art. In the coming years that love will strengthen and evolve as they become adults contemplating their future careers. Only a few of our students will pursue music education, but those who do will shape the future of our profession with their passion, energy, and creativity. It is our mission as current music educators to identify and cultivate these young minds so they can become the great teachers of tomorrow.
Now that we are past the bustle of February and March, I encourage you to take a moment in these final months of term to identify and encourage those with a spark for music education. Find ways to provide these amazing children with musical and teaching leadership roles in the classroom. Let them conduct and teach their peers under your mentorship. If they are in high school, talk with them about a career in music. A few encouraging words from you will make all the difference to them.
It excites me to think of how our profession will evolve in the years to come. I wait eagerly to see what new masterpieces will be crafted and what new methodologies will shape classroom activities. But what inspires me are the bright minds that will lead us. We are all responsible
for cultivating those minds so that music persists as a force of positivity and community, influencing the psychological and mental well-being of all the youth in Florida.
Good luck with the remainder of the year. Teach well, my friends!
Springconcerts and musicals are beginning to bloom around the state of Florida. It is wonderful to see and hear about the amazing musical perfor mances that have occurred or are in the works. Honor choirs and all-county events are also in full swing this time of year. Elementary teachers make amazing musical memories for their students. It is also the time to start making plans for summer and fall.
We are excited to announce the 2024 all-state conductors. Dena Byers will conduct our All-State Elementary Chorus. She teaches at Hillandale Elementary School and serves as the lead elementary music teacher for Durham Public Schools. Christopher Giles and Michael Vasquez will conduct our All-State Elementary Orff Ensemble. Christopher Giles is a K-5 music specialist at Mireles Elementary in San Antonio, Texas, and adjunct professor at the University of the Incarnate Word. Michael Vasquez teaches preK-5 music at Kuentz Elementary in San Antonio. These amazing conductors will bring out the best in our students and impart valuable rehearsal and teaching techniques for teachers. To make the audition process as smooth as possible, it is important to start planning now. Contact parents and find out which students are serious about all-state auditions. The audition materials will be ready on May 1. I have found it most beneficial to create a practice track with students so they can work over the summer.
Many teachers are in the process of making summer plans. Recharging physically and mentally is crucial. For some of us that means attending meaningful musical training of our choice. Florida is so fortunate to have a number of wonderful Orff chapters that provide amazing opportunities for music learning. Of course for some of us, summertime means taking off our teacher hat and enjoying time with friends and family. As always, thank you for all you do for students in Florida!
William I. Bauer, PhD FMEA Research Committee Chairperson, University of Florida
This on-going column seeks to stimulate awareness of research issues for FMEA teachers and researchers.
teachers are often responsible for many students, both within a single class and on a weekly basis. Meeting the individual learning needs of students when dealing with large class sizes can be challenging. One strategy to address this situation that some music educators have found helpful is to utilize peer-assisted learning (PAL). Peer-assisted learning is an instructional strategy where students work in pairs, frequently alternating between the role of tutor and tutee, helping each other acquire and develop relevant knowledge and skills. Recently, David J. Saccardi (2023) summarized the research in this area and provided suggestions for applications to music learning.
Peer-assisted learning is a form of cooperative learning. Cooperative learning, which can be contrasted with competitive and individualistic learning structures, involves students working interdependently in small groups to achieve clearly defined learning goals. While cooperative learning groups can be of various sizes, peer-assisted learning usually occurs in groups of two. Researchers have found that peer-assisted learning may be of benefit to students academically, socially, and emotionally.
Two approaches to peer-assisted learn ing (PAL) are cross-age peer tutoring reciprocal peer teaching tutoring is when older students work with younger students. An exam ple of this would be having an older, more musically mature student (e.g., a senior) in a high school band assist a young er musician (e.g., a freshman) in learning a difficult passage in repertoire being prepared for a concert. Reciprocal peer teach ing can be structured in two ways:
(a) asymmetrical groupings a high-achieving student with a lower-achieving student, for example,
having an elementary student with a strong sense of pulse share an Orff xylophone with a student who is still developing a feel for the steady beat; or (b) symmetrical groupings where two students who are of similar ability are paired, such as asking two violinists in a beginning strings class to model and check playing fundamentals like instrument and bow holds for each other. Researchers have found “significant gains in sight reading ability, music theory knowledge, and rhythm reading on post-test measures for middle school music students, regardless of whether students took part in the asymmetrical or symmetrical treatment” (Saccardi, 2023, p. 17).
Students who participate in peer-assisted learning have been found to benefit from experiencing both the role of the tutor and tutee. As a tutor, students must review their understanding of a concept or skill, mentally organizing it to clearly present information to their tutee. This process may also cause the tutor to reflect on the way they learn, causing them to gain insights into their personal learning process. By working with a tutor, a tutee receives individualized instruction that might not otherwise be possible in a large class. A tutee will also have increased opportunities to (a) apply and practice their knowledge and skills, and (b) receive feedback on them, compared to typical experiences in a class that is primarily teacher-directed.
Music teachers should consider incorporating peer-assisted learning practices as part of their pedagogy as PAL can benefit students in a number of ways. Saccardi (2023) lists the following research-based outcomes of including peer-assisted learning approaches in music classes and rehearsals: More cooperative and collaborative learning environments that minimize teacher talk time and increase student autonomy
w Increased student empathy, communication, and acceptance of others’ differences within the music classroom environment
w A deeper understanding of musical, technical, and declarative concepts due to increased number of individual student repetitions of musical material followed immediately by partner feedback
w More active and musically engaged students who feel a sense of belonging in the ensemble, thus helping with student retention and ensemble cohesion (p. 15)
Additional details of this and other studies with practical implications for music classrooms and rehearsals can be found by accessing the website of the UPDATE: Applications of Research in Music Education journal found at https://bit.ly/nafme-update. The mission of UPDATE is to bring “research in music teaching and learning close to everyday practice to help teachers apply research in their music classrooms and rehearsal halls” (National Association for Music Education, 2023, para. 1). All FMEA members can read UPDATE as part of their FMEA/NAfME membership.
References
National Association for Music Education. (2023, March). UPDATE: Applications of Research in Music Education https://nafme.org/nafme-research/updateapplications-of-research-in-music-education/ Saccardi, D. J. (2023). Research-to-resource: Peerassisted learning in the music program. Update: Applications of Research in Music Education, 41(2), 15–19. https://doi.org/10.1177/87551233221084366
Email your questions and feedback to wbauer@ufl.edu with a subject heading Research Puzzles.
Ihopeyou have had the opportunity to read in the February/March Florida Music Director about how each 2023 FMEA award recipient is supporting and furthering quality and exemplary music education throughout our state. We featured our 2023 FMEA Hall of Fame inductee and our 10 major category 2023 FMEA award winners, including the Educators of the Year (Elementary, Secondary, and Collegiate), the Administrator of the Year, the School Board Member of the Year, the Leadership in Music Education awardee, the Distinguished Service in Music Education awardee, and the Exemplary Model Music Project and Exemplary Model Music Program awardees. You will also see our 2023 FMEA Music Education Service awardees and the schools that were awarded the 2023 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 have to offer you, speaking their truth about music education and the passion that drives them. I share these words of inspiration to give you the 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.
This month we will start with some inspiring words from our newest FMEA Hall of Fame member. I present to you our 2023 FMEA Hall of Fame inductee, Dr. Judy Bowers.
Notonly was I very honored by receiving the FMEA Hall of Fame award, I also was very happy to see many former students, colleagues, and meet new musical leaders within Florida, via the FMEA Professional Development Conference. I also took this time in Tampa to revisit moments of my career, the people, the music-making I have experienced. These reflections follow, below.
During my first year of teaching (in a wonderful school primarily filled with students who faced many challenges), I determined that the only essential need a student has for succeeding at school is a caring, well-trained teacher—I wanted to be that. After 15 years of teaching, I decided that helping prepare music teachers might also be an incredibly fulfilling professional journey; a single powerful music teacher can impact the lives of thousands of students. If I could help provide hundreds of effective music teachers who could then empower their own students in meaningful ways, exponentially more students could grow musically, socially, academically. I left to earn a terminal degree.
Thus, the FMEA PD Conference was a time to think about these incredible students that have enriched my professional life for more than 50 years. I still have vivid memories of the many things I learned from my own students as a novice teacher and continuing through many years at FSU. While I certainly treasure the award I received, the greatest honor of my life has been those joyous interactions with students as I have watched them chart their own path—what a privilege. I believe we all accrue influence among those around us, both personally and professionally, and I wanted my professional influence to reflect my values about teaching excellence. Some will say I am quite passionate about music, which I am, but I am most passionate about having public schools (all schools, actually) filled with excellent music teachers so that every person has a chance to experience the rich life that accompanies arts enjoyment, or participation, or excellence.
I have many stories about teaching events or experiences that I could relate, but the one surprising aspect of teaching has been the broad view of humanity that is inescapable if a teacher is observant. Decades of viewing life through individual students, their families, the social organization of schools has provided a broad view of human nature. For me, it became almost impossible to only consider what might be best for me, when across time I observed that what helps some can damage others—life is challenging. I grew to become an advocate for students, ANY student in need, and I have consciously attempted to advance opportunities for students to try new things. I needed and received mentoring and support in my life, so I felt my students were entitled to my support.
When thinking about what makes me proud to have received the FMEA Hall of Fame award, I cannot help but smile. I never felt typical as a music teacher because I decided I would simply “do my job,” which means that students get what they need and “win” as often as possible. Thus, I decided if students in my care succeeded, that would be my measure of success. At this point in my career, I am fearless in facing most any teaching or conducting event, because I believe there is a way for success to occur in a positive and enjoyable rehearsal and concert setting and I am willing to put in the work.
My belief in the power of music education is entrenched in decades of seeing students discover who they are, why they matter, how they can contribute, how they can lead, how they can advocate for others, to name a few important things. We have all seen deeply at-risk students rise to high levels of success in musical settings. While their success is about music, it is also about a person learning to be independent, dependable, etc., and these habits are precursors to a more successful life. Music is life-changing in almost limitless degrees.
The elimination of music programs occurs with ebb and flow in society, often based on financial challenges, with the arts often vulnerable to funding cuts. However, long term eliminations that are not reinstated are deeply damaging to the educational quality provided when arts leave the curriculum. We all have a voice but navigating the systems for change can be daunting to the general population; thus, all voices are not always heard. My first response when seeking help with advocacy is the state music agency, in Florida, FMEA. I have lived in several states that considered removing the state agency from the national association, primarily due to cost, I think. I strongly defended having national membership, suggesting it was worth every penny of dues for one benefit: a national voice. I believe we all are responsible, as music teachers and citizens, to remain aware of vulnerable arts programs and speak individually or join others to advocate for those who are not always heard but will face the consequences—the students.
I believe in music education because I experienced such a good one. I had fine teachers, I had musical access, I was mentored, I was supported as a teacher by administration, and I well know the richness of life when the arts are embedded into life as we all live it. I thought it was normal that my high school teacher once took me with her when she judged solo and ensemble events. Her instructions were for me to sit in the back, list each song by title, then write what I thought about the performance. At the end of the day, as we drove about 80 miles home, she showed me her ratings and we discussed how my ratings matched up to her perceptions. I’m the only person I’ve ever met that experienced that. My wonderful teacher invested in me, and I deeply admired her, so I have invested in my own students, following the model she so generously demonstrated to me.
Iamconstantly inspired by the fabulous music educators in our midst. I see passion, resilience, fortitude, commitment, appreciation, inclusion, JOY, and so much more. The work of a music teacher can be daunting. But … it’s worth it! Changing lives, including our own lives, will make for a better world. We really can make a difference.
The FMEA Emerging Leaders Program is focused on encouraging teachers who are interested and willing to serve to become all they can be. Building friendships with other music educators across the state helps to build a bigger picture of what’s possible. Having a statewide support group provides incredible opportunities for growth and FUN.
The opportunity to meet and work with FMEA leaders is a great way to learn about how to be a leader. In our organization, there are many role models to help us all learn by experiencing leadership in action. There are multiple opportunities for Emerging Leaders to serve and develop leadership skills at the annual FMEA Professional Development Conference.
The 2023 FMEA Emerging Leaders Conference will be held on June 17 (9:30 am-4 pm) at UCF in Orlando. Applications for the 2023 Class of Emerging Leaders are available on the FMEA website (under “Programs” on the home page). The deadline for applications is fast approaching, so please act now. We welcome past Emerging Leaders to join us in June. You are excellent role models … and I love seeing you all!
We invite all FMEA members to participate in nominating candidates; self nominations are accepted as well.
Together, we will build a strong future for music education in Florida. Thank you for your commitment and caring.
OnMarch 4, I and many others mourned the loss of Judith Heumann, widely regarded as “the mother of the disability rights movement.” As I read the numerous bios and eulogies on her passing, I was struck by her struggles in education, both as a young student attempting to attend public school with a disability, and then as an honors graduate fighting to become a teacher. Judith contracted polio at age two and when her parents tried to enter her in kindergarten, the principal blocked her family from entering the school, labeling Judith a “fire hazard.” Her parents fought back, and she was eventually admitted, then graduated from high school and went on to earn an undergraduate degree in education from Long Island University. When she applied to teach, though, the New York Board of Education refused to give her a teaching license because they feared she would not be able to evacuate students or herself in case of fire. She sued the state of New York and went on to become the first teacher in the state to use a wheelchair.
Fortunately for many Americans with disabilities, Judith prevailed in her determination to attend school and to become a teacher. These struggles with school systems propelled her to earn a master’s degree in public health from University of California at Berkeley and subsequently help found the Berkeley Center for Independent Living and the World Institute on Disability, as well as lead national disability rights demonstrations, spearhead disability rights legislation, found national and international disability advocacy organizations, and
hold senior federal government positions related to disability. Those early education battles made her a warrior, a fierce advocate for people with disabilities, and the world is better for it, but the classroom was left without a teacher, a teacher with a disability who might have inspired other students with disabilities to become teachers.
Because of disability legislation Judith Heumann fought for, the Americans with Disabilities Act requires that public school buildings be accessible and administrators less discriminating in their hiring practices. Nevertheless, research indicates only 4.6% of teachers working in preK through post-secondary settings have a disability and only 68% of teachers with disabilities are hired full time (Walker, 2018). “Teachers with disabilities remain under-represented in schools and,
as a topic, understudied” (Neca, Borges, & Pinto, 2022, p. 6). Villegas and Irvine’s (2010) research revealed that when children are exposed to role models who look like them working in a profession, they are more likely to perceive that profession as a career possibility. With increased disability representation in the teacher workforce, students with disabilities may consider teaching as a profession, and others will recognize that a disability does not affect a teacher’s competence in the classroom. Seeing individuals with disabilities succeeding as teachers and observing how they navigate the world can be inspirational and educational, not only for students with disabilities, but also for nondisabled students, teachers, parents, and administrators.
Several years ago, the Diverse Learners Committee sponsored a session at FMEA on music educators with disabilities. A panel of very successful music educators with ADHD, learning disabilities, hearing loss, and vision loss discussed how they circumvented and/or accommodated their disabilities in their teaching. It was one of the most well-attended sessions the committee has sponsored. Several in attendance suggested we do a similar session every year with different disabilities represented, citing in particular autism spectrum disorder and mental health. Some of the audience members were friends of the panelists, but others truly wanted to understand and learn about disability. One teacher said he was losing his hearing and was looking for advice and tips that would help him later.
If we are fortunate enough to live a long life, we will all experience some
level of disability. Recognizing that people with disabilities get up every day, go to work, and rarely think about their disability, or wouldn’t change it if they could, helps to temper people’s fear of disability. Disability representation in education is important for everyone, not just people with disabilities. We can learn about disability through knowing people with disabilities and observing their lives. Hearing their lived experiences helps us all recognize they are not that different from us, if at all, and their professional talents and ambitions are much like our own.
When I hear people ask questions about whether certain disabilities will affect a teacher’s competence, I am reminded of Ed Kahler, a very successful educator and former student of mine. At the time he graduated and was looking for employment, he had very little functional sight. Fortunately, some years later, it was much improved through a new and innovative surgical procedure. The jobs he was seeking at the time required that
he observe students in their practicum work. Worried that potential employers might be concerned about his vision loss, I happily included in my letters of recommendation the following:
Should you fear Ed is not capable of supervising students in their practicum work, I want to assure he is a gifted observer of human behavior. I offer this anecdote as evidence. A colleague of mine was leading a class discussion on environmental cues that prompt human behavior, such as the class bell and students begin to gather their books, or the yellow traffic light that prompts drivers to either slow down or speed up to get through the light. He then asked the class, “What do I do that signals I am ready to start class?” As the class of fully sighted and hearing graduate students sat pondering, Ed quickly raised his hand and said, “You take your keys out of your pocket and lay them on your desk.” It was a simple,
Alice-Ann Darrow, Chairperson
but significant behavior the rest of the class had missed, likely because they were on their computers or chatting with classmates.
The presence of teachers with disabilities in the schools has the potential to influence the expectations and aspirations of students with disabilities; however, a review of the literature on teachers with disabilities reveals “under-representation of teachers with disabilities within educational communities, a situation that inhibits social change, that could only be achieved with a more significant presence of these teachers in schools and universities because more than anybody else, they can replace prevailing negative representations of disability by showing their competence and innovative pedagogic practices” (Neca, Borges, & Pinto, 2022, p. 1203). Supporting that premise, Hayashi continued on page 40
continued from page 39
and May (2011) found that contact and interaction with teachers with disabilities in the classroom is likely to improve students’ personal attitudes about disability. In her research, Hauk (2009, p. 26) identified the following characteristics of teachers with disabilities:
w Teachers with disabilities have a vested interest in seeing students with disabilities achieve their goals and succeed in school and life, and these teachers maintain a philosophy based on the fact that all students can meet high expectations, all students can learn, and all students are capable.
w Teachers with disabilities have increased patience for students with disabilities.
w Teachers with disabilities often have gifts in other areas of instruction and are more likely to use modified, varied, and strategic teaching styles to accommodate a wide variety of learners.
w Teachers with disabilities see their disability as a teaching tool to connect with students and explain disability realities to colleagues.
w Teachers with disabilities tend to be passionate about their practice and often work tirelessly to dispel stereotypes about disability and capableness.
w Teachers with disabilities can help students understand that disability does not equal deficiency or incapableness.
w Teachers with disabilities treat students with disabilities as “normal” and do not prejudge or underestimate students with disabilities.
w Teachers with disabilities serve as “mirrors” for students with disabilities and they can often identify the “masks” students are wearing, or the student behaviors that hide their disability.
These studies and others indicate that teachers with disabilities may bring certain assets to the classroom beyond representation.
We can read books about people with disabilities, see movies about people with disabilities, hear news stories on TV about people with disabilities, but until we have a personal or professional relationship with someone who has a disability, we do not know them. The same can be said for anyone who is different than those we live with or know at school.
I was in graduate school before I had a teacher who was Black, and I never had a teacher who was Asian. To the best of my knowledge, I never had a teacher with a disability. Representation in education matters because it allows students to dream big about their futures. It encourages others to imagine themselves in new situations and experiences. As a music student, I never dreamed a woman could be a conductor of a major orchestra, Pulitzer Prize winner in music, Supreme Court justice, secretary of state, speaker of the House, attorney general, U.S. astronaut, or vice president of the United States. I am not sure my career would have been different if I had seen more women or people with disabilities succeeding in the musical or political world, but I am sure seeing them would have allowed me to choose teaching from a much larger professional menu.
Representation in education can alleviate students’ feelings of being an “only.”
As I sat in a very crowded train station in Tokyo, Japan, I suddenly became aware I was the only Caucasian in the station, at least that I could see. I realized that until that moment, I had never been an “only” in my entire life. I wasn’t uncom-
fortable, but it did feel strange to see no one who “looked like me.” I thought of the many foreign students I had taught who were the “only” in class with no one who looked like them. I am not sure that experience in the train station changed my teaching, but I know I made a more concerted effort to reach out to “only” students. In doing so, I learned more about them and their lives at school and in the U.S., and I believe I was a better teacher for it.
How do we increase diverse representation in the teacher workforce? Perhaps we first do it by encouraging and nurturing our students to become teachers, valuing our colleagues who bring diversity to the classroom, and actively recruiting others to the teaching profession. We can mentor and promote young teachers who are unsure of their place in the classroom. I know that I am actively encouraging musicians with disabilities to consider the teaching profession. There is certainly enough room for all of us, and our students will be the beneficiaries.
Hauk, A. (2009). No teacher left behind: The influence of teachers with disabilities in K-8 classrooms. [Master thesis, The University of Alaska Southeast]. Retrieved from <https:// scholarworks.alaska.edu/bitstream/ handle/11122/2986/EDSE692Hauk%20 thesis%202.pdf?sequence=1>.
Hayashi, R., & May, G. E. (2011). The effect of exposure to a professor with a visible disability on students’ attitudes to disabilities. Journal of Social Work in Disability & Rehabilitation 10(1), 36–48.
Neca, P., Borges, M. L., & Pinto, P. C. (2022). Teachers with disabilities: A literature review. International Journal of Inclusive Education, 26(12), 1192–1210.
Villegas, A. M., Irvin, J. J. (2010). Diversifying the teaching force: An examination of major arguments. Urban Review: Issues and Ideas in Public Education, 42(3), 175–192.
Walker, A. D. (2018). Teachers with disabilities: Their challenges and their needs. Disabled Teachers Network. Retrieved from <https:// disabledteachersnetwork.weebly.com/ survey-results.html>.
The Florida Music Education Association (FMEA) is soliciting scholarship applications for the June M. Hinckley Music Education Scholarship. The association will award $1,000 scholarships to selected 2022-23 graduating high school students who were accepted to a Florida all-state ensemble and who intend to major in music education at a Florida college or university.
How to Apply: Fill out the online application. As part of the online process, you will be asked to upload these files:
w Essay: Answer both of the following questions in a typed response of approximately 1,200 words saved as a Microsoft Word (.docx) or PDF (.pdf) file: (1) Why do you wish to become a music educator? (2) Why should music be available to all students?
w Three letters of recommendation signed and scanned as PDF files.
w High-quality headshot photograph such as your senior photo or similar. This will be published in the Florida Music Director magazine if you are one of the scholarship winners.
APPLY HERE
An OFFICIAL COPY of your transcript (must remain sealed) must be sent to the following address:
June M. Hinckley Music Education Scholarship
Attn: Val Anderson 402 Office Plaza Tallahassee, FL 32301
Postmark Deadline: April 22, 2023
Applications will be reviewed by a representative committee of teachers, administrators, and music educators convened by FMEA. Notification will be made by May 30, 2023. Monies awarded will be distributed to the appropriate college or university once the student is enrolled.
As arts education specialist for the Florida Department of Education, June Hinckley led the development of the Sunshine State Standards for the Arts, which are based on the National Arts Standards and were adopted by the Florida State Board of Education in 1996. Hinckley assisted schools and school districts with the implementation of the arts standards and with connecting the arts with the state accountability and testing program, and she served as a liaison among the various K-12 arts education groups, higher education, and community arts organizations. She was a founding organizer of the Arts for a Complete Education project, which has coalesced the various community, industry, and school arts organizations in Florida to work cooperatively and proactively to improve the quality and quantity of arts programs throughout the state.
The Mission of the Florida Music Education Association is to promote quality, comprehensive music education in all Florida schools.
Executive Director Kathleen D. Sanz, PhD
In order to provide high-quality music experiences for students in Florida, we need to have high-quality music educators. The current teacher shortage and the difficulty that our teachers face in providing a comprehensive music education for all students is an area on which FMEA is focused.
Personally, I believe it begins in the elementary schools. As a former elementary music educator, I was fortunate to have several of my elementary students become music teachers. It begins at the elementary level to provide strong instruction and a love of music, whether these students become future educators, advocates, or audiences of our art form.
FMEA leadership is involved in reviewing data that addresses teacher recruitment and retention of engaged music educators in our state.
Emerging Leaders – The Emerging Leaders Summer Drive-In to Leadership Conference will be held June 17, 2023, in Orlando. The deadline to apply to be an Emerging leader is April 23, 2023.
The 2023 Florida Regular Legislative Session began on March 7, 2023, and is scheduled to end on May 5, 2023.
FMEA has prepared their legislative platform. The platform revolves around three specific areas:
(1) access to music education to ensure that ALL students have access to high-quality sequential arts courses,
(2) funding, and
(3) teacher recruitment and retention.
You can review the full platform on the FMEA website. I hope you had a wonderful spring break and will have a great spring and second semester.
