Florida Music Director May 2022

A Case for

Creative Collaboration in

Music

YouTube, Emojis, and Memes in Music Education PLUS: Engaged Service Learning in the Classroom Relax, Reflect, and Reconnect

May 2022

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Florida Music Director

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

Hinckley Center for Fine Arts Education

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

Editor-in-Chief

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

Editorial Committee Terice Allen (850) 245-8700, Tallahassee (tallen1962@hotmail.com) Judy Arthur, PhD Florida State University, KMU 222 (850) 644-3005 (jrarthur@fsu.edu) William Bauer, PhD University of Florida, Gainesville (352) 273-3182; (wbauer@ufl.edu)

Contents Volume 75 • Number 8

May 2022

FSMA Special Section. . . . . . . . . . . . . . . . . 10-11 FVA Summer Conference. . . . . . . . . . . . . . . . 15 F E AT U R E S

A Case for Creative Collaboration in Music.. . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Alice-Ann Darrow, PhD College of Music, FSU, Tallahassee (850) 645-1438; (aadarrow@fsu.edu)

YouTube, Emojis, and Memes in Music Education . . . . . . 16

Jeanne Reynolds (jeannewrey@gmail.com) John K. Southall, PhD Indian River State College, Fort Pierce (772) 462-7810; (johnsouthall@fmea.org)

Advertising Sales

Valeria Anderson (val@fmea.org) 402 Office Plaza Tallahassee, FL 32301 (850) 878-6844

Official FMEA and FMD Photographers

Bob O’Lary Debby Stubing

Art Director & Production Manager Lori Danello Roberts LDR Design Inc. (lori@flmusiced.org)

Circulation & Copy Manager

Valeria Anderson, (800) 301-3632

Copy Editor

Susan Trainor

More Than Observations: Engaged Service Learning in the Classroom. . . . . . . . . . . . . . . . . . . . . . 26 Relax, Reflect, and Reconnect.. . . . . . . . . . . . . 30 D E PA R T M E N T S President’s Message. . . . . . . . . . . 4

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

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

Research Puzzles. . . . . . . . . . . .

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

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

2021-22 FMEA Donors. . . . . . . . 8-9

Executive Director’s Notes. . . . . .

38

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

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

39

Corporate Partners. . . . . . . . . . . 25 May 2022

32

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President’sMessage

Shelby R. Chipman, PhD President Florida Music Education Association

Finish Strong, Music Educators BEGIN…

Finishing strong is the attitude of believing you can

do something and having the courage and determination to see it through to the end. We all realize there are challenges that truly go beyond what might be expected in a normal lifestyle. If it wasn’t hard, everyone would do it.

It’s the hard that makes it great.

– unknown I wake up every day believing the glass is half full, not

half empty. What we do and say in music classrooms will have an eternal impact on our students. FMEA has made a

with the END in Mind!

Greetings, colleagues!

It’s amazing how this school year has flown by. We have had so many wonderfully incredible opportunities to employ the POWER of music with our students and our

communities in Florida Music Education Association (FMEA) component organizations.

I’m reminded of the impact music has on communities

and its value, culture, and interest to all. Music is a powerful tool for memorization and an enormous motivation

for students. Music “happens” to children, and many are immersed in it ALL day. In 2022 and beyond, the music

experiences schools traditionally offer must connect to ALL students, to also include at-risk, gender identities, and those with various disabilities.

No one can be successful if you don’t finish what you

start. Finishing strong is a sign of commitment, integrity,

and excellence. Finishing strong is about choice. Each of us has the power to choose how we perform a job or a task and to finish strong.

If you can’t fly, then run. If you can’t run, then walk. If you can’t walk, then crawl. But whatever you do, you have to keep moving forward.

– Martin Luther King, Jr.

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Music Director

concerted effort to expand our professional development for music teachers.

As you conclude your classroom activities and spring

concerts, articulate with your feeder schools, and enroll students in classes for the fall term, be encouraged to continue painting your picture following in the footsteps of Pablo Picasso, Johann S. Bach, Duke Ellington, Leonard

Bernstein, Leontyne Price, June Hinckley, and many other music/art pioneers who have paved the way for us.

If you build it, they will come.

– Alfred Watkins Continue to network

and advocate in your communities,

building

relationships with local

and state officials and leaders. Encourage collab-

oration during end of the semester concerts with

neighboring schools in

your community. “Drivebys” to other schools still

work and help provide shared learning that is

sometimes not communicated in college class-

rooms. It is important to remember and never take

2021-22 FMEA Membership:

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

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

for granted that we are fortunate to be educators.

SUBSCRIPTIONS:

The end of semester is always a tough time for

Direct correspondence regarding subscriptions to: Hinckley Center for Fine Arts Education 402 Office Plaza, Tallahassee, FL, 32301-2757

and always remember that education is a wonder-

Subscription cost included in FMEA membership dues ($9); libraries, educational institutions, and all others within the United States: $27 plus 7.5% sales tax.

teachers in general, but we must keep focused ful “thing” regardless of how challenging it may

be. Our students, parents, administrators, and

communities are counting on our leadership and foresight for the future.

Finish your GOALS:

1. As you begin making strides toward your goal, remember that it will be difficult.

2. Focus on your progress. It can be defeating to only look forward to the finish line.

3. Break your goal into smaller goals.

4. Don’t live in isolation.

5. Learn from others.

6. Don’t be afraid to make changes; employ foresight.

CIRCULATION:

The circulation of the Florida Music Director is 4,500 educators. Published eight times annually by The Florida Music Education Association, Hinckley Center for Fine Arts Education: 402 Office Plaza, Tallahassee, FL 32301-2757.

FMEA reserves the right to approve any application for appearance and to edit all materials proposed for distribution. Permission is granted to all FMEA members to reprint articles from the Florida Music Director for non-commercial, educational purposes.

Non-members may request permission from the FMEA office.

SUBMISSIONS:

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

All articles must be provided in digital format (e.g., Microsoft Word).

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

7. Plan your work; work your plan!

8. Stay healthy by balancing work and home …

Our mental well-being is essential.

I’ve learned that people will forget what you said, people will forget what you did, but people will never forget how you made them feel.

– Maya Angelou Have a wonderful end to the school year,

and enjoy the summer season. I look forward to seeing you during your summer meetings and webinars.

Advertiser Index The Florida Music Director is made possible by the participation of the following businesses whose advertisements appear in this issue. They make it possible to provide you with a high-quality publication, and we gratefully acknowledge their support of our mission. We hope you will take special notice of these advertisements and consider the products and services offered. It is another important way you can support your professional association and the enhancement of Florida music education.

The publisher does not endorse any particular company, product, or service. The Florida Music Education Association (FMEA) is not responsible for the content of any advertisement and reserves the right to accept or refuse any advertisement submitted for publication. Information for advertisers (rate card, insertion orders, graphics requirements, etc.) can be found at FMEAMediaKit.org. Florida Music Director reserves the right to refuse any ad not prepared to the correct specifications OR to rework the ad as needed with fees applied.

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Shelby R. Chipman, PhD, President Florida Music Education Association

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May 2022

5

AdvocacyReport

The Path Forward the bill had overwhelming bipartisan support, which is most unusual. Given this strong bipartisan support

(from the most conservative Republican to the most pro-

gressive Democrat), we believed the best option we had was to advocate for delaying the implementation of the bill. Fortunately, we were successful in getting this delay written into the bill. The financial literacy requirement

will apply only to the incoming ninth grade students

beginning with the 2023-24 school year. Other organiza-

tions such as the Florida Association of District School

Superintendents share our concerns about the loss of an elective and the difficulty of fitting this semester course

into master schedules. With this extra year to plan, we

will work to generate creative scheduling solutions that minimize the loss of the elective.

Seal of Fine Arts – SB 318

We owe another debt of gratitude to our sponsor, Senator

Darryl Rouson, who has championed this bill in the Senate the last three years. Unfortunately, we were

unable to make any headway in the House. We had a

longshot hope that we could get this bill amended onto

I

t is difficult to find the most appropriate and accurate words to describe the 2022 Legislative Session. A better

use of our time is to learn from it and to create an action plan to promote quality, comprehensive music education in all

some type of education “train” bill at the end of the session, but that opportunity did not present itself. There

were other controversial bills that garnered much attention at the end of the session, which limited those chanc-

Florida schools, which is FMEA’s mission.

es. We will continue to advocate for this bill in future

2022 Session Recap

takes years to get a popular bill passed, as was mentioned

Financial Literacy – Senate Bill 1054

A financial literacy bill finally passed. Similar versions of this bill have been filed for more than seven years.

FMEA has always supported the idea of financial liter-

years. It is important not to become discouraged. It often in the case of the financial literacy bill. We will continue to advocate for the Seal of Fine Arts bill and for greater

access to arts education and recognition for high-achieving students in the arts.

an elective and the requirement of an additional course

Cultural Funding – FMEA and FSMA Grant Funding

concepts in an already required course such as econom-

the Florida Division of Cultural and Museum Grants

acy in concept. What we have objected to is the loss of in financial literacy. We championed embedding these

ics, a solution that is working well in many other states.

Additionally, we suggested alternative options for stu-

dents to demonstrate mastery of the content without the loss of an elective. Unfortunately, these options were not

considered. We were successful in keeping the bill from passing in its current form in prior years. This year,

6 F l o r i d a

Music Director

Some of the best news from this legislative session is that request was approved by the House and the Senate at 100%. This is most unusual. FMEA and FSMA both

receive funding from these grant requests. It is possible the governor could veto this line item, but we are hopeful

this funding will remain intact and our organizations will benefit.

Jeanne W. Reynolds Chairwoman Government Relations Committee

Education Funding

Funding for public schools is up nearly 5% due to strong

tax revenues and federal funding. This is another bright spot from this year’s session.

Bill Summary

This link will take you to a summary of all bills passed in

2022. Scroll through to see various topics, including education: flsenate.gov/Committees/BillSummaries/2022

Additionally, check the FMEA website in late May for

a more complete analysis of the 2022 Legislative Session, including further analysis of education bills.

Next Steps

If nothing else, this legislative session and the past few

years have highlighted the extraordinary importance of

grassroots advocacy. Small groups of engaged parents have taken over the narrative at many local school board

meetings. Never doubt the power of grassroots. We can have a profound impact but only if we all engage.

New Legislative Districts

We have a once-in-10-years opportunity this year. New legislative districts have been drawn. FMEA collegiate

members will be partnering with FMEA members to make some important legislative visits in legislators’ home offices in the summer and fall. If you are interested in participating, contact me at jeannewrey@gmail.com

or Jenny Abdelnour at jenny@fmea.org in the FMEA office.

Professional Development

The Government Relations Committee is focusing on

creating a variety of professional development sessions to help all FMEA members be effective advocates in their local communities. Learn as much as you can to be a successful advocate.

In advocacy, the path forward is doing the work one

step at a time and doing the work consistently every day.

Our future depends on the advocacy we do today. Let’s get busy!

May 2022

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FLORIDA MUSIC EDUCATION ASSOCIATION 2021-2022 DONORS

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

Our donors support specific causes by donating to the FMEA funds of their choice: FMEA Scholarship Fund June M. Hinckley Scholarship Music Education Advocacy Professional Development for Members General Fund Mel & Sally Schiff Music Education Relief Fund The following have graciously donated to FMEA from April 1, 2021, through April 1, 2022.

MAESTRO’S CIRCLE $10,000 and up

No current donors at this time.

ARTIST’S CIRCLE

$1,000 – $9,999 All County Music Artie Almeida In Honor of June Audrey Grace & Katie Grace Miller Russell Robinson

SUSTAINERS $100 – $999 Carlos Abril In Honor of Dr. Patricia Flowers Andre Arrouet Lucinda Balistreri In Memory of June Hinckley Katarzyna (Kasia) Bugaj Dale Choate In Memory of Linda Mann Alice-Ann Darrow In Dedication to Mr. & Mrs. O. B. Darrow Virginia Densmore In Memory of Dr. James Croft Anna Marie Friars In Honor of Dr. Andre Thomas Stanley Hoch Dennis Holt Frank Howes In Memory of Ron Powell Marsha Juday Steven Kelly Carlton Kilpatrick In Honor of Cynthia Berry Sheila King In Memory of John W. King Martin Kivell In Memory of Mel Schiff Jason Locker In Memory of June M. Hinckley Robert McCormick Carolyn Minear John Nista Mary Palmer Douglas Phillips In Memory of Dr. Bobby L. Adams & Mr. Lawrence W. Phillips, Jr.

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Music Director

David Pletincks In Honor of Alexis & Jonathan Pletincks Jeanne Reynolds In Honor of Pinellas County Performing Arts Teachers Janice Roberts In Memory of Mel Schiff Mary Catherine Salo In Memory of Gary Rivenbark & Wes Rainer Kathleen Sanz In Memory of June M. Hinckley Heather Sawyer In Memory of Byron & Bobbie Smith J. Mark Scott In Honor of Dr. Andre Thomas & Dr. Judy Bowers D. Gregory Springer Jeannine Stemmer In Memory of Barbara Kingman & Lauren Alonso Ira Strachman In Memory of Mel & Sally Schiff Leiland Theriot In Memory of Clayton Krehbiel Richard Uhler Howard Weinstein In Memory of Barry Weinstein David Williams William Zoch In Memory of Mel Schiff Anonymous (2) In Dedication to Steve & Mary Catherine Salo In Memory of Mel & Sally Schiff

PATRONS $25 – $99 Sharon Adams In Memory of Rosemary Collins Ann Adams-Valle In Memory of Bobby L. Adams Sandra Adorno Michael Antmann William Bauer David Bayardelle In Honor of Harry Spyker Mark Belfast In Memory of Dr. Mark A. Belfast, Sr. Richard Bradford In Memory of William & Helen Bradford Gordon Brock Thomas Brown Dana Burt In Honor of Kathy Sanz Alexander Busby Greg Carswell Patrick Cassidy Shelby Chipman Zachary Chowning Blair Clawson In Honor of Alice-Ann Darrow & Ginny Densmore Dayna Cole In Memory of Linda Mann Beth Cummings In Memory of Jim Urbanski Catherine Dalzell Matthew Davis In Memory of Robert Morrison Nicholas DeCarbo Dennis Demaree

Virginia Dickert In Memory of Lindsay Keller & Debbie Liles Abbey Duncan Christopher Dunn Kathryn Eaton Judith Evans Bradley Franks In Memory of Gary W. Rivenbark Elizabeth Frogel In Memory of one of my favorite uncles and his lifetime dedication to music and education Suzanne Gagliardini Olivia Green Bernie Hendricks Llewellyn Humphrey Jon Hutchinson Michael Johnson Mary Keyloun Cruz In Memory of Laurice Keyloun Joshua Langston Ginger Lerner-Wren In Memory of Mel & Sally Schiff Allie Levine In Memory of Uncle Mel Joseph Luechauer Claudia Lusararian In Honor of Sue Byo-Passell Jeneve Medford Jarvis Kim Miles Katie Grace Miller In Honor of Artie Almeida Ree Nathan In Dedication to Rosemary Caldwell Collins

Chad Norton In Memory of Cassandra J. Norton Galen Peters Edward Prasse In Honor of Nancy Marsters Melissa Rawls On Behalf of Nancy Bartels Kristian Reid-Drummond C. William Renfroe In Memory of James O. Johnston Diana Rollo John Sinclair Harry Spyker In Honor of Fred & Marleen Miller Eddie Steadman In Memory of Janie Walker Valerie Terry Mark Thielen Alex Toussaint John Watkins Brad Wharton Julian White In Memory of Kenneth Tolbert Lindsey Williams Billy B. Williamson

Jesse Hariton Angela Hartvigsen Ciara Hill Sarah Hoover Calvin Jasper Jason Jerald Jennifer Jimenez In Memory of Linda Mann Aiasha Johnson Ronald Jules Kathleen Kerstetter Erika Locke-Williams In Memory of Eunice B. Locke, 40-plus-year Palm Beach County Florida music educator Kevin Lusk Deborah Mar In Memory of Rosemary Collins Mackenzie Meiers Lorri Naylor

Kristy Pagan Katherine Plank Jennifer Ross In Honor of Ms. Helen Bailey Edgar Rubio Ian Schwindt Kelly Southall Mark Stevens Timothy Thompson Christian Torres Michelle Tredway Giovanni Venezia Max Vitagliano Songra Wenninger Collins Richard Yaklich

Anonymous (3)

FRIENDS

up to $24 Carmen Aquino Judy Arthur In Memory of Ray Kickliter Crystal Berner In Memory of Rosemary Collins Joseph Callaway Zachary Charlebois Ernesta Chicklowski Bethany Confessore Christopher Creswell Richard Dasher Liza Dean Marc Decker Beth Ann Delmar Shelby Fullerton Tina Gill In Memory of Gary Rivenbark Lise Gilly Rose Grace Walter Halil

Anonymous (10) May 2022

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FLORIDA SCHOOL MUSIC ASSOCIATION N O T E S

1-800-301-3632

FloridaSchoolMusic.org

FSMA

Leadership Training Building the Team: Equipping the Music Leaders of Tomorrow July 17-20, 2022 Renaissance Orlando at SeaWorld Orlando, FL FSMA has designed a professional learning opportunity for current and future component leaders to have the necessary skills to find success in their position.

Become a part of a select group and apply for the 2022 training today. Scan the QR code for further details and to apply.

Application Deadline: April 1, 2022

About the Training This professional development opportunity will provide communication training, team-building, scenario-based problem-solving, and other skills identified by participants as a need to find success as a leader in Florida.

10 F l o r i d a

Music Director

FLORIDA SCHOOL MUSIC ASSOCIATION N O T E S

It’s Time to Join or Renew Your School’s FSMA Membership Renewing Schools Renewal invoices have been mailed to each member school, and for counties that pay as a group they were mailed to county supervisors. You can check your school’s membership status and generate an invoice on the Membership Status page.

Schools that plan to participate in music performance assessments (MPAs) for the 2022-23 school year should renew by September 15, 2022, to take advantage of the early renewal discount.

First-Time Schools New schools that have not been a member of FSMA before should complete the New School Enrollment Form (https://floridaschoolmusic.org/media/1260/fsma-enrollment-form-2022-23.pdf) and mail it to the FSMA office. If the school is not included in a countywide group discount payment, a check for the dues amount should be mailed with the form.

2022-23 Dues Enrollment categories are based on enrollment of the entire school, not just the music department.

School Type

Early Discount* (subtract from dues amount)

Enrollment

Dues

Less than 200

$262.50

$-87.50

All

$435.00

$-145.00

Middle School/Junior High/Senior or K-12

1-1,000

$517.50

$-172.50

High School

1-1,000

$517.50

$-172.50

Middle School/Junior High/Senior or K-12

1,001+

$780.00

$-260.00

High School

1,001+

$780.00

$-260.00

Home School Co-op

1-1,000

$517.50

$-172.50

Private School (Solo/Ensemble Only) Middle School/Junior High

*Early payment discount will be applied only if payment is received before September 15, 2022.

Purchase orders should be sent at least 30 days in advance to ensure on-time payment.

Payment must be by check; FSMA does not accept credit cards.

May 2022

11

by Zachary Thompson and Michael T. Eubanks

A Case for

Creative Collaboration

W

in

Music

We have come to realize that the most profound and

Not all collaboration will lead to effective results, how-

memorable music experiences for our students and for us

ever. In fact, poor collaboration is worse than not having

the process of the students and teacher working together,

creates effective and disciplined collaboration with their

have been the result of collaboration. This is not simply but it is the creative teamwork of a music director with other colleagues from either within or outside of music.

This article will make the case for and offer examples of

effective collaboration for music directors to create excellent experiences, products, and performances.

Why use collaboration?

any collaboration. It is therefore essential that the director

colleagues. Morten T. Hansen (2009) explained, “The idea of disciplined collaboration can be summed up in

one phrase: the leadership practice of properly assessing when to collaborate (and when not to) and instilling in

people both the willingness and the ability to collaborate when required” (p. 33).

Patrick Lencioni (2012) wrote, “Not finance. Not strategy.

Collaboration for Music Ensembles

competitive advantage, both because it is so powerful

of creative collaboration that have resulted in profound

Not technology. It is teamwork that remains the ultimate and so rare” (Lencioni, 2012, p. vii). It is through this powerful use of teamwork that music directors can create

experiences for both the performers and the audience that will far outreach experiences created by the music

director alone. Although it can often be simpler to have total creative control of the concert, recording, or other

event, the result of collaboration justifies the extra effort.

When you choose to bring other people into the process,

they can add their areas of strength and expertise that can complement your areas of weakness.

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I (Zachary Thompson) would like to offer two examples experiences for my choirs. In the first example, I worked

with my former high school choir teacher to combine both of our choirs to perform Vivaldi’s Gloria with an orchestra and soloists. This was a great experience that resulted in

choirs from different states coming together to learn from

each other and experience a timeless masterwork. Due to the relatively small size of our choirs, it would have been very difficult for each choir alone to perform this work.

By combining our resources and our singers, we were

Continued on page 14

May 2022

13

A Case for

Creative Collaboration in

Music

Continued from page 12

able to effectively perform in collaboration.

involved as a director, I have leaned heavily on my team,

different musical ensembles that would not normally

helps to direct, adjust, and conduct our productions. He

The second example comes from combining three

meet together. For Covenant Day School’s Easter chapel service, I chose to arrange two modern worship songs for

band, choir, and string orchestra. I worked with the band

teacher to have him prepare the brass players separately

and to make sure my writing would fit the skill level of

his players. I worked with the chaplain to organize the details of the event. I worked with the sound and media coordinator to provide effective introduction videos,

especially the music director. In this essential role, he

can notice things within the score that I cannot, creating opportunity for deeper character development. Together,

we provide a healthy environment that shows what can be

accomplished when these two positions work as partners.

Our collaboration provides teaching moments that encourage students to be more involved that wouldn’t be possible

without the teamwork and respect we have for each other.

lighting, and audio for the service. I worked with our

Conclusion

on and off our campus and to take care of all the logistics

and your ensembles can experience profound and mem-

fine arts director to advertise the service to people both to make the event a success. These collaborations resulted

in an amazing experience not only for the performers

but also for the faculty and students at my school. The rehearsals and performance provided an opportunity for

the students involved in the various music ensembles to realize they are a part of the larger school music community who were brought together for the common purpose

of providing impactful worship music. This form of collaboration brought the entire high school together for the

It is through creative and effective collaboration that you

orable music rehearsals and performances. We encour-

age you seek out ways to collaborate with others both within and outside of the music discipline. It is as John

C. Maxwell (2002) wrote: “To be collaborative team mem-

bers, completing one another is more important than competing with one another” (p. 14). Collaborating with

others has been a great source of joy for us and has had a positive impact on our careers.

first time in over a year to worship. As a result, we have

Zachary Thompson is the middle and high school choir

entire school (lower, middle, and high school), providing

Day School and the director of music at

been asked to create a Lessons and Carols service for the a greater platform to display musical excellence.

Collaboration in Musical Theatre

Musical theatre is one area in my career that I (Zachary

and worship band teacher at Covenant Dilworth United Methodist Church in

Charlotte, N.C. He holds the MM in choral conducting and the BME.

Thompson) have witnessed the power of effective col-

Michael T. Eubanks is the middle and

following section of this article was written by Covenant

Day School in Matthews, N.C. He holds

laboration. In the spirit of promoting collaboration, the Day School’s theatre director, Michael T. Eubanks.

In musical theatre, it is essential for the director and

the music director to work in partnership. When it is done well, it causes the audience to feel like a part of

the musical. It can produce the feeling of heartbreak for

their favorite character’s losses or joy when the protago-

nist wins. These moments are possible only if all parties involved work together. Talking through the script,

adjusting to one another’s needs, and making the show line up to the vision are all a part of the process.

In productions where I (Michael T. Eubanks) have been

14 F l o r i d a

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high school theatre director at Covenant the BFA in theatre arts from East Carolina University. He is the director for the

middle and high school musicals and high school plays at Covenant Day School.

References

Hansen, M. (2009) Collaboration. Harvard Business School Publishing.

Lencioni, P. (2012). The five dysfunctions of a team. Jossey-Bass.

Maxwell, J. (2002) The 17 essential qualities of a team player.

Thomas Nelson Inc.

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15

YouTube, Emojis, and Memes in Music Education

B

by Melody Morrison

By now, you have probably had plenty of hands-on experience with YouTube, emojis, and even memes, but did you

know these can function not only as entertainment but

also as tools to boost your teaching? Students who will respond especially well to this approach are those who

fall into Generation Z and Generation Alpha. Generation Z encompasses those born between 1995 and 2009 while

Generation Alpha includes anyone born in the 2010-2024 period (Apaydin & Kaya, 2020; McKrindle & Fell, 2021).

Generation Z has grown up using the latest technol-

ogies, and its members are considered “digital natives.”

They have unlimited access to worlds of information and

are constantly engaging with media platforms through

Alpha generation began in 2010, the year the iPad was

ent from millennials in that they largely prefer any sort

of technologies as tools but rather as deeply integrated

daily creating or observing content. “Gen Z’rs” are differof visual form of communication and expect immediate

results as their world has almost always consisted of speedily responsive technology and easily accessible services (Schwab, 2016).

The Alpha generation takes digital familiarity a step

further and cannot remember a time without smart-

phones and constant technology in everyday life. The

16 F l o r i d a

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created. Kids born in the Alpha generation do not think

parts of everyday life. They have been wired all their lives and are being born into a world increasingly connected

by technology. A social research agency in Australia said that this generation is part of an “unintentional global experiment” in which screens are placed in front of children from the beginning of their lives as an educational

tool and even as a sort of digital pacifier (McKrindle &

Fell, 2021, p. 8). This saturation of screen time during the

In fact, other studies have shown that even the brains

formative years explains how many 4-year-olds are more

of children nowadays are structurally different than

This major element of children’s lives affects more than

as a result of the external environment and how human

adept at using an iPad than are some adults.

just their entertainment and makes its mark on how children communicate and take in the world around them.

In 2018, a report compared the millennial generation to Generation Z and stated that for Gen Z, the use of technology and learning preferences are interwoven (Global Research and Insights, 2018).

those of earlier generations, not because of genetics but brains respond to such. Here is a fascinating quote about Generation Z, and the same can be said of Generation

Alpha: “The brains of Generation Z’s have become wired to sophisticated, complex visual imagery, and as a result, the part of the brain responsible for visual ability is far

Continued on page 18 May 2022

17

YouTube, Emojis, and Memes Continued from page 17

more developed, making visual forms

YouTube

coming to a lesson? Do you want to

2016, p. 2).

ing in 2005, millions of videos of every

to learn outside of the lesson? Find

of learning more effective” (Rothman,

A 2018 survey of Generation Z U.S.

teens showed that they mostly use media that is visually stimulating—72% used

Instagram, 69% used Snapchat, and 85%

actively used YouTube (Anderson & Jiang, 2018). Generation Z ranked YouTube and video as preferred methods of learning

by large margins over millennials (Duffy,

Ever since the video sharing site’s launch-

genre one could imagine have been

uploaded to YouTube. As shown in Figure 1, over 500 hours of content have been

information for which you don’t have

tent on YouTube every day (Moshin, 2021).

If there are 500 hours of content

right? There are in fact many channels on

In this article, I provide a brief overview of several technological tools available

to help teachers further connect with their Generation Z and Alpha students.

Recommendations are focused on piano instruction specifically but could be easily modified to other music teaching settings, such as voice lessons or ensemble rehearsals.

to your students.

approximately one billion hours of con-

than lectures, in-person activities with tools (Global Research and Insights, 2018).

material you need and give the links 2. Supplemental Information. Let’s say

(Ceci, 2021), and in 2021, viewers watched

uploaded every minute, some of that

classmates, and learning applications and

videos on YouTube that address the

uploaded every minute in recent years

2018). YouTube was second only to teachers as a learning tool and ranked higher

give students a resource they can use

has to include music education topics, YouTube that include musical topics that

can greatly help teachers and students.

Sometimes great channels in this area are hard to find, but with some help and a lit-

tle digging, teachers can discover videos to aid their teaching in various ways.

Some of the benefits of using YouTube

as a learning tool are:

1. Flipped Instruction. Do you want students to learn about or have an

introduction to something before

you want students to have some extra

lesson time to commit (or that you

have explained but students could use some reinforcement of the information). Share the interesting links

with students. Students can benefit

from some additional video resources to help them when they are working outside of class.

3. Self-Directed Learning. Sometimes you can direct students to YouTube

as a resource to find the information interesting and relevant to them.

If students are working on a more

self-directed project or have an indi-

vidual passion they want to explore, encourage them to take advantage of YouTube. Don’t forget to warn your

students that just like with any infor-

Figure 1

Hours of Video Uploaded to YouTube Every Minute 2007 to 2020 (Ceci, 2021)

mation source, there is some content out there that may not always be trust-

worthy—such as bad performances or faulty information.

4. Lesson Enhancers. Videos can illus-

trate ideas and engage students far more substantially than textbooks,

lectures, pictures, or other activities. When possible, turn to this free resource for building more effective

lessons during lesson time. For example, I have go-to videos that I recommend when a younger student is having a hard time or use as a reward at the end of the lesson for doing a good

job. I may also work in one or two minutes of a pre-selected video with

older students to reinforce a concept that I’ve just taught them.

18 F l o r i d a

Music Director

For Fun

Educational

ny age) Piano Guys (A p songs ngements of po Piano/cello arra

«

Prodigies Music Lessons (Ages 0-7) Colorful lessons about solfège and rhythm geared

«

(Ages 8+) Seth Everman yboard d fun use of ke Piano humor an sounds

«

(Any age) Peter Bence of pop arrangements Virtuosic piano songs age) hineider (Any Kurt Hugo Sc ements ups and arrang Pop song mashing rangements us Creative song ar s household item (Any age) Grantwoolard mash-ups Classical music

«

Hoffman Academy (various levels) Music theory and analysis (piano centered) General piano instruction

« «

«

(Ages 8+) Jacob Collier t who d winning artis GRAMMY-awar d an harmonization uses extreme re s close harmonie

«

+) her (Ages 10 Daniel Thras mor Piano-based hu

«

5. Positive Reception. YouTube makes

toward kids (Figure 2)

« « « Repertoire study « Ear training and dictation « Improvisation and « «

composition

Kennis Russel (Ages 8+) Music theory Back ing tracks for improvisation

and students. The channels noted above

can be used for student viewing, and of course teachers can watch them and gain

« «

«

Music Matters (Ages 8+) Huge variety of music theory topics

«

Adam Neely (Ages 12+) Video essays on new horizons in music and music theory

seen or used one at some point by aiming

the students or their parents. The second

that can prove to be useful to teachers

Music Education for All (Ages 8+) Rhythm tutorials and exercises Harmony and scales

is to copy and paste the link via email to

audio and visual modes that students are so attuned to nowadays.

«

are useful when you want to include a

YouTube links with my students. One way

There are several channels and videos

Visual Musical Minds (Ages 0-7) Clapping songs/off the keyboard exercises

There are two main ways I like to share

it easy for students to be interested in the topic. Videos also cater to the

« «

Piano Pig (Ages 12+) Chords Improvisation tools

way I share YouTube links is by using QR codes. QR codes (or quick response codes)

link on a piece of paper. You likely have your phone camera to the code, which will then open a link on your device. QR codes were popular when they were first

Figure 2

“Sweet Beets” Series for Teaching Children Rhythmic Patterns (Prodigies Music Lessons, 2014).

extra tips and knowledge from them as well. The videos are organized into two

categories: “For Fun” and “Educational.”

You can assign watching the educational

videos to supplement a topic you have covered or are about to cover. The other

videos can “trick” the students into watching a video that is entertaining

for them (for example, a classical music

mash-up with animated composer), and

you will know they are gaining useful exposure to music education at the same

time. Sometimes, I will also assign these videos as additional homework or show them in group lessons.

Continued on page 20 May 2022

19

YouTube, Emojis, and Memes Continued from page 19

introduced around 2010 but went out of

for your studio. It is not as scary as you

load an external app on their smartphone

Some ways to utilize your studio chan-

style because users would have to down-

would think!

Another tool we can use in teaching

« « «

have probably seen and used yourself in

to be able to use them. Now that iPhones

nel include:

Android phones) can just scan QR codes

mances

running iOS 11 or higher (as well as many

directly from the camera app without any additional steps, they are regaining popularity and have proved to be a great tool in my studio.

Now, keep in mind that although

many of the videos and channels I men-

tioned are excellent additions to teaching, you will still want to preview videos

you assign your students to watch to make sure it is the best content. As we

«

Posting videos of your own perforPosting videos of student performances (with student/parent permission)

Posting students’ composition and improvisation (with student/parent permission)

Your personalized explanations of

music theory, technique, and other concepts you would like students to be able to reference

jis in cell phones in the late 1990s, and it

soon spread across the world, becoming a phenomenon in the 2010s. The White

House at one point released an economic report with emojis. Soon after this, the face with tears of joy emoji ( Wang, 2016).

There is on-going research into the use

efficiently while enjoying the variety and format of the process (Figure 3).

countries (Kozlowsky, 2021; Woolcock,

them, and as I have learned from study

and personal experience, they love anything emoji-related and connect well with

YouTube Channel Example With Playlists Created for Customized Class and Private Lesson Purposes (Morrison, n.d.)

20 F l o r i d a

Music Director

) was the

2015 Oxford Word of the Year (Pardes, 2018,

2019). Students react very positively to

help students to retain information more

Figure 3

posts. Japan first put the option for emo-

having a permanent reference can greatly

as be a great help to your students. something that can also be a great tool

digital communication and social media

of emojis in school settings in various

take in so much during a weekly lesson—

However, making your own channel is

today are emojis—the little pictures you

This is quite useful as students can only

can see, watching channels can enhance your own personal development as well

Emojis

Figure 4

Using Emoji Stickers in a Piece to Convey Emotions of the Different Sections (Photo credit: Author)

tion assignments to my students. In the past, I have picked an emoji and instructed the student to improvise or create a

composition based on the mood suggested by that emoji.

In general, using emojis has drawn

attention from students, and they have enjoyed it. I have used emoji cutouts for a

studio achievement board and have even hosted an emoji-themed recital (Figure

6). There are many possibilities for integrating emojis into a teaching setting,

and kids respond well to the silliness and using emojis. I purchased a set of emoji

been a successful teaching strategy that I

and I have seen them from many other

Another approach to using emoji stick-

wide range of emojis.

use often in my teaching (Figure 4).

Memes

suppliers as well, both online and in-per-

ers in lessons has been using them to

that continue to entertain all ages with

I have used emojis in various ways in

Often I will ask a student to pick their

stickers from a popular online retailer,

son stores.

my studio. One of the ways I integrated

emojis into my lessons was using emoji stickers in students’ pieces. I have used

different emoji stickers to convey dynam-

ics and expression markings throughout

the music. Talking through the changing moods of a piece with the student and having them pick an emoji sticker to

appropriately represent the emotion has Figure 5

call students’ attention to problem spots. favorite emoji sticker, or if I know they

like another emoji that is not included in

the sticker sheet, I draw it on their music.

In the example in Figure 5, the student had been missing the E-flat but after we

put his favorite emoji beside it, he did not miss the note again.

Emoji stickers have also proved useful

in assigning composition or improvisa-

Using Emoji Stickers/Drawings to Draw Student’s Attention to Problem Spot (Photo credit: Author)

Memes are another internet sensation

relatable humor. A little etymology of the word meme is in order: It all started

in a book by Richard Dawkins titled The Selfish Gene in 1976, and its definition was a cultural idea, joke, or movement that

was imitated as it spread from person to person (Dawkins, 1976). It still largely

implies those references today and can

come in many forms, such as videos, dances, or new words. The most common Continued on page 22

Figure 6

Emoji-Themed Recital (Photo credit: Author)

May 2022

21

YouTube, Emojis, and Memes

Figure 7

Continued from page 21

Example of Commonly Used Form of Meme (Macdonald, 2020)

meme is an image of a person or an ani-

mal with a funny caption (Figure 7), and in this article when I mention meme, I will be referring to the latter definition.

I have been using memes for a while

now in handouts when I teach college

group piano classes. The memes have always

gotten

laughs

and

positive

response from students, and some even say it makes their day to see the new memes and that they look forward to it

every week. My friend who is an orches-

tra teacher has a meme wall in her school orchestra room, and she reported enthusi-

asm and positive responses from students (Figure 8).

I have used existing music and col-

lege-themed memes from various sourc-

es. Some of the main sources that are

« «

constantly outputting “fresh” memes are:

Classic FM’s Facebook page – go to Timeline Photos

Facebook group – “Music Theory Memes for Tone-Deaf Teens”

« « «

Google Image Search for “music

online tools. The great thing about this is

Reddit.com/r/ClassicalMemes

dents that would otherwise go in one ear

major memes, classical music memes,

funny and gets across to students clearly.

memes” and “music major memes”

Pinterest boards – search for music and related searches

I have also made my own memes. It is

relatively easy to create a meme thanks to

Figure 8

Example of Meme Wall in School Orchestra Room (Photo credit: Author)

22 F l o r i d a

Music Director

that you can get a message across to stu-

and out the other, but in meme form it is

There are many platforms that allow you

to easily create a meme by simply inserting the text you want. Some examples

of such websites are Meme Generator

history … . Rather staying current

memegenerator. If you are wondering

process of learning. (p. 98)

through imgflip.com and kapwing.com/

how to make a meme correctly or are

wondering about its origin, knowyourmeme.com is a helpful resource to look up any meme that exists.

Why use these tools in our teaching?

Now the question must be asked: Why implement these tools at all in our teach-

ing? If a certain way of teaching works for us, it is tempting to stay within the comfort and familiarity of that style. We may

remember how we were taught and in the

involves staying open, open to the

Global Research and Insights. (2018). Beyond millennials: The next generation of learners.

Pearson Education.

Although tools like YouTube, memes,

Kearney, E. M. (2013). On becoming a teacher.

SensePublishers. https://doi.org/10.1007/97894-6209-392-8

and emojis might seem like trivial and silly additions to pedagogy, there is more depth and importance underneath the façade of their lightheartedness. These

platforms and objects are a part of culture now—especially for the younger genera-

tions. Culture impacts and includes what

Kozlowsky, A. (2021, August 5). Emojis in the classroom. National Education Association. https://www.nea.org/advocating-for-change/ new-from-nea/emojis-classroom Macdonald, K. (2020, August 18). 19 cringe classical music memes that put that “funny” in symphony. Classic fM. https://www.classicfm. com/discover-music/humour/classicalmusic-memes-2020/

people do and how we act. It influences

McKrindle & Fell (2021). Generation Alpha.

Headline.

municate with each other—and finally,

Morrison, M. (n.d.). Playlists [YouTube Channel].

YouTube. Retrieved November 22, 2021 from https://www.youtube.com/channel/ UC_R4s3lDBC7eKo7XVaITKog/playlists

how we see the world and how we comhow we learn. By understanding and

adopting these newer additions to life, dents and will make a greater difference

Moshin, M. (2021, January 25). 10 YouTube stats every marketer should know in 2021. Oberlo. https://www.oberlo.com/blog/youtubestatistics

run; however, a little branching out can

Melody Morrison is a doc-

Pardes, A. (2018, February 1). The WIRED guide to emoji. WIRED. https://www.wired.com/ story/guide-emoji/

students’ learning. As teachers, it is our job

Pedagogy program at Florida

dents are using as part of their everyday

es undergraduate class piano

spirit of tradition want to keep things the same. It can be intimidating to reach out-

side of our comfort zones to learn a new

skill, even if it will be beneficial in the long

we can go further in connecting with stuin their musical education.

go a long way in positively impacting our

toral student in the Piano

to stay as current as we can with what stu-

State University. She teach-

lives and how they communicate.

as a graduate TA and serves

Kearney (2013) stated the following about

giate chapter of the Music Teachers National

In On Becoming a Teacher, Edmund

keeping our teaching current:

Our society is changing rapidly.

New technologies and ways of communication are altering the way we

live. Your students will not know

the old ways. They will only know the new ways. The “new” ways will

be the only way for them … . You must embrace these changes, par-

ticularly in the technological world, if you expect to connect with your

students … . Meet your students

where they are at. Use examples

from their world, not yours. Make assignments relevant to their lives …

. Staying current does not mean being

untrue to who you are, to your own

as vice president of MTNA @ FSU, the colleAssociation at Florida State University.

References Apaydin, Ç., & Kaya, F. (2020). An analysis of the preschool teachers’ views on alpha generation. European Journal of Education Studies, 6(1), 123-141. https://doi.org/10.5281/ zenodo.3627157 Anderson, M. & Jiang, J. (2018, May 31). Teens, social media, and technology 2018. Pew Research Center. https://www.pewresearch. org/internet/2018/05/31/teens-social-mediatechnology-2018/ Ceci, L. (2021, September 14). Hours of video uploaded to YouTube every minute 20072020. Statistica. https://www.statista.com/ statistics/259477/hours-of-video-uploadedto-youtube-every-minute/ Dawkins, R. (2006). The selfish gene. Oxford University Press.

Duffy, R. (2018, August 9). Gen Z strongly favors learnings through YouTube and video, report says.

Edscoop. https://edscoop.com/generation-zlearning-youtube-video-pearson-study/

Prodigies Music Lessons (2014, September 16). Sweet beets pilot | Music lessons for kids from the preschool prodigies music curriculum [Video]. YouTube. https://www.youtube. com/watch?v=VTmk_ADNOgg&ab_ channel=ProdigiesMusicLessons Rothman, D. (2016). A tsunami of learners called Generation https://www.mdle.net/Journal/A_ Tsunami_of_Learners_Called_Generation_Z. pdf Schwab, K. (2016). The fourth industrial revolution: What it means, how to respond. World Economic Forum. https://www.weforum. org/agenda/2016/01/the-fourth-industrialrevolution-what-it-means-and-how-torespond/ Vargason, D. (2017, November 16). Meet Generation Alpha: 3 things educators should know. Northwest Evaluation Association. https://www.nwea.org/blog/2017/meetgeneration-alpha-3-things-educators-know/ Wang, Y. (2015, November 17). For the first time ever, an emoji is crowned Oxford Dictionaries’ Word of the Year.

The Washington Post. https://www. washingtonpost.com/news/morning-mix/ wp/2015/11/17/for-first-time-ever-an-emojiis-crowned-oxford-dictionaries-word-of-theyear/ Woolcock, N. (2019, April 13). Emojis help lecturers bond with students, study finds.

The Sunday Times. https://www.thetimes. co.uk/article/emojis-help-lecturers-bondwith-students-study-finds-x3t9xjwbk

May 2022

23

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Florida Music Director

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ComponentNews

FLORIDA NAfME COLLEGIATE

Allison Yopp, President

MORE THAN OBSERVATIONS:

Engaged Service Learning in the Classroom

by Colin Urbina

A

s practicing college students, one

Service learning is a form of classroom

putting together a benefit concert to pur-

work with providing needed goods and/

for students in need. All of these experi-

of the greatest boons afforded to

experience where you pair hands-on

is hands-on experience in the class-

or services to schools or the community.

us during our time spent in the degree

room; however, this type of teaching

often begins with observations or pas-

sive learning. While these experiences are beneficial, there are other ways we can more actively learn from and support our local music programs. As we strive to

become more active participants in our local schools, we should engage in service

learning as an avenue to benefit our educational experience and the community.

This process allows students to engage in meaningful classroom work as well as

develop practical and applicable content knowledge and acquisition of skills that might otherwise not be covered during

our time in school. By working directly with our local schools, we gain the

and educators while providing for our surrounding community. The knowledge

and skills we gain from these experiences

will help down the road when we face similar challenges and scenarios in our own classrooms.

Beginning a service learning proj-

ect is as easy as reaching out to local

the needs of our community and how

have. The next time you are observing

into practice while also learning about

to help fulfill them. The more we learn schools we most likely will be working in after we graduate, the

better equipped we will be to effectively teach and

serve our students.

So, what does a prac-

tical application of service

teachers and seeing what needs they at a school, ask the director what needs

they have in the classroom and how you can help fulfill them. Not only will you

gain skills from helping provide for the

classroom, but you will also deepen your

relationship with that teacher, program,

and school and widen your networking circle.

As we close out this school year and

learning look like in the

begin looking toward the fall, I encourage

vary with a wide range

your local music teachers and commu-

music classroom? It can of time, commitment, and

effort needed, and can be as small or as large a

project as one chooses.

Some examples include

you to think about the ways you can help

nity. With so much music being made in Florida, there will always be an avenue for young music educators to further our craft and help our musical communities.

running sectionals for

Colin Urbina, Florida NAfME Collegiate pres-

repair stands, risers,

tion major at the University

a teacher; working to

chairs, or simple things

around the classroom; securing

and organizing funds to help provide meals for a marching band program; or Music Director

ences help develop our skills as leaders

experience of putting our teaching skills

about the environment, community, and

26 F l o r i d a

chase instruments, music, or resources

ident-elect, is a music educaof Central Florida. He is in his third year of studies and

is excited for his career in the classroom that lies ahead.

FLORIDA VOCAL ASSOCIATION

Taking a “me” day

A

Jeannine Stemmer, President

while back, I ran into an old friend

but I am grateful for the people that pour

I was, to which I answered, “Busy.” He

This experience has changed my per-

from high school. He asked me how

into me.

then asked me when I was planning to

spective on self-care, and I pray that

a crazy few weeks ahead with no week-

embark on the last leg of this school year,

fill my cup. I said, “Not for a while. I have

end breaks.” He then told me that “busyness” should not be worn as a badge of

honor, and he challenged me to make my Sabbath a priority. I walked away from

the conversation inspired. I knew that it all made perfect sense. How could I pour

into my students if I had nothing left to

it will speak to many of you. As we

I encourage you to take care of yourself.

Make a list of what fills your cup. Plan

your “me” days and continue to move mountains the way you always have …

but this time, you may find the load a little lighter.

give? I started to plan my first “me” day.

It wasn’t easy; it took me many hours to

prepare for one day off. When I told my

FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION

students I was taking a “me” day, they

Joani Slawson, President

were very encouraging and told me I deserved it.

I made a list of what filled my cup and

started to plan my special day. Believe

I

t is hard to believe that summer will soon be upon us. My first year serving

as your president seems to have flown by. I am so proud of what FEMEA

it or not, making sure all the laundry in

has accomplished this year. We had a stellar conference in Tampa, and I know

actually on my list, but so was an hour-

and sessions, our All-State Elementary Chorus and All-State Orff Ensemble had

the house was folded and put away was

long massage. I left the massage and had

a craving for Pop Rocks candy, so I treat-

everyone was so happy to be back together. In addition to our fabulous clinicians outstanding experiences and performances.

Please mark your calendars now for the FEMEA Summer Conference at Holy

ed myself to two bags of the popping,

Trinity Episcopal Academy in Melbourne, Florida, on Thursday, July 28. We are

Netflix shows and went for a brisk walk.

summer of recharging your battery, this conference will lift your spirits and help

sugary goodness. I watched mindless I cooked an elaborate dinner for my family and soaked in a hot bubble bath.

so excited to bring back this opportunity for elementary music teachers. After a you prepare for the upcoming school year.

I know that for many of us this year has continued to present many challenges,

Having enjoyed my “me” day, I walked

and yet time and time again I see and hear about the amazing things elementary

pour into my kids.

“More than a Music Teacher.” Throughout this year you have comforted children

in the next day energized and ready to Don’t judge me, but I like to play

teachers do every day. As the shirt that Franklin J. Willis created says, you are who are sad; you have cheered up someone with your smile; you have encour-

Fortnite. I am not as good as my students,

aged students to keep going; you have had to have many difficult conversations;

with the kids, I tend to be the first in the

campus and the last to leave; you have handed out so many Band-Aids; you have

but I can still hold my own. When I play squad to die. They must love me because

they always come and save me. Before they do, though, they make sure their

avatars have enough health so that they

can protect and regenerate me. I guess I could have learned my lesson from them,

you have moved equipment countless times; you have been the first teacher on listened to students who confide in you; you have given praise to ALL your stu-

dents; you have given food, clothing, and materials to those in need; you have poured your heart and soul into the lives of your students. I commend you for

your dedication and thank you for your compassion! I truly hope you get the rest and relaxation you need and deserve this summer.

May 2022

27

ComponentNews

FLORIDA NAfME COLLEGIATE

Mark A. Belfast, Jr., PhD, Advisor

School’s Out

H

as anyone ever said it as emphati-

we learn to save lives in a

out for summer! It could not have come

quately and effectively

cally as Alice Cooper? Schooooool’s

soon enough, could it? I’m not sure about you, but I found this year to be significantly more difficult than any of the pre-

They were tough for

medical emergency, ade-

our colleagues who experienced

defend justice, or compose

a score that uplifts a nation?

Throughout

through countless natu-

teachers

students, and student teachers, it is quite

on their shoulders in times

clear … folks are tired. Things continue to be in flux. As expectations begin to

return to pre-COVID norms, we are all contending with the fact that we went for

nearly 18 months in abnormal educational circumstances.

Nevertheless, take heart. Know we are

all in this together! When you feel you

are overly stressed, exhausted, and battling burnout, know most other educa-

tors across the globe can empathize. Be

reminded of what an incredible honor it is to be considered a teacher. It is a selfless

and often thankless profession, but it is also vitally important, for where would

we be if not for our teachers? How would

have

dents (their children)

history,

vious semesters in the COVID era. As I’ve

traveled the state and observed teachers,

carried

ral (and man-made) disas-

the weight of the world

ters. Yet, in the end … teach-

of chaos and discord. Things

the dark. The beacon in the

are tough for educators now.

Of that, I am certain, but they were also

world in 1945 as World

storm that reminds us all there is hope yet.

I

tough for our colleagues around the

ers. You are the lighthouse in

Florida Music Director

am

incredibly

proud to have served another year as your

War II came

advisor. I have watched as you have done

their lives back together. They were tough

vice educators. Your perseverance, toler-

to an end and people attempted to put

for our colleagues in the late 1950s as

school districts struggled to find the most respectful, peaceful, and effective way of integrating their schools. They were

tough for our colleagues in the Northeast in the wake of the September 11, 2001, terrorist attacks that claimed so many lives.

absolutely astonishing things as preserance for ambiguity, and relentless pursuit of goodness and excellence are truly

inspiring. Thank you for your commitment to our profession. You are the ones

we’ve been waiting for! I pray you will

have a restful, peaceful, joy-filled, rejuvenating summer. You deserve it.

Print. Digital. Direct.

28

and

supported their stu-

FLORIDA BANDMASTERS ASSOCIATION

Ian Schwindt, President

F

amily. It is a word that is often over-

members will sacrifice themselves to help

ally and can even become a punchline.

family members may squabble with each

used and thrown around a little casu-

(Thank you, Fast & Furious 10.) The reality

is family is a powerful part of all of our

lives. We are a part of so many “families.”

other members of the family. And while

elevators. Either they are an up elevator

other, they never allow outsiders to attack

you? After someone talks to you, did

any member.

What does that mean in practical terms

Our personal families are critical to who

for us? Let me begin by asking some ques-

beings. In our schools we are constantly

cert or marching MPA, how many other

we are and how we function as human

working to create the “band family” our students so desperately need. The list goes

on and on. But the family I really want to focus on is our “band director family.”

The principles of any healthy family

are as true for our band director family

as they are for all other families. The older members look out for the younger members. The strong provide for the

weak. All members rally to anyone who is struggling or going through a hard time.

Family members rejoice with one anoth-

er over any member’s successes. Every member is equally valued regardless of differences. Family members constantly

work to build each other up. Family mem-

bers are honest with each other. Family

John Maxwell describes all people as

tions for us to consider. At your last condirectors heard your performance? After your performance, how many directors

came up to you to tell you all of the wonderful things they heard your ensemble perform? Now, here is the tricky one: How

many bands did you hear, and how many of those directors did you walk up to (or

email/text) to tell them all of the wonderful things you heard? Let’s take it one step further: How many directors emailed

or a down elevator. Which elevator are

you take them up or down? Disraeli and Gladstone were running for prime minister of England, and a reporter had the

opportunity to have dinner with each of

them. After the dinner with Gladstone, the reporter was overwhelmed with the feeling of how incredible a person Gladstone

was and was sure Gladstone would be an excellent prime minister. After the dinner with Disraeli, the reporter felt that he was

an incredible reporter and was going to accomplish great things. What do other directors feel like after they spend time with you?

As I finish my last article as FBA pres-

your principal to let your principal know

ident, I want to encourage all of us to

your group? And again, how many prin-

our band director family. Consistently

about the positive things they heard from

cipals did you email? (As I write these questions, I find myself cut to the quick

because I need to be better about doing these things.)

consistently work to build and maintain

work to build each other up, to encourage each other, to be “up” elevators. How can

you and I be the Disraeli for everyone around us?

May 2022

29

ComponentNews

FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION

Marc Decker, DMA, President

Relax, Reflect, and Reconnect

by Sandra Sanchez Adorno, PhD

fter another tumultuous year with

early retirement. Where do we go from

engagement. Second, we awarded our

all look around and acknowledge that

and take a moment to heal ourselves.

support research and creative activity

many highs and lows, we should

“we made it.” We did whatever we could

to help support our students’ success in yet another year of surprises. Music programs around the state are thriving

once again, largely due to the persistent

dedication of music educators. As we

push to the end of the school year and the beginning of summer, I hope you treat yourselves with patience and kindness

amidst the craziness of juries, exams, and other end-of-the-year events. It is easy to ignore personal needs and work-life bal-

ance to get off-kilter when continuously

here? Perhaps it is time to look inward

As author Anne Lamott wrote, “Almost everything will work again if you unplug

it for a few minutes, including you.” This

summer, I challenge all of us to do three things: relax, reflect, and reconnect. Relax

to give your mind and body the rest it

needs and deserves, reflect to recognize the transformative moments of the last

two years to inform the next, and reconnect to realize your personal needs and collaborate with colleagues and friends for professional and personal support.

In the spirit of reconnecting, we con-

putting others before yourself.

tinue to look for ways to promote commu-

tional toll the last two years took on our

faculty from colleges and universities

It is important to recognize the emo-

students, ourselves, and society. Teaching

has never been easy, but the particular demands set upon us while living

through a pandemic were enough to push many to consider career changes and

30 F l o r i d a

Music Director

nication and collaboration among music throughout the state. As we reflect on our year as an organization, we added several new initiatives. First, we created an organization website to promote

communication and increase membership

first-ever Creative Explorations Grant to that enhances college teaching in Florida.

Congratulations to Dr. Jacob Berglin,

assistant professor at Florida International

University, and his project “The Path to Music Teaching for Historically Black

College/University (HBCU) Students” for receiving our first award. Lastly, we welcomed the first cohort of our new mentor-

ship program. Mentors and mentees will meet several times virtually throughout

the year and in person at the FMEA Professional Development Conference to set goals, share experiences, and collab-

orate in shared areas of interest. As these initiatives become more established, we

encourage members to get involved and take advantage of the financial and social support offered by the organization.

Take these upcoming months to unplug

and relax. Refill your bucket before the

water runs dry. Also, take time to reflect.

FLORIDA ORCHESTRA ASSOCIATION

Laurie Bitters, President

I

t is hard to believe we are coming to the end of another school year. By now,

I know everyone is busy putting the finishing touches on those final concerts

and ordering annual student awards. It’s a time for celebration of musical and

personal accomplishments. I hope you can take a few moments to take a step back from it all and recognize what a profound impact you have on the lives of your

students. After these last few years, think of all the things that had to be taught

from scratch. Some had never experienced a concert or MPA or playing with an ensemble. With all of that in mind, it is amazing the results that have been accom-

plished throughout the state at district, state,

and national performing events. I was lucky enough to attend the National Orchestra Festival

in Atlanta this year and see all the groups from Florida that participated. So many amazing groups and performances! I would like to com-

mend Vinny Conrod, Michelle Eggen, Brandon

Bangle, Michael Simpson, Christopher Simons, and their respective orchestras on

representing Florida so well. I would also like to congratulate Erik Bryan and the Eau Gallie High School Chamber Orchestra for being chosen Grand Champions Acknowledge the trauma caused by the pandemic, and consider the many alter-

ations in the ways we teach and learn music in a post-pandemic world. Indeed, this is a time when we can reflect on

music education’s purpose in this world

and what is essential for students to learn and do. Lastly, reconnect with yourself, your loved ones, and your colleagues.

Rekindle some of your favorite forgotten hobbies, spend time with your family and

friends, and open spaces for collaboration.

The greatest resource we have is each other.

Sandra Sanchez Adorno, PhD, is an assistant professor of music education at Florida

International University, where she teaches courses in elementary general music, assessment, and

psychology. Dr. Adorno is president-elect of FCMEA

and serves on the editorial board for The Orff Echo.

of this event.

My congratulations and gratitude are extended to those individuals who have

worked tirelessly this past year to ensure the stability and forward motion of our association:

Andrea Szarowicz

Joshua Lennox

Brian Hellhake

Kayla Lisa

Besnik Hashani

Kasia Bugaj

Sam Felber

Sarah Guarrine

Shawna Batchelor

Cheri Sleeper

Lauren Pardee

Shelby Montgomery

Dale Lewis

Maeanna Naffe

Steven Harris

Colleen Strom Daniel Shafer

David Heroux

Lee Stone

Mara Eichin

Matthew Davis

Don Langland

Michelle Eggen

Jason Jerald

Raine Allen

Jarrod Koskoski

Mindy Curtis Roland Forti

Steven Bossert Todd Parrish Tosha Knibb

Valerie Terry

Will Sanderson

Will Whitehead

There is so much work that goes on behind the scenes at both the district and

state levels, and I want to thank them for all of their hard work. Together this

Executive Board tackled difficult issues and worked together to reach resolutions.

As a result, our association is stronger and better equipped to face whatever lies ahead.

To all of our teachers: I hope you take the time this summer to relax and

recharge. We all deserve it!

May 2022

31

ResearchPuzzles FOR MUSIC TEACHERS

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

Facilitating Ear Playing «

Musco (2010) also stated that a lack of ear playing instruction may stem from teachers (a) lacking self-efficacy in playing

by ear themselves, (b) perceived lack of time to provide this type of instruction, and (c) belief that the most important

«

I

’ve written previously in this column about research related

to the role of ear playing in music education. It is an aspect

music learning outcome to be addressed is students’ ability to read music notation, which needs to be prioritized.

Playing by ear supports other musical skills that include

performing rehearsed music, playing by memory, sightread-

ing, and improvisation (McPherson, Bailey & Sinclair, 1997).

Methodology

of music teaching and learning that some believe has been

The rationale for, and methodology of, this study is grounded

thoughtfully would not only enhance many important musi-

of Lucy Green, who has studied informal music learning prac-

shortchanged (Woody & Lehmann, 2010), but if approached

cal understandings, but also unlock important skills essential

to comprehensive musicianship. This month I’d like to share additional research on this topic that was conducted by Maria Varvarigou (2017), who examined strategies for ear playing and

aural-based creativity in her study titled, Group Playing by Ear in Higher Education: The Processes that Support Imitation, Invention and Group Improvisation.

Review of Literature

Many researchers and pedagogues have discussed the

benefits and challenges of ear playing. Some highlights of this

« «

literature that are cited by Varvarigou (2017) include:

Priest (1989) believed playing by ear is central to musicianship.

tices, which include ear playing activities (Green, 2002, 2005,

2008, 2014; Baker & Green, 2013; Varvarigou & Green, 2015).

Participants were 46 undergraduate students. They took part in

a five-week period of instruction focused on Group Ear Playing (GEP). In this study, GEP involved (a) having students listen to and imitate recordings on their instruments, and then (b) taking the musical material that was learned aurally and being inventive (i.e., creative) with it through interactions with peers

in small groups. Sources of data that were studied included student reflective logs, feedback forms completed by students at the end of the program, and interviews with students. The audio source material used in the study was taken from Green’s (2014) book titled Hear, Listen, Play.

“Unlike traditional folk, jazz, pop, rock and ‘world’ musi-

Results and Implications

ings as a means of learning new repertoire and of creating

tation and invention tasks; these tended to develop throughout

cians who regularly engage in playing by ear from record-

Students used a variety of strategies in accomplishing the imi-

new material either as improvisations or as compositions

the period of the study. The researcher classified the students’

(Berliner, 1994; Green, 2002; Nettl & Russell, 1998) the train-

ing of western classical musicians does not usually include

«

in the conceptual ideas of Philip Priest (1989) and the research

playing by ear as an equally valued and regular component of their training and practice” (Varvarigou, p. 292, 2017).

learning approaches as following a Cognitive Route and/or an Auditory Route while also identifying several Group Learning Strategies. See examples included in the sidebar.

Students can develop their ear-playing abilities when pro-

Some teachers may believe that having students play by

vided the opportunity. Both the cognitive and auditory routes

(Musco, 2010).

approaches to music learning, such as employed in this study,

ear will decrease their motivation to learn to read music

32 F l o r i d a

Music Director

helped students move from imitation to invention. Informal

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

«

Cognitive Route

« « «

Cognitive strategies: using existing knowledge and

listening skills to identify pitches and rhythms when musical material and switching around melodic lines

Baker, D. & Green, L. (2013) Ear playing and aural development in the instrumental lesson: Results from a ‘case control’ experiment. Research Studies in Music Education, 35(2), 141-159. https://doi.org/10.1177/1321103x13508254

Metacognitive strategies: practicing, utilizing strategies

Berliner, P. (1994) Thinking in jazz: The infinite art of improvisation.

University of Chicago Press.

imitating the recordings; altering the structure of the when engaged in invention

such as breaking the whole into smaller parts; planning a learning approach

«

Green, L. (2005). The music curriculum as lived experience: Children’s “natural” music-learning processes. Music Educators Journal, 91(4), 27-32. https://doi.org/10.2307/3400155

ticular, this was a strategy employed prior to invention

Green, L. (2008) Music, informal learning and the school: A new classroom pedagogy. Ashgate Publishers.

sometimes by notating the recorded melodies; in par-

Auditory strategies: listening to and playing with the

recording many times; playing up or down scales to identify key pitches in the recordings; reharmonizing to play along with existing music materials; inventing new musical materials

Green, L. (2012a) Informal learning and aural learning in the instrumental music lesson: A research-and-development pilot project. In L. Vakeva & S. Karlsen (Eds.), Future prospects for music education: Corroborating informal learning pedagogy (pp. 161196). Cambridge Scholars Press.

Green, L. (2012b) Musical ‘learning styles’ and ‘learning strategies’ in the instrumental lesson: Some emergent findings from a pilot study. Psychology of Music, 40(1), 42-65. https://doi. org/10.1177/035735610385510

Compensatory strategies: guessing when unsure, espe-

Green, L. (2014) Hear, listen, play! How to free your students’ aural, improvisation and performance abilities. Oxford University Press.

rhythms when imitating recordings

McPherson, G. E., Bailey, M., & Sinclair, K. E. (1997). Path analysis of a theoretical model to describe the relationship among five types of musical performance. Journal of Research in Music Education, 45(1), 103-129. https://doi.org/10.2307/3345469

cially when initially determining correct pitches and

Group Learning Strategies

«

Green, L. (2002) How popular musicians learn. Ashgate Publishers.

Memory strategies: memorizing the musical material,

Auditory Route

«

References

Social

•

Peer learning and support: group problem solving

•

Development of interpersonal and leadership skills

and peer mentoring

Affective

• •

Linked with social strategies

A group desire for success and to make their inventive work interesting and enjoyable

may be a good framework to use for the development of

musical skills such as imitating aural models and inventing (improvising and composing) new musical materials derived

from the original models. Including these experiences in the music education curriculum may help students develop a well-rounded, flexible musicianship that will allow them to

be actively engaged with many different styles and genres of

Musco, A. M. (2010) Playing by ear: Is expert opinion supported by research? Bulletin of the Council for Research in Music Education, 184, 49-63.

Nettl, B. & Russell, M. (Eds.) (1998) In the course of performance: Studies in the world of musical improvisation. The University of Chicago Press.

Priest, P. (1989) Playing by ear: Its nature and application to instrumental learning. British Journal of Music Education, 6(2), 173-191. https://doi.org/10.1017/s0265051700007038 Varvarigou, M. (2017). Group playing by ear in higher education: The processes that support imitation, invention and group improvisation. British Journal of Music Education, 34(3), 291-304. https://doi.org/10.1017/s0265051717000109 Varvarigou, M., & Green, L. (2015). Musical ‘learning styles’ and ‘learning strategies’ in the instrumental lesson: The Ear Playing Project (EPP). Psychology of Music, 43(5), 705-722. https://doi.org/10.1177/0305735614535460 Woody, R. H., & Lehmann, A. C. (2010). Student musicians’ earplaying ability as a function of vernacular music experiences.

Journal of Research in Music Education, 58(2), 101-115. https://doi. org/10.1177/0022429410370785

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

music throughout their lives.

May 2022

33

CommitteeReports

AWARDS COMMITTEE

Sondra A. W. Collins, Chairwoman

s we wrap up our delivery of quality music education this

inspired by the nominees in every category, and I also think

applaud all music educators for the job you are doing to main-

our state. The time to nominate is now! The call for nominations

spring and two years of teaching music in a pandemic, I

tain the integrity of quality music education through two years of trauma. It proves how resilient, collaborative, and passionate

about the many unsung heroes of music education throughout is available at https://fmea.org/programs/awards/.

As we think about colleagues to nominate, I’d like for you

we are as music educators. We have so many heroes out there,

to hear from a few of our heroes of 2022, this year’s FMEA

Speaking of heroes, it’s that time of the year when I ask you

FMEA Collegiate Music Educator of the Year, Dr. Kelly Miller,

rising above and being the light.

to consider who in your sphere of influence is deserving of recognition by the FMEA Awards Program. Each year I am so

awardees. Here are some inspiring words from our 2022 and our 2022 FMEA Administrator of the Year, Dr. Miguel A. Balsera.

As Dr. Miller, associate professor of music, coordinator of music education, and director of women’s chorus at the University of Central Florida, states:

M

usic education is one of the most

rewarding and important pro-

fessions in the world. Music shapes

and ready to play on the football team,

only 11 were actually out on the field.

The rest were standing on the side-

lives. Music motivates. How we edu-

lines or sitting on the bench. When I

self-identity. I believe that strengthen-

every single team member was playing.

cate the music student can affect their ing and challenging a student’s musicianship can increase their self-image, and I greatly value the ability to build

self-esteem in my students. I believe that students learn best through positive influences. A positive attitude,

reinforcing an individual’s strengths,

looked over at our band, I realized that No one was sitting on the sidelines. I learned that, on music’s team, everyone

plays on varsity, everyone is a starter, no one sits on the bench, everyone

plays the entire game, and there are no substitutions.

Music meets special needs and

can further build and encourage posi-

serves many roles. For years teaching

between people unable to come togeth-

in turn, foster leadership and create

each and every yearbook with “Strive

community. We affect our community

tive self-esteem and self-image. These, a safe and healthy learning environment where students are encouraged

to actively participate. When students

are keenly involved with their learning, they have ownership of their education.

To me, music embodies the true defi-

nition of teamwork. I made a remarkable

discovery in my first year of teaching as a high school band director. During

a Friday night football game, I realized it is through music ensembles that we

observe the ultimate definition of team.

While dozens of players were dressed

34 F l o r i d a

Music Director

music at the high school level, I signed

for excellence in all that you do.” I

displayed this on the posters found on classroom walls, and I had it printed on

T-shirts. The statement meant that we

refuse to accept mediocrity, and that our art is not about instant gratification, it’s not about the product, it’s about the journey. Music education teaches life lessons and is a living example of excellence.

Music celebrates diversity. Through

music we experience a cross-cultural understanding that builds bridges

er in other areas of society. Music builds

through how we interact and educate

students. Through the creation and con-

ducting of now three intergenerational community choirs, I have experienced

the building of community through singing. These intergenerational com-

munity choirs have crossed the barriers of age, gender, ethnic background, and musical ability. While building com-

munity, music education is an art that serves.

To every music educator out there—

YOU are greatly appreciated.

EMERGING LEADERS COMMITTEE

Mary Palmer, EdD, Chairwoman

I

t may not be too late to identify or become a 2022-23

FMEA Emerging Leader candidate. Be a leader and

a champion for music education ... are you that person?

There’s still time for nominations (self-nominations are

accepted) to the program. Application information is included here: FMEA.org/programs/emerging-leaders.

Why become a part of the FMEA Emerging Leaders?

Here are key reasons:

And Dr. Balsera, principal at Miami Arts Studio 6-12 @ Zelda Glazer, states:

I

am extremely passionate about what I do because I am surrounded by extremely passionate people. I am truly

blessed to have come across some of the best of what they

do in their respective fields. For me, the greatest gift is when I’m able to attend the performances, the concerts, and the competitions—when I see our students being cel-

ebrated across the community. That to me is the ultimate reward.

We are a relatively young school, but in a short amount

of time, we have done some remarkable things with a very

talented group of music students. We continue each year

« « « « «

Meet other enthusiastic people who are destined for

leadership in music education … share the excitement and possibilities together!

Meet and interact with FMEA and NAfME leaders.

Serve FMEA in various ways at the 2023 Professional Development Conference.

Be a 2023 conference presenter as part of the Emerging Leaders program.

Be inspired and informed at the Summer 2022

Emerging Leaders Conference (June 11, at University

of Central Florida in Orlando). Attending this program is critical to being an Emerging Leader.

Past Emerging Leaders are still an important and val-

to challenge ourselves, to see how we can continue to raise

ued part of this “family.” We hope YOU will mark your

their talents to levels that continue to amaze everyone

As always, but maybe more obvious at this time, lead-

the bar and support each other, to lift our students and

calendars to join us on June 11.

around us. This award really is a collective award—it rep-

ership is essential to success! I was privileged to partic-

product of their hard work, and I wouldn’t be where I am

Columbia Mission) as part of the Orlando Philharmonic

resents our entire school community. Ultimately, I am a today if it wasn’t for everything they do on a daily basis.

Music, to me, like most of us, is a common language. It

brings us together like very few mediums can. Personally,

I was a band student in junior high, and I also sang in the choir in high school. I see music as an avenue for these kids

to achieve their goals. I can tell you, and I see it on a daily basis, especially with our alumni, we see such successful outcomes. Whether they are pursuing music education or

they have entered other fields when they entered college, we are seeing students that are thriving because they have

ipate in the visit of NASA astronauts (STS-61-C Shuttle Orchestra programming. In their conversation with high school and college students, the ship’s commander, Hoot

Gibson, talked about leadership. He emphasized the importance of building a team, to authentically care about

each other, and to have fun! I think that’s what we aspire to in our classrooms. It was inspiring to have the astronaut’s MAX-Q Rock Band perform with the Orlando Phil

for its annual SPRINGS concert and to demonstrate how MUSIC is a bridge to all people.

Together, WE can continue to build that bridge to a life-

the necessary skills to succeed.

time of the love of music-making.

students and our teachers that lead them on a daily basis.

year’s Emerging Leaders Conference!

I believe in music education because I believe in our

We’re looking forward to having YOU with us for this

May 2022

35

MULTICULTURAL NETWORK Bruce J. Green, Chairman

CommitteeReports W

e made it. You made this year and

As we close in on the final weeks

As for yourself, I want to encourage

our students better because you

of this school year, I look back at both

you to rest, recalibrate, and return. After

reserve tank of tenacity to make it and to

enhance our teaching and performing

a way to enjoy this beautiful weath-

endured. We all have had to tap into our discover an inner strength to overcome.

the endeavors and the challenges that skills, as well as ways to assist our students in becoming better musicians.

I want to take a moment to thank

everyone for the hard work and dedica-

You never know how strong you are until being strong is the only choice you have.

— Bob Marley

tion that you show your students daily.

The memories and opportunities that are

provided to our students are innumerable, and even though we may be overlooked, your students will treasure them forever.

I want to encourage you to continue to

press on to provide great opportunities

for your students all the way to the end of the school year.

the past few years, all of us should find er and spend some quality time with friends and family. On a professional development note, plans for this year’s annual Multicultural Network Summer

Workshop are underway. This one-day workshop is set up to provide strate-

gies and best practices to assist with your planning for the next school year.

We will have presenters for all areas of

music education, and lunch will be provided as part of your registration. Look

for the link coming soon on the FMEA website.

Partners Make It Possible The Florida Corporate and Academic Partners help strengthen music education in Florida through their tireless work to support teachers. FMEA expresses its greatest thanks to each of our Partners, Corporate and Academic, for their partnership over the past year. We hope that FMEA members from across the state support our partners as they support FMEA and Florida music educators.

The Academic Partner memberships are for colleges, universities, and military organizations, and the Corporate Partner memberships are for businesses and organizations.

Please choose the appropriate button for more information.

Corporate Partners

36 F l o r i d a

Music Director

Academic Partners

FMEA is a not-for-profit professional education association that serves and supports music education across Florida. FMEA promotes and publishes the Florida Music Director and music education research, organizes professional development programs, and broadens teachers’ knowledge and interest in their profession through affiliation with colleagues. Membership in FMEA is open to music instructors from pre-kindergarten level through college, including music supervisors, and component organization membership is available for your specific music education focus.

HEALTH AND WELLNESS COMMITTEE

Revae Douglas Ross, Chairwoman

I

t’s May, and the finish line is in sight.

health and wellness in music education.

the year. Think about all of the adversity

from an empty cup” or “Put on your own

Let’s take a moment and reflect on

you’ve overcome. We want to take this

opportunity to remind you of a few things that can sometimes be forgotten when we

Often, we say things like “You can’t pour

just 10 of these tips before the end of the school year.

After completing one of these health

oxygen mask first.” These expressions

and wellness tips, ask yourself how it

how can we put health and wellness into

Remember, devoting time to creating

are helpful and inspiring reminders, but

made you feel.

practice?

a healthier relationship with ourselves is

and your influence on students goes far

invites you to participate in our May

enhancing our wellness is just as import-

influence impacts children for years to

intended to give you ideas of different

are constantly on the go. Remember that the care you show each day changes lives,

beyond the curriculum you teach. That come.

It has been refreshing to read and

hear so many excellent discussions about

The Health and Wellness Committee

Wellness Challenge. These challenges are activities you can do to enhance your wellness. Because you deserve it, and it’s

necessary! We challenge you to complete

not a selfish act. Actively participating in ant as considering the needs of our stu-

dents. Our committee looks forward to

sharing more strategies to help improve your health and wellness.

May Wellness Challenge Treat yourself when you need it.

Connect with uplifting colleagues.

Do physical activities you enjoy for one week.

Take a break when you need one.

Use positive self-talk or affirmations.

Go for a walk or spend time outside during lunch.

Read a good book.

Plan an activity to look forward to.

Spend time with friends and family.

Leave work at school for the night or weekend.

Eat healthy snacks and/or meals.

Be comfortable saying “no” to more obligations.

Visit a park.

Tidy up a cluttered space.

Get a hug.

Cook a new meal.

Plant an herb.

Intentionally go to bed early.

Try a new hobby.

Take a social media break.

Listen to a wellness podcast.

Go to the spa.

Create a playlist of happy songs.

Post a positive note to yourself.

Drink more water than you usually do.

Breathe deeply for one minute.

Meditate.

Find the light in a negative situation.

Watch a favorite movie or show.

Write down your “why” for teaching.

Order dinner from your favorite restaurant.

Take an extended bath.

May 2022

37

ExecutiveDirector’sNotes

FMEA Executive Director

The mission of the Florida Music Education Association is to promote quality, comprehensive

Kathleen D. Sanz, PhD

music education in all Florida schools.

Getting Ready for Summer

M

ay is here, and I know you are looking forward to well-de-

served time off during the summer. Thank you so much

for your commitment to the children of Florida. This was not an easy year, so enjoy your summer and take time with your family and friends.

Student Health and Safety

We will soon be in summer music camp mode, and we want to

be sure we do all we can to keep everyone safe in the Florida sun.

The National Federation of High Schools (NFHS) has developed online courses to assist music educators who have students par-

ticipating in physical activities. Some school districts in Florida

require coaches and music educators with marching bands to

take the three online courses listed below. These courses are free of charge and may be helpful to you.

Advocacy/Legislation

Florida is projected to gain 2.5 million new res-

idents by 2030. What does

that mean for schools? According to Florida Trend,

Florida is expected to add 348,878 school-aged chil-

dren. The increase most likely will be from domestic migration

and international immigration. Depending on the location(s) of the migrations, school size may be impacted. Think about your school, and use foresight in your planning.

The FMEA advocacy committee is in the process of reviewing

the bills passed by the 2022 Legislature and signed into law by

Governor DeSantis. Please check the FMEA website for updates.

Professional Development

The theme of the 2023 FMEA Professional Development

Heat Illness Prevention https://nfhslearn.com/courses/ heat-illness-prevention-2

Conference

and

All-State

Concerts is Unity in Music Education: Building

Communities One Note at a Time. The deadline

for submitting session proposals is quickly

approaching. The online portal will be open until

May 16, 2022. We look forward to seeing the fantastic session

Concussion in Sports – What You Need to Know https://nfhslearn.com/courses/ concussion-in-sports-2 Sudden Cardiac Arrest https://nfhslearn.com/courses/ sudden-cardiac-arrest In addition to the courses listed above, please see the infor-

mation and links on the FSMA website for keeping our students and teachers safe in the Florida heat.

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Florida Music Director

proposals for 2023.

This summer we are resuming the Summer Institute, which

was put on hiatus due to COVID-19. We are looking forward to meeting and networking with the participants.

Membership Renewal Time

We open the membership registration process each year beginning on April 1. The membership year for FMEA is July 1 to June

30. Joining is easy and online. If you need assistance, please call the FMEA office. FMEA is your way to keep current on music education events and resources. Please visit the website often.

We hope you have a well-deserved restful summer.

Kathleen D. Sanz, PhD

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

Officers and Directors

EXECUTIVE BOARD President

Shelby Chipman, PhD

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

Steven N. Kelly, PhD

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

Jason Locker

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

Ian Schwindt

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

Marc Decker, DMA

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

Joani Slawson

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

Allison Yopp

Southeastern University ayopp@seu.edu Florida NAfME Collegiate Advisor

Mark A. Belfast, Jr., PhD

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

Lindsey R. Williams, PhD

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

Laurie Bitters

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

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....................................................................................Allison Yopp Southeastern University; ayopp@seu.edu

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

FMEA COMMITTEE CHAIRPERSONS

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

Committee Council...........................................................Bernie Hendricks Ocoee High School; bernard.hendricks@ocps.net

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 Emerging Leaders............................................................ Mary Palmer, EdD 11410 Swift Water Cir.; Orlando, FL 32817 (407) 382-1661; mpalmerassoc@aol.com FMEA Corporate & Academic Partners.....................................Fred Schiff All County Music; 8136 N. University Dr.; Tamarac, FL 33321-1708 (954) 722-3424; fred@allcountymusic.com Government Relations..................................................Jeanne W. Reynolds jeannewrey@gmail.com Health & Wellness........................................................ Revae Douglas Ross Brandon High School; 1101 Victoria St.; Brandon, FL 33510 (813) 744-8120, ext. 311; revae.douglas@hcps.net Multicultural Network...........................................................Bruce J. Green (407) 927-3141; bruce.green@ocps.net

President.............................................................. Lindsey R. Williams, PhD Seminole County Public Schools (407) 320-0434; willialz2@scps.k12.fl.us Past President............................................................Harry “Skip” Pardee pardeh@collierschools.com Treasurer......................................................................................... Ted Hope Hillsborough County Public Schools, School Administration Center 901 E. Kennedy Blvd.; Tampa, FL 33602 (813) 272-4861; ted.hope@sdhc.k12.fl.us

FLORIDA ORCHESTRA ASSOCIATION President.................................................................................Laurie Bitters Winter Park High School; 2100 Summerfield Rd.; Winter Park, FL 32792 (407) 622-3200; laurie.bitters@gmail.com Past President.......................................................................Matthew Davis Harrison School for the Arts; 750 Hollingsworth Rd.; Lakeland, FL 33801 (863) 499-2855; matthew.lawson.davis@gmail.com

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

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

Reclamation.............................................................. William “Bill” Reaney Buffalo Creek Middle School, 7320 69th St. East; Palmetto, FL 34221 (239) 826-8077; billreaney64@gmail.com

FLORIDA VOCAL ASSOCIATION

Research......................................................................William I. Bauer, PhD University of Florida; wbauer@ufl.edu Secondary General Music.............................................................Ed Prasse Leon High School; 550 E. Tennessee St.; Tallahassee, FL 32308 (850) 617-5700; prassee@leonschools.net Student Development.............................................. Michael Antmann, EdD Freedom High School; 2500 W. Taft-Vineland Rd.; Orlando, FL 32837 (407) 816-5600; michael.antmann@ocps.net Social Justice & Diverse Learners..................................Bernie Hendricks Ocoee High School; bernard.hendricks@ocps.net

PROFESSIONAL DEVELOPMENT CONFERENCE Exhibits Manager fmeaexhibits@fmea.org Local Chairman Ted Hope—(813) 272-4861; ted.hope@sdhc.k12.fl.us

FLORIDA BANDMASTERS ASSOCIATION

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

Miami Northwestern Senior High School cnorton@dadeschools.net

FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION

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

Florida Christian School 4200 SW 89th Ave.; Miami, FL 33165 j9stemmer@floridachristian.org

Chad Norton

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

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

FVA President

Member-at-Large

Florida NAfME Collegiate

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

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

Jeannine Stemmer

�

Executive Director......................................................................Neil Jenkins Florida Bandmasters Association P.O. Box 840135; Pembroke Pines, FL 33084 (954) 432-4111; Fax: (954) 432-4909; exec@fba.flmusiced.org Business Manager..................................................................Jo Hagan, CPA 8975 San Rae Rd.; Jacksonville, FL 32257 (904) 379-2245; Fax: (904) 379-2260; jo@barefootaccounting.com

President........................................................................ Jeannine Stemmer Florida Christian School, 4200 SW 89th Ave.; Miami, FL 33165 j9stemmer@floridachristian.org Past President......................................................................... Jason Locker jason@fva.net Executive Director.....................................................................Michael Dye 231 S. Bayshore Dr.; Valparaiso, FL 32580 (850) 217-7419; mike@fva.net Business Manager..................................................................Jo Hagan, CPA 8975 San Rae Rd.; Jacksonville, FL 32257 (904) 379-2245; Fax: (904) 379-2260; business@fva.net

CENTER FOR FINE ARTS EDUCATION

402 Office Plaza Dr.; Tallahassee, FL 32301-2757 (850) 878-6844; Fax: (850) 942-1793 President..................................... Kathleen D. Sanz, PhD (kdsanz@fmea.org) Director of Operations........................Valeria Anderson, IOM (val@fmea.org) Technology Director......................................Josh Bula, PhD (josh@fmea.org) Public Affairs & Communications Coordinator..................................... Jenny Abdelnour, CAE (jenny@fmea.org) Marketing & Membership Coordinator................................. Jasmine Van Weelden (jasmine@fmea.org)

AFFILIATIONS

May 2022

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TES A D THE E V SA

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Florida Music Director