Florida Music Director May-June 2020

Taking Your Group Piano Classes to the Next Frontier

Building Relationships From the Music Room

More Creative Than You Thi nk PLUS:

2020 Legislative Wrap-Up Music Education in This Time of Social Distancing FOA & Florida ASTA Fall Conference 2020

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Florida Music Director

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

Hinckley Center for Fine Arts Education

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

Editor-in-Chief

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

Editorial Committee Terice Allen (850) 245-8700, Tallahassee (tallen1962@hotmail.com) Judy Arthur, PhD Florida State University, KMU 222 (850) 644-3005 (jrarthur@fsu.edu)

Contents Volume 73 • Number 8

May 2020

More Creative Than You Thi nk: Performance-Based Strategies for Creative Thinking in Ensemble Rehearsals..

Taking Your Group Piano Classes to the Next Frontier:

. . . . . . . . . . . . . 8

Piano Repertoire Beyond the Beginner Level..

. . . . . . . . . . . 12

William Bauer, PhD University of Florida, Gainesville (352) 273-3182; (wbauer@ufl.edu) Alice-Ann Darrow, PhD College of Music, FSU, Tallahassee (850) 645-1438; (aadarrow@fsu.edu) Jeanne Reynolds Pinellas County Schools, Largo (727) 588-6055; (reynoldsj@pcsb.org) John K. Southall, PhD Indian River State College, Fort Pierce (772) 462-7810; (johnsouthall@fmea.org)

Advertising Sales Valeria Anderson (val@fmea.org)

Director of Finance and Client Relations

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

Official FMEA and FMD Photographers

Bob O’Lary Debby Stubing

Art Director & Production Manager

Building Relationships From the Music Room. . . . . . . . . . . . . . . . . . 20 FOA & Florida ASTA Fall Conference 2020 . . . . . . . . . . . . . . . . . . . 33 D E PA R T M E N T S President’s Message. . . . . . . . . . 5

Committee Reports. . . . . . . . . . 34

Circulation & Copy Manager

Advocacy Report. . . . . . . . . . . . 6

2019-20 FMEA Donors. . . . . . 42-43

Copy Editor

Corporate Partners. . . . . . . . . 24-25

Advertiser Index. . . . . . . . . . . . 44

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

Executive Director’s Notes. . . . . . 46

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

Officers and Directors.. . . . . . . . 47

Lori Danello Roberts, LDR Design Inc. (lori@flmusiced.org) Valeria Anderson, (800) 301-3632 Susan Trainor

Academic Partners. . . . . . . . . . . 32

May 2020

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Grades 4-12

President’sMessage Challenges and Opportunities: Our Future Is Here

H

ello, wonderful colleagues! For perspective, I am writing this column on April 5, 2020. I do not know what our world will be like by the time you read this piece. It seems like just yesterday we were cele-

brating together at our annual Professional Development Conference, planning MPA programs, looking forward to spring concerts and events, and making plans for summer growth. Three weeks ago was the last time I saw my students face-to-face. I took so much for granted and surely did not fully appreciate the goodness

Steven N. Kelly, PhD President Florida Music Education Association

around me, including opportunities to teach and make music. Our country and our state are facing extraordinary challenges. Our students and programs are facing uncertain realities and many disappointments. We are facing challenges none of us thought we would experience in our lifetimes.

I frequently say in my classes that, throughout history, whenever our country had a problem, it eventually looked to education to help solve the issue. As a part of a complete education, music education must also make contributions to any solutions. COVID-19 will be no exception. While university medical schools across the country work to find a vaccine, look at what music is doing to help our country. A simple perusal of social media shows how musicians and music educators are providing so much music to our citizens, and in so many ways! Music, indeed all of the arts, contributes to the solution by providing an escape, if only for a few moments, from the harsh realities confronting us. We know that music helps us cope with anxiety and stress, and contributes to our overall well-being. This escape can help us better manage what is needed to solve our challenges. Do not underestimate music’s impactful contribution to a healthy life!

Through these challenges, music education has morphed. In less than one month, we have revolutionized how we can teach music and provide greater access to how people experience music. The debates that have started will continue. While most may say that face-to-face instruction is better than online approaches, there is no doubt that, due to technology and individual creativity, in a month’s time teachers have made more successful educational adjustments than politicians and policy makers do in several years, or ever!

The question for all of us is “What now?” To take a line from the movie Jurassic Park: “Just because we can, doesn’t mean we should.” The technology that is being used to teach music during this pandemic has existed for many years. Perhaps we have unleashed a Pandora’s box as this technology won’t go away when our lives return to “normal.” I recently told my students in a Zoom class that they are living in historic times as they are directly experiencing the development and growth of new ways to teach, access, and experience music; however, what is done in the future with these new methods will be up to them. How will newly created technology meld with traditional music education approaches in order to offer even better opportunities for our students? Despite the challenges we are facing, witnessing this birth is incredibly exciting and one that few people in history have had the opportunity to experience!

It is my hope that other good will come from these challenging times. Let’s start with a hope for more and better respect for all teachers. Follow this desire with more awareness, respect, and value of music, and the arts as a whole, in everyone’s lives. I hope for more respect for our students, our colleagues, and the communities that schools serve. And certainly I hope we have more respect for ourselves as individuals and music educators. I have learned that I should not take any of this for granted.

I hope by the time you read this piece that you and your families are well, safe, and sane. Since becoming FMEA president, I have often written and spoken of celebrating Florida music educators. I may be prouder of you now than at any time I have witnessed before. Thank you for all you do, how you do it, and why you do it. Florida music teachers are the BEST!

Steven N. Kelly, PhD, President Florida Music Education Association

May 2020

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AdvocacyReport

2020 Legislative Wrap-Up: Success, Round 1 Florida Seal of Fine Arts, Senate Bill 1100

Our major goal for the 2020 Legislative Session was to get the Florida Seal of Fine Arts legislation

written (flsenate.gov/Session/Bill/2020/1100) and sponsored in the Senate and the House. We were

successful. We met and exceeded our goal for this year. Not only was the legislation sponsored, but it was heard in two committees. We owe a tremendous debt of gratitude to Senator Darryl Rouson

(District 19, St. Petersburg) and Representative Benjamin Diamond (District 68, St. Petersburg) for sponsoring and championing this bill. It takes years to get a bill passed, and we are committed to moving forward with this legislation.

Early Childhood Music Education Incentive Pilot Program, Senate Bill 0156

Another 2020 legislative success was the passage of the Early Childhood Music Education Incentive Pilot Program (flsenate.gov/Session/Bill/2020/156/BillText/er/PDF) filed by Senator Keith Perry

(District 8, Gainesville). Senator Perry has been actively championing this bill for more than four

years. This bill passed previously only to have the funding vetoed by then Governor Scott. This year

email thank yous: flsenate.gov/ Senators myfloridahouse.gov/ Representatives

the bill appears to be on track for potential implementation. We are grateful to Senator Perry for his unwavering commitment and his belief that high-quality music education in early childhood can be life changing.

Designation of School Grades, Senate Bill 0434

Throughout the legislative session, we also followed Senate Bill 0434 (flsenate.gov/Session/ Bill/2020/434/BillText/er/PDF) filed by Senator Bill Montford (District 3, Tallahassee). This bill

amends the school grade to include career dual enrollment courses in addition to designated dual

enrollment courses and the AP and IB exams that are currently part of the school grading formula.

We have been following this bill, not only to ensure that it does not have unforeseen negative consequences for arts education, but also to see how we might be able to include arts education as part of the school grading formula.

Senator Darryl Rouson

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Representative Benjamin Diamond

Florida Music Director

Senator Keith Perry

Senator Bill Montford

Jeanne W. Reynolds Chairwoman Government Relations Committee

Next Steps for the 2021 Legislative Session – Round 2

Ordinarily, this paragraph would be devoted to bullet points with clear direction in preparation for the 2021 Legislative Session. But there is nothing typical or ordinary about the times in which we are living.

The COVID-19 pandemic has changed everything.

It is not a stretch to assume that legislators will be called back to a special session to address the

dramatic budget shortfall the state will experience. We need to remain engaged. Pay attention.

Where some see tremendous challenges ahead, I see great opportunities. The arts have been

lifesaving. On your social media feed, I am sure you have seen some variation of the statement

“In normal times, the arts can be considered a luxury; in dark days of uncertainty, the arts are essential.” Let that sink in. The arts are critical to human civilization. Always have. Always will be.

As we fight this pandemic, we are rooting for our most creative problem solvers in medicine, sci-

ence, and the arts to lead us to better days ahead. Turns out succeeding on standardized tests is not

enough. We need leaders in science, medicine, and the arts who can demonstrate not only basic skills but also creativity, perseverance, empathy, and courage—all things inherent in arts education. This pandemic will provide us with an opportunity to rethink what is “required” coursework and how it is delivered. This pandemic has made it clear that rigorous education (more than standardized tests can measure) including arts education is needed now more than ever.

« Write thank-you emails to Senator Rouson, Representative Diamond, and Senator Perry. « Document the creative, amazing work your students are doing online. « Document the emails, posts, and notes from parents and students referencing how important you (their arts teacher) and the arts have been during the stay-at-home order and online education. « Stay informed about any upcoming legislative special sessions.

Here are advocacy bullet points for these uncertain times:

2021 Legislative Plan – Round 2

Get the Florida Fine Arts Seal passed by sharing the compelling arts stories and data collected

during the pandemic stay-at-home order. The Florida Fine Arts Seal legislation could be the foundation for a new and potentially much brighter future for arts education.

May 2020

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More Creative Than You Thi 

nk

C

Performance-Based Strategies for Creative Thinking in Ensemble Rehearsals

by Faith Hall

Creativity is often viewed as a rare gift

or divergent. Convergent thinking skills

es of the world (Elliott, 1995). This idea

divergent thinking skills produce multi-

result in a single, correct answer, while

bestowed only on the elite artistic genius-

ple solutions, leading to the development

of creativity is exclusive and unproduc-

of original ideas. Musical extensiveness

tive to music educators, as it mystifies

(the ability to work on something for long

the creative process and leaves teach-

periods of time), flexibility, and original-

ers hoping one of those rare geniuses

ity are examples of divergent skills. The

comes through their doors at least once

creative process continues to thrive when

in their career. The antidote to this is

external enabling conditions—such as

what music education researchers refer

motivation, subconscious imagery, envi-

to as creative thinking, a mental process

ronment, and personality—are present.

that alternates between convergent tasks

The musician then uses problem-solving

(which have a single, correct answer) and

skills to alternate between convergent

divergent tasks (which have several pos-

and divergent skills, resulting in the final

sible answers), resulting in a final creative

creative product.

product (Webster, 1990). Creative think-

Ensemble directors often emphasize

ing empowers music educators to guide students through the creative process.

the convergent aspects of technique

of creative thinking in music that iden-

they rehearse and refine musical works

development and content knowledge as

Peter Webster (1990) designed a model

for performance. Although mastery of

tifies product intention, enabling skills, and

convergent tasks often leads to musi-

enabling conditions as the three factors

cal achievement, Webster’s model of the

leading to a creative product. The pro-

creative thinking process demonstrates

cess begins with a product intention, or

that divergent skills are as important as

the musician’s initial idea of the final

convergent skills in the development of a

product—specifically a composition, a

creative product, such as a performance.

performance, or an analysis. The musi-

In other words, incorporating creative

cian then uses internal enabling skills

thinking skills in the secondary music

(e.g., aptitudes, extensiveness, flexibili-

ensemble is not just a strong philosophy;

ty, originality, tonal imagery, rhythmic

it will also help students reach higher lev-

imagery, syntax, craftsmanship, and aes-

els of performance.

thetic sensitivity) that can be convergent

Continued on page 10

May 2020

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More Creative Than You Think Continued from page 9

Strategies for Creative Thinking in the Secondary Performance Ensemble Active engagement in music performance, improvisation, composition, and listen-

ing develops skills, knowledge, attitudes, and values, which can lead to a deeper

understanding of music. It is understand-

able that restructuring curricula around teaching improvisation and composition

might seem unreasonable given the many performance demands that instrumental music educators face, but the following

performance-centered strategies can be implemented at any point in the school year:

1. Keep enabling conditions in mind

when setting up your classroom or

rehearsals. You can create enabling conditions for your students by provid-

ing a safe and nurturing environment for students to explore and take risks.

Use students’ mistakes as an oppor-

Writing daily transfers strengthens

mistakes are like musical problems

students to identify and seek out

tunity to demonstrate to students that than can be solved.

2. Solve musical problems together through reflection. Effective reflection activities invite students to reflect

on their comprehension, to recognize

misunderstandings in the lessons, and to ask questions that help them learn

and understand. Below are some exam-

« Transfers – At the beginning of ples of these types of activities: rehearsal,

invite

students

to

describe a way in which something from the previous rehearsal is con-

nected to something else, such as connecting musical ideas between

pieces of music or connecting to concepts in their other courses or even experiences outside of school.

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divergent thinking skills by helping

creative solutions from all types of

« “Know, sources.

Want-to-Know, Learn”

and other literacy prompts – At the beginning of rehearsal, have stu-

« Share

rehearsal recordings, and

lead a reflection discussion with students. This way of collaboration

allows students to feel heard by

the teacher and their peers, and it contributes to a sense of working together.

dents write down something they

3. Listen to music. Through listen-

and something they want to know

convergent and divergent skills. Since

know from the previous rehearsal about their music. At the end of

rehearsal, have students describe something they learned in the

rehearsal. When used purposefully, this activity helps students retain

improvements made in rehearsal and practice writing about musi-

cal concepts. Music educators can also use these reflections to design effective lessons directed toward individual student needs.

ing, music educators can cultivate both listening is a behavior that happens

covertly inside the head, ask students to translate what they hear into something observable, such as words, move-

« Ask students to listen for specific ments, or imagery.

musical elements in a recording of

one of their pieces such as articula-

tion or diction, phrase structure, or

balance and blend. Be as specific as possible; you will need to help focus

Figure 1

Suggested Resources About Creative Thinking in Music Barrett, J. R. & Webster, P. R. (2014). The musical experience: Rethinking music teaching and learning. Oxford University Press.

Kratus, J. (2017). Music listening is creative. Music Educators Journal, 103(3), 46-51. https://doi.org/10.1177/0027432116686843

Norgaard, M. (2017) Developing musical creativity through improvisation in the large performance classroom. Music Educators Journal 103(3), 34-39. https:// doi.org/10.1177/0027432116687025 Webster, P. R. (2016). Creative thinking in music: Twenty-five years on. Music Educators Journal, 102(3), 26-32. https://doi.org/10.1177/0027432115623841

Teachers who are interested in learning

stylistic considerations, etc. As you

more about creative thinking may also

guide them in finding important

find some interesting sources in Figure 1.

elements of a piece, you are setting

The tools for enabling students to think

them up to make informed musical

« Engage

decisions.

creatively in their ensemble experiences

decision-making process. Ask stu-

in use!). Investing in deep musical under-

are readily available (and perhaps already

students in the musical

standing over short-term success will lead

dents to provide suggestions for

to richer musical experiences and long-

ways to perform a musical phrase

term successes in your program, and it

and experiment with them. As an

« Step off the podium during rehears-

will set students up for continued mean-

ensemble, decide what is best.

their attention to what you want

« Compare different recordings of the them to hear.

same piece. Ask students to identi-

fy differences they noticed and to decide which recording they preferred.

4.

Less is more on the podium.

Fitzpatrick (2014) suggests a process she calls “opening up the score” where

the educator should “directly address moments of possible musical diver-

gence with our students in rehearsal”

« For instrumental classrooms, expose (p. 214).

students to the score. A simple way to do this with technology is to proj-

« Involve students with score study— ect it on a screen in your classroom.

identifying harmonic structure,

compositional techniques, form,

ingful music experiences throughout their lives.

al and allow the students to func-

tion more like a chamber ensemble.

Give students opportunities to start

Faith Hall is pursuing a

and movement. Ask students to lis-

education at Florida State

master’s degree in music

and stop each other through breath

University. Originally from

ten to each other and to follow their

Iowa, she graduated from the

own musical intuition in expressive

University of Northern Iowa

phrases. Ask students who are not

in 2013 and taught high school and middle

playing to listen and provide feed-

school instrumental music for six years in

back. These actions put students in

Arizona and Iowa.

the position to take responsibility for their own performance within

« When conducting, avoid falling into the ensemble.

References Elliott, D. J. (1995). Music matters. Oxford University Press.

“metronome autopilot,” or show-

Fitzpatrick, K. (2014). Fostering creativity in the performance ensemble. In Barrett, J. R. & Webster, P. R. (Ed.), The musical experience: Rethinking music teaching and learning (pp. 205219). Oxford University Press.

ing every single beat. Refine your conducting gestures so that you are

exchanging expressive information with the musicians. This habit gives

Webster, P. R. (1990). Creativity as creative thinking. Music Educators Journal, 76(9), 22-28. https://doi.org/10.2307/3401073

students the space to develop and

rely on their own sense of internal

tempo and creates a more collaborative atmosphere.

May 2020

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Taking Your Group Piano Classes

Piano Repertoire Beyond the Beginner Level

by Diana Dumlavwalla, DMA

or many

Fair found in the method Alfred’s Premier

tion of new repertoire is

of a piece found near the beginning of

students, the explora-

an exciting aspect of learn-

ing to play the piano. Once they

get past the beginner stage, a

world of new sounds, height-

ened rhythmic complexity, and some

show-stopping techniques await them.

It is important to understand how to sequence the learning of more difficult

repertoire in order to set students up for greater success. In this article, I will focus on six key characteristics that signify

the next level after beginner repertoire.

Examples will illustrate how these elements may show up in a piece of music.

First, it is important to recognize the

common features of repertoire appropriate for beginner-level students. The County

12 F l o r i d a

Piano Express, Book 1 is a good example

a student’s pianistic development (see Figure 1 on page 14). In her textbook Professional Piano Teaching, Jacobson (2015) identifies three key areas that determine

the difficulty of pieces: technical, musical,

and reading characteristics. The techni-

cal characteristics refer to hand-position changes, tempo, number of notes played at the same time, hand coordination, use

of pedal, and how much of the keyboard is used. Musical characteristics include dynamics, articulation markings, use

of legato, phrase shaping, and keeping

the melody louder than the accompaniment. Reading characteristics take into

account the contour of the line, large

Music Director

Continued on page 14

to the Next Frontier:

May 2020

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Piano Repertoire Continued from page 12

Figure 1

The County Fair from Alfred’s Premier Piano Express, Book 1

intervals, note values, accidentals, rhyth-

mic patterns, and clef changes. We can

tell that The County Fair is a beginner-level piece because the single-line melody is

spread out between two hands with no accompaniment or hand-position chang-

es. Additionally, the pitch and rhythmic patterns are repetitive and simple, and

dynamic instructions are few. There are

small intervals, and there is no use of the pedal. As a student moves beyond beginner repertoire, he or she will start to

encounter pieces that are more complicated than this.

Characteristic #1: Fingering extends beyond the

five-finger pattern hand position

A five-finger pattern hand position means that all five fingers on each hand stay in

a pentascale position. If one plays The County Fair, one will quickly find that the left hand covers the five notes of an F

major position and the right hand covers the five notes of a D minor position for

the duration of the piece. In the following

selection, an arrangement from the final movement of Dvořák’s Ninth Symphony

(see Figure 2 on page 15), the careful writing helps to ease a student out of a five-finger pattern. Take note of the move-

ment needed for the left-hand chords as

well as the slight extension of the right hand in measure 3.

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Copyright ©2016 by Alfred Music Used with permission.

Figure 2

Finale (from Symphony No. 9, ‘From The New World’) by Antonin Dvořák, from Adult Piano Adventures Course Book 2, arranged by Nancy and Randall Faber

Characteristic #2: More texture

Characteristic #3:

Introduction of varying articulation In piano music, texture refers to how many layers of sound or lines are being played at the same time. Once repertoire requires students to play at least two

different things (one pattern in the right hand and a different pattern in the left hand), the piece is automatically more

complex. Furthermore, the introduction

of more varied articulation and immedi-

ate changes between staccato and legato

requires students to have greater control of their fingers. The Calico Cat (see Figure 3 on page 16) from Helen Marlais’ method series Succeeding at the Piano is a perfect example of a piece that is just slightly

above the beginner level and demon-

strates the features listed above. Although the hands may often shift in register, the

melodic and rhythmic patterns are gen-

erally kept simple; however, measures 9 Copyright ©2016 Dovetree Productions, Inc. c/o Faber Piano Adventures Used with permission/All rights reserved.

to 16 introduce dotted rhythms and small hand-position changes. Also, the piano

player is required to shift back and forth between legato and staccato articulations

throughout the piece. A student will need

a higher level of focus in order to capture all the articulation, rhythmic, and pitch differences. Once these are incorporated into the performance, the student will be able to personify the character of the cat.

Characteristic #4:

Greater coordination between the hands and even the feet

As mentioned previously, playing differ-

ent patterns at the same time requires a

higher level of coordination. Another way of increasing this difficulty is through the Continued on page 16

May 2020

15

Figure 3

nd The Calico Cat by Helen Marlais, from Succeeding at the Piano, 2 Edition, Lesson and Technique Book, Grade 2B

Piano Repertoire Continued from page 15

use of hand crossings. Flamenco Dancers from the method series Alfred’s Premier Piano Course (see Figure 4 on page 17)

incorporates lots of opportunity to scam-

per around the piano by way of hand crossings. The use of the pedal is also an

added element to the overall coordination of the piece. Much of the writing in the

opening and closing sections follows an

arpeggiated pattern with several sequenc-

es. Therefore, the notes will be easy to find once the student locates the new

position. Overall, it is a flashy piece that

Characteristic #5: More dynamic variation and phrasing

Incorporating greater musicality and artistic qualities in repertoire definitely

heightens the difficulty and the number of

aspects students need to be aware of when playing the piano. The duet arrangement

by Carol Matz (author of the Interactive Method) of Brahms’ Hungarian Dance

no. 5 (see Figure 5 on page 18) demonstrates

how students will have to shift from long

legato and fluid lines to the more perky

staccatos of the “dance beat.” There are also more dynamic indications including

numerous crescendi and diminuendi, as

well as mezzo piano, mezzo forte, and piano markings. It should also be noted

that duet repertoire is an excellent way to Continued on page 19

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Copyright ©2011, 2018 by THE FJH MUSIC COMPANY INC. (ASCAP) Used with permission.

sounds impressive once it is learned well.

Figure 4

Flamenco Dancers from Alfred’s Premier Piano

Course, Performance Book, Grade 2B

Copyright ©2006 by Alfred Publishing Co., Inc. Used with permission.

May 2020

17

Figure 5 Hungarian Dance No. 5 by Johannes Brahms, arranged by Carol Matz

Copyright © 2018 by Carol Matz (ASCAP) Used with permission/All rights reserved.

18 F l o r i d a

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Piano Repertoire Continued from page 16

Figure 6 Starfish at Night by Anne Crosby Gaudet as seen in Celebration Series Preparatory B Piano Repertoire

motivate students. The collaborative nature of this playing setting

can provide a lot of enjoyment and will reinforce the skills of playing with a steady pulse and correct rhythms.

Characteristic #6:

Interesting tonal colors and “cool” effects

Music that can capture a student’s imagination almost always

ensures that students will be willing to practice. Starfish at Night

by Anne Crosby Gaudet is no exception. This atmospheric piece is based on a whole-tone pattern. With the pedal held down for the

entire piece, the young pianist can create a beautiful rainbow of

sounds while gliding across most of the piano’s range. The blackkey glissandi are especially fun for students to play. The rhythmic and tonal patterns are simple for students to learn; however, they

will need to play this piece with a refined touch in order to cap-

ture the mysterious effect suggested by the composer. This work

is just one of the many fine pedagogical compositions written by Anne Crosby Gaudet. You can find more of her works on her website at musicdiscoveries.studio.

These pieces provide a small sample of the exciting, evocative,

and creative repertoire available for students who have graduated

from the beginning stages of playing the piano. Consider starting your search with the publications cited in this article. Many of the publishers for these different piano method series also offer

well-arranged pieces of popular music that students will enjoy learning. Careful consideration of the repertoire we introduce

to our students can have a great impact on their motivation and success rate. Taking the time to thoroughly analyze all aspects of

the pieces our students play will help to ensure they are motivated and set up for success.

Copyright ©2015 The Fredrick Harris Music Co., Limited Used with permission by the composer (musicdiscoveries.studio).

Figure 7 Methods referred to in this article METHOD SERIES

DESCRIPTION

Florida State University’s College of Music as assis-

Alfred’s Premier Piano Express

This series is excellent for students who require a faster pace of study or for older learners.

examiner for the Royal Conservatory and has per-

Succeeding at the Piano

This thorough method also inspires in students a passion for learning about the music they are playing.

Alfred’s Premier Piano Course

This comprehensive and well-sequenced method was created by some of the leading pedagogues in the United States.

Alexander, D., Kowalchyk, G., Lancaster, E.L., McArthur, V., Mier, M. (2006).

Alfred’s premier piano course. Alfred Publishing Co.

Interactive Piano Method

Alexander, D., Kowalchyk, G., Lancaster, E.L., McArthur, V., Mier, M. (2016). Alfred’s premier piano express: All-in-one accelerated course. Alfred Publishing Co.

This method incorporates a strong online component that is appealing to many students.

Celebration Series

This series is a carefully sequenced and graded set of repertoire ranging from the Baroque to Contemporary periods.

Adult Piano Adventures

The Adult Piano Adventures “All-InOne” course books and supplements provide a comprehensive introduction to music notation, chord playing, rhythm, harmony, and musical form— all through engaging music.

Diana Dumlavwalla, DMA, is on faculty at

tant professor of piano pedagogy. She serves as an

formed and presented across three continents. Diana

is president-elect of the Florida State Music Teachers Association.

References

Faber, N. & Faber, R. (2016). Adult piano adventures. Dovetree Productions, Inc. Jacobson, J. (2015). Professional piano teaching: A comprehensive piano pedagogy textbook, Vol. 1, 2nd edition. Alfred Music.

Marlais, H. (2011). Succeeding at the piano: A method for everyone. The FJH Music Company, Inc. The Royal Conservatory. (2015). Celebration series. The Frederick Harris Music Co., Limited.

May 2020

19

Building Relationships From the Music Room

W

by Pauline Latorre, Chairwoman FEMEA District 1

When I first started teaching, I was an island unto myself. I didn’t think I needed anyone else’s help or input. Now, after 15 years of teaching, I realize that kind

of thinking was due to ignorance, and mostly fear. Building relationships and a

community of like-minded people is truly the way to go.

Why is it important to build relation-

ships and communities in music? If we believe in our programs and have a desire

to see music and the arts continue in our schools and into the future, it is vital we

advocate for them and do our part to foster our relationships.

As music educators, we cultivate many

relationships. Our student-teacher relationship is the most obvious and important. We also have relationships with our

school colleagues (teachers, administra-

tors, staff members), our parents, our communities, and larger organizations in our fields of interest. Let’s look at some ways we can build these relationships.

one or two music teachers to teach these

start of the year to help remember names.

Students

tional music classes. How can we possibly

like “Jump In, Jump Out,” “What’s Your

Our student relationships are the most

challenging to maintain due to the number of students we see during our teaching day, but they are also the most important. As a music specialist in elementary school, we often are the only one to

serve the entire school population. For

me, that means teaching PreK-5 (about

650 students). Some of my friends teach more than 1,500 students! At the middle or high school level, music teachers have

several ensembles. Often, there are only

20 F l o r i d a

ensembles, and they must also teach addi-

nurture relationships with our students?

Simple things like attempting to remem-

ber names or conversations help a child feel special. These things may be unimag-

A YouTube search can bring up fun games

Name?” or “I Can Keep the Beat.” Get creative to help personalize interactions with your students.

Less obvious things like noticing

inable for some, but for many, the use of

changes in behavior or emotions and

assist in reaching this goal. Applications

students are also great ways to build

technology, games, and seating charts can

like iDoceo, ClassDojo, and TeacherKit are great! These apps can aid with seating

or with putting a name to a face. As an elementary music teacher with some Orff

training, I use many name games at the

Music Director

looking for a moment to connect with

relationships with our kids. Recognizing

special days such as awards received or birthdays is something we can do to help connect. A wonderful teacher at my

school learned that one of her fifth grade

ELL (English language learner) students

Colleagues

birthday. Can you even imagine a fifth

school are important, not only for our

from Guatemala had never celebrated his

grader who has never celebrated a birth-

day?! When his birthday came around, this teacher surprised him with a cake and invited the administration and support staff to come to his “party.” I am

sure this event is something that student will never forget. This same teacher

(along with another teacher) also made it a point to attend our Honor Choir concert last year. They came to watch their

students perform and surprised them

with flowers. Not only did they make a connection with their students, but they

made an impression on me as they took time to support these students in their

musical success. Sometimes building rela-

tionships has nothing to do with music at all. As teachers and musicians, we often dig deep into our soul to reach others and make connections.

they do for kids in their classrooms, many

Relationships with our colleagues at

will support what we do in our classes.

Many of us have heard statements from

programs to succeed, but simply to have

our administration or colleagues such

a place where we enjoy working. I’ve been

as “I’ve never seen so-and-so even speak

teaching at my school for 15 years, and for

before, but he came alive in your musi-

the most part, I think of my school as my

cal!” or “I can’t believe that was so-and-

second home and the people I work with

so on the drums! He was so different on

as my second family. I don’t feel this way

stage!” or “I don’t know how you were

all the time, but when times get tough, we

able to get so-and-so to be committed and

are there for each other. Several years ago,

determined in your chorus. I didn’t think

my father passed away. My parents had

he would ever last because his behavior

lived in Florida for only about five years,

is so bad in class.” Music teachers can

so most of their friends were still in New

share many stories like these because we

York. I did not expect many people at my

know music changes lives! “Establishing

father’s memorial service, but the room

trust and empathetically engaging others

was filled with friends from work, former

in a manner that welcomes reciproca-

colleagues, and choir members from my

tion opens the door for communication

church. To this day my eyes well up with

to spark collaboration” (Wilson, K., &

tears when I think of their support in my

Mantie, R., 2017, p. 34).

time of need.

Take the time to get to know the peo-

Continued on page 22

ple you work with. As we support what

May 2020

21

Building Relationships From the Music Room Continued from page 21 Parents

Another group with whom we build rela-

tionships is our students’ parents. As music teachers, it is extremely important to keep parents in the loop for rehearsals, concerts, trips, and special events. We all

have different ways we accomplish this.

Again, technology is the fastest and most

efficient. What’s App, Class Dojo, emails,

texts, phone calls, and a slew of other

methods of communication are at our fingertips. Choose one that works best

for you and your population of students/ parents. Sometimes it may be a simple

letter sent home that works. I still send letters home to my elementary kids, but

I make sure all my correspondence is translated into Spanish since we have

a large Spanish-speaking population. I

home. As musicians, we know music can

its component groups, to our national

my colleagues at work. One staff person

less hours of practice); however, when we

together to build our relationships and

enlist the help of my daughter’s friends or never hesitates to help contact a Spanishspeaking parent when the need arises.

She has become a wonderful advocate

be a very solitary experience (think end-

share music, we can see its impact, in our students and in our communities.

When I originally started writing this

for my program, in part because her sons

article, life was “normal.” Then we were

Those boys are now in middle school,

has suddenly changed from what we once

were in my chorus when they were little.

high school, and college. We can make an impact with parents as we do our best to

communicate and treat them with respect.

Community

Finally, we build relationships with the communities around us. Performing and giving back to our communities are what

we do as music educators. Through per-

formances at schools and at church and community events, our programs help bring us together. One way Merriam-

Webster defines community is “the people with common interests living in a particular area” (Merriam-Webster, 2020). At

times we bring people together merely by having our kids perform. Other times it’s to support an event or to bring awareness

to something. Maybe it’s to bring some joy to the residents of a nearby nursing

22 F l o r i d a

organization (NAfME), we are coming to support one another in our different communities in order to keep sharing the music and changing lives.

struck with the COVID-19 pandemic. Life

Pauline Latorre is the

knew. Community and relationships now

Foster Elementary School

have greater meaning and importance.

As I watch the news and listen to medical professionals give their insights, there is one common message: we are relying on

each other to stay healthy and to stop the

spread of the disease (Centers of Disease

Control and Prevention, 2020). Schools have closed, and many people are expe-

music teacher at Stephen

in Fort Lauderdale. She

received the MME from

Boston University. She is the chairwoman of

FEMEA District 1 and a former BCEMTA president. She can be reached at pauline. latorre@browardschools.com.

riencing feelings of isolation. In contrast,

References

to help one another, in particular, within

Center of Disease Control and Prevention. (2020, March 22). Retrieved from https://www.cdc. gov/coronavirus/2019-ncov/prepare/prevention.html

we have also seen people coming together

our music education communities. We

have joined together not only to help each other weather the emotional impact of this disease, but also to support each other

with new ways of teaching our students.

From our local music colleagues (including district groups and supervisors), to

our state organizations like FMEA and

Music Director

Merriam-Webster. (n.d.). Community. In Merriam-Webster.com dictionary. Retrieved March 23, 2020, from https://www.merriam-webster.com/dictionary/community Wilson, K., & Mantie, R. (2017). Inspiring soulful communities through music: Connecting arts entrepreneurship education and community development via creative placemaking.

Artivate: A Journal of Entrepreneurship in the Arts, 6(2), 32-45. http://artivate.org/

May 2020

23

GOLD

SILVER PARTNERS Music is Elementary Music Man, Inc. The Horn Section, Inc. Partners as of April 1, 2020.

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

24

Florida Music Director

Please take time to thank and support our 2019-2020 Corporate Partners.

PARTNERS

BRONZE PARTNERS Cadence Music Carl Fischer Music D’Addario Excelcia Music Publishing Head’s House of Music J.W. Pepper & Son, Inc. MakeMusic, Inc.

Music & Arts National Concerts Noteflight Romeo Music Spring Hill Music Academy Tampa Bay Institute for Music Therapy West Music Company

May 2020

25

ComponentNews FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION

Marc Decker, DMA, President

FLORIDA MUSIC SUPERVISION ASSOCIATION

Harry “Skip” Pardee, President

O

n behalf of all music program leaders in school districts

across our great state—thank you.

The work you have done to ensure a

well-rounded

education

for

Florida’s student body needs to be shouted from every mountain top.

During this COVID-19 crisis, it has been interesting to view different

approaches to changes in lifestyle

across our country. Despite the social limitations we are all facing,

there has been a relative uptick in creativity, not just the creativity of the educational workforce transi-

tioning to online platforms to assist with social quarantine, but also the creativity of the populace and the

T

hese are truly unprecedented times in American music education. Teachers across the nation are accomplishing in a few days what normally takes months, as we con-

reliance on the arts to “get them through” trying times.

Our country’s teachers are shar-

vert our classes to online instruction. Throughout that process we’ve been bombarded

ing best practices at an incredi-

less pages of instructions on how to use various software programs, all while putting

pooled, vendors are assisting with

with hundreds of emails from rightfully concerned students and parents and with end-

ourselves under intense pressure to learn quickly and to teach with the same quality of instruction as before the pandemic. There is no doubt this is the greatest collective challenge of our generation.

« First, accept that we will not be able to achieve the same educational outcomes set In light of these concerns, I have three recommendations for music educators:

forth prior to the pandemic. Instead, evaluate what is possible in a distance learning

« Second, open new lines of communication and borrow ideas from colleagues. Over environment and set new challenging goals for our students to achieve.

the past few weeks I have witnessed greatness from many teachers throughout

Florida. Call a friend or a mentor and ask what he or she is doing to teach classes.

As teachers, we need to be adaptable, creative, and unafraid that something new

« Third, set aside time every day to connect with family, to read a book, or to watch might not work the first time.

a movie. We all have been under a tremendous amount of stress, and it’s important to tend to our emotional well-being.

It might seem long off, but eventually this pandemic will pass. When it does, music

education—forced to reimagine itself during this great challenge—will emerge with a wealth of creative instructional methods that will carry us through the 21st century.

Until then, stay safe!

26 F l o r i d a

Music Director

ble rate. Tips and tricks are being providing students access, and stu-

dents are tapping into their musical talents to connect with one anoth-

er. I am reminded yet again of the importance and the power of

arts education during trying times.

Interestingly, under normal cir-

cumstances, some powers that be often consider the arts to be non-es-

sential; however, time and time again we find that the arts pro-

vide what a healing nation needs.

Therefore, as leaders we must stay steadfast in our efforts and consis-

tent in our approach for the future of our country.

Be well, colleagues!

FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION

Ernesta Chicklowski, President

to create engaging music lessons to reach our students.

Many of us spend our days in virtual

isolation, missing the daily collaboration

of our colleagues and the connection and hugs from our students. It is import-

ant to remind ourselves that our friends and loved ones are only One Call Away (Charlie Puth). Picking up

the

phone

to

chat, FaceTiming with friends, and Zooming

with your coworkers

can make all the difference in your day.

The

T

his spring has definitely given each

other valuable topics during this time of

dive into a new format of teaching music to

summer months, many other topics will

music educator an opportunity to

our students through a virtual lens, plat-

form, and medium. Every student in the

entire state of Florida moved to an online

educational system in March due to the

hustle

and

bustle of our spring

semester seems So Far

educational pivot. As we move into the

Away (Carole King),

but we all will get

be added to address classroom materials,

through this difficult

instrument hygiene, and reestablishing

chapter together. We have learned so

the music culture in our schools.

much about ourselves during this time of

As a musician, it is almost impossible

social distancing and working with our

Coronavirus pandemic. During this time

not to connect some of our well-known

technology challenge of online platforms,

I have created my own playlist of songs

lessons, email mes-

lenging times.

and Zoom meetings

of crisis, music teachers rose to meet the

programs, and resources to teach our student populations everything from singing

to guitar, recorder, movement, and more.

A Music Teacher’s Social

son ideas and providing virtual support

From a Distance (Bette

for each other. The music education community of FMEA, FEMEA, and NAfME

have provided excellent resources for fel-

low music educators to access concerning guidelines for providing virtual instruction, educational webinars, strategies for

special learners online, mental health, mindfulness, and more. Our professional

remind everyone that

they have you to Lean

on (Bill Withers) during these uncertain times.

Midler) reminds us we

As a school and

are all still connected,

music community, we

apart than we used to

together and we will

although much farther

know we are better

be, as we boldly ven-

Rise Up (Andra Day)

ture into the world of online and virtual

and be O.K. soon.

music education.

I

Will

Take care of yourself and your fami-

Survive

ly. Taking care of yourself means main-

the back beat as we

health in order to support healthy rela-

(Gloria Gaynor) keeps

opment addressing online student safety,

click

equitable access to instruction, and many

sages, virtual lessons,

Distancing Playlist

music organizations have provided all

music educators with professional devel-

Your weekly online

using some titles that speak to our chal-

Music educators around the globe are

connecting more than ever, sharing les-

students from a different vantage point.

songs to the crisis we are experiencing.

of

on

our

the

taining mental, emotional, and physical

keys

tionships with your loved ones.

computers

Stay encouraged.

May 2020

27

ComponentNews

FLORIDA NAfME COLLEGIATE

Mark A. Belfast, Jr., PhD, Advisor

Music Education in This Time of Social Distancing

I

t is with great difficulty that I write this

Truly great and successful teachers share three qualities: tolerance for ambiguity, intellectual curiosity, and the ability to transfer.

month’s column for the Florida Music

Director. I had a really great message

prepared for you. It would have direct-

ed you to reflect upon the year we’ve had, the conferences, special events, and impactful moments you might have expe-

— Dr. Cliff Madsen

rienced in your classes, field experiences,

or internships that will forever affect the way you see the world or think about this

teachers from appealing to the basal

you for making it through another year

… comfort. Yes, we are challenged today.

thing we do. I was going to congratulate and being one step closer to joining the ranks of professionals who have been changing lives and bringing joy to people

across the globe for generations. I intended to circle back to previous columns and

include key phrases the way a master

comic like Lenny Bruce, Richard Pryor, or Dave Chappelle might close a set with

the punchline of a joke told 20 minutes earlier. Now, I’m not so sure.

truly great and successful teachers share three

In a lifetime, we’ve not seen such incred-

curiosity, and the ability to transfer. What a

ible need for flexibility, innovation, and

yes, education as we attempt to do life

differently, but do it well. As I put pen to

parchment (so to speak), the day is both frightening and fascinating as our government tells us not to leave our homes

and we watch education evolve before our eyes.

It is during these times that genius

Everything is different. Our world is

emerges, and it can be thrilling to observe

has changed in ways none of us could

protest and flounder. Take note. There

different. The way we see and do things

have predicted just a few short months

ago. Those changes were precipitated not in a season of experimentation or whole-

sale rejection of the status quo as was the case with the beboppers of the 1940s or

the hippies two decades later. No. Our

as some innovate and thrive while others

are lessons to be learned all around us.

I recently heard someone say, “Never let

experienced.

Florida educators are certainly not new

to teaching through challenging times.

Whether it be hurricanes, floods, wildfires, wildlife, or man-made atrocities,

nothing has ever prevented Florida music

28 F l o r i d a

ranks? How well do you handle ambiguity? Are you able to recognize and accept

the disparate methods of effective education? Are you intrigued by the oppor-

tunity to discover and understand novel strategies and techniques related to effec-

tive music education? When life returns to

“normal,” who will you be and what will you do differently? Can you see how all of this, all of it, can, will, and ought to affect your future students? I sure hope so.

Remember, you are not in this alone,

Kelly’s

1. Proper education is not just job training

were! What are you learning from this

few if any of your mentors have ever

Will you count yourself amongst their

consider these two points:

of Thor’s Mjölnir out of sheer necessity. and significant, the likes of which very

perfect time for those teachers to shine!

and yet we are all depending on YOU

continue to chart these unknown waters,

and skill training, but cultivation of the mind.

You are witnessing something unique

qualities: tolerance for ambiguity, intellectual

a crisis go to waste.” Interesting. As we

current modus operandi developed with the speed of a bullet train and the force

2. Dr. Cliff Madsen once told me that

human desire for joy, hope, community

Those are not my words, but I wish they

experience? In the new world order, are you identifying your biases? And then what? Are you finding capital T truth a

pill hard to swallow? If you’re not seeing the world and our profession through

different colored lenses, you might be missing

something

powerful—know

this, others won’t miss it, and one of them is going to get your gig.

Music Director

to succeed. I am reminded of Dr. Steven presentation

at

the

Florida

NAfME Collegiate Fall Conference, when

he opined that the difficulty we face in education is preparing students for

challenges that do not yet exist. Well …

here we are. When those challenges seem insurmountable, pursue the optimism of

Lincoln, remain vigilant and thankful, dig into the groove, and lean on your pit crew to help you win the race. The world

is changing before our very eyes, and you are the ones for whom we’ve been wait-

ing. So, pay attention and do us proud!

(There … I did it!)

FLORIDA ORCHESTRA ASSOCIATION

Matthew Davis, President

W

elcome to the

As we look ahead to

Please check the FOA website for adjudi-

new age of edu-

next year, a reminder

months have seen an

is September 24-25 at

ilege to serve as FOA president this

will

unforeseen challenges—but collectively,

cation. These past few

that our Fall Conference

unprecedented change

teach. The difficulties hardships

feature

our fierce dedication to creativity and

some amazing sessions

ing curves challenging. As I

resourcefulness. My wish for you is that

planned, as well as two

new

music

reading

you can build on the positives and enjoy

ses-

and adapt my life and teaching, I have

sions! The Component Board Approved

have been able to learn new technologies

take place prior to the Fall Conference.

I had heard about but never had the time

we are problem solvers empowered by

Hee Newbold. We have

been myriad, the learn-

realized there may be a silver lining. I

year. We certainly have had our share of

compos-

er and educator Soon

have

reflect on the ways I have had to change

It has truly been an honor and a priv-

the Hilton Orlando and

in how we live and and

cator training registration details.

a great end of your year, rewarding and

fulfilling in both familiar and new ways.

Adjudicator (CBAA) renewal class will

I send you, your students, and your families all my best wishes.

to figure out. I have sensed from my stu-

dents and their parents a great need for

FLORIDA NAfME COLLEGIATE

and appreciation of the arts. I have had

Katherine Attong-Mendes, President

more time with my family as well as time

to enjoy being outdoors. My hope is that

we continue to focus on these positives and continue to support each other in our profession and in our community.

Remember, this too shall pass, and we will be stronger from our experience living through it and coming out on the other side.

The Florida Orchestra Association will

continue to provide support, training, and fellowship for our members. Many

thanks to those who attended our webinar “Distance Learning – What Works,”

and thank you to Brian Hellhake for his

assistance organizing the event. A big

I

n these unprecedented times, Florida NAfME Collegiate has been hard at

work trying to engage our members and keep spirits up. Our Advocacy

Committee is working diligently to provide resources and opportunities for

music education students. The NAfME Collegiate Hill Day Summit is current-

ly scheduled to take place June 23-25 in Washington, D.C. This is an amazing

opportunity that all collegiates should take advantage of! Also, be sure to check out the NAfME website for COVID-19 resources and news for music educators.

Finally, stay tuned for information for this year’s Collegiate Fall Conference, which our newly elected executive board is already planning!

We hope that everyone in our Florida music education community is staying

safe and healthy during this crisis. Let’s all take this time to remember that

music can be a beacon of hope in the unknown and an art form that brings us together even when we are far apart. Stay safe, and wash your hands!

thank you goes to all district chairper-

sons, who have adapted beautifully to the changes. I hope you all have had or will soon have your end-of-year district

meetings. And kudos to our webmaster, Dale Lewis, for his technical assistance in

moving our meetings online. This is your FOA. As always, we welcome your input and encourage you to contact me, your

district chairperson, or any other board member with any question or concern you may have.

May 2020

29

ComponentNews T

FLORIDA BANDMASTERS ASSOCIATION

Cathi Leibinger, President

wo years ago, I was preparing to

nities such as the Summer Jazz Institute

those activities that are unique to our dis-

Many asked me what I hoped to accom-

members, and in creating new activities

us to make music together.

begin my term as FBA president.

plish or what visions I had. I was still

for the professional development of our

like the Seven Star Honor Band for our

cipline, that bring us together, that allow Being musicians makes us hardwired

students.

for grit and for not being afraid to try, fail,

leagues had entrusted to me.

ment we are now facing is the suspen-

tion colleagues panicked at the thought

business as usual, all due to our commit-

COVID-19 pandemic. The cancellation

trying to wrap my head around the huge

honor and responsibility that my colMuch of the last two years has been

tee and district chairpersons who do all

of the heavy lifting in our organization.

Thanks to our membership, we are con-

stantly monitoring our procedures and policies, making only slight adjustments along the way so we may better serve our members and their students.

In other areas, we’ve made great

The biggest challenge and disappoint-

sion of all of these activities during the of classes, concerts, events, and perhaps

most devastating of all, the opportunities

to be with our ensembles and make music together is truly surreal. What we are

facing is unprecedented but absolutely necessary for the health and well-being of us all.

As soon as school closures started, we

strides in thinking outside of the box,

were concerned about how our spring

centralized accounting firm to make the

devastated at the loss our students face,

implementing new ideas such as using a

duties of the district chairpersons more

manageable, in creating new opportu-

performances would be affected. We are especially those graduating from our programs, in not being able to participate in

and try again. While many of our educaof transitioning to virtual classrooms, our members took charge and forged ahead

into this new challenge. The number of

ideas, suggestions, helpful videos, and even lighthearted memes flying across

social media in the last month showed just how determined everyone was to provide the best online experience pos-

sible for their students. In addition, I was particularly proud of how band directors across the country helped their colleagues prepare for online teaching.

As music educators, we are comfort-

able with being busy and planning for

future events. Under normal circum-

stances, I would have evening rehearsals or meetings two or three nights per week.

Before the COVID-19 shutdown, I had already put my most important dates on

my 2020-21 school year calendar. Now, in these times of uncertainty, it’s hard to sit back, be still, and wait.

The world is being forced to give up

the busyness and stay at home. I offer up

this challenge: Don’t waste the wait! Use it. Find that thing you’ve never had time

for and give it a try, like reading that stack of books on the shelf or sorting

through old photos. Practice your instrument, or pick up a new one. Develop a new health habit like at-home yoga, or even binge-watch that hot show everyone

is talking about without feeling one bit guilty. Most important, stay connected to others. Share your triumphs and your

frustrations. Remember that we’re all in this together and we’re going to need

each other to recover from the setbacks,

30 F l o r i d a

now more than ever before.

Music Director

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

RESEARCH COMMITTEE CHAIRMAN

Don D. Coffman, PhD University of Miami

What factors predict which low-income, ethnically diverse students will participate in elective music courses in middle school?

R

esearchers who try to find influ-

2. What are the preexisting demograph-

seven years before they reach mid-

face challenging procedural limitations.

students who do and do not select

later chose to take a music elective in

ences on school music participation

Studies that rely on correlations (statistics that reveal how one set of numbers moves

in relationship to another set of numbers) are plentiful, but unable to establish cause and effect. Studies that are experimental

ic and child-level differences between into music electives in middle school?

might explain the results.

Alenamie Alegrado and Adam Winsler

(2020) have a recently published study that

is impressive in meticulously accounting for potentially influencing variables,

in collecting longitudinal data, and in

2013-14 academic year, they analyzed data for 30,413 sixth graders (five cohorts), 23,788 seventh graders (four cohorts), and

16,392 eighth graders (three cohorts). They asked the following research questions:

1. What proportion of students in Grades 6 through 8 enroll in music

classes, and what type of music class-

es are they taking?

tary school who are later choosing to take music in middle school. Indeed,

the strongest predictors of taking

education status; ELL (English language

music classes in middle school in

learner) status; English proficiency; fifth

our study were the prior academic

grade GPA; fifth grade standardized test

performance measures.

scores; cognitive, language, and motor

There is a wealth of detail in this

skills at age 4; and socioemotional skills

well-written report, and it is free to

and behavior at age 4.

NAfME members from the publications

For this ethnically and linguistically

ter (22%) were enrolled in elective school

in Miami. Using enrollment data for the

doing better academically in elemen-

school: gender; ethnicity; poverty; special

attended either community-based child

programs at age 4 between 2002 and 2007

it is the students who are already

chorus, guitar, orchestra, other) in middle

diverse population of students, and most

care with subsidies or public school preK

middle school‌ . [W]e found that

ences between students who do and do

obtaining a large sample. They used data

from five groups of children who had

who did not take a music elective in

The researchers used data from 10 vari-

not select into music electives (i.e., band,

for many of the preexisting attributes that

and behavioral skills than students

courses?

Quasi-experimental studies, ones that music classes or not), often fail to account

motor, cognitive, language, social,

different for different types of music

ables to account for preexisting differ-

categorize participants (e.g., enrolled in

middle school typically had greater

3. To what extent are selection factors

(randomly assigning participants to differing treatments) are exceedingly rare.

dle school. At age 4, students who

page of the website. I encourage you to give it a read.

often living in poverty, less than one-quar-

Reference

music classes. This is not a surprise—we

Alegrado, A., & Winsler, A. (2020). Predictors of taking elective music courses in middle school among low-SES, ethnically diverse students in Miami. Journal of Research in Music Education. https://doi. org/10.1177/0022429420908282

already know from research that children

living in poverty in urban areas have less

access to music in schools or perhaps have less encouragement. What this study of preexisting differences tells us is this:

Email your questions and feedback to: d.coffman1@miami.edu with a subject heading Research Puzzles.

[S]tudents who enroll in elective music classes in middle school are broadly and academically more competent than students who do not

enroll in music classes as early as

May 2020

31

Please take time to thank and support our 2019-2020 Academic Partners.

GOLD PARTNERS

SILVER PARTNERS

University of North Florida

BRONZE PARTNERS

Cannon Music Camp - Appalachian State University Florida College Florida Gulf Coast University Florida Southern College Holy Cross Lutheran Academy Infinity Percussion Kent State University School of Music Mercer University Northwestern State University (LA)

Palm Beach Atlantic University Rollins College Department of Music Stetson University Union University University of North Texas University of Tampa Valdosta State University West Virginia University School of Music

Partners as of April 1, 2020.

32

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

Florida Music Director

Florida Orchestra Association & Florida ASTA Florida Orchestra Association & Florida Fall Conference 2020 ASTA Fall Conference 2020 Thursday 2020 Thursdayand and Friday, Friday, September 24-25, 2020 Keynote Speaker: Soon He Newbold Helpful sessions with information you can use now!

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

Ask for the FOA room rate: $171.00 (single or double); $13.00 per day resort fee

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

Hotel reservations must be made by Sept. 9, 2020!

Preregistration Fee: $75.00 Orchestra Teachers/ASTA Members; $35.00 Spouse; $45.00 Retired Teachers/ASTA; $15.00 Collegiate

Resort fee entitles you to: • 15% discount at all hotel restaurants (except the Tropics Restaurant) • Free wireless, local phone calls, domestic long distance & 800 numbers

On-Site Registration Fee: $100.00 Orchestra Teachers/ASTA Members; $50.00 Spouse; $60.00 Retired Teachers/ASTA; $20.00 Collegiate Preregistration must be postmarked by Sept. 14, 2020.

• 50% off the daily self-park fee

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

Name

Home Phone

Address City

State

School Name

Email

ZIP

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

ASTA Member ASTA Retired

Spouse

FOA Retired

Collegiate

Make checks payable to FOA (Cash and POs are not accepted) Mail registration form and payment by check to: FOA Executive Director • 220 Parsons Woods Drive • Seffner, FL 33584

May 2020

33

CommitteeReports

A

AWARDS COMMITTEE

Debbie Fahmie, Chairwoman

s we encounter unique and unprecedent-

with FMEA has been a long and happy one,

Michael N. Dye was named the 2020

ed challenges in the delivery of quality

and my experience with this year’s All-State

FMEA Secondary Music Educator of the

music education this spring, let me applaud all

Reading Chorus was no exception. What an

Year. He has a long, distinguished career and

music educators for the job they are doing to

incredible group of eager, talented, bright

has had a profound impact on thousands of

maintain the integrity of teaching while social

(and fun) singers! Bravo to all in FMEA who

students, many of whom have continued on

distancing. It makes my heart dance to see the

make this conference experience meaningful

the path of music beyond high school. He is

creative ideas for virtual/online teaching and

for so many teachers and students.

highly respected by his peers and is a role model for all Florida music educators.

the sharing among educators that is taking place. It proves how resilient, collaborative,

Virginia B. Dickert was named the 2020

and passionate our music educators are. We

FMEA Elementary Music Educator of the

have so many heroes out there, rising above all

Year. She is a living testimony of music for

of the challenges being thrown at us right now.

all, as evidenced in the work that she and her

Speaking of heroes, it’s that time of the year

students have done to bring instruments and

when I ask you to consider who in your sphere

collaborative music experiences to less fortu-

of influence is deserving of recognition by the

nate, Title I public schools in her neighboring

FMEA Awards Program. Each year, I am so

county.

inspired by the nominees in every category, and I also think about the many unsung heroes

Mr. Dye writes:

of music education throughout our state. This

First of all, let me express my greatest appre-

is the year to nominate them.

ciation for the honor of being the FMEA

As we think about colleagues to nominate

Secondary Music Educator of the Year. Too,

this year, I’d like for you to hear from a few of

thanks to Mark Scott and FVA for sponsoring

the very worthy FMEA awardees from 2020.

the nomination. I am humbled by the entire

David L. Brunner, DMA, was named the

process, beginning with the decision to nomi-

2020 FMEA College Music Educator of the

nate me and ending with the FMEA committee

Year. As a conductor, composer, and educator,

selecting me and honoring me as you did. It is

he has touched the lives of many and has made

Mrs. Dickert writes:

a confirmation of all that I have tried to do as

a lasting impact on the choral landscape in

As I reflect upon the FMEA conference,

a music educator for 44 years. The breakfast

Florida and beyond. His name is well-known

my heart is so full! Hearing my six stu-

was wonderful. The celebration of all recipi-

and respected throughout the world.

dents sing and perform in the elementary

ents there was great and I thought well done.

all-state groups, being presented the FMEA

My principal was impressed and proud to be

Elementary Music Educator of the Year

there.

award, conducting the Elementary Choral Reading Session, and getting to participate in

We certainly are celebrating all of our 2020

an FEMEA Task Force meeting ... there will

FMEA awardees, and I look forward to seeing

never be another year like this one. My heart-

those 2021 nominations coming in this spring

felt love and thanks to the FEMEA Board and

and summer. Applications are done online

to the FMEA Awards Committee for giving

at https://fmea.org/programs/awards. You

me the Music Educator of the Year award.

can also find samples of successful applica-

Dr. Brunner writes:

Special thanks to Joani Slawson for nominat-

tions on the website to guide you through the

I was pleased to be honored by FMEA with

ing me. I have been so blessed for 39 years to

process.

the College Music Educator of the Year award

get to do what I love best—teaching music.

I urge you to begin working on applications

and am humbled to be among those friends

It’s been my passion and I’ve never thought of

for the 2021 FMEA Awards Program. I wish

and colleagues who have received this pres-

it as a job. I’ve always considered it a calling.

you all good health as we navigate through the

tigious award in the past. My association

God bless!

pandemic and into a joyous summer.

34 F l o r i d a

Music Director

CONTEMPORARY MEDIA COMMITTEE

David Williams, PhD, Chairman

Florida All-State

T

Popular Music Collective

he Contemporary Media Committee is excited to announce a new FMEA

all-state group that will be part of the 2021 FMEA Professional Development

Conference in January. The Florida AllState Popular Music Collective could well be the first state-level all-state group of its kind. As planned now, the group will

consist of students in grades 9-12, with a

DJ, two or three rappers/hip-hop artists,

two or three vocalists, two or three guitarists, a bass guitarist, two keyboardists,

two drummers, and potentially a few other instrumentalists. Staff will include a director, a vocal coach, and a sound technician.

The ensemble will focus on and per-

form mostly original music created by

the students, and it will be run using

Announcing the Florida All-State Popular Music Collective DJ - perform a three to four minute set that includes a minimum of five samples

or clips from at least two songs, and demonstrates your best work. Make sure to concentrate on sonic and rhythmic improvisation. Any included lyrics must be “school safe.�

Rapper/Hip-Hop - using the supplied backing tracks (one in a slow tempo and

one in a fast tempo) create and perform school-safe lyrics. Specific themes will be supplied for each piece. And perform a segment of an original rap you have created (no more than one minute in length) demonstrating your best work (again, with school-safe lyrics).

Vocalist - sing two songs with supplied backing tracks. And sing a segment of

one song, a cappella, of your choice (no more than one minute in length and with

school-safe lyrics) that showcases your range (preferably an original, but a cover is acceptable).

Electric Guitar - perform a stylistically appropriate guitar part using the supplied backing tracks (from two different styles). And perform a segment of something

original you have created (no more than one minute in length) demonstrating your best work (your original can be performed on electric or acoustic).

a learner-centered pedagogical approach

Bass - perform a stylistically appropriate bass part using the supplied backing

autonomy over the choice of literature

you have created (no more than one minute in length) demonstrating your best

where the students will have significant performed. Students will also be expected

to participate in preconference commu-

tracks (from two different styles). And perform a segment of something original work.

nications to begin the planning process

Keys - perform a stylistically appropriate keyboard part using the supplied

will be posted on the FMEA website by

original you have created (no more than one minute in length) demonstrating your

of selecting literature. Audition materials

backing tracks (from two different styles). And perform a segment of something

the end of May. Auditions will occur

best work.

through video recordings, with links submitted to the FMEA website by early

September. Personnel selections will be made by members of the Contemporary Media Committee, and results will be communicated by late September.

Final audition material will be formal-

ized soon, but the following information gives a sense of what will be required. In

addition to musicality, students will also be evaluated on performance theatrics.

Drum Kit - perform a stylistically appropriate drum kit part using the supplied backing tracks (from two different styles). And perform a segment of something

original you have created (no more than one minute in length) demonstrating your best work.

Whatever - perform a stylistically appropriate part using the supplied backing tracks (from two different styles). And perform a segment of something original

you have created (no more than one minute in length) demonstrating your best work. NOTE: this category is for students who would like to audition on any instrument not included above.

May 2020

35

CommitteeReports

DIVERSE LEARNERS COMMITTEE Alice-Ann Darrow, PhD, Chairwoman

Resilience in the Face of Coronavirus:

Understanding the Challenges for Students With Disabilities and Their Parents

C

itizens around the globe are

We may find teaching online or learn-

ever, are dependent on others—such as

the hurdles presented by COVID-

these challenges quite enough to contend

equally disciplined about social distanc-

learning to manage daily life and

19; however, for many students with disabilities and their parents, managing daily life with the virus is significantly

more challenging, and the resulting hurdles significantly higher. We are all faced

ing online challenging. Most of us find

with at this time; however, students with

disabilities and their parents have these

same fears and difficulties, and at least a few more, but often substantially more.

Many of us find some comfort in know-

with the trials of isolation and social

ing that if we take the proper precautions

losing their income, businesses, or loved

by the Centers for Disease Control and

distancing, while many others also fear ones. We may fear becoming ill ourselves,

or are afraid those we love will become

ill, and perhaps question whether hospitals will be able and equipped to care

for them should we or they need to go.

36 F l o r i d a

and attend to the safeguards published

Prevention, we likely will avoid contracting the virus or transmitting it to those we

know or love. For the most part, we are in

control of our own safety. Many students and individuals with disabilities, how-

Music Director

health care providers or caregivers—to be

ing, hand washing, and other safe practices. To illustrate how one music student’s

life has been affected by the Coronavirus, I will share (with permission) three of her Facebook posts. Demi Nicks, a former

music student at FSU, has spinal muscular atrophy. The first post recounts her joy

at being accepted into the PhD program in music theory at NYU, the second one, posted on her birthday, is a cheery update

on her life in NYC, and the third is a

cautionary admonition to her Facebook friends regarding the Coronavirus.

Demi Nicks Demi is one of the brightest, most resil-

April 1, 2019

BIG life announcement! It’s been a long

ient young women I know, but I am sure

that I have accepted an offer to pursue my

living in New York City at this time. NYC

she is experiencing an element of fear

decision process and I am so excited to share

is presently the epicenter of Coronavirus

PhD in Music Theory at the CUNY Graduate

in the United States. Managing caregiv-

Center in NYC!! It’s honestly a dream and I

ers is never an easy task under the best

can’t wait to study with the best of the best! I

of circumstances, but it is even more

couldn’t have done this without the support

challenging now in NYC. Caregivers are

of my loved ones and FSU family!

sometimes late, especially when they are

dependent on public transportation, or

January 19, 2020

they may not be able to show up at all.

Thank you for the birthday love, everyone!

Now, with the Coronavirus, they likely

Last year, I knew in my gut that 26 was going

have their own health and families to

to be a season of growth and change for me,

contend with. I am concerned for Demi,

and indeed, it was (and 27 seems to be con-

and I think about her often, as I am sure

tinuing on that path as well). Within a short

her parents do.

amount of time, I got news of acceptance into the PhD program of my dreams, received

f Parents of children and young people

FIVE doses of Spinraza, had to figure out the

logistics of moving to NYC with a disability

with disabilities often face challenges and

learned how to live in and navigate the

ularly now with stay-at-home directives

fears beyond those of all parents, partic-

and living independently, made said move,

in place because of the Coronavirus. The

hectic and beautiful city (still learning), and

more severe a child’s disability, the great-

just manage all of these major changes while

er the challenges for his or her parents.

balancing grad school and job stuff. It would

Some students with disabilities are not

be misrepresentative to paint a picture of

able to be independent in their learning

rainbows. There were challenges I expected to encounter, but others that I was

or their personal care. Seven million chil-

not prepared for (when it rains, it pours, ya know?). But by grace and the best

dren—nearly 14% of all public school stu-

family and friends in the world, your girl is a happy girl, and my New Year/

dents—receive federally mandated spe-

birthday resolution is opening myself up to all the wonderful, crazy things this

cial education services because of their

life has to offer! And I think I’m in the best place to do that. Love you all! XOXO

disabilities. Some of the challenges and

« Having the adapted technology or

fears their parents may be facing are:

March 24, 2020

Hey, everyone. I didn’t want to make this post and be annoy-

specialized materials their child uses

ing, but here we go. As someone whose lung function is well

at school to make academic progress

below average, the threat of coronavirus is especially scary

or to meet his or her social and com-

and risky because it attacks the lungs. I cannot fully isolate

« Having to educate their child acamunication needs.

myself because I have care assistants who MUST travel back

and forth across NYC for their shifts with me. My situation is not unlike many

demically, while also providing or

other persons with disabilities. This [virus] is not just about the elderly. STAY

arranging for the special assistance,

HOME and STOP mingling in groups. You can feel totally healthy and still be

such as the speech, physical, occupa-

carrying the virus and pass it on to other people or objects to be touched. You

tional, or music therapies, their child

yourself might be able to survive corona but others like me honestly may not.

may typically receive at school.

STAY HOME and away from others. Ok, thx.

Continued on page 38

May 2020

37

CommitteeReports « Having to manage their child’s perContinued from page 37

sonal care, medications, or hygiene

needs during the school day as well

« Having the specialized training needas in the evening.

ed to teach the skills their child needs

« Having to work with their child who to develop.

has a disability while caring for or

« Working without paraprofessionals monitoring their other children.

or other aides who assist their child

« Dealing with the fallout from their in school.

child who thrives on structure but is

« Fearing their child will regress, acaat a loss when routines are broken.

demically and/or socially, without

the supports, accommodations, and

leave home, and live with roommates in

Even many parents of adult children

permission, I share the posts of a friend

socialization available at school.

with disabilities, who have graduated

from high school and are out of the home, are in positions they never imagined because of the Coronavirus. Like

and colleague, Allison Leatzow, whose

son lives in a local group home for young adults.

During this time of the Coronavirus,

assisted living centers and nursing homes

the physical, emotional, and finan-

group homes for adults with disabilities

are often greater and their resources to

that have quarantined their residents,

have done so as well. The principle of normalization states that people with

disabilities should experience patterns

of life and conditions of everyday living that are as close as possible to the

typical circumstances of other members of society (Nirje, 1969). Therefore, many young adults with disabilities who are not

able to live independently often find jobs,

Allison Leatzow March 15, 2020

I was afraid this would happen, but now Andy’s home is no longer allowed to have

visitors for 30 days. This is the same mandate that all nursing homes are under.

We’ve already spoken to him on the phone trying to explain. He seemed okay with what we told him, but as reality sets in, he may not adjust without some major road bumps. We’ll try to work around all this by doing video calls and even visiting him by only seeing him through the window of his facility. This is going to absolutely

kill us, and my anxiety will go sky high. Mike and I are his biggest advocates and are fearful of other recurrent health issues he experiences that we won’t be able to adequately monitor. We will have to get creative in learning “a new way.” Anyone who knows Andy

well and knows Smith-Magenis Syndrome (SMS) will understand the complexity of why this is so serious to

us. Not having direct eyes on your child with special needs is never an ideal situation to be in, but a new adjustment for us with the world we live in today. I have faith in the dutiful and loving staff who care for

him daily, but there’s nothing like a Mother’s care. I

wish I’d hugged him longer yesterday before I had to leave him.

38 F l o r i d a

community group homes. Again, with

Music Director

cial needs of persons with disabilities

manage these needs are often fewer and more fragile. For instance, lawmakers

are considering waiving portions of the

Individuals with Disabilities Education

Act as schools nationwide struggle in the face of Coronavirus. Secretary of

Education Betsy DeVos has been asked to prepare a report to Congress outlining any special education obligations that she

thinks school districts should be allowed

with those like Andy who are standing at

school services for students with disabil-

If we feel unsafe to go ourselves, perhaps

to dismiss (Diament, 2020). It is likely

ities will suffer, and with plans to ration health care and to prioritize patients who

will receive ventilators, many parents wonder if their child would be refused

treatment if they were to go to the hospital. Parents are not OK with their children

being deemed less worthy of medical care, simply because they have disabilities, severe or otherwise (Burke, 2020; Pulrang, 2020).

I applaud the resilience of Demi and

Allison and others who are dealing with

a sliding glass door waiting for visitors.

Maybe we can offer online music lessons

to someone like Andy or to others who

live in group homes. For those like Demi, perhaps we can send groceries so they do

Burke, M. (2020, March). Ventilators limited for the disabled? Rationing plans are slammed amid Coronavirus crisis.

Retrieved from https://www.nbcnews.com/ news/us-news/ventilators-limited-disabled-rationing-plans-are-slammed-amid-Coronavirus-crisis-n1170346?cid=sm_npd_nn_f b_ma&fbclid=IwAR0pMhlyJr n_ johLm1DLd2DeadVowo2jL8V5VQ01yWW_BLmk3YsZL8l-RIY

not need to go out. Or maybe we can just

remember Demi and Andy and others who are dealing with so much more than

we are at this time and do as Demi suggests, just STAY HOME … until we can all be together again.

References

as music educators can do to assist such

Diament, M. (2020, March). Coronavirus stimulus plan could weaken protections for students with disabilities. Disability Scoop Newsletter. Retrieved from https://www.dis-

individuals. Perhaps we can offer to sing

Pulrang, A. (2020, March). Updates on the Coronavirus and the disabled community. Forbes. Retrieved from https://www. forbes.com/sites/andrewpulrang/2020/03/19/ updates-on-Coronavirus-and-the-disabled-community/#12da351c187a

we can make and send music videos.

circumstances so much more demanding

than mine. I struggle to think of what we

abilit yscoop.com /2020/03/20/Coronavir usstimulus-plan-could-weaken-protections-forstudents-with-disabilities/28019/

Nirje, B. (1969). Chapter 7: The normalisation principle and its human management implications. In Kugel, R. & Wolfensberger, W. (Eds.), Changing Patterns in Residential Services for the Mentally Retarded. Washington, DC: President’s Committee on Mental Retardation.

March 16, 2020

Tonight’s visit with Andy talking to each other through the sliding

glass door. I had to laugh, the mom in me was wanting to comb his hair and tidy him up, LOL. March 17, 2020

Played Uno, Andy’s favorite game, looming at each other through Andy playing card with his brother Jack through the glass door the sliding glass window. Jack held the cards up for him to see and

he’d point to the card he wanted to play. He even tried to cheat through Jack as his proxy ... lololol! Andy and I are both competitive

but, in the end, he won! On a side note, I’m bringing some Windex with me tomorrow!

March 25, 2020

Celebrating Jack’s 15th birthday with Andy! We didn’t let a piece

of glass keep us from having a party and yummy cakes, cupcakes,

and cookies! We’re not gonna let some stinkin’ quarantine stop our festivities!

Celebrating Andy's brother's birthday

May 2020

39

CommitteeReports

STUDENT DEVELOPMENT COMMITTEE

Michael Antmann, EdD, Chairman

“I never teach my pupils, I only attempt to provide the conditions in which they can learn.”

—Albert Einstein

T

his quote by Albert Einstein may not ever have been as meaningful as it is today.

dents and families) and their situ-

dents learn and experience music in the most difficult of conditions. Everyone has dif-

have six other teachers who will also

The world changed a few weeks ago, and we have since been asked to help our stu-

ferent levels of comfort with technology, and we all teach in different situations. Social media has fostered an unhealthy and unnecessary need to keep up with everyone else.

As I have prepared for my own students, I’ve found that an effective distance learning strategy meets the following criteria

« The

curriculum and assignments

have clear learning outcomes. What

will they learn? How will they learn it? How do you know they learned

it? Make sure students know what is

« Assignments provide the opportuexpected of them.

their teacher will take the time and

effort to give great feedback. This pro-

« There

motes student learning.

also suggests that the teacher-student relationship is one of the most sig-

nity for students to receive specific,

nificant factors in student learning.

constructive feedback. According to

In addition to feedback, find ways to

Hattie, feedback is one of the biggest factors in student learning. Students are more likely to give the time and effort to do great work if they know

is a clear opportunity for

student/teacher interaction. Research

interact with your students and make

them feel special and important (they

« The plan takes the stakeholders (stuneed that right now).

ations into account. Students may

give them assignments and sched-

ule meetings. Focus on the quality

of the assignments rather than the

quantity. Kids are overwhelmed right now, whether they admit it or not.

According to Maslow, we all need the feeling of safety. Kids are missing

that, along with a feeling of order and control. Focus on giving them

enough to provide some normalcy, an opportunity to make music, but not

« The

too much.

technology/delivery does not

interfere with the content. If you are

spending all of your time trying to figure out some new system, then stop.

Keep it simple. Ask for help. Focus on

the content. The same goes for your students; if they are spending most

of the time learning a new system instead of learning the content, then we have missed the point.

Elementary, Middle, and High School Band, Choir, and Orchestra 2020: April 3 April 17 April 24

2021: April 9 April 16 April 23

2022: April 8 April 22 May 6

www.SMMFestival.com or call:1-855-766-3008 40 F l o r i d a

Music Director

If all those criteria are met, then

think about the content. Ask two

« If this wasn’t important to enough

questions:

to teach a couple of months ago, why is it important now? Be careful not

teach things you normally wouldn’t

« If this is important, then why wasn’t just because it’s easier in this situation.

I teaching it a couple of months ago?

Sometimes challenges require us to reflect on our existing practices. There

are things we have missed in the past.

This process will, as it should, affect our teaching practices in the future.

MULTICULTURAL NETWORK Bernard Hendricks, Chairman

EMERGING LEADERS COMMITTEE

Mary Palmer, EdD, Chairwoman

A

s I write this, we are in the midst of COVID-19. This is a scary and unprecedented event that I pray will never be

repeated in our lifetimes. Even in this very challenging time,

I am inspired and so impressed by the creativity and commitment of music teachers and musicians of all ages throughout

our state and around the world. The many creative virtual lessons, the online rehearsals, and the virtual performances

of students at home sharing their music (with your direction)

lift others and make each day a little better for us all. You all are rock stars! I know you miss the interactions with your students, the funny things they say, and the achievements

your friends and families and all that you have achieved and

A

consider your own professional pathway so you will follow

though we’ve been instructed to stay in the same place. As

you celebrate along with them.

I hope you will take this time to breathe … and to cherish

will achieve as a music educator. As you look to the future, your dream in order to become your best self.

Is the FMEA Emerging Leaders Class of 2021 for you or

someone you know? Nominations are now open. Do you know someone who has the potential to be a leader and a

champion for music education at his or her school, community, region, state, nationally, or beyond? You might be that

person yourself! It’s time for nominations (self-nominations are accepted) to the FMEA Emerging Leaders program.

More information is available at fmea.org/programs/emerging-leaders/.

« Meet other enthusiastic people who are destined for leadWhy become a part of the FMEA Emerging Leaders?

ership in music education … share the excitement and

« Meet and interact with FMEA and NAfME leaders. « Serve FMEA in various ways at the 2021 Professional Development Conference. « Be a 2021 conference presenter as part of the Emerging Leaders program. « Be inspired and informed at the Summer 2020 Emerging possibilities together!

Leaders Conference (currently planned for June 13, 2020, at the University of Central Florida – Orlando, but plans

« Expand your horizons as you expand your professional are subject to change). network.

We are excited about the possibilities ahead and look

forward to welcoming you or your nominees to the FMEA Emerging Leaders 2020-21. In the meantime, stay safe and healthy, and know that you matter to the world.

s we prepare to close the curtain on yet another school year, whether we are in our school buildings or in our

living rooms with laptop in hand, one fact has become pro-

found to me: We do not have to stay in the same spot, even human beings, we are built to move, to connect, and to be creative. It is my sincerest prayer that as music educators, we

have not let this global situation stifle our passion for music,

our passion for education, and most important, our passion to positively impact the lives of the young people we have

the privilege and honor to grow with throughout the school year. I saw a post on the internet that read “Sometimes

music is the only thing that gets your mind off of every-

thing else.” With that in mind, I hope everyone remains

thankful for the opportunity we have as music educators

and remains encouraged that what we are doing does matter and is positively affecting the lives of thousands of young people.

As for some Multicultural Network news, our annual

Summer Workshop is tentatively scheduled for Thursday,

June 11, at Ocoee High School in Orange County. We will keep you posted through the FMEA website as to any further decisions for the MCN Summer Workshop.

In closing, I’d like to take a quick moment to thank the

members of the MCN for allowing me to serve as your

chairman for the past several years. It is truly an honor to

work on behalf of music educators and students throughout our great state. The work we have started will now continue under the leadership of a dear friend, Bruce Green, who has

been an active member of the MCN for over 20 years and has worked in many capacities during this time. As always,

we will continue to strive forward in efforts to ensure that a quality, comprehensive music education experience is available to all Florida students.

May 2020

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FLORIDA MUSIC EDUCATION ASSOCIATION 2019-2020 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

June M. Hinckley Scholarship

Music Education Advocacy

Professional Development for Members

General Fund

Mel & Sally Schiff Music Education Relief Fund

The following have graciously donated to FMEA from April 1, 2019, through April 1, 2020.

MAESTRO’S CIRCLE ($10,000 and up) No current donors at this time

ARTIST’S CIRCLE ($1,000 – $9,999)

All County Music, Inc. Clifford Madsen Russell Robinson

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.

42 F l o r i d a

Music Director

SUSTAINERS ($100 – $999)

Artie Almeida In Memory of June Audrey Grace Lucinda Balistreri In Memory of June Hinckley Shelton Berg Richard Brown Anthony Chiarito Alice-Ann Darrow In Memory of Mr. & Mrs. O. B. Darrow Virginia Densmore In Memory of Shirley Kirwin Cynthia Heidel

Dennis Holt In Memory of Dr. Gerson Yessin Llewellyn Humphrey Steven Kelly Carlton Kilpatrick Sheila King In Memory of John W. King Cathi Leibinger In Memory of Linda Mann; In Honor of Ken Williams Jason Locker In Memory of June M. Hinckley Angel Marchese Carolyn Minear

Bob O’Lary & Debby Stubing Edward Prasse On Behalf of Nancy Marsters Jeanne Reynolds On Behalf of Pinellas County Schools Performing & Visual Arts Teachers Mary Catherine Salo In Memory of Gary Rivenbark & Wes Rainer Steven Salo In Honor of John Jamison & Dr. Bill Prince

Kathleen Sanz In Memory of June M. Hinckley Fred Schiff J. Mark Scott In Honor of Judy Arthur & Judy Bowers Karen Smith In Memory of Retired SFC Alfred C. & Nita Greening D. Gregory Springer Harry Spyker In Honor of Fred J. & Marleen Miller

Jeannine Stemmer In Memory of Barbara Kingman & Lauren Alonso Leiland Theriot Robert Todd In Memory of Gary Rivenbark Richard Uhler Julian White In Memory of Kenneth Tolbert David Williams Kenneth Williams

Kim Miles Ree Nathan John Nista Mary Palmer Harry “Skip” Pardee On Behalf of Quinn & Vivienne Pardee Galen Peters David Pletincks In Honor of Alexis & Jonathan Pletincks Edward Prasse C. William Renfroe In Memory of Herb Beam, Past FVA President Rollins College Department of Music Alicia Romero-Sardinas In Honor of John Rose Cristyn Schroder

Thomas Silliman In Honor of Dr. Thomas Silliman, Sr. John Southall Timothy Stafford In Honor of Olive Stafford Jesse Strouse Sharon Tacot John Watkins John Weaver Howard Weinstein In Memory of Barry Weinstein Farryn Weiss Donald West In Honor of Melvin Maxwell

PATRONS ($25 – $99)

Carlos Abril Michael Antmann Judy Arthur In Memory of Ray Kickliter Shawn Barat In Memory of Duane L. Hendon Mark Belfast In Memory of Dr. Mark A. Belfast, Sr. Jessica Blakley In Memory of John Rose Karen Bradley In Memory of Harold Bradley Gordon Brock Jamie Bryan In Memory of Wes Rainer Katarzyna (Kasia) Bugaj

Dana Burt Stanley Butts Alexandra Carminati Carol Casey Shelby Chipman Dale Choate Don Coffman Dayna Cole In Memory of Linda Mann Erin Cushing Virginia Dickert In Memory of Lindsay Keller & Debbie Liles Jason Dobson Michael Dye Curtis Edwards Judith Evans Melanie Faulkner

Bradley Franks In Memory of Gary W. Rivenbark Mark Goff Louise Gore Sharon Graham Walter Halil John Henderson Bernie Hendricks Stanley Hoch Neil Jenkins Marsha Juday Pauline Latorre Joseph Luechauer Kevin Lusk Cak Marshall In Memory of Sylvia Perry of Peripole, Inc. Stephen Mayo Robert McCormick

Anonymous (6) In Memory of Elliot Tannenbaum

May 2020

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FRIENDS (up to $24)

Carmen Aquino Ernesto Bayola Richard Beckford Jessica Calandra Ella Carr Renee Cartee Ernesta Chicklowski Mr. Emanuel Rivers II Kelly Chisholm Blair Clawson In Memory of Shirley Kirwin David Cruz Richard Dasher Matthew Davis In Memory of Robert Morrison

Dennis Demaree Cheryl Dubberly Debbie Fahmie Jenny Freeman Tina Gill In Memory of Gary W. Rivenbark Lise Gilly Gerry Hacker Harold Hankerson Jesse Hariton Cheryce Harris Angela Hartvigsen William Henley Ashton Horton

Aisha Ivey Jason Jerald Rolanda Jones In Memory of June M. Hinckley Adina Kerr Katie Kovalsky Mia Laping Catherine Lee Anthony Lichtenberg Patricia Losada Claudia Lusararian In Honor of Sue Byo Deborah Mar In Memory of Mrs. Barbara Kingman

Matthew McCutchen In Honor of John C. Carmichael Kristy Pagan Hank Phillips Katherine Plank Marie Radloff In Memory of Charles F. Ulrey Emma Roser Stacie Rossow Edgar Rubio Anthony Ruffin Melissa Salek Jack Salley John Sinclair

Thomas Stancampiano Phil Tempkins Joseph Tremper Gary Ulrich Billy B. Williamson Matthew Workman Richard Yaklich Anonymous (11) In Memory of Tom Damato In Honor of Ms. Helen Bailey

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

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

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

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

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

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

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

44 F l o r i d a

Music Director

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.

ADVERTISERS Breezin’ Thru, Inc.................................................................................................4 Smoky Mountain Music Festival......................................................................40 Yamaha Corporation of America.................................................................. IFC Advertisers shown in bold provide additional support to FMEA members through their membership in the Corporate and Academic Partners program. These advertisers deserve your special recognition and attention.

MEMBERSHIPS OPPORTUNITIES INCLUDE:

IT’S TIME!

GENERAL MEMBERSHIP FMEA and NAfME

Renew Your Membership for 2020-2021 Active membership in the Florida Music Education Association shall be granted to individuals engaged in the teaching, supervision, or administration of music in elementary and secondary schools, colleges, or universities within the state. Active membership shall grant participation in the activities of the FMEA including the right to vote upon business matters before the association and to hold office. Active members shall be admitted to state, division, and national meetings upon compliance with registration requirements.

The FMEA membership year is from July 1 to June 30 of the following year. Members who join or renew after April 1 will be current through June 30 of the following year.

Full Active, Retired, Life, Collegiate Student, Florida NAfME Collegiate, Associate-Individual, Associate-Organization, Introductory Membership

CORPORATE AND ACADEMIC PARTNERSHIPS COMPONENTS � Florida Bandmasters Association � Florida Orchestra Association � Florida Vocal Association � Florida Elementary Music Educators Association � Florida Collegiate Music Educators Association � Florida Music Supervisors Association

All membership applications and renewals must be done online at

FMEA.org

May 2020

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ExecutiveDirector’sNotes FMEA Executive Director Kathleen D. Sanz, PhD

FMEA Continues to Serve You and Your Students

A

s I write my message for the May edition of the Florida Music Director, the COVID-19 pandemic is in full

force in our state and the world. This is a time when teachers, students, and parents are trying to deter-

The mission

of the Florida Music

Education

Association is to promote quality, comprehensive

music education in all Florida schools.

mine how to continue their lives with some sense of normalcy. Music educators are reaching out to each other to help provide emotional and teaching support.

The pandemic continues to have a significant impact on schools, travel, and gatherings in our state. Hours

of rehearsal have ended abruptly as concerts and events have been cancelled, and you have been asked to leave

your classrooms without saying goodbye to your students. We are not even sure when or if face-to-face teaching

and learning will take place again this year. As fellow music educators, we understand how you feel and want to offer our help to you and your students. Please be assured that the Florida Music Education Association is committed to continued service to our members and their students during this very challenging time.

For the safety of our FMEA staff members, we are following the stay-at-home orders. The staff is working

remotely to continue important services for our members.

The FMEA Executive Board is working diligently to make sure you and your students have the best resourc-

es we can provide to help you navigate your way through this new way of teaching and learning. Visit FMEA. org for the latest in resources, professional development, and news.

Professional Development/Resources

FMEA has compiled a list of resources that can be accessed on our website. These resources are being posted to

assist teachers in their quest to continue providing learning for their students. We will update these resources as new information becomes available. The National Association for Music Education (NAfME) is also provid-

ing resources on its website. There are several webinars that address mindfulness and suggestions for virtual education.

FMEA will continue to work to provide information on copyright as we use instructional equipment and

materials to help with online learning. We are working closely with NAfME, the National Federation of High Schools, and the National Association of Music Merchants (NAMM) to provide updates on copyright.

FMEA is also working with NAfME, NAMM, and music companies to provide guidance on cleaning and

sterilizing musical instruments. Please watch our website for updates as information becomes available.

Also stay in touch with your component associations as they, too, continue to provide opportunities and

resources for you.

Legislation/Advocacy

Jeanne Reynolds, our government relations/advocacy chairwoman, has provided an excellent update on the 2020 Legislative Session. Be sure to read the article and email or call if you have questions as we work to navigate the legislative process that impacts you and our schools.

Membership Renewal Time

Each year beginning April 1 we open the membership registration process. The membership year for FMEA is July 1 to June 30 of the following year. Joining is easy and online. If you need assistance, please call the FMEA office.

Musically,

46

Kathleen D. Sanz, PhD

�

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

Officers and Directors

EXECUTIVE BOARD President

Steven N. Kelly, PhD

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

Kenneth Williams, PhD

Douglas Anderson School of the Arts 2445 San Diego Road; Jacksonville, FL 32207 (904) 346-5620; kenwms@flmusiced.org President-Elect

Shelby Chipman, PhD

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

Cathi Leibinger

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

Marc Decker, DMA

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

Ernesta Chicklowski

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

Katherine Attong-Mendes

University of Miami; kxa395@miami.edu Florida NAfME Collegiate Advisor

Mark A. Belfast, Jr., PhD

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

�

Executive Director......................................................................Neil Jenkins Florida Bandmasters Association P.O. Box 840135; Pembroke Pines, FL 33084 (954) 432-4111; Fax: (954) 432-4909; exec@fba.flmusiced.org

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

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

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

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

FSMA President................................................................Craig Collins, EdD College of Arts & Media, Southeastern University 1000 Longfellow Blvd.; Lakeland, FL 33801 (863) 667-5657; cscollins@seu.edu

FLORIDA NAfME COLLEGIATE President............................................................ Katherine Attong-Mendes University of Miami; kxa395@miami.edu

FMEA COMMITTEE CHAIRPERSONS Awards.................................................................................... Debbie Fahmie fahmied@yahoo.com

Past President...............................................................Jennifer Luechauer jennifer.luechauer@browardschools.com

Budget/Finance, Development.................................. Steven N. Kelly, PhD Florida State University, College of Music, KMU 330 Tallahassee, FL 32306; (850) 644-4069; skelly@admin.fsu.edu

FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION

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

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

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

Past President...............................................................Rosemary Pilonero rosemary@femea.flmusiced.org Executive Director............................................................. Jennifer Sullivan 1750 Common Way Rd., Orlando, FL 32814 (321) 624-5433; slljenn@aol.com

Contemporary Media................................................... David Williams, PhD University of South Florida; 4202 E. Fowler Ave., MUS 101 Tampa, FL 33620; (813) 974-9166; davidw@usf.edu Diverse Learners.....................................................Alice-Ann Darrow, PhD Florida State University, Music Education and Music Therapy 123 N. Copeland St.; Tallahassee, FL 32306 (850) 645-1438; aadarrow@fsu.edu

FLORIDA MUSIC SUPERVISION ASSOCIATION

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

Past President............................................................................Scott Evans scott.evans@ocps.net

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

Treasurer......................................................................................... Ted Hope Hillsborough County Public Schools, School Administration Center 901 E. Kennedy Blvd.; Tampa, FL 33602 (813) 272-4861; ted.hope@sdhc.k12.fl.us

FMEA Corporate & Academic Partners....................................Fred Schiff All County Music; 8136 N. University Dr.; Tamarac, FL 33321-1708 (954) 722-3424; fredallcounty@aol.com Government Relations..................................................Jeanne W. Reynolds Pinellas County Schools, Administration Bldg.

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

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

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

Past President...........................................................................Jason Jerald jason.jerald@sdhc.k12.fl.us

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

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

Research...................................................................... Don D. Coffman, PhD University of Miami; d.coffman1@miami.edu

FLORIDA VOCAL ASSOCIATION

FMSA President

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

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

President.................................................................................. Jason Locker Orange County Public Schools; 445 W. Amelia St.; Orlando, FL 32801 (407) 317-3200; jason@fva.net

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

Past President.....................................................................Tommy Jomisko tommy@fva.net

FOA President

PROFESSIONAL DEVELOPMENT CONFERENCE

Harry “Skip” Pardee

Matthew Davis

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

Jason Locker

Orange County Public Schools 445 W. Amelia St.; Orlando, FL 32801 (407) 317-3200; jason@fva.net Member-at-Large

Edgar Rubio

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

Executive Director....................................................................J. Mark Scott 7122 Tarpon Ct.; Fleming Island, FL 32003 (904) 284-1551; exec@fva.net

Exhibits Managers................................................ Byron and Bobbie Smith 4110 Tralee Rd.; Tallahassee, FL 32309 (850) 893-3606; fmeaexhibits@fmea.org

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

Local Co-Chairpersons Ted Hope—(813) 272-4861; ted.hope@sdhc.k12.fl.us Melanie Faulkner—(813) 272-4461; melanie.faulkner@sdhc.k12.fl.us Hillsborough County Public Schools, School Administration Center 901 E. Kennedy Blvd.; Tampa, FL 33602

CENTER FOR FINE ARTS EDUCATION

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

FLORIDA BANDMASTERS ASSOCIATION

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

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

Director of Finance & Client Relations...............................Richard Brown, CAE (richard@fmea.org) Technology Director......................................Josh Bula, PhD (josh@fmea.org)

Past President........................................................................Jason Duckett Bartram Trail High School; 7399 Longleaf Pine Pkwy.; St. Johns, FL 32259 (904) 343-1999; pastpresident@fba.flmusiced.org

Public Affairs & Communications Coordinator..............................................Jenny Abdelnour (jenny@fmea.org) Marketing & Membership Coordinator................................. Jasmine Van Weelden (jasmine@fmea.org)

May 2020

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