38 minute read
DON’T say disability! DO say disability
CommitteeReports
Don’t say disability! Do say disability!
SOCIAL JUSTICE & DIVERSE LEARNERS COMMITTEE Alice-Ann Darrow, Chairperson
Don’t say disability! Do say disability! Well, which is it? The answer is … it depends. Some individuals do not consider themselves disabled while others embrace the term disabled as a personal descriptor. Whether to say disability depends on two factors: who the term is being assigned to and how the term is being defined. The generally accepted definition of disability and the one used by the Centers for Disease Control and Prevention (2022) is “any condition of the body or mind that makes it more difficult for the person with the condition to do certain activities and interact with the world around them.” The Americans with Disabilities Act (2022) defines an individual with a disability as “a person who has a physical or mental impairment that substantially limits one or more major life activities.” Both definitions are vague and beg for further explanation. What is meant by limitations? Which major life activities? Who decides if a person’s major life activities are substantially limited? Sixty-one million Americans live with a disability; many of these individuals do not consider themselves to be impaired or limited in any substantial way.
Francis and Silvers (2016) defined disability as “a term with different specialized meanings, each developed for the particular policy or program that uses it. How disability is conceptualized shifts relative to the methodologies used to study it and the contexts in which it is addressed. The criteria for judging people to be disabled likewise fluctuate over time and across different social and cultural contexts” (p. 1). Their definition allows the flexibility that the word disability deserves, both in terms of the context in which it is used and the individual being described. It also suggests that the cultural lens through which disability is viewed should be considered. Two such lenses are the Medical Model of Disability and the Social Model of Disability (Haegele & Hodge, 2016).
Medical Model of Disability
In the Medical Model of Disability, one’s disability is a result of an individual’s physical, sensory, or cognitive impairment. These impairments are considered a deficit within the individual. In the medical model, typical human traits or characteristics are valued; thus, aberrations from these norms are considered defects that need to be fixed or cured. For the many individuals who accept their disabilities or consider them to be an important part of their personhood, the notion that they need fixing is hurtful and often affects their social acceptance and employment potential.
Social Model of Disability
The Social Model of Disability, constructed in response to the medical model, takes a different approach to disability. The social model distinguishes between disabilities and impairments. Impairments refer to an individual’s physical condition, such as hearing loss. Disability is a result of societal barriers that affect a person’s ability to function. For persons with hearing loss, their “disability” might be the high cost of hearing aids, the lack of real-time captioning options, the absence of interpreters, or attitudes toward people who communicate using sign language rather than speech. Their disability is imposed by society, not their physical impairment. The remedy becomes how to remove societal barriers rather than how to fix their hearing loss. Persons who subscribe to the Social Model of Disability are
< The disability pride flag
Created by Ann Magill, the zigzag colors represent different disabilities, and how disabled people move around barriers in creative ways.
TIP: How should we talk about disability?
Avoid euphemisms like “handiCAPABLE,” “differently abled,” or “special needs” that seek to soften or minimize the word “disability.”
#DisabilityIsNotADirtyWord
likely to say, “Don’t say disability, at least in referring to me.”
Don’t Say Disability
Many individuals reject disability as a basis for constructing their identity. They do not consider themselves disabled, or their disability is such an insignificant aspect of their life that they do not identify with the term. Two specific groups of individuals have a long history of rejecting the term disabled: those who are neurodiverse and those who are Deaf.
Neurodiversity perspective. Neurodiversity refers to variations in the human brain and cognition. The neurodiversity community subscribes to the concept that while people’s brains work differently, there is no right way to think, learn, or act. Differences are not considered deficits or defects. Neurodiversity is often used in the context of autism spectrum disorder (ASD), as well as other neurological conditions such as ADHD and learning disabilities, which are often described as learning differences. The neurodiversity movement emerged during the 1990s, aiming to increase acceptance and inclusion of all people while embracing neurological differences (Balin, 2019). Many if not most of the individuals in the autistic community prefer identity-first language as in “I am autistic” or “I am an autistic person.” Owning the label autistic, though, does not mean they view themselves as disabled, but rather they have a unique way of thinking or acting.
Deaf perspective. The perception of deafness as a disability has long been challenged by those who are a part of Deaf culture. These individuals see themselves as a cultural and linguistic minority group. Higgins and Lieberman (2016) and other scholars consider the Deaf to be a community of people who use a fully formed and legitimate language— American Sign Language (ASL)—and who are members of a distinct minority culture. Consistent with this perspective, Deaf refers to those who are considered members of the Deaf cultural group, and deaf is used to refer to the audiological condition of hearing loss or to individuals who may have a hearing loss but use speech rather than sign language.
Those who uphold the values of Deaf culture and use ASL take pride in their cultural identity. They describe themselves as Deaf with a capital D. There are others, however, who do not share the language or social ties and thus identify more with the hearing culture. These individuals are more apt to describe themselves as deaf with a lower case d or with the term hard-of-hearing (Leigh, Andrews & Harris, 2018). Although the term hearing impaired is used in IDEA, many people who are Deaf/deaf take exception to the term, believing it has negative connotations that imply they are broken and in need of repair. Although many professionals in the field of education prefer to use person-first language, as in person who is Deaf/deaf, members
Don’t say disability! Do say disability!
Continued from page 35
of the Deaf community use the term Deaf person with pride. Using this term indicates their respect for and membership in the Deaf community. A capital D is used to describe this community much like those who are French or German use a capital letter to describe themselves. In addition, their language, ASL, also merits a capital, as does English or Spanish. Thus, members of the Deaf community consider themselves a cultural linguistic minority.
There are other groups that fit the definition of persons with disabilities, and yet do not consider themselves disabled. For example, many persons who are blind have learned to circumvent the numerous environmental and societal barriers placed before them. Because they function so easily in their communities, places of employment, and social circles, they do not consider themselves disabled.
Do Say Disability
Disability is a perfectly good word. No one should be afraid to use it or to refer to people with disabilities using the label. There is no need for euphemisms such as special learners, exceptional learners, people who are differently abled or physically challenged. Using such euphemisms implies there is something unacceptable about being disabled. Similarly, people with “varying abilities” is not an accurate substitute for people with “disabilities.” All of us have varying abilities, but we do not all have disabilities. Disability is not a dirty word. There is no need to gloss over it or try to sugarcoat it. Nevertheless, in a quest for a more “acceptable” alternative to the word disability, Internet users have asked Google: « What is a more positive way to say « « disability? What’s a better word for disability? What’s an affirmative way to say dis« « ability? What’s a nicer way to say disability? What’s another word for disability?
According to disability activist Judith Heumann (2020), “The way society thinks about disability needs to evolve, as too many people view disability as something to loathe or fear” (p. 1). Disability is not a negative condition, but a human condition. It is that line of thinking that prompted the person-first movement in speaking or writing about people with disabilities—putting the person before the disability as in “a person with a physical disability” rather than a “disabled person.” Person-first language has been rejected by certain disability groups, such as the neurodiversity community. Autistic people generally prefer identity-first language, though even within that community there is not complete consensus on terminology. People who prefer identity-first language use the descriptor disability with pride.
Disability Pride. Though largely unknown, July is Disability Pride Month. Disability Pride Day was first held in Boston in 1990, the year the Americans with Disabilities Act was signed into law. New York City observed the first official Disability Pride Month in July 2015 during celebrations of the ADA’s 25th anniversary. Disability pride is a way to recognize people who view their disability as an integral part of who they are rather than a flaw or a deficit. These individuals use the term disabled with pride and see disability as a part of human diversity, yet with the knowledge that they are sometimes framed by society as pitiable or less than persons without disabilities. Consequently, people with disabilities often find comfort with others who have shared similar life experiences.
Disability Culture. All individuals share and create culture, and like those from other cultures, persons with disabilities share a common bond of experiences and resilience. This common bond has resulted in what has been termed disability culture (Jones, 2002). Culture shapes how we see the world, influences our behaviors, and defines how we see others and ourselves. Likewise, culture also determines how we make sense of disability and respond to people with disabilities. Persons with disabilities are viewed differently depending upon where they live in the world. Brown (2002), the most noted author on the topic of the disability culture, shared his perspective regarding this term:
Those of us working the field of disability culture probably all agree on several basic points. First, disability culture is not the same as how different cultures treat different disabilities. Instead, disability culture is a set of artifacts, beliefs, expressions created by disabled people to describe our own life experiences. It is not primarily how we are treated, but what we have created. Second, we recognize that disability culture is not the only culture to which most of us belong. We are also members of different nationalities, religions, colors, professional groups, and so on. Disability culture is no more exclusive than any other cultural tag (p. 49).
DISABILITY
Implications for Practice
Students with disabilities, like all people with disabilities, do not constitute a homogeneous or like-minded group, even regarding their shared disabilities. To say or not to say disability depends on the individual. Students with the same disability may see themselves and their place in the world very differently. Encourage them to construct their own identity. Show deference to them and their chosen identity. View them the way they view themselves, and use their preferred terminology. Respect their choice to identify or not to identify as a person with a disability. All students learn better when they are respected and accepted for their individuality.
School life has improved for students with disabilities over the last 50 years, and they are rarely educated in self-contained classrooms, which only solidifies one’s identity as a student with a disability. Students with disabilities are now free to switch identities depending on the circumstances. In social circles, they may not wish to disclose or identify their disability; however, in seeking services via their IEP or 504, they may need to identify as a disabled student. As educators and/or administrators, we need to allow students to switch identities and accept whatever identity they have chosen at a particular moment in time.
Whether disability is used to describe an individual or a human condition, keeping the word alive in our professional conversations is important. When we use it without condescension or pity, we help to destigmatize the term. As educators, we might consider ways we can promote a positive connotation of the word disability and eliminate deficit-based perspectives of disability. We might also examine our own core beliefs, values, and assumptions about disability. Finally, by respecting and including students who identify as disabled, we contribute to our collective richness and diversity. When we try to remove disability from the human experience, we lose the extraordinary contributions of individuals such as Stephen Hawking, Frido Kahlo, Beethoven, van Gogh, and others. “To eliminate disability is to eliminate the possibility of discovering alternative ways of being in the world, to foreclose the possibility of recognizing and valuing our interdependence” (Kafer, 2013, p. 83). Educators possess a powerful voice to change the way students and others think about disability, as well as many other perceived differences among people.
—Judy Heumann Disability rights activist and author
References
Americans with Disabilities (ADA) (2022).
Introduction to ADA. Retrieved from https://www.ada.gov/ada_intro.htm Bailin, A. (2019, June 6). Clearing up some misconceptions about neurodiversity.
Scientific American. Online newsletter retrieved from https://blogs.scientificamerican.
com/observations/clearing-up-somemisconceptions-about-neurodiversity/ Brown, S. E. (2002). What is disability culture?
Disability Studies Quarterly, 22(2), 34-50. Center for Disease Control and Prevention (CDC) (2022). What is disability?
Retrieved from https://www.cdc.gov/ncbddd/ disabilityandhealth/disability.html Francis, L., & Silvers, A. (2016). Perspectives on the meaning of “disability.” American Medical
Association Journal of Ethics, 18(10), 1025-1033. Haegele, J. A., & Hodge, S. (2016). Disability discourse: Overview and critiques of the medical and social models. Quest, 68(2), 193-206. Harris, R. L., Andrews, J. F., & Leigh, I. (2018).
Deaf culture: Exploring deaf communities in the United States. San Diego, CA: Plural
Publishing. Higgins, M., & Lieberman, A. M. (2016).
Deaf students as a linguistic and cultural minority: Shifting perspectives and implications for teaching and learning.
Journal of Education, 196(1), 9-18. Heumann, J., & Joiner, K. (2020, July 20). What the ADA means to me. The New York Times (online). Retrieved from https://www.nytimes. com/2020/07/20/us/judy-heumann-alice-wonghaben-girma-disability-activists.html Kafer, A. (2013). Feminist, queer, crip.
Bloomington, IN: Indiana University Press.
CommitteeReports
Mary Palmer, EdD, Chairperson
s we turn the page on summer, the excitement of a new year, a fresh start, and a better future are ours to nurture and cherish. What’s ahead may seem daunting. A shift in mindset can turn concerns into opportunities.
I find inspiration in this African proverb:
If you want to go fast ... go alone.
If you want to go far … go together.
It’s together that we can really make a difference … actually, change the world. Make friends in your school, in your community, in professional groups. Work together to be all that you can be … encourage and engage in collaboration. Believe in yourself and know that if you can dream it, you can DO it—with a little help from your friends!
Be patient with yourself and others … and always be kind. Be a servant leader; ask yourself, “What can I do to make a difference in the lives of my family, my students, my school, my community?” There’s a huge pallet of possibility. Go for it!
I’m thrilled with the great people who have joined the FMEA Emerging Leaders. The excitement and dedication are palpable, and the possibilities abound. One of the things we did at our Summer Conference was to build bridges—out of paper and masking tape. Building these bridges was a metaphor for building bridges that bring people together. That’s what the world needs now. Pictured here is a look at some of the results.
Make it a GREAT year!
Partners Make It Possible
The Florida Corporate and Academic Partners help strengthen music education in Florida through their tireless work to support teachers. FMEA expresses its greatest thanks to each of our Partners, Corporate and Academic, for their partnership over the past year. We hope that FMEA members from across the state support our partners as they support FMEA and Florida music educators. Academic Partners
• colleges • universities • military organizations
Corporate Partners
• businesses • organizations
Just say hello.
MULTICULTURAL NETWORK Bruce J. Green, Chairperson
Building Relationships With Your Colleagues, Part 1
Hello! I have been a middle school band director for 13 years. I am somewhere in between being a new teacher and a veteran teacher. I have had many moments of success and many moments of failure. There will be many more moments coming my way. If there’s one thing I’ve learned along my journey, it’s an impactful but simple principle: don’t isolate yourself.
My first job was in a small district at a Title I school. I experienced the normal woes and triumphs of a novice teacher. Three years later, I moved to a larger school district and took over a wellestablished program. It was exciting, but difficult! I was trying to fill shoes that were too big. Blaming my shortcomings on being a novice teacher seemed futile. I felt too embarrassed to ask for help.
Eventually I realized that I had to be vulnerable enough to build connections with other teachers. The first step was simply saying hello. As a new school year starts, these are the people I would reach out to:
Teachers at My School
Building relationships with teachers and staff at my school was the easiest place to start. Do not underestimate relationships formed as you go about your daily routine: morning duty, collaborating on school events, faculty meetings, and working as a team to help students succeed. Eating lunch together is a great way to chat, brainstorm, or vent.
Feeder High School Teachers
As a middle school teacher, one of the most important relationships you can form is with your high school feeder teachers. My high school feeder teachers are always clear on their expectations for incoming students. They are also available to come to my classroom to help provide support and feedback. When students see the rapport you have with the high school director, it eases the transition from middle school to high school.
Neighboring Middle School Teachers
Getting familiar with middle school teachers who teach at neighboring schools is a wonderful way to figure out community resources. They can give recommendations for vendors, fundraisers, and activities that are successful in your area. Bringing bands to perform and listen at community events builds relationships between directors. Planning an area middle school band camp also gives opportunities for you to observe and learn from one another.
by Angela Pagunsan
Veteran Teachers
Talk to teachers who have been teaching longer than you. Find out what works for them by asking how they manage logistics for events, pedagogy, and teaching philosophies. They are more than willing to answer any questions you have. You can also share your knowledge with them. Questions never go away.
Establishing connections with nearby teachers broke me out of isolation. It gave me the confidence to better serve my students. In part two, I will share particular relationships that helped me find my place in the world of music education. Who will you say hello to this year?
Angela Pagunsan received the BME from the University of Central Florida. She is the band director at Timber Springs Middle School in Orlando, Florida.
CommitteeReports
STUDENT DEVELOPMENT COMMITTEE Michael Antmann, EdD, Chairperson
With summer winding down, it’s time to start thinking about the coming school year and the opportunities we can provide for our students. Two years ago, we dealt with the challenges of digital learning during the pandemic. Last year, much of the focus was on helping our students make up and relearn much of what was missed. As we emerge from one of the most challenging times in our profession, we can get back to providing life-changing experiences for our students.
The Florida Music Education Association’s Student Development Committee facilitates several opportunities for our students:
The Student Conference Experience expands access to the annual conference to students from throughout the state.
Call for Papers – Summer 2022
Description
Florida Music Director, a previous recipient of the Music Educators’ National Conference Award for Excellence, is the official publication of the Florida Music Education Association. The Florida Music Director contains articles of interest to music educators of all levels, from prekindergarten through college. It is published eight times annually and distributed to more than 5,000 music teachers, district music supervisors, and other subscribers.
Type of Submissions Sought
The Florida Music Director publishes feature articles for music educators of all levels, preK through college. Articles generally focus on concepts for the practitioner with practical ideas applicable to music teachers in all areas. Articles should clearly identify problems and offer solutions or considerations for addressing concerns or issues.
Submission Information
Featured articles to be considered for publication are usually three to five pages in length for printed issues and five to 10 pages in length for digital issues. Each page should have approximately 500 words per page, be double-spaced, and include references to all citations. Most articles contain a small number of references for work or information provided by outside sources. Citation and reference styles should adhere to the latest edition of the Publication Manual of the American Psychological Association (APA). Complete instructions for submission are available at this website: https://FMEA.org/publications/florida-music-director/submission-information/.
Questions should be directed to
D. Gregory Springer, PhD Editor, Florida Music Director
dgspringer@fsu.edu LEARN MORE AT
https://FMEA.org/publications/ florida-music-director/
Participating students will interact with amazing clinicians and educators, college representatives, and incredible performing groups. These students will have memorable experiences that they can take back and share with their high school music programs. The program will take place on Thursday and Friday of the 2023 FMEA Professional Development Conference. Students will participate in workshops, observe rehearsals, attend College Night, and engage in networking and social activities with their peers.
The Tri-M Experience provides students with experiences that will build their leadership and advocacy skills, as well as expose them to the experiences available at the annual conference. Participating students will interact with amazing clinicians and educators, college representatives, and incredible performing groups. These students will have memorable experiences they can take back and share with their high school music programs. The Tri-M and Student Conference Experiences run concurrently with some overlap; schools can choose to participate in one of these experiences.
The Student Leadership Workshop takes place on Wednesday of the FMEA conference. This is open to all Florida high school music students. Both the Tri-M and Student Conference Experience students can also participate in the Student Leadership Workshop. Participants have the opportunity to learn from world-class leadership experts.
During the school year, the Student Development Committee will be offering webinars focused on careers in music. Please visit the FMEA website for details about these events, as well as other opportunities. If you have any questions, please email Michael Antmann, committee chairperson, at michaelantmann@ mac.com.
Welcome back to school, amazing music educators! Please remember as you start this new year that the 2023 FMEA awards nominations period is officially open. We want to recognize the heroes among us who have been “the light” this past year. We want to shine a light on those who have demonstrated visionary thinking, resiliency, positivity, innovation, and a collaborative spirit. We want to hold up and empower those who persevered through a constantly changing year of music education and continued to be the light for their students and others.
Your FMEA Awards Program offers several awards in recognition of the efforts and accomplishments of music educators, school administrators, superintendents, school board members, school boards, business partners, music education leaders, music advocates, music programs, and music projects that have made outstanding contributions to music education. Your active involvement in the nomination process ensures that FMEA recognizes the most deserving individuals throughout our state.
The deadline for all categories (except the Music Education Service and the Music Enrollment Awards) is September
11, 2022. Please check the FMEA website for details about the awards and nomination process: https://FMEA.org/programs/ awards/.
As we think about colleagues to nominate and start to percolate on new ideas for our music programs in the coming school year, I’d like for you to hear from a few of our amazing 2022 FMEA awardees. Here are some inspirational ideas from our 2022 FMEA Exemplary Model Music Program and Model Music Project awardees to get your musical creative juices flowing.
Shelby Montgomery, creator of the 2022 FMEA Exemplary Model Music Program, Rockestra, and music educator at George Jenkins High School in Polk County, states:
As I was growing up, my music teachers had a profound impact on my music education. Not only did they emphasize the importance of quality musical experiences, but they also stressed the importance of leadership, community, and other lifelong skills. They provided a variety of musical activities for me to participate in. And while it mainly included traditional large ensembles, I firmly believe that this led me down the path to discovering musical theatre, which broadened my repertoire of playing styles and allowed me to keep an open mind. In 2016, after taking a summer graduate class at FSU with Ed Prasse (chairperson, FMEA Secondary General Music Committee), I started Rockestra at George Jenkins High School. I remember spending that summer in the music library reading many articles about how popular music could be included in the secondary music classroom. Many of these articles encouraged educators to jump right in, without really giving a plan of attack other than “Just do it!” I remember becoming increasingly frustrated the farther along I got that there was nothing available for the string educator. I came across a study about the Lakewood Project in Ohio when the idea suddenly dawned on me that by borrowing ideas from Ed’s class and taking a model like the Lakewood project, I could create a Rock curriculum at my high school. This works in tandem with my orchestra curriculum and reinforces many of the pedagogical techniques that we learn in class. My students have become better communicators, are better at reading tricky rhythms, have improved intonation, and are more likely to give their opinions when asked. Most importantly, my students are playing THEIR music. I feel that music educators are sometimes resistant to change, particularly orchestra directors. Many times we are already the forgotten people because we are not as visible as our other colleagues. But instead of trying something new to increase our visibility, we keep playing all of “the greats.” And don’t get me wrong, they really are great. But there are other genres out there! And it’s OK to deviate from the well-trodden path. I
want to encourage you to take the plunge in incorporating
an alternative style and know that it’s going to be OK. Your students won’t turn away from your large ensemble. In fact, I think it’s quite the opposite. I think they move closer to it and become stronger musicians.
Yet despite this growing interest at the state and national levels, popular music has yet to be widely embraced by directors. Many teachers cite a lack of knowledge, resources, and time as reasons not to teach popular music. What I truly think is unique about Rockestra, and sets it apart from many of the other things happening around the United States, is that I am an average classroom teacher and a classically trained musician. In other words, if you’re uncomfortable and unsure where to start—it’s OK! If our goal as music educators is to truly create lifelong musicians, then we must give them the tools to succeed long after they leave our ensembles.
AWARDS COMMITTEE Sondra A. W. Collins, Chairperson
FOR MUSIC TEACHERS
William I. Bauer, PhD FMEA Research Committee Chairperson, University of Florida
Practice
ll musicians would agree that practice of an instrument or voice is essential to the development of both executive (technical) skills and musicianship. As a new school year begins, a major goal for music teachers will be to get their students to practice. Researchers have documented that to practice effectively, a musician must understand how to practice. In particular, deliberate practice, which is “a structured and effortful activity, done in isolation, and specifically designed to improve one’s skills,” (Woody, 2022a, p. 2) is necessary for successful practice. Deliberate practice requires self-regulation, which involves (a) establishing specific goals for a practice session, (b) monitoring and assessing oneself while practicing, and then (c) adjusting the practice approach used (i.e., practice strategies) based on a comparison of the self-monitoring and desired goals. Recently, Robert Woody (2022a) examined how musicians’ understanding of three cognitive skills that are essential aspects of music performance may affect their ability to engage in self-regulative practice.
Review of Literature
The theoretical framework for Woody’s study was based on a three-component model of cognitive skills, described as mental representations, that are used in musical performance: (1) goal imaging; (2) motor production; and (3) self-monitoring. Goal imaging is a mental representation of the sound to be produced. It is important that this auditory image is focused on the most important aspects of the sound. Motor production is the physical actions necessary to produce a sound. Motor skills usually require a great deal of effort initially, but over time they can become automatic, relieving the performer’s cognitive load. Self-monitoring involves comparing one’s goal image with the sound that is actually produced. One hopes that this results in the adjustment of motor production in a manner that allows a performance to more closely match the goal image.
Methodology
The study’s participants were 100 sophomore music majors at a large Midwestern university. They were divided into two equal groups. One received a treatment (experimental group) while the other did not receive the treatment (the control group). Students in both groups were instructed to engage in 15 to 20 minutes of formal practice, defined as “effortful, done in isolation, and designed to improve skill” (Woody, 2022a, p. 4). While free to choose the specific musical material to practice, the students were asked to work on something related to musical expression—more than correct pitches and rhythms. The treatment group received a written document that described the three component cognitive skills of music performance. The control group did not receive information about the component cognitive skills; rather, they were prompted to consider what they thought about before, during, and after their practice session. Following their practice sessions, both groups were given specific prompts to respond to in writing. The experimental group’s prompts asked them to comment on the goal imaging, motor production, and self-monitoring they employed while practicing, as well as their overall impressions of the experience (whether they believed their skill improved and if they felt a focus on the cognitive skills made their practice more effective). The control group was prompted to comment on their thoughts before, during, and after practicing, and whether they thought their skills improved and their practice was effective.
This on-going column seeks to stimulate awareness of research issues for FMEA teachers and researchers.
Results and Implications
The researcher analyzed the resulting data using a combination of qualitative and quantitative techniques. Nearly 92% of the experimental group reported that their practice was effective while only 64.7% of the control group gave a positive response to this question. Woody points out that when students have self-efficacy about their practice, they will be more motivated to continue to engage in it. The frequency with which students in the experimental group reported indicators of self-regulation (time management, avoiding distraction, using advice, and keeping records) and effective practice strategies (slowing, chaining/chunking, and resource use) was significantly greater than the control group.
It is not enough just to tell students to “go practice.” Music educators need to teach their students how to practice. In this study, something as simple as making students aware of three component cognitive skills was enough to change their approach to practice and make them feel more self-efficacious about practicing. Music teachers can provide developmentally appropriate instruction on deliberate practice, self-regulation, and effective practice strategies to empower their students for success as musical performers. For a more complete discussion of musical practice, readers are encouraged to examine Dr. Woody’s book chapter on the topic (Woody, 2022b).
References
Woody, R. H. (2022a). University musicians’ use of component cognitive skills in practice: A self-report study. Psychology of Music. Advance online publication. https://doi.org/10.1177/03057356221095259 Woody, R. H. (2022b). Practice. In, R. H. Woody, Psychology for musicians: Understanding and acquiring the skills (2nd ed., pp. 66-91). Oxford University Press.
Email your questions and feedback to
wbauer@ufl.edu
with a subject heading Research Puzzles.
AWARDS COMMITTEE
Continued from page 41
And Alexander Busby, creator of the 2022 FMEA Exemplary Model Music Project, Project Grow Music, and music educator at Oviedo High School in Seminole County, states:
When I was thinking about what to say, I immediately thought back to my first year of teaching in the public school system, the fall of 2020, a year that no teacher will soon forget. I thought back to my first faculty meeting I attended, online of course, in which our principal told new and old teachers alike that the key to that school year was survival. When I think about survival, I immediately think of something that is a last resort. Something that you do under extreme pressure, when all else fails. Survival was our theme.
As a new teacher, I took it as a challenge, one that told me, “You can rise above. What else can you do to
exceed survival?!” Many instances, survival was all I could achieve, but I set a goal for myself that I would thrive throughout the year, and not only survive.
When I think about what thriving looks like in music education, I think of two clear points to thriving. One is you have to have a love for music—the content. And second, you have to have a love for people—those you work with, those students you deal with on a day-to-day basis, and seek to understand where they’re coming from when they enter your classroom. When you combine these two elements in a way that works for your classroom, then you are able to achieve new areas of creativity and opportunities for students to be creative. Thriving’s ultimate byproduct is creativity. And so throughout the year, I was seeking opportunities for my students to be creative. Creative with those who are in the classroom and creative with those who were joining us virtually. It was hard to do. I often
failed. It was very difficult. But still my goal was to thrive, not just to survive.
As I think about this project and having been selected for this award, I am extremely grateful because I get to tell others that it’s not just me who can thrive. Not just me who can create a project in which high levels of creativity can be achieved by students. It’s all of you. Every music educator
has the potential to thrive, to rise above survival and to
thrive. So, my challenge for you is to seek to thrive in every scenario. The byproduct will be great levels of creativity, unlike you’ve seen before. You can do it!
Please take time to thank and support our 2021-2022 Academic Partners.
GOLD PARTNERS
BRONZE PARTNERS
Cannon Music Camp - Appalachian State University Florida Southern College Orlando Philharmonic Orchestra Rollins College Department of Music University of North Texas The University of Tampa Valdosta State University
Partners as of July 11, 2022. *Please visit FMEA.org/partners for partnership details or call 850-878-6844.
The mission of the Florida Music Education Association is to promote quality, comprehensive music education in all Florida schools.
FMEA Executive Director Kathleen D. Sanz, PhD
FMEA: Moving Music Education Forward
In the last two years we all have spent countless hours learning new technologies and strategies to continue educating our students. The reactions of our teachers, administrators, and students have been varied. Many have demonstrated strong resilience with the the capacity to recover quickly from the difficulties. We also know that many did not have this resilience, and this has led to a vast teacher shortage. The leadership of FMEA convened a Think Tank group in June to contemplate this and other issues we are facing as we work to move music education forward in Florida. The results of the Think Tank are being reviewed, and Florida music educators will be asked to assist as we navigate the difficulties confronting our profession.
One of the major discussions focused on the biggest threat to music education in Florida: not having enough teachers to meet the needs of our students and schools. While we are aware that there are teacher shortages in many content areas, there are many, many shortages in music education within our schools. Yet the State of Florida does not include music education in the list of teacher shortages for our state. This is a problem, as potential employees from other states don’t see Florida listed. A combination of problems compounds the shortages. There is the perception that there are no jobs available in music; we know that to be false as discussions take place with music supervisors in the districts. The number of students majoring in music education in colleges and universities is declining.
Therefore, we need to do the following: promote teaching music in our schools with our students; educate parents, administrators, and guidance counselors about the possibilities in music education; promote a wider, diverse teaching field; and “grow our own.” In addition, at the secondary level, we need to develop and organize Tri-M chapters in middle schools and high schools. We need to communicate about the profession in a positive way with students and parents.
FMEA will be working within the state and with national associations to help turn this around so we have more music teachers entering the profession than are leaving it. With ongoing discussions about how teaching music education in Florida is critically important, we can change the narrative. Stay tuned, and let us know your thoughts and ideas.
Legislative Session/Government Relations
The 2023 Legislative Session will begin on March 7 and will end on May 5. Committee meetings will begin in September, and bills are being filed this summer. Please look for communication coming from FMEA to assist us with reviewing the bills. If you have any questions about the bills as they move through the process, please call Dr. Kathy Sanz at the FMEA office.
IMPORTANT LEGISLATIVE DATES
Primary Elections: August 23, 2022 General Election: November 8, 2022 2023 Legislative Session: March 7, 2023 – May 5, 2023
Professional Development Opportunities for Members
The theme of the 2023 FMEA Professional Development and AllState Concerts is Unity in Music Education: Building Communities One Note at a Time. We’re looking forward to Dr. Shelby Chipman’s leadership of this conference. Registration will be available in September, and we look forward to coming together January 11-14, 2023, face-to-face in Tampa.
The Professional Development Committee met during July and is planning several professional development opportunities for teachers. Please watch for announcements about upcoming training sessions.
Florida School Music Association
The Florida School Music Association (FSMA) hosted a Leadership Symposium for secondary teachers to assist in developing leadership for our components FBA, FOA, and FVA.
Stay tuned to our website and read our monthly eNews that is emailed to you to keep you apprised of FMEA’s many projects.
I’m looking forward to the 2022-23 school year! Keep in tune and involved with your state professional association.
Kathleen D. Sanz, PhD
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 Bernard (Bernie) Hendricks, Jr.
Ocoee High School 1925 Ocoee Crown Point Pkwy.; Ocoee, FL 34761 bernard.hendricks@ocps.net
FCMEA President Marc Decker, DMA
Florida Atlantic University 777 Glades Rd.; Boca Raton, FL 33431 (561) 297-3883; deckerm@fau.edu
FEMEA President Joani Slawson
Holy Trinity Episcopal Academy 1720 Peachtree St.; Melbourne, FL 32901 joanislawson@gmail.com
Florida NAfME Collegiate President Allison Yopp
Southeastern University ayopp@seu.edu
Florida NAfME Collegiate Advisor Mark A. Belfast, Jr., PhD
Southeastern University 1000 Longfellow Blvd.; Lakeland, FL 33801 (863) 667-5104; mabelfast@seu.edu
FMSA President Lindsey R. Williams, PhD
Seminole County Public Schools (407) 320-0434; willialz2@scps.k12.fl.us
FOA President Laurie Bitters
Winter Park High School 2100 Summerfield Rd.; Winter Park, FL 32792 (407) 622-3200; laurie.bitters@gmail.com
FVA President Jeannine Stemmer
Florida Christian School 4200 SW 89th Ave.; Miami, FL 33165 j9stemmer@floridachristian.org
Member-at-Large Chad Norton
EX-OFFICIO MEMBERS
Historian/Parliamentarian & Executive Director...................................................Kathleen D. Sanz, PhD
Hinckley Center for Fine Arts Education 402 Office Plaza Dr.; Tallahassee, FL 32301-2757 (850) 878-6844; Fax: (850) 942-1793; kdsanz@fmea.org
Editor-in-Chief ....................................................D. Gregory Springer, PhD
FSU College of Music; 122 N. Copeland St.; Tallahassee, FL 32306 (850) 644-2925; dgspringer@fsu.edu
FSMA President ......................................................................Jane Goodwin
jane.goodwin@sarasotacountyschools.net
FMEA COMMITTEE CHAIRPERSONS
Awards...........................................................................Sondra A. W. Collins
sondra.collins@marion.k12.fl.us
Budget/Finance, Development............................... Shelby Chipman, PhD
Florida A&M University, Department of Music, Foster-Tanner Music Bldg., Room 318 Tallahassee, FL 32307; (850) 599-8165; shelby.chipman@famu.edu
Conference Planning Committee ............................John K. Southall, PhD
Indian River State College; 3209 Virginia Ave.; Fort Pierce, FL 34981 (772) 462-7810; johnsouthall@me.com
Contemporary Media.................................................. David Williams, PhD
University of South Florida; 4202 E. Fowler Ave., MUS 101 Tampa, FL 33620; (813) 974-9166; davidw@usf.edu
Emerging Leaders........................................................... Mary Palmer, EdD
11410 Swift Water Cir.; Orlando, FL 32817 (407) 382-1661; mpalmerassoc@aol.com
FMEA Corporate & Academic Partners....................................Fred Schiff
All County Music; 8136 N. University Dr.; Tamarac, FL 33321-1708 (954) 722-3424; fred@allcountymusic.com
Government Relations.................................................Jeanne W. Reynolds
jeannewrey@gmail.com
Health & Wellness.......................................................Revae Douglas Ross
Brandon High School; 1101 Victoria St.; Brandon, FL 33510 (813) 744-8120, ext. 311; revae.douglas@hcps.net
Multicultural Network..........................................................Bruce J. Green
(407) 927-3141; bruce.green@ocps.net
Professional Development/Committee Council....................Scott Evans
Orange County Public Schools; 445 S. Amelia St.; Orlando, FL 32801 (407) 317-3200; scott.evans@ocps.net
Reclamation ............................................................................. Chad Norton
Miami Northwestern Senior High School; 1100 NW 71st St.; Miami, FL 33150; cnorton@dadeschools.net
Research.....................................................................William I. Bauer, PhD
University of Florida; wbauer@ufl.edu
Secondary General Music............................................................Ed Prasse
Leon High School; 550 E. Tennessee St.; Tallahassee, FL 32308 (850) 617-5700; prassee@leonschools.net Social Justice & Diverse Learners........................Alice-Ann Darrow, PhD alifsu@mac.com
Student Development............................................. Michael Antmann, EdD
Freedom High School; 2500 W. Taft-Vineland Rd.; Orlando, FL 32837 (407) 816-5600; michael.antmann@ocps.net
PROFESSIONAL DEVELOPMENT CONFERENCE
Exhibits Manager
fmeaexhibits@fmea.org
Local Chairman
Ted Hope—(813) 272-4861; ted.hope@sdhc.k12.fl.us
FLORIDA BANDMASTERS ASSOCIATION
President ..................................................Bernard (Bernie) Hendricks, Jr. Ocoee High School; 1925 Ocoee Crown Point Pkwy.; Ocoee, FL 34761 bernard.hendricks@ocps.net
Past President..........................................................................Ian Schwindt
Titusville High School; 150 Terrier Trail S.; Titusville, FL 32780-4735 (321) 264-3108; schwindt.ian@brevardschools.org
Executive Director.....................................................................Neil Jenkins
Florida Bandmasters Association P.O. Box 840135; Pembroke Pines, FL 33084 (954) 432-4111; Fax: (954) 432-4909; exec@fba.flmusiced.org
Business Manager .................................................................Jo Hagan, CPA
8975 San Rae Rd.; Jacksonville, FL 32257 (904) 379-2245; Fax: (904) 379-2260; jo@barefootaccounting.com
FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION
President ........................................................................ Marc Decker, DMA
Florida Atlantic University; 777 Glades Rd.; Boca Raton, FL 33431 deckerm@fau.edu
Florida NAfME Collegiate
President. ..................................................................................Allison Yopp
Southeastern University; ayopp@seu.edu
Past President. ........................................................................Alexis Hobbs
Southeastern University; (352) 220-2791; aphobbs@seu.edu
FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION
President ................................................................................Joani Slawson
Holy Trinity Episcopal Academy; 1720 Peachtree St.; Melbourne, FL 32901 joanislawson@gmail.com
Past President............................................................ Ernesta Chicklowski
Roosevelt Elementary School; 3205 S. Ferdinand Ave.; Tampa, FL 33629 (813) 272-3090; ernesta.chicklowski@sdhc.k12.fl.us
Executive Director............................................................ Jennifer Sullivan
1750 Common Way Rd., Orlando, FL 32814 (321) 624-5433; slljenn@aol.com
FLORIDA MUSIC SUPERVISION ASSOCIATION
President ............................................................. Lindsey R. Williams, PhD
Seminole County Public Schools (407) 320-0434; willialz2@scps.k12.fl.us
Past President............................................................Harry “Skip” Pardee
pardeh@collierschools.com
Treasurer ........................................................................................ Ted Hope
Hillsborough County Public Schools, School Administration Center 901 E. Kennedy Blvd.; Tampa, FL 33602 (813) 272-4861; ted.hope@sdhc.k12.fl.us
FLORIDA ORCHESTRA ASSOCIATION
President ................................................................................Laurie Bitters
Winter Park High School; 2100 Summerfield Rd.; Winter Park, FL 32792 (407) 622-3200; laurie.bitters@gmail.com
Past President.......................................................................Matthew Davis
Harrison School for the Arts; 750 Hollingsworth Rd.; Lakeland, FL 33801 (863) 499-2855; matthew.lawson.davis@gmail.com
Executive Director............................................................Donald Langland
220 Parsons Woods Dr.; Seffner, FL 33594 (813) 502-5233; Fax: (813) 502-6832; exdirfoa@yahoo.com
FLORIDA VOCAL ASSOCIATION
President ....................................................................... Jeannine Stemmer
Florida Christian School, 4200 SW 89th Ave.; Miami, FL 33165 j9stemmer@floridachristian.org
Past President......................................................................... Jason Locker
jason@fva.net
Executive Director....................................................................Michael Dye
231 S. Bayshore Dr.; Valparaiso, FL 32580 (850) 217-7419; mike@fva.net
Business Manager .................................................................Jo Hagan, CPA
8975 San Rae Rd.; Jacksonville, FL 32257 (904) 379-2245; Fax: (904) 379-2260; business@fva.net
CENTER FOR FINE ARTS EDUCATION
402 Office Plaza Dr.; Tallahassee, FL 32301-2757 (850) 878-6844; Fax: (850) 942-1793 President.................................... Kathleen D. Sanz, PhD (kdsanz@fmea.org) Director of Operations.......................Valeria Anderson, IOM (val@fmea.org) Technology Director.....................................Josh Bula, PhD (josh@fmea.org) Public Affairs & Communications Coordinator..................................... Jenny Abdelnour, CAE (jenny@fmea.org) Marketing & Membership Coordinator................................. Jasmine Van Weelden (jasmine@fmea.org)
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