Florida Music Director August 2018

Choosing ‘Appropriate’ Choral Repertoire:

What Does That The Top 5 REALLY Mean?

Mistakes Made With Jazz Bands (and How to Fix Them)

PLUS: 2020 Conference Contracted Hotels FOA & Florida ASTA Fall Conference 2019 Hinckley Scholarship Recipients 2019-2020 Leadership August 2019

1

UNIVERSITY OF SOUTH FLORIDA SCHOOL OF MUSIC

The USF South Florida School of Music is excited to announce the hiring of two new faculty!

Natalie Mallis Director of Choral Studies

music.arts.usf.edu 2 F l o r i d a

Music Director

Lauren Gates Assistant Director of Bands

Executive Director Florida Music Education Association Kathleen D. Sanz, PhD

Hinckley Center for Fine Arts Education

402 Office Plaza Tallahassee, FL 32301 (850) 878-6844 or (800) 301-3632 (kdsanz@fmea.org)

Contents August 2019 Volume 73 • Number 1

Editor-in-Chief

D. Gregory Springer, PhD Florida State University College of Music 122 N. Copeland Street Tallahassee, FL 32306 (850) 644-2925 (office) (dgspringer@fsu.edu)

Editorial Committee Terice Allen (850) 245-8700, Tallahassee (tallen1962@hotmail.com) Judy Arthur, PhD Florida State University, KMU 222 (850) 644-3005 (jrarthur@fsu.edu) William Bauer, PhD University of Florida, Gainesville (352) 273-3182; (wbauer@ufl.edu) Alice-Ann Darrow, PhD College of Music, FSU, Tallahassee (850) 645-1438; (aadarrow@fsu.edu) Jeanne Reynolds Pinellas County Schools, Largo (727) 588-6055; (reynoldsj@pcsb.org) John K. Southall, PhD Indian River State College, Fort Pierce (772) 462-7810; (johnsouthall@fmea.org)

Advertising Sales Valeria Anderson (val@fmea.org)

FOA & Florida ASTA Fall Conference 2019 . . . . . . . . . . . . . . . . . . . . 4 2019-2020 Leadership. . . . . . . . . . . . . . . . . . 6-7 Hotels Contracted for 2020 FMEA Professional Development Conference. . . . . . . 8-9 The Top 5 Mistakes Made With Jazz Bands (and How to Fix Them). . . . . . . . . . . . . . . . . . . 10 June M. Hinckley Music Education Scholarship Recipients. . . . . . . . . . . . . . . . . . 15 Choosing ‘Appropriate’ Choral Repertoire: What Does That REALLY Mean?.. . . . . . . . . . . 18

Director of Finance and Client Relations

Richard Brown (richard@fmea.org) 402 Office Plaza, Tallahassee, FL 32301 (850) 878-6844

Official FMEA and FMD Photographers

Bob O’Lary

Debby Stubing

Art Director & Production Manager

Lori Danello Roberts, LDR Design Inc. (lori@flmusiced.org)

Circulation & Copy Manager

Valeria Anderson, (800) 301-3632

Copy Editor

Susan Trainor

D E PA R T M E N T S President’s Message. . . . . . . . . . 5

Committee Reports. . . . . . . . . . 32

From the Editor.. . . . . . . . . . . . 8

Advertiser Index. . . . . . . . . . . . 35

Academic Partners. . . . . . . . . . . 14

Officers and Directors.. . . . . . . . 36

2018-19 FMEA Donors. . . . . . 24-25

Executive Director’s Notes. . . . . . 37

Component News.. . . . . . . . . . . 26

Corporate Partners. . . . . . . . . 38-39

Research Puzzles. . . . . . . . . . . . 31

August 2019

3

Florida Orchestra Association & Florida ASTA Fall Conference 2019 Thursday and Friday, September 26-27, 2019 Keynote Speaker: Deborah Baker Monday Helpful sessions with information you can use now!

FOA and FLASTA Business Meetings New Music Reading Session (bring your instrument and stand) Vendor Exhibits & Networking

6001 Destination Parkway Orlando, FL 32819 (1-888-488-3509)

Resort fee entitles you to: • 15% discount at all hotel restaurants (except the Tropics Restaurant)

• Free wireless, local phone calls, domestic long distance & 800 numbers

• 50% off the $20 daily self-park fee

Ask for the FOA room rate: $169.00 (single or double); $12.50 per day resort fee Hotel reservations must be made by Saturday, Sept. 5, 2019!

Preregistration Fee: $75.00 Orchestra Teachers/ASTA Members; $35.00 Spouse; $45.00 Retired Teachers/ASTA; $15.00 Collegiate On-Site Registration Fee: $100.00 Orchestra Teachers/ASTA Members; $50.00 Spouse; $60.00 Retired Teachers/ASTA; $20.00 Collegiate Preregistration must be postmarked by Sept. 15, 2019.

Session details and additional information can be found at www.myfoa.org!

Name

Home Phone

Address City

State

School Name

Email

ZIP

Please place the quantity of those registering in each appropriate box: FOA Member

ASTA Member ASTA Retired

Spouse

FOA Retired

Collegiate

Make checks payable to FOA (Cash and POs are not accepted) Mail registration form and payment by check to:

• 220 Parsons Woods Drive • Seffner, FL 33584 M u s Executive i c D i r e c t oDirector r 4 F l o r i d a FOA

President’sMessage

Reflect & Celebrate: Past, Present, & Future!

Steven N. Kelly, PhD

I

am so excited to write my first president’s message! The opportunity to serve as FMEA president is

a privilege I hope to share with all of you. As I reflect on the musical activities I have experienced

in our state, I understand the commitment and responsibility of moving our organization forward. At

President Florida Music Education Association

the same time, I want to recognize our past achievements and celebrate our current work.

I am indebted to our past president, Dr. John Southall, and his tireless work for this organization.

John’s emphasis on the vast cultural diversity in our state will stand the test of time. The leadership

of our immediate past president, Dr. Ken Williams, has fostered a stronger emphasis on the art of effective teaching and performance. Teaching is what we do, and Ken helped raised the standard by which we judge ourselves and what our students are capable of producing. Dr. Shelby Chipman, our president-elect, is our future, and what a future he will provide!

FMEA is fortunate to have an outstanding staff led by Dr. Kathy Sanz, who is also the national

president of NAfME. Val Anderson, Dr. Josh Bula, Richard Brown, Jenny Abdelnour, and Jasmine

Van Weelden are outstanding team members committed to your success. It is no wonder that FMEA is considered a model organization.

I hope you will take note of the members of the FMEA Board of Directors listed in this edition

of FMD. This group may be the most diverse FMEA board ever. Members represent the geographic

areas, musical genres, and cultural diversity that reflect our membership. These professionals give their time, service, and expertise to provide musical opportunities for every program throughout our state.

The true strength of FMEA is its members. Every music program—from guitar to elementary, band,

orchestra, modern band, chorus, steel drum, jazz, and digital music—has a place in FMEA. Last year the board of directors changed the FMEA mission, and it now states: to promote quality, comprehensive

music education in all Florida schools. Cultural, curricular, and musical inclusivity is a must in our changing world. We must make music education so important that no student, parent, administrator, or policy maker can ever imagine a school without a quality, comprehensive music program.

I want to celebrate you, your students, and your programs. Our conference theme is Celebrating

Musical Excellence: Past, Present, & Future, and I encourage you to make plans to attend, January 8-11, 2020, in the Tampa Convention Center. I want to salute those who helped set the stage for our current

programs, recognize your current accomplishments, and look to the future of Florida music educa-

tion. I want to hear from you. Please take a few moments to reflect on why you chose to become a music teacher, what your dreams are, and how you impact your students and communities. Tell me

your successes, your challenges. Help me to help you create and achieve quality, comprehensive music education for all of our students.

Thank you for supporting the Florida Music Education Association. I wish you the best in this

coming school year.

Sincerely,

Steven N. Kelly, PhD President

Florida Music Education Association

August 2019

5

2019-2020 Board of Directors

If you need information about either the Florida Music Education Association or the Florida School Music Association, please call us at 1-800-301-3632.

Steven N. Kelly, PhD President

Kenneth Williams, PhD Past President

Shelby R. Chipman, PhD President-Elect

Kathleen D. Sanz, PhD FMEA/FSMA Executive Director

Cathi Leibinger FBA President

John D. Ash FCMEA President

Katherine Attong-Mendes NAfME Collegiate President

Mark A. Belfast, Jr., PhD NAfME Collegiate Advisor

Ernesta Chicklowski FEMEA President

Matthew Davis FOA President

Jason Locker FVA President

Edgar Rubio Member-at-Large

STAFF Kathleen D. Sanz, PhD Executive Director Valeria Anderson, IOM Director of Operations Richard Brown, CAE Business Manager & Special Projects Josh Bula, PhD Technology Director Jenny Abdelnour Public Affairs & Communications Coordinator Jasmine Van Weelden Marketing & Membership Coordinator

Harry “Skip” Pardee FMSA President

6 F l o r i d a

Music Director

Committee Chairpersons

Debbie Fahmie Awards

Kenneth Williams, PhD Budget/Finance, Development

Alice-Ann Darrow, PhD Diverse Learners

Mary Palmer, EdD Emerging Leaders

John K. Southall, PhD Conference

Fred Schiff — Florida Corporate & Academic Partners

David Williams, PhD Contemporary Media

Jeanne W. Reynolds Government Relations

Ex-Officio Members

Bernard Hendricks Multicultural Network

Scott Evans Professional Development

Don D. Coffman, PhD Research Craig Collins, EdD FSMA President

Ed Prasse Secondary General Music

D. Gregory Springer, PhD Florida Music Director Editor-in-Chief

Michael Antmann, EdD Student Leadership

August 2019

7

FromTheEditor ABOUT THE EDITOR D. Gregory Springer, PhD, joined the music

education faculty of Florida State University in

August 2018, where he teaches undergraduate and graduate courses and provides leadership for the

FSU summer master’s degree in music education.

He is serving a two-year term as editor-in-chief of Florida Music Director.

Greetings! It’s that wonderful time of year when we start planning for our very special conference event. The

Florida Music Education Association has contracted the D. Gregory Springer, PhD Editor-in-Chief Florida Music Director

Greetings From the Editor

W

elcome back to another school year! I hope you were able to enjoy your summer with some time to rest, relax, and “recharge your

batteries” in preparation for a successful academic year.

I am honored to serve as the new editor of Florida Music Director. I am indebted to the previous editor, Dr. Mark Belfast, for his wonderful work with the journal and for his kind assistance throughout this transition. As before, this year’s issues of FMD will include featured articles that highlight important issues relevant to music learning and teaching, as well as informative component and committee articles.

This journal is focused on the topics and issues that are most important to you. Have you thought about publishing a featured article in FMD? Consider this your invitation to submit an article for consideration! FMD publishes articles focused on music teaching and learning across all grade levels, pre-K through college. You can view the article submission information at FMEA.org (under the Publications menu, click Florida Music Director), and feel free to contact me if you have any questions.

I hope you are as excited as I am about this issue and forthcoming issues

of FMD. We value your readership and your input as we continue to move forward with the journal.

Best wishes to you all for a wonderful school year!

Cordially,

D. Gregory Springer, PhD Editor-in-Chief Florida Music Director

8 F l o r i d a

Music Director

following Tampa hotels for the Jan. 8-11, 2020, Professional Development Conference. Please telephone your hotel of

choice directly from the list on the following page begin-

ning Sept. 21, 2019, at 9 am EDT. Guest rooms at the

contracted rates are available until the room block is full

or until the cancellation deadline of Nov. 9, 2019, at 5 pm.

If your hotel of choice is sold out, please continue to try to make a reservation until Nov. 9, 2019, as FMEA attendees will periodically release surplus guest rooms.

A maximum of five (5) guest rooms may be reserved

per teacher and/or parent. Each and all rooms reserved

on Nov. 12, 2019, will be charged a non-refundable, onenight fee to the responsible credit cardholder. (Invalid credit cards risk a reservation cancellation.)

2020 FM E A Professi ona l Development Conference January 8-11, 2020 – Tampa Convention Center, Tampa, Fla.

Hotels Contracted for 2020 FMEA Professional Development Conference We urge any guest holding

surplus reservations/rooms to cancel excess reservation(s) as

soon as possible and no later than 5 pm on Nov. 9, 2019, and you must secure a cancellation confirmation

number.

(This

courtesy will make surplus rooms available to other guests.)

In order to receive complimentary rehearsal and meeting space, you should book guest

rooms in the hotel you are using for your group functions.

NOTE: FMEA IS NOT offer-

ing a housing bureau service.

All participants MUST call the hotels directly beginning Sept.

21, 2019, at 9 am EDT and request

the “Florida Music Education

Association” room block rate and confirm the guest room rate post-

ed below. We look forward to seeing you in Tampa!

HOTEL — Cutoff date: 11/9/19

ROOM RATES

Group Code: FMEA unless otherwise noted

Single

Double

Triple

Quad

Barrymore Hotel Tampa Riverwalk 111 West Fortune Street, Tampa, FL 33602 (813) 223-1351, Comp. internet; $10 parking

$143

$143

$143

$143

Courtyard by Marriott Downtown Tampa 102 East Cass Street, Tampa, FL 33602 (813) 229-1100, ext. 1, Comp. internet; $20 valet only

$154

$154

$154

$154

DoubleTree by Hilton Tampa Airport Westshore 4500 West Cypress Street, Tampa, FL 33607 (800) 514-3959, ext. 1, Comp. internet & parking

$157

$157

$157

$157

Embassy Suites Downtown 513 South Florida Avenue, Tampa, FL 33602 (813) 769-8300, ext. 1

$249

$249

$259

$269

Embassy Suites Tampa Airport Westshore 555 North Westshore Blvd., Tampa, FL 33609 (800) EMBASSY, Group Code: FME or FMEA 2020

$193

$193

(up to 5 in room)

(up to 6 in room)

Four Points by Sheraton Suites Tampa Airport Westshore 4400 West Cypress Street, Tampa, FL 33607 (800) 368-7764, Comp. internet

$142

$142

$142

$142

Hampton Inn Tampa Downtown Channel District 1155 East Kennedy Blvd., Tampa, FL 33602 (813) 525-9900, ext. 1, Comp. internet & breakfast; $15 parking

$185

$185

$185

$185

Hilton Downtown 211 North Tampa Street, Tampa, FL 33602 (800) 445-8667, ext. 1, $9.99 internet (Comp. for HH); $24 valet

$208

$208

$208

$208

Holiday Inn Tampa Westshore Airport 700 North Westshore Blvd., Tampa, FL 33609 (800) 465-4329, Group Code: FMA, Comp. internet & parking

$124

$124

$124

$124

Home 2 Suites Tampa Downtown Channel District 1155 East Kennedy Blvd., Tampa, FL 33602 (813) 525-9900, ext. 2, Comp. internet & breakfast; $15 parking

$215

$215

$215

$215

Marriott Water Street Hotel (formerly Marriott Waterside) 505 Water Street, Tampa, FL 33602 (888) 789-3090, ext. 3, Comp. internet for Bonvoy members; $27 overnight valet & $15 daytime valet

$205

$205

$205

$205

Residence Inn 101 East Tyler Street, Tampa, FL 33602 (813) 221-4224, Comp. internet; $17 self-parking

$176

$176

$176

$176

Sheraton Tampa Riverwalk Hotel 200 North Ashley Drive, Tampa, FL 33602 (888) 236-2427, Comp. internet

$199

$199

$219

$219

Westin Tampa Waterside 725 South Harbour Island Blvd., Tampa, FL 33602 (800) 937-8461, Comp. internet; $30 valet

$199

$199

$199

$199

$203

August 2019

$213

9

The Top 5 Mistakes Made With Jazz Bands

(and How to Fix Them)

W

by Victoria Warnet

When I first began teaching, I felt I was

a single note and simple rhythms. As

would have benefitted greatly from a

one note, give them another, slowly add-

most unprepared to teach jazz band. I

students grow more comfortable with

“Jazz Band for Dummies� book or a list

ing to their vocabulary. Explain to stu-

of common mistakes and suggestions for

dents how to use the chord changes to

how to fix them; therefore, I attempted

select which notes to play. A great way

to make just that. I surveyed current

to improve improvisation skills is to have

jazz band clinicians, music performance

students listen to famous jazz musicians

assessment judges, and college professors

and try to imitate some of the solos they

to develop a list of the five most common

hear. Always make improvising a positive

problems they experience when working

experience, especially in the early learn-

with or judging school jazz bands, as well

ing stages.

as solutions to those problems.

Solution 2:

Make sure you can hear the soloist.

1. IMPROVISATION

Improvisation is one of the most import-

A common problem in jazz bands is that

ant aspects of jazz. It can, however, also

the wind players or the rhythm section

be one of the most challenging concepts

will often cover the soloist. Encourage

to teach. Students are sometimes afraid to

the rhythm section to support the soloist

play improvised solos for fear of sounding

by maintaining the energy and drive

bad.

without playing over the soloist. If the soloist is playing quietly, the rhythm sec-

tion should play softer. The wind players’

Solution 1:

Courage comes from practice.

backgrounds should have the same effect; they should add to what the soloist is

Set students up for success in the way

doing without covering the soloist.

you approach improvisation. Incorporate improvisation into your warm-up. Call-

and-response is a great way to get stu-

2. PLAYING THE STYLE

tion vocabulary (Watson, 2010). Rather

formance assessments playing accurate

dents to build their existing improvisa-

Jazz bands often show up to music per-

than explaining improvisation as making

notes and rhythms, but they neglect to

something up on the spot, teach students

perform in the style of the piece (Tolson,

to think about it as quickly applying their

2012).

preexisting language. (After all, a con-

versation between two people involves

Solution 1:

Sometimes students need to be reminded

an ensemble to sound tight.

Uniformity of syllables is essential for

improvisation in a linguistic sense! that they improvise every day with their

Be sure to assign all articulations syllables

language.) When teaching someone to

and have your students sing through their Continued on page 12

improvise for the first time, start with

August 2019

11

Top 5 Mistakes Continued from page 11

part on syllables to make sure they are all in agreement on note lengths and empha-

ses. Standard articulation syllables are: 1)

legato or tenuto as “Doo”; 2) staccato as

Figure 1.

Standard jazz articulation syllables.

Tenuto/Legato

A

“Dit”; 3) accents as “Dah”; and 4) marcato as “Daht” (see Figure 1).

Solution 2:

Staccato

A •

Accent

A

Marcato

A

>

Practice swing style by integrating swung

“Doo” “Dit”

Full Value Short and Detached

with students ghosting (playing softer or

Solution 1:

the chord symbols correctly and lining

sizing the upbeats. Eighth notes in swing

to get their eyes out of their music.

guitar player.

Learn to swing.

eighth note patterns into the warm-up

“swallowing”) the downbeats and emphastyle should have a triplet subdivision and

be a quarter note/eighth note triplet rather

than a dotted eighth/sixteenth note. Start by exaggerating the style at first. If need-

ed, it will be easier to ask them to add emphasis later, rather than to take away emphasis.

Encourage the rhythm section members The members of the rhythm section

Study the history of jazz.

Get away from thinking of jazz as being either swing, Latin, funk, or a ballad. The history of a piece has a lot to do with the

style in which it should be performed. For

instance, an Ellington swing tune from the 1920s would not be performed in the same way a Parker swing tune from the 1940s would be performed. It is import-

ant for directors to identify which era of jazz the music represents, determine the performance standards used in that era,

and then employ the correct standards in their pieces.

3. RHYTHM SECTION INTEGRATION

Often, rhythm section players come to jazz

band with the mentality that they need to play exactly what is written on their part.

Directors should instead encourage their

Guitar: Have the guitar player “chunk”

low-body” sound and keep all strokes

all of the rhythm section members have a direct line of sight with at least one or two

other members. This is especially importplayers. Similar to concert band, when we

The guitar player should aim for a “holquick and downward. The strings should

not ring or vibrate afterward. The gui-

tarist should be sure to line up his or her chord changes with the pianist.

Bass: The bassist is the foundation of

encourage players to check the podium,

time in a jazz ensemble. The bass player

able to see each other to groove together,

tempo. The energy of the tempo comes

the rhythm section members need to be move with the music, and make collaborative music, as opposed to simultaneous

music. When players are able to see each other, they are able to both make and

respond to musical decisions more easily and work together to make these choices rather than just playing the notes on the

needs to pull the string and drive the from the string’s articulation. Many

young bassists tend to set their ampli-

fiers too bright; aim for a dark sound with enough high end to push the time.

When learning how to construct a walking bassline, start with the blues.

Drum Set: Learn how to play in a

page. For the band to have a cohesive

variety of styles by listening to other

tion as a supportive unit.

bass player by feathering the bass drum

sound, the rhythm section needs to func-

Solution 2:

Everyone needs to know their role.

The role of each instrument in the rhythm

section can change depending on the

style of the piece; however, here are some general guidelines (Zentz, 2010):

Piano: Play within the shoulders; stay

the tune, rather than a blueprint of exactly

will muddy the sound. Make sure the

12 F l o r i d a

up his or her chord changes with the

frequent visual contact. Make sure that

another, which can be improved with

away from lower bass notes. If the bass

what they should play.

Stressed and Detached

on every beat with a heavier 2 and 4.

rhythm section players to use their part as a guideline for the form and style of

Stressed

“Daht”

need to be able to communicate with one

ant with the piano, bass, and drum set

Solution 3:

“Dah”

great drum set players. Complement the

instead of pounding on it. The drum set player is responsible for working with the bass player to set the style and tempo of

the piece. Use set-up, kicks, and fills to

lay out time for the wind players before they enter, and generate forward motion

to ensure that the piece continues to spark enthusiasm and interest.

Auxiliary Percussion: Stay out of the

player is playing in that same range, it

way of the other rhythm section mem-

piano player is reading and interpreting

When the vibes are used, make sure they

Music Director

bers and do not play anything too busy.

are not being used in the same way the

piano is being used. For instance, no two instruments should be comping at the

same time. If the piano is comping, the vibes should not be.

4. JAZZ ENSEMBLE BALANCE AND BLEND

In concert bands, we are taught to bal-

ance and blend with the players around

us. Students then come to jazz band and continue to play with their “concert band ears,” careful not to play louder than their neighbors. In jazz band, this should not be the case. Francis McBeth’s (1972)

Pyramid of Balance and Blend is very different for jazz band (Zentz, 2010).

Solution 1:

Lead players need to lead.

The saxophones should never outplay the lead alto, just as the trombones should

not outplay the lead trombone. The same

rule applies to the trumpets; none should overplay the lead trumpet. Similarly, no

one in the ensemble should outplay the

5. STUDENTS DO NOT LISTEN

cannot play standard big band literature.

All of the surveyed professionals listed

literature, however, which consists of

Everyone needs to listen in and listen back.

Everyone in the ensemble should listen back to the lead trumpet player for style

and articulation. Often, a simple solution to fixing a jazz ensemble’s balance is

simply to ask the trumpet players to take their bells out of the stand when they

play so that the ensemble is able to listen

back to them easily. For a model of this

never heard it before.

suing the PhD in music education at Florida State

University. Prior to returning to graduate school, she

This includes both charts that they are

was director of bands at Tavares Middle School

playing in class as well as other quality

and associate director of bands at Tavares High

jazz standards. Make listening a top pri-

School in Tavares, Florida.

ority with your jazz group (West, 2015).

Create required listening assignments,

References

have in-class discussion on the record-

ings, and encourage your students to

McBeth, W. F. (1972). Effective performance of band music. San Antonio, TX: Southern Music.

Spotify. If this is not possible, create a free

Tolson, J. (2012). Jazz style and articulation: How to get your band or choir to swing. Music Educators Journal, 99(1), 80-86. doi:10.1177/0027432112449020

subscribe to Apple Music, SmartMusic, or Spotify or YouTube playlist, and share the

link with your classes. There is no reason

Watson, K. E. (2010). The effects of aural versus notated instructional materials on achievement and self-efficacy in jazz improvisation.

Journal of Research in Music Education, 58, 240259. doi:10.1177/0022429410377115

for students not to have access to quality music recordings.

Count Basie Orchestra, Duke Ellington

your students to the standards.

or Jazz at Lincoln Center.

Victoria Warnet is pur-

Have students listen to a lot of

Solution 2:

Orchestra, Fletcher Henderson Orchestra,

use.

playing standard literature as if they have

sound, directors can listen to any historically significant big band, such as the

available for both directors’ and students’

being surprised at the number of groups

jazz regularly.

Solution 2:

there are many reference recordings

encountered problem. Many mentioned

ophone and the bass trombone players the staff.

The benefit of playing standards is that

with most placing it as their number one

Solution 1:

should not be shy when playing below

arrangements of standard big band tunes.

this problem somewhere on their list,

lead trumpet when the lead trumpet has the melody. Likewise, the baritone sax-

There is a plethora of developing band

TO ENOUGH JAZZ

West, C. (2015). What research reveals about school jazz education. Update: Applications of Research in Music Education, 33(2), 34-40. doi:10.1177/8755123314547825

Program quality literature and expose

Zentz, D. (2010). Top 10 Jazz Band Essentials from FMEA 2010 [PowerPoint slides]. Retrieved from http://www.zentz.org/dzlinks.html

Often, directors believe that because their

students are not advanced players, they

August 2019

13

Please take time to thank and support our 2018-2019 Academic Partners.

GOLD PARTNERS

SILVER PARTNERS

Florida International University

BRONZE PARTNERS

Cannon Music Camp - Appalachian State University The College of Saint Rose Florida College Florida Gulf Coast University Florida Southern College Hillsborough County Secondary Music Council Jacksonville University Keiser University Mercer University Northwestern State University (LA) Palm Beach Atlantic University

Rollins College Department of Music Stetson University Union University University of Miami University of North Florida University of North Texas University of Tampa University of Texas at San Antonio Valdosta State University West Virginia University School of Music

Partners as of June 30, 2019.

*Please visit FMEA.org/partners for partnership details or call 850-878-6844.

14 F l o r i d a

Music Director

June M. Hinckley Music Education Scholarship Recipients The following essays were submitted with their respective applications for the June M. Hinckley Music Education Scholarship.

They appear here with minor editing and the addition of a headline.

Photo: SWI Photography

Music Is the Center of My Life

S

by Conner Fabrega

Seventh grade was a pivotal time for me, as it was then

that I discovered my passion for music. Unfortunately, my choir teacher sustained a serious injury that caused her

to miss school for many weeks. In her absence, we had a

substitute who wasn’t qualified to teach music. My teacher

had enough faith in my musical ability to ask me to teach and direct the choir while she was away. Since then, I have

immersed myself in the world of music through private

Photo: Jim Owen Studios

Music Is a Powerful Tool

by Hannah Smith

P

Pursuing music was not always my first choice in careers.

Throughout elementary and middle school, I excelled in math and science, and planned on becoming a doctor of sorts.

I worked hard, earned high grades, and made honor roll; in every aspect I was a good student—but my work never

sparked anything in me. I may have had the talent, but my passion for my work just wasn’t there.

Little did I know how much that would change on that

voice and piano lessons, musical theater, countless cho-

fateful day in the seventh grade when I joined chorus and

Chorus as its youngest member. Music is the center of my

Hearing my voice mix with the other students’ voices,

rus classes, and involvement in Tallahassee Community

picked up sheet music off of Miss Wilson’s piano.

life, and my desire is to share my love of music not only

meeting new people with a common interest, and discovering

Continued on page 16

Continued on page 17

August 2019

15

Music Is the Center of My Life continued from page 15

by Conner Fabrega, June M. Hinckley Music Education Scholarship Recipient

through performance but also in the

one replied, “Coffee, passion, and a little

through and made by music. Without the

When I started high school, I began

be acting, which is another of my pas-

may not be able to communicate what he

classroom as a teacher.

activities that I knew would advance my

understanding of music. I recognized the effectiveness of my current music teacher,

so I enrolled in as many chorus classes

as I could to absorb as much information

from him as possible. Last year, he asked

me to reenroll in our beginning men’s choir to be a leader. This is when I realized why I want to be a music educator.

Music fills a space in me that no other

subject can. Without music, my life would

be boring, quiet, and empty. With music,

my life is eventful, boisterous, and lively.

I want to share the excitement that music

brings me with as many people as I can.

I find that most of my peers experience

the same feeling I do while singing, and

bit of faking it.” I would consider that to sions. The other intern answered, “That’s just how I am,” which is something that I

strive to be. I have asked my friends who are performers or are in the major what their experience is like. They indicated

that their home is a practice room, which isn’t uncommon for education students as

well. Moreover, my friend who is a working performer said that her life consists

of rehearsing all day and performing for

can’t really be. I want to be the kind of

I will get to communicate with students and audience members to form a bond over our love for music.

Being a music teacher is something

age. My mentors have only validated my

tion at FSU so that I can become the kind of educator they are and have a similar impact on my students.

Music can be used as a form of healing

teacher that my students can trust.

applicable to any situation. Because it

colleges, I wasn’t positive if I wanted to

a deeper level than a normal conversa-

Truthfully, while I was applying for

be a performance major or an education major. However, I realized that teaching

is a performance—just most people don’t

realize it. In the past two years, I have encountered two very impactful interns from FSU who were always excited about

everything. When I asked how they do it,

FMEA.org/programs/scholarship

16 F l o r i d a

should have an experience like this, and I know that music can be that opportunity for them.

According to the Journal of Neuroscience,

age seven changes how the brain devel-

to talk about how music affects the senses and helps the brain learn new languages.

Since most children are introduced to music through elementary school music

classes, they will have the opportunity

to develop their brains through music.

Hopefully, elementary school students will be exposed to Orff instruments,

and because they must remember a simple musical phrase, their memory will improve.

Unfortunately, the current federal

tion can. For example, last year after the

funding for the arts, which is an ongoing

Parkland shooting, my teacher decided that we would program the Marjory

Stoneman Douglas alma mater followed by “Goodnight, Dear Heart” arranged

by Dan Forrest, and this year, after Hurricane Michael, we programmed “Requiem” arranged by Craig Hella

Hella Johnson, which allowed those who

Music Education Scholarship at:

mood lifts. I believe that every student

administration doesn’t see the value in

Blue Morning” also arranged by Craig

June M. Hinckley

I know I will have a good time and my

is an art form, it can connect people on

Johnson followed by “Light of a Clear

Learn more about the

Every time I walk into the chorus room,

ops in several ways.” The study goes on

aspirations. I cannot wait for my educa-

confidant, something academic teachers

found an effective outlet through music.

and my performances will all be social.

a social life. As an educator, my rehearsal

around with music. My teacher creates a

thing I strive to do. I have seen him be a

she does through song. I have personally

“learning to play an instrument before

that I’ve envisioned from a very young

safe space for his students, which is some-

or she wants to say as effectively as he or

an hour or two a night, with no time for

frankly, I feel sorry for those who don’t.

I find that my worst days can be turned

music class, or the music itself, a student

were negatively impacted by the tragedies to have closure.

Music provides an outlet for young stu-

dents to express themselves in a way that they may not get to otherwise. The safe

space that I referenced above is created Music Director

music education and is stripping away issue. Without this funding, students won’t be able to have an expressive outlet

or an opportunity to have a chance for a

more effective mental and emotional development. If I didn’t have music, I don’t know what I would be doing with

my life. I can only hope other people my

age or younger can have the experiences I have had in my music classes. I have been fortunate enough to always have teachers who are passionate about music and who

love to share their passion. I’m a prime example of how music can positively

impact someone’s life, beginning in elementary school and continuing into the high school years and beyond.

Music Is a Powerful Tool continued from page 15

by Hannah Smith, June M. Hinckley Music Education Scholarship Recipient

new music did wonders with helping me

internal happiness, that is, I’ve never felt

can’t. Music is such a powerful outlet for

ate about. I did everything I could to sur-

feeling to try and describe; sometimes

schools’ curriculum would be hurtful

finally find something I was truly passionround myself with my newfound love for

chorus, and even when I moved once more to my current high school, I for once wasn’t

scared about finding my little spot where I’d fit in—I knew right where to turn when

I felt lost. The notes on the pages came to life and calmed me when I needed calming the most.

This passion for music only grew when

I attended my first all-state chorus my

sophomore year, where I was blessed to have Craig Hella Johnson as my clinician.

Whenever he conducted, the room came alive, something I had never really experienced before. I’d never felt so much raw

emotion singing before, and I remember

it was then that I decided that chorus is

what I wanted to do for the rest of my life—and not just being in the choir. It’s

together to make beautiful music. One

it be chorus or playing an instrument,

friends I wanted to appear my normal,

are shown to score higher on tests and

optimistic, and cheery (maybe sometimes

have better grades. Why should schools

too optimistic and cheery) self. But when

cut programs that are making students

I got home and sat alone in my bed, I

better?

felt lost. Music was my escape from this

I’ve expressed how powerful a tool

feeling. Whenever I was feeling down, I

would play music from my old all-state

music can be. But why me? Why do I want

sadness, optimism instead of pessimism.

students how to express their feelings

to devote my life to music, to teaching

choirs, ones that expressed joy instead of

through it?

I would try to reverse however I was

I think back to all my previous music

feeling through song. It worked wonders.

Choral music became so therapeutic to

teachers, clinicians, and peers. They’ve

lift off the ground, away from how I was

learned in chorus and band will stick

taught me so much. The lessons I’ve

me—hearing it was almost an instant

with me for the rest of my life. I’ve learned

feeling before.

to not ever doubt my abilities, as hard

I don’t want anyone to ever feel lost, like

the “comfort friend,” because although I

ders at bringing hundreds of students

to all classes. Music students, whether

happy to others—of course, around my

same passion into others. This is true of lowing my first year—they all did won-

learned in music class can be applied

world from behind a mask. You appear

no one really cares about them—anything

all my following all-state clinicians fol-

to students. Not to mention, concepts

you just feel like you’re watching the

inspiring to see someone so passionate

about their work, and who can instill that

expressing emotion, that to cut it from

quite content with who I am. It’s a weird

work can get me to wherever I want to be.

I’ve learned to not let nervousness get to

that I once felt. I guess I’ve always been

me for auditions, interviews, etc.—if I’m

prepared, it’ll show through. If I work

often felt sad and lost myself, if anyone

hard and put effort into something, I’ll

I knew was hurting, I’d talk to them.

feel more rewarded.

Help them cheer up. And sometimes that

All of these valuable lessons are some-

included me sending them the music that helped me feel better at the moment.

thing I never would have learned in eco-

how powerful a tool music is; how it can

music in schools. Again, music is a pow-

such a powerful teaching tool, emotional

ones, and how it can bring an entire group

it connects individuals, and in the way

day, I hope to become a music educator

so I can show my future students just

strengthen friendships or even forge new of strangers together through its powerful texts and harmonies.

But why music? Of course, there are

other outlets to turn to. Sports, academics, service clubs. An increasing number of

schools around the country are defunding music programs, but aren’t there other mediums of self-expression students can run to?

Let me share a more personal story

of why music and other arts programs mean so much to me. All throughout high school, I guess I’ve struggled with finding

nomics or biology or calculus. Music is

This is exactly why we should have

tool, and connecting tool, and I want to

erful tool, but this time in the way that

be able to change someone else’s life with

these lessons in the way that my past

it connects oneself to their thoughts.

music teachers have changed mine. Even

Countless times I have not been able to

if it’s just one person I get to show the

express how I felt through words, but

beauty of music, I want to pass on these

the notes and chords and texts of the

lessons of music. I don’t want any of my

music I listened to could. Countless times

future students to feel lost, or that no one

I have not exactly known how to help a

has felt what they are going through. I

friend who was feeling down, but the

want to show them that no one is alone

music I sent them could. Without music

in the world, and music achieves this in

in schools, students wouldn’t be exposed

a way I could never put into just words.

to the beauty of it, wouldn’t ever be given

I want to become a music teacher to

the chance to discover the feeling of find-

change the world, one heart at a time,

ing that song that articulates what they’re

through music.

going through perfectly, even when they

August 2019

17

Choosing ‘Appropriate’ Choral Repertoire: What Does That REALLY Mean?

18 F l o r i d a

Music Director

A

A

by Sandy P. Hinkley, PhD

As choral educators, we frequently talk

cess is another topic seldom discussed.

priate” repertoire for our developing

a choral piece is appropriate for a given

about the importance of choosing “appro-

ensembles. This term is used quite often

and yet rarely ever defined. When I was a young educator, I thought “inappropriate” repertoire meant that the piece was not a

quality piece of literature. I now understand this is highly inaccurate, as a piece can be a quality work but not appropriate

for a given ensemble. An example of this is Franz Biebl’s “Ave Maria,” a piece originally scored for male voices. While this piece

certainly represents quality choral repertoire, most would agree that it is not a good fit for a developing men’s choir.

Appropriate repertoire can be funda-

mentally defined as music that allows an

ensemble to function within the scope of its current musicianship and vocal abili-

ties. The selection of appropriate repertoire should always take into account the sing-

ers’ age, vocal development, and current

As displayed in Figure 1, indications that

«« Singers consistently match pitch in the

ensemble are:

appropriate vocal register and show no evidence of vocal fatigue after rehearsing the piece for a reasonable amount

«« Singers are able to perform accurate of time.

pitches, rhythms, and language—all at

«« Singers can maintain part-singing indeperformance tempo.

pendence against other vocal parts and

«« Singers are able to concurrently work accompaniment without struggling.

on vocal technique, while working

on pitches, rhythms, language, and

«« Singers can regularly move past the part-singing skills.

above technical aspects to incorporate expressive elements.

If the above indications are consistently

skill set, as well as technical aspects of a

present throughout the teaching process,

of rehearsal time, the accompanist, and the

will grow and succeed as a result of learn-

piece. Additional variables such as amount educator’s level of experience should also weigh into repertoire selection.

Consideration of what appropriate rep-

ertoire looks like during the teaching pro-

this is strong evidence that an ensemble ing the piece. Let us now examine various

aspects of repertoire that should be taken into account during the selection process.

Continued on page 20

August 2019

19

Choosing ‘Appropriate’ Choral Repertoire Continued from page 19

Pitch-Matching Considerations

In order to promote consistent pitch

matching in the appropriate vocal register,

Figure 1.

Indications a piece is appropriate for a given ensemble.

the vocal range and tessitura of individual voice parts should first be examined.

During this process, one should keep in

mind that available pitches in a singer’s

range are very different from comfortable pitches. Available pitches are those that

singers explore through vocalization and

warm-ups, whereas comfortable pitches are those that singers can both match and control in intonation and intensity.

Choosing music in singers’ comfortable

ranges increases the likelihood of success in pitch-matching efforts.

range increase the likelihood of success-

passaggio area is typically between B4-E5

avoid extreme ranges for long periods of

range of about a fifth for changing voices

changed voices. Singing in the passaggio

For female singers, voice parts should

time and should fall within a range that reinforces the consistent use of the head

voice. If a voice part is written near or around middle C4, female singers will

be tempted to over sing and/or pull into the chest register. Conversely, if a female singer spends a considerable amount of time between E5-G5, this will most likely

result in her singing with tension and inaccurate intonation.

For changing/changed voice male sing-

ers, voice parts that adhere to a limited

ful pitch matching. Ideally, this means a

and no more than an octave for changed singers. If the tessitura is too low for unchanged male voices, they will often

experience phonation or huskiness issues

for female voices and B3-E4 for male for an extended time causes tension for all singers, particularly those still in the development process.

A point of note must also be made

near or around middle C4. Conversely,

about how voice parts are listed on a

C4 for changed male voices, this often

eral label (e.g., TTB) and may or may not

if the tessitura lingers too long around

results in tension, intonation, and/or pitch-matching issues.

It is also important to avoid choosing

music that spends long periods of time in the passaggio area. Observed en masse, the

piece. Remember, these parts are a genrepresent what you call a “tenor” or a

“baritone” in your choir. Ultimately, you must decide if the voice parts are appropriate for your singers.

A final consideration in regard to pitch

matching is in a piece’s adaptability for

male voices or uncertain female singers.

Questions to consider in this analysis are

«« Does the piece have short phrases as follows:

with a limited range, such that singers

can be assigned to individual phrases

«« Can singers easily swap vocal lines to stay within a comfortable range? «« Can extreme range pitches be rewritten within the chord? «« Can uncomfortable pitches be taken for pitch-matching success?

up or down the octave as needed?

20 F l o r i d a

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Choosing ‘Appropriate’ Choral Repertoire Continued from page 20

Technical Considerations

Once the determination has been made that the range and tessitura of the voice

parts are appropriate, attention should

Figure 2.

Bowers’ Independence Hierarchy for Developing Singers.

then be given to other technical aspects

of a piece. Here are questions to consider during this analysis:

1) Sing a melody a. Match pitch b. Build healthy tone c. Establish “rules” of singing

Tonal Center: Does the piece have a clear

tonal center? Less experienced singers typ-

ically sing more in tune when they can

consistently relate intervallic movement to a given resting tone.

2) Add an ostinato

to accurate intonation? Certain keys such

4) Add a descant

voice parts singing in an uncomfortable

tessitura, which then contributes to poor

5) Harmonic chording a. Root chording b. Full chording

half or a whole step can make a world of

6) Sing parts of rounds and canons

Key: Is the key of the piece conducive

3) Sing partner songs

as F major tend to result in one or more

intonation; modulating up or down a difference.

7) Sing rounds and canons

Modulations and Harmonic Shifts:

8) Sing transitional pieces

Are there modulations or harmonic shifts in the piece? If so, are they supported by the

9) Sing two- to four-part songs

accompaniment? Less experienced singers typically struggle with frequent shifts or modulations, unless the accompaniment

octave can also result in intonation issues,

Phrase Length and Melodic Contour:

the passaggio area, which requires more

is fully supportive of the voice parts.

Are the phrases long in length? Do most of the phrases ascend in pitch? Developing singers

as this type of movement often crosses vocal coordination.

Part-Singing Structure: Have singers

Voice Crossing: Is there voice crossing

between parts? If so, is it between two sections that can solidly match pitch and maintain part

independence? Voice crossing often happens between inner voices, which causes

additional instability in pitch matching.

Readiness activities such as the “looping” of phrases in rounds (step 6 of the Independence Hierarchy) can prepare

students for these types of scenarios. If needed, voice parts can also be rewritten so that voice crossing does not occur.

display better breath management and

been provided with readiness experiences to

and, because lung pressure is greater at

to maintain part-singing independence,

voice parts or between voice parts and the

experiences that reinforce the ability

a piece can be difficult for developing

intonation when singing shorter phrases the beginning of a phrase, will typically

sing descending melodic lines more accurately.

Pitch Movement: Is the pitch movement

of each voice part conjunct or disjunct? If disjunct, does the voice part frequently cross vocal registers? Beginning singers are more

successful moving in steps and small skips, rather than in large leaps or difficult intervals. Voice parts that contain

complex intervals (e.g., tritones) will be

harder for singers to hear, match, and

tune. Even common leaps such as an

22 F l o r i d a

support part-singing independence? In order singers must be provided with ample

to sing one part while hearing another.

Bowers’ Independence Hierarchy (see

Figure 2), a model based on Kodály concepts, is highly recommended to help

develop part-singing skills with develop-

ing singers (Bowers, 2008). This hierarchy

outlines sequential steps to successfully

move from unison to homophonic part singing, but can also be used as an outline for teaching pieces with various types of part writing.

Music Director

Dissonance: Is there dissonance between

accompaniment? Recurring dissonance in singers and is often the cause of intonation problems or voice-part inaccuracies.

Pieces with isolated moments of dissonance (e.g., suspensions, passing tones)

are better tolerated, and vocal exercises with simple dissonance can easily be

incorporated into warm-ups to help prime for this experience.

Tempo, Meter, and Rhythm: Is the

tempo too slow or too fast to maintain accu-

rate intonation? Are there frequent meter

have not yet developed the ability to fully

teach effectively. These factors are often

ble, modify the dynamics to stay within a

tion process, but can be purposefully

an afterthought in the repertoire selec-

control pp and ff dynamic ranges. If possi-

avoided with careful planning and hon-

range that singers can healthily produce

est reflection. Most experienced educa-

and control.

Articulations: Are there frequent chang-

tors will admit to having made at least one of these mistakes and are more than

es in articulation that may affect pitch sta-

willing to mentor new teachers in the

bility? While staccato articulation does

repertoire selection process.

help with vocal fold adduction, frequent

changes in articulation or strong accents

may result in intonation issues. Pieces

Conclusion

more appropriate for younger singers.

will continue to be one of the most

Choosing appropriate choral repertoire

with full sections of legato or staccato are

A Capella or Accompanied? If the piece

important decisions we make for our stu-

dents. When we fail to do this, it greatly

is a capella, does the choir have the skills to

increases the chance for our singers to

perform the piece accurately and in tune? If

disconnect and become off-task in

the piece has accompaniment, is it supportive

rehearsal (Bowers, 2006). Conversely,

or independent of the voice parts? Beginning rately perform an a capella piece. These

ing accurate intonation with pieces at a

vocal development; however, they may

singers have a much easier time maintain-

moderate tempo. Pieces with compound/ mixed meter or overly difficult rhythms can cause developing singers to struggle

with pitch accuracy and vocal technique.

Pieces with simple meter and less subdivided rhythms are recommended for beginning choirs.

Language

Complexity

and

Rep-

etitiveness: Can the language of the piece

be mastered at performance tempo? Is the text

overly repetitive? Difficult languages such as French and German pose considerable problems for beginning singers and often interfere with accurate execution of pitch

and rhythms. Overly repetitive text can

also be problematic, as it causes physical

and mental fatigue that results in poor vocal technique and/or intonation. Pieces in English, Latin, Hebrew, and sometimes Spanish are more appropriate for younger singers.

Dynamic Range: Are there extreme

dynamic ranges that could cause intonation or

other vocal issues? Less experienced singers

selecting the right literature promotes

choirs may not yet have the skills to accu-

changes or complex rhythms? Beginning

consistent pitch matching, encourages

technical mastery and healthy vocal tech-

pieces are certainly an important part of

nique, and allows singers the opportunity to sing with expressivity. For music

not be the best choice for a formal perfor-

educators, appropriate repertoire will

mance or assessment. Developing choirs

continue to be the most effective way to

will find more success with accompanied

engage, motivate, cultivate, and inspire

pieces, particularly with a piano part that

quality singing. Fortunately, there is a

doubles the voices and is thicker in tex-

wealth of music waiting to be chosen!

ture to provide more support.

Additional Considerations

Sandy P. Hinkley, PhD, is

when choosing repertoire include the

ral activities and coordinator

the associate director of cho-

Other practical factors to be considered

of music education at Sam

amount of rehearsal time before a per-

Houston State University

formance, the accompanist’s skill level

in Texas, where she teaches

and availability, and the choral educator’s

courses in music education

level of teaching experience. Choosing

and conducts the Men’s Choir.

appropriate repertoire will not matter if there is not enough time to learn the piece

or if the accompanist lacks the necessary skills to support the needs of the choir.

References

Moreover, less experienced teachers often

Bowers, J. (2006). Motivation in Middle School Choir. The Choral Journal, 47(5), 90-93.

make the mistake of choosing reper-

Bowers, J. (2008). Building Early Choral Experiences—Part Two: The Middle School Choral Program. In The School Choral Program: Philosophy, Planning, Organizing and Teaching (pp. 367-370), Michele Holt & James Jordan, editors. Chicago: GIA Publications.

toire that they like without considering

its suitability for the ensemble. Another

common mistake of young educators is choosing a piece they are not ready to

August 2019

23

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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: • June M. Hinckley Scholarship • Mel & Sally Schiff Music FMEA Scholarship Fund • Music Education Advocacy Professional Development for Education Relief Fund General Fund Members The following have graciously donated to FMEA from April 1, 2018, through June 30, 2019.

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Music Director

PATRONS ($25 – $99)

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25

ComponentNews

FLORIDA COLLEGIATE NAFME

Katherine Attong-Mendes, President

has played in the FGCU Wind Orchestra,

chapter at FSC. He is going into his sec-

Basketball Band. Julian plans to graduate

Executive Board. Tyler plans to graduate

Symphonic Band, Clarinet Choir, and in 2021 and teach for a few years before returning to obtain his master’s degree

in instrumental pedagogy or conduct-

T

Florida

Collegiate

NAfME

Executive Board is beyond excited for

or music philosophy.

University of Miami

Secretary

HANNAH VINNEY

President

Hannah Vinney is a senior music edu-

University of Miami

the University of Central Florida. She

University of Central Florida

Katherine Attong-Mendes is a rising senior majoring in music education at

the University of Miami Frost School of

Music. She is an oboist and has performed with the Frost Symphonic Winds, Frost Wind Ensemble, and Frost Symphony

Orchestra. She serves as drum major of the Frost Band of the Hour and as pres-

ident of the Gamma Epsilon chapter of Tau Beta Sigma. Upon graduating in May

2020, she plans to teach high school band and is looking forward to being able to

give to her students all of the amazing experiences she has been able to have

cation and oboe performance major at is an oboe principal and has performed

with the UCF Symphony Orchestra, Wind

and serves as the lyre guard for the Zeta Psi chapter of Tau Beta Sigma. She also

serves as president of the UCF chapter of

Collegiate NAfME and of the UCF Double

Reed Society. Hannah plans to graduate

in fall 2020 and intends to teach or to attend graduate school.

Treasurer

President-Elect

Florida Gulf Coast University

He has been playing saxophone for nine

founding member of the FGCU chapter of Collegiate NAfME. He is a clarinetist and

cation major at Florida Southern College. years along with performing in the

FSC Symphonic Band and the FSC Jazz

Ensemble. Tyler is a brother of the Theta Sigma chapter of Phi Mu Alpha Sinfonia

and is president of the Collegiate NAfME

DEA DLI N E TO BE A N EX H I BI TOR AT T H E

2020 PROFESSIONAL DEVELOPMENT CONFERENCE LEA R N MOR E AT:

26 F l o r i d a

with minors in education and philosophy. She is a mezzo soprano studying

classical voice. In addition to her service as FCNAfME parliamentarian, she serves as president of her Collegiate NAfME chapter.

Florida State University

Tyler Marais is a rising senior music edu-

Coast University in Fort Myers. He is a

of Miami majoring in music education

orary music fraternity Sigma Alpha Iota

Trio. Hannah is also a member of the hon-

Florida Southern College

music education major at Florida Gulf

Mavel Morales is a junior at the University

Advocacy Chairman

through music.

Julian Grubb is a junior instrumental

MAVEL MORALES

Ensemble, Symphonic Band, and Oboe

TYLER MARAIS

JULIAN GRUBB

band director in the state of Florida.

Parliamentarian

the coming school year.

KATHERINE ATTONG-MENDES

in spring 2020 and hopes to become a

ing, and he plans eventually to return to school for a doctorate in music education he

ond year as treasurer of the FCNAfME

November 15, 2019

FMEA.org/conference/exhibitor-information

Music Director

DAVID RAMOS

David Ramos is a senior at Florida

State University pursuing a bachelor’s

degree in instrumental music education as well as specialized studies in perfor-

mance and special music education. He is a saxophone principal and has performed with the FSU Wind Orchestra,

Symphonic Band, Saxophone Orchestra, and Marching Chiefs. David is the music director of the Epsilon Iota chapter of Phi Mu Alpha Sinfonia. Along with serving

on the FCNAfME Executive Board, he also serves on the Board of Advisors for the FSU College of Music and as president of the Executive Board of the FSU chap-

ter of Collegiate NAfME. David plans to graduate in fall 2020 and hopes to teach

high school before returning to school to pursue a master’s degree in wind conducting.

We are extremely excited to welcome

Dr. Mark Belfast, from Southeastern University, as our new FCNAfME advisor! We are looking forward to continuing efforts to increase communication

FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION

Ernesta Chicklowski, President

between chapters throughout the state

of Florida and to encourage chapters to become more involved with their local communities. Our Advocacy Committee,

led by David Ramos and made up of

W

elcome back to school! It’s time to make music with our elementary musi-

cians again! I hope you have enjoyed your summer break, have recharged

your batteries, and are ready for another great school year. As the new FEMEA

Florida State University students Megan

president, I’d like to introduce myself to you.

at work developing and sharing resources

serving as a district chairwoman and curriculum fair coordinator. I am entering

of music education with their communi-

and previously taught for three years in Orange County. I have had the honor

be held on Sunday, October 20, at Florida

education degree from Florida State University and am currently pursuing a

see increased membership attendance at

of South Florida. I hold certifications

opportunity designed by collegiates for

Drumming, and the Little Kids

to increased membership attendance at

have had the opportunity to serve as

Conference in January and at the FMEA

Hillsborough All-County Chorus,

Capitol in the spring.

State University. My husband, Anthony, and I live in Tampa with our dog, Bruno.

members who attended the NAfME

and to getting to know each of you better this year. Rosemary Pilonero is now

mer in Washington, D.C. These students

district chairpersons are Pauline Latorre (District 1), Meghan Alfaro (District 3),

music education, and they represented

members are Jennifer Sullivan (executive director), Jason Thomashefsky (District

ication. I would also like to recognize

All-State Chorus), and Holly Mollinex (coordinator, All-State Orff Ensemble).

Collegiate NAfME for receiving the

continue to serve as a guiding light for our elementary music students throughout

Wright and Sawyer Perry, has been hard

I have been an active part of the elementary music board for several years,

for chapters to use to share the importance

my 17th year of teaching elementary music at Roosevelt Elementary in Tampa

ties. Our Fall Conference this year will

of being selected Teacher of the Year in 2001, 2009, and 2014. I earned my music

Southern College, and we are excited to

graduate degree from the University

this amazing professional development

in Orff-Schulwerk, World Music

collegiates. We are also looking forward

Rock Modern Band curriculum. I

the FMEA Professional Development

a clinician for The Midwest Clinic,

Collegiate Music Education Day at the

and the Leadership Institute at Ohio

I would like to recognize the FCNAfME

Your FEMEA Executive Board is looking forward to serving our membership

Hill Day Advocacy Summit this sum-

our past president, and Joani Slawson is our new president-elect. Our newest

have shown immense commitment to

Jenny Chambless (District 5), and Eldean Hagans (District 8). Our returning board

Florida with professionalism and ded-

2), Sydney Johnson (District 4), Ashley Peek (District 6), Robert Todd (coordinator,

the Florida State University chapter of

As your new FEMEA president, I look forward to working with you as we

NAfME Collegiate Chapter of Excellence

our great state of Florida.

excellent FCNAfME members and con-

ensure that our students are prepared for their next level of music and for life.

ters in the state. This award has been

connections. Our mission as music educators in our everchanging world is to

two years (Florida State University and

healthy self-esteem and excellent musicianship, develop creativity, and inspire

the amazing achievements of which our

As your president, I look forward to working with the FMEA and FEMEA

Award for Advocacy. These students are

Our continued commitment to invest, include, and inspire our students will

sistently set an example for other chap-

The skills taught in our classrooms reach beyond the music notes and curriculum

earned by two Florida chapters in the past

prepare our students for the future by passionately teaching music that will foster

the University of Miami), which shows

self-motivation.

FCNAfME members are capable. I am

boards to support you and your students. Please do not hesitate to contact me or

students this year, and I am positive and

concerns. Visit the FEMEA website at femea.flmusiced.org for contact informa-

excited to work with all of the collegiate

any of our FEMEA executive board members with any comments, questions, or

optimistic for the future of music educa-

tion.

tion that we are working to create.

August 2019

27

ComponentNews A

FLORIDA BANDMASTERS ASSOCIATION

Cathi Leibinger, President

s each school year comes to a close,

we spend much of our summer vacation

list of fantastic clinics and were fortunate

are as excited as the students for the sum-

and clinics to learn new things to bring

speaker. Even having finished my 30th

it often seems as though the teachers

mer break. This can seem contradictory to how often we tell others (and

participating in workshops, conferences, back to the classroom. Almost as soon as

year of teaching, I found myself taking

summer, we’ve started counting

new ideas. One of my favorite things this

we’ve finished the countdown to

remind ourselves) how much we

another countdown to

love what we do, but the truth is

the first day of the new

that if you’re doing your job

school year, eager to

well, you are most likely

use what we’ve

exhausted at the end

learned. We are

of the year. We

often isolated in our

say that teaching

own school environ-

is like a marathon, not a sprint. We throw every-

thing we’ve got into crossing that

finish line and thus deserve some time

to rest and reflect before we start again.

What’s unique about our profession is that

to have Alfred Watkins as our keynote

ments, so engaging with

our like-minded colleagues can be a powerful elixir for our survival.

We just recently closed out the 2019

FBA Summer Conference. We had a long

copious notes and being flooded with

year was the return of the Florida All-Star Community Band, coordinated by Ivan

Wansley. We had 108 members from 40 different community bands from around the state. These performers ranged in age from 18 to 88. We often talk to our

students about being lifelong learners. We

aren’t so much interested in whether they become professional musicians or even music teachers as we are in having them

continue to participate in ensembles and to support community music for the rest of their lives. This ensemble helped us illustrate that we mean what we say. We

FLORIDA COLLEGIATE NAFME

Mark A. Belfast, Jr., PhD, Advisor

received great feedback from the members, and they have told us we should

continue the experience. It’s been a great

way to serve former school musicians and

I

t is hard to believe another summer has come and gone, and we already find ourselves at the beginning of a new academic year. As Dr. Chipman transitions

into his new role as president-elect of the Florida Music Education Association, I

am humbled and honored to serve as your new Florida Collegiate NAfME advisor.

Dr. Chipman’s tireless efforts during the last eight years, and the incredible work

of past FCNAfME presidents, have elevated our component and individual chap-

ters around our state to national recognition, and your new FCNAfME Executive Board shows no signs of slowing down. Under the leadership of President Katherine Attong-Mendes, the newly elected board is well on its way to developing another outstanding Fall Conference (October 20 at Florida Southern College in Lakeland) and is organizing sessions for the FMEA Professional Development

Conference in January. Be on the lookout for more details concerning both conferences in subsequent issues of Florida Music Director.

As your state advisor, I hope to get to know more about what you are doing in

your local chapters and help you to achieve the goals you have within your com-

munities. I also look forward to traveling our great state and visiting the beautiful campuses you call home. Please don’t hesitate to contact me and let me know when your chapter will be meeting during this academic year. The members of our component continue to amaze me with their energy, determination, and vision, and

I am excited to support you as that vision becomes a reality. Have a great start to the new semester!

28 F l o r i d a

to start creating relationships between them and our current school programs.

I hope you found some wonderful ways

to rejuvenate this summer. I look forward to hearing about your adventures and

hope you are building positive momentum to begin the school year focused and enthused. Be sure to take a look

at the FBA website or communications from your district chairperson for details

about meetings, all-state auditions/nom-

inations, MPAs, and other activities. Put

everything on your calendar and plan

now to attend all of your district meetings to stay engaged with your colleagues.

Remember that your district chairperson is looking forward to serving but can

often use some help or even an encour-

aging word. As always, I am proud and

honored to serve the Florida Bandmasters

Association and am eager to engage more closely with its members.

Music Director

FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION

John D. Ash, President

W

elcome to the 2019-20 academic

Development Conference in Tampa,

ensemble rehearsal techniques and music

my hope that you are off to a great start

will be beneficial to collegiate music pro-

attend.

year! As you are reading this, it is

and are excited to be back in action. It is my pleasure to serve as president for

the Florida Collegiate Music Educators

Association for the next two years. I would like to thank Stacie Rossow for the amaz-

ing job she has done over the past two years. Our membership numbers have

increased greatly over that time period, and our meeting in Tampa had the largest turnout in recent history. Mark Decker (vice president/president-elect) and I have

FCMEA has selected several sessions that

preparation, will be valuable to all who

fessors and others alike. These sessions

Nowhere else in the country is there a

will allow us not only to work with each

more thriving system of music educators

abilities to transform students into music

in the state of Florida. Working together

other and speak on levels that impact our

across the grade levels, and beyond, than

educators and musicians, but also will

can truly transform music education in

allow us to reach out to our high school

this state and in our country. I am thank-

peers and work with them on expecta-

ful for the opportunity to serve the world

tions for students planning to pursue

of music education in this position, and I

music as a career. These sessions, along

look forward to working with you all over

with others that will give insight into

the next two years.

big shoes to fill and work to do.

Communication among the collegiate

FLORIDA MUSIC SUPERVISION ASSOCIATION

professors in the state is crucial to what

Harry “Skip” Pardee, President

we all do and affects the outcomes in our

classrooms and ensembles. Since becoming a member of FCMEA, there has been

an increased effort to improve commu-

nication between two-year and four-year institutions. This improved communica-

tion has resulted in conference sessions

and conversations about the relationships between the institutions and how each

can help the other. Last year’s session on the transfer process was eye-open-

ing and deserves more attention as we progress. To put it simply, however, the

transfer process from two-year schools to four-year schools needs work. I intend

to continue this discussion and to seek more effective tools of communication

and collaboration among music educators from all institutions to help tackle this important issue.

FCMEA also works with other com-

ponents of FMEA and is a large part of

the Fall Conference. This fall, the con-

ference will be held on October 20 at Florida Southern College in Lakeland.

FCMEA will be collaborating with Florida Collegiate NAfME and FMSA to provide quality sessions and discussion panels.

For the upcoming FMEA Professional

I

t is my distinct pleasure to greet you as the new president of the Florida Music

Supervision Association. I am thrilled to work with some of the most passion-

ate arts leaders in our nation as we advocate for a rich music education for all of Florida’s students!

As many of us would agree, when traveling across our country to see the var-

ious arts education programs and initiatives in place in the other 49 states and commonwealths, we see that Florida is truly a special place for music education.

We have many things of which to be proud with respect to music education when compared to other regions in our great country. This does not mean in any way

that there is not room for growth. We have a long way to go to ensure that a proper music education—one that supports lifelong learning and appreciation for music—is evident in all of our students’ experiences while in school.

The Florida Music Supervision Association has a unique role in this mission. As

music supervisors in our various school systems across Florida, our members pro-

vide the essential “connective tissue” between practicing music educators and the administrative teams in their school buildings and central offices. We see our daily work as imperative to the mission of FMEA, which is to promote quality, comprehensive music education in all Florida schools. The work of FMSA is not exclusive to the counties that are fortunate enough to have a full-time arts supervisor. Part

of the essential mission of FMSA is to assist those districts that do not have district

central office arts specialist(s) to advocate for a well-rounded music education for their students. So I ask our membership to communicate with FMSA frequently

and to contact me anytime about how FMSA administrators can support a comprehensive music education across our state.

I am humbled to lead FMSA over the 2019-21 term, and I look forward to meet-

ing many more fantastic music educators serving as music supervisors in Florida.

August 2019

29

ComponentNews A

nd just like that, another summer

FLORIDA VOCAL ASSOCIATION

As always, it was a pleasure to spend

reading sessions featuring practical cho-

in Altamonte Springs for the Summer

successful start. Thank you to rising stars

comes to an end and another school

time with so many wonderful colleagues

selecting music, working on calendars,

Conference. Our 2020 All-State High

year begins. Amid all of the planning, setting up classrooms, and meeting new students and parents, I hope you are

refreshed and ready to meet the demands

of a new year with joy and a renewed sense of mission and purpose.

Jason Locker, President

School Concert Chorus clinician, Dr. Martha Shaw, gave outstanding interest

sessions on “Creating Beautiful Tone and

Expression” and “Effective Programming

and Communication.” We also enjoyed

FLORIDA ORCHESTRA ASSOCIATION

Matthew Davis, President

ral literature to get your year off to a

Isiah Maxey, Miguel Oquendo, Alexis

Pletincks, and Jorge Valls for sharing these selections with us. I also want to thank Mark Scott and Jo Hagan for all

of their work behind the scenes with the

conference, to Lee Lallance for his artistry

at the piano, to Gary Miller for his tech-

nical assistance, and to Alicia RomeroSardiñas (awards chairwoman) for coordinating the many aspects of our annual

awards ceremony. We are also indebted to everyone at Head’s House of Music for

G

reetings and welcome back! I hope your summer was restful and rejuvenat-

ing as we prepare for the 2019-20 school year. As I enter my term as FOA

the many hours spent in support of our

conference, in addition to another out-

president, I am both honored and humbled to serve the organization. We have a

standing Choral Panorama.

from our past presidents Jason Jerald and Valerie Terry, as well as our executive

on July 26, we recognized the 2019 Choirs

board members for their service to our association. I believe we have assembled a

the middle and high school choirs and

As you prepare for the new school year, please review the upcoming registra-

In addition, we welcomed Greg Carswell

August 24 or paid online by August 31. All-state registration/eligibility informa-

the FVA Roll of Distinction and Julia

org). The all-state recording window is September 9-14. Check with your district

School) and Mary Catherine Salo (Coral

dues, please ensure that your FSMA dues are paid so that your students are eligible

Fame. We thank them for their outstand-

phenomenal leadership team, and I am so grateful for the support and expertise

At this year’s FVA Awards Ceremony

director, Donald Langland. I also want to extend a huge thank you to our FOA

of Distinction. Congratulations to all of

fantastic team to lead us.

directors that achieved this great honor.

tion deadlines. FMEA/NAFME/FOA membership dues need to be postmarked by

(Osceola County School for the Arts) into

tion can be found on the FMEA website (FMEA.org) or the FOA website (myfoa.

House (recently retired from Bay High

chairperson for the recording date in your district. In addition to your FOA/FMEA

Springs High School) into the FVA Hall of

to participate in MPAs this year.

ing musicianship and service to choral

Please make plans to attend the 2019 FOA/FLASTA Fall Conference at the Hilton

Orlando on September 26-27. This is a wonderful way to obtain teaching ideas and

music education in Florida.

As we move into another school year, I

to network with fellow educators in a relaxed atmosphere. Our keynote speaker

want to thank you for the opportunity to

focus on string pedagogy, conducting, rehearsal techniques, and mentorship, as

feel free to contact me (jason@fva.net) or

music reading session and a fiddle “jam session” as well! Registration information

assist you in any way over the next two

I would like to challenge our members to be involved with FOA. This orga-

he assumes the role of past president and

volunteer to host events, attend workshops and conferences, and be vocal about

his term of service on the FVA Executive

involved. Feel free to email me at mdavis@myfoa.org. Let me know how FOA can

well as Facebook and Instagram, for infor-

will be string teacher and composer Deborah Baker Monday. Other sessions will

serve as your association president. Please

well as instrument repair. Bring your instrument because we will have a new

Elizabeth Phillips (liz@fva.net) if we may

will be available in upcoming issues of Florida Music Director and on our website.

years. Many thanks to Tommy Jomisko as

nization is about YOU and serving YOUR needs. Attend your district meetings,

also to Carlton Kilpatrick as he completes

your needs and ideas. I welcome your feedback about all areas in which FOA is

Board. Don’t forget to check FVA.net, as

better serve your needs!

mation regarding our events throughout

30 F l o r i d a

Music Director

the year.

ResearchPuzzles FOR MUSIC TEACHERS This on-going column seeks to stimulate awareness of research issues for FMEA teachers and researchers.

RESEARCH COMMITTEE CHAIRMAN

Don D. Coffman, PhD University of Miami

Who plays instruments outside of school?

N

ews can come from unexpected sources. While I don’t venture much into Facebook, I was made aware of a post from the FMEA Facebook page back in early May of this year.

That post took me to the EdNote blog to read how Claus von Zastrow (Zastrow, 2019) teased out some information from the 2017 National Assessment of Educational Progress (NAEP) in Mathematics (egads!). Among the background demographic survey questions that accompany the mathematics test for fourth and eighth graders was the question: How often do you participate in each of the following activities outside of school? And one of the sub-questions was: Play an instrument and read music. Students could select from one of these response options: Never; Once/ twice a year; Once/twice a month; Once/twice a week; Every day or almost.

I viewed the NAEP website, from which you can generate some basic analyses, and obtained these composite mathematics scores: Grade

Never

Once/twice a year

Once/twice a month

Once/twice a week

Every day or almost

4th 8th

237 280

236 280

238 279

243* 288

239 292*

* statistically significant This table suggests that frequency of playing an instrument and reading music might be linked to a higher math composite score. von Zastrow’s analysis presents some visually appealing and clickable graphics that report data from this single survey question by state, gender, free/reduced lunch status, and race/ ethnicity. He writes: Our analysis focuses on students who play an instrument and read music at least once or twice a week, a category that combines “Once/twice a week” with “Every day or almost.”

««Nationally,

Here’s what we found: fourth-graders are more likely than eighth-graders to play instruments outside of school (41 percent vs. 34 percent). Among states, only Hawaii and Utah break this pattern.

Girls are significantly more likely than boys to do so. This finding holds for every state’s fourth- and eighth-graders.

(In the District of Columbia, it holds for fourth-graders but not eighth graders.)

««

«« Students who qualify for free or subsidized lunch are ««

significantly less likely than their wealthier peers to play instruments outside of school. Among fourth-graders, these gaps are statistically significant in 20 states. Among eighth-graders, they are significant in 33 states.

There are also national disparities by race and ethnicity, but differences are often not statistically significant at the state level.

By the way, here’s a tabulation I created of Florida’s students who answered this question. If you combine the right-most two columns (using von Zastrow’s approach), you’ll note that 41.3% of fourth-graders and 31.5% of eighth-graders reported playing an instrument and reading music at least once a week or more.

Percentage of Florida students who play an instrument and read music (2017) Grade

4th 8th

Never

Once/twice a year

Once/twice a month

Once/twice a week

Every day or almost

36.1 49.8

11.4 9.2

11.2 9.6

21.0 10.7

20.3 20.8

I can easily criticize the wording of the question “play an instrument and read music” as rather naïve, because it conflates performing with reading music notation and seems to ignore singing and other forms of music making. And numbers have a seductive appeal, because one can make claims that may go beyond what the data can indicate. Nevertheless, I remain intrigued that the designers of this national mathematics test wanted to ask about students’ music involvement at all. It appears that we’re on someone’s radar, at least, and I view that as a good thing. We’re all in this together, right?

Reference von Zastrow, C. (2019, May 2). New Data: Who Plays Instruments Outside of School? Retrieved from EdNote: Your education policy blog: https:// ednote.ecs.org/new-data-who-plays-instruments-outside-of-school/

Email your questions and feedback to d.coffman1@miami.edu with a subject heading Research Puzzles. Your questions, if selected for publication, will remain anonymous.

August 2019

31

CommitteeReports

DIVERSE LEARNERS COMMITTEE Alice-Ann Darrow, PhD, Chairwoman

Recruiting Mentors for Student Musicians With Disabilities: Could it be you?

Is there anyone like me?

W

elcome to the new school year! I

with disabilities. Students with disabili-

cation as a viable career option. I am also

chairwoman for diverse learners. It is an

dents can identify numerous well-known

students who have disabilities and may

look forward to serving FMEA as

honor to be on the board and to have the opportunity to work with the FMEA staff and a dedicated board. Please feel free

to contact me with any ideas you may have regarding topics to be addressed

in Florida Music Director and in sessions

at the FMEA Professional Development Conference. My goal as chair is to estab-

lish a network of individuals with a mutual interest in diverse learners so we

can work together to promote music education for all of Florida’s students.

As we begin this new school year, I

would like to address the importance of mentorship, and in particular, the role it

can play in the musical life of students

32 F l o r i d a

ties need positive role models. Most stucomposers and artists such as Beethoven, Itzhak Perlman, and Andrea Bocelli who

have disabilities, and those who are less

open to music educators who work with wish to provide professional support and advising.

well-known, such as Thomas Quasthoff

Is there anyone like me?

likely they can identify as many teachers,

tunate to have a person or persons who

and Adrian Anantawan; however, it is not if any, who have disabilities (Storey, 2007).

As with race, gender, and other diversity

variables, students with disabilities need to see “a teacher like me.” Ultimately, my

goal is to identify music educators with

disabilities who are willing to serve as mentors to music students who have a

disability. My hope is that students with

disabilities will see themselves in their mentor and, potentially, view music edu-

Music Director

Most successful young adults were forbelieved in them, gave them advice, or helped guide them in their academic or

professional careers. These mentors were

able to shed a light on the challenges that

lay ahead and ways of addressing those obstacles. Young adults with disabilities

often face unique challenges as they nav-

igate the world. Some are less equipped

with the emotional, social, or educational resources to fully achieve positive life

outcomes. Having a mentor who has

good mentor provides support, and “…

mentors can be instrumental in provid-

be especially helpful to students with dis-

to be successful in the field” (Lorretto,

dents integrate into college life, make

prevailed over the same challenges can abilities as they contemplate their futures.

As a result of IDEA, students with dis-

abilities are included in the mainstream of school life. While inclusion is always better than exclusion, self-contained

classrooms offer students with disabil-

ities an opportunity to interact with

other students with disabilities. Today, some students with disabilities, especially those with low-incidence disabilities,

rarely see or know another student or teacher with the same disability. There is

some comfort in not being “the only one,” or in interacting with other students or

teachers who have experienced the same challenges. Knowing an adult with the same disability is helpful in imagining

exhibits the personal attributes it takes 2018, p. 1). Lorretto (2018) identifies these qualities of a good mentor:

What is mentorship?

Students with disabilities are underrep-

experience and someone who wants to learn. “Mentoring is a process for the

informal transmission of knowledge,

social capital, and the psychosocial support perceived by the recipient as relevant to work, career, or professional

the skills necessary for academic success” (Lindsay & Munson, 2018, p. 1).

How can I become a mentor to a music student with disabilities?

If you are interested in mentoring a music

student with a disability, particularly

about music as a career option, please contact me at aadarrow@fsu.edu. You do

not have to have a disability, but it will be helpful if you are familiar with disability

characteristics and rights. I hope to hear from you!

professional goals

Why do students with disabilities

be a partnership between someone with

connections to resources, and develop

«« exhibits a willingness to share skills, knowledge, and expertise; «« demonstrates a positive attitude and acts as a positive role model; «« takes a personal interest in the mentoring relationship; «« exhibits enthusiasm in the field; «« values ongoing learning and growth in the field; «« provides guidance and constructive feedback; «« is respected by colleagues; and «« sets and meets ongoing personal and

life after high school.

Mentorship is generally considered to

ing the guidance and tools to help stu-

References Ahrens, K., DuBois, D., Lozano, P., & Richardson, L. (2010). Naturally acquired mentoring relationships and young adult outcomes among adolescents with learning disabilities.

Learning Disabilities in Research and Practice, 25(4), 207-216.

need a mentor?

resented in higher education and have a

Bozeman, B., & Feeney, M. K. (2007). Toward a useful theory of mentoring: A conceptual analysis and critique. Administration & Society, 39(6), 719-739.

lower probability of finishing school than their peers without disabilities. They are

also at risk of experiencing poverty and

Lindsay, S., Hartman, R., & Fellin, M. (2016). A systematic review of mentorship programs to facilitate transition to postsecondary education and employment for youth and young adults with disabilities. Disability & Rehabilitation, 38(14), 1329-1349.

more likely to encounter social and eco-

nomic disparities relative to students without disabilities. Negative attitudes,

discrimination, lack of resources and

contribute to these data (United Nations,

Lindsay, S., & Munson, M. S. (2018). Mentoring youth with disabilities. Retrieved from http://nationalmentoringresourcecenter. org/images/PDF/Mentoring _for_Youth_ with_Disabilities_Population_Review.pdf

have greater relevant knowledge, wis-

What are the benefits of mentor-

is perceived to have less” (Bozeman &

ship to students with disabilities?

Numerous studies have indicated the

Loretto, P. Eight qualities of a good mentor.

Retrieved from https://www.thebalancec a r e er s.c om/q ua l it ie s - of-a-go o d-me ntor-1986663

benefits of mentoring programs for youth

Storey, K. (2007). Combating ableism in schools.

Preventing School Failure, 53(1), 56-58.

development; mentoring entails informal communication, usually face-to-face

and during a sustained period of time, between a person who is perceived to dom, or experience and a person who Fenney, 2007, p. 1).

What does a mentor do?

A mentor shares his or her professional experiences, provides valuable infor-

mation about the profession, and most importantly, offers guidance. Mentors

maintain contact with their mentees. A

supports, and inaccessible environments 2015).

Stumbo, N., Martin, J., Nordstrom, D., Rolfe, T., Burgstahler, S., Whitney, J., & Misquez, E. (2010). Evidence-based practices in mentoring students with disabilities: Four case studies. Journal of Science Education for Students with Disabilities, 14(1), 33-54.

with disabilities, particularly in the areas

of career development, employment, psychosocial health and quality of life,

transition from school to adulthood, and life skills (Ahrens, DuBois, Lozano, &

United Nations. (2015). Youth with disabilities.

Retrieved from https://www.un.org/development/desa/disabilities/ youth-with-disabilities.html

Richardson, 2010; Lindsay, Hartman, & Fellin, 2016). “The support provided by

August 2019

33

CommitteeReports H

AWARDS COMMITTEE

Debbie Fahmie, Chairwoman

ello from the FMEA Awards

made outstanding contributions to music

and the Music Education Service awards,

school year. I am excited to continue the

exemplary individuals whose contribu-

year. Get these deadline dates on your

Committee, and welcome to a new

work of the Awards Committee under the

direction our new FMEA president, Dr.

education. FMEA is looking to honor tions align with the mission of FMEA.

Our members’ active involvement

Steve Kelly.

in the nomination process ensures that

given each of you time to rejuvenate in

individuals throughout our state. The

I hope that the summer break has

preparation for another year of transforming young lives through the gift of

music. I know that the start of the school year presents a multitude of tasks, but I

want to remind you of the opportunity

to nominate someone who is an unsung hero to music education. You can do so through the FMEA Awards Program.

This FMEA program offers several

awards in recognition of the efforts and accomplishments of music educators, college professors, school administrators,

superintendents, school board members,

business partners, and others who have

FMEA recognizes the most deserving deadline for all categories except the Music Education Service and the Music

Enrollment awards is September 7. All

applications are done online. To help guide you in putting together a successful nomination packet, we have exam-

ples of award nomination packets that were selected in the past. Use these as

models for putting together your packet.

Go to “Examples of Successful Awards Nominations” at FMEA.org/programs/ awards.

The two categories that are typically

self-nominated are the Music Enrollment

and they are due a bit later in the school calendars now if you might be a part of

either category: Music Enrollment Award is due November 1, and Music Education

Service Award is due November 3. Both of these applications are fairly effortless. You’ll be surprised at how simple it

actually is and glad that you took the 15 minutes or so to apply when you are seat-

ed in a room full of honorees and FMEA dignitaries being recognized for your

accomplishments. If your school qualifies

for the Music Enrollment Award (with 35% for high schools and 45% for middle

schools), the Awards Ceremony is a great way to get your principal to attend the conference. Once there, the conference is

typically a transformational experience for an administrator that yields benefits to the music program at your school.

Please check the FMEA website for

details about the awards and nomination Kathy Bohstedt from West Music had this to say about being recognized with the Distinguished Service Award:

process at FMEA.org/programs/awards.

We always have such a favorable

response from the awardees each year.

The FMEA Awards Program is one of the

The awards ceremony was smoothly run. The pro-

few events at the conference that connects

recognized and honored with personalized remarks.

There is such power in coming together

ciate learning about each person’s above-and-be-

accomplishments on behalf of our total

at the general assembly was a nice, easy, and quick

you the reflections of a couple of the 2019

Many teachers and presenters stopped by our

of West Music was recognized with the

gram moved right along, and yet each person was

all components of the FMEA membership.

At no time did I sense any rush, and I could appre-

as a whole to celebrate our collective

yond accomplishments. The follow-up recognition

membership. I would like to share with

bonus.

FMEA award winners. Kathy Bohstedt

booth to offer congratulations. Also, many teach-

Distinguished Service Award, and the

organization’s convention.

County was given the Exemplary Model

ers made a point to thank us (West Music) for being at FMEA and for all we do for the I’ve enjoyed the past 20-plus years of representing West Music at FMEA. The Florida

music teachers are the best! They are enthusiastic, passionate, and fun! Always looking

Little Kids Rock project in Hillsborough Program/Project Award.

I look forward to reading the applica-

for ideas and materials to enrich their students’ classroom experiences, they strive to

tions of many worthy nominees for the

with all of them!

any questions about the process, please

engage their students and create active, joyous music makers. It has been a joy working

34 F l o r i d a

2020 FMEA Awards Program. If you have don’t hesitate to contact me.

Music Director

Advertiser Index

Scott Burstein, director of teaching and learning with

Little Kids Rock, and Melanie Faulkner, supervisor of music education for Hillsborough County, received the

Exemplary Program Award. Here is how they reflected on their award.

Scott Burstein:

I would say that this award was an honor and a testament to the

hard work of a group of educators working in harmony: from

an amazing administrator that identified a need, an organization that was able to help provide appropriate resources, and

The Florida Music Director is made possible by the participation of the following businesses whose advertisements appear in this issue. They make it possible to provide you with a high-quality publication, and we gratefully acknowledge their support of our mission. We hope you will take special notice of these advertisements and consider the products and services offered. It is another important way you can support your professional association and the enhancement of Florida music education.

The publisher does not endorse any particular company, product, or service. The Florida Music Education Association (FMEA) is not responsible for the content of any advertisement and reserves the right to accept or refuse any advertisement submitted for publication. Information for advertisers (rate card, insertion orders, graphics requirements, etc.) can be found at FMEAMediaKit.org.

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most importantly, the teachers

who gave up their personal time

to take a leap of faith and get out of their comfort zone. These 125 teachers got together repeatedly, on weekends at trainings, in the evenings with rehearsals and community concerts, during the summers presenting and attending the Modern

Band Summit, and the end result so far is over 36,000 students

making music in their Modern Band programs in Hillsborough

County. It was great to be at the ceremony, surrounded by so many other great educators, hear their stories, and get inspired to keep making positive music mischief!

Melanie Faulkner:

We were so privileged to have

been honored at the Awards Breakfast for a collaborative proj-

ect that has had and continues to have success! Celebrating with those who have gone above and

beyond and hearing their stories is encouraging and inspiring.

What would a music edu-

cation conference be without

student performers?! The fact that we have so many is a testa-

ment to our strength as an organization and, most of all, our profession.

We are blessed to have a conference with so many teachers

in attendance ... for learning, sharing, and rekindling relationships!

SUBSCRIPTIONS: Direct correspondence regarding subscriptions to: Hinckley Center for Fine Arts Education, 402 Office Plaza, Tallahassee, FL, 32301-2757. Subscription cost included in FMEA membership dues ($9); libraries, educational institutions, and all others within the United States: $27 plus 7.5% sales tax.

CIRCULATION: 4,500 educators. Published eight times annually by The Florida Music Education Association, Hinckley Center for Fine Arts Education: 402 Office Plaza Tallahassee, FL 32301-2757. FMEA reserves the right to approve any application for appearance and to edit all materials proposed for distribution. Permission is granted to all FMEA members to reprint articles from the Florida Music Director for non-commercial, educational purposes. Non-members may request permission from the FMEA office.

SUBMISSIONS: Article and art submissions are always considered and should be submitted on or before the 1st of the month, one month prior to the publication issue to: D. Gregory Springer, PhD, dgspringer@fsu.edu.

All articles must be provided in digital format (e.g., Microsoft Word). All applicable fonts and images must be provided. Images must be at least 300 dpi resolution at 100% of the size. All submissions must be accompanied by a proof (color, if applicable). Ads may be submitted via email to val@fmea.org.

Florida Music Director reserves the right to refuse any ad not prepared to the correct specifications OR to rework the ad as needed with fees applied.

2019-20 FMEA Membership: You are eligible for membership in the Florida Music Education Association if you are an individual engaged in the teaching, supervision, or administration of music in elementary and secondary schools, colleges, or universities within the state.

Visit FMEA.org/membership to learn more about the benefits of active membership.

August 2019

35

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F LO R I DA M U S I C E D U C AT I O N A SSO C I AT I O N

Officers and Directors EX-OFFICIO MEMBERS

EXECUTIVE BOARD President

Steven N. Kelly, PhD

Florida State University; College of Music, KMU 330 Tallahassee, FL 32306 (850) 644-4069; skelly@admin.fsu.edu Past President

Kenneth Williams, PhD

3610 Beauclerc Road; Jacksonville, Florida 32257 (904) 521-7890; kenwms@flmusiced.org

Historian/Parliamentarian & Executive Director....................................................Kathleen D. Sanz, PhD Hinckley Center for Fine Arts Education 402 Office Plaza Dr.; Tallahassee, FL 32301-2757 (850) 878-6844; Fax: (850) 942-1793; kdsanz@fmea.org Editor-in-Chief.....................................................D. Gregory Springer, PhD FSU College of Music; 122 N. Copeland St.; Tallahassee, FL 32306 (850) 644-2925; dgspringer@fsu.edu FSMA President................................................................Craig Collins, EdD College of Arts & Media, Southeastern University 1000 Longfellow Blvd.; Lakeland, FL 33801 (863) 667-5657; cscollins@seu.edu

FMEA COMMITTEE CHAIRPERSONS

President-Elect

Shelby Chipman, PhD

Florida A&M University, Department of Music Foster-Tanner Music Bldg., Room 318 Tallahassee, FL 32307; (850) 599-8165 shelby.chipman@famu.edu FBA President

Cathi Leibinger

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

John D. Ash

College of Central Florida 3001 SW College Rd.; Ocala, FL 34474 (352) 854-2322; ashj@cf.edu FEMEA President

Ernesta Chicklowski

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

Awards.................................................................................... Debbie Fahmie fahmied@yahoo.com Budget/Finance, Development.................................. Steven N. Kelly, PhD Florida State University, College of Music, KMU 330 Tallahassee, FL 32306; (850) 644-4069; skelly@admin.fsu.edu Committee Council...................................................................................TBA Conference Chairman................................................John K. Southall, PhD Indian River State College; 3209 Virginia Ave.; Fort Pierce, FL 34981 (772) 462-7810; johnsouthall@me.com Contemporary Media................................................... David Williams, PhD University of South Florida; 4202 E. Fowler Ave., MUS 101 Tampa, FL 33620; (813) 974-9166; davidw@usf.edu Diverse Learners.....................................................Alice-Ann Darrow, PhD Florida State University, Music Education and Music Therapy 123 N. Copeland St.; Tallahassee, FL 32306 (850) 645-1438; aadarrow@fsu.edu Emerging Leaders............................................................ Mary Palmer, EdD 11410 Swift Water Cir.; Orlando, FL 32817 (407) 382-1661; mpalmerassoc@aol.com FMEA Corporate & Academic Partners....................................Fred Schiff All County Music; 8136 N. University Dr.; Tamarac, FL 33321-1708 (954) 722-3424; fredallcounty@aol.com Government Relations..................................................Jeanne W. Reynolds Pinellas County Schools, Administration Bldg.

301 4th St., SW, P.O. Box 2942; Largo, FL 33779-2942 (727) 588-6055; reynoldsj@pcsb.org

Katherine Attong-Mendes

Multicultural Network...................................................Bernard Hendricks Ocoee High School, 1925 Ocoee Crown Point Pkwy.; Orlando, FL 34761 (407) 905-3009; bernard.hendricks@ocps.net

Florida Collegiate NAfME Advisor

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

University of Miami; kxa395@miami.edu

Mark A. Belfast, Jr., PhD

Southeastern University 1000 Longfellow Blvd.; Lakeland, FL 33801 (863) 667-5104; mabelfast@seu.edu FMSA President

Harry “Skip” Pardee

Collier County Public Schools 5775 Osceola Trail; Naples, FL 34109 (239) 377-0087; pardeh@collierschools.com FOA President

Matthew Davis

Harrison School for the Arts 750 Hollingsworth Rd.; Lakeland, FL 33801 (863) 499-2855; matthew.lawson.davis@gmail.com FVA President

Jason Locker

Bloomingdale High School 1700 Bloomingdale Ave.; Valrico, FL 33596 (813) 744-8018; jason@fva.net Member-at-Large

Edgar Rubio

Silver Trail Middle School 18300 Sheridan St.; Pembroke Pines, FL 33331 (754) 323-4321; merenguesax@aol.com

36 F l o r i d a

Research...................................................................... Don D. Coffman, PhD University of Miami; d.coffman1@miami.edu Secondary General Music.............................................................Ed Prasse Leon High School; 550 E. Tennessee St.; Tallahassee, FL 32308 (850) 617-5700; prassee@leonschools.net Student Development.............................................. Michael Antmann, EdD Freedom High School; 2500 W. Taft-Vineland Rd.; Orlando, FL 32837 (407) 816-5600; michael.antmann@ocps.net

PROFESSIONAL DEVELOPMENT CONFERENCE Exhibits Managers................................................ Byron and Bobbie Smith 4110 Tralee Rd.; Tallahassee, FL 32309 (850) 893-3606; fmeaexhibits@fmea.org Local Co-Chairpersons Ted Hope—(813) 272-4861; ted.hope@sdhc.k12.fl.us Melanie Faulkner—(813) 272-4461; melanie.faulkner@sdhc.k12.fl.us Hillsborough County Public Schools, School Administration Center 901 E. Kennedy Blvd.; Tampa, FL 33602

FLORIDA BANDMASTERS ASSOCIATION President.............................................................................. Cathi Leibinger Ransom Everglades School; 2045 Bayshore Dr.; Miami, FL 33133 (305) 250-6868; president@fba.flmusiced.org Past-President........................................................................Jason Duckett Bartram Trail High School; 7399 Longleaf Pine Pkwy.; St. Johns, FL 32259 (904) 343-1999; pastpresident@fba.flmusiced.org Executive Director......................................................................Neil Jenkins Florida Bandmasters Association P.O. Box 840135; Pembroke Pines, FL 33084 (954) 432-4111; Fax: (954) 432-4909; exec@fba.flmusiced.org

Music Director

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

FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION President......................................................................................John D. Ash College of Central Florida; 3001 SW College Rd.; Ocala, FL 34474 (352) 854-2322; ashj@cf.edu Past President............................................................. Stacie Rossow, DMA srossow@fau.edu

FLORIDA COLLEGIATE NAFME President............................................................ Katherine Attong-Mendes University of Miami; kxa395@miami.edu Florida Collegiate NAfME Past President...................Jennifer Luechauer jennifer.luechauer@browardschools.com

FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION President..................................................................... Ernesta Chicklowski Roosevelt Elementary School; 3205 S. Ferdinand Ave.; Tampa, FL 33629 (813) 272-3090; ernesta.chicklowski@sdhc.k12.fl.us Past President...............................................................Rosemary Pilonero rosemary@femea.flmusiced.org Executive Director............................................................. Jennifer Sullivan 1750 Common Way Rd., Orlando, FL 32814 (321) 624-5433; slljenn@aol.com

FLORIDA MUSIC SUPERVISION ASSOCIATION President.....................................................................Harry “Skip” Pardee Collier County Public Schools; 5775 Osceola Trail; Naples, FL 34109 (239) 377-0087; pardeh@collierschools.com Past President............................................................................Scott Evans scott.evans@ocps.net Treasurer......................................................................................... Ted Hope Hillsborough County Public Schools, School Administration Center 901 E. Kennedy Blvd.; Tampa, FL 33602 (813) 272-4861; ted.hope@sdhc.k12.fl.us

FLORIDA ORCHESTRA ASSOCIATION President................................................................................Matthew Davis Harrison School for the Arts; 750 Hollingsworth Rd.; Lakeland, FL 33801 (863) 499-2855; matthew.lawson.davis@gmail.com Past President...........................................................................Jason Jerald jason.jerald@sdhc.k12.fl.us Executive Director............................................................. Donald Langland 220 Parsons Woods Dr.; Seffner, FL 33594 (813) 502-5233; Fax: (813) 502-6832; exdirfoa@yahoo.com

FLORIDA VOCAL ASSOCIATION President.................................................................................. Jason Locker Bloomingdale High School; 1700 Bloomingdale Ave.; Valrico, FL 33596 (813) 744-8018; jason@fva.net Past President.....................................................................Tommy Jomisko tommy@fva.net Executive Director....................................................................J. Mark Scott 7122 Tarpon Ct.; Fleming Island, FL 32003 (904) 284-1551; fva.scott@gmail.com Business Manager..................................................................Jo Hagan, CPA 8975 San Rae Rd.; Jacksonville, FL 32257 (904) 379-2245; Fax: (904) 379-2260; business@fva.net

CENTER FOR FINE ARTS EDUCATION

402 Office Plaza Dr.; Tallahassee, FL 32301-2757 (850) 878-6844; Fax: (850) 942-1793 Executive Director....................... Kathleen D. Sanz, PhD (kdsanz@fmea.org) Director of Operations........................Valeria Anderson, IOM (val@fmea.org) Director of Finance & Client Relations...............................Richard Brown, CAE (richard@fmea.org) Technology Director......................................Josh Bula, PhD (josh@fmea.org) Public Affairs & Communications Coordinator..............................................Jenny Abdelnour (jenny@fmea.org) Marketing & Membership Coordinator................................. Jasmine Van Weelden (jasmine@fmea.org)

ExecutiveDirector’sNotes

Welcome Back!

W

e’re moving into our 2019-20 school year. I hope

that everyone had a fantastic summer, return-

ing rejuvenated and refreshed.

«« All-National Mixed Chorus – 16 students «« All-National Guitar Ensemble – 5 students «« All-National Modern Band – 2 students

FMEA Opportunities

NAfME Societies and Councils

leadership experiences through the FMEA Summer

working diligently to provide information and

Many of you had a chance to participate in summer Institute, FSMA Leadership Institute, and Emerging Leaders. Thank you so much to Jeanne Reynolds, Craig Collins, and Mary Palmer for their leadership at

these summer experiences. The summer component

conferences for the Florida Vocal Association and the Florida Bandmasters Association were inspirational for our members.

Join your fellow colleagues at the 2020 FMEA

Professional Development Conference and All-State

Concerts, January 8-11 in Tampa. Over the next few months, you will read about the wonderful opportunities for learning and networking at the conference.

NAfME Opportunities

The National Association for Music Education

(NAfME) held its summer National Assembly in

NAfME has several societies and councils that are

on these can be found on the NAfME website: nafme. org/community/societies-and-councils/#Represen-

«« Society for Research in Music Education «« Society for Music Teacher Education «« Council for Band Education «« Council for Choral Education «« Council for General Music «« Council on Innovations «« Council on Composition «« Council on Guitar Education «« Council on Orchestra Education «« Council for Jazz Education «« Council of Music Program Leaders

tative%20Councils.

collegiate students attended the Collegiate Advocacy

Summit and talked to our U.S. senators and representatives in their offices on Capitol Hill, putting forth

complete

education.

Mark your calendars for the 2020 Florida Legislative March 13. Bills are starting to be filed, and the

FMEA staff and Government Relations/Advocacy

Committee have begun their work on legislative asks for this session. Please be prepared to step up and advocate for your music students.

held in Kissimmee, Florida, at the Gaylord Palms,

Association and National Association for Music

for early registration is September 6, 2019, so don’t miss it.

NAfME All-National Honor Ensembles

FMEA is pleased to announce that we have 42 AllNational Honor Ensemble students who will partici-

pate in Kissimmee this November. Congratulations to

«« All-National Concert Band – 9 students «« All-National Symphonic Orchestra – 9 students Florida students and music educators!

promote quality,

part of their

Membership

November 6-10. Registration is open, and the deadline

Education

Association is to

students as a

our advocacy efforts for our students.

The 2019 NAfME National Conference will be

Music

for all Florida

Session, which begins on January 14 and ends on

Richard Brown and Kathy Sanz. In addition, five

of The Florida

music education

immediate past president; Dr. Shelby Chipman, presReynolds, advocacy chairwoman; and staff members

The mission

comprehensive

2020 Legislative Session

ident-elect; Dr. John Southall, past president; Jeanne

Kathleen D. Sanz, PhD

resources in the following areas of study. Information

Washington, D.C. FMEA was well represented by Dr. Steve Kelly, president; Dr. Kenneth Williams,

FMEA Executive Director

Remember that the Florida Music Education

Education membership year is from July 1, 2019, to

June 30, 2020. Be sure to go online to renew your membership to obtain all of the benefits available to you from your professional associations.

We’re looking forward to a great school year. If you

have questions, please be sure to reach out to our staff in Tallahassee.

Have a wonderful start to the new year!

Kathleen D. Sanz, PhD

August 2019

37

GOLD GOLD

SILVER SILVERPARTNERS PARTNERS The TheHorn HornSection, Section,Inc. Inc. Music MusicisisElementary Elementary West WestMusic MusicCompany Company Partners Partners as as of June of June 30,30, 2019.

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38 F l o r i d a

Music Director

Please Please take take time time to to thank thank and and support support ourour 2018-2019 2018-2019 Corporate Corporate Partners.

Partners.

PARTNERS PARTNERS

BRONZE BRONZE PARTNERS PARTNERS Music Music Man, Man, Inc.Inc. Blues Blues Angel Angel Music Music Music Music N More, N More, LLC LLC Cadence Cadence Music Music National National Concerts Concerts Carl Carl Fischer Fischer Music Music NeilNeil A. Kjos A. Kjos Music Music Company Company Concept Concept Tours, Tours, Inc.Inc. Noteflight Noteflight Excelcia Excelcia Music Music Publishing Publishing Rhythm Rhythm Band Band Instruments, Instruments, LLC LLC Festivals Festivals of Music of Music & Music & Music in the in the Parks Parks Romeo Romeo Music Music J. W. J. W. Pepper Pepper & Son, & Son, Inc.Inc. Super-Sensitive Super-Sensitive Musical Musical String String Co.Co. MakeMusic, MakeMusic, Inc.Inc. Tampa Tampa BayBay Institute Institute for for Music Music Therapy Therapy Music Music & Arts & Arts

August 2019

39

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