Cultivating Future Educators Through Holistic Leadership
Creating a Multi-Philosophical Environment in Music Education
PLUS: JuneM.HinckleyMusic EducationScholarship
EmpoweringEffective Advocates
ImposterSyndrome
2024-25 FMEA MEMBERSHIP: You are eligible for membership in the Florida Music Education Association if you are an individual engaged in the teaching, supervision, or administration of music in elementary and secondary schools, colleges, or universities within the state. Visit FMEA.org/membership to learn more about the benefits of active membership.
SUBSCRIPTIONS: Direct correspondence regarding subscriptions to: Hinckley Center for Fine Arts Education, 402 Office Plaza, Tallahassee, FL, 32301-2757. Subscription cost included in FMEA membership dues ($9); libraries, educational institutions, and all others within the United States: $27 plus 7.5% sales tax.
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Executive Director Florida Music Education Association
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The Florida Music Education Association (FMEA) is soliciting scholarship applications for the June M. Hinckley Music Education Scholarship. FMEA will award $1,000 scholarships to selected 2024-2025 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 and save it as a Microsoft Word .docx document:
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.
2025 Scholarship Online Application
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 19, 2025
Applications will be reviewed by a representative committee of teachers, administrators, and music educators convened by FMEA. Notification will be made by May 30. Monies awarded will be distributed to the appropriate college or university once the student is enrolled.
About June M. Hinckley
As arts education specialist for the Florida Department of Education, June Hinckley led the development of the Sunshine State Standards for the Arts, which are based on the National Arts Standards and were adopted by the Florida State Board of Education in 1996. Hinckley assisted schools and school districts with the implementation of the arts standards and with connecting the arts with the 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.
President’s MESSAGE
The Undeniable Truth: Music Education Begins with ME
The end of the year is in sight! When I was in the classroom, the fourth quarter used to be one of my favorite times of the school year.
The third quarter seems packed with the FMEA conference and all-state, district solo and ensemble, concert MPA, as well as all-county events in many places. It can seem like an unrelenting mad dash toward the much-needed rest and relaxation of spring break!
By contrast, the fourth quarter of each year was always a time for me to get a little sentimental and to enjoy all of the fun and deeply meaningful “lasts” with the departing group of students I had grown to love over the previous several years of working together. Regardless of what grades you teach, music educators are among the few within the education profession that tend to work with the same students over multiple years. As we work together to prepare and perform music multiple times each year, build community and camaraderie, travel, fundraise, and so much more, music educators and students often become like family to one another.
As I’m sure you do each year, take time to commit to memory each “last” during these final months of school. The last rehearsal. The last trip. The last concert. The last awards ceremony. The last day of school. And of course, graduation. But far more important than the memory of these final events, commit each student’s name and face to memory. What they did to make you smile, laugh, or roll your eyes. The things you celebrated with them, and the times you comforted them through tears. The thrilling moments of musical artistry you experienced together, and them sharing their dreams for the future. Each memory you carry
Jason P. Locker President Florida Music Education Association
with you is a precious reminder of why we feel called to music education as our vocation, and can help us refill our cups when they begin to run low.
Just as you carry treasured memories of your students with you for a lifetime, each student walks out of your classroom for a final time carrying memories of you, as well. When students look back on their time as a music student, they will remember the performances and travels, the applause and the feelings of accomplishment, but most of all they will remember you. The way you made them feel welcome, safe, and special. The way you smiled. Your repetitive quips or sayings that became classroom mantras. The times they could tell they had made you proud. And for some, the moment they decided they wanted to become a music educator … just like YOU! (If you close your eyes and think back to that moment in your own life, I bet you can picture the person who inspired your own choice to teach music … and I also bet that thought brings a smile to your face.)
You see, my friends, Music Education Begins with ME has been our theme because it is an undeniable truth. For the students who enter and leave your instructional space each year, music education really does begin with you. You and your students are the secret ingredients that make your classroom a special place, unique from every other such classroom, where magic happens and lives are changed for the better.
As we move through the fourth quarter, I encourage you to cherish this special time with the students you are fortunate enough to teach. Remember each and every one, and look back on them with a smile. For that is surely how your students will look back in years to come and remember you!
Jason P. Locker, President Florida Music Education Association
Advocacy REPORT
Jeanne W. Reynolds Chairperson Advocacy Committee
Empowering Effective Advocates
Legislative Session
We are in the middle of our legislative session. Your role as FMEA members is to be knowledgeable about, and supportive of, our legislative platform you see here. Our advocacy efforts grow when more members are informed and empowered.
Who are your advocates?
2025
2025
LEGISLATIVE PLATFORM
LEGISLATIVE PLATFORM
The Legislative Platform is a product of the Center for Fine Arts Education Advocacy Committee
The Legislative Platform is a product of the Center for Fine Arts Education Advocacy Committee
FINE ARTS ACADEMIC ACHIEVEMENT & ALIGNMENT
FINE ARTS ACADEMIC ACHIEVEMENT & ALIGNMENT
Allow acceleration points to be included in the high school grades calculation formula for students graduating with the Florida Seal of Fine Arts.
This morning, I spoke with an extraordinary parent advocate from Okaloosa County. We should all be so fortunate to have such a knowledgeable, passionate, articulate advocate to champion our programs. She was well versed on federal legislation and knew the status of music programs throughout her district, not just in the schools her children attend. Specifically, she was looking for ways to advocate for more elementary music programs and to create parity in staffing among all secondary programs, band and chorus, etc. How did this parent become such a strong advocate?
Protect students’ rights to be enrolled in sequential fine arts course work.
Allow acceleration points to be included in the high school grades calculation formula for students graduating with the Florida Seal of Fine Arts.
Protect students’ rights to be enrolled in sequential fine arts course work.
Allow participation of two seasons of Marching Band to satisfy the one high school required PE/Health course (HOPE) to align with JROTC.
Allow enrollment in one year of Dance Technique Courses to satisfy the one high school required PE/Health course (HOPE).
Allow participation of two seasons of Marching Band to satisfy the one high school required PE/Health course (HOPE) to align with JROTC.
Allow enrollment in one year of Dance Technique Courses to satisfy the one high school required PE/Health course (HOPE).
Oppose mandates and/or legislation that may cause unintended consequences of limiting students’ access to sequential fine arts course work, including the continued erosion of the Fine Arts Credit.
Support a modest funding request for Florida to participate in the Arts Education Data Project (artseddata.org) to fill the gap that eliminating the Fine Arts Report created.
Oppose mandates and/or legislation that may cause unintended consequences of limiting students’ access to sequential fine arts course work, including the continued erosion of the Fine Arts Credit. Support a modest funding request for Florida to participate in the Arts Education Data Project (artseddata.org) to fill the gap that eliminating the Fine Arts Report created.
EDUCATION FUNDING
EDUCATION FUNDING
Adequate, equitable funding is critically important to ensure a world-class education for all Florida students.
Adequate, equitable funding is critically important to ensure a world-class education for all Florida students.
Increase base student allocation to address the needs of all students to provide a high-quality and comprehensive education that includes access to high-quality arts programs.
Provide school districts with flexibility and autonomy to best meet the needs of all students.
Increase base student allocation to address the needs of all students to provide a high-quality and comprehensive education that includes access to high-quality arts programs. Provide school districts with flexibility and autonomy to best meet the needs of all students.
TEACHER RECRUITMENT & RETENTION
TEACHER RECRUITMENT & RETENTION
Increase teacher salaries in a meaningful, sustainable manner to attract and retain highly effective teachers.
Increase teacher salaries in a meaningful, sustainable manner to attract and retain highly effective
Eliminate teaching certification being tied to a school district to allow greater opportunities for individuals to retain their teaching certificate.
Eliminate teaching certification being tied to a school district to allow greater opportunities for
Incentivize content area professionals to consider career change to the teaching profession.
Incentivize content area professionals to consider career change to the teaching profession.
EDUCATION ACCOUNTABILITY
When she was in high school, she was part of a truly exemplary choral program at Niceville High School under the direction of Michael Dye.
Provide school districts with the flexibility and autonomy to respond to local needs to create an even playing field with other school choice options.
Provide school districts with the flexibility and autonomy to respond to local needs to create an even
Require the same accountability for all schools and school options receiving state funding.
Require the same accountability for all schools and school options receiving state funding.
(Mr. Dye is now the FVA executive director and was the recipient of the 2024 FMEA Leadership Award.)
This parent advocate told a moving story. The day after 9/11, she was scared, and so she walked into Mr. Dye’s office. Her dad was in the military and was being deployed to the Middle East. As she looks back on that day more than 20 years ago, she sheepishly recalls saying to Mr. Dye, “If my dad doesn’t come back, who will walk me down the aisle? Will you do that for me?” Fortunately, her dad returned safely. But let that story sink in. I have seen posts from FMEA President-Elect Bernie Hendricks about former students asking him to officiate at their weddings. Remarkable. We often take this kind of profound impact for granted. Students who are part of highquality programs (quality is important) report that outstanding music teachers have lifelong impacts on their lives, whether or not they continue in music as an adult. These people are wonderful advocates. Take some time to reflect on who those advocates may be for your program and empower them to act.
Quality Matters to Gain Financial Support
High-quality programs are the building blocks of strong advocacy. It’s hard to be effective when advocating for mediocre music programs. As I mentioned in last month’s column, the data from our advocacy survey indicated that lack of funding is a significant concern. It is well-known that if you examine any group’s budget, the priorities and values of the organization are clear. Money follows what is valued and critical to the mission of a group. High-quality programs are more likely to be prioritized and funded. Stakeholders should not be able to conceive of the school without your program.
FMEA Arts Advocacy Strategist
Since funding is such an important topic, I posed a question to the draft chatbot developed for us by FMSA President Chris Burns. Feel free to pose a much more specific question
about your school and your specific funding challenge. We value your input on this new resource. On page 8, see the funding question and response. Note the response breaks down in the following four categories:
1. Prepare your case. This means build and nurture a high-quality program and provide the evidence to prove its quality, before you show the need for funding to support your program.
2. Align your request to school priorities. This is critical and often not addressed.
3. Schedule an in-person meeting. Even today when so much is done virtually or by text or email, if you are seeking funding, face-to-face meetings are imperative.
4. Follow Up. This translates to building and nurturing relationships with decision makers. Even if you are turned down the first time, keep nurturing the relationship.
Advocacy is a marathon not a sprint. If you do one small thing each day, it will add up. Bookmark our advocacy page. Check out all the resources. Experiment with the FMEA Arts Advocacy Strategist chatbot and send us your feedback. On these very “crowded” April days, be assured you are having a profound impact on students, and they are your future advocates. In the meantime, use our FMEA resources to empower your supporters to be effective advocates today.
Advocacy
continued from page 7
FMEA Arts Advocacy Strategist
QUESTION
ANSWER
“How do I advocate for funding for my high school music program with my principal?
Advocating for funding with your principal requires a well-prepared approach that clearly demonstrates the value of your high school music program and aligns with the school’s goals. Here’s how to make a compelling case:
1. PREPARE YOUR CASE
w Gather Data & Evidence
• Highlight how music education improves student achievement, engagement, and well-being.
• Use research and statistics from sources like NAfME or the Arts Education Partnership.
• Showcase how the program contributes to school culture, retention, and graduation rates.
w Demonstrate Student Impact
• Provide success stories, testimonials from students and parents, and performance highlights.
• Show how participation in music helps students with teamwork, leadership, and discipline.
w Outline Financial Needs
• Prepare a clear and concise budget detailing what you need and how the funds will be used.
• Include specific costs (instruments, sheet music, uniforms, transportation, technology, etc.).
• If applicable, show how previous funding was used and the results it achieved.
2. ALIGN WITH SCHOOL PRIORITIES
w Link to Educational Goals
• Connect your request to the school’s mission and objectives, such as academic achievement, student engagement, and social-emotional learning.
• Show how music supports other subjects (math, literacy, history) through interdisciplinary learning.
w Address Potential Concerns
• Be prepared to discuss budget constraints and offer solutions (grants, fundraising, sponsorships).
• Show that the investment in music is cost-effective and has long-term benefits.
3. SCHEDULE A MEETING & PRESENT YOUR CASE
w Request a Formal Meeting
• Ask for a dedicated time to discuss funding needs rather than bringing it up informally.
• Prepare a written proposal to leave with your principal for consideration.
w Use a Professional & Solution-Oriented Approach
• Keep the conversation positive and focused on solutions.
• Offer different funding options, such as seeking grants, forming partnerships, or launching a parent-led fundraising initiative.
w Provide Visuals & Examples
• Use photos, videos, or short clips of student performances to demonstrate the program’s impact.
• Share comparisons with other schools that have wellfunded music programs and their successes.
4. FOLLOW UP & MAINTAIN COMMUNICATION
w Request Next Steps
• Ask how you can work together to secure funding and if there are district-level options.
• Offer to provide updates on student progress and program success.
w Keep the Principal Engaged
• Invite them to concerts, rehearsals, or special events.
• Provide periodic updates on the program’s growth and student achievements.
w Express Gratitude
• Regardless of the outcome, thank your principal for their time and consideration.
• Continue the conversation and look for future funding opportunities.
Unlocking the Potential: Empowering Music Educators Through Leadership
The state and district leadership of our component associations (FBA, FOA, and FVA) aims to provide excellent stewarding of existing music programs and to champion better opportunities for aspiring musicians. This requires leaders to be efficient organizers of persons, resources, and projects, in addition to planning paths to fulfill 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, implications of the latest developments in technology, guidance on laws relating to music education, and other skills identified by participants as a need to find success as a leader in Florida.
The training is designed in partnership with the FSMA component organizations: Florida Bandmasters Association, Florida Orchestra Association, and Florida Vocal Association. Approximately 16 to 20 participants will be selected through an application process. FSMA will cover hotel expenses and meals during the training.
QUICK FACTS
July 13-16, 2025 Marriott
Application Deadline: April 1, 2025
Benny L. Bolden, Jr., EdD President
Florida School Music Association
Springtime in Florida A Season of Musical Growth and Celebration
BY BENNY L. BOLDEN, JR., E d D
As the warmth of spring begins to spread across Florida, so too does the excitement in our schools and music programs. This time of year is one of the most vibrant for music educators, students, and communities alike. Our classrooms, rehearsal spaces, and performance halls are alive with energy as students put the finishing touches on their pieces for music performance assessments (MPAs), prepare for spring concerts, and begin to set their sights on the opportunities that summer will bring.
Spring symbolizes growth, renewal, and achievement. For our students, it is the culmination of months of hard work, dedication, and passion for music. MPAs are a moment to showcase their progress, to refine their artistry, and to celebrate the power of music education. These performances are not merely evaluations but reflections of their perseverance and commitment to musical excellence. However, let us remember that this season should not be defined solely by ratings or trophies. Instead, it should be about the continued good work we do daily—encouraging young minds to be not only great musicians but also good citizens, fostering a love for music that will carry them through life.
Equally, our spring concerts are opportunities for our students to share their talents with family, friends, and the greater community. These performances serve as a bridge—connecting students, teachers, and audiences in the shared experience of music. They highlight the collective efforts of our educators, who dedicate themselves to fostering a love of music in every student, ensuring that each note played and every melody sung resonate with meaning and purpose.
Beyond the stage, the arrival of spring means that students will soon be making plans for summer. Some will embark on enriching experiences at music camps, festivals, and leadership workshops, while others will take time to recharge and reflect before the next academic year. As educators, we take pride in knowing that the seeds we have planted throughout the school
year will continue to grow, nurturing lifelong musicians and advocates for the arts.
For me, personally, this spring carries an added sense of reflection and appreciation. As president of the Florida School Music Association, I am filled with gratitude for the opportunity to have served this incredible community of educators and students. It has been an honor to witness firsthand the dedication, creativity, and resilience that define music education in our state. I look forward to seeing the continued successes of our students and teachers in the years to come.
As we embrace this season of music, celebration, and transition, let us take a moment to recognize and appreciate the profound impact that music has on our students’ lives. Let us continue to advocate for the arts, to inspire the next generation of musicians, and to cherish the incredible gift of music education. Most importantly, let us ensure that this season is not just about awards and accolades but about fostering a lasting love for music and shaping young minds to be thoughtful, compassionate, and engaged members of society.
Wishing you all a joyful and harmonious spring season!
BY DARBI LANRAMI
CClose your eyes and think about the students in your classroom. Imagine your favorite class or perhaps that special class that motivates you to continue working on your classroom management skills. Ask yourself the following questions: Are all the students white? All brown? Or all black? Or perhaps they are all some colorful mixture in-between? Are your students’ families all from the same cultural heritage? If so, which culture is it? Latin, Asian, African, perhaps European? If they are all from Africa, then which region do they represent? East, West, North, or South? Perhaps they primarily come from families of North African natives, where the culture is a flavored blend of Berber, Andalusian, Arabic, and African? Which one of your students eats bread every day and which one subsists on rice and beans? Whose parents have cultural values that maintain that music education has a place in our schools and which others have the view that music is an extracurricular activity to be done outside of the normal school day? Do you have students with parents who learned how to play music by ear or whose cultural music has been passed on to them from a family member?
My assumption is that your students are the same as mine have been throughout my years in the music classroom, which is some intriguing mix of the aforementioned traits and much more. It would take more than the allotted pages to explain and describe this diverse mixture. I am confident that your students are some variegated combination of shapes, sizes, colors, and ability levels, all of which are unique to the individuals within that particular class makeup. Over the weeks and months of a school year, this makeup fluctuates and flows depending upon the comings and goings of the students and their families in and out of your school.
continued on page 14
Creating a Multi-Philosophical Environment in Music Education
Environment
Multi-Philosophical Environment
continued from page 12
Creating a Multi-Philosophical Music Classroom Environment
In this article, I outline three practical steps for the music educator who wishes to create a multi-philosophical environment of acceptance, inclusivity, and open-mindedness in their classroom. I arrived at these steps through careful study of the works of Patricia Shehan Campbell, J. Christopher Roberts, and Amy C. Beegle regarding multiculturalism in music education through the second volume of the Routledge World Music Pedagogy Series, in addition to the Oxford Handbook of Asian Philosophies in Music Education edited by Fung and Tan.
Choosing the Musical Culture You Wish to Discover
While there are no set rules for choosing the musical culture you wish to discover—a music teacher who chooses philosophical openness maintains a general curiosity to all things that are to the betterment of her students— there are several practical ideas listed below. The choice, however, is better made with your students as a journey of discovery together in the music classroom. Including students in the decision-making offers them a stake in their own learning.
Have intriguing conversations with your students where you ask them about themselves, their families, their special celebrations, traditions, and what types of activities they enjoyed over the weekends and holiday breaks (Roberts & Beegle, 2018). Through these conversations, you may learn that you have a female Cuban student in your 10th grade general music class who recently celebrated her quinceañera, the celebration of a young girl’s 15th birthday in many Hispanic and Latin cultures. You might find out that you have a Muslim student from Turkey whose mother brings in marshmallows from the local Arabic grocery store, since it sells a halal version of the candy; that is, one that does not contain gelatin-made pork products, which are often found in non-Arabic-specific groceries. You may learn that a student in your sixth grade piano skills course visited his grandmother in Korea over spring break, where he was taught how to make kimchi, a traditional Korean dish of fermented vegetables, using a secret family recipe. Or perhaps you will find a kindred spirit in a fifth grader who also loves animals and recently rescued a family pet from the local animal shelter. On the surface, these conversations are unrelated to music education. But as the music teacher seeks an expanded selfness (Fung & Ma, 2024), they find the wide range of philosophies present in their own classroom. It is from this knowledge of who their students are that they can then approach music teaching from a multi-philosophical perspective, acknowledging that each student’s cultural heritage holds within itself its own philosophies of music, customs, and rites. Expanded selfness is the result of an individual’s conscious openness
and desire to encounter music in such a way that they accept their “otherness” while moving to combine it with their current understanding of self (Fung & Ma, 2024).
Another method is for the music teacher to choose several cultures of interest, investigate them together with the students, and let students have the final decision through the means of their own discoveries. This will likely be more of a challenge for younger elementary students (K-2) but can be worked out in an age-appropriate manner for the higher levels. Inevitably, the depth of the research will become more complex as the age levels rise. For those upper grade levels, start with the music! While Spotify and YouTube are well-known resources for music listening, I suggest the nonprofit record label of the Smithsonian Institute, Smithsonian Folkways Recordings, which has an extensive catalogue of historical recordings, world music recordings, and recordings of living artists. Encourage students to listen with philosophical openness by asking guided questions to direct their attention; students’ reactions to new music will vary based on their musical experiences, so it is important for them to have a listening goal. Offer them instruments to touch and play with from several regions of the world. If you do not have a large variety of instruments in your classroom, ask for resources from the other music teachers in your area. Seek the resources of other teachers, faculty, and staff at your school; you are bound to find a colleague or two who has traveled and collected an instrument during their journeys. You may even find a culture-bearer to welcome into your classroom so that students can have a person-to-person interaction with them (Roberts & Beegle, 2018).
You can also print resources and reading materials for students to go through together in groups. Find interesting stories—fiction and nonfiction—about the children and people groups of several cultures. Or compare two cultural groups who live in the same country (e.g., Southern Americans versus Northern Americans). The other option is to open their ears to several groups that are continents apart. Have each group discuss with the class what they found to be the most interesting stories to their group and as individuals. You are likely to hear student
Multi-Philosophical Environment
continued from page 15
stories about their cultural heritages, another fascinating way to choose the culture you would like to introduce (Roberts & Beegle, 2018).
Finally, depending on what is available in your area and your budget, provide mini food samples for students to taste and create a survey where the food with the most votes wins. Other works of art, artifacts, and videos can all be included in the decision-making process as well. Consider creating a gallery-walk in which each student has a chance to taste, touch, smell, hear, and interact with the culture choices. In all these activities, great sensitivity should be encouraged so that students do not choose the “best” culture, but rather the culture that is of interest at the time. Choosing “cold” cultures during winter or “tropical” cultures during summer as way to eliminate the idea of “better-ness” can help sway student biases (Roberts & Beegle, 2018).
Expanding Self and Stepping Into the Third Symbolic Universe of the Chosen Culture
Fears of inauthenticity can be quelled by bringing culture-bearers into your classroom. In doing so, students receive a more authentic representation of the music and their learning is deepened through this human-to-human interaction (Roberts & Beegle, 2018). However, as music educators, we might consider a pursuit of boundarylessness (Fung & Ma, 2024) in which we consistently practice flexibility in our attitudes and behaviors toward those cultures, people, and music of which we are outsiders. A boundary is a separation between two points, and it has become culturally normal to describe ways we can break boundaries in our pursuit of diversity and inclusion. However, as we seek boundarylessness, we must choose to cross boundaries, rather than break them, so that when we cross them, we maintain those characteristics that make us who we are in the context of our cultural upbringings, but we expand our selfness as we increase our experiences of otherness (Fung & Ma, 2024). It is through this boundary crossing and expansion of ourselves that we can interconnect with other cultures by consciously and consistently remaining open to how we understand and communicate with them (Fung & Ma, 2024).
As the music educator seeks to cross boundaries and expand themself through the pursuit of a multi-philosophical music classroom, they may eventually find themself in the third symbolic universe of the culture
they are sharing with their students. To arrive at Tu Wei-Ming’s third symbolic universe, the music educator should understand the first two. The first symbolic universe is described as a person who exists entirely under the influence of one culture; in Wei-Ming’s example, the described culture is Chinese. Those are individuals who live in China and share different types of Chinese cultural identities, regardless of whether or not they are ethnically Chinese (Wei-Ming, 1994). The second symbolic universe describes ethnically Chinese people who live outside of China, but retain the language, experiences, and worldviews of the Chinese people. Lastly, the third symbolic universe is shared by those who are not ethnically Chinese, but they learn about Chinese people and culture from the perspective as an outsider. These individuals maintain their own sense of cultural self but make a conscious choice to interact and engage with Chinese culture. And thus, herein lies the truth of creating a multi-philosophical culture in music education: with our students, we become deep expansions of ourselves as we pursue boundarylessness, through music, and thus through the vast array of philosophical approaches to the music, rites, and customs of the world’s people (Fung & Ma, 2024). We can throw off the fear of otherness and cultural appropriation and rather, proudly cloak ourselves in the joy of boundarylessness and the expanded self, consciously choosing to maintain philosophical openness and consistently move across boundaries.
Maintaining Philosophical Openness Through Boundarylessness and the Expanded Self
Because of the pioneering works of musicologists, ethnomusicologists, and music educators, it is widely accepted that multiculturalism has an importance place in the music classroom. While this remains true, I pose that music educators must continue to broaden their approach to one that is multi-philosophical, in which we understand that the philosophies of the rites, customs, and music of our students are almost never the same, even when they share a common language, shape, size, or skin color. We come to know these philosophies through consistent and conscious efforts to cross cultural boundaries, where we maintain our sense of self while valuing and respecting the characteristics and qualities of others and their cultures. By maintaining this philosophical openness, we reach boundarylessness and no longer fear
appropriation, but rather we approach inclusivity and appreciation of our students’ diversities. Just as Fung and Tan (2024) explain, I argue that we should expand our multicultural approach to music education so it is “undergirded by a multi-philosophical underpinning” (pp. 356). By maintaining openness to the cultural philosophies of our students, we deepen ties and relationships, in turn fostering trust in the music classroom with which music teachers will nurture musical achievement (Hendricks et al., 2024).
Darbi Lamrani is a music educator and a PhD student in music education at the University of South Florida. As a music teacher, her research interests include multicultural music education, informal music learning, and music teaching of traditional instruments in Morocco.
References
Fung, C. V., & Ma, D. (2024). Boundary-Crossing from a Perspective of -ness: Toward Boundarylessness in Music Education Philosophy. In C. V. Fung, & L. Tan (Eds.), The Oxford Handbook of Asian Philosophies in Music Education (1st ed., pp. 335–346). Oxford University Press. https://doi.org/10.1093/ oxfordhb/9780190621681.001.0001
Fung, C. V., & Tan, L. (2024). Trading Ideas on a New Silk Road: Toward Multicultural Philosophies of Music Education. In C. V. Fung, & L. Tan (Eds.), The Oxford Handbook of Asian Philosophies in Music Education (1st ed., pp. 347–358). Oxford University Press. https://doi.org/10.1093/ oxfordhb/9780190621681.001.0001
Hendricks, K. S., Dansereau, D. R., Bauman-Field, B., & Freeze, C. M. (2024). Fostering Trust in Music Classrooms: A Review of the Literature. Update: Applications of Research in Music Education, 43(1), 10–18. https://doi.org/10.1177/87551233231183366
Roberts, J. C., & Beegle, A. C. (2018). World Music Pedagogy, Volume II: Elementary Music Education (1st ed.). Taylor and Francis.
Hosting Music Interns Cultivating Future Educators Through Holistic Leadership
ABY TIFFANY MADDY, M Ed
As a music educator with 18 years of experience, including hosting 14 interns from 2011 to 2024, I view mentorship as a vital component of developing future educators. My academic journey— earning a bachelor’s degree in music education and a master’s degree in educational leadership from Stetson University—has shaped my approach to both teaching and supervising interns. At Wedgefield K-8, where I teach the entire kindergarten through fifth grade student body, my goal is to prepare interns not only to be exceptional music teachers but also to understand their role within the broader educational landscape.
Why Host Interns?
Internships are an essential bridge between theory and practice. They allow aspiring educators to refine their skills while also gaining insight into the realities of teaching. Hosting an intern is about cultivating a collaborative environment where they can grow into well-rounded professionals ready to meet the diverse needs of students.
As an educator, I believe that music is more than a subject—it’s a pathway to developing the whole child. By connecting our lessons to the general education curriculum and fostering skills like creativity, collaboration, and critical thinking, we position music as a vital part of every student’s education. This philosophy is central to the experience I offer interns.
continued on page 20
Hosting Music Interns
continued from page 18
Structuring a Successful Internship
Based on my experiences, a successful internship must be thoughtfully structured to provide interns with increasing responsibility while ensuring they feel supported. My Internship Binder offers a clear roadmap, with detailed timelines, classroom management guidance, and professional expectations.
Junior Internship Timeline
Building Confidence With Gradual Responsibility
At Wedgefield K-8, I provide a structured, step-by-step approach to help interns transition from observers to confident educators. This progression allows interns to gain hands-on experience at a manageable pace while ensuring they feel supported throughout their placement.
●
w For senior interns, the process begins with observing and assisting in lessons during their first two weeks. By the third week, they take responsibility for teaching one grade level and gradually increase their involvement until they are leading all grade levels independently. Senior interns also have opportunities to assist with schoolwide programs or assemblies, giving them a chance to apply their leadership skills in larger settings.
grades.
● Teach __________ in _____ grade after I have done it once.
w For junior interns, who typically have a shorter seven-week placement, the progression is slightly different. During their first two weeks, junior interns focus on observing and assisting in lessons, learning classroom procedures, and building rapport with students. By the third week, they start leading specific components of lessons, such as rhythm reading or solfège ear training. If they are ready, they progress to leading full lessons for one grade level at a time by the end of their placement.
w Recognizing that not every intern is at the same developmental stage, I tailor their experiences to match their readiness. For interns who may not yet feel confident leading full lessons, I encourage them to co-teach
1st Week
● Observe and plan ahead
Senior Internship Timeline
● Script Lessons
● Begin Notebook
● Learn Names
● Introduce yourself to classes 2nd Week
● Observe and plan ahead
● Script and/or join in all grade level lessons
● Teach __________ grade after I have done it once. 3rd Week
● Do any part of each grade level lesson plan after I have done it once.
● Take over ___________ in _____ grade. (1st Observation)
● Teach __________ in _____ grade after I have done it once. 4th Week
● Teach __________ in _____ grade after I have done it once. 5th Week
● Take over ____________ & ___________ in _____ grades.
● Teach __________ in _____ grade after I have done it once. 6th Week
● Take over ____________, ____________ & ___________ in _____ grades.
● Teach __________ in _____ grade after I have done it once. 7th Week
● Take over _________, ________, ________ & ______ in _____ grades. (2nd Observation)
● Take over ____, ____, ____, ____ & ___ in _____ grades.
● Teach __________ in _____ grade after I have done it once. 8th Week
● Teaching _____________ in all grades. 9th Week
● Teaching _____________ & ____________ in all grades. (3rd Observation) 10th Week
● Teaching all grades. 11th Week
● Teaching all grades. 12th Week
● Teaching all grades. (4th Observation) 13th Week
● Teaching all grades. 14th Week
● Teaching all grades. 15th Week
● Teaching all grades. (Final Observation)
and gradually take on more responsibility. I also challenge them to try leading a full lesson in a safe, supportive environment where I can provide immediate feedback. This iterative process—teaching, receiving feedback, and re-approaching the lesson—helps interns refine their techniques and build the confidence they need to succeed.
w This intentional, scaffolded approach ensures that interns leave their placement with the skills, experience, and self-assurance to transition successfully into their teaching careers.
Expectations
I
Professional Expectations
Our
General
●
Mastering Classroom Management
Management & Procedures: Mrs. Maddy
Rules
Classroom Rules
● M - Make Good Choices (the 1st time)
● U - Use kind words (using manners when speaking to others)
● S - Show respect (to each other, to Mrs. Maddy, to music)
● I - Involve Yourself Always (You do not have to be perfect, but try your best with 100% effort)
● C - Care for our room and instruments (so we can use them in class often)
More specific Reminders for each grade
K, 1st, & 2nd -
○ When the teacher talks, I listen
○ Hands and feet stay to
○
○
○
Rewards
Individual - Each week we choose a student that is doing a great job in music class to be the musical superstar. They get a blast off buck and certificate to take home. This person can be chosen for many different reasons like singing well, paying attention, not playing around, playing their instrument well, being a good leader in their group, helping another student, improving their musical skills or behavior over many weeks, or even just simply doing what is asked of them.
Whole class -
○ Earn points for activities/transitions
Elementary music presents unique challenges, as we work with every student in the school one day a week, for multiple years. Interns must learn to establish and maintain relationships while managing behavior effectively. My classroom management strategies emphasize respect, engagement, and consistency, aligning with schoolwide expectations to create a cohesive learning environment.
Classroom Management Questions Day 1
Answer these questions while observing my teaching on Day 1.
1. How does the teacher being class?
1. How does the teacher get the class’ attention?
1. How does the teacher manage students who disrupt the learning environment?
1. What do you notice about the climate of the classroom?
■ There are various choices on the wheel such as:
○ After 10 points the class gets to spin the prize wheel
● Piece of candy
● GoNoodle
● Class Outside
● PJ Day
Consequences
Individual -
● Warning - Verbal (or nonverbale/visual) warning - Sounds like, “Please make a better choice” or saying the student’s name, can be a look. A warning can also be asking the student to take a break in the Refocus Zone (without filling out a refocus form)
● Refocus Zone - Complete form (possibly asked to complete a refocus form in Ms. Vinney’s classroom). Examples are attached. Note home (sent to the office if behavior is stopping learning in the music room)
● Violence or threat will result in immediate referral to the office. Disrespectful behavior will not be tolerated.
Whole Class -
● If the class can’t enter the classroom appropriately or do the activity correctly, the class must practice or redo the activity.
● When the class isn’t meeting expectations they are given a warning to make changes in their choices before a consequence is applied.
DOWNLOAD WORKSHEETS
take notes during every lesson that you observe. I am by no means and I in talking about lessons if you have notes from which to ask seven weeks, it is imperative that you follow the classroom in place. I will be there to help with any situation that may arise, you are in the room alone and will need to be confident with the rewards. A unique challenge to teaching elementary music is we see and we see them for many year at a time. That relationship the students respond to the teacher. Therefore I urge you to spend getting to know the children by name. You don’t have to be perfect, but are trying to know them personally. It will help!
Expectations
8:00 a.m. to 3:30 p.m. Monday through Friday. If you must be (407) 257-1131 (Do not email me. I will not get it until the following email daily and respond in a timely manner (within 24 hours). Please be every day throughout the placement, not only is it better for your only see each class once a week it is important for us to be at school as find a daily schedule in this binder. Please be prepared to attend all
and programs that fall under your time at Wedgefield (and of welcome to come back to performances after you leave us!)
later than 8:00 a.m. and leave no sooner than 3:00 p.m.
faculty meetings after school on Wednesdays after school 2:00-3:30 county music meetings on the first Wednesday of every month 3:30 p.m.(Different
Supplies
● The class loses one point each time they aren’t doing an activity or transition appropriately. This helps us be accountable for our behavior and to get back on track quickly
Procedures
● Arrival - Meet every class in the hallway at the Arrival Sign near the chorus room.
● Callbacks and “Attention Getters”○ Signal for attention (Ta ti ti ta ta or claps or “chhh” - Students echo and stop,look,listen
1. Does the teacher address positive behavior?
1. What procedures and routines are evident in the classroom?
1. How does the teacher transition between activities?
1. How doe students interact with each other? With the teacher?
1. What does the teacher do when a student is off-task?
1. What evidence is there that relationships have been built?
○ Teacher rings bell, Students stop,look,listen
○ 54321 Voices off (eyes on me)
○ “When I give the signal “
○ “I can travel all through space, and I can sit down (or stand up) on my place”
○ “I can get from here to there, I can get most anywhere”
● Restroom - Students raise their hand to ask to use the restroom. They can use the restroom in the music room at an appropriate time (Examples: Transitions or after instruction).
● Water - Students raise their hand to get water. Students can bring their own water bottles to class, but must keep them on the water table near the door.
● Boo Boos and Band Aides - Students raise their hand for these items. Many times a wet paper towel from the restroom will soothe a simple boo boo. If they are bleeding they can get a band Aide out of the desk near the door (Trash goes in the trash can NOT the recycle bin). If they need a quick ice pack for comfort I have one in the freezer of the mini fridge. If it is big boo boo send them to the clinic with a buddy.
● Tissues - Students raise their hand to ask. Students go to the desk near the door for tissues and hand sanitizer.
● Musical Superstar - Do drumroll for announcing the Musical Superstar at the end of each class with blast off buck.
● Line up class one row at a time based on behavior. Lines is always ABC order.
● Dismissal - Take class into the hallway for pick up. Students follow the wall around to the right and stop at the Dismissal Sign near the Band Room door. Make sure they are behind the sign, so the middle school students do not accidentally hit them with the band room door.
● Binder (1 ½”) You may also want dividers to divide your paperwork.
● Notebook
Writing Utensils ● Flash drive or external hard drive “Assignments”
● Copy any and all materials from the week’s lessons and place them in your binder throughout the week.
● Keep a journal of notes, ideas, and questions to be turned in each afternoon (See below)
● You and I will lesson plan together for the grade that you will take over.
● Create one of each of the following kinds of assignments for a grade level
Listening
Rhythm Practice
Melody Practice
Centers (just one)
● Create Visual Aids as needed
● You are responsible for taking over one to two grade levels per week
● You will lead one school assembly in either week six or seven
● Send a message by email through me to introduce yourself to our families
Ideas for Journal
● Notes on observations
● Copies of lesson plans showing a clear understanding of how to teach a song by rote, to introduce a new concept, to teach a game.
● ideas for programs
● ideas for units
● list of resources
● routine/discipline ideas
● seasonal ideas
● recordings to use
● basic equipment list for an elementary classroom
● substitute ideas
● ideas for visual aids I want to make
● photo copies ideas or pages from Maddy’s professional library
Please keep a journal throughout the week with at least two
reflect on your day, or write down thoughts that come
teaching.
continued on page 22
Fall 2025
Hosting Music Interns
Leadership in Action
My background in educational leadership informs my mentoring style. I believe that music educators are vital contributors to a school’s overall culture and success. Interns at Wedgefield are expected to participate in professional activities, such as attending faculty meetings and collaborating with colleagues, to gain insight into the administrative side of education.
I guide interns in understanding the importance of clear communication, time management, and professionalism, emphasizing that their role extends beyond the music room. Whether planning a concert or contributing to a school event, they learn to navigate the complexities of school dynamics and to establish themselves as leaders.
Encouraging Reflection and Growth
Reflection is a cornerstone of the internship experience. Interns at Wedgefield keep daily journals and participate in regular feedback sessions to analyze their teaching practices and identify areas for growth. Whether they are reflecting on how to teach a song by rote or considering ways to engage reluctant learners, this practice fosters self-awareness and a commitment to continuous improvement.
Additionally, I use structured observations to provide constructive feedback, helping interns refine their skills and build confidence. These discussions emphasize that teaching is an ongoing process of learning and adapting—a lesson I’ve carried with me throughout my career.
Bridging Music Education and General Education
One of my greatest joys is helping interns recognize that music education is not an isolated discipline but an integral part of a well-rounded education. By collaborating with classroom teachers and aligning lessons with school-
wide goals, we prepare students not only as musicians but as lifelong learners. Interns leave Wedgefield with the skills to advocate for their programs and contribute meaningfully to their schools.
Advice for Supervising Teachers
w Provide Clear Expectations: A structured plan, like my Internship Binder, helps interns know what to expect and how to succeed.
w Model Leadership: Show interns how music educators can lead within their schools, from organizing events to participating in professional development.
w Foster Independence: Gradually release responsibility to help interns build confidence and ownership of their teaching.
w Celebrate Growth: Recognize their achievements and encourage them to reflect on their progress.
A Rewarding Experience
Hosting interns is about more than mentoring; it’s about shaping the future of music education. By providing them with the tools to succeed in the classroom and the confidence to lead within their schools, we prepare them to inspire students and strengthen the profession.
For those considering hosting an intern, I encourage you to embrace the opportunity. Not only will you impact their careers, but you’ll also enrich your own teaching practice through the process. Together, we can ensure that music education continues to thrive as an essential part of every child’s education.
Tiffany Maddy, MEd , is a veteran music educator with 18 years of experience, a master’s degree in educational leadership, and a passion for mentoring future educators. As a lead mentor and music teacher at Wedgefield K-8, she emphasizes fostering well-rounded students through cross-curricular connections and leadership development.
Please take time to thank and support our 2024-2025 Academic Partners.
GOLD PARTNERS
BRONZE PARTNERS
Florida Gulf Coast University
Florida Southern College
Mercer University
Rollins College Department of Music
Partners as of March 6, 2025.
University of North Florida
University of North Texas
The University of Tampa
*Please visit FMEA.org/partners for partnership details or call 850-878-6844.
Partners as of March 6, 2025. *Please visit FMEA.org/partners for partnership details or call 850-878-6844.
Mark A. Belfast, Jr., PhD Advisor
The Power of Music Education
BY KEDRICK REDDING
Overtime, I have considered the importance of what we do as educators. One thing I continue to come up with is that we do it for the love of music and to transform the students’ lives in music. While that may sound like a cliché, it is a true statement. Music education has the remarkable ability to transform lives by offering students and educators an
artistic outlet and also essential life skills that extend far beyond the classroom. Music fosters personal growth and academic success, discipline, and creativity, playing a vital role in shaping well-rounded individuals.
The stories told by students are a testament to music’s lasting impact. Students who once struggled with self-confidence find
their voices through being involved in music ensembles, providing them with a sense of purpose and developing self-assurance that extends into other aspects of their lives. Similarly, students facing hardships at home may find comfort and support in music ensembles and being around their music teachers, using music as an emotional outlet to navigate
those challenges at home. Additionally, many former students credit their musical experiences with shaping their character, fostering lifelong friendships, and opening doors to unexpected opportunities. Whether they pursue music professionally or simply carry its lessons into other careers, the impact remains undeniable. These stories are not uncommon; they illustrate how music serves as a source of strength, empowerment, and healing. One of the greatest gifts of music education is the development of discipline. Learning the craft of music, including various techniques, reading music, and performing, demands consistent practice, time management, and perseverance. Students quickly learn that progress is the result of dedication and effort. This lesson extends beyond music, shaping their work ethic in other areas of life, including academics and future careers. Most importantly, music education fosters resilience. Students
and educators encounter challenges like mastering difficult pieces, managing performance anxiety, and accepting constructive criticism. Embracing these challenges and persisting through setbacks cultivate resilience that will benefit us throughout our lives, building confidence in our ability to tackle difficulties in other areas of our lives.
Staying Inspired Amidst Challenges
Teaching music is a rewarding yet demanding profession, and music educators often face numerous challenges, including budget cuts, administrative constraints, and burnout. Budget cuts and administrative decisions can sometimes limit resources, making it difficult to provide students with a high-quality music education. However, many educators find creative solutions, such as seeking grants, forming community partnerships, or utilizing technology to supplement instruction. Maintaining a network of fellow educators and engaging in professional development can also provide fresh ideas and renewed motivation. Despite the many obstacles, staying inspired and motivated is crucial for both teachers and students. By adapting to changing student needs, embracing
diverse learning styles, and prioritizing self-care, music educators can continue to make a lasting impact. As educators, advocates, and supporters of music, we must continue to champion its role in our schools and communities, ensuring that every student has the opportunity to experience the life-changing power of music.
Kedrick Redding is a native of Orlando, Florida. He is a graduate of Bethune-Cookman University in Daytona Beach, Florida, where he earned his bachelor’s degree in music education. He also earned a master’s degree in music with a concentration in conducting from the University of Central Florida and is a doctoral candidate at the University of Houston, majoring in music education with a minor in conducting. His teaching experience includes Sand Lake Elementary (2006), Carver Middle School (2007–2014), assistant director of bands at Jones High School (2006–2014), Charles Drew High School (2014), Edward Waters College (2015–2020), Texas Southern University (2020–2024), and assistant professor of music education at BethuneCookman University (2024–present).
Springtime
MULTICULTURAL NETWORK
Arnekua Jackson, PhD Chairperson
A Season of Growth & Diversity in
Music
s spring arrives, music classrooms across diverse communities come alive with the sounds of preparation and celebration. This season marks an important time for students of all backgrounds as they gear up for music performance assessments (MPAs) and spring concerts. These performances not only showcase technical growth but also serve as a platform for cultural expression, allowing students to share musical traditions that reflect their heritage. When students see their own cultures represented in the music they perform, they develop a deeper connection to their art and a greater appreciation for the traditions of others.
Beyond performances, spring also encourages educators and students to explore new opportunities that promote cultural inclusivity in music education. As summer approaches, many students will begin planning for music camps, cultural festivals, and exchange programs that broaden their perspectives. To support educators in incorporating diverse musical traditions, the Multicultural Network (MCN) Summer Workshop is quickly approaching. Join us on June 20, 2025, at St. Thomas University in Miami Gardens, Florida, for this enriching one-day workshop designed to provide hands-on experiences, resources, and expert guidance on multicultural teaching approaches in music. For just $30, attendees will gain practical strategies to celebrate and integrate a variety of cultural influences into their curriculum.
Register now and take part in shaping more inclusive and globally inspired music classrooms!
s spring blossoms across Florida, I extend a warm welcome to all music educators and future music educators. I trust you enjoyed a vibrant Arts in Our Schools Month—a time dedicated to celebrating the art, passion, and transformative power of music in our classrooms. This season signals not only the renewal of nature but also a renewed commitment to excellence in music education across our state.
Harnessing the Power of Connection: The Interactive Map
One of the most exciting resources at your fingertips is our newly launched interactive map on the FMSA website. This user-friendly tool allows you to quickly locate the music supervisor closest to your district with just a few clicks. The map is
Christopher Burns, PhD President
Welcome Spring and Embrace a New Chapter in Florida Music Education
more than just a directory— it is a gateway to building professional relationships, sharing innovative ideas, and fostering a robust network of support across Florida. Whether you’re seeking guidance, collaboration, or simply a friendly conversation with a fellow music educator, the interactive map ensures you’re never more than a click away from a trusted resource.
Spotlight on the Florida Seal of Fine Arts
I am particularly excited to highlight the updated Florida Seal of Fine Arts Program—a prestigious state-level honor established by House Bill 523 and detailed in Florida Statute 1003.4321.
Effective for the 2024-25 school year, this program recognizes high school graduates who have achieved exemplary benchmarks in fine arts coursework. To
earn the Seal of Fine Arts, a student must:
w Earn a standard high school diploma.
w Successfully complete at least three year-long courses in dance, music, theatre, or the visual arts, each with a grade of “A” or higher (or earn three sequential course credits meeting the same standard).
In addition to these core requirements, the student must also meet at least two of the following criteria:
1. Successfully complete a fine arts International Baccalaureate, Advanced Placement, dual enrollment, or honors course in one of the fine arts disciplines with a grade of “B” or higher.
2. Participate as a selected student in a district or statewide organization’s juried event for two or more years.
3. Record at least 25 volunteer hours of arts-related community service and present a comprehensive presentation on these experiences.
4. Fulfill the requirements of a portfolio-based program
that identifies the student as an exemplary practitioner of the fine arts.
5. Receive district, state, or national recognition for the creation and submission of an original work of art. This honor not only celebrates individual artistic achievement but also inspires students to pursue excellence in the fine arts—thereby enhancing their college and career readiness. The Seal of Fine Arts is applied directly to a student’s diploma and noted on their transcript. Importantly, there is no fee associated with this award, ensuring that every student who qualifies receives this well-deserved recognition. Should you have any questions or need further guidance, please do not hesitate to reach out to me at christopher.burns@ osceolaschools.net or connect with your local supervisor. Together, we will continue to shape a future where music education thrives, inspiring both our students and our communities. Stay inspired, keep making music, and let’s celebrate the extraordinary potential that each new season brings.
Puzzles
FOR MUSIC TEACHERS
This on-going column seeks to stimulate awareness of research issues for FMEA teachers and researchers.
FMEA RESEARCH COMMITTEE
William I. Bauer, PhD Chairperson, University of Florida
THE STATISTICAL DETECTIVE
Framing the Investigation – Research Questions and Variables
FIRST IN A TWO-PART SERIES ON UNDERSTANDING RESEARCH METHODS
BY STACEY SWANSON
Introduction: The Art and Science of Research
Every great mystery begins with a question, and every significant discovery starts with a systematic investigation. In this two-part series, we’ll unlock the secrets of research methodology through an intriguing case study: The Breakfast Bandit Investigation. Through this ongoing case, we’ll explore how researchers, like skilled detectives, use systematic methods to solve complex mysteries and uncover meaningful insights.
In this first article, we’ll explore the essential foundation of any investigation: framing the research question and identifying key variables. In the second article, we’ll examine the tools researchers use to measure these variables and the statistical methods employed to analyze the resulting data.
The Investigative Framework
Every good detective story weaves together three essential components. First comes identifying the mystery—our research question that guides the entire investigation. Next is the methodical gathering of clues through careful data collection. Finally, we piece together all our evidence through thorough analysis. These three elements work together, creating the framework for any successful investigation.
Identifying the Mystery
Imagine you walk up to a crime scene. Before you can start collecting evidence or speaking to witnesses, there is continued on page 30
Research Puzzles
FOR MUSIC TEACHERS
continued from page 17
continued from page 29
significant preparation required to understand what you will be investigating. This requirement also exists in academic research where a guiding focused question is required. In this case, we have the research question as the root of our investigation. It is like a compass that ensures you stay on point for the duration of your study. Failure to provide a formulated research question could result in collecting evidence that is unrelated to the task at hand or drawing conclusions that are not right or objective.
Now look at the investigation we are undertaking. Rumors say that students are missing their healthy breakfasts because the Breakfast Bandit is sneaking into schools to steal them. Here the mystery that exists is: With all the thievery that the Breakfast Bandit is engaging in, are students’ test scores suffering? This question brings to our attention the critical elements any investigation requires.
What makes this question good? It is first and foremost specific and focused. Instead of examining nutrition against poor or average test grades over the entire academic period, we are examining the precise relationships between the theft of breakfast and the test scores. This approach allows us to know what evidence exists and what areas we need to analyze to get the correct answers.
In addition, our question can be examined further by employing already established means. It is possible to check which schools had been attacked, note what breakfast items had gone missing, and obtain the test scores of both the targeted and non-targeted schools. Lacking the means to accumulate enough proof would undermine any attempt at scientific research because it would amount to pure conjecture.
To finish, our question is significant in the field of education. The question of how the availability of breakfast affects how students perform in class is crucial when developing nutrition programs in schools and assessing academic achievement. This relevance ensures that our investigation will add insight to the problems already presented.
Gathering Clues
Once you’ve identified your mystery, you need a systematic approach to gathering evidence. In our Breakfast Bandit investigation, this means developing a comprehensive plan to collect various types of data that will help us solve our mystery. Systematic data collection is crucial for any investigation. Consider a detective at a crime scene—they don’t randomly pick up objects or interview witnesses haphazardly. Instead, they follow careful protocols to ensure they gather all relevant evidence while maintaining its integrity. Similarly, in research, we need structured methods for collecting our data.
In our investigation, we track several key elements: identifying which schools the Bandit has visited, documenting the timing and nature of each incident, collecting detailed information about breakfast services, and gathering test scores from both affected and unaffected schools. This systematic approach allows us to build a comprehensive picture of the Bandit’s impact.
Data integrity remains paramount in any investigation. Just as detectives must maintain a clear chain of custody for physical evidence, researchers must ensure their data remains accurate and reliable throughout the collection process. This means creating standardized procedures for gathering information, implementing regular quality checks, and maintaining secure records of all collected data.
Piecing Together Evidence
The last phase of this investigation is the most critical, as it will include analysis of the gathered evidence with the view to derive meaningful insights. In essence, this step is very similar to what a detective does. A researcher, as a detective of sorts, combines various clues in the form of tables and figures to tell a story that the data reveals.
Statistical analysis might seem daunting at first, but think of it as your investigative toolkit. Each statistical test is like a different detective technique, helping you examine evidence from various angles. During our Breakfast Bandits case, for instance, we will utilize these tools to compare the test scores of different groups of students in different schools.
While looking at test scores for the students disadvantaged by the Breakfast Bandit and those unaffected, we have to ask various questions: Were there certain kinds of breakfast items that got stolen more than others? Did a higher frequency of stealing impact test score results differently?
Types of Variables in Investigation
Just as every detective must identify both their suspects and the effects of the crime, researchers must understand the different types of variables they’re investigating. Understanding the distinction between independent and dependent variables is crucial for any investigation.
w Independent Variables: The Prime Suspects
Think of independent variables as your prime suspects in an investigation. Just as a detective focuses on potential perpetrators who might have committed a crime, researchers focus on independent variables that might cause changes in their study outcomes.
The independent variable is what we manipulate or what
w
Email your questions and feedback to wbauer@ufl.edu with a subject heading Research Puzzles.
naturally varies in our study. In traditional research terms, it’s our predictor variable—the factor we believe might influence or cause changes in something else. In our current investigation, the Breakfast Bandit’s activities represent our independent variables.
Dependent Variables: The Observable Effects
If independent variables are our suspects, dependent variables are like the effects of their actions—the evidence left behind that we can measure and analyze. These are the outcomes we’re tracking, the changes we observe because of our independent variables.
In the Breakfast Bandit investigation, we’re particularly interested in how the theft of breakfast items affects student performance. Student test scores might show patterns related to breakfast availability—perhaps dropping in weeks following breakfast thefts or showing variations across different subjects. Student energy levels throughout the morning could fluctuate based on breakfast access, with teachers reporting differences in classroom participation or attention spans on days when breakfast options are limited.
Operationalization: Defining the Investigation Parameters
Every good detective knows the importance of clear definitions. Having selected our variables, the next step in this line of investigation is one of the most critical: what are we going to measure and how are we going to do it? This process, known as operationalization, is like establishing the specific criteria detectives apply to see how the evidence fits a suspect.
There are two sides to every coin, and there are always definitions that need to be outlined clearly to carry out any form of research or process. Imagine a detective trying to solve a theft case without a clear definition of what was stolen. Similarly,
researchers need precise definitions of their variables to conduct meaningful investigations. Shifting definitions can cause a lack of concentration on important factors like the true impact of the Breakfast Bandit on the breakfast programs in schools and student performance results.
With regard to the Breakfast Bandit study, let us explore what constitutes breakfast for our research. Does a single granola bar qualify as breakfast? If so, is the nutrition content a factor we should be looking at? Additionally, what do we do about the other breakfast programs that exist within the different schools? These aren’t just academic exercises—they directly affect how we collect and analyze our data.
Similarly, we must precisely define how we’ll measure “test scores.” Are we looking at standardized tests or regular classroom assessments? Should we consider scores from specific subjects or overall performance? How will we account for different testing schedules across schools? Should we include other forms of assessment?
From Theory to Practice
These questions might seem tedious, but they’re crucial for any meaningful investigation. Just as a detective must be precise about what evidence they’re seeking, researchers must be clear about exactly what they’re measuring and how they’re measuring it.
Critical Thinking in Action
Consider for a moment a different kind of investigation: Several students have noticed that classroom temperature seems to affect their test performance. This presents an excellent opportunity to apply our investigative framework. What specific aspect of temperature deserves our focus? How might we measure changes in test performance? What timeframe would give us meaningful results? These questions help focus our investigation, just as our initial questions guided the Breakfast Bandit case.
In our next article, “Solving the Case: Measurement Tools and Statistical Analysis,” we’ll examine the sophisticated tools researchers use to measure these variables and the analytical techniques they employ to draw meaningful conclusions from their evidence. We’ll continue following our Breakfast Bandit investigation as we explore these more advanced aspects of the research process.
Stacey Swanson is a PhD student at the University of Miami.
DIVERSE LEARNERS COMMITTEE
Christine Lapka, EdD Chairperson
High Musical Expectations for All
BY NERISSA R. M. REBAGAY
I’mexcited to join the FMEA Diverse Learners Committee. I would like to share the following foundational information that may help you wrap your head around some of the terms and acronyms commonly used when discussing diverse learners in your school settings.
Two common models of disability are the social model and the medical model (Olkin, 2022). While the medical model relies on a diagnosis and views impairments or differences as a deficit that needs fixing, the social model embraces a labelfree approach that fosters inclusivity and instead places the onus on societal barriers to inclusion, including physical and attitudinal barriers. These are not the only two models of disability; there exist many others, including the charity model, cultural model, economic model, human rights model, and religious model, among others (Ladau, 2021). I try in my own teaching and daily life to be as inclusive of others as I can be.
The Individuals with Disabilities Act (IDEA, 1990) ensures that children with disabilities receive services in schools, including an
Individualized Education Program (IEP, U.S. Department of Education, 2017), to succeed in the regular classroom. An IEP is a legal document that teachers, including music teachers, are legally obligated to obtain and implement. This document details a student’s special educational experience. Another type of document you may use is a 504 Plan (U.S. Department of Education, 2024), a formal agreement between a school and a student’s family that outlines the accommodations a school will provide to a student with a disability; this is less structured than an IEP.
IEPs and 504 Plans often include accommodations, adaptations, and modifications, which frequently get conflated. An accommodation is what you provide for the student; an adaptation is how you provide it. A modification is a change in the curriculum. Accommodations, adaptations, and modifications can be implemented through differentiated instruction (teaching all aspects of student learning and skill levels in one classroom) and techniques like Universal Design for Learning
(UDL, presenting things through multiple means of representation, multiple means of engagement, and multiple means of action and expression) (CAST, 2025).
Sometimes, a music therapist may be in a student’s treatment plan. While this is wonderful, it does not mean that the student cannot or should not be part of a traditional music education class. While music therapy uses music to facilitate a positive change in behavior that endures over time, it focuses on non-musical goals, such as communication, self-expression, or body movement. Music education, on the other hand, teaches music as the subject matter with musical goals. When you have students with disabilities and differences in your class, maintain the same high musical expectations that you would for any other student.
Nerissa R. M. Rebagay is a doctoral student at the University of Miami studying neurodiversity, creativity, and music teacher training. She was a 2020 FMEA Emerging Leader, 2021 Miami-Dade County Public Schools Rookie Teacher of the Year, and in Yamaha’s 2023 “40 Under 40” cohort.
References
CAST (2025). The UDL guidelines. https://udlguidelines.cast.org/ Ladau, E. (2021). Demystifying disability: What to know, what to say, and how to be an ally. Ten Speed Press.
Olkin, R. (2022). Conceptualizing disability: Three models of disability. https://www.apa. org/ed/precollege/psychologyteacher-network/introductorypsychology/disability-models
U.S. Department of Education (2024, August 12). Protecting students with disabilities. https://www.ed.gov/laws-andpolicy/individuals-disabilities/ protecting-students-withdisabilities
U.S. Department of Education (2017, July 12). Sec. 300.320 Definition of individualized education program. https://sites. ed.gov/idea/regs/b/d/300.320
AWARDS COMMITTEE
Sondra A. W. Collins
Chairperson
Happy spring, FMEA family! I hope you have had the opportunity to read about your 2025 FMEA awardees, and how each award recipient is supporting and furthering quality and exemplary music education throughout our state, in the February/ March 2025 Florida Music Director. If you have not yet seen this impressive spread of your FMEA awardees, please turn to pages 22–43 here. Their collective dedication to music education throughout Florida is truly inspiring!
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. These words of inspiration I share with you to give you that confidence to be the light to your own students, as well as the drive to help shine a light on others in our next nomination period.
First off, we will start with some inspiring words from our 2025 FMEA Elementary Music Educator of the Year, Katie Grace Miller.
KATIE
GRACE
MILLER,
elementary music educator at Lake George Elementary School in Orange County Public Schools, inspires through passion:
I“Imagine being in elementary school, and walking into a classroom and watching passion permeate every single available space. THAT is what I saw in my Aunt Artie’s classroom, when I got to visit as a child. I watched the power of music take hold of every single student in that room, and watched the passion, not only from my aunt, but from my mother, who was a kindergarten teacher for many years. Both of these role models showed me that being a teacher would allow me to share my passion with as many students as I could.
Music reaches everyone. The child who is well cared for and fed, the child who dressed themselves that morning and took care of their siblings, and the child who comes to school hungry and is just waiting to be in their safe space. Elementary music education has so many different outlets for students, from every single background: singing, music, movement, so many different instruments, creating their own music, and then sharing it with others.
I love that no matter what student walks through my door, music can help them discover who they are and how they want to be a part of this world.
I also believe that giving them as many opportunities as possible is helpful to reach every child. I have my beginning and advanced ensembles that sing, play instruments, and move, and then we put on a musical every single year; that’s available to second through fifth graders. Then I have my alto recorder group that learn how to accomplish harder skills, and then I make sure that our littles also have opportunities to perform outside of the classroom, with classroom caroling and “Night with the Arts” for families.
As I was encouraged by my incredible mentors and colleagues to develop my own lessons, I began teaching teachers and mentoring interns. This became another fabulous outlet to share the passion of music education outside the four walls of my classroom. Sharing my lesson ideas with teachers around the United States and even in different countries, I have realized that I love empowering music teachers, to remember that the core subject that they are teaching is valuable and meaningful to their students and that there are so many different lessons that we could use to ignite the passion in students, not just for music, but the passion for success, because every child can be successful in music . The other day I got an email from a teacher in Wake County, North Carolina, who had been to one of my clinics, and she took the time to tell me how successful one of my book lessons was with her students and even took video of them so that I could see the success. These types of rewards for watching my ideas bring music to children that I haven’t even met just gives me the drive to continue creating for my own students and for many others.
I am honored to be recognized for my efforts to highlight, strengthen, and advocate for elementary music education in the state of Florida.”
FLORIDA VOCAL ASSOCIATION
David Pletincks President
Imposter Syndrome
Inthe last two weeks, I’ve had two different discussions with people regarding imposter syndrome. While I have only learned of this psychological pattern in the last couple of years, I was very surprised to learn that this phrase was coined back in 1978. I’m sure that most of you are aware of the struggles and effects of imposter syndrome, but I’ve also learned that many people of my generation have never heard of it. This is a very common human experience with educators, certainly in our music education community as well.
Imposter syndrome is a psychological state in which individuals doubt their accomplishments and have an internalized fear of being exposed as a “fraud,” despite their evident success or qualifications. This phenomenon often leads to feelings of inadequacy, anxiety, and self-doubt. Rather than accepting their successes and seeing it as an accomplishment, they wind up viewing it as a failure compared to what others have accomplished. Does this sound familiar to your own experience?
This self-doubt can be debilitating, leading to burnout, anxiety, and depression. But here’s the truth: your success as a music
educator is not a fluke, and you are more capable than you give yourself credit for.
Most of us have been guilty of comparing ourselves and our accomplishments to the success of our colleagues. If our choirs don’t achieve the same success, we must not be as good or qualified as
they are. Very often though, we are comparing apples to oranges. There are many factors that determine or define the success of a choral program. Too often, we don’t consider these factors, and many of them may not be in our favor.
Ultimately, overcoming
imposter syndrome is a journey toward selfacceptance and confidence, enabling us to embrace our accomplishments and move forward with a sense of empowerment and authenticity. To overcome, you must start reframing your thoughts. Instead
of focusing on what we perceive as failure, focus on the effort you’ve put into your choral program and the value you bring to class every day. Celebrate your wins, no matter how small, and acknowledge your progress. Celebrate the success of that child who is now matching pitch for the first time. Celebrate that great musical moment your choir finally produced. Celebrate the connections and relationships you’re building with your students. Your purpose at your school may not be to create a powerhouse program but to create a place where your students can feel safe and validated for one period a day. Being in your class may be the reason they come to school every day, because you care. Acknowledge you ARE making a difference in the lives of your students.
You are not alone! Talking with colleagues, mentors, or friends can help you realize that many successful people have experienced the same feelings. This journey, both for you as a human and for your music program, is about growth, not perfection. Trust in your abilities and your calling, and don’t let imposter syndrome hold you back from reaching your full potential as an educator and a human being.
FLORIDA BANDMASTERS ASSOCIATION
Jeff Cayer, EdD President
s we reflect on the MPA season, which has now largely concluded, it is important to turn our focus toward continuing the growth and development of our students for the remainder of the school year. This is a critical time to ensure that our students are receiving the attention and support they need to finish strong and continue to improve in their musical abilities. Let’s challenge them to give their best effort as we push forward toward the end of the year.
In addition to focusing on the current school year, now is also the ideal time to begin planning for the next academic year. Effective preparation is key to ensuring a smooth transition and helping our students succeed in the coming year. To that end, please take the time to carefully review your student roster and determine the appropriate classes and placements for each student. Once you’ve compiled the list, submit it to your administrators as soon as possible. This proactive approach will ensure there is ample time for proper scheduling and adjustments, and it will help avoid any unnecessary delays that could arise if this task is postponed until the summer months. Waiting until the start of summer break could risk missing key deadlines and hinder the smooth start to the next school year.
I encourage you to prioritize this task and communicate with your administrators early to make the process as efficient and effective as possible.
Lastly, as we move into concert season, I want to wish you and your students the best of luck. This is a time to celebrate their hard work and dedication throughout the year. Let’s make the most of it and continue to inspire and motivate our students through music.
Thank you for your continued dedication and commitment to our students’ growth and success.
FLORIDA ORCHESTRA ASSOCIATION
Laurie Bitters President
s we navigate the busy season of music performance assessments (MPA) alongside testing season, it’s easy to overlook the incredible work our students do in the classroom every day. Yet, those magical moments in rehearsal—the breakthroughs, the artistry, the dedication—are what truly define our programs. Our hope is that students bring this same passion and excellence to the stage, even in those brief moments when three adjudicators sit behind that little lamp, ready to evaluate their performance. For those of you preparing for MPA, I wish you the very best. If you’ve already completed your MPA, I hope it was a rewarding experience. And to our high school directors, may your rehearsals continue to be filled with growth and discovery as you prepare for state MPA. I’m especially excited that this year’s state concert MPA will take place in Titusville! I will be in attendance at both MPAs and look forward to seeing you and hearing your students perform.
Important Reminders as We Approach Year-End
As we near the end of the school year and head into our district meetings, please keep the following in mind:
w FOA Executive Board Motions & Concerns –
If you have any motions or concerns for the FOA Executive Board, be sure to communicate them with your district chairperson so they can be discussed at your next meeting.
w Becoming a Component Board Approved Adjudicator (CBAA) – If you’re interested in joining the Florida Orchestra Association as a CBAA, details on the process can be found in the adjudicator handbook (pp. 13&14) on the FOA website. Keep an eye on emails or check the website for sign-ups for the adjudicator class held at the Fall
Looking Ahead: 2026 FMEA Conference
Mark your calendars! The 2026 FMEA Professional Learning Conference will take place January 14-17 in Tampa, Florida, with the theme The Power in Our Profession: Music Education for Collective Impact. This theme
highlights the importance of collaboration among educators, organizations, and communities to drive meaningful change in music education. If you are interested in presenting, please ensure you can attend in person before submitting a proposal. All presentation and performance proposals are due by May 9, 2025. More details can be found on the FMEA website.
If you have any questions or concerns, please don’t hesitate to reach out to a board member. This is your organization, and your voice matters—we can only make it stronger with your input. Looking forward to an inspiring season of performances!
Conference in Orlando or the FMEA conference in Tampa.
MARK YOUR CALENDARS
FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION
Ashley Peek President
Spring is in the air, and so is concert season! It’s wonderful how easy it is to look on social media these days and see the amazing things music educators around our state are doing each concert season: music performance assessments, spring concerts, instrument try-ons for next year’s beginner band students, and so much more. All-county ensembles are definitely amongst my favorite end-of-school-year opportunities. It’s such a special experience for students who have never met each other to come together for a short time of rehearsals and put together a heartfelt and inspiring performance; truly one of my favorite parts of the entire school year!
As I am looking forward to next school year and conference time, I am excited to introduce our 2026 FEMEA all-state clinicians.
We are honored to have Vincent Oakes as our all-state choir clinician for 2026. Since 2003, Vincent Oakes has served as artistic director of the Chattanooga Boys Choir, a music education and performance organization founded in 1954, which now includes more than 120 choristers ages eight to 18 in five ensembles.
For our all-state Orff ensemble, we are delighted to have Jennifer Donovan and Tiffany English.
Jennifer Donovan is the associate national conference director for the American Orff-Schulwerk Association. She previously served on the AOSA National Board of Trustees as region representative and treasurer. She was national conference chair for both the 2016 and 2022 AOSA PD conferences. Jennifer served on the 2009 and 2018 Kansas Teacher of the Year teams.
Tiffany English is executive director of the American Orff-Schulwerk Association. She is retired from a 29-year teaching career as music specialist in Gwinnett County, Georgia. She holds multiple degrees from the University of Georgia and Piedmont College and has completed post-Level III Orff Schulwerk teacher education and Level I Kodály training.
We can’t wait for you to experience the magic these clinicians will bring to our students in January!
OAKES
DONOVAN
ENGLISH
FLORIDA MUSIC EDUCATION ASSOCIATION
2024-2025 DONORS
Thank you to all of the donors who have shown their dedication to the improvement of music education in Florida by supporting our Mission through financial contributions.
Our donors support specific causes by donating to the FMEA funds of their choice:
FMEA Scholarship Fund
Music Education Advocacy General Fund
June M. Hinckley Scholarship
Professional Development for Members
Mel & Sally Schiff Music Education Relief Fund
The following have graciously donated to FMEA from April 1, 2024, through March 6, 2025.
MAESTRO’S CIRCLE
$10,000 and up
ARTIST’S CIRCLE
$1,000 – $9,999
No current donors at this time. All County Music
Frank Howes
In Memory of Vashti Jordan Howes
Clifford Madsen
SUSTAINERS
$100 – $999
Carlos Abril
In Honor of Dr. Alice-Ann Darrow
Artie Almeida
Lucinda Balistreri
In Honor of Sarasota County Music Educators
Trent Brown
In Honor of J. Mark Scott
Dale Choate
In Honor of R. Wayne Bailey
Alice-Ann Darrow
In Memory of Mr. & Mrs. O.B. Darrow
Virginia Dickert
In Memory of Debbie Liles & Lindsay Keller
William Fredrickson
Shelby Fullerton
In Memory of Dan Fullerton
Marsha Juday
Aaron Kass
Steve & Beth Kelly
Sheila King
Jason Locker
In Memory of June M. Hinckley
Joseph Luechauer
Deborah Mar
In Memory of Barbara Kingman
Russell Robinson
Fred Schiff
In Memory of Mom & Dad
Louis Schiff
Kelly Miller
Carolyn Minear
In Memory of Alice Fague
John Nista
In Memory of Stanley Dmitrenko
Mary Palmer
Douglas Phillips
In Memory of Dr. Bobby Adams
David Pletincks
In Honor of My Children
Clinton Randles
Jeanne Reynolds
In Honor of Pinellas County Performing Arts Teachers
Mary Catherine Salo
In Memory of Gary Rivenbark & Wes Rainer
Steven Salo
In Honor of Dr. Bill Prince & In Memory of John "Buck" Jamison
Kathleen Sanz
In Memory of June M. Hinckley
J. Mark Scott
In Honor of Jason Locker, Dr. André Thomas, Dr. Judy Bowers, & Dr. Judy Arthur
John Sinclair
D. Gregory Springer
Harry Spyker
In Honor of Fred & Marlene Miller
Jeannine Stemmer
In Memory of Barbara Kingman & Lauren Alonso
Leiland Theriot
In Memory of Clayton Krehbiel
Rebecca Traenkner
On Behalf of the Hillsborough County Elementary Music Educators Council
PATRONS
$25 – $99
Sandra Adorno
Meghan Alfaro
Maria Athanasulis
Sasha Aufschneider
In Memory of Michael Aufschneider
William Bauer
In Honor of My Colleagues, Present & Past
David Bayardelle
In Dedication to Dr. George Sparks
Mark Belfast
In Memory of Dr. Mark A. Belfast, Sr.
Kasia Bugaj
Greg Carswell
William Castillo
Jeff Cayer
Shelby Chipman
Zachary Chowning
Dayna Cole
In Memory of Linda Mann
Deborah Confredo
In Honor of ALL FMEA members who do the good work of giving the gift of music year -round!
Edward Doyle
Debbie Fahmie
Anne Fennell
FRIENDS
up to $24
Bryan Alspach
Manny Bermudez
Crystal Berner
Wendy Birket
Laurie Bitters
Matthew Chesner
Ernesta Chicklowski
On Behalf of Roosevelt Elementary
Musicians
Jennifer Corzine
Richard Uhler
Peter Waidelich
Howard Weinstein
In Memory of Barry Weinstein
Kenneth Williams
Anonymous (1) In Memory of Claude Dobbins
Laurestine Fleming
Lisa Foltz
In Memory of Rev. Vernon Ronald Feener
Bradley Franks
In Memory of Gary W. Rivenbark
Anna Marie Friars
In Honor of Dr. Clifford Madsen
Dakeyan Graham
Rebecca Hammac
Amanda Hauta
Cynthia Heidel
Bernie Hendricks
Alexander Jimenez
Marsha Kindall-Smith
Christine Lapka
Aaron Lefkowitz
Craig Lilly
David Martinez-Cooley
Merleon Morgan
Amelita McGrath
Katie McGuire Menges
Jessica Moore
In Honor of Dr. Nancy Barlar
Mark Morette
Harry Pardee
In Honor of Harry & Anne Pardee
& In Memory of Sally Eldridge
Edward Prasse
Marie Radloff
In Memory of Charles F. Ulrey
Rudolf Radocy
Sean Rees
Diana Rollo
Robin Ryon
Thomas Silliman
In Honor of Dr. Tom Silliman, Sr.
John Southall
Kelly Southall
Eddie Steadman
Mark Stevens
In Honor of Dr. Clifford K. Madsen
Phil Tempkins
In Memory of Sue McCray
Valerie Terry
David Verdoni
Matthew Weihmuller
Sondra Wenninger Collins
Lindsey Williams
Anonymous (7) In Honor of Columbia County Music Teachers
Leon Dalgleish
Katie Doyle
Christopher Dunn
Patrick Dunnigan
Tina Gill
In Memory of Gary Rivenbark
Angela Hartvigsen
William Hazlett
Yangqian Hu
Ethan Hubbard
Jason Jerald
Kathleen Kerstetter
Marisol LaBoy
Lu Anne Leone
John Marshall
Matthew McCutchen
In Honor of Dr. John Carmichael
Anthony Moore
Emerson Oliver
Ashley Peek
Ian Schwindt
Gary Smith
Daniel Sullivan
Andrea Szarowicz
Lindsay Walters
Anonymous (12) In Memory of Ernest O. Hebson
Executive Director’s
MESSAGE
The mission of the Florida Music Education Association is to promote quality, comprehensive music education in all Florida schools.
FMEA and FSMA
Spring arrived on March 20. Spring activities are gearing up for all of the wonderful music programs throughout the state of Florida! It is a wonderful time of year as concerts are scheduled and performed. In addition, the secondary music performance assessments are scheduled and conducted.
Oftentimes our membership and the public are confused about the purpose and role of the two large music associations in the state, the Florida Music Education Association and the Florida School Music Association. Both of these associations were formed to raise the level of music education for Florida teachers and students.
Florida Music Education Association (FMEA)
The mission of the Florida Music Education Association is to promote quality, comprehensive music education in all Florida schools.
The Florida Music Education Association was founded in 1944 and eventually combined with the Florida State Music Educators Association (FSMEA), which was formed in parallel fashion, in 1951. In the academic year 1966-67, the two separate music associations, FMEA and FSMEA, merged into a single association under the name Florida Music Educators Association. In 2015, the name of the Florida Music Educators Association was changed to the Florida Music Education Association to broaden the perspective of music education in the state.
FMEA is a not-for-profit 501(c)(3) charitable organization that serves and supports music education across Florida. FMEA publishes the Florida Music Director and Research Perspectives in Music Education. In addition, FMEA organizes in-person and online professional development programs for music teachers and students and broadens teachers’ knowledge and interest in their profession through affiliation with colleagues. FMEA annually organizes the FMEA Professional Learning Conference and All-State Concerts.
Florida School Music Association (FSMA).
The mission of the Florida School Music Association is to provide leadership, advocacy, and services for school music programs in support of quality music education experiences for students.
The Florida School Music Association, Inc. (FSMA) is a nonprofit 501(c)(3) corporation that was established in 1998 after the Florida High School Activities Association (FHSAA) was restructured in 1997. The purpose of this association is to provide oversight for interscholastic music activities for public, public charter, private, and home school students at the middle and high school levels. FSMA organizes in-person leadership development programs for music teachers and the secondary music components, the Florida Bandmasters Association, Florida Orchestra Association, and the Florida Vocal Association. In
addition, FSMA provides oversight for the music performance assessments (MPAs) and provides support for the programs including subsidizing the state performance venues, adjudication training, and student insurance.
FSMA is a member of the National Federation of High Schools and works with the association on health-related issues, copyright compliance, etc.
FMEA and FSMA work collaboratively to advocate for high-quality music programs in the state. The 2025 Florida Legislative Session began on March 4, 2025, and the regular session will end on May 2, 2025. The Florida Seal of Fine Arts passed through both the Senate and House during the 2024 session and was signed into law by Governor DeSantis. School districts are currently working on the implementation of the Seal of Fine Arts for Florida’s graduating seniors (see talking points). Please read Jeanne Reynold’s article in this month’s Florida Music Director for more information on the legislative session and ways you can be an advocate for music education.
Hopefully, you had a wonderful and rejuvenating spring break and are now looking forward to a rewarding and prosperous semester. We’re wishing you and your students the best. Please feel free to reach out to the FMEA or FSMA office for assistance.
Musically,
FMEA Executive Director
Kathleen D. Sanz, PhD
Kathleen D. Sanz, PhD
FLORIDA MUSIC EDUCATION ASSOCIATION
Officers and Directors
EXECUTIVE BOARD
President Jason P. Locker
Orange County Public Schools
445 W. Amelia St.; Orlando, FL 32801 (407) 317-3200; jasonlocker@fmea.org
Past President
Shelby R. Chipman, PhD
Florida A&M University, Department of Music Foster-Tanner Music Bldg., Room 318 Tallahassee, FL 32307; (850) 599-8165 shelby.chipman@famu.edu
President-Elect
Harry “Skip” Pardee, EdD
Collier County Public Schools 5775 Osceola Trail; Naples, FL 34109-0919 (239) 377-0087; pardeh@collierschools.com
FBA President Jeff Cayer, EdD president@fba.flmusiced.org
FCMEA President Sandra Sanchez Adorno, PhD
Florida International University 10910 SW 17 St.; Miami, FL 33199 sadorno@fiu.edu
FEMEA President Ashley Peek
Holley-Navarre Intermediate 1936 Navarre School Rd.; Navarre, FL 32566-7504 ashley@femea.flmusiced.org
Florida NAfME Collegiate President Jason Lane Florida A&M University jason1.lane@famu.edu
FMSA President Christopher Burns, PhD School District of Osceola County (407) 870-4901; christopher.burns@osceolaschools.net
FOA President Laurie Bitters
Winter Park High School 2100 Summerfield Rd.; Winter Park, FL 32792 (407) 622-3200; laurie.bitters@gmail.com
President Christopher Burns, PhD School District of Osceola County (407) 870-4901; christopher.burns@osceolaschools.net
MULTICULTURAL NETWORK
Chairperson
Arnekua Jackson, PhD Boynton Beach Community High School; 4975 Park Ridge Blvd.; Boynton Beach, FL 33426-8318 (561) 713-6851; arnekua.jackson@palmbeachschools.org
COMMITTEES
Advocacy
Jeanne W. Reynolds (727) 744-7252; jeannewrey@gmail.com
Awards
Sondra A. W. Collins sondra.collins@marion.k12.fl.us
Budget/Finance, Development
Jason P. Locker Orange County Public Schools; 445 W. Amelia St.; Orlando, FL 32801 (407) 317-3200; jasonlocker@fmea.org
Contemporary Media .............................................................
Clint Randles, PhD University of South Florida; 4202 E. Fowler Ave.; Tampa, FL 33620-9951 (813) 974-2311; randlesc@usf.edu
Diverse Learners
Christine Lapka, EdD University of Central Florida; 12488 Centaurus Blvd.; Orlando, FL 32816-2372; christine.lapka@ucf.edu
Emerging Leaders
Dakeyan C. Graham, PhD, EdD, DMA Alachua County Public Schools; 3600 NE 15th St.; Gainesville, FL 32609 dregraham@gmail.com
Florida Corporate & Academic Partners ............................................Fred Schiff All County Music; 8136 N. University Dr.; Tamarac, FL 33321-1708 (954) 722-3424; fred@allcountymusic.com
Health & Wellness
Aaron Kass Lake Nona High School; 12500 Narcoossee Rd.; Orlando, FL 32832-6922 (407) 956-8327; aaron.kass@ocps.net
Professional Learning Ajori Spencer Pinellas District Office; 301 4th St. SW; Largo, FL 33770-3536 (727) 588-6055; spencera@pcsb.org
Research ............................................................................ William I. Bauer, PhD University of Florida; (352) 273-3182; wbauer@ufl.edu
Secondary General Music Ed Prasse Leon High School; 550 E. Tennessee St.; Tallahassee, FL 32308 (850) 617-5700; prassee@leonschools.net
Student Engagement
Michael Antmann, EdD Freedom High School; 2500 W. Taft-Vineland Rd.; Orlando, FL 32837 (407) 816-5600; michael.antmann@ocps.net
Past President Bernard (Bernie) Hendricks, Jr. Ocoee High School; 1925 Ocoee Crown Point Pkwy.; Ocoee, FL 34761 bernard.hendricks@ocps.net
Executive Director Neil Jenkins Florida Bandmasters Association P.O. Box 840135; Pembroke Pines, FL 33084 (954) 432-4111; Fax: (954) 432-4909; exec@fba.flmusiced.org
Business Manager.........................................................................Jo Hagan, CPA 8975 San Rae Rd.; Jacksonville, FL 32257 (904) 379-2245; Fax: (904) 379-2260; jo@barefootaccounting.com
FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION
President Ashley Peek Holley-Navarre Intermediate; 1936 Navarre School Rd.; Navarre, FL 32566-7504; ashley@femea.flmusiced.org
Past President Joani Slawson Holy Trinity Episcopal Academy; 1720 Peachtree St.; Melbourne, FL 32901 joanislawson@gmail.com
Executive Director .................................................................... Jennifer Sullivan 1750 Common Way Rd., Orlando, FL 32814 (321) 624-5433; slljenn@aol.com
FLORIDA ORCHESTRA ASSOCIATION
President Laurie Bitters Winter Park High School; 2100 Summerfield Rd.; Winter Park, FL 32792 (407) 622-3200; laurie.bitters@gmail.com
Past President Matthew L. Davis Harrison School of the Arts; 750 Hollingsworth Rd.; Lakeland, FL 33801 (863) 393-4232
Executive Director Cheri A. Sleeper 1915 S. 47th St.; Tampa, FL 33619 (813) 363-4139; csleeper@myfoa.org
FLORIDA VOCAL ASSOCIATION
President David Pletincks Powell Middle School; 4100 Barclay Ave.; Brooksville, FL 34609-0860 (352) 403-8437; david@fva.net
Past President .......................................................................Jeannine Stemmer Florida Christian School, 4200 SW 89th Ave.; Miami, FL 33165 j9stemmer@floridachristian.org
Executive Director Michael Dye 231 S. Bayshore Dr.; Valparaiso, FL 32580 (850) 217-7419; mike@fva.net
Business Manager Jo Hagan, CPA 8975 San Rae Rd.; Jacksonville, FL 32257 (904) 379-2245; Fax: (904) 379-2260; business@fva.net
