Get kids performance-ready in no time, with Breezin’ Thru Theory and now with Fingerings too! The super-fun Breezin’ Thru Fingerings are timed-response drills for beginning and intermediate players. Kids simply pick their instrument or voice and try to beat the clock matching notes to correct finger positions. As they progress through the levels, students build rapid response and mastery. Level the playing field and accelerate your performance programs by integrating Breezin’ Thru Theory, now with Fingerings too.
Woohoo! Fingerings now available for:
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
Kelly Miller, DMA University of Central Florida 12488 Centaurus Blvd. Orlando, FL 32816-8009 (407) 823-4545 (kelly.miller@ucf.edu)
Editorial Committee Terice Allen (850) 245-8700, Tallahassee (tallen1962@hotmail.com)
William Bauer, PhD University of Florida, Gainesville (352) 273-3182; (wbauer@ufl.edu)
Alice-Ann Darrow, PhD College of Music, FSU, Tallahassee (850) 645-1438; (aadarrow@fsu.edu)
Jeanne Reynolds (jeannewrey@gmail.com)
John K. Southall, PhD Indian River State College, Fort Pierce (772) 462-7810; (johnsouthall@fmea.org)
Advertising Sales Valeria Anderson (val@fmea.org) 402 Office Plaza Tallahassee, FL 32301 (850) 878-6844
Official FMEA and FMD Photographers
Bob O’Lary Amanda Crawford
Art Director & Production Manager
Lori Danello Roberts LDR Design Inc. (lori@flmusiced.org)
Circulation & Copy Manager
Valeria Anderson, (800) 301-3632
Copy Editor
Susan Trainor
President’s Message
Music Education Begins with ME
Onbehalf of the Florida Music Education Association Board of Directors and the phenomenal team at the June M. Hinckley Center for Fine Arts Education, I’m excited to welcome you back for another year of serving our students and communities through music education!
Each year, a great deal of intentional planning is done by FMEA and the component associations to prepare for another year of professional learning, music-making, advocacy, and more for both members and students across our state. This process typically begins with the convening of our various association boards in May to close out and reflect upon the previous year’s activities, as we cast a vision and set priorities for the year to come. In June, we welcomed a new cohort of FMEA Emerging Leaders to a day of professional learning and leadership skills development, as well as held the Teach Music Florida Coalition (formerly FMEA Summer Institute). Under the guidance of Dr. Dré Graham, our new Emerging Leaders are brilliant and eager to serve the profession. The Teach Music Florida Coalition participants brought a wealth of knowledge and varied professional experience to bear as we brainstormed ways that FMEA can expand and elevate programs and member services in order to bolster the profession and encourage our K-12 student musicians to consider music education as a professional pathway. Many thanks to Dr. Shelby Chipman and Dr. Steve Kelly for facilitating this think tank!
The FMEA Executive Committee, Executive Director Dr. Kathy Sanz,
Advocacy Chairperson Jeanne Reynolds, University of Miami Professor Dr. Carlos Abril, and Florida NAfME Collegiate members from four Florida universities participated in the National Assembly and Hill Day in Washington, D.C. in June. This annual event is a convening of the National Association for Music Education’s federated state units, of which FMEA continues to be the largest, in order to conduct the business of the national association, to allow for the exchange of ideas among leaders in the profession from across the country, and to advocate with lawmakers on Capitol Hill. As always, the Florida delegation was thrilled to represent our membership at this event.
In July, the Florida Bandmasters Association and the Florida Vocal Association held their Summer Conferences. These events featured engaging professional learning opportunities led by nationally renowned leaders in the field, as well as the best and brightest of our Florida music education colleagues. These events also featured student performing groups, adjudicator training events, member recognitions, and incredible networking and mentorship opportunities for both new and seasoned colleagues. The Florida School Music Association also hosted its fourth Leadership Workshop for current and future leaders in secondary music. Finally, we were also excited in July to notify presenters and conductors who were selected to present interest sessions and performances at the 2025 FMEA Professional Learning Conference.
Congratulations to everyone who was selected, and thank you to everyone who applied. I encourage you to continue submitting your ideas, research, and best practices to our conference each year, as the depth and breadth of professional learning offered by FMEA every January in Tampa is what makes our conference one of the very best in the nation!
This year, our theme will again be Music Education Begins with ME. As we start another academic year, I encourage you to think about all of the things that you uniquely contribute to music education. You are already making a difference, but I challenge you to find a new way to give or to serve the profession in 2024-25. Reach out to mentor a new colleague or to support an experienced one who is facing a personal or professional challenge. Be a friend to a colleague that maybe you have never interacted with before, other than a polite greeting as you pass by one another. Join or renew your FMEA and component memberships. Encourage another music educator who has never been part of this amazing network of professionals to join for the first time. Make them feel seen, valued, and welcome. After all, we are not in competition. We are in community!
Music education begins with ME. It begins with YOU. It begins with WE! Have a wonderful year!
Jason P. Locker, President Florida Music Education Association
Jason P. Locker President Florida Music Education Association
President-Elect’s Message
Prepare for a Great Year!
llan McMurray, the esteemed music educator from the University of Colorado at Boulder, said in his advocacy remarks to FMEA’s General Session a few years ago: “If you don’t have a seat at the table, you are actually on the menu.” Nothing could ring truer when speaking of the importance of advocating for a well-rounded education for Florida’s students. I was proud to join FMEA colleagues for our NAfME National Assembly and Hill Day in June on Capitol Hill. The energy and enthusiasm from our collegiate representatives was particularly notable; our profession is in great hands with their inspired leadership. Remember, arts advocacy is not done by “others”— it is done by you, in your community, every day, by embracing all opportunities to discuss the power of music and its tenets to anyone who might listen! A rising tide lifts all boats.
I am delighted to bring some conference news to you! As president-elect, I am charged with coordinating the Pre-Conference in January. The 2024 Pre-Conference featured some remarkable work with rural and Title I music education sessions. As an association, we need to do all we can to ensure our students in these areas are provided with equitable access to a great music education. This year, we will continue that vital discussion with engaging presenters, interactive teacher and student panel discussions, and collaborative, problem-solving, and mission-central sessions regarding rural and Title I music education settings. We will discuss developing successful music programs in the face of economic hardship, the impact of school culture and “teacher-fit” in these settings, and music-specific supports for our neurodiverse learners in these largely underserved school
Harry “Skip” Pardee President-Elect
Florida Music Education
Association
communities. During the COVID-19 pandemic, we often heard the saying “we’re all in the same boat.” But this couldn’t be further from the truth. We may be in the same storm, yes, but we are all in very different boats. Any effort our organization can make to help equalize our students’ ability to navigate the storms they are facing, or will face, is a worthy one.
Remember, it is never too early to begin making plans to attend our annual Professional Learning Conference! It is time to begin submitting leave, gathering supporting documents, and making travel plans. We look forward to hearing about all your successes this fall and seeing you in-person in January.
Over the past few weeks, I have placed calls to many of our first-year teachers and members of FMEA from across our state. The purpose of these calls was simply to chat, to learn how their first year in our profession went, and to discuss what FMEA might keep on its radar to help our young teachers. I am appreciative of our colleagues for taking the time to speak to me so I might understand some of the unique challenges they face, celebrate successes with them, and learn from their perspectives. Please know that your FMEA Executive Committee welcomes these conversations with you as professionals and friends. I know I speak for my colleagues that we welcome any email or call from you to learn about your experiences as a teacher and how FMEA might help our profession in our home state as well as represent us across the nation. If I can be of any help to you, please do not hesitate to reach out personally: skippardee@fmea.org. Have a great start to your school year, knowing that FMEA is here to support you in any way possible.
President-Elect
Jeanne W. Reynolds Chairperson, Advocacy Committee
Democracy Is Not a Spectator Sport, 3.0
Ithas been a busy summer. While we were celebrating the passage of our Seal of Fine Arts bill and gearing up for the implementation of this legislation, we were surprised to learn of the governor’s veto of the Florida Division of Arts and Culture Grants. This veto has a direct impact on FMEA. (More information can be found in President Jason Locker’s July 1 email to all FMEA members.) For many of us, the summer also involved learning about candidates running for school board and other races in the August and November elections.
Over the years, I have written at least two articles on the topic “Democracy is not a spectator sport.” Perhaps this third time will be the charm. Here is an excerpt from my column as we started the 2011 school year:
Democracy is not a spectator sport. This expression is one of my favorites and appears on one of my well-worn T-shirts. A quick Google search suggests that this expression is credited to Lotte E. Sharfman, a former president of the League of Women Voters. Sharfman was a refugee from Hitler’s Germany who devoted her life to working for the democratic process and to helping citizens gain access to government.
As government relations chairwoman for FMEA, I see my role as helping FMEA members understand and live this phrase. Three words immediately come to mind: vote, visit and vigilance. While many advocacy columns are filled with great advice about legislative visits and being vigilant about legislative strategy, the first step is voting. (Reynolds, 2011)
VOTE, VISIT, VIGILANCE
VOTE
Given that it is an election year, the importance of voting cannot be overstated. Understand that local elections impact your day-to-day life significantly.
August Vote “To Do” List
w Register and/or check your voter registration status (and vote by mail status) to make sure it’s up-to-date (registertovoteflorida.gov/home).
w If you wish to vote by mail, you must request a mail ballot no later than 5:00 pm 12 days prior to the elections. (For example, that’s August 8 for the August 20 election.)
w Research school board candidates and other candidates who will be on the August 20 ballot. Many races will be decided in August rather than November.
w For complete information about your local candidates, go to your county supervisor of elections website (myfloridaelections.com/Contact-your-SOE).
w Be an informed voter. If that seems daunting in the age of misinformation and disinformation, check trusted, nonpartisan sources including vote411.org/ florida
w Vote in the August 20 state primary and nonpartisan local elections!
VISIT
In the context of advocacy, the term visit is often used to describe legislative visits. For the next few months, we will use this word in a broad, informal sense to include “visiting” with friends, relatives, and neighbors about arts education. Person-to-person advocacy is very effective, particularly as citizens become exhausted by political campaigns.
August Visit “To Do” List
w Talk to friends, colleagues, and neighbors about the importance of voting and the critical importance of arts education in your community. Help them register to vote if needed.
w Attend “meet and greet” events for local candidates. Learn about the candidates’ positions and share information about the importance of arts education and your expectation for their support.
w “Visit” with trusted, respected, knowledgeable colleagues about candidates to become a better-informed voter.
w Talk to local elected officials and state officials about your disappointment regarding the governor’s veto of all arts and culture grants. This can be via email, phone call, or in-person visit. Although these decision makers did not veto the funding, it is helpful for them to hear of constituents’ concerns.
VIGILANCE
Successful advocacy involves constant attention. If you can breathe, you can advocate. Consistency is the key; consistent message, consistent presence, and consistent relationship building. One of our major goals is to ensure that the Seal of Fine Arts is implemented throughout the state with consistency, and with relative ease! If implementation becomes too difficult, schools and districts won’t offer this opportunity to our students.
August Vigilance “To Do” List
w Make advocacy part of your way of work not an “add on” for this school year.
w Identify a critical decision maker on your campus and plan to strengthen your relationship with them throughout the coming year.
w Learn about the Seal of Fine Arts if you are unfamiliar or have questions (FMEA.org/advocacy).
w Ask about the implementation of the Seal of Fine Arts in your school or school district. If your school or district is unaware of the Seal, educate them.
w Be vigilant about voting in an important election year!
Indeed, democracy is not a spectator sport, and similarly, neither is advocacy. Advocacy isn’t someone else’s job; it’s your job and it’s my job. Please commit to completing some of the “doable deed” action items listed above. The time for spectating is over. It’s time to get off the sidelines and into the game so we can win a bright future for all Florida students.
Reference
Reynolds, J. W. (2011, August). Are You a Voter or a Spectator? Florida Music Director, p. 7.
Jeanne W. Reynolds
FLORIDA SCHOOL MUSIC ASSOCIATION
FSMA Leadership Workshop Promotes Collaboration and Opportunities for All
by Benny L. Bolden, Jr., EdD, President Florida School Music Association
It is with great enthusiasm and pride that I congratulate the 2024 Florida School Music Association (FSMA) Leadership Workshop cohort, who came together July 7-10 in Orlando for professional development and leadership training. This annual gathering represents a cornerstone of our commitment to fostering excellence in music education across the state of Florida. Our theme this year, Beyond Positional Leadership: Championing Opportunities for All, underscores the vital role that strong, collaborative leadership plays in nurturing and advancing our state’s music programs.
As president of the FSMA, I have witnessed firsthand the transformative power of music education. It not only cultivates students’ musical talents but also instills discipline, creativity, and a sense of community. The Leadership Workshop is designed to empower you, our dedicated music educators and leaders, with the tools, insights, and inspiration needed to continue making a significant impact in our schools.
Our agenda this year featured an array of distinguished speakers, interactive workshops, and networking opportunities. We welcomed keynote speakers who are
Staff, Presenters, and Executive Directors
Val Anderson
Benny L. Bolden, Jr.
Josh Bula
Craig Collins
Michael Dye
Neil Jenkins
Don Langland
Kathy Sanz
Cheri Sleeper
Daryl Ward
Julie Ward
James Weaver
2024 FSMA Leadership Workshop Participants
Katlyn Barbur
Andrew Beckner
Shayla Bryan
Courtney Chrestensen
Danelle Eckhart
Catherine Feazell
Christopher Gugel
Alli Howard
Marissa Lopez
Sunny Lulla
Cedrick (Alex) Pollard
Alexandra Rameau
leaders in the field of music education, each bringing a wealth of knowledge and experience. Their presentations addressed current challenges and opportunities, providing fresh perspectives and practical strategies to enhance your leadership capabilities.
In addition to benefiting from the valuable education provided during formal sessions, participants took full advantage of the many networking opportunities. Building connections with fellow educators is invaluable, as these relationships often lead to collaborative efforts that enrich our educational communities. Let’s continue to share your successes, discuss your challenges, and learn from one another’s experiences.
As we convened the Leadership Workshop, we remem-
Brittany Smith
Marcey Sperr
Cesare Turner
Aaron Warren-Wiggins
Don West
bered the profound impact your work has on students’ lives. Your dedication to fostering a love for music and to developing the next generation of musicians and leaders is truly commendable. The FSMA is committed to supporting you in this endeavor, and we are excited to see the innovations and advancements that will emerge from this workshop. If you interested in being apart of the event next year, please reach out to your component executive directors.
Thank you to this year’s participants for your unwavering commitment to music education and for joining us at this pivotal event. Together, let us continue to harmonize our efforts and lead our students to new heights of achievement and creativity.
2024-25 Board of Directors
Jeff Cayer, EdD FBA President
Sandra Sanchez Adorno, PhD FCMEA President
Megan Robichaud FL-NAfME Collegiate President
Laurie Bitters FOA President FVA President
Ashley Peek FEMEA President President-Elect
Steven N. Kelly, PhD Member-at-Large
Mark A. Belfast, Jr., PhD FL-NAfME Collegiate Advisor
Shelby R. Chipman, PhD Past President
Jason P. Locker President
Kelly Miller, DMA Florida Music Director Editor-in-Chief
Benny L. Bolden, Jr., EdD FSMA President
Mary Palmer, EdD Hall of Fame Chairperson
John K. Southall, PhD Conference Planning Chairperson
2024-25 Committee Chairpersons
Christine Lapka, EdD Diverse Learners
Sondra A. W. Collins Awards
Jason P. Locker Budget/Finance, Development
Dakeyan C. Graham, PhD, EdD, DMA Emerging Leaders
Fred Schiff — Florida Corporate & Academic Partners
Jeanne W. Reynolds Advocacy
Ajori Spencer Professional Learning
William I. Bauer, PhD Research
Michael Antmann, EdD Student Engagement
Arnekua Jackson, PhD Multicultural Network
Clint Randles, PhD Contemporary Media
Health & Wellness
How do I get to
the conference?
Making your case to attend the 2025 FMEA Professional Learning Conference
Getting approval to attend the Florida Music Education Association Professional Learning Conference may require developing a proposal. Due to tight budgets in today’s economy, school principals and districts carefully scrutinize requests to attend not mean
you should not give it your best effort by showing your administrators how your attendance will benefit the students in your school. Rather than assuming your administrators are aware of the critical importance of you professionally benefitting from content-specific sessions, consider sub-
Through this proposal, you can demonstrate how your participation directly relates to the strategies and the objectives of your school (including those beyond the classroom). This will allow you to articulate the need for your continuing education and how it will benefit your students, your school,
Important Conference Dates & Information
September 13, 2024, TENTATIVE, still TBD
September 28, 2024
Early registration opens. Nominations open for Student Conference Experience and Tri-M Experience
Hotels begin taking reservations at 9:00 am; all hotel reservations to be made online and only five (5) rooms per director.
go digital!
The 2025 conference program will be digital only ... and of course you’ll want to download the conference app for all the latest info! Concert programs will still be printed.
October 1, 2024Presenters’ deadline for editing session details and requesting A/V equipment.
November 9, 2024Hotel room cancellation deadline is 5:00 pm.
November 12, 2024
December 13, 2024
December 16, 2024
Develop Your Case
Hotels will charge your credit card a nonrefundable deposit for the first night of each room.
Early registration closes at midnight. Prices increase to the regular registration rates. You may continue to register and pay online until the conference.
Postmark deadline for checks mailed to pay for conference registration. After this date, all unpaid conference registrations must be paid by credit card online, or the check must be brought with you to the conference.
All school lodging checks are due to hotels, payable to the hotel where reservations were made for you and/or your students.
The final deadline for discounted
w Write down three of the most important goals and strategies being addressed in your school’s plan.
w Think about how you personally contribute to those three goals and strategies. How does your work as a music educator affect the overall mission of your school? Make a list of your personal contributions to your school’s goals and strategies.
w Review the conference’s professional learning schedule to better understand how the information provided will support your school’s goals. Mark meetings that relate to your list of personal contributions to the attainment of those goals and strategies, and make note of the clinicians and others you will be able to observe and/or with whom you will be able to interact while at the conference. List the high-quality performances you will observe and from which you will learn. You can download the conference app from the FMEA’s website and bookmark your sessions.
w Write down your case for how attending the FMEA Professional Learning Conference and meeting the people there will help you contribute to your school’s goals and strategies, and use this case with your administrators when making your request to attend the conference. When you create your proposal, in addition to providing a summary of the funding you will need, detail your case for attending. List your school’s goals, download the conference schedule, list the sessions and the clinicians and presenters who will be there, and list the specific sessions you plan to attend. Also, list the performing groups you will have the opportunity to observe during rehearsals with national clinicians as well as the performances by these well-known conductors (from whom you can gain programming and conducting ideas). Additionally, let your administrators know that this conference has more than 10,000 teachers, administrators, students, and parents in attendance, the second largest music education conference in the nation.
Finally, ask your administrators to support you to attend the FMEA Professional Learning Conference in Tampa, Florida, January 8-11, 2025.
hotel blocks; unsold rooms in the FMEA blocks are released back to hotels.
Foundations of Excellence
Best Practices for Starting Off the School Year for K-12 Music Teachers
Tby Gregory W. LeFils, Jr., PhD
The beginning of a new school year is an exciting yet challenging time for K-12 music teachers. Setting the right tone and establishing effective practices early on can create a positive and productive environment for the entire year. Here are some best practices, organized around four key priorities: planning and preparation, classroom environment, instruction, and professionalism.
1. Planning and Preparation
n Plan Ahead: Outline your goals for the year that align with your grand vision for your program, including both musical skills and broader educational objectives. Create benchmarks or targets along the way to ensure you’re achieving your objectives in a timely manner that doesn’t load undue pressure and anxiety on you or your students. Consider using a backward design approach where you start with the end goals and plan the curriculum backward from there (Wiggins & McTighe, 2005). This ensures
that every activity and lesson is purposeful and aligned with your overall objectives.
n Organize Materials: Ensure all instruments, sheet music, and classroom materials are ready and easily accessible. Label storage areas clearly to help students find and return items. This includes having your first unit or two of study (typically related to musical notation) ready to hand out. Prepare all administrative materials for your program ahead of time and be ready to review them with your students. These include syllabi, handbooks, program calendars, websites, and parent permission forms. Draft a calendar outlining important dates such as concerts, field trips, and assessment periods. Share this calendar with students and parents early on to ensure everyone is aware of key events and deadlines. This helps in reducing last-minute stress and ensures that students and parents can plan accordingly. Additionally, having a clear timeline helps in pacing your curriculum effectively.
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Foundations of Excellence
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n Technology Integration: Familiarize yourself with educational apps and online resources that can supplement your teaching. Having to learn a new assessment, gradebook, attendance, or monetary collection platform at the beginning of the year can be difficult. Try to familiarize yourself with these platforms before the students arrive. This also includes the Learning Management System (LMS) your district uses. Organize your LMS ahead of time to ensure a smooth start. Consider using apps like MakeMusic for practice assignments, Sight Reading Factory for sight-reading, or Flipgrid for students to submit video performances.
n Create a Substitute Teacher Plan: Prepare a detailed substitute plan, including emergency lesson plans, seating charts, and instructions for managing classroom routines. This ensures continuity in learning and maintains classroom order in your absence. Include activities that are engaging and that reinforce concepts already taught so students can continue to learn even if you are not there.
2. Classroom Environment
n Classroom Setup: Arrange your classroom to promote engagement and interaction. Consider seating arrangements that facilitate ample teacher movement around the room, enabling proper proximity strategies. Decide what traffic flow you’d prefer, such as where students’ bags will go and where they will retrieve their materials or instruments for rehearsal. Be mindful of blind spots or areas of the room that are out of your normal vision, as these can be problematic. If you plan on having small group work, discussions, or sectional rehearsals, ensure there is space for these activities. Ensemble rooms, practice rooms, and storage rooms can be utilized for this purpose.
n Rules, Procedures, and Consistent Routines: Establishing clear rules, procedures, and consistent routines is fundamental for creating a structured and productive classroom environment (Evertson & Emmer, 2013). From the first day, communicate your classroom rules and expectations clearly. Explain the procedures
for common tasks, such as handling instruments, transitioning between activities, entering and exiting the room, placing belongings, and retrieving class materials. It’s essential to practice these routines regularly during the initial weeks of school, and be prepared to continue reinforcing them as the year progresses. Consistency in enforcing these rules is key to ensuring they become second nature to students.
Develop and maintain predictable structures to help students feel secure and understand what is expected of them. For example, if your vision for the program includes minimal off-task talking, enforce this ideal consistently. Consistency is crucial for establishing expected behaviors related to cell phone usage, posture, instrument carriage, rest room requests, and other classroom procedures. Start each class with a routine warm-up exercise or listening activity to set the tone for the lesson. These routines provide a stable framework that supports students’ learning and helps maintain an orderly classroom environment.
n Create a Positive Learning Environment With High Expectations: Foster a classroom environment where every student feels valued and respected. Establish high expectations for behavior, participation, and musical growth. Emphasize the importance of discipline and collective responsibility, encouraging students to take ownership of their learning and to contribute positively to the classroom community and culture. Celebrate achievements, both big and small, to motivate and inspire students. Create an atmosphere where hard work and dedication are recognized and rewarded, and where students understand the importance of supporting each other’s efforts. This approach enhances the learning experience and builds a strong, cohesive group dynamic centered on mutual respect and shared goals (Dillon, 2010).
3. Instruction
n Music Selection: At the start of the school year, select engaging pieces that align with your students’ interests to capture their attention and build enthusiasm quickly. Begin with familiar or easily learnable songs to ensure swift early learning cycles, fostering confidence and maintaining engagement. For example, consider popular songs or film scores that excite students and resonate with their tastes. Once you have established buy-in and trust, gradually introduce more complex facets of the repertoire and more challenging selections. This approach ensures a
smooth transition from initial excitement to deeper musical exploration, sustaining students’ interest and promoting steady growth (Byo, 1999).
n Basic Skills: Reinforce fundamental musical skills early on, such as rhythm, pitch, and notation. Use creative methods to make learning these basics enjoyable. Incorporate games and interactive activities that make practicing these skills fun. For example, use rhythm clapping games, pitch-matching exercises, improvisation games, and music theory apps that turn learning into a playful challenge. Follow your goals and objectives laid out for the year, focusing on developing foundational skills, knowledge, and behaviors that you can continue to build upon. A strong foundation will support higher achievement throughout the year.
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Foundations of Excellence
continued from page 17
n Specific and Related Feedback: Celebrate small achievements and progress by providing specific and related feedback to your students. Aim for a positive-to-negative comment ratio of 4:1, ensuring your praise is genuine and meaningful (Duke & Henninger, 2002). Instead of using nonspecific phrases like “good job” or “OK,” offer specific feedback that relates directly to musical concepts. For example, say, “Good job. You nailed the rhythm that time,” or “Beautiful tone, everyone!” This specificity helps students understand exactly what they did well and where they need to improve. Additionally, ensure your feedback remains related to your instructions before addressing other aspects. If you ask the ensemble to crescendo to a mezzo forte, focus your immediate feedback on their execution of that instruction before moving on to other issues, such as a missed rhythm. This approach maintains clarity and reinforces your teaching objectives, helping students stay focused and motivated (Bowers, 1997).
n Critical Thinking: Plan instruction that encourages students to use critical thinking strategies. Engage your students in critical thinking every few minutes to avoid them passively relying on your instruction. Integrate higher-order thinking skills such as analysis, evaluation, and creation from the start of the year, reinforcing that these will be part of everyday learning. For example, after learning a new piece, ask students to analyze the structure, discuss the composer’s intentions, or create their own interpretations or arrangements. Encourage peer feedback sessions where students constructively critique each other’s performances, fostering a collaborative and reflective learning environment.
4. Professionalism
n Continuous Learning: Approach the year with a mindset of continuous improvement. Stay updated on the latest
music education trends and methodologies by attending workshops, joining professional organizations, and networking with other music educators. Utilize webinars, YouTube channels, articles, and books related to your repertoire. Engage with veteran educators and mentors for advice, and be willing to mentor others. Participating in professional learning communities and attending conferences can provide fresh insights and innovative teaching strategies.
n Reflect and Adapt: Regular reflection and adaptability are essential for effective teaching (Yang, 2023). Continuously evaluate your teaching practices and be open to making necessary adjustments. Seek feedback from both students and colleagues to enhance your approach. Having a mentor can be invaluable—don’t hesitate to ask for guidance, and acknowledge areas where your teaching could improve. Consider organizing regular meetings with local music teachers, such as a weekly bagel shop meetup, to share support and advice.
Recording your ensembles and seeking constructive feedback on specific areas of improvement can provide valuable insights. Additionally, set aside time each week for self-reflection, perhaps through journaling, to document what worked well and what could be improved. This consistent practice of reflection and adaptation will help you grow as an educator and better meet the needs of your students.
n Parental Involvement: Engage with parents early in the year to build a strong foundation of support for your music program. Provide comprehensive information about the program and ways they can support their children’s learning at home. Communicate your needs clearly and regularly using multiple platforms, such as a dedicated website, the Remind or Band app, posted in-class calendars, take-home printed announcements,
and weekly emails. A well-informed and involved parent community can be a tremendous asset.
Consider hosting a “Meet the Teacher” night or an informational session at the beginning of the year to introduce yourself, outline your program, and address any questions. Additionally, consider leveraging the first concert of the year as a dual-purpose event: a performance and an informational meeting for parents. This approach maximizes parent attendance and allows you to convey important information that may be too extensive for a standard open house evening.
n Self-Care: Prioritize your well-being to avoid burnout. Teaching music requires a lot of energy, so treat your body like a professional athlete does. Focus on eating well, moving regularly, and getting sufficient sleep. Reflect on and optimize these aspects of your life to maintain high energy and effectiveness. Schedule regular breaks throughout the day to recharge, and practice mindfulness or relaxation techniques to manage stress. Establish boundaries to ensure a healthy work-life balance, and don’t hesitate to seek support if needed.
n Advocacy and Recruitment: Advocate for your music program by highlighting its importance in developing critical thinking, creativity, and social-emotional skills. Showcase student achievements through concerts, community performances, and social media. Engage with local media and community leaders to raise your program’s profile and to garner additional support.
Recruit new students by being active within the feeder structure. Volunteer to clinic feeder school ensembles, involve advanced students in their concerts, and host joint performances to build relationships and showcase future opportunities. Host open rehearsals, visit feeder schools to discuss your program’s benefits, and create promotional materials like brochures, videos, and a dedicated website section.
As we embark on a new school year, let us reflect on these guiding principles. They serve not as rigid rules, but as reminders of what can set us on the path to success. By focusing on careful planning, creating a positive classroom environment, delivering engaging instruction, and maintaining professionalism, we lay the groundwork for an enriching educational journey. Our goal remains
steadfast: to inspire and cultivate a lifelong love of music, fostering not just musical growth but personal and academic development in our students. Let this be our shared commitment as we commence this new chapter—a commitment to making a meaningful difference in the lives of those we teach.
Gregory W. LeFils, Jr., PhD, is a visiting assistant professor of choral music education at Stetson University in Florida. He holds a PhD in music education from Florida State University. His experience encompasses directing choral music programs, conducting, presenting at state and national music education conferences, and maintaining an active agenda as a speaker, clinician, and adjudicator.
References
Bowers, J. (1997). Sequential patterns and the music teaching effectiveness of elementary education majors. Journal of Research in Music Education, 45(3), 428–443.
Byo, J. L. (1999). Classroom teachers’ and music specialists’ perceived ability to implement the national standards for music education. Journal of Research in Music Education, 47(2), 111–123.
Dillon, D. (2010). Creating a Positive Learning Environment in Music Classrooms. Music Educators Journal, 96(3), 33–37.
Duke, R. A., & Henninger, J. C. (2002). Teachers’ Verbal Corrections and Observed Student Response to Instruction in Middle School Instrumental Rehearsals. Journal of Research in Music Education, 50(1), 75–87.
Evertson, C. M., & Emmer, E. T. (2013). Classroom Management for Elementary Teachers (9th ed.). Pearson.
Wiggins, G. P., & McTighe, J. (2005). Understanding by Design (2nd ed.). Association for Supervision and Curriculum Development (ASCD).
Yang, Y., & Zhang, L. X. (2023). Building professional resilience: School music teachers’ instructional practice development under curriculum reform. Research Studies in Music Education, 1321103X231209692.
Collaboratively Classroom Policies
by Skye E. Wright and Drew X. Coles, EdD
I Collaboratively Classroom Policies
Imagine a classroom where every learner feels empowered to contribute, innovate, and explore new ideas. Such an environment is not just a dream but a reality made possible through collaborative classroom policies (Johnson et al., 2008). Collaboratively oriented policies are the cornerstone of a learning space that balances structure with creative freedom, providing learners with the support they need to excel both academically and creatively. Collaborative classroom policies are more than just guidelines; they can foster a sense of ownership and responsibility, ultimately leading to richer educational experiences and innovative outcomes (Daniels, 2017).
Purpose of Classroom Management Policies in Classrooms
Classroom policies are a set of agreed-upon rules and guidelines that govern behavior, expectations, and procedures within a learning environment (Davis, 2017). In arts education settings, these policies play a critical role in creating a structured and supportive atmosphere where advanced learning and creative exploration can flourish. They ensure that both learners and educators have a clear understanding of their responsibilities and the standards they are expected to uphold (Robinson, 2018).
Goals & Benefits of Implementing
Classroom Policies
Providing Structure
The benefits of having clear and mutually agreed-upon classroom policies are manifold. Firstly, they provide
Oriented in Music Education Oriented in Music Education
Collaboratively Oriented Classroom Policies
continued from page 20
structure, which is essential for maintaining an organized and efficient learning and musiking environment (Anderson & Krathwohl, 2001). This structure helps manage the complexities of coursework and performances, allowing students to focus more on their creative and academic pursuits (Gibbs, 2006).
Promoting Respect
Well-defined policies promote respect among learners and educators. A culture of mutual respect is fostered when expectations are clearly communicated and consistently enforced. This respectful atmosphere is crucial for the open exchange of ideas and constructive feedback, both of which are vital for the growth and development of our students (Senge et al., 2012).
Enhancing the Educational Experience
These policies enhance the overall educational experience by creating a safe and predictable environment. Students know what to expect and what is expected of them, which reduces anxiety and allows them to take creative risks without fear of arbitrary repercussions (Freire, 1970). This predictability is particularly important in music education, where experimentation and innovation are key components of the learning process (Elliott & Silverman, 2015).
Collaboration in Policy Development
Involving students in the creation of classroom policies can be an essential part in fostering a sense of ownership, responsibility, and mutual respect within the learning environment (Daniels, 2017; Johnson et al., 2008). When students are actively engaged in the decision-making process, they feel valued and empowered, leading to a greater investment in the success of the policies and a deeper commitment to upholding them (Webb, 2009). This inclusivity also promotes a culture of transparency and accountability, as students understand the rationale behind the policies and are more likely to adhere to them willingly (Senge et al., 2012).
To illustrate how educators can involve students in the collaborative process of making classroom policies, we suggest starting the term with a session dedicated to creating classroom community agreements. Here are some strategies and examples to guide this process:
1. Init ial Discussion and Brainstorming: Begin by having an open discussion with your students about the importance of classroom policies. Pose questions such as “What kind of environment do we want in our classroom?” and “What rules do you think are necessary to achieve this?” Encourage every student to share their ideas. This can be done through a whole-class discussion or smaller group discussions to ensure all voices are heard.
2. Collaborative Policy Drafting: Once ideas have been gathered, work with the students to draft a set of policies. Write these suggestions on the board and discuss each one. Combine similar ideas and refine them into clear, actionable guidelines. This step is crucial for ensuring the policies are practical and enforceable.
3. Voting and Consensus Building: After drafting the policies, allow students to vote on them. This can be done through a show of hands, a secret ballot, or an online poll. Aim to reach a consensus where most, if not all, students agree with the policies. This process ensures that the rules have broad support and are seen as fair.
4. Policy Presentation and Signing: Once the policies are finalized, present them in a formal manner. Create a document that outlines all the agreed-upon policies and have each student sign it. This symbolic act of signing reinforces their commitment to the rules.
5. Regular Review and Reflection: Schedule regular times throughout the term to review the policies with the students. Discuss what is working well and what might need to be adjusted. This ongoing dialogue helps maintain the relevance of the policies and ensures that they continue to meet the needs of the class.
Three Points to Consider When Creating a Creative Environment for Students Physical Space
Policies regarding the physical setup of classrooms and rehearsal spaces and access to instruments and music technology labs play a crucial role in promoting creativity among students (Beghetto & Kaufman, 2014). A well-designed physical environment can inspire and facilitate collaborative work. For example, policies that ensure ample space for movement and experimentation
in rehearsal rooms can encourage students to explore new performance techniques and improvisational and/or compositional strategies (Lin, 2011). Additionally, policies that prioritize equitable access to instruments and technology resources enable all students to participate fully in creative projects and performing endeavors (Elliott & Silverman, 2015). By establishing guidelines for the organization and maintenance of physical spaces, programs and their classrooms can create environments that foster creativity and support the diverse needs and interests of their students (Freire, 1970).
Behavioral Expectations
Clear policies outlining behavioral expectations are essential for creating a conducive learning environment where creativity can flourish (Davis, 2017). These policies should encourage professional conduct, risk-taking, experimentation, and the exchange of ideas (Robinson, 2018). For example, policies that promote respectful communication and constructive feedback facilitate meaningful dialogue and collaboration among students and faculty (Webb, 2009). Students benefit from having the space to hold
continued on page 24
Collaboratively Oriented Classroom Policies
continued from page 23
meaningful dialogue with their peers as well as with mentors and teachers (Johnson et al., 2008). Similarly, policies that encourage students to take creative risks and explore unconventional approaches to music-making empower them to push the boundaries of their artistic practice (Lin, 2011). By establishing behavioral expectations that prioritize creativity and intellectual curiosity, music programs can cultivate a culture of celebrated innovation among their students (Beghetto & Kaufman, 2014).
Routine and Flexibility
Finding the balance between structured routines and flexibility is key to fostering creativity and supporting advanced research among graduate students (Anderson & Krathwohl, 2001). While routines provide stability and predictability, flexibility allows students the freedom to pursue their creative interests and respond to unexpected opportunities or challenges (Gibbs, 2006). For example, policies that establish regular practice schedules and rehearsal times provide students with a consistent framework for their artistic development. At the same time, policies that allow for flexible scheduling and project-based learning enable students to explore new ideas and collaborate across disciplines (Senge et al., 2012).
By implementing policies that address the physical environment, behavioral expectations, and the balance between routine and flexibility, K-20 music education programs can create classroom environments that support the creative and scholarly development of their students. Through thoughtful collaboration and a commitment to inclusivity, these policies can contribute to a vibrant and thriving community of artists, scholars, and educators (Robinson, 2018).
Conclusion
By engaging students in decision-making processes and valuing their perspectives, music education programs can create policies that truly reflect the needs and priorities of the learning community (Daniels, 2017). This inclusive approach not only strengthens the legitimacy of the policies but also fosters a culture of shared responsibility and mutual respect among students and educators alike (Webb, 2009). In essence, collaborative classroom policies are essential tools for creating a supportive and
empowering learning environment where every learner feels empowered to contribute, innovate, and explore new ideas (Johnson et al., 2008).
Skye E. Wright is a music educator for Pasco County Schools, teaching preK through fifth grade. She holds a BM in music education from the University of Tampa and is a graduate student at Teachers College, Columbia University, focusing on socioeconomic disparities, cultural inclusivity, and advocacy in music education.
Drew X. Coles, EdD, is an accomplished producer, serial entrepreneur, educator, and scholar, whose work spans across multiple facets of the music industry and higher education. As a faculty member at Teachers College, Columbia University, he leads a cutting-edge hybrid graduate degree program in music and music education.
References
Anderson, L. W., & Krathwohl, D. R. (2001). A taxonomy for learning, teaching, and assessing: A revision of Bloom’s Taxonomy of Educational Objectives. Longman.
Beghetto, R. A., & Kaufman, J. C. (2014). Classroom contexts for creativity. High ability studies, 25(1), 53–69.
Daniels, H. (2017). The curious classroom: 10 structures for teaching with student-directed inquiry. United States: Heinemann.
Davis, B. G. (2017). Tools for teaching. John Wiley & Sons.
Elliott, D. J., & Silverman, M. (2015). Music matters: A philosophy of music education. Oxford University Press.
Freire, P. (1970). Pedagogy of the oppressed. Continuum.
Gibbs, G. (2006). How assessment influences student learning. In C. Bryan & K. Clegg (Eds.), Innovative assessment in higher education (pp. 23–36). Routledge.
Johnson, D. W., Johnson, R. T., & Holubec, E. J. (2008). Cooperation in the classroom (8th ed). Interaction Book Co.
Lin, Y. S. (2011). Fostering creativity through education–a conceptual framework of creative pedagogy. Creative education, 2(03), 149.
Robinson, K. (2018). You, your child, and school: Navigate your way to the best education. Viking.
Senge, P. M., Cambron-McCabe, N., Lucas, T., Smith, B., Dutton, J., & Kleiner, A. (2012). Schools that learn: A fifth discipline fieldbook for educators, parents, and everyone who cares about education United States: Crown.
Webb, N. M. (2009). The teacher’s role in promoting collaborative dialogue in the classroom. British Journal of Educational Psychology, 79(1), 1–28.
Component News
FLORIDA MUSIC SUPERVISION ASSOCIATION
Christopher Burns, PhD President
Iamso excited to kick off another year in music education! As president of the Florida Music Supervision Association, I can’t wait to see what amazing things we achieve together. While there are some hurdles to jump, there’s also a lot to celebrate, and I have no doubt we’ll continue nurturing the next generation of musicians.
One of the highlights this year is the brand new Florida Seal of Fine Arts Program. This program, thanks to HB 523, recognizes high school graduates who have truly poured their hearts into the arts. Starting THIS year, students who meet specific criteria will have this Seal proudly displayed on their diplomas and transcripts.
This is a huge win for arts education! It shows everyone how important the arts are—not just for fun, but for building creativity, critical thinking, and an appreciation for different cultures. It’s a fantastic way to acknowledge students’ hard work and to encourage them to keep chasing their artistic dreams. The State Board of Education will be overseeing this program, and we are awaiting clarity from them to help make sure it rolls out smoothly across all schools.
While we celebrate the introduction of the Seal of Fine Arts, we must also address the recent veto of the arts budget by Governor Ron DeSantis. Cutting $32 million in arts funding definitely threw a curveball at our community. This decision impacts more than 600 organizations, many of which are still recovering from the pandemic.
It’s a tough blow, but we can’t let it discourage us. The arts are the lifeblood of our society. They enrich our culture, boost our economy, and make our communities stronger. We need to keep pushing for arts funding and find creative ways to support our programs.
Here’s how we, as music teachers and administrators, can stay strong and support each other during this time:
w Teamwork Makes the Dream Work: Let’s share resources, ideas, and best practices! By combining our knowledge, we can overcome any obstacle and keep delivering top-notch music education.
w Speak Up for the Arts: Contact your local and state officials. Tell them why arts funding matters! Share stories about how music education has made a positive difference in your students’ lives.
w Always Learning: Take advantage of professional development opportunities to sharpen your skills and stay on top of new teaching methods and technologies.
w Building Bridges: Strengthen ties with local arts organizations, businesses, and community members. A strong support network can open doors to new funding and partnerships.
Remember, you’re not in this alone. The Florida Music Supervision Association is your biggest cheerleader. If you need anything—resources, help with advocacy, or professional development—please don’t hesitate to reach out. Email me at christopher.burns@osceolaschools.net
This year will have its ups and downs, but with a positive attitude and a determined spirit, we can face any challenge head on. The Florida Seal of Fine Arts is a fantastic step forward, and the budget veto reminds us of the power of our voices. Together, we can keep inspiring and educating our students, fostering a lifelong love for music. Thank you for your dedication and passion. Let’s make this a truly enriching year for music education in Florida!
Component News
nother summer has come to an end. I enjoyed taking time with my friends and family on Nantahala Lake in North Carolina, or as we call it, North Cayerolina. The season of boating, campfires, and serenity has come to an end, and it is time to return to the bustling excitement of the band room. I am excited to hear those first notes of the year!
As we embark on a new school year, it is my hope that each of you has experienced a bit of serenity this summer and will return to the classroom with renewed energy and enthusiasm. It is also my hope that each one of us can be compassionate not only to our students but to our colleagues in the field. Teaching music is difficult, and we must continue to build supportive cultures in our districts. At your first meeting of the year, take the time to introduce yourself to someone you do not know. Directors in their first few years of teaching need some tips and secrets to add to their bag of tricks. Recent graduates need to be mentored and coached on the real-world issues they will encounter.
Mentorship is not a one-way street. Just as beginning directors can learn from their more experienced colleagues, experienced directors can learn
FLORIDA BANDMASTERS ASSOCIATION
Jeff Cayer, EdD President
a great deal from our youngest FBA members. Many of this year’s beginning teachers started college virtually. These teachers’ wealth of technological knowledge will make a huge, positive impact on the way they teach. This also creates a stronger instructional connection with our students who grew up in the same technological era. I am looking forward to being mentored by these youthful band directors.
When I started my band directing career nearly 30 years ago, I had many influential mentors in my life. Many of them were people I approached asking for help while others showed up in my band room unannounced and told me truths I did not want to hear. It was difficult to receive honest feedback from these FBA giants, but I am so grateful for their genuine desire to make me a better band director. I would not have enjoyed any level of success without their mentorship. My mentors took time to invest in my future growth as well as in the growth of my students over the decades who benefitted from what I learned. I am looking forward to continuing my personal and professional growth this year by building relationships with those new to our profession.
I encourage all directors, young and “not so young,” to commit to natural mentorship opportunities through meaningful relations with your peers. There are many ways to give and receive mentorship. Be open to new ideas and implement them to the best of your ability. Our students are counting on us! May the first notes of the year be dolce!
Welcomeback, everyone! As we prepare for a new semester, we are greeted by a combination of both excitement and apprehension. The intensity of life as a music education major has returned, but so has our purpose! That is not to say our only purpose in life is to become a music educator, as we are so, so much more than our occupation. However, a new semester brings motivation, inspiration, and opportunity. It would be remiss not to celebrate it, even if it may be overwhelming. That being said, I have some tips that might help manage the chaos:
w Get up early – We’ve all had to rush out the door for class because we slept through our alarm. Instead, get up early, get a head start on work, or just sit and exist while you enjoy coffee and alone time. It is a much more peaceful and productive start to the day, and your mental health will thank you.
w Go to bed early – It’s pretty difficult to get up early if you’re going to bed after midnight. Sometimes it may be unavoidable, but these should be rare occasions. A lack of sleep can affect your brain power, mood, and productivity—all of which are essential to succeed in school.
w Use social media less –This tip is probably the simplest to implement and what I personally believe to be the most important thing on this list. Social media is nothing less than addictive and an enormous timewaster. It also has the power to cripple your mood and overall mental health. Have you ever been working
Megan Robichaud President
on an assignment, but then suddenly find yourself scrolling through Instagram? I’m not saying you have to get rid of it, but consider moving your social media to a different, more obscure place on your phone. It will help break the habit of subconsciously opening the app. There are also apps that can block social media during certain times of the day.
w Get active – Exercising builds more than just muscle. It builds confidence, improves mood, and helps your brain function better. We’re all incredibly busy, so finding time can be difficult (another perk of waking up early), but something even as small as a walk around campus can make a huge difference.
w Keep your space clean – This one is simple, but essential. To me, an organized space is an organized mind.
w Create a routine (and stick to it) – A routine is essentially a series of habits. Take time to write down a routine that sets you up for success. It will be easier to stay on task and get everything done when you know what your goals are. Write down everything from assignments to when you’ll eat dinner. Once the semester is in full swing, it may be difficult to find the time to implement these ideas. That’s why it is incredibly important to form healthy habits now. The habits we make rule our lives, so make sure yours aren’t holding you back.
FLORIDA NAfME COLLEGIATE
Component News
nd it’s a wrap! Summer has come and gone, and we are all back to school, excited and energized to shape our young musicians. I hope you had a great and relaxing summer with family and friends and are pumped for the school year.
I am thrilled about all the new things this 2024-25 school year brings for our Florida Orchestra Association. First, our illustrious executive director, Don Langland, is retiring. He has dedicated 20-plus years and has served our association well. He is a driving force who will definitely be missed. I have the privilege and honor to serve as your executive director, officially beginning September 1, 2024, and I look forward to continuing to serve you and our association, as executive director.
With me vacating my term of president early, I am proud to let you know that Laurie Bitters has agreed to serve again as president to finish out the term. Also, because of Laurie moving into the presidency, that leaves our past president position open. But have no fear! Matt Davis has graciously agreed to return to the executive committee and serve as your past president for the remainder of this term. With their willingness to serve and the continuation of Andrea Szarowicz as president-elect, I am confident our association will continue to progress and thrive in the future.
On to some immediate business of importance:
w Remember to pay your FMEA/NAfME/component dues.
The deadline is September 1, 2024. You can register/renew now at fmea.org
FLORIDA ORCHESTRA ASSOCIATION
Cheri A. Sleeper President
w Be sure to register and get your hotel booked for our 2024 Fall Professional Development Conference, October 10-11, 2024, at the Hilton Orlando. We are fortunate to have as our keynote speaker Mr. Creston Herron, University of Kansas, as well as several informative and invigorating sessions. And you don’t want to miss out on visiting our on-site vendors.
Deadline for early registration is September 24, 2024. Deadline for hotel reservations at the conference rate is September 27, 2024. ALL registration and reservation information can be found on our website, myfoa.org.
NEW THIS YEAR: a reduced rate for our remarkable FIRST-YEAR TEACHERS.
As you plunge into another spectacular school year, keep some key positive points in mind:
w No matter how difficult a moment gets, it will get better.
w You are not alone! Your district chairpersons, district colleagues, and the association’s mentoring program are here for YOU!
w Don’t be afraid to ask questions. No one knows everything, but someone may know something that can be of assistance to you.
w When you feel frustration or just don’t think you can go one more moment … BREATHE!
I wish you all the best of luck with your 2024-25 school year. Remember, your association, executive director, executive committee, and district chairpersons are here to assist you with the tools for success. Never hesitate to reach out.
FLORIDA NAfME COLLEGIATE
Mark A. Belfast, Jr., PhD Advisor
Stepping Forward Into Growth
ugust?! ALREADY?! It’s hard to believe summer break is ending, and it’s already time to get focused on another academic year. I hope you all had a relaxing and fulfilling June and July. Members of Florida NAfME Collegiate spent the summer advocating for music education and developing their leadership skills at the 2024 NAfME Collegiate Leadership Advocacy Summit and Hill Day in Washington, D.C. The organization also provided fantastic professional development sessions during virtual monthly meetings. If you weren’t able to attend any of those events, be sure to check the homepage of our website (flnafmecollegiate.com) for other opportunities to get engaged.
Between mowing the lawn, building sand castles on the beach, and visiting theme parks, I hope you were able to spend a few moments reflecting on the 2023-24 academic year. What do you feel went really well for you, and how can you ensure that success continues this year? Have you identified any specific areas of your life where you would like to see growth and development this year?
Abraham Maslow is often quoted as saying “In any given moment, we have two options: to step forward into growth or step back into safety.” Change can be difficult. It is often uncomfortable and daunting because change inherently requires conflict. Nevertheless, change is necessary. It’s an essential component of the human condition. We have survived, and even thrived, precisely because of our capacity to adapt and overcome adverse situations. Who? Humans. Americans. Minoritized communities. Floridians. Educators. Me. YOU! Regular self-reflection is important, but what we do after that time of reflection is crucial because reflection without action is unproductive.
So, what action do you plan to take this academic year? It need not be earth-shattering or innovative. For example, I’m determined to ensure my students know I care about them, their success, and their well-being, and I’ve developed a plan to systematically and intentionally demonstrate those sentiments this school year. I’m also not happy with a few components of my syllabi, and I intend to get help from my classes to adjust the syllabi in ways the students feel will best benefit them personally, professionally, and academically. What actions are you taking?
There is beauty in embracing a spirit of adaptability and recognizing you don’t know what you don’t know! If you’ve had an experience, reflected upon it, considered alternatives, and determined a new approach, trying new things can become exciting. Remember, if in the end you’re not happy with the change, continue to reflect, learn, consider alternatives, and take action. Every experience will help you to mature personally and professionally.
In the coming weeks, you’ll hear about great opportunities to get involved, to take action, with NAfME Collegiate. I look forward to seeing the amazing things you’re going to do. Please be sure to follow @flnafmecollegiate on Facebook and Instagram, and join the Florida NAfME Collegiate Discord (https://discord.com/ invite/P387qeV2gb) to stay connected.
Component News
Welcomeback to another school year. I trust you’ve had a rejuvenating summer full of relaxation and much valuable time spent with friends and family. Each new year brings excitement and anticipation for what can be. A new class of students brings fresh enthusiasm to
Withthe program as we begin navigating the year without last year’s seniors or eighth graders.
Every teacher will fall into one of two categories. There is the experienced teacher who confidently knows what they’re going to do this year and doesn’t feel they
FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION
Sandra Sanchez Adorno, PhD President
the summer winding down, I hope we have all taken some time for ourselves and are feeling refreshed and invigorated for the new school year. August is always an exciting time, as we are able to reflect on years past to strengthen our teaching, creative work, and relationships in and around our educational communities for the year to come. At the same time, hundreds of future music educators are preparing to step into our university classrooms for the first time. Some may be recent high school graduates or transfers who always wanted to be a music teacher, some may be on the fence about teaching, and others might have started down a different path and found their way back to music. Some cannot wait to start while others may be anxious or skeptical.
University faculty play a huge role in sustaining the music teaching profession. Thus, it is vital that we continue to think of ways to prepare and support our students for the ever-changing world around us. The great news is, we do not have to do it alone. As an organization, FCMEA is committed to supporting university faculty in Florida through professional development, opportunities for collaboration, and funding for creative projects and teaching resources. Our efforts have increased in this area since our vote to create a standing professional development committee for our organization. Thank you to Patrick Cooper, Livia De Moraes, Marc Decker, Margaret Flood, Lisa Foltz, and Kyle Prescott for volunteering to serve on this new committee. Be sure to visit our website, FCMEA.org , to find more information on our ongoing initiatives, including our mentorship program, Creative Explorations Grant, and Collaborative Connections in Higher Education Meeting, as well as new developments from the com mittee, such as session recordings from Accessibility Week Workshops with Dr. Rachel Grimsby last spring.
As for upcoming events, our fall general business meeting will take place via Zoom on Sunday, October 20. Please mark the date on your calendars and plan to attend. In September, an email with further details will be sent to the membership. We hope to see you there!
David Pletincks President
need any assistance or guidance from other colleagues. The other is a newer teacher who can benefit from having someone to check up on them and give them a helping hand. That would obviously be brand new teachers, but it doesn’t have to be. You may have been teaching for several years but still feel that it would be helpful to run your ideas by someone or to get suggestions from time to time.
If you fall into the seasoned teacher category, then you can be the person the other teachers go to for that much needed help. There is no limit to the years a teacher can have a mentor. You may have been teaching for five or more years but still feel you need to have questions answered about the MPA process, solo and ensemble, or all-state. That is wonderful, and I want to encourage you to seek out that help.
If you want to have a mentor teacher assigned to you, please talk with your mentoring coordinator in your district. No one should ever feel like they are on an island. Pardon the cliché, but we are all in this together. (I know you just sang that in your head.) Mentoring is not just the responsibility of a specific mentoring teacher. We can all reach out to newer teachers and ask if they need help choosing repertoire for MPA or any other issues they may be facing.
You are going to change students’ lives this year. Whether you feel like you’re making a difference or not, there are students who will love your class and, more importantly, love you as their teacher. Be that teacher in a student’s day that makes them feel comfortable and appreciated.
Have an amazing year, everyone. Please remember, your executive board is here to help you. From your district chairperson to myself, we all want to see you succeed and be the best choral music educator you can be. You will be amazing!
Ashley Peek President
Welcome, colleagues, new and returning, to the 2024-25 school year! As you begin the school year, how are you feeling? Brand new music teachers, I imagine you are fired up to have your very own classroom, ready to inspire young musicians to be their very best, and to begin an incredible career in music education. I would also venture to guess there’s some nervous energy lurking around as well; and YES, even I still get that nervous energy going into a new school year and this will be year 13 for me. Returning teachers, are you fired up? Do you still have some of that nervous energy as well?
First-year teachers (and returning teachers), you’ve got this! As I reflect on my 12 years in the elementary music classroom, I see growth in every area and strive to continue to grow daily in both my career and personal life. Going into your first year of teaching, take a look at where you feel very comfortable and also the areas you need to develop more. Look
for fun and exciting professional development opportunities in and out of your comfort zone areas.
Next, whether it be in or out of the classroom, work on managing your time effectively and being productive with your time. While it’s natural to spend time working after school and even to take work home, there always needs to be a balance between work and home. There WILL be times when it doesn’t seem balanced; just remember to lean back into that balanced state. Keeping things balanced and practicing self-care will ultimately help us to be at our best for our students.
In addition to being intentional with your time, it is essential to work to grow relationships that will help build and sustain you within your career and outside of it. Music education is a people-centered career, and building relationships is imperative. However, it is not uncommon at all for music teachers to feel as though they are on an island, as there is often just
one music teacher in a school. This makes building relationships even more important. Find a mentor teacher in your field you can talk with frequently. If you are an experienced teacher, find a newer teacher you can mentor. Build relationships with the teachers in your school in other subject areas. Equally as important to building relationships with the teachers in your school, be SURE to build relationships with your paraprofessionals, office staff, custodians, and EVERYONE else at your school. Our common goal is our students, and growing relationships with people who share that goal is important to our overall well-being and success, and important as an example for our students to see.
Finally, no matter what year of teaching it is for you, I encourage you to find your joy inside and outside of the classroom. Let your love of music radiate to your students, and let this be your best year yet!
ResearchPuzzles FOR MUSIC TEACHERS
William I. Bauer, PhD FMEA Research Committee Chairperson, University of Florida
This on-going column seeks to stimulate awareness of research issues for FMEA teachers and researchers.
Social Emotional Development in P-12 Music
s a new school year begins, it is important to consider not only the musical concepts and skills our students need but also their social emotional development (SED). SED refers to how students develop the skills necessary to (a) understand and manage their emotions, (b) establish and maintain positive relationships, and (c) make responsible decisions. One framework for social emotional development is the Collaborative for Academic, Social, and Emotional Learning’s (CASEL, 2024) social emotional learning (SEL) model. CASEL organizes SEL around five core competencies: (a) self-awareness, (b) self-management, (c) social awareness, (d) relationship skills, and (e) responsible decision-making. In recent years SED/SEL has become a common topic of professional development for in-service teachers while also being integrated into preservice music teacher education. Researchers Mara E. Culp, Christina Svec, Michelle McConkey, Scott Edgar, Daniel S. Hellman, Kathleen Melago, and Holly Smith were interested in learning how collegiate music teacher education programs were preparing preservice music teachers (PMTs) to address the social and emotional development (SED) of P-12 learners. The following summarizes their study (Culp et al., 2024).
Methodology
The researchers contacted 665 music teacher education programs listed in the 2019 Title II Report of National Teacher Preparation Data, asking them to complete an online survey. The survey focused on identifying how these programs integrate SED into their curriculum, asking about the existence and nature of embedded coursework, field experiences, and other programmatic elements that address SED. Responses were analyzed from 133 faculty in these programs.
Results
The results highlighted significant variability in how music teacher education programs address SED. Key findings included:
1. Coursework: Most programs reported having some coursework that explicitly or implicitly covered aspects of SED. These courses often addressed topics such as emotional intelligence, student well-being, and inclusive teaching practices.
2. Field Experiences: Many programs included field experiences or practicum components that allowed PMTs to engage with diverse student populations and practice socioemotional teaching strategies in real-world settings. However, the extent and depth of these experiences varied widely.
3. Conceptual Frameworks: Programs varied in their conceptualization of SED. Some programs integrated comprehensive frameworks like social emotional learning (SEL), while others included SED components in a more fragmented or incidental manner.
4. Professional Development: Some programs offered professional development opportunities focused on SED for both faculty and students. This included workshops, seminars, and guest lectures.
Implications and Conclusions
The authors emphasized the importance of a well-rounded education that prepares PMTs not only for the technical aspects of music teaching but also for the socioemotional
Email your questions and feedback to wbauer@ufl.edu with a subject heading Research Puzzles.
Education
challenges they will encounter in the classroom. The variability in program approaches may suggest a need for more standardized guidelines and best practices to ensure all PMTs receive adequate preparation in this area.
The researchers also noted the increasing recognition of the role of SED in student success and well-being. Given the broader educational shifts toward SEL and holistic education, the authors called for music teacher education programs to place greater emphasis on these components. They suggest that integrating SED more systematically into the curriculum can help future music teachers better support their students’ overall development.
The authors concluded that while there is a growing awareness of the importance of SED in music teacher education, there is still much work to be done to ensure consistent and comprehensive preparation for PMTs. The authors recommend that music teacher education programs:
1. Develop clearer, more consistent frameworks for integrating SED into their curricula.
2. Increase the availability and quality of field experiences that focus on socioemotional teaching practices.
3. Provide ongoing professional development for faculty and students to stay current with best practices in SED. By addressing these areas, music teacher education programs can better equip future teachers to meet the socioemotional needs of their students, ultimately contributing to a more supportive and effective learning environment. A holistic approach to teacher education that recognizes the interconnectedness of academic, social, and emotional development is needed. To learn more, read the full article, which can be accessed as part of your FMEA/NAfME membership at https:// tinyurl.com/journal-jrme
References
CASEL. (2024, July 8). Fundamentals of SEL. https://casel.org/ fundamentals-of-sel/ Culp, M. E., Svec, C., McConkey, M., Edgar, S., Hellman, D. S., Melago, K., & Smith, H. (2024). Meeting the social and emotional needs of P-12 learners: A descriptive study of music teacher education programs. Journal of Research in Music Education, 72(1), 5–27. https:// doi.org/10.1177/00224294231174606
Committee Reports
Summerhas always been a time of reflection for me. After school ends, most of my reflection centers on the last school year. What went well? What could have been better? As the new school year approaches, the train of thought becomes more about what I will do differently. How can I be more efficient? How can I better serve my students? This year the reflection took a slightly different direction.
Both of my daughters plan to pursue music. My older daughter, Kathleen, is now a music therapy major. My younger daughter, Julia, plans to pursue a career in music education. Upon returning from a summer music camp, she brought up the topic of advocacy. Through social media, an organization reached out to her about being a student music education advocate. This led her to do some research and made her think. She’s heard the term advocacy tossed around before, but really didn’t know much about it. She’s a child of music teachers. If she didn’t know, then many others don’t, either. She’s been going to the FMEA conference her whole life, most
recently as an all-state student.
The biggest group of stakeholders in our profession is students. For every secondary school music teacher, there are probably around 100 music students. For elementary music teachers, this could be 1,000 (or more)! Are we missing opportunities to engage and empower a group of people who could be our most powerful advocates? Twenty years from now, these students will be the decision makers, teachers, and consumers who will impact our profession. Five years from now, some of these students will be in the classroom shaping future generations. Next year, or right now, many of these students are deciding whether or not they want to pursue a career in music. We have devoted much time and resources to recruiting the next generation of teachers. Are we including the most important stakeholders in the conversation? This is far too broad of a topic for a monthly column, but this conversation has made me consider ways I can empower and encourage my own students.
I will remind my students regularly that I really do love my job. I think too
STUDENT ENGAGEMENT COMMITTEE
Michael Antmann, EdD Chairperson
often students can see our frustrations and think the job can be frustrating. It can be frustrating, but for me, the positives far outweigh the perceived negatives. I get to stand in a room every day and teach great young people how to make music. Most businesses know that customers usually only leave reviews after negative experiences. We can be guilty of the same. What can we do to be more positive about our jobs?
I will find more ways to have my students share their music in the community. This goes beyond parades (which are important). I try often to get my band students involved in community events. This includes our local Relay for Life, the farmers market, and volunteer opportunities at our middle and elementary schools. More importantly, I will prioritize having them speak, rather than me, to share about their experiences.
I will have my leadership students participate in advocacy projects. At our leadership camp, our students often make advocacy videos about why they participate in music. This will be a part of our social media plan. “Find them where they are.” Most young people are getting their information and content on social media. We need to go to them.
I will look for opportunities for my students who show an interest in pursuing music. This includes workshops, events, summer music camps, and FMEAsponsored activities like the Student Conference Experience. Each year, the Student Conference Experience students are engaged in advocacy-related conversations and tasks. They are hearing from music education leaders and performing artists. In my opinion, this is one of the best opportunities for our most important stakeholders. Check out the FMEA website to learn more.
See you in Tampa!
MULTICULTURAL
NETWORK COMMITTEE
Arnekua Jackson, PhD Chairperson
Embracing Music Multiculturalism: Four Tips for Starting the New School Year
Welcome back, fellow music educators!
Music is a powerful tool for celebrating diversity and fostering cultural understanding in the classroom. As educators prepare for the new school year, integrating music multiculturalism can enrich students’ learning experiences and promote inclusivity. Here are four practical tips to start the school year with music multiculturalism as a central focus.
By incorporating these strategies, educators can create a dynamic and inclusive learning environment where music multiculturalism serves as a catalyst for cultural appreciation and understanding. Embracing diverse musical traditions not only enhances students’ musical literacy but also nurtures empathy, respect, and global awareness in the classroom community.
Showcase Diversity in Music: Organize music appreciation sessions where students can listen to and discuss music from diverse cultural backgrounds. Use multimedia resources to showcase performances by musicians from different countries or regions.
Collaborate With Guest Musicians: Invite local musicians or cultural performers to share their expertise with students. Arrange live demonstrations or virtual presentations where musicians can showcase instruments, songs, and musical techniques from their cultural heritage.
Create Cross-Cultural Collaborations: Facilitate opportunities for students to collaborate across cultural lines through music. Organize multicultural music ensembles or projects where students can learn to play instruments from different traditions, compose cross-cultural music pieces, or choreograph dances inspired by diverse musical styles.
Discuss Social and Historical Contexts: Provide context for the music by discussing its social, historical, and political significance within different cultures. Explore how music has been used to express resistance, to celebrate milestones, or to preserve cultural heritages.
Partners Make It Possible
For more information, visit:
Committee Reports
DIVERSE LEARNERS COMMITTEE
Christine Lapka, EdD Chairperson
s I think about the start of year 38, I wanted to look at the effects of teaching on health. After all, there are many negative voices in the media reporting about the teaching profession. After reading a new book on health, I learned about the importance of service and how helping others increases oxytocin. With a little more digging, I located a related health article from the Cleveland Clinic (2022), “Why Giving Is Good for Your Health.” Immediately, we can make the connection to teaching and our efforts in teaching diverse learners.
Our students may not thank us for teaching them, but when we take the time to create visuals or to locate motivational music, our brains secrete serotonin, dopamine, and oxytocin. These chemicals relate to mood, pleasure, and connection respectively. The outcomes explain why I love creating visual presentations for my students. I think many of us selected teaching as a career because we like helping others. It is nice to know the positive feeling is very real.
In addition to the feel-good hormones, helping others has the following effects:
w Lowering blood pressure (good for your heart)
w Living longer
w Reducing cortisol (can make you feel less anxious)
In addition to helping, take steps to tune out negativity. If that means less time on certain social media sites or not talking about teaching frustrations at lunch, take those steps. Why? Because we know that optimism is healthy (Lear, 2020). In addition to our actions remaining or becoming more positive about teaching, we can also expect our students to be more “glass is half full.” Perhaps you add “be positive” to your list of classroom expectations. Refer to these expectations often as your diverse learners need reminders. Maybe you want to borrow this list of actions from Nemours TeensHealth:
w Notice good things as they happen.
w Train your mind to believe good things can happen.
w Don’t blame yourself when things go wrong.
w When something good happens, give yourself credit.
w Remind yourself that setbacks are temporary.
As you expect the above from your students, model these behaviors and tell them that you are working on these actions for your health, too. We are in this together.
As you prepare for this school year, make sure you take stock in positive outcomes. Think about ending the day with a few cleansing breaths and then make a mental list of a few things you did for others. Finally, remind yourself that helping and optimism have measurable benefits.
References
Cleveland Clinic. (2022, December 6). Why giving is good for your health: Helping others can boost your heart and mind. https://health.clevelandclinic.org/whygiving-is-good-for-your-health
Lear, S. (2020, March 5). How optimism benefits your health. Heart and Stroke Foundation of Canada. https://www.heartandstroke.ca/ articles/how-optimism-benefits-your-health Nemours TeensHealth. Optimism. Nemours Children’s Health. https://kidshealth.org/ en/teens/optimism.html
AWARDS COMMITTEE
Sondra A. W. Collins Chairperson
The2025 FMEA Award Nominations period is now officially OPEN! Your FMEA Awards program offers several awards in recognition of the efforts and accomplishments of those who 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, 2024. Please check the FMEA website for details (FMEA.org/programs/awards) and nominate someone deserving, today!
I am continuing to share with you a little of the brilliance that our 2024 FMEA awardees have to offer, speaking their truth about music education and the passion that drives them. These words of inspiration I share with you to give you the confidence to be the light to your own students, as well as the drive to help shine a light on others in this current nomination period.
Here is your monthly dose of inspiration, through words of gratefulness and appreciation from our 2024 FMEA College Music Educator of the Year, Dr. Carlos Abril, professor of music education and associate dean of research at the Frost School of Music, University of Miami:
2024 FMEA College Music Educator of the Year Dr. Carlos Abril
“I am sincerely honored to receive the 2024 FMEA College Music Educator of the Year award.
This recognition holds a special place in my heart, as FMEA has been integral to my music education journey, starting in high school, playing in the All-State Orchestra, which stretched me as a musician and opened my eyes to a life of music. Later as a collegiate and general music specialist, attending conferences informed my teaching and helped me build a professional network. Finally returning to Florida, as a professor at the Frost School of Music, many years later, I naturally found myself back at FMEA, this time as a music teacher educator and clinician.
Being recognized by FMEA is truly meaningful to me. These awards embody a collective dedication of the many people committed to the transformative power of music education. They mark the early part of my journey, shaped by some extraordinary music educators. We can all think of people who were instrumental in the formative years of our music journeys. Without those educators, administrators, community partners, and parents, many of us would not be where we are today. They contribute to a healthy music education ecosystem. They are the people who work together toward a common goal of bringing transformative, relevant, and meaningful music programs to the lives of students.
I share this award with mentors who’ve guided me, colleagues who’ve inspired me, and every student who I’ve had the privilege of teaching.”
ExecutiveDirector’sNotes
The mission of The Florida Music Education Association is to promote quality, comprehensive music education for all Florida students as a part of their complete education.
Welcome Back!
Welcomeback for the 2024-25 school year! It was quite a hot and steamy summer, and hopefully you had an opportunity to refresh and relax. FMEA looks forward to working with all of our members.
Professional Learning Opportunities for Members
Registration for the 2025 FMEA Professional Learning and All-State Concerts, Music Education Begins with ME, opens on September 13, 2024*. We look forward to coming together January 8-11, 2025, in Tampa.
The Professional Learning Committee, chaired by Ajori Spencer, has been developing professional learning opportunities through podcasts and webinars. Watch for the announcements in your email and on the FMEA website. To view the current and past podcasts, go to the FMEA website FMEA.org/programs/podcast/
Legislative Session/Advocacy
The FMEA Advocacy Committee, chaired by Jeanne Reynolds, and the FMEA lobbyists are reviewing all of the new laws impacting education that have or will take effect. We will provide an updated report on the FMEA website.
FMEA Executive Director
Kathleen D. Sanz, PhD
The 2025 Legislative Session will begin on March 4, 2025, and will end on May 2, 2025. Please look for communication from FMEA asking you to assist us with reviewing the bills. If you have any questions about the bills as they move through the process, please call Dr. Kathleen Sanz at the FMEA office.
The Florida Seal of Fine Arts (HB 523) passed unanimously through the Florida Senate and House and was signed by the governor to become effective for graduating seniors at the end of the 2024-25 school year.
While we were thrilled with the passage of HB 523, Governor Ron DeSantis on June 12 vetoed $32 million in allocated grant funding for the state’s Division of Arts and Culture budget. The loss of the funding will have an impact on FMEA’s programs. (More information can be found in President Locker’s July 1 email to all FMEA members.)
We encourage you to be an engaged and informed voter. Your vote is your voice, so please register and vote in the upcoming August and November local, state, and federal elections.
Please read the advocacy article by Jeanne Reynolds in this magazine and remember … VOTE! VISIT! VIGILANCE!
*subject to change
Key Election Dates for 2024
Visit https://dos.fl.gov/elections/forms-publications/ publicationsreports/ for the comprehensive 2024-2025 Elections Dates-Activities Calendar. The following are the key election dates for registration and voting in the 2024 election cycle:
PRIMARY ELECTION 2024
Deadline to register to vote or change party affiliation July 22, 2024
Deadline to request that ballot be mailed ........................................................... August 8, 2024
Early voting period (mandatory period) August 10-17, 2024
Election Day ................................................... August 20, 2024
GENERAL ELECTION 2024
Deadline to register to vote ...................... October 7, 2024 (no deadline to change party affiliation)
Deadline to request that ballot be mailed .......................................... October 24, 2024
Early voting period (mandatory period) .......... October 26-November 2, 2024
Election Day .............................................. November 5, 2024
Thank you for your continued passion for and support of music and arts education.
Student Opportunities
w TriM – Consider starting a TriM chapter for your middle and high school students. TriM is the only national music society for student musicians. Through performance and community service they will develop confidence, creativity, critical thinking, compassion, and leadership skills. For more information visit NAfME.org.
w NAfME Collegiates – The Florida NAfME Collegiates are planning their annual Fall Conference to be held October 19-20, 2024, at the University of North Florida in Jacksonville. College and university faculty, please encourage your students to participate in this event.
Florida School Music Association
The Florida School Music Association (FSMA) hosted a Leadership Workshop for music educators to assist in developing leadership for our components FBA, FOA, and FVA. FSMA works with secondary component organizations to provide oversight for interscholastic music activities.
FMEA is looking forward to the 2024-25 school year! Keep in tune and involved with your state professional association.
Musically,
Kathleen D. Sanz, PhD
Partners as of July 24, 2024.
*Please visit FMEA.org/partners for partnership details or call 850-878-6844.
Please take time to thank and support our 2023-2024 and 2024-2025 Academic Partners.
PARTNERS
BRONZE PARTNERS
Florida Gulf Coast University
Florida Southern College
Rollins College Department of Music
St. Thomas University
University of North Florida
University of North Texas
SILVER PARTNERS
Bornoff Foundation for the Advancement of String Education (FASE, Inc.)
Partners as of July 24, 2024.
*Please visit FMEA.org/partners for partnership details or call 850-878-6844.
Please take time to thank and support our 2023-2024 and 2024-2025 Corporate Partners.
Amazing Student Tours
FloridaFundraiser.com
Head’s House of Music
Heartsong AV Services
Institute for Music Business
J.W. Pepper & Son, Inc.
BRONZE PARTNERS
Mark Custom Recording Service, Inc.
Music & Arts
Music is Elementary National Concerts
Romeo Music
Sight Reading Factory
Trevor James Flutes
West Music Company
FLORIDA MUSIC EDUCATION ASSOCIATION
2023-2024 & 2024-2025 DONORS
Thank you to all of the donors who have shown their dedication to the improvement of music education in Florida by supporting our Mission through financial contributions.
Our donors support specific causes by donating to the FMEA funds of their choice:
FMEA Scholarship Fund
Music Education Advocacy General Fund
June M. Hinckley Scholarship Professional Development for Members
Mel & Sally Schiff Music Education Relief Fund
The following have graciously donated to FMEA from April 1, 2023, through July 24, 2024.
MAESTRO’S CIRCLE
$10,000 and up
No current donors at this time.
All
County Music
Artie Almeida
In Honor of my mother, June Audrey Grace, & my niece, Katie Grace Miller
ARTIST’S CIRCLE
$1,000 – $9,999
Frank Howes
In Memory of Vashti
Jordan Howes
Clifford Madsen
SUSTAINERS
$100 – $999
Carlos Abril
In Honor of Dr. Joyce Jordan & Dr. Alice-Ann Darrow
Andre Arrouet
In Memory of Dr. James Croft
Lucinda Balistreri
In Honor of Sarasota County Music Educators
Trent Brown
In Honor of J. Mark Scott
Dale Choate
In Honor of R. Wayne Bailey
Alice-Ann Darrow
In Memory of Mr. & Mrs. O.B. Darrow
Virginia Densmore
In Honor of Dr. Shelby Chipman
Virginia Dickert
In Memory of Lindsay Keller, Teri Wester, & Debbie Liles
Michael Dye
In Honor of Mark & Brenda Scott for their lifetime dedication to Florida vocal music education
William Fredrickson
Shelby Fullerton
In Memory of Dan Fullerton
Rita Hersom
In Memory of Billy Bryant, Jr.
Marsha Juday
Sheila King
In Memory of John W. King
Jason Locker
In Memory of June M. Hinckley
Kevin Lusk
Deborah Mar
In Memory of Barbara Kingman
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In Memory of Dorothy Wells Skinner
Mary Palmer
Russell Robinson
Louis Schiff
Carolyn Minear
In Memory of Alice Fague
John Nista
On Behalf of Stanley Dmitrenko
Douglas Phillips
In Memory of Dr. Bobby Adams
David Pletincks
In Honor of Alexis & Jonnie Pletincks
Clinton Randles
Jeanne Reynolds
In Honor of Pinellas County Performing Arts Teachers
Mary Catherine Salo
In Memory of Gary Rivenbark & Wes Rainer
Steven Salo
In Honor of Dr. William Prince & John “Buck” Jamison
Kathleen Sanz
In Memory of June Hinckley
SUSTAINERS
$100 – $999
Fred Schiff
J. Mark Scott
In Dedication to Dr. Andre Thomas, Dr. Judy Arthur, Dr. Judy Bowers, & Jason Locker
Alan Skaggs
D. Gregory Springer
Harry Spyker
In Honor of Fred & Marlene Miller
Sandra Adorno
Meghan Alfaro
Michael Antmann
Judy Arthur
Sasha Aufschneider
Gale Baker
In Memory of William Bryant, Jr.
Garza Baldwin
In Memory of Dorothy Wells Skinner
William Bauer
David Bayardelle
In Honor of Harry Spyker
Mark Belfast
In Memory of Dr. Mark A. Belfast, Sr.
Johnathan Bosse
In Honor of Rosanne and Michael Bosse
Melanie Brown
In Memory of Dorothy Skinner
Jamie Bryan
Kasia Bugaj
Christopher Burns
Stanley Butts
Greg Carswell
On Behalf of all the Florida choral directors who have passed on
Jeff Cayer
Shelby Chipman
In Memory of Herbert Rhodes, Sr.
Blair Clawson
In Honor of Tina Mason
Dayna Cole
In Memory of Linda Mann
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In Honor of All the Music Educators of FMEA
Scott Evans
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In Memory of Gary W. Rivenbark
Jeannine Stemmer
In Memory of Barbara Kingman & Lauren Alonso
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In Memory of Clayton Krehbiel
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On Behalf of Hillsborough County Elementary Music Educators Council
Richard Uhler
David Verdoni
PATRONS
$25 – $99
Anna Marie Friars
In Memory of Matthew McLaughlin
Sandra Geres
In Memory of Dorothy Wells Skinner
Dakeyan Graham
Rebecca Hammac
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Bernie Hendricks
Alexis Hobbs
Jacob Hyer
Yangqian Hu
Martha Huntley
In Memory of Dorothy Skinner, Safety Harbor, FL
Alexander Jimenez
Aaron Kass
Mary Keyloun Cruz
In Memory of George Keyloun & Pauline Antaki
Marsha Kindall-Smith
Cynthia Kohanek
Christine Lapka
Craig Lilly
Joseph Luechauer
Matthew McCutchen
In Honor of John Carmichael
Katie McGuire Menges
Kelly Miller
Victor Mongillo
Mark Morette
Daniel Murphy
In Memory of Billy Bryant
Stephen Nelson
Marialyce Orr
In Memory of Robert & Bonnie Bragg
Ashley Peek
Howard Weinstein
In Memory of Barry Weinstein
Doris
Elaine Wells
In Memory of Dorothy Wells Skinner
Kenneth Williams
Daniel Wood
In Memory of Robert W. Smith
Anonymous (1)
In Memory of Judith Strachman
Justin Plante
Edward Prasse
Marie Radloff
Rudolf Radocy
Melissa Rawls
In Honor of Nancy Bartels
C. William Renfroe
In Memory of James O. Johnston & Herbert Beam
Diana Rollo
William Rose
Ian Schwindt
Cheri Sleeper
Eddie Steadman
Mark Stevens
In Honor of Dr. Clifford Madsen
Phil Tempkins
In Memory of Sue McCray
Kathleen Thompson
Ellen Turko
In Memory of Billy Bryant
Matthew Weihmuller
Elizabeth Weir
Sondra Wenninger Collins
Seth Wexler
In Honor of Mr. James Monroe
Edith Wright
Anonymous (7)
On Behalf of Derek Schaumann’s Birthday
In Honor of Columbia County Music Teachers
In Memory of Carol Pollock
Michael Belyea
Crystal Berner
Thomas Brown
In Dedication to Dr. Sanmel A. Floyd
Ernesta Chicklowski
On Behalf of Roosevelt
Elementary Musicians
Eduard Ciobotaru
Beth Ann Delmar
Jodie Donahoo
Christopher Dunn
Debbie Fahmie
Dretha Fennell
Thomas Gamache
FRIENDS
up to $24
Tina Gill
In Memory of Gary Rivenbark
Alvaro Gomez
Edepson Gonzalez
James Haggins
Angela Hartvigsen
William Hazlett
Llewellyn Humphrey
Arnekua Jackson
Kathleen James
Jason Jerald
Celeste Laburda In Honor of Eleanora Fagan
Pauline Latorre
Lu Anne Leone
Gerald Madrinan
P. L. Malcolm
John Marshall
Khemya Mitrahina
In Memory of Kamau Seitu
Anthony Moore
Merleon Morgan
Mary Palmer
Mikael Patriarca
Hank Phillips
Alexandra Rameau
Gary Smith
John Southall
Kelly Southall
Ajori Spencer
Hailey Swanson
Andrea Szarowicz
Lindsey Williams
Anonymous (14) In Memory of William Bryant, Jr.
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.
Advertiser Index
2024-25 FMEA Membership:
You are eligible for membership in the Florida Music Education Association if you are an individual engaged in the teaching, supervision, or administration of music in elementary and secondary schools, colleges, or universities within the state. Visit FMEA.org/membership to learn more about the benefits of active membership.
SUBSCRIPTIONS:
Direct correspondence regarding subscriptions to: Hinckley Center for Fine Arts Education, 402 Office Plaza, Tallahassee, FL, 32301-2757. Subscription cost included in FMEA membership dues ($9); libraries, educational institutions, and all others within the United States: $27 plus 7.5% sales tax.
CIRCULATION:
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: Kelly Miller, DMA, kelly.miller@ucf.edu.
All articles must be provided in digital format (e.g., Microsoft Word). All applicable fonts and images must be provided. Images must be at least 300 dpi resolution at 100% of the size. All submissions must be accompanied by a proof (color, if applicable). Ads may be submitted via email to val@fmea.org
The Florida Music Director is made possible by the participation of the following businesses whose advertisements appear in this issue. They make it possible to provide you with a high-quality publication, and we gratefully acknowledge their support of our mission. We hope you will take special notice of these advertisements and consider the products and services offered. It is another important way you can support your professional association and the enhancement of Florida music education.
The publisher does not endorse any particular company, product, or service. The Florida Music Education Association (FMEA) is not responsible for the content of any advertisement and reserves the right to accept or refuse any advertisement submitted for publication. Information for advertisers (rate card, insertion orders, graphics requirements, etc.) can be found at FMEAMediaKit.org Florida Music Director reserves the right to refuse any ad not prepared to the correct specifications OR to rework the ad as needed with fees applied.
ADVERTISERS
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This advertiser provides additional support to FMEA members through membership in the Florida
FCAP partners deserve your special recognition and attention.
FLORIDA MUSIC EDUCATION ASSOCIATION
Officers and Directors
EXECUTIVE BOARD
President Jason P. Locker
Orange County Public Schools 445 W. Amelia St.; Orlando, FL 32801 (407) 317-3200; jasonlocker@fmea.org
Past President
Shelby R. Chipman, PhD
Florida A&M University, Department of Music Foster-Tanner Music Bldg., Room 318 Tallahassee, FL 32307; (850) 599-8165 shelby.chipman@famu.edu
President-Elect
Harry “Skip” Pardee
Collier County Public Schools 5775 Osceola Trail; Naples, FL 34109-0919 (239) 377-0087; pardeh@collierschools.com
FBA President Jeff Cayer, EdD president@fba.flmusiced.org
FCMEA President Sandra Sanchez Adorno, PhD
Florida International University 10910 SW 17 St.; Miami, FL 33199 sadorno@fiu.edu
FEMEA President Ashley Peek
Holley-Navarre Intermediate 1936 Navarre School Rd.; Navarre, FL 32566-7504 ashley@femea.flmusiced.org
Florida NAfME Collegiate President Megan Robichaud University of North Florida n01492523@unf.edu
Florida NAfME Collegiate Advisor
Mark A. Belfast, Jr., PhD
Florida State University mbelfast@fsu.edu
FMSA President Christopher Burns, PhD School District of Osceola County (407) 870-4901; christopher.burns@ osceolaschools.net
FOA President Laurie Bitters
Winter Park High School 2100 Summerfield Rd.; Winter Park, FL 32792 (407) 622-3200; laurie.bitters@gmail.com
Florida State University School of Music, KMU 330; Tallahassee, FL 32306 (850) 644-4069; skelly@fsu.edu
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 Kelly Miller, DMA
University of Central Florida; 12488 Centaurus Blvd.; Orlando, FL 32816-8009 (407) 823-4545; kelly.miller@ucf.edu
Conference Planning Committee Chairperson John K. Southall, PhD Indian River State College; 3209 Virginia Ave.; Fort Pierce, FL 34981 (772) 418-9133; johnsouthall@me.com
F SMA President Benny L. Bolden, Jr., EdD laruemusic99@gmail.com
Hall of Fame Chairperson Mary Palmer, EdD (407) 252-5172; mpalmerassoc@aol.com
FMEA COMMITTEE CHAIRPERSONS
Advocacy Jeanne W. Reynolds (727) 744-7252; jeannewrey@gmail.com
Awards Sondra A. W. Collins sondra.collins@marion.k12.fl.us
Budget/Finance, Development
Jason P. Locker Orange County Public Schools; 445 W. Amelia St.; Orlando, FL 32801 (407) 317-3200; jasonlocker@fmea.org
Contemporary Media
Clint Randles, PhD University of South Florida; 4202 E. Fowler Ave.; Tampa, FL 33620-9951 (813) 974-2311; randlesc@usf.edu
Diverse Learners
Christine Lapka, EdD University of Central Florida; 12488 Centaurus Blvd.; Orlando, FL 32816-2372; christine.lapka@ucf.edu
Emerging Leaders Dakeyan C. Graham, PhD, EdD, DMA Alachua County Public Schools; 3600 NE 15th St.; Gainesville, FL 32609 dregraham@gmail.com
Florida Corporate & Academic Partners
Fred Schiff All County Music; 8136 N. University Dr.; Tamarac, FL 33321-1708 (954) 722-3424; fred@allcountymusic.com
Health & Wellness
Aaron Kass Lake Nona High School; 12500 Narcoossee Rd.; Orlando, FL 32832-6922 (407) 956-8327; aaron.kass@ocps.net
Multicultural Network
Arnekua Jackson, PhD Boynton Beach Community High School; 4975 Park Ridge Blvd.; Boynton Beach, FL 33426-8318 (561) 713-6851; arnekua.jackson@palmbeachschools.org
Professional Learning ...........................................................Ajori Spencer Pinellas District Office; 301 4th St. SW; Largo, FL 33770-3536 (727) 588-6055; spencera@pcsb.org
Research
William I. Bauer, PhD University of Florida; (352) 273-3182; wbauer@ufl.edu
Secondary General Music
Ed Prasse Leon High School; 550 E. Tennessee St.; Tallahassee, FL 32308 (850) 617-5700; prassee@leonschools.net
Student Engagement
Michael Antmann, EdD Freedom High School; 2500 W. Taft-Vineland Rd.; Orlando, FL 32837 (407) 816-5600; michael.antmann@ocps.net
PROFESSIONAL DEVELOPMENT CONFERENCE
Exhibits Manager fmeaexhibits@fmea.org
Local Chairperson
Jon Sever (813) 272-4861; jon.sever@sdhc.k12.fl.us
FLORIDA BANDMASTERS ASSOCIATION
President Jeff Cayer, EdD president@fba.flmusiced.org
Past President Bernard (Bernie) Hendricks, Jr. Ocoee High School; 1925 Ocoee Crown Point Pkwy.; Ocoee, FL 34761 bernard.hendricks@ocps.net
E xecutive 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 Sandra Sanchez Adorno, PhD Florida International University; 10910 SW 17 St.; Miami, FL 33199 sadorno@fiu.edu
Past President Marc Decker, DMA Florida Atlantic University; 777 Glades Rd.; Boca Raton, FL 33431 deckerm@fau.edu
FLORIDA NAFME COLLEGIATE
President Megan Robichaud University of North Florida; n01492523@unf.edu
Past President ................................................................. Colin Urbina University of Central Florida; co006947@ucf.edu
