Florida Music Director May 2021

Is There Anybody Out There?

Tearing Down “The Wall” of Online Teacher Isolation

PLUS: Reflections of an FMEA Past President Embracing Ethnicity Through Music FVA Summer Conference

Using Citation Metrics to Improve Selection Criteria in Developing Symphonic Band and Wind Ensemble Libraries

An Analysis of Your Literature Choices

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2 F l o r i d a

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)

Contents May 2021

Volume 74 • Number 8

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)

F E AT U R E S

Reflections of an FMEA Past President. . . . . . 7 Using Citation Metrics to Improve Selection Criteria in Developing Symphonic Band and Wind Ensemble Libraries. . . . . . . . . . . . 8 An Analysis of Your Literature Choices. . . . . . 16

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)

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Is There Anybody Out There?

Tearing Down “The Wall” of Online Teacher Isolation. . . . . . . . . . . . . . . . . 26 Embracing Ethnicity Through Music. . . . . . .

34

FVA Summer Conference. . . . . . . . . . . . . . . 41 FMEA Professional Development Series.. . . .

53

D E PA R T M E N T S President’s Message. . . . . . . . . . 4

Component News.. . . . . . . . . . 37

Advertiser Index. . . . . . . . . . . . 5

Research Puzzles. . . . . . . . . . . 45

Academic Partners. . . . . . . . . . 24

Committee Reports. . . . . . . . . 46

Corporate Partners . . . . . . . . . 25

Executive Director’s Notes. . . . . 54

2020-21 FMEA Donors. . . . . . . 31

Officers and Directors.. . . . . . . 55 May 2021

3

President’sMessage

With Gratitude and Appreciation:

The Winds of Change

H

ello, FMEA members. I hope this issue of the FMD

Like you, my life’s book has many chapters. I remember

finds you well and moving forward in your year. I

my fifth-grade band director who inspired me to become

so many differences, challenges, and creative re-imagin-

high school band director who bluntly told me I should

have had some time to reflect on this past year. A year of

ings. The challenges everyone faced, and the successes big and small we achieved. I am very much the optimist that Florida music education will emerge from the pandemic

stronger than ever. I believe all of us will look back and

view the experiences of the past year as another chapter in our life’s book. You kept music in music education, and

the result will be a thriving music celebration in the near future.

a teacher, even at that young age. I remember another never be a music major. I remember my applied lesson

teacher in college who held me to a high standard and

forced me to mature and grow both as a musician and

a person. I remember my first day as a band director in Roanoke, Virginia. While I was petrified, the mentors I found there are still with me today. I remember showing up on the campus of the University of Kansas and learning so much from the brilliant faculty, who continue to

keep me grounded. Then of course I remember getting

a phone call from Cliff Madsen and meeting him for the

first time. And I remember getting the phone call congratulating me on being elected president-elect of FMEA.

Each encounter molded me into the person I am and the one still developing.

All of these experiences should be understood not as

isolated events but as a total experience that is still evolv-

ing. So many people, so many encounters, so much music,

and so many stories. Each chapter made me different.

Each success, each failure, the challenges, and the rewards

all shaped who I am, both as a person and as a teacher. I am so grateful for all of them, good and bad, and appreciate the lessons they taught. One of my biggest lessons

from the pandemic is that I hope never to take making music, and the individuals who make the music with me, for granted again. I hope every FMEA member will

have time to reflect and to appreciate some aspect of their

teaching career and life. Teachers make an impact in all they do, and I am optimistic that Florida music educators have had positive impacts on their students this year.

This is my last column as president of FMEA. The

winds of change will bring a very exciting new group of leaders to our organization. Dr. Shelby Chipman

assumes the presidency, with Jason Locker serving as president-elect. The future of our outstanding organization is in very good hands. I want to offer my sincerest

4 F l o r i d a

Music Director

Steven N. Kelly, PhD President Florida Music Education Association

gratitude to Dr. Kenneth Williams for his commitment to musical quality and artistry in our profession. The

leadership Dr. Williams offered was inspirational and will be long lasting throughout our organization. I am

also most appreciative of Dr. Kathleen Sanz for serving in her multiple roles as executive director of FMEA and as

Advertiser Index

The Florida Music Director is made possible by the participation of the following businesses whose advertisements appear in this issue.

They make it possible to provide you with a high-quality publication, and we gratefully acknowledge their support of our mission.

We hope you will take special notice of these advertisements and consider the products and services offered. It is another important way you can support your professional association and the enhancement of Florida music education.

The publisher does not endorse any particular company, product, or service. The Florida Music Education Association (FMEA) is not responsible for the content of any advertisement and reserves the right to accept or refuse any advertisement submitted for publication.

Information for advertisers (rate card, insertion orders, graphics requirements, etc.) can be found at FMEAMediaKit.org.

a national leader in NAfME. Dr. Sanz’s calm, thoughtful

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made in the very best interest of our organization. Thank

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perspectives enabled so many important decisions to be you to the mighty FMEA office staff, the most underappreciated group of outstanding professionals I know. I am

grateful to the members of the FMEA Board of Directors

The advertiser in bold provides additional support to FMEA members through membership in the Corporate and Academic Partners program. This Partner deserves your special recognition and attention.

who served during my presidency. These individuals

shared my vision, and when the time came to re-imagine, they stood tall and exceeded all expectations. Thank

you to my family who supported me and was always there. I owe them some time together. Finally, and most

importantly, thank you to all of the members of FMEA. I am most grateful and appreciative of your phone calls,

texts, emails, hugs, and handshakes. Funny, in reflection,

I always seemed to experience a friendly, encouraging moment with a member at just the right time.

We are all still writing the chapters in our books, and

my chapter as FMEA president is closing. I hope each of you will reflect on your past experiences, cherish the cur-

rent moments, and look forward to your future. I celebrate each of you and will always be proud of your work. It has

been my greatest privilege to serve as your president. I appreciate all you do and how you do it. I will continue to

proudly observe your work and the achievements of your

students. Florida music education is moving forward with such enthusiasm and energy. Our next chapter is going to be a glorious experience!

Have a safe and wonderful summer!

Steven N. Kelly, PhD, President

Florida Music Education Association

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.

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

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

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May 2021

5

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6

Florida Music Director

Grades 5-12

Frank R. Howes President, 2004-2006 Florida Music Education Association

Who are all you people?!

I

t was Easter Sunday morning. The sanctuary was full

Perhaps you said, where are all the people? Where are

were excited as the time had come. We were elated to see

have slammed shut on music education, and surely

and overflowing. The choir, orchestra, and organist

so many people in the congregation, and we would seize the day to give our best performance. Our pastor stepped to the pulpit to welcome this gargantuan crowd. As he

my colleagues? Where is my audience? The door could

some have been impacted by the loss of students and programs.

As a retiree, I must say I have been impressed by the

looked out over the group, he stepped back in amazement

leadership of the component associations and FMEA

these words were uttered and have stayed with him for

ways to keep programs going, even if performance took

as he glanced at us and then back to the sanctuary. And

over 40 years … “Who are all you people?!” Some of us laughed aloud as we knew the attendance that day was largely about those who only appear in this place a couple of times each year. Others were taken aback by this

statement, and most likely so offended they were never to be seen in our house of worship again. But to this day, when I greet this former pastor on Facebook or wish him

a happy birthday or Easter, I remind him of that state-

ment, often to his chagrin for saying it. It has lived with him in fame and infamy!

So, what is the point for FMEA? As a past president

of this grand association of music educators and like

many of my retired colleagues, we might wonder, who are you and how are you doing in the current world of

music education? Questions abound! Did Frank Howes just happen to live during the best of times surrounded

by the masters of music education? I would not venture

to drop names. For my purpose they were the individ-

during this time. You did not shut down. You found a back seat during the pandemic. I have been amazed by how well you have worked together for the good of your students and your programs. You are now a new

generation of music educators who will be stronger and tougher because of your ability to adapt during the

most perilous of life and death situations. Something

my generation never had to consider. So, we know who you are! Not by name, not by attendance on a particu-

lar day, but by your commitment to be strong during a pandemic that threatened your life and those you committed to educate. You and your generation will be forever remembered in the history of this association.

The retired members and former leadership salute you for how you have persevered. We may not know you by

name, but you will be remembered as the educators who

gave all you had for the well-being of the young people you served.

These are probably my final words to be written for

uals who impacted my life as a music educator from

FMEA, and you are one of the few who will read these

educator. Those of us who love the profession simply do

one day likely go down the escalator or walk through

1971 to the present. Yes, I still consider myself a music

not finish. Former leadership may step to the sideline, but our interest in who you are and our profession does not disappear.

At our last in-person FMEA conference in 2020, I

looked about at the people in attendance understanding

that I am in the minority of our retired attendees. A retired member, former leader of this conference glancing around wondering, who are all you people? What

is it like to be a music educator during these times?

And then, bam, COVID-19. Wow, could I do what you have been called on to do? Work in almost isolation?

words. I leave you with this thought to ponder. You will the exhibits at the FMEA conference and wonder, why

am I here, what am I doing? But be confident in this. You will always be a music educator, and this is your place; you will always be welcome and belong. Never will you

be a part of someone saying who are all you people, but you can say with confidence, I made this association

better because of my efforts and that of my colleagues during the most perilous of times. You lived it, and you

will not be forgotten. You will be remembered for your commitment to the importance of music education in the lives of our young people. Bravo!

May 2021

7

Using Cit

8 F l o r i d a

Music Director

tation Metrics to Improve Selection Criteria in Developing Symphonic Band and Wind Ensemble Libraries

M

by Adam E. Berkowitz

Musical works can be divided into the following three categories

based on historical, theoretical, pedagogical, and artistic relevance: literature, repertoire, and canon. For the purposes of this article, literature refers to the vast collection of musical works that have been

written and performed at any point in time. Repertoire, a subsection

of literature, is the collection of musical works that continue to be performed in the present. Canon, a small grouping within repertoire, is the collection of musical works that is considered to be timeless,

exhibits serious artistic merit, and is viewed as a permanent fixture in a musician’s or ensemble’s output of performances. Leading figures

in the fields of music education and performance have been heavily

relied upon for their expertise in determining what musical selections belong in each of these categories. This has and still does meet the needs of both performers and educators. In the case of band music,

however, there are contradicting opinions regarding which works should be labeled canon, and as a result, there exist multiple publications that label a wide variety of musical selections as canon—often

calling these pieces of music “core repertoire” (Allen, 2001; Cardany &

Cummings, 2009; Reynolds, 2009). This can pose an issue for performers and educators, and it also makes the de facto music librarian’s job all the more difficult when developing a collection.

Continued on page 10

May 2021

9

Using Citation Metrics Continued from page 9

It is the educator’s responsibility to pro-

determine a numeric value for each work,

ature of artistic significance. Professional

be clear, independently generated lists

vide an opportunity for exposure to litermusic librarians typically do this through

researching authoritative periodicals, bib-

liographies, and reviews, and relying on the reputations of well-known publishers.

dubbing them artistic value points. To

are defined as lists of compositions that have been created in the spirit of research

and learning but disconnected from the influence of large organizations or pro-

In some cases, especially in music librar-

fessional associations. The lists chosen

programs, the acquisition of materials is

that were created by surveying perform-

ies that service the needs of music degree

influenced by the needs of the program’s ensembles and student coursework (Fling,

2008). Music of serious artistic merit, or canonical works, can refer to any pieces

of music that are characterized by historical importance, considered prime exam-

ples of exercising Western music theory,

deemed worthwhile for their pedagogical value, or praised by notable critics for

for analysis in this study include those ers and educators, following specific and

well-defined selection criteria, and the

personal opinions of experts in the field.

By using citation metrics to encompass all of these methods, what results is a far more comprehensive means for selecting

works for band and wind ensemble collections.

aesthetics and ability to evoke emotional

Defining the Canon of

er, rely expressly upon the opinions of

The most influential study of this kind

responses. These characteristics, howevexperts in the fields of music performance and education.

Instead of relying on music reviews

and the opinions of a few to determine what should or should not be in a band

program’s music library, there should

be a more comprehensive way to vet new potential acquisitions for collection

development. This article specifically focuses on using citation metrics as the

selection criteria for symphonic band and

Musical Works for Wind Band

was published in 1978 by Acton Eric

Ostling. It is entitled An Evaluation of Compositions for Wind Band According to

Specific Criteria of Serious Artistic Merit.

This study was then replicated by Jay

Warren Gilbert in 1993 and was replicated

list of music consisting of serious artistic

subsequent study, the list of music featur-

In creating the survey, Ostling com-

again by Clifford Towner in 2011. In each ing selections of serious artistic merit was

piled a list of 1,481 musical selections

Ostling’s (1978) research consisted of

questionnaire was based on a Likert rat-

evaluated and then updated.

wind ensemble collection development.

a questionnaire in which respondents

tion impact, the definition of which, for

ceived significance. He recognized that

Citation metrics are also known as citathe purposes of this article, is the number of times a published work is cited

or mentioned in other published works (Garfield, 1988). The way this definition was used for this article was to make note

of how many times a published piece

of music was named a work of serious

artistic merit in independently published literature. In doing so, all readily available independently generated lists of compo-

sitions characterized by serious artistic

merit were analyzed and compared to

10 F l o r i d a

merit.

would rate pieces of music based on per-

value judgements in music are highly subjective, and that the opinion of one

individual, regardless of that individual’s eminence, would not be suitable for determining the artistic merit of musical selections; however, if there was a collective agreement among a group of reputable

individuals as to which works could be considered music of serious artistic merit, and if the process for determining this was uniformly applied, then what would

result could arguably be considered a

Music Director

to be included in his questionnaire. The ing scale, a rating system that measures a person’s reaction to a statement or a

topic (i.e., like-dislike or agree-disagree).

By presenting the list of compositions

in this fashion, the collective attitude toward specific pieces of music could be

determined. In doing so, Ostling created

a rating scale ranging from 0 to 5, with 0 indicating the participant is not familiar enough with the selection to give an opinion and 5 indicating the participant

strongly agrees with the notion that the selection consists of serious artistic merit.

Twenty notable band directors from

different parts of the country were

surveyed in Ostling’s research, and each

Unlike survey-based research, which

gies for determining artistic merit. These

lective attitude toward a piece of music,

the selection must have form; the selec-

completed the survey by rating every

assesses artistic merit based on the col-

note of or rating additional works that

music analysis and evaluation is also an

title Ostling included while also making were not included in the original list of

selections. Ostling then developed a point

system based on the rating scale. It was

determined that if all 20 participants rated a selection at least a 4, then the consensus

would be that all 20 participants agreed this selection consists of serious artistic merit; however, Ostling thought it would be unlikely that all 20 participants would

be familiar enough with all 1,481 titles to rate them objectively. Instead, a collective point system based on the ratings was

devised. Ostling determined that a total of 80 points would need to be received

tion must have melodic, rhythmic, and

acceptable method for determining artis-

harmonic development; the selection

must be beneficial to the audience; the

tic merit. Such is the case as thorough-

selection must demonstrate creativity and

ly demonstrated by Brian Cardany and

vitality; and the selection must be wor-

Paul Cummings in a presentation titled “Exploring the Core Repertoire for High

thy of repeat performances. The criteria

School Band” given at the 2009 Midwest

for determining functional and/or ped-

Clinic, a major conference for primary

agogical merit consisted of 22 aspects,

and secondary instrumental music edu-

each also originating from different pub-

cators and performers. Their study was

lications. These points of criteria include

based on two kinds of criteria: criteria for

the following: the skills featured in the

determining artistic merit, and criteria for

selection must fall within the abilities of

determining functional and/or pedagogi-

the musicians, and the instrumentation must be appropriate for the ensemble

cal merit.

Their criteria for determining artis-

by one work in order for that work to be

tic merit consisted of 45 aspects, each

(Ostling, 1978).

concerning philosophies and methodolo-

considered a work of serious artistic merit

points of criteria include the following:

in question; the selection should bal-

ance with and lend itself to the other

originating from different publications

selections the ensemble is playing; the Continued on page 12

May 2021

11

Using Citation Metrics Continued from page 11

selection should consist of opportuni-

he conducted performances in the United

An Evaluation of Compositions for Wind

should contain a unique characteristic;

such as Tanglewood, Carnegie Hall, the

Artistic Merit: A Second Update (Towner,

ties for expressive playing; the selection learning to play the selection should help

develop musicianship; and the selection should be challenging without being

unattainable (Cardany & Cummings, 2009).

In using these sets of criteria, Cardany

States and Europe at noteworthy venues Lincoln Center, the Maggio Musicale in

Florence, the Tonhalle in Zurich, and the

Holland Festival in the Concertgebouw in Amsterdam.

Furthermore, he has received praise

and accolades from world-class compos-

and Cummings compiled their own list

ers and received an honorary doctor-

requirements and can be considered

course of his life, he has been presented

of musical selections that meet these

works of serious artistic merit. In doing so, they demonstrated a contrasting

methodology to survey-based research.

Furthermore, because it follows a strict

list of key aspects a title must exhibit in order to be considered a work of serious artistic merit, objectivity in the selection process is still maintained as it is not

entirely based on opinion. It could be likened to selection criteria found in collec-

ate from Duquesne University. Over the with many awards for his contributions

both to music and education, has been the head of many prestigious music soci-

eties such as the College Band Directors

the field. One such example was produced

by renowned music director H. Robert Reynolds. The following is a description

of his professional activities and achieve-

ments demonstrating his expertise in the fields of music performance and education, thereby justifying using his list,

“Core Full Band Repertoire,” as a reliable

and Publishers (USC Thornton School of Music, 2012).

H. Robert Reynolds’ long list of awards,

riences certainly makes him one of the formance, and most assuredly makes his expert opinion on the artistic merit of

music as fundamentally valuable as any

other resource. Reynolds’ list is divided into two categories. One category denotes

core repertoire for band, and the second category is deemed “core of the core,”

indicating that this list of music features a two-tier measurement for artistic merit (Reynolds, 2009).

bibliography of works for band directors

Using Citation Metrics to

collections.

This article features the work of eight

to consider when developing their music Reynolds formerly served as the prin-

cipal conductor of the University Wind

Ensemble at the University of Southern California’s Thornton School of Music.

Prior to this appointment, he was the

director of university bands and the director of the division of instrumental studies

at the University of Michigan’s School of

Music. During the height of his career,

12 F l o r i d a

Cummings, 2009), Best Music for High

School Band: A Selective Repertoire Guide

for High School Bands and Wind Ensembles (Dvorak et al., 1993), “Core Full Band

Repertoire” (Reynolds, 2009), and Great Music for Wind Band: A Guide to the Top 100

Works in Grades IV, V, and VI (Nicholson, 2009). All of these lists were produced

with one of, or a combination of, the methodologies mentioned in the previ-

ly for the purpose of study or to be

world’s foremost authorities on music per-

the opinions of highly reputable experts in

for High School Band” (Cardany &

American Society of Composers, Authors,

of the National Awards Panel for the

systems.

The most subjective method for deter-

2001), “Exploring the Core Repertoire

ous section. Furthermore, all of these

accomplishments, and noteworthy expe-

mining artistic merit is relying solely on

2011), “Core Repertoire for Band” (Allen,

National Association, and was a member

tion development policies used by music

libraries in academic and public library

Band According to Specific Criteria of Serious

lists were produced independently, pureused as reference resources, as opposed

to being produced through the efforts of large organizations and professional associations. Published lists of works

by large organizations and professional associations were purposely disregarded in order to avoid any influence from such

institutions during the music selection process. These organizations consider

relationships with publishing companies, the availability of musical works, the cost of music acquisition, as well as the practi-

cality of a work’s instrumentation when devising their bibliographies. These factors impact selection criteria without having anything to do with whether or not a work exhibits serious artistic merit.

After each of these lists was evaluated

Develop a Music Library

for its content and validity, the selections

independently generated lists of musical

large master list that indicates the compos-

selections characterized by music of sig-

nificant artistic merit. These lists include An Evaluation of Compositions for Wind

Band According to Specific Criteria of Serious

Artistic Merit (Ostling, 1978), An Evaluation

of Compositions for Wind Band According to Specific Criteria of Serious Artistic Merit:

A Replication and Update (Gilbert, 1993),

Music Director

from each list were compiled into one

er’s name, the title of the work, alternate titles of the work, the number of times the

work is listed (i.e., citation impact), and on

which list(s) the work appears, as well as whether or not the work was published

before or after Ostling’s original study.

This final criterion is important to note because works published after the Ostling

Table l

Excerpt of the Master List

study obviously cannot receive the full

value points and included titles such as

music considered for evaluation. Upon

Folksong Suite by Vaughn Williams; 16

eight points for appearing in all lists of

completing this master list, 795 titles were determined to possess significant artistic

Lincolnshire Posy by Grainger and English

far more comprehensive than previous-

works received 7 points and included

band program’s music library because it

titles such as Dionysiaques by Schmitt

merit. Using citation impact, a measure-

and Music for Prague by Husa; 12 works

music on the master list could be ordered

A Little Threepenny Opera Music by Weill

ment system was developed so that the

from least significant to most significant.

For every time a piece of music is men-

tioned, it gains one artistic value point.

Following this method, the more times a

work is mentioned, the greater the artistic merit a work possesses. In order to compensate for the fact that Ostling would

not have been able to evaluate works pub-

The use of citation metrics proves to be

received 6 points and included titles like and Elegy by Chance; 23 works received 5 points and included titles like Canzona

by Mennin and Konzertmusik, op. 41 by

Hindemith; 41 works received 4 points and included pieces such as Ballad for Band by Gould and Fantasies on a Theme by

Haydn by Dello Joio; 42 works received 3

points and included pieces such as Deserts

ly mentioned methods for developing a incorporates all the previously mentioned

methods as opposed to considering each

one individually. Giving attention to artis-

tic value points allows music educators to accomplish the following three objectives: (1) justify the acquisition of new music for

budgetary purposes and prioritize which

works to acquire first; (2) inform educators on which titles should be removed from a band program’s music library should it

be necessary; and (3) provide additional tools that may help educators shape their

lished after he completed his research, the

by Varese and Elegy for a Young American

merit were those published before 1978,

and included pieces like Solitary Dancer

results of all three aforementioned meth-

Krenek; and the remaining 345 works

ria, and expert opinion), a more complete

only titles that were measured for artistic

prior to the publication of Ostling’s study.

As a result, 581 selections were measured on a scale of 1 to 8 for artistic merit. While the remaining 214 works could not be

measured, the number of times each work

was cited in the various publications was still indicated in the master list.

The breakdown of the master list is

as follows: 16 works received 8 artistic

by Lo Presti; 86 works received 2 points

by Benson and Three Merry Marches by

each received a single point and included pieces like Toccata for Band by Erickson and Viennese Musical Clock by Kodaly.

An excerpt of the master list has been included in Table 1 for reference. For the

complete listing of works used for this project, click here.

curriculum.

By using citation metrics to unify the

odologies (i.e., survey, acquisitions crite-

understanding of artistic merit in music is revealed. This process allows for the measurement of artistic merit as opposed to the other methods that simply imply or show evidence of artistic merit. In doing

so, those titles with lower artistic value Continued on page 14 May 2021

13

Using Citation Metrics Continued from page 13

this project resorted to using alternative

names and spellings for certain titles and

composers, which made identifying the work far more difficult and in a couple of

cases, impossible. For those works with inaccurate information or information

that could not be verified, the titles were

not included in the research. In other cases, works were either duplicated or individual movements were listed as if they were separate works. Furthermore,

some selections were not suitable for an ensemble the size of a symphonic band

or a wind ensemble. It was decided that in order for it to be a work that could be considered band literature, the work had to be written for at least 10 instruments—

primarily wind instruments as opposed

to percussion instruments—which is sim-

ilar to the criteria used by Gilbert (1993)

when he replicated the Ostling study and used by Towner (2011) when he replicated the Gilbert study. On occasion, works for

percussion ensemble and brass chamber ensemble were discovered, and those too had to be omitted.

There was also difficulty in identify-

ing the publication dates for some works in determining whether they were published before or after the 1978 Ostling points can be further analyzed to deter-

pare the master list of works created as a

istics of serious artistic merit, while titles

association concert music lists to see if

mine if they truly do possess character-

with higher artistic value points can be

confirmed as works rightfully included in the canon of band music.

Conclusion

Upon concluding this review of canoni-

cal works for symphonic band and wind ensemble, there now exists a comprehen-

sive master list of titles constituting all three of the aforementioned methodolo-

result of this project to state bandmaster those states have similar or differing con-

centrations of music featuring significant artistic merit. It would also be worthwhile

to compare state bandmaster association

concert music lists to one another. Perhaps a nationwide comparison would give edu-

cators a bird’s-eye view of how a work of significant artistic merit is defined across the country.

In addition, several discrepancies

gies for identifying music of significant

occurred while aggregating informa-

cussion on this topic should be explored.

made the research difficult to conduct.

artistic merit. Further research and disFor example, it would be useful to com-

14 F l o r i d a

tion to construct the master list, which First, many of the resources used during

Music Director

study. Resources such as the Wind

Repertory Project and WorldCat were

used; however, many times, it could not be determined if the publication date was

that of the composition or the arrange-

ment. Not every piece listed among the resources used was originally composed

for band. Some works were originally composed for string orchestra, choir, or

symphony orchestra, and then arranged for band at a later date. Furthermore,

some works were originally published in one year, but then edited and republished in another year. These issues, ultimately,

negatively impacted the integrity of the

measurement system (i.e., citation impact and artistic value points) devised for this project.

Despite these difficulties, a working

master list of titles exhibiting serious

artistic merit was successfully created and can be used as a resource for band directors to justify the inclusion of new

music, to prioritize funded music acqui-

sition lists, and to identify which works should be discarded, if necessary. Also,

incorporating collection development

methods used by professional librarians further bolsters and expands best practices implemented by music educators. It is hoped this article will be a starting point

Scientist: Science Literacy, Policy, Evaluation, and Other Essays, 11(44), 354-363. http:// www.garfield.library.upenn.edu/essays/ v11p354y1988.pdf

Reynolds, H. R. (2009, October). Core full band repertoire from H. Robert Reynolds. http:// www.oocities.org/vienna/opera/1276/ hrrlist.html

Gilbert, J. W. (1993). An evaluation of compositions for wind band according to specific criteria of serious artistic merit: A replication and update (Publication No. 9334685) [Doctoral Dissertation, Northwestern University].

ProQuest Dissertations and Theses Global.

Towner, C. (2011). An evaluation of compositions for wind band according to specific criteria of serious artistic merit: A second update (Publication No. 3465178) [Doctoral dissertation, University of NebraskaLincoln]. ProQuest Dissertations and Theses Global.

Nicholson, C. (2009). Great music for wind band: A guide to the top 100 works in grades IV, V, VI. Meredith Music Publications.

USC Thornton School of Music. (2012, February 26). H. Robert Reynolds. https://web.archive. org/web/20120226054045/http://www. usc.edu/schools/music/private/faculty/ hreynold.php

Ostling, A. E. (1978). An evaluation of compositions for wind band according to specific criteria of serious artistic merit (Publication No. 7822438) [Doctoral dissertation, University of Iowa]. ProQuest Dissertations and Theses.

for discussion and research in how music

educators can improve best practices in acquiring works of music and develop-

ing their music libraries, especially by

looking to methodologies and processes promoted in professional librarianship.

Adam

Berkowitz

is

a

supervisory librarian with the Tampa-Hillsborough County

Public Library. He earned the MA in music history and lit-

erature from FAU and the

MA in library and information science from USF. He is a member of the Public Libraries

Committee for the Music Library Association

and reviews project proposals concerning top-

ics in music for Rowman & Littlefield as a library advisory board member.

References Allen, F. J. (2001, August 8). Core repertoire for band [PDF]. The School of Music at Stephen F. Austin State University. https://tsmp.org/ band/allen/CoreRep4.pdf Cardany, B., & Cummings, P. (2009, December 17). Exploring the core repertoire for high school band [PDF]. Midwest Clinic. https:// www.midwestclinic.org/clinics/midwestclinicians?year=2009 Dvorak, T., Grechesky, R., Ciepluch, G., & Margolis, B. (1993). Best music for high school band: A selective repertoire guide for high school bands and wind ensembles. Manhattan Beach Music.

Fling, M. R. (2008). Guide to developing a library music collection. American Library Association.

Now Accepting Session Proposals and Performance Applications for the 2022 FMEA Professional Development Conference January 12-15, 2022, Tampa Convention Center We strive to promote professional insight that will be most beneficial to the music educators in Florida. It is preferable that your proposal(s) have a connection to the conference theme (Unity in Music Education: Building Communities One Note at a Time) for an overall uniformity of vision.

All session proposal submissions should be consistent with current educational trends, promote curricular experiences that lead to a better cultural understanding, and allow educators to create, perform, and respond to music that in turn instills lifelong values for learning and participation.

sessions product showcases performances CLICK TO LEARN MORE

Session proposals and performance applications are due May 11, 2021.

Garfield, E. (1988). Can researchers bank on citation analysis? Essays of an Information

May 2021

15

An Analysis of Your Literature Choices

O

Observations of Compositions Selected for MEA Concert Band Adjudications in Florida & South Carolina (2013-2019)

by Patrick K. Carney, PhD

Over a typical academic year (COVID-19 has certainly

While teachers of other disciplines individually choose

participate in a state music education association (MEA)

subject, band directors have to choose both the methods of

made things atypical!), band directors across the country concert performance adjudication with their concert

ensemble. Knowing this is part of their responsibilities,

the methods of teaching for the standardized test of their teaching and the test itself—the literature for adjudication.

According to the Florida Department of Education

they are tasked with one of the most important aspects of

(FDOE) website on assessments, “National and interna-

The selection of literature is an important vehicle to

Florida’s students are doing in a variety of subjects at

their job: selecting literature.

educate your students on any number of related aspects.

The composer, historical relevance, social impact, musical phenomenon, and aesthetic responses are all viewpoints

that can be explored. Any number of performance tech-

niques, aural skills, sight-reading exercises, and related

music theory practices can be extracted from the literature selected.

The selection of literature is similar to a textbook adop-

tional assessments provide ... data to evaluate how well different ages and grade levels” (Florida Department of

Education, 2021, para. 1). The FDOE uses a range of assessments, but very little regarding the assessment of music.

In other words, the FDOE manages data through several

state, national, and international evaluations, but there are

limited data collected on music outcomes or procedures altogether.

On the other hand, band directors are all too aware

tion or other course materials selected to teach and codify

that their performance assessment results define their

decision to select a textbook is defined by academic stan-

program’s annual accomplishments. Results from all per-

skills and/or concepts in other academic disciplines. The dards required of any discipline at each level. Yet, in the

concert band world, we select our literature individually

based on criteria and procedures created by members of our appropriate association.

achievements. The results are viewed as a portion of their formance assessment structures (marching, concert, jazz,

solo and ensemble, etc.) are used to evaluate the band director and/or the program’s achievements.

In South Carolina, band directors collect points for

I’m referring to how directors select concert band lit-

various levels of achievement at each performance assess-

disciplines do not face individually. Teachers of other

ble for the Outstanding Performance Assessment (OPA)

erature for adjudication—something educators of other disciplines shoulder that burden collectively through

many standardized test results over an academic year.

16 F l o r i d a

Music Director

ment event. If they earn enough points, they are eligiaward. At concert performance assessment (CPA, South Continued on page 18

May 2021

17

Literature Choices Continued from page 16

Carolina’s version of music performance assessment [MPA]), bands must earn a superior or excellent score to receive max-

of education, level of instruction, and years taught over a career.

What does this illustrate? I believe

imum points dependent on their selected

this may illustrate a belief among some

cation. It should be noted that attempting

than the educational value of the experi-

literature grade level and school classifian OPA is not required of any South

Carolina Band Directors Association (SCBDA) member.

Band directors should approach lit-

erature selection with a critical view of what is being taught rather than targeting

directors that the rating is more important ence. This is not a condemnation of band directors selecting music for adjudication

based on pragmatic elements, but it does reveal there may be stress to achieve first, then to educate.

a desired assessment score. The adju-

The Pressure Mounts

rating based on measurements of prede-

cedures in South Carolina are different in

dicated assessment provides an overall termined musical aspects with statements further explaining the assessments. The

director uses these assessments and comments to affirm or address whatever con-

cepts the director chose to teach through the literature selected. Otherwise, what was the point of selecting literature?

MPA procedures in Florida and CPA proalmost every facet. South Carolina directors, for example, choose their own classi-

by SCBDA members are examined and

minimums for adjudication. SCBDA has a

available to all SCBDA members online,

fication determining their literature grade formal rubric for submitting music to the state list, and a majority of those submitted are added for adjudication.

Each work’s grade level for both state

Do Band Directors Value

lists is determined by a committee.

Yes, of course, they do—just ask them!

inclusion to the committee. These com-

Literature Selection?

Seriously, band directors are making their choices thoughtfully, but it could be

Unlike Florida, submissions provided

Directors submit proposed literature for

mittees have different procedures for sub-

mitting and grading literature, but they

graded using a specific rubric. The rubric,

outlines the criteria for grade-level content based on the following factors: rhythm, meter, ranges, keys, melodic treatment,

scoring/texture, harmonic treatment, and musical maturity. This allows the director

who is submitting a work for inclusion on the state list the ability to determine its grade level before submission.

Selected members of the Florida

have similar objective music criteria.

Bandmasters Association (FBA) form the

ment over education. Or, it could be that

form the Concert Performance Assessment

mittee annually determines which wind

the assessment system, so it functions as

mittee has an annual review of submis-

argued that some assessment systems of adjudication place pressure on achievedirectors do not understand the intent of “pressure.”

In my 2005 dissertation, I “examined

twelve classified objective elements of

quality and suitability … that influence the selection of wind band literature”

(Carney, 2005, p. ix.). The elements labeled suitable (instrumentation, ensemble expe-

rience level, and available rehearsal time)

were consistently rated higher than litera-

ture quality elements. Survey participants

were 237 FBA middle and high school directors during the 2004-05 academic

year. Participants were grouped by level

18 F l o r i d a

To provide context, SCBDA members

Committee. Similar to Florida, this comsions for inclusion to the South Carolina state festival list. Music is designated a grade level between 1 and 6, with 6

indicating the highest level of difficulty.

Concert Music Committee. This comband literature is acceptable for adjudication and assigns a grade to all of the literature selections. FBA literature is desig-

nated a grade level between 1 and 6, with 6 indicating the highest level of difficulty.

This places significance on the deter-

One small difference is that SCBDA has a

mination processes, particularly if there

is their way of allowing a director to

for a composition. The subjectivity allows

masterworks category of difficulty, which

choose a large-scale work, like Grainger’s Lincolnshire Posy (to be performed in its

entirety) as a substitution for two smaller-scale grade 6 works. For the purposes

of my research, I counted all SCBDA masterwork selections as grade 6 selections.

Music Director

is no formal rubric to determine a grade for variability by committee members and their values to determine inclusion on the

state list as well. In summation, the FBA Concert Music Committee determines compositions that are suitable for adjudication using a subjective system in which

the selection committee ensures the list

is composed of quality works defined by

mostly objective factors and arranged into

The State Lists

the band director. Directors know the

found regarding the state lists of Florida

suitability factors of their program. For

example, they determine how much time can be dedicated to rehearsing the music before adjudication. They know

the instrumentation challenges and the overall talent level of each musician. They

must find a work that is suitable for their ensemble to perform.

Their classification is based on school

This classification has a tremendous

influence on their suitability issues as

well. They must combine all these features to determine what can be accomplished at MPA. These pressures—clas-

sification minimums, suitability issues, and achievement goals—are all weighed heavily. If not given more importance,

certainly these pressures are given equal consideration to quality factors and edu-

comparison, the SCBDA list shows grades

2, 3, and 4 averaging approximately 23% each, with grade 2 the largest at roughly

24%. Grade 6 is 13% of the total approved

amount of literature approved for adju-

literature on the SCBDA list.

dication. FBA has approximately 1,600

The available and approved composers

compositions ranging from grade 1 to grade 6. SCBDA has approximately 2,400

on the state lists are also very different.

more choices overall than FBA.

cation at all grade levels on the FBA list

The most approved composer for adjudi-

available for selection. SCBDA allows for

is J. S. Bach. Bach is indicative of FBA’s

According to the 2018-19 approved lists,

Carolina at 157 and Florida at 122. SCBDA-

the FBA state list.

5% larger than any other grade level. By

ferent in construction, beginning with the

classification places the minimum grade Minimally, they know where to look on

the grades on the FBA state list, nearly

and South Carolina. They are vastly dif-

the amount of grade 1 literature is rela-

level of music required for assessment.

6. This is the largest percentage of any of

For context, I need to divulge what I

enrollment rather than band program enrollment for participation in MPA. That

23% of the total approved works are grade

alleviate these pressures?

grade designations of 1 through 6.

Here’s where the pressure begins for

toward grade 6 in Florida. Approximately

cational elements. So, what can be done to

emphasis on transcriptions. Certainly, in

comparison, the FBA-approved list for

tively close between the states, with South

MPA includes transcriptions notably more than the SCBDA list. Five of the

approved literature for grades 2, 3, and 4

top eight most-approved works on the

averages 250 more selections available per

FBA list by composer are Bach (54 works),

grade than FBA. South Carolina had 555,

G. F. Handel (34), P. I. Tchaikovsky (30),

533, and 484 approved for grades 2, 3, and

R. Wagner (29), and W. A. Mozart (28), and

4, respectively. Florida had 267, 301, and

all are transcriptions.

235, respectively. The amount of approved

On the SCBDA list, Bach (30) is signifi-

grade 5 literature is similar to grade 1

literature in availability, with 310 in South

cantly behind living composers of origi-

more grade 6 choices than SCBDA (318)

(42), J. Curnow (47), R. W. Smith (43), and

nal works for band including B. Balmages

Carolina and 294 in Florida. FBA (366) has

Sheldon (55), to name a few. The SCBDA

with nearly 50 more available choices.

list is and continues to be a growing Continued on page 20

In terms of percentages, the amount of

approved literature for adjudication skews

May 2021

19

Literature Choices Continued from page 19

roster of living composers’ works. The

on these criteria over the past seven

the most selected work for that grade

of the procedures to submit works for

ings to determine the overlap. Table 1

Incantation and Dance earned a ranking

construction of the SCBDA list is a result approval—another difference between the states’ lists.

None of these comparisons matter for

band directors residing in either state;

years. I compared these two top 10 listreveals the literature by grade that was

consistently selected for adjudication from both states’ top 10 list.

For example, Prelude, Siciliano, and

level in that state. For example, Chance’s of 1 in South Carolina for grade 6 and a

ranking of 8 for grade 5 in Florida. This signals that Incantation and Dance was in

both states’ top 10 most frequently selected literature for adjudication.

they only have to consider their state’s

Rondo was selected 78 times in Florida and

assessment. I am presenting these com-

years. Twenty appears small in compar-

The Trends

times the number of ensembles partici-

importance our profession places on

procedures and policies for performance parisons to display that these differences—and there are many—resulted in several similarities in my collected data.

Examining the Data

Since 2013, I have analyzed high school

band director selections for the MEA concert

band

adjudication

festivals

in both Florida and South Carolina. I have presented my findings every year beginning in 2014 at the National Band

20 times in South Carolina over the seven ison, but Florida has approximately four pating in MPA than South Carolina. If we

multiply the 20 South Carolina selections by the difference in participants (4x), then

we get 80, which is almost the exact number performed in Florida (78). This consistency occurs throughout the comparisons

between the top 10 consistently selected literature between the states.

As Table 1 shows, Prelude, Siciliano, and

Directors

Rondo ranks number one in both states for

Conference, and most recently at the

tive, Lo Presti’s Elegy for a Young American

Association/College

Band

National Association Southern Division

2020 South Carolina Music Educators

Association Conference. Data have dis-

played some interesting trends for both states individually and in comparison over that span.

When comparing the same literature

on both state lists, a difference in difficulty classifications emerges. In gener-

al, a typical SCBDA grade level for the same work is equal to or higher than

FBA, although both use a 1 to 6 grading scale. For example, Chance’s Incantation and Dance is listed as a grade 6 according to SCBDA, while the FBA grade is a 5.

Despite these differences, interest-

ing trends emerge in comparison of the collected data. Table 1 presents the top 10 consistently selected works per

most selected matched works per grade

from both states is to highlight that directors participating in two different perfor-

mance assessment events with distinct procedures and criteria were consistent

in selecting these specific works (see Table 1).

Another

trend

is

the

frequency.

was selected 58 times and was the second

both states, two composers rose above

most selected work over the past seven years at MPA. Elegy for a Young American

was selected only five times at CPA over that same period and ranked fifth as a

selection at SCBDA; however, Elegy for

a Young American tied with seven other works selected five times in seven years

at SCBDA (or 20 times if we multiply for the difference in participants). I did not

of a repeating event per unit of time. In the rest in terms of selection frequen-

cy: Robert Sheldon and Frank Ticheli.

Sheldon has nearly 60 approved works on the SCBDA list and more than 30 on the

FBA list. Ticheli has more than 20 works on the SCBDA list and nearly 20 on the FBA list. Neither composer has the most on either state list.

Over the past seven years, selected

include Elegy for a Young American in the

Robert Sheldon compositions comprised

both states. The cutoff for grade 5 inclu-

Florida MPA and 5% at South Carolina

table because it did not make the top 10 in sion to the top 10 for South Carolina was six times in seven years, which includ-

ed Pageant by Persichetti and Chance’s Incantation and Dance.

Ranks were based on the total number

of selection. Both Florida and South

hundreds of selections each year. In other

20 F l o r i d a

selection. The point of displaying the

Frequency is the number of occurrences

of times a piece was selected over the

Carolina created their own top 10 based

these works. I did not track results, just

selected grade 5 literature. For perspec-

grade level for both states. The top 10

was determined by the total frequency

This trend of recurrence indicates the

8% of the total number of selections at CPA. Selected Frank Ticheli works for

assessment constituted 6% at MPA and 5% at CPA of the total number of selections.

These percentages were the largest for any single composer in both states.

Other composers had similar percent-

past seven years in comparison to the

ages in South Carolina. Brian Balmages,

words, a rank of 1 means that work was

Continued on page 22

Music Director

Jacob De Haan, R. W. Smith, and James

Table l

Ranked Literature for Adjudication in Florida and South Carolina (2013-2019)

Composer

FBA Grade

Rank Fla.

SCBDA Grade

Rank S.C.

Chance

5*

8

6*

1

Reed

6

3

6

8

Grainger

6

5

6

9

Shostakovich

6

6

6

11

Arnold

5

1

5

1

Williams, C.

5

3

5

4

Vaughan Williams

4*

9

5*

5

Variations on a Korean Folk Song

Chance

5

4

5

6

Chorale and Shaker Dance

Zdechlik

5

5

5

10

Incantation and Dance*

Chance

5*

8

6*

1

Persichetti

5

9

5

8

La Plante

4

1

4

1

Ticheli

4

5

4

8

Vaughan Williams

4*

9

5*

5

On a Hymnsong of Philip Bliss*

Holsinger

3*

4

4*

10

Kentucky 1800

Grundman

3

2

3

5

On a Hymnsong of Philip Bliss*

Holsinger

3*

4

4*

10

Ammerland

De Haan

3

5

3

1

Title Incantation and Dance* Armenian Dances, Part 1 Molly on the Shore Festive Overture

Prelude, Siciliano, and Rondo Symphonic Dance No. 3 – Fiesta Rhosymedre*

Pageant

American Riversongs Cajun Folk Songs Rhosymedre*

* An asterisk indicates the work was top 10 in two different grade levels. Therefore, the work appears in two places in this table.

May 2021

21

Literature Choices Continued from page 20

All grade 3 and 4 composers were also

White males. The living composers listed were in their 60s or 70s.

The composers selected for any state

assessment list are extremely good at their craft. Each composer and his or

her music have been studied, analyzed, and vetted before any decision to add a work to an approved state list can occur.

Their skills have been developed and

honed over years of composing, and the music selected for addition to a state list

has passed some measurement of quality.

Their credentials and accolades are without question.

This particular trend illuminates a bias

toward “dead, White guys (composers).”

The data reveals that when choosing wind band literature for adjudication in the past seven years, deceased or older White men Swearingen each covered 5% of the total

nearly 60 on the FBA list and 32 on the

to both Ticheli and Sheldon. This reveals

selected in either state.

number of selections at CPA, comparable

two things: (1) those six composers com-

paragraph, but I believe this is another

A final interesting aspect of this trend

not it was intentional, the data over the

of literature selection similarities between

South Carolina directors seemed to trust

ers (see Table 1). In Grades 5 and 6, all

these six composers for quality assessment literature over the rest of the SCBDA

approved list. There are no other compos-

ers over the past seven years that were close in comparison.

In Florida, Sheldon and Ticheli have

achieved the highest selection frequency over the past seven years than any other composer. Clare Grundman was the closest with 4% at MPA (and 2% at CPA).

Pierre La Plante was next at 3% at MPA.

A fascinating aspect of the MPA fre-

quency trend is that Ticheli has only one composition, Cajun Folk Songs, of his many

approved compositions on both state lists, that was consistently selected the most

out of all the literature choices (see Table 1). Robert Sheldon had none. Sheldon had

22 F l o r i d a

I realize the sensitivity of the previous

SCBDA list, but no titles were consistently

prised 30% of the total selections over the past seven years at CPA; and (2)

were selected the most.

these two states was the shared compos-

« John Barnes Chance (d. 1972) « Alfred Reed (d. 2005) « Percy Grainger (d .1961) « Dimitri Shostakovich (d. 1975) « Malcolm Arnold (d. 2006) « Clifton Williams (d. 1976) « Vaughan Williams (d. 1958) « John Zdechlik (d. 2020) « Vincent Persichetti (d. 1987)

composers were deceased White males:

The grade 3 and 4 composers were

all living, with two exceptions: Clare Grundman

(d.

1996)

and

« Pierre La Plante (b. 1943) « Frank Ticheli (b. 1958) « David Holsinger (b. 1945) « Jacob de Haan (b. 1959)

Williams (d. 1958):

Music Director

Vaughan

important trend to display. Whether or past seven years reveals this trend. I

believe similar trends would be found if selected literature for performance assess-

ment was examined from any time frame or any state.

The importance our profession places

on literature for education speaks to our values. Music education has made strides in increasing opportunities for female and minority composers, and while there

has been a recent uptick in including com-

positions by minorities on approved state lists, it will take time for these composers to reach the status of any of the aforemen-

tioned composers. I hope that happens sooner rather than later.

The Alleviation of Pressure

Returning to the pressures on band directors often associated with selecting literature for MPA, the question remains,

what can be done to alleviate this pres-

should assist the director’s educated plan-

A quick examination of the top 10

ning for the future.

sure? Considering a director’s achieve-

selected literature for assessment from the

ing suitable literature for each ensemble

will provide a clear picture of what is val-

literature FBA values through repetitive

If by chance you’ve recently performed

find similar composers and literature

ment goals for his or her ensembles, findand factoring in classification minimums,

quality literature, and educational elements can be overwhelming. Let’s consider the trends in the data:

1. Recurrence. Knowing which compositions are consistently selected allows

the director to choose valued selections for adjudication from a much smaller list than the entire state list.

2. Frequency. Knowing which composers are frequently selected allows the

director to choose valued composers for adjudication from a much smaller list than the entire state list.

White, male composers are revered in

our profession due to their amazing compositional skills and outstanding

artistry for wind bands. I am not

societal issues with his or her students with confidence.

Understanding the data and the subse-

quent trends found within provides two advantages. The first advantage is time.

records; use your resources!

ness and to provide opportunities to teach

list to investigate, and that saves time.

The second advantage is knowledge.

history, empathy, and understanding.

Good luck with your next MPA event.

selection period for MPA allows you to

I sincerely hope your time and knowl-

is valued by your colleagues in total.

for your program, your community, and

edge foster outstanding achievements

our profession. Let’s continue to grow

Recurrence and frequency are clear indi-

together.

cators of value. Knowing the literature valued by FBA directors for assessment reduces some of the pressure of the

Dr. Patrick K. Carney’s

Knowledge of the trend in demograph-

Research Perspectives in

unknown.

publications

appear

in

Music Education, Florida

In the medical profession, when a person

Music

Director,

The

Instrumentalist, and the Missouri Journal

knowing the risks, details, benefits, and

of Research in Music Education. He has

expected outcomes of each treatment,

presented his research at conferences for

this is known as “informed choice.” In

CBDNA, NBA, NAfME, and music education

our profession, we must research and

association conferences in Alabama, Florida,

determine the information ourselves and

Georgia, South Carolina, and Tennessee.

then choose the best option. This is not informed choice, but educated planning.

References

Knowing the trend in composer demo-

Demographics will have very little, if any,

in recent years. FBA maintains excellent

Furthermore, it allows you to raise aware-

they are valued, but it is a much smaller

quality literature by examining which

(frequency) have been selected the most

lar compositions or composer techniques.

You still must investigate why and how

graphics does not negate any choice made

compositions (recurrence) and composers

tinuing your students’ education on simi-

your ensemble. Again, this saves time.

As an FBA participant, you can decrease your time spent selecting suitable and

adjudication literature choices or for con-

the entire list of available literature for

is given options to choose treatments,

number of musical, educational, or

use in preparation for your selected FBA

informed decision rather than analyzing

based on genetics. I am stating that

the director’s choice to address any

adjudication, they would be excellent to

This is a much better position to make an

ics allows for a more enlightened choice.

this knowledge could positively affect

works are not on the current state list for

ing place to find comparable literature.

implying that any composer should

be selected over any other composer

bles. Even if those similar composers or

ensemble, at a minimum you have a start-

be conscious of your choice versus what

adjudication. Many of these older,

spectrum of diversity in your ensem-

ticular grade level are unsuitable for your

living or deceased, allows the directhe trends in literature selection for

that are more representative of the broad

them all, or if all of the top 10 in your par-

Knowing these trends before your next

tor to make an informed choice on

selection for adjudication allows you to

ued by the majority of your association.

3. Demographics. Knowing which com-

posers on a state list are White men,

In other words, understanding what

past five, seven, or even 10 years of MPA

Carney, P. K. (2005). Rankings and ratings of literature selection criteria among Florida public school band directors (Publication No. 3216579) [Doctoral dissertation, Florida State University]. ProQuest Dissertations and Theses Global.

in selecting literature for assessment. impact on your ensemble’s assessment;

Florida Department of Education. (2021). Florida participation in national and international assessments. https://www.fldoe.org/ accountability/assessments/nationalinternational-assessments/

however, learning the recurring compo-

sitions’ traits and frequent composers’

styles of selected literature for assessment

May 2021

23

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Florida Music Director

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May 2021

25

Is There Anybody Out There?

Tearing Down “The Wall” of Online Teacher Isolation

by David Ramos

“Alright, folks, last time. Can anyone tell me the

difference between a quarter note and a whole note?”

The teacher stared at his computer screen for what seemed like hours, waiting for one of his students to respond. He was sharing his desktop with 72 beginning band students, displaying a PowerPoint he eagerly put together the weekend before, meant to teach his students how to count rhythms. No one responded.

Come on everyone, he thought, I’m practically giving the answer away. Just look at the screen!

He called students’ names at random. “OK, Mary, help us out. between a quarter note and a whole note?” No answer.

What is the difference

A quarter note is worth one beat, and a whole note is worth four, the teacher thought to himself.

His eyes flitted around the corners of his home office, anxiously searching for reassurance from a mentor or a friend. Of course, no one was there to help him. He was alone.

“Jordan, how about you? Do

note?” No answer.

you remember the difference between a quarter note and a whole

A quarter note is worth one beat, and a whole note is worth four! The teacher practically screamed the answer in his mind. His eyes darted from his bookshelf lined with various texts on music education to his university degree, certifying him as a K-12 music teacher. Why aren’t they answering?

Why is this so hard? This isn’t teaching; this is torture.

Online

“Hello? Anyone?” he said pleadingly. “Is there anybody out there?”

Continued on page 28

26 F l o r i d a

Music Director

Teacher Isolation

May 2021

27

Online Teacher Isolation Continued from page 26

Goodbye, Blue Sky (Hello, Blue Light)

On March 9, 2020, Florida Governor Ron DeSantis declared a state of emergency, prompting the Florida Department of

Education (FDOE) to publish best practices for what would soon be the adopted form of education (Corcoran, 2020). Because

of COVID-19, teachers across the state of Florida quickly transitioned to e-learning to keep students and themselves socially

distanced. Since then, in-person rehearsals, scheduled performances, and face-

to-face conversations with students have been replaced with virtual meetings and

online lessons. Students now learn from

home, isolated from friends and peers, and illuminated by the high-energy visible display screens on their laptops, tablets, and smartphones. This is the new normal—goodbye, blue sky; hello, blue light.

Another Brick in the Wall

To many, social isolation is an unfamiliar and unpleasant experience. According to Usher et al. (2020), forced separation from

friends and family can have a detrimental impact on an individual’s overall sense

of connectedness and mental health (p.

2756). These negative effects have been

observed worldwide during the pandem-

ic. According to research conducted in India, “The pandemic and subsequent

teachers (Sindberg & Lipscomb, 2005).

due to professional isolation. Research

are considered a minority of the entire

of isolation and ineffective teaching for

In most public schools, music teachers

teaching staff (Sindberg, 2011, p. 8). Music

is often sequestered from the academic curriculum (Sindberg, 2011, p. 189), which

further separates the music teacher from the rest of the school. Even when teaching

was in person, managing a classroom full of students for nearly a whole school

day made it difficult for teachers to reach out to and support their friends and col-

isolation has been observed in relation to teacher burnout (Schlichte et al., 2005),

and in some cases has caused teachers in their first few years to seriously con-

sider leaving the profession altogether (Sindberg & Lipscomb, 2005).

new level entirely. In this format you, the

just another brick in the wall of professional isolation, providing music teachers with an additional hurdle to grow their professional and social networks.

(Un)Comfortably Numb

Professional isolation, unfortunately, is not uncommon for music teachers. Some teachers have become comfortably numb to the reality that their subject, and the

work that comes with it, socially separates them from others. This concept was

observed by Flinders (1988), who found that teachers tended to describe their

Online teaching has taken isolation to a teacher, are completely alone, left to work with nothing but your wit, laptop, and

any resources you may have at your dis-

posal. Your students have been replaced by square boxes containing their names or

initials. Some turn on their cameras, some do not. Often it is difficult to believe there

is another human being on the other side of the screen. After countless attempts

to get feedback of any kind from your

online students this school year, you have

no doubt been tempted more than once to turn off your computer and call it a day.

During these moments, it is crucial for

work in terms of a series of tasks (e.g.,

teachers to realize that no matter how

tions on the board, acquiring materials,

show must go on. Whether online or in

stapling/grading papers, writing instrucetc.). Flinders asserted that

This tendency to describe teaching in

terms of tasks that are typically performed without collegial assistance

suggests professional norms that

1196). Similar findings of increased screen

encourage teachers to accept isola-

time due to isolation were reported in

tion as inherent to the nature of their

other international countries such as

work. (1988, p. 22)

China (Xiang & Zhang, 2020) and the

Whether they have grown comfort-

Prior to the pandemic, isolation has

able or uncomfortable with their lonely

cation (Dodor & Hausafus, 2010), as well

beginning music teachers — are put at

28 F l o r i d a

field (Sindberg & Lipscomb, 2005). Social

education, teaching through a screen is

the isolation” (Majumdar et al., 2020, p.

as a reality for many public-school music

music teachers with low experience in the

The Show Must Go On

has become standard procedure in music

ance on digital use presumably to escape

been a major concern in the field of edu-

has shown a correlation between feelings

leagues (David, 1986). Now that e-learning

lockdown resulted in … increased reli-

United Kingdom (Smith et al., 2020).

Conn

lifestyles, music teachers — specifically serious risk of several negative outcomes

Music Director

difficult online teaching may seem, the

person, your students need teachers to provide them with the best education

they can get. Isolation may seem like an insurmountable wall impeding you from being the very best you can be, but it is

one you can and must tear down for the sake of yourself and your students.

Teaching From “Outside the Wall”

One of the ways teachers can surmount isolation is by using technology to their advantage. Instead of viewing your com-

puter or laptop as a wall, think of it is as a window. The internet has provided

nect with teachers

humans with virtually infinite means

itive effects that peer visitation can have

lets such as Facebook Messenger and

is especially helpful for those interested

ing them with professional development

evening “happy hours” with friends to

to stay connected with each other. This in starting a relationship with a men-

tor. Connecting with an experienced

teacher can be a great way to “help you get through the tough times that will

inevitably come” during virtual teach-

ing (Kraemer & Kraemer, 2016, p. 223).

According to Drago-Severson and Pinto (2006),

In addition to preventing turnover, mentoring

opportunity

provides for

a

powerful

transformation-

al learning in that it often involves

sharing reflections among colleagues,

which can lead to changed ways of thinking about work and life. (p. 143)

Virtual teaching has also made it eas-

ier for peers and colleagues to visit your online classroom and comment on your teaching. Rouser (2009) observed the pos-

WhatsApp. Schedule virtual hangouts or

on high school teachers, such as provid-

regain much needed strength and energy.

through the form of peer feedback and

This connection, whether in person or vir-

allowing them to be more reflective about

tual, will help you effectively engage your

their own teaching practices. Thanks

students during the school day.

to online formats such as Zoom and

Of course, remember to continually

Microsoft Teams, inviting fellow teachers into the classroom is possible from virtu-

foster and build relationships with your

form of peer visitation allows for instant

According to Schlichte et al. (2005), “Even

students, especially those who are online.

ally anywhere and at anytime. This new

one extremely supportive relationship

feedback from a trusted colleague as well

with a student can inspire [an educator] to

as a sense of connectedness between col-

stay on the job” (p. 37). Despite everything

leagues.

online music teachers deal with, the rea-

While navigating online teaching,

son they log online every day is because

make sure to find a balance in your life

of their students. The ones who roll out of

between the demands of the job and

bed looking forward to virtual music each

spending time with family and friends

morning, knowing their favorite class is

(Hamann & Gordon, 2000). If you feel

just a click away. This is what lies outside

dejected or need someone to talk to, find

the wall. Not isolation—a reason to stay

someone to listen (Schlichte et al., 2005,

connected.

p. 38), and stay in contact with them

regularly through social messaging out

Continued on page 30 May 2021

29

Online Teacher Isolation Continued from page 29

“… Is there anybody out there?”

The teacher’s eyes darted to the Chat icon. Realizing he had not checked what his students had been discussing online since class started, he quickly opened the chatroom and scanned the most recent messages.

Mary [9:58 AM]: Did Mr. Ramos ask something?

John [9:59 AM]: don’t know, can’t hear him.

Julia [9:59 AM]:

I think he muted himself again

Frank [10:01]:

lol I’ll tell him

Alex [10:00 AM]: Someone tell Mr. Ramos he’s muted, I can’t hear him! :(

“Mr. Ramos?”

Mr. Ramos clicked Unmute. He took a deep breath. “Yes,

“You muted yourself.”

Frank.”

Mr. Ramos chuckled to himself. “Thank you, Frank,” he smiled. “Sorry about that, everyone; let’s try that again.

Raise your hand if you know the answer: what is the difference between a quarter note and a whole note?”

raised their hands.

“Mary, what do you think the answer is?”

Nearly the whole class Mary turned her microphone on, “A quarter note gets one beat, and a whole note gets four!”

Mr. Ramos nearly jumped out of his chair. “That’s it! That’s correct, thank you, Mary!”

Mary smiled through her screen. The students laughed.

Mr. Ramos laughed.

Note: This narrative was based on the

author’s personal experiences teaching

band online. The title and overall concept for this article were inspired by the 1979 Pink Floyd album The Wall.

David Ramos is a graduate

of Florida State University with the BME in instrumental music education. He is an active member of the National Association for

Music Education and Florida

Music Education Association. After complet-

ing his internship in fall 2020, David accepted

a position as an instructor of residence life at the Interlochen Arts Academy in Interlochen, Michigan, where he currently resides.

References

Corcoran, R. (2020). Best practices for distance learning. Florida Department of Education. http://www.fldoe.org/em-response/ distance-learning.stml Davis, T. B. (1986). Teacher isolation: Breaking through. The High School Journal, 70(2), 72-76. https://www.jstor.org/stable/40365045

30 F l o r i d a

Dodor, B. A., & Hausafus, C. O. (2010). Breaking down the walls of teacher isolation. Journal of Family & Consumer Sciences Education, 28(1), 1-12. http://ww.w.natefacs.org/Pages/ v28no1/v28no1Dodor.pdf Drago-Severson, E., & Pinto, K. C. (2006).

School leadership for reducing teacher isolation: Drawing from the well of human resources. International Journal of Leadership in Education, 9(2), 129-155. https://doi. org/10.1080/13603120500508080 Flinders, D. J. (1988). Teacher isolation and the new reform. Journal of Curriculum and Supervision, 4(1), 17-29. https://eric. ed.gov/?id=EJ378724 Hamann, D. L., & Gordon, D. G. (2000).

Burnout an occupational hazard. Music Educators Journal, 87(3), 34-39. https://doi. org/10.2307/3399661 Kraemer, J. M., & Kraemer, M. (2016). The band director’s guide to success: A survival guide for new music educators. Oxford University Press.

Majumdar, P., Biswas, A., & Sahu, S. (2020).

COVID-19 pandemic and lockdown: Cause of sleep disruption, depression, somatic pain, and increased screen exposure of office workers and students of India. Chronobiology International, 37(8), 1191-1200. https://doi.org/ 10.1080/07420528.2020.1786107 Rouser, S. S. (2009). Behind closed doors: A case study of the impact of peer visits to combat isolation and develop reflective practice in high school teachers (Publication No. 3344523) [Doctoral dissertation, Capella University].

ProQuest Dissertations and Theses Global.

Music Director

There they are.

Schlichte, J., Yssel, N., & Merbler, J. (2005).

Pathways to burnout: Case studies in teacher isolation and alienation. Preventing School Failure: Alternative Education for Children and Youth, 50(1), 35-40. https://doi.org/10.3200/ PSFL.50.1.35-40 Sindberg, L. (2011). Alone all together—The conundrum of music teacher isolation and connectedness. Bulletin of the Council for Research in Music Education, 189, 7-22. https:// doi.org/10.5406/bulcouresmusedu.189.0007 Sindberg, L., & Lipscomb, S. D. (2005).

Professional isolation and the public school music teacher. Bulletin of the Council for Research in Music Education, 166, 43-56. https://www.jstor.org/stable/40319279 Smith, L., Jacob, L., Trott, M., Yakkundi, A., Butler, L., Barnett, Y., Armstrong, N. C., McDermott, D., Schuch, F., Meyer, J., LopezBueno, R., Lopez Sanchez, G. F., Bradley, D., & Tully, M. A. (2020). The association between screen time and mental health during COVID-19: A cross sectional study. Psychiatry Research, 292. https://doi. org/10.1016/j.psychres.2020.113333 Usher, K., Bhullar, N., & Jackson, D. (2020). Life in the pandemic: Social isolation and mental health. Journal of Clinical Nursing, 29, 27562757. https://doi.org/10.1111/jocn.15290 Xiang, M., & Zhang, Z. (2020). Impact of COVID-19 pandemic on children and adolescents’ lifestyle behavior larger than expected. Progress in Cardiovascular Diseases, 63(4), 531-532. https://doi.org/10.1016/j. pcad.2020.04.013

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SUSTAINERS continued Ree Nathan John Nista Kimberly Oppermann On Behalf of the Board of Directors of HCEMEC, Inc. David Pletincks In Honor of Alexis & Jonathan Pletincks Jeanne Reynolds In Honor of Pinellas County Performing & Visual Arts Educators Mary Catherine Salo In Memory of Gary Rivenbark & Wes Rainer Steven Salo In Honor of John “Buck” Jamison & Dr. Bill Prince Kathleen Sanz In Honor of June M. Hinckley & In Memory of A. Byron Smith J. Mark Scott In Honor of Dr. Judy Arthur & Dr. Judy Bowers; In Memory of Byron & Bobbie Smith on behalf of the Florida Vocal Association

Frederick Schiff Kathy Shepler D. Gregory Springer Harry Spyker In Honor of Fred & Marlene Miller Gregory St. Jacques In Honor of Bobbie & Byron Smith Jeannine Stemmer In Memory of Barbara Kingman & Lauren Alonso Valerie Terry Leiland Theriot In Memory of Clayton Krehbiel Robert Todd In Memory of Gary Rivenbark Richard Uhler David Williams Kenneth Williams

PATRONS $25 – $99 Carlos Abril David Bayardelle In Memory of Matthew Jensen Mark Belfast In Memory of Dr. Mark A. Belfast, Sr. Karen Bradley In Memory of Harold Bradley Gordon Brock James Bruce Jamie Bryan In Honor of J. Mark Scott Katarzyna (Kasia) Bugaj Alexander Busby Stanley Butts Tara Callahan In Memory of Kristin Y. Clark Audrey Carballo In Memory of Irwin Bernard Patrick Carney In Memory of Stephen & Sally Carney Greg Carswell Renee Cartee Carol Casey Shelby Chipman Dale Choate

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May 2021

33

Embracing Ethnicity Through Music

by Pauline Latorre

s music educators, a whole new world

Embracing Our Own Ethnicity

opens up when we embrace our

For years I disassociated myself from my

a personal level, it can help make connec-

the “melting pot” generation of the 60s

ethnicity and cultural backgrounds. On

tions to who we are and where we came from. On a professional level, as we share what we know about our own cultures

in the music room, we make ourselves vulnerable and approachable and open

up opportunities for our students to make their own connections that can have a positive effect on their lives.

34 F l o r i d a

Filipino culture. Why? Being a product of

and 70s might have had something to do with it. It was not a purposeful thing,

nor was I trying to be disrespectful to the culture of my parents; it was the world I grew up in.

The melting pot was the concept where

immigrants came to the United States ready to shed their cultural heritage

Music Director

and practices in exchange for becoming

a member of this new land of opportunity (Hirschman, 1983, p. 397). This,

of course, was an assumption and was promoted as a way to blend different cultures into one new one, essentially strengthening the idea of America being

the land of opportunity and legitimizing the “Americanization” of immigrants (Hirschman, 1983, p. 398). To succeed

in their new home, immigrants would

learn how to assimilate into the dominant

culture by learning how to look, speak, act,

The connection to my ethnic back-

ation by word of mouth. Nothing was

over 15 years of teaching) when I was

share these songs with my students. I

and believe the way people in the United

ground came a few months ago (and after

unfathomable, yet society bought in to

thinking about my formal observation

States do (Holohan). Today, this seems

this concept. The result was often a loss of

self and culture. My parents were no dif-

ferent. They gave us “American” names,

spoke only English to us, and chose not to teach any dialects of their home country,

the Philippines. They were not trying to be mean or to deny the customs of their home country; they were merely trying to help their family members adapt to their

new country. Their idea of success for

their children included appearing more “American” than “Filipino.” Fortunately for us, my parents’ support systems and

coping mechanisms were other Filipinos who helped our family stay connected to

written down. I pondered how I could

couldn’t speak the language; I grew up in

New York, not the Philippines. Did I even

and what I would teach. I purchased a col-

have the right to teach these songs? Yet

lection of Filipino folk songs (Barry, 2021)

they represented my childhood and my

compiled by the talented educator Tiffany

Filipino heritage. I was finally at the point

Unarce Barry. As I thumbed through

in my life where I was ready to embrace

the book, I recognized many songs my

that part of my life.

parents would sing to us when we were

younger. I was amazed to see those songs in print. How did another music teacher

Creating a Safe Space for Students

I was the only music teacher who knew

As educators, we find ways to commu-

know those songs? I narrowly thought

to Make Connections

nicate our lessons in a way that will be

them, but how awesome was it for Ms.

engaging to our students. For this lesson

Barry to take the time to research and

I found a picture of my father when

organize the material? These songs were passed down from generation to gener-

Continued on page 36

the rich traditions and habits (and food) my parents grew up with.

So, why embrace our own ethnicity

when it comes to teaching music? For starters, our ethnicity is part of who we

are. I have at times separated that “side” of myself and focused on the formal

music training I received from first grade

through college. It is the formula I knew best. Scales, rhythmic drills, notation,

repetitive practice. That is how my first year of teaching went. When I took my

first Orff level class with Jim Solomon and Karen Medley, a world I was unfamiliar

with opened up. Music without notation?

Expressive movement? (I wasn’t a trained dancer.) Yet through that class as well

as other professional development work-

shops, I began learning about music from

non-Western origins. Music did not have

to be written in a score in order for it to be legitimate. The songs my parents sang when I was younger and the dances that

accompanied them were just as worthy to be taught in a music classroom. I began to

realize the way I was trained as a music educator in the 1980s was not the end-all.

May 2021

35

Embracing Ethnicity Continued from page 35

he was a little boy that was relevant

effect on their success in the classroom.

about how they grew up in their home

presentation. When my students saw a

formed songs from countries that reflect-

rassed to talk about how they walked

to the song and added it to my slide

picture of my father in front of a tradi-

tional Filipino hut, they sat up, started asking questions, and were thoroughly engaged. Immediately students were

raising their hands, not just asking questions about what life was like for my dad, but wanting to share what life was like

for them before they left their country.

They shared stories from their parents

and grandparents and spoke with pride about the homes they left, many of them

from developing countries. I realized we

would not have time to actually sing this wonderful Filipino folk song that day!

When we finally got around to singing

the song the next day, it was sung with

How many times have we taught or pered our student population? The excitement, engagement, and sense of pride

are palpable. Parents and grandparents

are filled with pride and sentiment when they hear and see familiar songs and

dances performed by their children. We are no longer just the music teacher to their families, but someone who took the time to honor and celebrate their

culture. Using music to celebrate diverse

I shared this part of myself with my students, I realized I had created a safe space where they could also share their

diverse backgrounds and that we were

creating shared memories and connections to each other. It was powerful.

Culturally Responsive Teaching Helps Bridge the Gap

Unlike the educational trends when I was in elementary school, we now

know that recognizing and celebrating

the different cultures and ethnicities

of our students has an impact on how

we communicate as teachers and how information is received and processed by our students (Bird-Hutchison, 2019).

Culturally responsive teaching “helps to bridge the gap between home and school” (Ladson-Billings, 1995, pp. 466-

467). In other words, including elements

of our students’ home and community

life into our teaching can have a positive

36 F l o r i d a

Suddenly a Filipino folk song was no longer a cute song about nipa huts or vegetables (Barry, 2021, pp. 8-9); it was a song that brought my students into my world,

and they were just as excited to be there ... with me.

to our own cultural backgrounds can

individuals involved (Ladson-Billings, 1995, p. 466).

song became a snapshot into my life, and

myself and the land of my parents. As

father walking around without shoes.

can provide a sense of validation to all

Same

it was a journey in learning more about

country because they saw pictures of my

Conclusion

learning meaningful and authentic and

understanding and more feeling and

my students happily joined me. For me

around without shoes in their home

cultures, including our own, makes the

Embracing Our Ethnicity Opens

excitement than I ever expected. The

countries. They were no longer embar-

Doors for Our Students to Do the We are fortunate to be teaching during

a time when equity and social justice

are important. One of our Florida music

As music teachers, making connections be a powerful thing. It is another way

to identify who we are and reminds us

of the richness and wealth of cultural information we can share with our stu-

dents. In turn, our students are invited into our world where an exchange of cultural experiences can be shared and celebrated.

standards is “Through study in the arts,

Pauline Latorre is the

worlds in which they live(d)” [MU.4.H.1].

Foster Elementary in Fort

we learn about and honor others and the As I shared my cultural background through music, my students became curious, asked questions (one student even

asked if things really looked black and white back then, referring to the picture

of my father), and formed connections.

My school includes a large population of students from Latin America, many

of whom speak little or no English. To be able to honor their cultures through

music helps to validate who they are.

It also creates a safe space for them to

embrace their cultures as they sing and play music that reflects their cultures as

well as learn about other cultures. As I shared music of my parents’ homeland,

they became excited to share their experiences. Students who may have been too shy to speak during other music classes

were raising their hands and talking

Music Director

music teacher at Stephen Lauderdale. She received the

MME from Boston University. She is the chairwoman of FEMEA District 1 and a for-

mer BCEMTA president. She can be reached at pauline.latorre@browardschools.com.

References Barry, T. U. (2021). Songs of the sun. Bridgewater, Beatin’ Path Publications, LLC. Bird-Hutchison, S. (2019). Assimilation vs.

Acculturation [Video]. Retrieved April 5, 2021, from https://coe.ksu.edu/about/ publications/journey-to-refuge/refugeeexperience.html Hirschman, C. (1983). America’s melting pot reconsidered. Annual Review of Sociology, 9, 397-423.

Holohan. (n.d.). Assimilation. Retrieved from Norwalk Community College Library: https://norwalkcc.libguides.com/c. php?g=572609&p=3998124 Ladson-Billings, G. (1995). Toward a theory of culturally relevant pedagogy. American Educational Research Journal, 32(3), 465-491.

ComponentNews

FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION

Ernesta Chicklowski, President

Stay the Course, Steady the Course, and Chart a New Course in Elementary Music Stay the Course

Congratulations, elementary music educators! We’ve made it!

We’ve done it! We’ve created new ways of doing things! As we

round the final curve of the 2020-21 school year, it’s time to reflect on how we are doing and what we’ve done. Each week

of this tumultuous school year has been “anchored” with chal-

and technology challenges, all while traveling room to room.

The beginning of the school year was a bit unpredictable for

each instrument daily because our students need us! We are

lenges and changes in our classrooms and music programs.

most, but today we can celebrate that we stayed the course. This

is a phrase used in the context of a war or a battle, meaning to pursue a goal regardless of obstacles or criticism. Many of our lesson plans were altered to meet our new teaching platforms

and COVID guidelines, but we did it. Despite the “waves,” we

continued to learn new software and create digital lessons to

We are steady … even if making music means wiping down steady … even if we are constantly making adjustments to each

and every lesson. We are steady … because what we share with

our students is important. Congratulations on not letting the challenging “current” take you off the course of meeting your students’ needs.

ensure our students had great musical experiences each week.

Chart a New Course

more than ever to share ideas and resources.

students in your classroom lessons, performance ensembles,

Our community of elementary music educators rallied together

Steady the Course

Keeping the steady beat and singing joyfully (masked) is the

highlight of our students’ day. We are the constant and reliable part of their week. They look forward to the magic created in

your classroom or whenever you show up in their classroom for a lesson. We continued to steady the course, staying focused

and ensuring each class was filled with meaningful musical experiences.

Those smiling eyes and little masked faces are so glad you

showed up and gave it your best despite the planning pivots

Kudos to you for creating new musical experiences for your and concert events this school year. Charting a new course takes

thoughtful planning, purposeful performance opportunities, and navigating new ways of connecting with our students and

their families. We remain optimistic, determined to see and

understand the possibilities of what can still happen in our

music classrooms despite the unique challenges we face today.

We will continue to ride the “waves of change” with grace,

tenacity, and creative ways to make music education an essential part of our student’s growth.

It’s smooth sailing from here! Stay in the boat! We’re almost

there … full steam ahead!

May 2021

37

ComponentNews I

can’t believe it’s already May! With the

FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION

Marc Decker, DMA, President

In preparation for today’s article, I read

delicious coffee, there were always a few

ment and retention. Although there are

chance for us to communicate about all

warmer weather comes the promise of

through the latest research on recruit-

year. Like so many of you, I’m already

many factors outside our control, there is

summer and anticipation of a new school deep into planning for the upcoming

school year. There is something about

picking performance dates, selecting repertoire, and planning road trips that breathes new life into me, and fuels these

last few weeks of school. As I plan for the new school year, I often think about

recruitment and retention of students.

All of our programs would benefit by

improving participation, not only because we want to instill a love of music in

today’s youth, but because we know the

activity of music making is a crucial component to a well-rounded education.

much we can do to encourage students to continue in our ensembles. Maintaining regular contact with parents, encouraging

the students verbally, visiting feeder programs, and working toward a clear pro-

gression from one year to the next are all beneficial. But equally important is rec-

music with more individuals is a personal goal I know many of you share.

and grow an ensemble’s sense of com-

munity by making our music halls safe places, both welcoming and encouraging.

Another vital component of recruit-

itive working relationship with school the teachers’ break room was next to the administrative offices. Every day at 7:15 a.m. — after zero hour jazz band —

I made my way there to brew the first pot of coffee for the day. As I waited for that

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

38 F l o r i d a

were great allies and were able to work

magic with the academic schedule, keeping many students enrolled in my music ensembles over the years.

My final thought on recruitment and

that “success breeds success.” As simple

academic counselors. In my first job,

ing friendships. Sharing the artform of

performance. The academic counselors

this is a powerful force. We can encourage

identity around making music and that

But it’s also an outlet where students from diverse backgrounds and form last-

lenges to the students’ most recent MPA

retention echoes the words of one my

ment and retention is to foster a pos-

can interact with like-minded individuals

sorts of things, from scheduling chal-

ognizing that students craft their social

It benefits the students socially and emo-

tionally, and it improves reasoning skills.

minutes to talk with everyone. It was a

Music Director

mentors, Gary E. Smith, who often says

as that might sound, it’s important in setting priorities with recruitment and

retention. Students want to be in successful music programs. The more success

we achieve, the more students will want to participate, which means our primary

focus should always be on building qual-

ity with what we have. As you continue

building quality in your programs, I wish you all the best. Let’s finish the year strong.

Stay safe and teach well!

FLORIDA MUSIC SUPERVISION ASSOCIATION

Harry “Skip” Pardee, President

O

nce again, Florida’s educators have

what we do in all of Florida’s schools has

motivated to help in any way possible.

tions to ensure a high-quality arts edu-

leadership this year have changed young

honors of my career to serve as presi-

gone above and beyond expecta-

cation for our students. In a year of so much uncertainty, through your classes

The

Florida

Music

students in need, and a common goal

regardless of whether or not a district has

comes as no surprise to music educators that the act of music making has healing

qualities, and undoubtedly those ben-

Association these past two years. I am

Supervision

Association (FMSA) is committed to

to which students can steadily strive. It

dent of the Florida Music Supervision

lives for the better. Hats off to you!

and ensembles, you provided access to positive, creative outlets, safe spaces for

Friends, it has been one of the highest

no limit, and surely your teaching and

forever indebted to the music program

leaders in our state for allowing me to

serving all music educators in our state,

serve this great organization and through representation on the FMEA Board. Have

central office representation in a program

a wonderful remainder to your school

leader. If our organization can be of any

year!

help to you in your school district, we are

efits surfaced this year in your classes

and ensembles. Innovation in our arts classrooms is at an all-time high, where

FLORIDA ORCHESTRA ASSOCIATION

teachers and students are engaging in standards-based lessons either through

Matthew Davis, President

in-person instruction, virtual classes, or a hybrid model. Remembering just a calen-

dar year ago, where the status of schooling across the country was so uncertain, it is hard to believe we are completing the

academic year having celebrated so many common victories.

For some, however, successes were less

frequent, and even employment status

in our beloved profession was, or still is, in question. While we all know the

immense pressures placed upon our lead-

ers to administer a balanced curriculum

T

his was not the year we expected, but I believe we are beginning to see the

light at the end of the tunnel. I am very proud of how we as an organization

continued to move forward, strengthening our commitment to bring high-level string education to the orchestra students of Florida. It may have looked differ-

ent, but solo and ensemble and concert MPA performances happened, concerts happened, and most important, music was made. You provided connection

and beauty to students, families, and their communities. Congratulations to

each of you for fostering hope by making music possible during this time of uncertainty!

Mark your calendar for a fantastic Fall Conference September 23-24 at the

and budget, it is always difficult to hear of

Hilton Orlando. We will host two very special guests this conference — com-

and student-centered educators are mis-

sessions this year. We will also feature two new music reading sessions, so bring

situations where hard-working, talented, placed in a district’s priorities.

What then, can we do as a profession

that moves us forward? Be involved both as an educator and as a citizen in your

poser Soon He Newbold and master teacher Brenda Brenner will each present

your instrument and stand. There will be vendors, as well as a great chance to reconnect and network with others in our profession after such a long time apart. Hotel reservations and preregistration must be made by September 10.

As I round out my two years as your FOA president, I want to thank the

community. Ask questions respectfully,

many colleagues who have given me their support and friendship. This was not

legislation and communicate with those

in moving forward. I want to offer a sincere thank you to the FOA Executive

but with fervor. Read up on proposed who attach their names to it. And in the

words of a mentor of mine, “The world is changed by those who show up.” I have no

doubt in times like these, where the only

certain thing is uncertainty, arts educators

will do just that. The life-long impact of

the presidency I expected, but I am truly glad I could assist the organization Committee: Don Langland, Jason Jerald, and Carol Griffin. And a special thank you to Valerie Terry, our clinics/conference chairwoman, for all the support and advice she has given me these past two years. FOA is in excellent hands as Carol begins her term as president. I know great things lie ahead for string education in Florida!

May 2021

39

ComponentNews

FLORIDA VOCAL ASSOCIATION

Jason Locker, President

“My life flows on in endless song, above earth’s lamentations …”

I have learned a great deal throughout my career from this

Hall of Fame, Roll of Distinction, and Choirs of Distinction. I am

tune to know and to count as friends. I have learned from the

executive board member alongside whom I have had the plea-

association and from the colleagues I have had the good forHead’s House of Music choral panoramas, FVA summer confer-

ences, and FMEA professional development conferences I have attended. I have learned from the many district and state solo

and ensemble and choral concert MPA adjudicators who have provided feedback. I have learned from the many distinguished

all-state conductors whose work with our students I have been fortunate enough to observe.

“… I hear the real, though far-off hymn that hails a new creation …”

It has been my great honor and privilege to serve as president of the Florida Vocal Association over the past two years. When

I consider the dedicated leaders who have served in years past, I am truly humbled. Our association is a living, constantly evolving organism. During my tenure, we began the work of

preserving our history through the institution of a new standing committee, the Legacy Committee. At the same time, the board

began grappling with difficult questions and casting a vision for the future. We adopted a new mission statement, which has

become the basis for the organizational soul searching and goal setting that will eventually become the first FVA Strategic Plan.

We have also expanded the FVA Awards Program beyond the

proud of the work we have done and give my thanks to every sure of serving over the past two years.

“… through all the tumult and the strife I hear its music ringing …”

Nobody expected that our entire world would shut down last year as the result of a global pandemic. We were all caught off

guard, and we certainly did some mourning for the many things

we had to sacrifice over the past year. In an instant, we faced previously unthinkable decisions about canceling MPAs, conferences, and honor choirs. Each member of your Executive Board

has displayed incredible leadership, creativity, and compassion

throughout this crisis. I could not be more proud to serve alongside each one of them over the past two years. We have navigated these unprecedented times together and have done our very best

to maintain the financial health of our association while continuing to provide (albeit in very different formats) the programs

and services needed by the choral music educators and students

of Florida. And we all look forward to better days ahead as we begin to emerge from the pandemic.

“… it sounds an echo in my soul.”

As I said before, the Florida Vocal Association is a living thing, constantly growing and changing. As one term comes to a close, another begins. We can never say thank you enough to J. Mark

Scott for his incredible service as our executive director. He has been the steady hand that has guided us for over a decade. With his retirement, we welcome Michael Dye as our new executive

director. We also thank Tommy Jomisko and Elizabeth Phillips for their service on the Executive Committee and welcome David

Pletincks and Michelle Tredway to their new roles. And I can’t tell you how excited I am for the leadership and vision Jeannine

Stemmer will bring to our association as she assumes the pres-

idency! Thank you for allowing me the privilege of serving as your president. It has truly been an honor. I remain as optimistic for the future as I have ever been, so …

“How can I keep from singing?”

40 F l o r i d a

Music Director

SILVER LININGS SILVER LININGS DR. JUDY BOWERS DR. JUDY BOWERS

DR. AMANDA QUIST DR. AMANDA QUIST

DR. TIM BRENT DR. TIM BRENT

FLORIDA VOCAL ASSOCIATION FLORIDA VOCAL ASSOCIATION SUMMER CONFERENCE

SUMMER CONFERENCE

DR. PETER STEENBLIK DR. PETER STEENBLIK

DR. JEFFERY REDDING DR. JEFFERY REDDING

JULY 23-24, 2021 JULY 23-24, 2021 HILTON ORLANDO/ALTAMONTE SPRINGS HILTON ORLANDO/ALTAMONTE 350 NORTHLAKE BLVD, SPRINGS 350 NORTHLAKE BLVD, ALTAMONTE SPRINGS, FL. ALTAMONTE SPRINGS, FL. BLOCK CODE: CHPANO BLOCK CODE: CHPANO May 2021

41

ComponentNews H

FLORIDA BANDMASTERS ASSOCIATION

Ian Schwindt, President

ere we are coming to the end of the

will always have a ceiling. No matter how

great place to start. Every child deserves

so many great things have happened and

no matter how long I work, no matter

approached every episode as if he were

2020-21 school year. Whew! While

continue to happen, this year has definitely taken a toll on me. And this toll some-

times causes me to struggle with finding the motivation to keep doing what I am

doing. This is especially true when I do

not seem to be reaping the same results

I have had in the past. Ensembles do not sound the same, ensembles cannot make

a true ensemble sound because the play-

ers are not all there, we cannot play the

hard I work, no matter how smart I work,

how much help I get, my groups will

never be even close to the U.S. Marine

Band. Believe you me, my groups sound much better now than when I started,

and I will always strive to be better for

I loved music. And I still love music, but

along the way I have found that my music

to just us!

So, are we doing the same thing in our

students to push buttons and blow air

with the making music why.

The new why is the individual stu-

revelation was watching a documentary

“why.” I started in this profession because

Mr. Rogers’ Neighborhood? He was talking

why had grown and developed in concert

But when I take a moment to look at

number one motivator in my life, my

of us could feel that when we watched

classrooms? Are we teaching bands, or are

with that realization, I discovered a new

dent’s growth and development as a

this list, I realize I have lost sight of the

talking to a single child. And how many

them, but there is still that ceiling. And

same type of music as in the past, and the list goes on and on.

our absolute best. Fred Rogers said he

human being. What brought me to this

about Mr. Rogers. He was an unassuming

man who simply believed every child

is special, important, and deserves to be treated as such. When we talk about

diversity, inclusion, and equality, what a

we teaching individuals? Are we teaching

and strike instruments to produce sound effects, or are we teaching each and every

student that they are important individuals? Are we teaching every student that

they matter? Are we teaching every student that their feelings, thoughts, and

emotions are important and part of the shared human experience? Are we teaching every individual how to use those

feelings, thoughts, and emotions in positive ways? Are we eventually channeling

all of that education into empathy for their

fellow human beings regardless of their similarities and differences?

This is my why. I want great music to

be made in my room, and it is the vehicle

I am using to try to help every single student to be a better, happier, more well-ad-

justed human being. That is the ultimate goal of my classroom. While some students have graduated high school and

gone on to careers in music, it is not the norm. That cannot be our number one goal because it is simply not realistic. We want to help students realize their full

potential as human beings. And this is what we can do in music education that

makes us unique and absolutely critical to our kids. That is a goal for every

student, and that why will propel us through whatever hardships we have to deal with as we begin the rebuilding

42 F l o r i d a

process.

Music Director

FLORIDA NAfME COLLEGIATE

Alexis Hobbs, President

Coping With Anxiety

by Allison Yopp

M

usic education is a beautiful profes-

sion to enter. I have watched hun-

dreds of students be positively affected

by music and the educators involved, and I have seen these same educators benefit

from their students’ learning and devel-

opment in their classrooms. It was these

types of educators who prompted me to

major in music education when I began my college career. The passion that music

provided launched me into becoming a music educator; however, I had not been

privy to the negatives of the music edu-

cation field, and nothing had been mentioned by current music education majors

there will be stressful times with multi-

their own armor. The more we perform,

imizing the stress, anxiety, and burnout

our lives, and it’s OK to scream a little

a performance is less than stellar, it can

about anxiety and burnout. I am not minin today’s teaching profession, but “... it has been reported in previous empirical

studies that although depression, anxiety, and stress have been prevalent among

students in higher education, music edu-

cation students are in a more disadvantaged position with regards to depression, anxiety, and stress compared to other col-

lege student populations” (Oğuz-Duran &

ing comes solidification in our abilities

taking a break is OK! “Music structures

through until we succeed. Our love of

and music is an effective memory aid”

out as we traverse our music education programs and enter the world of education?

The obvious answer is students must

think of the bigger picture and allow themselves to fully enjoy the college music major experience (though no one

informed us the experience includes seven classes, four ensembles, and two lessons a week). As music majors, we

must be prepared for those sometimes overwhelming semesters, understanding

(Demirbatir, Bayram, & Bilgel, 2012). Every

music placed us in this program, and we

time we schedule classes, field experienc-

have to keep that love foremost in our

es, or student internships, we see a sched-

mind.

ule chock-full with music, music, music

Performance anxiety is the bane of

it alongside our many colleagues who

So, how do we cope with this anxiety

time in a way that we can understand

and our talents as we strive to push

factor in students not completing their

and prevent ourselves from being burned

Another idea we must embrace is that

in that minor key. With this understand-

many musicians. While earning cred-

degree programs.

still yield another piece of armor.

when we can’t get that triplet run or sing

Demirbatir, 2020). Within the colleges of

music education, this has become a major

the stronger that armor becomes. Even if

ple responsibilities taking precedence in

from sunup to sundown. Music majors and directors must take a step back and

its in music education, we are doing

breathe sometimes, which is an anomaly in this field, but it is necessary to calm the

have the same talent and level of musi-

anxiety and prevent burnout. Whenever

cianship, which can cause much anxiety.

we get a chance to take a step back and

“Performance anxiety can be explained

work on our own mental health, we are

as a failure anxiety that occurred before

able to find a new love and appreciation

presentation of any skill to any group

for the gift we were granted. By taking

of people or occurred during the perfor-

these short breaks, whether it be an hour

mance” (Talsik, 2014). Music majors have

or a day, we clear our minds and allow

to perform multiple times throughout the

ourselves to refocus on what is important

semester, and with other students per-

so we can become the best music educa-

forming alongside them, there is a need to

tors we can be.

play or sing to the best of their ability. To

We must also be introspective and

overcome this anxiety, we must remem-

ber that every performance adds one

true to who we really are. Music educa-

and everyone on stage with us is building

Continued on page 44

tion must be a calling, part of the fabric

more piece of our “performance armor,”

May 2021

43

ComponentNews FLORIDA NAfME COLLEGIATE

Continued from page 43

of our past, present, and future. If we continually feel as if we are in the wrong

profession as music educators, we prob-

ably are. Don’t become a music educator because it is “easy money,” you will “get

summers off,” or because you were in

band your entire high school career and

feel as if music is the only thing you know.

References Demirbatir, E., Bayram, N., & Bilgel, N. (2012).

Is the healing force of music far away from the undergraduate music education student?

International Journal of Academic Research in Business and Social Services, 2(1).

Oğuz-Duran, N., & Demirbatir, R. E. (2020).

The mediating role of shyness on the relationship between academic satisfaction and flourishing among pre-service music

teachers. International Education Studies, 13(6), 163. https://doi.org/10.5539/ies.v13n6p163 Swanwick, K. (1999). Music education: Closed or open? Journal of Aesthetic Education, 33(4), 127. https://doi.org/10.2307/3333725 Talsik, E. (2014). Learning performance and social anxiety in music education.

International Journal of Academic Research, 6(5), 67-72. https://doi.org/10.7813/20754124.2014/6-5-B.10

“[W]hen music sounds—however elementary the resource and techniques

may be—the teacher is receptive and

FLORIDA NAfME COLLEGIATE

Mark A. Belfast, Jr., PhD, Advisor

alert, is really listening and responsive and expects students to be the same”

(Swanwick, 1999). No one wants to get into a classroom and feel as if it is not the

place for them. Not only will such feelings negatively affect a teacher’s outlook, but

it will also have a negative effect on the students’ outlook on music as a whole. As

That’s a wrap!

J

ust like that, we put a button on another collegiate academic year! After all

we’ve experienced since last spring, I find it quite remarkable to be writing

you this evening having just returned from a series of all-county music festival

a result, the students may lose their love

performances. Although there has been a great deal of uncertainty throughout

affect the entire music profession.

pandemic is capable of stopping people from teaching, learning about, and

for music participation, which in turn will As we end our spring semester, some

may be graduating, some persevering

the last year, of one thing I am certain: teachers will teach. Not even a global making music.

As we look forward to the next academic year, there is much to be excited

in music education programs, and some

about. We continue to develop plans for a face-to-face Florida NAfME Collegiate

accept that anxiety is real in our profes-

incoming freshmen who have not yet been able to attend a Fall Conference in

or a sprained ankle. We cannot ignore it,

specifically designed to meet the needs of people like you (i.e., preservice music

passion for music to counterbalance these

across the state, and where you can engage in fellowship with members of other

lege programs as well-rounded, passion-

tunity for professional development at an extremely reasonable price. Be on the

just finishing their first year. We all must

Fall Conference this October. I am so excited for our rising sophomores and

sion and must be treated just like a cold

person. It that’s you, just imagine a conference where ALL of the sessions are

or it will overcome us. We must use our

educators), where you get to meet and interact with music supervisors from all

anxieties so we can emerge from our col-

NAfME Collegiate chapters. The Fall Conference is always a wonderful oppor-

ate, and excited music educators.

lookout for additional information from your Executive Board.

At this time of year, we also say farewell to a number of our component

presi-

members as they complete their degree programs, accept positions as in-ser-

Collegiate. She is a junior

FEMEA, FVA, etc.). The leadership and activity of those members has helped to

where she plays trombone in

you, graduating seniors, for your dedication to NAfME Collegiate and the music

as the fundraising chair on the SEU NAfME

again in Tampa!

spring 2023 and plans to teach for a few years

able summer. Do not hesitate to contact me if I can be of assistance to you and

Allison

Yopp

is

dent-elect of Florida NAfME

vice educators, and become members of their specialty area components (i.e.,

at Southeastern University

shape Florida NAfME Collegiate over the last four or five (or more?) years. Thank

many ensembles and serves

teaching profession. We wish you all the best and look forward to seeing you

Executive Board. Allison will graduate in before obtaining her master’s and doctoral degrees.

44 F l o r i d a

Music Director

I pray all of you will have a wonderfully relaxing, rejuvenating, and remark-

your chapter as you begin making plans for the fall semester. Be well.

ResearchPuzzles FOR MUSIC TEACHERS

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

“I Made Myself Fit In”:

Johny’s Story

F

or this last column I direct you to a recent narrative inquiry research study by

RESEARCH COMMITTEE CHAIRMAN

Don D. Coffman, PhD University of Miami

Taking a moment to reflect on Research Puzzles 2007-2021 This month’s column marks the 112 appearance of “Research th

Puzzles” and my last contribution because I am stepping down as research chair in May.

From July 2007 to May 2013,

my predecessor and friend Victor

Fung (University of South Florida) established and prepared 48

installments of this column, with the

hope that readers would have a better

understanding of the research process through reading the column over an extended period of time.

Tami J. Draves and Jonathon E. Vargas (2021). They purposed to:

re-story the experiences of a first-year music teacher with regard to race and

class. Johny was a first-year high school guitar teacher in the southwestern

United States who identified as Hispanic and was raised in a family with a

lower income. He was also a first-generation college student whose path to university study was atypical because of his major instrument, musical background, little high school music class participation, and entrance to postsecondary music study at a community college. Johny’s story is a work of critical

storytelling and is interpreted through an intersectional framework. His story compels us to thoughtfully attend to curriculum, musical knowledge, equity, and how music educators can serve an increasingly diverse student population in schools of music. Issues for consideration include (a) increased support of

nontraditional students, including those from marginalized populations, such as students with lower incomes, first-generation students, and community col-

lege transfer students, and (b) promoting meaningful and collaborative change across multiple areas in schools of music.

In the article’s suggestions for practice, the authors elaborate on these consider-

ations while acknowledging the challenges that would be encountered to make sig-

nificant shifts to support future music teachers who are nontraditional in a variety of ways. One recommendation I noted in particular was to consider allowing students

to work part-time during the student teaching semester. Recognizing that many

music teachers put in long hours outside of the contracted school day, the authors speculate that perhaps student teaching could be four days per week, for more hours

I became research chair in 2013 and

each day.

the subsequent 64 columns, posing

the article for free through the NAfME website—use the Research tab and locate the

shifted the column’s direction for

questions that reflected the findings of published research studies.

I thank you all for reading. It’s meant

a lot to hear from you when you found something particularly meaningful.

The authors do a fine job of giving us food for thought. FMEA members can view

Journal of Research in Music Education link. Or, click HERE Be well and take care.

Reference Draves, T. J., & Vargas, J. E. (2021). “I made myself fit in”: Johny’s story. Journal of Research in Music Education. https://doi.org/10.1177/00224294211001876

May 2021

45

CommitteeReports

DIVERSE LEARNERS COMMITTEE Alice-Ann Darrow, PhD, Chairwoman

Let’s Read and Make Music This Summer! ject matter (Hulme & Snowling, 2016).

to read, pairing music with reading is an

academic success. It is the primary and

have had little exposure to print material

reading.

all subjects taught in school, particularly

children—especially those born in pov-

Why Music and Reading?

jobs—may not have been read to or even

workshop with Alfred Balkin, then a pro-

eading is the single most import-

ant activity involved in children’s

most effective vehicle for learning nearly

in the secondary grades. Reading opens children’s imaginations as well as doors

to the world around them. Many children are fortunate enough to have had parents

who acquainted them with books and read to them long before they were able to

read themselves. We know that children

who have had early literacy experiences advance more rapidly in their vocabulary,

reading skills, and learning of other sub-

Unfortunately, some young children

or to bedtime and laptime reading. Some

erty to parents who must work multiple

looked at or played with books before they entered school. Children from homes where their parents’ English skills are

limited or reading abilities and practices are low are at increased risk of reading

failure. Children with certain disabilities such as hearing loss or speech and lan-

guage delays also experience difficulties

in learning to read (Lyon, 2000). Perhaps

most negatively affected are children with reading disabilities.

Reading disabilities are neurological

learning differences that can include problems with phonological processing, reading fluency or speed, and reading

comprehension. Children with reading disabilities may have exceptional oral

language abilities, above average intelligence, and parents who gave them early and frequent interactions with literacy activities. Nevertheless, these children

may have a problem with spelling, read-

ing words accurately and quickly, or with understanding what they are reading.

Another general and frequently used

term for reading disabilities is dyslexia; however, dyslexia is specific

to understanding how letters and

sounds interact. Children with dyslexia have difficulties break-

ing down words into separate

speech sounds. They also have trouble figuring out what letters

effective way to ignite their interest in

Many years ago, I attended a summer

fessor at Western Michigan University.

He was primarily a composer of songs

for children, but he was also committed to children’s literacy (Balkin, 1999a). He spoke about music being a powerful tool

to support our students as they learn to

read. I was inspired to use that tool and subsequently found that I loved using music to support reading objectives. At

that workshop Professor Balkin gave us

an article he had written, and I still have it all these many years later (Balkin, 1999b).

In it, he wrote (p. 1):

The class music teacher might ask: “Is it my job to teach literacy as well

as music? Is this what I was trained to do?” My answers are: “You have

been trained to teach children. Your

specialty is music. You use that specialty and your talent to teach whatever (along with music) fundamental

knowledge that children must pos-

sess in order to function successfully in school and life. You are first and

foremost a teacher, one who holds

the magic of music in your hands, head, and heart. This magic can move

children in so many varied ways that will energize them to learn almost anything. Why would you want to deprive them of this magic tool?”

As a teacher and being trained both as

have made those sounds (Hulme

an elementary music educator and music

who may have difficulty in learning

to address reading or other nonmusical

& Snowling, 2016). For children

therapist, I had no issues using music

goals. I taught in a special education cen-

and slide), words that can be adjectives

2012). Some of the key connections are:

tual disabilities, learning differences, and

phy (the city of San Simeon in California).

found in both music and reading, includ-

ter with classes for children with intellecvarying degrees of hearing loss. All of

these children required special instruc-

tion in language, reading, and speech.

Music was indeed a magic tool, and I used

it to its full advantage. We sang songs that contained students’ grade-level sight

words, spelling words, and speech objectives.

Our school speech pathologist told me

students in one of my classes were learn-

ing to produce and recognize the “s” sound. I composed a song, Sammie the

Singing Snake, in which Sammie “sang as he slowly slithered and slid down the

slimy sidewalks of San Simeon.” We made

elements, and auditory memory; (2) the

note and the shortest note. We played

development of visual decoding process-

the song on colored bells as we sang. We

es found in both music and reading,

drew pictures of Sammie. We planned a

including knowledge of letters and words,

trip to San Simeon and how we would get

and how these come together to create

there. I eventually tired of Sammie, but

sentences, as well as notes’ duration and

students never seemed to. They began to

pitch levels, and how these come together

think Sammie was a real snake slithering

to make measures and phrases in music;

around somewhere on the sidewalks of

(3) the ability to follow written lines of

San Simeon. I like to think my students

text and musical notation from left to

learned more than how to read the song

right and from line to line; (4) the ability

lyrics, or to produce and recognize an “s”

to decipher vocal inflection, volume, and

sound.

and made them slowly slither and slide as

the various connections between music

(Sammie), reptiles (snakes), verbs (slither

between similar and differing auditory

song and the lowest pitch, the longest

Music and Reading Connections

we sang. We talked about proper nouns

ing phoneme awareness, discrimination

We determined the highest pitch in the

snakes in adapted art class and took them to the sidewalks outside the music room

(1) the development of auditory processes

and verbs (singing snake) and U.S. geogra-

stress in music and language learning; (5)

the use of visual memory to read ahead

and take in all the visual elements in

A number of authors have addressed

a naturally remembered way such that

reading both texts and musical lines is Continued on page 48

and reading (Hansen, Bernstorf, & Stuber,

2004; Kimball & O’Connor, 2010; Tarbert,

May 2021

47

CommitteeReports Diverse Learners continued from 47 executed smoothly; (6) the advancement

of the underlined word that is the

in reading and singing songs, assuming

adjectives for adjectives, etc.) to create

same part of speech (verbs for verbs,

of vocabulary when children are engaged

a new song.

teachers attend to and address unfamiliar

words; and (7) fluency in word reading

Depending on what the classroom

and music reading as an important part

teacher is working on in reading, stu-

with ease.

the lyrics:

of learning to sing rhythmically and read

Some Favorite Music/Reading Activities

One of my favorite activities to address

the reading or language goals for a class is to use the students’ favorite song by a

popular artist to practice various literacy skills. Students might simply write out the lyrics and then read them aloud to

practice writing and reading fluency, or depending on what reading objectives

their classroom teacher is working on, I

« compile might:

a list of new vocabulary

words from the lyrics and have stu-

« create a reading comprehension test based on the lyrics; « take out every nth word of the lyrics to dents define them;

create a word bank that students use

« underline selected words and ask stuto fill in the blanks; or

dents to write another word in place

48 F l o r i d a

dents might be asked to find and circle in

« synonyms or antonyms for selected words « rhyming words « words with suffixes or prefixes « contraction words « slang words « words with specific short and long vowel sounds « examples of alliteration, simile, metaphors, etc. « multiple meaning words (bow and bow) « proper names « nouns « adjectives « helping verbs « action verbs « adverbs « conjunction words « prepositions « correct number of purposely misspelled words « repeated words or phrases

Music Director

« Students select a favorite popular song Other popular song activities are:

and recording and follow the written

lyrics along to the recording. When the music stops, students circle the last

word sung. This activity encourages students to follow and attend to the lyrics and encourages word decoding

« Students

and auditory attention.

match the song lyrics to

illustrations, or to notated rhythms of

« Students find examples of grammatical rules studied in class in the lyrics. « Students in groups or individually selected words or phrases.

write their own song lyrics, making sure to address spelling and word meanings.

Raps are a popular medium for learn-

ing numerous literacy concepts. With thanks to Julie Novak Harrison at the Colorado School for the Deaf and Blind,

one of my favorite raps, best performed with a rhythmic backbeat, is: This is the opposite rap, You say the opposite when I snap, I say north, you say ______ (south), I say up, you say ______ (down), etc.

reading and learning about music. Several

« Can You Hear It? by William Lach « Listen to Music From Around the World

by Marion Billet « Giraffes Can’t Dance by Giles Andrene

can be sung as a refrain or chorus by the

ter has value in its own right and is not

and short, or more advanced, such as

to play the rhythms of repeated words or

though, that music, and songs in partic-

rap (small and little, hard and difficult,

with children while learning about music

experiences for all students, especially for

Books about music or musicians are

particularly valuable tools for practicing

and Guy Parker-Rees

Music as core curriculum subject mat-

of these books have repeated phrases that Opposites can be simple, such as tall

class. Classroom instruments can be used

just a tool for literacy education. We know,

rural and urban. It can also be a synonym

phrases. My favorite books for reading

ular, can greatly enrich literacy learning

etc.). Dena Register, a music therapist, has

can all be found on Amazon.com:

« This Jazz Man by Karen Ehrhardt and R. G. Roth « Zin! Zin! Zin! A Violin by Lloyd Moss and Marjorie Priceman « I Know a Shy Fellow Who Swallowed a

those who may have reading challenges.

created numerous raps for literacy, such as raps for alliteration and rhyming words.

For the first rap below, children think of an adjective, and if they can, a verb that

alliterates with their name. For the second

rap below, they look at the word card they

have been given and determine if their word rhymes with the word (or image) the teacher is holding up to the class.

Hey everybody who’s in town, Let’s all stop (wait) and look around, It’s daring Darrow dancing around, It’s musical Michael moving around, etc.

Teacher: It’s rhyme time, it’s rhyme time, Who has a word that rhymes with mine?

Teacher: It’s …

Students: rhyme time, Teacher: It’s …

Students: rhyme time, Teacher and students: Who has word that rhymes with mine?

Summer reading programs are often a part of the school curriculum. Why not

make it a winning partnership between reading and music? Let’s make music and read this summer!

Cello by Barbara Garriel and

« Why Beethoven Threw the Stew by Steven Isserlis « Why Handel Waggled His Wig

by Steven Isserlis « Never Play Music Right Next

References

John O’Brien

Balkin, A. (l 999a). Tune up to literacy: The song way to learning language. Hilton Head, SC: New View Music.

Balkin, A. (l999b). Music and literacy: A partnership. Massachusetts Music News.

Hansen, D., Bernstorf, E., & Stuber, G.M. (2004).

The music and literacy connection. Reston, Virginia: The National Association for Music Education.

to the Zoo by John Lithgow and

« What a Wonderful World by George David Weiss and Bob Thiele « I Got Rhythm by Connie SchofieldMorrison and Frank Morrison « Music Is for Everyone by Jill Barber and Sydney Smith « Manuelo, the Playing Mantis by Don Freeman « Singing in the Rain by Tim Hopgood « What Makes Music? by Betty Ann Schwartz and Dona Turner « 88 Instruments by Chris Barton Leeza Hernandez

Hulme, C., & Snowling, M. J. (2016). Reading disorders and dyslexia. Current Opinion in Pediatrics, 28(6), 731-735.

Kimball, K., & O’Connor, L. (2010). Engaging auditory modalities through the use of music in information literacy instruction.

Reference & User Services Quarterly, 49(4), 316-319.

Lyon, G. R. (2000, January/February). Why reading is not a natural process. LDA Newsbriefs. Learning Disabilities Association of America.

Tarbert, K. (2012). Learning literacy through music. Oneota Online Reading Journal, 2012.

Retrieved from https://www.luter,edu/ oneota-reading-journal/archive/2012/ learning-literacy-through-music/

May 2021

49

CommitteeReports

STUDENT DEVELOPMENT COMMITTEE

Michael Antmann, EdD, Chairman

focus; solid fundamentals are the basis for musical growth and achievement.

This may mean taking a step back, being thorough, and moving slowly. Repetition

leads to consistency, and consistency is the foundation of success.

Skills Progression

The best teachers I know have a clear curriculum plan and progression of student skills. Outline what your students should

ultimately know when they leave your

program, and then create a step-by-step plan to get there. Maybe they won’t be

where they normally would at this time, but with a clear plan, you can find them s I reflect on what has been a challeng-

beginning to make plans to return to a

by so many people in our profession and

has continued for more than a year, so

ing year, it’s hard not to be amazed

the lengths to which we’ve all gone to provide high-quality music education to our students, even in the most difficult

of circumstances. While it’s impossible to know what will happen next, it’s hard not to feel at least a little hopeful that some

more traditional format. The pandemic

the transition may not be like “flipping

enrollment, long-term and short-term,

program thrive.

foundation for success. What are the tra-

of the most critical factors in student

achievement, but in many cases the teach-

er and students have been miles apart. It’s also important to remember the interper-

sonal aspect of music programs, which has been diminished or absent for many

music students throughout the pandemic.

The good news is these challenges led

The culture of a music program sets the ditions, values, and behaviors that are

most valuable? Students who are new this year may not have experienced these yet. Some events or procedures may take

more preparation or explanation than in

the past. Some traditions that are typically run by students may take extra support.

This may also be a good time to alter or eliminate less-desirable activities.

to incredible collaboration among music

Fundamentals

different, students continued to learn

and anxiety in students, and other factors

educators, and while it may have looked music.

Now, as we head toward the summer

and a new school year, many of us are

50 F l o r i d a

momentum.

students achieve success and to help our

finding a way to keep kids engaged and

us the student-teacher relationship is one

students feel successful and can create

Recruiting and Retention

decided to focus on four areas to help

Culture

learning from a distance. Research tells

Measurable, reasonable goals can help

a switch.” In my own preparation, I have

sort of normalcy is on the horizon.

The challenge over the past year was

where they are and move them forward.

The disruption to regular routines, stress

may have led to inconsistencies or the ero-

sion of some fundamental skills in music

students. This will need to be a primary

Music Director

Many of us are worried about program

after the pandemic. One of the greatest

factors in retention is student success; do they feel good about what they are doing?

Focusing on fundamentals and individual skills is a great first step, but it may

also be wise to find ways to bring in new

students. Maybe it’s time for a high school beginning band or orchestra? What about an open-choir night at school for new

students to come see what it’s all about?

Maybe an instrument “petting zoo” for 7th graders not already in the music pro-

gram?

The past year has been challenging,

but challenges do provide opportunities.

Many of us have learned new technol-

ogies or techniques to reach individual students. With new resources, new technology, and a collaborative spirit, we have

the opportunity to come back even better than before.

AWARDS COMMITTEE

Debbie Fahmie, Chairwoman

T

FMEA Awards Categories « Leadership Award for Music

his article is my swan song for the Awards Committee. It has been my privilege to serve as

chairwoman since 2009. Over the course of 12 years, I have had the amazing opportunity to meet and cele-

brate some of Florida’s most dynamic heroes of music

Education

« Music Educator of the Year « College Music Educator of

education. Year after year, I’ve been inspired by the

work I have witnessed being done in support of music

education throughout the state. It has made me very proud to

be a part of music education in Florida. Without my involvement

the Year

« Administrator of the Year « Superintendent of the Year « District School Board/School

on this committee, I probably would not be as aware as I am about the exceptional

things we have going on for our music students. The FMEA Awards Program does an exceptional job of honoring some of the folks who contribute to the success of our music programs. Additionally, it provides advocacy for the field by holding up

great models for others to emulate. This year’s award winners provided us a unique

Board Member of the Year

« Distinguished Service Award « Exemplary Model

glimpse into their minds and hearts by recording video footage of themselves that was presented as the Awards Ceremony during the 2021 FMEA Virtual Professional Development Conference. I certainly hope you had an opportunity to check it out.

We once again turn to our membership as we look ahead to the 2022 FMEA

Program/Project Award

« Hall of Fame « Middle/High School Music

Awards. Nominations depend on the active involvement of our members. Who do you know who is deserving of recognition in one of the major award categories? If you haven’t had a chance to read about the 2021 FMEA awardees in the February/

March issue of Florida Music Director, I encourage you to take a few moments to do

Enrollment Award

« Music Education Service

so. This can help inspire you to think of the music education heroes in your sphere

and submit a nomination for them. All applications are completed online (CLICK HERE

Award (Includes 50-Year Membership Award)

). You can also find examples of successful applications on the website to

guide you through the process.

As I close out my final FMEA column, I’d like to leave you with this thought. I

encourage each and every one of you to become actively involved in our association.

I’ve served in some capacity on the FMEA board since 2002. Prior to that, I was very active with FEMEA. My entire career has been guided in some way by FMEA.

I can honestly say my career would not have been nearly as fulfilling had it not

been for my interactions with FMEA, its leaders, and its members. The friendships I have made, both personally and professionally, have made a significant mark on

my development as a music educator. I have learned and grown so much through the leadership and guidance I’ve been given as part of FMEA. If you have not yet

stepped up to become actively involved in some way, I highly encourage you to do so. It will be the best gift you can give to yourself and your career.

Wishing you all a joyful summer. Stay well.

May 2021

51

CommitteeReports D

o you need a little more time? In these challenging times, sched-

ules seem as crowded as ever, maybe even more crowded! That’s why we are

extending the deadline for applications to the 2022 FMEA Emerging Leaders Program. Now due by May 10, please CLICK HERE

to apply or to nominate a

music teacher leader. District arts leaders,

please encourage and nominate teachers

EMERGING LEADERS COMMITTEE

Mary Palmer, EdD, Chairwoman

Emerging Leaders will have oppor-

tunities to be part of the inner work-

ings of the annual FMEA Professional Development

Conference.

Emerging

Leaders have a special opportunity to

present ideas as part of the Emerging

Leaders conference sessions as well as to assist in various ways to help the conference run smoothly.

The

FMEA

Emerging

Leaders

who are destined for leadership in their

Summer Conference will once again

support of this program will help us

Saturday, June 5, from 9 a.m. to 12 noon.

schools, communities, and beyond. Your

build a strong future for music education.

be offered virtually. Plan to join us on

We will include a focus on incoming

FMEA

President

Shelby

Communities One Note at a Time. Some of our past Emerging Leaders will be on hand to share their learning journeys in leadership. Informed advocates for music

education in our schools are more critical than ever before. Some of our expert

advocates will share tips on what’s needed to be an effective advocate … from the ground up!

We look forward to welcoming YOU to

our growing group of FMEA Emerging Leaders!

How Does the TEACH Act Help With Virtual Music Education During the COVID-19 Pandemic?

As music educators across the country are engaging in distance learning, it is important that they understand the copyright laws in this environment.

�

The Technology, Education, and

Copyright Harmonization (TEACH) Act provides certain protections for music education while distance learning.

�

NAfME, in collaboration with the NFHS, has created a new resource to

help teachers better understand the copyright implications of using music in a distance learning environment, providing analysis on the TEACH Act as well as addressing some frequently asked questions.

CLICK HERE to download the document entitled Copyright Guidancce for Distance Learning.

52

Florida Music Director

Chipman’s

theme, Unity in Music Education: Building

Session 4

Facilitator Role & Artistic Community: Building an Anti-Racist Pedagogy presented by Alysia Lee May 17, 2021 7:00-8:00 PM EDT Free for FMEA members

F M E A Professional Development Series

Diversity, Equity, Inclusion, & Access in the Music Classroom The Professional Development Committee is hosting a four-part mini-series designed to lay the foundation for more inclusive music classrooms in Florida schools. As part of this series, participants will explore the elements of diversity, equity, inclusion, and access as a way to encourage intentionality toward meeting the goal of music education for ALL students. Each of the four sessions will be 60 minutes long and will include opportunities for interactivity.

Session 1 Feb. 22, 2021 7:00 PM EST

Session 2 Mar. 30, 2021 7:00 PM EDT

Session 3 Apr. 19, 2021 7:00 PM EDT

Session 4 May 17, 2021 7:00 PM EDT

Visit fmea.org/programs/webinars to register to attend.

Registration is free for all FMEA members.

May 2021

53

ExecutiveDirector’sNotes

Let’s Keep Moving Forward

W

hen I wrote my May 2020 column, the COVID-

FMEA Executive Director Kathleen D. Sanz, PhD

19 pandemic was in full force in our state as well as around the world. Now we have vaccines for teachers and older teenaged students as we come

to the close of the 2020-21 school year. We cannot overstate the stress that has been put on teachers and

The mission

in Music Education: Building Communities, One Note at a Time. The deadline for proposals is quickly

approaching. The portal for session proposals is open until May 11, 2021. We look forward to seeing the fantastic session proposals for 2022.

The Professional Development Committee is host-

of the Florida

students. As we end this school year and begin plans

ing “Diversion, Equity, Inclusion, and Access,” the

Association is to

together to maintain the strides we have made so we

equity, inclusion, and access, on May 17, 2021, from

for the 2021-22 school year, let’s continue to work

Music Education promote quality,

comprehensive music education in all

Florida schools.

can keep moving forward. It has been encouraging

to witness our music teachers building relationships

and offering one another assistance throughout this

7 p.m. to 8 p.m. EDT. Be sure to register for this free webinar through the FMEA website.

challenging year. In addition, FMEA and FSMA are

Resources for Teachers and Schools

way into the future.

hosting a Leadership Symposium, July 18-21, 2021, to

developing resources to assist us in navigating our

Elementary and Secondary School

Emergency Relief Fund (ESSER II) I want to draw your attention to possible fund-

The Florida School Music Association (FSMA) is assist in developing leadership for up-and-coming

secondary component members of FBA, FOA, and FVA.

ing to assist school districts and schools. The U.S.

Legislation/Advocacy

the Elementary and Secondary School Emergency

will provide a session wrap-up in the next edition of

Congress set aside approximately $13.2 billion for Relief Fund (ESSER II). The purpose of this fund is to provide local districts with emergency relief funds to

address the impact COVID-19 continues to have on

elementary and secondary schools across the nation.

These funds are available to school districts through the Florida Department of Education. Each school

district will apply for the funds. Take the time to

find out and become involved in how the funds will be allocated in your school district. You can access a Frequently Asked Question document HERE .

Professional Development Opportunities for

Members As a reminder, the 2021 Virtual FMEA Professional Development Conference sessions are still available for members who have registered. Remember to take

advantage of the many sessions that are available for viewing until June 1, 2021. If you did not register

for the conference sessions, you can still register

The 2021 Legislative Session recently ended. FMEA

Florida Music Director. In addition, the Government

Relations Committee, under the leadership of Jeanne Reynolds, will be providing information to the membership throughout the summer. The Legislature

will convene again in January 2022. Please be sure

to make appointments with your legislators to meet with them over the summer. If you need assistance, please call the FMEA office.

Membership Renewal Time

Each year beginning on April 1, we open the mem-

bership registration process. The membership year for FMEA is July 1, 2021, to June 30, 2022. Joining is

easy and online. If you need assistance, please call the FMEA office.

As we complete the 2020-21 school year, let’s con-

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

through the FMEA website.

Stay safe,

Conference and All-State Concerts’ theme is Unity

Kathleen D. Sanz, PhD

The 2022 FMEA Professional Development

54

fourth and final session of the series on diversity,

Florida Music Director

�

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

Officers and Directors

EXECUTIVE BOARD President

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

Ian Schwindt

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

Marc Decker, DMA

Florida Atlantic University 777 Glades Rd.; Boca Raton, FL 33431 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

Alexis Hobbs

Southeastern University aphobbs@seu.ed Florida NAfME Collegiate Advisor

Mark A. Belfast, Jr., PhD

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

Harry “Skip” Pardee

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

Matthew Davis

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

Jason Locker

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

�

EX-OFFICIO MEMBERS

FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION

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

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

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

President...................................................................................Alexis Hobbs Southeastern University; aphobbs@seu.edu

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

FMEA COMMITTEE CHAIRPERSONS

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

FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION

Awards.................................................................................... 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

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

Past President...............................................................Rosemary Pilonero rosemary@femea.flmusiced.org

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

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

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

FLORIDA MUSIC SUPERVISION ASSOCIATION

Contemporary Media................................................... David Williams, PhD University of South Florida; 4202 E. Fowler Ave., MUS 101 Tampa, FL 33620; (813) 974-9166; davidw@usf.edu Diverse Learners.....................................................Alice-Ann Darrow, PhD Florida State University, Music Education and Music Therapy 123 N. Copeland St.; Tallahassee, FL 32306 (850) 645-1438; aadarrow@fsu.edu Emerging Leaders............................................................ Mary Palmer, EdD 11410 Swift Water Cir.; Orlando, FL 32817 (407) 382-1661; mpalmerassoc@aol.com

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

FLORIDA ORCHESTRA ASSOCIATION

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

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

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

Multicultural Network...........................................................Bruce J. Green (407) 927-3141; bruce.green@ocps.net Professional Development........................................................Scott Evans Orange County Public Schools; 445 S. Amelia St.; Orlando, FL 32801 (407) 317-3200; scott.evans@ocps.net Research...................................................................... Don D. Coffman, PhD University of Miami; d.coffman1@miami.edu Secondary General Music.............................................................Ed Prasse Leon High School; 550 E. Tennessee St.; Tallahassee, FL 32308 (850) 617-5700; prassee@leonschools.net Student Development.............................................. Michael Antmann, EdD Freedom High School; 2500 W. Taft-Vineland Rd.; Orlando, FL 32837 (407) 816-5600; michael.antmann@ocps.net

PROFESSIONAL DEVELOPMENT CONFERENCE Exhibits Managers fmeaexhibits@fmea.org Local Chairperson Ted Hope—(813) 272-4861; ted.hope@sdhc.k12.fl.us

FLORIDA BANDMASTERS ASSOCIATION President...................................................................................Ian Schwindt Titusville High School; 150 Terrier Trail S.; Titusville, FL 32780-4735 (321) 264-3108; schwindt.ian@brevardschools.org Past President..................................................................... Cathi Leibinger Ransom Everglades School; 2045 Bayshore Dr.; Miami, FL 33133 (305) 250-6868; pastpresident@fba.flmusiced.org Executive Director......................................................................Neil Jenkins Florida Bandmasters Association P.O. Box 840135; Pembroke Pines, FL 33084 (954) 432-4111; Fax: (954) 432-4909; exec@fba.flmusiced.org

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

FLORIDA VOCAL ASSOCIATION President.................................................................................. Jason Locker Orange County Public Schools; 445 W. Amelia St.; Orlando, FL 32801 (407) 317-3200; jason@fva.net Past President.....................................................................Tommy Jomisko tommy@fva.net Executive Director....................................................................J. Mark Scott 7122 Tarpon Ct.; Fleming Island, FL 32003 (904) 284-1551; exec@fva.net Business Manager..................................................................Jo Hagan, CPA 8975 San Rae Rd.; Jacksonville, FL 32257 (904) 379-2245; Fax: (904) 379-2260; business@fva.net

CENTER FOR FINE ARTS EDUCATION

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

AFFILIATIONS

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

May 2021

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