Florida Music Director August 2021 by Center for Fine Arts Education, Inc

The Rationale for an Interdisciplinary Music Program in Orchestra Guidelines for a Successful Middle School Concert

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An Analysis of Your Literature Choices PLUS: 2021-22 Officers and Directors June M. Hinckley Music Education Scholarship Recipient Essays

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2 F l o r i d a

Music Director

Grades 5-12

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

Hinckley Center for Fine Arts Education

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

Editor-in-Chief

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

Editorial Committee Terice Allen (850) 245-8700, Tallahassee (tallen1962@hotmail.com) Judy Arthur, PhD Florida State University, KMU 222 (850) 644-3005 (jrarthur@fsu.edu) William Bauer, PhD University of Florida, Gainesville (352) 273-3182; (wbauer@ufl.edu) Alice-Ann Darrow, PhD College of Music, FSU, Tallahassee (850) 645-1438; (aadarrow@fsu.edu) Jeanne Reynolds 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) 402 Office Plaza Tallahassee, FL 32301 (850) 878-6844

Official FMEA and FMD Photographers

Bob O’Lary Debby Stubing

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Copy Editor

Susan Trainor

Contents August 2021

Volume 75 • Number 1

F E AT U R E S

FOA & FL-ASTA Fall Conference 2021. . . . . . . 5 2021-22 Officers and Directors. . . . . . . . . . . 6-7 June M. Hinckley Music Education Scholarship Essays.. . . . . . . . . .

8-11

The Rationale for an Interdisciplinary Music Program in Orchestra. . . . . . . . . . . . . 13 Guidelines for a Successful Middle School Concert. . . . . . . . . . . . . . . . . 16 D E PA R T M E N T S Advertiser Index. . . . . . . . . . . . 3

Component News.. . . . . . . . . . 25

President’s Message. . . . . . . . . . 4

Committee Reports. . . . . . . . . 30

Academic Partners. . . . . . . . . . 20

Research Puzzles. . . . . . . . . . . 32

Corporate Partners . . . . . . . . . 21

Executive Director’s Notes. . . . . 34

2020-21 FMEA Donors. . . . . . . 22

Officers and Directors.. . . . . . . 35

Advertiser Index The Florida Music Director is made possible by the participation of the following businesses whose advertisements appear in this issue. They make it possible to provide you with a high-quality publication, and we gratefully acknowledge their support of our mission. We hope you will take special notice of these advertisements and consider the products and services offered. It is another important way you can support your professional association and the enhancement of Florida music education. The publisher does not endorse any particular company, product, or service. The Florida Music Education Association (FMEA) is not responsible for the content of any advertisement and reserves the right to accept or refuse any advertisement submitted for publication. Information for advertisers (rate card, insertion orders, graphics requirements, etc.) can be found at FMEAMediaKit.org. Florida Music Director reserves the right to refuse any ad not prepared to the correct specifications OR to rework the ad as needed with fees applied. ADVERTISER Breezin’ Thru, Inc.......................................................................................................................................... IFC This advertiser provides additional support to FMEA members through membership in the Corporate and Academic Partners program. This Partner deserves your special recognition and attention.

August 2021

Shelby R. Chipman, PhD

President’sMessage

President Florida Music Education Association

Make a Difference in Your COMMUNITY!

he future of music education and its holistic importance to society is par-

amount now, more so than ever before. The COVID-19 pandemic changed our

world but also provided a means for us to connect in a manner we all embraced.

Congratulations to all Florida music educators, their students, and those in each community for working through

the challenges of virtual, hybrid, and in-person instruction. Our teachers and the stories they’ve shared this past year

are incredible and unique throughout the

« Every Student Succeeds Act: Let’s Lift Every Voice « Student-Centered Instruction « Health & Wellness Awareness « Social Equity/Justice & Emotional Learning « Defining Our Role as Music Teachers for ALL Students « Join FMEA, It’s More Than a Conference « FMEA Wants to Know: Tell YOUR Story

My vision for FMEA is embedded in

various school districts. There is much

our overall mission statement, which is in

continued challenges with preparing for

for Music Education (NAfME) mission

we must do to support schools and their the beginning of fall instruction.

alignment with the National Association statement:

structure. We must meet students where

to advance music education by encouraging the study and making of music by and for all students.

multicultural state is unique and fos-

tor, I experienced firsthand the personal

needs. The challenges we faced this past

committed my entire life to making and

I plan to lead the charge in the Florida

Music Education Association (FMEA), reviewing our strategic plan and addressing the needs of members and their stu-

dents, to include diversity, equity, access, and inclusion within our organizational

they are musically and mentally. Our ters a critical understanding of student

year were unprecedented, and so many

individuals have been psychologically

affected. To this end, I have identified areas that will help galvanize our FMEA

members and unite us through building community relationships in the state and beyond.

Our theme is Unity in Music Education:

Building Communities One Note at a Time.

Some of the platforms and initiatives for

« Building Music Communities « Reimagining FMEA 2.0 the next two years include:

4 F l o r i d a

Music Director

As a young, developing music educa-

joy of making music, and now I have teaching music. I am completely aware of

the important role music plays in every

aspect of the culture in our diverse state. While the innate, non-teachable qualities

of the aesthetic experience are endowed to every human being, I know that music possesses many teachable attributes that will enhance this experience.

Music education is broad-based, which

We must continue to advocate for the

future of our students and the existence

of programs that are missing resources, curricular models, and infrastructure and music teachers in classrooms. FMEA will

remain on the cutting edge of profession-

al development and conference offerings that our members expect.

As I begin this journey, I am humbly

grateful to serve as president of FMEA, 2021-23. So many have served and estab-

lished our strong music education legacy

in Florida. Thanks again to Dr. Steven Kelly, who did an amazing job the last

two years as president, Dr. Kenneth Williams, who recently served as past

president, and Dr. Kathy Sanz for her

guidance. We welcome Jason Locker, our president-elect.

Finally, as a music educator, I believe

all students can learn. I believe there are obstacles that create barriers, but through faith, guidance, and love, anything can

be accomplished. As educators, it is our

responsibility to encourage students to maintain their focus. There is good in all,

and we are challenged to bring out the best in students each day we open our doors in the classroom.

“It Takes a Village ...” Let’s all work together building stronger

communities for all Florida music components.

Humbly submitted,

includes an open system of educating

the public as to the rationale for music in our schools. This process goes beyond

the concerts at the end of the semester.

Shelby R. Chipman, PhD, President

Florida Music Education Association

August 2021

2021-22 Board of Directors

Steven N. Kelly, PhD Past President

Jason Locker President-Elect

Kathleen D. Sanz, PhD FMEA/FSMA Executive Director

Ian Schwindt FBA President

Marc Decker, DMA FCMEA President

Joani Slawson FEMEA President

Lindsey Williams, PhD FMSA President

Laurie Bitters FOA President

Jeannine Stemmer FVA President

Alexis Hobbs Fl-NAfME Collegiate President

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

Chad Norton Member-at-Large

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Ex-Officio Members

Shelby R. Chipman, PhD President

Music Director

For information about the Florida Music Education Association, please call us at 1-800-301-3632. Executive Director.................. Kathleen D. Sanz, PhD Director of Operations........ Valeria Anderson, IOM Technology Director..............................Josh Bula, PhD Valerie Terry FSMA President

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

Public Affairs & Communications Coordinator...............................Jenny Abdelnour, CAE Marketing & Membership Coordinator................................ Jasmine Van Weelden Business Manager.................................. Carolyn Gentry

Committee Chairpersons

Sondra A. W. Collins Awards

Shelby Chipman, PhD Budget/Finance, Development

Debbie Fahmie Conference Counsel

David Williams, PhD Contemporary Media

Mary Palmer, EdD Emerging Leaders

Fred Schiff — Florida Corporate & Academic Partners

Bruce J. Green Multicultural Network

Scott Evans Professional Development

William Reaney Reclamation

Ed Prasse Secondary General Music

John K. Southall, PhD Conference Planning

Jeanne W. Reynolds Government Relations

William I. Bauer, PhD Research

Bernie Hendricks Social Justice & Diverse Learners

Michael Antmann, EdD Student Development

August 2021

Haley submitted the following essay with her application for the June M. Hinckley Music Education Scholarship. It appears here with minor editing and the addition of a headline.

Music Is for Everyone by Haley Fleischman

June M. Hinckley Music Education Scholarship Recipient

Choosing to pursue a future in music came naturally for

that learning music in his class was to be taken seriously

born; but ultimately deciding to become a music educa-

Mrs. Katie Hone Wiltgen, was able to strike that import-

me, as I have been drawn to music since the day I was tor was the result of the cumulative influence of my own exceptional music educators from my first week of kindergarten through my senior year of high school.

I remember my first week of elementary school like it

was yesterday. The building seemed so large, and I was

while still being fun. My youth bel canto choir director, ant balance between recognizing hard work and talent,

while making music accessible to all students interest-

ed in singing. I couldn’t help but want to practice and impress her.

My good fortune with amazing music teachers didn’t

anxious and afraid that nothing was going to make me

end there. It has continued through high school, where,

music classroom. I noticed all the instruments and music

under the incredible direction of Mr. Bradley Franks and

like kindergarten ... until I entered Mrs. Becky Berry’s

note stickers on the walls and instantly felt calm. Mrs. Berry welcomed us with her warm smile and bright sing-

song voice, and in that moment, I realized that kindergarten wouldn’t be so bad after all. I admired the way teach-

ing music seemed to make her shine from the inside out. I found myself regularly imitating her at home, teaching my music class of stuffed animals.

I was fortunate to have two equally incredible music

educators during middle school. My band director, Mr.

Nick Lenio, inspired me to conquer my young stage fright with his enthusiasm for performing in the community. I admired his natural way of conveying to his students

8 F l o r i d a

Music Director

for the last four years, I have had the privilege of singing

Mrs. Tina Gill. Mr. Franks is the kind of director who notices when you have put in the effort to improve your

singing skills. Nothing is more motivating than having an accomplished teacher like him acknowledge your hard

work. Mrs. Gill, who is my private vocal coach in addition

to my in-school director, has been one of my greatest musical inspirations. With a heart as big as her talent, she

takes pride in each of her student’s accomplishments and

has shown me by example just how rewarding teaching music to younger generations can be.

Music educators by nature are great people, and as

a student, I certainly have had the luck of the draw.

Together, they have all inspired me to become a music

educator. I got the chance a few summers ago to put these dreams to the test when I rose to a counselor position at

be sharing this musical mnemonic with my own children one day.

The social and emotional benefits of elementary music

the summer music camp where I had originally been a

education are undeniable. And the benefits only continue

teachers in this position, as I worked to gain my young

dle and high school. In elementary school music classes,

camper. I feel like I channeled a little bit of each of my

campers’ respect and inspire them to learn and perform a

medley of songs. It is my hope to continue to take a little

bit of each of them with me as I major in general music education at Florida State University and begin my career

as a music educator—perhaps one who inspires future music educators myself.

As a singer and a future music educator, I wholeheart-

edly believe that music should be available to all students.

Good schools and teachers realize the importance of helping students grow not only academically, but also emotionally and socially. They understand the role of arts

for students who elect to be involved in music during midchildren are given a creative outlet and the opportunity

to express themselves in ways that are not commonly practiced in the academic classroom, which naturally

helps build their self-confidence. When music teachers introduce singing in a round (think “Row, Row, Row Your Boat”), students must work together within their groups

to make sure they enter the round on time. This helps young children develop a sense of accomplishment and teamwork. All of these important skills carry over into other areas of a student’s life and into adulthood.

Middle school and high school can be a rollercoaster

education, and particularly of music education, in nurtur-

of emotions and experiences—making friends and losing

Students in schools without a music program are, quite

Invariably, students who choose to take music classes

ing students in all of these areas and in every grade level. simply, receiving an incomplete education.

During elementary school, music can be academically

beneficial in myriad ways. Early music activities such as learning a song with a simple repeating melody or

repeating a rhythm with a collection of fun classroom

percussion instruments builds pattern-recognition. From pattern-recognition, students learn to sequence and make

predictions and later apply this to logic in math. Early music education also enhances the skills of sound rec-

friends, confidence and insecurity, successes and failures. during these years cite their involvement in these class-

es as the thing that got them through. They could turn to their instrument or their voice, as well as their music peers, many of whom became lifelong friends, in times

of need. Their music classes and ensembles often became

a second family, and their music teachers and directors became mentors and advocates. This has certainly been my experience, and for this, I will always be grateful.

There are so many more reasons why music should be

ognition and the use of rhyme and rhythm, all of which

available to all students—enough to write a never-ending

skills, and to reading and writing achievement.

education without music is incomplete. Knowing that

contribute to the development of language and reasoning

Everyone knows how important memorization is

in education, from second-grade social studies, to sev-

enth-grade reading comprehension, to eleventh-grade SAT and ACT prep. Music helps memorization in the

most obvious of ways—we tend to better remember information presented in the form of a song. During kindergarten, my elementary school music teacher taught

my class to sing the 50 states in alphabetical order. This came in handy in my eighth-grade geography class, and today, I can still proudly recall (well ... sing) all 50 states

alphabetically. Classroom teachers also utilize the power of music as a memory aid, such as my ninth-grade algebra

teacher who taught my class the quadratic formula using the tune of the Addams Family theme song. I will definitely

book. For all of these reasons, I sincerely believe that an

there are schools that lack music and other fine arts pro-

grams, where students are not getting the same academic, social, and emotional benefits as their peers in other schools, breaks my heart. As we begin to return to school

following the pandemic, there are countless students who will need the comfort of music yet won’t have that oppor-

tunity. Within these schools, there may even be potential musicians deprived of the means to discover their passion and talent. As an elementary school music teacher, it will be my mission to ensure that all of my students get the

full education they deserve—one that is full of musical, academic, social, and emotional growth, one that nurtures

the discovery of their identities, and one that teaches them that music is for everyone.

August 2021

Timothy submitted the following essay with his application for the June M. Hinckley Music Education Scholarship. It appears here with minor editing and the addition of a headline.

Love of Music for a Lifetime by Timothy Schwindt

June M. Hinckley Music Education Scholarship Recipient

As a young child, I was always surrounded by music

listening to music can be a wonderful and fulfilling

I got older, my love for music was nurtured through

jazz, the saxophone soloist going crazy on the instru-

because my father was a high school band director. As listening and learning about composers, music history,

and the many different styles and approaches to music. When I joined the band in high school, I realized that it was so much more than just playing my instrument. It

was the place where I was surrounded by true friends

who supported one other and pushed each other to

strive for excellence every day. My father had worked

hard to create an environment where the band was more like a second family, and I want to build a program of my own that does the same. I want to be a high school music

teacher because I want to inspire others to have fun making music each day and have a love for music that they can carry with them throughout their lives.

One of the main reasons why I want to become a

music teacher is because I believe that performing and

10 F l o r i d a

Music Director

experience. The excitement that comes with listening to

ment, or the trumpets going screamin’ high, and feeling your body want to dance around from the excitement like you’re “too cool for school.” Or listening to Rimsky-

Korsakov’s Scheherazade, hearing each instrument using

its unique tone to create a new color to the music, and being able to see the pictures he was painting through his music. I look forward to having the opportunity to

introduce these feelings to my future students and show them how incredible and fulfilling listening to music can

be. I am also excited to teach young people about how music is put together and inspire them to look beyond

the notes and rhythms and dig deeper to convey the intentions of the composer.

Music can also be very interesting and thought-

provoking in the history that is behind each piece.

For example, a piece by Charles Mingus named Fables

help my students grow as individuals. Some of my best

Governor Orval Faubus for sending the National Guard

my friends in a concert band. The moments of panic

Faubus, written in 1957, was his way of criticizing into Little Rock Central High School to prevent African American children from entering an all-White school.

The piece expresses his anger and disgust with the gov-

ernor with its explicit lyrics of fear and the wailing of

saxophones and trumpets. Another example would be Bolero by Ravel, being one of his most popular pieces of all time. Interestingly enough, Ravel himself hated the

piece despite everyone’s praise of it because he thought it was too simple and any college student could write it. Finally, there is the composition Salvation is Created by Pavel Tschesnokoff, which was written for the Russian

high school memories are from spending every day with

when you forgot a pencil and your friend hands you one, the excitement of getting that new piece where your

section has all the solos, or the lighthearted jokes we make about each other when we make a silly mistake,

not to mention the time spent together during marching season. The time we would spend yelling at the top of our lungs in the stands for no reason, the blasting of fight

songs whenever our football team scores a touchdown,

the songs we sing in stands, and the time spent in sectionals trying to learn our music or drill better.

Throughout the school year, my band director wanted

Orthodox Church in 1912. However, before he could hear

us to be the best we could be while getting us fired up

performance of any religious music. Sadly, Tschesnokoff

our talents. He celebrated our successes by being our

it played, the Soviet Union outlawed the writing and

never got to hear his piece performed before he died, but thankfully it has survived, through the efforts of his family, and is still performed today. These fascinating

stories about why the composers created these pieces, in

addition to the sounds of the music, paint a vivid picture of what was happening in the world and how the people were feeling at the time each piece was written.

I believe that the opportunity to play music should be

offered to all students because it could lead them to dis-

covering their passion in life. Personally, I do not know

where I would be today if I did not have the opportunity to be in a music class. Outside of my music classes, I cannot find a subject that piques my interests the same way.

I have tried investing in other courses such as marine

about making music and blessing our audiences with

biggest fan and nurtured our growth by teaching us how

to work through the musical challenges that were laid before us. By teaching us how to achieve on our own, it

made finally getting that hard, technical passage perfect so much more satisfying. Being in band showed us how

to work as a team and to become better leaders as we got older. Whether it was through marching band lead-

ership or sitting first chair in concert band, skills such as teamwork, perseverance, and tenacity are cultivated with each rehearsal and can reach far beyond the music classroom or marching band field. This is the kind of

classroom environment that I want to recreate and also why I want to be a high school band director.

My ultimate goal is to be the type of band director

biology or forensic science, but neither leave me feeling

who instills a passion for music that creates lifelong lov-

students to give them the opportunity to explore new

how fascinating the many different styles and genres of

as fulfilled as music. Schools should provide music to all

possibilities so that they can make a thoroughly thoughtout decision regarding their future plans.

In addition, I want to create a fun classroom that will

ers and consumers of the arts, by introducing students to music can be, and by motivating them to be disciplined and to strive for excellence every day so they can achieve their personal and professional goals.

August 2021

12 F l o r i d a

Music Director

The Rationale for an

Interdisciplinary Music Program in Orchestra

by David J. Cruz

Have you considered how you might

disciplines. To best reach students and

tion of music with other disciplines”

provide a deeper understanding of the

provide a positive musical or vibrant

(p. 2). Additionally, the implementa-

music to your students or how you

experience, we should consider imple-

tion of an interdisciplinary approach

might promote a global and compre-

menting an interdisciplinary approach

may promote higher-level thinking,

hensive look beyond music perfor-

to music education.

collegiality, real-world application, transfer of learning, improved pro-

mance? Many music teachers tend to focus primarily on the final product

What is an interdisciplinary

ficiency, increased autonomy, and

and overlook the process’s importance.

approach?

increased initiative and motivation

Most of our students might not contin-

An interdisciplinary curriculum draws

(Ellis & Fouts, 2001). In summary, an

ue their formal music education at the

from various disciplines to encour-

interdisciplinary approach to music

collegiate level or become performers;

age diverse forms of knowing and

education brings exterior non-musi-

thus, the classroom experiences should

understanding, revealing social, his-

cal principles into the teaching of

lead to educationally vibrant experi-

torical, and aesthetic components of

musical concepts. An interdisciplinary

ences that students can recall through-

music-making (Barrett et al., 1997).

approach can turn into a large collabo-

out their lifetimes. Consider the pieces

The purpose of incorporating an

ration between various school depart-

you have connected with most; it is

interdisciplinary curriculum in music

ments or can easily manifest itself in

likely the director delved deeply into

education is to provide students with

expanding on a general background of

the historical and social background

meaningful experiences that allow stu-

the composer’s intent and background.

and made the composition relevant

dents to create connections and associ-

Regardless of the depth you choose

to you in preparation for the piece.

ations to real-world examples. Barrett

to take with each composition, I hope

Quality music has salient qualities that

(2001) explained that incorporating

you will recognize the value of this

facilitate this type of deep connection

an interdisciplinary approach allows

approach.

and allow students to make connec-

students to develop “deep understand-

tions outside of music and with other

ings on the intersection and interac-

Continued on page 14

August 2021

Interdisciplinary Music Continued from page 13

Photo by Maria Carvajal

Why does an interdisciplinary approach matter?

focus on a composer’s intent, musical phras-

interdisciplinary curriculum. When choosing

ing, and purpose.

repertoire, finding the right piece is very

Two years ago, my school orchestra collab-

Throughout the preparation, the students

important and should have a high interdisci-

orated with the art department in a perfor-

expressed an increased motivation to prac-

plinary quotient. Barrett (2006) advised that

mance of Pictures at an Exhibition by Modest

tice the piece at home because they under-

the interaction between music and other disci-

Mussorgsky arranged for string orchestra.

stood Mussorgsky’s musical ideas and, in

plines must be central rather than superfluous.

This piece is challenging, and certain move-

some cases, had a visual representation of

In the case of Pictures at an Exhibition, there

ments have dissonant harmonies that my

what the sound qualities represented. The

was high value between both disciplines of art

students tend to avoid. I was concerned that

increased motivation aligns with research

and music in addition to other non-academic

the piece was too difficult or that I would

that suggests that an effective interdisciplin-

traits of collaboration, friendship, and aes-

encounter resistance; however, to my surprise,

ary approach may increase student initiative

thetics. Both art and music students explored

the students embraced the experience and

and motivation (Ellis & Fouts, 2001). The

the music of Mussorgsky, the sketches created

made significant musical growth. The piece

Gnome movement became one of the most

by Viktor Hartman, and the realist portrait of

provided my students with the opportunity

preferred movements for both the orchestra

Mussorgsky by Russian artist Ilya Repin.

to create their own compositions based on

and art students and inspired a lot of the

Barrett (2006) recommended selecting a

artwork that art students at our school created,

students’ artworks. Perhaps the movement

composition that is related by inspiration or

and the art students created their artistic inter-

was so inspiring because of the difference in

historical evidence and that engages students

pretations based on our musical performance.

perception of what one might expect a move-

with music and the discipline. If these condi-

We attended a combined field trip to an art

ment called gnome to sound like and how it

tions are met, an interdisciplinary curriculum

gallery with the art students to learn about

actually sounds.

can be favorable in teaching musical concepts,

shared artistic expressions both visually and

Pictures at an Exhibition is rich with his-

developing musicianship, fostering a deeper

aurally, as well as other varied and collabo-

torical, artistic, and social qualities, making

understanding and value of music, building

rative experiences that enabled an increase in

it an accessible candidate for developing an

confidence and competence, and exploring

14 F l o r i d a

Music Director

connections beyond the scope of music and into the real world where things may not be

to accompany the various musical move-

interdisciplinary setting have the poten-

ments.

tial to be very successful as long as you

have the support of the other teacher(s)

compartmentalized, as they are in school

and select a piece that has relevant qual-

subjects (Barrett, 2001, 2006; Ellis & Fouts, 2001).

ities of equal importance to both dis-

Compositions With a High

increases student initiative and motiva-

Interdisciplinary Quotient and Recommendations

ciplines. An interdisciplinary approach

tion to practice beyond the classroom;

« The Planets by G. Holst:

develops an improved musical proficien-

cy; and improves students’ higher-level thinking and real-world application as

This piece is of value to music and

evidenced by an increased and deeper

science/astronomy, as well as Roman

engagement to the structural, contextual,

mythology.

Recommendation: Present a concert

and expressive qualities of music, the

performing these pieces and share the

arts, and related fields. I hope you will

similarities between the mythological rep-

consider implementing an interdisciplin-

resentation of the planets and facts about

ary project to help expand your students’

each planet.

understanding and tolerance of people outside of their music circle, challenge

them to find meaning, and encourage

Further Thoughts

them to seek further connections on a

I found that as a result of these interdis-

mission of lifelong learning and collabo-

ciplinary projects, the orchestra students

« The Nutcracker by P. Tchaikovsky: This piece is of value to music and dance students.

Recommendation: Present a collabo-

rative performance between the orchestra and the dance department. Music students can learn elements of ballet, and

dance students can benefit from musical

« Pictures at an Exhibition by training related to rhythm.

M. Mussorgsky: This piece is of value to music and art students.

Recommendation: Have art students

create original pieces for movements for

which there is no surviving artwork and then display them at a gallery where the

« Carnival of the Animals by C. piece is performed.

Saint-Saens: This piece is of value to music and potentially creative writing and/or zoology.

Recommendation: Present a collaborative performance at a zoo where students can recite poetry or short stories

ration.

began to think more globally regarding

their performance, developed a deeper

connection to the repertoire performed,

David J. Cruz is the middle

denced by their anticipation of the upcom-

Singapore American School.

school orchestra director at

and were more eager to learn, as evi-

He received the Bachelor of

ing year’s theme or collaborative partner.

Music in music education

Other salient elements of an interdisciplin-

and music therapy from the

ary approach were a general expansion

Frost School of Music at the

of world views and increased tolerance

University of Miami and a master’s degree in

and acceptance for different viewpoints.

music education at the University of Illinois at

A few months following our visit to the

Urbana-Champaign. Mr. Cruz holds creden-

art museum, I noticed some of my music

tials in Smithsonian Folkways World Music

students waiting in the hotel lobby gazing

and American Eurhythmics Levels I & II.

at the artwork on display. I approached

them and realized they were having a

References

conversation analyzing the artwork and

Barrett, J. R., McCoy, C. W., & Veblen, K. K. (1997). Sound ways of knowing: Music in the interdisciplinary curriculum. Schirmer Books.

asking each other what the artist’s inten-

tion might be and how that artwork might

Barrett, J. R. (2001). Interdisciplinary work and musical integrity. Music Educators Journal, 87(5), 27-31. https://doi.org/10.2307/3399705

sound musically. Immediately, I realized

that this intellectual conversation must have rooted from the work we engaged

Barrett, J. R. (2006). Highways and byways: Interdisciplinarity, teacher knowledge, and the comprehensive music curriculum. The Mountain Lake Reader, 24-37, 39.

in school throughout the curriculum, and

now the students were applying the lessons learned in school to their lives out-

Ellis, A. K., & Fouts, J. T. (2001). Interdisciplinary curriculum: The research base. Music Educators Journal, 87(5), 22-26, 68. https://doi.org/10.2307/3399704

side the classroom.

Overall, I believe collaborations in an

August 2021

Guidelines for a Successful Middle School Concert

by Devan Moore

The process of preparing for a concert is perhaps the most rewarding journey on which any ensemble conductor will embark. After watching your students

grow as musicians, you get to stand back and celebrate the fruits of your hard work. Conductors get so consumed in the preparation of the music that it is easy to forget about the logistics of the concert day itself. The excitement of the

day can exacerbate some of the natural feelings our students have when they

know the day has arrived. Based on my personal experience, I have developed

some guidelines to help directors prepare for that culminating performance experience.

Start on Time

As they say, life happens, but make it a point to start the concert at the adver-

tised time. The start can be some opening remarks or giving the actual first downbeat, but do start right on time. Showing your students and your audi-

ence (parents and family members) that you value their time will go a long way toward developing rapport. They have made it a priority to get their chil-

dren to the performance venue on time for you; the least you can do is ensure it was for a good reason. Also, being a director who keeps their word helps to reinforce your credibility. Plan for Efficiency

In a program where there are multiple ensembles and you want all of them

to perform on the same concert, you may want to consider expanding your

view of what the stage looks like. By setting the stage for the largest ensemble and having every other ensemble fit into that setup, you eliminate having to move chairs when transitioning between ensembles. Consider having one

ensemble exit in one direction while bringing the next ensemble in from the Continued on page 18

16 F l o r i d a

Music Director

August 2021

Guidelines for a Successful Middle School Concert Continued from page 16

opposite direction. Another way to be

bers for longer, but they are still learn-

bles away from the stage to eliminate lag

members are not musicians and have not

efficient is by highlighting small ensemtime between large ensembles. If you have a small ensemble that can perform during

the transitions, this is the perfect time to feature them. If you are fortunate enough to have a jazz band, this can be their time

to shine. Give the small ensemble/jazz

band its own setup away from the main performing stage to take the attention away from the chaos that usually occurs when moving beginner ensemble members to their seats and getting the more

ing and growing. Many of the audience

spent extensive time learning to be good audience members. We want to educate them on how to do that and give them

the opportunity to be successful at it. Exceeding an appropriate concert length for the level of literature being performed

can lead to restless students and audience

members. If you are keen on lengthening the program, consider adding student

soloists to add some variety to the concert.

advanced groups on stage.

Parental Involvement

way to be efficient with your concert

ents involved on concert day will increase

Using printed programs is another

time. Having a printed copy of the pro-

gram allows you to avoid introducing

every selection being performed. It also

allows you to recognize with a physical document every student who performed. Parents enjoy seeing their student’s name on a program, and it provides the students with a keepsake showing they were

a part of an organization. Printed pro-

grams are also physical documentation of the work you and your students do every

day. When it comes to advocating for your program, these documents can be useful in making your case.

Appropriate Concert Length

Make sure the amount of literature allows for the concert to end within a reasonable time. My philosophy is that a middle

school concert should not last longer than a class period normally lasts, no matter

how many ensembles are performing. My

Doing the necessary legwork to get paryour productiveness as you put the final

touches on preparing for the concert.

This will also significantly decrease the probability that you will be left to wait

on a parent after the concert is over. The

time between the end of the school day and the time of the concert can be crucial

in finishing last-minute details to ensure

a successful concert. Often, I had students who could not go home after school and needed to stay under my care until the

concert started. Having to supervise anx-

the beginning of the year helps to avoid

tion for the concert is always a challenge.

to get a piece of paper home to their par-

ious students while finishing the prepara-

This is where you get parents involved. Asking for parental help with monitoring students after school saved me on many

occasions. Coming to the realization that parents were willing and ready to help

when asked allowed me to use the time before the concert more efficiently.

In your preparation for the concert, be

goal is to be in and out within an hour

sure to send home notices that require a

goal. Most middle school class blocks are

are aware of pertinent concert details, such

or less. There are a few reasons for this 50 minutes long. That is how long your

students have been trained to focus and stay on task. That is not to say they can-

not perform and then be audience mem-

18 F l o r i d a

parent’s signature acknowledging they

always having to depend on the students ents. Parents appreciate being in the loop, and sending an email to remind them a

concert is coming soon will increase the odds that they will attend and that their

student will be prepared for the day. As you get closer to the concert, make phone

calls to parents of students who haven’t

responded. Doing your due diligence in

making sure parents are aware will make your life much easier in the long run.

as the stated date, required performance

Students Taking Ownership

will need for the day of performance. In

music they are performing at concerts;

attire, and any other items that students

my experience, setting up a listserv at

Music Director

Students should take ownership of the they must also understand that putting

things back in order is another important

does not have to take much time from the

rience. Taking these few suggestions into

Prior to the concert, have students assist

of the next piece to be performed adds to

in-person concert will help set you on the

way of taking ownership in the program.

with moving equipment and setting up

the performance space. After the concert, have everyone take something back to

the rehearsal space. Making sure all of the equipment is back in its correct place

to resume music making the next day is arguably one of the most important aspects of the concert.

Talk to Your Audience

As much as I personally dislike talking at

my concerts, this is the one time when I

path toward a stress-free and successful

the listeners’ experience, allowing them to

experience for all parties involved.

make a connection to the music. This also offers you an opportunity to mention any

important information parents should

Devan Moore is a doctoral student in music

mention upcoming fundraisers or things

University. Her teaching

education at Florida State

know. I would frequently take this time to

experience includes mid-

parents should be hearing their students

dle school and high school

practice at home. Building in time to talk

band and orchestra. She

to your audience also gives you an oppor-

has served as FBA district

tunity to invite your administrators to

chairwoman and secretary.

speak to them as well.

She serves on the FBA

These guidelines were extremely help-

have everyone’s attention. Taking the time

ful in making sure my concerts went

one for being there is a nice gesture that

their guests got the most out of the expe-

to welcome the audience and thank every-

consideration as you prepare for your next

music making. Saying a short description

Ethics Committee and is active as an adjudicator.

smoothly and ensuring the students and

August 2021

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August 2021

FLORIDA MUSIC EDUCATION ASSOCIATION 2020-2021 DONORS

Thank you to all of the donors who have shown their dedication to the improvement of music education in Florida by supporting our Mission through financial contributions.

Our donors support specific causes by donating to the FMEA funds of their choice: FMEA Scholarship Fund Music Education Advocacy General Fund

June M. Hinckley Scholarship Professional Development for Members Mel & Sally Schiff Music Education Relief Fund

The following have graciously donated to FMEA from April 1, 2020, through July 8, 2021.

MAESTRO’S CIRCLE $10,000 and up

No current donors at this time.

ARTIST’S CIRCLE $1,000 – $9,999

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SUSTAINERS $100 – $999

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Florida Music Director

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SUSTAINERS continued Jason Locker In Memory of June M. Hinckley Natalie Mallis Angel Marchese Carolyn Minear Ree Nathan In Dedication to Rosemary Caldwell Collins John Nista Kimberly Oppermann On Behalf of the Board of Directors of HCEMEC, Inc. Douglas Phillips In Memory of Dr. Bobby L. Adams & Mr. Lawrence W. Phillips, Jr. David Pletincks In Honor of Alexis & Jonathan Pletincks Jeanne Reynolds In Honor of Pinellas County Performing & Visual Arts Educators Mary Catherine Salo In Memory of Gary Rivenbark & Wes Rainer Steven Salo In Honor of John “Buck” Jamison & Dr. Bill Prince Kathleen Sanz In Honor of June M. Hinckley & In Memory of A. Byron Smith J. Mark Scott In Honor of Dr. Judy Arthur, Dr. Andre Thomas, & Dr. Judy Bowers; In Memory of Byron & Bobbie Smith on behalf of the Florida Vocal Association

Frederick Schiff Kathy Shepler D. Gregory Springer Harry Spyker In Honor of Fred & Marlene Miller Gregory St. Jacques In Honor of Bobbie & Byron Smith Jeannine Stemmer In Memory of Barbara Kingman & Lauren Alonso Valerie Terry Leiland Theriot In Memory of Clayton Krehbiel Robert Todd In Memory of Gary Rivenbark Richard Uhler Howard Weinstein In Memory of Barry Weinstein David Williams Kenneth Williams Anonymous (1) In Dedication to Steve & Mary Catherine Salo

PATRONS $25 – $99 Carlos Abril David Bayardelle In Memory of Matthew Jensen Mark Belfast In Memory of Dr. Mark A. Belfast, Sr. Karen Bradley In Memory of Harold Bradley Gordon Brock James Bruce Jamie Bryan In Honor of J. Mark Scott Katarzyna (Kasia) Bugaj Alexander Busby Stanley Butts

Tara Callahan In Memory of Kristin Y. Clark Audrey Carballo In Memory of Irwin Bernard Patrick Carney In Memory of Stephen & Sally Carney Greg Carswell Renee Cartee Carol Casey Shelby Chipman Zachary Chowning Blair Clawson

Don Coffman David Cruz Matthew Davis In Memory of Robert Morrison Nicholas DeCarbo Marc Decker Virginia Dickert

In Memory of Lindsay Keller & Deborah Liles

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In Honor of Ginny Densmore & Cliff Madsen

Debbie Cleveland

August 2021

PATRONS continued Deborah Mar In Memory of Barbara Kingman & Rosemary Collins Robert McCormick Jeneve Medford Jarvis Katie Grace Miller In Honor of My Aunt Artie Ronald Miranda Amy Nickerson In Memory of Carola F. Nickerson Mary Palmer Galen Peters Edward Prasse Marie Radloff In Memory of Charles F. Ulrey C. William Renfroe In Memory of Herbert Beam, past FVA President & my high school choral director Diana Rollo Alicia Romero-Sardinas In Honor of John Rose

Melissa Salek Ted Shistle John Sinclair Danielle Singer On Behalf of Judi Soto Kyle Spence Eddie Steadman In Memory of Janie Walker Mark Stevens Missy Tanton Dobson In Memory of Bobbie & Byron Smith Michelle Tredway Julian White In Dedication to Kenneth Tolbert Marguerite Wilder In Memory of Bobbie & Byron Smith Billy B. Williamson In Memory of Bob Maguire Richard Yaklich

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Anonymous (7)

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up to $24

Shirley Andrews Judy Arthur In Memory of Ray Kickliter Gloria Berkowitz In Memory of Judy Berger Crystal Berner Antonio Borges Dan Brockman Beth Ann Delmar Dennis Demaree Jodie Donahoo Christopher Dorsey Wanda Drozdovitch Ashley Espinal Ninabeth Frank Anna Marie Friars In Memory of Matthew McLaughlin

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DONATE TODAY FOR A STRONGER TOMORROW. With your support, FMEA will continue to grow its programs for teachers and students, strengthen united advocacy efforts, and improve your professional development opportunities. Visit FMEA.org to learn more information about each fund and to make a donation. 24 F l o r i d a

Music Director

ComponentNews W

hen I was younger, I used to lock myself in my playroom

and sing as loudly as I possibly could. I was a huge fan

of Bette Midler and any song from The Little Mermaid. In the eighth grade, I joined choir because one of my friends told me

FLORIDA VOCAL ASSOCIATION

Jeannine Stemmer, President

desire I see in the hearts of our members. We are ready to give guidance and to show love and support for our blossoming musicians.

Our summer conference, Silver Linings, was our first in-

the choir class went to Disney World. Although I always loved

person event since the pandemic began. We are thankful to

Some of my most lasting friendships came from that experience.

Dr. Tim Brent, Dr. Peter Steenblik, and Dr. Jeffery Redding and

to sing, a chorus class wasn’t on my radar until that moment.

Best of all was the guidance, love, and support I received from

my music teachers and mentors, such as Douglas McCall and Barbara Kingman, a huge advocate of FVA in her own right. In

choir, I learned that music not only speaks to one’s soul but also

creates community. What could be better than a community of music-filled souls?

My name is Jeannine Stemmer, and I am starting my 23rd

year teaching chorus at Florida Christian School in Miami. I

our wonderful clinicians, Dr. Judy Bowers, Dr. Amanda Quist, his UCF University Singers for inspiring us as we continue to

move forward. We were able to celebrate 50 years in music edu-

cation for our very own J. Mark Scott, and we are blessed to be able to fill his shoes with the incredible Michael Dye. On behalf of your FVA Executive Committee, we are looking forward to having all of our events this year. I am sure there will be questions and challenges, but we will cross those bridges together.

Be on the lookout for information from your district chair-

am a proud member of FVA District 16, and I now get to be the

person regarding all-state auditions. The All-State Omnibus,

past president, Jason Locker, and executive director, J. Mark

guide for the all-state process.

president of this amazing organization. In the last year, our

Scott, thought outside the box and kept our community afloat. Yes, we have missed making music and seeing each other in

person, yet there is something magical about the energy and

prepared by our all-state chairman, David Verdoni, is a helpful

I am so excited about this wonderful board! My hope is you

will see the beautiful hearts of true servant leadership. I am humbled to be a part of this community.

The Florida Music Education Association values the broad human diversity in the state of Florida. We are distraught and frustrated by the continued injustice and violence toward Black people in our country. Social inequality and violence, in any form, must not be tolerated in our nation. FMEA sees, hears, and supports the struggles of our teachers and students in the Black community. We are with you, and together we can and will do better to end discrimination while advocating for equality.

August 2021

ComponentNews I

FLORIDA MUSIC SUPERVISION ASSOCIATION

Lindsey R. Williams, President

am the K-12 performing arts curric-

working through, and at times surviving,

pandemic world. We had to teach many

Public Schools, and I am honored and

the most basic processes became chal-

that posed a host of new issues, not the

ulum specialist for Seminole County

humbled to begin my tenure as presi-

dent of the Florida Music Supervision Association. My teaching experiences

range from traditional K-12 music settings to university teaching to working with senior adults. I have had the opportunity

making music during a pandemic. Even

lenging and exhausting for our students,

teachers, and families. As we prepare to

return to our classrooms this fall, many of us may have “feels” we have not felt in years.

Now that we have had some time to

to work with myriad ensembles across

rest and recuperate from what was easily

I have experienced, the more I have to

of my 25 years of teaching, I can’t help

the globe, and I’ve found that the more

learn. This is particularly clear to me as I

visit the amazing artist-educators during my work in my home county.

To me, there’s nothing quite like the

sights, sounds, and energy of a new

school year. This year perhaps even more so. We have just spent the past 18 months

the most bizarre and challenging year

but marvel at how much we were able

to accomplish in less-than-ideal circum-

stances. We all had to reconfigure and reframe how we approach the develop-

ment of fundamental skills and concepts due to the circumstances of working in a

students solely through distance formats

least of which was the students’ ability to be seen and heard … or not. And yet,

there were many instances throughout

this past year when I was brought to tears simply by the beauty that was created by

a group of students and their teachers

because our teachers and students found

ways to cope and succeed. Hearing a beautifully shaped phrase, a pure vowel,

or the joy present in young people simply making music together is meaning-

ful, and its essence cannot be dampened by such things as masks, odd seating arrangements, bell covers, instruments completely encased in bags, and significant limitations on how and where we teach, rehearse, and perform.

If teaching through this pandemic has

FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION

Marc Decker, DMA, President

revealed anything, it is there are ample instances when our students can learn

meaningful skills and concepts with independence. Finding ways to trust our stu-

dents and provide opportunities for them

fcmea.org to stay up-to-date on the association’s newest endeavors, minutes

musicianship. We also found times when

elcome back! I hope you all had a wonderful summer and are excited for the new school year. I have a lot of news to share with our mem-

bership. FCMEA has joined the modern age with our very own website! Visit from previous meetings, member spotlights, and upcoming events. Thanks to our president-elect, Dr. Sandy Adorno, for creating the site and serving as our webmaster.

I’m pleased to announce our newest means of supporting the membership:

to take ownership of both the preparatory

process and in performance is an important part of the journey to independent

they really needed our guidance and support to facilitate meaningful and lasting learning.

As we embark on this new begin-

the FCMEA Creative Explorations Grant. This grant is designed to offer finan-

ning, let’s hang on to the valuable lessons

ors. This includes traditional research, performing, producing recordings, and

months: the creative and efficient assess-

cial support to members of the association who are pursuing creative endeavmore. The deadline for application is November 1, and the grant will be awarded in January 2022. Learn how to apply on our new website.

Save the date: Our next association meeting will be held October 24, 2021,

3 p.m. at Southeastern University. This meeting coincides with the Florida

NAfME Collegiate Fall Conference, which is an important professional development opportunity for our students. If you can’t attend in person, don’t worry. The FCMEA meeting will be streamed. Stay safe and teach well!

26 F l o r i d a

Music Director

and skills we developed over the past 18 ment procedures, increased digital fluency, delving into new delivery platforms,

and finding new approaches to what and how we teach, along with the reminder that we all benefit from being together in

our music communities. Welcome back

and let’s all be grateful for the opportu-

nities we have with our students to make our world a more beautiful place.

FLORIDA NAfME COLLEGIATE

Mark A. Belfast, Jr., PhD, Advisor

hope you had an absolutely wonderful, restful, and productive summer vaca-

tion. I must say it was nice to get out for a bit and see more and more social

activities regaining a bit of normalcy. I bought a bike and had a great time riding around and goofing off with my son. I also enjoyed experiencing the return of

2021-22 FMEA Membership:

As we reach the end of the summer, there is much for us to be excited about.

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.

face-to-face instruction for performance classes. The K-12 music teachers in your

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

summer music camps. There’s nothing quite like bucket drumming to get the blood flowing first thing in the morning!

Elementary and secondary schools are back in session, and most have returned to district deserve an award for the Herculean effort they demonstrated last school

year. What can your Florida NAfME Collegiate chapter do this year to show your appreciation for the amazing teachers in your area?

On October 24, we will see the return of the Florida NAfME Collegiate Fall

Conference. Mark your calendar now! This year, the conference will be held on the campus of Southeastern University in Lakeland. Start planning a road trip

SUBSCRIPTIONS:

with your chapter members today! Your Executive Board has invited an incredible

Direct correspondence regarding subscriptions to:

I hope to see you all at SEU on October 24.

Hinckley Center for Fine Arts Education 402 Office Plaza Tallahassee, FL, 32301-2757

slate of presenters, so you won’t want to miss it. Details will be forthcoming, but

As always, please do not hesitate to contact me, or any member of the Florida

NAfME Collegiate Executive Board, if we can assist you in any way. Enjoy your last couple weeks before the fall semester begins. Be safe, well, and blessed.

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:

FLORIDA NAfME COLLEGIATE

Alexis Hobbs, President

he Executive Board and I are excited to announce that our 2021 Fall

Conference will be in person! Our conference theme is Looking to the Future

and will be held October 24, 2021, at Southeastern University in Lakeland, Florida. We have a fantastic lineup of sessions and performances! More information will be sent out soon.

Make sure to check out our podcast, Music Talks: Discussions on Music

Education and State of the Arts report. Our next episode is titled “Surviving the Internship and the Interview.” The next State of the Arts report will be released

in early August and will consist of resources for chapters as we start this new school year.

Our website, flnafmecollegiate.com, is getting a makeover. Planning to release

August 30, 2021, our website will now include chapter resources, collegiatefocused professional development, and our new forum, Collegiate Connections.

As we return to school, please reach out to the Executive Board if you have any

questions or concerns. You can reach us via email at flnafmecollegiate@gmail. com. We are here to serve you.

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

SUBMISSIONS:

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.

August 2021

ComponentNews M

FLORIDA BANDMASTERS ASSOCIATION

Ian Schwindt, President

any of us have come to define

these goals at the level many of us were

grams at the 2019-20 benchmark levels, we

enrollment, grade level of concert music,

a culture over time results in student

important) our students. Instead, our stu-

our programs and our careers by

number of marching sets, solo and ensem-

ble participation, number of students in all-county or all-state, and/or ratings at

MPAs. And while all of these measure-

ments may be valid, they are secondary

to our real goal as educators—to facilitate

enjoying before the pandemic. Building buy-in, and that student buy-in finally

leads to tangible results. Yet looking at 2021-22, many of us are back at the building culture stage in many aspects of our programs.

Benchmarks (goals) are important for

student growth as musicians and people.

all of us to have as an integral part of our

by the tangible items above, the truth is

rethink where those benchmarks are set.

While that growth can often be measured it takes years of investment to achieve

curriculum. It may be that we need to If we try to measure our 2021-22 band pro-

are not being fair to ourselves or (more dents need us to remember that growth

is the goal, not achievement of the (sometimes arbitrary) measuring sticks. What

is in front of you today? Based on your experience as a music teacher, how far can

and should the students in your program go? If the students play at a grade 2 level, then we need to rejoice when they reach grade 3 and not be disappointed because

FLORIDA ORCHESTRA ASSOCIATION

Laurie Bitters, President

reetings, everyone, and welcome back! I hope your

FLASTA Fall Conference to be held at the Hilton Orlando on

for the 2021-22 school year. To say this past year has been

Newbold and Brenda Brenner. Attending this conference is a

summer was restful and rejuvenating as we prepare

challenging would be an epic understatement. For many of us, this will be a time of rebuilding and reenergizing our

programs. Participating in the FOA/FMEA-sponsored activ-

ities is a great way to meet fellow orchestra teachers and

glean new ideas. As I enter my first year of service to you as president, I am amazed at the incredible commitment of FOA

September 23-24. Our keynote speakers will be Soon Hee wonderful way to obtain teaching ideas and to network with fellow educators in a relaxed atmosphere. Be sure to check out

the exciting sessions being offered. Registration information is included in this edition of Florida Music Director and on our website.

Another way to get involved is to participate in the all-

to empowering our members and students statewide. This

state adjudication on Saturday, October 23. Breakfast and

board members. Thank you for your commitment to serve

you insight into the level of preparation invested in these

cannot be done without the outstanding work of our FOA our association.

As you prepare for the new school year, please review the

upcoming registration deadlines. FMEA/NAfME/FOA mem-

lunch will be provided. Listening to the recordings will give

auditions. Please contact your district chairperson if you are interested in participating in this activity.

Please stay involved and informed in your district by

bership dues need to be postmarked by September 11. All-

attending your district meetings, starting soon! If you do not

FMEA website (FMEA.org) or the FOA website (myfoa.org).

I would like to welcome our new teachers to the profession

Check with your district chairperson for the recording date

support. I know the beginning of the year seems daunting,

state registration/eligibility information can be found on the

The all-state recording window is September 26 to October 2. in your district. In addition to your FOA/FMEA dues, please ensure your FSMA dues are paid so your students are eligible to participate in MPAs this year.

I encourage each of you to get involved with our associ-

ation. One way to participate is by attending the 2021 FOA/

28 F l o r i d a

Music Director

know your district chairperson, visit our website (myfoa.org).

and encourage you to reach out to your peers for insight and but I wish you the best in your new school year. Enjoy your

students and your classroom. Share your love for music through all that you do with your students. We can never

anticipate how what we do or say will impact their lives or even our own! I hope to see you soon.

FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION

Joani Slawson, President

former students were at grade 5 at the same point in the year. If we currently

have 24 students in front of us, we need to be ready to get excited when that number

becomes 30, and not lament the fact that it used to be 50. If your students are playing at a “fair” level, then get ready to high-

five every kid twice when they reach an

“excellent” level, and not chastise them

because your students in the past played at a “superior” level.

I desperately want to tell you that

what we are discussing is going to be easy, and for those of you with maturity, experience, and intelligence, this may be a breeze. As I am not one of those people,

I KNOW it is going to be a STRUGGLE for me. Yet when I really examine why this will be a struggle for me, so much of it is rooted in my own ego. But it should

never be about me; it must be about the

students. If I am truly focused on each student as an individual, it becomes easier to focus on each one’s growth, and not

on benchmark achievements. And that is truly our job, passion, ministry, and purpose. As Dr. Jim Croft always said, “Our

trophies are not pieces of metal and plastic collecting dust on shelves, but instead they are the students that fill the chairs in front of us.”

I am going to strive to remember those

words this year more than ever, especially

if my tangible measuring sticks do not

seem to be at the same level as before. I

invite you to join me in this endeavor and remember that all of us are on the same journey. We must encourage and support each other as we transition out of our old mindsets that focused on previous bench-

mark achievements and focus instead on student growth goals. If we keep student

development both as players and as peo-

ple as our number one goal, this year will

truly be one of unprecedented growth in all of our programs!

have always known what tremendous people the Florida elementary music edu-

cators community consists of, and yet this past year I saw even more examples of

amazing acts of kindness, professional camaraderie, wonderful lessons, and hope

in a difficult time. You are truly an inspiration to me, and it is an honor to serve as your president.

We are now moving forward into a time that we hope will feel more normal and

back to music making as we have known it. As we enter this school year, I hope every music teacher will take the time to reflect on what we have learned and to embrace

ideas that were successful during the pandemic. I for one know that the play-a-long videos I used last school year will become a permanent part of my curriculum. The FEMEA Board is here to serve you, so please feel free to contact us.

President................................. Joani Slawson (joani@femea.flmusiced.org) President-Elect...................... Ashley Peek (ashley@femea.flmusiced.org) District 1................................. Pauline Latorre (district1chair@femea.flmusiced.org) District 2................................. Dorothy Yorty (district2chair@femea.flmusiced.org) District 3................................. Meghan Alfaro (district3chair@femea.flmusiced.org) District 4................................. Sydney Johnson (district4chair@femea.flmusiced.org) District 5................................. Jacob Reedy (district5chair@femea.flmusiced.org) District 6................................. Shannon Stem (district6chair@femea.flmusiced.org) District 7................................. Sherry St. Petery (district7chair@femea.flmusiced.org) District 8................................. Luis Rios (district8chair@femea.flmusiced.org) I am excited to welcome the new all-state coordinators, who have been hard at

work updating the all-state process. All-State Chorus

Coordinator............................ Alex Gartner (allstatechorus@femea.flmusiced.org) All-State Chorus

Coordinator............................ Ruthie Antmann (allstatechorus@femea.flmusiced.org) All-State Orff

Ensemble Coordinator........ Lisa Hewitt (orff@femea.flmusiced.org) All-State Orff

Ensemble Coordinator........ Rosemary Pilerno (rosemary@femea.flmusiced.org) The changes in the all-state process resulted from insightful feedback gathered

from FEMEA members and the FEMEA Executive Board. We also believe this is the first step in creating a more culturally relevant audition process that will create equal access for all students.

I am excited to hear from you this year, so please be on the lookout for a series of

coffee chats hosted by me and our president-elect, Ashley Peek.

August 2021

CommitteeReports

EMERGING LEADERS COMMITTEE

Mary Palmer, EdD, Chairwoman

hirty FMEA Emerging Leaders, representing 13 counties from through-

out Florida, were selected for 2021-22. Our

annual Drive Into Leadership Conference,

offered via Zoom, included a fantastic array of inspiring leaders from all corners

« Dr. Steve Kelly (FSU professor and

of Florida:

FMEA immediate past president) spoke about his points of pride during

« Dr. Kathy Sanz (NAfME immediate these unprecedented times.

past president and FMEA executive

director) shared insights on the state of music education in our state and

« Dr. Jeffery Redding (2019 Grammy nation.

Award-winning music teacher and UCF director of choral programs) provided tips for building community

« Dr. Shelby Chipman (FMEA presi-

with legislators and other deci-

woman) emphasized the opportunity

Unity in Music Education: Building

is essential to a complete education; she stressed that these conversations

for FMEA Awards in many areas.

within the music classroom.

sion-makers about why arts education

dent and FAMU professor of music)

shared his vision for the future:

« Scott Evans (Orange County Public Communities One Note at a Time.

Schools senior director, visual and

performing arts) shared The Place for You, inspiring messages from music

need to take place NOW in order to

« Carlos

impact the coming year.

« Jeanne

the other arts) in their schools.

Reynolds (FMEA advoca-

cy chairwoman and former Pinellas County Schools arts resource teacher)

Florida Music Director

11, 2021.

Special thanks to everyone who nomi-

nated our 2021-22 Emerging Leaders! Our

getting to know your legislators and

Committee: Scott Evans, Debbie Fahmie,

involving your students in advocating

« Debbie Fahmie (FMEA awards com-

emphasized the importance of talking

Nominations are due on September

House of Representatives, arts advocate) emphasized the importance of

graduates and professionals encouraging students to get into music (and

Guillermo Smith (Florida

to nominate outstanding candidates

for arts education.

mittee past chairwoman) and Sondra

Collins (FMEA District 5 chairwoman and FMEA awards committee chair-

deepest thanks to the Emerging Leaders

and Malissa Baker (middle school music teacher).

Make 2021-22 the BEST year ever!

Please plan NOW to attend the FMEA

Professional Development Conference, January 12-15, 2022.

AWARDS COMMITTEE

Sondra A. W. Collins Chairwoman

“For there is always light. If only we’re brave enough to see it. If only we’re brave enough to be it.” – Amanda Gorman

riends, welcome back to another new school year! The past year and a half

of pandemic education has been a whirlwind of visionary thinking, creative solu-

ognition, but also prove the importance of music education in all schools to all those decision-makers in our education world.

Your active involvement in the nom-

tions, unique programming, and innova-

ination process ensures that FMEA rec-

Florida schools. And this new school year

throughout our state. The deadline for all

tive music education for all students in all will be no exception. Though we do not

really know what music education will look like this school year (yet again!), we

do know there is light. We must only be brave enough to see it and then be it for our students.

Please remember as you start this brave

new year that the FMEA award nomi-

nations are open! We want to recognize

ognizes the most deserving individuals

categories (except the Music Education Service and the Music Enrollment Awards) is September 11, 2021. All applications

are completed and turned in online. I know you have some outstanding poten-

Leadership Award for Music Education

and sphere of influence. Please take the

Music Educator of the Year

tial awardees in your component, district, opportunity to recognize them.

The two categories that are typically

the heroes among us who have been “the

self-nominated are the Music Enrollment

light on those who have demonstrated

which are due November 5, 2021.

light” this past year. We want to shine a

visionary thinking, resiliency, positivity,

and the Music Education Service Awards, Please check the FMEA website for

innovation, and a collaborative spirit. We

details about the awards and nomina-

persevered through a constantly chang-

awards/.

want to hold up and empower those who ing year of music education and contin-

FMEA Awards Categories

tion process: https://fmea.org/programs/ Your Awards Committee is so excited

College Music Educator of the Year Administrator of the Year Superintendent of the Year District School Board/ School Board Member of the Year

ued to be the light for their students and

to receive nominations of individuals who

Distinguished Service Award

gories and consider nominating anyone in

and who have been brave enough to be “the light” in this past pandemic year of

Exemplary Model Program/Project Award

plary) music education. There is no better

Hall of Fame

music educators, music leaders, and music

Middle/High School Music Enrollment Award

others. Please check over the award cateyour sphere who has embraced opportunity in a changed world.

Your FMEA Awards Program offers

several awards in recognition of the efforts and accomplishments of music educators (elementary, secondary, and collegiate), school administrators (elementary

and secondary), superintendents, school board members, school boards, business partners, music education leaders, music

have been brave enough to see “the light”

very different (and yet also very exemtime than now to hold high these amazing advocates and what they have done to, not

just maintain, but create new and innova-

tive music education for all students in all Florida schools.

If you have any questions about the

advocates, music programs, and music

FMEA Awards Program or the nomi-

contributions to music education. These

contact me. Best wishes as you embark

projects that have made outstanding

exemplary model music educators, music

advocates, music leaders, and music programs and projects not only deserve rec-

Music Education Service Award (Includes 50-Year Membership Award)

nation process, please do not hesitate to upon this new school year. Please do not

ever forget to be brave enough to see the light and brave enough to be the light!

August 2021

ResearchPuzzles FOR MUSIC TEACHERS

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

Music Teachers’ Well-Being:

The Pandemic and Beyond

s we emerge from the pandemic and move forward in

items related to the participants’ (a) demographics, (b) well-

with you the results of two recent research studies that have

impact on the music education profession, and (e) views on the

our personal and professional lives, I’d like to share

documented the impact of the pandemic on the well-being

of music teachers. The first study gathered data from music teachers during spring 2020, the second in fall 2020. Both

studies were conducted by a team of researchers that included Dr. Kelly Parkes (Teachers College, Columbia University),

Dr. Peter Miksza (Jacobs School of Music, Indiana University),

pandemic’s impact on student learning. As part of the ques-

tionnaire, we used two established measures to assess wellbeing (PERMA Profiler; Butler & Kern, 2016) and depression

(Depression, Anxiety, and Stress Scale-DASS-21; Lovibond & Lovibond, 1995).

We found that the study participants had serious mental

Dr. Joshua Russell (The Hartt School, The University of

health challenges during the early months of the pandemic,

the effect of the pandemic on music teachers and the instruc-

and significantly higher levels of depression than published

Hartford), and me. The findings not only provide insights on tional process but may also have implications about the well-being of music teachers now and in the future.

Music teaching is a stressful profession, arguably more

stressful than teaching in other disciplines (e.g., Hamann &

Gordon, 2000; Hedden, 2005; Scheib, 2003). In March 2020, the researchers who conducted these studies were experiencing a variety of pandemic-induced stressors in their own profes-

experiencing significantly lower levels of overall well-being norms. Participants also reported that their teaching efficacy

decreased during spring 2020, with PK-12 teachers reporting greater losses than educators in higher education. All participants believed their students’ learning had been hampered because of the pandemic-induced disruptions. Study #2

sional lives and were interested in learning to what degree

In our second study (Parkes et al., 2021), we wondered about

the well-being of their PK-12 and collegiate music teacher

in fall 2020, especially considering the concerning results

these and other pandemic-related factors were impacting colleagues. Well-being can be defined as “the experience of

health, happiness, and prosperity. It includes having good mental health, high life satisfaction, a sense of meaning or purpose, and ability to manage stress” (Davis, 2019). The

following is a brief overview of each study. Readers who are interested in further details are encouraged to read the published journal articles (Miksza et al., in press; Parkes et al., 2021) that describe the research. Study #1

The purpose of our first study (Miksza et al., in press) was

to describe elementary, secondary, and collegiate music

music teachers’ well-being as they began a new school year

found during our study from the previous spring. We were also interested in teachers’ perceptions of the impact of the

pandemic on specific aspects of their teaching environment,

resources, and pedagogy. Our participants were 1,325 members of NAfME. We once again used the PERMA Profiler and DASS-21 instruments to measure the teachers’ well-

being. Supplementing this were questionnaire items related to (a) demographics, (b) instructional format under which they were teaching, (c) the professional development they’d received related to safety and teaching online, and (d) their experiences teaching in their situation.

As in the prior study, participants’ well-being scores were

teachers’ perceptions of the pandemic’s impact on their

significantly below published norms; the scores were also

gathered data via an online questionnaire from 2,023 music

2020 study. In other words, participants’ well-being was

instructional practice and well-being during spring 2020. We teachers who were members of the National Association

for Music Education (NAfME). The questionnaire contained

being, (c) teaching efficacy, (d) beliefs about the pandemic’s

Florida Music Director

significantly lower than those of the participants in the spring

lower, and level of depression was higher than the sample of teachers from the first study; teachers’ well-being had

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

continued to decrease. While the teachers participating in the

can use to future benefit. First, music teaching can be stressful

the same population (NAfME membership). Interestingly, we

stand how they can maintain a healthy well-being. School

two studies weren’t all the same people, they were drawn from

found that more experienced teachers tended to have higher positive emotion scores, perhaps indicating they believed the challenges of the pandemic would eventually subside, as had

other challenges they’d faced during their careers. In addition, orchestra/string teachers reported better health than other

music teachers, perhaps because the nature of string pedagogy

was less impacted by concerns over spreading the COVID-19 virus via aerosols, a major concern for wind instrument players and singers.

Only 16.7% of the teachers began the school year teach-

ing exclusively face-to-face, with everyone else providing

instruction either fully or partly online, a real challenge giving the performance-based nature of many music learning

outcomes. Approximately 12.5% of the teachers were tasked with teaching online and face-to-face students simultaneous-

ly, a process sometimes referred to as HyFlex teaching. Most

of the teachers reported less than five weeks of notice about

under the best of circumstances, and teachers need to underadministrators need to assist with this, and professional devel-

opment opportunities should be provided. Second, during the pandemic, instruction often became more focused on the

development of individual student musicianship since traditional group performance outcomes were often not feasible.

Music teachers should consider how more student-centered approaches to music learning might not only benefit the

short- and long-term musicking of students but also how they ultimately might prove to be advantageous to overall goals for ensembles. Finally, because they had no choice but to teach online, many music teachers received a crash course on using

technology as a tool to facilitate music learning. Perhaps some

of the approaches and strategies utilized could continue, supplementing and enhancing more traditional music education pedagogy.

References

which instructional approach they needed to prepare to use.

Butler, J., & Kern, M. L. (2016). The PERMA-Profiler: A brief multidimensional measure of flourishing. International Journal of Wellbeing, 6(3), 1-48. https://doi:10.5502/ijw.v6i3.526

the teachers after the school year began; typically, they had

Davis, T. (2019). What is well-being? Definition, types, and wellbeing skills. Psychology Today, Retrieved from https://www. psychologytoday.com/us/blog/click-here-happiness/201901/whatis-well-being-definition-types-and-well-being-skills

The mode of instruction changed for approximately 60% of about a week to prepare for this conversion. Almost three-

fourths of the teachers indicated they received short-term

professional development during the summer to help them

develop their understanding of areas such as (a) general–52% and music-specific–30% technologies, (b) their own wellbeing–8.5%, (c) COVID-19 safety–4.6%, and (d) social justice

issues–3.6%. Most participants felt they were treated similarly

Hamann, D. L., & Gordon, D. G. (2000). Burnout: An occupational hazard. Music Educators Journal, 87(3), 34-39. https://doi. org/10.2307/3399661 Hedden, D. G. (2005). A study of stress and its manifestations among music educators. Bulletin of the Council for Research in Music Education, 166, 57-67.

teaching in another subject area. On a positive note, some of

Lovibond, P. F., & Lovibond, S. H. (1995). The structure of negative emotional states: comparison of the Depression Anxiety Stress Scales (DASS) with the Beck Depression and Anxiety Inventories. Behaviour research and therapy, 33(3), 335-343. https://doi. org/10.1016/0005-7967(94)00075-u

with individual students and that at least some students were

Miksza, P., Parkes, K. A., Russell, J. A., & Bauer, W. I. (in press). The well-being of music educators during the pandemic spring of 2020. Psychology of Music.

to faculty colleagues in the school, and some reported having to help with other school needs such as lunch duty or even

the participants felt they were developing better relationships

benefitting from an increased emphasis on individual musicianship; traditional group performance outcomes were not possible.

Future Directions

As we begin to move back into more familiar class and

rehearsal settings, there may be things learned during the pandemic about music teachers and music teaching that we

Parkes, K. A, Russell J. A., Bauer, W. I., & Miksza, P. (2021). The wellbeing and instructional experiences of k-12 music educators: Starting a new school year during a pandemic. Frontiers in Psychology, 12, 701189. https://doi.org/10.3389/fpsyg.2021.701189 Scheib, J. W. (2003). Role stress in the professional life of the school music teacher: A collective case study. Journal of Research in Music Education, 51(2), 124-136. https://doi.org/10.2307/3345846

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

August 2021

ExecutiveDirector’sNotes

Welcome to the 2021-22 School Year! FMEA Executive Director Kathleen D. Sanz, PhD

(CDC) has released new fall 2021 guidance for

law include 18 that reference education.

Music Education

FMEA, along with the Florida School Music

Association is to

Association

comprehensive music Florida schools.

April. Governor DeSantis has acted on the bills that

bills and vetoed bills. The bills that he signed into

of the Florida

education in all

COVID-19

The 2021 Legislative Session concluded at the end of were passed by the Legislature. The governor signed

The mission

promote quality,

Legislative Session/Government Relations

and

the

Florida

Art

Education

The U.S. Centers for Disease Control and Prevention schools. While the federal guidance is not mandatory for states and districts, it is likely to influence school

district administrators and school boards. FMEA is being diligent about reviewing these guidelines.

The July, 9, 2021, guidance by the CDC can be

Association, has posted a report from our lobbyists

accessed here:

and failed for the 2021 session.

munity/schools-childcare/k-12-guidance.html#an-

on the website with summaries of bills both passed We will again ask for sponsors to file the Florida

Seal of Fine Arts, which will provide for recognition

https://www.cdc.gov/coronavirus/2019-ncov/comchor_1625661937509

In addition, guidance from the National Association

of high school students who are enrolled in specified

for Music Education (NAfME) and the National

their graduation diploma.

suggestions specifically for school music programs.

fine arts programs by providing a designation on The 2022 Legislative Session will begin on January

Federation of High School (NFHS) also has provided

11 and is scheduled to end on March 11. Committee

Professional Development Opportunities for

bills filed this summer. Please look for communica-

The 2022 FMEA Professional Development and All-

meetings will begin in September, so there will be

tion from FMEA with calls to assist us in reviewing proposed legislation. If you have any questions about

the bills as they move through the process, please call Kathy Sanz at the FMEA office.

2022 LEGISLATIVE SESSION KEY DATES INCLUDE:

January 11, 2022 – Regular Session convenes at 12 noon Eastern, deadline for filing bills for introduction

Members

State Concerts’ theme is Unity in Music Education: Building Communities One Note at a Time. We’re looking

forward to Dr. Shelby Chipman’s leadership for this

conference. Registration will open in September, and

we look forward to coming together January 12-15, 2022, face-to-face in Tampa.

The Professional Development Committee will

continue to host online opportunities for teachers. Please check regularly on our website for these enlightening learning events.

The Florida School Music Association (FSMA)

February 26, 2022 – Motion to reconsider made and considered the same day

hosted a Leadership Symposium July 18-21 to assist

March 1, 2022 – 50th day – Last day for regularly scheduled committee meetings

components FBA, FOA, and FVA.

March 11, 2022 – 60th day – Last day of Regular Session

in developing up-and-coming leaders for secondary

As we continue the 2021-22 school year, let’s con-

tinue to work together to maintain safety for teachers, students, families, and our communities.

Kathleen D. Sanz, PhD

Florida Music Director

�

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

Officers and Directors

EXECUTIVE BOARD President

Shelby Chipman, PhD

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

Steven N. Kelly, PhD

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

Jason Locker

Orange County Public Schools 445 W. Amelia St.; Orlando, FL 32801 (407) 317-3200; jasonlocker@fmea.org FBA President

Ian Schwindt

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

Marc Decker, DMA

Florida Atlantic University 777 Glades Rd.; Boca Raton, FL 33431 (561) 297-3883; deckerm@fau.edu FEMEA President

Joani Slawson

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

Alexis Hobbs

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

EX-OFFICIO MEMBERS

FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION

Historian/Parliamentarian & Executive Director....................................................Kathleen D. Sanz, PhD Hinckley Center for Fine Arts Education 402 Office Plaza Dr.; Tallahassee, FL 32301-2757 (850) 878-6844; Fax: (850) 942-1793; kdsanz@fmea.org

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

Editor-in-Chief.....................................................D. Gregory Springer, PhD FSU College of Music; 122 N. Copeland St.; Tallahassee, FL 32306 (850) 644-2925; dgspringer@fsu.edu

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

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

Budget/Finance, Development................................ Shelby Chipman, PhD Florida A&M University, Department of Music, Foster-Tanner Music Bldg., Room 318 Tallahassee, FL 32307; (850) 599-8165; shelby.chipman@famu.edu

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

Committee Council............................................................... Debbie Fahmie fahmied@yahoo.com

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

Conference Planning Committee.............................John K. Southall, PhD Indian River State College; 3209 Virginia Ave.; Fort Pierce, FL 34981 (772) 462-7810; johnsouthall@me.com

FLORIDA MUSIC SUPERVISION ASSOCIATION

FOA President

Laurie Bitters

Winter Park High School 2100 Summerfield Rd.; Winter Park, FL 32792 (407) 622-3200; laurie.bitters@gmail.com

FLORIDA ORCHESTRA ASSOCIATION

Government Relations..................................................Jeanne W. Reynolds (727) 744-7252; jeannewrey@gmail.com

President.................................................................................Laurie Bitters Winter Park High School; 2100 Summerfield Rd.; Winter Park, FL 32792 (407) 622-3200; laurie.bitters@gmail.com

Multicultural Network...........................................................Bruce J. Green (407) 927-3141; bruce.green@ocps.net

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

Professional Development........................................................Scott Evans Orange County Public Schools; 445 S. Amelia St.; Orlando, FL 32801 (407) 317-3200; scott.evans@ocps.net Reclamation......................................................................... William Reaney Buffalo Creek Middle School; 7320 69 St. E.; Palmetto, FL 34221 (239) 826-8077; reaneyw@manateeschools.net

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

Research......................................................................William I. Bauer, PhD University of Florida; wbauer@ufl.edu

FLORIDA VOCAL ASSOCIATION President........................................................................ Jeannine Stemmer Florida Christian School, 4200 SW 9th Ave.; Miami, FL 33165 j9stemmer@floridachristian.org Past President......................................................................... Jason Locker jason@fva.net

Student Development.............................................. Michael Antmann, EdD Freedom High School; 2500 W. Taft-Vineland Rd.; Orlando, FL 32837 (407) 816-5600; michael.antmann@ocps.net

Executive Director....................................................................J. Mark Scott 7122 Tarpon Ct.; Fleming Island, FL 32003 (904) 284-1551; exec@fva.net Business Manager..................................................................Jo Hagan, CPA 8975 San Rae Rd.; Jacksonville, FL 32257 (904) 379-2245; Fax: (904) 379-2260; business@fva.net

PROFESSIONAL DEVELOPMENT CONFERENCE Exhibits Manager fmeaexhibits@fmea.org

CENTER FOR FINE ARTS EDUCATION

Local Chairman Ted Hope—(813) 272-4861; ted.hope@sdhc.k12.fl.us

402 Office Plaza Dr.; Tallahassee, FL 32301-2757 (850) 878-6844; Fax: (850) 942-1793 President..................................... Kathleen D. Sanz, PhD (kdsanz@fmea.org)

FLORIDA BANDMASTERS ASSOCIATION

Director of Operations........................Valeria Anderson, IOM (val@fmea.org)

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

Florida Christian School 4200 SW 9th Ave.; Miami, FL 33165 j9stemmer@floridachristian.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

Member-at-Large

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

Miami Northwestern Senior High School cnorton@dadeschools.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

FMEA Corporate & Academic Partners.....................................Fred Schiff All County Music; 8136 N. University Dr.; Tamarac, FL 33321-1708 (954) 722-3424; fred@allcountymusic.com

FVA President

Chad Norton

Past President............................................................Harry “Skip” Pardee pardeh@collierschools.com

Emerging Leaders............................................................ Mary Palmer, EdD 11410 Swift Water Cir.; Orlando, FL 32817 (407) 382-1661; mpalmerassoc@aol.com

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

Jeannine Stemmer

President...................................................................Lindsey Williams, PhD Seminole County Public Schools (407) 320-0434; willialz2@scps.k12.fl.us

Contemporary Media................................................... David Williams, PhD University of South Florida; 4202 E. Fowler Ave., MUS 101 Tampa, FL 33620; (813) 974-9166; davidw@usf.edu

Social Justice & Diverse Learners..................................Bernie Hendricks Ocoee High School; bernard.hendricks@ocps.net

Seminole County Public Schools (407) 320-0434; willialz2@scps.k12.fl.us

FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION

Awards............................................................................Sondra A. W. Collins sondra.collins@marion.k12.fl.us

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

Lindsey Williams, PhD

Past President...........................................................................Julian Grubb Florida Gulf Coast University, grubb.julians@outlook.com

FMEA COMMITTEE CHAIRPERSONS

Florida NAfME Collegiate Advisor

FMSA President

Florida NAfME Collegiate

FSMA President ........................................................................Valerie Terry vterrymusic@gmail.com

Secondary General Music.............................................................Ed Prasse Leon High School; 550 E. Tennessee St.; Tallahassee, FL 32308 (850) 617-5700; prassee@leonschools.net

Mark A. Belfast, Jr., PhD

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Technology Director......................................Josh Bula, PhD (josh@fmea.org) Public Affairs & Communications Coordinator..................................... Jenny Abdelnour, CAE (jenny@fmea.org) Marketing & Membership Coordinator................................. Jasmine Van Weelden (jasmine@fmea.org) Business Manager..................................Carolyn Gentry (carolyn@fmea.org)

AFFILIATIONS

August 2021

SAVE DATE THE

Florida Music Director August 2021

Articles inside

2021-22 Officers and Directors

The Rationale for an Interdisciplinary Music Program in Orchestra

June M. Hinckley Music Education Scholarship Essays